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Against a hilly landscape and on a patch of dirt, five people wearing tattered clothing gather around a bearded man who holds a violin in his lap in this horizontal painting. Most of them have pale skin. Starting from the left is a barefoot young woman holding a blond baby to her chest. She faces our right, and her chestnut-brown hair hides her profile. She wears a black shirt over a calf-length skirt streaked with slate and aquamarine blue. To the right two young boys face us. The boy on the left of that pair wears a loose white shirt tucked into tan-colored pants and an upturned wide-brimmed hat. The boy next to him has short brown hair and is dressed in a black and brown vest and pants over a bone-white shirt. His right arm, to our left, is slung across the shoulders of the blond boy and he looks off to our right with dark, unfocused eyes. The man who holds the violin is to our right of center. He sits on a stone with his body facing our left, but he turns to look at us with dark eyes under heavy brows. He has tan skin, dark gray, curly hair, and a trimmed silvery gray beard. A wrinkle under one eye suggests he may smile slightly at us. He wears a loose brown cloak with a ragged bottom hem, teal-blue stockings, and black shoes. He holds a violin on his lap like a guitar. One hand fingers a chord on the neck of the violin, which comes toward us, and the other hand holds the bow and plucks a string. A sand-colored bag with a strap lies at his feet. Two men stand to our right of the musician. One wears a tall black top hat, a brown cloak, gray pants, and black shoes. His face is loosely and indistinctly painted but he has a beard. Finally, the sixth person is a man who stands along the right side of the painting and is cut off by that edge. He wears a turban, a black polka-dotted scarf, and a long black cloak or coat. One hand clutches the scarf and the other rests on a wooden cane by his side. His chin and long, light-colored beard tuck back against the scarf, and he looks off to our left with dark eyes. There are loosely painted olive and forest-green leaves in the upper left corner. The landscape beyond is painted with indistinct areas of muted green, blue, and brown. Bits of azure-blue sky peek through puffy white and gray clouds overhead. The artist signed and dated the lower right, “ed. Manet 1862.”

The Old Musician, 1862

Edouard Manet

West Building, Main Floor — Gallery 89

A ragtag group of people gathers around an elderly man holding a violin. He pauses, as if interrupted mid performance, and gazes directly at us. Who are these people? And where are they?

Beginning in the 1850s, Paris went through extensive urban renewal. The government tore down many older neighborhoods, forcing poor residents into the city’s undeveloped outskirts. Here Manet depicts homeless and marginalized people on a large scale normally reserved for the wealthy and powerful. He makes them visible, challenging us to acknowledge their humanity.

Dive deeper

In a review of the 1846 Salon, poet and critic Charles Baudelaire urged artists to depict "the heroism of modern life." Manet embodied Baudelaire's ideal painter of contemporary Paris. Emperor Napoleon III ordered the renovation of Paris under the direction of Baron Haussmann, and early in the 1860s the slum where Manet located his studio was being razed to accommodate the planned broad, tree–lined boulevards that still characterize the city. In this painting, Manet represented a strolling musician flanked by a gypsy girl and infant, an acrobat, an urchin, a drunkard, and a ragpicker—individuals the artist might have observed near his studio. The seemingly casual gathering is composed of the urban poor, possibly dispossessed by Haussmann’s projects. Neither anecdotal nor sentimental, Manet’s portrayal carries the careful neutrality of an unbiased onlooker, and this distinctly modern ambiguity and detachment are characteristic of all Manet's work.

By placing pigments side by side rather than blending tones, Manet could preserve the immediacy and directness of preliminary oil studies in his finished works. Effects produced by this technique were sharper and crisper than those obtained using academic methods. When they first encountered Manet's work early in the 1860s, Monet and Renoir admired his manner of painting and emulated it as they forged the style known as impressionism.

Object Data

Medium

oil on canvas

Dimensions

overall: 187.4 x 248.2 cm (73 3/4 x 97 11/16 in.)

framed: 238.76 x 297.82 cm (94 x 117 1/4 in.)
framed weight: 275 lb.

Credit Line

Chester Dale Collection

Accession Number

1963.10.162

Artists / Makers

Edouard Manet (artist) French, 1832 - 1883

Image Use

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Detail Information

Inscription

lower right: ed. Manet 1862

Provenance

(Manet sale, Paris, 4 February 1884, no. 9, withdrawn). (Camentron, Paris); possibly from whom purchased 1897 by (Durand-Ruel, New York and Paris), until at least 1904.[1] Alexandre Berthier, 4th Prince de Wagram [1883-1918], Paris, by 1906. P.R. Pearson, Paris, by 1912. (Galerie Arnot, Vienna); purchased 1913 by Österreichische Staatsgalerie (now Österreichische Galerie Belvedere), Vienna; released 1923 in exchange for two other paintings, possibly to (Galérie Barbazanges, Paris);[2] (Hodebert, Paris).[3] Acquired 1930 in Germany by (Galerie Étienne Bignou, Paris) for (Alex Reid & Lefèvre, London);[4] sold 1930 to Chester Dale [1883-1962], New York; bequest 1963 to NGA.

