Garden avenue in Rueil

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Garden avenue in Rueil (Édouard Manet)
Garden avenue in Rueil
Édouard Manet , 1882
Oil on canvas
82 × 66 cm
Art Museum Bern
Garden avenue in Rueil (Édouard Manet)
Garden avenue in Rueil
Édouard Manet , 1882
Oil on canvas
61 × 50 cm
Musée des Beaux-Arts, Dijon
Country house in Rueil (Édouard Manet)
Country house in Rueil
Édouard Manet , 1882
Oil on canvas
81 × 65 cm
Whereabouts unknown

As Gartenallee in Rueil ( French Une allée du jardin de Rueil ) three paintings in the oeuvre of the French painter Édouard Manet are called. The pictures show a summer garden with lush vegetation and a house in the background from a similar perspective. The artist created the three paintings in 1882 in the Paris suburb of Rueil , where he was staying for a cure. The works painted in oil on canvas are exemplary of the impressionistic style of Manet's last years. Two paintings in this series belong to public collections: there is a 82 × 66 cm version in the Kunstmuseum Bern , and a 61 × 50 cm version in the Musée des Beaux-Arts in Dijon . The whereabouts of another variant with the dimensions 81 × 65 cm is not known.

Picture descriptions

Of the three views of Gartenallee in Rueil , only the version in the Kunstmuseum Bern is signed. The label “Manet” on the lower right of the canvas can be read as a sign that the painter considered this version to be complete, while the other pictures in the series are more sketchy. A free style of painting with spontaneously applied dots of color and blurred contours can be found in all three variants. This style of painting and the summer motif captured en plein air are typical features of Impressionism.

In the version in the Kunstmuseum Bern, Manet shows a broad, light path that leads diagonally from the lower left corner to the right and disappears behind bushes. It is not clear whether the path leads to the house seen in the background or goes past it. Lush vegetation in full summer foliage can be found on both sides of the path in different shades of green. Leaves and bushes can be seen in the foreground, with various trees behind them. A dark tree trunk is striking in the left half of the picture, the crown of which is cut off from the upper edge of the picture. A branch with plenty of foliage protruding into the scenery from the right almost hides the house in the background. Its façade in yellow and red contrasts well with the predominant green of the picture. Another color accent is the light blue sky that peeks out on the right side through individual gaps in the foliage. Especially in the execution of the path, Manet shows the play of light and shadow in this picture. Sunlit spots are found in light sand colors and shaded areas in a bluish color.

The version of the motif in the Dijon Museum is a variation of the painting in Bern; at the same time, the format is significantly smaller than that of the other two versions. The execution was carried out with an overall spontaneous application of paint - the art historian Françoise Cachin speaks of a “rapid sketch”. The view of the garden is slightly offset from the version in Bern and the large tree in the center of the picture now appears in front of the house. More of the tree top can be seen on the screen, the blue and white sky now appears in the upper left corner and a window with open shutters can be seen in the upper right corner. The art historian Sylvie Patry pointed out that the scenery is free of people and recognizes an atmosphere of solitude.

Little information is available about the third version of the motif, whose whereabouts are unknown. In addition to the traditional measurements, there is only one black and white photograph that was taken shortly after Manet's death. In this version of the motif, elements are repeated as can be seen in the other variants. However, the house takes up a larger area of ​​the background here. In front of it, a tree trunk with a trimmed treetop can be seen in the middle. The sky appears again on the left in the upper corner, the path in the foreground is as wide as in the Bern version.

For Françoise Cachin, the paintings with the motif of the garden avenue in Rueil Manets are “attempts to translate the colored flickering of the foliage through which parts of the house can be recognized into painting”. The museum director Gerhard Finckh attested to Manet's garden pictures from Rueil that “all of his painting skills appear once again as if condensed into a small but magnificent fireworks display”. His colleague Max Huggler praised the quality of the Bernese version as a “full demonstration of the natural perception of a happy time and a happy temperament”.

Manet's garden pictures from Rueil

Manet stayed in Rueil from July to October 1882 for a cure. He had rented a house at 18 rue du Château for himself and his family during the stay. In previous years, he had already spent the summer months in the Parisian region to find relief for his symptoms. So he came to Bellevue for hydrotherapeutic applications in 1879 and 1880 and to Versailles in 1881 . However, these brought him only temporary relief from his pain and no healing. While he was initially being treated for rheumatism , it later emerged that he was suffering from the consequences of an incurable syphilis disease. Manet had particularly severe pain in his leg and was only able to move with difficulty with the help of a stick. Despite the illness, Manet was extremely productive in Rueil, creating a series of still lifes with flowers or fruits. In good weather, he also spent the time in the garden of the house, where a total of eight paintings were created. This includes the country house in Rueil in two versions ( National Gallery , Berlin and National Gallery of Victoria , Melbourne).

