MANET, mene, Edouard, French artist: b. Paris, 23 Jan. 1832; d. Paris, 30 April 1883. Originator of the Impressionist movement, which finds its greatest expression in Claude Monet, Manet worked in an original manner before Impressionism was thought of. He rendered great service to the movement, not solely by his works,. but by taking upon him self the criticisms directed upon the whole Impressionist School. Degas, Monet and Re noir, bold in art but timid of nature, resigned themselves to the misunderstanding and hostil ity of the public; but the more courageous Manet defended the movement with a strong controversial pen. He fought valiantly for himself and all the artists associated with his name.
Manet studied with Couture about 1850 and traveled throughout Europe, growing enthusi astic over Rembrandt, Tintoretto, Velasquez and Goya, painted some fine works such as the 'Buveur d'absinthe' and the 'Vieux musicien' and in 1861 exhibited at the Paris Salon por traits of his parents and the (Guiterero.) His (Dejeuner sur l'herbe) attracted much atten tion. (Olympia) (in the Luxembourg) attrac ted more hostile criticism. It was a technical experiment significant for the period of its com position. (Angels at the Tomb of Christ,'
"This work of Mallet)) writes a French critic, much discussed and produced under such tormenting conditions, owes its importance beyond all else to its power and frankness? Ten years of developing the first manner, tragi cally limited by the war of 1870; 13 years of developing the second evolution, parallel with the efforts of the Impressionists. The period from 1860 to 1870 is logically connected with Hats and Goya; from 1870 to 1883 (when he died) the artist's work is complicated by the study 'of light. He had all the pictorial gifts which make the glory of the masters — full, true, broad composition; coloring of great power; blacks and greys, which cannot be found often elsewhere than in Velasquez and Goya; and a profound knowledge of values. He tried his hand at everything: portraits, landscapes, sea scapes, scenes of modern life, still life and under each in turn served his ardent creative brush. His pictures will always remain docu ments of the greatest importance on the society, the manners and customs of the Second Em pire. A beautiful painter is what he was be fore everything else. It is almost inconceivable that the juries of the Salons failed to under stand him. They waxed indignant over his subjects which offer only a restricted interest and they did not see the altogether classic quality of this technique without self-glorification, with out tricks, without bitumen; of this vibrat ing color; of this rich paint ; of this passionate design so suitable for expressing movement and gestures true to life; of this simple com position where the whole picture is based upon two or three values with the straightforward ness one admires in Rubens, Jordaens and Hals. Manet occupies an imaortant place in the French School. He is its most original painter of the second half of the 19th century, the one who has really created a great movement. His work, the fecundity of which is astonishing, is unequalled.