1.
Piano
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The piano is an acoustic, stringed musical instrument invented around the year 1700, in which the strings are struck by hammers. It is played using a keyboard, which is a row of keys that the performer presses down or strikes with the fingers and thumbs of both hands to cause the hammers to strike the strings. The word piano is a form of pianoforte, the Italian term for the early 1700s versions of the instrument. The first fortepianos in the 1700s had a sound and smaller dynamic range. An acoustic piano usually has a wooden case surrounding the soundboard and metal strings. Pressing one or more keys on the keyboard causes a padded hammer to strike the strings. The hammer rebounds from the strings, and the continue to vibrate at their resonant frequency. These vibrations are transmitted through a bridge to a soundboard that amplifies by more efficiently coupling the acoustic energy to the air, when the key is released, a damper stops the strings vibration, ending the sound. Notes can be sustained, even when the keys are released by the fingers and thumbs and this means that the piano can play 88 different pitches, going from the deepest bass range to the highest treble. The black keys are for the accidentals, which are needed to play in all twelve keys, more rarely, some pianos have additional keys. Most notes have three strings, except for the bass that graduates from one to two, the strings are sounded when keys are pressed or struck, and silenced by dampers when the hands are lifted from the keyboard. There are two types of piano, the grand piano and the upright piano. The grand piano is used for Classical solos, chamber music and art song and it is used in jazz. The upright piano, which is compact, is the most popular type, as they are a better size for use in private homes for domestic music-making. During the nineteenth century, music publishers produced many works in arrangements for piano, so that music lovers could play. The piano is widely employed in classical, jazz, traditional and popular music for solo and ensemble performances, accompaniment, with technological advances, amplified electric pianos, electronic pianos, and digital pianos have also been developed. The electric piano became an instrument in the 1960s and 1970s genres of jazz fusion, funk music. The piano was founded on earlier technological innovations in keyboard instruments, pipe organs have been used since Antiquity, and as such, the development of pipe organs enabled instrument builders to learn about creating keyboard mechanisms for sounding pitches
2.
Clark Art Institute
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The Sterling and Francine Clark Art Institute, commonly referred to as the Clark, is an art museum and research institution located in Williamstown, Massachusetts, United States. Its collection consists of European and American paintings, sculpture, prints, drawings, photographs, the Clark, along with the Massachusetts Museum of Contemporary Art and the Williams College Museum of Art, forms a trio of art museums in the Berkshires. The institute also serves as a center for research and higher learning and it is home to various research and academic programs, which include the Fellowship Program and the Williams College Graduate Program in the History of Art. The Clark was created by entrepreneur, soldier, explorer, and prominent art collector Robert Sterling Clark, after numerous adventures in the Far East, Sterling settled in Paris in 1911 and used a considerable fortune inherited from his grandfather to begin amassing a private art collection. Francine joined him in collecting works of art after their marriage in 1919, the Clarks kept their collection largely private, rarely lending out any works. With the onset of the Cold War and rapid nuclear armament and they wanted to protect their collection from a possible attack on New York City, where they lived and where the expected heir of their collection, the Metropolitan Museum of Art, was located. As such, the Clarks began looking at sites in rural New York and they visited Williamstown, Massachusetts in 1949 and began having conversations with town leaders and the administrators of Williams College and the Williams College Museum of Art. Sterling had ties to the college through his grandfather and father, a charter for the Clark was signed on March 14,1950 and the Institute opened to the public on May 17,1955 under its first director, former silver dealer Peter Guille. The Clark has since become a destination for tourists, art lovers, the original marble gallery building, designed by Daniel Deverell Perry, opened in 1955. The Pietro Belluschi-designed Manton Research Center, housing the library and research programs, was completed in 1973, the Clark embarked on a long-term project in 2001 to improve its campus, enlisting the help of landscape firm Reed Hildebrand and architects Tadao Ando and Annabelle Selldorf. Reed Hilderbrand redesigned the campus grounds, revamping nearby walking trails, planting 1,000 trees, Tadao Ando designed two additions, the Lunder Center at Stone Hill and the 42, 600-square-foot Clark Center, which opened in 2008 and 2014, respectively. Envisioned as a sanctuary in the woods waiting to be discovered and it is also home to the Williamstown Art Conservation Center, the largest regional conservation center in the country. Situated northwest of the Museum Building, the stone, concrete, Annabelle Selldorf was commissioned to renovate the campus’ existing structures. In the 1955 original marble building, galleries for American and decorative art were added, in the Manton Research Center, which reopened in 2016, the auditorium and central courtyard were renovated and several galleries and a study center were created. Its renovation marked the completion of the Clark’s all-encompassing expansion project, the Research and Academic Program is the manifestation of the Clark’s original commitment to academic research and scholarly study. The program began in the late 1990s with the establishment of the Clark Library, the Research and Academic Program also awards between ten and sixteen Clark Fellowships a year, ranging in duration from four weeks to ten months. Clark Fellowships allow promising scholars, critics, and museum officials opportunities for research outside of their professional obligations, located on the Clark Campus, the program draws on and works closely with the art history resources of both institutions. The interactive nature of the programs reflects the mission of the Clark to advance the public understanding of art’s transformative power
3.
Williamstown, Massachusetts
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Williamstown is a town in Berkshire County, in the northwest corner of Massachusetts, United States. It shares a border with Vermont to the north and New York to the west and it is part of the Pittsfield, Massachusetts Metropolitan Statistical Area. The population was 7,754 at the 2010 census, a college town, it is home to Williams College, the Clark Art Institute and the Tony-awarded Williamstown Theatre Festival, which runs every July and August. Originally called West Hoosac, the area was first settled in 1749, prior to this time its position along the Mohawk Trail made it ideal Mohican hunting grounds. Its strategic location bordering Dutch colonies in New York led to its settlement, fort West Hoosac, the westernmost blockhouse and stockade in Massachusetts, was built in 1756. The town was incorporated in 1765 as Williamstown according to the will of Col. Ephraim Williams and he bequeathed a significant sum to the town on the condition that it were named after him and started a free school. In 1791, the opened, but only lasted a short time as a free school before becoming Williams College in 1793. The primary industry was agriculture, particularly dairy farming, sheep herding, sawmills and gristmills operated by water power at the streams. With the Industrial Revolution larger mills were added, including the Walley Mill and Williamstown Manufacturing Company, with the opening of the railroad, tourists arrived. Several inns and hotels were established, including the Idlewild Hotel, in the late 1930s and 1940s, E. Parmelee Prentice and his wife Alta, the daughter of John D. Rockefeller, created Mount Hope Farm. With a mansion designed by James Gamble Rogers, it was one of the experimental farms in the country. Today, it belongs to Williams College, which remains the largest employer in town. According to the United States Census Bureau, the town has an area of 46.9 square miles, of which 46.8 square miles is land and 0.12 square miles. Located in the Berkshires, Williamstown is drained by the Hoosic River, Williamstown is the northwesternmost town in Massachusetts. The town is bordered on the north by Pownal, Vermont, on the east by Clarksburg, North Adams and Adams, on the south by New Ashford and Hancock, the town proper lies southwest of the confluence of the Green River and the Hoosic River. To the west, the Taconic Range lines the N. Y. state border and is where Taconic Trail State Park is located, the highest point in town is at 3,320 feet above sea level, just 0.2 miles west of the summit of Greylock. The Appalachian Trail skirts the town twice, near the southeast corner of town, to the northeast, Pine Cobble lies along the Clarksburg town line, and to the north lies the Green Mountain National Forest in Vermont. U. S. Route 7 passes from north to south through the town, crossing into Vermont to the north and New Ashford to the south
4.
