Edouard Manet

{"Id":790,"Name":"Edouard Manet","Biography":"\u003Cp\u003E\u003Cstrong\u003EMANET, \u0026Eacute;DUARD (1832-1883)\u003C/strong\u003E, French painter, regarded as the most important master of Impressionism (q.v.), was born in Paris on the 23rd of January 1832. After spending some time under the tuition of the Abb\u0026eacute; Poiloup, he entered the College Rollin, where his passion for drawing led him to neglect all his other lessons. His studies finished in 1848, he was placed on board the ship Guadeloupe, voyaging to Rio de Janeiro. On his return he first studied in \u003Ca class=\u0022link\u0022 href=\u0022https://artrenewal.org/asp/database/art.asp?aid=752\u0022 target=\u0022_blank\u0022\u003ECouture\u0027s\u003C/a\u003E studio (1851), where his independence often infuriated his master. For six years he was an intermittent visitor to the studio, constantly taking leave to travel, and going first to Cassel, Dresden, Vienna and Munich, and afterwards to Florence, Rome and Venice, where he made some stay. Some important drawings date from this period, and one picture, \u003Cu\u003EA Nymph Surprised\u003C/u\u003E. Then, after imitating Couture, more or less, in \u003Cu\u003EThe Absinthe-drinker\u003C/u\u003E (1866), and \u003Ca class=\u0022link\u0022 href=\u0022https://artrenewal.org/asp/database/art.asp?aid=746\u0022 target=\u0022_blank\u0022\u003ECourbet\u003C/a\u003E in \u003Cu\u003EThe Old Musician\u003C/u\u003E, he devoted himself almost exclusively to the study of the Spanish masters in the Louvre. A group was already gathering round him: \u003Ca class=\u0022link\u0022 href=\u0022https://artrenewal.org/asp/database/art.asp?aid=652\u0022 target=\u0022_blank\u0022\u003EWhistler\u003C/a\u003E, Legros, and \u003Ca class=\u0022link\u0022 href=\u0022https://artrenewal.org/asp/database/art.asp?aid=154\u0022 target=\u0022_blank\u0022\u003EFantin-Latour\u003C/a\u003E haunted his studio in the Rue Guyot. His \u003Cu\u003ESpaniard playing the Guitar\u003C/u\u003E, in the Salon of 1861, excited much animadversion. \u003Ca class=\u0022link\u0022 href=\u0022https://artrenewal.org/asp/database/art.asp?aid=48\u0022 target=\u0022_blank\u0022\u003EDelacroix\u003C/a\u003E alone defended Manet, but, this notwithstanding, his \u003Cu\u003EFifer of the Guard\u003C/u\u003E and \u003Cu\u003ED\u0026eacute;jeuner sur l\u0027herbe\u003C/u\u003E (Luncheon on the Grass) were refused by the jury. Then the Salon des Refus\u0026eacute;s was opened, and round Manet a group was formed, including [Felix] Bracquemond, Legros, \u003Ca class=\u0022link\u0022 href=\u0022https://artrenewal.org/asp/database/art.asp?aid=2951\u0022 target=\u0022_blank\u0022\u003EJongkind\u003C/a\u003E, Whistler, \u003Ca class=\u0022link\u0022 href=\u0022https://artrenewal.org/asp/database/art.asp?aid=1038\u0022 target=\u0022_blank\u0022\u003EHarpignies\u003C/a\u003E and Fantin-Latour, the writers Zola, [Edmond] Duranty and [Th\u0026eacute;odore] Duret, and Astruc the Sculptor. In 1863, when an amateur, M. Martinet, lent an exhibition-room to Manet, the painter exhibited fourteen pictures; and then, in 1864, contributed again to the Salon \u003Cu\u003EThe Angels at the Tomb\u003C/u\u003E and \u003Cu\u003EA Bullfight\u003C/u\u003E. Of this picture he afterwards kept nothing but the toreador in the foreground, and it is now known as \u003Cu\u003EThe Dead Man\u003C/u\u003E. In 1865 he sent to the Salon \u003Cu\u003EChrist reviled by the Soldiers\u003C/u\u003E and the famous \u003Cu\u003EOlympia\u003C/u\u003E, which was hailed with mockery and laughter. It represents a nude woman reclining on a couch, behind which is seen the head of a negl-ess who carries a bunch of flowers. A black cat at her feet emphasizes the whiteness of the sheet on which the woman lies. This work (now in the Louvre) was presented to the Luxembourg by a subscription started by \u003Ca