에두아르 마네(1832-1833) Manet, Edouard 고화질 명화

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(b. Jan. 23, 1832, Paris, France--d. April 30, 1883, Paris)
French painter and printmaker who in his own work accomplished the transition from the realism of Gustave Courbet to Impressionism. Manet broke new ground in choosing subjects from the events and appearances of his own time and in stressing the definition of painting as the arrangement of paint areas on a canvas over and above its function as representation. Exhibited in 1863 at the Salon des Refusés, his Le Déjeuner sur l'herbe ("Luncheon on the Grass") aroused the hostility of the critics and the enthusiasm of a group of young painters who later formed the nucleus of the Impressionists. His other notable works include Olympia (1863) and A Bar at the Folies-Bergère (1882).

Encyclopaedia Britannica, 1994 

 
biographie en français

Banc (Bench)

Olympia
1863 (130 Kb); Oil on canvas, 130.5 x 190 cm (51 3/8 x 74 3/4 in) Musee d'Orsay, Paris
In this famous painting, Manet showed a different aspect of realism from that envisaged by Courbet, his intention being to translate an Old Master theme, the reclining nude of Giorgione and Titian, into contemporary terms. It is possible also to find a strong reminiscence of the classicism of Ingres in the beautiful precision with which the figure is drawn, though if he taught to placate public and critical opinion by these references to tradition, the storm of anger the work provoked at the Salon of 1865 was sufficient disillusionment. There is a subtlety of modelling in the figure and a delicacy of distinction between the light flesh tones and the white draperies of the couch that his assailants were incapable of seeing. The sharpness of contrast also between model and foreground items and dark background, which added a modern vivacity to the Venetian-type subject, was regarded with obtuse suspicion as an intended parody. The new life of paint and method of treatment in this and the other works by Manet that aroused the fury of his contemporaries had a stimulus to give to the young artists who were eventually to be known as Impressionists. In a more general sense, they rallied to his support as one heroically opposed to ignorant prejudice and their own ideas took shape in the heat of the controversy.
Olympia was the gift of a group of art lovers and painters to the Luxembourg in 1890 and was transferred to the Louvre in 1908.

Le Déjeuner sur l'herbe
1863; Luncheon on the Grass; Musee d'Orsay; Oil on canvas, 81 x 101 cm
The active spirit of independance in Impressionism --- if not its style --- may be considered to date from this famous work, refused by the Salon in 1863 and exhibited, under the title of Le Bain at the Salon des Refusés of the same year. It is the larger of Manet's two versions of the subject, a smaller and freer version being in the Courtauld Institute Gallery in London. According to Antonin Proust, the idea of the picture suggested itself to Manet when they were watching bathers at Argenteuil. Manet was reminded of Giorgione's Concert Champêtre and determined to repeat the theme in clearer colour and with modern personnel. A closer likeness of composition has been found in an engraving by Marcantonio of a group of river gods, after a now lost original by Raphael of The Judgement of Paris. An Old Master element of formal arrangement remains to distinguish it from an essentially Impressionist work and yet as well as being ostensibly set in the open there are various hints and suggestions in light and colour of fresh possibilities in open-air painting. The furious outcry it caused as the principal exhibit among the Salon rejects was based on the alleged indecency of two fully-dressed men appearing in the company of the naked female bather (an accusation no one had thought to make against the comparable juxtaposition in the work attributed to Giorgione). But the respectable persons represented in sedate conversation were Manet's favourite model, Victorine Meurend (whom he also painted as a toreador), his brother-in-law, Ferdinand Leenhoff, and Manet's younger brother, Eugène.
Public hostility not only helped to make Manet a hero in the eyes of the young painters but brought together in his support the group from which the Impressionists emerged.
How far Claude Monet was impressed by the picture may be gauged from the fact that in 1865 he decided to paint his own Déjeuner sur l'Herbe, though simply as a group of picnickers without the element of dress and undress and in more natural attitudes than the figures in Manet's composition. Only a fragment of this large work has survived but a Déjeuner sur l'Herbe by Monet in the Hermitage, Leningrad, is apparently a replica---not so grand a work as Manet's but with more veracity of informal, sun-lit grouping. Manet himself changed the title of his painting to Le Déjeuner sur l'Herbe at his exhibition of challenge and protest in 1867. It came to the Louvre as part of the Moreau-Nelaton Collection in 1906.

