Édouard Manet  

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[[Image:Olympia (1863) by Édouard Manet.jpg|thumb|right|200px|''[[Olympia (painting)|Olympia]]'' by [[Édouard Manet]], painted in [[1863]], it stirred an [[uproar]] when it was first exhibited at the [[1865]] [[Paris Salon]]. Today, it is considered as the start of [[modern art]].]] [[Image:Olympia (1863) by Édouard Manet.jpg|thumb|right|200px|''[[Olympia (painting)|Olympia]]'' by [[Édouard Manet]], painted in [[1863]], it stirred an [[uproar]] when it was first exhibited at the [[1865]] [[Paris Salon]]. Today, it is considered as the start of [[modern art]].]]
[[Image:The Luncheon on the Grass by Manet.jpg|thumb|right|200px|'''''The Luncheon on the Grass''''' ''(Le déjeuner sur l'herbe)'', originally titled ''The Bath'' ''(Le Bain)'', is an oil on canvas painting by [[Édouard Manet]]. Painted between [[1862]] and [[1863]] , the juxtaposition of a [[Nude female/dressed male|female nude with fully dressed men]] sparked controversy when the work was first exhibited at the [[Salon des Refusés]]]] [[Image:The Luncheon on the Grass by Manet.jpg|thumb|right|200px|'''''The Luncheon on the Grass''''' ''(Le déjeuner sur l'herbe)'', originally titled ''The Bath'' ''(Le Bain)'', is an oil on canvas painting by [[Édouard Manet]]. Painted between [[1862]] and [[1863]] , the juxtaposition of a [[Nude female/dressed male|female nude with fully dressed men]] sparked controversy when the work was first exhibited at the [[Salon des Refusés]]]]
 +In [[1877]], French artist [[Édouard Manet]] exhibited "[[Nana]]", a life-size portrayal of a [[courtesan]] in [[undergarment]]s, standing before her [[Nude female/dressed male|fully clothed gentleman]] caller. The model for it was the popular courtesan [[Henriette Hauser]]. ]]
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'''Édouard Manet''' ([[January 23]] [[1832]] – [[April 30]] [[1883]]) was a [[French painter]]. One of the first [[nineteenth century]] artists to approach modern-life subjects, he was a pivotal figure in the transition from [[Realism (visual arts)|Realism]] to [[Impressionism]]. His early masterworks ''[[The Luncheon on the Grass]]'' and ''[[Olympia (painting)|Olympia]]'' engendered great controversy, and served as rallying points for the young painters who would create Impressionism—today these are considered watershed paintings that mark the genesis of [[modern art]]. '''Édouard Manet''' ([[January 23]] [[1832]] – [[April 30]] [[1883]]) was a [[French painter]]. One of the first [[nineteenth century]] artists to approach modern-life subjects, he was a pivotal figure in the transition from [[Realism (visual arts)|Realism]] to [[Impressionism]]. His early masterworks ''[[The Luncheon on the Grass]]'' and ''[[Olympia (painting)|Olympia]]'' engendered great controversy, and served as rallying points for the young painters who would create Impressionism—today these are considered watershed paintings that mark the genesis of [[modern art]].

Revision as of 16:47, 2 February 2008

Olympia by Édouard Manet, painted in 1863, it stirred an uproar when it was first exhibited at the 1865 Paris Salon. Today, it is considered as the start of modern art.
Enlarge
Olympia by Édouard Manet, painted in 1863, it stirred an uproar when it was first exhibited at the 1865 Paris Salon. Today, it is considered as the start of modern art.
Image:The Luncheon on the Grass by Manet.jpg
The Luncheon on the Grass (Le déjeuner sur l'herbe), originally titled The Bath (Le Bain), is an oil on canvas painting by Édouard Manet. Painted between 1862 and 1863 , the juxtaposition of a female nude with fully dressed men sparked controversy when the work was first exhibited at the Salon des Refusés

In 1877, French artist Édouard Manet exhibited "Nana", a life-size portrayal of a courtesan in undergarments, standing before her fully clothed gentleman caller. The model for it was the popular courtesan Henriette Hauser. ]]

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Édouard Manet (January 23 1832April 30 1883) was a French painter. One of the first nineteenth century artists to approach modern-life subjects, he was a pivotal figure in the transition from Realism to Impressionism. His early masterworks The Luncheon on the Grass and Olympia engendered great controversy, and served as rallying points for the young painters who would create Impressionism—today these are considered watershed paintings that mark the genesis of modern art.

