Ball at The Opera by Carol Sutton

Specific Historically Based Paintings© by Carol Sutton

 

Ball at The Opera by Carol Sutton ©

 

(1987) Ball at The Opera by Carol Sutton
 
 
VERSION #1
 
Size: 90 inches by 107 inches, It was painted unstretched. And is now still unstreached and unframed.
The painting has never been stretched or framed and is rolled up in the artist studio.
 
Inventory #87/01/15 to 19
 
Date: January 15 to 19, 1987, the second painting made that year. Painted before the BarcelonaTriangleWorkshop in Barcelona, Spain
 
Materials: Golden Acrylic on cotton canvas
 
Sources: Manet painting titled: Ball at the Opera
Provenance: Collection: of the artist
Web provenance: none
Photo credit: BLANK PHOTO© by Carol Sutton
 
Notes: This is VERSION # 1. of two that I paintings that I made on Manet's Ball at the Opera. The second VERSION # 2 is longer by about 3 feet. It is titled:
GRAND BALL AT THE OPERA ( Long ) , size: 87 1/2 " x 149", or 7 feet 3 1/2 inches by 12 feet 5 inches. Date: Apirl 3 to 11, 1998. Inventory # 90/04/03 to 11.

DETAILS


 
DETAIL 1.of Carol Sutton's The Ball at The Opera.
 
subliminal saxaphone player, dangling legs DETAIL from Ball at the Opera, painting by Carol Sutton, after Manet©
subliminal saxaphone like player, dangling legs of the lady in the balcony, post with light escutcheon, detail of right upper portion of painting.
Photo credit: BLANK PHOTO© by Carol Sutton
&
link:
MYSTUDIOS.COM MANET LEGS in MANET's
via http://www.mystudios.com/manet/paint.html:
Allows for:
Mouse Over the image for 7 detail views
Masked Ball at the Opera (detail)
1873
oil on canvas 59x72cm
National Art Gallery, DC
 
legs Manet, Ball at the Opera, via mystudios.com
 

DETAIL 2.of Carol Sutton's The Ball at The Opera.
Photo credit: BLANK PHOTO© by Carol Sutton
 
Escutcheon on post, and crowd below in DETAIL of Ball at The Opera ( after Manet (1987), Carol Sutton©
Escutcheon on post, and crowd below

DETAIL 3 .of Carol Sutton's The Ball at The Opera.
Photo credit: BLANK PHOTO© by Carol Sutton
 
Halequin costumed figure, with ladies, a DETAIL, Ball at The Opera (1987) after Manet, by Carol Sutton  ©
Halequin costumed figure, with ladies , one whom has stripped blue and white hose, detail from lower left side of painting.
These Halequin figures are also called : Pierrette or débardeuxe , or [" stevedorette" } notes via page 349 in Manet/book by The Metropolitan Museum of Art/ Abrams.

DETAIL 4 .of Carol Sutton's The Ball at The Opera.
Photo credit: BLANK PHOTO© by Carol Sutton
 
Floral circular bouquet of flowers DETAIL, Ball at The Opera (1987) after Manet, by Carol Sutton ©
Floral circular bouquet of flowers, with clusters of men dressed in formal black dress with white collars and shirts. Detail central portion of painting.
Photo credit: BLANK PHOTO© by Carol Sutton
 
& COMPARISION
FLORAL in MANET's via MYSTUDIOS.COM MANET
http://www.mystudios.com/manet/1870/opera/flowers.html
Allows for:
Mouse Over the image for 7 detail views
Masked Ball at the Opera (detail)
1873
oil on canvas 59x72cm
National Art Gallery, DC
floral, Manet, via www.mystudios.com
SEE MORE ON MANET's FLORAL BOUQUETS BELOW:

One Source of Inspiration: Manet painting titled: BALL AT THE OPERA

 

 

Edouard Manet. The Masked Ball at the Opera. c.1873-1874. Oil on canvas. The National Gallery of Art, Washington, DC, USA.

Edouard Manet. The Masked Ball at the Opera. c.1873-1874. Oil on canvas. The National Gallery of Art, Washington, DC, USA. 

