Frederick Project: Unfinished
Sunday, March 29, 2020
Last summer, the summer of 2019, the Art Institute of Chicago had a Manet show, Manet and Modern Beauty which I reviewed for Apollo Magazine.
The paintings in the show were mostly from the late 1870s and early 1880s, a period when Manet’s touch and palette were lightening, he was interested in flowers and fashion, and he was also dying of complications of syphilis. Thus the tone was an odd combination of lightness, fluidity, melancholy, and decay.
It was a very sad show. I had not realized that Manet was only fifty-one at his death, and he had not been one of my favorite painters, more a painter whose accomplishments and influence I recognized, so it had never really occurred to me to wonder what more he would have done if he had lived through the 1880s and 1890s when many of the paintings I love best – by Cézanne, Morisot, Monet and Pissarro – were made.
This painting, Morning Glories and Nasturtiums, 1881, from the McNay Museum of Art in San Antonio, was left unfinished, or was finished in a radical way, with areas of canvas still open and showing through. It leaves much to the imagination. To my eye, it is more like a sketch of thoughts and intentions. Ideas about the meaning of plants and the space around them.
In the show, it was in a gallery with many beautiful letters that Manet wrote to his friends as he was increasingly confined by his illness. He decorated these with water colors of flowers, fruit, bees.
Here is a letter that, in palette and meaning, seems related to the Nasturtiums of 1881. The letter has a watercolor of a horse chestnut. Manet had sent it to Marthe Hoschedé, the year before, in 1880. It belongs to a private collector.
Marthe's father Ernest Hoschedé had been a very important art patron for Manet and others. Ernest Hoschedé went bankrupt in 1878, and moved his family in to a household with the painter Claude Monet and Monet's family. Monet’s beloved wife Camille died the next year, in 1879. By the time this letter was sent to Marthe Hoschedé, her mother Alice had formed a new household with Monet and all of their children.
Layers of death, resilience, odd greens, empty spaces around them.