[1] In 1904 Durand-Ruel lent the painting to an exhibition in Dublin organized by the collector Hugh Lane (1875-1915), who established that city's Municipal Gallery of Modern Art in 1908. Sarah Herring, Assistant Curator of 19th Century Paintings, National Gallery, London, first brought the 1904 exhibition to the NGA's attention (letter to Philip Conisbee, 11 February 2002, in NGA curatorial files). Dr. Philip McEvansoneya, Head of the Department of the History of Art and Architecture at Trinity College, Dublin, kindly provided references to reviews of the exhibition, and suggested that Lane may have considered purchasing the painting, as the collector did buy several other works lent by Durand-Ruel (e-mail, 8 June 2006, and letter, 20 July 2006, in NGA curatorial files).

[2] In several publications during the 20th century (1919, 1925, and 1960), the painting is referred to as being owned by the "Musée de Vienne, Autriche" and "the Vienna Gallery." An inquiry to the Kunsthistorisches Museum in Vienna was made in 2007, but no records concerning the painting were found. However, Karl Schütz, director of the KHM, suggested the painting had probably been instead at the Belvedere Museum, previously called the Österreichische Galerie; see e-mail from Elke Oberthaler of the KHM, 31 August 2007, in NGA curatorial files. This was confirmed by Monika Mayer, of the Österreichische Galerie Belvedere, who kindly provided details of the 1923 transaction (see her e-mail, 12 December 2007, in NGA curatorial files). The two paintings for which the Manet was exchanged were Marietta by Jean-Baptiste-Camille Corot and Badende by Auguste Renoir.

[3] Hodebert was the successor to the Galerie Barbarzanges, which had been located on the property of fashion designer Paul Poiret. Poiret went bankrupt in early 1923 and lost the property; it is likely that the gallery changed hands at that time.

[4] Correspondence between Bignou and Reid & Lefèvre dated April-September 1930 (Lefèvre archives, Hyman Kreitman Research Centre, Tate Britain, London, TGA 2002/11, Box 218). The painting was possibly acquired through the Galerie Matthiesen in Berlin, where it was exhibited in 1928.

Associated Names

Belvedere
Bignou, Etienne
Camentron
Dale, Chester
Durand-Ruel et Cie
Galerie Arnot
Galerie Barbazanges
Hodebert
Pearson, P.R.
Reid & Lefèvre, Ltd, Alex
Sale, Paris
Wagram, Alexandre Berthier, 4th Prince de

Exhibition History

1863: Galerie Martinet, Paris, 1863, no. 136.

1867: Tableaux de Edouard Manet, Avenue de l'Alma, Paris, 1867, no. 10.

1884: Exposition Manet, Ecole des Beaux Arts, Paris, 1884, no. 16.

1898: Exhibition of International Art, The International Society of Sculptors, Painters and Gravers, London, 1898, no. 55, as Vagabond Musicians.

1904: Catalogue of Pictures Presented to the City of Dublin to form the nucleus of a Gallery of Modern Art; also Pictures Lent by the Executors of the late Mr. J. Staats Forbes, and Others, Royal Hibernian Academy, Dublin, 1904, no. 51, as The Itinerant Musician.

1905: Derde Tentoonstelling van Schilderijen, E.J. van Wisselingh & Co., held at Pulchri Studio, The Hague, 1905, no. 87, as Le musucien ambulant.

1905: Pictures by Boudin, Cézanne, Degas, Manet, Monet, Morisot, Pissarro, Renoir, Sisley, Grafton Galleries, London, 1905, no. 100.

1905: Salon d'Automne, Paris, 1905, no. 5.

1912: Exposition centennale de l'art français. Saint Petersbourg, 1912, no. 401.

1927: A Century of French Painting, exhibition organized by Alex Reid & Lefevre and held at McLellan Galleries, Glasgow, 1927, no. 18, repro.

1928: Cent ans de peinture française, E.J. van Wisselingh & Co., Amsterdam, 1928, no. 42.

1928: Edouard Manet 1832-1883, Galerie Matthiesen, Berlin, 1928, no. 8.

