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Édouard Manet, French
b. Paris 1832; d. Paris 1883
Manet's model, Victorine Meurent, appears here relatively demure, as she flaunts an intimate silk dressing gown.
Metropolitan Museum of Art
New York City
DSCF9856
Manet came from a well–to–do family, and this painting provides a glimpse of the sophisticated Parisian world he loved. He was uncomfortable in the countryside, preferring instead the finery of the city. These elegant men and coquettish young women are attending a masked ball held each year during Lent. "Imagine," ran a description in the newspaper Figaro, "the opera house packed to the rafters, the boxes furnished out with all the pretty showgirls of Paris. . . . " There is little doubt about the risqué nature of the evening, where masked young women, likely respectable ladies concealing their identities, scantily clad members of the Parisian demimonde, and well–dressed young men all mingle together.
Manet sketched the scene on site, but painted it over a period of months in his studio. He posed several of his friends, noted writers, artists, and musicians, and even included himself in the crowded scene. He is probably the bearded blond man at right who looks out toward the viewer. At his feet, a fallen dance card bears the painter's signature.
At the edges of the horizontal painting, a format Manet used often, figures end abruptly. At top, legs dangle over a railing. In contrast to the self–contained compositions of academic art, we are instantly aware that we see only a part of the scene and that it extends beyond the picture frame.
[Oil on canvas, 59.1 x 72.5 cm]
gandalfsgallery.blogspot.co.uk/2012/08/edouard-manet-mask...
Édouard Manet, Paris 1832 - 1883
L'éxecution de l'Empereur Maximilien - Die Erschießung Kaiser Maximilians von Mexiko - The execution of Emperor Maximilian (1868 - 69)
Kunsthalle Mannheim
Manets großformatiges Bild ist das zentrale Meisterwerk der Kunsthalle und bildet mit seinem frühen Ankauf 1910 den eigentlichen Beginn der Gemäldesammlung.
Mit der Erschießung des von Frankreich eingesetzten Kaisers Maximilian I. von Mexiko, an deren Darstellung Manet von 1868 bis 1869 arbeitet, reagiert er auf einen gewaltsamen Konflikt zwischen dem französischen Kaiserreich und mexikanischen Republikanern.
Als kompakte, auch farblich abgesetzte Gruppe stellt er das Erschießungskommando in jenem Augenblick dar, in dem die Soldaten feuern, die Kugeln den Kaiser aber noch nicht getroffen haben. In mehreren Vorarbeiten nähert sich Manet seinem Thema, informiert sich über das Geschehen aber auch anhand zeitgenössischer Fotografien, die von der politischen Zensur in Frankreich verboten wurden. Der eingefrorene Sekundenbruchteil der Fotografie steht dabei im Zentrum seines Gemäldes. In ihm ist die ganze menschliche und geschichtliche Dramatik der Szene für alle Zeiten gespeichert.
Quelle: Kunsthalle Mannheim
Siehe auch: de.wikipedia.org/wiki/Die_Erschießung_Kaiser_Maximilians...
Refer to:
L'Enfant aux cerises
A la mort d'Édouard Manet, ce tableau, très célèbre à l'époque, est revenu à son frère Eugène Manet, le frère de l'artiste et époux de Berthe Morisot, cette dernière n'a pas voulu le garder dans la famille en raison de l'histoire dramatique du jeune garçon aya,t servi de modèle. En effet, celui-ci, né dans une famille très pauvre, travaillait dans l'atelier de Manet ce qu'il appréciait beaucoup, il servait parfois de modèle à l'artiste et était chargé du nettoyage des brosses et du raclage de la palette. À la suite d'une réprimande et de la menace d'être renvoyé dans le taudis de ses parents, l'enfant, mentalement très fragile, se pendit dans l'atelier de Manet. Il avait 15 ans. Cet épisode dramatique conduisit Manet à déménager. Baudelaire a écrit un petit poème en prose racontant cette histoire.
