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ANKARA
15.02.2012
15ème Festival International de Jazz d'Ankara
15. Uluslararası Ankara Caz Festivali
Manet’s unfinished painting is thought to depict the funeral of the writer Charles Baudelaire, which took place on September 2, 1867. The artist, unlike other friends who had yet to return from vacation or stayed away owing to the threatening summer storm, was among the few mourners present. This view of the meager funeral cortège at the foot of the Butte Mouffetard, a hill in southwest Paris, is framed by the silhouettes of the towers and cupolas of the Val de Grâce, the Panthéon, Saint-Etienne-du-Mont, and the Tour de Clovis in the background.
Manet kept the picture until his death. In 1894 Pissarro acquired it in exchange for one of his own landscapes.
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
Alors qu’elle n’était pas prévue chez nous, la fameuse Manette #PS4 édition limitée Sunset orange est finalement dispo en pré-commande sur la plupart des boutiques habituelles pour une livraison le 15 octobre prochain !
+d'info sur le blog ➡️ editioncollector.fr/5z3y
Edouard Manet ‘Portrait d’Ernest Hoschede et sa fille Marthe’ (Retrato del Sr. Hoschede y su hija), 1875, Museo de Bellas Artes (Museum of Fine Arts), Buenos Aires, Argentina
Édouard Manet (* 23. Januar 1832 in Paris; † 30. April 1883 ebenda) war ein französischer Maler. Er gilt als einer der Wegbereiter der modernen Malerei.
Édouard Manet (23 January 1832 – 30 April 1883) 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.
1881-1882
Oil on canvas
Samuel Courtauld Trust: Courtauld Gift, 1934
"The Folies-Bergere was Paris's first music hall. A magazine described its atmosphere of 'unmixed joy'...Here a barmaid is shown before a mirror, which reflects the audience watching a performance.
Manet knew the Folies-Bergere well. He made preparatory sketches there, but he painted the final version in his studio...One of the barmaids, Suzon, acted as a model, posing behind a bar Manet had set up. This picture was Manet's last major work, exhibited at the Paris Salon in 1882. It is unsettling. An acrobat's feet dangle in the air(top left). The quickly-sketched crowds suggest the bustle of the Folies-Bergere. In contrast, the barmaid is detached and marooned behind her bar. Manet has displaced her refection to the right. She faces us, but the mirror shows her leaning towards a customer. Are we standing in her shoes?"
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