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Cambia tú. Cambia radicalmente. Deja de hacer las cosas que has estado haciendo siempre. Empieza a hacer cosas que no hayas hecho nunca. Cambia radicalmente, vuélvete una persona nueva y te sorprenderás. (. . . ) nunca estés esperando que el otro cambie.
Descripción: Óleo sobre lienzo. 65.4 x 80.7 cm.
Localización: The J. Paul Getty Trust. Los Angeles
Autor: Edouard Manet
ANKARA
15.02.2012
15ème Festival International de Jazz d'Ankara
15. Uluslararası Ankara Caz Festivali
Édouard Manet
Oil paint on canvas
This celebrated work is Édouard Manet's last major painting, completed a year before he died.
At one of the bars in the Folies-Bergère - a popular Parisian music hall - wine, champagne and British Bass beer wiht its red triangle logo await customers. A fashionable crowd mingles on the balcony. The legs and green boots of a trapeze artist in the upper left hint at the exciting musical and circus acts entertaining the audience. This animated background is in fact a reflection in the large gold-framed mirror, which projects it into the viewer's own space.
Manet made sketches on-site but painted this work entirely in his studio, where a barmaid named Suzon came to pose. She is the painting's still centre. Her enigmatic expression is unsettling, especially as she appears to be interacting with a male customer. Ignoring normal perspective, Manet shifted their reflection to the right. The bottles on the left are similarly misaligned in the mirror. This play of reflections emphasises the disorientating atmostphere of the Folies-Bergère. In this work, Manet created a complex and absorbing composition that is considered one of the iconic paintings of modern life.
[The Courtauld]
Taken in the Courtauld Gallery
Thierry Geoffroy/ Colonel is exhibiting in the Kuma Museum :
Kunsthalle Mannheim from october 2018 part of the exhibition "Konstruktion der Welt .Kunst und Ökonomie "
The tent "THE EMERGENCY WILL REPLACE THE CONTEMPORARY "
was first an unsollicited art work in 2012 during documenta 13 in Kassel
it started the occupy camp and then was confiscated by the documenta
more here www.emergencyrooms.org/documenta_kassel.html
It is a work also about the artist and his , her capacity to be in time and not too late
depicting death and toolate ( like The Execution of Emperor Maximilian by Édouard Manet )
this art work is a participation to : Constructing the World: Art and Economy 1919-1939 and 2008-2018 ( curator Sebastian Baden)
other ART FORMATS By Thierry Geoffroy / Colonel
www.emergencyrooms.org/formats.html
www.colonel.dk contact : emergencyrooms@gmail.com
Édouard Manet
Oil paint on canvas
This celebrated work is Édouard Manet's last major painting, completed a year before he died.
At one of the bars in the Folies-Bergère - a popular Parisian music hall - wine, champagne and British Bass beer wiht its red triangle logo await customers. A fashionable crowd mingles on the balcony. The legs and green boots of a trapeze artist in the upper left hint at the exciting musical and circus acts entertaining the audience. This animated background is in fact a reflection in the large gold-framed mirror, which projects it into the viewer's own space.
Manet made sketches on-site but painted this work entirely in his studio, where a barmaid named Suzon came to pose. She is the painting's still centre. Her enigmatic expression is unsettling, especially as she appears to be interacting with a male customer. Ignoring normal perspective, Manet shifted their reflection to the right. The bottles on the left are similarly misaligned in the mirror. This play of reflections emphasises the disorientating atmostphere of the Folies-Bergère. In this work, Manet created a complex and absorbing composition that is considered one of the iconic paintings of modern life.
[The Courtauld]
Taken in the Courtauld Gallery
Portrait of Mery Laurent by Edouard Manet Impressionism Paris
Petroz Fine Art Gallery www.petrozfineart.com
1958 MANET 98cc SCOOTER ,FROM SLOVAKIA
SLOVAKIA'S POVAZSKE STROJIRNY CONCERN LAUNCHED THIER FIRST MOTORCYCLE IN 1948, LATER BECOMING ASSOCIATED WITH JAWA & CZ UNDER THE NATIONALISATION OF THE COMMUNIST ERA. ONE POPULAR AND LONGEST-LASTING CREATION WAS THE MANET SCOOTER, LATER SOLD IN ENGLAND AS THE JAWA MANET. IN COMMON WITH MANY EASTERN-BLOC MACHINES, THE MANET WAS ENGINEERED WITH A STRONG, WELL-SPRUNG CHASSIS AND GOOD WEATHER PROTECTION TO COPE WITH THE DAMAGED POST-WAR ROADS. IT USED A 50x50 mm 98cc TWO-STROKE UNIT WITH 4-SPEED FOOT GEAR CHANGE.
From the UK ebay, 8-31-08
Manet / Degas, Metropolitan Museum of Art, September 24, 2023–January 7, 2024
This exhibition examines the close and sometimes tumultuous relationship between Édouard Manet and Edgar Degas. Born only two years apart, Manet and Degas were friends, rivals, and, at times, antagonists.
The exhibition contains more than 160 paintings and works on paper and is organized by The Metropolitan Museum of Art, New York, and the Musées d’Orsay and de l’Orangerie, Paris.
The Old Musician, 1862
Edouard Manet
West Building, Main Floor — Gallery 89
A ragtag group of people gathers around an elderly man holding a violin. He pauses, as if interrupted mid performance, and gazes directly at us. Who are these people? And where are they?
