ÃÆ' â € ° douard Manet ( US: ; UK: ; France: Ã, Born in a high-class household with a strong political connection, Manet rejected the future he originally envisioned, and became engrossed in the art world of painting. His early works, The Luncheon on the Grass and Olympia, both of 1863, caused great controversy and served as a gathering point for young artists who will create Impressionism. Today, this is considered a watershed painting that marks the beginning of modern art. The last 20 years of Manet's life saw him forming bonds with other great artists of the time, and developing his own style that would be heralded as innovative and serve as a major influence for future painters. Video Édouard Manet
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Douard Manet was born in Paris on January 23, 1832, in the ancestor hÃÆ'Â'tel particulier (mansion) at rue des Petits Augustins (now rue Bonaparte) to a prosperous and well connected family. His mother, Eugene nie-Desirà ©  © e Fournier, was the daughter of a diplomat and goddaughter of the Swedish crown prince Charles Bernadotte, from whom the king of Sweden was revealed. His father, Auguste Manet, is a French judge who expects ÃÆ' â € ° douard to pursue a career in law. His uncle, Edmond Fournier, encouraged him to pursue the painting and bring the young Manet to the Louvre. In 1841 he enrolled in high school, Collez Rollin. In 1845, on the advice of his uncle, Manet enrolled in a special drawing course where he met Antonin Proust, future Minister of Fine Arts and lifelong friend.
At the advice of his father, in 1848 he sailed on a training boat to Rio de Janeiro. After he twice failed the test to join the Navy, his father succumbed to his desire to pursue an art education. From 1850 to 1856, Manet studied under the academic painter Thomas Couture. In his spare time, Manet copied the Old Masters at the Louvre.
From 1853 to 1856, Manet visited Germany, Italy, and the Netherlands, during which time he was influenced by the Dutch painter Frans Hals, and Spanish artists Diego Velázquez and Francisco José © de Goya.
Maps Édouard Manet
Careers
In 1856, Manet opened the studio. His style in this period was marked by a loose brush strokes, detailed simplification and tone transition emphasis. Adopting the current style of realism initiated by Gustave Courbet, he painted The Absinthe Drinker (1858-59) and other contemporary subjects such as beggars, singers, gypsies, people in cafes, and bullfights. After the beginning of his career, he rarely painted subjects of religion, mythology, or history; examples include him Christ Mocked , now at the Art Institute of Chicago, and Christ with Angels , at the Metropolitan Museum of Art, New York. Manet had two canvas received at the Salon in 1861. Portrait of his mother and father, who at the time was paralyzed and robbed by a stroke, was not accepted by critics. The others, The Spanish Singer , admired by Theophile Gautier, and placed in a more prominent location as a result of its popularity with Salon-goers. Manet's work, which appears "a bit frivolous" when compared to the meticulous style of so many other Salon paintings, intrigued some young artists. Spanish singer , painted with "strange new fashions [-] caused many painters to open and their jaws dropped."
Music in Tuileries
Music in the Tuileries is an early example of Manet's painters style. Inspired by Hals and VelÃzzquez, it is a sign of his lifelong interest in leisure issues.
While the picture was deemed unfinished by some, the suggested atmosphere instilled a sense of what the Tuileries garden was at the time; one can imagine music and conversation.
Here, Manet has portrayed his friends, artists, writers, and accompanying musicians, and he has included self-portraits among the subjects.
Lunch at Grass ( Le dÃÆ' Â © jeuner sur l'herbe )
The main starting job is The Luncheon on the Grass (Le Monde sur l'herbe) , originally Le Bain . The Paris Salon rejected it for the exhibition in 1863, but Manet agreed to show it off in the Salon des Refusà © (Salon of the Rejected) which is a parallel exhibition to the official Salon, as an alternative exhibition at the Palais des Champs-ElysÃÆ' © e. The Salon des RefusÃÆ'  © s was initiated by Emperor Napoleon III as a solution to the troubled situation that emerged as the Salon Election Committee of the year which rejected 2,783 paintings ca. 5000. Each painter can decide whether to take the opportunity to show off at the Salon des Refusà © s , less than 500 painters who were denied chose to do so.
Manet uses Victorine Meurent model, his wife Suzanne, future brother-in-law Ferdinand Leenhoff, and one of his brothers to pose. Meurent also posed for several important Manet paintings including Olympia ; and in the mid-1870s he became a master painter in his own right.
