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The Balcony

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Description: The Balcony
Related content: Chapters (6) Images (201)

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Description: The Painted Face: Portraits of Women in France, 1814–1914
~~EDOUARD MANET’S Portrait of Mlle E. G., recognised by many critics as a painting of the young artist Eva Gonzalès when it was exhibited at the Salon of 1870,...
PublisherYale University Press
Related print edition pages: pp.59-99
https://doi.org/10.37862/aaeportal.00298.2
Description: Manet and the Family Romance
ÉDOUARD MANET GREW up on the rue des Petits-Augustins (now the rue Bonaparte), more or less across the street from the Ecole des Beaux-Arts he never attended. The address was a short walk down the quay and across the bridge from the Palais de Justice where Manet’s father worked; indeed, many judges and magistrates lived nearby. As a family of a certain social standing,...
PublisherPrinceton University Press
Related print edition pages: pp.41-87
https://doi.org/10.37862/aaeportal.00272.003
Description: Fellow Men: Fantin-Latour and the Problem of the Group in Nineteenth-Century French...
ON 18 March 1872, Edmond de Goncourt paid a visit to Fantin-Latour’s studio to see his latest work-in-progress, a group portrait of avant-garde poets arranged around a table after a meal. A quarrel among Fantin’s sit-ters had left him with a noticeable gap in his composition, still unfilled when his...
PublisherPrinceton University Press
Related print edition pages: pp.156-202
https://doi.org/10.37862/aaeportal.00049.007
Free
Description: Vistas de España: American Views of Art and Life in Spain, 1860–1914
By the time Mary Cassatt (1844–1926) began painting majas on a balcony, bullfighters at the ring, and flirting taberneras in the city of Seville, the journey to Spain had become a popular artistic pilgrimage. I began working out these ideas in “Bullfights and...
PublisherYale University Press
Related print edition pages: pp.89-113
https://doi.org/10.37862/aaeportal.00172.007
Description: Manet and the Modern Tradition
~As if to signal the demise of the traditional hierarchy of subject matter which placed portrait and landscape on a lower level than ‘history’ painting, Castagnary, in his review of 1867, announced that the portrait demanded the highest faculties of the painter, and represented the culmination of the art of painting. His reason was that ‘With a single portrait of Clouet, Holbein, Van Dyck, Titian, Rigaud, David, you can reconstruct, with the person who served as model, the entire epoch when that person lived.’ Castagnary, Salons, I,...
PublisherYale University Press
Related print edition pages: pp.74-78
https://doi.org/10.37862/aaeportal.00079.011
Description: Manet Manette
~In 1932, on the occasion of the centenary of Manet’s birth and his retrospective at the Orangerie, Paul Valéry wrote the following about one of the several portraits of his aunt Berthe Morisot done by Manet between 1868 and 1874 (fig. 75):
PublisherYale University Press
Related print edition pages: pp.175-199
https://doi.org/10.37862/aaeportal.00080.010

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