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Edouard Manet Edouard Manet is regarded as the inventor of modern art and the godfather of Impressionism. He is also the last figure of the great classical art. He wasn't the Impressionist but young painters adopted his dynamic style of painting, sharp natural lighting and bold colouring. Manet was a shocking artist; his career is studded with scandals that he did not seek to create.
He rejected traditional, academic style of painting and conventional themes. He began taking everyday objects and pulling out of those objects new feelings and creations which provoke thought. With broad strokes Manet used a vivid summary technique. Manet adopted bold brush strokes, and emphasized certain characteristics considered unorthodox realism by the church. Pre-Manet paintings had flat and static qualities. He created a new type of painting that made people think, and made art reviewers and members of society angry and confused.
Manet painted what he saw as he saw it, not at all the common view. This concept forced onlookers to take new perspectives on things that had been so solid in their minds. Furthermore, Manet introduced astonishing brightness in his paintings and he used stark contrast. Among the many Edouard Manet paintings are four rather interesting pieces. One of these is The Absinthe Drinker. Created in 1858 - 59, the 71 - X 41 canvas painting features a drunken man leaning against a wall in a dark suit and black hat.
In this painting Manet uses basically dark colours: black, brown and grey. He never abandoned the love of black on which the stark effectiveness of The Absinthe Drinker, his first important picture, had depended. There is not enough space around the man on that picture. The painter definitely makes it on purpose. Maybe in this ways he shows from one side the immorality of the drunker and condemns him for being irresponsible, and from the other side he shows the everyday picture so common to the society of his age. Manet performs his painting in some kind of satirical form.
The way he portrays that man hardly sitting on the banc with a silly smile on his face. But what is the most significant, it is the way Manet paints his sock being the same bright, light colour as the drink he is taking. In this way the author focuses our attention on the misery of a drunk person. Like in the rest of his paintings Manet manages to create so realistic picture. The colours, lines and shapes, everything leads to the thought that this man is real, that he is alive.
The Absinthe Drinker was the first Manet's paintings refused by the Salon in 1963, It has made a great scandal in the world of art at that time, and was the beginning of the Manet's paintings of the Salon de Refugees. One of two most popular and brilliant works of Manet called The Luncheon on the Grass made a great influence on the whole life of the painter. (1863; Luncheon on the Grass; Musee d'Orsay; Oil on canvas, 81 x 101 cm) The active spirit of independance in Impressionism, if not its style, may be considered to date from this famous work, refused by the Salon in 1863 and exhibited, under the title of Le Bain at the Salon des Refuses of the same year. It is the larger of Manet's two versions of the subject, a smaller and freer version being in the Court auld Institute Gallery in London. According to Antonin Proust, the idea of the picture suggested itself to Manet when they were watching bathers at Argenteuil. Manet was reminded of Giorgione's Concert Champetre and determined to repeat the theme in clearer colour and with modern personnel. A closer likeness of composition has been found in an engraving by Marcantonio of a group of river gods, after a now lost original by Raphael of The Judgement of Paris.
An Old Master element of formal arrangement remains to distinguish it from an essentially Impressionist work and yet as well as being ostensibly set in the open there are various hints and suggestions in light and colour of fresh possibilities in open-air painting. The furious outcry it caused as the principal exhibit among the Salon rejects was based on the alleged indecency of two fully-dressed men appearing in the company of the naked female bather. The beauty of this painting is unportrayable. Bright colors, amazing use of lines in order to show the real beauty of womans body, and the use of space make that picture so amazing, that if seen once, it can be hardly forgotten. The author uses lots of space around the main heroes of the picture.
In this way he tries to show the easiness of this situation. Both men and the naked woman feel free while being together, even though they are in public place, even though the woman is naked. It seems to me that neither the men, nor the woman herself realise that she is being naked. They dont pay attention to it, they feel comfortable. They admire the beauty. Two men are holding a conversation, but the woman is being silent.
