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Manet
Rayon : Art Editeur : Flammarion Date de parution : 1967 Description : In-12, 40 pages + 85 pages de reproductions couleurs, occasion, bon état. Envois quotidiens du mardi au samedi. Les commandes sont adressées sous enveloppes bulles. Photos supplémentaires de l'ouvrage sur simple demande. Réponses aux questions dans les 12h00. Librairie Le Piano-Livre. Merci. Référence catalogue 12530. Please let us know if you have any questions. Thanks
- GenresArt
116 pages, Paperback
First published January 1, 1985
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Displaying 1 - 3 of 3 reviews
July 18, 2009
Edouard Manet (not to be confused with Monet!) is a major French artist. This little volume, authored by Sandra Orienti, provides a fine introduction to this artist. The book begins with a discussion of his life (he was born in 1832 in Paris) to his death in 1883, as he was still working on a painting. Then, a discussion of his works. A comment by Degas after Manet's funeral says much (Page 7): "He was greater than we ever thought."
Manet rejected convention, and this created problems for him, especially earlier in his career, although he faced challenges throughout his entire life. Some would simply not accept his artistic products. He moved away from the conventional artistic form of the time and developed an alternative form. Again, the author notes (Page 7): "His so-called realism is an obvious trap, appearing as it does to re-incarnate Courbet and his circle; in fact, this realism springs from his free interpretation of visible objects and his desire to transcend the outward appearance of the object in order to possess it completely. . . ." Even though he rebelled against norms and did not conquer the art world, he did have powerful allies, including his friend Charles Baudelaire. And while he was supportive of impressionists, he was not himself an impressionist (although one can see some elements of impressionism in his later works here and there).
In the late 1870s, a disease that affected his extremities made painting much more difficult, and he moved to other media (pencil and pastels) that could accommodate his declining physical powers.
Toward the end of his life, he did display some bitterness toward the lack of recognition of the art world for his work. While he did have his supporters (as already noted), he certainly did not conquer the art world. Indeed, he had disappointing shows in the United States, where his work also did not receive great approbation.
The final couple pages of text provide information about art critics' views of Manet.
But one of the neatest features of this book is the color reproductions of some of his key works, from works appearing in 1858-1859 to late works completed in 1882-1883. It is especially interesting to follow the evolution of his style from early to late. I am hardly an expert in art, but I find it most enlightening to trace the trajectory of his career through his paintings.
Manet rejected convention, and this created problems for him, especially earlier in his career, although he faced challenges throughout his entire life. Some would simply not accept his artistic products. He moved away from the conventional artistic form of the time and developed an alternative form. Again, the author notes (Page 7): "His so-called realism is an obvious trap, appearing as it does to re-incarnate Courbet and his circle; in fact, this realism springs from his free interpretation of visible objects and his desire to transcend the outward appearance of the object in order to possess it completely. . . ." Even though he rebelled against norms and did not conquer the art world, he did have powerful allies, including his friend Charles Baudelaire. And while he was supportive of impressionists, he was not himself an impressionist (although one can see some elements of impressionism in his later works here and there).
In the late 1870s, a disease that affected his extremities made painting much more difficult, and he moved to other media (pencil and pastels) that could accommodate his declining physical powers.
Toward the end of his life, he did display some bitterness toward the lack of recognition of the art world for his work. While he did have his supporters (as already noted), he certainly did not conquer the art world. Indeed, he had disappointing shows in the United States, where his work also did not receive great approbation.
The final couple pages of text provide information about art critics' views of Manet.
But one of the neatest features of this book is the color reproductions of some of his key works, from works appearing in 1858-1859 to late works completed in 1882-1883. It is especially interesting to follow the evolution of his style from early to late. I am hardly an expert in art, but I find it most enlightening to trace the trajectory of his career through his paintings.
May 20, 2024
belle introduction à la vie et à l'ouvre de manet. malheuresement, mon intérêy pour l'artiste s'arrête ici, vu qu'il n'est pas génial, ces peintures ont un air d'absence, manque d'imagination. ces natures mortes sont les plus réussi, et un seul portrait, le bar aux folies bergère.
February 16, 2020
“A complex man trying to simplify art.”
Displaying 1 - 3 of 3 reviews