Impressionism: Art and Modernity | Heilbrunn Timeline of Art History
The artists' loose brushwork gives an effect of spontaneity and ... New York: Museum of Modern Art, 1961. Tinterow, Gary, and Henri Loyrette ...
29.100.115
In addition to their radical technique, the bright colors of Impressionist canvases were shocking for eyes accustomed to the more sober colors of academic painting. Many of the independent artists chose not to apply the thick golden varnish that painters customarily used to tone down their works. The paints themselves were more vivid as well. The nineteenth century saw the development of synthetic pigments for artists’ paints, providing vibrant shades of blue, green, and yellow that painters had never used before. Édouard Manet’s 1874 Boating ( <anchor>29.100.115</anchor>), for example, features an expanse of the new cerulean blue and synthetic ultramarine. Depicted in a radically cropped, Japanese-inspired composition, the fashionable boater and his companion embody modernity in their form, their subject matter, and the very materials used to paint them.
Edouard Manet | Boating | The Metropolitan Museum of Art
Edouard Manet \| Boating \| The Metropolitan Museum of Art

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# Boating

[Edouard Manet](/art/collection/search?q=Edouard Manet&perPage=20&sortBy=Relevance&offset=0&pageSize=0)French

1874


On view at The Met Fifth Avenue in[Gallery 818](http://maps.metmuseum.org/poi?_gl=1%2A1958ftb%2A_ga%2AMjk2MzAzMzczLjE3MDE4NzY3NzM.%2A_ga_Y0W8DGNBTB%2AMTcwODk4Mjg3Ny4yNDcuMS4xNzA4OTgyODgxLjAuMC4w&feature=f9f32fed0cb763c71a4c6bba3ad34ad3&floor=2&screenmode=base&search=405#19/40.7786001/-73.9640204/-61)

Manet summered at Gennevilliers in 1874, often spending time with Monet and Renoir across the Seine at Argenteuil, where _Boating_ was painted. Beyond adopting the lighter touch and palette of his younger Impressionist colleagues, Manet exploits the broad planes of color and strong diagonals of Japanese prints to give inimitable form to this scene of outdoor leisure. Rodolphe Leenhoff, the artist’s brother-in-law, is thought to have posed for the sailor but the identity of the woman is uncertain.

Shown in the Salon of 1879, _Boating_ was deemed "the last word in painting" by Mary Cassatt, who recommended the acquisition to the New York collectors Louisine and H.O. Havemeyer.

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Fig. 1. Mary Cassatt, "The Boating Party," 1893/1894, oil on canvas, 35 7/16 x 46 3/16 in. (90 x 117.3 cm) (National Gallery of Art, Washington)

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Fig. 2. Stop, “La Femme Edredon, par M. Manet, chef de l’entreprise des bateaux coupés” (The Eiderdown-Woman, by Mr. Manet, leader of the business of cut boats), "Le Journal amusant," June 14, 1879, no. 204 (Bibliothèque nationale, Paris) (Repro’d. in Darragon 1991, p. 404, no.339.)

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Fig. 3. Edouard Manet, "Boats at Sea, Sunset," ca. 1868, oil on canvas, 43 x 94 cm (Musée d’art moderne André Malraux, Le Havre)

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Fig. 4. Edouard Manet, "Argenteuil," 1874, oil on canvas, 149 x 115 cm (Musée des Beaux-Arts, Tournai)

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Fig. 5. Edouard Manet, "The Swallows," 1873, oil on canvas, 65 x 81 cm (Foundation E. G. Bührle Collection, Zürich)

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Fig. 6. Edouard Manet, "On the Beach," 1873, oil on canvas, 95.9 x 73 cm (Musée d’Orsay, Paris)

## Artwork Details

Use your arrow keys to navigate the tabs below, and your tab key to choose an item

- [Overview](#overview)
- [Catalogue Entry](#catalogue-entry)
- [Signatures, Inscriptions, and Markings](#signatures-inscriptions-and-markings)
- [Provenance](#provenance)
- [Exhibition History](#exhibition-history)
- [References](#references)
- [Notes](#notes)

Title:Boating

Artist:Edouard Manet (French, Paris 1832–1883 Paris)

Date:1874

Medium:Oil on canvas

Dimensions:38 1/4 x 51 1/4 in. (97.2 x 130.2 cm)

Classification:Paintings

Credit Line:H. O. Havemeyer Collection, Bequest of Mrs. H. O. Havemeyer, 1929

Accession Number:29.100.115

**The Painting:** In the summer of 1874, Edouard Manet painted this ode to the relatively new bourgeois and upper class Parisian leisure activity, boating on the Seine, when he was living at his family’s property in Gennevilliers across the river from Claude Monet and Auguste Renoir in Argenteuil (both communes northwest of Paris). The male and female boaters in The Met’s picture are out to "see and be seen" in the new casual dress favored for such sporty outings, a jaunty white boating outfit with a straw hat for him and a maritime blue-striped dress with a white hat for her. More specifically, his white shirt, white flannel trousers, and straw boater with a blue border have been identified as the uniform of the tony _Cercle nautique_ boating club, headquartered in Asnières (Herbert 1988). The netting on her hat could keep away such possible intrusions from outdoor life as river water and dust, then believed to be harmful to one’s health (see Marni Kessler, _Sheer Presence: The Veil in Manet’s Paris_, Minneapolis, 2006). While the black ribbon on her hat at left runs parallel to the sail’s sheet at right, the blue-green ribbon on his hat as well as the blues of her dress echo the various blues of the water that dominate the image. The artist worked to unify the composition through both color and line in these ways. The sail at right is rendered at an odd angle, leaving the subject of the sitters’ activity barely cropped into view. The figures have been brought up to the very foreground so that the viewer might have immediate entry into the scene. Rather than use the canvas as a traditionally illusory three-dimensional window onto another world, Manet chose to emphasize the flat, two-dimensional aspects of the painting by making the viewer’s vantage point very low, omitting a horizon line and any visible land beyond the water, and employing an increasingly smooth texture in the brushstrokes as they mount to the top of the broad plane of blue water. At bottom and even at the female sitter’s bodice, the brushstrokes of blue paint Manet used to compose her dress exceed the contours of the garment, seeming to fly off into space and also emphasizing the planar aspects of the composition.

While the male boater with his left hand on the tiller most often has been associated with Manet’s brother-in-law Rodolphe Leenhoff (first so-identified in Lochard 1883–84), there has been much less of a consensus as to the female sitter’s identity. Leenhoff was the brother of Manet’s Dutch wife, Suzanne Leenhoff, and was a painter, too. Manet appears to have depicted these same two sitters in a very similar composition shortly before (see Related Works below). Over the years, various other identities have been suggested, from Manet’s writer-friend George Moore and his mistress (Mather 1930), to the French naturalist short-story master Guy de Maupassant (Gallas 1934) and Maupassant’s friend Baron Barbier (Blanche 1938) for the man and Suzanne Leenhoff (Salinger 1947; Kimball and Venturi 1948), Camille Monet (Adler 1986), and a professional model (Cachin 1990) for the woman.

**The Salon and Thereafter:** While former Met curator Charles Moffett (1983) noted that the size, theme, and finish of the picture suggest that Manet may have thought to submit it to the annual Paris Salon of 1875 with his related _Argenteuil_ (see Related Works below), Manet seems to have held the picture back from immediate exhibition. When he showed the painting at the Salon in 1879 with _In the Conservatory_ (1879, Alte Nationalgalerie, Berlin), Manet expressed to his friend, the Symbolist poet and critic Stéphane Mallarmé, dissatisfaction with the installation of his two paintings: "I’m afraid that the way I’m hung in the Salon will leave me as poor as before, and I’m in need of money" (Manet May 8, 1879). It is, perhaps, incredible to consider that the artist-dandy behind The Met’s masterpiece painting could have feared that the way _Boating_ (exhibited at the Salon in 1879 as _En bateau_ \[or, On A Boat\]) was hung at the Salon (quite possibly "skied," or placed high up and away from eye-level) could have left him no richer than before the official Salon opened. He even wrote to ask Under-Secretary of State Edmond Turquet to reconsider purchasing one of his two paintings on view at the Salon for the French state’s contemporary art collection, then housed at the Musée du Luxembourg (Manet June 6, 1879). In fact, though, _Boating_ sold straight from the Salon to the banker-art collector and Director of the literary journal _Gil Blas_ Victor Desfossés for one thousand five hundred francs. Desfossés also owned Courbet’s great revery on the artist’s life _The Studio of the Painter_ (1854–55, Musée d’Orsay, Paris) and paintings by Monet, Alfred Sisley, and Camille Pissarro. Five years later, Desfossés lent The Met’s picture to Manet’s one-man show at the Ecole Nationale des Beaux-Arts, and, ten years later, to the Universal Exposition of 1889. When Mary Cassatt saw the painting at the Salon of 1879, she called it "the last word in painting" (Havemeyer 1961). The image stuck with her since, fifteen years later, she drew on its use of space for her own image of a couple boating, _The Boating Party_ (see fig. 1 above), and, when the picture was with the dealer Paul Durand-Ruel in 1895, Cassatt recommended that her close friends Louisine and H. O. Havemeyer acquire the painting as well. Louisine bequeathed it to The Met upon her death in 1929.

Unlike Cassatt, critics who saw _Boating_ at the Salon of 1879 disliked its rough, sketch-like execution (for example, Fourcaud 1879 and Baignères 1879). A caricature that appeared in _Le Journal amusant_ (fig. 2) even turned the woman’s dress into a fluffy eiderdown quilt, cheekily renaming the picture "La femme edredon" (or, The Eiderdown-Woman). In this way, the caricaturist Stop compared to a down quilt’s feathers the artist’s free-form blue brushstrokes at the bottom of the canvas that seem to grow from the blue dress to take on a life of their own. Jules Castagnary (1879) preferred _In the Conservatory_ to The Met‘s picture. The novelist and critic Joris-Karl Huysmans (1879) was the rare visitor to praise _Boating_ for its flight from traditional use of color; he also noted the cropping of the boat to be indebted to similar compositional devices found in Japanese prints, then at the height of fashion in Paris. (See a discussion of the picture’s _japoniste_ character below.)

**The Summer of 1874 with the Impressionists and Monsieur Manet:** The summer of 1874 was a moment when Manet was working very closely with the Impressionists Monet and Renoir at Argenteuil. Their sense of camaraderie (along with Alfred Sisley) was strong, with mutual appreciation and a sense of seeking goals as a group. Innovations in train travel from 1850 on had brought new and more frequent train lines that enabled Parisians, including Manet and his younger painter-friends, to escape to the country for leisure activities on the Seine in Argenteuil, as in some of the other suburbs of Paris, Chatou, Croissy, and Bougival. Industry and recreation were side by side at Argenteuil, but Manet and the Impressionists sometimes included hints of this juxtaposition (see the discussion of _Argenteuil_ \[fig. 4\] below) and sometimes, as in _Boating_, kept any glimmer of industry at bay. Manet’s wholehearted embrace of _plein-air_ painting (painting out-of-doors) and the lighter, brighter color palette preferred by Monet and Renoir has been called a "vampirization," or sucking dry, of Monet’s painting techniques by Madeline (2011), and Zola (1884) similarly noted Manet’s strong debt to his younger friends that summer. Even painting outdoors, though, Manet tended to emphasize the figure more than his friends did, as in the foregrounded figures of _Boating_.

