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 :. | A Bar at the Folies Bergere | Portrait of a Man | Bunch of Asparagus | The Railway,Gare Saint-Lazare | modellen pa |
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Frederick Mccubbin
Australian Painter, 1855-1917 By the early 1880s, his work began to attract considerable attention and won a number of prizes from the National Gallery, including a 30-pound first prize in 1883 in their annual student exhibition, and by the mid-1880s began to concentrate more on the works of the Australian bush which made him most famous. In 1883, he received first prize in the first annual Gallery students' exhibition, for best studies in colour and drawing. In 1888, he became instructor and master of the School of Design at the National Gallery. In this position he taught a number of students who themselves became prominent Australian artists, including Charles Conder and Arthur Streeton. He continued to paint through the first two decades of the 20th century, though by the beginning of World War I his health began to fail. He travelled to England in 1907 and visited Tasmania, but aside from these relatively short excursions lived most of his life in Melbourne. McCubbin married Annie Moriarty in March, 1889. They had seven children, of whom their son Louis also became an artist. In 1901 McCubbin and his family moved to Mount Macedon, where he was inspired by the surrounding bush and has experimented with the light and its effects on colour in nature. In 1912,