Edouard Manet

‘On or about December 1910,’ Virginia Woolf wrote in her 1923 essay, Mr Bennett and Mrs Brown, ‘human character changed.’ Woolf was writing in response to an exhibition held in 1910 at London’s Grafton Galleries called Manet and the Post-Impressionists organised by the critic Roger Fry. For Woolf, the introduction of the work of Edouard Manet and the artists he influenced to the British public announced the end of the old restrictive order of realist representation. It was the birth, not just of modern art, but the modern world.

Edouard Manet, like Woolf, was born into a conservative, haute-bourgeois background. The son of a respected French civil servant who wanted the young Edouard to go into law, Manet eventually escaped parental opposition to his painting and trained under Thomas Couture in Paris. There he began studying the Old Masters, particularly the great Spanish painters, Velázquez and Goya, whose work was to profoundly influence him.

Throughout Manet’s career, the conservatism of his background would remain in constant conflict with his visionary talent. The Salon still ruled the Parisian art world of the mid-1800s and, though a growing avant-garde was beginning to see it as a restrictive, moralising force, Manet strove continuously for its favour.

His work, however, was often too revolutionary for the establishment; masterpieces such as Le Déjeuner sur l’Herbe (1863) and Olympia (1863), both ironic reinventions of Old Master compositions, were either rejected or openly vilified for what was seen as their shameless modernity.

Nevertheless, Manet’s unique vision and progressive style attracted important support from the avant-garde. Charles Baudelaire and Emile Zola publicly defended his work and, by the late 1860s, a younger generation of artists was being influenced by him.

Manet would never exhibit with the Impressionists, a group his name has since become synonymous with, many of whom became his friends. But towards the end of his life, the movement that he himself inspired had begun to influence him in return. Late works such as Le Printemps (1881) and A Bar at the Folies-Bergère (1882) are both extraordinary examples of Manet’s own unique style and masterpieces of Impressionism.

EDOUARD MANET (1832-1883)

Le Grand Canal à Venise

爱德华·马奈 (1832-1883)

《丁香与玫瑰》

EDOUARD MANET (1832-1883)

Le bal de l'Opéra

Edouard Manet (1832-1883)

La jetée de Boulogne

爱德华·马奈 (1832-1883)

《落潮时的海滩》

EDOUARD MANET (1832-1883)

Jeune femme au chapeau blanc

Édouard Manet (1832-1883)

Portrait de Madame Jules Guillemet

EDOUARD MANET (1832-1883)

Tête du chien "Bob"

EDOUARD MANET (1832-1883)

Jeune fille en chapeau d'été

Édouard Manet (1832-1883)

Julie Manet à quinze mois

Edouard Manet (1832-1883)

Jeune femme au livre

ÉDOUARD MANET (1832-1883)

Le chien 'Donki'

Édouard Manet (1832-1883)

Chaussons de danse

Edouard Manet (1832-1883)

Le gamin et le chien

Edouard Manet (1832-1883)

Toréador saluant, tambour de basque

Edouard Manet (1832-1883)

Chrysanthèmes

Edouard Manet (1832-1883)

Tête de jeune homme, d'après l''"Autoportrait" de Fra Filippo Lippi

Edouard Manet (1832-1883)

Quatre personnages au théâtre

ÉDOUARD MANET (1832-1883)

Têtes de chiens

Edouard Manet (1832-1883)

Mademoiselle Juliette Dodu

Edouard Manet (1832-1883)

Lettre à Isabelle Lemonnier

EDOUARD MANET (1832-1883)

Théodore de Banville écrivant et fumant la cigarette

Édouard Manet (1832-1883)

Le pont de l'Europe, étude pour " Le chemin de fer" (recto/verso)

EDOUARD MANET (1832-1883)

The Execution of Maximilian (Harris 54)

EDOUARD MANET (1832-1883)

Trente Eaux-fortes originales

EDOUARD MANET (1832-1883)

Edgar Allen Poe, Le Corbeau , R. Lesclide, Paris, 1875.

Edouard Manet (1832-1883)

Tête de femme

EDOUARD MANET (1832-1883)

Le Chanteur Espagnol (Le Guitarero)

EDOUARD MANET

Les petits gitanos (G. 20; H. 17)

EDOUARD MANET (1832-1883)

Le Chanteur Espagnol (Le Guitarero)

Edouard Manet (1832-1883)

Le Chanteur Espagnol (Le Guitarero) (Guerin 16; Harris 12)

EDOUARD MANET (1832-1883)

Berthe Morisot

Edouard Manet

Le Chanteur Espagnol (Le Guitarero) (G. 16; H. 12)

Edouard Manet

Olympia (G. 39; H. 53)

Edouard Manet (1832-1883)

Polichinelle (Guerin 79, Harris 80)

JACQUES VILLON (1875-1963)

Le déjeuner sur l'herbe, after Edouard Manet (Ginestet & Pouillon E668)

Edouard Manet

Le Gamin (G. 27; H. 31)