COLLECTION NAME:
The AMICA Library
mediaCollectionId
AMICO~1~1
The AMICA Library
Collection
true
AMICA ID:
DMA_.1985.R.38
amicoid
DMA_.1985.R.38
AMICA ID
false
AMICA Library Year:
2003
aly
2003
AMICA Library Year
false
Object Type:
Paintings
oty
Paintings
Object Type
false
Creator Name:
Monet, Claude
crn
Monet, Claude
Creator Name
false
Creator Dates/Places:
French, 1840 - 1926
cdt
French, 1840 - 1926
Creator Dates/Places
false
Creator Name-CRT:
Claude Monet
crt
Claude Monet
Creator Name-CRT
false
Title:
The Pont Neuf
otn
The Pont Neuf
Title
false
View:
Full View
rid
Full View
View
false
Creation Date:
1871
oct
1871
Creation Date
false
Creation Start Date:
1871
ocs
1871
Creation Start Date
false
Creation End Date:
1871
oce
1871
Creation End Date
false
Materials and Techniques:
Oil on canvas
omd
Oil on canvas
Materials and Techniques
false
Dimensions:
Overall: 20 5/16 x 28 1/2 in. (51.6 x 72.39 cm.) Framed dimensions: 34 1/2 x 41 1/2 x 4 in. (87.63 x 105.41 x 10.16 cm.)
met
Overall: 20 5/16 x 28 1/2 in. (51.6 x 72.39 cm.) Framed dimensions: 34 1/2 x 41 1/2 x 4 in. (87.63 x 105.41 x 10.16 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.38
ooa
1985.R.38
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:
orl
<a href="http://www.DallasMuseumofArt.org"target="_new">http://www.DallasMuseumofArt.org</a>
Rights
false
Context:
The Spanish Singer is among the earliest masterpieces in watercolor produced by Edouard Manet. It related directly to a major painting of the same title, now in the Metropolitan Museum of Art in New York, which was exhibited to considerable acclaim at the Salon of 1861 under the title "Spaniard Playing the Guitar." Unlike many earlier French painters, Manet seems not to have used a graphic preparatory process for the painting, preferring to work directly from the model and making his numerous adjustments to the composition on the painting itself. Rather than a preliminary study, this major watercolor is a reduction of the painting, probably made at the request of Manet's friend and the first owner of the work, Antonin Proust, after the success of the painting at the Salon. It may also have served Manet as he translated the painting into the graphic medium of etching. "The Spanish Singer" was etched by Manet in 1861 and was printed in five states between 1861 and 1863.Manet's process of translation from painting to print has been extensively studied by Juliet Wilson Bareau, who notes that the drawings and prints stemming from the Metropolitan's "Spanish Singer" created a pattern of work that Manet was to use throughout much of his life (Bareau 1986). It seems that Manet started the process with a photograph of the painting, which he then traced and used as the basis for both the watercolor and the subsequent print. In the case of the Reves "Spanish Singer," these works describe a slightly smaller pictorial field than does the painting, and certain details (the right shoe, the onions, the cigarette smoke, the shirtfront, and the scarf) have been adapted to the reduced scale of the format.Why did Manet use watercolor? We can speculate that he wished to translate the entire work - color and all - to a small scale before translating again into the black and white medium of etching. Most of Manet's watercolors after paintings have the characteristics of miniature paintings, and collectively they tend to be quite faithful to the original except in tonality. Evidently because of the reduction in scale, Manet generally suffused the smaller versions with greater light and space, allowing them to operate independently of the paintings to which they relate. In "The Spanish Singer," the background is both lighter and, of course, more transparent than in the oil version, and the floor recedes more dramatically.For all its brio and life, "The Spanish Singer" has many of the oddities that mark Manet's mature style. The pose of the singer is inexplicably unstable, as if he is tapping his foot while playing and singing. His mouth is also ambiguously painted in both the oil and watercolor versions, making his status as a singer questionable. Many Manet scholars have searched in the art of Goya, Murillo, and Vel squez for sources, while others have concentrated on French influences in the painting of Greuze and Courbet. Yet, as always, Manet eludes his scholarly hunters by combining elements of many sources, heightening some and disguising others. He was also resolute in making his "Spanish" singer French. In fact, early commentators identified the singer's jacket as coming from Marseilles, and his pants must be from Montmartre!"Impressionist Paintings Drawings and Sculpture from the Wendy and Emery Reves Collection," page 27
cxd
The Spanish Singer is among the earliest masterpieces in watercolor produced by Edouard Manet. It related directly to a major painting of the same title, now in the Metropolitan Museum of Art in New York, which was exhibited to considerable acclaim at the Salon of 1861 under the title "Spaniard Playing the Guitar." Unlike many earlier French painters, Manet seems not to have used a graphic preparatory process for the painting, preferring to work directly from the model and making his numerous adjustments to the composition on the painting itself. Rather than a preliminary study, this major watercolor is a reduction of the painting, probably made at the request of Manet's friend and the first owner of the work, Antonin Proust, after the success of the painting at the Salon. It may also have served Manet as he translated the painting into the graphic medium of etching. "The Spanish Singer" was etched by Manet in 1861 and was printed in five states between 1861 and 1863.Manet's process of translation from painting to print has been extensively studied by Juliet Wilson Bareau, who notes that the drawings and prints stemming from the Metropolitan's "Spanish Singer" created a pattern of work that Manet was to use throughout much of his life (Bareau 1986). It seems that Manet started the process with a photograph of the painting, which he then traced and used as the basis for both the watercolor and the subsequent print. In the case of the Reves "Spanish Singer," these works describe a slightly smaller pictorial field than does the painting, and certain details (the right shoe, the onions, the cigarette smoke, the shirtfront, and the scarf) have been adapted to the reduced scale of the format.Why did Manet use watercolor? We can speculate that he wished to translate the entire work - color and all - to a small scale before translating again into the black and white medium of etching. Most of Manet's watercolors after paintings have the characteristics of miniature paintings, and collectively they tend to be quite faithful to the original except in tonality. Evidently because of the reduction in scale, Manet generally suffused the smaller versions with greater light and space, allowing them to operate independently of the paintings to which they relate. In "The Spanish Singer," the background is both lighter and, of course, more transparent than in the oil version, and the floor recedes more dramatically.For all its brio and life, "The Spanish Singer" has many of the oddities that mark Manet's mature style. The pose of the singer is inexplicably unstable, as if he is tapping his foot while playing and singing. His mouth is also ambiguously painted in both the oil and watercolor versions, making his status as a singer questionable. Many Manet scholars have searched in the art of Goya, Murillo, and Vel squez for sources, while others have concentrated on French influences in the painting of Greuze and Courbet. Yet, as always, Manet eludes his scholarly hunters by combining elements of many sources, heightening some and disguising others. He was also resolute in making his "Spanish" singer French. In fact, early commentators identified the singer's jacket as coming from Marseilles, and his pants must be from Montmartre!"Impressionist Paintings Drawings and Sculpture from the Wendy and Emery Reves Collection," page 27
Context
false
Related Image Identifier Link:
DMA_.1985_R_38.tif
ril
DMA_.1985_R_38.tif
Related Image Identifier Link
false