Notes

ART HISTORICAL RESEARCH

1. The will is kept in the Archives Nationales in Paris and was examined by ARRS in 2004.

2. Juliet Wilson-Bareau, Manet by Himself, London: Little Brown, 1995, p. 267.

3. For Fernand Lochard, see § 3.1, see page 30, Lochard’s Photographs.

4. Ronald Pickvance, Manet, Martigny: Fondation Pierre Gianadda, 1996, p. 230.

5. Ibidem, p. 249.

6. Ibidem, p. 249.Ibidem, p. 249-250.

7. Denis Rouart and Daniel Wildenstein, Manet Peintures: catalogue raisonné, vol. 1, Lausanne: Bibliothèque des Arts, 1975, p. 24.

8. Catalogue des Tableaux, Hôtel Drouot 1884, salles nr. 8 and 9.

9. In de Bottins du Commerce from the period 1930-1933, Pierre Blanc is listed as an art dealer. He had probably already been active for some time.

10. Several sources reveal that Maurice Matignane acted as an “Expert près le Tribunal de la Seine et la Cour d’Appel de Paris.”

11. The investigations in Paris and New York were conducted in 2005. 13. The water colour is a preliminary sketch for another (unfinished) painting.

14. Brooklyn Museum, New York, Manet archive, number 23.45.

15. Anne Coffin Hanson, Manet and the Modern Tradition, New Haven: Yale University Press, 1979, p. 55-56.

16. Beth Archer Brombert, Edouard Manet: Rebel in a Frock Coat, Chicago: Chicago University Press, 1997, p. 330.

17. French Nineteenth-Century Drawings and Watercolors at The Brooklyn Museum, New York: Hudson Hill Press, 1993, p. 96-97.

18. Email from James Knight of Bonham’s in London, 25 May 2007.

20. See § 2.1, pages 24-28: The Provenance of Jobarde.

21. Césaire Villatte, Parisismen, Gouda: Van Goor, 1895, p. 21.

22. Ibidem, p. 18.

23. See § 2.1, page 24-28: The Provenance of Jobarde.

24. Coffin Hanson, op. cit. (note 15), p. 73.

25. Rouart and Wildenstein, op. cit. (note 7), p. 270.

26. First published in 1932.

27. Anne Coffin Hanson, Édouard Manet 1832-1883, Philadelphia: Philadelphia Museum of Art, 1966, p. 179. However, even in those cases when the portraits are almost certainly true-to-life, it is not always clear who the model was.

30. Brombert argues that the color signature first appears in the series of paintings of beggars from around 1865. Our own findings suggest that it must have been around 1860.

31. Archer Brombert, op. cit. (note 16), p. 72.

32. Antonin Proust, “L’Art d’Édouard Manet”, Le Studio, nr. 21 (1901).

33. See Michael Fried, Manet’s Modernism, Chicago: Chicago University Press, 1996, p. 96, and Juliet Wilson-Bareau, “The Hidden Face of Manet”, Burlington Magazine, CXXVIII, London 1983.

34. For the sale of Manet’s paintings, see the notes from January 1872 in his address book at the Musée d’Orsay about the sale to Durand-Ruel, published in: Juliet Wilson-Bareau, Manet, Monet, and the Gare Saint-Lazare, New Haven: Yale University Press 1998, p. 42.

For Une botte d’asperges, bought by Charles Ephrussi and now in the Walraf-Richartz-Museum in Cologne, see: Adolphe Tabarant, Manet, histoire catalographique, Paris: Montaigne, 1931, p. 381. For L’Asperge, given to Charles Ephrussi and currently in the Musée d’Orsay in Paris, see: ibidem.

The painting Bateau de Pêche Arrivant Vent Arrière, shown at Manet’s 1867 exhibition, is one of the many paintings that are still missing. See Coffin Hanson, op. cit. (note 15), p. 85.

35. Proust, ‘L’Art d’Édouard Manet’, op. cit. (note 32), p. 436.

36. Coffin Hanson, op. cit. (note 15), p. 6; Edmond About, Nos artistes au Salon de 1857, Paris: Hachette, 1858.

37. In 1862 Manet painted a female model with a horse’s head in the background. The choice for this scene, entitled Indienne Fumant une Cigarette, can probably be traced back to the opera Carmen. In the following years, from 1864 till 1872, he regularly made paintings of race horses at Longchamp.

