Edouard Manet
French Realist/Impressionist Painter, 1832-1883
The roughly painted style and photographic lighting in these works was seen as specifically modern, and as a challenge to the Renaissance works Manet copied or used as source material. His work is considered 'early modern', partially because of the black outlining of figures, which draws attention to the surface of the picture plane and the material quality of paint.
He became friends with the Impressionists Edgar Degas, Claude Monet, Pierre-Auguste Renoir, Alfred Sisley, Paul Cezanne, and Camille Pissarro, through another painter, Berthe Morisot, who was a member of the group and drew him into their activities. The grand niece of the painter Jean-Honor?? Fragonard, Morisot's paintings first had been accepted in the Salon de Paris in 1864 and she continued to show in the salon for ten years.
Manet became the friend and colleague of Berthe Morisot in 1868. She is credited with convincing Manet to attempt plein air painting, which she had been practicing since she had been introduced to it by another friend of hers, Camille Corot. They had a reciprocating relationship and Manet incorporated some of her techniques into his paintings. In 1874, she became his sister-in-law when she married his brother, Eugene.
Self-portrait with palette, 1879Unlike the core Impressionist group, Manet maintained that modern artists should seek to exhibit at the Paris Salon rather than abandon it in favor of independent exhibitions. Nevertheless, when Manet was excluded from the International exhibition of 1867, he set up his own exhibition. His mother worried that he would waste all his inheritance on this project, which was enormously expensive. While the exhibition earned poor reviews from the major critics, it also provided his first contacts with several future Impressionist painters, including Degas.
Although his own work influenced and anticipated the Impressionist style, he resisted involvement in Impressionist exhibitions, partly because he did not wish to be seen as the representative of a group identity, and partly because he preferred to exhibit at the Salon. Eva Gonzal??s was his only formal student.
He was influenced by the Impressionists, especially Monet and Morisot. Their influence is seen in Manet's use of lighter colors, but he retained his distinctive use of black, uncharacteristic of Impressionist painting. He painted many outdoor (plein air) pieces, but always returned to what he considered the serious work of the studio.
Manet enjoyed a close friendship with composer Emmanuel Chabrier, painting two portraits of him; the musician owned 14 of Manet's paintings and dedicated his Impromptu to Manet's wife.
Throughout his life, although resisted by art critics, Manet could number as his champions Emile Zola, who supported him publicly in the press, Stephane Mallarme, and Charles Baudelaire, who challenged him to depict life as it was. Manet, in turn, drew or painted each of them. Related Paintings of Edouard Manet :. | Kearsarge at Bologne | Portrait d Alpbonse Maureau | Portrait of Georges Clemenceau | Portrait of Berthe Morisot | Vue prise pres de la Place Clichy | Related Artists: Ludwig Emil Grimm1790-1863,German draughtsman, engraver and painter. He was a brother of the philologists and fairy-tale collectors Jakob Grimm (1785-1863) and Wilhelm Grimm (1786-1859). He attended the Kunstakademie in Kassel from 1805 to 1807. He then moved to Munich to study with the engraver Carl Ernst Hess (1755-1828), and he became a student at the Akademie der Bildenden Kenste there. He revealed a talent for portraiture in numerous sketches of his family and friends. In 1814 he served with the Prussian army in the military campaign against France, then completed his studies in Munich. In 1816 he visited Italy, Karl NordstromSwedish Painter, 1855-1923
was a Swedish painter and one of the leading members of Konstnärsförbundet, which he chaired from 1896 until its dissolution in 1920. Born on Gotland, but growing up on Tjörn on the Swedish West Coast, Nordström studied at principskolan, the preparatory school of the Royal Academy of Arts in Stockholm and the private painting school of Edvard Perseus, but was never promoted to the "Antique school" of the Academy but had to continue on his own. Traveling to Paris in 1881, he was influenced by the impressionists. He spent a couple of years in Grez-sur-Loing, the site of an important colony of Scandinavian artists, practising his plein air painting in the strong French sunlight. In 1885, he joined the group of young artists protesting against the policies and leadership of the Academy, and he was ever since 1886 one of the leading members of Konstnärsförbundet, the formalization of the opposition group. He was its chairman from 1896 until its dissolution in 1920. In 1886, he married xylographer and photographer Tekla Lindeström in Paris. Later the same year, he settled on Tjörn, using what he had learnt in France about light and colours to depict the landscape where he had grown up. He spent the summer of 1889 in Visby. Around 1890, he moved from his earlier impressionism towards a more synthetist style. His influences came from Japanese art, which he had encountered in Paris, and from Gauguin, whose paintings he first saw in photographs he had received from Ivan Agueli. One of Nordström's old friends from the time at the Academy and in Perseus' school, Nils Kreuger, had lived in the city of Varberg since 1888. He convinced Nordström to move there in 1892, and they were joined by another of their old friends, Richard Bergh, in 1893. Anton Graff1736-1813
Swiss
Anton Graff Gallery
Swiss painter, active in Germany. He was a pupil of Johann Ulrich Schellenburg (1709-95) in Winterthur and continued his training with Johann Jakob Haid in Augsburg between 1756 and 1765. He worked for the court painter Leonhard Schneider (1716-62) in Ansbach from 1757 to 1759, producing large numbers of copies of a portrait of Frederick the Great (probably by Antoine Pesne). This was an important step in furthering his career, as were the months he spent in Regensburg (1764-5) painting miniatures of clerics and town councillors. He was court painter to the Elector Frederick-Christian of Saxe-Weimar in Dresden from 1766 and taught at the Hochschule der Bildende K?nste there. In 1771 he travelled to Berlin, where he painted portraits of Jakob Mendelssohn, Gotthold Ephraim Lessing and J. G. Sulzer. Sulzer introduced him at court, which resulted in many commissions. He was invited several times to teach at the Akademie der K?nste in Berlin, but he remained in Dresden. He often travelled to Leipzig, and in summer he frequently went to Teplitz (now Teplice, Czech Republic) and Karlsbad (now Karlovy Vary, Czech Republic); he also worked in Berlin on several occasions and returned to Switzerland for visits.
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