View allAll Photos Tagged Manet
This photograph of the original Manet ('La Dame aux eventails', painted in 1873) was taken at the Orsay Museum (Musee d'Orsay) in Paris, France.
Manet's famous portrait of Nina de Callias (1844-1884), the young host of one of the most brilliant and artistic salons of Paris. Nina was a capricious woman with a manic temperament, alternately elated and depressed, that led her to insanity and a premature death at the age of thirty-nine.
Nina's face is one of the most expressive that Manet ever produced. It conveys amusement, complicity and curiosity, with a hint of melancholy and distraction.
gil22.eklablog.com/manet-6-1863-olympia-nouveau-scandale-...
Ce tableau présenté au Salon de 1864 est une interprétation du thème de la Résurrection du Christ
Intensité dramatique renforcée par la position frontale qui met en évidence les plaies de la Crucifixion
La lumière impitoyable révèle un Christ cadavérique
En 1863 Renan a publié la Vie de Jésus, qui propose une lecture laïque et historique de la vie du Christ
Le journal "La vie parisienne" invite ses lecteurs à aller voir "le pauvre mineur extrait de la mine de charbon peint par M. Renan"
Représentation réaliste de la mort mais lumière irréelle et frontale, presque divine, renforcée par la présence des anges
Courbet a attaqué l'oeuvre à propos de la couleur des ailes des anges ce qui a suscité des moqueries
"Le Christ mort" d'Andrea del Sarto a pu inspirer Manet
Dimensions importantes de l'oeuvre (179*150)
Le blanc sale du drap s'oppose aux chairs ombrées du corps ce qui fut considéré comme une souillure
Le réalisme du tableau apparaissait comme une caricature du sacré
Courbet incitait les peintres à représente exclusivement des sujets visibles. Il considérait que l'abstrait et l'imaginaire sortent du domaine de la peinture.
Conscient des railleries qu'allait susciter le tableau, Baudelaire lui écrit "Il paraît que décidément le coup de lance a été porté à droite. Il faudra donc que vous alliez changer la blessure de place avant l'ouverture. Vérifiez donc la chose dans les quatre évangiles"
On reproche à l'artiste son manque de spiritualité et son incapacité à créer l'illusion de la forme par le modelé
Courbet "Un objet abstrait, non visible, non existant, n'est pas du domaine de la peinture"
Courbet se serait moqué de Manet et de sa façon de peindre les anges "Tu as vu des anges, toi, pour savoir s'ils ont un cul ?"
Manet a dit un jour à son ami Proust "Il est une chose que j'ait toujours eu l'ambition de faire. Je voudrais peindre un Christ en croix. Le Christ en croix, quel symbole ! On pourra toujours se fouiller jusqu'à la fin des siècles, on ne trouvera rien de semblable"
L'oeuvre est peinte dans une tonalité sourde aux noirs et blancs funèbres, à l'espagnole
Zola " pour moi c'est un cadavre peint en pleine lumière, avec franchise et vigueur, et même j'aime les anges du fond, ces enfants aux grandes ailes"
Théophile Gautier reprocha au Christ de Manet de ne pas "avoir connu jamais l'usage des ablutions"
Cette aquarelle serait le dessin préparatoire à une eau-forte
Manet la réalisa à l'inverse du tableau pour obtenir une reproduction exacte de ce tableau
La gouache fait ressortir les ailes bleues des anges
La Barricade
Degas et Manet se sont engagés dans la garde nationale lors de la guerre de 1870-1871, ils ont combattu les prussiens lors du siège de Paris alors que d'autres peintres, comme Claude Monet, avaient fui la France, durant cette période de guerre pour protéger leurs familles.
Manet et Degas ont été démobilisés au moment de la capitulation française, deux mois avant l'éclatement de la Commune mais tous deux étaient favorables aux Communards comme l'indique une lettre de la mère de Berthe Morisot à sa fille. Manet est revenu à Paris lors de la semaine sanglante du 21 au 28 mai 1871, il a représenté une exécution sommaire de Communards par l'armée après la prise d'une barricade. Ce type de sujet étant interdit par le gouvernement de l'époque, il n'a pu réaliser un tableau plus abouti.
