View allAll Photos Tagged Manet
I never tire of viewing ‘Bar at the Folies-Bergère’ (1882). The wealth of detail (including bottles of Bass beer), the enigmatic look on the girl’s face - is she bored with the older man vaguely reflected in the mirror and his tedious chat-up lines? Is that man Manet himself? All add up to an enthralling painting, rich in social observation.
Edouard Manet - Execution of emperor Maximilian (second version, later cropped and still later put together again) [1867-68] - London NG
Who wants to know more about the historical background, why archduke Maximilian of Hapsburg entered in the Mexican adventure may read the following article:
www.holocaustianity.com/hysteria/maximilian.html
More about the history of Manet's paintings:
1) en.wikipedia.org/wiki/The_Execution_of_Emperor_Maximilian
2) www.moma.org/interactives/exhibitions/2006/Manet/
or
www.moma.org/interactives/exhibitions/2006/Manet/detail_f...
Édouard MANET
(Paris, 1832 - Paris, 1883)
La blonde aux seins nus
vers 1878
Huile sur toile, 62,5 x 52 cm
Legs Étienne Moreau-Nélaton, 1927
PARIS Musée d'Orsay
Manet - the execution of emperor Maximilian [1868-69] (third version, Copenhagen)
Copenhagen Ny Carlsberg Glyptotek
Who wants to know more about the historical background, why archduke Maximilian of Hapsburg entered in the Mexican adventure may read the following article:
www.holocaustianity.com/hysteria/maximilian.html
More about the history of Manet's paintings:
1) en.wikipedia.org/wiki/The_Execution_of_Emperor_Maximilian
2) www.moma.org/interactives/exhibitions/2006/Manet/
or
www.moma.org/interactives/exhibitions/2006/Manet/detail_f...
Edouard Manet ,La lecture, 1868, Huile sur toile 60,5 cm x 73,5 cm, musée d'Orsay
site : www.ljbrel93.ac-creteil.fr/IMG/pdf/Academisme_et_impressi...
Free download under CC Attribution (CC BY 4.0). Please credit the artist and rawpixel.com.
Édouard Manet (1832–1883) was a French modernist painter and one of the first 19th century artists to paint modern life. His impressionist style is characterized by relatively small and thin brushstrokes that create emphasis on light depiction. Manet was one of the key artists in the transition from realism to impressionism, along with Claude Monet, Edgar Degas, and Pierre-Auguste Renoir. However, he resisted involvement in any one specific style of painting, and only presented his work to the Salon of Paris instead of impressionist exhibitions. His early masterworks, The Luncheon on the Grass and Olympia, created great controversy and served as a rallying point for other young painters. We have digitally enhanced some of his paintings and they are free to download under the CC0 license.
Higher resolutions with no attribution required can be downloaded: https://www.rawpixel.com/board/1327738/edouard-manet-paintings-i-premium-artworks-public-domain?sort=curated&mode=shop&page=1
The red-haired woman is Manet's famous model Victorine Meurent.
Washington, NGoA;
Google Art Project - high resolution photo
Edouard Manet - Oysters, 1862 at the Legion of Honor (Fine Arts Museums of San Francisco CA) for Intimate Impressionism from the National Gallery of Art
Also viewed at National Gallery of Art Washington DC
Free download under CC Attribution (CC BY 4.0). Please credit the artist and rawpixel.com.
Édouard Manet (1832–1883) was a French modernist painter and one of the first 19th century artists to paint modern life. His impressionist style is characterized by relatively small and thin brushstrokes that create emphasis on light depiction. Manet was one of the key artists in the transition from realism to impressionism, along with Claude Monet, Edgar Degas, and Pierre-Auguste Renoir. However, he resisted involvement in any one specific style of painting, and only presented his work to the Salon of Paris instead of impressionist exhibitions. His early masterworks, The Luncheon on the Grass and Olympia, created great controversy and served as a rallying point for other young painters. We have digitally enhanced some of his paintings and they are free to download under the CC0 license.
Higher resolutions with no attribution required can be downloaded: https://www.rawpixel.com/board/1327738/edouard-manet-paintings-i-premium-artworks-public-domain?sort=curated&mode=shop&page=1
Edouard Manet: Portrait of Eva Gonzalès in Manet's studio (1870)
London, National Gallery
high resolution image
Eva Gonzalès (1849 – 1883) was a French Impressionist painter.
