View allAll Photos Tagged Manet
The painting, which dates from 1868 and is in an unfinished state and depicts Mademoiselle Claus, a friend of the Edouard Manet, seated on a balcony. Full news story: www.culture.gov.uk/news/news_stories/8685.aspx
c. 1878-1880. Oli sobre tela. 92 x 73,5 cm. Princeton University Art Museum, Princeton. 1979-55. Obra no exposada.
Detail of "The Dead Toreador" by Edouard Manet. | Oil on canvas c. 1864. National Gallery of Art, Washington, DC.
Nikon D300. No retouching. Sin retocar.
Visiteurs devant "Olympia" de Edouard Manet, 1863, coll Paris, Musée d'Orsay.
Exposition Picasso et les maîtres,
Galeries nationales du Grand palais.
du 8 octobre 2008 au 2 février 2009
www.rmn.fr/Picasso-et-les-maitres
voir le site du Musée d'Orsay : www.musee-orsay.fr
Although he never exhibited with the impressionists, Manet had a formative influence on the group. He shared their commitment to depicting modern pastimes, as in this scene of a popular roller skating rink. The sport had exploded as a fashionable French pursuit in the 1870s, with five lavish rinks opening in Paris over a two-year period. The main figure here wears a chic outfit, which is displayed at its most alluring angle, accentuating its wearer’s curves. The dress contrasts starkly with the more typical all-black day dresses of the women in the middle ground. As he worked on this composition, Manet made the young child in the foreground increasingly indistinct, focusing the viewer’s attention almost exclusively on her stylish and attractive mother. The model for this figure, Henriette Hauser, was the mistress of the Prince of Orange and an aspiring actress. Manet painted her several times.
Manet’s model, Victorine Meurent, had recently posed as the brazen nudes in Olympia and Luncheon on the Grass (both Musée d’Orsay, Paris). Here, appearing relatively demure, she flaunts an intimate silk dressing gown. Critics eyed the painting as a rejoinder to Courbet’s Woman with a Parrot (29.100.57) and as indicative of Manet’s "current vice" of failing to "value a head more than a slipper." Recent scholars have interpreted it as an allegory of the five senses: the nosegay (smell), the orange (taste), the parrot-confidant (hearing), and the man’s monocle she fingers (sight and touch).
Édouard Manet（1832 - 1883）
Pastel on canvas
55.3 by 35.2 cm
www.sothebys.com/en/auctions/ecatalogue/2015/modern-conte...
Estimate : 700,000 - 900,000 USD
Sotheby's
Modern & Contemporary Art
The Collection of A. Alfred Taubman
New York, 5 Nov 2015
The display reads:
Edouard Manet
French, 1832 - 1883
Repose (Le Repos)
Oil on canvas
Bequest of Edith Stuyvesant Vanderbilt Gerry 59.027
The lady in the picture is Berthe Morisot, the first woman to join the impressionists.
For more information:
www.nytimes.com/1988/07/08/arts/reviews-art-juxtaposition...
For more information on Madame Morisot:
www.artcyclopedia.com/artists/morisot_berthe.html
Taken November 16th, 2010.
Edouard Manet, one of the greatest French painters of the 19th century, hadn’t been the subject of an important exhibition in Paris for nearly 30 years. The Musée d’Orsay decided to make things right with an exhibition entitled “Manet, inventeur du moderne” until July 3rd, going back on the career of the artist and presents about 140 of his works, including 84 paintings, watercolors and pastel drawings. This retrospective brings a new perspective on the many ties that the painter had with different art movements of his generation, though the heritage of romanticism and the impact of his contemporaries.
« Manet, inventeur du moderne », exhibition until July 3rd 2011 at the Musée d’Orsay.
Open from Tuesday to Sunday from 9.30 am to 6 pm.
Late opening on Thursdays until 9.45 pm and on Saturdays until 8 pm.
Entrance fee: €10 full price, €7.50 half price.
Check out Le Relais Du Louvre!
> To find all the good addresses in Paris.
Musée d’Orsay
1, rue de la Légion d’Honneur
75007 Paris
France
Édouard Manet (1832-1883) oil on canvas at the Musée d'Orsay in Paris. Written on the museum’s website: Emile Zola, Cézanne's boyhood friend, showed an early interest in painting. He was particularly interested in the artists rejected by the official critics. In 1866, he wrote an article on Manet in “La Revue du XXe siècle” and defended him again the following year when he organized a private exhibition on the fringes of the Universal Exhibition. Zola regarded the artist, who was contested by traditionalists, as one of the masters of the future, whose place was in the Louvre. To thank him, Manet offered to paint Zola's portrait. The sittings took place in Manet's studio on rue Guyot. The setting was arranged for the occasion with items characteristic of Zola's personality, tastes and occupation. On the wall is a reproduction of Manet's Olympia, a painting which sparked a fierce scandal at the 1865 Salon, but Zola believed to be Manet's best work. Behind it is an engraving from Velazquez's “Bacchus” indicating the taste for Spanish art shared by the painter and the writer. A Japanese print of a wrestler by Utagawa Kuniaki II completes the décor. The Far East, which revolutionized ideas on perspective and color in European painting, played a central role in the advent of the new style of painting. A Japanese screen on the left of the picture recalls this. Zola is seated at his work table. He is holding a book, probably Charles Blanc's “L'Histoire des peintres” frequently consulted by Manet. An inkwell and a quill on the desk symbolize the writer's occupation.This portrait sealed the start of a loyal friendship between Manet and Zola, both eager for success.
