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Edouard MANET - Mery Laurent
Lumiere Technology laboratory in Paris
Portrait of Mery Laurent by Edouard Manet Impressionism Paris
Apple Boutique is Located in the rue de l’Ecole de Médecine No 1, in the heart of Geneva’s art market, one street from the MAMCO(Museum of Contemporary Art), the The Patek Philippe Museum and the brand new Ethnological Museum MEG – beside Plainpalais Flea Market – Apple Boutique Fine Art Galleryis the finest and appropriate gallery in Geneva for dealing with drawings and watercolors. Petroz Fine Art specializes in Old – Modern and Contemporary Master paintings and drawings from the fifteenth to the twenty-first century, and has been supplying museums, world-renowned galleries and interior designers with rare pieces of art and furniture.
Providing with accurate advices on building a collection or developing an existing one, Guidance on restoration and framing, Evalutations and appraisals.
Jules Petroz was born in 1960 in Geneva. Initiated by his parents, also antiquarians, to the world of fine art and antiques, he studied History of Art at the University of Geneva. Jules has more than 30 years experience to his active, and since 1990, has been collaborating with his wife, Aicha. They deal mainly in Switzerland and in France, and their research extends to the rest of Europe, where they are always on the lookout for unique pieces. They have been supplying museums, world-renowned galleries and interior designers with rare pieces of furniture. Their interest covers antiques, from archaeological finds to contemporary pieces and modern design, as well as Haute Époque, Renaissance and the 18th Century, with a special interest in Old Master drawings, prints, paintings and ceramics. They also buy books, sculptures and old photographs. Always on the move, from one fair to another, they visit large and small galleries as well as private clients. Aicha and Jules are well-known figures in Geneva, having discovered, hidden beneath a pastel painting, what very seemingly appears to be a portrait of a late 19th-Century actress, demi-mondaine Mary Laurent, by Edouard Manet.
Jules is available for advice in investment in art and antiques.
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For appointments, please call + 41 78 7654321
Mail: Apple Boutique – P.B. 1952 1211 Geneva 1
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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 - The Battle of the USS Kearsarge and the CSS Alabama, 1864 at the Museum of Art Philadelphia PA
Édouard Manet, Paris 1832 - 1883
Der Querpfeifer (The Fife Player)
Musée d'Orsay
Manet, der sein Talent anhand von hispanistischen Motiven entwickelt hatte, entdeckt erst relativ spät, 1865, Spanien und den Prado. Das Gemälde Pablo de Valladolid von Velasquez beeindruckt ihn ganz besonders und er gesteht seinem Freund Fantin-Latour: „[dies] ist das erstaunlichste Bild, das je geschaffen wurde... Der Hintergrund verschwindet: die schwarz gekleidete, lebendige Figur ist von Luft umgeben“.
Nach seiner Rückkehr nach Paris wendet Manet diese Prinzipien auf ein zeitgenössisches Thema an. Ein einfaches, anonymes Truppenkind wird wie eine große Persönlichkeit aus Spanien behandelt. Manet verändert die Darstellungshierarchien vollkommen und setzt eine ungewohnt einfache Bildsprache ein. Er verwendet einen flächigen Farbauftrag, der im Schwarz deutlich zur Geltung kommen, arbeitet die Formen in den Fleischpartien und am Etui besonders heraus, wählt einen pastosen Farbauftrag für die weißen Flächen, um die Falten im Stoff hervorzuheben. Die Farbpalette ist sehr begrenzt und es fehlt jegliche Tiefenwirkung. Man kann kaum die Grenze zwischen der horizontalen Ebene des Bodens und der vertikalen Ebene des Hintergrunds erkennen, die ohne jeglichen Dekor in einem kaum nuancierten Grau gemalt ist.
Das Werk wurde 1866 von der Jury des Salons abgelehnt, gehört jedoch zu Emile Zolas Lieblingsbildern. Der Schriftsteller erkannte in der wirklichkeitsgetreuen Darstellung ein modernes Kunstwerk.
Quelle: www.musee-orsay.fr/
The sitting woman is Berthe Morisot, who appears here for the first time on a painting of Edouard Manet.
The standing woman is the violinist Fanny Claus and the man standing behind is the painter of landscapes Antoine Guillemet.
A fourth person can hardly be recognized in the interior of the room, Léon Koëlla Leenhoff, the son of Manet’s wife Suzanne and perhaps his own son.
Paris, Musée d'Orsay
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
French, 1832-1883
Oil on canvas
National Gallery of Art, Washington DC
It is devastatingly good, one of the finest things Manet painted; a nerve-wracking instance of poison and its antidote administered with the same silver spoon, the same soft brush. At once sensational and austere, jolting and serene, macabre and pristine, it’s as fresh and unsettling as the day it was painted.
