←Menu of Pictures of George Moore

Who is Édouard Manet?

1. In the Artist’s Garden
2. Le Noyé Repeché
3. Au Café de la Nouvelle Athènes
4. The Blond Man

In the Artist’s Garden

Inscribed E 72. George Moore with full beard, full-length, straddling a chair with legs wide apart, arms resting on the chair, hands clasped.

Provenance and exhibition history on the owner’s page. Owned by the National Gallery of Art in Washington, DC, collection of Mr. and Mrs. Paul Mellon.

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Le Noyé Repeché

1879, aet. 27

Signed Manet. George Moore with full beard, half-length, his right arm draped over a chair back.

Jacques Blanche recalled that Moore was given the nickname “Le Noyé Repeché” (the drowned man fished out of the water) after this portrait. Manet himself compared Moore’s face to “a squashed yolk of egg.” William Butler Yeats called him “a man carved out of a turnip.”

Provenance and exhibition history on the owner’s page. Published in George Moore, Modern Painting (1896) as a frontispiece. Owned by the Metropolitan Museum of Art in New York, H. O. Havemeyer Collection, Bequest of Mrs. H. O. Havemeyer, 1929.

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Au Café de la Nouvelle Athènes

George Moore with full beard, half-length, looking to his left, sitting at a table, his right elbow on the table, head resting on his right fist, his left arm resting on the table. wearing bowler hat. A glass of beer is near his left elbow on the table.

This painting may be a study for Manet’s definitive portrait of Moore seated in the Nouvelle Athènes, where the two men first met in 1877. Moore wrote that the definitive portraits was destroyed by the dissatisfied artist.

Provenance and exhibition history on the owner’s page. Owned by the Metropolitan Museum of Art in New York, Gift of Mrs. Ralph J. Hines, 1955.

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The Blond Man

Signed Manet. Inscription verso, on stretcher: Manet. no. 4414 / Geo. Moore / Nabb. George Moore with full beard, head and shoulders half-turned to his right, head in profile looking to his right, a dark mass (a cigar?) protruding from his mouth, wearing evening clothes.

The owner writes: The donor of our Manet painting, Annie Swan Coburn, purchased it from Durand-Ruel Gallery, Paris/New York, in 1928, with the title The Blond Man (George Moore). It came into the museum through her bequest in 1934. The identification of the sitter as George Moore was questioned by scholars John Rewald and Adolphe Tabarant in the 1940s. In 1977, Lillian Browse noted that she did not believe that the sitter was George Moore because it did not look like photographs of him. The title of our painting may have been changed in the late 1940s, but it is not entirely clear from the file.

Provenance, exhibition history and publication history on the owner’s page. Owned by Harvard Art Museums/Fogg Museum, Bequest of Annie Swan Coburn.