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Édouard Manet was
born in Paris on January 3. Manet's family was
well to do. His father, Auguste, wanted him
to follow in a legal career, but Manet wanted
to paint. In the end, he went to Brazil to be
in the Navy. His career took a different turn,
though, when he failed his exams. Instead, he
went to paint under Thomas Couture. Six years
later, Manet left Couture and traveled throughout
Europe, copying the old masters (just like Degas).
His influences were the Spanish painters Velazquez
and de Goya.
Few painters have suffered as controversial
a career as Édouard Manet (1832-1883),
the artist often cited as the founder of modern
painting. His work was bold and unsentimental,
and his contemporaries found it shocking.
Although Manet's work was strikingly different from the other
art of his day, Manet himself was thoroughly schooled in the
work of the old masters. He spent six years studying under Thomas
Couture arduously copying the work of Rembrandt, Titian and
Veldzquez.
Self Portrait
Manet's first success came at the Salon of 1861.
His painting, The Spanish Singer, was
not only accepted, but won an honorable mention.
Nevertheless, there were already those who resisted
Manet's vision. "What poetry in the idiotic
mule-driver figure, in the blank wall, in the
onion and the cigarette butt," wrote one
critic. "What a scourge to society is a
realist painter," wrote another. Despite
the attacks, Manet relished the official recognition
conferred by the Salon, and he would continue
to seek that official blessing throughout his
life.
If Manet's critics had been offended by The Spanish Singer,
they were completely scandalized by Olympia, the nude portrait
Manet considered his masterpiece. Though evocative of Goya and Titian,
Olympia's hardedged realism shocked the audiences of its
day. Rather than presenting a nude as a perfect form or setting
it in a mythological context, Manet offered a bold, frank portrait,
shocking in its perspective and style, of a prostitute waiting for
a client.
Surprisingly, the work was accepted for the Salon of 1865. Audiences
and critics, however, were unprepared for such a work. "Abuses
rain upon me like hail," Manet wrote. His work was reviled
as a "terrible canvas"; his model as "vile"
and "wretched." "The crowd, as at the morgue, presses
together in front of the gamy Olympia." The work displayed
"an almost childish ignorance of the first elements of drawing"
and Manet "a bent for unbelievable vulgarity." A hero
of the avant garde, the artist was accused of being deliberately
provocative.
Manet: The Still-Life Paintings by Henri Loyrette,
Musee D'Orsay, Walters Art Gallery, George L. Mauner –
Hardcover: 200 pages Publisher: Harry N. Abrams (February 1,
2001)
The French artist Édouard Manet was delighted when a client
who purchased his painting of a bunch of asparagus paid more than
the asking price. So he sent a special thank-you—a tiny image
of a single pale spear of the prized vegetable. These and other
lushly painted still lifes of flowers, fruits, and other foodstuffs,
isolated or in groups, form one of the most beguiling aspects
of Manet's output from the 1860s through the early '80s. Manet:
The Still-Life Paintings, the catalog for the exhibition at the
Walters Art Gallery in Baltimore, Maryland, through April 22,
2001, serves as a pleasant introduction to the intimate late work
of the great 19th-century realist. With 106 color reproductions,
including close-up details of brushwork, the modestly scaled volume
makes for a satisfying browse. The most deliciously unexpected
treats are the luminous watercolors of fruit, nuts, or flowers
that Manet interwove with his personal correspondence.
Reader review: As a student of nineteenth century French
painting, I think this may in fact be the finest book ever written
on Parisian painting in the time of Haussmanization. Clark manages
to offer an intelligent Marxist-based claim about class and the
emerging Parisian landscape in the 60's without losing sight of
the paintings themselves. While most scholars feel the genius
of this book lies in his wonderful discussion of "what couldn't
be seen in Olympia", I find the first chapter "Environs
of Paris" equally fascinating in its discussion of Manet's
Exposition Universelle of 1867. A MUST read for any lover of Parisian
history or Manet.
In Manet's Modernism, Michael Fried has set out to see Manet
as his contemporaries would have seen him and to gain a more accurate
reading of Manet's place in history.