**_Japonisme_ and Compositional Strategies:** There is no question that with the use of foreshortening, abrupt cropping, broad plane of color, strong diagonals, and lack of a horizon line, Manet here wholeheartedly embraced compositional devices from the Japanese woodblock prints of boating scenes by the ukiyo-e ("floating world") artists Utagawa Kuniyoshi (1797–1861) (for example, his _Water Scene_ (1840, The Met [JP1252](http://www.metmuseum.org/art/collection/search/54384)) and Utagawa Hiroshige (1797–1858) (for example, his images along the Tokaido, such as _Spring Rain at Tsuchiyama_, from the series _Fifty-three Stations of the Tōkaidō_, 1834–35, The Met [JP520](http://www.metmuseum.org/art/collection/search/36971)). Manet also worked to reduce extraneous, distracting lines such as the sheet, originally painted at a different diagonal angle, held in the male boater’s right hand, rather than in its current position tied to the belaying pin (recently correctly identified by Robert Zimmerman in conversation with the author), neatly echoing the line of the woman’s hat ribbon. (See Technical Notes below.)

Manet enjoyed friendships with key figures in the introduction of Japanese art in France, such as the great collectors of _ukiyo-e_ prints, Japanese bronzes, ceramics, and textiles Philippe Burty and fellow artist Félix Bracquemond. Like his friends, Manet had been exposed to the novel display of Japanese arts and crafts at the Universal Exposition in Paris in 1867 (which included prints by Hiroshige and the now-celebrated Hokusai manga books) and formed a close bond that summer with Claude Monet, who was already collecting _ukiyo-e_ prints in the 1860s (see the catalogue entry for his _Garden at Sainte-Adresse_ \[The Met, [67.241](http://www.metmuseum.org/art/collection/search/437133)\]). All played a part in Manet’s _japoniste_ artistic development. Manet, himself, had already explored such accoutrements as Japanese fans in his _La Dame aux éventails_ (1873, Musée d’Orsay, Paris), a portrait of Nina de Callias from the year before _Boating_.

Wichmann (1985) noted that Manet’s sharp truncating of the sailboat followed upon the much more experimental _Boats at Sea, Sunset_ (fig. 3), a painting from about 1868 based on the upper section of one of his watercolors (located by Wichmann in Basel). In the Le Havre picture, the sails in the foreground are so cropped as to leave out the rest of the boat, and the sails’ strongly foregrounded placement similarly emphasizes the flatness of the picture plane. Wichmann called Hiroshige’s _Mount Inasa at Nagasaki in Hizen Province_ (1853–56, from _Famous Places from more than 60 Provinces_, Osterreichisches Museum für angewandte Kunst, Vienna) and _Saijo in Iyo Province_ from the same series (1853, The Met, [JP591](http://www.metmuseum.org/art/collection/search/37042)) obvious influences on Manet’s 1868 painting. We might well note the influence in The Met’s _Boating_ as well, where the sail is similarly cropped.

**Related Works:** Just shortly before painting _Boating_ (only a few days before, according to Tabarant \[1947\]), Manet produced _Argenteuil_ (fig. 4), which seems to place the same figures in different boating costumes and poses, surrounded by a background that includes the smokestacks of Argenteuil. While Rouart and Wildenstein (1975, vol. 1, p. 184, no. 221) identified the female sitter in _Argenteuil_ as a Parisian model Manet brought along for the ride, the same association has been made only rarely about the female sitter in The Met’s picture. Where it is the woman who looks out to the viewer impassively in _Argenteuil_ while the man actively attempts to engage her, it is the man whose eyes meet those of the viewer in The Met’s picture while the woman’s profiled face looks off into the distance. In comparison to _Argenteuil_, _Boating_ shows the artist taking up a very similar subject but reducing the forms and cutting back on all extraneous detail. Herbert (1988, p. 236) discussed the differing classes depicted in the two canvases.

The same fashionable "activewear" hat worn by the woman in _Boating_ can be found in four of Manet’s other paintings from 1873–74. In two, his wife Suzanne Leenhoff Manet posed wearing it, and Monet’s wife Camille wore it in two others: _The Swallows_ (fig. 5), a picture of Suzanne and Manet’s mother on a trip to the northern seaside at Berck-sur-Mer; _On the Beach_ (fig. 6), from the same trip, where Manet’s brother Eugène and Suzanne sit on the sand, she with a muslin veil to protect her from the wind and sand; _The Monet Family in Their Garden at Argenteuil_ (1874, The Met, [1976.201.14](http://www.metmuseum.org/art/collection/search/436965)), where Camille Monet wears the hat in her own garden that same summer at Argenteuil; and _Banks of the Seine at Argenteuil_ (1874, Courtauld Gallery, London), where Camille waits at the shore with Jean. Whether the painter lent one of his wife’s hats to Camille as a prop when she posed for him or whether it was simply the most _de rigueur_ hat of the season has been debated (Moffett 1983 and Bailey 1997).

**Technical Notes:** The man's right hand originally held the sheet, and traces of this position are still evident on the water and the boat (Stang 1972). This pentimento (visible trace of earlier painting on the final surface of the canvas) is a telling rare example that reveals a bit of the artist’s process (see _Japonisme_ and Compositional Strategies above). (The change in position of the sheet is still more visible in x-rays.) Moffett (1974) noted that "by altering the direction of the rope Manet removed a cue to logical perspective and thereby further emphasized the flatness of the picture space." In addition, Perutz (1993) suggested that the figure of the woman was added as an afterthought because curving brown strokes of paint that have become visible to the naked eye in the area of the woman’s upper right arm and bodice reveal that the area of the boat’s brown paint originally extended into the space now occupied by the figure.

Jane R. Becker 2017


**Inscription:** Signed (lower right): Manet


the artist, Paris (1874–79; sold at the Paris Salon in 1879, for Fr 1,500 to Desfossés); Victor Desfossés, Paris (1879–95; sold on May 7, 1895 for Fr 25,000 to Durand-Ruel); \[Durand-Ruel, Paris, 1895, stock no. 3267, as "En bateau"; sold on September 19 for Fr 55,000 to Havemeyer \]; Mr. and Mrs. H. O. Havemeyer, New York (1895–his d. 1907); Mrs. H. O. (Louisine W.) Havemeyer, New York (1907–d. 1929; cat., 1931, pp. 138–39, ill.)


Paris. Manet's studio, 4, rue de Saint-Pétersbourg. April 15–May 1, 1876, no catalogue \[see Bertall 1876, Deraismes 1876, Cachin and Moffett 1983\].

Paris. Salon. May 12–June 1879, no. 2011 (as "En bateau").

Paris. École Nationale des Beaux-Arts. "Exposition des œuvres de Édouard Manet," January 6–28, 1884, no. 76 (lent by M Desfossés).

Paris. Exposition Internationale Universelle. "Exposition centennale de l'art français (1789–1889)," May–November 1889, no. 498 (lent by V. Desfossés) \[see Moreau-Nélaton 1906\].

New York. Durand-Ruel. "Loan Exhibition: Paintings by Édouard Manet, 1832–1883," November 29–December 13, 1913, no. 13.

New York. The Metropolitan Museum of Art. "The H. O. Havemeyer Collection," March 10–November 2, 1930, no. 79 (as "In a Boat \[En bateau\]") \[2nd ed., 1958, no. 157\].

Philadelphia. Pennsylvania Museum of Art. "Manet and Renoir," November 29, 1933–January 1, 1934, no catalogue \[see Pennsylvania Museum Bulletin 29 (December 1933), p. 17\].

Art Gallery of Toronto. "Loan Exhibition of Paintings," November 1–December 1, 1935, no. 181.

Art Institute of Chicago. "Great French Paintings: An Exhibition in Memory of Chauncey McCormick," January 20–February 20, 1955, no. 23.

Philadelphia Museum of Art. "Édouard Manet, 1832–1883," November 3–December 11, 1966, no. 125.

Art Institute of Chicago. "Édouard Manet, 1832–1883," January 13–February 19, 1967, no. 125.

Museum of Fine Arts, Boston. "Masterpieces of Painting in The Metropolitan Museum of Art," September 16–November 1, 1970, unnumbered cat. (p. 78).

New York. The Metropolitan Museum of Art. "Masterpieces of Fifty Centuries," November 14, 1970–June 1, 1971, no. 374.

Paris. Grand Palais. "Centenaire de l'impressionnisme," September 21–November 24, 1974, no. 22.

New York. The Metropolitan Museum of Art. "The Impressionist Epoch," December 12, 1974–February 10, 1975, no. 22.

Paris. Galeries nationales du Grand Palais. "Manet, 1832–1883," April 22–August 1, 1983, no. 140.

New York. The Metropolitan Museum of Art. "Manet, 1832–1883," September 10–November 27, 1983, no. 140.

Leningrad \[St. Petersburg\]. State Hermitage Museum. "From Delacroix to Matisse," March 15–May 10, 1988, no. 14.

Moscow. Pushkin State Museum of Fine Arts. "From Delacroix to Matisse," June 10–July 30, 1988, no. 14.

New York. The Metropolitan Museum of Art. "Splendid Legacy: The Havemeyer Collection," March 27–June 20, 1993, no. A358.

Washington. Phillips Collection. "Impressionists on the Seine: A Celebration of Renoir's 'Luncheon of the Boating Party'," September 21, 1996–February 9, 1997, unnumbered cat. (fig. 27).

Paris. Musée d'Orsay. "La collection Havemeyer: Quand l'Amérique découvrait l'impressionnisme...," October 20, 1997–January 18, 1998, no. 20.

Washington. National Gallery of Art. "The Impressionists at Argenteuil," May 28–August 20, 2000, no. 40.

Hartford, Conn. Wadsworth Atheneum Museum of Art. "The Impressionists at Argenteuil," September 6–December 3, 2000, no. 40.

Madrid. Museo Nacional del Prado. "Manet en el Prado," October 13, 2003–February 8, 2004, no. 93.

Museum of Fine Arts, Houston. "The Masterpieces of French Painting from The Metropolitan Museum of Art: 1800–1920," February 4–May 6, 2007, no. 62.

Berlin. Neue Nationalgalerie. "Französische Meisterwerke des 19. Jahrhunderts aus dem Metropolitan Museum of Art," June 1–October 7, 2007, unnumbered cat.

Art Institute of Chicago. "Manet and Modern Beauty: The Artist's Last Years," May 26–September 8, 2019, no. 3.

Los Angeles. J. Paul Getty Museum. "Manet and Modern Beauty: The Artist's Last Years," October 8, 2019–January 12, 2020, no. 3.

Paris. Musée d'Orsay. "Manet / Degas," March 28–July 23, 2023, unnumbered cat. (colorpl. 88).

New York. The Metropolitan Museum of Art. "Manet / Degas," September 24, 2023–January 7, 2024, unnumbered cat. (colorpl. 114).

Henri Fantin-Latour. Letter to Otto Scholderer. August 16, 1874 \[published in Arnoux et al. 2010\], states that Manet is working on two plein air paintings on a boat \[including this one\].

Stéphane Mallarmé. "The Impressionists and Édouard Manet." _The Art Monthly Review and Photographic Portfolio, a Magazine Devoted to the Fine and Industrial Arts and Illustrated Photography_ 1, no. 9 (September 30, 1876) \[reprinted in T. A. Gronberg, "Manet: A Retrospective," New York, 1990, p. 146\], calls it "Boaters".

