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Descripción: Óleo sobre lienzo. 103 x 178 cm.
Localización: Carlsberg Glypotek. Copenhague
Autor: Edouard Manet
ANKARA
15.02.2012
15ème Festival International de Jazz d'Ankara
15. Uluslararası Ankara Caz Festivali
This work was originally the right half of a painting of the Brasserie de Reichshoffen, begun in about 1878 and cut in two by Manet before he completed it. This half was then enlarged on the right and a new background was added. The left half of the composition is in the Oskar Reinhart Collection, Winterthur.
The Brasserie de Reichshoffen was in the Boulevard Rochechouart, Paris. At the time, brasseries with waitresses were fairly new in the city.
Manet’s “Luncheon on the Grass” — and the Reality of 19th-Century Paris
Two well-dressed men and a naked woman have a picnic in the park like it’s no big deal. The two men chat while the woman looks out nonchalantly at the viewer. In the background, another woman has stripped down to her slip to wade in the stream.
When the painting debuted in Paris in 1863, it caused a scandal. The shocked public wondered: What are these scantily clad women doing with these men? And what will they be doing after the last baguette is eaten?
The painting also shocked art critics. They could clearly see that Manet was riffing off works by the old masters. But instead of mythological Venuses and idealized nudes, Manet was replacing them with real people in a contemporary setting. The pile of discarded clothes (lower left) says this is not a classical nude but an undressed woman. And, with the fully dressed dandies, their nude companion looks even more naked. This isn’t a goddess but a real woman — the model was Manet’s friend and fellow painter, Victorine Meurent. By putting everyday people in a traditional work of art, Manet seemed to be mocking the classics. In fact, he was replacing soft-core porn with hard-core art.
“The Luncheon” reflected the reality of 19th-century Paris. On the one hand, it was the belle époque, or “beautiful age,” a time of prosperity, art, beauty, and joie de vivre. But Manet wanted to capture a grittier side. Behind its gilded and gas-lit exterior, Paris was a city of smoke-belching factories, inner-city slums, and revolution in the streets. A counterculture simmered.
Manet sketched in cafés, train stations, and busy Paris streets. He rejected the saccharine goddesses and tried to depict the real life of real people. The style was called Realism — and “Luncheon” is a Realist’s take on the classics. Manet rejected the smooth brushwork of traditional art schools that gave everything a gauzy Vaseline-on-the-lens beauty. This woman’s skin is pale and harshly lit. Manet used sharp outlines and a strong contrast of colors: white skin, black clothes, green grass.
The painting was purposely clumsy. The leaves are messy, the patches of paint stand out, and the woman in the background is unnaturally large. Manet was calling attention to the fact that this is a painting — a pile of pigment on a flat surface. It was a tiny first step toward that very modern idea that eventually became abstract art.
Manet’s “Luncheon” was flatly rejected by Paris’ establishment art show, the Salon. Unbowed, Manet exhibited it in the “Salon of the Refused.” His daring attracted the next generation of artists. Like Manet, these young artists also chafed against middle-class tastes, rejected conformity, and refused to follow the traditional career path. They rallied behind Manet for his courage and innovations. Manet boldly opened the door for Monet, Renoir, and others as they went on to found their own revolutionary movement — Impressionism.
ANKARA
15.02.2012
15ème Festival International de Jazz d'Ankara
15. Uluslararası Ankara Caz Festivali
ANKARA
15.02.2012
15ème Festival International de Jazz d'Ankara
15. Uluslararası Ankara Caz Festivali
Edouard Manet French, 1832-1883
The Races, 1865-72
Crayon lithograph on chine collé
Gift of W. G. Russell Allen, 1923, 23.132
Damned Manet! Everything he does he always hits off straight away, while I take endless pains and never get it right. -Edgar Degas
From its debut in 1857, horse racing at the Longchamp track was a seasonal social event drawing fashionable crowds to the Bois de Boulogne, a park to the west of Paris. Here, horses gallop directly toward the viewer, intense clusters of squiggles indicating a throng of spectators on the right. Some figures rise above this crowd, training their field glasses on the charging horses, we sense the tension and excitement and anticipate the thunder of hooves passing close by.
Édouard Manet French, 1832-83
Victorine Meurent, c. 1862
Oil on canvas
Gift of Richard C. Paine in memory of his father. Robert Treat Paine 2nd. 1940, 48 846
While Edouard Manet never participated in the 1874 “Impressionist exhibitions" held between 1874 and 1876, he was a friend and mentor to Edgar Degas, Claude Monet, and other Impressionist artists. Victorine Meurent was Manet's great model and muse in the 1860s. Her oval face, russet hair, and gray eyes appear in many of the artist's most ambitious paintings of the period, including Street Singer, on view nearby. This smaller portrait was probably his first painting of Meurent, made when she was still a teenager. It conveys a sense of wary intimacy far removed from his subsequent large-scale works.
Descripción: Óleo sobre lienzo. 214 x 269 cm.
Localización: Museo de Orsay. París
Autor: Edouard Manet
L'Aquila, centro storico
4 ottobre 2010
ciò che resta della consegna, da parte degli ex residenti, delle chiavi di casa lungo le recinzioni protettive
Edouard Manet（1832 - 1883）
oil on canvas
Painted in 1878
Sotheby's
Impressionist & Modern Art Evening Sale
London 24 June 2015
Manet visited the Haarlem museum in 1872. He undoubtedly came especially for Frans Hals, whom he had admired since his early childhood. This boy with a jug is reminiscent of Hals's popular types in terms of subject matter, and the manner with loose brushstrokes and the dark background, is also Hals-like.
Manet saw a direct connection between Hals and Spanish baroque art, for example by Velásquez. He said: 'I cannot believe that Hals was not a Spaniard too. It would not be so strange after all, he came from Mechelen.' Mechelen was in the Spanish Netherlands.
Exhibition Frans Hals and the Moderns, Frans Hals Museum Haarlem
Edouard Manet French, 1832-1883
The Races, 1865-72
Crayon lithograph on chine collé
Gift of W. G. Russell Allen, 1923, 23.132
Damned Manet! Everything he does he always hits off straight away, while I take endless pains and never get it right. -Edgar Degas
From its debut in 1857, horse racing at the Longchamp track was a seasonal social event drawing fashionable crowds to the Bois de Boulogne, a park to the west of Paris. Here, horses gallop directly toward the viewer, intense clusters of squiggles indicating a throng of spectators on the right. Some figures rise above this crowd, training their field glasses on the charging horses, we sense the tension and excitement and anticipate the thunder of hooves passing close by.
Edouard Manet
Paris 1832 - Paris 1883
c. 1858-60
Oil on canvas
Manet was one of the modern painting's greatest innovators, yet he was also deeply rooted in the history of art, having studied first-hand the styles and techniques of important masters from all the European schools. The motif of woman pouring water from a jug is an old one, and this early and meditative work recalls the much loved subject of Venus or a woman "at her toilet" (combing her hair or looking in a mirror) by Venetian painters such as Titian and Giorgione, examples of which Manet would have seen at the Louvre. But the artist's radical loose and unfinished treatment of the basin and the hand holding it places the work firmly in the 19th-century avant-garde.
Ordrupgaard, Copenhagen (no. 282 WH)
T. J, Clark - The Painting of Modern Life. Paris in the Art of Manet and his Followers, Princeton University Press, 1984. Cover shows detail of Manet's painting LÈxposition Universelle de 1867.
ANKARA
15.02.2012
15ème Festival International de Jazz d'Ankara
15. Uluslararası Ankara Caz Festivali