Émile Vallet. Courrier de la gironde (1869) [reprinted in Dominique Dussol, "Art et bourgeoisie: La Société des amis des arts de Bordeaux (1851–1939)," Bordeaux, 1997, pp. 225, 229], remarks that the defects of this work are its size and its ambition, when it is merely a study.
Théodore Duret. Letter to Édouard Manet. September 16, 1870 [published in A. Tabarant, "Manet et ses œuvres," Paris, 1947, p. 183], notes that he bought it from Manet for Fr 1,200, which he has not paid yet.
Édouard Manet. Letter to Théodore Duret. [September?] 1870 [published in Robert Rey, "Manet," New York, 1938, p. 21], discusses the purchase price.
Théodore Duret. Letter to Édouard Manet. July 1871 [published in A. Tabarant, "Manet, histoire catalographique," Paris, 1931, p. 153], apologizes for not having paid for it yet, noting that he will give Manet the money upon his return from his travels.
Édouard Manet. Letter to Théodore Duret. March 6, 1871 [published in Robert Rey, "Manet," New York, 1938, p. 21], requests that Duret send him money, probably payment for this picture.
Édouard Manet. Letter to Théodore Duret. August 22, 1871 [published in Robert Rey, "Manet," New York, 1938, p. 21], acknowledges receipt of Fr 700 sent by Duret as partial payment for this picture.
Edmond Bazire. Manet. Paris, 1884, pp. 21, 139, ill. (engraving by Guérard), suggests that it is a portrait of Manet's brother Gustave.
Louis Gonse. "Manet." Gazette des beaux-arts, 2nd ser., 29 (February 1884), p. 142, dates it 1866.
Joséphin Péladan. "Le procédé de Manet d'après l'exposition de l'École des Beaux-Arts." L'Artiste, 54 année, 1 (February 1884), p. 110.
Julie Manet. Journal (1893–1899). March 19, 1894 [published in Julie Manet, "Journal (1893–1899), sa jeunesse parmi les peintres impressionnistes et les hommes de lettres," preface by Jean Griot, Paris, 1979, p. 30], notes that it did not bring a very high price at the sale of the Duret collection.
Théodore Duret. Histoire d'Édouard Manet et de son œuvre. Paris, 1902, pp. 179, 212, no. 78, suggests that it depicts the moment where the toreador is asking for permission to kill the bull.
Étienne Moreau-Nélaton. Manuscrit de l'œuvre d'Édouard Manet, peinture et pastels. , unpaginated, no. 78 [Département des Estampes, Bibliothèque Nationale de France, Paris], calls it "Un matador de taureaux" and mistakenly states that it was no. 24 in the sale of the Duret collection.
Emil Waldmann. "Französische Bilder in Amerikanischem Privatbesitz, Part 1." Kunst und Künstler 9 (November 1910), p. 93, ill.
Emil Waldmann. "Französische Bilder in amerikanischem Privatbesitz II." Kunst und Künstler 9 (December 1910), p. 134.
Théodore Duret. Manet and the French Impressionists. 2nd ed. [1st ed. 1910]. London, 1912, p. 227, no. 78.
Julius Meier-Graefe. Édouard Manet. Munich, 1912, pp. 153–54 n. 1, 316, fig. 72, notes that it is not clear whether it was conceived before or after Manet's trip to Madrid; provides ex-collection information.
Emil Waldmann. Édouard Manet. Berlin, 1923, pp. 32, 39, 46, ill., dates it about 1865–66.
J.-E. Blanche. Manet. London, 1925, p. 42, includes it in a list of works produced between 1867 and 1870.
Étienne Moreau-Nélaton. Manet raconté par lui-même. Paris, 1926, vol. 1, pp. 76, 137, fig. 76; vol. 2, 128, no. 34, fig. 342, dates it about 1865 and agrees that the model is Manet's brother Eugène; publishes a photograph of it in the 1884 Paris exhibition.
