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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...
Tournai, known in Dutch as Doornik, is a Walloon city and municipality of Belgium located 85 kilometres west-southwest of Brussels, on the river Scheldt, in the province of Hainaut.
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
A Basket of Pears, 1882.
This unfinished still life is closely related to another work, in which the same basket appears again filled with pears, but set against a plain grey background.
Manet turned to still life in his late career, when he abandoned large-scale figure subjects. Through still life he could measure himself against the great masters of the past.
Ashmolean Museum Gallery, Oxford.
Edouard Manet (Paris, 1832 - 1883)
Jeune fille dans les fleurs (1879)
Huile sur Toile
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While the impressionists were preparing for their first exhibition, Manet was completing his submissions to the 1874 Salon, which included this painting. Only the iron fences and steam billowing from an unseen locomotive locate these enigmatic figures, but it would have been enough for contemporary audiences to understand that they are on the ambitious new iron bridge that crossed the rail yard of the Gare Saint-Lazare. Departure point for excursions to popular recreation spots like Chatou and Argenteuil, it was the busiest train station in Paris.
Viewers at the Salon, however, were disturbed by Manet's title. They had trouble matching it to his subject, itself very hard to decipher. The woman and girl are a study in opposites: one facing us, the other turned away, their garments antipodes of blue and white. The woman, so close to the front of the picture plane, seems to engage us. Her expression, though, provides no hint of her story, only detachment and ambiguity. It did not help that for many contemporaries, Manet's style (with its flat broad areas of colour juxtaposed without transitional tones) appeared unfinished.
[Oil on canvas, 93.3 x 111.5 cm]
gandalfsgallery.blogspot.co.uk/2012/04/edouard-manet-rail...
Cette jolie jeune fille en robe printanière est la fille de la peintre Berthe Morisot, peu avant le décès de sa mère. Grâce à elle, qui a souvent servi de modèle à sa maman, mais aussi grâce au journal intime qu'elle tenait, presque une chronique mondaine des peintres français impressionnistes et leurs amis, j'ai appris beaucoup sur Monet, Renoir, Cézanne, Degas et Mallarmé. Tous ses tuteurs quand Julie est restée orpheline.
Une jeune fille curieuse et pleine de malice, presque aussi facétieuse que Stéphane Mallarmé dont elle raconte les blagues de potache avec gourmandise. Une jeune fille qui rêvait d'égaler sa mère en peinture, mais qui fut très tôt mariée à Ernest Rouart qui lui, fit carrière de peintre et de collectionneur sans respecter le moins du monde les aspirations artistiques de son épouse. C'était souvent ainsi à cette époque-là...
Pour info, c'est Edgar Degas, très réactionnaire et collet monté qui organisa ce mariage arrangé.
Extrait du journal de Julie sur le sujet, aux alentours de 1897:
"Jeannie dit toujours que c'est un devoir de se marier et d'avoir des enfants; mais ce devoir va-t-il jusqu'à épouser quelqu'un qui vous déplaît pour peupler la France ?
En ce cas, c'est bien dur. Il m’a toujours semblé que les présentations, les mariages par arrangements, tout cela devait être odieux ; mais être aimée et aimer, cela doit être doux.
Je pense que jamais je ne goûterai à ce bonheur, ce serait trop pour moi, je ne m’attends pas à de grandes jouissances dans ma vie et cependant j’espère toujours. "
La résignation était déjà présente en elle. C'est dire le conditionnement de cette époque qui définissait les femmes selon un ordre domestique, marital et familial sans même leur laisser une autre voie...La Belle Epoque était surtout celle d'un certain ordre social masculin, où les femmes ne devaient jouer qu'un rôle subalterne.
Edouard Manet's Olympia, painted in 1863, reworked the traditional theme of the female nude, using a strong, uncompromising technique. Both the subject matter and its depiction explain the scandal caused by this painting at the Salon de 1865. Even though Manet quoted numerous formal and iconographic references, such as Titian's Venus of Urbino, Goya's Maja desnuda, and the theme of the odalisque with her black slave, already handled by Ingres among others, the picture portrays the cold and prosaic reality of a truly contemporary subject. Venus has become a prostitute, challenging the viewer with her calculating look. This profanation of the idealized nude, the very foundation of academic tradition, provoked a violent reaction. Critics attacked the "yellow-bellied odalisque" whose modernity was nevertheless defended by a small group of Manet's contemporaries with Zola at their head.
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.
Edouard MANET - 1832 - Paris - 1883 - Paris
Le Fifre (1866)
Huile sur Toile
H. 160,5 ; L. 97,0 cm.
À l’occasion des 150 ans de l’impressionnisme, le musée d'Orsay a prêté au musée Fabre deux chefs-d’œuvre d’Edouard Manet : "Le Fifre" (1866) et "Émile Zola" (1868).
(Exposition su 02 mars au 02 juillet 2024)
Manet, qui avait trouvé dans une manière et des sujets hispanisants, la voie de son propre talent, ne découvre que tardivement, en 1865, l'Espagne et le musée du Prado. Le Pablo de Valladolid de Velasquez l'impressionne particulièrement et le peintre confie alors à son ami Fantin-Latour : "[c'est] le plus étonnant morceau de peinture qu'on ait jamais fait... Le fond disparaît : c'est de l'air qui entoure le bonhomme, tout habillé de noir et vivant".
