Eduard Manet Paintings
Early life and works
douard was the son of Auguste Manet, the chief of personnel at the Ministry of Justice, and Eugénie-Désirée Fournier. From 1839 he was a day pupil at Canon Poiloup's school in Vaugirard, where he studied French and the classics. From 1844 to 1848 he was a boarder at the Collge Rollin, then located near the Panthéon. A poor student, he was interested only in the special drawing course offered by the school.
Although his father wanted him to enroll in law school, douard could not be persuaded to do so. When his father refused to allow him to become a painter, he applied for the naval college but failed the entrance examination. He therefore embarked in December 1848 as an apprentice pilot on a transport vessel. Upon his return to France in June 1849, he failed the naval examination a second time, and his parents finally yielded to their son's stubborn determination to become a painter.
In 1850 Manet entered the studio of the classical painter Thomas Couture. Despite fundamental differences between teacher and student, Manet was to owe to Couture a good grasp of drawing and pictorial technique. In 1856, after six years with Couture, Manet set up a studio that he shared with Albert de Balleroy, a painter of military subjects. There he painted The Boy with Cherries (c. 1858) before moving to another studio, where he painted The Absinthe Drinker (1859). In 1856 he made short trips to The Netherlands, Germany, and Italy. Meanwhile, at the Louvre he copied paintings by Titian and Diego Velázquez and in 1857 made the acquaintance of the artist Henri Fantin-Latour, who was later to paint Manet's portrait.
During this period, Manet also met the poet Charles Baudelaire, at whose suggestion he painted Concert in the Tuileries Gardens (1862). The canvas, which was painted outdoors, seems to assemble the whole of Paris of the Second Empire—a smart, fashionable gathering composed chiefly of habitués of the Café Tortoni and of the Café Guerbois, which was the rendezvous of the Batignolles artists. As he created the work, passersby looked with curiosity at this elegantly dressed painter who set up his canvas and painted in the open air. At the Salon of 1861, Manet exhibited Spanish Singer (1860), dubbed “Guitarero” by the French man of letters Théophile Gautier, who praised it enthusiastically in the periodical Le Moniteur universel.
Mature life and works
From 1862 to 1865 Manet took part in exhibitions organized by the Martinet Gallery. In 1863 Manet married Suzanne Leenhoff, a Dutch woman who had given him piano lessons and had given birth to his child before their marriage. That same year the jury of the Salon rejected his Déjeuner sur l'herbe, a work whose technique was entirely revolutionary, and so Manet instead exhibited it at the Salon des Refusés (established to exhibit the many works rejected by the official Salon). Although inspired by works of the Old Masters—Giorgione's Pastoral Concert (c. 1510) and Raphael's Judgment of Paris (c. 1517–20)—this large canvas aroused loud disapproval and began for Manet that “carnival notoriety” from which he would suffer for most of his career. His critics were offended by the presence of a naked woman in the company of two young men clothed in contemporary dress; rather than seeming a remote allegorical figure, the woman's modernity made her nudity seem vulgar and even threatening. Critics were also upset by how these figures were depicted in a harsh, impersonal light and placed in a woodland setting whose perspective is distinctly unrealistic.
At the Salon of 1865, his painting Olympia, created two years earlier, caused a scandal. The painting's reclining female nude gazes brazenly at the viewer and is depicted in a harsh, brilliant light that obliterates interior modeling and turns her into an almost two-dimensional figure. This contemporary odalisque—which the French
In recent fashion shows, I have noticed that designers seem to be borrowing Berthe’s dark coat and dark hat combination, in a rather interesting late 19th century form. In Hermés’ Spring 2011 RTW collection, which had a mixture of both an old western theme with a Manet-era sentiment, they put out women in black hats paired with all black ensembles. Moschino’s Spring 2011 RTW also was characterized by hats, though starkly white, in contrast to their dark tailored suits, jackets, or evening gowns (similar to those of Hermés). Runway models in both shows looked like modernized versions of Berthe Morisot, taking inspiration from her dark tailored jacket and hat, but appropriating them for the runway. For Hermés, this update is accomplished through the play between opaque and sheer, chiffon and leather/patent leather. For Moschino, it is a matter of texture, using tweed for the jacket, as well as changing the hat to more of a cowboy shape in a shocking white. Nonetheless, both looks capture Manet’s painting in a truly remarkable fashion, showing us how we can incorporate older, perhaps outdated fashions into our daily wear (Moschino on the left, Hermés on the right).
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