Manet's 1870 Portrait of Eva Gonzalès: A Study of Gender and Artistic Identity
Édouard Manet painted 'Portrait of Eva Gonzalès' in 1870, depicting his only formal pupil. The work, now part of the Sir Hugh Lane Bequest at the National Gallery in London, presents Gonzalès in a formal white gown painting a floral still life, rather than in typical artist's attire. Art historians interpret these choices as commentary on the restrictive gender roles female artists faced during the Victorian era. The portrait also relates to Manet's complex relationships with other women artists like Berthe Morisot, who was reportedly jealous of the attention given to Gonzalès. The painting exemplifies Manet's blend of calculated studio work with Impressionist themes, highlighting his role in modern art's development.
Key facts
- Édouard Manet painted 'Portrait of Eva Gonzalès' in 1870.
- Eva Gonzalès was Manet's only formal pupil.
- The painting is held at the National Gallery in London as part of the Sir Hugh Lane Bequest.
- Manet depicted Gonzalès in formal attire painting a floral subject, interpreted as a statement on gender constraints.
- The portrait reportedly caused jealousy from fellow artist Berthe Morisot, who had been a frequent subject for Manet.
Entities
Artists
- Édouard Manet
- Eva Gonzalès
- Berthe Morisot
- Claude Monet
- Edgar Degas
- Paul Cézanne
- Camille Pissarro
- Mary Cassatt
Institutions
Locations
- Paris
- London
- Washington, DC