Édouard Manet
(1832 - 1883)
(1832 - 1883)
In the Conservatory (French: Dans la serre) is an 1879 oil painting by Édouard Manet in the Alte Nationalgalerie, Berlin, depicting Manet's friends, a couple, in a conservatory. There is an ambiguity in the painting that has led art critics to characterize the couple's relationship in divergent ways.
The setting is a conservatory at 70 Rue d'Amsterdam in Paris, then owned by painter Georg von Rosen and which Manet used as a studio for nine months in 1878 and 1879. Such a conservatory may have been more than a greenhouse; French painter Alix-Louise Enault's Consolation depicted the Parisian conservatory as a "luxuriously decorated and intimate locale—a secluded indoor area conducive to private rendezvous".At first glance, we see a double portrait of a fashionable and attractive couple of some social rank. They are Manet's friends, the Guillemets, who owned a clothing shop. Their married status is conveyed by their rings, and the proximity of their hands is the nearest hint of intimacy. The woman becomes the focus of the portrait, however, being more prominently placed and colourfully dressed. Their physical separation—with the husband Jules slouching in dark clothing behind the bench—their lack of engagement with the viewer, and their abstract gazes create a sense of detachment, which has been the primary theme in modern criticism of the work.
https://en.wikipedia.org/wiki/In_the_Conservatory
The setting is a conservatory at 70 Rue d'Amsterdam in Paris, then owned by painter Georg von Rosen and which Manet used as a studio for nine months in 1878 and 1879. Such a conservatory may have been more than a greenhouse; French painter Alix-Louise Enault's Consolation depicted the Parisian conservatory as a "luxuriously decorated and intimate locale—a secluded indoor area conducive to private rendezvous".At first glance, we see a double portrait of a fashionable and attractive couple of some social rank. They are Manet's friends, the Guillemets, who owned a clothing shop. Their married status is conveyed by their rings, and the proximity of their hands is the nearest hint of intimacy. The woman becomes the focus of the portrait, however, being more prominently placed and colourfully dressed. Their physical separation—with the husband Jules slouching in dark clothing behind the bench—their lack of engagement with the viewer, and their abstract gazes create a sense of detachment, which has been the primary theme in modern criticism of the work.
https://en.wikipedia.org/wiki/In_the_Conservatory
In the Conservatory
1879
Oil on canvas
115 x 150 cm
Alte Nationalgalerie, Berlin
https://recherche.smb.museum/detail/962626
1879
Oil on canvas
115 x 150 cm
Alte Nationalgalerie, Berlin
https://recherche.smb.museum/detail/962626
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