Édouard Manetフランス, 1832–1883剣を持つ少年
Boy with a Sword
お目にかかれますか？
はい、お客様をお迎えしています
メトロポリタン美術館
展示室展示室 810ニューヨーク, アメリカ合衆国
一般公開されています。裏付けとなる出典は下に記しています。
- 確認
- この状態になった日
- 出典
- 美術館
この絵画について
Boy Carrying a Sword is an 1861 oil painting by the French artist Édouard Manet and is now displayed at the Metropolitan Museum of Art in New York. The work depicts a small boy costumed as a page of the Spanish court of the seventeenth century; he is holding a full-sized sword and sword belt. The work was later reproduced as an etching under the direction of Dijon painter and etcher Alphonse Legros who collaborated in the work.
According to Émile Zola, the work is typical of the influence of Spanish painters and shows the strong influence Diego Velázquez and Frans Hals had on Manet at the time.
The artist's model was Leon Leenhoff, the stepson of the artist after his marriage to Suzanne in 1862. Some report that Leon might have been Manet's actual son with Suzanne. Some other report that the father could have been Manet's own father, Auguste.
作品データ
- 収蔵番号
- 89.21.2
その頃、Édouard Manetの人生では
生涯をすべて見る1859
“The Absinthe Drinker” rejected; a final break with Couture
In 1859 Manet decided that his education was complete and submitted “The Absinthe Drinker” to the Salon; Couture reacted negatively and Manet finally broke with his teacher. The Salon jury rejected the painting: only Delacroix voted for it, while Couture voted against.
1861
His first participation in the Salon
In 1861 the Salon accepted two canvases by Manet: “Portrait of Monsieur and Madame Manet” and “The Spanish Singer”. Critics received the portrait coldly, while “The Spanish Singer” was admired by Théophile Gautier and, because of its popularity, hung in a more conspicuous place; the work intrigued young artists and brought new business to his studio.
1862
“Music in the Tuileries”: the fury of the public
In 1862 Manet exhibited “Music in the Tuileries” (probably painted in 1860), where the strollers include the poet Baudelaire, the musician Offenbach and the artist himself. It mostly provoked fury: the thick brushstrokes looked crude and unfinished, several visitors threatened to destroy the canvas; Delacroix defended it, and the controversy made Manet a well-known name in Paris.
1863
“The Luncheon on the Grass” at the Salon des Refusés
The Salon of 1863 rejected “The Luncheon on the Grass” (originally “Le Bain”), and Manet exhibited it at the Salon des Refusés, a parallel exhibition initiated by Napoleon III after a public outcry, the jury having accepted only 2,217 of more than 5,000 submissions. The juxtaposition of dressed men and a nude woman and the sketch-like handling caused a scandal; one critic compared the brushwork to a “floor mop”.
