The Promenade, Edouard Manet

The Promenade, Edouard Manet impression painting

The Bench, Edouard Manet

The Bench, Edouard Manet

Boating, Edouard Manet

Boating, Edouard Manet

Young Girl on a Bench, Edouard Manet

Young Girl on a Bench, Edouard Manet

Edouard Manet was born in Paris on 23 January 1832, to an affluent and well connected family. His mother, EugEnie-DesirEe Fournier, was the daughter of a diplomat and goddaughter of the Swedish crown prince, Charles Bernadotte, from whom the current Swedish monarchs are descended. His father, Auguste Manet, was a French judge who expected Edouard to pursue a career in law. His uncle, Charles Fournier, encouraged him to pursue painting and often took young Manet to the Louvre. In 1841 he enrolled at secondary school, the College Rollin. In 1845, at the advice of his uncle, Manet enrolled in a special course of drawing where he met Antonin Proust, future Minister of Fine Arts and subsequent life-long friend.
At his father’s suggestion, in 1848 he sailed on a training vessel to Rio de Janeiro. After Manet twice failed the examination to join the Navy,[2] the elder Manet relented to his son’s wishes to pursue an art education. From 1850 to 1856, Manet studied under the academic painter, Thomas Couture. In his spare time, Manet copied the old masters in the Louvre.
From 1853 to 1856 he visited Germany, Italy, and the Netherlands, during which time he absorbed the influences of the Dutch painter Frans Hals, as well as the Spanish artists, Diego Velazquez and Francisco JosE de Goya.
In 1856, Manet opened his own studio. His style in this period was characterized by loose brush strokes, simplification of details and the suppression of transitional tones. Adopting the current style of realism initiated by Gustave Courbet, he painted The Absinthe Drinker and other contemporary subjects such as beggars, singers, Gypsies, people in cafEs, and bullfights. After his early years, he rarely painted religious, mythological, or historical subjects; examples include his Christ Mocked, now in the Art Institute of Chicago, and Christ with Angels, in the Metropolitan Museum of Art, New York.

The Races at Longchamp, Edouard Manet

The Races at Longchamp is an 1867 painting by the French artist Édouard Manet. The Impressionist painting depicts a horse racing at Longchamp and is currently conserved at the Art Institute of Chicago. It has been exhibited many times, the first one at the École nationale supérieure des Beaux-Arts in Paris in January 1884.
The work is particularly innovative. About the painting, the Art Institute of Chicago said it “is startling. We find ourselves on the racecourse with a cluster of onrushing horses and jockeys bearing directly down on us. With a few judicious exceptions—the vertical starting post left of center; the crisp rectangle of the viewing-stand roof at the right—everything is blurred, a device that heightens the sense of explosive movement of the galloping horses.”

Young Flautist, Edouard manet

Young Flautist, Edouard manet

Manet painted The Fifer after a trip in Spain that he made in 1865, where he discovered the work of Diego Velázquez. The painting, in which Manet reflected the influence of Spanish painting, was rejected by the jury of the Paris Salon in 1866. The painting was exhibited in 1867. In 1884, it was present at the major retrospective exhibition of his work organized as a tribute, after Manet’s death in 1883.
The rejection by the Salon jury prompted the writer Émile Zola to publish a series of articles in defense of Manet in the newspaper L’Événement.
Between 1873 and 1893, the painting was held by Jean-Baptiste Faure, French composer and baritone, friend of Manet. In 1893, it returned to the collection of Durand-Ruel, and was acquired the next year by Count Isaac de Camondo, remaining in his collection until 1911, then was delivered to the French state as a donation. The painting was intended for the Musée du Louvre, where it was not exhibited to the general public until 1914. In 1947, it was moving to the Galerie nationale du Jeu de Paume, a showroom located in the Jardin des Tuileries and belonging to the Louvre. It remained there until 1986, when it was brought to the Musée d’Orsay, like the rest of the collection of Impressionist paintings in the Louvre. It can currently be seen in room 14 of level 0 of the Musée d’Orsay.

Rue Mosnier Decorated with Flags, Edouard Manet

Rue Mosnier Decorated with Flags, Edouard Manet

Chez le Pere Lathuille, Edouard-Manet

Chez le Pere Lathuille, Edouard Manet

Berthe Morisot, Edouard Manet

Berthe Morisot, Edouard Manet

Berthe Morisot was a painter and a member of the circle of painters in Paris who became known as the Impressionists.
In 1864, she exhibited for the first time in the highly esteemed Salon de Paris. Sponsored by the government, and judged by academicians, the Salon was the official, annual exhibition of the Académie des beaux-arts in Paris. Her work was selected for exhibition in six subsequent Salons[1] until, in 1874, she joined the “rejected” Impressionists in the first of their own exhibitions, which included Paul Cézanne, Edgar Degas, Claude Monet, Camille Pissarro, Pierre-Auguste Renoir, and Alfred Sisley. It was held at the studio of the photographer Nadar.
She became the sister-in-law of her friend and colleague, Édouard Manet, when she married his brother, Eugène.

Olympia, Edouard Manet

Olympia, Edouard Manet

As he had in Luncheon on the Grass, Manet again paraphrased a respected work by a Renaissance artist in the painting Olympia (1863), a nude portrayed in a style reminiscent of early studio photographs, but whose pose was based on Titian’s Venus of Urbino (1538). The painting is also reminiscent of Francisco Goya’s painting, The Nude Maja (1800).