''In the Conservatory'' (French: ''Dans la serre'') is an 1879 oil painting by

Édouard Manet Édouard Manet (, ; ; 23 January 1832 – 30 April 1883) was a French Modernism, modernist painter. He was one of the first 19th-century artists to paint modern life, as well as a pivotal figure in the transition from Realism (art movement), R ...

in the Alte Nationalgalerie, Berlin, depicting Manet's friends, a couple, in a conservatory. There is an ambiguity in the painting that has led art critics to characterize the couple's relationship in divergent ways.

Description

The setting is a conservatory at 70 Rue d'Amsterdam in Paris, then owned by painter Georg von Rosen and which Manet used as a studio for nine months in 1878 and 1879. Such a conservatory may have been more than a greenhouse; French painter Alix-Louise Enault's ''Consolation'' depicted the Parisian conservatory as a "luxuriously decorated and intimate locale—a secluded indoor area conducive to private rendezvous". At first glance, we see a double portrait of a fashionable and attractive couple of some social rank. They are Manet's friends, the Guillemets, who owned a clothing shop. Their married status is conveyed by their rings, and the proximity of their hands is the nearest hint of intimacy. The woman becomes the focus of the portrait, however, being more prominently placed and colourfully dressed. Their physical separation—with the husband Jules slouching in dark clothing behind the bench—their lack of engagement with the viewer, and their abstract gazes create a sense of detachment, which has been the primary theme in modern criticism of the work. The interplay of lines formally defines the work. The woman has an erect posture echoed by the vertical slats of the bench, and the man, though leaning forward, does not break that vertical. The bench continues off the right side, reinforcing the horizontal and the separation of foreground and background. The diagonal pleats on the woman's dress provide some relief from the linearity of the composition. Since the painting's exhibition, critics have interpreted the couple's relationship diversely. Huysmans called the subjects "marvelously detached from the envelope of green surrounding them". As Collins summarizes: The painting was exhibited in the 1879

Paris Salon The Salon (), or rarely Paris Salon (French: ''Salon de Paris'' ), beginning in 1667 was the official art exhibition of the in Paris. Between 1748 and 1890 it was arguably the greatest annual or biennial art event in the Western world. At the ...

and was regarded as surprisingly conservative for Manet.

Jules-Antoine Castagnary Jules-Antoine Castagnary (11 April 1830 – 11 May 1888) was a French liberal politician, journalist and progressive and influential art critic, who embraced the new term " Impressionist" in his positive and perceptive review of the first Impressi ...

wrote, with tongue in cheek, "But what is this? Face and hands more carefully drawn than usual: is Manet making concessions to the public?"—and said it portrayed "the elegance of fashionable life".Herbert, R. L. (1991). ''Impressionism: Art, Leisure, and Parisian Society''. New Haven, Conn: Yale University Press; p. 182. Manet's ''Chez le Père Lathuille'' (see ''Gallery''), having similar subjects and painted later in the same year, may be seen as a companion to ''In the Conservatory''. It was not included in the 1879 Salon.Collins, Bradley. "Manet's 'In the Conservatory' and 'Chez Le Père Lathuille.'" ''Art Journal'', vol. 45, no. 1, 1985, pp. 59–66.

Provenance

Jean-Baptiste Faure bought ''In the Conservatory'' from Manet, along with three other paintings, for the "paltry sum" of 11,000 francs. In 1896 the German Nationalgalerie in Berlin purchased it, becoming the first museum anywhere to have purchased a Manet. In 1945 by the end of the Second World War ''In the Conservatory'' was among the objects evacuated from the German National Gallery and the

Berlin State Museums The Staatliche Museen zu Berlin (Berlin State Museums) are a group of institutions in Berlin, Germany, comprising seventeen museums in five clusters; several research institutes; libraries; and supporting facilities. They are overseen by the ...

and put for safekeeping in a mine in Merkers. After the war the picture was discovered and secured by the Monuments Men. Its salvage was documented in several photographs which show soldiers from the U.S. Army posing with Manet’s painting in the mine in Merkers. These photographs have gained iconographic status over the years and are often falsely used as an illustration of Nazi looted art in prestigious publications like the ''Deutsche Welle'', ''The Washington Post'', ''The New York Times'' and even in academic papers.

Gallery

File:Edouard Manet 031.jpg, Manet, ''Chez le Père Lathuille'' (1879) File:Manet - Mme Manet im Gewaechshaus.JPG, A portrait of Manet's wife, Suzanne, in a similar setting and also from 1879 File:Stop's 1879 caricature of Manet's In the Conservatory.png, The caricaturist Morel-Retz (pseudonym "Stop") published this caricature of ''In the Conservatory'' in '' Journal amusant'' (May 17, 1879) with the caption "An innocent young person cornered in the conservatory by an infamous seducer" File:Manet's Wintergarden 19450425 NARA 5757184.jpg, The painting was brought along with other pictures from the German National Gallery to a mine to protect it from the bomb war in World War II. This 1945 photograph shows US soldiers with the painting in the Merkers salt mine.

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