The juxtaposition of a well-dressed male painting and a controversial naked woman, as abbreviated, sketch-like handling, an innovation that distinguishes Manet from Courbet. At the same time, Manet's composition reveals his study of old masters, as the disposition of the main figures is derived from Marcantonio Raimondi's engraving of Paris Judgment (c 1515) by image by Raphael.
Two additional works cited by scholars as an important precedent for Le dÃÆ' Â © jeuner sur l'herbe are Pastoral Concerts (c 1510, The Louvre) and The Tempest (Gallerie dell'Accademia, Venice), both of which are attributed to various kinds to Italian Renaissance teachers, Giorgione or Titian. The Tempest is a mysterious painting featuring a well-dressed man and a naked woman in a rural setting. The man stood on his left and looked sideways, apparently to the woman, who was sitting and nursing the baby; the relationship between the two figures is not clear. In the Pastoral Concert, two dressed men and a naked woman sit on the grass, engaging in musical making, while a second naked woman stands beside them.
Olympia
As he did at Luncheon on the Grass , Manet again paraphrased a work honored by the Renaissance artist in the painting Olympia (1863), naked in the style reminiscent of early studio photographs, but pose based on the Titos Venus of Urbino (1538). This painting also reminds Francisco Goya of The Nude Maja (1800).
Manet starts on the canvas after being challenged to give a nude painting Salon to display. Her unique portrayal of confident prostitutes was accepted by Paris Salon in 1865, where she created a scandal. According to Antonin Proust, "only precautions taken by the government prevented the painting from being stabbed and torn" by an annoyed audience. The painting was controversial in part because it was naked wearing some small items of clothing like an orchid in her hair, bracelets, ribbons in her neck, and donkey sandals, all of which featured her nakedness, her sexuality, and the comfortable lifestyle of prostitutes. Orchids, knitted hair, black cats, and flower bouquets are all known as symbols of sexuality at the time. The body of modern Venus is thin, contrary to the prevailing standards; The lack of idealism makes the viewers mesmerized. The painting, inspired by Japanese wooden art, serves to make people naked more human and less stimulating. A well-dressed black servant was shown, exploiting the theory at the time that blacks were hyper-sex. That she's wearing a waitress's clothes to a prostitute here adds to sexual tension.
Olympia's body and her unconventional look. She defiantly looks as her maid offers flowers from one of her male suitors. Although his hands rested on his feet, hiding his pubic area, the reference to the virtues of traditional women was ironic; notable ideas of decency are present in this work. A contemporary critic denounces Olympia's "undisturbed" left hand, which for him appears to be a mockery of the relaxed and protected hands of Venus Titian. Similarly, a cautious black cat at the foot of the bed attacks a rebellious sexual record, in contrast to the sleeping dog in Titian's portrayal of the goddess at Venus Urbino .
Olympia is a caricature subject in the popular press but fought by the French avant-garde community, and the meaning of the painting is appreciated by artists such as Gustave Courbet, Paul CÃÆ' © zanne, Claude Monet, and then Paul Gauguin.
As with Luncheon on the Grass, the painting raises the issue of prostitution in contemporary France and the role of women in society.
Life and time
After his father's death in 1862, Manet married Suzanne Leenhoff in 1863. Leenhoff was a Dutch-born piano teacher who was two years old to Manet's senior, with which he had been romantically involved for approximately ten years. Leenhoff was originally employed by Manet's father, Auguste, to teach Manet and his piano brother. He may also be Mrs. Auguste. In 1852, Leenhoff gave birth, out of wedlock, to a son, Leon Koella Leenhoff. Manet painted his wife at The Reading , among other paintings.
The eleven-year-old Leon Leenhoff, whose father was probably one of Manets, often appeared to Manet. Most noteworthy, he was the subject of the Boy Carrying a Sword in 1861 (Metropolitan Art Museum, New York). He also appears as a kid carrying a tray in the background The Balcony .
He became friends with Impressionist Edgar Degas, Claude Monet, Pierre-Auguste Renoir, Alfred Sisley, Paul CÃÆ' © zanne and Camille Pissarro through another painter, Berthe Morisot, who was a member of the group and drew him into their activities. The great nephew of the painter Jean-Honorà ©  © Fragonard, Morisot had his first painting received at the Salon de Paris in 1864, and he continued to show at the salon for the next ten years.
Manet became a friend and colleague of Berthe Morisot in 1868. He is credited with Manet reassuring to try a plein air painting, which he has practiced since he was introduced to him by his other friend Camille Corot. They have a reciprocal relationship and Manet incorporates some of his techniques into his paintings. In 1874, he became his brother-in-law when he married his brother, Eugène.
