In 1862, Édouard Manet (1832–83) completed a large painting, The Gypsies (Les Gitanos), representing four figures: a standing Roma musician, a woman seated on the ground holding an infant, and, behind this group, a young man drinking from a raised ceramic jug. After Manet exhibited the work in 1863 at the Galerie Martinet and in 1867 in the temporary pavilion he erected on the avenue de l’Alma near the Exposition universelle, he cut the canvas into several pieces, evidently in response to the negative criticism it received.1 The disposition of the figures has been known from an 1862 etching that reversed the composition (fig. 1).2 Three fragments of the original painting are in public collections today: Boy with Pitcher (La Régalade) at the Art Institute of Chicago, and Still Life with Bag and Garlic and The Bohemian, both of which entered the collection of Louvre Abu Dhabi in 2009 (fig. 2).3 Though Adolphe Tabarant, Manet’s biographer, identified many of the men and women who posed for the painter, he did not name the models for this work, perhaps because of its history.4 I would propose that the model for the standing man was Auguste Lagrène: a member of a Parisian Roma clan, he posed in the École des beaux-arts and perhaps also in Thomas Couture’s teaching studio, where Manet was a student. His identity as a professional model raises fundamental questions regarding Manet’s studio praxis in the 1860s.5