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Édouard Manet (1832-1883)
On occasion, Christie's has a direct financial int… Read more The Collection of Peggy and David Rockefeller
Édouard Manet (1832-1883)

Chaussons de danse

Details
Édouard Manet (1832-1883)
Chaussons de danse
signed 'Manet' (lower center)
oil on parchment laid down on paper
Diameter: 8 3/8 in. (21.3 cm.)
Painted in 1879
Provenance
Benefit sale, Galerie de la Vie Moderne, Pavillon de l'Hippodrome, Paris, 18 December 1879 (donated by the artist).
Dr. Victor Simon, Paris; sale, Galerie Charpentier, Paris, 10 June 1955, lot O.
Katia Granoff, Paris.
Acquired from the above by the late owners, June 1956.
Literature
E. Bergerat, La vie moderne, 3 January 1880, p. 4 (illustrated).
A. Tabarant, Manet, Histoire catalographique, Paris, 1931, p. 366, no. 315.
P. Jamot and G. Wildenstein, Manet, Catalogue critique, Paris, 1932, vol. I, p. 98.
A. Tabarant, Manet et ses oeuvres, Paris, 1947, p. 372.
M. Venturi and S. Orienti, L'opera pittorica di Edouard Manet, Milan, 1967, p. 112.
D. Rouart and D. Wildenstein, Edouard Manet, Catalogue raisonné, Lausanne, 1975, vol. I, p. 252, no. 324 (illustrated).
M. Potter et al., The David and Peggy Rockefeller Collection: European Works of Art, New York, 1984, vol. I, pp. 119-120, no. 26 (illustrated, p. 120; titled Tambourine).
H. Buchanan, “Edgar Degas and Ludovic Lepic, An Impressionist Friendship,” Cleveland Studies in the History of Art, 1997, vol. II, pp. 65-66.
Exhibited
(possibly) Paris, Galerie Charpentier, Les fleurs et les fruits depuis le romantisme, December 1942-January 1943, no. 95 (titled La Rose).
Special notice

On occasion, Christie's has a direct financial interest in the outcome of the sale of certain lots consigned for sale. This will usually be where it has guaranteed to the Seller that whatever the outcome of the auction, the Seller will receive a minimum sale price for the work. This is known as a minimum price guarantee. This is a lot where Christie’s holds a direct financial guarantee interest.
Sale room notice
Please note that this painting has been requested by the Art Institute of Chicago and the J. Paul Getty Museum for their forthcoming exhibition Manet and Modern Beauty to be held from May 2019-January 2020.

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Lot Essay

Manet had a fascination with Spanish culture and art, in particular the work of Diego Velázquez, whose influence is felt in his earliest paintings. All things Spanish were very much on the minds of French artists, writers and musicians from the mid-19th century onwards, the result of the imperial ascendancy of Napoleon, who invaded Spain and set up his brother, Joseph, as king in 1808. The plundering of Spanish monasteries and palaces soon followed, resulting in the seizure and removal of hundreds of paintings. Following Napoleon's downfall, many of these works were restituted back to Spain to form the core of the new Museo del Prado in Madrid. With increasing knowledge of Spanish art came a growing taste for it, largely supplanting the supreme favor the French had traditionally accorded to Italian painting. The Prado became an obligatory stop for all cultural travelers to Spain.
Political turmoil in Spain during the mid-1830s and an inability to enforce the export ban on Spanish art allowed the French king Louis-Philippe, an ardent Hispanophile, to buy many Spanish artworks for his Galerie Espagnole in Paris. Following Louis-Philippe's death in exile in 1850, the contents of his museum were sold at auction in London, further dispersing fine Spanish paintings throughout the capitals of Europe. For the relatively brief time it was in existence, the Galerie Espagnole attracted painters such as Jean-François Millet, Théodore Chassériau, Jean-Baptiste Camille Corot and Gustave Courbet, who adapted the fundamental tenets of Spanish realism to their work. Manet was only fifteen when the Galerie Espagnole closed its doors, but there were now ample opportunities to study Spanish painting in French museums.
Manet’s 1862 painting, Le ballet espagnol (fig. 1) is a demonstration of the artist’s love of Spanish culture; the romantic stereotypes depicted reflect the exotic allure of Spain that permeated his environment. Here, Manet paints a troupe of Spanish dancers from the Royal Theater of Madrid, headed by the veteran and principal dancer Don Mariano Camprubi, who had first excited Paris audiences in 1834 dancing the bolero. The troupe performed at the Paris Hippodrome from August to November 1862, and during this period Manet arranged for several of the principal dancers to pose for him at the studio of his friend, Alfred Stevens.
The present work, painted in 1879, borrows from Le ballet espagnol. The legs of the two central figures, Camprubi and Anita Montez, are replicated, while the bouquet in the foreground of that painting has here been reduced to a single rose. Manet reversed the stance of the male dancer and angled the position of both figures to conform to the round format of the tambourine on which it is painted. Manet executed a total of seven tambourines with Spanish subjects. The tambourine itself is evocative of Spanish tradition, and the work as a whole therefore functions as an emblem of the artist’s fascination with the Spanish manner. Manet donated this work to a benefit auction held on December 18, 1879 for flood victims in the small town of Murcia in southeastern Spain.

“While we were looking at Monet’s ‘Water Lilies’ at the Granoff Gallery in Paris in 1956, we saw this painting done on parchment which had supposedly been the top of a tambourine…We bought it and the Monet ‘Water Lilies’ at the same time.” —David Rockefeller

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