Originally formed part of a much larger painting, "Incident in the Bull Ring," which was exhibited at the 1864 Salon. Manet, dissatisfied with it, cut it in two. One half, "Bullfight," is in the Frick Collection in New York, and the other is this Dead Toreador, which was the lower part of the original work.
I like many critics, from his time, don't like the painting.
Édouard Manet - George Moore in the Artist's Garden, 1879
at East Wing of National Gallery of Art Washington DC
Also viewed at the Legion of Honor Fine Arts Museums of San Francisco CA for Intimate Impressionism from the National Gallery of Art
My students are working with the Courtauld Gallery on a project where they will get to exhibit their work there next year.
This is from the first session studying Manet's last painting.
Gonzorama Mk9 pinhole camera
About 10 minutes exposure
A Bar at the Folies-Bergere, 1882 by Edouard Manet - one of the most well-known paintings in the Courtaud Gallery, London.
Considered to be Manet's last major work. It was painted in 1882 and exhibited at the Paris Salon of that year. It depicts a scene in the Folies Bergère nightclub in Paris.
There has been much speculation as to why the reflection in the mirror appears to be at odds with the viewpoint of the artist.
I photographed pretty much all of the impressionist paintings in the gallery a few years ago, using a Nikon Df: small and easy to carry, I still rely on this somewhat quirky camera in situations where there isn't much light but you can't use flash. It is still one of the best low light/ high ISO cameras around (the main reason I bought it!).
The gallery is currently closed for major work. I'll upload some more images in due course.
Edouard Manet - Portrait of Marguerite de Confans wearing a Mantilla, 1873 at Oskar Reinhart Art Collection Winterthur Switzerland
Édouard Manet, Paris 1832 - 1883
Das Frühstück im Grünen, Ausschnitt - Luncheon on the Grass, detail - 1853
Musée d'Orsay
Da das Werk auf dem Salon 1863 von der Jury abgelehnt wird, stellt Manet es unter dem Titel Das Bad auf dem Salon der Zurückgewiesenen, der dieses Jahr von Napoleon III. genehmigt wird, aus. Es steht im Zentrum des Interesses, ist Gegenstand allgemeinen Gespötts und löst Skandale aus.
Manet beruft sich für Das Frühstück im Grünen auf die alten Meister und greift auf zwei Werke des Louvre zurück. Das Konzert im Freienvon Tizian, das damals Giorgione zugeschrieben wird, dient ihm als Thema, während die Anordnung der Gruppe in der Mitte einem Kupferstich von Raffael nachempfunden ist: das Urteil des Paris.Die Anwesenheit einer nackten Frau inmitten bekleideter Männer ist indes weder mythologisch noch allegorisch begründet. Die modernen Figuren lassen diese nahezu irreale Szene in den Augen der Zeitgenossen obszön erscheinen. Manet belustigte dies, er nannte sein Gemälde auch Der flotte Vierer.
Der Stil und die Technik schockierten fast so sehr wie das Motiv. Manet verzichtet auf die üblichen Abstufungen und malt krasse Kontraste zwischen Schatten und Licht. Man kritisiert auch seine „Manie, zu malen, wie er die Gegenstände sieht - in großen Flecken“. Die Figuren scheinen sich nicht vollkommen in die Szenerie aus Unterholz, die mehr skizziert als gemalt ist, über keinerlei Perspektive oder Tiefe verfügt, einzufügen. Das Frühstück im Grünen hält sich an keine der herkömmlichen Konventionen, es führt ein völlig neuartiges Motiv und eine unkonventionelle Darstellungsweise ein.
Quelle: www.musee-orsay.fr/
Édouard Manet (French, 1832–1883)
Title
Madame Édouard Manet (Suzanne Leenhoff, 1830–1906)
Date
ca. 1866–69
Medium
Oil on canvas
Dimensions
39 1/2 x 30 7/8 in. (100.3 x 78.4 cm)
Suzanne Leenhoff joined the Manet household as a piano instructor to the painter's brother, Eugène. Her son, Léon, was born out of wedlock in 1852. Although she referred to him as her younger brother, both Manet and his father have been proposed as the boy's natural father. By 1860, Manet and Suzanne were living together, and the artist always showed an avuncular, if not paternal, interest in Léon. This unfinished canvas provides rare insight into Manet's painting technique. He sketched the figure and the background with broad strokes before beginning work on the facial features, and he scraped off the face at least twice, eventually abandoning the picture.
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
Manet's painting Portrait of a Woman with a Black Fichu (1878) at the Manet and Modern Beauty exhibit at The Getty in Los Angeles.
Although the sitter's name remains unknown, this portrait is among the most engaging and particular likenesses Manet ever painted. The lower half of the composition, however -- where a few lines of paint barely suggest arms and hands -- reminds us that Manet never finished this picture.
Sign at the Manet and Modern Beauty exhibit.