In the Upper Gallery

In the Upper Gallery, created by Édouard Manet (French, 1832-1883) and printed by Lefman et Compagnie in 1877, represents the artist's significant engagement with emerging photomechanical reproduction methods of the late nineteenth century. This print utilizes the process known as gillotage, a form of photorelief etching developed in France that allowed for efficient and high-volume reproduction of images. The use of this innovative medium contrasts with the traditional techniques of etching or lithography, underscoring Manet’s dedication to capturing the immediacy of contemporary life through modern technological means.

Manet, a central figure in the development of modern art, frequently experimented with graphic arts to disseminate his imagery beyond the confines of the formal Salon exhibitions. The medium of gillotage aligns with his interest in observational realism, treating the resulting prints with the same formal rigor found in his celebrated canvases. This specific impression is realized in black ink on trimmed gray wove China paper, a choice of materials reflecting a deliberate approach to the tactile qualities of the final print.

The work provides critical insight into the relationship between high art and mechanical reproduction in 19th-century France. The technical execution by Lefman et Compagnie emphasizes the sharp contrasts and tonal complexities possible through the gillotage process. Today, this print is preserved in the permanent collection of the Art Institute of Chicago, serving as an important record of both Manet’s diverse practice and the history of graphic arts reproduction. In the Upper Gallery remains a valuable historical document, sometimes made available to researchers and the public through public domain resources.