伊西多爾·蒙田涅克，巴黎
保羅·赫曼·海爾布特，哥本哈根
V.溫爾克及芒努森，哥本哈根（購自上述藏家；售出：美國藝術協會，紐約，1922年4月6日，拍品編號18）
J.赫德森，紐約（購自上述拍賣）
約瑟夫·斯特蘭斯基，紐約（1931年或之前購入）
卡爾頓·米切爾，馬里蘭（1951年或之前購入，起碼收藏至1970年）
售出；紐約佳士得，1993年5月13日，拍品編號108
購自上述拍賣

紐約，P.傑克森·希格斯，〈重要及有意思的油畫收藏〉，1922年，品號不詳

費城，賓州博物館，〈馬奈與雷諾瓦〉，1933-34年，品號不詳

巴爾的摩，巴爾的摩藝術博物館，〈從安格爾到高更：馬里蘭收藏法國十九世紀繪畫〉，1951年，品號93，圖錄載圖（畫名《身穿鬥牛士裝束的少女》，尺寸有誤並紀年約1860-62）

巴爾的摩，巴爾的摩藝術博物館，1953年（借展）

巴爾的摩，巴爾的摩藝術博物館，〈馬奈、德加、貝爾特·莫里索與瑪麗·卡薩特〉，1962年，品號2（畫名《身穿鬥牛士裝束的少女》，尺寸有誤並紀年約1860-62）

巴爾的摩，巴爾的摩藝術博物館，〈巴爾的摩藝術博物館與私人收藏之大師鉅作〉，1963年，品號不詳

羅馬，維托里安諾博物館，〈馬奈〉，2005-06年，品號35，圖錄載彩圖

西奧多·迪雷，《愛德華·馬奈生平與作品》，巴黎，1919年，補充資料品號3，列於299頁（畫名《身穿鬥牛士裝束的少女》，尺寸有誤）

拉爾夫·弗林特，〈約瑟夫·斯特蘭斯基私人珍藏〉，《藝術新聞》，紐約，1931年5月16日，93頁載彩圖（畫名《身穿鬥牛士裝束的少女》）

保羅·雅莫及喬治·維登斯坦，《馬奈》，巴黎，1932年，第I冊，品號49；第II冊，24頁載圖（畫名《身穿鬥牛士裝束的少女》）

丹尼斯·卡頓·里奇，〈馬奈早期作品的西班牙背景〉，《帕那索斯》，紐約，1932年，5頁載圖（畫名《身穿鬥牛士裝束的少女速寫》）

戈特哈德·傑利卡，《愛德華·馬奈》，蘇黎世，85頁提及

阿道夫·塔巴朗，《馬奈及其作品》，巴黎，1947年，品號56，603頁載圖（尺寸有誤）

雅克·德卡索，〈馬奈的西班牙根源〉，《戈雅》，1965年，94頁載圖（畫名《身穿鬥牛士裝束的年輕男子》）

菲比·普爾及桑德拉·奥里恩蒂，《馬奈油畫全集》，倫敦，1967年，品號52，91頁載圖（畫名《身穿鬥牛士裝束的少女》）

馬爾切洛·溫杜里及桑德拉·奥里恩蒂，《愛德華·馬奈畫作》，米蘭，1967年，品號52，91頁載圖（畫名《身穿鬥牛士裝束的少女》）

雅克·德卡索，〈馬奈的西班牙根源〉，《學會公報：愛德華·馬奈的知識體系研究》，巴黎，1968年，10頁載圖

丹尼斯·胡埃及桑德拉·奥里恩蒂，《愛德華·馬奈油畫全集》，巴黎，1970年，品號51，91頁載圖（畫名《身穿鬥牛士裝束的少女》）

丹尼斯·胡埃及丹尼爾·維登斯坦，《愛德華·馬奈專題目錄》，洛桑，1975年，第I冊，品號56，67頁載圖

弗蘭索娃·加香，《馬奈》，巴黎，1990年，149頁載圖（畫名《身穿鬥牛士裝束的少女》）

馬里奧·布瓦，《馬奈：鬥牛與其他西班牙主題》，巴黎，1994年，88頁載圖

丹尼斯·博納富，《世紀之交（十九至二十世紀）的法國西班牙印象》，普羅旺斯，1999年，109頁提及

南希·洛克，《馬奈及其家庭羅曼史》，普林斯頓及牛津，2001年，128頁載圖

An exceptional example of Manet’s early Spanish period, Jeune homme en costume de toreador is an assemblage of colorful and stylish details executed with a heightened sense of realism. It is an extraordinary work that cannot be categorized as a portrait, but rather as a personification of the engagement of a people with the foreign and spectacular. Much like the whole of nineteenth-century France whose collective imagination was preoccupied with all things Spanish, Manet developed a fascination with Iberian culture and art as a young man. The exposure to Spanish paintings acquired by King Louis-Phillipe in the Galerie Espagnole of the Louvre left an indelible impression on the French people whose espagnolisme and thirst for Spanish painting caused a shift in taste, perceptible in the altered style and subjects displayed at the annual Paris Salon by the 1860s. As a young man Manet had the opportunity to study a few of the Spanish masters in the French institutions, with great interest in Goya and Velázquez. The early exposure to these works from the Spanish Golden Age were fundamental in Manet’s development as a painter: “The years during which he absorbed the art of Spain are Manet’s most vital.…Velasquez and Ribera taught him a method of painting more vigorous and more final then he had learned with [Thomas] Coutour; Goya dictated fresh design; the Spanish costumes and figures suggested color harmonies and poses unusual to French art....it is essentially Manet’s feeling for strong and vivid decoration in the Spanish phase….that leads on to the barbaric stylizations of Gauguin and the oriental arabesques of Matisse” (D. Catton Rich, Op. cit., pp. 4-5).