Masked Ball at the Opera (detail)

or as Manet himself titled it:

'Bal masqué a l' Opera" ( as per his account book )

1873

oil on canvas 59x72cm; also listed as 23 1/2" x 28 3/4" or ( 60cm x 73 cm)

Signed: yes in lower right, on dance program: Manet

National Art Gallery, Washington, DC


Provenance of Exhibitions: First shown in Beaux-Arts 1884, as number 69 in Paris, France. shown in New York, Shown by dealer Durand-Ruel 1895, as no. 29, and in Washington , District of Columbia, 1982-1983, , no. 39.

Purchased by Maurice FAURE, on November 18, 1873. Faure paid 6,000 Frs for the work. Five years later Faure tried to sell this painting in 1878; but remained unsold. So Faure still owned it at the time of the posthumous Manet exhibition of 1884. But in 1894, ten years later, Faure did sell it to dealer, Durand-Ruel. Durand-Ruel in turn sold it to one of the greatest female art collectors of the 19th and early 20th century, Mrs. H. O. Havemeyer. The Havemayer family kept the work of nearly a centruy, until 1992, when Mrs. Havemeyer's heirs gave it to the National Gallery of Art in Washington, D.C. ( notes on this from page 352 under section: 'Provenance' by F.C. who is Francoise Cachin.

[ 1884-2 shows: After the death of Manet on April 30, 1883 and buried on May 3, 1883 in Passy Cemetery, Paris)

1. January 6-28- Paris, Ecloe Nationale des beaux-Arts, Exposition des Oeuveres d'Edouard Manet

2. February 2-3 Paris, Hotel Drouet, Succession Edouard Manet ( presale exhibition for auction)]


Every year in mid-Lent, the Opera held its famous 'Masked Ball', which was followed ten days later by a second ball, called the 'Bal des Artistes'. Filled with beautiful show girls of Paris and gentlemen in formal dress. It is said that Manet attended the ball, where he made sketches, and was inspired by the Masked Ball and concieved of the painting. The painting was executed over a period of serveral months.

This painting was based on the Opera while it was in the location of the rue Le Peletier as the present Opera was still under construction. Quote: " Manet chose a part of the building tthat affored him his accustomed strictly horizontal compositon, under a balcony extending the lenght of the painting: " The scene is not the hall, where the dancing was, but the promenade behind the boxes. " ( footnote #3, which is Duret, 1902, page 88. )

Notes: by Francoise Cashin on pages 349, 350, 351, 352, , ia page 349 in Manet/book by The Metropolitan Museum of Art/ Abrams. Includes a black and white detail of El Greco: Burial of the Conde de Orgaz, from Santo Tomé, Toledo, Spain.


 

Manet's own possible source of Inspiration: El Greco

Manet painting titled: BALL AT THE OPERA

 

What were Manet's own historic painted sources or inspiration

for this painting, other than the actual scene itself?

Burial of Count Orgaz

El Greco, Burial of Count Orgaz,

Text on page 353 of this same book has: QUOTE:

"Leiris has seen a possible iconographic source in the celebrated Burial of the Conde de Orgaz by El Greco ( figure a), which Manet had seen with Duret at Toledo in the summer of 1865 (footnote # 13- Leiris, 1980, pages 95-96, and page 99).

 

image credit:

http://images.google.ca/images?hl=en&lr=&q=Burial+of+the+Orgaz-Greco&btnG=Search

to

http://www.biblical-art.com/biblicalsubject.asp?id_biblicalsubject=803&pagenum=1

 

Eugene Giraud (1806-1881) The Ball at the Opera. 1861 Wood engraving. Paris, Bibliotheque National, Cabinet des estampes. influence MANET

Eugene Giraud (1806-1881)

The Ball at the Opera. 1861

Wood engraving. Paris, Bibliotheque National, Cabinet des estampes.

"One of the many illustrations of the masked balls to be found in popular magazine and newspapers, this example has a close compostioanl affinity to Manet's painting. " page 160, from Chapter: A COMPLETE VISION OF CONTEMPORARY LIFE'; book Manet, by Kathleen Adler.

