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Patterned after elements in landscapes by Peter Paul Rubens, the present painting gives currency to Delacroix's recommendation to Manet: "Look at Rubens, draw inspiration from Rubens, copy Rubens. Rubens was God." Manet and his future wife, Suzanne Leenhoff, are the couple at lower right dressed in seventeenth-century costume and posed like Rubens and his wife in the Flemish painter's Park of the Château de Steen (Kunsthistorisches Museum, Vienna). As Manet had concealed his relationship with Suzanne from his father, who died in September 1862, it is likely that Fishing—a variation on a wedding portrait—was made between then and their marriage
. . . at the 100 year old Frederick Hotel in Boonville, Missouri, named after the sons of Daniel Boone, who started a salt business nearby in the early 1800s. If Manet had ever visited Boonville, he would have appreciated the natural beauty along the Missouri River.
By the late 1870s, when this exhibition begins, Édouard Manet had become recognized as a painter of modern life. He had long looked to historical subjects and style for inspiration but in the 1870s grew more and more immersed in the now—eventually proposing a radical new alignment of modern art with fashionable femininity. While he continued to pursue highly finished, heroically scaled paintings intended for the Salon throughout these later years (a time also marked by health problems and limited mobility), he simultaneously approached smaller works more fluidly and spontaneously, taking up pastel and watercolor while unapologetically embracing beauty and visual pleasure.
Le fifre
Ink - Paper - 21 x 15 cm
Roughly inspired by that very well known painting by Manet, the master, at the Musée d’Orsay
In July and August 1874 Manet vacationed at his family's house in Gennevilliers,just across the Seine from Monet at Argenteuil.The two painters saw each other often that summer,and on a number of occasions they were joined by Renoir.While Manet was painting this picture of Monet with his wife Camille and their son Jean,Monet painted Manet at his easel (location unknown).Renoir who just arrived as Manet was beginning to work borrowed paint,brushes,and canvas,positioned himself next to Manet and painted,Madame Monet and Her Son (Renoir's version).
By the late 1870s, when this exhibition begins, Édouard Manet had become recognized as a painter of modern life. He had long looked to historical subjects and style for inspiration but in the 1870s grew more and more immersed in the now—eventually proposing a radical new alignment of modern art with fashionable femininity. While he continued to pursue highly finished, heroically scaled paintings intended for the Salon throughout these later years (a time also marked by health problems and limited mobility), he simultaneously approached smaller works more fluidly and spontaneously, taking up pastel and watercolor while unapologetically embracing beauty and visual pleasure.
Orthodoxe Grabkapelle
auf dem Württemberg Berg gebaut.
Zuvor wurde Platz geschaffen.
●
Amor manet in aeternum - Möge die Liebe alles überdauern. Aber die Liebe bleibt.
Tempus Fugit:
"sed tempus fugit, amor manet in aeternum corde" -
Die Zeit huscht vorbei, die Liebe aber bleibt für immer in unserem Herzen ❤.
Amor nunc et in aeternum - Love, now and forever.
edition:
via tilt shift edition by toolwiz
Württemberg war ein seit dem Hochmittelalter bestehender Teilstaat des Heiligen Römischen Reichs deutscher Nation, des Rheinbundes, des Deutschen Bundes und des Deutschen Reiches, der 1952 im neu gebildeten Bundesland Baden-Württemberg aufging. Seine Haupt- und Residenzstadt war Stuttgart. Das Land bildete sich im 11. Jahrhundert aus dem Herrschaftsgebiet des Hauses Württemberg am mittleren Neckar heraus. Neben diesem Kerngebiet gehörten bis 1793 linksrheinische Gebiete im Elsass und um Montbéliard (Württemberg-Mömpelgard) zu Württemberg.
ps
14 Oktober 2021
Tiefer Winter: Die Alpen erleben den ersten Wintereinbruch der Saison.
Die Räumdienste sind bereits im Dauereinsatz. Starke Schneefälle bis in tiefe Lagen, Straßen und Autos vom Schnee bedeckt. Erste Bilder nach dem starken Schneetreiben bei minus 3 Grad.
Kalte Polarluft erreicht Deutschland und die Alpen und sorgt erstmals für kräftige Schneefälle bis in tiefere Lagen um 1000 Meter.
Bis zu 20 cm Neuschnee sind in den Bergen gefallen. Wir haben erste Bilder aus der Region um Lech am Arlberg in Österreich, etwa 20 km südlich von Oberstdorf. Autos und Straßen sind vom Schnee bedeckt.
Alle Alpentouristen im Herbsturlaub sollten die höheren Lagen nur mit Winterreifen befahren, denn die Straßen sind bereits spiegelglatt.
By the late 1870s, when this exhibition begins, Édouard Manet had become recognized as a painter of modern life. He had long looked to historical subjects and style for inspiration but in the 1870s grew more and more immersed in the now—eventually proposing a radical new alignment of modern art with fashionable femininity. While he continued to pursue highly finished, heroically scaled paintings intended for the Salon throughout these later years (a time also marked by health problems and limited mobility), he simultaneously approached smaller works more fluidly and spontaneously, taking up pastel and watercolor while unapologetically embracing beauty and visual pleasure.
Le Déjeuner sur l'herbe est un tableau d'Édouard Manet achevé en 1863, d'abord intitulé Le Bain, puis La Partie carrée. Exposé brièvement pour la première fois au Salon des refusés le 15 mai 1863 puis décroché[2], re-exposé l'année suivante non sans scandale en marge du Salon[3], il entra dans le patrimoine public en 1906 grâce à la donation du collectionneur Étienne Moreau-Nélaton[4].