Bertall. "L'exposition de M. Manet." _Paris-Journal_ (April 30, 1876), p. 9?, refers to it as the "Canotier avec cette canotière," noting that it was in an exhibition of Manet's work in 1876, and remarking that it was not included in the Salon of 1875.

Maria Deraismes. Letter to Édouard Manet. May 5, 1876, notes that it was included in an exhibition held by Manet in 1876 and praises it very highly.

Edouard Manet. Letter to Stéphane Mallarmé. May 8, 1879 \[postmark\] \[published in Juliet Wilson-Bareau, "Manet by Himself, Correspondence & Conversation: Paintings, Pastels, Prints & Drawings," Boston, 1991, p. 186\], complains about the way his works, including this one, have been hung at the Salon.

Edouard Manet. Letter to Edmond Turquet. June 6, 1879 \[published in Juliet Wilson-Bareau, "Manet by Himself, Correspondence & Conversation: Paintings, Pastels, Prints & Drawings," Boston, 1991, p. 186\], requests that Turquet reconsider purchasing one of his paintings at the 1879 Salon.

Arthur Baignères. "Le Salon de 1879 (Premier article)." _Gazette des beaux-arts_, 2nd ser., 19 (June 1879), p. 564.

\[Jules\] Castagnary. "Salon de 1879 (6e article)." _Le Siècle_ (June 28, 1879), p. 2.

Stop. _Le Journal amusant_ (June 14, 1879), no. 204 \[reproduced in Darragon 1991, p. 404, no. 339\], makes a caricature of this painting, with the woman's dress as an eiderdown.

\[Louis de\] Fourcaud. "Le Salon du 'Gaulois': Impressions Parisiennes." _Le Gaulois_ (June 18, 1879), p. 2, criticizes its execution as that of a rough sketch.

Théodore Véron. _Dictionnaire Véron ou mémorial de l'art et des artistes contemporains organe de l'institut universel (Section des Beaux-Arts): Le Salon de 1879_. Vol. 3, Paris, 1879, p. 388, states that the woman resembles the female sitter in "In the Conservatory" (1879, Alte Nationalgalerie, Berlin), with which it appeared at the Salon that year; calls its effect harmonious enough but remarks that the painting is missing shadows too much.

Charles Tardieu. "La peinture au Salon de Paris, 1879: Itinéraire." _L'art_ 17 (1879), pp. 177–78, as "En bateau"; calls it "une sorte de Caillebotte supérieur" (a kind of superior Caillebotte).

"Chronique: Première promenade au Salon." _Le temps_ (May 11, 1879), p. 2, as "Scène de canotage".

Messire-Jean. "Le Salon: IV." _Le soir_ (May 14, 1879), p. 2, as "En bateau".

Théodore de Banville. "Salon de 1879, III." _Le National_ (May 16, 1879), p. 2, notes "il y a dans cette eau des reflets d'argent qui nous captivent comme les moires d'une riche étoffe, et toute cette couleur frissonnante vibre à souhait pour le plaisir des yeux" (there are silver reflections in this water that captivate us like the moires of a rich fabric, and all this shivering color vibrates to perfection for the pleasure of the eyes).

Pierre Véron. "Chronique parisienne: Le Salon de 1879." _Journal amusant_ 32 (May 24, 1879), p. 2.

Henry Trianon. "Le Salon de 1879." _Le constitutionnel_ 64 (May 30, 1879), p. 2, as "En bateau"; remarks that if it had been the only work by Manet on view the author would not have even stopped at it; cites errors in the artist's manner of drawing, such as the boater's protruding knee, the woman's chest, and "la jambe gauche s'attachant où la jambe droite aurait dû s'attacher" (the left leg attaching itself where the right leg should); also finds failures in the color choices and the "à peu près de la touche" (approximate touches of paint).

J.-K. Huysmans. "Le Salon de 1879." _Le Voltaire_ (June 10, 1879) \[reprinted in Huysmans, "L'Art moderne," Paris, 1883, pp. 35–36\], praises this picture for its freedom from convention and tradition, especially in regard to color, and notes that the cropping of the boat derives from Japanese prints.

L. de Beaumarchez. "Le Salon de 1879." _La presse_ 44 (June 13, 1879), p. 2, states that it is but a sketch, that the forms lack precision, and that the arms do not attach to the body nor the hands to the arms.

Daniel Bernard. "Salon de 1879." _L'univers illustré_ 22 (June 14, 1879), p. 374, writes "voici une femme qui ressemble à un homard vide; une carapace seulement; pas de corps sous cette robe flottant à vide. Voici un canotier qui rame avec des nageoires de lion marin . . . . Nous n'y tenons plus; nous pouffons" (here is a woman who resembles an empty lobster; only a shell; no body under that dress floating in emptiness. Here is a boater who rows with sea lion fins . . . . We can't stand it anymore; we giggle).

F\[rédéric\].-C. de Syène. "Salon de 1879. II." _L'artiste_ 2 (July 1879), p. 7, criticizes it.

K\[enyon\]. C\[ox\]. "The Paris Salon: The New Realism Making Rapid Strides—American Pictures." _Cincinnati Daily Gazette_ 104 (July 9, 1879), p. 2, calls it "fairly in the impressionist ranks" and states of it "The appearance of having taken a bit of nature as he found it, without composition . . . is got by cutting the figures in two and showing only parts of them. Having chosen his subject in this way, he seems carefully to have avoided all appearance of drawing, of modeling, or of detail, and laying in two or three broad tones, more or less true, and a number of apparently aimless dabs with his brush—behold an impressionist picture!".

Victor de Swarte. _Salon de 1879: Chronique_. Paris, 1880, pp. 25–26, as "En Bateau"; calls it and "Dans la Serre" (In the Conservatory) (1878/79, Alte Nationalgalerie, Berlin), Manet's two offerings at the Salon of 1879, "ce premier jet qui n'a qu'un tort, c'est d'être présenté inachevé, avec toute la saveur d'une ébauche oubliée sur un chevalet" (this first draft that has but one mistake, that of being presented unfinished, with all of the flavor of a sketch forgotten on an easel), but praises his plein-air effects.

H\[enri\]. Guérard. "Manet's Decoration by the State." _Le carillon_ (July 16, 1881) \[reprinted in T. A. Gronberg, "Manet: A Retrospective," New York, 1990, p. 171\].

F.-G. Dumas, ed. _Salon de 1879: Catalogue illustré_. Exh. cat., Salon. Paris, 1882, p. 100, as "En bateau"; reproduces a drawing by Manet of the woman in the boat.

Fernand Lochard. \[Reproductions d’oeuvres d’Edouard Manet\]. Vol. 1, 2, 1883–84, unpaginated, pl. 393 \[Département des estampes et photographie, Bibliothèque Nationale de France, Paris, 4-DC-300(H)-(vol. 1) and 300 (Gy2)–(vol. 2)\], includes "En bâteau" as number thirty-eight on a list of Manet's paintings; states that it was painted in Argenteuil at the same time as "Les canotiers d'Argenteuil" ("Argenteuil," 1874, Musée des Beaux-Arts, Tournai); identifies the male boater in both paintings as portraits of Rodolphe Leenhoff.

Edmond Bazire. _Manet_. Paris, 1884, p. 104, as "En bateau".

Jacques de Biez. _Édouard Manet_. Paris, 1884, p. 46.

Louis Gonse. "Manet." _Gazette des beaux-arts_, 2nd ser., 29 (February 1884), p. 146.

Joséphin Péladan. "Le procédé de Manet d'après l'exposition de l'Ecole des Beaux-Arts." _L'artiste_ 1 (February 1884), pp. 114–15, criticizes the drawing of the hands of the boatman.

Emile Zola. _Exposition des œuvres de Édouard Manet_. Exh. cat., École Nationale des Beaux-Arts. Paris, 1884, p. 16, refers to it as "les Canotiers".

Félix Fénéon. "A l'exposition d'Edouard Manet." _La libre revue_ (January 16, 1884) \[reprinted in Joan U. Halperin, ed., "Oeuvres plus que complètes," Geneva, 1970, vol. 1, p. 20\].

L. de Fourcaud. "Exposition centennale de l'art français. IV." _Revue de l'exposition universelle de 1889_. Ed. L. de Fourcaud and F.-G. Dumas. Paris, 1889, pp. 51–52.

J. Meier-Graefe. "Die Stellung Eduard Manet's." _Die Kunst für Alle_ 15 (October 15, 1899), p. 67, ill.

Antonin Proust. "The Art of Édouard Manet." _The International Studio_ 12 (February 1901), ill. p. 228.

Théodore Duret. _Histoire d'Édouard Manet et de son œuvre_. Paris, 1902, pp. 108, 117–18, 237, no. 181, dates it 1874.

Hugo v. Tschudi. _Édouard Manet_. Berlin, 1902, pp. 23–24, ill. p. 29, as "Im Segelschiff"; calls it "eine Komposition von geistreicher Kühnheit des Ausschnitts" (a composition of witty boldness of detail).

Adolf Hölzel. "Über Künstlerische Ausdrucksmittel und Deren Verhältniz zu Natur und Bild." _Die Kunst für Alle_ 20 (December 15, 1904), p. 129, ill.

Henry Marcel. _La Peinture française au XIXe siècle_. Paris, 1905, p. 228, fig. 87, as "En bateau".

Léon Leenhoff. Manet: \[ensemble de notes et de documents sur le peintre\]. ca. 1910, p. 79 \[Paris: Bibliothèque Nationale de France, Dept: Estampes et photographie, RESERVE 8-YB3-2401
https://gallica.bnf.fr/ark:/12148/btv1b10548955r.\]
, lists "En Bateau" as having sold for fifteen hundred francs in 1879 \[at the Salon\].

Etienne Moreau-Nélaton. Manuscrit de l'œuvre d'Édouard Manet, peinture et pastels. \[1906\], unpaginated, no. 188 \[Département des Estampes, Bibliothèque Nationale de France, Paris\].

Richard Muther. _The History of Modern Painting_. London, 1907, pp. 106, 117–18, ill. p. 115.

Théodore Duret in François Benoit. "Édouard Manet et les impressionistes." _Histoire du paysage en France_. Paris, 1908, p. 310 \[see Ref. Rouart and Wildenstein 1975\].

Rudolf Adelbert Meyer. "Manet und Monet." _Die Kunst Unserer Zeit_ 19 (1908), pp. 51, 55, ill., dates it 1874.

Camille de Sainte-Croix. "Edouard Manet." _Portraits d'hier_ 1 (December 15, 1909), p. 19.

Emil Waldmann. "Édouard Manet in der Sammlung Pellerin." _Kunst und Künstler_ 8 (May 1910), p. 391, calls it "En bateau".

Léonce Bénédite. _Histoire des Beaux-Arts, 1800–1900_. Paris, 1910, p. 730, ill. p. 257, as "Les Canotiers".

Jean Laran and Georges Le Bas. _Manet_. Paris, 1912, pp. 95–96, pl. XI, quote contemporary criticism.

Julius Meier-Graefe. _Édouard Manet_. Munich, 1912, p. 231 n. 3, p. 232, fig. 133, identifies the man as Manet's brother-in-law, Rodolphe Leenhoff.

Théodore Duret. _Manet and the French Impressionists_. 2nd ed. \[1st ed. 1910\]. London, 1912, pp. 96, 235, no. 181, ill. opp. p. 96.

Antonin Proust. _Edouard Manet_. Paris, 1913, pp. 93, 144, 166.