VENDIDA. É somente o QUADRO+GARFO e mais um pacote de extras (canote, mesa, guidao, manetes de freio e manoplas).
Caso tenha interesse favor contactar: lmcsobrinho@gmail.com
Cel: 11-8383 17 17
Esse quadro de MTB é RARIDADE é um dos poucos de MTB que tem GANCHEIRA HORIZONTAL, o que permite o tensionamento da corrente - aspecto crucial para uma roda-fixa.
Esse quadro é de MTB, fabricado pela Peugeot – modelo Tim Gould. Ele tem um acabamento primoroso – mal se vê o cordão de solda Tig. Não tem amassados ou reparos com solda, as roscas estão em perfeito estado e está perfeitamente alinhado.
Estou vendendo o quadro, porque consegui um quadro Bianchi de MTB cachimbado (raridade) e que está com gancheiras de pista.
Ele e’ raridade porque muito poucas MTBs tem gancheira horizontal. O quadro precisa de pintura e o garfo de um polimento ou ser pintado.
Ele foi convertido para fixa e montado com rodas de aro 700c (estrada/speedy) e com pneus 700c x 25 (não inclusos).
A razão é que isso resulta em uma distancia do centro do movimento central ao chão de 30,5cm – muito superior ao de uma bicicleta de pista, o permite enfrentar melhor os obstáculos das ruas causadores de tombos: lombadas, buracos, desníveis etc.
Além disso, estava sendo usado um pedivela de 172.5mm (dá + alavanca à pedalada) e não ocorre “overlap” do pedal com a roda – isso e’ muito importante quando se faz uma curva com uma bicicleta de pinhão fixo ou roda fixa. Usualmente em fixas de uso urbano recomenda-se pedivelas de 165mm de comprimento ou no maximo 170mm (não inclusos).
OBS.: Foram retirados todos os suportes para freio cantilever/V-Brake, tanto do quadro como do garfo, pois não se adequavam à uma roda com aros 700c (estrada/speedy), assim como os “stoppers” debaixo do tubo inferior para cabos/conduites de cambio/marchas.
O que esse quadro com rodas 700c ou ainda com rodas de aro 27”, tem a mais em comparação a outros quadros de estrada/speedy convertidos para fixa / roda-fixa:
1)A distancia do centro do movimento central ao chão dessa Peugeot é 30,5cm), que é superior ao de uma bicicleta de pista – uma bicicleta Alien de pista (modelo em cromoly) (www.alienbikes.com) com pneus 700x25 tem uma distancia do chão de 29 cm. Uma Caloi Eddy Merckx com pneus (700 x 28) tem 27 cm do chão.
2)Não tem o ”overlap” do pedal com a roda dianteira, o que ocorre as vezes com quadros de estrada convertidos em fixa; ressaltando que em uma fixa você nunca deixa de pedalar, inclusive nas curvas.
3)Esse quadro já vem com a gancheira horizontal; o que permite tensionar adequadamente a corrente; ou seja não e’ preciso trocar a gancheira e colocar uma de pista.
4)Existe espaço para usar pneus maiores/mais largos.
Detalhes do Quadro/Garfo:
Material do Quadro: HLE Mangalloy, e’ um tubo de liga de aço feito especialmente para a Peugeot. Detalhes sobre essa liga de aço podem ser encontrados neste link: en.wikipedia.org/wiki/Mangalloy
Tamanho: 17.5” (medido do centro do movimento central ao topo do tubo do selim, dessa maneira é que são medidos os quadros de MTB)
Tubo de topo: 53.5cm (medidos de centro a centro)
Garfo: Alumínio, espiga de cromoly, e na medida Standard (diâmetro da espiga de 25,4 mm ou 1 polegada) COM ROSCA (padrão inglês – 25,4mm x 24 TPI). Esse garfo não é o original, que era mais pesado (Mangalloy).
Movimento Central Compatível: Rosca Inglesa (1,37” x 24 TPI) (Não Incluso).