Édouard Manetby Vivien Perutz – Hardcover:
237 pages Publisher: Bucknell University Press (July 1993)
This easy, well-executed study on Manet could well become a standard
introduction. Its chief virtue is its organization, presenting
most of the major theories about Manet's work in one large attractive
volume. . . . The author's writing style is straightforward and
essentially free of art historical jargon. This book will disappoint
advanced students, however.
Eunice Lipton was a fledging art historian when she first became
intrigued by Victorine Meurent, the nineteenth-century model who
appeared in Édouard Manet's most famous paintings, only to vanish
from history in a haze of degrading hearsay. But had this bold
and spirited beauty really descended into prostitution, drunkenness,
and early death—or did her life, hidden from history, take
a different course altogether? Eunice Lipton's search for the
answer combines the suspense of a detective story with the revelatory
power of art, peeling off layers of lies to reveal startling truths
about Victorine Meurent—and about Lipton herself.
The Last Flowers of Manet by Robert Gordon, Andrew
Forge, Richard Howard (Translator) – Hardcover: 48 pages
Publisher: Harry N. Abrams (April 1, 1999)
This 1986 volume collects for the first time 17 paintings by the
famous Impressionist painter that are among the last he completed
before his tragic death at age 51. Also included are selections
from Manet's letters and papers plus an essay by Gordon. Though
slim, this beautiful hardcover is a steal. Copyright 1999 Reed
Business Information, Inc
Édouard Manet by Pierre Courthion – Hardcover, 128
pages (April 1984) Harry N Abrams
Édouard Manet was one of the first artists who can truly be called
"modern," combining a highly individual and fresh vision
with tremendous technical virtuosity. Together with the sumptuous
color plates, the text by Manet specialist Pierre Courthion offers
an unforgettable view of the glories of this artist's work.
Manet by Ronald Pickvance – Paperback: 269 pages
Publisher: Fondation Pierre Gianadda (1996) Text: English, French
Manet: Painter of Modern Life
Format:
Format: Color, NTSC
Produced By: Metropolitan Museum of Art
VHS Release Date: June 13, 2000
Run Time: 28 minutes
This colorful program presents the work of the great French Impressionist
in the context of his 19th century world. Manet believed that
a serious painter should explore modern life and his paintings
feature the Paris of his time: its fashionable society, middle
class, and such fellow artists as Baudelaire and Zola, whose writings
provide the narrative for the program.
Graphisme
De Manet II
by Jacques Mathey – Hardcover Publisher: Au Depens De L Auteur
(1963)
Manet and the Sea
by Juliet Wilson-Bareau, David Degener – Hardcover: 288 pages
Publisher: Yale University Press (October 20, 2003)
Édouard Manet (1832-1883) was passionate about the sea. Before
becoming a painter, he spent six months at sea, and, like many
Europeans of his era, he took numerous seaside holidays. Manet
made his public debut as a marine painter at the Paris Salon of
1864 with The Battle of the U.S.S. "Kearsarge" and the
C.S.S. "Alabama," his dramatic depiction of a U.S. Civil
War naval battle off the coast of France, and he continued to
paint seascapes throughout his career. These extraordinary works
clearly reflect his intimate knowledge of and love for maritime
vessels and the sea. Manet and the Sea is the first book
to highlight the French master's beautiful and varied seascapes.
Essays by leading scholars discuss how Manet completely overturned
the established academic conventions of marine painting in France.
His provocative approach was equal to that of his contemporary
Gustave Courbet, and his bold and innovative techniques inspired
many younger artists, including Claude Monet, Berthe Morisot,
James McNeill Whistler, and Pierre-Auguste Renoir. Essays on these
and other artists place their seascapes in relation to Manet's
pictures. This handsomely illustrated and designed book presents
over one hundred paintings and drawings in full color. Anyone
interested in the sea, maritime painting, nineteenth-century French
painting, and particularly the role Manet played in the Impressionist
revolution, will find this an essential book to own.
Manet: A Visionary Impressionist by Henri Lallemand – Hardcover: 144 pages Publisher: New Line Books; New edition
(January 1, 2005)
Reader review: This is a GREAT BOOK!!!! You do not have
to know anything about art history to be able to appreciate
and admire Manet's paintings. Lallemand is a wonderful author.