Beginning in the 1850s, Paris went through extensive urban renewal. The government tore down many older neighborhoods, forcing poor residents into the city’s undeveloped outskirts. Here Manet depicts homeless and marginalized people on a large scale normally reserved for the wealthy and powerful. He makes them visible, challenging us to acknowledge their humanity.
In a review of the 1846 Salon, poet and critic Charles Baudelaire urged artists to depict "the heroism of modern life." Manet embodied Baudelaire's ideal painter of contemporary Paris. Emperor Napoleon III ordered the renovation of Paris under the direction of Baron Haussmann, and early in the 1860s the slum where Manet located his studio was being razed to accommodate the planned broad, tree–lined boulevards that still characterize the city. In this painting, Manet represented a strolling musician flanked by a gypsy girl and infant, an acrobat, an urchin, a drunkard, and a ragpicker—individuals the artist might have observed near his studio. The seemingly casual gathering is composed of the urban poor, possibly dispossessed by Haussmann’s projects. Neither anecdotal nor sentimental, Manet’s portrayal carries the careful neutrality of an unbiased onlooker, and this distinctly modern ambiguity and detachment are characteristic of all Manet's work.
By placing pigments side by side rather than blending tones, Manet could preserve the immediacy and directness of preliminary oil studies in his finished works. Effects produced by this technique were sharper and crisper than those obtained using academic methods. When they first encountered Manet's work early in the 1860s, Monet and Renoir admired his manner of painting and emulated it as they forged the style known as impressionism.
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The National Gallery of Art in Washington, DC is a world-class art museum that displays one of the largest collections of masterpieces in the world including paintings, drawings, prints, photographs, sculpture, and decorative arts from the 13th century to the present. The National Gallery of Art collection includes an extensive survey of works of American, British, Italian, Flemish, Spanish, Dutch, French and German art. With its prime location on the National Mall, surrounded by the Smithsonian Institution, visitors often think that the museum is a part of the Smithsonian. It is a separate entity and is supported by a combination of private and public funds. Admission is free. The museum offers a wide range of educational programs, lectures, guided tours, films, and concerts.
The original neoclassical building, the West Building includes European (13th-early 20th century) and American (18th-early 20th century) paintings, sculptures, decorative arts, and temporary exhibitions. The National Gallery of Art was opened to the public in 1941 with funds provided by the Andrew W. Mellon Foundation. The original collection of masterpieces was provided by Mellon, who was the U. S. Secretary of the Treasury and ambassador to Britain in the 1930s. Mellon collected European masterpieces and many of the Gallery’s original works were once owned by Catherine II of Russia and purchased in the early 1930s by Mellon from the Hermitage Museum in Leningrad.
The core collection includes major works of art donated by Paul Mellon, Ailsa Mellon Bruce, Lessing J. Rosenwald, Samuel Henry Kress, Rush Harrison Kress, Peter Arrell Browne Widener, Joseph E. Widener, and Chester Dale. The Gallery's collection of paintings, drawings, prints, photographs, sculpture, medals, and decorative arts traces the development of Western art from the Middle Ages to the present, including the only painting by Leonardo da Vinci in the Americas and the largest mobile created by Alexander Calder.
The NGA's collection galleries and Sculpture Garden display European and American paintings, sculpture, works on paper, photographs, and decorative arts. Paintings in the permanent collection date from the Middle Ages to the present. The Italian Renaissance collection includes two panels from Duccio's Maesta, the tondo of the Adoration of the Magi by Fra Angelico and Filippo Lippi, a Botticelli work on the same subject, Giorgione's Allendale Nativity, Giovanni Bellini's The Feast of the Gods, Ginevra de' Benci (the only painting by Leonardo da Vinci in the Americas) and groups of works by Titian and Raphael.
The collections include paintings by many European masters, including a version of Saint Martin and the Beggar, by El Greco, and works by Matthias Grünewald, Cranach the Elder, Rogier van der Weyden, Albrecht Dürer, Frans Hals, Rembrandt, Johannes Vermeer, Francisco Goya, Jean Auguste Dominique Ingres, and Eugène Delacroix, among others. The collection of sculpture and decorative arts includes such works as the Chalice of Abbot Suger of St-Denis and a collection of work by Auguste Rodin and Edgar Degas. Other highlights of the permanent collection include the second of the two original sets of Thomas Cole's series of paintings titled The Voyage of Life, (the first set is at the Munson-Williams-Proctor Arts Institute in Utica, New York) and the original version of Watson and the Shark by John Singleton Copley (two other versions are in the Museum of Fine Arts, Boston and the Detroit Institute of Arts).
en.wikipedia.org/wiki/National_Gallery_of_Art
Andrew W. Mellon, who pledged both the resources to construct the National Gallery of Art as well as his high-quality art collection, is rightly known as the founder of the gallery. But his bequest numbered less than two hundred paintings and sculptures—not nearly enough to fill the gallery’s massive rooms. This, however, was a feature, not a failure of Mellon’s vision; he anticipated that the gallery eventually would be filled not only by his own collection, but also by additional donations from other private collectors. By design, then, it was both Andrew Mellon and those who followed his lead—among them, eight men and women known as the Founding Benefactors—to whom the gallery owes its premier reputation as a national art museum. At the gallery’s opening in 1941, President Roosevelt stated, “the dedication of this Gallery to a living past, and to a greater and more richly living future, is the measure of the earnestness of our intention that the freedom of the human spirit shall go on.”
www.doaks.org/resources/cultural-philanthropy/national-ga...
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