A Manet chalk study held in a private Italian collection is receiving fresh scholarly attention. Researchers Francesco Baccanelli and Emily Beeny have attributed the small red-chalk drawing to Édouard Manet. Their work appears in the October 2026 issue of The Burlington Magazine.
3 clues behind the Manet chalk study attribution
1. An old attribution prompted a closer look
Smithsonian Magazine’s report describes a drawing found by Baccanelli in northern Italy. He sent photographs to Beeny, a curator and Manet specialist, who recognized features worth investigating.
The sheet measures roughly 8 by 7 inches, according to the report. Its emergence brings a work from a private collection into a public scholarly discussion rather than announcing a newly painted object.
2. The materials and handling fit other studies
Smithsonian reports that ultraviolet examination showed traces of Manet’s studio stamp. Beeny also identified similarities in the treatment of light, shadow and fingers.
The journal’s article summary places the Manet chalk study alongside the red-chalk life drawings he made in the 1860s. It connects that practice to his study of Renaissance drawing in Florence.
3. The grid raises a question about its purpose
The drawing depicts a crouching girl and is squared for transfer. The Burlington Magazine says it has not been linked to a known composition by Manet.
Comparisons with figures in “The Old Musician” and “Le Déjeuner sur l’Herbe” have been discussed in the reporting. They do not settle what the Manet chalk study was intended to become. Its subject and relationship to a finished painting remain questions for researchers.
Why the remaining uncertainty matters
The attribution is the researchers’ assessment. It should be presented alongside the evidence and the questions they have yet to resolve, rather than as a claim that every part of the drawing’s history is known.
For related art reporting, explore our coverage of the Toledo Museum of Art’s photograph acquisition and fall museum openings.
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