1930: Ausstellung von Meisterwerken Deutscher und Französischer Malerei des 19. Jahrhunderts, Kunstverein für die Rheinland und Westfalen, Düsseldorf, January/February 1930, no. 46

1930: Cent ans de peinture française, Galerie Georges Petit, Paris, 1930, no. 15, repro.

1932: Exposition Manet, Musée de l'Orangerie, Paris, 1932, no. 10.

1965: The Chester Dale Bequest, National Gallery of Art, Washington, D.C., 1965, unnumbered checklist.

1980: Picasso: The Saltimbanques, National Gallery of Art, Washington, D.C., 1980, no. 10, fig. 6.

1982: Manet and Modern Paris, National Gallery of Art, Washington, D.C., 1982-1983, no. 67, repro.

2010: From Impressionism to Modernism: The Chester Dale Collection, National Gallery of Art, Washington, January 2010-January 2012, unnumbered catalogue, repro.

Bibliography

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1952: "Chester Dale's Collection." Pictures on Exhibit Vol XV, no 3 (December 1952): 10, repro.

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1954: Epstein, Lewis. "What is Great Art?" Gazette des Beaux-Arts VI period, XLIII (May-June 1954): 294-296.

1954: Hamilton, George Heard. Manet and His Critics. New Haven, 1954: 38, 105, 271, 276, 278.

1954: Sandblad, Nils Gösta. Manet: Three Studies in Artistic Conception. Lund, 1954: 28-31, repro.

1955: Bataille, Georges. Manet. Translated by Austryn Wainhouse and James Emmons. Lausanne, 1955: 38-41.

1955: Vaudoyer, Jean-Louis. E. Manet. Paris, 1955: no. 11, repro.

1956: Fosca, François. La peinture française au XIXe siècle. Paris, 1956: 109, repro.

1957: Pars, H. H. Pictures in Peril. Translated by Kathrine Talbot. Oxford, 1957: 8.

1957: Shapley, Fern Rusk. Comparisons in Art: A Companion to the National Gallery of Art, Washington, DC. London, 1957 (reprinted 1959): pl. 110.

1957: Taubes, Frederic. "Francophobia." American Artisit 21, no. 2 (February 1957): 18, repro.

1958: Richardson, John. Edouard Manet: paintings and drawings. London, 1958: no. 7, repro.

1959: Hemmings, F.W.J. and Niess, Roberts, eds. Emile Zola: Salons. Geneva, 1959: 95.

1960: The National Gallery of Art and Its Collections. Foreword by Perry B. Cott and notes by Otto Stelzer. National Gallery of Art, Washington (undated, 1960s): 23, repro.

1963: MacNeil, Neil. "Chester Dale: Collector." McCalls (November 1963):213.

1963: Walker, John. National Gallery of Art, Washington, D.C. New York, 1963 (reprinted 1964 in French, German, and Spanish): 254, repro.

1964: De Leiris, Alain. "Manet, Guéroult and Chrysippos." The Art Bulletin XLVI (September 1964): 401-404, repro.

1965: Eighteenth and Nineteenth Century Paintings & Sculpture of the French School in the Chester Dale Collection, National Gallery of Art, Washington, 1965: 70, repro.

1965: Summary Catalogue of European Paintings and Sculpture. National Gallery of Art, Washington, 1965: 82.

1966: Cairns, Huntington, and John Walker, eds. A Pageant of Painting from the National Gallery of Art. 2 vols. New York, 1966: 2:422, color repro.

1966: Feller, Glorionna Colton. A Study of the Sources for Manet's "The Old Musician." Ph.D. dissertation, Columbia University, New York, 1966.

1966: Hanson, Anne Coffin. Edouard Manet 1832-1883. Exh. cat. Philadelphia Museum of Art, 1966:43-45, repro.

1967: Bowness, Alan. "Manet and Mallarmé." Bulletin of the Philadelphia Museum of Art LXII, no. 193 (April-June 1967): 221, repro.

1968: Bodelsen, Merete. "Early Impressionist Sales 1874-94 in the light of some unpublished 'procès-verbaux'." The Burlington Magazine 110 (June 1968): 341.

1968: Hanson, Anne Coffin. "Manet's Subject Matter and a Source of Popular Imagery." Museum Studies 3 (1968):70-72, repro.

1968: Liebmann, Kurt. Edouard Manet. Dresden, 1968: 8, 29, 46-47, repro. fig. 5.

1968: National Gallery of Art. European Paintings and Sculpture, Illustrations. Washington, 1968: 71, repro.