fr.wikisource.org/wiki/La_Corde
Oeuvre d'Edouard Manet (1832 - 1883)
en 1858,
Huile sur toile
Lisbonne, Musée Calouste Gulbenkian
gulbenkian.pt/museu/works_museu/o-rapaz-das-cerejas/
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
Edouard Manet - A Bar at the Folies-Bergere, 1882 at The Courtauld Art Gallery at Somerset House London England
Listed in the book "Impressionism 50 Paintings You Should Know"
Listed in the book "50 Paintings You Should Know"
René Magritte, Leuze 1898 - Scharbeek 1967
Perspektive II. der Balkon von Manet (1950)
Magritte gilt neben Paul Delvaux, dessen Werke einen ähnlichen Stil haben, als wichtigster Vertreter des belgischen Surrealismus. André Breton meinte dazu: „Was ist der Surrealismus? Das ist ein Kuckucksei, das unter Mitwissen von René Magritte ins Nest gelegt wird.“ Die Hauptaufgabe des Surrealismus war es, herkömmliche Erfahrungs-, Denk- und Sehgewohnheiten zu erschüttern und Wirklichkeit mit Traum zu vermischen. Dies gelang Magritte, indem er zwar naturalistische Darstellungen von Gegenständen malte, aber diese durch deren ungewöhnliche Zusammenstellung fremd machte.
Quelle: www.wikipedia.de
Magritte's brand of Surrealism is one that incorporates quotations of many kinds. This work, for instance, is based on 'Le Balcon', a canvas by Edouard Manet. Precisely by these frequent references to other artists, Magritte manages to make art itself the subject of discussion. The idea of personalised coffins – actually, a metamorphosis – was conceived following a drawing of a sitting coffin. Subsequently, Magritte 'coffined' three well-known compositions from the history of art. This is one of them. The transformation comes across as both macabre and humorous.
Source: Museum voor Schone Kunsten, Gent
Manet painted this canvas in the summer of 1873, during three weeks spent with his family in the little coastal town of Berck-sur-Mer. He had his wife and his brother pose for him on the beach as is shown by the grains of sand mixed with the paint. Suzanne, well protected against the sun and the wind by a muslin veil and a voluminous summer dress, is absorbed in her book. Eugène, the painter's brother and soon to be the husband of Berthe Morisot, is gazing out to sea, lying in the same position as ten years earlier in Lunch on the Grass. The two triangles formed by the figures stabilise the composition. They are turning their backs on a spectator and seem to be absorbed in their own worlds. This isolation gives the painting an indefinable melancholic feel.
The narrow range of tones used by Manet includes the blacks and greys usually banned from the Impressionist palette. He has borrowed from the young school a fluid, light brushstroke which suggests more than it describes. This impression is particularly strong in the landscape which seems almost slapdash: thus the horizon with a few bobbing sailboats is placed near the edge of the canvas, as if the painter had transgressed the rules of perspective. The variations in the colour of the sea from dark ultramarine blue to emerald green are rendered by a gradation of strips of horizontal colour building up to a powerful crescendo. The result is a lack of depth and a flattened effect. That is why this work is considered to be one of Manet's paintings in which the Japanese influence was most strongly felt.
The painting, which once belonged to the couturier Jacques Doucet, is displayed in a superb art deco frame painted with red and black lacquer which accentuates its far Eastern character.
www.musee-orsay.fr/en/collections/works-in-focus/search/c...
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, 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.
[Oil on canvas, 193 x 284 cm]
Monsieur et Madame Auguste Manet.
Ce tableau était destiné à la famille, dans laquelle il est resté très longtemps avant d'être acquis par les musées nationaux grâce à la générosité de la famille Rouart-Manet..
Oeuvre d'Edouard Manet (1832 - 1883)
en 1860,
huile sur toile,
H. 110,0 ; L. 90,0 cm. ,
Musée d’Orsay, Paris
www.musee-orsay.fr/fr/oeuvres/monsieur-et-madame-auguste-...
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
Los Angeles (Getty)
Manet identificó siempre a la mujer con las flores desde sus primeras representaciones femeninas, ya que la mujer y las flores compartían, según él, una belleza delicada, sensual y pasajera. Manet quiso realizar, por encargo de Antonin Proust, una serie de cuadros alegóricos sobre las cuatro estaciones, con figuras femeninas sobre fondos de flores, inspirándose para ello en las estampas japonesas de Utamaro. Pero el pintor solamente ejecutó dos obras: la Primavera y el Otoño
Édouard Manet, A Bar at the Folies-Bergère, 1882, oil on canvas, 96 x 130 cm (The Courtauld Gallery, London)
Berthe Morisot -
Eugène Manet auf der Isle of Wight [1875]
Paris Musée Marmottan
For more information on this painting please read:
mydailyartdisplay.wordpress.com/2012/04/13/eugene-manet-o...
