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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 La Rue Mosnier aux Paveurs oil painting

Painting ID::  2661

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Edouard Manet
La Rue Mosnier aux Paveurs

   
   
     

 

 

Edouard Manet The Fifer oil painting

Painting ID::  2662

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Edouard Manet
The Fifer
1866 Musee d'Orsay, Paris
   
   
     

 

 

Edouard Manet The Old Musician  aa oil painting

Painting ID::  2663

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Edouard Manet
The Old Musician aa
1862 National Gallery of Art, Washington DC
   
   
     

 

 

Edouard Manet The Old Musician oil painting

Painting ID::  2664

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Edouard Manet
The Old Musician
1862 National Gallery of Art, Washington DC
   
   
     

 

 

Edouard Manet Concert in the Tuileries oil painting

Painting ID::  2665

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Edouard Manet
Concert in the Tuileries
1860-62 National Gallery, London
   
   
     

 

 

Edouard Manet Olympia oil painting

Painting ID::  2666

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Edouard Manet
Olympia
1863 Musee d'Orsay, Paris
   
   
     

 

 

Edouard Manet Boy with a Pitcher oil painting

Painting ID::  2667

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Edouard Manet
Boy with a Pitcher
1862 Art Institute of Chicago
   
   
     

 

 

Edouard Manet Course De Chevaux A Longchamp oil painting

Painting ID::  2668

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Edouard Manet
Course De Chevaux A Longchamp
1864 Art Institute of Chicago
   
   
     

 

 

Edouard Manet Luncheon on the Grass oil painting

Painting ID::  2671

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Edouard Manet
Luncheon on the Grass
1863
   
   
     

 

 

Edouard Manet Street Singer oil painting

Painting ID::  2673

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Edouard Manet
Street Singer
1862 Museum of Fine Arts, Boston
   
   
     

 

 

Edouard Manet Portrait of Victorine Meurent oil painting

Painting ID::  2674

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Edouard Manet
Portrait of Victorine Meurent
1862 Museum of Fine Arts, Boston
   
   
     

 

 

Edouard Manet The Absinthe Drinker oil painting

Painting ID::  2676

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Edouard Manet
The Absinthe Drinker
1859 Ny Carlsberg Glyptotek, Copenhagen
   
   
     

 

 

Edouard Manet Bauldaire's Mistress Reclining oil painting

Painting ID::  2677

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Edouard Manet
Bauldaire's Mistress Reclining
1862 Szepmuveszeti Museum, Budapest
   
   
     

 

 

Edouard Manet Mlle Victorine in the Costume of an Espada oil painting

Painting ID::  2678

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Edouard Manet
Mlle Victorine in the Costume of an Espada
1862 Metropolitan Museum of Art, New York
   
   
     

 

 

Edouard Manet The Bullfight oil painting

Painting ID::  2679

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Edouard Manet
The Bullfight
1864-65 Frick Collection, New York
   
   
     

 

 

Edouard Manet Portrait of Alphonse Maureau oil painting

Painting ID::  2680

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Edouard Manet
Portrait of Alphonse Maureau
1880 Art Institute of Chicago
   
   
     

 

 

Edouard Manet Le Journal Illustre oil painting

Painting ID::  2681

X 
 

Edouard Manet
Le Journal Illustre
1878-79 Art Institute of Chicago
   
   
     

 

 

Edouard Manet Portrait of Berthe Morisot oil painting

Painting ID::  2682

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Edouard Manet
Portrait of Berthe Morisot
1873 Art Institute of Chicago
   
   
     

 

 

Edouard Manet Berthe Morisot Holding a Bunch of Violets oil painting

Painting ID::  2683

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Edouard Manet
Berthe Morisot Holding a Bunch of Violets
1872
   
   
     

 

 

Edouard Manet The Bar at the Folies Bergere oil painting

Painting ID::  2684

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Edouard Manet
The Bar at the Folies Bergere
1882 The Courtauld Institute, London
   
   
     

 

  1  2  3  4  5  6  7  8  9  10     Next

 

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.