On reconnait dans cette oeuvre l'influence de Goya et de ses "Désastres de la guerre".
Oeuvre d'Edouard Manet (1832-1883)
1871
Pointe d'argent, encre noire, aquarelle, gouache su papier
Budapest, Museum of Fine Arts
www.szepmuveszeti.hu/mutargyak/barikad-recto-miksa-csasza...
Oeuvre présentée dans l'exposition "Manet / Degas", musée d'Orsay, Paris
Édouard Manet (1832-1883) et Edgar Degas (1834-1917) sont tous deux des acteurs essentiels de la nouvelle peinture des années 1860-80. Cette exposition qui réunit les deux peintres dans la lumière de leurs contrastes oblige à porter un nouveau regard sur leur réelle complicité. Elle montre ce que la modernité picturale eut d’hétérogène, de conflictuel, et révèle la valeur de la collection de Degas où Manet prit une place plus grande après son décès. Extrait du site de l'exposition
eastiseverywhere: Raja Ravi Varma Reclining Woman India (late 1800s-1906) [Source] Édouard Manet Olympia France (1863) [Source] So I was googling around for artworks by the great Indian modern artist Raja Ravi Varma, and I found the painting above. Does anyone know if it’s directly inspired by Manet, or is it a coincidence? The Manet painting is actually modeled after Titian’s Venus of Urbino (Italy, 1538): Which is based on Giorgione’s Sleeping Venus (Italy, 1510): Which in turn inspired Caracci, Gentilischi, Goya, Velasquez, Reni and many more: So in other words, Varma’s European influences would have informed the subject, composition, and pose somewhat. Basically you’re just looking at a European painting trope, with Indian sensibilities; she is noticeably clothed and is also reading a book.
Édouard Manet, Paris 1832 - 1883
Die Barke oder Monet malt in seinem Atelierboot - The barque aka Monet painting on his studio boat (1874
Neue Pinakothek, München
Manet hat dieses Bild im hellen Licht eines sonnigen Sommertages gemalt und hat Monet bei ebensolcher Tätigkeit an Bord seiner kleinen Barke dargestellt. Scheinbar zufällig hat der Blick das Boot, den Freund und dessen Frau erfasst, das glitzernde Wasser, Ufer, Boote und einen Streifen Himmel in zartem Blau – so locker, so skizzenhaft ist die Malweise. Diese Lockerheit des Pinselduktus verleiht dem Bild in Verbindung mit dem hellen Licht, den leuchtenden Farben und der geschwungenen Bootsform mit Sonnensegel einen heiteren Charakter, an dem auch der Dargestellte in seiner sommerlichen Kleidung teilhat Der Menschenschilderer Manet vermag aber zugleich die Konzentration Monets beim Malen zu vermitteln, indem er ihn in vollem Profil vor dem blauen Grund der Kajütenwand konzentriert auf sein Werk blicken lässt.
In diesem Sommer des Jahres 1874 hatten sich etliche der Impressionisten in Argenteuil eingefunden, so auch Gustave Caillebotte, Alfred Sisley und Auguste Renoir. Manet hatte Claude Monet, den er hin und wieder finanziell unterstützte, 1871 in dem kleinen Ort an der Seine nördlich von Paris untergebracht. 1874 besuchte er ihn mehrmals von Gennevilliers aus, das am anderen Ufer der Seine gelegen ist; er malte damals auch die Familie Monet im Garten, zur gleichen Zeit wie Renoir.
Quelle: Neue Pinakothek
Huile sur toile, 61 x 50 cm, 1874, musée des Beaux-Arts, Lille.