  • Édouard Manet: Country House in Rueil , 1882, National Gallery, Berlin

  • Édouard Manet: Country House in Rueil , 1882, National Gallery of Victoria, Melbourne

In addition, six views of the garden were created in Rueil, each from a different perspective. These include the motifs garden corner , garden corner in Rueil , bench under trees (all in private collections) and the three pictures of the garden avenue in Rueil . The art historian Françoise Cachin suspected that the three views of the garden avenue were possibly preparatory sketches for the pictures of the country house motifs. Her colleague Syvie Patry saw no compelling reason for this. Anne Coffin Hanson saw in the pictures from Rueil Manet "an ongoing ability to overcome one's own suffering and to discover the natural beauties of life around him."

  • Édouard Manet: Gartenecke , 1882, private collection

  • Édouard Manet: Garden corner in Rueil , 1882, private collection

  • Édouard Manet: Bench under Trees , 1882, private collection

Provenance

The version of the motif Gartenallee in Rueil , exhibited today in the Kunstmuseum Bern, was in the artist's estate as No. 50 in 1883. There it was called Fouillis (Rueil, paysage) and valued at 50 francs. At the auction of Manet's studio inventory on February 3 and 5, 1884 at the Hôtel Drouot auction house , the opera singer Jean-Baptiste Faure acquired the painting, which was offered there as no. 72, for 780 francs. Faure was one of the earliest collectors of Manet's works and brought together more than 60 of his paintings. Faure sold the painting in 1900 to the art dealer Paul Durand-Ruel . In 1906 it came to Berlin, where the art dealer Paul Cassirer showed the picture in his art salon. The next owner was the Berlin insurance company Otto Gerstenberg in 1911 , whose extensive collection included several paintings by Manet. After Gerstenberg's death in 1935, the collection passed into the possession of his daughter Margarethe Scharf. Numerous important works from this collection were after the end of World War II as looted art in the Soviet Union spent; Margarethe Scharf was able to move some of the works from Berlin to Bavaria, including Manet's Gartenallee in Rueil . She later sold the picture to the art dealer Fritz Nathan , who lived in Switzerland , who brokered it to the Kunstmuseum Bern in 1955 for 160,000 Swiss francs.

The version now in the Musée de Beaux-Arts in Dijon was also part of the artist's estate. There it was listed as No. 41, was called Paysage de Rueil and was valued at 200 francs. In the estate auction of 1884, the doctor and art collector Albert Robin, who was friends with Manet, acquired the painting listed there as no. 73 and paid 340 francs for it. After his death in 1928, his son André Robin donated a number of works from his father's collection - including Manet's garden avenue in Rueil - to the Musée de Beaux-Arts in Dijon.

Little is known about the whereabouts of the third version of the garden avenue motif in Rueil . It was initially intended for sale in the estate auction in 1884 and bore lot number 74. However, the work was withdrawn by the Manet family before the auction and replaced by the painting Woman with Dogs . Then the track of the picture is lost.