Branch of White Peonies and Pruning Shears
1864; Musée d'Orsay, Paris
Although landscape played a very important part in the development of Impressionist painting, most of the artists associated with the movement at one time or another applied their ideas of light and color to other genres---flower and still-life painting, portraiture, the nude and scenes of everyday life---to all branches of the pictorial art in fact, except anecdotal, narrative, didactic or `history' painting. Manet's flower-pieces were brilliant departures from the tradition that required every bloom to be botanically precise and accurate, like those of the Dutch and Flemish artists of the seventeenth century who catered for the requirements of floriculturist patrons. Flowers for the nineteenth-century artist with no such purpose to carry out were objects that invited study of the relationships of light and color, uncomplicated by the informative detail of the specialist.
This is what Manet does so effectively in his Peonies with the spontaneity and directness of brushwork that was always at his command. The form of the flower is no more than suggested but its splendor as a receptacle of light is fully conveyed by the seemingly simple division of color tones.

Grapes, Peaches and Almonds
1864; Musée d'Orsay, Paris

Portrait of Zacharie Astruc
1866; Oil on canvas, 90 x 116 cm; Kunsthalle, Bremen

Le fifre (The Fifer)
1866 (110 Kb); Oil on canvas, 160 x 98 cm (63 x 38 5/8 in); Musée d'Orsay, Paris
Brilliant as this picture is to modern eyes it is not so startling as it appeared to Manet's contemporaries, accustomed to the masking of colour by the veil of heavy chiaroscuro. Daumier, for example, used to near-monochrome effect in painting, thought Le Fifre resembled a playing-card, the flatness and brightness of colour giving rise to his comparison. A concealed element in the design is the influence of the Japanese print which was so marked on French painting in general in the second half of the nineteenth century. It is to be traced here in the almost flat areas of colour against a plain background. Colour seems on the point of escaping from a subservient descriptive role into the dominant factor it was later to become.
Except among the few, this picture shared the unpopularity that previous works by Manet had suffered and was refused at the Salon of 1866. The refusal brought Emile Zola to the artist's defense in L'Evènement but Zola's assertion that he was `so convinced that M. Manet would be one of the masters of tomorrow that he would think it a good stroke of business, if he had money enough, to buy all its canvases now' infuriated the readers, and their anger caused the editor to dispense with Zola's services as critic. The novelist returned to the attack elsewhere with a longer eulogy. His description of the fifer as `le petit bonhomme' who `puffs away with all his heart and soul' was a literary approach but his polemics served to keep the issue of aesthetic freedom a living force for the younger generation.

Portrait d'Emile Zola
1868 (110 Kb); Oil on canvas, 146 x 114 cm (57 1/2 x 44 7/8 in); Musee d'Orsay, Paris

The Balcony
1869 (130 Kb); Oil on canvas, 170 x 124 cm (66 1/2 x 49 1/4 in); Musee d'Orsay, Paris

Le Repos
1870 
 

Le Chemin de Fer (The Railroad)
1872-73 (170 Kb); Oil on canvas, 93 x 114 cm (36 1/2 x 45 in); National Gallery of Art, Washington

On the Beach
1873; Musée d'Orsay, Paris

Monet Painting in His Floating Studio
1874; Bayerische Staatsgemaldesammlungen, Munich
this artwork shows the painter's passion for open-air painting

Le serveuse de bocks (The Waitress)
1879 (160 Kb); Oil on canvas, 77.5 x 65 cm (30 1/2 x 25 1/2 in); Musee d'Orsay, Paris 

Young Girl on the Threshold of the Garden at Bellevue
1880; Private Collection
It was Manet's decidedly Impressionist ambition, towards the end of his life, to paint open-air pictures in such a way that `the features of the characters would melt into the vibrations of the atmosphere'. In 1880 his poor state of health caused him to spend the summer at Bellevue, on the outskirts of Paris, where he rented a house and while undergoing hydropathic treatment he contrived to paint several pictures according to his plein-air intention, in the garden of the house. They included one view of the garden without figures, a painting of Madame Auguste Manet seen in profile and the work reproduced here, all giving a sunlight effect.
The brilliant result in the picture of the girl reading is obtained by a development of Manet's personal style of oil sketching in which he concerned himself with the general opposition of light and dark areas to the exclusion of half-tones. This was not exactly Impressionism as Monet came to understand it though Monet had passed through a phase in which he adopted Manet's technique. But if Impressionism strictly meant the translation of light into color irrespective of light and shade, Manet was still working to a more traditional recipe. What he meant by features melting `into the vibrations of the atmosphere' would seem equivalent to creating an envelope of surrounding light but the figure of the girl reading is more of a silhouette against the sunny background than a form sharing the same source of light. The picture, however, has the verve that was Manet's individual gift.

Le Bar aux Folies-Bergère
1881-82; Courtauld Institute Galleries, London
This sparkling portrayal shows extensive use of peinture claire, a technique Manet himself evolved.