1969: Farwell, Beatrice. "Manet's Espada and Marcantonio." Metropolitan Museum of Art Journal 2 (1969): 206.

1969: Fried, Michael. "Manet's Sources, Aspects of his Art, 1859-1865." Artforum 7 (March 1969): 28-82.

1969: La Coste-Messelière, M.-G. de. "Un jeune prince amateur d'impressionnistes et chauffeur." L'Oeil 179 (November 1969): repro. 19.

1969: Reff. Theodore. "'Manet's Sources': A Critical Evaluation." Artforum 8 (September 1969):40-48.

1969: Walker, John. Self Portrait with Donors. Boston & Toronto, 1969: 168.

1970: Hanson, Anne Coffin. "Edouard Manet, 'Les Citanos,' and the Cut Canvas."The Burlington Magazine 112 (March 1970): 158-167.

1970: Orienti, Sandra and Denis Rouart. Edouard Manet. Paris, 1970: no. 44, repro.

1970: Reff, Theodore. "Manet and Blanc's 'Histoire de Peintures'." The Burlington Magazine 112, no. 808 (July 1970): 456-457.

1971: Gállego, Julian. "Goya en el arte moderno." Goya (January-February 1971): 256.

1972: Bazin, Germain. Edouard Manet. Milan, 1972: 19-21, 88-89.

1972: Hanson, Anne Coffin. "Popular Imagery and the Work of Edouard Manet" in French Nineteenth Century Paintings and Literature, Ulrich Finke, ed. New York, 1972:133-163, repro.

1973: Finley, David Edward. A Standard of Excellence: Andrew W. Mellon Founds the National Gallery of Art at Washington. Washington, 1973: 110, 111 repro.

1974: Rewald, John. "Jours sombres de l'impressionnisme." L'Oeil no. 223 (February 1974): 17, repro.

1975: Collins, Bradford R. "Manet's 'Rue Mosnier Decked with Flags' and the Flâneur Concept." The Burlington Magazine 117, no. 872 (November 1975): 713.

1975: European Paintings: An Illustrated Summary Catalogue. National Gallery of Art, Washington, 1975: 212, repro.

1975: Georgel, Pierre. "Les Transformations de la peinture vers 1848, 1855, 1863." Revue de l'Art 27 (1975): 64-65, repro.

1975: Mauner, George. Manet: Peintre-Philosophe; A Study of the Painter's Themes. University Park, PA, and London, 1975:2, 18, 46-79, 88, 94, 148. 159, 170, 202.

1975: Rouart, Denis and Daniel Wildenstein. Edouard Manet, catalogue raisonné 2 vols. Lausanne and Paris, 1975:I:4, 62-63; II: 120-121.

1976: Richardson, John. Manet. Oxford, 1976:6, plate.4.

1977: Hanson, Anne Coffin. Manet and the Modern Tradition. New Haven and London, 1977:36,55-57,61-67,114,120,134,169,198,202, repro.11

1977: Johnson, Ronald. "Picasso's Parisian Family and the 'Saltimbanques'." Arts Magazine 51, no. 5 (January 1977): 90-95, repro.

1978: Brown, Marilyn R. "Manet's Old Musician: Portrait of a Gypsy and Naturalist Allegory." Studies in the History of Art 8 (1978): 77-87, repro.

1978: King, Marian. Adventures in Art: National Gallery of Art, Washington, D.C. New York, 1978: 84, pl. 50.

1979: Watson, Ross. The National Gallery of Art, Washington. New York, 1979: 111, pl. 97.

1980: Carmean, E.A., Jr. Picasso: The Saltimbanques. Exh. cat. National Gallery of Art, Washington, 1980:22, repro.

1980: Kelder, Diane. The Great Book of French Impressionism. New York, 1980: 70, 436, repro. 89

1980: Reff, Theodore. "Courbet and Manet." Arts Magazine 54, no. 7 (March 1980): 99, repro.

1981: Dufwa, Jacques. Winds from the East : a study in the art of Manet, Degas, Monet and Whistler, 1856-86. Stockholm, 1981: 53-54, repro.

1981: Farwell, Beatrice. "Manet and the Nude: A Study in Iconography in the Second Empire." Ph.D. dissertation, University of California, Los Angeles, 1973. New York, 1981: 21, 85, 91, 94-96, 160, 186, 191, 301, 382.

1982: Ross, Novelene. Manet's 'Bar at the Folies-Bergère' and the Myths of Popular Illustration. Ann Arbor, 1982:30, 91

1984: Walker, John. National Gallery of Art, Washington. Rev. ed. New York, 1984: 446, no. 646, color repro.