EXTRAS (Inclusos):
- canote de selim de alumínio polido com carrinho integrado;
- mesa de alumínio aheadset polida e respectivo adaptador;
- par de manetes de freio – Promax para guidão de MTB;
- guidão riser de MTB em alumínio com +/- 50cm de comprimento;
- manoplas transparentes da Roughneck.
RESSALTE-SE que as fotos onde aparece este quadro Peugeot montado sao meramente ilustrativas de como ele fica com rodas 700c e outras peças, que NÃO FAZEM PARTE DESTA OFERTA.
O comprador receberá somente o quadro, garfo de alumínio, e os EXTRAS mencionados ( canote, mesa c/ adaptador, guidão de MTB, manoplas p/guidão e manetes de freio).
PAGAMENTO / ENVIO:
Custo da entrega / envio através do SEDEX (dado o tamanho da caixa, só é possível via SEDEX) com Aviso de Recebimento e Pagamento Somente através de Deposito na Caixa/ Lotéricas.
Favor Contactar: lmcsobrinho@gmail.com
Joueuse de tampura durant le concert de Raghunath Manet
site de l'artiste
www.myspace.com/raghunathmanet
12e Festival culturel du Tibet et des peuples de l’Himalaya
www.tibet-info.net/festival/Programme-du-12e-Festival-cul...
Édouard Manet（1832 - 1883）
Brush and ink on paper
21.5 by 17.9 cm
www.sothebys.com/en/auctions/ecatalogue/lot.340.html/2014...
Estimate : 30,000 - 40,000 USD
Sold : 50,000 USD
Sotheby's
Impressionist & Modern Art Day Sale
New York, 6 Nov 2015
Édouard Manet and his famous "Le déjeuner sur l'herbe" (Lunch on the grass) [1863]
Paris, Musée d'Orsay
very high resolution image
Impressionists on the Water features approximately 85 works by Pre-Impressionists, Impressionists, and Post-Impressionists, including Charles-François Daubigny, Claude Monet, Pierre-Auguste Renoir, Gustave Caillebotte, Camille Pissarro, Alfred Sisley, Georges Seurat, Paul Signac, Théophile van Rysselberghe, Pierre Bonnard, and others. The exhibition also includes two boats and six boat models that further demonstrate the important role sailing, rowing, and yachting played in the social and artistic contexts of 19th-century France.
Presented in the Legion of Honor’s landmark building overlooking the Pacific Ocean and the Golden Gate Bridge, Impressionists on the Water offers a perfect opportunity for deeper engagement with maritime history, as well as the summer’s exciting regattas on the Bay.
Visiting Legion of Honor
Lincoln Park, 34th Avenue and Clement Street
San Francisco, CA 94121
legionofhonor.org
415-750-3600
Hours: Tuesdays–Sundays, 9:30 am–5:15 pm, last ticket 4:30 pm. Closed Mondays.
Boy Blowing Bubbles
Édouard Manet
France, 1867
Oil on canvas
The theme of this painting, Vanitas, or the fleeting nature of life symbolised by the soap bubbles, is given a unique interpretation by Manet, although aspects such as the dark background, the simple forms and the restrained nature of the composition appear to evoke a work of the same title by the eighteenth-century French painter Jean-Siméon Chardin.
Yet here, the allegorical content is not given precedence over the artistic autonomy of the visual discourse. Manet creates his own form of expression and, through the motif, asserts his sensorial perception, his subjectivity. Moreover, the theory that the work may constitute the artist’s reflection on the eternal nature of art cannot be dismissed.
It should also be noted that the model (Léon-Édouard Koëlla, Manet's stepson) appears various times in the artist’s work over a period of several years. Finally, the free and direct style of the whole, with its clearly defined figure accentuated by the contrast between light and shade, calls to mind the genius of great masters such as Murillo and Frans Hals.
Calouste Gulbenkian Museum ● Museu Calouste Gulbenkian
Lisbon, Portugal
20171112_091911-1
Huile sur toile, 82 x 104 cm (détail), 1874, Neue Pinakothek, Munich.
Le tableau de C Monet représenté ici sur chevalet semble être W 227 Barques au repos, au Petit-Gennevilliers, plutôt peint en 1874 (1972 d'après Wildenstein) :
www.flickr.com/photos/7208148@N02/4281374204/in/set-72157...
Pour voir le tableau de E Manet en entier :
www.flickr.com/photos/7208148@N02/4330666734/in/set-72157...
Merci Peter pour la photo :
www.flickr.com/photos/28433765@N07/5633887701/in/photostr...
Huile sur toile, 82 x 104 cm (détail), 1874.