Achille Ségard. _Mary Cassatt: Un peintre des enfants et des mères_. Paris, 1913, pp. 61–62, notes its influence on Cassatt's "La barque" (National Gallery of Art, Washington) and remarks that she admired it and recommended that Mrs. Havemeyer purchase it.

Antonin Proust. "Erinnerungen an Édouard Manet." _Kunst und Künstler_ 11 (March 1913), p. 323, ill.

Théodore Duret. _Histoire de Edouard Manet et de son œuvre_. Paris, 1919, pp. 145, 154–55, 261, as "En bateau" in the Havemeyer collection; notes that, while the painting did not succeed in receiving praise, it raised no great hostility at the Salon of 1879.

André Fontainas and Louis Vauxcelles. _Histoire générale de l'art français de la Révolution à nos jours_. Vol. 1, Paris, 1922, p. 126.

Emil Waldmann. _Édouard Manet_. Berlin, 1923, pp. 78, 81, 129, ill., reproduces the same drawing by Manet of the woman in the boat as in Dumas 1882.

Jacques-Emile Blanche. _Manet_. Paris, 1924, ill. p. 32, as "Les Canotiers".

Léon Rosenthal. _Manet: Aquafortiste et lithographe_. Paris, 1925, pp. 139, 147.

Etienne Moreau-Nélaton. _Manet raconté par lui-même_. Paris, 1926, vol. 2, pp. 24, 57, 129, no. 76, figs. 195 and 352, agrees with the identification of the sitter as Rudolphe Leenhoff and publishes a photograph of the picture hanging in the posthumous exhibition of 1884.

Paul Jamot. "Études sur Manet." _Gazette des beaux-arts_, 5th ser., 15 (January 1927), p. 44.

A. Tabarant. "Les Manet de la collection Havemeyer." _La Renaissance_ 13 (February 1930), pp. 68, 72, ill., identifies the man as Rudolphe Leenhoff.

Frank Jewett Mather Jr. "The Havemeyer Pictures." _The Arts_ 16 (March 1930), p. 479, identifies the couple as George Moore and his mistress; praises it.

Paul Fierens. "Edouard Manet." _L'art et les artistes_ 25 (October 1930), p. 28.

A. Tabarant. _Manet, histoire catalographique_. Paris, 1931, pp. 264–65, no. 215, agrees with the identification of the man as Rudolphe Leenhoff and notes that the woman has not yet been identified; reprints contemporary criticism.

Charles Léger. _Édouard Manet_. Paris, 1931, p. 12, notes that it was not admired at the Salon.

Paul Jamot and Georges Wildenstein. _Manet_. Paris, 1932, vol. 1, pp. 60, 96, 112, 149, no. 244; vol. 2, fig. 176, identify the man as Rodolphe Leenhoff.

Paul Colin. _Édouard Manet_. Paris, 1932, pp. 42, 74, lists it with works painted in the summer and fall of 1874, but dates it 1875.

K. R. Gallas. Letter to the Director of the MMA. May 15, 1934, suggests that the man is Guy de Maupassant.

_Loan Exhibition of Paintings Celebrating the Opening of the Margaret Eaton Gallery and The East Gallery_. Exh. cat., Art Gallery of Toronto. Toronto, 1935, pp. 29, 38, no. 181, ill., notes that it was painted before 1879.

Jacques-Emile Blanche. _Portraits of a Lifetime: The Late Victorian Era, The Edwardian Pageant, 1870–1914_. \[reprint; 1st ed. 1937\]. 1938, p. 39, identifies the man as Baron Barbier, a friend of Guy de Maupassant.

_Edouard Manet nach eigenen und fremden Zeugnissen_. Ed. Hans Graber. Basel, 1940, p. 218, as "Im Boot".

Gotthard Jedlicka. _Édouard Manet_. Zürich, 1941, pp. 173–74, 404 n. 5, regards it as a preparation for "Argenteuil" (RW221; Musée des Beaux-Arts, Tournai) and "The Atelier of Claude Monet" (RW19; Bayerische Staatsgemäldesammlungen, Munich).

R. H. Wilenski. _Modern French Painters_. 2nd ed. London, 1944, p. 43, as "En bateau".

A. Tabarant. _Manet et ses œuvres_. 4th ed. (1st. ed. 1942). Paris, 1947, pp. 246–47, 345–49, 492, 512, 539, no. 226, fig. 226, states that it was painted a few days after "Argenteuil" (RW221), noting that Rudolph Leenhoff is the sitter.

Margaretta M. Salinger. "Notes." _Metropolitan Museum of Art Bulletin_ 5 (March 1947), p. 172, ill. (overall and detail on cover), notes that it was painted in the summer of 1874 in Argenteuil, at about the same time as "Argenteuil" (RW221); identifies the man as Rudolf Leenhoff and suggests that the woman is Manet's wife and his sister, Suzanne Leenhoff.

Fiske Kimball and Lionello Venturi. _Great Paintings in America_. New York, 1948, pp. 180–81, no. 83, ill. (color), dates it 1874 and agrees with the idenfication of the sitters as Madame Manet and her brother, Rodolphe Leenhoff; calls this more daring than "Argenteuil" (RW221), which was executed at about the same time, and notes that these works marked a turning point in the style of Manet; comments that Monet liked to paint on a boat, which he called his "studio," and that Manet painted Monet and Madame Monet twice on this boat, but left both sketches unfinished, suggesting that they were the first idea for this picture (RW218 and 219).

Lionello Venturi. _Impressionists and Symbolists_. Vol. 2, New York, 1950, pp. 23–24, fig. 20.

Douglas Cooper. _Manet: Paintings_. London, 1950, p. 5.

Josephine L. Allen and Elizabeth E. Gardner. _A Concise Catalogue of the European Paintings in The Metropolitan Museum of Art_. New York, 1954, p. 63.

George Heard Hamilton. _Manet and His Critics_. New Haven, 1954, pp. 211–12, 232, 265, pl. 31.

Theodore Rousseau Jr. "A Guide to the Picture Galleries." _Metropolitan Museum of Art Bulletin_ 12, part 2 (January 1954), pp. 7, 52, ill.

Jean Leymarie. _Impressionism_. Lausanne, 1955, vol. 2, p. 35, suggests that the couple pictured is the same as in "Argenteuil" (RW221).

Georges Bataille. _Manet: Biographical and Critical Study_. New York, 1955, pp. 94, 109, ill. (color).

Lionello Venturi. _Four Steps Toward Modern Art: Giorgione, Caravaggio, Manet, Cézanne_. New York, 1956, p. 57, fig. 23.

John Richardson. _Édouard Manet: Paintings and Drawings_. London, 1958, p. 126, no. 48, fig. 48.

Jacques Lethève. _Impressionnistes et symbolistes devant la presse_. Paris, 1959, p. 105.

Henri Perruchot. _La vie de Manet_. Paris, 1959, pp. 250–51, 280.

John Canaday. _Mainstreams of Modern Art_. New York, 1959, p. 177, fig. 198, states that the subject has been caught "snapshot fashion".

W\[ilhelm\]. Uhde. _Edouard Manet: Gemälde und Zeichnungen_. Cologne, 1959, pl. 48, as "Im Boot (En Bateau)".

Denis Rouart. _Manet_. London, 1960, pp. 61, 70.

Louisine W. Havemeyer. _Sixteen to Sixty: Memoirs of a Collector_. New York, 1961, p. 225, calls it "Marine"; states that Mary Cassatt referred to it as "the last word in painting" and that Manet painted it in a couple of days, just after he finished his prolonged work on "Argenteuil" (RW221).

J. Mathey. _Graphisme de Manet: Essai de catalogue raisonné des dessins_. Vol. 1, Paris, 1961, p. 33, under no. 135, publishes a study for the woman, done in 1874 (Ströllen collection, Paris).

Jean Leymarie. _French Painting: The Nineteenth Century_. Geneva, 1962, p. 168.

Henri Perruchot. _Édouard Manet_. New York, 1962, pp. 14, 87, no. 60, colorpl. 60.

Henri Perruchot. _Manet_. Ed. Jean Ellsmoor. Cleveland, 1962, pp. 205, 227.

Roger Charansonney. _Manet_. Paris, 1964, pp. 6, 14, colorpl. 12, as "En bateau"; calls it "un des témoignages les plus marquants" (one of the most significant testimonies) to this period of Manet's artistic interplay with Monet.

Denys Sutton. "The Discerning Eye of Louisine Havemeyer." _Apollo_ 82 (September 1965), pp. 232, fig. 5.

Anne Coffin Hanson. _Édouard Manet, 1832–1883_. Exh. cat., Philadelphia Museum of Art. Philadelphia, 1966, pp. 142–43, 145, no. 125, fig. 125 (overall and detail), notes that the higher point of view and the cut-off boat and sail are highly reminiscent of the style of many Japanese prints.

George Heard Hamilton. "Is Manet Still 'Modern'?" _Art News Annual_ 31 (1966), p. 162, dates it 1875; comments that the lack of a horizon shows the influence of Japanese art.

Charles Sterling and Margaretta M. Salinger. _French Paintings: A Catalogue of the Collection of The Metropolitan Museum of Art_. Vol. 3, _XIX–XX Centuries_. New York, 1967, pp. 24, 45–47, ill., date it summer of 1874.

Sandra Orienti in _The Complete Paintings of Manet_. New York, 1967, p. 103, no. 194, ill., and colorpl. XXXII \[French ed., pp. 103–4, no. 196\].

Margaretta M. Salinger. "Windows Open to Nature." _Metropolitan Museum of Art Bulletin_ 27 (Summer 1968), unpaginated, ill. (color and black and white, overall and detail).

Alain De Leiris. _The Drawings of Édouard Manet_. Berkeley, 1969, p. 125, under no. 429, publishes a drawing related to this work and suggests that the drawing published by Mathey \[see Ref. 1961\] is a copy by another hand.

Fritz Novotny. _Painting and Sculpture in Europe 1780–1880_. 2nd ed. Harmondsworth, 1971, p. 339, as "In a Sailing-Boat".

Hideya Sasaki. _Ed. Manet_. Tokyo, 1971, p. 128, fig. 41.

John Rewald. "The Impressionist Brush." _Metropolitan Museum of Art Bulletin_ 32, no. 3 (1973/1974), pp. 30–31, no. 19, ill. (overall and color detail).

Carl R. Baldwin. _The Impressionist Epoch_. Exh. brochure, The Metropolitan Museum of Art. \[New York\], 1974, pp. 12–13, ill.

Charles S. Moffett in _Impressionism: A Centenary Exhibition_. Exh. cat., The Metropolitan Museum of Art. New York, 1974, pp. 124–26, no. 22, ill. (color) \[French ed., "Centenaire de l'impressionnisme," Paris\], comments that pentimenti and x-rays reveal that originally the man at the tiller held the rope in his right hand but that "by altering the direction of the rope Manet removed a cue to logical perspective and thereby further emphasized the flatness of the picture space".

Pierre Courthion. _Manet_. Paris, 1974, p. 54.

Denis Rouart and Daniel Wildenstein. _Édouard Manet, catalogue raisonné_. Paris, 1975, vol. 1, pp. 6, 20, 24, 186–87, no. 223, ill.; vol. 2, p. 148, under nos. 400–401.

J. Kirk T. Varnedoe in _Gustave Caillebotte: A Retrospective Exhibition_. Exh. cat., Museum of Fine Arts, Houston. Houston, 1976, p. 122, fig. 1, describes this composition as a "partial precedent" for Caillebotte's "Canotiers" (Berhaut 1978, no. 75; private collection, Paris).