Life and times

The roughly painted style and photographic lighting in these works was seen as specifically modern, and as a challenge to the Renaissance works Manet copied or used as source material. His work is considered 'early modern', partially because of the black outlining of figures, which draws attention to the surface of the picture plane and the material quality of paint.

He became friends with the Impressionists Edgar Degas, Claude Monet, Pierre-Auguste Renoir, Alfred Sisley, Paul Cézanne, and Camille Pissarro, through another painter, Berthe Morisot, who was a member of the group and drew him into their activities. The grand niece of the painter Jean-Honoré Fragonard, Morisot's paintings first had been accepted in the Salon de Paris in 1864 and she continued to show in the salon for ten years.

Manet became the friend and colleague of Berthe Morisot in 1868. She is credited with convincing Manet to attempt plein air painting, which she had been practicing since she had been introduced to it by another friend of hers, Camille Corot. They had a reciprocating relationship and Manet incorporated some of her techniques into his paintings. In 1874, she became his sister-in-law when she married his brother, Eugene.

Unlike the core Impressionist group, Manet maintained that modern artists should seek to exhibit at the Paris Salon rather than abandon it in favor of independent exhibitions. Nevertheless, when Manet was excluded from the International exhibition of 1867, he set up his own exhibition. His mother worried that he would waste all his inheritance on this project, which was enormously expensive. While the exhibition earned poor reviews from the major critics, it also provided his first contacts with several future Impressionist painters, including Degas.

Although his own work influenced and anticipated the Impressionist style, he resisted involvement in Impressionist exhibitions, partly because he did not wish to be seen as the representative of a group identity, and partly because he preferred to exhibit at the Salon. Eva Gonzalès was his only formal student.

He was influenced by the Impressionists, especially Monet and Morisot. Their influence is seen in Manet's use of lighter colors, but he retained his distinctive use of black, uncharacteristic of Impressionist painting. He painted many outdoor (plein air) pieces, but always returned to what he considered the serious work of the studio.

Throughout his life, although resisted by art critics, Manet could number as his champions Émile Zola, who supported him publicly in the press, Stéphane Mallarmé, and Charles Baudelaire, who challenged him to depict life as it was. Manet, in turn, drew or painted each of them.

Further reading

  • Manet's Modernism: or, The Face of Painting in the 1860s by Michael Fried
  • Edouard Manet: Rebel in a Frock Coat by Beth Archer Brombert (1996), ISBN 0316109479 and ISBN 0226075443 (1997 paperback)
  • Manet by Françoise Cachin (1990 in French; English translation 1991), ISBN 0805017933
  • The Drawings of Edouard Manet by Alain de Leiris (1969), ISBN 0520015479
  • The Painting of Modern Life: Paris in the Art of Manet and His Followers by TJ Clark (1985), ISBN 0500281793 (2000 paperback edition)
  • Manet: Painter of Modern Life by Françoise Cachin (1995), ISBN 050030050X

Short introductory works:

  • Manet by Gilles Neret (2003; Taschen), ISBN 3822819492
  • Manet by John Richardson (1992; Phaidon Colour Library), ISBN 071482755X
  • Ross King. The Judgment of Paris: The Revolutionary Decade that Gave the World Impressionism. New York: Waller & Company, 2006 ISBN 0802714668.




Unless indicated otherwise, the text in this article is either based on Wikipedia article "Édouard Manet" or another language Wikipedia page thereof used under the terms of the GNU Free Documentation License; or on research by Jahsonic and friends. See Art and Popular Culture's copyright notice.

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