|
|
|
|
Oil Paintings
Come From United Kingdom
An option that you can own an 100% hand-painted oil painting from our talent artists. |
|
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. |
|
|
|
|
|
|
Edouard Manet Bullfight 1865-1866
2' 11 1/2'' x 3' 7 1/2''(90 x 110.5 cm)
|
|
|
|
|
|
|
|
|
|
Edouard Manet Dejeuner sur l'herbe(The Picnic) 1865-1866
Left fragment,13' 8 1/2'' x 4' 11''(418 x 150 cm)
Gift of Georges Wildenstein,1957
|
|
|
|
|
|
|
|
|
|
Edouard Manet Dejeuner sur l'herbe(The Picnic) 1865-1866
Left fragment,6' 3 1/2'' x 5' 6''(248 x 217 cm)
Gift of Georges Wildenstein,1957
|
|
|
|
|
|
|
|
|
|
Edouard Manet The Beer Waitress 1878-1879
2' 6 1/2'' x 2' 1 1/2''(77.5 x 65 cm)
|
|
|
|
|
|
|
|
|
|
Edouard Manet The Asparagus 1880
6 1/2'' x 8 1/2''(16.5 x 21.5cm)Gift of Sam Salz,1959
|
|
|
|
|
|
|
|
|
|
Edouard Manet The Lemon 1880
5 1/2'' x 8 3/4''(14 x 22cm)
Bequest of Count Isaac de Camondo,1911
|
|
|
|
|
|
|
|
|
|
Edouard Manet Woman with Fans(Nina de Callias) 1873
3\' 8 3/4\'\' x 5\' 5 1/2\'\'(113.5 x 166.5 cm)Gift of Mr.and Mrs.Ernest Rouart,1930
|
|
|
|
|
|
|
|
|
|
Edouard Manet Portrait of Mme Manet on a Blue Sofa ca 1874
Pastel,1' 8'' x 2'(50.5 x 61 cm)
|
|
|
|
|
|
|
|
|
|
Edouard Manet Georges Clemenceau 1878-1880
3' 1 1/4'' x 2' 5 1/4''(94.5cm x 74 cm)Gift of Mrs.Louisine W.Havemeyer,1927
|
|
|
|
|
|
|
|
|
|
Edouard Manet Berthe Morisot with a Fan 1872
1' 11 1/2'' x 1' 5 3/4''(60 x 45 cm)Gift of Etienne Moreau-Nelation 1906
|
|
|
|
|
|
|
|
|
|
Edouard Manet The Escape of Rochefort 1880-1881
2' 7 1/2'' x 2' 4 3/4''(80 x 73 cm)
|
|
|
|
|
|
|
|
|
|
Edouard Manet At the Beach 1873
1' 11 1/2'' x 2' 4 3/4''(59.5 x 73 cm)Gift of Jean-Edouard Dubrujeaud,1953
|
|
|
|
|
|
|
|
|
|
Edouard Manet Carnations and Clematis in a Crystal Vase 1883
1' 10'' x 1' 2''(56 x 35.5 cm)
|
|
|
|
|
|
|
|
|
|
Edouard Manet Blonde Woman with Naked Breasts ca 1878
2' 1'' x 1' 8 1/2''(62.5 x 52 cm)
Bequest of Etienne Moreau-Nelation,1927
|
|
|
|
|
|
|
|
|
|
Edouard Manet The Balcony (mk06) 1868-1869(Salon of 1869)
5' 7'' x 4' 1''(170 x 124.5 cm)Bequest of Gustave Caillebotte,1894 RF 2772
|
|
|
|
|
|
|
|
|
|
Edouard Manet Stephane Mallarme (mk06) 1876
10 3/4 x 1' 2 1/4''(27.5 x 36 cm)RF2661
|
|
|
|
|
|
|
|
|
|
Edouard Manet A Bar at the Folies-Bergere (mk09) c 1881/82
Oil on canvas,96 x 130 cm
London,Courtauld Institute Galleries
|
|
|
|
|
|
|
|
|
|
Edouard Manet Dejeuner sur I'herbe (mk09) 1863
Oil on canvas,208 x 264.5 cm
Paris,Musee d'Orsay
|
|
|
|
|
|
|
|
|
|
Edouard Manet Portrait of Emile Zola (mk09) 1868
Oil on canvas,146.3 x 114 cm
Paris,Musee d'Orsay
|
|
|
|
|
|
|
|
|
|
Edouard Manet Luncheon in the Studio (mk09) 1868
Oil on canvas,118 x 154 cm
Munich,Bayerische Staatsgemalde-sammlungen,Neue Pinakothek
|
|
|
|
|
|
|
|
| |
|
|
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.
|
|
|
|
|
|