Theodore Reff. "Review of Rouart and Wildenstein 1975." _Art Bulletin_ 58 (December 1976), p. 637, states that the two sketches reproduced by Rouart and Wildenstein \[see Ref. 1975, nos. 400 and 401\] are copies by another hand.

Bernard Dorival in "Ukiyo-e and European Painting." _Dialogue in Art: Japan and the West_. Ed. Chisaburoh F. Yamada. New York, 1976, p. 36, fig. 18 (color).

Anne Coffin Hanson. _Manet and the Modern Tradition_. New Haven, 1977, pp. 77, 165, 190, fig. 109.

Paul Abe Isaacs. "The Immobility of the Self in the Art of Edouard Manet: A Study with Special Emphasis on the Relationship of his Imagery to That of Gustave Flaubert and Stephane Mallarmé." PhD diss., Brown University, 1977, pp. 221, 480 n. 143.

Bernard Dorival in _Pèlerinage à Watteau_. Exh. cat., Musée de la Monnaie. Paris, 1977, vol. 1, pp. 124–25, ill. p. 123, suggests a source for the female figure in Watteau's "Figures de différents caractères" (pl. 138), and, for the figure of Leenhof, in Watteau's "Le Printemps," known today only through an engraving by Etienne Brillon.

Michael Justin Wentworth Minneapolis Institute of Arts. _James Tissot: Catalogue Raisonné of his Prints_. Minneapolis, 1978, pp. 98, 231, under no. 20, fig. 20d, discusses it in relation to Tissot's etching of "The Thames" of 1876 (Minneapolis Institute of Arts).

Richard Shone. _Manet_. London, 1978, unpaginated, no. 28, colorpl. 28 and ill. on cover (color detail), states that the picture would be "inconceivable without the example of Japanese art" and that it evokes the "'floating world'" of Japanese prints.

Anne Distel. _Hommage à Claude Monet (1840–1926)_. Exh. cat., Galeries nationales du Grand Palais. Paris, 1980, p. 111.

Diane Kelder. _The Great Book of French Impressionism_. New York, 1980, pp. 81–82, 100, 436, ill. (color).

Theodore Reff. _Manet and Modern Paris_. Exh. cat., National Gallery of Art. Washington, 1982, p. 271.

Raymond Cogniat and Michel Hoog. _Manet_. Paris, 1982, pp. 23, 27, 38, no. 26, colorpl. 26.

Deborah Ann Gribbon. "Edouard Manet: The Development of His Art Between 1868 and 1876." PhD diss., Harvard University, 1982, pp. 159–60, 162–73, 178, 185, 197–98, 209, 218, 226, 231, pl. 60, as "En Bateau"; discusses it as an example of Manet's use of abstraction and distillation.

Charles S. Moffett in _Manet, 1832–1883_. Ed. Françoise Cachin and Charles S. Moffett. Exh. cat., The Metropolitan Museum of Art. New York, 1983, pp. 29, 33, 320, 356–59, 363, no. 140, ill. (color, overall and detail) \[French ed., Paris\], notes that the woman wears the same hat as Mme Monet in "On the Beach" (RW188) and "The Swallows" (RW190) and by Camille Monet in "The Monet Family in the Garden" (RW227, The Met 1976.201.14), but that she resembles neither painter's wife.

Françoise Cachin in _Manet, 1832–1883_. Ed. Françoise Cachin and Charles S. Moffett. Exh. cat., The Metropolitan Museum of Art. New York, 1983, p. 436 \[French ed., Paris\].

Pierre Daix. _La vie de peintre d'Édouard Manet_. Paris, 1983, pp. 258, 268, 279, 281, fig. 35 (detail), states that the couple is the same as in "Argenteuil" (1874, Musée des Beaux-Arts, Tournai).

Anne Coffin Hanson in _Manet, 1832–1883_. Ed. Françoise Cachin and Charles S. Moffett. Exh. cat., The Metropolitan Museum of Art. New York, 1983, p. 23 \[French ed., "Manet, 1832–1883," Paris, p. 23\].

Michael Wilson. _Manet at Work_. Exh. cat., National Gallery. London, 1983, p. 40, writes that it is likely that it was painted, at least in part, outdoors.

_Manet, 1832–1883_. Ed. Françoise Cachin and Charles S. Moffett. Exh. cat., The Metropolitan Museum of Art. New York, 1983, p. 537 \[French ed., Paris, p. 533\], include it among the paintings Manet exhibited to the public in his studio at 4, rue de Saint-Pétersbourg, Paris, in spring 1876.

Charles F. Stuckey. "Manet Revised: Whodunit?" _Art in America_ 71 (November 1983), p. 167.

Jean-Jacques Lévêque. _Manet_. Paris, 1983, pp. 126–27, ill. p. 125 (color), as "Couple sur le bateau à voiles" and "En bateau".

Charles S. Moffett. _Impressionist and Post-Impressionist Paintings in The Metropolitan Museum of Art_. New York, 1985, pp. 40–41, ill. (color).

Bradley Collins. "Manet's 'In the Conservatory' and 'Chez le Pere Lathuille'." _Art Journal_ 44 (Spring 1985), pp. 65–66, remarks on the figures' sharply divergent glances as serving the motif of detachment similarly found in "Argenteuil" and "In the Conservatory".

Siegfried Wichmann. _Japonisme: The Japanese Influence on Western Art in the 19th and 20th Centuries_. New York, 1985, p. 247, fig. 657 (cropped).

Frances Weitzenhoffer. _The Havemeyers: Impressionism Comes to America_. New York, 1986, pp. 56, 107, 117, 177, 257, 262 n. 9, colorpl. 60, mentions that this picture and Monet's "La Grenouillère" (The Met 29.100.112) were the only two "recreation pictures" to enter the Havemeyers' collection.

Kathleen Adler. _Manet_. Oxford, 1986, pp. 172–73, 176, 213, colorpl. 161, suggests that Camille Monet served as the model for this picture.

John House in _The Hidden Face of Manet: An Investigation of the Artist's Working Processes_. Exh. cat., Courtauld Institute Galleries. \[London?\], 1986, pp. 13, 19 n. 35.

Guy Cogeval. _From Courbet to Cézanne: A New 19th Century; Preview of the Musée d'Orsay, Paris_. Exh. cat., Brooklyn Museum. Paris, 1986, p. 75, as "In the Boat".

H. Wayne Morgan, ed. _An American Art Student in Paris: The Letters of Kenyon Cox, 1877–1882_. Kent, Ohio, 1986, p. 20, cites Cox's review of the picture at the Salon of 1879.

Gary Tinterow et al. _The Metropolitan Museum of Art_. Vol. 8, _Modern Europe_. New York, 1987, pp. 18–20, colorpl. 6.

Charles F. Stuckey in Charles F. Stuckey and William P. Scott. _Berthe Morisot, Impressionist_. Exh. cat., National Gallery of Art, Washington. New York, 1987, p. 82, fig. 54, calls Morisot's "The Lake in the Bois de Boulogne (Summer Day)" (National Gallery, London) a "reprise" of this picture.

Kirk Varnedoe. _Gustave Caillebotte_. New Haven, 1987, p. 98, pl. 20a \[rev. ed. of Varnedoe 1976\].

Richard Wollheim. _Painting as an Art: The A. W. Mellon Lectures in the Fine Arts, 1984, The National Gallery of Art, Washington, D.C._ Princeton, 1987, p. 151, fig. 115.

Robert L. Herbert. _Impressionism: Art, Leisure, and Parisian Society_. New Haven, 1988, pp. 152, 182, 236, 238, 245, 248, 277, 313 nn. 38–40, colorpl. 238, calls Morisot's "Summer's Day" (1879, National Gallery, London) a competitive reformulation of Manet's "Boating" and "Argenteuil" (1874, Musée des Beaux-Arts, Tournai); notes that Rodolphe Leenhoff wears the uniform of members of the Cercle nautique and that the boat is an old-fashioned one like the one at left in "Argenteuil".

Nathalie Malterre. "Société et vie parisienne dans l'oeuvre de Manet." PhD diss., Université de Paris-Sorbonne, 1988, vol. 1, pp. 152, 193, 195, 198–202, 204–5, 302, 304, 322; vol. 2, pl. 20a, compares the environment evoked in the painting to that in Guy de Maupassant's "Yvette" (1884).

T. A. Gronberg, ed. _Manet: A Retrospective_. New York, 1988, pp. 15–16, colorpl. 66.

Éric Darragon. _Manet_. Paris, 1989, pp. 225, 267, 307, 321, 411, 431.

Horst Keller. _Edouard Manet_. Munich, 1989, pp. 119, 174, pl. 95, as "Im Boot".

Juliet Wilson-Bareau. "L'année impressionniste de Manet: Argenteuil et Venise en 1874." _Revue de l'art_ 86 (1989), pp. 29, 32, 34 n. 24, fig. 4, dates it 1874–75.

Françoise Cachin. _Manet_. \[Paris\], 1990, pp. 24, 116, 158, ill. (color), suggests that the woman was a professional model.

T. A. Gronberg. _Manet: A Retrospective_. New York, 1990, p. 15, colorpl. 66, notes that Manet began working on this in August 1874.

Martine Bacherich. _Je regarde Manet_. Paris, 1990, p. 120.

Norma Broude. "A World of Light: France and the International Impressionist Movement, 1860–1920." _World Impressionism: The International Movement, 1860–1920_. Ed. Norma Broude. New York, 1990, p. 28, colorpl. 26.

Robert Rosenblum. "Friedrichs from Russia: An Introduction." _The Romantic Vision of Caspar David Friedrich: Paintings and Drawings from the U.S.S.R._ Ed. Sabine Rewald. New York, 1990, pp. 12–13, fig. 13, compares it to Friedrich's "On the Sailboat" (State Hermitage Museum, Leningrad) of 1818–19.

Éric Darragon. _Manet_. Paris, 1991, pp. 260, 286, 288, 377, 381, colorpl. 204, publishes a caricature by Stop that originally appeared in Le journal amusant \[see Stop 1879\].

Juliet Wilson-Bareau. _Manet by Himself, Correspondence & Conversation: Paintings, Pastels, Prints & Drawings_. Boston, 1991, pp. 186, 311 no. 163, colorpl. 163, dates it 1874–76.

Peter H. Feist. "Der Impressionismus in Frankreich." _Malerei des Impressionismus, 1860–1920_. Ed. Ingo F. Walther. Vol. 1, Cologne, 1992, pp. 163, 221, ill. p. 138 (color), as "Die Bootspartie/En bateau".

Lesley Stevenson. _Manet_. New York, 1992, pp. 22, 125–26, 129, ill. pp. 124–25 (color), notes that the canvas is much larger than Monet's and Renoir's portable canvases, suggesting that it was painted in the studio; states that the models are the same as in the Tournai painting.

Lorenz Eitner. _An Outline of 19th Century European Painting: From David Through Cézanne_. New York, 1992, pp. 305, 307, fig. 280, states that it "has the look of a particularly careful performance, designed for exhibition".

Louisine W. Havemeyer. _Sixteen to Sixty: Memoirs of a Collector_. Ed. Susan Alyson Stein. 3rd ed. \[1st ed. 1930, repr. 1961\]. New York, 1993, pp. 225, 334 n. 325, p. 340 n. 400, comments that the Havemeyers saw this picture on their trip to Europe in 1889 at the Exposition Centennale des Beaux-Arts.

