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 :. | La Barque de Dante,d'apres Delacroix (mk40) | Roses | Le dejeuner dans l'atelier (mk40) | Corbeille de poires (mk40) | Olympia |
Related Artists:
Johannes Bosboom
(born The Hague, February 18, 1817 - died there September 14, 1891) was a Dutch painter and watercolorist of the Hague School, known especially for his paintings of church interiors. At the age of 14 he became a student of Bartholomeus van Hove and painted in his studio along with Van Hove's son Hubertus van Hove. Together they worked on the pieces of scenery that Van Hove created for the Royal Theatre in The Hague. In addition, Bosboom took lessons from 1831 to 1835 and again from 1839 to 1840 in the Hague Academy of Art. Here he also made the acquaintance of Antonie Waldorp and Wijnand Nuyen. The young Bosboom traveled to Germany in 1835 to Dusseldorf, Cologne and Koblenz and painted the watercolor View of the Mosel Bridge at Koblenz. This painting was purchased by Andreas Schelfhout, who became his confidante and friend. In 1939 he traveled to Paris and Rouen and received a silver medal for View of the Paris Quay and the Cathedral at Rouen. He also painted a number of church interiors, a relatively traditional genre in which the seventeenth century artists Pieter Saenredam and Emanuel de Witte served as important examples. Bosboom had a great deal of success with these pieces, and for the rest of his career he would repeatedly return to this theme, which was the one in which he would achieve his greatest fame. Bosboom's choice of subject matter may seem to isolate him from the rest of the Hague School, but his search for ways to reproduce the spatial atmosphere through light, shadow, and nuances of color places him in the very mainstream of this group. In 1873, during a stay in Scheveningen, he painted many watercolors of town views, the dunes, the beach and the sea. It is possible that these watercolors encouraged Hendrik Willem Mesdag and Jacob Maris to concentrate further on the sea and beach as subjects.
Albert goodwin,r.w.s
1845-1932 English painter. During the early 1860s Goodwin studied with Arthur Hughes and Ford Madox Brown, who predicted that his pupil would become 'one of the greatest landscape painters of the age'. Hughes and Brown impressed on Goodwin the Pre-Raphaelite principles of high finish, vivid colour and working directly from nature that inform his early landscape style,
William Allen Wall
1801-1885