Portrait de Berthe Morisot. by Édouard Manet, 1832-1883

Édouard Manet, 1832-1883
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Portrait de Berthe Morisot.

Original lithograph in black ink. 1872-74. Edition of 50 impressions (plus a very few proofs before or without the address line). From the only edition printed by Clot at the studio of Lemercier, Paris 1884, and with his address. (Note: No certain 1872 proofs are known, and Clot who pulled the edition stated that the stone had never previously been
Printed).
Ref: Guerin Manet L'Oeuvre Gravé 78ii. Fisher 58

Beautiful tonal impression. On off-white chine appliqué on a white wove backing sheet, as issued. Excellent condition. Full margins. Sheet: 17 5/8 x 12 3/8ins. Chine appliqué: 8 5/8 x
6 1/2ins. Image: 7 1/2 x 5 1/2ins (190x140mm).

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One of the great master prints of the Impressionist era.

Manet made two versions of his portrait of Berthe Morisot in lithography, that known as ?in black?, with the figure extensively shaded in chalk, and the silhouette version above. It is in the silhouette version that Manet so brilliant points the way forward to the work of Bonnard and Lautrec in the 1890?s, using the actual pattern of the outline contour in a way which is both descriptive of form and deliberately evocative of atmosphere. It is this appeal to the emotions through shape which prefigures the ideas of the symbolists and Nabis. Bonnard, for example, would certainly have been aware of this lithograph when the edition was issued in 1884.

Manet drew this lithograph sometime between 1872 and 1874, possibly to mark the occasion of Morisot?s marriage to Manet?s brother. For some reason, however, he did not print any impressions at that date. It was not until 1884 that Clot, working at the studio of Lemercier, printed the only edition of 50 impressions for Mme Manet.

Manet based this lithograph on his painted portrait of Berthe Morisot, and he may have used a photograph of that work to establish the basic contour. However it is known that the actual drawing of the form was done freehand directly onto the stone. In the control of the line, and in the isolated areas of detail or shading that he used to establish surface and the interplay of light, Manet reveals how consummate a draughtsman he was.