About This Artwork

Henri Fantin-Latour
French, 1836-1904

Édouard Manet, 1867

Oil on canvas
46 1/4 x 35 7/16 in. (117.5 x 90 cm)
Inscribed lower left: A mon Ami Manet. / Fantin. 1867.

Stickney Fund, 1905.207

Édouard Manet was at the peak of his notoriety when the young Henri Fantin-Latour exhibited this portrait at the Salon of 1867. Manet himself chose not to submit any work that year, having had his submission rejected by the 1866 Salon jury. In this commanding image of the great French artist, Fantin portrayed Manet not as a painter, but as a flaneur, a sophisticated man-about-town whose eyes are open to every nuance of modern life. The background of the painting is almost completely blank, both in homage to works by Manet and in emulation of photographic portraits of the period.

In 1867, having been regularly rejected by the official Salon, Édouard Manet decided to present a private exhibition of 56 of his works in an independent pavilion close to the Exposition Universelle in Paris. Henri Fantin-Latour’s decision to submit this portrait of his friend—signed “To my friend Manet”—to the Salon that year may have been calculated to play off Manet’s increasing notoriety. A critic admitted that it was hard to reconcile the elegant figure in the portrait with the long-haired bohemian he had imagined Manet to be.

— Permanent collection label

Exhibition, Publication and Ownership Histories

Exhibition History

Paris, Palais des Champs-Elysees. Salon de 1867, no. 571, as Portrait de M.M. . .

London, International Exhibition, 1871, no. 1511.

Paris, Exposition universelle internationale de 1889 à Paris,1889, no. 339, as Portrait de Manet, app. À Mme Manet.

Paris, Palais de l'école nationale des beaux-arts, Exposition de l'oeuvre de Fantin-Latour, May-June 1906, preface by Leonce Benedite (Paris: librairie Centrale des Beaux-Arts, 1906), no. 32.

Cambridge, Mass., Harvard University, Fogg Art Museum, Exhibition of French Painting of the Nineteenth and Twentieth Centuries, 6 March - 6 April 1929, no. 40.

New York, Museum of Fine Arts, December 1931.

New York, Museum of French Art, French Institute in the United States, Fantin-Latour 1836-1904, January-February 1932, no. 8 (ill.).

The Art Institute of Chicago, Century of Progress: Exhibition of Paintings and Sculpture, 1 June -1 November 1933, no. 322.

The Art Institute of Chicago, Century of Progress: Exhibition of Paintings and Sculpture, 1 June - 1 November 1934, no. 244.

Grenoble, Musée-Bibliothèque de Grenoble, Centenaire de Henri Fantin-Latour, August - October 1936, catalogue by Julien et Ferdinand Templelaere, no. 19.

Milwaukee Art Institute, Masters of Impressionism, 8 October - 15 November 1948, no.12.

Birmingham, Ala., Birmingham Art Association, Birmingham Museum of Art.
The Archaic Smile, 15 January - 10 February1956, catalogue in Bulletin, vol. 5, no. 2, (January 1956), no. 50.

The Cleveland Museum of Art, Style, Truth and the Portrait, October 1- November 10, 1963, catalogue by Rémy G. Saisselin, no. 86.

Northampton, Mass., Smith College Museum of Art, Henri Fantin-Latour 1836-1904, 28 April - 6 June 1966, no. 11.

The Philadelphia Museum of Art, Edouard Manet, 1832-1883, 3 November - 11 December 1966; Chicago, The Art Institute of Chicago, 13 January - 19 February 1967, not in cat.

New York, Wildenstein and Co., Faces from the World of Impressionism and Post-Impressionism a Loan Exhibition for the benefit of The New York Chapter of The
Arthritis Foundation, 2 November - 9 December 1972, no. 28 (ill.).

The Art Institute of Chicago, European Portraits 1600-1900 in the Art Institute of Chicago, 8 July - 11 September 1978, no. 18 (ill).

Paris, Grand Palais, Fantin-Latour, 9 November 1982 - 7 February 1983; Ottawa, Galerie nationale du Canada, 17 March - 22 May 1983; San Francisco, California Palace of the Legion of Honour, 18 June - 6 Sept. 1983, no. 68 (ill), as Portrait of Edouard Manet, 1867.

Leningrad, Hermitage, Ot Delakrua do Matissa . . . (from Delacroix to Matisse. . . . ), 1988, no. 15 (ill.), as Portrait of Edouard Manet, 1867.

The Baltimore Museum of Art, Faces of Impressionism: Portraits from American Collection,10 October 1999 - 30 January 2000; The Museum of Fine Arts, Houston: 15 March - 7 May 2000; The Cleveland Museum of Art: 27 May - 30 July 2000, cat. 30, as Edouard Manet, 1867.

London, National Gallery, Rebels and Martyrs: The Image of the Artist in the Nineteenth Century, 2006, pp. 22 and 119-122, cat. 40 (ill.), as Portrait of Manet, 1867.