He portrays his subject in an honest way without condemning
or praising him, letting the reader decide. The thing I like
about the books that Lallemand writes--3 that I know of--is
that they are these oversized coffee table books (144 pages),
filled with info on the artist, and best of all, IN COLOR PAINTINGS
ON EVERY PAGE. This is not like other art books, where the majority
of paintings are in black and white, rather the reader gets
to savor every picture because they are in color. Plus, there
are details and close ups of some of the more famous paintings.
And there are over 100 paintings. (Not tiny pictures either,
whole pages, two pages even, are used to show the paintings.)
[...] I hope everyone who enjoys art owns this book. It is a
joy to look through and see the artistry and mastery of Manet.
The Impressionists: Manet
Format: Color, NTSC
DVD Release Date: February 28, 2006
Run Time: 50 minutes
The Impressionists: Manet
Format:
Color, NTSC
VHS Release Date: September 28, 1999
Run Time: 50 minutes
This entertaining program tells the story of one of the art
world’s most colorful characters. A true maverick and a
highly controversial figure in his day, Édouard Manet became
a father figure to the Impressionist movement because of his
stand against the restrictions and conventions of the French
salon. Manet’s work included the famous A Bar At The Folies-Bergéres.
Despite acceptance by the establishment late in his life, he
died a bitter man.
Twelve Views of Manet's Bar by Bradford Collins (Editor) –
Paperback: 384 pages Publisher: Princeton University Press (March
4, 1996)
Bradford Collins has assembled here a collection of twelve essays
that demonstrates, through the interpretation of a single work
of art, the abundance and complexity of methodological approaches
now available to art historians. Focusing on Manet's A Bar at
the Folies-Bergère, each contributor applies to it a
different methodology, ranging from the more traditional to
the newer, including feminism, Marxism, Lacanian psychoanalysis,
and semiotics. By demonstrating the ways that individual practitioners
actually apply the various methodological insights that inform
their research, Twelve Views of Manet's "Bar" serves
as an excellent introduction to critical methodology as well
as a provocative overview for those already familiar with the
current discourse of art history. In the process of gaining
new insight into Manet's work, and into the discourse of methodology,
one discovers that it is not only the individual painting but
art history itself that is under investigation.
Manet, Monet, and the Gare Saint-Lazare by Juliet
Wilson-Bareau, Juliet Wilson Bareau – Hardcover: 224 pages
Publisher: Yale University Press (March 30, 1998)
Symbolizing energy and progress, the railroad became a focus for
Impressionist painters Manet, Monet, and other artists after the
Franco-Prussian War. Based on new research into the streets and
studios of Paris, this book identifies the site of Manet's picture
Gare Saint-Lazare, contrasts his major works of the 1870s
with earlier key paintings, and situates the artist within his setting
and associates of the time. 60 color and 101 b&w illustrations.
Manet by Himselfby Juliet Wilson Bareall –
Hardcover: 328 pages Publisher: Chartwell Books (September 30,
1995)
Book Sales A delightful tribute to an Impressionist who easily
established himself as a leading figure in the art world can be
found in Manet By Himself. . . . This is a book that enables
us to take a fresh look at an artist whose primary aim was to forget
what he called 'artistic tricks of the trade' in favor of painting
and seeing things afresh.
Manet's lustrous and profoundly psychological paintings bridge
the gap between the traditional and the modern, the formulaic
and the personal, the artificial and the real, but because he
revolutionized art without ever once letting down the facade
of his upper-class propriety, he has been castigated as a moneyed
dandy who didn't really know what he was doing when he painted
his controversial canvases. Biographer Brombert was determined
to bury that misconception once and for all, and she has succeeded
to an exhilarating degree.
A catalogue accompanying an exhibition of work by Édouard
Manet shown at the Philadelphia Museum of Art November 3rd through
December 11th, 1966 and The Art Institute of Chicago January
13th through February 19th, 1967. This was the most extensive
exhibition of his work held in the US until that time. Illustrated
with seven color reproductions in the front and heavily illustrated
with black and white photographs throughout. Bibliography, 205p.
