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Émile Zola, c.1867/68 by Édouard Manet
Canvas Print - 13641-MED

Location: Musée d'Orsay, Paris, France
Original Size: 146.5 × 114 cm

Émile Zola by Manet (c.1867/68) is reproduced as a museum-quality giclée canvas print. Printed with archival inks on 400 g/m² canvas and hand-varnished for UV protection, it can be made in any size up to 41.3 × 32 in, scaled proportionally, with optional framing. Free worldwide shipping available; unframed prints ship in 2 workdays, framed in 7 to 8. Guaranteed 100-year color durability.

Émile Zola by Édouard Manet, c.1867/68 - canvas print
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Giclée Canvas Print | $73.18 USD

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SKU:13641-MED
Print format
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Rolled
Production: 2 Workdays
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Giclée Print Quality on 400 g/m² Canvas, Satin/Gloss

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Largest Available
41.3″ × 32″
Framing: Long Side Up to 28"
Can be Framed

Sizes scale proportionally to the original. Dimensions shown are for the printed area - we always add 1.2 in of blank canvas on every side for stretching.

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Also Available as Oil Painting Reproduction

Questions about this Print

The size you set is the printed image, the part you see once the canvas is stretched. Beyond that size we add 1.2 in of blank canvas on every side, at no extra cost, so the stretcher bars have something to grip. A 21.7 × 16.8 in print therefore arrives as 24 × 19.1 in. Both numbers are shown in Your Selection above and change with the slider.

Yes. The slider covers every size up to 41.3 × 32 in, always in the proportions of the original. If you need something larger, or a size that has to fit a frame you already own, write to us with the title and the dimensions and we will tell you what is possible. Every print is made to order, so there is usually a way.

Because the original is an oil painting on canvas. We match the print medium to the original: oil paintings go on canvas, works on paper go on fine art paper. Our canvas is natural cotton, 400 g/m² Canvas, acid-free and pH neutral, and its woven texture gives the most natural impression of Manet's original oil painting. The finish is satin/gloss, which keeps the depth of the dark tones the way varnish does on a painting in a museum; a matte canvas looks dull and pale next to it. More about our print media.

Start with the original, which measures 146.5 × 114 cm. A print at or near that size reads the way the artist judged it. Printing smaller is easy; enlarging a small original changes its character. For the wall, above a sofa or a sideboard aim for two thirds to three quarters of the furniture width, and hang the center at eye level. Cut paper to size and tape it to the wall before you order. The original hangs in Musée d'Orsay, Paris, France. Full size guide.
30-day returns on unframed prints. Shipping, framing, care and returns are covered in our Help & FAQ.

About the Painting

Emile Zola (1840-1902), a writer and lifelong friend of Paul Cezanne (1839-1906), played a vital role as a staunch supporter of Manet. Zola first championed him in the journal L’Evenement in 1866, forging a lasting bond between the two men.

In a manner reminiscent of traditional portraiture, Zola is depicted amidst an arrangement of books and writing materials, with copies of L’Evenement forming a fan-like display behind the inkstand. His pale face emanates a radiant glow within the darkness. The book in his hand, the presence of Japanese prints, an engraving of Manet's Olympia (1863), and a luminous Japanese screen all testify to Zola's fascination with the avant-garde.

The emphasis on black and white tonal values aligns with early Manet works. The book of Japanese prints, representing a recent arrival in Paris that captivated the artistic and literary circles, glistens and serves as the focal point of the painting. The meticulous modeling of Zola's face and hands contrasts with the looser brushwork depicting his trousers. The studio lighting highlights details such as Zola's ear, knuckles, and the bridge of his nose.

Although Manet's palette may not yet mirror that of the Impressionists, his refusal to "make things up" resonates with their shared aspiration to paint directly from nature. Zola recounts how Manet insisted on him remaining still during the lengthy sittings, stating, "No, I can do nothing without Nature. I do not know how to fabricate. If my work holds any true value today, it is due to its exact interpretation and truthful analysis."

The painting was well-received at the Salon of 1869, garnering positive acclaim from viewers and critics alike.

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