Seated Nude

CC0 Public Domain Designation

Prints and Drawings

1858/60

Édouard Manet
French, 1832-1883

Status: Currently Off View
Department: Prints and Drawings

Artist: Édouard Manet
Title: Seated Nude
Place: France (Artist's nationality:)
Date Dates are not always precisely known, but the Art Institute strives to present this information as consistently and legibly as possible. Dates may be represented as a range that spans decades, centuries, dynasties, or periods and may include qualifiers such as c. (circa) or BCE.: 1858–1860
Medium: Red chalk on buff laid paper
Inscriptions: Signed lower right, in graphite: "E. Manet"; inscribed upper left, in graphite: "2"; verso, lower center, in graphite: "51 (?) x 40"; just below and slightly to the right, in graphite: "6"
Dimensions: 28 × 20 cm (11 1/16 × 7 7/8 in.)
Credit Line: Purchased with funds provided by the Joseph and Helen Regenstein Foundation
Reference Number: 1967.30
IIIF Manifest The International Image Interoperability Framework (IIIF) represents a set of open standards that enables rich access to digital media from libraries, archives, museums, and other cultural institutions around the world. Learn more.: https://api.artic.edu/api/v1/artworks/26715/manifest.json

École nationale des beaux-arts, Exposition des oeuvres de Édouard Manet, with a preface by Émile Zola, exh. cat. (A. Quantin, 1884), cat. 177, as Cadre.
Etienne Moreau-Nelaton, Manet raconté par lui-même, vol. 2 (Henri Laurens, 1926), p. 132, no. 17p, fig. 353.
Royal Academy of Arts, Exhibition of French Art: 1200–1900, Jan.–Mar. (Burlington House, 1932), p. 461, cat. 993.
Musée de l’Orangerie, Manet and Modern Beauty: Exposition Manet, 1832-1883, with a preface by Paul Valéry and introduction by Paul Jamot, exh. cat. (Éditions des Musées Nationaux, 1932), p. 79, cat. 106.
Robert Rey, Choix de soixante-quatre dessins de Edouard Manet (Braun & Cie., 1932), fig. 10.
Commemorative Catalogue of the Exhibition of French Art, 1200–1900, Royal Academy of Arts, London, January–March 1932 (Oxford University Press, 1933), p. 180, no. 874, pl. 199.
Ambroise Vollard, Recollections of a Picture Dealer, trans. Violet M. MacDonald (Constable, 1936), pp. 39–40.
Palais National des Arts, Chefs d’oeuvre de l’art Français, with an introduction by Henri Focillon (Paris, 1937), cat. 686, pp. 314–15.
Gotthard Jedlicka, Édouard Manet (Eugen Rentsch, 1941), pp. 241–42, ill. opp. 251.
Bernhard Degenhart, Europäische Handzeichnungen aus Fünf Jahrhunderten (Atlantis, 1943), p. 193, no. 164 (ill.).
Douglas Cooper, The Courtauld Collection (University of London, 1954), p. 143, under no. 140.
Robert Rey, Manet (Flammarion, 1962), p. 86 (ill.).
Jacques Mathey, Graphisme de Manet: Essai de catalogue raisonné des dessins (F. de Nobele, 1961), pp. 14–15, 27, no. 50 (ill.).
Jacques Mathey, Identification d’oeuvres ayant fait partie de la succession de Madame Veuve Édouard Manet (Tournon, 1964), n. pag., under no. 12.
Martha Schmierer and Richard Verdi, “Thoughts Arising from the Philadelphia-Chicago Manet Exhibition,” Art Quarterly 30, 3–4 (1967), pp. 244, 249, fig. 1.
“Accessions of American and Canadian Museums,” Art Quarterly 30, 3–4 (Winter 1967), pp. 268, 280 (ill.).
Anne Coffin Hanson, Édouard Manet: 1832–1883, exh. cat. Philadelphia Museum of Art/The Art Institute of Chicago, 1967) cat. 196, n. pag.
Jean Selz, XIXth Century Drawings and Water-colors, trans. Rosalie Siegel (Crown, 1968), p. 136 (ill.).
Alain de Leiris, The Drawings of Édouard Manet (University of California Press, 1969), pp. 19, 31, 59–61, 64, no. 186, fig. 44.