Lausanne, Fondation de l’Hermitage, Fantin-Latour: De La Réalité au rêve, June 29-October 28, 2007, cat. 26.

Fort Worth, Tex., Kimbell Museum of Art, The Impressionists: Master Paintings from the Art Institute of Chicago, June 29–November 2, 2008, cat. 4 (ill.).

Publication History

Montifaud, Marc de, "Salon de 1867: Le Portrait," L'Artiste: revue de XIXe siècle, histoire de l'art contemporain 37 (July 1, 1867), p. 101.

Bazire, Edmond, Manet (Paris, 1884) pp.132-3, note 1.

Biez, Jacques de, Edouard Manet: Conférence faite à la salle des capucines le Mardi 22 Janvier 1884: Portrait d'après Fantin-Latour (Paris, 1884).

Casagnary, Jules Antoine, Salons (1857-1870), preface by Eugene Spuller (Paris, Bibliotheque-Charpentier, 1892) Vol. 1, p. 246.

Muther, Richard, The History of Modern Painting (London, Henry and Co., 1896) Vol. 3, p. 55.

Proust, Antonin, "The Art of Edouard Manet," International Studio 21 (January 1901), p. 227.

Duret, Théodore, Histoire d'Edouard Manet et de son oeuvre (Paris, 1902), pp. 39, 63.

Camille Mauclair, The Great French Painters and the Evolution of French Paintings from 1830 to Present Day (New York, E.P. Dutton and Co.,1903) p. 68 (ill.).

Charles Ricketts, "Fantin-Latour," Burlington Magazine 6 (October 1904), p. 18.

Armand Dayot, "Le Classicisme de Manet," L'Art et les Artistes 2 (1906), p. 38 (ill.).

The Art Institute of Chicago, Annual Report 26 (June 1904 - June 1905), p. 50.

Henry Marcel, La Peinture Française aux XIXe siècle (Paris, 1905), p.232.

Jerome Doucet, Les Peintres français: Fantin-Latour. Corot, Les trois Vernet, Ingres, J.-P. Laurens, Bouguereau, Puvis de Chavannes, Jules Breton, Meissonier, Fromentin, Yvon, Millet (Paris, Librairie Félix Juven, 1905), pp. 10-1 (ill.).

Les Arts 5 (May 1906), pp. 30-1 (ill.).

Léonce Bénédite, "Fantin-Latour," Art et decoration, revue mensuelle d'art modern 19 (January-June 1906) pp. 159 (ill.), 162.

Léonce Bénédite, L'Oeuvre de Fantin-Latour (Paris, 1906), p. 26, pl. VIII.

Richard Muther, The History of Modern Painting (London, 1907), p. 289.

Bulletin of The Art Institute of Chicago (October 1907), p. 5 (ill.).

Bénédite, Léonce, Histoire des Beaux-Arts 1800-1900 (Paris, 1909), pp. 220, 622.

Adolphe Jullien, Fantin-Latour, sa vie et ses amitiés, lettres inédites et souvenirs personnels (Paris, Lucien Laveur, libraire-editeur, 1909), pp. 30-31, ill. opp. 92, 197.

Catalogue de l'oeuvre complet de Fantin-Latour (Paris, Henry Floury, 1911) p. 42, no. 296.

Jean Laran, George Le Bas, Louis Hourticq, Édouard Manet (Paris, 1912), frontispiece ill.

Antonin Proust, Édouard Manet: souvenirs (Paris, 1913), p. 71.

Frank Gibson, The Art of Henri Fantin-Latour: His Life and Work (London, Drane's ltd., n.d.). pp. 37, 53, 79, 98, 103, 190, 209, 213, 220, pl. 7.

Ulrich Thieme and Felix Becker, Künstler-Lexicon 11 (1915) p. 257.

Art Institute of Chicago, The Art Institute of Chicago Handbook of Sculpture, Architecture and Paintings (May 1922), part II, p. 37, no. 337.

Louis Dimier, Faits et idées de l'histoire des arts (Paris: Librairie Bloud and Gay, 1923) p. 76.

Bulletin of The Art Institute of Chicago (April 1924) p. 47.

Art Institute of Chicago, A Guide to the Paintings in the Permanent Collection (1925), pp. 61, 136.

Étienne Moreau-Nélaton, Manet raconté par lui-même. (Paris: Henri Laurens, editeur, 1926) vol. 1, pp. 89, 104, fig. 97.

Gustave Kahn, Masters of Modern Art: Fantin-Latour, translated by Wildfrid Jackson (London, John Lane the Bodley Head Limited, 1927) pp. 11, 31, 45-46, 55, 61, pl. 6.

Paul Fierens, "Edouard Manet," L'Art et les artistes 21 (October 1930 - February 1931), p. 31 (ill.).

Art Institute of Chicago, A Guide to the Paintings in the Permanent Collection (1932) p. 152.

Henry McBride, "The Palette Knife," Creative Art 10 (March 1932), p. 179.