The Balcony (painting)
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The Balcony is an 1868 oil painting by the French painter Édouard Manet and was exhibited at the Paris Salon of 1869. On the left is Berthe Morisot, who became in 1874 the wife of Manets brother, in the centre is the painter Jean Baptiste Antoine Guillemet. On the right is Fanny Claus, a violinist, the fourth figure, partially obscured in the interiors background, is possibly Leon Leenhoff, Manets son. The painting was sold by Gustave Caillebotte in 1884 and is kept at the Musée dOrsay. The painting, inspired by The Majas at the balcony by Francisco Goya, was created at the same time, the boy in the background is Manets son, Léon. Just behind the railings, there are a hydrangea and a dog with a ball, a preparatory study for The Balcony, The Portrait of Mademoiselle Claus, resides in the Ashmolean Museum in Oxford. The portrait’s subject is Fanny Claus, the closest friend of Manet’s wife Suzanne Leenhoff and this unfinished portrait was painted as a study for the finished canvas. Following Manet’s premature death in 1883, the portrait was bought in a sale by the great artist John Singer Sargent. The press considered the painting as discordant, the contrast of colors contributes to create an atmosphere of mystery. Impressionism, an exhibition, the Metropolitan Museum of Art, December 12, 1974-February 10,1975
5.
Edgar Degas
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Edgar Degas was a French artist famous for his paintings, sculptures, prints, and drawings. He is especially identified with the subject of dance, more than half of his works depict dancers and he is regarded as one of the founders of Impressionism, although he rejected the term, preferring to be called a realist. He was a draftsman, and particularly masterly in depicting movement, as can be seen in his rendition of dancers, racecourse subjects. His portraits are notable for their complexity and for their portrayal of human isolation. At the beginning of his career, Degas wanted to be a history painter, in his early thirties, he changed course, and by bringing the traditional methods of a history painter to bear on contemporary subject matter, he became a classical painter of modern life. Degas was born in Paris, France, into a wealthy family. He was the oldest of five children of Célestine Musson De Gas, a Creole from New Orleans, Louisiana, and Augustin De Gas and his maternal grandfather Germain Musson, was born in Port-au-Prince, Haiti of French descent and had settled in New Orleans in 1810. Degas began his schooling at age eleven, enrolling in the Lycée Louis-le-Grand and his mother died when he was thirteen, and his father and grandfather became the main influences on him for the remainder of his youth. Degas began to paint early in life, by the time he graduated from the Lycée with a baccalauréat in literature in 1853, at age 18, he had turned a room in his home into an artists studio. Upon graduating, he registered as a copyist in The Louvre Museum, Degas duly enrolled at the Faculty of Law of the University of Paris in November 1853, but applied little effort to his studies. In April of that year Degas was admitted to the École des Beaux-Arts and he studied drawing there with Louis Lamothe, under whose guidance he flourished, following the style of Ingres. In July 1856, Degas traveled to Italy, where he would remain for the three years. In 1858, while staying with his aunts family in Naples and he also began work on several history paintings, Alexander and Bucephalus and The Daughter of Jephthah in 1859–60, Sémiramis Building Babylon in 1860, and Young Spartans around 1860. In 1861 Degas visited his childhood friend Paul Valpinçon in Normandy and he exhibited at the Salon for the first time in 1865, when the jury accepted his painting Scene of War in the Middle Ages, which attracted little attention. The change in his art was influenced primarily by the example of Édouard Manet, upon the outbreak of the Franco-Prussian War in 1870, Degas enlisted in the National Guard, where his defense of Paris left him little time for painting. During rifle training his eyesight was found to be defective, after the war, Degas began in 1872 an extended stay in New Orleans, Louisiana, where his brother René and a number of other relatives lived. Staying at the home of his Creole uncle, Michel Musson, on Esplanade Avenue, Degas produced a number of works, many depicting family members. One of Degass New Orleans works, A Cotton Office in New Orleans, garnered favorable attention back in France, Degas returned to Paris in 1873 and his father died the following year, whereupon Degas learned that his brother René had amassed enormous business debts
6.
Louvre
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The Louvre or the Louvre Museum is the worlds largest museum and a historic monument in Paris, France. A central landmark of the city, it is located on the Right Bank of the Seine in the citys 1st arrondissement, approximately 38,000 objects from prehistory to the 21st century are exhibited over an area of 72,735 square metres. The Louvre is the second most visited museum after the Palace Museum in China. The museum is housed in the Louvre Palace, originally built as a fortress in the late 12th century under Philip II, remnants of the fortress are visible in the basement of the museum. Due to the expansion of the city, the fortress eventually lost its defensive function and. The building was extended many times to form the present Louvre Palace, in 1692, the building was occupied by the Académie des Inscriptions et Belles Lettres and the Académie Royale de Peinture et de Sculpture, which in 1699 held the first of a series of salons. The Académie remained at the Louvre for 100 years, during the French Revolution, the National Assembly decreed that the Louvre should be used as a museum to display the nations masterpieces. The museum opened on 10 August 1793 with an exhibition of 537 paintings, because of structural problems with the building, the museum was closed in 1796 until 1801. The collection was increased under Napoleon and the museum renamed Musée Napoléon, the collection was further increased during the reigns of Louis XVIII and Charles X, and during the Second French Empire the museum gained 20,000 pieces. Holdings have grown steadily through donations and bequests since the Third Republic, whether this was the first building on that spot is not known, it is possible that Philip modified an existing tower. According to the authoritative Grand Larousse encyclopédique, the name derives from an association with wolf hunting den, in the 7th century, St. Fare, an abbess in Meaux, left part of her Villa called Luvra situated in the region of Paris to a monastery. This territory probably did not correspond exactly to the modern site, the Louvre Palace was altered frequently throughout the Middle Ages. In the 14th century, Charles V converted the building into a residence and in 1546, Francis acquired what would become the nucleus of the Louvres holdings, his acquisitions including Leonardo da Vincis Mona Lisa. After Louis XIV chose Versailles as his residence in 1682, constructions slowed, however, on 14 October 1750, Louis XV agreed and sanctioned a display of 96 pieces from the royal collection, mounted in the Galerie royale de peinture of the Luxembourg Palace. Under Louis XVI, the museum idea became policy. The comte dAngiviller broadened the collection and in 1776 proposed conversion of the Grande Galerie of the Louvre – which contained maps – into the French Museum, many proposals were offered for the Louvres renovation into a museum, however, none was agreed on. Hence the museum remained incomplete until the French Revolution, during the French Revolution the Louvre was transformed into a public museum. In May 1791, the Assembly declared that the Louvre would be a place for bringing together monuments of all the sciences, on 10 August 1792, Louis XVI was imprisoned and the royal collection in the Louvre became national property
7.
Ambroise Vollard
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Ambroise Vollard was a French art dealer who is regarded as one of the most important dealers in French contemporary art at the beginning of the twentieth century. He was also an art collector and publisher. Born in Saint-Denis, Réunion, he was raised in the French Indian Ocean colony. After his matura in La Réunion, he went to study jurisprudence in France from 1885, for a while in Montpellier, then at the École de droit in Paris, where he received his degree in 1888. There Vollard mounted his first major exhibitions, buying almost the entire output of Cézanne and this was followed by exhibitions of Manet, Gauguin and Van Gogh, for Gabriel Mourey, French correspondent of The Studio in Paris, this was simply a matter of Scylla and Charybdis. These were then was followed by a second Cézanne exhibition, the first Picasso exhibition, much has been made of his physical appearance and countenance, however, he was also a very shrewd businessman who made a fortune with the buy low, sell high mantra. Barnes, Henry Osborne Havemeyer, Gertrude Stein and her brother, having put on the first Picasso exhibition, in 1930 Vollard commissioned Picasso to produce a suite of 100 etchings which became known as the Vollard Suite. Vollard would later write biographies of Cézanne, Degas, and Renoir, in 1937 he published his autobiography, Recollections of a Picture Dealer. With war approaching, Vollard set out in July 1939 from his cottage in Le Tremblay-sur-Mauldre to travel to his mansion on the Rue Martignac, nearing the junction to Pontchartrain, on a very wet road, his chauffeur-driven Talbot skidded and then somersaulted twice. Having fractured his vertebrae, there he lay with his chauffeur until found dead, aged 73. After his death, Vollards executor was fellow dealer Martin Fabiani, due to the Nazi invasion of France, which started on 10 May 1940, Fabiani hurriedly shipped 560 paintings to the United States. Leaving on the SS Excalibur from Lisbon, Portugal, the ship was intercepted by the Royal Navy in Bermuda on 25 September 1940, designated enemy property, the paintings were stored at the National Gallery of Canada in Ottawa during World War II. Post-war, on 19 April 1949, the London prize court agreed release of the pieces to Fabiani, in gratitude, the sisters donated all of the lithographs by Rouault and Chagall, and a single painting by Gauguin to the National Gallery of Canada. The remaining works soon started appearing on the New York City commercial art gallery market, Vollards former secretary and protegé, Erich Šlomović, a young Serb with Jewish origins, had connections with Vollard, Fabiani as well as Lucien Vollard since about 1938. He had often stated his wish to create a museum of French art collected by him in Yugoslavia. Šlomović had amassed a collection of about 600 works, most of them prints or drawings, with a few important oil paintings, by a combination of exchange, gift, purchase and donation. Vollard had put him in contact with the most prominent artists of the day. Beginning of 1940, Šlomović put about 200 works in storage in a Societe Generale bank branch vault in Paris, returning home with about 450 of these works, he exhibited them in Zagreb, Croatia, in 1940
8.
