30 Facts About Manet


Manet was one of the first 19th-century artists to paint modern life, as well as a pivotal figure in the transition from Realism to Impressionism.

FactSnippet No. 1,183,250

The last 20 years of Manet's life saw him form bonds with other great artists of the time; he developed his own simple and direct style that would be heralded as innovative and serve as a major influence for future painters.

FactSnippet No. 1,183,251

Edouard Manet was born in Paris on 23 January 1832, in the ancestral hotel particulier on the Rue des Petits Augustins to an affluent and well-connected family.

FactSnippet No. 1,183,252

In 1845, at the advice of his uncle, Manet enrolled in a special course of drawing where he met Antonin Proust, future Minister of Fine Arts and subsequent lifelong friend.

FactSnippet No. 1,183,253

From 1853 to 1856, Manet visited Germany, Italy, and the Netherlands, during which time he was influenced by the Dutch painter Frans Hals and the Spanish artists Diego Velazquez and Francisco Jose de Goya.

FactSnippet No. 1,183,254

The Paris Salon rejected it for exhibition in 1863, but Manet agreed to exhibit it at the Salon des Refuses which was a parallel exhibition to the official Salon, as an alternative exhibition in the Palais des Champs-Elysee.

FactSnippet No. 1,183,255

Manet employed model Victorine Meurent, his wife Suzanne, future brother-in-law Ferdinand Leenhoff, and one of his brothers to pose.

FactSnippet No. 1,183,256

Manet embarked on the canvas after being challenged to give the Salon a nude painting to display.

FactSnippet No. 1,183,257

Manet's defiantly looks out as her servant offers flowers from one of her male suitors.

FactSnippet No. 1,183,258

Manet painted his wife in The Reading, among other paintings.

FactSnippet No. 1,183,259

Manet appears as the boy carrying a tray in the background of The Balcony .

FactSnippet No. 1,183,260

Manet became the friend and colleague of Morisot in 1868.

FactSnippet No. 1,183,261

Manet's is credited with convincing Manet to attempt plein air painting, which she had been practicing since she was introduced to it by another friend of hers, Camille Corot.

FactSnippet No. 1,183,262

Unlike 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.

FactSnippet No. 1,183,263

Nevertheless, when Manet was excluded from the International Exhibition of 1867, he set up his own exhibition.

FactSnippet No. 1,183,264

Manet was influenced by the Impressionists, especially Monet and Morisot.

FactSnippet No. 1,183,265

Manet painted many outdoor pieces, but always returned to what he considered the serious work of the studio.

FactSnippet No. 1,183,266

Manet often visited the Brasserie Reichshoffen on boulevard de Rochechourt, upon which he based At the Cafe in 1878.

FactSnippet No. 1,183,267

Manet sat at the restaurant on the Avenue de Clichy called Pere Lathuille's, which had a garden in addition to the dining area.

FactSnippet No. 1,183,268

Manet painted the upper class enjoying more formal social activities.

FactSnippet No. 1,183,269

Manet's 1868 painting The Luncheon was posed in the dining room of the Manet house.

FactSnippet No. 1,183,270

Interest next was the French intervention in Mexico; from 1867 to 1869 Manet painted three versions of the Execution of Emperor Maximilian, an event which raised concerns regarding French foreign and domestic policy.

FactSnippet No. 1,183,271

Manet depicted many scenes of the streets of Paris in his works.

FactSnippet No. 1,183,272

Boating, now in the Metropolitan Museum of Art, exemplifies in its conciseness the lessons Manet learned from Japanese prints, and the abrupt cropping by the frame of the boat and sail adds to the immediacy of the image.

FactSnippet No. 1,183,273

Manet completed his last major work, A Bar at the Folies-Bergere, in 1882, and it hung in the Salon that year.

FactSnippet No. 1,183,274

Manet's known extant works, as catalogued in 1975 by Denis Rouart and Daniel Wildenstein, comprise 430 oil paintings, 89 pastels, and more than 400 works on paper.

FactSnippet No. 1,183,275

Roughly painted style and photographic lighting in Manet's paintings was seen as specifically modern, and as a challenge to the Renaissance works he copied or used as source material.

FactSnippet No. 1,183,276

Manet rejected the technique he had learned in the studio of Thomas Couture – in which a painting was constructed using successive layers of paint on a dark-toned ground – in favor of a direct, alla prima method using opaque paint on a light ground.

FactSnippet No. 1,183,277

Manet's work is considered "early modern", partially because of the opaque flatness of his surfaces, the frequent sketch-like passages, and the black outlining of figures, all of which draw attention to the surface of the picture plane and the material quality of paint.

FactSnippet No. 1,183,278

Manet was a pioneer, again with Courbet, in the rejection of humanistic and historical subject-matter, and shared with Degas the establishment of modern urban life as acceptable material for high art.

FactSnippet No. 1,183,279