From Wikipedia:
Le Déjeuner sur l'herbe (The Luncheon on the Grass) – originally titled Le Bain (The Bath) – is a large oil on canvas painting by Édouard Manet created in 1862 and 1863. It depicts a female nude and a scantily dressed female bather on a picnic with two fully dressed men in a rural setting. Rejected by the Salon jury of 1863, Manet seized the opportunity to exhibit this and two other paintings in the 1863 Salon des Refusés, where the painting sparked public notoriety and controversy. The work is now in the Musée d'Orsay in Paris. A smaller, earlier version can be seen at the Courtauld Gallery, London.
Olympia by Edward Manet.
Édouard Manet's famous Impressionist masterpiece being admired by a gentleman.
Photo taken in the Musee d'Orsay art gallery, Paris, France.
Candid hand-held shot taken in dim light using slow shutter speed.
Camera: Nikon F50
Lens: Cosina 28-210mm f/4.2-6.5 aspherical
I use my photos as inspiration and reference for my paintings which can be seen at:
This painting of the Tuileries Gardens in Paris was Manet's first major work depicting modern city life. The band is playing and a fashionable crowd has gathered to listen. The picture includes portraits of Manet's friends and family. These include Manet himself as well as: Baudelaire, poet (1821–1867), Théophile Gautier, poet and novelist (1811–1872), Ignace Fantin-Latour, flower-painter (1836–1904), Jacques Offenbach, composer (1819-1880), and Eugène Manet, the artist's brother (1833–1892).
[Oil on canvas, 76.2 x 118.1 cm]
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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
In the teeth of the recession, the Ashmolean museum in Oxford has succeeded in raising £7.83m in less than eight months, through lottery grants and more than a thousand donations from members of the public, to buy a major work by the 19th century French painter Edouard Manet which would otherwise have left the country.
The Portrait of Madame Claus, a study for one of his most famous paintings, Le Balcon, regarded as a key work in the development of Impressionist art, was sold last year for £28.5m, after being in a private collection in England since it was bought from the artist's studio in 1884. The comparative bargain price the museum paid represents the tax breaks for works of art going to national collections.
On Wednesday, two pale serious young women came face to face in Oxford: Fanny Claus, the subject of the arresting 1868 painting, and Mara Talbot, the 11-year-old who, with her mother, gave the final £30 donation to the public appeal.
"Maybe if she was smiling I might like her more," Mara eventually concluded, after studying her intently, and dealing coolly with the media – the photographers were bewitched by her own choice of outfit for the day, complete with flowery hair band, which chimed uncannily well with the painting – "but I do like her very much".
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
Édouard Manet, A Bar at the Folies-Bergère, 1882, oil on canvas, 96 x 130 cm (The Courtauld Gallery, London)
Photographie de la double cérémonie du mariage de Julie Manet (à gauche) avec Ernest Rouart et de sa cousine Paule Gobillard (à droite) avec Paul Valéry, célébrée à Passy, le 31 mai 1900. Suite à ce mariage, Julie Manet-Rouart (1868-1966) aura trois enfants : Julien (né en 1901), Clément (né en 1906) et Denis (né en 1908).
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
Édouard Manet, Paris 1832 - 1883
Die Krocketpartie - La Partie de croquet - The crocket party (1873)
Die Krocketpartie ist eines der wenigen Werke Manets, das in der skizzenhaften Malweise den stilistischen Mitteln des Impressionismus besonders nahe kommt. Gezeigt wird die beliebte wie zwanglose Freizeitbeschäftigung des Krocketspiels – ein offenbar glücklicher Lebensmoment, doch keineswegs ein zufällig entstandenes Augenblicksbild. Die dargestellten Figuren sind wohlkomponiert im Raum und allesamt konkret identifizierbar: Es sind Manets Malerkollege Alfred Stevens, sein Freund Paul Roudier sowie die Modelle Alice Lecouvé und Victorine Meurent. Letztere war als hüllenlose Olympia und als Akt im Skandalbild Frühstück im Freien in der Kunstwelt bereits bekannt. Beim Krocketspiel aber folgt sie der bürgerlichen Mode des eng geschnürten Korsetts und des in vielen Schichten umhüllenden Kleides – wohingegen sich die Männer während des Spiels betont lässig geben.
Vielleicht kann man in diesem Bild auch einen subtilen Protest gegen die Enge des Bürgertums sehen, wenn nicht einmal beim geselligen Miteinander die Geschlechter annähernd gleichberechtigt in Erscheinung treten.