38. Coffin Hanson, op. cit. (note 15), p. 55-56.

40. Coffin Hanson, op. cit. (note 15).

41. Archer Brombert, op. cit. (note 16), p. 330.

42. When King Louis-Philippe acquired more than four hundred works from the collection, a large number of those paintings were transferred to the Louvre. See Archer Brombert, op. cit. (note 16), p. 9-11.

TECHNICAL PAINTING ANALYSIS

1. The range of this study is limited to the nineteenth century.

2. Thanks to modern detection techniques it has become easier to prove that a work is not authentic, because forgers almost always trust that their products will be accepted on the basis of their outward appearance and tend to pay little attention to the underlying build-up.

8. See Michael Wilson, Manet at Work, London: National Gallery of Art, 1983, p. 6. Théodore Duret writes that Manet is gifted with a “vision éclatante.”

9. Although there are indications that Manet was enrolled at Couture’s studio until 26 November 1858, it is generally assumed that he had already left the studio in 1856. See Theodore Reff, Art Bulletin, vol. 46 (1964), p. 559.

10. Adolphe Tabarant, Manet et ses oeuvres, Paris: Gallimard, 1947, p. 42.

11. This applies to other pupils as well. Couture also taught Puvis de Chavannes the basic principles of étude, ébauche and fini: the same school as Manet but another painter’s handwriting altogether. We have deliberately left out composition and perspective from this part of our investigation. We are focusing on what Manet learned from Couture and the way he dealt with it. In this connection Michael Wilson argues: “The degree of elaboration and finish can vary considerably from painting to painting and even within the same painting. Rarely in fact does Manet employ a consistent handling throughout a picture. Parts will be left sketchy; others, particularly heads and faces, developed in greater detail.” See Wilson, op. cit. (note 11), p. 12.

12. Edmond Bazire writes that Manet needed more than eighty sittings to finish the portrait Le Bon Bock. See Edmond Bazire, Manet, Paris: A. Quantin, 1884, p. 82.

16. Even when the étude and the ébauche are presented as the fini result.

17. This also explains his preference for very thin paint in the étude.

21. Ibidem, p. 201.

22. See § 7.4, pages 138-143: X-Ray.

23. “Proust tells the story which concerns the question of values. Couture once asked Manet’s opinion of a portrait, and Manet answered that the color was heavy and the painting encumbered by half-tones. ‘Ah,’ said Couture. ‘You refuse to see the succession of intermediate tones which range between the shadow and the light.’ Manet in turn declared that for him the light presented itself with such unity that a single tone sufficed to render it. Although it might appear brutal, it was preferable to pass brusquely from light to dark, rather than to accumulate things the eye cannot see, and which if included not only weaken the vigor of the light passages but attenuate the color of the shadows.” See Coffin Hanson, op. cit. (note 14), p. 159.

24. Ibidem, p. 203.

25. Anne Coffin Hanson, Édouard Manet 1832-1883, Philadelphia: Philadelphia Museum of Art, 1966, p. 25.

26. See § 7.2, see page 128: False Color Infrared.

30. Craquelure is caused by the distinctive chemical and physical behavior of paint layers. In Manet’s paintings we see a range of different patterns, varying from very fine age cracks to wide drying cracks, mainly caused by repeated revisions of the ground layer or by the balance of the medium and fast-working siccatives in the paint layers.

31. See the K-edge pictures of the barium in § 7.5, pages 144-147: K-Edge.

32. James J. Rorimer, Ultra-Violet Rays and their Use in the Examination of Works of Art, New York: Metropolitan Museum of Art, 1931. Ultra-violet research was developed by the military in the 1910s and 1920s. It only began to be used systematically for painting research many years later.

33. This photograph was made with the museum’s permission.

35. G. Wehlte, “Gemäldeuntersuchung im Infrarot,” Maltechnik 61, 1955, p. 52-58. This technique was introduced in the 1950s and was developed by the military industry. The technique was fine-tuned by different research groups, among others in The Netherlands.

