Impressionism
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Edouard Manet
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| When: |
1832-83 |
| Where: |
Paris, France |
| What: |
'Often called the Father of Modern Art, hailed
by Monet and Renoir as their leader in the Impressionist group,
although he never exhibited with the Impressionist. |
| How: |
Trained in the conventional academic style, but
rejected its many conventions. |
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But did not idealize his subjects. |
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Painted in sketchy brushwork - images appear flat
and hard, and unfinished. |
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Refused to compete with the camera’s realism
by conventional ways of painting. |
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Emphasizing the flatness of painting. |
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Later style - freer - after working with his followers,
the Impressionists, Renoir and Monet. |
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| What: |
Le Salon des Refusés 1863 |
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Exhibition showing works that were refused by
the annual official Salon. - rejected 3000 of 5000 paintings
submitted. |
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Emperor Napoleon III ordered the refused works
exhibited in Le Salon des Refusés. |
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The Salon des Refusés in 1863 included
Manet “The Picnic (Luncheon on the Grass)” (oil
on canvas, 81 x 101 cm) was criticised for being indecent. |
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“The Picnic (Luncheon on the Grass)” |
Manet did not idealised the nude, portraying contemporary
life candidly. A naked woman portrayed together with 2 clothed
men. The general public only accepts nudes only if they are
meant to represent goddess or idealised beauty.
Used traditional triangular composition of the figures and
perspective - translating the Great Tradition into a modern
setting.
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| What: |
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"Olympia"
1863 oil on canvas
130.5 x 190 cm
Musee d'Orsay, Paris |
Manet intened to translate an Old Master
theme, the reclining nude of Giorgione, Titian and even Ingres,
into contemporary terms. The nude is not a goddess, but a real
person. The lack of idealisation, and the subtle modeling of
the flesh tones, were taken as a disrespectful parody of the
old masters' work and an Old Master theme. |
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Titian "Venus of Urbino" 1538
Oil on canvas, 119 x 165 cm
Uffizi, Florence
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Ingres "La Grand Odalisque" 1814
Oil on canvas 91 x 162 cm
Musee du Louvre, Paris
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| What: |
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Manet A Bar at the Folies-Bergeres 1881-82
Oil on canvas 96 x 130 cm
Courtauld Institute Galleries, London
Still retaining the conventional triangular composition.
There is a sharp contrast of the treatment of the still-life
on the table and the crowd reflected on the mirror - an impression
of what he saw.
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| Other Works: |
Manet "The Balcony"
1868-69
Oil on canvas 170 x 124 cm
Musee d'Orsay, Paris |
Manet "The Railway" 1872-73
93.3 x 111.5 cm
National Gallery of Art, Washington |
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