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The Austrian Archduke Ferdinand Maximilian (1832 - 1867) was installed in Mexico as a puppet emperor by Napoleon III in 1863. He was dependent on the support of the occupying French army and when Napoleon withdrew his troops Maximilian was captured by Mexican forces loyal to their legitimate republican government. He was executed alongside two of his generals, Mejía and Miramón, on 19 June 1867.
The left-hand section of the canvas showing General Mejía was probably cut off by Manet himself. After the artist's death the canvas was cut up into smaller fragments, some of which were sold separately. Edgar Degas eventually purchased all the surviving fragments and reassembled them on a single canvas. A sketch for a group of soldiers, formerly in the Gallery and now in the British Museum, was once thought to have been made in preparation for this work, but its attribution to Manet is no longer certain.
The Austrian Archduke Ferdinand Maximilian (1832 - 1867) was installed in Mexico as a puppet emperor by Napoleon III in 1863. He was dependent on the support of the occupying French army and when Napoleon withdrew his troops Maximilian was captured by Mexican forces loyal to their legitimate republican government. He was executed alongside two of his generals, Mejía and Miramón, on 19 June 1867.
The left-hand section of the canvas showing General Mejía was probably cut off by Manet himself. After the artist's death the canvas was cut up into smaller fragments, some of which were sold separately. Edgar Degas eventually purchased all the surviving fragments and reassembled them on a single canvas. A sketch for a group of soldiers, formerly in the Gallery and now in the British Museum, was once thought to have been made in preparation for this work, but its attribution to Manet is no longer certain.
From the museum label: Manet's first major painting of modern city life depicts a fashionable Parisian crowd. It includes Manet himself on the far left and such friends as the poet Charles Baudelaire and the painter Henri Fantin-Latour, gathered in the Tuileries, apparently for a concert. Several figures engage with our gaze, as if we too are part of the social throng.
Link to other Manet paintings
Edouard MANET "Berthe Morisot à l'éventail" - 1874 (Palais des Beaux Arts de Lille - Collections permanentes)
Peter Gay explica, no livro Modernismo - o fascínio da heresia, que "O quadro escarnecia com a maior agressividade possível dos padrões éticos e estéticos da época." (p. 63)
NYC: Zeytin Restaurant / Tuğçe
A group of us gathered to watch the Belmont Stakes and eat, drink & talk
Nikon D700 | Nikon 24-70@50 | ƒ3.5 | 1/125s | ISO800 | Handheld
From the museum label:
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 with 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 atmosphere 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.
Link to a high-resolution close-up photo of details from this painting.
Link to other Manet paintings
It's the Showdown of a Couple of Centuries Ago: Manet vs. Monet! Get your tickets now to see the two impressionists wield not brushes of sable but gloved fists!
Edouard Manet's Olympia caused quite a scandal when it was first unveiled, and it was rejected by the Paris Salon in 1863, but it's since long been a staple in art history textbooks and featured on "highlight" postcards for the Musée d'Orsay.
ANKARA
15.02.2012
15ème Festival International de Jazz d'Ankara
15. Uluslararası Ankara Caz Festivali
The Austrian Archduke Ferdinand Maximilian (1832 - 1867) was installed in Mexico as a puppet emperor by Napoleon III in 1863. He was dependent on the support of the occupying French army and when Napoleon withdrew his troops Maximilian was captured by Mexican forces loyal to their legitimate republican government. He was executed alongside two of his generals, Mejía and Miramón, on 19 June 1867.
The left-hand section of the canvas showing General Mejía was probably cut off by Manet himself. After the artist's death the canvas was cut up into smaller fragments, some of which were sold separately. Edgar Degas eventually purchased all the surviving fragments and reassembled them on a single canvas. A sketch for a group of soldiers, formerly in the Gallery and now in the British Museum, was once thought to have been made in preparation for this work, but its attribution to Manet is no longer certain.
«un groupe de garçons et de filles dont certains, comme dans la toile connue de Manet, au Jeu-de-Paume, sont habillés, tandis que d’autres sont totalement nus» (Échange, page 150).
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_091922
The painting "Zucchini" adjoins a series of works by Manet in 1878 on the "restaurant" theme and echoes the painting "The Beer Servant" (1878–1879) from the Musée d'Orsay in Paris. The emphasized pictorial freedom and sketchiness of the canvas made many researchers believe that this is a preparatory work for the composition, which remained unfulfilled. The scene in the famous Parisian cafe on Place Monsey is captured by the artist's attentive and sharp gaze. The figure of a smoker dominates on the canvas, and the entire entourage is conveyed in a generalized way, by hint. A free stroke, a combination of color and light spots, a lightened palette enhance the optical effect of the depth of space.