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Individual object from search for: Manet
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Image of: Street Singer
On view: Leona R. Beal Gallery (European Art 1800–1870)

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Street Singer
about 1862
Edouard Manet, French, 1832–1883

171.1 x 105.8 cm (67 3/8 x 41 5/8 in.)
Oil on canvas

Inscriptions: Lower left: ed. Manet

Classification: Paintings
Type, sub-type: Genre - Exterior

Manet was inspired by the sight of a woman with a guitar emerging from a sleazy café. She refused to pose for the picture, so Manet employed his favorite model of the 1860s, Victorine Meurent. The style and subject matter seemed crude to academic critics when the painting was exhibited in 1863. But Manet's friend, the novelist and critic Emile Zola, admired its formal beauties and its apparent confrontation with real life.

Museum of Fine Arts, Boston

Bequest of Sarah Choate Sears in memory of her husband, Joshua Montgomery Sears, 1966
Accession number: 66.304

Provenance/Ownership History: Please note: The history of ownership is not definitive or comprehensive, as it is under constant review and revision by MFA curators and researchers.

1872, sold by the artist to Durand-Ruel, Paris [see note 1]; 1872, sold by Durand-Ruel to Ernest Hoschedé (b. 1837 - d. 1891), Paris [see note 2]; June 5-6, 1878, Hoschedé sale, Hotel Drouot, Paris, lot 42, to Jean-Baptiste Faure (b. 1830 - d. 1914), Paris; about 1895, sold by Faure to Durand-Ruel, Paris; 1895, sold by Durand-Ruel to Sarah Choate Sears (b. 1860 - d. 1935), Boston; 1935, by descent to her daughter, Helen Sears (Mrs. J. D. Cameron) Bradley (b. 1889 - d. 1966), Boston; 1966, bequest of Sarah Choate Sears to the MFA. (Accession Date: May 19, 1966)

[1] The following provenance information (until 1935) is taken from Lionello Venturi, "Archives de l'Impressionisme: Lettres de Renoir, Monet, Pissaro, Sisley et autres. Mémoires de Paul Durand-Ruel. Documents" (Paris and New York, 1939), vol. 2, p. 191. [2] Ernest Hoschedé, a Parisian department store magnate, was a friend and important patron of many of the Impressionists. His sale in 1878 was the result of bankruptcy. For the results of this sale, see Merete Bodelsen, "Early Impressionist Sales 1874-94 in the light of some unpublished 'procès verbaux,'" Burlington Magazine vol. 110, no. 783 (June, 1968), pp. 339-40.

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