A. Tabarant. "Autour de Manet." L'art vivant 4 (May 4, 1928), p. 349.
Patrick Hoyan. "La collection Havemeyer au Metropolitan Museum." Beaux-arts, chronique des arts et de la curiosité 7 (January 1929), pp. 1, 6, ill.
A. Tabarant. "Les Manet de la collection Havemeyer." La Renaissance 13 (February 1930), pp. 61, 69, ill., dates it 1866, but notes that it is usually dated 1867; affirms that Eugène Manet posed for it; provides ex-collection information.
A. Tabarant. Manet, histoire catalographique. Paris, 1931, pp. 152–54, no. 113, notes that it was painted in Manet's studio on the rue Guyot in 1866 and that his brother Eugène posed for it.
Paul Colin. Édouard Manet. Paris, 1932, p. 74.
Paul Jamot and Georges Wildenstein. Manet. Paris, 1932, vol. 1, pp. 131–32, no. 124; vol. 2, fig. 44, note that this picture was signed after the artist's death and list it with works from 1866.
J. Meier-Graefe. "The Manet Centenary." Formes no. 24 (April 1932), ill., dates it 1865.
E. Lambert. "Manet et l'Espagne." Gazette des beaux-arts, 6th ser., 9 (June 1933), p. 375, notes the Spanish influence in this work and agrees that his brother Eugène posed for it.
Gotthard Jedlicka. Édouard Manet. Zürich, 1941, pp. 85, 104, 397 n. 7, remarks that this work could be a result of Manet's trip to Spain in 1865.
Michel Florisoone. Manet. Monaco, 1947, p. XXI, erroneously dates it 1860.
A. Tabarant. Manet et ses œuvres. 4th ed. (1st. ed. 1942). Paris, 1947, pp. 121, 124, 137, 491, 512, 536, no. 121, fig. 121, states that this picture was signed by Manet during his lifetime [see Ref. Jamot and Wildenstein 1932] and was painted in 1866 in the studio on the rue Guyot, where it was exhibited the same year.
George Heard Hamilton. Manet and His Critics. New Haven, 1954, p. 155.
Georges Bataille. Manet: Biographical and Critical Study. New York, 1955, pp. 10, 47, ill. (color).
Henri Perruchot. La vie de Manet. Paris, 1959, pp. 188, 213.
Louisine W. Havemeyer. Sixteen to Sixty: Memoirs of a Collector. New York, 1961, pp. 223–24, calls it "El Espada".
Denis Rouart. Letter to Margaretta M. Salinger. May 9, 1961 [see Ref. Sterling and Salinger 1967], states that neither of Manet's brothers posed for this picture.
A. Tabarant. La Vie artistique au temps de Baudelaire. 2nd ed. (1st ed. 1942). [Paris], 1963, p. 376.
Joel Isaacson. "The Early Paintings of Claude Monet." PhD diss., University of California, Berkeley, 1967, p. 311 n. 11, p. 313 n. 22.
Sandra Orienti in The Complete Paintings of Manet. New York, 1967, p. 96, no. 102, ill.
Charles Sterling and Margaretta M. Salinger. "XIX–XX Centuries." French Paintings: A Catalogue of the Collection of The Metropolitan Museum of Art. 3, New York, 1967, pp. 43–44, ill., date it 1866, noting that it was painted a year after Manet's return from his trip to Spain; remark that it shows the direct influence of Velázquez in the tone of the transparent ground.
Merete Bodelsen. "Early Impressionist Sales 1874–94 in the Light of some Unpublished 'procès verbaux'." Burlington Magazine 110 (June 1968), pp. 341, 345.
Margaretta M. Salinger. "Windows Open to Nature." Metropolitan Museum of Art Bulletin 27 (Summer 1968), unpaginated, ill.