Alfred Grevin The ball of the Opera Wood engraving from Petit Journal pour rire, no 176, (1873), 1. Bibliotheque Nationale, Paris, France. ( on Manet)

Alfred Grevin

The ball of the Opera

Wood engraving from Petit Journal pour rire, no 176, (1873), 1. Bibliotheque Nationale, Paris, France.

illustrated on page 122, Chapter: THE THEATER AND THE OPERA, book by Theodore Reff.



 
 

I have used extensive information from Francoise Cachin's book on Edouard Manet to write the text below. Here is the book information data:
 
Book INFORMATION:
(Manet, Edouard: 1832-1883) Cachin, Françoise, intro. (Edouard) MANET: 1832-1883.
NY: Abrams / Metropolitan Museum of Art, 1983, 11.5 x 9 in., 547 pp. with 461 illustrations, 138 in color; clothbound in dust jacket; as new. Catalog of the major retrospective exhibition of Edouard Manet, held at the Galeries Nationales du Grand Palais, Paris and the Metropolitan Museum of Art, New York.
http://www.abaa.org/
then search word: MANET
 
QUOTE: "Masked Ball at the Opera -In this painting Manet depicts the Opera on the rue le Peletier
 
Print of Opera on the rue le Peletier, Paris, France,(Manet),http://www.hberlioz.com/Paris/BPOpera.html
 
[VIEW: both: and Another view of the Opéra before its destruction by fire(We are most grateful to M. Laurent Ludart who sent us this picture. ) ;This engraving dates from 1861 and is in our own collection. The Opéra before it burnt down in 1873 ;The Opéra on fire - 29 October 1873 -all at this URL: http://www.hberlioz.com/Paris/BPOpera.html]
 
which was destroyed by fire while he was still working on it. All classes of society attended the opera and sat according to their means. Manet went to the Opera to make sketches and in his studio had friends and models pose for the painting. Manet himself appears, second figure from the right with the blonde beard. His card appears to have fallen to the floor at the bottom right. " end quote. What did Manet's sketches consist of? Apparently the sketches don from life were wash sketches, QUOTE: page 350 of same book, " which only a wash (RWII 503 ) and two painted sketches (RW I 214, & 215) survive, Manet was a long time completing the work in his studio; As with Music in the Tuileries (cat 38), of which this picture is reminiscent in more ways than one, Manet posed groups of his male friends, more of whom came to see him on the rue d' Amsterdam than formerly on the rue Guyot, as Duret testifies: " end quote. Friends posing were: Duret himself, Paul Roudier, a composer, Emmanuel Chabrier, a collector; Albert Hecht, and the painters Gillaudin and André (footnote #9, which is Bazire 1884, page 139, Duret, 1906, pages 110 to 111.) however it is difficult to identify them. " end quote. Duret may be the tall one on the left side of the painting.
 
The painting has seven women in it, although the text in the Manet ( Museum of Metropolitan Museum book) states: 'None of the five women has been identified". With the addition of the two women on the upper section of the balcony or second level , one with only her black pantaloons with gold fringe and white hose, and the other female with white hose and fanciful red orange high heel boots, dangling her leg over the edge of the balcony gold iron railing; plus the five women below, of which all except one, wear an oval black face mask: far left the lady with blue and white striped hose next to the Pierot / or Harlequin figure, then the only one WITHOUT a mask, in blue short pants with a red bow, suspenders, and a black top hat, with blue high heel shoes with white laces who is embraced by a man in a top hat; centrally is the masked woman peering straight at the viewer, wearing pale light blue gloves as she clasps a floral circular bouquet in her right hand; over a black dress; fourth woman is the masked woman all in a long black dress, who is holding her gloves in her hand, and last of the five is the profile woman with black mask , whose shoulders are draped in a red shawl, she also wears a gray hat, and is holding onto the shoulder of a man to her left, ( on the far right side of the painting). All in all seven women. Three in white hose. Two in black dresses. And one younger looking woman, in a white outfit with a colorful bonnet tilted forward on her head; she is the one with the blue and white striped hose or Striped columbine stockings, and flat black shoes.
 
