Nana Édouard Manet (1832-1883)
Édouard Manet – Nana
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Painter: Édouard Manet
Location: Hamburger Kunsthalle, Hamburg.
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According to A. Proust, Édouard Manet was endowed with a remarkable sharpness; he extracted very many unusual observations from ordinary city walks; no other French capital knew such flâneurs. In 1876, the artist was completely absorbed in thoughts of the Salon, only thinking about his exhibition. The author easily painted the streets of Paris, cafes, portraits, naked women, etc.. It was this spectacle and the author’s style that attracted many new innovators. That same year, at the exhibition, the artist decided to present to the jury the painting "Nana" - the toilet of the lady of the half-woman.
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Description of Eduard Manet’s painting Nana
According to A. Proust, Édouard Manet was endowed with a remarkable sharpness; he extracted very many unusual observations from ordinary city walks; no other French capital knew such flâneurs. In 1876, the artist was completely absorbed in thoughts of the Salon, only thinking about his exhibition. The author easily painted the streets of Paris, cafes, portraits, naked women, etc.. It was this spectacle and the author’s style that attracted many new innovators.
That same year, at the exhibition, the artist decided to present to the jury the painting "Nana" - the toilet of the lady of the half-woman. Many viewers think that the canvas painted in the style of Impressionism, but the author himself does not think so! Very interesting fact is that the image in the picture is inspired by thoughts of incidents with Mary of an intimate nature, although he did not paint her. The creator’s model was Henrietta, who was a famous woman of the time. She was also the mistress of the Prince of Orange. The painting depicts a woman of easy virtue in a satin corset of blue hue and a white shirt.
The artist chose this particular title for his spectacular work of art because Nana was the most famous name among women of this type. The creator very well showed her perky face, flexible waist, as behind her waiting gentleman with a cane in an elegant suit and cylinder. On this canvas, Manet shows how much the experience he gained during his travels and studies changed him, he learned the lessons of Impressionism perfectly. But the artist made it clear that he immediately assimilated this lesson and created his new method, adjusting Impressionism to his own method. It was for this reason that when Manet was tried for the title of Impressionist, he reacted very sharply! Throughout his years, Édouard Manet created many creations. He uniquely portrayed portraits, amazing poses of figures and their movements. He captured all of this with unusual strokes. In the artist’s canvas it is easy to read the psychology of the picture, to feel the artist himself. The creator was able to convey to the viewer the character and state of the hero in just a few strokes.
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In Édouard Manets Nana, a young woman with reddish-blonde hair, styled in an updo and adorned with a delicate headband, stands partially undressed. She is wearing a light blue corset and a white petticoat that ends just above her light blue stockings and black heels. Her pose is casual, as she delicately applies powder to her face with a puff, looking back over her shoulder towards the viewer.
The setting appears to be a private boudoir. To her left, a vanity table is adorned with a large oval mirror, two candelabras, and a teal jar. Behind her, a rich, burgundy couch with ornate gold trim is visible, adorned with green throw pillows. The background features a striking turquoise wallpaper with an artistic landscape motif, including a prominent depiction of a crane.
To the right of the woman, a man in formal attire, including a black top hat and white shirt with a black tie, is subtly visible. He is seated on the couch, holding a cigarette or a slender stick and observing the woman.
The subtext of Nana is rich and multi-layered, primarily revolving around themes of modernity, sexuality, and societal roles.
In essence, Nana offers a glimpse into the complex social dynamics and evolving perceptions of women, sexuality, and urban life in late 19th-century Paris. It is a portrait that is both alluring and provocative, inviting viewers to ponder the unspoken narratives of its characters and their world.