HISTORY OF ART MANET LESSON 3 - MR. COADY

HISTORY OF ART MANET LESSON 3 - MR. COADY

Manet Manet was a reluctant revolutionary. Although he longed for official recognition, his irreverent use of Old Master paintings and his switch to harsh contrasts in place of subtle shifts in tone created an outcry in 1863 when he was refused the chance to exhibit at the Salon. Yet some aspects of Manet s education had been conventional. He trained under Couture, a successful old academic painter, and made a careful study of the Old Masters in the Louvre. But Manet was equally impressed by the innovations he saw in Japanese prints, as well as the theories of the poet and art critic Charles Baudelaire, who urged him to become a painter of modern life. Manet followed Baudelaire s advice and some of his early works were effectively modern updates of traditional themes. These were mocked in official circles, but endeared him to a younger group of artists - the future impressionists. Manet declined to exhibit with them, however, believing that genuine success could only be achieved through the Salon. Nevertheless, he experimented with painting outdoors, and his emphasis on modernity became a guiding principle of Impressionism. History of Art - Impressionism

Édouard Manet Lifeline 1832 Born in Paris, the son of a senior civil servant. 1848 Enrols as a cabin-boy, but later fails his naval exams 1850-56 Studies under Thomas Couture 1863 Marries long term mistress, Suzanne Leenhoff 1870 Joins the National Guard during the Franco-Prussian war 1874 Paints with Claude Monet at Argentuil 1881 Awarded the Légion d honneur 1882 Produces his final masterpiece, A Bar at the Folies-Bergere 1883 Dies of syphilis Edouard Manet 1874 Nadar

In this work Manet promotes the Realist idea that art can depict everyday life in a straightforward manner. The naked flesh is not painted in the smooth, idealized style of classical nudes. The naked figure stares out at the viewer in a confrontational manner and there is a notable lack of modesty. Olympia, 1863, 130 x 190cm Édouard Manet

2 Maid 1 4 Naked Female Bouquet of flowers 3 Cat Olympia, 1863, 130 x 190cm Édouard Manet

1 Naked Female The nude figure was considered the highest example of artistic achievement. Olympia was not considered in this way, however because of her status as naked rather than nude. The adornments on her body - especially her jewellery - establish her as a courtesan and therefore she is placed on a baser level than the allegorical figures who were painted in many historical paintings of the romantic era.

Venus of Urbino, 1538, Titian

2 Maid The black female maid is a portrait of a woman named Laura who is used here as a professional model. She stands fully clothed and holding a bunch of flowers most likely from her Mistresses client. Olympia is oblivious to her presence however and the emotional distance is emphasized by their physical separation.

3 Black Cat The black cat is a symbol of superstition and indicates the taboo nature of what is being depicted. It is especially resonant in its placement next to Laura, as it draws attention to the stereotypes of black femininity and sexuality circulating during the time the painting was exhibited.

4 Bouquet of Flowers The bouquet of flowers is a classic symbol of female sexuality and draws attention to this scenario as a highly sexualized one. The pattern of flowers is picked up on the drapery of the divan spread, which further emphasizes her status as a common courtesan.

Déjeuner sur l herbe, 1863 Édouard Manet This is the picture that scandalized Parisian art lovers, turning Manet into an overnight celebrity. The original idea came to him after he saw a woman bathing in the Seine at Argenteuil. This reminded him of a painting in the Louvre (possibly Titians Le Concert Champetre), which he had copied during his student days. Manet submitted it to the 1863 Salon but it was refused. In this particular year, however, the jury had been so severe that an extra exhibition was organized for the rejects. Manet s picture was shown at this Salon des Refusés. Here it provoked a fierce reaction, most of it hostile. 208 x 264cm

Déjeuner sur l herbe, 1863 Édouard Manet Technique Much of the abuse directed against the painting related to its subject matter, but some critics were equally scathing about the artist s technique. They disliked the way that Manet abandoned the traditional academic approach, with its subtle gradations of tone and its enamel-like finish. In its place they felt he had a mania for seeing in blocks, creating overpowering contrasts between light and shade. This seemed to give undue prominence to two of the most controversial aspects of the picture - the nudity of one woman and the size of the other.

