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Édouard Manet (UK: / ˈ m æ n eɪ /, US: / m æ ˈ n eɪ, m ə ˈ-/; [1] [2] French: [edwaʁ manɛ]; 23 January 1832 – 30 April 1883) was a French modernist painter. He was one of the first 19th-century artists to paint modern life, as well as a pivotal figure in the transition from Realism to Impressionism.
Manet's Mademoiselle V. in the Costume of an Espada is the product of a combination of influences. The scene in the background is reminiscent of Spanish artist Francisco Goya's series of prints known as the Tauromaquia. Manet borrowed several elements from Goya's elements with little modification.
In Manet's painting, a barmaid gazes out of frame, observed by a shadowy male figure. The whole scene appears to be reflected in the mirror behind the bar, creating a complex web of viewpoints. Wall borrows the internal structure of the painting, and motifs such as the light bulbs that give it spatial depth.
Le Déjeuner sur l'herbe (French: [lə deʒœne syʁ lɛʁb,-ʒøn-]; The Luncheon on the Grass) – originally titled Le Bain (The Bath) – is a large oil on canvas painting by Édouard Manet created in 1862 and 1863.
The Old Musician is an 1862 oil painting on canvas by French painter Édouard Manet, produced during the period when the artist was influenced by Spanish art. The painting also betrays the influence of Gustave Courbet. This work is one of Manet's largest paintings and is now conserved at the National Gallery of Art in Washington, DC. [1]
The work is an early example of Manet's painterly style, inspired by Frans Hals and Diego Velázquez, and it is a harbinger of his lifelong interest in the subject of leisure. The painting influenced Manet's contemporaries – such as Monet, Renoir and Bazille – to paint similar large groups of people.
Portrait of Emile Zola (1868) is an example of the beginning of Japanese arts influence on European art. Manet inserted a full Japanese painting into this painting of Zola, a critique. Along with many painters of the time, Manet was influenced by Japanese art, as part of the broader movement known as Japonisme. [10]
The Dead Man (L'Homme mort; originally entitled The Dead Toreador or Le Torero mort) is an 1860s oil on canvas painting by Édouard Manet, produced during a period in which Manet was strongly influenced by Spanish themes and painters such as Diego Velázquez, Francisco de Goya and bullfighting. [1] On 14 September 1865, Manet wrote to Baudelaire:
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