Eva Gonzalès was born in Paris into the family of the writer Emmanuel Gonzalèz. Gonzalès became a pupil of the artist Édouard Manet in February 1869. Manet is said to have begun a portrait of her at once which was completed on 12 March 1870 and exhibited at The Salon in that year.
Like her teacher, Édouard Manet, she never exhibited with the Impressionist painters in their controversial exhibitions in Paris, but she is considered part of the group because of her painting style. She was Manet's only formal student and modeled frequently for several members of the Impressionist school. Until 1872, she was strongly influenced by Manet but later developed her own, more personal style.
She married the graphic artist Henri Guérard, and used him and her sister Jeanne Gonzales as the subjects for many of her paintings.
Her career was cut short when she died in childbirth at the age of thirty-four, six days after the death of her teacher, Manet.
Edouard Manet
(1832-1883)
Sur la plage 1873
Huile sur toile
H. 95,9 ; L. 73 cm
Paris, musée d'Orsay
A partir de 1873, à l’occasion Manet travaille en extérieur. A Berck, il peint cette scène de plage pour laquelle ont posé sa femme Suzanne et son frère Eugène, (futur époux de Berthe Morisot), dans la même position que dans le Déjeuner sur l’herbe 10 ans plus tôt. Les 2 triangles que forment les personnages stabilisent la composition. Ils tournent le dos au spectateur et semblent plongés dans leur univers personnel. La gamme de tonalités réduite comprend des noirs et des gris habituellement bannis de la palette impressionniste, et de l’Atelier du Pommier !! Manet emprunte à la jeune école la touche fluide et légère qui suggère plus qu’elle ne décrit. Le paysage environnant semble négligé : l’horizon est placé presque au bord de la toile, les variations des flots marins sont rendus par un dégradé de bandes de couleur horizontales. Au final l’espace est dénué de tout effet de profondeur et semble comme aplati.
Copie réalisée par :
Viviane Neuilly
Vaudancourt
Dans le cadre d'une mission artistique collective proposée par Pierre Marcel (www.lepommier.net) sur le sujet "Colombe de la paix°
A Matador, ca. 1865–70
Édouard Manet (French, 1832–1883)
Oil on canvas; 67 3/8 x 44 1/2 in. (171.1 x 113 cm)
H. O. Havemeyer Collection, Bequest of Mrs. H. O. Havemeyer, 1929 (29.100.52)
When Manet was excluded from the Exposition Universelle of 1867, he decided to mount an independent exhibition of his own work. Among the fifty paintings he showed were all the Metropolitan's large-scale figure compositions from the 1860s. A Matador was one of twenty with a Spanish theme. Yet, unlike his earlier bullfight subjects, it was painted after Manet's first and only trip to Spain in 1865. Both the absence of narrative detail and the model's contemporary appearance mitigate any anecdotal content that the gesture of salute may suggest. The artist's brother, Eugène Manet, may have posed for this work.
The Met has a really nice version online
Édouard Manet - Eva Gonzales at the easel [1870]
London The National Gallery
Copyright © The National Gallery, London
nevsepic
Virulently opposed to the imperial regime, the French politician, Victor Henri Rochefort (the Marquis de Rochefort-Luçay, 1831-1913) founded a political newspaper, 'La Lanterne', in 1868. The newspaper, printed in Brussels and smuggled into France, was soon banned. In 1873, Rochefort was sentenced to penal servitude for his role during the Paris Commune (a radical socialist and revolutionary government that ruled Paris from March 18 to May 28, 1871). His escape from prison by sea, in 1874, inspired the artist, Edouard Manet (1832-1883) to paint this strange composition, six years after the event.
By commemorating an event still fresh in French minds, Manet revolutionized the genre of historical painting that had, up until that time, been traditionally restricted to antique or mythological subjects.
This is a photograph of the original Manet painting on display at the d'Orsay Museum (Musee d'Orsay) in Paris, France.
Free download under CC Attribution (CC BY 4.0). Please credit the artist and rawpixel.com.
Édouard Manet (1832–1883) was a French modernist painter and one of the first 19th century artists to paint modern life. His impressionist style is characterized by relatively small and thin brushstrokes that create emphasis on light depiction. Manet was one of the key artists in the transition from realism to impressionism, along with Claude Monet, Edgar Degas, and Pierre-Auguste Renoir. However, he resisted involvement in any one specific style of painting, and only presented his work to the Salon of Paris instead of impressionist exhibitions. His early masterworks, The Luncheon on the Grass and Olympia, created great controversy and served as a rallying point for other young painters. We have digitally enhanced some of his paintings and they are free to download under the CC0 license.
