Study Of A Standing Female, attributed to Eva Gonzalès (1847 – 1883)

Eva Gonzalès (Paris 1847 – 1883), attributed to
Study of a Standing Female Nude in the Studio

Oil on canvas,
81 x 45 cm

Bears a signature “Isaac Israëls”

Provenance:
Private collection, Paris

This painting, titled Study of a Standing Female Nude in the Studio, shows a stylistic affinity with another Study of a Female Nude in Profile by Eva Gonzalès, also in oil on canvas, measuring 54.93 x 46.52 cm. The female models, clearly similar, pose in the same studio setting, with comparable technique and composition.

The work stylistically resembles several known pieces by Gonzalès, such as Portrait of Mme Charlotte J. de la Rocheron (21.5 x 16.5 cm) or Le Chignon (1868), which, although executed in a more academic style, likely depict the same female model. Similar to La Servante or À la Barrière, where Gonzalès leaves certain details of the composition unrefined, this painting adopts a sketch-like, spontaneous style, especially in the backgrounds—a typical trait of the artist.

In this study, the unfinished treatment of the background and the juxtaposed brushstrokes, influenced by Impressionism, lend the work a vibrant and immediate character. Gonzalès’ brushwork is bold and free, each stroke visible, giving her art a distinct spontaneity.

Eva Gonzalès stands out as one of the few female artists closely associated with the Impressionist movement, though she never exhibited with the group, preferring the official Salon, like her mentor, Édouard Manet. Raised in a family of Spanish and Monegasque origin, she grew up in an artistic environment conducive to the blossoming of her talent. In 1866, she joined the studio of Charles Chaplin before becoming Manet’s only pupil, who introduced her to the innovations of their era. Their artistic relationship was made public at the Salon of 1870, where Manet exhibited his Portrait of Eva Gonzalès alongside his Enfant de Troupe, a tribute to his mentor.

Gonzalès distinguished herself with a practice that, while incorporating Impressionist elements, remained deeply rooted in her academic training. Her subtly modernized technique earned her recognition from both conservative critics and avant-garde circles, drawing praise for her elegance and mastery. Although her career was cut short by her premature death, Eva Gonzalès’ legacy was preserved by her family until her work was rediscovered and celebrated in the 20th century.

This canvas, despite bearing an erroneous signature of Isaac Israëls, reveals an approach and sensitivity akin to that of Eva Gonzalès, confirming her commitment to an aesthetic that is both intimate and avant-garde.