Lot Essay
Executed circa 1870-1872, Eva Gonzalès’ Portrait de Jeanne Gonzalès is a finely rendered and intimate portrait of the artist’s sister. Capturing the soft, diaphanous fabric of her subject’s dress, this gouache and watercolour on paper was the study for an oil painting of the same name (Sainsaulieu & de Mons, no. 42, private collection, New York). Although she did not exhibit with the Impressionists, preferring instead to pursue recognition and critical acclaim at the Salon exhibitions, Gonzalès’ dedication to the portrayal of modern life and her painterly style meant that she was often associated with this radical group of artists. In 1869, she had met Édouard Manet, modelling for him before becoming his only official pupil. She remained deeply devoted to her teacher and mentor for the duration of her tragically short life, adopting the artist’s striking use of tonal contrasts as well as his insistence on depicting the subjects of modern life. Executed soon after Gonzalès had begun studying under Manet, Portrait de Jeanne Gonzalès demonstrates his influence on her work. The soft brushstrokes, unadorned background and enigmatic gaze of the sitter are reminiscent of Manet’s striking female portraits, yet Gonzalès has infused this image of her sister with a sense of tenderness that is entirely her own, a reflection of the intimate kinship between the two.
The sitter of this portrait, Jeanne, was one of Gonzalès’ most frequent subjects. Like her female impressionist counterparts, Mary Cassatt and Berthe Morisot, Gonzalès most frequently depicted her family and close friends set within domestic settings or outside ‘en plein air’. Here, Jeanne is pictured wearing an elegant pale pink and black dress, her brunette hair swept into an elaborate style and adorned with a pink ribbon. Holding an open fan in her hand, she gazes out at the viewer with an enigmatic, almost quizzical gaze: with her head slightly tilted, she appears almost to smile, her large eyes looking knowingly from the picture plane. Her formal, elegant attire suggests that she is attending the opera or theatre, a motif that was enormously popular amongst the Impressionists. Renoir, Cassatt and Morisot all painted similar portraits, taking fashionably attired women as their subjects as they explored the new rituals, customs and fashions of contemporary life. Gonzalès herself would continue to pursue this theme in what has become one of her most famous works, Une loge aux italiens (Musée d’Orsay, Paris) of 1874, in which Jeanne is also the protagonist.
The sitter of this portrait, Jeanne, was one of Gonzalès’ most frequent subjects. Like her female impressionist counterparts, Mary Cassatt and Berthe Morisot, Gonzalès most frequently depicted her family and close friends set within domestic settings or outside ‘en plein air’. Here, Jeanne is pictured wearing an elegant pale pink and black dress, her brunette hair swept into an elaborate style and adorned with a pink ribbon. Holding an open fan in her hand, she gazes out at the viewer with an enigmatic, almost quizzical gaze: with her head slightly tilted, she appears almost to smile, her large eyes looking knowingly from the picture plane. Her formal, elegant attire suggests that she is attending the opera or theatre, a motif that was enormously popular amongst the Impressionists. Renoir, Cassatt and Morisot all painted similar portraits, taking fashionably attired women as their subjects as they explored the new rituals, customs and fashions of contemporary life. Gonzalès herself would continue to pursue this theme in what has become one of her most famous works, Une loge aux italiens (Musée d’Orsay, Paris) of 1874, in which Jeanne is also the protagonist.