(1986) Manet Dress Is

As If Flesh Woman With Parrot and Velazquez No Specific Use of Violet

December 6 to 9, 1986,

Size in inches: 89.5" x 103.5"

Size in centimeters: 227.3 cm by 262.9 cm

Materials: Golden Acrylic, colored gesso now called high load acrylic, solid body acrylic, gel, molding paste, interference paint, on cotton canvas

 

Source: Multi source based on Manet's painting titled: Woman with a Parrot and on Velazquez's use of violet in particular I was thinking of the violet purple sash used to anchor the whole compositon that is wraped around the body of the youthful St. John the Baptist in the painting titled:

Saint John The Baptist, circa 1620 to 1622, painted by Diego Velazquez

Croton, Massachusetts: Banielson Collection. (On loan to the Art Institute of Chicago.)

And

*Woman with A Parrot also titled Young Woman in 1866, date:1866, painted by Edourd Manet, oil on canvas, 72 /78" x 50 5/8" 9185.1 x 128.6cm), signed lower left: Manet, Collection the Metropolitan Museum of Art, New York

compare to: Woman with a Parrot, date 1866, painted the same year by Gustave Courbet, Collection: The Metropolitan Museum of Art, New York

 

Provenance: , Collection: of the artist

Web provenance #1: Centre for Contemporary Canadian Art at: http://www.ccca.ca

credit: scan by William Kirby

Web provenance #2: http://www.carolsutton.net

©

Artist stray musings on this work:

I am particularly please the the pink peignoir quality of the center 'figure' lighter core which reads as all the more corporeal for having a shadow, almost as if you could reach out and embrace this figure; put your arm around her; but alas it is just a pink/peach blob of paint representing the place of the the figure if there had been one there to see. To me I achieved this 'figure' of a woman - as a complete abstract force - yet unseen - both figure corporeal and her shadow. Yet for all of this, she still remains an unseen woman.

 

The peeled orange wastings in the lower left are echoed by the little crusty bits of comparatively worthless seed husk fallen to the floor [in this reality they are the crusty paint bits] under the parrot perch also seems quite actual. Reality found within the abstract.

 

I also think that Manet was able to achieve the correct balance of grey-brown (taupe) 'unused' space in proportion to his figures within his paintings, he never exaggerates this silent space into a vast hall of space such as that which one might find in some Rembrandt van Rijn's works. Still Manet could look to the past for successful use of this proportion formula of soft zone to person - in Velazquez.Compare for example this proportion-space to single figure- with these three painters, first Edouard Manet, Philosopher (with Beret), of 1865, to secondly the vast space found in Rembrandt van Rijn's "portrait" with single figure -

Old Man with Clasped Hands (Berlin-Dahlem, Kupferstichkabinett) circa 1630, or not quite a fair comparison is A Scholar in a Lofty Room {London, National Gallery} - not quite fair in that it is after all suppose to be "a lofty room". Actually, when I did relook at Rembrandt it was only his multi-figure groups that had that really big space to small figure proportion, for example, The Holy Family of 1640 {Paris, Louvre}. Compare thirdly that of Velazquez's Sebastian de Morra {Madrid the Prado) circa 1640's or Pablo de Vallodolid; both of which have a blankish soft background, i.e. in layman's terms "empty", to those of his with partial fore-ground props but mainly 'blank' post first plane space; such as Aesop {Madrid Museo de Prado} or Menippus {Museo de Prado}or even Juan Martínes Montanes {Madrid, Museo del Prado}. .

[ I quote an excerpt from page 333, chapter- "Manet in His Generation", Michael Fried;

"Not that encountering Velásquez masterpieces in Madrid resolved his problems. On the contrary, I see Manet's single-figure paintings of the next two years - his attempts to 'enlarge the morceau to become the oeuvre," as Astruc had Diderot put it in 1867 - as marking a falling off from the two-or-more -figure compositions of the first half of the 1860's, largely because the unitary nature of the later works, with their neutral, aspatial backgrounds (adapted from Velasquez's Pablo de Vallodolid), gave him only limited opportunity to develop formal equivalents for the internal tension between stillness and rapidity"- Read this for a complex study of Manet's oeuvre of single-figure paintings and their space, aspatial space, stillness and rapidity, including Woman with a Parrot.

 

book: Manet's Modernism, or The Face of Painting in the 1860's

author: Michael Fried

published by: 1996,The Universtity of Chicago Press

ISBN - 0-226-26216-2

 

{C.L.S.-October 13, 2000}

 

Source: Based on Manet's painting titled: Woman with a Parrot and on Velazquez's use of violet, in particular I was thinking of the violet purple sash used to anchor the whole compositon that is wraped around the body of the youthful St. John the Baptist in the painting titled: Saint John The Baptist.

The painting below is: Saint John The Baptist, circa 1620 to 1622, painted by Diego Velazquez,Croton, Massachusetts: Banielson Collection. (On loan to the Art Institute of Chicago.) image credit: scan by Carol Sutton©

Photograph of half sheep and frame taken inside the Art Institute of Chicago,by Carol Sutton on her first trip to Chicago on November 16, 1989. Computer set camera date is impregnanated on the film, by choice of the artist. It was compositionally radical of Velazquez to cut the sheep in half. This sheep looks particularly pious as if were a saint in a painting by Zurbaran. Franciso de Zurbaran practiced his art in Seville and he was born in 1598, exactly one year prior to Diego Velazquez, who was born in 1599. "Behold the lamb of God" (John 1:29, Bible). Zurbaran also did a painting on Saint John the Baptist in the Wilderness, circa 1635, Cathedral, Seville, with violets, ochers, whites, and browns. It is interesting to compare Zurbaran's sheep to that of Velazquez's sheep. image credit: photograph and scan by Carol Sutton©

image credit: http://192.41.13.240/artchive/m/manet/ thumbs/woman_with_parrot.jpg

The painting to the left is:   Woman with A Parrot also titled Young Woman in 1866, date:1866, painted by Edourd Manet, oil on canvas, 72 /78" x 50 5/8" 9185.1 x 128.6cm), signed lower left: Manet, Collection the Metropolitan Museum of Art, New York

 

 

2 paintings based on the idea of dress as flesh from Velazquez and Manet

 

5.

(1986) Dress Is As If Flesh Breda

December 3, 1986,

Size: 89" x99",226cm by 225.4 cm,

Materials: Golden Acrylic on cotton canvas

Source: Based on Velazquez's Infanta Margarita, of 1653, at Kunst Museum, Vienna, Austria

Provenance: Collection: of the artist

Web provenance: none prior to publication on http://www.carolsutton.net

 

 

 

 

 

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6.

(1986) Manet Dress Is As If Flesh Woman With Parrot and Velasquez No Specific Use of Violet

December 6 to 9, 1986,

Size: 227.3 cm by 22.6 cm,

Materials: Golden Acrylic on cotton canvas

Source: Based on Manet's painting titled: Woman with a Parrot and on Velazquez's use of violet, with no specific use of violet in my mind, but in particular I was thinking of the violet purple sash in the painting St. John the Baptist

 

 

Provenance: Collection: of the artist

Web provenance: Centre for Contemporary Canadian Art at: http://www.ccca.ca

Web provenance: http://www.carolsutton.net

 

The Breda type of Specific Historically Based Paintings© by Carol Sutton - 10 giant paintings + adjunctive paper works

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