Higher resolutions with no attribution required can be downloaded: https://www.rawpixel.com/board/1327738/edouard-manet-paintings-i-premium-artworks-public-domain?sort=curated&mode=shop&page=1
Edouard Manet (né le 23 janvier 1832 à Paris et mort le 30 avril 1883 dans la même ville)
Berthe Morisot à l’éventail (1872)
Huile sur Toile
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Website : GALERIE JUGUET
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Website : MÉMOIRE DES PIERRES
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1. Contexte
Berthe Morisot (1841–1895) est à la fois modèle, amie et future belle-sœur de Manet (elle épousera son frère Eugène en 1874).
Elle est elle-même peintre, membre du cercle impressionniste, et deviendra l’une des artistes majeures du mouvement.
Ce portrait témoigne de leur complicité artistique et personnelle.
2. Le style
Manet rompt avec le portrait académique traditionnel :
Fond neutre et sombre, qui fait ressortir la figure.
Économie de détails : la sobriété renforce l’élégance et la modernité.
Jeu de contrastes : le noir de la robe, très travaillé, dialogue avec la pâleur du visage et le blanc de l’éventail.
La touche de Manet est visible, nerveuse, mais précise : il combine rigueur classique et modernité picturale.
3. La composition
Berthe est représentée à mi-corps, légèrement tournée, assise dans une pose simple mais élégante.
Elle tient un éventail fermé dans sa main droite, objet mondain mais traité avec sobriété.
Le visage, très clair, capte immédiatement le regard : c’est le centre lumineux de la composition.
L’arrière-plan vide isole le modèle et concentre toute l’attention sur sa présence.
4. La symbolique
Élégance et intériorité : le portrait ne cherche pas à flatter par des accessoires luxueux, mais à capter une présence intérieure, une personnalité.
L’éventail : signe de raffinement féminin dans la société bourgeoise du XIXe siècle, mais ici traité comme un simple prolongement naturel de la figure.
L’expression : Berthe n’est pas souriante, elle paraît sérieuse, presque mélancolique. Cela traduit peut-être la sensibilité profonde de la peintre qu’elle était.
Manet met en avant une modernité du portrait féminin : sobriété, psychologie, intensité silencieuse.
5. Importance
Ce tableau fait partie d’une série de portraits que Manet a consacrés à Berthe Morisot (elle a posé pour lui une dizaine de fois).
Il illustre à la fois leur relation intime et la manière dont Manet savait peindre la femme moderne, non pas comme une simple muse, mais comme une personnalité autonome.
Ce portrait est aujourd’hui considéré comme un chef-d’œuvre de la peinture de Manet et comme l’un des témoignages les plus forts de la rencontre entre deux figures majeures de l’impressionnisme.
Analyse approfondie :
1) Taille, datation et provenance précision importante
Dimensions et inventaire : selon le Musée d’Orsay (notice officielle), le tableau est indiqué H. 61,0 × L. 50,5 cm et figure dans les collections par dation (1999).
Datation : la datation n’est pas uniformément fixée dans la bibliographie : plusieurs sources répertorient l’œuvre sous 1872, tandis que la notice du Musée d’Orsay la date 1874. Cette divergence (fréquente pour des portraits peints sur plusieurs séances et parfois retouchés) est à garder en tête selon l’usage que tu veux en faire.
2) Style — ce que Manet met en jeu ici
Palette et valeur tonale : Manet privilégie des tons sobres noirs profonds, bruns chauds en arrière-plan et touches claires pour le visage et la main créant un fort contraste, presque vélasqué. Cette économie chromatique accentue la présence du modèle sans recours à un décor riche.
Touche et traitement de la matière : la peinture combine une application sûre, parfois rapide, et des plages plus travaillées (le visage, la main) résultat : un équilibre entre écriture picturale visible et rendu psychologique fin. Manet retrouve ici son mélange de rigueur académique et de modernité.
3) Composition — agencement, pose, cadrage
Cadrage et posture : Morisot est représentée à mi-corps, légèrement tournée ; la diagonale formée par sa jupe et son bras crée une dynamique élégante mais retenue. Le fond monochrome (ou très sobre) la met en avant sans distraction.
Le rôle du geste et de l’éventail : l’éventail fermé, tenu en demi-lune, sert de dispositif plastique et narratif : il effleure le visage, masque partiellement l’identification, et attire l’œil vers la main — Manet travaille volontiers ces gestes comme éléments signifiants.
