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Manet and the painters of contemporary life

Auteur : Alan Krell; Édouard Manet
Éditeur : New York, N.Y. : Thames and Hudson, 1996.
Collection : World of art.
Édition/format :   Livre imprimé : EnglishVoir toutes les éditions et tous les formats
Base de données :WorldCat
Résumé :
There are some great painters whose influence is confined to the world of painting. Others, who through their art are effectively moral critics, challenge the society in which they live. Manet was one of these. Rejecting the traditional "histories" and "mythologies" that won official acclaim, he turned instead to the life of his own time.
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Détails

Genre/forme : Criticism, interpretation, etc
Personne nommée : Édouard Manet; Edouard Manet; Édouard Manet
Format : Book
Tous les auteurs / collaborateurs : Alan Krell; Édouard Manet
ISBN : 0500202893 9780500202890
Numéro OCLC : 34598956
Description : 208 pages : illustrations (some color) ; 21 cm.
Contenu : Ch. 1. 'But What a Scourge to Society Is a Realist Painter' --
Ch. 2. 'Bathers, Bodies and Put-ons' --
Ch. 3. 'A Parcel of Nude Flesh or a Bundle of Laundry' --
Ch. 4. Manet, Zola and 'Le Jugement Public' --
Ch. 5. 'That Subtle Feeling for Modern Life' --
Ch. 6. Manet and the Impressionists in 1874 --
Ch. 7. Modern Paris, Modern Pleasures --
Ch. 8. 'Dandy of Realism'.
Titre de collection : World of art.
Autres titres : Manet
Responsabilité : Alan Krell.

Résumé :

There are some great painters whose influence is confined to the world of painting. Others, who through their art are effectively moral critics, challenge the society in which they live. Manet was one of these. Rejecting the traditional "histories" and "mythologies" that won official acclaim, he turned instead to the life of his own time.

Yet he did not ally himself with the other painters of contemporary life, the Impressionists, preferring to engage with a Realist tradition, and at the same time drawing on the art of the past - Raphael, Titian, Velazquez, Goya - to confront his own age. In this freshly researched study Alan Krell examines the artist's known intentions and the critical, sometimes bitterly hostile reception that he encountered.

He compares Manet to Impressionists like Monet, Degas and Morisot, and shows how the artist's progressive social views - on sexuality, on the position of women, on the family - were expressed through a style equally "modern," yet rooted in the European artistic tradition.

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