Maurice Sérullaz and Arlette Sérullaz, I disegni dei Maestri: l’Ottocento Francese (Fratelli Fabbri Editori, 1970), p. 91, fig. 29.
Harold Joachim, The Helen Regenstein Collection of European Drawings, with a preface by Leigh B. Block and John Maxon, exh. cat. (Art Institute of Chicago, 1974), cat. 73 (ill.), pp. 148–49.
Denis Rouart and Daniel Wildenstein, Édouard Manet: Catalogue Raisonné, vol. 2, Pastels, aquarelles et dessins (Bibliothèque des Arts, 1975), pp. 138–39, no. 363 (ill.).
Colin Eisler, The Seeing Hand: A Treasury of Great Master Drawings (Harper and Row, 1975), n. pag., no. F. 12 (ill.).
Harold Joachim and Suzanne Folds McCullagh, Dessins français de l’Art Institute de Chicago de Watteau à Picasso (The Art Institute of Chicago, 1977), cat. 54 (ill.), n. pag.
Städtische Galerie im Städelschen Kunstinstitut, Französische Zeichnungen aus dem Art Institute of Chicago (Art Institute of Chicago/Städtische Galerie im Städelschen Kunstinstitut, 1977), cat. 53 (ill.), pp. 112–14.
Harold Joachim and Sandra Haller Olsen, French Drawings and Sketchbooks of the Nineteenth Century, vol. 2 (University of Chicago Press, 1979), pp. 66–67, no. 43.
Beatrice Farwell, Manet and the Nude: A Study in Iconography in the Second Empire (Garland Publishing, 1981), pp. x, 157, 410, fig 116.
Jane Boruff Resso, “Edouard Manet’s Later Nudes,” MA thesis, Case Western Reserve University, 1981, pp. ix, no. 24; 257, no. 34.
Françoise Cachin, Charles S. Moffett, Juliet Wilson-Bareau, and Michel S. Melot, Manet 1832–1883, exh. cat. (Metropolitan Museum of Art, 1983), cat. 24 (ill.), pp. 91–92, 186.
Martha Tedeschi, Great Drawings from the Art Institute of Chicago: The Harold Joachim Years, 1958–1983, exh. cat. (The Art Institute of Chicago, 1985), cat. 66 (ill.), pp. 146–47.
Juliet Wilson-Bareau, “The Hidden Face of Manet: An Investigation of the Artist’s Working Processes,”Burlington Magazine 128, 997 (Apr. 1986), p. 33, no. 11, fig. 36.
Horst Keller, Edouard Manet (Bruckmann, 1989), pp. 31, figs. 23, 33, 172.
Juliet Wilson-Bareau, ed., Manet by Himself: Correspondence and Conversation: Paintings, Pastels, Prints and Drawings (Macdonald, 1991), pp. 81, no. 43 (ill.), 307.
Peter Meller, “Manet in Italy: Some Newly Identified Sources for His Early Sketchbooks,” Burlington Magazine 144, 1187 (Feb. 2002), pp. 97, fig. 91, pp. 107–8.
Manet en el Prado, exh. cat. (Museo Nacional del Prado, 2003), p. 149, fig. 61.
Maria Teresa Benedetti, Manet, exh. cat. (Skira, 2005), p. 130.
Wayne Andersen, Manet: The Picnic & the Prostitute (Fabriart, 2005), pp. 28–29, fig. 21.
Juliet Wilson-Bareau and Malcolm Park, Division and Revision: Manet’s Reichshoffen Revealed (Paul Holberton, 2005), cat. 37, pp. 54, fig. 41, 56, 85.
Anne Roquebert, “A Widening Circle: Vollard and His Clients,” in Cézanne to Picasso: Ambroise Vollard, Patron of the Avant-Garde, ed. Rebecca A. Rabinow, exh. cat. (Metropolitan Museum of Art, 2006), pp. 219, 228, note 8.
Christopher Lloyd, Impressionism: Pastels, Watercolors, Drawings, exh. cat (Milwaukee Art Museum, 2011), pp. 172–74, pl. 86.
Juliet Wilson-Bareau, “Goya und Manet: Zwei Meister hafte Malerradierer Zwei Seelenverwandte Geister,” in Die Historische Sammlung Otto Gerstenberg, ed. Juliette Scharf and Janna Strzoda (Hatje Cantz, 2012), vol. 1, p. 156.
“Manet, Cat. 1, Seated Nude,” in Manet Paintings and Works on Paper at the Art Institute of Chicago (Art Institute of Chicago, 2017), https://publications.artic.edu/manet/reader/manetart/section/140020.