Excerpt from same text: As poet Stephane Mallarmé sees it:
QUOTE: " The scene is not the hall, where the dancing was, but the promenade behind the boxes. " ( footnote #3) Mallarmé , describing the painting at length the following year, interpreted this particular choice of location as a means of individualizing what would have been a blurred movement, of no time and no place, would not have offered to plastic art a shore of authentically human attitudes. Thus, the costumes merely break up the monotony of black frock coats with some fresh floral tones,; and they disappear sufficiently to render the congestion of lobby strollers a showcase for the display of a modern crowd, which could not be portrayed except with these few bright notes for embellishment. " ( Footnote #4. , which is Mallarmé 1945, page 88)
 
The painting is fascinating for its assymenterical composition. As if a group of dangling participles and legs blended into so much black and yet shapes are reveled. The far left side has a half figure going out the picture, the same as Zurbaran [ ZURBARÁN , Francisco de (b. 1598, Fuente de Cantos, d. 1664, Madrid)
half sheep painting. This figure of the Pierrette in red and green complementary colors goes off the edge of the picture plane. Spots of blue and white dance throughout the paintings in a sea of black; creating a rhythm all their own.
 
What were Manet's own historic painted sources or inspiration for this painting other than the actual scene itself?
Text on page 353 of this same book has: QUOTE:
"Leiris has seen a possible iconographic source in the celebrated Burial of the Conde de Orgaz by El Greco ( figure a), which Manet had seen with Duret at Toledo in the summer of 1865 (footnote # 13- Leiris, 1980, pages 95-96, and page 99).
Burial of Count Orgaz El Greco, Burial of Count Orgaz
GRECO, El
http://images.google.ca/images?hl=en&lr=&q=Burial+of+the+Orgaz-Greco&btnG=Search
to
http://www.biblical-art.com/biblicalsubject.asp?id_biblicalsubject=803&pagenum=1
 
 

Manet's Floral Bouquets: A comparison between the floral bouquet in Manet's painting The Masked Ball at the Opera of 1873 to Manet's decade earlier painting of Olympia's 1863 floral bouquet held by the maid.
 

detail Manet, floral bouquet , www.mystudios.com

DETAIL: the floral bouquet held by pale blue covered gloves. Central portion of The Masked Ball at the Opera, 1873, by Manet

Manet detail, Detail of the maid holding a bouquet for her mistress.- from Olympia,

DETAIL: Detail of the maid holding a bouquet for her mistress.- from Olympia, oil on canvas, 1.30.5 cm x 190 cm., Paris, Musee d' Orsay. by Manet

Olympia, oil on canvas, 1.30.5 cm x 190 cm., Paris, Musee d' Orsay. by Manet

Olympia, oil on canvas, 1.30.5 cm x 190 cm., Paris, Musee d' Orsay. by Manet

Hands drawings by Thomas Couture, the teacher of Manet.

Hands drawings by Thomas Couture, the teacher of Manet.

Note the sure confident drawing of Couture's hands and note how similar the hands of the masked lady ( who is standing just left of the lady holding the bouquet) , that grasp her gloves so strongly in Manet's The Ball at the Opera and how very similar this grasp is to these drawings of Couture hands that hold these objects, weather feather, stone, or hammer.C.L.S.

photo scan:

Study of Three Hands, chalk on paper. Ex-coll. Bertauts-couture, at Shepherd.

from page 61 of ARTS MAGAZINE/ May 1971, article : by Andrea Mikotajuk-reviews Thomas Couture show at Shepherd ( May 17-June)

QUOTE: " has a major exhibition of drawing by Thomas Couture (1815-1879). ---" Couture's murals have a quality of worldliness that separates them from the work of his contemporaries."


This excellent link has everything on Couture.

Biography: (b Senlis, 21 Dec 1815; d Villiers-le-Bel, 3 March 1879).+ photos+Other sites with information about Couture+

Couture - http://www.invaluable.com


Manet's Floral Bouquets in 2 Cartoons of his time:
A comparison between cartoons that show the floral bouquet in Manet's painting Olympia.
Manet's print of Olympia; note the drawing of the floral bouquet held by the maid.
 