Developed over centuries the corrida or bullfight is synonymous with Spain. More than the combination of contest and high drama, the bullfight contains elements of ritual, spectacle and, above all, pageantry. The enthralling and emotionally engaging aspects of the battle occupied the minds of native-born artists and foreign painters alike. Manet would only make the pilgrimage to Spain once, in 1865, though he completed more than a dozen works featuring Spanish subjects in the early 1860s, including Jeune homme en costume de toreador. For inspiration for these early works Manet relied heavily upon the Spanish paintings in French institutions, Spanish dancers and musicians performing in and around Paris, an assortment of Spanish costumes he acquired for his studio, and a series of prints from various publications. Jeune homme en costume de toreador is derived from a lithograph by the French painter and curator of prints and drawings at the Bibliothèque Nationale, Achille Devéria, which appeared in L’Almanach d’Andalousie, published in 1836; it has been speculated by scholars that Manet also adapted some early sketches for his controversial painting Olympia from the poses found in Devéria’s lithographic studies. While Devéria and Manet’s versions share noticeable compositional similarities, the present work reflects Manet’s keen visual sensitivity and manual dexterity where the artist enlisted subtle changes in the depiction of the toreador. The figure, removed from the bullring, has become a spectacle of costume, executed with vivid swathes of flat color outlined in black that brings an undeniable freshness to the work. Interestingly Manet never painted the dramatic and violent climax of the corrida, as native-born Spanish painter Picasso often chose to ✅illustrate. Instea🍰d Manet chose to focus on the spectacle of color, gesture and the romantic vision of the toreador himself.

As discussed by Juliet Bareau-Wilson “The impact of Velázquez on the art of Édouard Manet was profound." Velázquez was, according to Manet "a painter’s painter," and Manet was influenced in both his style and subject-matter from “the beginning of the 1860s by what he saw as the master’s bold and simple handling of clean, colorful pigments and by his way of placing figures on a canvas” (J. Wilson-Bareau in Manet/Velázquez: The French Taste for Spanish Painting (exhibition catalogue), Musée d’Orsay, Paris, 2003, p. 203). Primarily impressed by the Spanish master’s atmospheric effects, vivid brushwork and use of an undefined spatial setting, Manet would adopt these tools with greater dedication following his trip to Spain in 1865. Upon his return to Paris, Manet would write to the poet Baudelaire: “At last, my dear Baudelaire, I’ve really come to know Velásquez and I tell you he’s the greatest artist there has ever been; I saw thirty or forty of his canvases in Madrid, portraits and other things, all masterpieces” (quoted in ibid., p. 231). Manet’s subsequent paintings of Spanish subjects following the 1865 trip reflect his continued admiration f♏or seventeenth-century Spanish painting and the influence🏅 of the collective hispanophilia of the early nineteenth century on his artistic production.