{"title":"Manet and Photography: Looking at Olympia","authors":"Kathryn Kremnitzer","doi":"10.1080/03087298.2023.2180229","DOIUrl":null,"url":null,"abstract":"Édouard Manet’s life and work have been studied using photographic sources that provide essential yet still underutilised information about his oeuvre and artistic process. Beginning in the 1860s, Manet employed the firm of Anatole Godet to photograph his paintings, probably as records of stock, and this article considers how Manet may have used these photographs as the basis for tracings and watercolours that served as intermediaries in the production of etchings after several of his canvases. Godet also photographed the posthumous retrospective of Manet’s work in 1884, providing the only known images of that landmark exhibition. After Manet’s death, Léon Leenhoff, the son of Manet’s wife Suzanne Leenhoff, hired Fernand Lochard to photograph works remaining in the artist’s studio, and in several other locations, to illustrate a corresponding inventory. The photographs were annotated by Léon with information about each work including its exhibition history and bound into albums. While select scholars have engaged with these important materials, Manet’s use of photography and the role photography played in the posthumous dissemination of his works remain insufficiently understood. Taking Olympia as a case study, this article aims to demonstrate how these archival sources contribute to Manet studies.","PeriodicalId":13024,"journal":{"name":"History of Photography","volume":"46 1","pages":"20 - 30"},"PeriodicalIF":0.3000,"publicationDate":"2022-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"1","resultStr":null,"platform":"Semanticscholar","paperid":null,"PeriodicalName":"History of Photography","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.1080/03087298.2023.2180229","RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"0","JCRName":"ART","Score":null,"Total":0}
引用次数: 1
Abstract
Édouard Manet’s life and work have been studied using photographic sources that provide essential yet still underutilised information about his oeuvre and artistic process. Beginning in the 1860s, Manet employed the firm of Anatole Godet to photograph his paintings, probably as records of stock, and this article considers how Manet may have used these photographs as the basis for tracings and watercolours that served as intermediaries in the production of etchings after several of his canvases. Godet also photographed the posthumous retrospective of Manet’s work in 1884, providing the only known images of that landmark exhibition. After Manet’s death, Léon Leenhoff, the son of Manet’s wife Suzanne Leenhoff, hired Fernand Lochard to photograph works remaining in the artist’s studio, and in several other locations, to illustrate a corresponding inventory. The photographs were annotated by Léon with information about each work including its exhibition history and bound into albums. While select scholars have engaged with these important materials, Manet’s use of photography and the role photography played in the posthumous dissemination of his works remain insufficiently understood. Taking Olympia as a case study, this article aims to demonstrate how these archival sources contribute to Manet studies.
Édouard Manet的生活和工作已经使用摄影资料进行了研究,这些资料提供了关于他的作品和艺术过程的重要但尚未充分利用的信息。从19世纪60年代开始,马奈聘请了Anatole Godet公司为他的画作拍照,可能是作为库存记录。本文考虑了马奈是如何将这些照片作为描迹和水彩画的基础的,这些描迹和水彩是在他的几幅油画之后制作蚀刻版画的中介。Godet还在1884年拍摄了马奈作品的死后回顾展,提供了该里程碑式展览的唯一已知图像。马内去世后,马内妻子苏珊娜·利恩霍夫的儿子莱昂·利恩霍夫聘请费尔南德·洛查德拍摄艺术家工作室和其他几个地方的剩余作品,以说明相应的库存。这些照片由Léon注释了每件作品的信息,包括展览历史,并装订成相册。虽然一些学者参与了这些重要材料的研究,但马奈对摄影的使用以及摄影在其作品死后传播中所起的作用仍然没有得到充分的理解。本文以奥林匹亚为例,旨在展示这些档案来源对马奈研究的贡献。
期刊介绍:
History of Photography is an international quarterly devoted to the history, practice and theory of photography. It intends to address all aspects of the medium, treating the processes, circulation, functions, and reception of photography in all its aspects, including documentary, popular and polemical work as well as fine art photography. The goal of the journal is to be inclusive and interdisciplinary in nature, welcoming all scholarly approaches, whether archival, historical, art historical, anthropological, sociological or theoretical. It is intended also to embrace world photography, ranging from Europe and the Americas to the Far East.