‘Edouard Mort, bora Janaey 29, 1832, ars, Prana Api 90, 883, are), rene plate ‘fom the evens and crcurstanesofhis own tie. His Le Dene sur Therbe(Luoheor onthe ‘Gras exhibited in 1849 athe Salon des Reuss, roused the hott of ries and the enthulat ofthe young pantene who later formed the cleus ofthe nipeessoast group is ther notable works include Olympia (1869) und Bara the Fle Berge (1882) th ead ne ‘Edounrd was the son of Anguste Mant, the eh of personnal athe Ministry o Juste, and ‘Hugéio-Désige Fourie. rom 1899 he was a day pupl at Canon Polagps shoo is Vaud where e studied Freeh andthe lass ror 184410 848 he was boarder atthe Code Rollin, then loeated ner the Panthéon. A poo tadent, he was interested ony the special dawing course flere by the shoo Although ater wanted hrs to ena in ew choo, foward cau nt be persuaded to do ‘he entrance eximination. He therafore embark in December 848 a an apprentive il on 8 cransport es, Upon his retue o France in Jane 1849, hailed the nzval examination asoeond Jn 850 Mane ontored the sti ofthe clssicl painter Thomas Couture. Dospitfondamrtal Aierences between teacher and studet, Manet wast owe to Cotte good grep of drawing snd letra technique. 1856, ater yeas wis Couture, Mase setup studi that he shared with Alber dealer, painter fiir subjects. Thee he peed The Boy with Cherie (1858) before moving to enatbe: sudo, where painted The Absinhe Drinker (1859) ln Whe made hort rips o The Nethelands, Germany, and Italy. Meare, atthe Lowe he copie pintinge by Titan ad Diego Veldnques an in 1857 made the aeusitance of heart Ie Fat ator, who oe liter to paint Manes porte (cern from Britannia Most Pops Visa Arte une Dring his perio, Manet lo me the pot Charles Bendel, at whose suggestion he peated Muse the Tleris Gordes (1862}-The canvas, whic was pleted outdoor, seems to semble the whole of Paris the Seund Epi smart, ashionelegaheriag composed hey of abit ofthe Café Torin’ and ofthe Cle Guerbis, which was the renders ofthe ‘tigre artis, Ache the work, pases looked wit rosy thi elegy dressedexhibited Spanish Singer (1860), dubbed “Guitarero” by the French man of letters Théophile who praised it eathusasaly he per.odial Le Monteur universe "rom 82 to 86s Mane tok par n exhibitions organo bythe Martnt Galery In 3863 ijeuser sur Therbe, ok woes technique was enizeyrevoutionsry, nd eo Mane instead fritid itt the Salon des Reuss Cstablihed to exhibit the many works reacted bythe ia Selon) Although inpie by works of th Od Masters—Girgane's Pastor Concert (1510) ane Raphues Judgment of Paris (c.517-20)—this large eanvas arwused loud dsepproal and began for anetcatexalal nto” fom which he would suffer or most fis earer. Hs ft were fend hy the peseo ofa naked woman isthe eorpany of wou en cathe rneonterporary des; rather han seeing rot allegorical ire, the woman's rodrsty de er nat seem volar and eon treating Cites wee slsoupet by ho thes res were depicted in aharsh,impersanal ight and paced ina wodand sting whose perspective it [tthe Salon of 865, his siting Opi, een two years eri, enuse a sean The lating elning female nue ane brazeniy a the viewer ani depict ina hae, biiant eh tht obliterates interlor modeling and crn her ito an alate two-dimensional gure This antemporary adliaque—vhien the French statesman Georges Clemenceau wast installa she Loven 1907—as called indecent by ees nd the ple La is ett, Manet eft a [Auguet 2865 for Spain, but, liking the fd and rusted by heal lack of hcg of the langeage, he dd not tay long Is Made met Théodore Dur, who was ater ‘aeons ofthe fist connasseurs and champions of his work, The flloing year, The Fie Payer (1866), afer tang heen rejected by the Salon jury under the pete that its modeling was at, was dapayed Maret dave oung Loy 1866 ‘When s ange number a is wots were rose for the Universe Esposton of 867, Mane in tation of Gustave Court, who had the ste de, had atl eected tte corer othe lace \etAlma ad the Avenue Moataigae, where is May he eaibited group of works, cali is atngs of toreadors and bulfighs He showed abou o paintings, but these were not recived ny move favourably thar before. ia work from ths period wa varie inehaacer, bt in gener sens la representa grestr concern with ove ealions of lone and conspeis of Tatintien sn tmospors,smtimes exiting freedom of naling comparablets tat n Musi the ‘Tulerie Gardens. Much pres by the naturale of Masts wok the young novelist fie Zale undertook ta praise tin ong and courageous are published in the Revue du XIX sel of January 2, 1867 Inthe face the hott ofthe publi, a saw Manet representative of alate of elas a the Salo of 858, The nex year Manet exited The Balcony (1868-60), is which ‘here appeared forthe frst time—in the gure ofthe Spanish gr seated with her elbow on the~railing—a portrait of the artist Berthe Morisot, whom he had met at the Louvre. From then on, Moro, ho was to become