Anthea Callen. "Jean-Baptiste Faure, 1830–1914: A Study of a Patron and Collector of the Impressionists and their Contemporaries." Master's thesis, University of Leicester, 1971, pp. 249–50, no. 371, states that Duret paid Manet Fr 2,000 for this picture in 1870 [but see Refs. Manet 1870 and Duret 1870].
Anthea Callen. "Faure and Manet." Gazette des beaux-arts 83 (March 1974), pp. 171, 178 nn. 93–94, provides provenance information.
Denis Rouart and Daniel Wildenstein. Édouard Manet, catalogue raisonné. Paris, 1975, vol. 1, pp. 5, 18, 25, 108–9, no. 111, ill.
François Duret-Robert in Maurice Sérullaz. "The Verdict of the Salerooms." Phaidon Encyclopedia of Impressionism. English ed. [French ed., 1974]. Oxford, 1978, p. 249.
Marc Saul Gerstein. "Impressionist and Post-Impressionist Fans." PhD diss., Harvard University, 1978, p. 48, notes that Manet used this motif in a fan fragment painted in about 1866, "Toréador saluant" (RW319) and that the same figure reappeared in 1879 on one of the small side panels of a tambourine (RW320).
Pierre Daix. La vie de peintre d'Édouard Manet. Paris, 1983, pp. 150–51.
Charles S. Moffett in Manet, 1832–1883. Exh. cat., The Metropolitan Museum of Art. New York, 1983, pp. 240–43, no. 92, ill. (color, overall and detail) [French ed., Paris, 1983], dates it 1866 or 1867, leaning more towards a later date based on the omission of this work from all of the reviews of the exhibition that Manet held in his studio in 1866; agrees with the Duret sale catalogue [see Ref. 1894] that the model is a member of a troupe of Spanish dancers who performed in Paris during the Exposition Universelle of 1867; notes that the pose of the matador is similar to that of the figure at the left in "La Posada" (RW110), but comments that it is impossible to know if there is a direct connection between the two figures.
Kathleen Adler. Manet. Oxford, 1986, p. 181, comments that in the 1860s the theme of death and the modern hero occupied Manet in several paintings, including this one.
Maureen C. O'Brien in Maureen C. O'Brien. In Support of Liberty: European Paintings at the 1883 Pedestal Fund Art Loan Exhibition. Exh. cat., Parrish Art Museum. Southampton, N.Y., 1986, p. 162 n. 6, calls it "Majo Saluting".
Frances Weitzenhoffer. The Havemeyers: Impressionism Comes to America. New York, 1986, pp. 102, 128–29, 255, fig. 81, describes how Mrs. Havemeyer bought this picture from Durand-Ruel for her husband.
Françoise Cachin. Manet. [Paris], 1990, pp. 62, 158, fig. 2 (color).
Anne Distel. Impressionism: The First Collectors. New York, 1990, pp. 58, 241, colorpl. 39.
Éric Darragon. Manet. Paris, 1991, pp. 377, 392, colorpl. 85.
Louisine W. Havemeyer. Sixteen to Sixty: Memoirs of a Collector. 3rd ed. [1st ed. 1930, repr. 1961]. New York, 1993, pp. 223–24, 307–8 n. 10, p. 333 n. 321.
Susan Alyson Stein in Splendid Legacy: The Havemeyer Collection. Exh. cat., The Metropolitan Museum of Art. New York, 1993, pp. 218, 224, pl. 212.
Gary Tinterow in Splendid Legacy: The Havemeyer Collection. Exh. cat., The Metropolitan Museum of Art. New York, 1993, pp. 27, 30, 53 n. 68.
Gretchen Wold in Splendid Legacy: The Havemeyer Collection. Exh. cat., The Metropolitan Museum of Art. New York, 1993, p. 352–53, no. A348, ill.
Beth Archer Brombert. Édouard Manet: Rebel in a Frock Coat. Boston, 1996, p. 305.
