Music in the Tuileries, Edouard Manet

Music in the Tuileries, Edouard Manet

Music in the Tuileries is an early example of Manet’s painterly style. Inspired by Hals and Velázquez, it is a harbinger of his life-long interest in the subject of leisure.

While the picture was regarded as unfinished by some, the suggested atmosphere imparts a sense of what the Tuileries gardens were like at the time; one may imagine the music and conversation.

Here, Manet has depicted his friends, artists, authors, and musicians who take part, and he has included a self-portrait among the subjects.

The Luncheon on the Grass, Edouard Manet

The Luncheon on the Grass, Edouard Manet

The painting’s juxtaposition of fully-dressed men and a nude woman was controversial, as was its abbreviated, sketch-like handling, an innovation that distinguished Manet from Courbet. At the same time, Manet’s composition reveals his study of the old masters, as the disposition of the main figures is derived from Marcantonio Raimondi’s engraving of the Judgement of Paris based on a drawing by Raphael.

Two additional works that are cited by scholars as important precedents for Le déjeuner sur l’herbe are Pastoral Concert and The Tempest, both of which are attributed variously to Italian Renaissance masters Giorgione or Titian. The Tempest is an enigmatic painting that features a fully-dressed man and a nude woman in a rural setting. The man is standing to the left and gazing to the side, apparently at the woman, who is seated and is breastfeeding a baby; the relationship between the two figures is unclear. In Pastoral Concert, two clothed men and a nude woman are seated on the grass, engaged in music making, while a second nude woman stands beside them.

Bar at the Folies Bergere, Edouard Manet

Bar at the Folies Bergere, Edouard Manet, Impressionism

He completed painting his last major work, A Bar at the Folies-Bergère (Le Bar aux Folies-Bergère), in 1882 and it hung in the Salon that year.
In 1875, a book-length French edition of Edgar Allan Poe’s “The Raven” included lithographs by Manet and translation by Mallarmé.
In 1881, with pressure from his friend Antonin Proust, the French government awarded Manet the Légion d’honneur.