Berthe Morisot est ici représentée de trois-quarts, digne et fière, le bras gauche replié dans un geste spontané. Contrairement à ses autres portraits, elle ne regarde déjà plus le peintre. Ce dernier portrait est de fait réalisé en une année particulière. Celle du mariage de Berthe Morisot (cf. l'alliance qui l'annonce) avec Eugène Manet (frère de l’artiste) et aussi l’année de la première exposition impressionniste, en marge du Salon officiel. La révolution de l’art moderne est en marche, et le peintre et son modèle en sont deux figures de proue.
Le noir domine et deviendra la signature de Manet. Le regard est franc, profond, sensuel aussi. "Ses yeux […] étaient presque trop vastes, et si puissamment obscurs que Manet […], pour en fixer toute la force ténébreuse et magnétique, les a peints noirs au lieu de verdâtres qu’ils étaient" (cf. Paul Valéry). La jeune femme vêtue de noir est en deuil, suite au décès de son père, cette année-là. L’éventail souligne sa féminité ainsi que l’élégance de ses longues mains d’artiste. L’objet rappelle à quel point Manet admira les maîtres de la peinture espagnole que sont Vélasquez ou Goya. Le décor est sobre pour ne pas distraire l’œil. Un motif végétal rappelle le style japonisant très prisé à l’époque. Le ruban de velours attaché au cou et la dentelle noire au col et au poignet soulignent la pâle et délicate carnation du modèle (cf. musée de Lille).
Édouard Manet, Paris 1832 - 1883
Moosrosen in einer Vase – Moss roses in a vase (1882)
Clark Art Institute, Williamstown, MA, USA
Manet painted a series of small still lifes in his later years, when illness made working on a larger scale difficult. The flowers and leaves in this image are painted in quick strokes of color, and light reflecting off the surface of the vase conveys a sense of the solidity and weight of the glass. The apparent casualness of the composition and the confident handling of oil paint give the work a striking directness.
Source: Clark Art Institute
Berthe Marie Pauline Morisot (1841-1895) was a painter and a member of the circle of painters in Paris who became known as the Impressionists. She became friends with artist Edouard Manet (1832-1883) who appreciated her distinctive original style, some of which he incorporated into his own work. In 1874, she married Manet's brother, Eugene (1833-1892).
In her 1875 painting, 'Manet on the Isle of Wight', Morisot shows her husband, Eugene, looking out a window at a woman and a little girl taking a dockside stroll. She painted Eugene with his back turned to give her audience the sense that their gaze follows his....that what he sees is what we see....as though we are looking at a woman's world through male eyes. As in other of her paintings, Morisot seems to inhabit the world of men.
This original painting by Morisot was seen and photographed on display in a museum exhibit entitled 'Degas, Impressionism and the Paris Millinery Trade' at the Legion of Honor in San Francisco, California.
Sono presuntuosa e dico che questo è ciò che Manet avrebbe dipinto se fosse entrato nella mia nuova camera fresca di eredità e spostamenti di mobili averi affetti e gatti.
A Thought to Consider, 2003 (Seward Johnson)
cast aluminum, painted
2/8; 58” x 65” x 58”
based on Manet''s "In the Winter Garden"
Letter to Henri Charles Guérard. Decorated with a Peach, two Shrimps, Seascape, Cat, Four Portraits and a Swallow, 1880. Watercolor and ink (1832-1883) Frits Lugt, Paris. Getty Center
Manet was the quintessential "painter of modern life," a phrase coined by his contemporary, the French poet Charles Baudelaire. Although he declined to participate in the Impressionists' group shows, Manet had been a key participant in their gatherings from the beginning.
In 1878-79, he painted a number of scenes set in the Cabaret de Reichshoffen on the Boulevard Rochechouart, where women on the fringe of society freely intermingled with well-heeled gentlemen. The most developed of these, "At the Café," shows an older gentleman and a young woman seated at the counter of the crowded café. An image of the singer is reflected in the mirror on the back wall. In this composition, Manet captures a sense of the fleeting, disjointed quality of the pleasures of Parisian nightlife. The handling of the paint seems rapid, and the figures are crowded into the compact space of the canvas, each one seemingly oblivious of the others. The top-hatted dandy with the walking stick sits next to a despondent young woman, who likely is a prostitute.
