Word: manet
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...painting to patch up quarrels, round up shows, hold together the impressionists as a group. Because he remained in the midstream of the art movements of his day. experimenting with each new movement and sponsoring innovations, his works lacked the distinctive quality that makes his contemporaries, Degas, Monet, Manet, Renoir and Cezanne, recognizable at a glance...
France's 19th century Impressionist Painter Berthe Morisot (sister-in-law of Edouard Manet) had little or nothing to do with Ireland's ages-long fight for freedom. She was merely one of many painters whose works were fancied by the wealthy Dublin connoisseur and art dealer, Sir Hugh Lane. But Ireland's grievances against Great Britain are many, and not the least of them concern the French impressionist pictures that once belonged to Sir Hugh...
Oswald Spengler. that grand and gloomy chronicler of The Decline of the West, once remarked that Edouard Manet (1832-83) was the last gasp of great Western painting. What Spengler failed to see was that Manet was not an end but a beginning. With a single picture, displayed at the Paris Salon of 1865, Manet fueled an artistic revolution that has shaped the course of modern art, for better or for worse, for nearly a century. At the core of the whole hurly-burly that rages through the art world today is the artistic proposition raised by Manet...
Naked Paint. When Manet sent his picture to the Salon, the model's nakedness was what seemed to shock the public. But the nakedness of the painting itself was what shocked Manet's fellow artists. Instead of presenting a suitably posed, blurred and idealized nude to the public gaze, Manet presented something like truth in the form of a naked French girl, nakedly translated into so many square inches of paint on canvas. As a straight representation of a scene. Olympia is obvious and commonplace. But as a composition in form and color, it is a masterpiece. With...
This viewpoint holds for all the great French masters from Manet to Picasso, and still carries dynamite. It gives the artist the prerogative of subordinating the subject of his picture to the painting itself. It also opens the door to distortion and abstraction-the twin angels, or demons, of modern painting...