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 :. | Le Suicide | The Execution of Emperor Maximilian | A Bar at the Folies-Bergere (mk09) | Die Verspottung Christi | Bouquet of Peonies |
Related Artists:
Jan Polack
Jan Polack Johannes Po(l)lack (Hanns Polagk, Polegk), (Latin: Ioannes Polonus) (between 1435 and 1450 (possibly in Krakew) - 1519 in Munich) was a 15th-century painter. From his nickname it is assumed that he might have worked in Krakew. From the mid-1470s on, he lived and worked in Munich, having previously been in Franconia. He may have taken part in the 1475 festival of the Landshut Wedding of Jadwiga Jagiellon and George of Bavaria. In 1480 he opened his own shop in Munich. Starting in 1482 he is listed on the tax records of Munich, also as leader of the local painter guild. He visited with Michael Wohlgemuth and his art was influenced by him and by that of Veit Stoss and Hans Pleydenwurff as well as by collaboration with the woodcutter Erasmus Grasser. Documents mention many works of his which are now lost. His most important remaining work is the Weihenstephan altarpiece (1483 - 1485), now at the Alte Pinakothek in Munich.
CARPACCIO, Vittore
Italian High Renaissance Painter, ca.1450-1525
Phillips, Thomas
English, 1770-1845 From a respectable but impoverished family, he left school aged 13 to be apprenticed to Francis Eginton of Birmingham, a glass painter and early pioneer in reproduction by a 'photographic method'. The chiaroscuro effects of this process were a lasting influence on Phillips's style. In 1790 he moved to London to study at the Royal Academy and simultaneously assisted in Benjamin West's studio. He exhibited at the Royal Academy from 1794 to 1844 and was elected ARA in 1804, RA in 1808 and Professor of Painting in succession to Henry Fuseli from 1825 to 1832.