Paris, École Nationale des Beaux-Arts, Exposition des oeuvres de Édouard Manet, Jan. 1884, cat. 177, as Cadre.
London, Royal Academy of Arts, Exhibition of French Art 1200–1900, Jan.–Mar. 1932, cat. 993, p. 461.
Paris, Musée de l’Orangerie, Manet, 1932, cat. 106, p. 79.
Paris, Palais National des Arts, Chefs d’oeuvre de l’art Français, 1937, cat. 686, pp. 314–15.
Art Institute of Chicago, Édouard Manet, 1832–1883, Jan. 13–Feb. 19, 1967, addenda, cat. 196, n. pag.
Art Institute of Chicago, The Helen Regenstein Collection of European Drawings, summer 1974, cat. 73 (ill.), pp. 148–49.
Paris, Musée du Louvre, Dessins français de l’Art Institute de Chicago de Watteau à Picasso, Oct. 15, 1976–Jan. 17, 1977, cat. 54 (ill.), n. pag.
Frankfurt am Main, Germany, Städtische Galerie im Städelschen Kunstinstitut, Französische Zeichnungen aus dem Art Institute of Chicago, Feb. 10–Apr. 10, 1977, cat. 53 (ill.), pp. 112–14.
Paris, Galeries nationales du Grand Palais, Manet, 1832–1883, Apr. 22–Aug. 1, 1983, cat. 24 (ill.), pp. 91–92, 186; New York, Metropolitan Museum of Art, Sept. 10–Nov. 27, 1983.
Art Institute of Chicago, Great Drawings from The Art Institute of Chicago: The Harold Joachim Years, 1958–1983, July 24–Sept. 30, 1985, cat. 66 (ill.), pp. 146–47.
London, Courtauld Institute Galleries, The Hidden Face of Manet: An Investigation of the Artist’s Working Processes, Apr. 23–June 15, 1986, cat. 11, pp. 32–34, 91, color fig. 1, fig. 36.
Vienna, Albertina, Impressionism: Pastels, Watercolors, Drawings, Feb. 9–May 13, 2012, pp. 172–74, pl. 86.
Paris, Musée d’Orsay, “Manet Degas”, March 27 - July 23, 2023, traveled to New York, Metropolitan Museum of Art, September 18, 2023 - January 7, 2024, p. 106 (ill.), 295, cat. 31, cat. by Stephan Wolohojian and Ashley Dunn, et. al.

Sold by the artist to Alphonse Dumas (1844–1913), Paris; given to Ambroise Vollard (1867–1939), Paris, for re-sale, 1891/92; probably sold to Auguste Pellerin (1853–1929), Paris, Dec. 30, 1898 [See Ambroise Vollard, Recollections of a Picture Dealer, trans. Violet M. MacDonald (Constable, 1936), pp. 39–40 and Anne Roquebert, “A Widening Circle: Vollard and His Clients,” in Cézanne to Picasso: Ambroise Vollard, Patron of the Avant-Garde, ed. Rebecca A. Rabinow, exh. cat. (Metropolitan Museum of Art, 2006), pp. 219, 228, n. 8]; sold, Hôtel Drouot, Paris, May 7, 1926, lot 35, to Marcel Guérin (1873–1948), Paris [New York, 1983 exh. cat.]; by descent to his daughter Edmée Guérin (1909–1999, later Indig-Guérin) [New York, 1983 exh. cat.]. Sold by Wildenstein and Company, New York, to the Art Institute of Chicago, 1967.

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IIIF Manifest The International Image Interoperability Framework (IIIF) represents a set of open standards that enables rich access to digital media from libraries, archives, museums, and other cultural institutions around the world.

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