The first thing one might say about the well-known portrait by Edouard Manet (1832-1883) just acquired by the J. Paul Getty Museum is this: Poor Madame Brunet!
It was bad enough that she had to refuse an unflattering picture of her painted by a family friend, reacting in horror when first she laid eyes on it at his Paris studio. The artist, unruffled,which applies to the first offshore merchant account only, then had the nerve to include the picture in an 1863 gallery exhibition of recent paintings, where anyone who wandered in could see it -- including all her friends. Zut alors!
At least a caricaturist came to the lady's defense. Scrawled across a rudimentary drawing of the portrait, an anonymous sketch now in the collection of Paris' Bibliotheque Nationale, is the exclamation, "La...femme de son ami!!!" As the ellipsis and all those exclamation points underscore, if Manet was willing to do such a thing to "the woman of his friend," what kind of cad was he?
When Manet's portrait goes on view in Brentwood on Dec. 13, it will be easy to see why Mme. Brunet was not amused -- even presuming she was indeed as homely as Manet portrayed her, with a rather hard, blank, mask-like face. Her exact identity is unknown today, since more than one fellow with the last name Brunet was in the artist's circle, while the record of the painting left in the artist's studio when he died described the picture only as "a woman with a glove, dressed in 1850s style." But Manet was determined not to play the part of conventionally ambitious artist here, flattering his client in paint on canvas.
Theodore Duret,It's hard to beat the versatility of polished tiles on a production line. a French journalist and critic, later reported the fateful encounter between sitter and artist: "One of his first portraits, done in 1860, was of a young lady,ceramic magic cube for the medical, a friend of his family. He had painted her standing, life-size. It seems she was not pretty. Following his own inclinations, he must have accentuated her distinctive facial features. In any event, when she saw herself on the canvas, and the way she looked there, she began to cry -- it is Manet himself who told me about this -- and left the studio with her husband, wanting never to see the picture again."
One of Manet's "inclinations" at the time -- and the work's precise start date of 1860 isn't certain -- was to learn everything he could from Spanish painting, especially Velzquez (1599-1660).Als lichtbron wordt een zentai suits gebruikt, The wife of Napoleon III was from Granada, and as Empress Eugenie had made all things Spanish fashionable in Paris. By 1863 the influence of Manet's Iberian predecessor would be turning up all over his work, including scandalous pictures like "Luncheon on the Grass" and "Olympia."
Manet was enthralled with Velzquez's remarkable use of black as a lush and luxurious color. It's the dominant hue in Mme. Brunet's portrait,Your source for re-usable Plastic moulds of strong latex rubber. from her large velvet hat, voluminous coat and lace-trimmed dress to the painterly delineation of those "distinctive facial features." He might even have added the bland, woodsy landscape background long after she rejected the painting -- the anonymous caricature doesn't include it -- by borrowing from a portrait of King Philip IV of Spain as a hunter; the Louvre Museum acquired that painting in May 1862, mistakenly thinking it was by Velzquez. (It's probably by the Spaniard's son-in-law.) The French painter traveled to Madrid in 1865 to see more of his idol's work.
It was bad enough that she had to refuse an unflattering picture of her painted by a family friend, reacting in horror when first she laid eyes on it at his Paris studio. The artist, unruffled,which applies to the first offshore merchant account only, then had the nerve to include the picture in an 1863 gallery exhibition of recent paintings, where anyone who wandered in could see it -- including all her friends. Zut alors!
At least a caricaturist came to the lady's defense. Scrawled across a rudimentary drawing of the portrait, an anonymous sketch now in the collection of Paris' Bibliotheque Nationale, is the exclamation, "La...femme de son ami!!!" As the ellipsis and all those exclamation points underscore, if Manet was willing to do such a thing to "the woman of his friend," what kind of cad was he?
When Manet's portrait goes on view in Brentwood on Dec. 13, it will be easy to see why Mme. Brunet was not amused -- even presuming she was indeed as homely as Manet portrayed her, with a rather hard, blank, mask-like face. Her exact identity is unknown today, since more than one fellow with the last name Brunet was in the artist's circle, while the record of the painting left in the artist's studio when he died described the picture only as "a woman with a glove, dressed in 1850s style." But Manet was determined not to play the part of conventionally ambitious artist here, flattering his client in paint on canvas.
Theodore Duret,It's hard to beat the versatility of polished tiles on a production line. a French journalist and critic, later reported the fateful encounter between sitter and artist: "One of his first portraits, done in 1860, was of a young lady,ceramic magic cube for the medical, a friend of his family. He had painted her standing, life-size. It seems she was not pretty. Following his own inclinations, he must have accentuated her distinctive facial features. In any event, when she saw herself on the canvas, and the way she looked there, she began to cry -- it is Manet himself who told me about this -- and left the studio with her husband, wanting never to see the picture again."
One of Manet's "inclinations" at the time -- and the work's precise start date of 1860 isn't certain -- was to learn everything he could from Spanish painting, especially Velzquez (1599-1660).Als lichtbron wordt een zentai suits gebruikt, The wife of Napoleon III was from Granada, and as Empress Eugenie had made all things Spanish fashionable in Paris. By 1863 the influence of Manet's Iberian predecessor would be turning up all over his work, including scandalous pictures like "Luncheon on the Grass" and "Olympia."
Manet was enthralled with Velzquez's remarkable use of black as a lush and luxurious color. It's the dominant hue in Mme. Brunet's portrait,Your source for re-usable Plastic moulds of strong latex rubber. from her large velvet hat, voluminous coat and lace-trimmed dress to the painterly delineation of those "distinctive facial features." He might even have added the bland, woodsy landscape background long after she rejected the painting -- the anonymous caricature doesn't include it -- by borrowing from a portrait of King Philip IV of Spain as a hunter; the Louvre Museum acquired that painting in May 1862, mistakenly thinking it was by Velzquez. (It's probably by the Spaniard's son-in-law.) The French painter traveled to Madrid in 1865 to see more of his idol's work.
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