Works on Paper 2019 - Jean Luc Baroni

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Édouard Manet Paris 1832 – 1883 31 Man in a Café-Concert, Wearing a Top Hat, his Hands Resting on his Stick Brush and black ink, heightened with white gouache 257 x 88 mm (10 x 3 ¼ in.) PROVENANCE Suzanne Manet, widow of the artist, bears faint studio stamp at bottom right (L. 880). As Juliet Wilson-Bareau has so ingeniously identified, this is part of a study by Manet after his own painting (Fig. 1) of 1878 Café-Concert, now in the Walters Art Gallery, Baltimore. Manet appears to have made this drawing expressly for publication in the revue, Le Rapin (figs.2-3), an extremely rare printed gazette of which only the first issue survives in two known copies. On page 5, Le Rapin advertised ”une exposition de dessins, gravures et autres œuvres en blanc et noir …” held in May of 1881 at the galleries of the journal L’Art, 33 Avenue de l’Opéra. Fig. 1 E. Manet, Au Café-Concert, Baltimore, Walters Art Gallery The present work, an extraordinary survivor and a fascinating example of the variety and range of Manet’s graphic interests, is the right hand half or section of a highly inventive brush ricordo sketch of the composition, the left half of which was used for the journal to fit into the central column of a three column page and presumably destroyed in the process. Given the presence of the studio stamp in the corner, which was always applied by his widow, this portion of the drawing must have been given back to Manet. Manet had exhibited the painting itself in April 1880 at the premises of another gazette, La Vie Moderne. The exhibition, which included ten oil paintings and 15 pastels, was advertised in the gazette itself with a drawing of a section from a second café painting Coin de Café-Concert, made into a guillotage. This same guillotage process would have been used for the illustration in Le Rapin. In a letter to Emile Bergerat written in May 1880, Manet notes that he has not yet received his drawing Café-Concert back from La Vie Moderne but adds that he will make another one, for free for his friend 1 . Manet’s close involvement with the process of exhibiting at and creating publicity with these avant-garde publishing houses is apparent in these drawings and demonstrates what would then have been a cuttingedge engagement with developments in graphic media of his time. Some years earlier in 1876, he had provided another wash drawing for an illustration in Le Type, which announced that Manet’s works were included ‘avec grand fracas’ …in the Salon of that year. The surviving examples of these lively illustrations such as those for La Vie Moderne and Le Rapin show Manet using a rapid brush and wash technique, eye-catching and easily decipherable as a characterful impression of a larger composition, for the black and white format of a printed journal. 102
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Jean-Luc Baroni & Marty de Cambiair
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Works On Paper 201
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Works on Paper Cat
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Bernardino Lanino Vercelli or Morta
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Federico Zuccaro Sant’Angelo in V
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Jacopo Ligozzi Verona 1547- Florenc
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Rutilio Manetti 1571-1639 Siena 5 A
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Domenico Za_mpieri, called Il Domen
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Jacob Jordaens Antwerp 1593 - 1678
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Simon Vouet Paris 1590 - 1649 8 Hea
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Claude Gellée, called le Lorrain C
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Eustache Le Sueur Paris 1616 - 1655
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E. Le Sueur, St. Gervasius, detail,
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Fig. 2 E. Le Sueur, Study for St. G
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Pierre-Paul Sevin Tournon 1650 - 17
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Marco Ricci Belluno 1676-1730 13 A
Page 52: Giovanni Antonio Canal, called Cana
Page 55 and 56: This superbly preserved and grandly
Page 58: Giovanni Battista Tiepolo Venice 16
Page 61 and 62: Actual size
Page 65 and 66: the title of Figures des différent
Page 68: Fig 3. A.-F. Dennel, engraving afte
Page 76: Gaetano Gandolfi San Matteo della D
Page 80: Pietro Giacomo Palmieri Bologna 173
Page 86 and 87: Théodore Géricault Rouen 1791 - P
Page 88: Fig. 2 T. Géricault, Six Horses Go
Page 94: Carlo Bossoli Lugano 1815 - Turin 1
Page 98: William Etty York 1787 - 1849 30 Po
Page 104 and 105: Reconstruction of Manet’s waterco
Page 106: Édouard Manet Paris 1832-1883 32
Page 110: Edgar Degas Paris 1834 - 1917 33 Le
Page 116 and 117: However, these notations are rarely
Page 118: Sir William Orpen, R.H.A., R.A. Sti
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Page 129 and 130: Repin’s Paris Sketchbook 1872-187
Page 131 and 132: Study for Un café parisien : portr
Page 133 and 134: of mainstream Western painting, Rep
Page 135 and 136: Complete List of the Drawings Openi
Page 137 and 138: 26 -30: Sketch for Sadko; various c
Page 139 and 140: 89. Sketch for Paris Café; Man sea
Page 141 and 142: F G H I J C E F G H I J D
Page 143 and 144: Study for Slavic Composers: A Stand
Page 145 and 146: Studies of Figures, probably for Wa
Page 147 and 148: Study for A Paris Café : A Seated
Page 149 and 150: Study for A Paris Café : A Woman S
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Study for A Paris Café : A Seated
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Study for A Paris Café : Man in a
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Study for A Paris Café : Man in a
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7 8 9 10 11 12 Jacob Jordaens 1 J.
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2 Mémoires secrets pour servir à
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35 36 37 Sir William Orpen, R.H.A.,
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Index Bossoli, C. Boucher, F. Canal
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Jean-Luc Baroni London Marty de Cam
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Works on Paper 2019 - Jean Luc Baroni

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