Abstract
Throughout the 1860s, Édouard Manet reprised his own oil paintings in watercolor to realize them in etching, a practice he repeated for several of his most accomplished and controversial canvases in the early decade of his career. Taking Manet’s Dead Christ with Angels as a case study, this article suggests the important role drawing played in Manet’s working methods across media and clarifies how the artist translated painted compositions to intaglio prints through watercolor intermediaries. Guided by collaborative efforts in conversation with curators and conservators, the close physical examination and analysis of the paintings, drawings, and prints included in this case study contribute unprecedented visual evidence to the study of Manet’s crucially influential career.
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