The Jetty of Boulogne-sur-Mer, 1868

Edouard Manet (1832-1883)

  • Oil on Canvas, 59,5 x 73,3 cm
  • Van Gogh Museum, Amsterdam*

Boulogne-sur-Mer was Manet’s source of inspiration for his seascapes. When he first visited this French coastal town in 1864, it was not yet the worldly seaside resort it was later to become. By the time Manet painted this work – four years later – Boulogne had been transformed into a tourist hot spot for Parisians.
Manet included several beach visitors in this scene of the jetties in Boulogne-sur-Mer. He first drew these figures individually in his sketchbook, subsequently arranging them separately or in groups in his elaborated composition. For the ‘Pier’ he selected, a woman with a parasol who, together with a little boy, leans over the railing at the right, and, seen from behind, a young girl and an overweight woman with a shawl in the middle. Manet depicted four more people on the quay gazing out over the sea with just a few deft strokes.

* Van Gogh Museum, Amsterdam, purchased with financial support from the BankGiro Lottery, the Rembrandt Association (supported by Prins Bernhard Cultuurfonds), the VSB Foundation, the Mondriaan Foundation, the Vincent van Gogh Foundation and the Ministry of Education, Culture and Science

More information about "The Jetty of Boulogne-sur-Mer"


The composition of Manet’s ‘Pier’ may be described as controversial for the time. The quay runs diagonally across the picture plane, dividing the scene in two. Below is the sea with little crests on the waves, while further back the water and sky form a vague, inseparable entity including a few sailing vessels. The large sailing boat at anchor between the two piers is the core of the scene, both compositionally and in terms of subject matter. The craft has drawn the attention of various passers-by, some of whom undoubtedly have come to the pier especially to admire it.

A 'Japanese' horizontal

Manet’s horizontal composition is strongly reminiscent of those of Japanese prints. What we see is a representation built up in layers, like stage sets, that continues beyond the framing edges rather than a self-contained composition organised according to the principles of linear perspective. However, Manet’s manner of painting contrasts with the severe style of Japanese woodcuts. In this seascape, the ‘precursor of the Impressionists’ succeeded in capturing light and movement in fluid brushstrokes. Moreover, the rhythmic patterns of the pier and the rail – bisected by the diagonals of the riggings and sails of the boats – do much to enliven this depiction.

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