When exhibited at the gallery of "La Vie Moderne" in 1880, this work was praised by some for its unflinching reality and criticized by others for its apparent crudeness.
[Oil on canvas, 47.3 x 39.1 cm]
gandalfsgallery.blogspot.com/2010/10/edouard-manet-at-caf...
Edouard Manet -
Beggar with oysters (philosopher) [1865-67]
Chicago Art Institute (ARTIC)
publications.artic.edu/manet/api/epub/140019/140039/print...
publications.artic.edu/manet/reader/manetart/section/140039
Werkverzeichnis:
de.wikipedia.org/wiki/Liste_der_Gem%C3%A4lde_von_%C3%89do...
Edouard Manet
French, 1832-1883
Oil on canvas
National Gallery of Art, Washington DC
The Railway, widely known as Gare Saint-Lazare, is an 1873 painting by Édouard Manet. It is the last painting by Manet of his favourite model, the fellow painter Victorine Meurent, who was also the model for his earlier works Olympia and the Luncheon on the Grass. It was exhibited at the Paris Salon in 1874, and donated to the National Gallery of Art in Washington, D.C. in 1956.
Huile sur toile, 22 x 27 cm, 1872.
Ce tableau est un message d'amitié à Berthe Morisot et annonce les petites natures mortes que Manet dans ses dernières années
offrait souvent à ses proches. Il a été peint à la suite du portrait dans lequel Berthe Morisot porte à son corsage le même bouquet de violettes. L'éventail dont la tranche de laque rouge contraste avec le bleu tendre des fleurs rappelle aussi les autres portraits où Berthe en joue même pour cacher son visage. L'ensemble de ses trois objets : lettre, bouquet et éventail sont au fond significatifs du raffinement élégant et de la distinction du modèle de l'artiste (cf. cineclusdecaen.com).
Tentoonstelling 'Things. A history of still life', tot en met 23 januari in het Louvre (Edouard Manet, Adriaen Coorte, Odilon Redon)
www.nrc.nl/nieuws/2023/07/12/stillevenschilders-maken-kle...
Édouard Manet (* 23. Januar 1832 in Paris; † 30. April 1883 ebenda) war ein französischer Maler. Er gilt als einer der Wegbereiter der modernen Malerei.
Bild: Der Fischfang, 1861–1863
[...]
Dove Luisa o io o chiunque altro avremmo visto soltanto ripetizione e stanchezza, lui doveva vedere uno spettacolo insolito ad ogni momento, multiforme, vario, intrigante come può arrivare ad essere un quadro quando chi lo contempla dimentica che ce ne sono altri che lo aspettano durante la sua visita e perde la nozione del tempo, e perde pertanto anche l'abitudine di guardare, sostituita o soppiantata - o forse esclusa - dalla capacità di vedere, che è ciò che non facciamo quasi mai, perchè non ce ne diamo il tempo. Ed è precisamente allora che egli vede tutto, la figura e lo sfondo, la luce, la composizione e le ombre, i volumi e i piani, il pigmento e il tratto, e ogni singola pennellata. In altre parole vede sia la rappresentazione che le sue asperità, ed è allora che è in grado di ridipingere il quadro con la sua vista.
[...]
Javier Marias, Mentre le donne dormono, Einaudi 2014 (pag.140)
Edouard Manet’s fascination with the effects of light and colour was constantly renewed as he took in the myriad impressions of the infinitely varied world around him. His portrayal of the house just outside Paris belonging to his host, the poet Eugène Labiche, was in no way intended as a faithful view. Instead he restricted himself to a section of the facade, like a detail, much in the style of Japanese woodcuts. It is not possible to take in the house as a whole, both because of the limited view and because of the tree trunk that calculatedly cuts through the functional and aesthetic center of the house, heightening the viewer’s attention and fascination. While the facade is bathed in blazing sunlight, one can nevertheless sense the cooling shade cast by the crown of the tree up above the top edge of the picture. One also senses that there is a slight breeze causing the patches of light to gently shift their position. “A blithe spirit has created this picture with consummate skill” (Hugo von Tschudi) — skill that is evident in the finely balanced play of colours, the powerful contrasts of red and green, and the restrained resonance of tones of yellow and blue.