Kitakyushu Municipal Museum of Art
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The Kitakyushu Municipal Museum of Art is located in Tobata-ku, Kitakyushu, Fukuoka Prefecture, Japan. Designed by Arata Isozaki, it sits on a hill straddling the three wards of Kokura Kita, Tobata, and Yahata Higashi, the museum houses more than 6,000 pieces of art, as well as offering various exhibitions throughout the year. The surrounding park not only offers a pleasant view over Tobata but is also a peaceful oasis with artwork in the form of sculptures scattered throughout, there is a branch of the museum in Riverwalk Kitakyushu. Museum website Media related to Kitakyushu Municipal Museum of Art at Wikimedia Commons
9.
La Nymphe surprise
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La Nymphe surprise, or Nymph Surprised, is a painting by the French impressionist painter Édouard Manet, created in 1861. The model was Suzanne, a pianist and his secret beloved for years, the painting is a key work in Manets production, marking the beginning of a new period in his artistic career and generally in the history of modernism in French painting. It is in National Museum of Fine Arts in Buenos Aires, the model of the painting is Édouard Manets lover, who also was his piano teacher, the Dutch girl Suzanne Leenhoff, with whom he had a secret love affair. This love affair developed while the young Manet was still living in his parents house, the girl was three years older than the 17-year-old Manet and their relationship was kept secret from his family for a long time. Manet and Suzanne married after ten years of relationship in 1863. The relationship lasted throughout their lives, nymphs were female spirits of nature, female deities from Greek mythology, often depicted as young women, who dwell in mountains and small woods, by springs and rivers. Manet kept this painting in his atelier, the painting was exhibited at the Salon des Artistes Français in 1865. This painting was painted two years before the Le Déjeuner sur lherbe and Olympia, the painting was purchased by the National Museum of Fine Arts in Buenos Aires and was placed on display at the Museum, as one of the institutions highlights. Manets La Nymphe surprise depicts a woman sitting in a wooded landscape beside a lake. There is a blue iris growing at her feet, and she wears nothing on her body except the white pearls around her neck and a ring on her little finger. The nymphs glance, contrary to Olympias provocative glance, is surprised and shy, as if she has found the viewer watching her, invading her privacy, disturbing her. Boy Carrying a Sword, depicting Manets and Suzannes son The Reading Luncheon in the Studio Impressionism Nana The ten most popular nymphs in paintings
10.
Norton Simon Museum
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The Norton Simon Museum is an art museum located in Pasadena, California, United States. It was previously known as the Pasadena Art Institute and the Pasadena Art Museum, the museum contains the Norton Simon Theater which shows film programs daily, and hosts lectures, symposia, and dance and musical performances year-round. The museum is located along the route of the Tournament of Rosess Rose Parade, the Museum filled a void, being the only modern art museum between San Francisco and La Jolla in California at the time. It was renowned for art exhibits and supported the work of local contemporary artists such as Helen Lundeberg, John McLaughlin. Hopps later drew up a short list of California architects for a new building, including Richard Neutra, Charles Eames, John Lautner, Craig Ellwood. Hopps insisted on an architect because he expected a high level of interaction throughout the design process. A new Pasadena Art Museum building was completed in 1969, designed by Pasadena architects Thornton Ladd, the distinctive and modern curvilinear exterior facade is faced in 115,000 glazed tiles, in varying rich brown tones with an undulating surface, made by renowned ceramic artisan Edith Heath. Hopps resigned before the museum opened, in the early 1970s, due to an ambitious schedule of exhibits and the new building project, the museum began to experience serious financial hardships. He was first approached for assistance in 1971 by trustees of the museum. In 1974, the museum and Simon came to an agreement, the remainder was used to display the Pasadena museums contemporary collection. A new 10-member board of trustees was formed, consisting of four members from Simons group, Simon also became responsible for the collection and building projects, in return the museum was renamed to Norton Simon Museum and renovated at a reported cost of more than $3 million. Simon died in 1993, and the actress Jennifer Jones, his widow and chairwoman of the board, made corrective, conciliatory moves that have repositioned the museum and its two collections. In 1995, the museum began a major $5 million renovation with the architect Frank Gehry, the gardens were redesigned by Power and Associates to house the 20th-century sculpture collection in an engaging setting. The new Norton Simon Theater was the element of the renovation, designed by Gensler & Associates. The Norton Simon Museum, which more than 11,000 objects. As of 2014, their public filings placed the combined value of the artworks at about $2.5 billion. The museum makes relatively little effort to expand the collection amassed by its founder, for more than three decades after it was founded in 1975, the Norton Simon Museum maintained a no-loans policy. In 2007 the board agreed to select works to museums including the National Gallery in Washington
11.
Metropolitan Museum of Art
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The Metropolitan Museum of Art, colloquially the Met, is located in New York City and is the largest art museum in the United States, and is among the most visited art museums in the world. Its permanent collection contains two million works, divided among seventeen curatorial departments. The main building, on the edge of Central Park along Manhattans Museum Mile, is by area one of the worlds largest art galleries. A much smaller second location, The Cloisters at Fort Tryon Park in Upper Manhattan, contains a collection of art, architecture. On March 18,2016, the museum opened the Met Breuer museum at Madison Avenue in the Upper East Side, it extends the museums modern, the Met maintains extensive holdings of African, Asian, Oceanian, Byzantine, Indian, and Islamic art. The museum is home to collections of musical instruments, costumes and accessories, as well as antique weapons. Several notable interiors, ranging from first-century Rome through modern American design, are installed in its galleries, the Metropolitan Museum of Art was founded in 1870. The founders included businessmen and financiers, as well as leading artists and thinkers of the day and it opened on February 20,1872, and was originally located at 681 Fifth Avenue. The Met maintains extensive holdings of African, Asian, Oceanian, Byzantine, the museum is also home to encyclopedic collections of musical instruments, costumes and accessories, and antique weapons and armor from around the world. A number of interiors, ranging from 1st century Rome through modern American design, are permanently installed in the Mets galleries. In addition to its permanent exhibitions, the Met organizes and hosts traveling shows throughout the year. The director of the museum is Thomas P. Campbell, a long-time curator and it was announced on February 28th,2017 that Campbell will be stepping down as the Mets director and CEO, effective June. On March 1st,2017 the BBC reported that Daniel Weiss shall be the acting CEO until a replacement is found, Beginning in the late 19th century, the Met started to acquire ancient art and artifacts from the Near East. From a few tablets and seals, the Mets collection of Near Eastern art has grown to more than 7,000 pieces. The highlights of the include a set of monumental stone lamassu, or guardian figures. The Mets Department of Arms and Armor is one of the museums most popular collections. Among the collections 14,000 objects are many pieces made for and used by kings and princes, including armor belonging to Henry VIII of England, Henry II of France, Rockefeller donated his more than 3, 000-piece collection to the museum. The Mets Asian department holds a collection of Asian art, of more than 35,000 pieces, the collection dates back almost to the founding of the museum, many of the philanthropists who made the earliest gifts to the museum included Asian art in their collections
12.
