Édouard ManetFrench, 1832–1883The Funeral
May one see it?
Yes, receiving visitors
The Metropolitan Museum of Art
Room810New York, United States
On public display.
- Checked
- 5 hours ago
- In this state since
- Sep 26, 2026
- Source
- The museum's own collection data
About the painting
The Funeral (French – L'Enterrement) is an 1867–1870 oil on canvas painting by Édouard Manet, now in the Metropolitan Museum of Art in New York. Incomplete, its style is very close to that of Effect of Snow on Petit-Montrouge and The Exposition Universelle of 1867 (Rouart, Widenstein 1975 no. 123). It is also known as Burial at the Glacière (Enterrement à la Glacière), the title given to it in Denis Rouart and Daniel Wildenstein's posthumous inventory of Manet's works.
The work was sold by Suzanne Manet to the art dealer Portier in August 1894 for 300 francs. In 1902 it is recorded as owned by Camille Pissarro, who had known Manet well and frequented the Café Guerbois. The painting was next acquired by Ambroise Vollard, who sold it to its present owner for $2,319.
Particulars
- Accession number
- 10.36
What it shows
Sources
- The Metropolitan Museum of Art: the museum's own open data · fetched 4 days ago
- Image: The Metropolitan Museum of Art — Open Access (CC0)
Meanwhile, in the life of Édouard Manet
The whole life1865
“Olympia” at the Salon: a scandal
In 1865 the Salon accepted “Olympia”, and the frank depiction of a self-assured prostitute created a scandal; according to Antonin Proust, only the precautions taken by the administration prevented the painting from being punctured and torn. The popular press caricatured it, while the avant-garde, including Courbet, Cézanne and Monet, championed it.
1865
Flight to Spain: El Greco, Velázquez, Goya
The persecution after “Olympia” forced Manet to flee, almost literally, to Spain, where he spent his time to good purpose, getting to know the works of El Greco, Velázquez and Goya and finding in them a justification of his own aesthetic taste.
after 1865
Café Guerbois and the Batignolles group
After returning from Spain Manet became a regular at the Café Guerbois in the Batignolles quarter, where Fantin-Latour, Whistler, Duranty, Degas, Renoir, Monet and Pissarro gathered, with Émile Zola as Manet's ardent defender. After harsh reproaches from Duranty, Manet challenged him to a duel and wounded him, but they made up and remained good friends until Manet's death.
1867
His own pavilion near the Pont de l'Alma
In 1867, during the World's Fair in Paris, Manet set up his own pavilion near the Pont de l'Alma and showed fifty of his best works of the past ten years. Possibly this step led to his works being accepted at the next two Salons.
1867
First contacts with the future Impressionists
When Manet was excluded from the International Exhibition of 1867 he set up his own; it was enormously expensive, his mother worried he would waste his inheritance, and it earned poor reviews from the major critics, but it provided his first contacts with several future Impressionist painters, including Degas.
1868
Friendship with Berthe Morisot
In 1868 Manet became a friend and colleague of Berthe Morisot; she is credited with convincing him to attempt plein air painting, to which Camille Corot had introduced her. Through Morisot, Manet became friends with Degas, Monet, Renoir, Sisley, Cézanne and Pissarro.