[Oil on canvas, 715 x 923 cm]
gandalfsgallery.blogspot.co.uk/2012/05/edouard-manet-hous...
Edouard Manet
French, 1832-1883
Oil on canvas
Boston, Museum of Fine Art
Victorine Meurent was Manet's great model and muse in the 1860's. Her oval face, russet hair, and gray eyes appear in many of the artist's most ambitious paintings of the period, including the "Street Singer," also in the Museums collection. 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.
Huile sur toile, 46 x 32 cm, 1872, Museum of Art, Hiroshima.
Merci Peter pour la photo :
www.flickr.com/photos/28433765@N07/5506089375/in/photolis...
A Bar at the Folies-Bergère, Manet’s last painting, was in fact painted in 1881, but it was dated 1882 and was first shown in the Salon of that year. Manet was now becoming crippled by the disease (locomotor ataxia) that would kill him in the following year, and henceforward he would be unable to work on anything more ambitious than small scale pastels and watercolours. The virtuosity with which lights and reflections are handled, and with which the textures of glass and marble and fabric and fruit are differentiated, escaped contemporary critics entirely. This picture displays Manet’s skill in portraying all the complexities of light and perspective imposed by this scene of the cabaret at the Folies-Bergère, depicted as it were by the viewer approaching the bar and witnessing the panorama displayed in the reflection in the mirror behind the waitress. The painting was shown at the Salon of 1882 and as ever, the unconventional subject-matter was more savagely attacked than his original techniques which were never fully appreciated in his lifetime.
Edouard Manet's Le déjeuner sur l'herbe (Luncheon on the Grass) was painted in 1863. Rejected by the jury of the 1863 Salon, Manet exhibited Le déjeuner sur l'herbe under the title Le Bain at the Salon des Refusés (initiated the same year by Napoléon III) where it became the principal attraction, generating both laughter and scandal.
Manet was paying tribute to Europe's artistic heritage, borrowing his subject from the Concert champêtre, a painting by Titian attributed at the time to Giorgione (Louvre) and taking his inspiration for the composition of the central group from the Marcantonio Raimondi engraving after Raphael's Judgement of Paris. But the classical references were counterbalanced by Manet's boldness. The presence of a nude woman among clothed men is justified neither by mythological nor allegorical precedents. This, and the contemporary dress, rendered the strange and almost unreal scene obscene in the eyes of the public of the day. Manet himself jokingly nicknamed his painting "la partie carrée".
In those days, Manet's style and treatment were considered as shocking as the subject itself. He made no transition between the light and dark elements of the picture, abandoning the usual subtle gradations in favour of brutal contrasts, thereby drawing reproaches for his "mania for seeing in blocks". And the characters seem to fit uncomfortably in the sketchy background of woods from which Manet has deliberately excluded both depth and perspective. Le déjeuner sur lherbe - testimony to Manet's refusal to conform to convention and his initiation of a new freedom from traditional subjects and modes of representation - can perhaps be considered as the departure point for Modern Art.
The Musée d'Orsay (The Orsay Museum), housed in the former railway station, the Gare d'Orsay, holds mainly French art dating from 1848 to 1914, including paintings, sculptures, furniture, and photography, and is probably best known for its extensive collection of impressionist masterpieces by popular painters such as Monet and Renoir. Many of these works were held at the Galerie nationale du Jeu de Paume prior to the museum's opening in 1986.
Édouard Manet, A Bar at the Folies-Bergère, 1882, oil on canvas, 96 x 130 cm (The Courtauld Gallery, London)
Portrait de Berthe Morisot à l'éventail
Cette peinture date de l'année 1874 où Berthe Morisot a épousé Eugène Manet, le frère d'Édouard Manet. Elle porte une bague de fiancaille à la main gauche.