"Show That Has Peace, Quiet - Almost Silence," Art Digest 6 (15 January 1932), p. 20.

Paul Jamot and Georges Wildenstein, Manet (Paris, 1932) vol. 1, p. 4.

"Loan exhibition of Fantin-Latour at French Museum," Art News 30 (16 January 1932), p. 8.

Margaret Breening, "French Museum Shows Fantin-Latour," New York Evening Post (16 January 1932) ill.

The Fine Arts 20 (June 1933) p. 32 (ill.).

C. J. Bulliet, Art Masterpieces in a Century of Progress Fine Arts Exhibition at the Art Institute of Chicago (Chicago, 1933) no. 39 (ill.).

Pantheon 11 (January - June 1933), p. 78.

Gotthard Jedlicka, Edouard Manet (Erlenbach-Zurich, Eugen Rentsch Verlag, 1941) pp. 117, 121, 137.

Louis Hautecoeur, Littérature et peinture en France du XVIIe au XXe siecle (Paris, Librairie Armand Colin, 1942), p. 144.

Emile Zola, "Rejected in 1863. Newly translated: Zola's Story of the Salon des Refusés from L'Oeuvre," (translated by Katherine Woods, Art News, vol. 45, no. 7, September 1946, pp. 22-25.

Tullo Gramantieri, Il Caso Manet (Rome, Fratelli Palombi, 1944), frontspiece ill.

Emile Zola, "Rejected in 1863," Art News 45 (September 1946), ill. p. 22.

S. Lane Faison Jr., "Manet's Portrait of Zola," Magazine of Art 42 (May 1949), pp. 166-7, fig. 7.

George Heard Hamilton, Manet and his Critics (Yale University Press, 1954) p. 90 n. 262, p. 262.

Pierre Schneider, "Henri Fantin-Latour," Art News 53 (November 1954) part II, p. 62.

Georges Bataille, Manet (Skira, 1955) p. 10.

Encyclopedia of World Art 5 (New York, McGraw Hill, 1961) p. 358.

Jean Leymarie, French Painting: The Nineteenth Century (Skira, 1962).

William Gaunt, "Fantin-Latour in the maturity of his art," Connoisseur 152 (April 1963), p. 222.

Frederick A. Sweet, "Great Chicago Collectors," Apollo (September 1966) p. 191.

Calendar of the Art Institute of Chicago 61 (January 1967), ill.

Pierre Courthion, Impressionism (New York, 1972) p. 104.

Albert Boime, "New Light on Manet's Execution of Maximilian," Art Quarterly 36 (1973), p.191, 203, fig. 23.

John Rewald, The History of Impressionism (4th rev. ed. New York, 1973) p. 170; ill. p. 189.

Dessins français de l'Art Institute de Chicago de Watteau à Picasso, exh. cat. (15 October 1976 -17 January 1977), under no. 60.

Französische Zeichnungen aus dem Art Institute of Chicago (Städtische Galerie im Städelschen Kunstinstitut, Frankfurt am Main, 10 February - 10 April 1977), under no. 57.

Edward Lucie-Smith, Henri Fantin-Latour (New York, Rizzoli, 1977) pp. 28, 146, fig. 19.

Theodore Reff, Manet and Modern Paris, exh. cat. (National Gallery of Art, Washington, December 1982 - March 1983), pp. 13-4.

Manet 1832-1883 (Galeries Nationales du Grand Palais, 22 April - 8 August 1983; New York, Metropolitan Museum of Art (10 September - 27 November 1983), p. 447, fig. a.

Kathleen Adler, Manet (Phaidon Press, Oxford, 1986) pp. 22 - 23, fig. 11.

Richard R. Brettell, French Salon Artists 1800-1900 (Art Institute of Chicago, 1987), pp. 82-3.

David Bomford, Jo Kirby, John Leighton and Ashok Roy, Art in the Making: Impressionism (London, 1991), p. 202 (ill.).

Edgar Peters Bowron and Mary G. Morton, Masterworks of European Painting in the Museum of Fine Arts, Houston (Princeton University Press, 2000), p. 150.

Sona Johnson, Faces of Impressionism: Portraits from American Collections, exh. cat. (Baltimore Museum of Art, October 1999 - January 2000), under no. 30.

Impressionism and Post-Impressionism in The Art Institute of Chicago (Chicago, 2000), p. 30 (ill.).

Carol Armstrong, Manet Manette (New Haven, London, 2002), pp. 308-312.

The Age of Impressionism at the Art Institute of Chicago (New Haven and London, 2008), cat. 4, p. 32 (ill.).

Ownership History

Inherited by Edouard Manet’s wife, Suzanne Manet, Paris to at least 1889 [lent to Paris, 1889]; possibly Camentron, Paris [acc. to Paris 1983]. Gustave Tempelaere with Allard and Noel, Paris, by 1900; sold to Durand-Ruel, Paris, 1900 [Durand-Ruel photo no. 938, stock no. 5666]; sold to the Art Institute, 1905.

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