1869
Fusain rehaussé de craie blanche sur papier
29,5 x 21,5 cm - 11 5/8 x 8 7/8 in.
New York, The Metropolitan Museum of Art, Etats-Unis - Inv. 1975.1.569
Dernière mise à jour : 2022-03-17 19:23:26
Référence : MSb-109
Famille de l'artiste, Montpellier - André Bazille - Mme Rachou-Bazille - Vente Paris, galerie Charpentier, 17 juin 1960, n° 30 - New York, Metropolitan Museum of Art - The Robert Lehman Collection, 1975.
Paris, Association des étudiants protestants, 1935, n° 10 - Montpellier, musée Fabre, 1941, n° 42 - Paris, galerie Wildenstein, 1950, n° 52 - Montpellier, musée Fabre, 1959, n° 47 - Gazette des Beaux-Arts, octobre 1960, n° 9 (repr.) - New York, Metropolitan Museum, 1974, Paris, Places and People, n° 29 - New York, Metropolitan Museum, 1976, Tricolour : 17th Century Dutch, 18th Century English, 19th century French Drawings from the Robert Lehman Collection, n° 59 - New York, Metropolitan Museum, 1977, Degas : The Artist's Mind - Chicago, The Art Institute of Chicago, 1978, n° 35, repr. p. 82 - New York, Metropolitan Museum, 1980, French Drawings from the Robert Lehman Collection, n° 3 - Montpellier, New York, 1992-1993, n° 35, repr. p. 130 - Bâle, Kunstmuseum, 2012, Renoir between Bohemia und Bourgeoisie : the Early Years, n° 54, repr. p. 252 - Montpellier, Paris, Washington, 2016-2017, fig. 103, repr. p. 168 et cat. 58, repr. 251 [Les références sont du catalogue en français].
Poulain, Bazille et ses amis, 1932, cité p. 222 - Sarraute, 1948, p. 163 - Daulte, Bazille et son temps, 1952, n° 24 (repr.) [Thèse sous la direction de Gaston Poulain] - Sérullaz, 1970, I disegni di maestri : l'ottocento francese, n° fig. 32 (repr.) - Boullion, Revue de l'Art, 1975, pp. 37-44 - Bonafoux, 1976, repr. p. 43 - Marandel, Cat. exp. The Art Institute of Chicago, 1978, n° 35, repr. p. 82 - Daulte, Frédéric Bazille : Catalogue raisonné de l'œuvre peint, 1992, p. 128 (repr.) - Montpellier, New York, 1992-1993, n° 35, repr. p. 130 - Bajou, Frédéric Bazille, 1993, p. 136 (repr) - Schulman, Frédéric Bazille : Catalogue raisonné, n° 20 des dessins, repr. p. 253 - Bonafoux, 1986, Les Impressionnistes. Portraits et confidences, repr. p . 43 - Hilaire, Jones, Perrin, Cat. exp. Montpellier, Paris, Washington, 2016-2017, fig. 103, repr. p. 168 et cat. 58, repr. 251 [Les références sont du catalogue en français] - Schulman, Frédéric Bazille : Catalogue raisonné numérique, 2022, n° 109.
In April 1863, Manet exhibited several works at the Martinet Gallery on Boulevard des Italiens. The Buveur d'absinthe, Lola de Valence and La Musique aux Tuileries were shown there. The following May 15, it was the turn of the Salon des Refusés to open its doors and the opportunity for Bazille to discover the Déjeuner sur l'herbe.
Bazille met Manet at the Café Guerbois where "the old-timers of the Gleyre studio and those of the Académie suisse, brought by Bazille and Edmond Maître, soon gathered around their leader Manet" [Daulte, 1992, p. 72].
This drawing is the further evidence of Manet's influence on Bazille, a moral, social and artistic one. It is also the evidence of the trust that bound the two men: Bazille asked Manet to pose for him; he would later ask Manet to paint him at his easel in The Studio on the rue La Condamine.
We cannot date this drawing with certainty. Marandel thinks it was executed around 1869. Manet is shown drawing at his easel, still elegant, wearing a top hat. In his hand, he seems to be holding a pencil, rather than a cigar as Sarraute suggests.
This drawing has a modernism not often found in Bazille. It is reminiscent of the first study for The Family Gathering.
