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Oil Paintings
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Edouard Manet French Realist/Impressionist Painter, 1832-1883
The roughly painted style and photographic lighting in these works was seen as specifically modern, and as a challenge to the Renaissance works Manet copied or used as source material. His work is considered 'early modern', partially because of the black outlining of figures, which draws attention to the surface of the picture plane and the material quality of paint.
He became friends with the Impressionists Edgar Degas, Claude Monet, Pierre-Auguste Renoir, Alfred Sisley, Paul Cezanne, and Camille Pissarro, through another painter, Berthe Morisot, who was a member of the group and drew him into their activities. The grand niece of the painter Jean-Honor?? Fragonard, Morisot's paintings first had been accepted in the Salon de Paris in 1864 and she continued to show in the salon for ten years.
Manet became the friend and colleague of Berthe Morisot in 1868. She is credited with convincing Manet to attempt plein air painting, which she had been practicing since she had been introduced to it by another friend of hers, Camille Corot. They had a reciprocating relationship and Manet incorporated some of her techniques into his paintings. In 1874, she became his sister-in-law when she married his brother, Eugene.
Self-portrait with palette, 1879Unlike the core Impressionist group, Manet maintained that modern artists should seek to exhibit at the Paris Salon rather than abandon it in favor of independent exhibitions. Nevertheless, when Manet was excluded from the International exhibition of 1867, he set up his own exhibition. His mother worried that he would waste all his inheritance on this project, which was enormously expensive. While the exhibition earned poor reviews from the major critics, it also provided his first contacts with several future Impressionist painters, including Degas.
Although his own work influenced and anticipated the Impressionist style, he resisted involvement in Impressionist exhibitions, partly because he did not wish to be seen as the representative of a group identity, and partly because he preferred to exhibit at the Salon. Eva Gonzal??s was his only formal student.
He was influenced by the Impressionists, especially Monet and Morisot. Their influence is seen in Manet's use of lighter colors, but he retained his distinctive use of black, uncharacteristic of Impressionist painting. He painted many outdoor (plein air) pieces, but always returned to what he considered the serious work of the studio.
Manet enjoyed a close friendship with composer Emmanuel Chabrier, painting two portraits of him; the musician owned 14 of Manet's paintings and dedicated his Impromptu to Manet's wife.
Throughout his life, although resisted by art critics, Manet could number as his champions Emile Zola, who supported him publicly in the press, Stephane Mallarme, and Charles Baudelaire, who challenged him to depict life as it was. Manet, in turn, drew or painted each of them. |
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Edouard Manet Still Life with Two Apples oil on canvas, by the French artist Édouard Manet. 9 1/2 in. x 12 1/2 in
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Edouard Manet Young Woman Reclining in Spanish Costume "Young Woman Reclining in Spanish Costume," oil on canvas, by the French artist Édouard Manet. 37 5/16 in. x 44 3/4 in. Yale University Art Gallery, bequest of Stephen Carlton Clark, B.A. 1903. Courtesy of Yale University, New Haven, Conn
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Edouard Manet La Promenade Madame Gamby Date 1880(1880)
Medium Oil on canvas
Dimensions English: 92,3 X 70,5 cm
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Edouard Manet Young Woman Reclining in Spanish Costume Date 1862-1863
Medium Oil on canvas
Dimensions 37 5/16 in. x 44 3/4 in.
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Edouard Manet The old Musician 1862
Medium English: Oil on canvas
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Edouard Manet Portrait of Georges Clemenceau Portrait of Georges Clemenceau, oil on canvas painting by Edouard Manet, 1879-80, Kimbell Art Museum.