class=\u0022link\u0022 href=\u0022https://artrenewal.org/asp/database/art.asp?aid=810\u0022 target=\u0022_blank\u0022\u003EClaude Monet\u003C/a\u003E (1890). It was hung in 1897 among the \u003Ca class=\u0022link\u0022 href=\u0022https://artrenewal.org/asp/database/art.asp?aid=549\u0022 target=\u0022_blank\u0022\u003ECaillebotte\u003C/a\u003E collection, which included the \u003Cu\u003EBalcony\u003C/u\u003E, and a study of a female head called \u003Cu\u003EAngelina\u003C/u\u003E. This production, of a highly independent individuality, secured Manet\u0027s exclusion from the Salon of 1866, so that he determined to exhibit his pictures in a place apart during the Great Exhibition of 1867. In a large gallery in the Avenue de l\u0027Alma, half of which was occupied by Courbet, he hung no fewer than fifty paintings. Only one important picture was absent, \u003Cu\u003EThe Execution of the Emperor Maximilian\u003C/u\u003E; its exhibition was prohibited by the authorities. From that time, in spite of the fierce hostility of some adversaries, Manet\u0027s energy and that of his supporters began to gain the day. His \u003Cu\u003EYoung Girl\u003C/u\u003E (Salon of 1868) was justly appreciated, as well as the portrait of Lola; but the \u003Cu\u003EBalcony\u003C/u\u003E and the \u003Cu\u003EBreakfast\u003C/u\u003E (1869) were as severely handled as the \u003Cu\u003EOlympia\u003C/u\u003E had been. In 1870 he exhibited \u003Cu\u003EThe Music Lesson\u003C/u\u003E and a portrait of Mile E. Gonzales. Not long before the Franco-Prussian War, Manet, finding himself in the country, with a friend, for the first time discovered the true value of open air to the effects of painting in his picture \u003Cu\u003EThe Garden\u003C/u\u003E, which gave rise to the open air or \u003Cem\u003Eplein air\u003C/em\u003E school. After fighting as a gunner, he returned to his family in the Pyrenees, where he painted \u003Cu\u003EThe Battle of the Kearsarge and the Alabama\u003C/u\u003E. His \u003Cu\u003EBon Bock\u003C/u\u003E (1873) created a furor\u0026eacute;. But in 1875, as in 1869, there was a fresh outburst of abuse, this time of the \u003Cu\u003ERailroad\u003C/u\u003E, \u003Cu\u003EPolichinelle\u003C/u\u003E, and \u003Cu\u003EArgenteuil\u003C/u\u003E, and the jury excluded the artist, who for the second time arranged an exhibition in his studio. In 1877 his \u003Cu\u003EHamlet\u003C/u\u003E was admitted to the Salon, but \u003Cu\u003ENana\u003C/u\u003E was rejected. The following works were exhibited at the Salon of 1881: \u003Cu\u003EIn the Conservatory\u003C/u\u003E, \u003Cu\u003EIn a Boat\u003C/u\u003E, and the portraits of [Henri] Rochefort and Proust; and the Cross of the Legion of Honor was conferred on the painter on the 31st of December in that year. Manet died in Paris on the 20th of April 1883. He left, besides his pictures, a number of pastels and engravings. He illustrated \u003Cu\u003ELes Chats\u003C/u\u003E by Champfleury, and Edgar Allan Poe\u0027s \u003Cu\u003EThe Raven\u003C/u\u003E.\u003Cbr /\u003E\u003Cbr /\u003E\u003Cstrong\u003ESee:\u003C/strong\u003E Zola, \u003Cu\u003EManet\u003C/u\u003E (Paris, 1867); E. Bazire, \u003Cu\u003EManet\u003C/u\u003E (Paris, 1884); G. Gejlroy, \u003Cu\u003ELa Vie artistique\u003C/u\u003E (1893). (H. FR.)\u003Cbr /\u003E\u003Cbr /\u003E\u003Cstrong\u003E\u003Cu\u003ESource:\u003C/u\u003E\u003C/strong\u003E Entry on the artist in the \u003Ca href=\u0022http://24.1911encyclopedia.org/M/MA/MANET_EDOUARD.htm\u0022 target=\u0022_blank\u0022\u003E1911 Edition of the Encyclopedia Britannica\u003C/a\u003E.\u003C/p\u003E\r\n\u003Cp\u003E\u0026nbsp;\u003C/p\u003E","Awards":null,"HasAlbums":false,"HasPortraits":true,"HasRelationships":true,"HasArticles":false,"HasDepictedPlaces":true,"HasLetters":false,"HasLibraryItems":true,"HasProducts":true,"HasSignatures":false,"HasVideos":false,"HasMapLocations":true,"TotalArtworks":116}