Edouard Manet

Original Prints: Etchings

Edouard Manet (1832 - 1883) was one of the most important and innovative artists of his time, a deliciously masterful painter who was skillfully able to translate his art into the various graphic media.

A founding member of the Société des Aquafortistes in 1862, and thus actively taking part in the revival of printmaking as an art form in its own right, he was drawn to etching quite early on, with nearly all of his production dating to the 1860s. Although not a technician in the proper sense, he often sought to turn technique to advantage through bold experimentation.

Philippe IV, Roi d'Espagne, d'après Velasquez Philip IV, King of Spain, after Velazquez Moreau-Nélaton 6, Guérin 7, Harris 15, Fisher 13-14, Wilson-Bareau 22 etching, aquatint, and drypoint, probably 1862, the 4th (?) state (of 8), a very rare trial proof before all letters Like Paris itself in the early 1860s, Manet was taken up with Spanish themes, and notably the works of Velazquez and Goya; this free interpretation of the well-known picture afforded Manet an almost playful printmaking exercise.

Les Petits Cavaliers The Little Cavaliers Moreau-Nélaton 5, Guérin 8, Harris 5, Fisher 6, Wilson-Bareau 23 etching, drypoint, roulette, and aquatint, 1861-62, the 3rd state (of 5), a rare early lifetime impression Another freely executed copy of a picture formerly attributed to Velazquez, this print is Manet's most accomplished early etching, and one of his largest.

Enfant portant un Plateau Child carrying a Platter Moreau-Nélaton 66, Guérin 15, Harris 28, Wilson-Bareau 28 etching and aquatint, 1861? (or more probably 1867-9?), the 2nd state (of 3) Representing Manet's son in a freely adapted period costume, this charming and graphically innovative print takes up a figural motif that he used on several occasions in his pictures.

Lola de Valence Lola of Valencia Moreau-Nélaton 3, Guérin 23, Harris 33, Fisher 25, Wilson-Bareau 34 etching and aquatint, 1862-3, the extremely rare 5th state (of 8), one of two known trial proofs Manet's vivid interest in Spanish themes is here again apparent in this fine print, first freely adapted and then carefully reworked from an early version of his renowned painting.

Le Gamin The Urchin Moreau-Nélaton 86, Guérin 71, Harris 30, Fisher 62, Wilson-Bareau 75 lithograph, 1868-1874, the 2nd state (of 2) As a lithographic version of Manet's oil painting (1861), see Janot, Wildenstein, and Bataille 73) , which he also etched in 1862 (Harris 31), Le Gamin is one of Manet's favorite and most touching subjects.         next artist  >