One of the most frequent Manet models, especially in the early 1880s, was Laury M "semimondaine, who often sits for the other Impressionist.
Unlike the core group of Impressionists, Manet argues that modern artists should strive to show themselves at the Paris Salon rather than leaving it for an independent exhibition. However, when Manet was expelled from the 1867 International Exhibition, he established his own exhibition. Her mother was worried that she would throw all her legacy on this project, which is very expensive. While the exhibits are getting bad reviews from major critics, the exhibition also provides its first contact with some of the future Impressionist painters, including Degas.
Although his own work influenced and anticipated the Impressionist style, he refused involvement in the Impressionist exhibition, partly because he did not want to be seen as a representative of the group identity, and partly because he preferred to exhibit at the Salon. Eva GonzalÃÆ'¨s, the daughter of the novelist Emmanuel GonzalÃÆ'¨s, is the only formal student.
He was influenced by the Impressionists, especially Monet and Morisot. Their influence was seen in the use of light colors Manet: after the early 1870s he made less use of dark backgrounds but retained his distinctive black usage, as is usually the Impressionist painting. He painted a lot of the outside (air plein), but always returned to what he considered a serious job in the studio.
Manet enjoys close friendship with Emmanuel Chabrier composer, painting two portraits of himself; the musician has 14 Manet paintings and dedicates his Impromptu to Manet's wife.
Throughout his life, despite being opposed by art critics, Manet was able to count as his champion Zola, who supported him publicly in the media, StÃÆ'  © phane Mallarmà ©  ©, and Charles Baudelaire, who challenged him to describe such a life. Manet, in turn, draw or paint each.
Cafe scene
Manet's painting of the cafe scene is a social observation of life in 19th-century Paris. People are described drinking beer, listening to music, teasing, reading, or waiting. Many of these paintings are based on sketches that are executed on the spot. He often visited the Reichshoffen Brasserie on the boulevard de Rochechourt, where he grounded the Cafe In 1878. Some were in the bar, and a woman faced the audience while others waited to be served. Such representations represent painted journals of flÃÆ' Â ¢ neurons. It's painted in a loose style, references Hals and VelÃzzquez, but they capture the mood and feelings of Paris nightlife. They portrayed bohemianism snapshots, urban workers, as well as some bourgeois.
At the Corner of a Cafe Concert, a man smokes while a waiter presents a drink. In The Beer Drinkers a woman enjoys her beer at a friend's company. In The Cafe Concert , shown on the right, a sophisticated man sits in a bar while a waiter stands firmly in the background, sips his drink. In The Waitress, a serving woman pauses behind a customer who sits smoking a pipe while a ballet dancer, with her arms extended as she turns, is on stage in the background.
Manet also sits in a restaurant on Avenue de Clichy called Pere Lathuille's, which has a garden beside the dining room. One of the paintings he produces here is Chez le pÃÆ'¨re Lathuille (In Pere Lathuille's), in which a man shows an unrequited interest in a woman who eats nearby.
In Le Bon Bock (1873), a large, cheerful, bearded man sat with a pipe in one hand and a glass of beer in the other, staring directly into the viewer.
Manet upper-class painting enjoys more formal social activities. In the Masked Ball at the Opera, Manet shows the throng of people enjoying the party. Men stand with top hats and long black suits when talking to women with masks and costumes. He inserted his friends portrait in this photo.
His 1868 painting The Luncheon was filed in Manet's dining room.
Manet describes other popular activities in his work. In The Races at Longchamp , an unusual perspective is used to highlight the horse's hasty energy as they rush to the audience. In Skating, Manet shows a well-dressed woman in the foreground, while others slide behind her. There is always a sense of active urban life that continues behind the subject, stretched out beyond the canvas frame.
In International Exhibition Landscape , soldiers relax, sit and stand, prosperous couples are talking. There was a gardener, a boy with a dog, a woman on horseback - in a nutshell, an example of the class and age of the people of Paris.
War
Manet's response to modern life includes works devoted to war, in what can be seen as the latest interpretation of the "historical painting" genre. The first such work was the Battle of the Kearsarge and Alabama (1864), a sea battle known as the Battle of Cherbourg of the American Civil War that took place outside of France. beaches, and may have been witnessed by artists.
