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French, 1832-1883
Music Lesson, 1870
Museum of Fine Arts, Boston
Visual art and music today seem inherently intertwined. Music videos of musicians garbed in theatrical costumes or outlandish fashion have all become common place. Of course this present-day art form could readily be traced to Hollywood and stage musicals, which in turn are offshoot of the opera. Paintings and reliefs celebrating musicians go back to the Egyptians and perhaps even earlier. History, music and visual art, in other words, inevitably harmonize each other.
In grazing about the rich pastures of art museums in three continents, I’ve photographed dozens of masterpieces illustrating the evolution of music itself across time. For instance, the lute as you will see in these paintings was the staple stringed instrument of the Renaissance through the Baroque Period. The other instrument painted by masters that time has forgotten is the lyre. Like a character fatally wounded in an opera, the lute suddenly disappeared by the mid to late nineteenth century and has since been replaced by the guitar in modern paintings.
Trivial as this may all seem, this collection of masterpieces---by Caravaggio, Vermeer, Corot, Renoir, Degas, Picasso, Braque, Matisse, to name a few--- is a fine example of visual art serving as a vital vessel of history, a time capsule if you will, that delivers images and information that we would otherwise have not grasped.
Concert du musée Guimet, samedi 9 décembre
Raghunath Manet
« Nocturne indien »
concert de Sarasvati veena et percussions de l’Inde du sud : mridangam, tabla, tavil…
“ Raghunath Manet is an accomplished veena player. He is an artist of extraordinary talent and caliber. He has mastered the intricacies of handling this instrument and I wish him the very best in all his future endeavors”. Dr Balamurali Krishna
ANKARA
15.02.2012
15ème Festival International de Jazz d'Ankara
15. Uluslararası Ankara Caz Festivali
Edouard Manet " La Toilette", an example of boldly contrasting light and shade in the chiaroscuor style and reminiscent of Rembrandt's lighting effects.
Poetography: Week 118: Chiaroscuro.
The entire quote:-
“We're each of us our own chiaroscuro, our own bit of illusion trying to emerge into something solid, something real. We've got to forgive ourselves that. I must remember to forgive myself. Because there's an awful lot of gray to work with. No one can live in the light all the time.”
Libba Bray, A Great and Terrible Beauty
This work is one of Édouard Manet’s most vivid experiments in painting outdoors, inspired by the younger Impressionists’ approach. It was created during a summer stay with Claude Monet in the town of Argenteuil, outside Paris. Monet’s wife, Camille, and son, Jean, posed for the figures. Lining the other side of the river are barges for washing laundry. The bright colours and swift brushstrokes creating the ripples on the water show Monet’s influence. However, Manet maintained his distinctive use of thick oil paint and rich blacks to give weight to the painting.
Manet is an artistic gerbil (kangaroo rat), he loves working in watercolors and is full of love, and cheer. He's lovingly crochet from watercolor like colored wool, stuffed with polyfill and has safety eyes.
Manet peint ce tableau pendant l'été 1873, au cours de trois semaines passées avec sa famille dans la petite ville côtière de Berck-sur-Mer. Il fait poser sa femme et son frère sur la plage comme le confirment des grains de sable mêlés à la peinture. Suzanne, bien protégée du soleil et du vent, par une voilette en mousseline et un costume d'été enveloppant est absorbée par sa lecture. Eugène, le frère du peintre et bientôt époux de Berthe Morisot, contemple la mer au loin dans la même position que dix ans plus tôt dans le Déjeuner sur l'herbe. Les deux triangles que forment les personnages stabilisent la composition. Ils tournent le dos au spectateur et semblent plongés chacun dans leur univers personnel. Cet isolement donne au tableau une impression indéfinissable de mélancolie.
Original Info:
1882
Oil on canvas
37 3/4 x 51 1/4 in. (96 x 130 cm)
Courtauld Institute Galleries, England.
Edouard Manet's 1882 painting A Bar at the Folies-Bergeres, of a barmaid in a cabaret, intrigues the viewer with its spatial and psychological complexity. The mirror behind her transforms the shallow space in which she stands into a view of the entire room, where a lively and sophisticated crowd is enjoying the aerial act high above their heads. The barmaid appears lost in thought, but in the reflection, she is seen attending to a customer. To the end of his career Edouard Manet sought to portray the spirit of modern life.
Boating - Édouard Manet 1874
Oil on canvas
38 1/4 x 51 1/4 in. (97.2 x 130.2 cm)
The Metropolitan Museum of Art
1000 Fifth Avenue. New York, New York 10028 USA
Édouard Manet (1832-1883) oil on canvas at the Art Institute of Chicago. Written near the painting: This imposing view of carp, red mullet, eel, oysters, lemon, stockpot, and knife is one of numerous still-life subjects that Édouard Manet painted in 1864, the year of his most intense engagement with the genre. Although the French translation of still life is "nature morte" (literally, "dead nature"), Manet's painting seems very much alive. He achieved a sense of immediacy by strategically positioning elements—especially the precariously balanced knife and the still-slithering eel—along the diagonal of the tablecloth, so that they seem to slide forward into the viewer's space.