Oeuvre d'Edouard Manet (1832 - 1883)
1874
huile sur toile,
Musée d’Orsay, Paris en dépôt au musée des beaux-arts de Lille.
www.musee-orsay.fr/fr/oeuvres/portrait-de-berthe-morisot-...
Oeuvre présentée dans l'Exposition "Julie Manet. La Mémoire Impressionniste", au Musée Marmottan Monet
www.marmottan.fr/expositions/julie-manet-une-education-im...
Le musée Marmottan Monet organise la première exposition jamais consacrée à Julie Manet, fille unique de Berthe Morisot et nièce d’Edouard Manet. Légataire de Julie Manet par l’intermédiaire de ses enfants, dépositaire du premier fonds mondial de l’œuvre de Berthe Morisot mais aussi des collections de la famille, le musée Marmottan Monet souhaite apporter un éclairage sur le rôle de Julie Manet dans la vie des arts.... Extrait du site de l'exposition
Commissaire de l’exposition : Marianne Mathieu, Historienne de l’art, Directeur scientifique du musée Marmottan Monet
Here man and landscape are uniquely fused. The artist’s mother in black and Madame Manet in white have taken their ease on a field behind the dunes, with their billowing skirts and bonnets tied on with veils. The sun has just been shining, but now the sky is overcast; the artist’s wife has lowered the still opened parasol to her lap, and low flying swallows herald the change in weather. All this has nothing anecdotal about it, but is merely the expression of the mood of the landscape, which is accentuated on the far horizon in the shape of windmills, the small church and rooftops of the village.
Manet found an understanding buyer for the painting in Paris immediately after his return, which did not prevent the Salon of 1874 from rejecting it. The jury could not accustom itself as yet to the sketchy quality of this kind of painting.
gandalfsgallery.blogspot.com/2010/09/edouard-manet-swallo...
Manet preferred compositions with two figures as opposed to the straightforward portrait form because it opened up the possibility of interesting dialogue situations. The double portrait of Jules Guillemet and his wife, painted in the conservatory of the painter Johann Georges Otto Rosen, is one of the most important of these works because of the sensitivity with which it uses the most delicate nuances of colours and contrasts to describe and re-connect the psychologically tense, only outwardly detached, relationship of the two figures.
The theme of the picture is the interplay between the elegant lady (the owner of a fashion shop in Paris) and the gentlemen turned in her direction. He seems rather small due to the way he is bending over and brushes against the upper edge of the picture, while the feminine beauty with the effortless noblesse of her extended posture occupies a large part of the picture space. Despite their being separated by the back of the seat, with its own graphic appeal by virtue of its transparency, the understated focal point of this rich conservatory scene with all its plant forms and subtle colours is the hands approaching each other.
[Oil on canvas, 115 x 150 cm]
gandalfsgallery.blogspot.com/2011/12/edouard-manet-in-con...
Oil on canvas; 28.5 x 32.4 cm.
Édouard Manet was a French painter. He was one of the first 19th-century artists to paint modern life, and a pivotal figure in the transition from Realism to Impressionism.
His early masterworks, The Luncheon on the Grass (Le déjeuner sur l'herbe) and Olympia, both 1863, caused great controversy and served as rallying points for the young painters who would create Impressionism. Today, these are considered watershed paintings that mark the genesis of modern art.
Edouard Manet（1832 - 1883）
Oil on canvas
89.5 x 116.5 cm
This is Manet’s second version of a controversial composition he showed at an exhibition of works rejected by the official Paris Salon. It reworked the theme of a Renaissance painting he had seen in the musée du Louvre, which represented beautiful female nudes listening to male musicians. Manet’s painting was shocking because his pastoral idyll made deliberate references to contemporary life. The men wore modern clothing, and the naked woman was considered ugly. As such, it seemed to mock academic ‘high’ art.
Samuel Courtauld Trust : Courtauld Gift, 1932
The Courtauld Gallery, London