Word: manet
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...Manet's Lunch on the Grass [May 9] and his arrangement of the three figures is even more classical than he probably ever suspected. Raimondi's or Raphael's Judgment of Paris is lifted directly from a Roman late 2nd century A.D. sarcophagus or coffin relief of similar subject, which since the late 16th century has been walled up in a prominent place on the garden facade of the Villa Medici in Rome. This sarcophagus relief influenced the work of other artists who saw it before or after its arrival in that garden still much frequented...
...circle of converts, a group of Philadelphia newspaper illustrators who made Henri's studio their rendezvous. There, between amateur theatricals, impromptu concerts and Welsh-rarebit feasts, Henri preached a two-fisted approach to painting, drove home his lessons with references to the exciting "modern" works of Courbet and Manet-plus such old masters as Frans Hals, Rembrandt, Goya and Velásquez. Soon his eager listeners, including such star pupils as William Glackens, Everett Shinn. George Luks and John Sloan, were spending their off hours carrying out Henri's advice: "Forget about art and paint pictures of what...
...catch "the living instant," and he often said his goal was "to paint the greatest portrait in the world in 30 minutes." His robust bravura can still hold the spectator's eye. But today Henri's surface effects seem thin and superficial, less revolutionary than mannered Manet...
...contemporary art world's judgments had a highly moral tone precisely because Manet's picture did not. In France of the Second Empire, bigness was associated with grandeur. A canvas the size of Manet's Lunch, people thought, should have some edifying theme, whether classical, historical or religious. To express mere joie de vivre on such a large scale was just awful...
Bats & Patches. But Manet's manner was even more revolutionary than his matter. He ignored the traditional chiaroscuro, the rich interplay of light and shadow, that was Giorgione's chief strength. Giorgione modeled every form with exquisite subtlety and bathed all together in soft, golden light. Manet's traditional contemporaries tried to do the same, and failed, getting a gloomy, tobacco-juice effect. But people were used to it, and found their way about in the sunless brown caves of contemporary painting as readily as bats. The "transparent atmosphere" that Manet had striven for and achieved...