Édouard Manet - Wikipedia
The artists we know today as Impressionists—Claude Monet, August Renoir, Edgar Berthe Morisot was a friend of both Degas and Manet (she would marry . Manet vs Monet comparison. Édouard Manet and Claude Monet were notable French impressionist painters of the 19th century. Paintings Here are some of. Countries of Europe: Logic Quiz5, · Those 12 Flags: Food1, · Words Within Words 'I' Blitz1, · Find the US States - No Outlines Minefield1, · Find .
He often visited the Brasserie Reichshoffen on boulevard de Rochechourt, upon which he based At the Cafe in Several people are at the bar, and one woman confronts the viewer while others wait to be served. They are painted snapshots of bohemianismurban working peopleas well as some of the bourgeoisie.
In Corner of a Cafe Concert, a man smokes while behind him a waitress serves drinks. In The Beer Drinkers a woman enjoys her beer in the company of a friend. In The Cafe Concert, shown at right, a sophisticated gentleman sits at a bar while a waitress stands resolutely in the background, sipping her drink. In The Waitress, a serving woman pauses for a moment behind a seated customer smoking a pipe, while a ballet dancer, with arms extended as she is about to turn, is on stage in the background.
Manet also sat at the restaurant on the Avenue de Clichy called Pere Lathuille's, which had a garden in addition to the dining area. In Le Bon Bocka large, cheerful, bearded man sits with a pipe in one hand and a glass of beer in the other, looking straight at the viewer.
Paintings of social activities[ edit ] The Races at LongchampManet painted the upper class enjoying more formal social activities.
The Difference Between Monet and Manet | BitLesson
In Masked Ball at the Opera, Manet shows a lively crowd of people enjoying a party. Men stand with top hats and long black suits while talking to women with masks and costumes. He included portraits of his friends in this picture.
His painting The Luncheon was posed in the dining room of the Manet house. Manet depicted other popular activities in his work. In The Races at Longchampan unusual perspective is employed to underscore the furious energy of racehorses as they rush toward the viewer. In Skating, Manet shows a well dressed woman in the foreground, while others skate behind her. Always there is the sense of active urban life continuing behind the subject, extending outside the frame of the canvas. In View of the International Exhibition, soldiers relax, seated and standing, prosperous couples are talking.
There is a gardener, a boy with a dog, a woman on horseback—in short, a sample of the classes and ages of the people of Paris.
Monet or Manet? Quiz
The Execution of Emperor Maximilian Museum of Fine Arts, Boston. The least finished of three large canvases devoted to the execution of Maximilian I of Mexico.
The Barricade Civil War, ink, watercolor, and gouache on paper, Museum of Fine Arts Budapest Manet's response to modern life included works devoted to war, in subjects that may be seen as updated interpretations of the genre of "history painting". Neither the paintings nor a lithograph of the subject were permitted to be shown in France.
Courbet of the Paris Commune. Manet stayed away from Paris, perhaps, until after the semaine sanglante: A similar piece, The Barricade oil on plywoodis held by a private collector. But there is at least one consolation in our misfortunes: Paris[ edit ] Manet depicted many scenes of the streets of Paris in his works. The Rue Mosnier Decked with Flags depicts red, white, and blue pennants covering buildings on either side of the street; another painting of the same title features a one-legged man walking with crutches.
Again depicting the same street, but this time in a different context, is Rue Mosnier with Pavers, in which men repair the roadway while people and horses move past.
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The setting is the urban landscape of Paris in the late 19th century. Using his favorite model in his last painting of her, a fellow painter, Victorine Meurentalso the model for Olympia and the Luncheon on the Grass, sits before an iron fence holding a sleeping puppy and an open book in her lap. Next to her is a little girl with her back to the painter, watching a train pass beneath them. Instead of choosing the traditional natural view as background for an outdoor scene, Manet opts for the iron grating which "boldly stretches across the canvas"  The only evidence of the train is its white cloud of steam.
In the distance, modern apartment buildings are seen. This arrangement compresses the foreground into a narrow focus. The traditional convention of deep space is ignored. Historian Isabelle Dervaux has described the reception this painting received when it was first exhibited at the official Paris Salon of Caricaturists ridiculed Manet's picture, in which only a few recognized the symbol of modernity that it has become today". Boating, now in the Metropolitan Museum of Art, exemplifies in its conciseness the lessons Manet learned from Japanese prints, and the abrupt cropping by the frame of the boat and sail adds to the immediacy of the image.
In he began receiving hydrotherapy treatments at a spa near Meudon intended to improve what he believed was a circulatory problem, but in reality he was suffering from locomotor ataxiaa known side-effect of syphilis. Afterwards he limited himself to small formats. His last paintings were of flowers in glass vases. So, for example, while Julie is obviously very fond and admiring of Renoir, she does not appear to let this colour her remarkably candid first-hand observations of his conversations and behaviour.
The Dreyfus Affair In the s, many people in France were feeling defensive, insecure, xenophobic and nationalistic. After its ignominious defeat in the Franco-Prussian warand the consequent loss of Alsace and Lorraine, France had been severely shaken by the violence associated with the Paris Commune. There were also continuing fears of further wars with its neighbours, Germany and England.
In these circumstances, some French people were more than ready to find someone to blame for their misfortunes. Jews formed a highly visible target, with their prominence in French public, financial and intellectual life. Against this volatile background, evidence came to light that indicated that someone in the French army was giving secret information to the Germans.
Suspicion fell on Captain Alfred Dreyfus, a talented, prosperous but not very popular career officer Fig 5. Dreyfus was also Jewish.
In lateafter a hasty investigation, he was convicted of high treason and publicly degraded before a jeering crowd crying crude anti-Jewish insults .
Evidence emerged suggesting that another officer, Major Esterhazy, was the real culprit and there had been fabrication of evidence at a high level. People in France became increasingly — and often violently — split in their views, with friend arguing against friend, neighbour against neighbour and family against family Fig 6. Loyalties were severely tested. At one extreme, people who were right-wing, ultra-nationalist, Catholic and anti-Jewish tended to be against Dreyfus.
At the other extreme, those who were left-wing, intellectual, secular or Jewish tended to be Dreyfus supporters. However, as so many factors were involved, many people fell somewhere in between, and in any event there were many exceptions on either side .
In the top drawing, all is calm, and the host warns "above all, let us not discuss the Dreyfus Affair! Shortly after, in the bottom drawing, everyone is fighting. Note the unfortunate dog, lower right. Zola vehemently claimed that the army had engaged in a massive cover-up, and called on the government to re-open the entire case.
He was promptly convicted of criminal libel and, to avoid imprisonment, fled to England . But the pressure forced the new government to order a new trial for Dreyfus.
Yet again, Dreyfus was found guilty, but as a political compromise, was pardoned and set free. Zola's open letter "J'Accuse!
Me exhibit with a gang of Jews and Socialists? You must be mad! His son interprets that as a waggish though misguided attempt to lead Degas on . As the editors of the diary point out she regularly records Renoir as expressing a variety of anti-Jewish views. Julie's views on the Affair What then was the attitude of Julie herself?
As a young, orphaned girl, Julie could be expected to be strongly influenced by the views of the people whom she admired and loved.
Ernest Rouart, a fellow artist who would become her future husband, also came from a strong anti-Dreyfus family and, according to Degas, was even involved in hitting a Dreyfusard at a political meeting . In the diary, Julie does not actually mention the Affair untilwhen she was This final aside is a revealing comment, and is typical of how many French people felt at the time.
It followed that a contest between the reputation of the army and the reputation of Dreyfus could have only one result — Dreyfus must be guilty.