愛德華·馬奈

藝術家身後（售出：巴黎圖歐拍賣會，1884年2月4-5日，拍品編號25）
蘇珊娜∙馬奈女士，巴黎（購自上述拍賣）
安博瓦·沃拉爾，巴黎
歐仁·布洛，巴黎（1902年或之前購入）
巴爾巴桑格畫廊，巴黎（約1912年購自上述藏家）
特呂格佛·薩根，奧斯陸（1922年或之前購入）
大衛·大衛·威爾，巴黎及紐約（1932年或之前購入）
私人收藏，巴黎（家族傳承自上述藏家）
施米特畫廊，巴黎（1983年購自上述收藏）
約1983年購自上述畫廊

布魯塞爾，美術館，〈美學自由：印象派畫家作品展〉，1904年，品號83（畫名《少女畫像》）

巴黎，歐仁·布洛畫廊，〈120幅油畫展〉，1907年，品號57

巴黎，大皇宮，〈秋季沙龍：十九世紀畫像〉，1912年，品號152（畫名《少女》）

哥本哈根，新嘉士伯美術館；斯德哥爾摩，國家博物館；奧斯陸，國家博物館，〈愛德華·馬奈1832-1883年〉，1922年，品號24

巴黎，橘園美術館，〈馬奈展1832-1883年〉，1932年，品號71（畫名《安德烈小姐畫像》）

巴黎，施米特畫廊，〈印象派畫家及其前人〉，1972年，品號42，圖錄載彩圖（畫名《愛倫·安德烈小姐畫像》）

巴黎，施米特畫廊，〈業餘者的抉擇：十九至二十世紀〉，1977年，品號46，圖錄載彩圖（畫名《愛倫·安德烈小姐畫像》）

巴黎，施米特畫廊，〈十九至二十世紀油畫的光線運用〉，1983年，品號52，圖錄載彩圖

倫敦，勒菲弗畫廊，〈十九至二十世紀重要創作〉，1983年，品號8，圖錄載彩圖

達拉斯，達拉斯藝術博物館，〈達拉斯的印象派及現代大師鉅作：從莫內到蒙德里安〉，1989年，品號50，圖錄載彩圖（畫名《一名年輕女子的側像》）

華盛頓哥倫比亞特區，菲利普美術館，〈雷諾瓦及其同輩：船上的午宴〉，2017-18年，品號14，圖錄載彩圖（畫名《一名年輕女子的畫像－愛倫·安德烈小姐》）

西奧多·迪雷，《愛德華·馬奈生平與作品》，巴黎，1902年，品號276，列於264頁

尤利烏斯·邁爾·格雷費，《愛德華·馬奈》，慕尼黑，1912年，品號25，320頁提及

西奧多·迪雷，《愛德華·馬奈生平與作品》，巴黎，1919年，品號276，列於264頁

艾蒂安·莫羅·內拉東，《馬奈作品集手稿》（未出版手稿），1926年，品號253

阿道夫·塔巴朗，《圖錄馬奈史》，巴黎，1931年，品號327，列於376頁（畫名《少女坐像》）

保羅·雅莫及喬治·維登斯坦，《馬奈》，巴黎，1932年，第I冊，品號342；第II冊，60頁載圖

歐仁·布洛，《一個現代油畫收藏的故事》，巴黎，1934年，58頁提及（畫名《女子坐像》）

阿道夫·塔巴朗，《馬奈及其作品》，巴黎，1947年，品號351，614頁載圖

菲比·普爾及桑德拉·奥里恩蒂，《馬奈油畫全集》，倫敦，1967年，品號312，113頁載圖

馬爾切洛·溫杜里及桑德拉·奥里恩蒂，《愛德華·馬奈畫作》，米蘭，1967年，品號312，113頁載圖（畫名《女子坐像》）

梅雷特·博德爾森，〈早期印象派作品拍賣1874-1894年，未曝光官方記錄揭秘〉，《伯靈頓雜誌》，1968年6月，品號25，343頁提及

丹尼斯·胡埃及桑德拉·奥里恩蒂，《愛德華·馬奈油畫全集》，巴黎，1970年，品號316，113頁載圖（畫名《少女坐像》）

丹尼斯·胡埃及丹尼爾·維登斯坦，《愛德華·馬奈專題目錄》，洛桑，1975年，第I冊，品號339，261頁載圖

芭芭拉·埃利希·懷特，《印象派畫家之間的友情、競爭與藝術交流》，紐約，1996年，品號不詳，55頁載彩圖（畫名《愛倫·安德烈》）

A towering figure in the second half of the nineteenth century, Édouard Manet was a serious and dedicated artist strongly committed to his artistic practices, and, particularly to his portraiture, transforming his medium into a record of contemporary life. Throughout his lifetime, Manet surrounded himself with a wide circle of friends, admirers and supporters, who inevitably found their way into his canvases, both in straight forward portraits or as actors in scenes from modern day Paris. He insisted that these acquaintances, family and occasionally professional models endure prolonged and frequent sittings while he captured their essence on canvas, leaving a rich legacy of innovative portraits in his wake.

