MANET. Jeanne 'Spring'.
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Description
MANET, Edouard. Jeanne 'Spring'. 1882Acquaforte e acquatinta su carta vergellata. Inciso 212x158 mm. Immagine 155x108 mm. Ampi margini. Sotto l’immagine a sinistra è impressa la firma “Manet”. Secondo stato, su cinque, dell'edizione prima della dicitura a stampa sotto l'immagine "Gazette des Beaux-Arts". Lieve foxing nei margini, buono stato di conservazione. L’incisione riproduce il dipinto a olio su tela intitolato ‘Jeanne ou Le Printemps” che fu presentato da Manet nella grande mostra presso il Salon di Parigi nel 1882. Il quadro, ora al Getty Museum, raffigura l'aspirante attrice parigina Jeanne Demarsy come l'incarnazione della primavera: per più di due decenni i dipinti di Manet furono rifiutati dal Salon o incontrarono polemiche; La primavera riscosse un grande successo. Guerin, Marcel, L'Oeuvre Grave de Manet, n. 66; Harris n° 88.
Condition
Etching and aquatint on laid paper. Plate 212x158 mm. Image 155x108mm. Wide margins. Below the image on the left is the printed signature “Manet”. Second state (on five), from the edition before the lettering, " Issued for the volume XXVII in the..." Slight foxing in the margins, good condition.
The engraving reproduces the oil on canvas painting entitled 'Jeanne ou Le Printemps' which was presented by Manet in the major exhibition at the Paris Salon in 1882. The painting, now in the Getty Museum, depicts the aspiring Parisian actress Jeanne Demarsy as the embodiment of spring: for more than two decades Manet's paintings were rejected by the Salon or met with controversy; The spring was a great success.
The engraving reproduces the oil on canvas painting entitled 'Jeanne ou Le Printemps' which was presented by Manet in the major exhibition at the Paris Salon in 1882. The painting, now in the Getty Museum, depicts the aspiring Parisian actress Jeanne Demarsy as the embodiment of spring: for more than two decades Manet's paintings were rejected by the Salon or met with controversy; The spring was a great success.
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MANET. Jeanne 'Spring'.
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