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 :. | Mery Lauent au chapeau noir Pastel (mk40) | The Cafe Concert | Gare St.Lazare | The Fifer | Le Suicide |
Related Artists:
Merle, Hugues
French, 1823-1881
William Knight Keeling
(1807-1886) was a British (Victorian) artist, an illustrator of Walter Scott's novels and Shakespeare's plays, a founder and the third President of the Manchester Academy of Fine Arts. William Knight Keeling. Love's Messenger. 1856William Knight Keeling was born in Manchester. He was apprenticed to a wood-engraver, and in the 1830s went to London and became an assistant of William Bradley (1801-1857), a Manchester-born portrait painter who moved to London in 1822 and established himself as a portrait painter. However, Keeling returned to Manchester in 1835 and firmly established himself as a popular and respected portrait and figurative painter in oils and watercolour, and a drawing-master. From 1830s, he actively exhibited in Manchester, Liverpool and elsewhere. In 1833, his painting 'The Bird's Nest' was awarded the silver medal from the Royal Manchester Institution. In 1841, he was elected a member of the New Society of Painters in Watercolours where he exhibited about 60 works. In 1859, Keeling became a founder of the Manchester Academy of Fine Arts, and its third president from 1865 to 1877. He was a member of the Manchester Literary Club and the Brasenose Club. In the 1850s, following the notion of the day, he travelled to Spain. This journey gave him new ideas, subjects, and motifs. Delicate details and clear and bright palette inspired by hot colours of the South, are distinctive features of his paintings and watercolours. In 1873, a Manchester newspaper praised one of his watercolours as "an exquisite work, perfectly Spanish". He also was influenced by works by the great Spanish artist Bartolome Esteban Murillo (1617-1682). Murilloes street children can be easily recognised in Keelinges compassionate depictions of poor children, both British and Spanish. His eSpanish Boye exhibited in Manchester in 1876, was described as "a very good example of the careful and accurate method pursued by the artist. He is thoroughly conscientious in all his professional work." In 1851, in London, Keeling married Mary Ann Charker (b.1822). They had four children: Edith (b.1852), Dalton Harper (b.1853), Sidney Charles (b.1859), and Gertrude Ann (b.1862). Keeling died on 21.02.1886 in his house at Barton-upon-Irwell, Manchester. Keeling did not strive for fame and glory, and remained in the background of the artistic life of his time, although many connoisseurs appreciated his works. Several his works have been preserved at Victoria & Albert Museum, London. In the 1870s, Wolverhampton industrialist and collector Sidney Cartwright purchased from a Manchester exhibition a large number of Keelinges works. In 1887, they were given to Wolverhampton Art Gallery which possesses today possibly the largest collection of Keelinges paitings and watercolours in the United Kingdom.
Albert Gallatin Hoit
Albert Gallatin Hoit (December 13, 1809 - December 18, 1856) was an American painter who lived in Boston, Massachusetts. He painted portraits of William Henry Harrison, Daniel Webster and Brenton Halliburton. Hoit was born in Sandwich, New Hampshire, December 13, 1809, to Gen. Daniel Hoit and Sally Flanders. Siblings included William Henry Hoit. Hoit graduated from Dartmouth College in 1829. He married Susan Hanson in 1838; children included Anna M. Hoit. Hoit "devoted his life to portrait painting, first at Portland, Maine, in 1831, and then in Bangor and Belfast, Maine, and St. John's, N.B. until Boston, Mass., became his permanent home in 1839." He also travelled in Europe, "Oct. 1842 to July 1844, ... enjoying the galleries of art in Italy, Paris, and London." He created portraits of Pietro Bachi, Johanna Robinson Hazen, J. Eames, and others. He painted a portrait of Daniel Webster "for Paran Stevens, which hung for years in the Revere House, Boston, and now belongs to the Union League Club, New York." He was affiliated with the Boston Artists' Association; and exhibited at the gallery of the New England Art Union in the 1850s. In 1848, he kept a studio on Tremont Row in Boston, and lived in Roxbury. By 1852, he'd moved his studio to Washington Street. Hoit died in Jamaica Plain, December 18, 1856, at age 47.