Word: manet
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...Matisse was on the verge of becoming a lawyer when--like Degas and Manet before him--he abandoned the law to paint. Matisse came to Paris in 1891 and found it vibrating with artistic activity. Seurat and Van Gogh had died only a few years before and Monet, Renoir, Degas, Cezanne, Lautrec, Redon, Henri Rousseau, and Rodin were very much alive and active in the city. During his first years in Paris, Matisse studied with Gustave Moreau who was unprejudiced against experimental art even though known work was a continuation of Delacroix along traditional lines. With Moreau's encouragement, Matisse...
Contributing to the total sales of $4,141,600 for 136 works were record prices set for paintings by the Impressionist Edouard Manet and the post-Impressionist Paul Gauguin. Manet's 1866 portrait of a pipe-puffing man, The Smoker, brought $450,000. Gauguin's 1893 scene of a moon-goddess idol, Hma Marum, fetched $275,000 The highest price knocked down by a living artist was $78,000, for a 1949 marriage fantasy by Marc Chagall (TIME cover, July...
...Klee, Delaunay and Kandinsky. But to represent pre-1900 painting, there were barely half a dozen oils. The Thannhauser gift now adds 21 works predating the 20th century, including six Van Goghs, one Degas, and three more Cézannes. Among newcomers to the museum are Daumier, Manet and Pissarro...
Soon, at artists' get-togethers in Manhattan's Eighth Street Club, Rivers was maintaining, "History doesn't disgust me. Old masters are my favorite painters." Manet's famous Déjeuner sur I'Herbe, in which nude models picnic contentedly with their fully dressed and well-known men about Paris, particularly attracted him. Rivers decided to achieve the same shock value; he persuaded his elderly mother-in-law, Berdie, to pose for 20 exacting, and mostly nude, examinations of anatomy. The result was almost as great a scandal as Washington...
...Johns's images share one common denominator: initially they are flat, two-dimensional subject matter. Most modern art since Manet has brought three-dimensional images closer and closer to the picture plane, like noses pressed against a window pane. Johns is totally uninterested in the game of perspective; his interest is in the surface of the canvas and in putting instantly recognizable symbols through rigorous permutations. He slathers and slurries his images with a random, painterly stroke reminiscent of the abstract expressionists. He rubs sterile graphic images in an artist's saucy delight of texture...