Some of Manet’s paintings are known to have been “completed” by dealers to make them more saleable. Photographs made in the artist’s studio invite a fascinating “before” and “after” investigation. Compare this painting to the photograph of it taken soon after Manet’s death.

   Close observation suggests that some changes were made by a later hand, perhaps before the first owner acquired the painting or, more likely, after its sale to dealers in 1910. Manet’s signature was clearly added posthumously, and there may have been retouching to “complete” the unidentifiable object held by the young woman. Hyperspectral imaging indicates that the profile of the young woman was adjusted by Manet himself during the painting process: her nose was initially smaller but sharper, her lips were fuller, and her hat was larger. On the other hand, examination of the painted surface under UV illumination does not uncover any later inpainting. The degree of change continues to be studied and debated by art historians and conservators.

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   Never exhibited during Manet’s lifetime, this painting has provoked speculation about whether the subject was a friend or a model. She is dressed in a walking suit, and the object she carries is identified as a parasol, umbrella, or walking stick. The picture epitomizes what the poet and critic Charles Baudelaire considered a defining feature of images of modern life: the changing fashions of ladies’ dresses.

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