Manet & the Execution of Maximilian by Édouard Manet, John
Elderfield – Paperback: 200 pages Publisher: Museum of Modern
Art (November 15, 2006)
The execution of Emperor Maximilian of Mexico, in 1867, was the
subject of a quartet of paintings by the French Impressionist and
early Modernist Édouard Manet. These works are rarely shown together,
and in fact cannot be seen in their entirety, since one of them
exists only in fragments, but the three intact paintings and the
surviving elements of the fourth are reproduced in this publication,
and will be shown at The Museum of Modern Art’s exhibition
in the fall of 2006. Maximilian's death was an event of great public
interest in France, in part because French policies shared the responsibility
for it. A European aristocrat of the Hapsburg family, Maximilian
had been installed in 1864 after a trio of European powers, led
by Napoleon III of France, mounted an invasion of Mexico to reclaim
debts upon which the Mexican government had suspended payment. But
Napoleon soon withdrew, abandoning Maximilian to his fate at the
hands of a resurgent Mexican army. As news! of the execution reached
Paris, Manet reacted with a group of works synthesizing the information
as it came to him and drawing heavily on an earlier painting inspired
by violent political events, Goya's The Third of May. In
addition to analyzing and documenting the creation of these works,
John Elderfield, in his text, clarifies their historical importance
in the context of modern art, and in so doing, offers a capsular
history of the place of current events in art.
This fascinating book focuses on The Metropolitan Museum of Art’s
recent acquisition, The "Kearsarge" at Boulogne, by Édouard
Manet (1832–1883).
During the American Civil War, when Union forces blocked Confederate
ports, the Confederacy countered by waging guerrilla warfare on
Union merchant shipping. One of the most skilled Confederate raiders
was the sloop-of-war Alabama. On June 19, 1864, the U.S.S. Kearsarge
and the C.S.S. Alabama fought off the coast of Cherbourg, France.
The Alabama sank less than two hours after the first shot was fired.
The battle captured the attention of the French people, and Manet,
who as a teenager had served in the French navy, raced to Boulogne
to see the victorious Kearsarge. He painted a depiction of the battle
(which he did not witness), now in Philadelphia, as well as a portrait
of the Kearsarge, now in the collection of the Metropolitan Museum
of Art.
This volume contains essays about the Metropolitan’s picture
and five additional seascapes painted by Manet in Boulogne during
the summer of 1864. Related works by other artists, photographs,
and newspaper articles are also included.
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Édouard Manet was
born in Paris on January 3. Manet's family was
well to do. His father, Auguste, wanted him
to follow in a legal career, but Manet wanted
to paint. In the end, he went to Brazil to be
in the Navy. His career took a different turn,
though, when he failed his exams. Instead, he
went to paint under Thomas Couture. Six years
later, Manet left Couture and traveled throughout
Europe, copying the old masters (just like Degas).
His influences were the Spanish painters Velazquez
and de Goya.
Manet: The Still-Life Paintings
The Painting of Modern Life: Paris in the Art of Manet and
His Followers
Édouard Manet: Images of Parisian Life (Pegasus Library)
Manet's Modernism: Or, the Face of Painting in the 1860s
Édouard Manet 
Alias Olympia: A Woman's Search for Manet's Notorious Model
& Her Own Desire
The Last Flowers of Manet
Édouard Manet
Manet
Manet: Painter of Modern Life
Format: Color, NTSC 
Manet
and the Modern Tradition
Graphisme
De Manet II
by Jacques Mathey – Hardcover Publisher: Au Depens De L Auteur
(1963)
Manet and the Sea
by Juliet Wilson-Bareau, David Degener – Hardcover: 288 pages
Publisher: Yale University Press (October 20, 2003)
Manet: A Visionary Impressionist
The Impressionists: Manet
Color, NTSC
Twelve Views of Manet's Bar
Manet, Monet, and the Gare Saint-Lazare
Manet by Himself 
Édouard Manet: Rebel in a Frock Coat
Édouard Manet, 1832 - 1883. Philadelphia Museum of Art. November
- December, 1966. Chicago. Art Institute. January - February,
1967
Manet & the Execution of Maximilian
Manet and the American Civil War: The Battle of U.S.S Kearsarge and C.S.S.
Alabama
