The spanish ballet

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The spanish ballet: Edouard Manet

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Art Type: Oil Painting
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Edouard Manet Oil Painting - The spanish ballet

Keywords: spanish, ballet

Work Overview: The spanish ballet
Edouard Manet
Date: 1862; Paris, France *
Style: Realism
Genre: genre painting
Media: oil, canvas
Location: Philips Collection, Washington, DC, US

Manet's "espagnolisme" reached fever pitch in the 1860s, any subject was good so long as it was Spanish. When a Spanish ballet troupe came to Paris, Manet painted the troupe as a whole, some dancers raising their arms in a bashful adumbration of dance.

Jaime (Jaques) Bosch was a Catalan composer and guitar player who settled in Paris in 1852. He gave numerous concerts and performed in the private homes of a music-loving circle for which Manet seems to have orginized his engagements. He played indeed at Manet’s home, perhaps accomponied at the piano by madame Manet. Madame Paul Meurice wrote to Beaudelaire: Madame Manet played like an angel. Monsieur Bosch scratched his guitar like a treasure.
Bosch posed for his great friend, the painter Edouard Manet, for the figure of the two Mexican generals that appear in his painting The Execution of the Emperor Maximilian of Mexico. Furthermore, the painter had illustrated the title page of one of his scores for the guitar in 1862: Plainte Moresque, dedicated ‘ à Mr Edouard Manet ’

With astonishing freedom, unsurpassed depth of feeling, and an unusually happy choice of colors, Manet has painted the Spanish company who were dancing at that time at the Hippodrome in Paris. Among them are Lola de Valence, seated, and, standing, the famous dancer Mariano Camprubi.

For this painting Manet made a preliminary drawing heightened with water-color and gouache. After painting the company, he asked Lola de Valence to pose for him several times. Jacques de Bietz described Manet at this time: "This rebellious spirit, who deliberately defied all conventions and despised all the tricks that win prestige in the artificial world of high society, was no brute, no coarse stable-boy, no ruffian. Far from it. It was impossible to deny that this new artistic genius, from whose alleged noxious and sordid realism society was turning in disgust, was, as all who had met him could testify, a perfect gentleman, well-bred and distinguished, amiable and courteous, and, what is more, most elegantly dressed."

With astonishing freedom, unsurpassed depth of feeling, and an unusually happy choice of colors, Manet has painted die Spanish company who were dancing at that time at the Hippodrome in Paris. Among them are Lola de Valence, seated, and, standing, the famous dancer Mariano Camprubi.

For this painting Manet made a preliminary drawing heightened with water-color and gouache. After painting the company, he asked Lola de Valence to pose for him several times. Jacques de Bietz described Manet at this time: "This rebellious spirit, who deliberately defied all conventions and despised all the tricks that win prestige in the artificial world of high society, was no brute, no coarse stable-boy, no ruffian. Far from it. It was impossible to deny that this new artistic genius, from whose alleged noxious and sordid realism society was turning in disgust, was, as all who had met him could testify, a perfect gentleman, well-bred and distinguished, amiable and courteous, and, what is more, most elegantly dressed."

Manet exhibited this work for the first time at the Galerie Martinet, boulevard des Italiens, in February and March 1863, together with Music in the Tuileries, Lola de Valence, Street Singer, and Old Musician.

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Edouard Manet

Work Overview