JSTOR
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JSTOR is a digital library founded in 1995. Originally containing digitized back issues of journals, it now also includes books and primary sources. It provides full-text searches of almost 2,000 journals, more than 8,000 institutions in more than 160 countries have access to JSTOR, most access is by subscription, but some older public domain content is freely available to anyone. William G. Bowen, president of Princeton University from 1972 to 1988, JSTOR originally was conceived as a solution to one of the problems faced by libraries, especially research and university libraries, due to the increasing number of academic journals in existence. Most libraries found it prohibitively expensive in terms of cost and space to maintain a collection of journals. By digitizing many journal titles, JSTOR allowed libraries to outsource the storage of journals with the confidence that they would remain available long-term, online access and full-text search ability improved access dramatically. Bowen initially considered using CD-ROMs for distribution, JSTOR was initiated in 1995 at seven different library sites, and originally encompassed ten economics and history journals. JSTOR access improved based on feedback from its sites. Special software was put in place to make pictures and graphs clear, with the success of this limited project, Bowen and Kevin Guthrie, then-president of JSTOR, wanted to expand the number of participating journals. They met with representatives of the Royal Society of London and an agreement was made to digitize the Philosophical Transactions of the Royal Society dating from its beginning in 1665, the work of adding these volumes to JSTOR was completed by December 2000. The Andrew W. Mellon Foundation funded JSTOR initially, until January 2009 JSTOR operated as an independent, self-sustaining nonprofit organization with offices in New York City and in Ann Arbor, Michigan. JSTOR content is provided by more than 900 publishers, the database contains more than 1,900 journal titles, in more than 50 disciplines. Each object is identified by an integer value, starting at 1. In addition to the site, the JSTOR labs group operates an open service that allows access to the contents of the archives for the purposes of corpus analysis at its Data for Research service. This site offers a facility with graphical indication of the article coverage. Users may create focused sets of articles and then request a dataset containing word and n-gram frequencies and they are notified when the dataset is ready and may download it in either XML or CSV formats. The service does not offer full-text, although academics may request that from JSTOR, JSTOR Plant Science is available in addition to the main site. The materials on JSTOR Plant Science are contributed through the Global Plants Initiative and are only to JSTOR
13.
International Standard Book Number
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The International Standard Book Number is a unique numeric commercial book identifier. An ISBN is assigned to each edition and variation of a book, for example, an e-book, a paperback and a hardcover edition of the same book would each have a different ISBN. The ISBN is 13 digits long if assigned on or after 1 January 2007, the method of assigning an ISBN is nation-based and varies from country to country, often depending on how large the publishing industry is within a country. The initial ISBN configuration of recognition was generated in 1967 based upon the 9-digit Standard Book Numbering created in 1966, the 10-digit ISBN format was developed by the International Organization for Standardization and was published in 1970 as international standard ISO2108. Occasionally, a book may appear without a printed ISBN if it is printed privately or the author does not follow the usual ISBN procedure, however, this can be rectified later. Another identifier, the International Standard Serial Number, identifies periodical publications such as magazines, the ISBN configuration of recognition was generated in 1967 in the United Kingdom by David Whitaker and in 1968 in the US by Emery Koltay. The 10-digit ISBN format was developed by the International Organization for Standardization and was published in 1970 as international standard ISO2108, the United Kingdom continued to use the 9-digit SBN code until 1974. The ISO on-line facility only refers back to 1978, an SBN may be converted to an ISBN by prefixing the digit 0. For example, the edition of Mr. J. G. Reeder Returns, published by Hodder in 1965, has SBN340013818 -340 indicating the publisher,01381 their serial number. This can be converted to ISBN 0-340-01381-8, the check digit does not need to be re-calculated, since 1 January 2007, ISBNs have contained 13 digits, a format that is compatible with Bookland European Article Number EAN-13s. An ISBN is assigned to each edition and variation of a book, for example, an ebook, a paperback, and a hardcover edition of the same book would each have a different ISBN. The ISBN is 13 digits long if assigned on or after 1 January 2007, a 13-digit ISBN can be separated into its parts, and when this is done it is customary to separate the parts with hyphens or spaces. Separating the parts of a 10-digit ISBN is also done with either hyphens or spaces, figuring out how to correctly separate a given ISBN number is complicated, because most of the parts do not use a fixed number of digits. ISBN issuance is country-specific, in that ISBNs are issued by the ISBN registration agency that is responsible for country or territory regardless of the publication language. Some ISBN registration agencies are based in national libraries or within ministries of culture, in other cases, the ISBN registration service is provided by organisations such as bibliographic data providers that are not government funded. In Canada, ISBNs are issued at no cost with the purpose of encouraging Canadian culture. In the United Kingdom, United States, and some countries, where the service is provided by non-government-funded organisations. Australia, ISBNs are issued by the library services agency Thorpe-Bowker
14.
The Absinthe Drinker (Manet painting)
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The Absinthe Drinker is an early painting by Édouard Manet, c.1859, considered to be his first major painting and first original work. Manet became a student in the studio of Thomas Couture from 1850 but grew to dislike his masters Salon style, little of Manets earliest work survives and much may have been destroyed by Manet himself. The Absinthe Drinker is a portrait of an alcoholic rag-picker named Collardet who frequented the area around the Louvre in Paris. Collardet is painted in brown, grey and black tones. The subject is standing, wears a top hat and is wrapped in a brown cloak, like an aristocrat. Manet later added a glass of absinthe on the ledge. Influenced by the realism of Gustave Courbet, the shows a mundane subject on a large scale. Near the completion of the painting, Manet showed the work to his former master, asked for his opinion, Couture is said to have retorted, An absinthe drinker. And they paint abominations like that and my poor friend, you are the absinthe drinker. It is you who have lost your moral sense, the Absinthe Drinker was the first work that Manet submitted to the Paris Salon in 1859. It was rejected with only Eugène Delacroix voting in its favour, part of the reason for its rejection may be its subject, absinthe was thought to be addictive and considered morally degenerate, and this was one of the earliest depictions of absinthe in art. The painting, however, also has technical faults, it is finished, with brushstrokes visible in places. Refusal of other works by young painters led eventually to the creation of the Salon des Refusés in 1863, Manet continued to revise the work after 1859 and inserted the same cloaked figure into his 1862 painting The Old Musician. The glass of absinthe was an addition, between 1867 and 1872. The painting was sold to opera singer Jean-Baptiste Faure in 1906 and it was one of the first modern works added to the collection at the Ny Carlsberg Glyptotek, where it is still held. LAbsinthe The Absinthe Drinker, Ny Carlsberg Glyptotek Absinthe, the Cocaine of the Nineteenth Century, A History of the
15.
Music in the Tuileries
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Music in the Tuileries is an 1862 painting by Édouard Manet. It is jointly owned by the National Gallery, London and the The Hugh Lane and it currently hangs in the National Gallery in London. The work is an example of Manets painterly style, inspired by Frans Hals and Diego Velázquez. The painting influenced Manets contemporaries – such as Monet, Renoir, the painting depicts the gatherings of Parisians at weekly concerts in the Tuileries gardens near the Louvre, although no musicians are depicted. While the picture was regarded as unfinished by some, the suggested atmosphere imparts a sense of what the Tuileries gardens were like at the time, one may imagine the music, the iron chairs in the foreground had just replaced the wooden chairs in the garden in 1862. Manet has included several of his friends, artists, authors, and musicians who take part, Manet is depicted on the far left, next to him is another painter Albert de Balleroy. To their right, seated, is sculptor and critic Zacharie Astruc, henri Fantin-Latour is further left, with beard, looking at the viewer. The fair-haired child in the centre is Léon Leenhoff, the work measures 76.2 ×118.1 centimetres. It was first exhibited in 1863, and Manet sold the painting to opera singer and it was sold on to dealer Durand-Ruel in 1898, and then to collector Sir Hugh Lane in 1903. After Lanes death, when RMS Lusitania was sunk in 1915, the codicil was found to be invalid, and in 1917 a court case decided that his previous will left the work to the National Gallery in London. After intervention from the Irish government, the two reached a compromise in 1959, agreeing to share the paintings, with half of the Lane Bequest lent. The agreement was varied in 1993 so that 31 of the 39 paintings would stay in Ireland, the colors in greater areas of this painting are generally subdued and executed in ochres or in mixtures of several pigments. The dark green foliage in the upper part contains a glaze of green and Scheeles green mixed with yellow lake with small addition of ivory black. The strong colourful accents in the bonets and clothes of the children are painted in almost pure pigments such as cobalt blue, Manets Music in the Tuileries Gardens, essay by Ben Pollitt, Smarthistory Edouard Manet, Music in the Tuileries Garden, Colourlex
16.
