1864
Crayon noir au carreau sur papier
47,5 x 30,5 cm - 18 11/16 x 12 in.
Paris, Musée d'Orsay, France - Inv. 29730
Dernière mise à jour : 2022-03-17 11:47:48
Référence : MSb-117
Famille de l'artiste - Marc Bazille, frère de l'artiste - Frédéric Bazille, neveu de l'artiste - Don de Frédéric Bazille au musée du Louvre en 1948 [Conservé au département des Arts graphiques au musée du Louvre].
Montpellier, musée Fabre, 1959, n° 43 - Montpellier, New York, 1922-1993, n° 6, repr. p. 83 [Le catalogue de l'exposition précise qu'il s'agit d'un fusain] - Montpellier, Paris, Washington, 2016-2017, cat. 14, repr. p. 225 et fig. 18, p. 46 [Les références sont du catalogue en français].
Bouchot-Saupique, Sarraute, Bulletin des musées de France, mai 1949, repr. p. 91 - Daulte, Bazille et son temps, 1952, n° 17, p. 195 [Thèse sous la direction de Gaston Poulain] - Jourdan, Cat. exp. Montpellier, New York, 1992-1993, n° 6, p. 83 - Bajou, Frédéric Bazille, 1993, p. 59 - Schulman, Frédéric Bazille : Catalogue raisonné, 1995, n° 13 des dessins, repr. p. 245 - Hilaire, Jones, Perrin, Cat. exp. Montpellier, Paris, Washington, 2016-2017, cat. 14, repr. p. 225 et fig. 18, p. 46 [Les références sont du catalogue en français] - Schulman, Frédéric Bazille : Catalogue raisonné numérique, 2022, n° 117.
There is no other preparatory drawing than this one for The Pink Dress, one of Bazille's most remarkable paintings. It shows Thérèse des Hours, his first cousin, sitting on the wall bordering the Méric property with the village of Castelnau-le-Lez, its houses and bell tower, in the distance. The position of Thérèse des Hours is not the same as in the painting. Here she is taken from three quarters, so that her face is fully visible. As for the dress, it is fuller on the drawing and without stripes. The hands are placed on a kind of apron. The village of Castelnau dominates Thérèse des Hours and the use of straight lines gives the houses and the church a rather utmost importance.
Design simplicity characterizes this drawing in which Bazille has only outlined the contours, leaving out the modeling and color indications, as he did for the Study for Landscape at Saint-Sauveur. With the tiling, as in the preparatory drawing for La Toilette Bazille carries only the strictly necessary graphic information. This drawing was undoubtedly executed on the spot, which gives it a character of authenticity.
