(in French) Françoise Cachin, Charles S.Theodore Reff, Manet's Incident in a Bullfight, New York: The Council of The Frick Collection Lecture Series, 2005 ( ISBN 0-91).Anne Coffin Hanson, Manet and the Modern Tradition, New Haven and London, Yale University Press, 1977 ( ISBN 0300024924).^ ( Cachin, Moffett & Wilson-Bareau 1983, p. 198) harv error: no target: CITEREFCachinMoffettWilson-Bareau1983 ( help).^ Coffin Hanson 1977, pp. 81–84 harvnb error: no target: CITEREFCoffin_Hanson1977 ( help).^ ( Pichois & Ziegler 1973, p. 386) harv error: no target: CITEREFPichoisZiegler1973 ( help).^ a b ( Cachin, Moffett & Wilson-Bareau 1983, p. 197) harv error: no target: CITEREFCachinMoffettWilson-Bareau1983 ( help).^ ( Thoré-Burger & Bürger 1870, p. 98) harv error: no target: CITEREFThoré-BurgerBürger1870 ( help).^ a b ( Cachin, Moffett & Wilson-Bareau 1983, p. 196) harv error: no target: CITEREFCachinMoffettWilson-Bareau1983 ( help).^ "Italian School, A Dead Soldier, 17th century".^ a b ( Cachin, Moffett & Wilson-Bareau 1983, p. 195) harv error: no target: CITEREFCachinMoffettWilson-Bareau1983 ( help).^ ( Cachin, Moffett & Wilson-Bareau 1983, p. 240) harv error: no target: CITEREFCachinMoffettWilson-Bareau1983 ( help).^ ( Tabarant 1947, p. 373) harv error: no target: CITEREFTabarant1947 ( help).^ a b ( Cachin, Moffett & Wilson-Bareau 1983, p. 237) harv error: no target: CITEREFCachinMoffettWilson-Bareau1983 ( help).The other part Manet saved is now titled La Corrida - Manet's signature was added to it after his death. To give it a more universal character he also renamed it to its present name ready for its display at the 1867 Salon. He kept two parts of the original work - The Dead Man is one of them, though it was subject to a major reworking by Manet after he cut it from the original work, turning it into a powerful independent work. Stung by this criticism, Manet cut the canvas up. The critics also mocked Episode's lack of relief, the poor proportions of its figures and the unreal space. The main influence, however, was probably Vélasquez, an influence also to be seen in Manet's The Execution of Emperor Maximilian. Critics also identified as influences Jean-Léon Gérôme's Dead Caesar or even an illustration from the novel Histoire de Gil Blas de Santillane by Jean Gigoux. Ī very large photograph of Dead Soldier had been published by Goupil in 1863 and some even theorised that Manet had seen the original before painting Episode in a Bullfight. He also insinuated that Manet had directly copied that work, a comment strongly refuted by Baudelaire. In his complete account of the 1864 Paris Salon, Théophile Thoré-Burger even asserted that "the figure of the dead toreador is boldly copied after a masterpiece from the Pourtalès gallery, painted by Vélasquez". This was possibly by a Neapolitan artist but attributed to Diego Velázquez and was then in the Hermann Alexander de Pourtalès' collection, later being acquired by the National Gallery, London. The canvas was accepted for the 1864 Salon, where many critics identified A Dead Soldier as one of the main inspirations for the figure that became The Dead Man. The work was originally part of a larger composition entitled Episode from a Bullfight, directly influenced by Goya's La Tauromaquia and Alfred Dehodencq's Bullfights. La Corrida ( New York, Frick Collection).
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