E Manet a peint deux tableaux de ce bateau-atelier. Dans celui-ci, c'est Camille, sa première épouse, qui est floue. Dans l'autre, c'est le contraire :
www.flickr.com/photos/28433765@N07/4716663044/
Le tableau de C Monet représenté semble être W 227 Barques au repos, au Petit-Gennevilliers plutôt peint en 1874 (cf. 1872 pour Wildenstein). Pour le "charrier", E Manet disait à ce dernier qu'il était le "Raphaël de l'eau".
Pour voir le tableau de E Manet en entier :
www.flickr.com/photos/7208148@N02/4330666734/
Merci Peter pour la photo :
Edouard Manet
Paris 1832 - Paris 1885
La dame aux éventails
1873-1874
Nina de Callias (1845-1884)
________________________________
Manet drew to a close a long series of "women on a sofa" with this picture from 1873. His model is Nina de Callias (1844-1884), a capricious woman, alternately elated and depressed, with a neurotic temperament that alcohol soon led her to insanity and a premature death at the age of thirty-nine. Although her real name was Marie-Anne Gaillard, and she was also called Nina de Villard, she was known paradoxically by the name of a very transitory husband, Hector de Callias, a writer and journalist for the Figaro.
At the time of this portrait, Nina was barely thirty years old, and used to host one of the most brilliant and artistic salons in Paris. She poses in one of the "Algerian" costumes that she liked to wear to receive guests. The wall decoration in the background is recognisable one in the painter's studio; it also appears in Mallarmé (Musée d'Orsay) and in Nana (Hamburg, Kuntshalle). The choice of fans does not seem to have any symbolic intention. By pinning them up around Nina, Manet is merely creating a décor that had become almost commonplace: Whistler, Tissot and Renoir had already used the same technique. Besides, these objects evoke the Japanese-style bric-à-brac of the small private residence where the model lived.
Should we see in this painting an echo of Olympia painted ten years earlier? Probably not. Although both figures are lying down, leaning on one arm, with an animal at their feet (a small griffon terrier in this case), they have nothing in common, not in style, technique or mood. The face in particular is one of the most expressive that Manet produced. It conveys amusement, complicity and curiosity, with a hint of melancholy and distraction.
Édouard MANET
(Paris, 1832 - Paris, 1883)
Monsieur et Madame Auguste Manet
1860
Salon de 1861
Huile sur toile, 110 x 90 cm
Acquis grâce à la générosité de la famille Rouart-Manet, de Mme Jeannette Veil-Picard et d’un donateur étranger en 1977.
PARIS Musée d'Orsay
www.musee-orsay.fr/fr/oeuvres/monsieur-et-madame-auguste-...
Réalisation : Vadu Amka
Voici une petite nouveauté pour alimenter les actus du blog,
Ma troisième réalisation sur le thème de Skies of Arcadia,
Il s'agit d'une commande passée à la galerie Kochi courant le mois du février 2015.
Cette fois on part sur la base d'un aéronef qui a subi pas mal d’altérations.
J'ai utilisé du bois de tilleul pour le capot, celui-ci ayant été découpé au préalable à l'aide d'un outil de découpe rotatifs. (Dremel). Les imperfections du bois ont été rebouchées à l'aide d'une pâte de bois clair, poncé et teinté à la lasure acajou, et peint en gris bleuté, poncé de nouveau pour un aspect plus dégradé et vieilli. Le capot est ensuite ciré et imperméabilisé. Dans celui-ci se loge une grille à petites mailles, oxydée à l'aide de pigment Ocre, Terre d'ombre naturelle = oxyde de fer synthétique. Le reste est un jeu de trompe-l'oeil avec plusieurs jus de noir et de brun. Ce qui semble être un anneau métallique est en réalité un bandeau en cuir traité et lui aussi passé à la peinture oxydée.
Les slots à manettes ont été réalisés par le même procédé que le capot.
Le logo a été reproduit en plexiglass et remoulé à l'aide de Silicone Silgum en pâte 2 composants. Ensuite coulé en résine et peint.
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Hello!
Here is the latest news feed of my blog.
It is about my third creation on the « Skies of Arcadia » theme.
That is an order for the Kochi gallery placed back in February.
The main idea behind the custom was to make it look like a heavily damaged spacecraft.
I used lime wood I previously cut with a rotating cutter (called a dremel) for the hood. All the wood’s imperfections were first resealed with some light color wood paste, then sanded stained with mahogany stain. After that, I painted it with a blue and gray color before sanding it one more time to give it a more degraded and aged look. I waxed the hood and made it waterproof. I put inside a small grid, oxidizing it with ocher pigment called « natural earth shade » (synthetic iron oxyde). All the rest is an optical illusion made from several black and brown juices. What seems to be metal ring is, in fact, a leather band treated and painted with oxyde paint. I used the same pattern for the gamepads slots. I finally reproduced the logo with plexiglass and remolded it with some 2-component silicone slim before molding it in resin and painting it.