Déjeuner sur l herbe, 1863 Édouard ContrastManet Manet liked using strong tonal contrasts. His forms are generally shown in a bright glare of light or else in deep shadow, with little or no transition between the two.

Déjeuner sur l herbe, 1863 Édouard Manet Brush Strokes Manet made little attempt to create a sense of depth in this painting. His rendering of the foliage is rapid and imprecise and in places his paintwork is thin and feathery, prefiguring his work with the impressionists.

Luscious Paintwork Even those who poured scorn on the work, however, found room to praise the still life in the painting. Its execution is far more conventional than other areas of the painting, the careful modeling and the skillful use of light give the fruit and bread a convincing, three-dimensional appearance.

Déjeuner sur l herbe, 1863 Édouard Manet Composition This picture is often cited as an early example of the influence of Japanese prints on Manet s work. The artist does not employ traditional perspective, which has been the cornerstone of Western art since the Renaissance. Instead the scene is composed in bands, leading up to a high horizon. There is no real sense of depth. The figures appear flat and the trees are used to form a screen which curtains off the outside world, apart from a tiny patch of sky.

Déjeuner sur l herbe, 1863, 208 x 264cm Édouard Manet Spatial Grouping The figures are formed loosely into the shape of a pyramid. This is reinforced by the slanting, parallel lines of the man s cane, his male companion s left arm and the nude woman s right leg.

Déjeuner sur l herbe, 1863, 208 x 264cm Édouard Manet Direction Because none of the figures are looking at each other the scene has a sense of unreality. It gives the impression that Manet s figures are cut-outs taken from different sources rather than a group of people at a genuine event.

Déjeuner sur l herbe, 1863, 208 x 264cm Édouard Manet 4 The Finch 2 1 Woman Bathing The Naked Female 3 Frog

The Female Nude The nude woman is Victorine Meurent, one of Manet s favourite models, who had already featured in several of his paintings. She was a feisty character as her imperious gaze suggest. Her complete lack of modesty fuelled the claim that Manet was portraying her as a prostitute. Victorine s pose is extremely awkward, particularly as her elbow does not rest comfortably on her knee.

The Woman Bathing The bather creates a jarring effect. She is too large, both in relation to the boat and to the other figures. Her form is also much too sharp and distinct.

The Frog The little frog, tucked away in the bottom left corner of the picture, is a humorous touch. It would be perfectly logical to find such a figure near a riverbank, but it undermines any notion that this is a serious tribute to a famous Old Master.

The Finch Like the frog, the bird was a whimsical addition to the composition. However it caused a certain amount of controversy because its position was reminiscent of the dove - the traditional symbol of the Holy Ghost - which was often shown at the top of religious paintings, hovering over sacred events.

A Bar at the Folies-Begère, 1863, 96 x 130cm, Édouard Manet This was Manet s swan song, painted when he was seriously ill with syphilis. He no longer had the strength to paint in-situ, so a bar was mocked up in his studio and one of the barmaids came to pose for him there. This explains why the foreground details are in sharp focus while the background, painted from memory, is far hazier. Manet also employed a little artistic license, shifting the girl s reflection to the right, so that it could be seen more clearly.

Glossary al le gor y Noun 1. a story, poem, or picture that can be interpreted to reveal a hidden meaning, typically a moral or political one. al le gor i cal Adjective 1. constituting or containing allegory. "an allegorical painting" synonyms: symbolic, metaphorical, figurative, representative, emblematic res o nance Noun 1. the ability to evoke or suggest images, memories, and emotions. per spec tive Noun 1. the art of drawing solid objects on a two-dimensional surface so as to give the right impression of their height, width, depth, and position in relation to each other when viewed from a particular point.it for a longer time as the processes required to re-emit the light occur less often.

HOMEWORK Due 13/09/13 1. Discuss how Courbet appears to elevate a simple country funeral to the level of a History Painting in A Burial at Ornans. In your answer be sure to include a discussion of his compostition, style and subject matter. Use sketches to illustrate your answer. 1. Describe how Millet created a sense of realism in his painting The Gleaners. In your answer be sure to include a discussion of his compostition, style and subject matter. Use sketches to illustrate your answer.