1.Caricature by Betall, 1865, ( Manet ) Cartoon or Caricature by Betall, 1865. ( BERTALL -Manette ou la femme de Eboniste. 1865. )
 
2. Cham, Olympia, Caricature in Le Charivari, May 1865. ( Manet )Cham, Olympia, Caricature in Le Charivari, May 1865.
&
 
Manet's PRINT
Cham, Olympia, Caricature in Le Charivari, May 1865.
Olympia
1865-67
Etching
Size: 8.8 cm (3? in.) height by 17.8 cm (7 in.) width
 
 

 
web links to another Manet based painting by Carol Sutton: The Surprised Nymphe

Plus links to other paintings based on MANET by artist Carol Sutton, such as:
Manet: 'The Surprised Nymph'
1859 to 1861
oil on canvas
57 1/2: x 45" , (146 cm x 114 cm)
dated ( on a leaf) and signed (lower left: 1861, : as éd Manet
Museo Nacional de Bellas Artes, Buenos Aires, Argentina
____________________________________________________________
known by others and painted by other artist , with this title:Suzanna Surprised by the Elders:
____________________________________________________________
Also done by Rembrandt, as 'Suzanna surprised by the Elders, (18 3/4" x 15", The Hague, Mauritshuis, on page 238 of the Rembrandt book by Horst Gerson.
____________________________________________________________
& RUBENS, Peter Paul - painted Susannah and the Elders in 1614.
Susannah and the Elders , Peter Paul Rubens, 1614, Oil on canvas, Nationalmuseum, Stockholm,
&
Susannah and the Elders , Peter Paul Rubens, 94 x 76 cm, Oil on canvas, Galleria Borghese, Rome, 70663, CD#1155.010
[Version Manet used is lost, known to him from engraving by Vorstermann, or from Charles Blanc, Histoire des peintres ]
via:
http://web.mit.edu/user/s/h/shawmut/www/m2.html
____________________________________________________________
& TINTORETTO, Susannah and the Elders-The Surprised Nymph (Moses Saved from the Waters). 1859-61.
Oil on canvas. (146 x 114cm)
Museo Nacional de Bellas Artes, Buenos Aires
&
"Susannah and the Elders ,Tintoretto, Kunst. Museum, Vienna, A60031, CD#0510.097
Right: Jupiter amoureux d'Antiope se transforme en Satyre , After Titian's Venus del Pardo , Bernard Baron, 38.7x66.3cm, Engraving, Alinari photograph, c. 1890-1900, British Museum, London, PCat, CD#1155.019."
MANET Selected and Related Works Study Images For 4.602, Taught by Leila Kinney : via http://web.mit.edu/user/s/h/shawmut/www/m2.html
&
Related Imagery:
-----
"Left: Moses Saved , Edme Jeurat, Engraving, Bibliotheque Nationale, Paris, PCat, CD#1155.012
Right: Moses Found in the Nile , Simon Vallee, Engraving, Bibliotheque Nationale, Paris, PCat, CD#1155.011 "
via http://web.mit.edu/user/s/h/shawmut/www/m2.html
____________________________________________________________
& Van Dyck, Susannah and the Elders
Antoon Van Dijck 1599-1641
http://fran.sneeknet.nl/homepage/show/pagina.php?paginaid=104297

 
Carol Sutton's painting:
The Surprised Nymph Manet
82 x 90 1/2",
Date: 1987
inventory number : 87/01/16
_____________________
& Carol Sutton's painting:
Suzanna Surprised by the Elders, after Van Dyck, Tintoretto
vertical painting
size: 99 inches x 88 1/2 "
Date: 1987
Inventory number: 87/ 08/ 25
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& LINKS

WEB SITES:
 
MY STUDIOS- MANET
http://www.mystudios.com/manet/paint.html

Manet's Oceanic Feeling
by Nancy Locke
http://www.19thc-artworldwide.org/spring_05/articles/lock.html

CATS & MANET
http://www.brynmawr.edu/visualculture/journal/e_manetsCats3.shtml
&
CAT PIP and Max Beckman Story by Carol Sutton

Mallarme, Manet, and the Belle Epoch in Paris 
by Julie Lorenzen
_
Berthe Morisot (1841-1895)
http://www.biography.com/impressionists/artists_morisot.html
http://www.julielorenzen.net/paris.html