Accent sur la main et le regard : la main, longue et expressive, devient presque le deuxième visage ; les lignes graphiques qu’elle trace (avec l’éventail) organisent la composition et ancrent la psychologie du portrait.
4) Symbolique — fan, distance, modernité féminine
L’éventail comme voile/barrière : plutôt que simple accessoire mondain, l’éventail joue ici le rôle d’un voile discret — il obscurcit l’identité, crée de l’ambiguïté et protège la pudeur ou l’intimité du modèle. Certains chercheurs voient dans ce masquage un jeu sur l’identification : Manet retient autant qu’il révèle.
Signe social et émotionnel : l’absence d’ornements ostentatoires, la sobriété du noir et la posture sérieuse renvoient à une image de femme moderne, consciente de sa dignité et de sa position sociale — mais aussi à une intériorité réservée. La bague/anneau et la tenue sont lus par certains comme indices biographiques et sociaux (statut, mariage), éléments que Manet intègre sans dramatiser.
Références picturales : l’œuvre montre l’influence de maîtres espagnols (Velázquez, Goya) dans la gestion des noirs et du modelé, et des emprunts formels à l’art japonais (sélection d’arrière-plans dépouillés) qui circulaient alors dans les milieux parisiens — tout cela participe à la modernité “réduite” du portrait.
5) Lecture synthétique et place dans l’œuvre de Manet
Ce portrait illustre la manière dont Manet transforme le portrait bourgeois en épreuve psychologique : sobriété chromatique, économie d’accessoires, emphasis sur le geste et la présence plongent le spectateur dans une relation intime mais maîtrisée avec le modèle. L’ambiguïté de la datation et les variantes d’état connues pour ses portraits renforcent l’idée d’une peinture en dialogue — entre artiste et modèle, entre tradition (Vélasquez) et modernité.
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UNIQUEMENT POUR LE PLAISIR DES YEUX.
Edouard Manet (1832-1883), Le déjeuner sur l'herbe (1863), oil on canvas, 208 x 265 cm, Musée d'Orsay
Luncheon on the Grass, also known as 'The Picnic'
Edouard Manet
French, 1832-1883
Oil on canvas
National Gallery of Art, Washington DC
Meurent is depicted sitting to the left side of the frame, in front of an iron fence near the Gare Saint-Lazare in Paris. The pensive subject is wearing a dark hat and sombre deep blue dress with white details, and is looking towards the viewer, while a sleeping puppy, a fan and an open book rest in her lap.
Boating, 1874
Édouard Manet (French, 1832–1883)
Oil on canvas; 38 1/4 x 51 1/4 in. (97.2 x 130.2 cm)
Signed (lower right): Manet
H. O. Havemeyer Collection, Bequest of Mrs. H. O. Havemeyer, 1929 (29.100.115)
In the summer of 1874, Manet was staying outside Paris at Gennevilliers, not far from the house in Argenteuil that he had found for the Monet family. He had refused to participate in the independent exhibition organized in the spring by the newly dubbed Impressionists. Nonetheless, Manet clearly wished to adopt the high-keyed palette, sketchlike brushwork, and subject matter centered on leisurely pursuits of his young colleagues. Boating is the manifesto of Manet's new allegiance to Impressionism.
Manet's biographers recount that Rodolphe Leenhoff, the painter's brother-in-law, posed for the figure of the sailor. The simplicity of the composition and the use of broad planes of color accented by strong diagonals reveal Manet's admiration for Japanese color woodblock prints.
The artist Mary Cassatt, who recommended this acquisition to the New York collectors Louisine and H. O. Havemeyer, called it "the last word in painting."
This celebrated work is Édouard Manet’s last major painting, completed a year before he died. At one of the bars in the Folies-Bergère — a popular Parisian music hall — wine, champagne and British Bass beer with its red triangle logo await customers. A fashionable crowd mingles on the balcony. The legs and green boots of a trapeze artist in the upper left hint at the exciting musical and circus acts entertaining the audience. This animated background is in fact a reflection in the large gold-framed mirror, which projects it into the viewer’s own space.
Manet made sketches on-site but painted this work entirely in his studio, where a barmaid named Suzon came to pose. She is the painting’s still centre. Her enigmatic expression is unsettling, especially as she appears to be interacting with a male customer. Ignoring normal perspective, Manet shifted their reflection to the right. The bottles on the left are similarly misaligned in the mirror. This play of reflections emphasises the disorientating atmosphere of the Folies-Bergère. In this work, Manet created a complex and absorbing composition that is considered one of the iconic paintings of modern life.