La brutalité du style et surtout la juxtaposition d'une femme nue « ordinaire »[5], regardant le public, et de deux hommes tout habillés, ont suscité un scandale autant esthétique que moral et des critiques acerbes lorsque l'œuvre a été proposée au Salon. Manet bouscule en effet le bon goût des bourgeois qui visitent les expositions et tue d'une certaine manière la peinture mythologique[6]. Cette toile peut ainsi être considérée comme l'une des premières œuvres de la peinture moderne[7].
- Edouard Manet.
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I first visited Death Valley National Park the year we moved to California in the middle of a brutal summer. While the park was stunning, I didn’t return until much later for a day trip to shoot a super bloom a few years later. While I desperately wanted to revisit the park somehow, the logistics of the visit never worked out. So finally, when we saw cheaper rates for rooms at Furnace Creek Ranch for the spring break weekend, we jumped at the chance.
Even though this is shoulder season, the temperatures at Death Valley are steadily climbing, and it was in the low eighties the whole time we were there but still better than the 110F we experienced during our first visit. One of the locations I struggled to photograph during my first visit was the Artist's Palette, and I decided to figure out the secrets of this scenic location. On this trip, I visited the Artist’s Drive multiple times and realized that depending on which direction you are trying to shoot, the best light would be at different times of the day. Since the location is nestled within the western slopes of Black Mountain, during sunrise, it’s in deep shade with a bright sky, and during sunset, I had to navigate deep shadows and contrasts. My favorite light to photograph was after sunset when the light was even. But when I was shooting towards the Badwater Basin, pointing my camera west, I had the same issue with the Panamint Mountains in the shade with a bright and colorful sky.
Metropolitan Museum of Art
This painting which reflects the Parisian vogue for Spanish art and culture during the Second Empire,won Manet his first popular and critical success in his debut at the Salon of 1861.Though the picture was admired for its realistic detail,Manet did not disguise the fact that it was composed in a studio using a model and props.The left-handed singer holds a guitar strung for a right-handed player,and his fingering suggests he was unfamiliar with the instrument.His outfit was fashioned by costumes that Manet kept on hand;several accessories reappear in paintings in this gallery (not shown)
What I find interesting about the painting is the still life at the bottom right.
The painting was so admired at the Salon of 1861 (a government-sponsored exhibition) that it had to be placed in a conspicuous location because of its popularity with Salon-goers.The Spanish Singer,"painted in a strange new fashion"caused many painters' eyes to be opened and jaws to drop-Wikipedia under Édouard Manet:Career
By the late 1870s, when this exhibition begins, Édouard Manet had become recognized as a painter of modern life. He had long looked to historical subjects and style for inspiration but in the 1870s grew more and more immersed in the now—eventually proposing a radical new alignment of modern art with fashionable femininity. While he continued to pursue highly finished, heroically scaled paintings intended for the Salon throughout these later years (a time also marked by health problems and limited mobility), he simultaneously approached smaller works more fluidly and spontaneously, taking up pastel and watercolor while unapologetically embracing beauty and visual pleasure.
Manet's unfinished painting is thought to depict the writer Charles Baudelaire,which took place on September 2nd,1867.The artist,unlike friends who had yet to return from vacation or staying away owing to the threatening summer storm,was among the few mourners present.This view of the meager funeral cortège at the foot of the Butte Mouffetard,a hill in southwest Paris,is framed by the silhouettes and cupolas Val de Grace,the Panthéon,Sainte-Etienne-du-Mont,and the Tour de Clovis in the background.Manet kept the picture until his death.In 1894 Pissarro acquired it in exchange for one of his own landscapes.
Corner of a Café-Concert is an 1879 oil on canvas painting by Édouard Manet, now in the National Gallery, London. It is related to his The Waitress.
In August 1874, Manet began work on a large painting of the Brasserie de Reichshoffen Café-concert in the Reichshoffen, where he was fascinated by the skill of the waitresses. While working on the picture, he drastically changed his plans and cut it into two parts which he developed independently, completing each half separately. The left half is titled Au café.
This instant view of the cafe is the right side of the larger painting. The model of the beer waitress of the Coin de café-concert is one of the waitresses of the Reichshoffen brewery. According to Duret and Moreau-Nelataon, the waitress agreed to go to Manet's studio, rue d'Amsterdam, to pose.
By the late 1870s, when this exhibition begins, Édouard Manet had become recognized as a painter of modern life. He had long looked to historical subjects and style for inspiration but in the 1870s grew more and more immersed in the now—eventually proposing a radical new alignment of modern art with fashionable femininity. While he continued to pursue highly finished, heroically scaled paintings intended for the Salon throughout these later years (a time also marked by health problems and limited mobility), he simultaneously approached smaller works more fluidly and spontaneously, taking up pastel and watercolor while unapologetically embracing beauty and visual pleasure.
In July and August 1874 Manet vacationed at his family’s house in Gennevilliers,just across the Seine from Moet at Argenteuil. The two painters saw each other often that summer,and on a number of occasions they were joined by Renoir. While Manet was painting this picture of Monet with his wife Camille and their son Jean,Monet painted Manet at his easel (location unknown). Renoir,who arrived just as Manet was beginning to work,borrowed paint,brushes, and canvas,positioned himself next to Manet,and painted Madame Monet and Her Son.