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IntroductionÉdouard Manet was born in Paris in 1832 to an affluent and well connected family. His mother, Eugénie-Desirée Fournier, was the goddaughter of the Swedish crown prince, Charles Bernadotte, from whom the current Swedish monarchs are descended. His father, Auguste , was a French judge who expected Édouard to pursue a career in law. His uncle, Charles Fournier, encouraged him to pursue painting and often took Edouard to the Louvre. In 1845, following the advice of his uncle, he enrolled in a special course of drawing where he met Antonin Proust, future Minister of Fine Arts, and a subsequent life-long friend.
His Travels
At his father's suggestion, in 1848 he sailed on a training vessel to Rio de Janeiro. After twice failing the examination to join the navy,the elder man relented to his son's wishes to pursue an art education. From 1850 to 1856, Edouard studied under the academic painter Thomas Couture, a painter of large historical paintings. In his spare time he copied the old masters in the Louvre. From 1853 to 1856 he visited Germany, Italy, and the Netherlands, during which time he absorbed the influences of the Dutch painter Frans Hals, and the Spanish artists Diego Velázquez and Francisco José de Goya. (You can buy prints by Manet at All posters; see the search box at the bottom of this page!)
Technique: Loose brush strokesIn 1856, he opened his own studio. His style in this period was characterized by loose brush strokes, simplification of details, and the suppression of transitional tones. Adopting the current style of realism initiated by Gustave Courbet, he painted The Absinthe Drinker (1858-59) and other contemporary subjects such as beggars, singers, Gypsies, people in cafés, and bullfights. After his early years, he rarely painted religious, mythological, or historical subjects; examples include his Christ Mocked, now in the Art Institute of Chicago, and Christ with Angels, in the Metropolitan Museum of Art, New York. (There have been many books written about Manet...you can find them using Amazon search at the bottom of this page!)
Graphic: Luncheon On The Grass 
The Luncheon on the Grass (Le déjeuner sur l'herbe), 1863A major early work is The Luncheon on the Grass (Le déjeuner sur l'herbe). The Paris Salon rejected it for exhibition in 1863, but he exhibited it at the Salon des Refusés (Salon of the rejected) later in the year. Emperor Napoleon III had initiated The Salon des Refusés, after the Paris Salon rejected more than 4,000 paintings in 1863. The painting's juxtaposition of fully-dressed men and a nude woman was controversial, as was its abbreviated, sketch-like handling—an innovation that distinguished Manet from Courbet. At the same time, Manet's composition reveals his study of the old masters, as the disposition of the main figures is derived from Marcantonio Raimondi's engraving Urteil des Paris after his copy from a drawing by Raphael. Scholars also cite as an important precedent for Manet's painting Le déjeuner sur l'herbe, The Tempest which is a famous Renaissance painting by Italian master Giorgione (around 1508). It is housed in the Gallerie dell'Accademia of Venice, Italy. The mysterious and enigmatic painting also features a fully dressed man and a nude female in a rural setting. The man is standing to the left and gazing to the side, apparently at the woman, who is sitting in the grass, partially nude, breastfeeding a baby; darkening clouds and distant lightning herald an approaching storm. The relationship between the two figures is unclear.
Olympia As he had in Luncheon on the Grass, Manet again paraphrased a respected work by a Renaissance artist in the painting Olympia (1863), a nude portrayed in a style reminiscent of early studio photographs, but whose pose was based on Titian's Venus of Urbino (1538). Manet embarked on the canvas after being challenged to give the Salon a nude painting to display. The painting was controversial partly because the nude is wearing some small items of clothing such as an orchid in her hair, a bracelet, a ribbon around her neck, and mule slippers, all of which accentuated her nakedness, comfortable courtesan lifestyle and sexuality. The orchid, upswept hair, black cat, and bouquet of flowers were all recognized symbols of sexuality at the time. This modern Venus' body is thin, counter to prevailing standards; the painting's lack of idealism rankled viewers who noticed it despite its placement, high on the wall of the Salon. The flatness of Olympia is inspired by Japanese wood block art. Her flatness serves to make her more human and less voluptuous. Her body as well as her gaze is unabashedly confrontational. She defiantly looks out as her servant offers flowers from one of her male suitors. Although her hand rests on her leg, hiding her pubic area in a "frog" gesture - also another sex symbol, the reference to traditional female virtue is ironic; a notion of modesty is notoriously absent in this work. The alert black cat at the foot of the bed strikes a sexually rebellious note in contrast to that of the sleeping dog in Titian's portrayal of the goddess in his Venus of Urbino. Manet's uniquely frank (and largely unpopular) depiction of a self-assured prostitute was accepted by the Paris Salon in 1865. At the same time, his notoriety translated to popularity in the French avant-garde community. "Olympia" immediately launched responses. Caricatures, sketches, and paintings, all addressed this nude. Artists such as Picasso, Gauguin, Courbet, Cezanne, all appreciated the painting's significance. As with Luncheon on the Grass, the painting raised the issue of prostitution within contemporary France and the roles of women within society.