The Old Musician
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The Old Musician is an 1862 oil painting on canvas by French painter Édouard Manet, produced during the period when the artist was influenced by Spanish art. The painting also betrays the influence of Gustave Courbet and this work is one of Manets largest paintings and is now conserved at the National Gallery of Art in Washington, DC. The painting is composed of seven characters in a landscape, the old musician in the center who is preparing to play the violin is Jean Lagrène, the leader of a local gypsy band. At the left, there are a girl standing with a baby in her arms. In the background, the man in the top hat is the rag picker and ironmonger Colardet, at the right, the Oriental man with a turban and a long robe, partly shown, represents Guéroult, a wandering Jew. Attitudes and clothes of the characters seem to be inspired by Diego Velázquez or Louis Le Nain, the young boy in straw hat, meanwhile, is explicitly inspired by Antoine Watteaus Pierrot
17.
Olympia (Manet)
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Olympia is a painting by Édouard Manet, first exhibited at the 1865 Paris Salon, which shows a nude white woman lying on a bed being brought flowers by a black servant. Olympia was modelled by Victorine Meurent and Olympias servant by the art model Laure, Olympias confrontational gaze caused shock and astonishment when the painting was first exhibited because a number of details in the picture identified her as a prostitute. The French government acquired the painting in 1890 after a subscription organized by Claude Monet. The painting is on display at the Musée dOrsay, Paris and these include the orchid in her hair, her bracelet, pearl earrings and the oriental shawl on which she lies, symbols of wealth and sensuality. The black ribbon around her neck, in stark contrast with her pale flesh, Olympia was a name associated with prostitutes in 1860s Paris. The painting is modelled after Titians Venus of Urbino, Manet replaced the little dog in Titians painting with a black cat, which traditionally symbolized prostitution. Olympia disdainfully ignores the flowers presented to her by her servant, some have suggested that she is looking in the direction of the door, as her client barges in unannounced. The painting deviates from the canon in its style, characterized by broad, quick brushstrokes, studio lighting that eliminates mid-tones, large color surfaces. Unlike the smooth idealized nude of Alexandre Cabanels La naissance de Vénus, also painted in 1863, the canvas alone is 51.4 x 74.8 inches, which is rather large for this genre-style painting. Most paintings that were this size depicted historical or mythological events, so the size of the work, among other factors, finally, Olympia is fairly thin by the artistic standards of the time and her relatively undeveloped body is more girlish than womanly. Charles Baudelaire thought thinness more indecent than fatness, the model for Olympia, Victorine Meurent, became an accomplished painter in her own right. In part, the painting was inspired by Titians Venus of Urbino, léonce Bénédite was the first art historian to explicitly acknowledge the similarity to the Venus of Urbino in 1897. There is also similarity to Francisco Goyas La maja desnuda. There were also pictorial precedents for a woman, attended by a black servant, such as Ingres Odalisque with a Slave, Léon Benouvilles Esther with Odalisque. Comparison is also made to Ingres Grande Odalisque, unlike other artists, Manet did not depict a goddess or an odalisque but a high-class prostitute waiting for a client. Though Manets The Luncheon on the Grass sparked controversy in 1863, conservatives condemned the work as immoral and vulgar. Journalist Antonin Proust later recalled, If the canvas of the Olympia was not destroyed, the critics and the public condemned the work alike. He paid tribute to Manets honesty, however, When our artists give us Venuses, they correct nature, Édouard Manet asked himself why lie, why not tell the truth, he introduced us to Olympia, this fille of our time, whom you meet on the sidewalks
18.
The Kearsarge at Boulogne
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The Kearsarge at Boulogne is an oil-on-canvas painting by Édouard Manet completed in 1864. It depicts the Union cruiser USS Kearsarge, victor of the Battle of Cherbourg over the rebel privateer CSS Alabama, the painting is owned by the Metropolitan Museum of Art. Although he had not witnessed the battle, Manet visited Cherbourg one month after and painted a portrait of Kearsarge. The oil painting was based on this watercolour. Manet later painted an account of the battle itself, The Battle of the Kearsarge, Manet and the American Civil War, the battle of the U. S. S. Alabama, Issued in connection with an exhibition held June 3 - August 17,2003, Metropolitan Museum of Art, New York
19.
The Battle of the Kearsarge and the Alabama
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The Battle of the Kearsarge and the Alabama is a 1864 painting by Édouard Manet. The painting commemorates the Battle of Cherbourg of 1864, an engagement between the Union cruiser USS Kearsarge and the rebel privateer CSS Alabama. Not having witnessed the battle himself, Manet relied on descriptions of the fight to document his work. In 1872, Barbey dAurevilly stated that the painting was a magnificiant marine painting and it was hung at Alfred Cadarts and was praised by the critic Philippe Burty. The painting is on display in the Philadelphia Museum of Art, Manet and the American Civil War, the battle of the U. S. S. Alabama, Issued in connection with an exhibition held June 3 - August 17,2003, Metropolitan Museum of Art, New York
20.
The Fifer
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The Fifer or Young Flautist is a painting by French painter Édouard Manet, made in 1866. It is currently kept in the Musée dOrsay, Paris, on a trip to Spain in 1865, Édouard Manet visited the Prado, where the art of Diego Velázquez was a revelation. Upon his return to Paris in 1866, he work on a new painting, depicting an anonymous regimental fifer of the Spanish army. The painting, entitled Le fifre, was rejected by the jury of the Salon of 1866. Outraged by the decision, Émile Zola, an early champion of Manets art, published a series of articles in the newspaper LÉvenement. Following the example of Gustave Courbet, in May 1867, Manet personally funded and mounted an exhibition of his own work in a pavilion at the edge of the Éxposition universelle. The exhibition included Le fifre, which was ridiculed in the press for its unusual brushwork. The painting was acquired by Durand-Ruell in 1872 and again in 1893, between 1873 and 1893, the painting was owned by Manets friend, composer and baritone Jean-Baptiste Faure. Le fifre was accepted by the French government in lieu of taxes on the estate of its last private owner, the Count Isaac de Camondo and it was displayed at the Louvre from 1914 until 1947, when it was relocated to the Musée du Jeu de Paume. In 1986, it was moved to its current home in the Musée dOrsay, as in the painting by Spanish painter, Manet conceived a shallow depth, where vertical and horizontal planes are barely distinguishable. According to Peter H. Feist, in The Player fife, Manet showed the attraction for the effect of a large single figures, with emphatic contours. As a result, the figure stands firm, smooth and alive, additional models may have also posed for the figure, the likenesses of both Léon Leenhoff and Victorine Meurent have been seen in the boys face and figure
21.
The Races at Longchamp
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The Races at Longchamp is an 1866 painting by the French artist Édouard Manet. The Impressionist painting depicts a horse racing at Longchamp and is conserved at the Art Institute of Chicago. It has been exhibited many times, the first one at the École nationale supérieure des Beaux-Arts in Paris in January 1884, about the painting, the Art Institute of Chicago said it is startling. We find ourselves on the racecourse with a cluster of onrushing horses and jockeys bearing directly down on us
22.
