manet:
-"father" of impressionism
-skeptical of art's ability to communicate
-focuses on material & formal invention
-bohemian status
-attracted to outcasts of society
-attracted to outcasts of society
 |
| le dejeuner sur l'herbe (luncheon on the grass)- manet 1863 modernist medium specificity deliberately problematic/unresolved putting figures together of relations of non-relations woman in back is too large for her position, closeness of hands flatness to woman's flesh, blindingly white brushstrokes not well integrated sketchiness in landscape shatters sense of separateness weird bc naked woman isn't allegorical, just an every day woman shown in the salon of the refused sabotaged harmonizing values & clear unambiguous hierarchies of classical renaissance order |
COMPARE TO:
 |
| fete champetre- titian c. 1510 |
 |
| young ladies on the banks of seine- courbet 1856-57 almost romantic compared to manet's looks like dolls/mannequin/corpse |
_____________
 |
| olympia- manet 1863 flat prostitute- outcast stark flatness, blinding white highlighted by black outlines lack of subtley almost no chiascurro flatness relates to print culture/illustration cat at her feet instead of usual dog flower in her hair = erotic ribbon around her neck = presenting her body as a gift african attendant = racist critiques suggests she is a courtesan (escort, high class) --> offensive to salon viewer; disguises class difference from clients, pretending to be part of a higher class unsubmissive & particular gaze |
COMPARED TO:
 |
| venus of urbino- titian 1538 |
_____________
 |
the old musician- manet
1862
figures seem disassociated, not interacting
|
COMPARED TO:
 |
| gilles- jean-antoine watteau 1718 sticker book quality |
______________
 |
| the absinthe drinker- manet 1859 |
 |
| the ragpicker- manet c. 1865-70 bum = outcast |
 |
| music in the tuileries- manet 1862 draws out strangeness of everyday life, scenes of parisian leisure many faces crudely sketched out nothing in center of canvas can see brushstrokes social observation; frank/honest/unromanticized daring gestures away from academic painting under-defined, murky areas of canvas power of disconnected gazes |
 |
| charles baudelaire- gustave courbet 1849-49 |
 |
| charles badelaire in an armchair- nadar 1855 |
 |
| henri fantin-latour- manet 1867 flaneur- dwaddler, idler, bourgeoisie figure, decoder of aesthetic details |
 |
| emile zola- manet 1867 awareness of print culture of japan reproduction of olympia on wall japanese screen behind the man |
 |
| a bar at the folies bergere- manet c. 1882 the mirror/reflection is off implies that viewer is the man reflected in mirror inscrutable/sad face woman at bar is a real woman named suzon oranges imply that bar-maid is a prostitute "badness" of painting is a choice to add to our sense of unease |
COMPARED TO:
 |
| bal du moulin de la galette- auguste renoir 1876 lightness, laughter |
_________________________________________
 |
| woman w a parasol- constantin guys 1860 |
 |
| rain, steam speed- j.m.w. turner proto-impressionism 1844 inspired by transformations of industrial revolution train exploding through the scene |
 |
| paris before haussmannization architectural transformations |
 |
| georges-eugene haussmann paris after haussmannization 1853-70 widening of boulevards, building new parks, street lights, new water/sewer systems |
 |
| le bon marche first modern department store founded 1852 in paris becomes public, commercial place to be/be seen |
No comments:
Post a Comment