literature

  • Georges Bataille : Manet . Skira, Geneva 1988, ISBN 3-8030-3111-7 .
  • Arnauld Brejon de Lavergnée, Atsushi Miura, Akiya Takahashi, Sylvie Patry: Edouard Manet (1832-1883) . Nara Prefectural Museum of Art, Nara 2001.
  • Françoise Cachin , Charles S. Moffett and Juliet Wilson-Bareau : Manet: 1832–1883 . Réunion des Musées Nationaux, Paris, The Metropolitan Museum of Art, New York, German edition: Frölich and Kaufmann, Berlin 1984, ISBN 3-88725-092-3 .
  • Françoise Cachin: Manet . DuMont, Cologne 1991, ISBN 3-7701-2791-9 .
  • Ina Conzen: Edouard Manet and the Impressionists . Hatje Cantz, Ostfildern-Ruit 2002, ISBN 3-7757-1201-1 .
  • Gerhard Finckh (ed.): Edouard Manet . Von der Heydt-Museum, Wuppertal 2017, ISBN 3-89202-098-1 .
  • Anne Coffin Hanson : Edouard Manet. 1832-1883. Exhibition catalog, Philadelphia Museum of Art, Philadelphia 1966.
  • Max Huggler : The new acquisitions of the Bern Art Museum in Das Werk: Architektur und Kunst , 1961, Vol. 48, Issue 7.
  • Paul Jamot, Georges Wildenstein : Manet: l'oeuvre de l'artiste en 480 phototypies . Éditions d'études et de documents, Paris 1932.
  • Sandra Orienti: The painted work of Edouard Manet . German Book Association, Stuttgart 1972.
  • Ronald Pickvance : Manet . Fondation Pierre Gianadda, Martigny 1996, ISBN 2-88443-037-7 .
  • Denis Rouart, Daniel Wildenstein : Edouard Manet: Catalog raisonné . Bibliothèque des Arts, Paris and Lausanne 1975.
  • Emmanuel Starcky, Sophie Jugie: L'art des collections: bicentenaire du Musée des beaux-arts de Dijon: du siècle des lumières à l'aube d'un nouveau millénaire . Musée des Beaux-Arts, Dijon 2000, ISBN 2-911404-62-9 .
  • Adolphe Tabarant : Manet et ses œuvres . Gallimard, Paris 1947.
  • Horst Wagenführ: Art as a capital investment . Forkel, Stuttgart 1965.

Web links

Individual evidence

  1. ↑ The Kunstmuseum Bern mostly uses the French title Une allée du jardin de Rueil in its publications , but mentions the German title Gartenallee in Rueil on the museum's website . This designation can also be found in Georges Bataille: Manet , p. 108; in Ina Conzen: Edouard Manet and the Impressionists , p. 241; in Gerhard Finckh: Edouard Manet , p. 294 based on the work in Bern. Finckh calls the Dijon version differently as The House Behind Trees , see Gerhard Finckh: Edouard Manet , p. 292. In addition, in the German translations of Françoise Cachin's publications, the name Gartenweg in Rueil can be found for the Dijon version , see Françoise Cachin : Manet , p. 146; also in Françoise Cachin, Charles S. Moffett and Juliet Wilson-Bareau: Manet: 1832–1883 , p. 496. In the catalog raisonné by Sandra Orienti, translated from the Italian original, there is also the title Gartenwinkel in Rueil for all three works , see Sandra Orienti: The painted work of Edouard Manet , p. 119.
  2. ^ French image titles according to Denis Rouart, Daniel Wildenstein: Edouard Manet: Catalog raisonné , p. 294.
  3. ↑ a b c Denis Rouart, Daniel Wildenstein: Edouard Manet: Catalog raisonné , p. 294.
  4. ↑ a b c Sylvie Patry: La maison dans le feuilage in Arnauld Brejon de Lavergnée, Atsushi Miura, Akiya Takahashi, Sylvie Patry: Edouard Manet (1832-1883) , p. 221.
  5. ↑ a b c d e f g h Anne Coffin Hanson: Édouard Manet. 1832-1883 , p. 189.
  6. ↑ Adolphe Tabarant: Manet et ses œuvres . P. 452.
  7. ^ A b Françoise Cachin Gartenweg in Rueil in Françoise Cachin, Charles S. Moffett and Juliet Wilson-Bareau: Manet: 1832–1883 , p. 496.
  8. ^ Gerhard Finckh: Edouard Manet , p. 293.
  9. ^ Max Huggler: The new acquisitions of the Bern Art Museum in Das Werk: Architektur und Kunst , 1961, Vol. 48, Issue 7, p. 244.
  10. ^ Ronald Pickvance: Manet , p. 246.
  11. ↑ Ina Conzen: Edouard Manet and the Impressionists , p. 153.
  12. ^ Denis Rouart, Daniel Wildenstein: Edouard Manet: Catalog raisonné, pp. 292-297.
  13. ^ Françoise Cachin: Country house in Rueil in Françoise Cachin, Charles S. Moffett and Juliet Wilson-Bareau: Manet: 1832–1883 , p. 496.
  14. ↑ a b Ina Conzen: Edouard Manet and the Impressionists , p. 141.
  15. ↑ a b c d Paul Jamot, Georges Wildenstein: Manet: l'oeuvre de l'artiste en 480 phototypies , p. 179.
  16. ↑ Horst Wagenführ: Art as a capital investment , p. 135.
  17. ↑ Emmanuel Starcky, Sophie Jugie: L'art des collections: bicentenaire du Musée des beaux-arts de Dijon , p. 293.