Manet threw himself into the challenge of finding subjects, compositional formats and painting techniques that would provide a new language of art suitable for the representation of modernity and contemporary life. In Profil de jeune fille we see this desire manifested with particular strength in the tight, avant-garde framing and strong illumination of the figure. Coupled with the brilliant painting technique of animated, varied strokes of vibrant colors which he transferred to the canvas with seeming spontaneity and deference, the intimate character of the sitter has been uncovered. It is clear from the subtle characteristics of this young woman that Manet knew his model firsthand, having spent long hours in her company. The sitter of the present work has variously been identified by scholars as Ellen Andrée, the model-turned-actress featured in a number of Impressionist works, and Ellen André, daughter of fellow artist Edmond Alphonse André, a friend of Manet. The near-identical spelling of their last names, not to mention their similar physical appearance has led to continued uncertainty about the identity of the young subject. Though somewhat ambiguous, an examination of each attribution offers exciting insight into Manet's portraiture practice, demonstrating the ways in which Profil de jeune fille is a reflection of the artist's time, the city in which he lived and the inhabitants he encountered there.

Ellen Andrée (born Hélène Andrée) was a young ingénue of barely twenty when she embarked on a career as an artist’s model and joined the circle of cultural personalities of the Parisian café crowd. It was here that she was introduced to the painters Degas, Renoir and Manet and ultimately would appear in a number of significant Impressionist paintings in the 1870s and early 1880s. It has been proposed that a number of the features of the woman in the right foreground of Renoir’s celebrated Le Déjeuner des canotiers resemble those of Ellen Andrée and she most famously served as the model for the dissolute figure in Degas’ L’Absinthe, whose expressionless features and vacant stare perhaps suggests her future success as a genre actress. The young model began posing for Manet in the early 1870s, about the same time she sat for Degas, and looking back many years later on the experience of serving as an artist’s model said, “I was pretty good, I can say so now; I had a look that the Impressionists considered very modern, sexy, and I held the pose they wanted.” On the subject of Manet she is reported to have said, “Of all those painters, he was the only one I looked up to. I remember noticing he painted standing up, whereas his friends all sat. He was engrossed, courteous, distant. He was so high class! I felt so inferior in that studio on the rue d’Amsterdam. A really exceptional man” (quoted in A. Tabarant, “Des Peintres et leur modèles” in Bulletin de la Vie Artistique, May 1, 1921, pp. 261-63, reproduced in B. A. Brombert, Edouard Mantet: Rebel in a Frock Coat, New York, 1996, p. 383). Andrée has become recognizable as one of Manet’s female figures noted for their particular character and features, sitting for Manet’s works La Parisienne, Dans le Café, possibly La Prune and the present work. She would ultimately abandon modeling for a successful stage career in vaudeville and pantomime, where her skill in mimicry and strong presence on stage, much as in her portraits, was celebrated.

Alternatively, it has been speculated that the young woman who sat for Profil de jeune fille could be the daughter of the painter Edmond Alphonse André, Ellen André, a habitué of Café Guerbois and friend of Manet. According to the Wildenstein and Rouart catalogue entry, in 1873 Edmond André posed for Manet’s four versions of the notorious Commedia dell’Arte character Polichinelle. Although little is known about the life of André’s daughter, as the child of a friend and former subject and therefore likely also an acquaintance, her presence as the object of study for Manet is consistent within the scope of Manet’s portraiture practice. Given the strong physical resemblance of the two women, as well as the remarkable similarity in their names, confusion about the identity of the sitter for the present work endures.

Since very few of Manet’s extensive number of portraits produced were commissions, but rather invitations from the artist to act as a subject in his works, the restrictive parameters of commercial portraits have been removed allowing the artist greater flexibility towards experimentation. As with many portraits from Manet’s oeuvre, the present work remained unsigned and was kept in his collection until his death, later to be sold at the 1884 Vente Manet at Hôtel Drouot. Profil de jeune femme was among a select number of paintings that was purchased by a member of the Manet family. The work eventually became part of the illustrious personal collection of French-American banker David David-Weill. In 1939 David-Weill charged his curator Marcelle Minet with the task of preparing an inventory of his magnificent art collection and crating the bulk of it in order to save it from the feared Nazi invasion of France. The most important and valuable pieces in the collection were sent directly to the United States, including the present work. A further 130 crates were sent for safe keeping—unsuccessfully as it turned out—with the French National Art collections at the Château de Sourches and 22 crates to the Château de Mareil-le-Guyon. The present work remained in the David-Weill family until the 1980s but still bears the 1939 crate and inventory numbers, 45 and DW 30/89 respectively, on its stretcher and frame.