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2. Édouard Manet - Wikipedia

   en.wikipedia.org/wiki/Édouard_Manet

   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.

3. List of paintings by Édouard Manet - Wikipedia

   en.wikipedia.org/wiki/List_of_paintings_by...

   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 ...

4. Argenteuil (Manet) - Wikipedia

   en.wikipedia.org/wiki/Argenteuil_(Manet)

   Argenteuil is an 1874 oil on canvas painting by Édouard Manet (1832-1883), first exhibited at the Paris Salon of 1875. [1] [2] It is one of Manet's first works to be regarded as a fully Impressionist painting due to its naturalistic style and its bold palette. [3]

5. The Funeral (painting) - Wikipedia

   en.wikipedia.org/wiki/The_Funeral_(painting)

   The Funeral (1867-1870) by Édouard Manet. The Funeral (French – L'Enterrement) is an 1867–1870 oil on canvas painting by Édouard Manet, now in the Metropolitan Museum of Art in New York. Incomplete, its style is very close to that of Effect of Snow on Petit-Montrouge and The Exposition Universelle of 1867 (Rouart, Widenstein 1975 no. 123).

6. The Railway - Wikipedia

   en.wikipedia.org/wiki/The_Railway

   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.

7. A Bar at the Folies-Bergère - Wikipedia

   en.wikipedia.org/wiki/A_Bar_at_the_Folies-Bergère

   For his painting, Manet posed her in his studio. By including a dish of oranges in the foreground, Manet identifies the barmaid as a prostitute, according to art historian Larry L. Ligo, who says that Manet habitually associated oranges with prostitution in his paintings. [7] T. J.