Susan Alyson Stein in _Splendid Legacy: The Havemeyer Collection_. Exh. cat., The Metropolitan Museum of Art. New York, 1993, pp. 210, 219.

Gary Tinterow in _Splendid Legacy: The Havemeyer Collection_. Exh. cat., The Metropolitan Museum of Art. New York, 1993, p. 27, colorpl. 31.

Vivien Perutz. _Édouard Manet_. Lewisburg, Pa., 1993, pp. 164–66, 175, 220 n. 20, colorpl. 45, compares it to Manet's "On the Beach" (RW188; Musée d'Orsay, Paris) and to "Argenteuil" (RW221); suggests that the woman was added later; notes its dependence on James Tissot's "Young Lady in a Boat" (ca. 1870, private collection), which appeared in the Salon of 1870.

Nigel Blake and Francis Frascina in "Modern Practices of Art and Modernity." _Modernity and Modernism: French Painting in the Nineteenth Century_. New Haven, 1993, pp. 115, 118, pl. 106, compares it with Manet's "Argenteuil" (RW221), stating that both depict Rodolphe Leenhoff.

Gretchen Wold in _Splendid Legacy: The Havemeyer Collection_. Exh. cat., The Metropolitan Museum of Art. New York, 1993, p. 356, no. A358, ill.

_Manet by Manet_. Ed. Yasuto Ota. Tokyo, 1993, pp. 66–67, ill. (color).

Anne Distel. _Gustave Caillebotte, 1848–1894_. Exh. cat., Galeries nationales du Grand Palais. Paris, 1994, p. 116, under no. 23, fig. 2, cites this painting, which Caillebotte may have seen in 1876, as a compositional influence for both the placement and cropping of his "Partie de bateau" (Berhaut 1994, no. 121; private collection).

James H. Rubin. _Manet's Silence and the Poetics of Bouquets_. Cambridge, Mass., 1994, pp. 24, 80–81, fig. 51 (color), compares the flattening of the female figure in the foreground to that in Monet's paintings of a few years earlier, such as "On the Bank of the Seine, Bennecourt" (1868, Art Institute of Chicago); sees it as a disquisition on the connection in real life between alienation and aesthetics in modern leisure.

Janice Best. "The Chronotype and the Generation of Meaning." _Criticism_ 36 (Spring 1994), p. 298, fig. 1.

Katharine Baetjer. _European Paintings in The Metropolitan Museum of Art by Artists Born Before 1865: A Summary Catalogue_. New York, 1995, p. 446, ill.

Hans Körner. _Edouard Manet: Dandy, Flaneur, Maler_. Munich, 1996, pp. 149, 151, 154, 175, colorpl. 121.

Beth Archer Brombert. _Édouard Manet: Rebel in a Frock Coat_. Boston, 1996, pp. 361, 395–96, 408, compares it to "In the Conservatory" (RW289).

Alan Krell. _Manet and the Painters of Contemporary Life_. London, 1996, pp. 134, 138, 179, colorpl. 122, discusses the gaze of the man and woman, noting that her gaze runs along the surface of the canvas, accentuating the flatness and two-dimensionality of the picture.

Eliza E. Rathbone in _Impressionists on the Seine: A Celebration of Renoir's "Luncheon of the Boating Party"_. Exh. cat., Phillips Collection. Washington, 1996, pp. 28–30, 34, 41, colorpl. 27, compares it to Manet's "Argentueil" (RW221), noting that the pair in The Met's picture is a "couple of superior social station"; comments on the striking newness of the composition, which may explain Manet's five year wait before submitting it to the Salon of 1879; mentions that this work inspired Renoir's "Girl in a Boat" (private collection) of 1877.

Katherine Rothkopf. _Impressionists on the Seine: A Celebration of Renoir's 'Luncheon of the Boating Party'_. Exh. cat., Phillips Collection. Washington, 1996, pp. 79–80.

Lisa Portnoy Stein. _Impressionists on the Seine: A Celebration of Renoir's 'Luncheon of the Boating Party'_. Exh. cat., Phillips Collection. Washington, 1996, p. 242.

Jack Flam. "Looking into the Abyss: The Poetics of Manet's A Bar at the Folies-Bergère." _12 Views of Manet's "Bar"_. Ed. Bradford R. Collins. Princeton, 1996, p. 179.

Colin B. Bailey in Colin B. Bailey. _Renoir's Portraits: Impressions of an Age_. Exh. cat., National Gallery of Canada, Ottawa. New Haven, 1997, p. 130, identifies the woman as Suzanne Leenhoff, noting that the bonnet worn here is the same one she wore in "On the Beach" (RW188).

Gary Tinterow in _La collection Havemeyer: Quand l'Amérique découvrait l'impressionnisme_. Exh. cat., Musée d'Orsay. Paris, 1997, p. 55, no. 20, ill. (color).

Sylvie Patin. "La collection Havemeyer." _48/14: La revue du Musée d'Orsay_ no. 5 (Fall 1997), p. 9.

Fred Licht. _Manet_. Milan, 1998, p. 62, fig. 38, dates it 1874–76.

Paul Hayes Tucker. _The Impressionists at Argenteuil_. Exh. cat., National Gallery of Art. Washington, 2000, pp. 26–27, 32, 36, 41 nn. 23, 34, p. 142, no. 40, ill. p. 143 (color), states that the skipper "furtively" touches his companion's foot with his own; calls the female figure's position "unladylike".

Jill Berk Jiminez in _Dictionary of Artists' Models_. Ed. Jill Berk Jiminez and Joanna Banham. London, 2001, p. 166, associates this painting's female model with Camille Monet.

Carol Armstrong. _Manet Manette_. New Haven, 2002, pp. 203, 212, 218, 220–23, fig. 106.

Manuela B. Mena Marqués in _Manet en el Prado_. Ed. Manuela B. Mena Marqués. Exh. cat., Museo Nacional del Prado. Madrid, 2003, pp. 21, 25, 296–99, 321, 372–73, 478, 484, no. 93, ill., colorpl. 93, fig. 139 (color detail), notes that the woman resembles Alice Lecouvé, the model Manet used for "Le Linge" (RW237; Barnes Foundation, Merion, Pa.).

Françoise Cachin in _Manet en el Prado_. Ed. Manuela B. Mena Marqués. Exh. cat., Museo Nacional del Prado. Madrid, 2003, pp. 36, 378.

Gilles Néret. _Edouard Manet, 1832–1883: Le premier des modernes_. Cologne, 2003, p. 64, ill. (color), as "En Bateau".

Julia Rowland Myers. "J. Alden Weir's Essay on 'Modern Life': 'In the Park' of 1879." _American Art Journal_ 34–35 (2003–4), pp. 173–74.

Mishoe Brennecke. "Double Début: Edouard Manet and 'The Execution of Maximilian' in New York and Boston, 1879-80." _Nineteenth-Century Art Worldwide_ 3 (Autumn 2004) \[http://www.19thc-artworldwide.org/autumn04/296--double-debut-edouard-manet-and-the-execution-of-maximilian-in-new-york-and-boston-1879-80\], notes that, despite making a splash at the Salon with this painting, Manet received no mention in American art journals and only one in a major New York newspaper.

Anne Distel in _Cézanne to Picasso: Ambroise Vollard, Patron of the Avant-Garde_. Ed. Rebecca A. Rabinow. Exh. cat., The Metropolitan Museum of Art. New York, 2006, p. 149 n. 6 \[French ed., "De Cézanne à Picasso: Chefs-d'oeuvre de la galerie Vollard," Paris, 2007, p. 161 n. 6\].

Richard R. Brettell and Stephen F. Eisenman. _Nineteenth-Century Art in the Norton Simon Museum_. Ed. Sara Campbell. Vol. 1, New Haven, 2006, p. 378, fig. 98a.

Gary Tinterow in _The Masterpieces of French Painting from The Metropolitan Museum of Art: 1800–1920_. Exh. cat., Museum of Fine Arts, Houston. New York, 2007, pp. 90–91, 230–31, no. 62, ill. (color and black and white) and fig. 13 (installation photo).

Juliet Wilson-Bareau in _Venice: From Canaletto and Turner to Monet_. Ed. Martin Schwander. Exh. cat., Fondation Beyeler. Basel, 2008, p. 148.

Karin Sagner. _Gustave Caillebotte: Neue Perspektiven des Impressionismus_. Munich, 2009, p. 165, fig. 86 (color).

Hans Körner and Manja Wilkens. _Séraphine Louis, 1864–1942: Biographie / Werkverzeichnis, Biographie / Catalogue raisonné_. Berlin, 2009, pp. 122–23, fig. 24 \[2nd ed., 2015\].

Anne Distel. _Renoir_. New York, 2010, p. 113, colorpl. 95.

Mathilde Arnoux et al., ed. _Correspondance entre Henri Fantin-Latour et Otto Scholderer, 1858–1902_. Paris, 2010, p. 210 n. 3.

James H. Rubin. _Manet: Initial M, Hand and Eye_. Paris, 2010, pp. 215, 295–98, 302, 353–55, 357, 361, 366, fig. 43 (color), discusses a sense of detachment, estrangement, and "emotional blankness" in the picture; remarks on the woman's resemblance to Manet's actress-friends Ellen Andrée and Jeanne Demarsy, but notes that any secure identification is difficult due to the figure's veil; identifies the object at far right as the male figure's rowing gloves.

Simon Kelly in _Manet, inventeur du Moderne_. Exh. cat., Musée d'Orsay. Paris, 2011, p. 63.

Stéphane Guégan in _Manet, inventeur du Moderne_. Exh. cat., Musée d'Orsay. Paris, 2011, pp. 211, 271.

Laurence Madeline. "C'était l'été 74. Manet face à Monet." _48/14: La revue du Musée d'Orsay_ no. 31 (Spring 2011), pp. 61–62, 63 n. 79, fig. 7 (color), discusses the picture in the context of Manet's "vampirization" of Monet's open-air painting techniques that summer.

MaryAnne Stevens in _Manet: Portraying Life_. Exh. cat., Toledo Museum of Art. London, 2012, pp. 74, 176, 180, under no. 12, p. 185, under no. 25.

Sarah Lea in _Manet: Portraying Life_. Exh. cat., Toledo Museum of Art. London, 2012, p. 174.

Jane Mayo Roos in _Perspectives on Manet_. Ed. Therese Dolan. Farnham, Surrey, 2012, pp. 89, 95 n. 53.

Robert Lethbridge in _Perspectives on Manet_. Ed. Therese Dolan. Farnham, Surrey, 2012, p. 102.

Stéphane Guégan in _Manet: Ritorno a Venezia_. Ed. Stéphane Guégan. Exh. cat., Palazzo Ducale. Venice, 2013, p. 269.

Flavio Fergonzi in _Manet: Ritorno a Venezia_. Ed. Stéphane Guégan. Exh. cat., Palazzo Ducale. Venice, 2013, fig. 76 (reproduction from "Emporium" \[1907\]).

Ed Lilley. "Manet and His London Critics Revisited." _Burlington Magazine_ 156 (April 2014), p. 233 n. 16.

Willibald Sauerländer. _Manet paints Monet: A Summer in Argenteuil_. Los Angeles, 2014, pp. 42, 44–46, 49, 63, 74 n. 18, fig. 29 (color), sees it as a prime example of Manet's "vacation painting" mode and a "sharply emphatic statement about the polarity in the roles of the sexes in contemporary bourgeois society".