Luncheon in the Studio
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Luncheon in the Studio is an 1868 oil painting by Édouard Manet. Critic Nan Stalnaker notes that despite continued questions about its meaning, the work is acknowledged to be brilliantly painted, in the summer of 1868 Manet traveled to Boulogne-sur-Mer for his summer vacation, where he painted Luncheon in the Studio and other works. Luncheon was posed in the room of Manets rented house. Leenhoff is the focus of the painting, with his back to the two people, who have at various points been identified as his mother and Manet. These identifications are now seen as incorrect, the man seated at the table, smoking a cigar and enjoying a coffee, the woman gazing toward the viewer is a servant. In an otherwise muted color scheme, the yellow in Leenhoffs tie, pants, the armour that appears incongruently in the bottom-left corner recalls its symbolism and collectibility before and during the Second Empire, when it was also the subject of still lifes. The table holds more conventional subjects of the genre, including a lemon, Both pieces were found wanting by art critics of the day, by this time a common criticism of Manet was that his goal was to attract attention at any price. Its that while basing his art on nature, he neglects to make its aim the interpretation of life and he borrows his subjects from poets or takes them from his imagination, he isnt concerned to discover them in living usages. Whence, in his positions, much of their arbitrariness, in the Luncheon, for example, I see on a table where coffee is served a half-peeled lemon and fresh oysters, but these objects dont go together. Why have they been put there then, whence the uncertainty and often the obscurity of his thought. What is the man doing in the Luncheon, seated in the foreground. True, he is painted, brushed by a vigorous hand. In that case, having his back to the table, he has the wall between him and us, and his no longer makes any sense. Feeling for functions, for appropriateness, is indispensable, like the personages in a play, its necessary that every figure in a painting is in its proper plane, fulfills its role, and thereby contributes to the expression of the general idea. Nothing arbitrary and nothing superfluous, that is the law of all artistic composition, another critic, Marius Chaumelin, echoed this sentiment, The personages. Are not at all handsome, their faces having something morose and disagreeable about them, like the faces of persons who pose, thus, no expression, no feeling, no composition. He spoke of types without character, scenes devoid of all interest and said disparagingly that Manet had made the portrait of a Balcony and a Luncheon. Meyers finds the depiction of Leenhoff similar in respects to an 1855 portrait by Edgar Degas of his brother
23.
Portrait of Emile Zola
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Portrait of Émile Zola is a painting of Émile Zola by Édouard Manet. Manet submitted the portrait to the 1868 Salon, at this time Zola was known for his art criticism, and perhaps particularly as the writer of the novel Thérèse Raquin. In the eleventh chapter the milieu of Manets Le Déjeuner sur l’herbe is evoked, in the scene, where Camille. On the wall is a reproduction of Manets Olympia, a painting at the 1865 Salon. Behind it is an engraving from Velazquezs Bacchus indicating the taste for Spanish art shared by the painter, a Japanese print of a wrestler by Utagawa Kuniaki II completes the décor. A Japanese screen on the left of the picture recalls the role that the Far East played in revolutionizing ideas on perspective and colour in European painting
24.
The Execution of Emperor Maximilian
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Manet produced three large oil paintings, a smaller oil sketch and a lithograph of the same subject. All five works were brought together for an exhibition in London and Mannheim in 1992–93, Maximilian was born in 1832, the son of Archduke Franz Karl of Austria and Princess Sophie of Bavaria. After a career in the Austrian Navy, he was encouraged by Napoleon III to become Emperor of Mexico following the French intervention in Mexico, Maximilian arrived in Mexico in May 1864. He faced significant opposition from forces loyal to the deposed president Benito Juárez throughout his reign, Maximilian was captured in May 1867, sentenced to death at a court martial, and executed with Generals Miguel Miramón and Tomás Mejía on 19 June 1867. Manet supported the Republican cause, but nonetheless was inspired to work on a painting heavily influenced by Goyas The Third of May 1808. The final work, painted in 1868–69 is now held by the Kunsthalle Mannheim, the painting is signed by Manet in the lower left corner but bears the date of Maximilians execution in 1867 despite being painted in 1868–69. Fragments of an earlier and larger painting from about 1867–68 are held by the National Gallery in London, parts of this work were probably cut off by Manet, but it was largely complete on his death, other parts were sold separately after his death. The surviving pieces were reassembled by Edgar Degas and they were bought by the National Gallery in 1918, but then separated again until 1979 and finally combined on one canvas in 1992. A third, unfinished oil painting is held by the Museum of Fine Arts, Boston, donated from Mr. and Mrs. Frank Gair Macomber in 1930, who bought it from Ambroise Vollard in 1909. A much smaller work in oils, a study for the Mannheim painting, is held by the Ny Carlsberg Glyptotek in Copenhagen, Manet was refused permission to reproduce the lithograph in 1869, but an edition of 50 impressions was produced in 1884, after his death. Examples of the lithograph are held by the Metropolitan Museum of Art in New York, in the Boston version of the painting, the soldiers wear clothes and sombrero of Mexican Republicans. The sergeant wearing a red cap clearly resembles Napoleon III, the Mannheim and Boston versions were exhibited together at the Salon dAutomne in 1905. The Mannheim version was acquired by the Kunsthalle Mannheim in 1910 after being exhibited at the Berliner Secession earlier that year, Ken McMullen made a short film which evokes the artists studio and the events of Maximilians death, using a single, uninterrupted shot. Oskar Bätschmann, Edouard Manet, Der Tod des Maximilian, 346–364 Manets Silence and the Poetics of Bouquets, James Henry Rubin, p. 72–81 Ken McMullens 1867 on imdb Media related to The Execution of Emperor Maximilian at Wikimedia Commons
25.
Effect of Snow on Petit-Montrouge
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Effect of Snow on Petit-Montrouge is an 1870 landscape painting by the French painter Édouard Manet. The oil on canvas painting shows a view of Petit-Montrouge. Manet painted this picture while a member of the National Guard during the 1870–71 Siege of Paris of the Franco-Prussian War, as opposed to the history painters of his time, Manet does not show a heroic view of battle, but rather the dusky ambiance of a looming battle. The image reflects Manets loss of hope about the situation, his profound loneliness. It is one of the few landscapes in Manets oeuvre, and is one of Manets first plein air paintings, today it is in the collection of the National Museum Cardiff. The buildings in the background were painted with muted colours to give an appearance of balancing precariously on an expanse of brown. Richard R. Brettell, Impression, Painting quickly in France 1860–1890, exhibit catalog, London, Amsterdam, Williamstown, Yale University Press, New Haven und London 2000, ISBN 0-300-08447-1. Edward Lilley, Manets modernity and Effet de neige à Petit-Montrouge in Gazette des Beaux-Arts, September 1991 Michael Wilson, exhibit catalog, National Gallery, London 1983, ISBN 0-901791-87-3. Aindrea Emelife, Ten Great Works Of Art Depicting Snow, December 2015, BBC, London
26.