oe of he ending female French Imprestonits, was equant ‘stor o Manes. He pinto eres of portenis of er, ntl or marrage to his brother Huge Manet Aer the postive reviews published hy Zl, Dur, and theatre Louie ilpond Durant, Manet athe Salon of 870 eet an homage in pin, Fatn-Latosrs A Shuto a Batignals, which serie a knd of miso on his ena. Tis lege canvas shows Manet painting, surrounded by those who were hs defender at the time: Za, the pints Piee-Auguste Renoir, Claude Monet, and Fries Rails, andthe eclptorZacharie Ate, The painting was caieatred in the Journal amusant under he ile Jess Painting Among His Disciples z Dring the Franc-Gorman War (870~73), Mane seve sn latomat in the Nationa (Guar an witnessed the siege of Pais Is February 2871 be rejoin his family, returning Paris shorty before the Commune. is tio there was alf-destuyed, bute bad taken cae to tte is ‘sovassin a safe pls, adhe fond them ina, Theat dealer Pa Darand-Roo both alos eveything that Manet stdio contained yng 0,000 francs inthe eureney ofthe tie. From shout his te on, Manet andi ends met a the Cfé Nouvelle athe, whi ad eplaced he (Guuroi. 101872 itd The Natherlands, where he wa auch oluenced bythe works of Pans Hale Ae result Maaet printed Le Bon Book (873; The Good Poin), which achieved considerable sce the Slum exibition of 875, ate He anders cl Eds Vat Met avn tng ‘Tbe yea 1874 mas chi table or he development of Manet’ enship withthe young {Impressions pao Clade Monet, with whom he palate on the hanks fhe Seine (when they sd a met in 1, the raionship was rather oa). Mant punted hs most rin pla iret, Boating (1874), which was set in Le Plt Conner nd depieted two figures seated ‘nthe sun na bose eva lo at Agente that Manet pated Monet Punting on His Studio ‘oar (1874). Although he was end wil Mone seth ther Impressionists, Manet would not parspstein ir independetesibitons and cansinsed to submit hi psintngs to the afi Son, When The Artist an Lary were bath reece by the Slon i 875, Manet exhibited ‘em along with oer pantngs in his studi. ‘When psotng Nona (87), Manet was inspired bythe character ofa woman of the demimonde ‘wom Zales ntovced inhi novel LAssommoir (187; The Drunkard) that same yar be ated Plum Brandy, oe of his major works in which a sltary woman rests er elbow onthe tare op of ea able, He followed these work with The Blonde with Bare Brass 1878.0 hich the peste Desh Lanes geam wih ight and Chez le Pre Lathe (1879) anor of ‘Manet’s major works stn restaurant neu the Café Guerbosn Clichy. Theater depicts ‘coqutt somewhat pus har prime vig lunch wit er young over ia yt another a Masel's ‘old tempi to portray conteoversil sje matter in a deidedly moder manne. From hen an,‘Manet did a large number of pastels. In broed, determined strokes he captured the features of George Moore (879), an ish would-e painter and later novel who on oined Manet In 1880 Manet hada one-man exhibition a he fies of he pris La Vie dere (Modern 1) bo is logs wore alcady feted by a malady that wast prove fatal In 1881 be ented al at Verses, and, bythe following yar wit is loss progsssng a an alarming pace, he went stayin lla at Ruel He ook prt a an portant enki of Hreach al Ua was held ia ‘ondon a Burlngion Hoa, and atthe Salon he showed A Bara the Pole Bergize (882), daring composi tht intensifies the exchange of glance betwous the image of he barmaid and ‘he eustomerbelor er, llowing she ewer tosiand inthe custome’ pace, Radel in| abiteration ote boundary between the vewer and whats viewed the Bar was Manet'sas gest ‘otsbation the modern isn of painting. On Apri 6,8, after painting some roses ane ac, Mano tok tw his be, Gangroce developed in is foe, which was subsequent IndJannary 884 a posthumons exhibition of Mane wor was el inthe Salle de Momo of ‘he Bole ds Beaus-Ars. Tre tis admiration for te att, Za wrote the preface oe etalog, ‘tasafter this memorial exibition hat Manet paintings bega to gain prominence Mane debut ae pints met wih eric esitance thar dd not abate il nar he end of is ‘acer. Althogh the soos of is memorial eahibion andthe event rial areptance ofthe Impressonsts—with whom he wa loosed his prof the eno the 9th atu, twas tut he 20th century that is epuation was secured by at itorias and ste. Manet disregard fr trains modeling and perspective made eal beak with jeden peti’ storie eonpaol on ukonisen. Thislnting of tradition ed the fa establishment paved the way or the evolutionary work ofthe lnresionit and Pst- Impresionsts, Manet alo infeed th pth af uch gth- and aoti-centary at heoagh hs bok of shjet mater. fo on mcr nbn sje hich he peweted i n strithforvard almost detached manner—ditngsishes hi sill moe fom the tacards ofthe Son, which neal favoured nerative and avoided the rity els everyday ie, Manes Asrng uninching approach to he pining and to tart world ese bth hi snd his work vot place the histor modern art