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Edouard Manet Portrat der Frau Manet auf blauem Sofa ca. 1880(1880)
Oil on canvas
50.1 ?? 61 cm (19.7 ?? 24 in)
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Edouard Manet Portrait of Georges Clemenceau oil on canvas painting by Edouard Manet, 1879?C80, Kimbell Art Museum
Date 1879?C80
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Edouard Manet Bar in den Folies-Bergere 1881-1882
Oil on canvas
96 ?? 130 cm (37.8 ?? 51.18 in)
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Edouard Manet Kearsarge at Bologne Kearsarge at Bologne (also known as "Fishing Boat Coming in Before the Wind") (1864) by Edouard Manet, painting, oil on canvas, 81.28 x 99.7 cm, Metropolitan Museum of Art
Date 1864(1864)
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Edouard Manet Le Modele de la serveuse des Folies Bergeres 1879-1882
Oil on canvas
0.5 ?? 0.3 m (0.6 ?? 0.4 yd)
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Edouard Manet Portrat der Frau Manet auf blauem Sofa Date ca. 1880(1880)
Medium Oil on canvas
Dimensions 50.1 ?? 61 cm (19.7 ?? 24 in)
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Edouard Manet Absinthtrinker 1859(1859)
Oil on canvas
178 x 103 cm
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Edouard Manet Le petit Lange ca. 1861(1861)
Oil on canvas
117 x 71 cm (46.1 x 28 in)
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Edouard Manet La serveuse de bocks 1878-1879
Oil on canvas
{{de:77,5 x 65cm}}
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Edouard Manet Sur la plage de Boulogne 1868(1868)
Oil on canvas
32.4 x 66 cm
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Edouard Manet Bar in den Folies Bergere 1881-1882
Medium Oil on canvas
Dimensions 96 x 130 cm (37.8 x 51.2 in)
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Edouard Manet Kearsarge at Bologne oil on canvas, 81.28 x 99.7 cm, Metropolitan Museum of Art
Date 1864(1864)
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Edouard Manet La corrida Date 1864(1864)
Medium Oil on canvas
Dimensions 48 x 108 cm (18.9 x 42.5 in)
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Edouard Manet Le Modele de la serveuse des Folies Bergeres 1879-1882
Medium Oil on canvas
Dimensions 0.54 x 0.34 m (0.6 x 0.4 yd)
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Edouard Manet
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French Realist/Impressionist Painter, 1832-1883
The roughly painted style and photographic lighting in these works was seen as specifically modern, and as a challenge to the Renaissance works Manet copied or used as source material. His work is considered 'early modern', partially because of the black outlining of figures, which draws attention to the surface of the picture plane and the material quality of paint.
He became friends with the Impressionists Edgar Degas, Claude Monet, Pierre-Auguste Renoir, Alfred Sisley, Paul Cezanne, and Camille Pissarro, through another painter, Berthe Morisot, who was a member of the group and drew him into their activities. The grand niece of the painter Jean-Honor?? Fragonard, Morisot's paintings first had been accepted in the Salon de Paris in 1864 and she continued to show in the salon for ten years.
Manet became the friend and colleague of Berthe Morisot in 1868. She is credited with convincing Manet to attempt plein air painting, which she had been practicing since she had been introduced to it by another friend of hers, Camille Corot. They had a reciprocating relationship and Manet incorporated some of her techniques into his paintings. In 1874, she became his sister-in-law when she married his brother, Eugene.
Self-portrait with palette, 1879Unlike the core Impressionist group, Manet maintained that modern artists should seek to exhibit at the Paris Salon rather than abandon it in favor of independent exhibitions. Nevertheless, when Manet was excluded from the International exhibition of 1867, he set up his own exhibition. His mother worried that he would waste all his inheritance on this project, which was enormously expensive. While the exhibition earned poor reviews from the major critics, it also provided his first contacts with several future Impressionist painters, including Degas.
Although his own work influenced and anticipated the Impressionist style, he resisted involvement in Impressionist exhibitions, partly because he did not wish to be seen as the representative of a group identity, and partly because he preferred to exhibit at the Salon. Eva Gonzal??s was his only formal student.
He was influenced by the Impressionists, especially Monet and Morisot. Their influence is seen in Manet's use of lighter colors, but he retained his distinctive use of black, uncharacteristic of Impressionist painting. He painted many outdoor (plein air) pieces, but always returned to what he considered the serious work of the studio.
Manet enjoyed a close friendship with composer Emmanuel Chabrier, painting two portraits of him; the musician owned 14 of Manet's paintings and dedicated his Impromptu to Manet's wife.
Throughout his life, although resisted by art critics, Manet could number as his champions Emile Zola, who supported him publicly in the press, Stephane Mallarme, and Charles Baudelaire, who challenged him to depict life as it was. Manet, in turn, drew or painted each of them.
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