1985: Athill, Philip. "The International Society of Sculptors, Painters and Gravers." Burlington Magazine 127, no. 982 (January 1985): 25

1985: European Paintings: An Illustrated Catalogue. National Gallery of Art, Washington, 1985: 245, repro.

1988: Reff, Theodore. "Manet and the Paris of his Time." InKunst um 1800 und die Folgen: Werner Hoffmann zu Ehren Christian Beutler, Peter-Klaus Schuster und Martin Warnke, eds. Munich, 1988: 248+

1991: Champa, Kermit Swiler. The Rise of Landscape Painting in France: Corot to Monet. Exh. cat. The Currier Gallery of Art, Manchester, 1991: 50, repro.

1991: Coman, Florence E. Joie de Vivre: French Paintings from the National Gallery of Art. Washington, 1991:9, repro.

1991: Darragon, Eric. Manet. Paris, 1991:82-86, repro.

1991: Kopper, Philip. America's National Gallery of Art: A Gift to the Nation. New York, 1991: 239,247, color repro.

1991: Wilson-Bareau, Juliet, ed. Manet by Himself: Paintings, Pastels, Prints & Drawings. London, 1991:no. 51.

1992: Carr-Gomm, Sarah. Manet. London, 1992: 50.

1992: National Gallery of Art, Washington. National Gallery of Art, Washington, 1992: 185, repro.

1992: Stevenson, Lesley. Manet. New York, 1992:42, repro.

1993: Frascina, Francis et. al. Modernity and Modernism: French Painting in the Nineteenth Century. New haven and London, 1993:82, repro.

1993: Perutz, Vivien. Edouard Manet. London and Toronto, 1993: repro. plate 6.

1994: Asséo, Henriette. Les Tsiganes Une Destinée Européenne. Paris, 1994: 64, repro.

1994: Kuhn-Wengenmayr, Annemarie. " Die Metrisierung in einigen Figurenblldern Eduard Manets un deren künstlerische Herkunft." In Festschrift Lorenz Dittmann.Hans-Caspar Graf von Bothmer, Klaus Güthlein, and Rudolf Kuhn, eds Frankfurt am Main and New York, 1994: 115-130.

1994: Rubin, James H. Manet's Silence and the Poetics of Bouquets. Cambridge, 1994:39, repro.

1995: Smith, Paul. Impressionism Beneath the Surface. New York, 1995: 44-45, repro.

1996: Körner, Hans. Edouard Manet: Dandy, Flaneur, Maler. Munich, 1996: 54-55, 227, color fig. 41.

1997: Kelder, Diane. The Great Book of French Impressionism, 1997, no. 76, repro.

1998: Eisen, Arnold M. Rethinking Modern Judaism. Chicago and London, 1998: 167, repro.

1999: Townsend, Richard P. "La Petite Bergère: William Bouguereau und der "goût espanol" im Frankreich des 19. Jahrhunderts." Belvedere Heft 2/99 (1999): 44, repro.

2000: Fried, Michael. Le modernisme de Manet. Paris, 2000: repro. 39.

2001: Brooke, Xanthe. "Seville and Beyond: The Taste for Murillo's Genre Painting Across Europe." In Murillo Scenes of Childhood. Exh. cat. Dulwich Picture Gallery and Alte Pinacothek, Munich, 2001:72, repro.

2001: Southgate, M. Therese. "The Cover: Edouard Manet, The Old Musician." Journal of the American Medical Association 285, no. 2 (10 January 2001): 137, cover repro,

2004: Hand, John Oliver. National Gallery of Art: Master Paintings from the Collection. Washington and New York, 2004: 363-364, no. 298, color repro.

2008: Picasso et les maitres. Exh. cat. Galeries nationales du Grand Palais, Musée du Louvre, and Musée d'Orsay, Paris, 2008: 345.

2009: Jones, Kimberly, and Ann Hoenigswald. "Shedding New Light on The Old Musician." Bulletin / National Gallery of Art, no. 41 (Fall 2009): 2-6, 8-13, figs. 1, 6, 7, 8, 9, 10, 11.

2014: Fried, Michael Another Light: Jacques-Louis David to Thomas Demand. New Haven, 2014: 3, 21, 22, 25, color fig. 10.

2015: Kim, Liza. "Manet and the Logic of Practice." Art History 38, no. 1 (February 2015): 216, 217, color fig. 1.

2016: Sund, Judy. “Why So Sad? Watteau’s Pierrots.” Art Bulletin 98, no. 3 (September 2016): 337-338, color fig. 22, 346, nt. 214 and 215.