Édouard Manet is represented by three major works in your text. Discuss these three works and what Manet seems to have been trying to say with them. How are his two earlier works from the 1860s representative of the Realist movement, and how does the Bar at the Folies-Bergére reflect Impressionist influences/approaches? The Luncheon on the Grass is a watershed work -- how was it received by the public at the time, how was it exhibited, and what were the controversies surrounding it? How does Manet reflect the grand tradition of the Old Masters praised by the Academy in this work? What differences does this work have from the academic tradition of Manet's time? How does this work influence painting up to our time? Why, if Manet is academically trained, does he choose to paint in a style that does not match the expectations of the French Academy? Manet's Olympia also references traditional grand manner painting--explain what work he is paraphrasing. Compare this work closely with its model. How is the work similar to and then different from its source? Why did this work also generate controversy? What seems to have been Manet's agenda in portraying this work the way
he does--what is he saying about his society? In lecture we discussed the Bar at the Folies-Bergére as conveying something about contemporary urban society. Discuss this aspect of the painting, and Manet's possible suggestion of something that contradicts this message, seen elsewhere in the painting. The first artwork that is discussed in the text is his Luncheon on the grass, 1863 There were a few points that Manet was trying to make with this painting. One was that he was trying to make old art replicated into new art and his style. The reason it fell into the Realism category is because the setting was a park in France and the people who saw his piece said that it seemed like regular people naked in the park and that it played to much into the topic of prostitution. His Olymbia piece was replicating the Titan, Venice of Urbino 1538
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- Winter '20