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Piece №006
  French Impressionist café painting

Historical context

Corner of a Café-Concert is one of two surviving fragments of a single painting Manet began in 1878 of the Brasserie de Reichshoffen on the Boulevard Rochechouart in Paris. Manet cut the canvas in half before he had finished it; the left fragment is in the Reinhart collection in Winterthur, this right fragment was completed separately and now hangs in the National Gallery, London.

Paris in the late 1870s ran on café-concerts — cheap brasseries with a small stage at one end, where customers drank, smoked, and listened to a working singer or instrumentalist between rounds. The Reichshoffen sat near Place de Clichy, in the same arrondissement as the Folies-Bergère Manet would paint three years later. Coffee, beer, and wine were served from the same long counter.

Why this matters to a coffee archive. The Manet café-concert paintings are the founding document of the modern café as social space — not the Viennese coffeehouse, not the Ottoman kahvehane, but the rapid, working-class, mixed-class urban room that the second wave of European coffee culture was actually drunk in. The trombone player is the soundtrack; the waitress carrying the beer mugs is the labor. Everyone here is a customer.

Manet’s handling is the late style: confident, broad, the figures resolved with wet-into-wet strokes rather than careful modeling. The waitress — the only fully realized figure — was painted from a real serveuse who came to his studio. The seated woman drinking is a hired model; the bearded man smoking is the printmaker Henri Guérard, Manet’s friend.

The piece entered the National Gallery in 1924 through the Lane Bequest. Before that it was in private hands for forty years. The Reinhart fragment in Winterthur shows the missing left half — a different waitress, more of the bar — but the two were never reunited and there is no plan to do so.

The file is a high-resolution scan of the National Gallery’s open-access photograph of the canvas, 3394 × 4226 px. The painted surface is small (97 × 78 cm in the original), and the file carries cleanly to 16 × 20 inch print at native pixel density. We recommend the middle size; the painting was made to be read at standing-figure scale and the brushwork softens at very large hangs.

Catalog

Artist Édouard Manet
French, 1832–1883
Title Corner of a Café-Concert
Year c. 1878–1880
Medium Oil on canvas
Original size 97 × 78 cm
Holding The National Gallery, London (NG3858)
License Public Domain
Archive № CA-006

Print specifications

11 × 14 in
native, clean

The shelf-scale hang. Matte fine-art paper, slim warm-toned frame. The waitress reads as the focal point regardless of size.

16 × 20 in
our recommended hang

Approaching the canvas’s actual scale. The seated woman’s face and the trombone bell both gain presence. Generous mat, walnut frame.

24 × 30 in
approaching the limit

Pushable for a large wall, but the late Manet brushwork begins to look schematic at this enlargement. We’d stay at 16 × 20.

Source statement

Digital source: The National Gallery, London (NG3858), open-access photograph of the canvas. Released into public domain by the artist’s death (1883, France, life + 70).

Original work: Édouard Manet (1832–1883), Corner of a Café-Concert, oil on canvas, c. 1878–1880. National Gallery, London, NG3858.

Restoration notes. Color values preserved from the National Gallery photograph. Mild contrast lift to compensate for photographic flatness; no retouching applied to the painted surface.

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