Colin B. Bailey. "The Floating Studio." _New York Review of Books_ 62 (April 23, 2015), p. 54, contends that The Met's picture, rather than "Argenteuil" (1874, Musée des Beaux-Arts, Tournai) appeared on exhibition at the Deschamps Galleries in London in 1876.

Mary Morton et al. in Mary Morton and George T. M. Shackelford. _Gustave Caillebotte: The Painter's Eye_. Exh. cat., National Gallery of Art. Washington, 2015, pp. 207–8, 267 n. 4 (under Suburban Views), fig. 3 (color), note that The Met's picture may well have been the reference point for Caillebotte's "A Boating Party" (1877–78, private collection) and that it was probably intentional that Caillebotte placed his painting in the fourth impressionist exhibition of 1879, the same year that Manet's picture hung at the Salon.

Kathryn Calley Galitz. _The Metropolitan Museum of Art: Masterpiece Paintings_. New York, 2016, p. 441, no. 371, ill. pp. 377, 441 (color).

Michael Marrinan. _Gustave Caillebotte: Painting the Paris of Naturalism, 1872–1887_. Los Angeles, 2016, p. 168, fig. 82.

Ségolène Le Men and Sylvain Amic in _Scènes de la vie impressionniste: Manet, Renoir, Monet, Morisot . . ._ Exh. cat., Musée des Beaux-Arts, Rouen. Paris, 2016, p. 34.

_Edouard Manet_. Ed. Gerhard Finckh. Exh. cat., Von der Heydt-Museum. Wuppertal, 2017, pp. 118, 307, as "Im Boot".

Pierre Bourdieu. _Manet: A Symbolic Revolution_. Cambridge, 2017, pp. 207, 348, 476, colorpl. 29, mistakenly identifies Manet's brother-in-law in this painting as Ferdinand (rather than Rodolphe) Leenhoff.

Mary Morton in _Renoir and Friends: Luncheon of the Boating Party_. Exh. cat., Phillips Collection. Washington, 2017, pp. 72–73, discusses the picture in terms of the "erotics of boating".

David Pullins. _Manet: Three Paintings from the Norton Simon Museum_. Exh. cat., Frick Collection. New York, 2019, p. 79 n. 48, compares the pair of figures to that in "In the Conservatory" (1878/79, Nationalgalerie, Staatliche Museen, Berlin).

_Manet and Modern Beauty: The Artist's Last Years_. Ed. Scott Allan, Emily A. Beeny, and Gloria Groom. Exh. cat., Art Institute of Chicago. Los Angeles, 2019, p. 11, no. 3, ill. p. 186 (color).

Scott Allan in _Manet and Modern Beauty: The Artist's Last Years_. Ed. Scott Allan, Emily A. Beeny, and Gloria Groom. Exh. cat., Art Institute of Chicago. Los Angeles, 2019, pp. 14, 22–24, 274–75, no. 3, ill. (color, overall and detail), dates it 1874–75; discusses its appearance at the Salon of 1879 and its contrasts with "In the Conservatory" there; calls Manet's choice to exhibit the painting five years after its completion a gambit related to his artistic rivalry with Caillebotte, who showed his own boating scenes at the Impressionist exhibition one month prior; compares the picture to Emile Renouf's "A Helping Hand" (1881, private collection), which was shown at the following Salon possibly as a response to The Met's painting; compares the male sitter's pose to that of the Belvedere Torso.

Gloria Groom in _Manet and Modern Beauty: The Artist's Last Years_. Ed. Scott Allan, Emily A. Beeny, and Gloria Groom. Exh. cat., Art Institute of Chicago. Los Angeles, 2019, p. 73.

Emily A. Beeny in _Manet and Modern Beauty: The Artist's Last Years_. Ed. Scott Allan, Emily A. Beeny, and Gloria Groom. Exh. cat., Art Institute of Chicago. Los Angeles, 2019, p. 276.

Paloma Alarcó. _The Impressionists and Photography_. Exh. cat., Museo Nacional Thyssen-Bornemisza. Madrid, 2019, ill. p. 266 (in installation photograph of Paris 1884).

Laura D. Corey and Alice Cooney Frelinghuysen. "Visions of Collecting." _Making The Met, 1870–2020_. Ed. Andrea Bayer with Laura D. Corey. Exh. cat., The Metropolitan Museum of Art. New York, 2020, pp. 141, 265 n. 55.

Tyler E. Ostergaard. "Review of 'Manet and Modern Beauty'." _Nineteenth-Century Art Worldwide_ 19 (Spring 2020) \[https://doi.org/10.29411/ncaw.2020.19.1.15\].

Alice Gudera in _Manet and Astruc: Friendship and Inspiration_. Ed. Dorothee Hansen. Exh. cat., Kunsthalle Bremen. Madrid, 2021, pp. 75, 79 n. 74.

Stephan Wolohojian and Ashley E. Dunn. _Manet/Degas_. Exh. cat., Musée d'Orsay, Paris. New York, 2023, p. 298, colorpl. 114.

Samuel Rodary and Haley S. Pierce in Stephan Wolohojian and Ashley E. Dunn. _Manet/Degas_. Exh. cat., Musée d'Orsay, Paris. New York, 2023, p. 284.

_Manet/Degas_. Ed. Laurence des Cars, Stéphane Guégan, and Isolde Pludermacher. Exh. cat., Musée d'Orsay. Paris, 2023, p. 258, colorpl. 88.

Stéphane Guégan in _Manet/Degas_. Ed. Laurence des Cars, Stéphane Guégan, and Isolde Pludermacher. Exh. cat., Musée d'Orsay. Paris, 2023, p. 122.

Samuel Rodary in _Manet/Degas_. Ed. Laurence des Cars, Stéphane Guégan, and Isolde Pludermacher. Exh. cat., Musée d'Orsay. Paris, 2023, p. 243.

Colin B. Bailey. "A New Language of Modern Art." _New York Review of Books_ (December 21, 2023) \[https://www.nybooks.com/articles/2023/12/21/a-new-language-of-modern-art-manet-degas\].

Manet made a study after the figure of the woman in The Met’s painting that he enclosed with an undated letter (JPL Fine Arts, London). In an email of December 14, 2019, the Manet scholar Juliet Wilson-Bareau connected this drawing to the one reproduced in the illustrated catalogue for the Salon of 1879. Both a drawing after the London drawing reproduced in Rouart and Wildenstein 1975, vol. 2, no. 400, and another similar drawing (reproduced in Rouart and Wildenstein 1975, vol. 2, no. 401 and in Mathey 1961, no. 135) have been rejected by Reff (1976) as being by another hand.


## Learn more about this artwork

## Timeline of Art History

[Couples in Art](http://www.metmuseum.org/toah/hd/coup/hd_coup.htm "Couples in Art")

Essay

### [Couples in Art](http://www.metmuseum.org/toah/hd/coup/hd_coup.htm "Couples in Art")

[Impressionism: Art and Modernity](http://www.metmuseum.org/toah/hd/imml/hd_imml.htm "Impressionism: Art and Modernity")

Essay

### [Impressionism: Art and Modernity](http://www.metmuseum.org/toah/hd/imml/hd_imml.htm "Impressionism: Art and Modernity")

[Édouard Manet (1832-1883)](http://www.metmuseum.org/toah/hd/mane/hd_mane.htm "Édouard Manet (1832-1883)")

Essay

### [Édouard Manet (1832-1883)](http://www.metmuseum.org/toah/hd/mane/hd_mane.htm "Édouard Manet (1832-1883)")

[France, 1800-1900 A.D.](http://www.metmuseum.org/toah/ht/?period=10&region=euwf "France, 1800-1900 A.D.")

Chronology

### [France, 1800-1900 A.D.](http://www.metmuseum.org/toah/ht/?period=10&region=euwf "France, 1800-1900 A.D.")

## Museum Publications

[![The Romantic Vision of Caspar David Friedrich: Paintings and Drawings from the U.S.S.R.](https://cdn.sanity.io/images/cctd4ker/production/4e20f0ee6b3fd0c277052609d20cf3b9943e1ec3-250x313.jpg?w=250&fit=crop)](https://www.metmuseum.org/met-publications/the-romantic-vision-of-caspar-david-friedrich-paintings-and-drawings-from-the-ussr "The Romantic Vision of Caspar David Friedrich: Paintings and Drawings from the U.S.S.R.")

### [The Romantic Vision of Caspar David Friedrich: Paintings and Drawings from the U.S.S.R.](https://www.metmuseum.org/met-publications/the-romantic-vision-of-caspar-david-friedrich-paintings-and-drawings-from-the-ussr "The Romantic Vision of Caspar David Friedrich: Paintings and Drawings from the U.S.S.R.")

[![The Metropolitan Museum of Art: Masterpiece Paintings](https://cdn.sanity.io/images/cctd4ker/production/5c81e426d61da93e298e2c88b197deedc383f696-250x350.jpg?w=250&fit=crop)](https://www.metmuseum.org/met-publications/the-metropolitan-museum-of-art-masterpiece-paintings "The Metropolitan Museum of Art: Masterpiece Paintings")

### [The Metropolitan Museum of Art: Masterpiece Paintings](https://www.metmuseum.org/met-publications/the-metropolitan-museum-of-art-masterpiece-paintings "The Metropolitan Museum of Art: Masterpiece Paintings")

[![The Metropolitan Museum of Art. Vol. 8, Modern Europe](https://cdn.sanity.io/images/cctd4ker/production/36d3c339c45cd32a4fa6f17b639f828df760bf4f-250x327.jpg?w=250&fit=crop)](https://www.metmuseum.org/met-publications/the-metropolitan-museum-of-art-vol-8-modern-europe "The Metropolitan Museum of Art. Vol. 8, Modern Europe")

### [The Metropolitan Museum of Art. Vol. 8, Modern Europe](https://www.metmuseum.org/met-publications/the-metropolitan-museum-of-art-vol-8-modern-europe "The Metropolitan Museum of Art. Vol. 8, Modern Europe")

[![The Metropolitan Museum of Art Guide](https://cdn.sanity.io/images/cctd4ker/production/aae7240fd9d875ccbf7ef2dadec1d2f6da3f4863-250x473.jpg?w=250&fit=crop)](https://www.metmuseum.org/met-publications/the-metropolitan-museum-of-art-guide-1994 "The Metropolitan Museum of Art Guide")

### [The Metropolitan Museum of Art Guide](https://www.metmuseum.org/met-publications/the-metropolitan-museum-of-art-guide-1994 "The Metropolitan Museum of Art Guide")

[![Splendid Legacy: The Havemeyer Collection](https://cdn.sanity.io/images/cctd4ker/production/fa89e71c57020e53a9ce212f0765a6f7d8ae25b4-250x334.jpg?w=250&fit=crop)](https://www.metmuseum.org/met-publications/splendid-legacy-the-havemeyer-collection "Splendid Legacy: The Havemeyer Collection")

### [Splendid Legacy: The Havemeyer Collection](https://www.metmuseum.org/met-publications/splendid-legacy-the-havemeyer-collection "Splendid Legacy: The Havemeyer Collection")

[![Masterpieces of The Metropolitan Museum of Art](https://cdn.sanity.io/images/cctd4ker/production/192e4fb0fe6ed310754a77e021ebfb324893098d-250x318.jpg?w=250&fit=crop)](https://www.metmuseum.org/met-publications/masterpieces-of-the-metropolitan-museum-of-art-1993 "Masterpieces of The Metropolitan Museum of Art")

