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 :. | Bouquet of Peonies | The Lemon | Peony Stem and Shears | Portrait de Jeanne Martin au Chapeau orne dune Rose | The Bullfight |
Related Artists:
Georg Scholz
1890-1945 was a German realist painter. Scholz was born in Wolfenb??ttel and had his artistic training at the Karlsruhe Academy, where his teachers included Hans Thoma and Wilhelm Tr??bner. He later studied in Berlin under Lovis Corinth. After military service in World War I lasting from 1915 to 1918, he resumed painting, working in a style fusing cubist and futurist ideas. In 1919 Scholz became a member of the Communist Party of Germany, and his work of the next few years is harshly critical of the social and economic order in postwar Germany. His Industrial Farmers of 1920 is an oil painting with collage that depicts a Bible-clutching farmer with money erupting from his forehead, seated next to his monstrous wife who cradles a piglet. Their subhuman son, his head open at the top to show that it is empty, is torturing a frog. Perhaps Scholz' best-known work, it is typical of the paintings he produced in the early 1920s, combining a very controlled, crisp execution with corrosive sarcasm. Scholz quickly became one of the leaders of the New Objectivity, a group of artists who practiced a cynical form of realism. The most famous among this group are Max Beckmann, George Grosz and Otto Dix, and Scholz's work briefly vied with theirs for ferocity of attack. By 1925, however, his approach had softened into something closer to neoclassicism, as seen in the Self-Portrait in front of an Advertising Column of 1926 and the Seated Nude with Plaster Bust of 1927. Appointed a professor at the Baden State Academy of Art in Karlsruhe in 1925, the students he taught included Rudolf Dischinger. Scholz began contributing in 1926 to the satirical magazine Simplicissimus, and in 1928 he visited Paris where he especially appreciated the work of Bonnard. With the rise to power of Hitler and the National Socialists in 1933,
VROOM, Hendrick Cornelisz.
Dutch Baroque Era Painter, ca.1563-1640. He was one of the founders of Dutch marine painting. Painter and draughtsman. By his own account, he received his early training in Delft, home of his mother's family. Van Mander reports that Hendrick's stepfather, like his father a ceramic artist, forced him to work as a decorator of ceramic vessels, which caused the young artist to leave home and embark on extensive travels in Spain and Italy. After working for ecclesiastical patrons in Florence and Rome, he was employed for at least two years (c. 1585-7) by Cardinal Ferdinando de' Medici, who in October 1587 succeeded Francesco I as Grand Duke of Tuscany. Ferdinando's keen interest in ships and the navy seems to have been a determining factor in Vroom's choice of subject-matter. According to Lanzi, he was known in Rome as 'Lo Spagnolo' (since he had arrived there from Spain). Among his earliest works may be a group of marine paintings attributed to him (Rome, Villa Colonna). His friendship in Rome with Paul Bril, mentioned by van Mander, had no effect on Hendrick's painting style, but Bril's influence is discernible in a group of landscape drawings
Sir William Beechey
1753-1839 British English painter. He was trained as a lawyer before entering the Royal Academy Schools, London, in 1772. He is thought to have studied under Johan Zoffany, and his earliest surviving portraits are small-scale full-lengths and conversation pieces in Zoffanys manner (e.g. The Custance Conversation Piece, c. 1786; priv. col.). Beechey first exhibited at the Royal Academy in 1776. In 1782 he moved to Norwich, where he gained several commissions, but he was back in London by 1787. In 1789 he exhibited a portrait of John Douglas, Bishop of Carlisle (London, Lambeth Pal.) that is remarkable for its facility of handling. Beechey would occasionally paint similarly inspired works, but his career is marked by a succession of unflamboyant but competent portraits in the tradition of Joshua Reynolds.