36. Traces of the palette knife were found in almost all the paintings by Manet that we examined. 37. Alexander Faber, “Eine neue Anwendung der Röntgenstrahlen,” Die Umschau, 18/12, 1914, p. 246-253. X-rays were invented by Carl Wilhelm Röntgen in 1895. This technique was first used for the investigation of paintings in the early twentieth century, when different groups started working on a more systematic way of taking x-rays of paintings.

38. Impressionism: A Century Exhibition, New York: Metropolitan Museum of Art, 1974-1975. This book included a section on “Some Technical Aspects and Working Methods,” in which enlarged X-ray images of several art works were reproduced, including a photograph of Manet’s Boating (En Bateau). See Coffin Hanson, op. cit. (note 14), p. 165, n. 153.

39. Wilson, op. cit. (note 11).

40. K. Krug, J. Dik, M. den Leeuw, A. Whitson, J. Tortora, P. Coan, C. Nemoz and A. Bravin, ‘Visualization of pigment distributions in paintings using synchrotron K-edge imaging’, Applied Physics 2006, A. 83, p. 247-251. The application of this technique for painting research has been developed since 2004 in collaboration with TU-Delft, ESRF in Grenoble and the ARRS. Kris Krug is writing a thesis on K-edgeimaging at the TU-Delft.

41. J. Dik, K. Krug, M. den Leeuw en A. Bravin, “A New X-ray Method for Painting Studies,” Zeitschrift für Kunsttechnologie und Konservierung, 2005, nr. 19, p. 315322. See appendix C, pages 212-225.

42. We have examined the painting technique and painter’s handwriting of Le Bateau Goudronné on two occasions.

TECHNICAL MATERIAL ANALYSIS

12. Ibidem, p. 66.

15. Bomford’s article in The National Gallery Technical Bulletin, 1983.

19. These observations were made with the naked eye.

20. Albert Boime, The Academy and French Painting in the Nineteenth Century, New York: Phaidon, 1971, p. 65-78.

23. A picture of Manet’s paint box with tin tubes can be found in Ronald Pickvance, Manet, Martigny: Fondation Pierre Gianadda, 1996, p. 170.

25. Anne Coffin Hanson, Manet and the Modern Tradition, New Haven: Yale University Press, 1977, p. 167. With references to Thomas Couture, Méthode et entretiens d’atelier. Paris, 1867, p. 112. 117, 119, 121.

27. Boime, op. cit. (note 20), p. 72.

28. Z.A. Stos-Gale et al., “Lead Isotope Data From the Isotrace Laboratory, Oxford: Archeometry Database 5, Ores from Bulgaria,” Archeometry, vol. 40 (1998), p. 217-226; Z.A. Stos-Gale et al., “Lead Isotope Data From the Isotrace Laboratory, Oxford: Archeometry Database 4, Ores from Cyprus,” Archeometry, vol. 39 (1997), p. 237-246; Z.A. Stos-Gale et al., “Lead Isotope Data From the Isotrace Laboratory, Oxford: Archeometry Database 3, Ores from the Aegean, Part I,” Archeometry, vol. 38 (1996), p. 381-390; Z.B.M. Rohl et al., “Lead Isotope Data From the Isotrace Laboratory, Oxford: Archeometry Database 2, Galena from Britain and Ireland,” Archeometry, vol. 38 (1996), p. 165-180; Z.A. Stos-Gale et al., “Lead Isotope Data From the Isotrace Laboratory, Oxford: Archeometry Database 1, Ores from the Western Mediterranean,” Archeometry, vol. 37 (1995), p. 407-415.

48. This accounts for the findings of Keisch and Callahan, op. cit. (note 30).

50. Pierre Sanchez and Xavier Seydoux, Les Catalogues des Salons X (1872-1874), Dijon: L’Échelle de Jacob, 2004.

51. As a mixed color and as an autonomous color.

52. See Bomford, Kirby, Leighton and Ashok, op. cit. (note 9).

54. See part 2, § 6, pages 118-119: The Pictorial Comparison of the Summer of 1873.

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