Portrait of Juliette Dodu

COLLECTION NAME:

The AMICA Library

mediaCollectionId

AMICO~1~1

The AMICA Library

Collection

true

AMICA ID:

DMA_.1985.R.32

amicoid

DMA_.1985.R.32

AMICA ID

false

AMICA Library Year:

2003

aly

2003

AMICA Library Year

false

Object Type:

Drawings and Watercolors

oty

Drawings and Watercolors

Object Type

false

Creator Name:

Manet, Edouard

crn

Manet, Edouard

Creator Name

false

Creator Dates/Places:

French, 1832 - 1883

cdt

French, 1832 - 1883

Creator Dates/Places

false

Creator Name-CRT:

Edouard Manet

crt

Edouard Manet

Creator Name-CRT

false

Title:

Portrait of Juliette Dodu

otn

Portrait of Juliette Dodu

Title

false

View:

Full View

rid

Full View

View

false

Creation Date:

1878-1879

oct

1878-1879

Creation Date

false

Creation Start Date:

1878

ocs

1878

Creation Start Date

false

Creation End Date:

1879

oce

1879

Creation End Date

false

Materials and Techniques:

Pen, ink, paper, wove

omd

Pen, ink, paper, wove

Materials and Techniques

false

Dimensions:

Overall: 22 3/8 x 11 1/4 x 2 in. (56.83 x 28.57 x 5.08 cm.)

met

Overall: 22 3/8 x 11 1/4 x 2 in. (56.83 x 28.57 x 5.08 cm.)

Dimensions

false

AMICA Contributor:

Dallas Museum of Art

oon

Dallas Museum of Art

AMICA Contributor

false

Owner Location:

Dallas, Texas, USA

oop

Dallas, Texas, USA

Owner Location

false

ID Number:

1985.R.32

ooa

1985.R.32

ID Number

false

Credit Line:

Dallas Museum of Art, The Wendy and Emery Reves Collection

ooc

Dallas Museum of Art, The Wendy and Emery Reves Collection

Credit Line

false

Rights:

http://www.DallasMuseumofArt.org

orl

<a href="http://www.DallasMuseumofArt.org"target="_new">http://www.DallasMuseumofArt.org</a>

Rights

false

Context:

This small portrait head has been identified by Paul Gauguin's son, Pola, as a portrait of the painters' paternal uncle, Henri. Although Pola dated the portrait to 1879 in his certificate of authentication, subsequent scholars have given it a later date of about 1884, presumably on the grounds of style. In fact, neither the identity of the sitter nor the date of the painting can be corroborated with other evidence, and in spite of Pola's certainty of tone, it must be remembered that many of his attributions and dates have not held up to modern scrutiny.Whatever the identity of the sitter, the painting has almost no qualities of a portrait. The man's featureless black eyes project no character and allow the viewer no access. Neither is the figure given any telling details of costume or props that would help us establish his profession or interests. Only his unfashionable hat and simple coat give the portrait character, and that character is generic rather than individual in nature. The slightly hooked nose of the sitter is similar to Gauguin's own, allowing us to infer that the painting represents a member of the family, as Pola asserted. But that is all.The painting appears to be unfinished. It was painted directly on a primed canvas, which Gauguin used almost as a sheet of paper, allowing it to remain as the background. The unusual size and folded corners of the canvas indicate that it may even be a fragment of a larger composition, cut down later to become a portrait."Impressionist Paintings Drawings and Sculpture from the Wendy and Emery Reves Collection," page 72

cxd

This small portrait head has been identified by Paul Gauguin's son, Pola, as a portrait of the painters' paternal uncle, Henri. Although Pola dated the portrait to 1879 in his certificate of authentication, subsequent scholars have given it a later date of about 1884, presumably on the grounds of style. In fact, neither the identity of the sitter nor the date of the painting can be corroborated with other evidence, and in spite of Pola's certainty of tone, it must be remembered that many of his attributions and dates have not held up to modern scrutiny.Whatever the identity of the sitter, the painting has almost no qualities of a portrait. The man's featureless black eyes project no character and allow the viewer no access. Neither is the figure given any telling details of costume or props that would help us establish his profession or interests. Only his unfashionable hat and simple coat give the portrait character, and that character is generic rather than individual in nature. The slightly hooked nose of the sitter is similar to Gauguin's own, allowing us to infer that the painting represents a member of the family, as Pola asserted. But that is all.The painting appears to be unfinished. It was painted directly on a primed canvas, which Gauguin used almost as a sheet of paper, allowing it to remain as the background. The unusual size and folded corners of the canvas indicate that it may even be a fragment of a larger composition, cut down later to become a portrait."Impressionist Paintings Drawings and Sculpture from the Wendy and Emery Reves Collection," page 72

Context

false

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Portrait of Juliette Dodu