MANET -Selected and Related Works Study Images For 4.602, Taught by Leila Kinney
4.602 Modern Art and Mass Culture, Leila Kinney
QUOTE: "The works selected are from the first part of Manet's career, when his art involves a recasting or travesty of the works of past masters, often known to him through graphic reproduction, and the use of contemporary imagery generated by the 19th century "media explosion." This group of paintings will be used to explore Michel Foucault's suggestion that Manet is the first "museum painter" and the relationship of his manner of painting to mechanically reproduced imagery. " end quote
Leila Kinney
http://web.mit.edu/user/s/h/shawmut/www/workslist.html
&
Olympia. 1863. [exhibited Salon of 1865] Oil on canvas. (130.5 x 90cm) Musee d'Orsay, Paris.
RELATED WORKS: http://web.mit.edu/user/s/h/shawmut/www/m11.html


grey002.gif
 
 
IMAGE CREDITS: (if not already noted in above text)
 
www.chompy.net/blogs/ jacob/archives/001942/

olympia.jpg=
1115 x 749 pixels - 131k
http://www.artchive.com/artchive/M/manet/olympia.jpg.html

Opera rue Le Peletier:
This engraving dates from 1861 and is in our own collection.
 
The Opéra before it burnt down in 1873
http://www.hberlioz.com/Paris/BPOpera.html

 
The Surprised Nymph #1 This is the first in a series about this subject. Manet's wife is the sitter for these paintings. They are thought to be connected with the first rough sketches of The Finding of Moses .The Surprised Nymph
1860
oil on canvas 34x25cm
Private Collection  
MY STUDIO.com
http://www.mystudios.com/manet/1860/manet_nymph.html
via
A SUPERB ART AND ARTIST INDEX> WITH TIMELINES> DATES> IMAGES:
http://www.wga.hu/index.html


PRINT IMAGE:
1. CENTAUR GALLERIES
http://www.centaurgalleries.com/Main/Item.cfm?ItemNo=05938
1883)
Olympia
1865-67
Etching
 
Size: 8.8 cm (3? in.) height by 17.8 cm (7 in.) width
 
 
QUOTE: "Manet's "scandalous" canvas of 1863, exhibited at the 1865 Salon, was transcribed in two etchings. The compilers of the catalogues of Manet's graphic work do not agree on their chronological order. The version reproduced here is closer to the painting. Probably made about 1865-67, it was published in Emile Zola's booklet Edouard Manet, Etude biographique et critique, issued in 1867. In this etching Manet suppressed the lower part of the canvas, and by thus reducing the height of the composition he emphasized the length and horizontality of the woman's figure. The painting raised an unusually violent storm of protest. It is difficult for us today to understand the public's reaction. Its objections and repugnance even extended to the black cat, which in itself was considered perfectly outrageous. Visitors to the exhibition were so angry that the canvas had to be protected by attendants against the threat of violence. The critic of Le Constitutionnel'was of course among the detractors. Even "advanced" critics failed to appreciate the painting. Jules Claretie and Theophile Gautier disliked it and said so in forthright terms. The painters themselves were divided over it. Courbet came out against it. Pissarro defended it; so did Degas.
 
Bracquemond often lent assistance to his painter friends when they took up etching. He attended to the biting of Corot's plates; he helped Manet and Pissarro in the practice of aquatint. For Manet's etching of Olympia, Bracquemond is supposed to have worked on the final states of the copper plate. Five or six states (the exact number is uncertain) were thought necessary to perfect the needling of the plate. In the fourth state, the plate was cut down on both left and right in order to eliminate a vertical strip on both sides which had not been needled. In the final state, the woman's hand on her lower belly was slightly reworked in order to bring out its contours." END QUOTE


2.
The Russell Collection Inventory
 
Etching and aquatint
Harris' 6th and final state, with full margins. A very fine dark impression with strong contrasts. Harris 53 Guerin 39
Unframed Size: 3 5/8 x 7
Framed Size:
Inventory Number: 902826

__________________________________

flatbook.gifPLUS a page on my Manet books, by Carol Sutton  

sub type: Specific Historically Based Paintings© by Carol Sutton

Surprised Nymph(Manet)+Suzanna Elders by Carol Sutton

Carol Sutton Fine Art -take me back in the arms of my homepage

Photo credit: BLANK PHOTO© by Carol Sutton
BLANK PHOTO by Carol Sutton



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