De retour à Paris, Manet applique ces principes à un sujet contemporain. Un simple et anonyme enfant de troupe se voit donc traité comme un grand d'Espagne. Non seulement, Manet bouleverse les hiérarchies de la représentation, mais il accompagne également ce choix d'un langage audacieusement simplifié. Le peintre utilise ainsi des aplats, très nets dans les noirs, quelques effets de modelé dans les chairs et dans l'étui de l'instrument, et des empâtements dans les blancs qui soulignent les plis des tissus. La palette colorée est très réduite, et l'espace sans profondeur. On distingue à peine la limite entre le plan horizontal du sol et le plan vertical du fond, coloré d'un gris très peu nuancé et totalement dépouillé.
L'oeuvre rejetée par le jury du Salon de 1866, est une de celles qui fonda l'enthousiasme d'Emile Zola pour le peintre. L'écrivain décela, dans la vérité du propos et de la manière, l'expression d'un sentiment proprement moderne.
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Un bar aux Folies-Bergère
Oeuvre d'Édouard Manet (1832-1883)
1882
Huile sur toile
The Courtauld Gallery, Londres (Samuel Courtauld Trust)
Don de Courtauld, 1932
Le tableau de Manet est un des fleurons de la collection Courtauld. C'est le dernier tableau de l'artiste qui était très malade quand il l'a peint. Il est nostalgique comme le visage de la jeune femme. Peut-être l'artiste a-t-il voulu montrer qu'il ne s'agissait que de souvenirs ?
L'exposition présente la collection de l'industriel et mécène anglais Samuel Courtauld, l'une des plus significatives collections de peintres impressionnistes, rassemblés pour la première fois à Paris depuis 60 ans.
Extrait du site de l'exposition "La Collection Courtauld. Le parti de l'Impressionnisme" à la Fondation Vuitton, Paris jusqu'au 17/06/2019
www.fondationlouisvuitton.fr/fr/expositions/exposition/la...
c. 1882. Oli sobre tela. 54 x 42 cm. Staatlichen Museen zu Berlin, Alte Nationalgalerie, Berlín. A II 379.
Le Bouchon (la Guinguette)
Oeuvre d'Edouard Manet (1832-1883)
Paris, 1878
Huile sur toile
Collection Mikhaïl Morozov, 6 mars 1900
Musée d'Etat des beaux-arts Pouchkine, Moscou
Oeuvre de l'exposition "La collection Morozov. Icônes de l'art moderne", Fondation Louis Vuitton, Paris
Conçue par Anne Baldassari, commissaire général, l’exposition déploie cet ensemble dans une muséographie originale occupant la totalité des espaces de la Fondation Louis Vuitton. Cet événement, le second volet de la grande manifestation Icônes de l'art moderne, est organisé en partenariat avec le Musée d’État de l’Ermitage (Saint-Pétersbourg), le Musée d’État des Beaux-Arts Pouchkine (Moscou) et la Galerie nationale Trétiakov (Moscou). Après l’exposition de la Collection Chtchoukine à la Fondation Louis Vuitton en 2016/2017, la Collection Morozov constitue un autre volet historique majeur consacré aux grands collectionneurs russes du début du 20ème siècle. Extrait du site de l'exposition : "La collection Morozov. Icônes de l'art moderne"
www.fondationlouisvuitton.fr/fr/evenements/icones-de-l-ar...
Free download under CC Attribution (CC BY 4.0). Please credit the artist and rawpixel.com.
Édouard Manet (1832–1883) was a French modernist painter and one of the first 19th century artists to paint modern life. His impressionist style is characterized by relatively small and thin brushstrokes that create emphasis on light depiction. Manet was one of the key artists in the transition from realism to impressionism, along with Claude Monet, Edgar Degas, and Pierre-Auguste Renoir. However, he resisted involvement in any one specific style of painting, and only presented his work to the Salon of Paris instead of impressionist exhibitions. His early masterworks, The Luncheon on the Grass and Olympia, created great controversy and served as a rallying point for other young painters. We have digitally enhanced some of his paintings and they are free to download under the CC0 license.
Higher resolutions with no attribution required can be downloaded: https://www.rawpixel.com/board/1327738/edouard-manet-paintings-i-premium-artworks-public-domain?sort=curated&mode=shop&page=1
If you need inspiration, there is no one better than the great Robert Henri. His book, "The Art Spirit" has wisdom for me whenever and wherever I open it.
Made in my 5.5 x 8.5 Canson Mixed-media journal using pen, ink and watercolor.
Oil on canvas; 31.7 x 43.8 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.
This painting was sold by Sotheby's on November 4, 2009 for US $1,986,500.
[Oil on canvas, 19 x 24.5 cm]
gandalfsgallery.blogspot.com/2011/09/edouard-manet-four-a...
Free download under CC Attribution (CC BY 4.0). Please credit the artist and rawpixel.com.
Édouard Manet (1832–1883) was a French modernist painter and one of the first 19th century artists to paint modern life. His impressionist style is characterized by relatively small and thin brushstrokes that create emphasis on light depiction. Manet was one of the key artists in the transition from realism to impressionism, along with Claude Monet, Edgar Degas, and Pierre-Auguste Renoir. However, he resisted involvement in any one specific style of painting, and only presented his work to the Salon of Paris instead of impressionist exhibitions. His early masterworks, The Luncheon on the Grass and Olympia, created great controversy and served as a rallying point for other young painters. We have digitally enhanced some of his paintings and they are free to download under the CC0 license.
Higher resolutions with no attribution required can be downloaded: https://www.rawpixel.com/board/1327738/edouard-manet-paintings-i-premium-artworks-public-domain?sort=curated&mode=shop&page=1