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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.
Olympia is a 1863 oil painting by Édouard Manet, depicting a nude white woman ("Olympia") lying on a bed being attended to by a black maid. The French government acquired the painting in 1890 after a public subscription organized by Claude Monet. The painting is now in the Musée d'Orsay, Paris.
There, White developed an affinity for art and reading. [7] White's mother bought him a set of oil paints when he was seven years old, which hooked White on painting. White also played music as a child, studied modern dance, and was part of theatre groups; however, he stated that art was his true passion. [citation needed]
Christ at Rest, by Hans Holbein the Younger, 1519, a chiaroscuro drawing using pen, ink, and brush, washes, white heightening, on ochre prepared paper. The term chiaroscuro originated during the Renaissance as drawing on coloured paper, where the artist worked from the paper's base tone toward light using white gouache, and toward dark using ink, bodycolour or watercolour.
The painting is covered with a thick layer of yellowed varnish Self-portrait with Plumed Beret: 1629: Oil on panel: 89.7 x 73.5: Isabella Stewart Gardner Museum, Boston: 29: Self-portrait with a Gorget: c. 1629: Oil on panel: 38.2 x 31: Germanisches Nationalmuseum, Nuremberg: 30: The painting is covered by a layer of yellowed varnish and shows ...
Madame Manet at the Piano is a portrait by Édouard Manet of his wife Suzanne (née Leenhoff), painted in 1867-68 and now in the Musée d'Orsay, in Paris. [1] It highlights her talent on the piano ; she had played Wagner to Baudelaire during his last days.
The Metropolitan Museum of Art dates its version, which it calls Venus and the Lute Player, to c. 1565–70 (65 x 82 1/2 inches/165.1 x 209.6 cm), and attributes it to Titian and his workshop. It has been traced from the Cambridge version, and there may well have been a cartoon or a "studio version" for copying kept in Venice. [ 37 ]
The tonal pattern created by the dark garment, the white linen and position of the hand is a compositional feature of the painting. In Leonardo da Vinci 's John the Baptist , elements of the painting, including the corners of the model's eyes and mouth, are disguised by shadow, creating an air of ambiguity and mystery.