Quelle: Städel Museum, Frankfurt
Édouard Manet, né le 23 janvier 1832 à Paris et mort le 30 avril 1883 dans la même ville, est un peintre et graveur français majeur de la fin du XIXᵉ siècle.
La Vierge enfant avec sainte Catherine et un berger, dite La Vierge au lapin (d’après Titien)
Huile sur toile (entre 1850 et 1860)
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Dans cette œuvre de jeunesse, Manet s’inspire explicitement d’un modèle titien — d’où la mention d’après Titien — et montre déjà sa maîtrise de la couleur et du clair-obscur hérités de la tradition vénitienne. Le motif de la Vierge et de l’Enfant, campé dans une composition pyramidale, est enrichi par la présence de sainte Catherine (attribut : la roue ou le livre selon le détail visible) et d’un jeune berger, qui introduit un registre pastoral. Le lapin, tenu par l’Enfant, renforce l’idée d’innocence et d’intimité domestique.
Peinte probablement dans les années 1850–1860, cette toile témoigne de la période formative de Manet, où l’artiste combine études d’anciens maîtres et recherches personnelles sur la couleur et la touche. Présentée aujourd’hui au Musée du Louvre, elle illustre le dialogue entre tradition et modernité qui parcourra toute sa carrière.
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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
Édouard Manet, Paris 1832 - 1883
Vor dem Spiegel – Before the Mirror (1876)
The Solomon R. Guggenheim Museum, New York
In 1865 Édouard Manet shocked Parisian audiences at the Salon with his painting Olympia (1863), an unabashed depiction of a prostitute lounging in bed, naked save for a pair of slippers and a necklace. While not an unpopular subject in 19th-century French painting, the courtesan had rarely been portrayed with such honesty. The artist provoked a similar scandal when his painting Nana (1877)—depicting a coquettish young woman in a state of partial undress powdering her nose in front of an impatient client—was exhibited in a shop window on the boulevard des Capucines. Manet’s attention to a motif conventionally associated with pornography reflected his desire to render on canvas the truths of modern life. It was a theme that symbolized modernity for many late-19th-century artists and writers, including Edgar Degas and Emile Zola, who devoted their work to realistic portrayals of the shifting class structures and mores of French culture. Images of courtesans may be found throughout Manet’s oeuvre; Before the Mirror is thought to be one such painting, related iconographically to Nana, but more spontaneous in execution. The artist’s vigorous brushstrokes lend an air of immediacy to the picture. As in Nana, the corseted woman represented here admires her reflection in a mirror; but this particular scene is extremely private—the woman, in quiet contemplation of her own image, is turned with her back to the viewer.
Manet’s endeavor to capture the flavor of contemporary society extended to portraits of barmaids, street musicians, ragpickers, and other standard Parisian “types” that were favorite subjects of popular illustrated literature. Since the subject of Woman is unidentified—conjecture that she might be the French actress Suzanne Reichenberg remains purely speculative—it is tempting to view this portrait as Manet’s rendering of one such type: the fashionable Parisian bourgeois woman, complete with Japanese fan.
Both paintings exemplify Manet’s use of seemingly improvised, facile brushstrokes that emphasize the two-dimensionality of the canvas while simultaneously defining form and space. From our vantage point, it is less Manet’s choice of subject matter than the tension between surface and subject, in which the paint itself threatens to dissolve into decorative patterns, that defines his work as quintessentially Modern.
Source: Guggenheim Museum, New York
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
c. 1875. Oli sobre tela. 26 x 34 cm. Museu Isabella Stewar Gardner, Boston. P3s5. Obra exposada: Sala Blava
Édouard Manet, A Bar at the Folies-Bergère, 1882, oil on canvas, 96 x 130 cm (The Courtauld Gallery, London)
This work was originally the right half of a painting of the Brasserie de Reichshoffen, begun in about 1878 and cut in two by Manet before he completed it. This half was then enlarged on the right and a new background was added. The left half of the composition is in the Oskar Reinhart Collection, Winterthur. The Brasserie de Reichshoffen was in the Boulevard Rochechouart, Paris. At the time, brasseries with waitresses were fairly new in the city.
[Oil on canvas, 97.1 x 77.5 cm]
gandalfsgallery.blogspot.com/2011/11/edouard-manet-corner...