Berthe Morisot with a Bouquet of Violets
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Berthe Morisot with a Bouquet of Violets is an 1872 oil painting by Édouard Manet. It depicts fellow painter Berthe Morisot dressed in mourning dress. The painting, sometimes known as Portrait of Berthe Morisot, Berthe Morisot in a hat or Young woman in a black hat, is in the collection of the Musée dOrsay in Paris. Manet also created an etching and two lithographs of the same composition, Manet became acquainted with Berthe Morisot in 1868. She was the grand-niece of Fragonard, and also a painter, Morisot and he painted her portrait many times, including his earlier work The Balcony. She married Manets brother Eugène in 1874, Manet had remained in Paris during the Franco-Prussian War 1870-71, and served in the Garde Nationale to defend the city in the Siege of Paris. He was unable to paint while he was serving, and left Paris after the city surrendered at the end of January 1871 and he returned to painting later in 1871, and returned to Paris after the defeat of the Paris Commune in May 1871. This painting was one of several portraits of a black-clad Morisot by Manet in 1872-74, others show her with a shoe, with a fan. The half-length portrait is on a canvas measuring 55.5 ×40.5 centimetres —71.5 ×57.5 centimetres with frame — and is signed Manet 72 in the right corner. It is a study in shades of black, unusually for Manets portraits, which typically have an even light, Morisot is lit from one side, so that she is brightly illuminated on her right side and the left is in deep shadow. She wears black mourning dress and hat, with her surrounded by black ribbons and scarves, against a lighter background. The violet flowers are barely perceptible where the neckline of Morisots dress dips towards her chest, Manet also painted violets in his Woman with a Parrot of 1866. Manet painted Morisot with black eyes, although her eyes were actually green, the dark costume and eyes may allude to Manets impression that she looked Spanish. Manet had earlier painted a portrait of his own mother in mourning, made in 1863. The painting was followed by a similar etching - probably the first copy, with the pose reversed -, Manet made a similar painting of Morisot in mourning dress in 1874, after the death of her father, Edmé Tiburce Morisot. The work was considered a masterpiece of Manets work. It was praised by Paul Valéry in the catalogue of Manets retrospective at the Orangerie in 1932 for the centenary of his birth. Valéry compared Manets painting to Vermeers Girl with a Pearl Earring, Manet sold or gave the painting to collector and art critic Théodore Duret
27.
The Railway
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The Railway, widely known as Gare Saint-Lazare, is an 1873 painting by Édouard Manet. It is the last painting by Manet of his model, the fellow painter Victorine Meurent, who was also the model for his earlier works Olympia. It was exhibited at the Paris Salon in 1874, and donated to the National Gallery of Art in Washington, Meurent is depicted sitting to the left side of the frame, in front of an iron fence near the Gare Saint-Lazare in Paris. The pensive subject is wearing a hat and sombre deep blue dress with white details, and is looking towards the viewer, while a sleeping puppy, a fan. The black band in the girls hair echoes the black band around the neck of the woman, instead of choosing the traditional natural view as background for an outdoor scene, Manet opted for the iron grating which boldly stretches across the canvas. The only evidence of the train is its white cloud of steam, the arrangement compresses the foreground into a narrow focus, separated from the background by the row of railings. The traditional convention of space is ignored. Resting on a parapet to the right of the painting is a bunch of grapes, the dog may be a reference to Titians Venus of Urbino, Manet had earlier echoed Titians composition in his Olympia. Caricaturists ridiculed Manets picture, in only a few recognized the symbol of modernity that it has become today. The painting is currently in the National Gallery of Art in Washington, shortly after it was completed, the painting was sold to baritone Jean-Baptiste Faure. It was sold on 31 December 1898 for 100,000 francs to American Henry Osborne Havemeyer, the painting was donated to the National Gallery of Art in Washington, D. C. in 1956 on the death of her son Horace Havemeyer
28.
The Reading (Manet painting)
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The Reading is an oil painting by French painter Édouard Manet, circa 1865 -1873. The painting was first exhibited in 1880 in one of the solo exhibitions mounted by Manet in his workshop. The picture was part of the great posthumous exhibition of Manets work in 1884. The work first belonged to the collection of Winnaretta Singer, Princess Edmond de Polignac. It was offered as a gift to the French State and deposited in the Musée du Louvre, in 1947, it was transferred to the Galerie nationale du Jeu de Paume, a showroom located in the Jardin des Tuileries and which belongs to the Louvre. It remained there until 1986, when, with the creation of the Musée dOrsay, it was brought to this museum and it can currently be seen in the Musée dOrsay, in room 31 of level 5. The painting depicts the wife, Suzanne Manet, seated. Leon was a recurrent model for Manet who portrayed him in pictures, such as The Lunch, The Boy Carrying a Sword. In this work the white womans dress dominates, and the sofa and curtains are treated with broad strokes of high brightness, in counterpoint to the tone of the belt. According to Peter H. Feist, in this painting Manet reacts more sensitive than usual, and looks especially to shades of white that are offered to his eyes
29.
Nana (painting)
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Nana is a painting by French painter Édouard Manet. It was completed in 1877 and was refused at the Salon of Paris the same year, the work is now at the Kunsthalle Hamburg art museum in Germany. The painting shows a young and beautiful woman who stands before a mirror with two extinguished candles, her face turned to the spectator and her dress is incomplete, she wears a white chemise, blue corset, silk stockings and high-heeled footwear. The interior suggests that it is a boudoir, behind the woman is a sofa with two pillows. An elegantly dressed man, sitting on the sofa, can be seen on the right of the painting. On the left side, there is a chair, a table, both the title and the numerous details suggest that the picture represents a high class prostitute and her client. Nana was an assumed name for female prostitutes during the second half of the 19th century. Even today the French word nana is used to describe a frivolous woman, Manet wanted to present the painting at the Salon of Paris but it was rejected because it was deemed to be contemptuous of the morality of the time. French society was not prepared for such depictions of prostitution. One of the defenders of Manet was Émile Zola who in 1880 published a novel of the name as the ninth volume of Les Rougon-Macquart series. However, there is no evidence of mutual inspiration in the choice of the theme. Perhaps Manet found inspiration in LAssommoir, Zolas previous book, in which the character of Nana appears for the first time, the article is a translation of Polish article Nana as of 2010-03-24
30.
The Plum
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The Plum - also known as Plum Brandy - is an oil-on-canvas painting by Édouard Manet. It is undated but thought to have painted about 1877. The painting is a study in loneliness, depicting a quiet, almost melancholy, the subject is viewed from nearby, perhaps by another seated customer. She may be a waiting for a client, or possibly a shop worker hoping for some conversation. On the table is a plum soaked in brandy, a speciality of Parisian cafés at the time and she may be waiting for a waiter to bring a spoon to eat her plum. The plum may be a reference to the sexuality, as the fruit was used in James Joyces Ulysses. She leans forward, with her cheek resting on her right hand and her left hand rests on the table holding an unlit cigarette. She wears a dress with embroidered cuffs, a white blouse. Her head is framed by the grille behind her, above the red upholstered banquette on which she sits. Manet may have based the painting on observations at the Café de la Nouvelle Athènes on the Place Pigalle in Paris. Manet uses a style, for example, the plum in its glass. The model is the actress Ellen Andrée, who was depicted with Marcellin Desboutin in the similar 1876 painting LAbsinthe by Edgar Degas. The similarities between the two paintings suggest that Manets The Plum may be a response to Degass LAbsinthe, Degass painting shows a bleak scene of despair blunted by absinthe, Manets is a more hopeful scene, where there is the chance that the sitters loneliness may be broken. Andrée also appears in Renoirs 1881 painting Luncheon of the Boating Party, edward Hoppers 1927 painting Automat has a similar theme. The painting measures 73.6 centimetres by 50.2 centimetres, Manet sold the painting to collector Charles Deudon in about 1881. It was inherited by Deudons wife on his death in 1914 and it came into the collection of Arthur Sachs and was then sold by M. Knoedler & Co to Paul Mellon in 1961. It was donated to the National Gallery of Art in Washington DC in 1971, reconfiguring Modernism, Explorations in the Relationship between Modern Art and Modern Literature, Daniel R. Schwarz, p.61 Manet Manette, Carol Armstrong p. 244-245
31.