### [Masterpieces of The Metropolitan Museum of Art](https://www.metmuseum.org/met-publications/masterpieces-of-the-metropolitan-museum-of-art-1993 "Masterpieces of The Metropolitan Museum of Art")

[![Masterpieces of Painting in The Metropolitan Museum of Art](https://cdn.sanity.io/images/cctd4ker/production/aba5504c1afcd54b2ad55ded2782944752e37f41-250x358.jpg?w=250&fit=crop)](https://www.metmuseum.org/met-publications/masterpieces-of-painting-in-the-metropolitan-museum-of-art "Masterpieces of Painting in The Metropolitan Museum of Art")

### [Masterpieces of Painting in The Metropolitan Museum of Art](https://www.metmuseum.org/met-publications/masterpieces-of-painting-in-the-metropolitan-museum-of-art "Masterpieces of Painting in The Metropolitan Museum of Art")

[![Masterpieces of European Painting, 1800–1920, in The Metropolitan Museum of Art](https://cdn.sanity.io/images/cctd4ker/production/b4e49b901b93bd70244cfa35da7ebbdce55b1a88-250x331.jpg?w=250&fit=crop)](https://www.metmuseum.org/met-publications/masterpieces-of-european-painting-1800-1920-in-the-metropolitan-museum-of-art "Masterpieces of European Painting, 1800–1920, in The Metropolitan Museum of Art")

### [Masterpieces of European Painting, 1800–1920, in The Metropolitan Museum of Art](https://www.metmuseum.org/met-publications/masterpieces-of-european-painting-1800-1920-in-the-metropolitan-museum-of-art "Masterpieces of European Painting, 1800–1920, in The Metropolitan Museum of Art")

[![Manet/Degas](https://cdn.sanity.io/images/cctd4ker/production/2ca76a62cca66c4193a4cfd8706cf0bcda985521-250x305.jpg?w=250&fit=crop)](https://www.metmuseum.org/met-publications/manet-degas "Manet/Degas")

### [Manet/Degas](https://www.metmuseum.org/met-publications/manet-degas "Manet/Degas")

[![Manet, 1832–1883](https://cdn.sanity.io/images/cctd4ker/production/d62a65bc9cf15408dd8a2771b6edf29719c1f15a-250x320.jpg?w=250&fit=crop)](https://www.metmuseum.org/met-publications/manet-1832-1883 "Manet, 1832–1883")

### [Manet, 1832–1883](https://www.metmuseum.org/met-publications/manet-1832-1883 "Manet, 1832–1883")

[![Looking to Connect with European Paintings: Visual Approaches for Teaching in the Galleries](https://cdn.sanity.io/images/cctd4ker/production/be98c21557817fb8260da8fea6bc5e9a1cd5a480-250x193.jpg?w=250&fit=crop)](https://www.metmuseum.org/met-publications/looking-to-connect-with-european-paintings-visual-approaches-for-teaching-in-the-galleries "Looking to Connect with European Paintings: Visual Approaches for Teaching in the Galleries")

### [Looking to Connect with European Paintings: Visual Approaches for Teaching in the Galleries](https://www.metmuseum.org/met-publications/looking-to-connect-with-european-paintings-visual-approaches-for-teaching-in-the-galleries "Looking to Connect with European Paintings: Visual Approaches for Teaching in the Galleries")

[![Impressionist and Post-Impressionist Paintings in The Metropolitan Museum of Art](https://cdn.sanity.io/images/cctd4ker/production/9ae12380505330c626ab2c30e1a88097a3a1c3d3-250x309.jpg?w=250&fit=crop)](https://www.metmuseum.org/met-publications/impressionist-and-post-impressionist-paintings-in-the-metropolitan-museum-of-art "Impressionist and Post-Impressionist Paintings in The Metropolitan Museum of Art")

### [Impressionist and Post-Impressionist Paintings in The Metropolitan Museum of Art](https://www.metmuseum.org/met-publications/impressionist-and-post-impressionist-paintings-in-the-metropolitan-museum-of-art "Impressionist and Post-Impressionist Paintings in The Metropolitan Museum of Art")

[![Impressionism: A Centenary Exhibition](https://cdn.sanity.io/images/cctd4ker/production/d3a8389f8465c938f7e8784e0029db632d56ca83-250x272.jpg?w=250&fit=crop)](https://www.metmuseum.org/met-publications/impressionism-a-centenary-exhibition "Impressionism: A Centenary Exhibition")

### [Impressionism: A Centenary Exhibition](https://www.metmuseum.org/met-publications/impressionism-a-centenary-exhibition "Impressionism: A Centenary Exhibition")

[![Guide to The Metropolitan Museum of Art](https://cdn.sanity.io/images/cctd4ker/production/22e7467be458215930b83336187539eeb478dd8a-250x327.jpg?w=250&fit=crop)](https://www.metmuseum.org/met-publications/guide-to-the-metropolitan-museum-of-art-1972 "Guide to The Metropolitan Museum of Art")

### [Guide to The Metropolitan Museum of Art](https://www.metmuseum.org/met-publications/guide-to-the-metropolitan-museum-of-art-1972 "Guide to The Metropolitan Museum of Art")

[![French Paintings: A Catalogue of the Collection of The Metropolitan Museum of Art. Vol. 3, Nineteenth and Twentieth Centuries](https://cdn.sanity.io/images/cctd4ker/production/6d2c139a2f577a5fbd7d6f911e5ca2553c5558a7-250x365.jpg?w=250&fit=crop)](https://www.metmuseum.org/met-publications/french-paintings-a-catalogue-of-the-collection-of-the-metropolitan-museum-of-art-vol-3-nineteenth "French Paintings: A Catalogue of the Collection of The Metropolitan Museum of Art. Vol. 3, Nineteenth and Twentieth Centuries")

### [French Paintings: A Catalogue of the Collection of The Metropolitan Museum of Art. Vol. 3, Nineteenth and Twentieth Centuries](https://www.metmuseum.org/met-publications/french-paintings-a-catalogue-of-the-collection-of-the-metropolitan-museum-of-art-vol-3-nineteenth "French Paintings: A Catalogue of the Collection of The Metropolitan Museum of Art. Vol. 3, Nineteenth and Twentieth Centuries")

[![European Paintings in The Metropolitan Museum of Art by Artists Born before 1865: A Summary Catalogue](https://cdn.sanity.io/images/cctd4ker/production/dc8fd9ac5b6229dc57862abea88b52cd9e44cce2-250x299.jpg?w=250&fit=crop)](https://www.metmuseum.org/met-publications/european-paintings-in-the-metropolitan-museum-of-art-by-artists-born-before-1865-a-summary-catalogue "European Paintings in The Metropolitan Museum of Art by Artists Born before 1865: A Summary Catalogue")

### [European Paintings in The Metropolitan Museum of Art by Artists Born before 1865: A Summary Catalogue](https://www.metmuseum.org/met-publications/european-paintings-in-the-metropolitan-museum-of-art-by-artists-born-before-1865-a-summary-catalogue "European Paintings in The Metropolitan Museum of Art by Artists Born before 1865: A Summary Catalogue")

[![Art = Discovering Infinite Connections in Art History](https://cdn.sanity.io/images/cctd4ker/production/3ff67a6c75da93b3aa6b180e3e6444edbe384621-250x304.jpg?w=250&fit=crop)](https://www.metmuseum.org/met-publications/art-equals-discovering-infinite-connections-in-art-history "Art = Discovering Infinite Connections in Art History")

### [Art = Discovering Infinite Connections in Art History](https://www.metmuseum.org/met-publications/art-equals-discovering-infinite-connections-in-art-history "Art = Discovering Infinite Connections in Art History")

[![American Impressionism and Realism: The Painting of Modern Life, 1885–1915](https://cdn.sanity.io/images/cctd4ker/production/70669a732a56d84de58845ee979ffa34d2db790f-250x292.jpg?w=250&fit=crop)](https://www.metmuseum.org/met-publications/american-impressionism-and-realism-the-painting-of-modern-life-1885-1915 "American Impressionism and Realism: The Painting of Modern Life, 1885–1915")

### [American Impressionism and Realism: The Painting of Modern Life, 1885–1915](https://www.metmuseum.org/met-publications/american-impressionism-and-realism-the-painting-of-modern-life-1885-1915 "American Impressionism and Realism: The Painting of Modern Life, 1885–1915")

[!["The Impressionist Brush"](https://cdn.sanity.io/images/cctd4ker/production/3ae0bea6d8b142cf08f74cef4ba370d1faf62eab-250x328.jpg?w=250&fit=crop)](https://www.metmuseum.org/met-publications/the-impressionist-brush-the-metropolitan-museum-of-art-bulletin-v-32-no-3-1973-1974 "\"The Impressionist Brush\"")

### ["The Impressionist Brush"](https://www.metmuseum.org/met-publications/the-impressionist-brush-the-metropolitan-museum-of-art-bulletin-v-32-no-3-1973-1974 "\"The Impressionist Brush\"")

[!["Impressionists in the Metropolitan"](https://cdn.sanity.io/images/cctd4ker/production/715c8a311c7b9409799254197c78da0b97199a85-250x303.jpg?w=250&fit=crop)](https://www.metmuseum.org/met-publications/impressionists-in-the-metropolitan-the-metropolitan-museum-of-art-bulletin-v-27-no-1-summer-1968 "\"Impressionists in the Metropolitan\"")

### ["Impressionists in the Metropolitan"](https://www.metmuseum.org/met-publications/impressionists-in-the-metropolitan-the-metropolitan-museum-of-art-bulletin-v-27-no-1-summer-1968 "\"Impressionists in the Metropolitan\"")

See more

## Related Artworks

- All Related Artworks
- [In the same gallery](/art/collection/search?q=818&searchField=Gallery&showOnly=withImage%7ConDisplay)
- [By Edouard Manet](/art/collection/search?artist=Manet, Edouard$Edouard Manet)
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[![Cat and Flowers](https://collectionapi.metmuseum.org/api/collection/v1/iiif/375951/preview)](/art/collection/search/375951)

### [Cat and Flowers](/art/collection/search/375951)

Edouard Manet (French, Paris 1832–1883 Paris)

1869

[![The Smoker (Le Fumeur)](https://collectionapi.metmuseum.org/api/collection/v1/iiif/337436/preview)](/art/collection/search/337436)

### [The Smoker (Le Fumeur)](/art/collection/search/337436)

Edouard Manet (French, Paris 1832–1883 Paris)

1866–67

[![Boy with Soap Bubbles](https://collectionapi.metmuseum.org/api/collection/v1/iiif/337411/preview)](/art/collection/search/337411)

### [Boy with Soap Bubbles](/art/collection/search/337411)

Edouard Manet (French, Paris 1832–1883 Paris)

1867–69

[![The Smoker (Le Fumeur)](https://collectionapi.metmuseum.org/api/collection/v1/iiif/337437/preview)](/art/collection/search/337437)

### [The Smoker (Le Fumeur)](/art/collection/search/337437)

Edouard Manet (French, Paris 1832–1883 Paris)

1879–82

[![The Water Drinker](https://collectionapi.metmuseum.org/api/collection/v1/iiif/337412/preview)](/art/collection/search/337412)

### [The Water Drinker](/art/collection/search/337412)

Edouard Manet (French, Paris 1832–1883 Paris)

1870–74

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