Even though she is with them, she seems to be somewhere else, out of their topic. She thinks about something, she likes herself. Manet describes a woman as being something light, something bright like an angel. The picture itself lasts much farther than its main heroes. It goes somewhere far, far away. Womans eyes are looking straight on the spectator revealing some kind of mistery of the character of that woman.
Lots of famous painters got inspiration from that great painting. It served an example for many generations of painters in the future. Claude Monet after see this painting even decided to paint his own version of it. The second most beautiful and contradictory painting of Edouard Manet is Olympia. , that provoked the storm of anger and disillusionment in Salon in 1965.
There is a subtlety of modelling in the figure and a delicacy of distinction between the light flesh tones and the white draperies of the couch that his assailants were incapable of seeing. The sharpness of contrast also between model and foreground items and dark background, which added a modern vivacity to the Venetian-type subject, was regarded with obtuse suspicion as an intended parody. The new life of paint and method of treatment in this and the other works by Manet that aroused the fury of his contemporaries had a stimulus to give to the young artists who were eventually to be known as Impressionists. A woman on this painting is portrayed as being something supernatural. She is special, she is a goes. Manet uses the most bright colors while painting the main object of this painting.
Manet chooses to paint a woman of his time, not a feminine ideal, but a real woman, and a courtesan at that. And he paints her in his own manner: in place of the smooth shading of the great masters, his forms are painted quickly, in rough brushstrokes clearly visible on the surface of the canvas. Instead of the carefully constructed perspective that leads the eye deep into the space of the painting, Manet offers a picture frame flattened into two planes. The foreground is the glowing white body of Olympia on the bed; the background is darkness.
The bed and the woman are portrayed in light, mostly white and beige colors, and the rest of the painting, the surrounding is shown in mostly dark colours in order to focus attention mainly on woman. In that painting Manet pays attention to the smallest details of decor, to the smallest flowers on the silken tissue. There is another character on that painting, a negro servant of the woman. The black woman looks at Olympia with some kind of condemnation in her eyes. She cant understand her mistress being nude.
And again as it was on the previous painting beautiful woman looks right in the spectators eyes, as if she is not ashamed of being nude, as if she likes that. Olympia was the gift of a group of art lovers and painters to the Luxembourg in 1890 and was transferred to the Louvre in 1908. And the last painting we are going to discuss is also one of Manet's greatest works called Le Bon Bock. (The Good Pint), created for the Salon of 1873, was widely identified as a French Alsatian patriot drinking his regional beer. The picture came to serve as a popular symbol of the recent loss of the Alsace-Lorraine region by France to the Germans and a liberal political symbol of national introspection. It led French intellectuals to question traditional institutions along with notions of patriotism and national identity. In this painting Manet uses its favorite colors, mostly blue, dark blue, the shades of purple.
The character of the painting is a plump man drinking beer. The author places him on the front and shows nothing besides him. It seems that there is no enough space for anything else on this painting; it seems not even to be enough for the main character. But it is painted this way intentionally in order to focus attention on the drinker himself. Edouard Manet brilliantly uses the power of color and lines in his paintings.
Due to its extraordinary performance the drinker seems to be alive. It seems that in a moment he will rise and say something about that tasty beer he is drinking. So professionally Manet portrays this drinking process, that it becomes obvious how delicious the substance in the Good Pint is. Le Bon Bock was one of those paintings that were accepted by the saloon. Art historians have tried to define Manet by associating his works with various Nineteenth century movements, including Realism, Impressionism, and even Symbolism.
But it is clear that Manet went beyond these art movements and created his own personal style of painting. He was the one who put invaluable contribution into the world collection of masterpieces. The one who opposed his time. Words 1689. Bibliography: Encyclopedia Britannica; Stephen F. Eisen man, Nineteenth Century Art: A critical history; Phoebe Pool, Impressionism, World of Art Series.
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