This project has been a collaborative endeavor. Over multiple years we relied on the knowledge, enthusiasm, and tireless effort put forth by numerous individuals both within the Art Institute and beyond its walls. We extend our profound gratitude to all of them. First and foremost are the major funders whose generosity made this catalogue possible. We are deeply grateful to the Andrew W. Mellon Foundation, which provided the necessary resources to bring this work to fruition. The extensive art historical and technical research, as well as the comprehensive new photography, would not have been possible without that assistance. We wish to especially thank Mariët Westermann, Executive Vice President for Programs and Research, for her belief in this undertaking throughout its development and evolution. The David and Mary Winton Green Research Fund provided tremendous financial support, and for this we are truly appreciative. We also thank Mary Winton Green, who has closely followed and applauded our progress. The purchase and maintenance of analytical equipment were made possible in part due to a generous grant from the Grainger Foundation. We would like to thank the late Eloise W. Martin and the Community Associates of the Art Institute for their assistance in acquiring the X-ray fluorescence analyzers that have enabled noninvasive analysis of the palette of each painting. The Community Associates also supported the purchase of an infrared camera, greatly enhancing our ability to study the works in this publication. We are grateful as well for the sustained support of the Rothman Family Foundation, and in particular for its help in securing the microscope and digital photomicrography equipment that enabled our close study of Manet’s process. We thank the International Fine Print Dealers Association for their support of the cataloguing of the Art Institute’s collection of prints by Manet.
For championing and nurturing this multifaceted research project, we extend our sincere thanks to Douglas Druick, former President and Eloise W. Martin Director of the museum, for his critical role in the project’s inception, and also to his successor, James Rondeau, for his leadership during its final stages. We also appreciate the unflagging encouragement of Martha Tedeschi, former Deputy Director for Art and Research, and Sarah Guernsey, Deputy Director for Curatorial Affairs. We are particularly grateful to Genevieve Westerby and Kathryn Kremnitzer, whose excellent entries are perhaps the least of their contributions. Genevieve’s talents and hard work provided the backbone of this project. Her persistent research, close reading and editing of the entries, and overall coordination of the catalogue were critical to its success. Kathryn joined us at a crucial moment in the endeavor and worked unflaggingly to help bring it to completion.
We extend special thanks to Juliet Wilson-Bareau, whose technical expertise and extensive knowledge of all things Manet were invaluable to this project. Further, her rigorous investigation of our paintings and graphic works by Manet not only enhance the catalogue but also significantly advance the field. We are grateful as well to our other external authors, Emily A. Beeny, Helen Burnham, and Samuel Rodary, whose contributions enriched the publication immensely. For providing important counsel and critique, we extend our profound gratitude to the eminent scholar Joseph Rishel, who served as the reader for this volume, and Manet expert Malcolm Park, who graciously made available his research and website.
Essential to the vital conservation component of the project has been the support, guidance, input, and astute editing of Frank Zuccari. For her assiduous examination of the paintings, we thank Kimberley Muir, who worked tirelessly to complete complex examinations and write technical studies that brilliantly reveal the artist’s working process. Kelly Keegan offered invaluable advice at all stages of the research and production of the entries and also completed the exceedingly difficult task of compositing and registering images for the interactive image overlay tool. Kirk Vuillemot contributed to the image inventory of the current and historical picture frames and additional advice on stretcher descriptions. Kristi Dahm and Daniela Leonard worked on Bullfight (cat. 9): Kristi helped with the digital X-ray, and Daniela diligently removed paper edge strips and contributed to the discussion about the treatment history of this work.
As much as possible, this project has incorporated the most up-to-date analyses of painting materials and grounds, and for this we are grateful to Francesca Casadio for her guidance, and to Inge Fiedler for her assistance with sampling and analysis. Federica Pozzi conducted nondestructive XRF analysis and SEM/EDX analysis of paint and ground materials, Maria Kokkori conducted SEM/EDX analysis of ground and paint samples, and Ken Sutherland conducted analysis of the ground layers of the pastel canvases. We also offer our appreciation to current and former colleagues in the Department of Conservation and Science who have provided support and assistance for this project, including Jann Trujillo, Milan Bobysud, Christopher Brooks, Allison Langley, Kristin Lister, Suzanne Schnepp, Julie Simek, Elizabeth Wigfield, and Faye Wrubel.
The same intensity of examination, technical reporting, and imaging that has taken place for the paintings has also been applied to the Art Institute’s collection of Manet’s graphic works, under the supervision of Kevin Salatino, Suzanne Folds McCullagh, Victoria Sancho Lobis, and Antoinette Owen. For the technical studies we are indebted to Antoinette, Mary Broadway, Rachel Freeman, and Maria Christina Rivera Ramos. Emily Vokt Ziemba assisted with critical research. Former intern Courtney Wilder catalogued our prints, and former colleague Mel Becker Solomon catalogued our illustrated books. We thank as well current and former colleagues in the Department of Prints and Drawings for supporting this project, including Judith Broggi, Jay Clarke, Kristi Dahm, Christine Conniff-O’Shea, Kate Howell, Liana Dorene Jegers, Andrew Jones, Thea Liberty Nichols, Emily Olek, Mark Pascale, Mardy Sears, Stephanie Strother, Harriet Stratis, and Debora Wood.