Dominique Dussol. Art et bourgeoisie: La société des amis des arts de Bordeaux (1851–1939). Bordeaux, 1997, pp. 218–19, 229, 267, ill. in color (overall and detail), includes it as no. 409, "La première épée," in the Salon of 1869 of the Société des amis des arts de Bordeaux.
Fred Licht. Manet. Milan, 1998, p. 55, fig. 32.
Carol Armstrong. Manet Manette. New Haven, 2002, pp. 11, 15, 28, 102–3, 344 n. 4, no. 16, figs. 16 and 49, suggests that Manet combines here the features of his brother Eugène and a dancer from a Spanish troupe who visited Paris during the Universal Exposition of 1867.
Trevor Fairbrother in Gary Tinterow and Geneviève Lacambre. Manet/Velázquez: The French Taste for Spanish Painting. Exh. cat., Musée d'Orsay, Paris. New York, 2003, pp. 521–22, 541.
Manuela B. Mena Marqués in Manet en el Prado. Exh. cat., Museo Nacional del Prado. Madrid, 2003, pp. 190, 225, 443, 455.
Gudrun Mühle-Maurer in Manet en el Prado. Exh. cat., Museo Nacional del Prado. Madrid, 2003, pp. 67, 71–72, 79, 82 n. 49, pp. 354, 396, 400, 401 n. 49, p. 496, fig. 22 (color), dates it 1866–67 in the caption but lists it as being executed in 1865 in the chronology; suggests that the figure has the characteristic traits of the famous bullfighter Cayetano Sanz who Manet saw in a bullfight on Sunday, September 3, 1865 in Madrid; continues that the matador in the painting wears a suit that corresponds to the one worn by Cayetano in the print by R. Rojas (fig. 25), that was apparently designed by the matador himself to minimize the risk of injury.
H. Barbara Weinberg in Gary Tinterow and Geneviève Lacambre. Manet/Velázquez: The French Taste for Spanish Painting. Exh. cat., Musée d'Orsay, Paris. New York, 2003, p. 283.
Juliet Wilson-Bareau in Gary Tinterow and Geneviève Lacambre. Manet/Velázquez: The French Taste for Spanish Painting. Exh. cat., Musée d'Orsay, Paris. New York, 2003, pp. 233, 236, 496, 498, no. 149, fig. 9.55 (color and black and white) [French ed., "Manet/Velázquez: La manière espagnole au XIXe siècle," Paris, 2002, pp. 201, 386, 388, no. 94, fig. 109 (color)], dates it 1866–67; remarks that this is probably one of the first lifesize figures that Manet painted on his return from Spain; discusses the identity of the sitter, suggesting that Eugène or another model posed in the matador's costume, and that the head was taken from one of the carde-de-visite photographs that portrayed famous bullfighters.
Juliet Wilson-Bareau in Manet en el Prado. Exh. cat., Museo Nacional del Prado. Madrid, 2003, pp. 54, 63 n. 103, pp. 387, 393 n. 103, suggests that the figure is either saluting the president, the person who presides over the bullfight in his box, or dedicating the bull that he will kill to a lady.
Ross King. The Judgment of Paris: The Revolutionary Decade That Gave the World Impressionism. New York, 2006, p. 164, calls it "The Saluting Torero" and dates it autumn 1865.
Xavier Bray in Inspiring Impressionism: The Impressionists and the Art of the Past. Exh. cat., High Museum of Art, Atlanta. Denver, 2007, p. 123, calls it "The Saluting Torero" and dates it 1865; notes that it was based on a pencil sketch made at a bullfight.
Gary Tinterow in The Masterpieces of French Painting from The Metropolitan Museum of Art: 1800–1920. Exh. cat., Museum of Fine Arts, Houston. New York, 2007, pp. 86–87, 229–30, no. 59, ill. (color and black and white) and fig. 16 (installation photo, color).
Simon Kelly in Manet, inventeur du Moderne. Exh. cat., Musée d'Orsay. Paris, 2011, p. 59.