Édouard Manetフランス, 1832–1883The Funeral
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
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.
作品データ
- 収蔵番号
- 10.36
その頃、Édouard Manetの人生では
生涯をすべて見る1865
“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.
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.
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.
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
Zola defends Manet in print