The catalogue would not have been feasible without the expertise and support of the Art Institute’s Department of Information Services, led by Gene Adams. Raphael Jaffey, Stefano Cossu, and Mike Bingaman oversee the security and reliability of our infrastructure. Tina Shah in Digital Experience brought her expertise and dedication to the development of and enhancements to the ChicagoCodeX toolkit—the open-source digital publishing platform used to create this volume.
The Department of Imaging produced the magnificent high-resolution color images, ultraviolet-light captures, and archival photography of the works included in this volume. We thank Christopher Gallagher and Robert Lifson, as well as Aidan Fitzpatrick, Aimee Marshall, Jonathan Mathias, Shelby Silvernell, Craig Stillwell, P. D. Young, and Amy Zavaleta.
This hybrid of scholarly publication and technological interactivity has demanded an innovative publishing template and a dynamic publishing team. In the Department of Publishing, we are grateful for the leadership of Gregory Nosan, Lisa Meyerowitz, and Joseph Mohan. This catalogue would not have been possible without the editorial acumen and dedication of Robin Hoffman and Amy Peltz. Invaluable editing support was provided by Jane Friedman, Kenneth Guay, David M. Olsen, Robyn Roslak, and Mackenzie Suben. Beata Hosea created the elegant design of this catalogue. Kylie Escudero and Katie Levi conducted resourceful photo editing. Ben Bertin and former colleagues Rachel Edsill and Amy Parkolap ably negotiated the complexities of production. At all stages the project was ably assisted by both current and former colleagues, including Jessica Applebee, Sara Carminati, Stacey Hendricks, Lauren Makholm, Wilson McBee, Elissa Park, Maia Rigas, and Christine Schwab.
The extensive research carried out for this project would not have been possible without the help of the staff of the Ryerson and Burnham Libraries, both past and present. Autumn Mather and Anne Danberg handled the copious requests for interlibrary loan materials with speed and diligence. Bart Ryckbosch and Deborah Webb provided invaluable research assistance and facilitated access to critical archival resources. We are additionally grateful to Jack Perry Brown, Stephanie Fletcher, Douglas Litts, and Seth Vanek for their help.
Many other individuals within the museum contributed their efforts and expertise to this endeavor. Julie Getzels and Troy Klyber brought their legal acumen to the issues that arise when working in the digital realm. Jennifer Oatess helped with reports and grant applications, and Celeste Diaz, along with former staff members Jeanne Ladd and Helena Burke-Bevan, provided needed guidance with the budget as it developed.
Past and present members of the Department of European Painting and Sculpture have been vital to the pursuit of our goals: Katharine Baetjer, Geri Banik, Sylvain Bellenger, Amanda Block, Emerson Bowyer, Robert Burnier, Jena Carvana, Margaret Crosland, Angela Fann, Megan Kosinski, Rebecca Long, Alyse Muller, Jane Neet, Allison Perelman, Devon Pyle-Vowles, Aza Quinn-Brauner, Rufino Quintin Jimenez, Susanna Rudofsky, Elyse Strand, Jonathan Tavares, and Martha Wolff. Special thanks are due to Charline Fournier-Petit for her research assistance and translation expertise, and to Stacy Kammert, Christina Kiriakos, Hannah Luchtenburg, Morgane Magnin, and Samantha Schroeder for their research assistance.
This volume constitutes a team effort, but the team was located not only within our walls. We are grateful to the scientists at other institutions for their expertise and innovative research. The exacting registration of images for overlays and annotations employed technology developed by John Delaney, with Murray H. Loew and Damon M. Conover. Don H. Johnson and Robert G. Erdmann provided automated thread counts and weave analyses that have enabled us to compare canvas weaves among works, greatly enhancing our understanding of the sources of Manet’s materials. Robert Erdmann also assembled the digital X-ray composites for the paintings. The capabilities for scientific analysis at the Art Institute have been enhanced by access to instrumentation and expertise at Northwestern University in Evanston, Illinois, thanks to our longstanding institutional collaboration in conservation science. In particular, Karl Hagglund, Benjamin D. Myers, and Eric Jay Miller helped with scanning electron microscopy. This work made use of the EPIC facility of Northwestern University’s NUANCE Center, which has received support from the Soft and Hybrid Nanotechnology Experimental (SHyNE) Resource (NSF ECCS-1542205); the MRSEC program (NSF DMR-1121262) at the Materials Research Center; the International Institute for Nanotechnology (IIN); the Keck Foundation; and the State of Illinois, through the IIN.
Finally, we thank the many additional individuals who willingly shared with us their insights, information, and expertise, whether centered on the history of art or the technical aspects of our project: Scott Allan, Julian Brooks, Bruno Chenique, Jacqueline Chambers, Elise Effmann Clifford, Nadège Dauga, Marian Dirda, Flavie Durand-Ruel, Paul-Louis Durand-Ruel, Adam Eaker, Kate Edmondson, Michelle Finamore, Jay McKean Fisher, Thierry Ford, Christopher Foster, Charlotte Hale, Erica Hirshler, Ann Hoenigswald, Sophie Hupon-Michali, Jamie Kwan, Pascal Labreuche, Rhona MacBeth, Miles Metzer, Regina Noto, Devi Ormond, Catherine Patterson, Mariantonia Reinhard, Jeanine Coupe Ryding, Stephanie Schrader, Moyna Stanton, Sarah Thompson, Carol Togneri, Serena Urry, Lauren Whitley, and the staffs of the circulation and interlibrary loan departments at the library of the Getty Research Institute.
Gloria Groom
Chair of European Painting and Sculpture
David and Mary Winton Green Curator
The Art Institute of Chicago