Eva Gonzáles

Estate of the artist (sale: Hôtel Drouot, Paris, Vente Eva Gonzalès, 20th February 1885, lot 50)
Jeanne Guérard-Gonzalès, Paris (acquired circa 1910)
Jeanne-Raymond Guérard, Paris
Private Collection, Paris
Acquired from the above by the family of the present owner circa 1985

Paris, Salons de la Vie Moderne, Eva Gonzalès, 1885, no. 54
Vienna, Die Sezession, Die Kunst der Frau, 1910, no. 97
Paris, Bernheim-Jeune, Eva Gonzalès, 1914, no. 9
Monaco, Le Sporting, Eva Gonzalès, 1952, no. 15 (titled La barque)

Louis Hautecoeur, 'Exposition Eva Gonzalès' in La Chronique des arts et de la curiosité, no. 15, 11th April 1914, p. 115
Louis Dimier, 'Chronique des arts' in L'Action Française, 12th April 1914, p. 4
François Monod, 'L'Impressionnisme féminin' in Art et Décoration, supplement, May 1914, p. 3
Paule Bayle, 'Eva Gonzalès' in La Renaissance, June 1932, illustrated p. 110
Marie-Caroline Sainsaulieu & Jacques de Mons, Eva Gonzalès, 1849-1883, Étude critique et catalogue raisonné, Paris, 1990, no. 74, illustrated p. 173

The canvas is lined. There are two 9cm. long horizontal lines of retouching with associated spots towards the lower right edge, a 5cm. long horizontal line of retouching towards the lower left edge and a 1cm. sq. spot towards the lower right corner. There are a few minor nailhead-sized spots of retouching running along the left edge, two minor spots towards to the centre left, a further area of retouching to the upper left corner and a few minor nailhead-sized spots to the hem of the figure's dress. All retouching is visible under UV-light. This work is in fairly good condition.
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

Edouard Manet's only student, Eva Gonzáles was one of a select group of important female painters from the Impressionist period. She first received critical acclaim at the Paris Salon of 1870 where she exhibited three paintings and was the subject of a fourth: Portrait d'Eva Gonzáles by Manet himself (fig. 1). Gonzáles's style shares many elements characteristic of the Impressionists and she is considered part of the movement in accordance with both her talent as an artist and Manet's high regard for her oeuvre. As an artist Gonzáles certainly warrants comparison with her female companions Morisot and Cassatt.

Following her death during childbirth in 1883, a large retrospective of 88 works was held at the Salons de la Vie Moderne in Paris. The present work was included in that major exhibition. As a composition En bateau is a wonderful example of Impressionist painting. The centre is naturalistic in feel and highly focused on the nuances of the lady fishing in profile to the artist. However, as a whole the composition is intentionally transient, with spontaneous brushstrokes to the edges of the picture plane serving to focus the viewer on the subject. This is both a highly efficient method of encouraging the viewer into the work and a delightful example of Gonzáles's sureness of touch that places her amongst the most progressive female painters of her generation.

Fig., 1, Edouard Manet, Le Portrait d'Eva Gonzàles, 1870, National Gallery, London