The Urchin (Le Gamin)
Édouard Manet
European Art
Like his etching Lola de Valence, on view nearby, Manet’s lithograph The Urchin was a reinterpretation of one of his own paintings. Street urchins, or gamins, would have been recognized by the public as referencing figures in the seventeenth-century paintings of Bartolomé Esteban Murillo and Diego Velázquez. The subject attests to the artist’s deep engagement with Spanish art and his tendency to borrow visual tropes from art history and translate them into a contemporary context. It also suggests the significant role that reproductive prints played in transmitting visual culture, as that is how Manet would have known and studied such historical paintings.
Manet worked in etching, lithography, and transfer processes at different periods in his career. He was drawn to printmaking as a means to popularize his art.
MEDIUM
Lithograph, printed chine colle
DATES
1868–1874
ACCESSION NUMBER
40.345
CREDIT LINE
Charles Stewart Smith Memorial Fund
MUSEUM LOCATION
This item is not on view
CAPTION
Édouard Manet (French, 1832–1883). The Urchin (Le Gamin), 1868–1874. Lithograph, printed chine colle Brooklyn Museum, Charles Stewart Smith Memorial Fund, 40.345 (Photo: , 40.345_PS9.jpg)
EDITION
Edition: 100
IMAGE
overall, 40.345_PS9.jpg., 2019
"CUR" at the beginning of an image file name means that the image was created by a curatorial staff member. These study images may be digital point-and-shoot photographs, when we don\'t yet have high-quality studio photography, or they may be scans of older negatives, slides, or photographic prints, providing historical documentation of the object.
RIGHTS STATEMENT
No known copyright restrictions
This work may be in the public domain in the United States. Works created by United States and non-United States nationals published prior to 1923 are in the public domain, subject to the terms of any applicable treaty or agreement.
You may download and use Brooklyn Museum images of this work. Please include caption information from this page and credit the Brooklyn Museum. If you need a high resolution file, please fill out our online
application form (charges apply).
The Museum does not warrant that the use of this work will not infringe on the rights of third parties, such as artists or artists' heirs holding the rights to the work. It is your responsibility to determine and satisfy copyright or other use restrictions before copying, transmitting, or making other use of protected items beyond that allowed by "fair use," as such term is understood under the United States Copyright Act.
The Brooklyn Museum makes no representations or warranties with respect to the application or terms of any international agreement governing copyright protection in the United States for works created by foreign nationals.
For further information about copyright, we recommend resources at the
United States Library of Congress,
Cornell University,
Copyright and Cultural Institutions: Guidelines for U.S. Libraries, Archives, and Museums, and
Copyright Watch.
For more information about the Museum's rights project, including how rights types are assigned, please see our
blog posts on copyright.
If you have any information regarding this work and rights to it, please contact
copyright@brooklynmuseum.org.
RECORD COMPLETENESS
Not every record you will find here is complete. More information is available for some works than for others, and some entries have been updated more recently. Records are frequently reviewed and revised, and
we welcome any additional information you might have.