Life And Times.
Berthe Morisot, 1872 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 Cézanne, 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-Honoré 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, 1879 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. 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 Gonzalès was his only formal student. Manet was influenced by the Impressionist Movement , 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. Throughout his life, although resisted by art critics, Manet could number as his champions Émile Zola, who supported him publicly in the press, Stéphane Mallarmé, and Charles Baudelaire, who challenged him to depict life as it was. Manet, in turn, drew or painted each of them.
Time for a slide show about some great books and posters........
Cafe Scenes.
The Cafe Concert, 1878Manet's paintings of cafe scenes are observations of social life in nineteenth century Paris. People are depicted drinking beer, listening to music, flirting, reading, or waiting. Many of these paintings were based on sketches executed on the spot. He often visited the Brasserie Reichshoffen on boulevard de Rochechourt, upon which he based At the Cafe in 1878. Several people are at the bar, and one woman confronts the viewer while others wait to be served. Such depictions represent the painted journal of a flâneur. These are painted in a style which is loose, referencing Hals and Velázquez, yet they capture the mood and feeling of Parisian night life. They are painted snapshots of bohemianism, urban working people, as well as some of the bourgeoisie. In Corner of a Cafe Concert, a man smokes while behind him a waitress serves drinks. In The Beer Drinkers a woman enjoys her beer in the company of a friend. In The Cafe Concert, shown at right, a sophisticated gentleman sits at a bar while a waitress stands resolutely in the background, sipping her drink. In The Waitress, a serving woman pauses for a moment behind a seated customer smoking a pipe, while a ballet dancer, with arms extended as she is about to turn, is on stage in the background. Manet also sat at the restaurant on the Avenue de Clichy called Pere Lathuille's, which had a garden as well as the dining area. One of the paintings he produced here was, At Pere Lathuille's, in which a man displays an unrequited interest in a woman dining near him. In Le Bon Bock, a large, cheerful, bearded man sits with a pipe in one hand and a glass of beer in the other, looking straight at the viewer.
Racing at Longchamp, 1864.Manet also painted the upper class enjoying more formal social activities. In Masked ball at the Opera, Manet shows a lively crowd of people enjoying a party. Men stand with top hats and long black suits while talking to women with masks and costumes. He included portraits of his friends in this picture. Manet depicted other popular activities in his work. In Racing at Longchamp, an unusual perspective is employed to underscore the furious energy of racehorses as they rush toward the viewer. In Skating Manet shows a well dressed woman in the foreground, while others skate behind her. Always there is the sense of active urban life continuing behind the subject, extending outside the frame of the canvas. In View of the International Exhibition, soldiers relax, seated and standing, prosperous couples are talking. There is a gardener, a boy with a dog, a woman on horseback—in short, a sample of the classes and ages of the people of Paris.
Manet Book Review
I found this great book about Manet's Parisian Paintings called
The Painting of Modern Life: Paris in the Art of Manet and his Followers Wonderful Posters......Hope you like this.. The search box will take you to Allprints where you can see the artist's work in more detail; even framed on a wall! Isn't technology amazing?
Books up close.....
Armand Guillaumin
Didn't find what you're looking for? Try these!
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Paintings Of Social Activities.
by T.J. Clark. (If you click on the text link it will take you to Amazon where you can find out more..)
Also, I found an interesting book review by "NKB" which I think describes the book well. (This book would make a good gift, I think!)