In the Conservatory
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In the Conservatory is an 1879 oil painting by Édouard Manet in the Alte Nationalgalerie, Berlin. The setting is a conservatory at 70 Rue dAmsterdam in Paris, then owned by painter Otto Rosen, at first glance, we see a double portrait of a fashionable and attractive couple of some social rank. They are Manets friends, the Guillemets, who owned a clothing shop and their married status is conveyed by their rings, and the proximity of their hands is the nearest hint of intimacy. The woman becomes the focus of the portrait, however, being prominently placed. The painting was exhibited in the 1879 Paris Salon and was regarded as surprisingly conservative for Manet, jules-Antoine Castagnary wrote, with tongue in cheek, But what is this. Face and hands more carefully drawn than usual, is Manet making concessions to the public. —and said it portrayed the elegance of fashionable life, yet the portrait is not entirely conventional—the sense of dislocation carries to the background. Joris-Karl Huysmans called the subjects marvelously detached from the envelope of green surrounding them, the interplay of lines formally defines the work. The woman has an erect posture echoed by the vertical slats of the bench, the bench continues off the right side, reinforcing the horizontal and the separation of foreground and background. The diagonal pleats on the womans dress provide some relief from the linearity of the composition, jean-Baptiste Faure bought In the Conservatory from Manet, along with three other paintings, for the paltry sum of 11,000 francs. In 1896 In the Conservatory was bought by the Deutsche Nationalgalerie in Berlin, the Nationalgalerie thus was the first museum worldwide that purchased a picture of Manet. Edouard Manet, Rebel in a Frock Coat, suspensions of Perception, Attention, Spectacle, and Modern Culture. In the Conservatory gigapixel image at the Google Art Project smARThistory, Manets In the Conservatory ArtSleuth, Manets In the Conservatory video analysis
32.
Self-Portrait with Palette (Manet)
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Self-Portrait with Palette is an 1878–79 oil-on-canvas painting by the French artist Édouard Manet. This late impressionistic work is one of his two self-portraits, a long series of prominent collectors have owned this painting. Most recently, it sold for $29.48 million at Sothebys on 22 June 2010, the 83 ×67 cm painting shows a half-length portrait of the painter Édouard Manet. In this self-portrait as painter he depicted himself as a stylish Boulevardier in front of a dark background, the depicted wears a black top hat and a brown jacket, under which is a white shirt, of which only the collar can be seen. The neckline of the jacket covers a black silk tie which is affixed by a tie pin. In the right, only vaguely depicted hand he holds a long wooden brush with red paint on the tip, the figure is lit from the left by which the shadows beneath the left arm and the right half of the face are created. His pose is slightly turned to the right, so that the half of the body is darker than the forward. The painters gaze is directed forwards at the viewer, because Manet was almost certainly not left-handed, the painting is a mirror image. As has been established by X-ray analysis, Manet painted his Self-Portrait with Palette over a portrait in profile of his wife Suzanne Manet, in this picture she was depicted in a pose similar to that in the painting Madame Manet at the Piano. The dating of the painting back to Manets friend Théodore Duret, who asked Léon Leenhof. Moreover, Manet had used the suit jacket that he wore in Self-Portrait with Palette in the painting At Père Lathuille. Las Meninas, in which Diego Velázquez depicted himself in a pose with brush. There the painter stands almost in the background of his studio, while his models, from here Manet appropriated the pose of the painter and his equipment, but as opposed to Velázquez, he makes himself the thematic center of the image. At the same time, however, he is working on a painting, Manet himself between 1865 and 1870 portrayed Velázquez in a studio scene in which the Spanish painter is posed similarly to his self-portrait. As a practical matter painters did not and do not wear formal dress while working, Manets depiction of himself as a painter in stylish city-going clothes has various precedents. Already Velázquez had shown himself in costly garb that would be appropriate for a courtier, in 1870 Manet had sat for the painter Henri Fantin-Latour in the painting Un atelier aux Batignolles while similarly well-dressed. His wearing of a hat indoors also has a direct precedent, renoir had depicted Monet in 1875, with suit, hat and all. The unfinished right hand with the paintbrush is conspicuous in the painting, Manets wife Suzanne, however, described this painting and the Self-Portrait with Cap as sketches
33.
Dead Eagle Owl
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Dead Eagle Owl is an 1881 oil on canvas painting by Édouard Manet. The painting shows a dead Eurasian eagle-owl hanging upside down on a board as a hunting trophy, dead Eagle Owl is one of a series of comparable still lifes that Manet in the same year in Versailles, during his recuperation from a serious illness. There are precedents for this work in French still life painting of the 18th century. The painting is one of the very few hunting still lifes in Manets oeuvre, today the painting is in the collection of the Foundation E. G. Hans Jucker, Theodor Müller, Eduard Hüttinger, Sammlung Emil G. Bührle, george Mauner, Manet – the still life paintings. Harry N. Abrams, New York 2000, ISBN 0-8109-4391-3
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The Rabbit (Manet 1881)
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The Rabbit is an 1881 oil painting by the French artist Édouard Manet, now displayed at the National Museum Wales in Cardiff, Wales. The work is a still featuring a hung rabbit or hare which has been placed on a hook outside a closed house window. Completed in 1881, when Manets health was in decline, The Rabbit was painted while the artist was spending the summer months at a villa in Versailles. The painting, which was one of the pairings of a four panel set, was part of a new cycle of decorative work undertaken by Manet while at Versailles. The other central panel, along with The Rabbit conceived to representing hunting trophies, was The Eagle Owl which as of 2012 is part of the Buhrle Collection in Zurich. The outer panels illustrate, on one a vine on a trellis, the work was initially submitted to the Salon in Paris in 1882, but was not accepted. It was sold after Manets death as part of a sale to the art dealer Paul Durand-Ruel. It later passed into the ownership of the Paris-based art firm, in 1917 The Rabbit was purchased from Bernheim-Jeune by the Welsh philanthrapist Gwendoline Davies, who in 1918 exhibited it at the Victoria Art Gallery in Bath. On Gwendolines death in 1951, she bequeathed her collection of Impressionist works to the National Museum of Wales, as of 2012 it is on view at the National Museum Cardiff in gallery 11. The Rabbit is painted in a bold and loose style, and is intended to be viewed from a distance and this is in stark contrast to an earlier work by Manet also entitled the Rabbit, which is completed in a far more traditional French style of still-life painting. This earlier painting, which is in the style of Chardin, is far more conventional and this latter work is much closer to the Impressionist style
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Victorine Meurent
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Victorine-Louise Meurent was a French painter and a famous model for painters. Although she is best known as the model of Édouard Manet. In 1876 her paintings were selected for inclusion at the Salons juried exhibition, born in Paris to a family of artisans, Meurent started modeling at the age of sixteen in the studio of Thomas Couture and may also have studied art at his womens atelier. Meurent first modeled for Manet in 1862, for his painting The Street Singer, Manet was first drawn to Meurent when he saw her in the street, carrying her guitar. She was particularly noticeable for her stature, which earned her the nickname La Crevette, and for her red hair. As well as playing the guitar, Meurent also played the violin, Meurents name remains forever associated with Manets masterpieces of 1863, The Luncheon on the Grass and Olympia, which include nude portrayals of her. At that time she modeled for Edgar Degas and the Belgian painter Alfred Stevens. Her relationship with Stevens is said to have particularly close. The last Manet painting in which Meurent appears is Gare Saint-Lazare, painted in 1873, the painting is considered the best example of Manets use of contemporary subject matter. In 1875, Meurent began studying with the portraitist fr, Étienne Leroy, the following year, Meurent first submitted work of her own at the Salon and was accepted. Ironically, Manets own submissions were rejected by the jury that year, bourgeoise de Nuremberg au XVIe siècle, Meurents entry at the Académie des Beaux-Arts in 1879, was hung in the same room as the entry by Manet. Work by Meurent also was included in the 1885 and 1904 exhibitions, in all, Meurent exhibited in the Salon six times. She also continued to support herself by modelling through the 1880s for Norbert Goeneutte, an artist best known for his etchings, and for Toulouse-Lautrec, who took to introducing her as Olympia. Meurent was inducted into the Société des Artistes Français in 1903, with the support of Charles Hermann-Leon and Tony Robert-Fleury, by 1906 Meurent had left Paris for the suburb of Colombes, where she lived with a woman named Marie Dufour for the remainder of her life. The two appear to have shared ownership of their house, in her eighties she continued to refer to herself as an artist, as recorded in a census from that time. Meurent died on March 17,1927, a painting by Meurent, Le Jour des Rameaux or Palm Sunday was recovered in 2004 and now hangs in the Colombes History Museum. Victorine Meurents life has inspired two novels, and she appears as a character in several others. The Irish writer George Moore included Meurent as a character in his semi-fictional autobiography and she appears as a middle-aged woman past her prime, living in a lesbian relationship with a famous courtesan
