This painting, found in Manet’s studio after his death, was never exhibited, and no indication of its original title has been discovered. Purchased by Edgar Degas, it was listed in early sales as Indian Woman or Mexican Woman. The gypsy designation appeared relatively late but has been accepted. Though a date in the 1860s is traditional — based on comparisons with Spanish dancers whom Manet saw perform at the Paris Hippodrome in 1862 — Juliet Wilson-Bareau recently suggested that the composition is closer to works from the 1870s.
Spanish culture and painting fascinated Manet, and the loose, expressive brushwork of Velázquez and Goya heavily influenced him. The subject and identity of the model are perhaps less critical for the interpretation than the way in which the artist presents this exotic "other," who transgresses the norms associated with respectable French women of the era. Dark skin and tousled black hair mark her as an outsider, as does the bold, frontal pose. With one hand on her hip and a cigarette dangling from her lips, she exudes audacious self-confidence. Her gaze into the distance lends a thoughtful, even contemplative air. Manet’s composition is equally daring. It includes passages that are difficult to read and optical inconsistencies, like the form on which the woman leans. Objects are cropped at unusual places — the horse’s head is cut off behind the ear. Manet seems to have considered the canvas unfinished, and it is difficult to know how he would have completed it. Gypsy with a Cigarette thus remains a tantalizing work, one of Manet’s most enigmatic images of a daydreaming woman.
Manet first became interested in gypsies in the early 1860s. Here, he presents his anonymous sitter as an exotic "other" who transgresses the norms associated with respectable French women—and polite society in general—of his time. The woman’s dark skin and tousled black hair mark her as an outsider, as does her bold frontal pose. With her left hand on her hip, her head leaning casually against her right hand, and a cigarette dangling from her lips, she exudes audacious self-confidence, while her gaze into the distance lends the work a thoughtful, even contemplative, air. Subjects such as this gave Manet a freedom denied to artists who relied on commissions.
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Juliet Wilson-Bareau, Françoise Cachin, Charles S. Moffett, Michel Melot, et al., Manet, 1832-1883: Galeries nationales du Grand Palais, Paris, April 22-August 8, 1983, the Metropolitan Museum of Art, New York, September 10-November 27, 1983 (New York: Metropolitan Museum of Art: Abrams, 1983).
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Anne Coffin Hanson, Édouard Manet: [Exhibition] Philadelphia Museum of Art, November 3-December 11, 1966; the Art Institute of Chicago, January 13-February 19, 1967, (Philadelphia, PA: Philadelphia Museum of Art, 1966).
Paul Jamot and Georges Wildenstein, Manet, (Paris: Les Beaux-arts, e´dition d'e´tudes et de documents, 1932).
The Private Collection of Edgar Degas (September 22, 1977–January 11, 1998)
Manet 1832-1883 (Friday, April 22, 1983 - Sunday, November 27, 1983)