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Art Institute of Chicago: Jesus Insulted by the Soldiers: 1865: 190.8 × 148.3 cm: Art Institute of Chicago: Bullfight: 1865 / 1866: 90 × 110 cm: Musée d'Orsay (Paris) Bullfight – Death of the Bull: 1865 / 1866: 48 × 60.4 cm: Art Institute of Chicago: The Matador Saluting: 1866 / 1867: 171.1 × 113 cm: Metropolitan Museum of Art (New York ...
In style this painting represented Manet's closest approach to impressionism. Croquet at Boulogne, 1871. Nelson-Atkins Museum of Art, Kansas City. In 1871, Manet had painted another work with the same name — La partie de croquet — which has been translated as Croquet at Boulogne and, in Manet: A Model Family, as The Croquet Party.
Valéry compared Manet's painting to Vermeer's Girl with a Pearl Earring: "I do not rank anything in Manet's work higher than a certain portrait of Berthe Morisot dated 1872". Manet sold or gave the painting to collector and art critic Théodore Duret. Morisot herself acquired the painting in 1894, paying 5,100 francs in the sale of Duret's ...
The House at Rueil (La maison du Rueil) is the title of two oil-on-canvas paintings by Édouard Manet completed in 1882. The paintings depict a view of the house where Manet and his family stayed for a few months before his death. The two versions are almost identical, but one is in landscape format, and the other is portrait format.
La Nymphe surprise, or Surprised Nymph, is a painting by the French painter Édouard Manet, created in 1861. The model was Suzanne Leenhoff, a pianist whom he married two years later. The painting is a key work of Manet's, marking the beginning of a new period in his artistic career and generally in the history of modernism in French painting.
Claude Monet Painting in his Studio or Monet in his Boat is an 1874 oil on canvas painting by Édouard Manet. It shows his friend Claude Monet painting in his 'studio-boat' with his wife. This was an old boat Monet had bought around 1871 or 1872, from which he observed the light on the Seine – Daubigny also had a studio-boat called the Bottin ...
The bunch of asparagus lies on a base of green leaves that reach from the left side to the lower right corner of the picture. Manet's biographer Théodore Duret speaks of a "lit d'herbes vertes" (bed of green leaves). [3] For the art historian Mikael Wivel, Manet presented the asparagus in the same way a greengrocer would display his goods. [4]
The Railway, widely known as Gare Saint-Lazare, is an 1873 painting by Édouard Manet. It is the last painting by Manet of his favourite model, the fellow painter Victorine Meurent, who was also the model for his earlier works Olympia and the Luncheon on the Grass. It was exhibited at the Paris Salon in 1874, and donated to the National Gallery ...
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