The next draw is the French intervention in Mexico; from 1867 to 1869 Manet painted three versions of the Emperor Maximilian Execution , an event that raised concerns about France's foreign and domestic policies. Several versions of Execution are one of Manet's greatest paintings, which shows that his theme is one of the most important painters. The subject was execution by a Mexican firing squad of Habsburg emperor who had been installed by Napoleon III. Both paintings and lithographs of the subject are allowed to be displayed in France. As the slaughtering charges are formalized, the paintings look back to the Goya, and anticipate Picasso Guernica .
In January 1871, Manet went to Oloron-Sainte-Marie in the Pyrenees. In his absence, his friends added his name to "FÃÆ' Â © ÃÆ' Â © ration des artistes" (see: Courbet) of the Paris Commune. Manet stayed away from Paris, perhaps, until after semaine silante : in a letter to Berthe Morisot in Cherbourg (June 10, 1871) he wrote, "We returned to Paris a few days ago... " (semaine silante ends on May 28).
The collection and painting of the Museum of Fine Arts (Budapest) has watercolor/gouache by Manet, The Barricade , which describes the summary of Commandant executions by Versailles troops based on the lithograph of the Maximilian execution. A similar piece, The Barricade (oil on plywood), held by a private collector.
On 18 March 1871, he wrote to his friend (Confederation) FÃÆ' Â © lix Bracquemond in Paris about his visit to Bordeaux, the seat of the French National Assembly provisory of the Third French Republic where ÃÆ' â € ° Zola mile introduced him to the site: "I never imagined that France could be represented by such ignorant fools, did not exclude the little Thiers... " If this could be interpreted as support of the Commune, the following letter to Bracquemond (21 March 1871) declared his idea with more clarity: "Just a party of hacks and ambitious, the Henry in this world follow on the heels of MilliÃÆ' Â © res, the strange imitators of the 1793 Commune..." He knows the commander Lucien Henry has become a former model painter and MilliÃÆ'¨re, insurance agent. "What encouragement all these bloodthirsty exhausts is for art! But at least there is one consolation in our misfortune: that we are not politicians and have no desire to be elected as deputies" .
Paris
Manet portrays many of Paris's street scenes in his works. The Rue Mosnier Decked with Flags depicts red, white, and blue banners covering buildings on both sides of the road; another painting with the same title featuring a one-legged man walking with crutches. Again describing the same path, but this time in a different context, is Rue Mosnier with Pavers , in which man fixes the road while people and horses move past it.
The Railway , widely known as The Gare Saint-Lazare , was painted in 1873. The setting was the urban landscape of Paris at the end of the 19th century. Using his favorite model in his last painting, a painter, Victorine Meurent, as well as a model for Olympia and Luncheon on the Grass, sat in front of an iron fence held by a sleeping puppy and an open book on his lap. Next to him was a little girl with her back to the painter, watching the train pass under them.
Instead of choosing a traditional landscape as a backdrop for outdoor scenery, Manet opted for an iron grille that "stretches across the canvas with boldness." The only proof of the train is the white cloud of steam. In the distance, modern apartment buildings look. This arrangement solidifies the foreground into a narrow focus. The traditional convention of inner space is neglected.
Historian Isabelle Dervaux describes the reception that the painting received when it was first exhibited in Paris The official salon of 1874: "Visitors and critics find the subject confusing, the composition incoherent, and the execution faint, caricature ludicrous the picture of Manet, where few recognize the symbol of modernity has become today ". This painting is currently located at the National Art Gallery in Washington, D.C.
Manet painted some boating subjects in 1874. Boating , now at the Metropolitan Art Museum, exemplifies in the brevity of lessons Manet learned from Japanese prints, and abrupt pruning by the ship's frames and screens adds to the imminence of the image.
In 1875, an edition of the French-language book Edgar Allan Poe The Raven included a lithograph by Manet and a translation by MallarmÃÆ'Â ©.
In 1881, under pressure from his friend, Antonin Proust, the French government gave Manet the LÃÆ' Â © gion d'honneur.
End works
In his mid-forties, Manet's health deteriorated, and he experienced severe pain and partial paralysis in his legs. In 1879 he began receiving hydrotherapy treatments at a spa near Meudon that was intended to correct what he believed to be a circulatory problem, but in reality he suffered from locomotor ataxia, known as syphilis side effects. In 1880, he painted portraits there from the opera singer ÃÆ' â € ° milie Ambre as Carmen. Ambre and her lover Gaston de Beauplan own the land at Meudon and have hosted Manet's first Exhibition of Emperor Maximilian's Execution in New York in December 1879.
In his last years Manet painted many small-scale lives of fruits and vegetables, such as the Bunch of Asparagus and The Lemon (both 1880). He completed his last major work, A Bar in Folies-BergÃÆ'¨re (Un Bar aux Folies-Bergère) , in 1882 and was suspended at the Salon that year. After that he restricted himself to a small format. His last paintings are flowers in glass vases.
Death
In April 1883, his left leg was amputated for gangrene, and he died eleven days later in Paris. She is buried at Passy Cemetery in town.
Legacy
Manet's public career lasted from 1861, his first year of participation in Salon, until his death in 1883. His extant works, as cataloged in 1975 by Denis Rouart and Daniel Wildenstein, consisted of 430 oil paintings, 89 pastels, and more than 400 works on paper.
Although strongly criticized by critics who denounce the lack of conventional settlement, Manet's work has admirers from the outset. One of them is ÃÆ' â € ° mile Zola, who wrote in 1867: "We are not accustomed to seeing simple and straightforward translations of reality, then, as I said, there is a surprisingly elegant awkwardness... it is a true experience. it is really endearing to ponder this luminous and serious painting that defines nature with gentle brutality. "
The painting and photographic style that is roughly painted in Manet's paintings is seen as something very modern, and as a challenge to the works of the Renaissance he copies or uses as a source material. He rejected the technique he studied at Thomas Couture's studio - where a painting was built using successive layers of paint on the ground in dark colors - in favor of the direct method, prima prima using opaque painting on bright ground. Novel at the time, this method allows the completion of a painting in a single sitting. It was adopted by Impressionists, and became a common method of painting in oil for the next generation. Manet's work is considered "early modern", in part because of its frosted expanse from its surface, sketchy parts, and black images, all of which draw attention to the surface of the drawing and the quality of the paint.
The art historian Beatrice Farwell says Manet "has been universally regarded as the Father of Modernism." With Courbet he was among the first to take serious risks with the public whose kindness he was looking for, the first to create alla prima painting techniques standard for painting oil and one of the first to take liberty with the perspective of the Renaissance and offer 'pure painting' as a source of aesthetic pleasure.He was a pioneer, again with Courbet, in denial of humanistic and historical-caring subjects, and sharing with Degas the formation of modern urban life as acceptable material for high art. "
Art market
The late Manet painting, Le Printemps (1881), was sold to J. Paul Getty Museum for $ 65.1 million, setting a new auction record for Manet, exceeding its pre-sale forecast of $ 25-35 million at Christie's on November 5, 2014. The previous auction record held by Self-Portrait With Palette sold for $ 33.2 million at Sotheby on June 22, 2010.
Gallery
See also
- List of paintings by ÃÆ' â € ° douard Manet
- Realism
- Portrait
- History of the painting
- Western painting
References
Further reading
Brief introduction:
- Manet by Gilles Neret (2003; Taschen), ISBN 3-8228-1949-2
- Manet by John Richardson (1992; Phaidon Color Library), ISBN 0-7148-2755-X
- Ross King. The Judgment of Paris: The Revolutionary Decade That Gives World Impressionism . New York: Waller & amp; Company, ISBN 2006 0-8027-1466-8.
Longer work:
- ÃÆ' â € ° douard Manet: Rebel in a Frock Coat by Beth Archer Brombert (1996), ISBNÃ, 0-316-10947-9 and ISBNÃ, 0-226-07544 -3 (1997) paperback)
- Manet by FranÃÆ'§oise Cachin (1990 in French; 1991 English translation), ISBNÃ, 0-8050-1793-3
- Pictures of ÃÆ'â € | douard Manet by Alain de Leiris (1969), ISBNÃ, 0-520-01547-9
- Modern Living Painting: Paris in the Manifest and Followers by T.J. Clark (1985), ISBNÃ, 0-500-28179-3 (paperback edition 2000)
- Manet: Modern Life Painters by FranÃÆ'§oise Cachin (1995), ISBNÃ, 0-500-30050-X
External links
- Works by or about ÃÆ'â € | douard Manet in Internet Archive
- Names List, Getty Vocabulary. ULAN Full Record Display for ÃÆ'â € | douard Manet, Getty Research Institute Impressionism: the 15th century exhibition , the catalog of exhibits from The Metropolitan Museum of Art (p.Ã, 110-130)
- Sheet, a documentary about her work
- Documented Gilded Age: New York City Exhibit on the 20th Century Change
- Edgar Degas Private Collection , material on Manet with Degas relationship, Metropolitan Art Museum
Source of the article : Wikipedia
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