Mana sharply opposed academic forms of creativity, but throughout almost his whole life he experienced deep respect for the traditions of some great masters, the immediate or indirect influence of which is manifested in many of its works ("Balcony", 1868-1869, OBSE Museum, Paris; " For a mug of beer, "1873, meeting K. Tisen, Philadelphia).

The character of his painting is largely determined by the experience of its predecessors: the great Spaniards of Velasquez and F.Hoya, the famous Dutch master F. Khals, French painters, O. Domier and G.Kurbe, but also the desire to step over the existing traditions and create a new, modern, reflective The world around the world. The first step on this path was two pictures that sounded as challenge official art: "Breakfast on the grass" (1863, Orsha Museum, Paris) and Olympia (1863, Orsa Museum, Paris). After their writing, the artist was brutally criticized by the public and the press, only a small group of artists got up on his defense, among which were K. Mone, E.Dega, P. Sezann, and Dr., and attacks of journalists reflected alone E. Zol. In gratitude in 1868, E.Mane writes a portrait of a writer (Museum of ORSE, Paris), which is a classic example of the characteristics of the model with the help of still life parts.

Impressionists considered E.Many to their ideological chief and predecessor. But his art is much wider and does not fit into the framework of one direction, although the artist has always supported impressionists in fundamental views on art concerning work on the player and reflection of a fleeting impression of the real world. The so-called Impressionism E.Many is closer to the painting of Japanese masters. It simplifies the motifs, balancing decorative and real in them, creates a generalized idea of \u200b\u200bvisible: a clean impression, devoid of unnecessary details, the expression of the joy of sensation ("on the seashore", 1873, a meeting of J. Doss, Paris). E.Mane has repeatedly participated in working together with K. Mone and O. Ruhar on the shores of the Seine, where the main motive of his paintings is bright blue water ("in the boat", 1874, Metropolitan Museum, New York). E.Many loves to draw a person against the background of the landscape, transmitting a feeling of freshness of nature by his facial expressions, gesture and expressive pose ("Argenty", 1874, Museum of Arts, Tour).

The closest to the impressionistic perception of the world picture "Boat - Workshop K. Mone" (1874, New Pinakotek, Munich), in which, using additional yellow and blue strokes, the artist seeks the full illusion of the vibrating movement of water, shaded the boat. It is impossible to say that this work at the pleaire has greatly changed the artist's creative manner, but it has significantly enriched his picturesque palette. So, he refused to use pure black, especially when writing landscapes, and replaced it with a combination of individual smears of different colors.

In 1874, E.Many comes a trip to Venice, the impressions of which were poured into a series of impressionistic paintings written by energetic strokes ("Channel Grande in Venice", 1875, Provident Sejurni, San Francisco).

In the late period of his creativity, E.Many departs from impressionism and returns to his still style. In the mid-1870s. The pastel works enthusiastically, which helped him use the achievements of the Impressionists in the field of color analysis, while maintaining its own idea of \u200b\u200bequilibrium between silhouette and volume ("Woman tapping a stocking", 1880, a meeting of Nansen, Copenhagen). The work of E.Many Pastel in the mitigation of his picturesque manner even in cases where he described far from poetic images inspired by the works of modern writers to him ("Nana", 1877, Kunsthalla, Hamburg; "Papashi Latyill", 1879, Museum, Turin ). The vertex of creativity E.Many is his famous painting "Barger Foli Barger" (1882, Gallery of the Warburg Institute and Kurto, London), which is a synthesis of fleeting, instability, impression, characteristic of impressionism, and constant, stability and inviolability inherent in the classical direction In art. The clear foreground of the picture is opposed to the rear - unclear and almost fantastic mirror reflection. This work can be considered software in the work of E.Mane, as it reflects his favorite themes: still life, portrait, various lighting effects, crowd movement.

The official recognition of E. Mane received in 1882, when he was awarded the Order of the Honorary Legion - the main award of France.

Eduard (Eduar) Mana (Fr. Édouard Manet; January 23, 1832, Paris - April 30, 1883, Paris) - French painter, Engraver, one of the hedlemen of impressionism.

Biography Eduard Mana

Eduar Mana was born in Paris on January 23, 1832 in a rather respectable family. The father of the future artist, Auguste Mana, served in the Ministry of Justice, and his mother was a daughter diplomat.

The father of his son to study the artist violently opposed. In the end, the field for his further career was chosen by maritime service. But the young man failed entrance exams in the maritime school. Once not at the affairs, he got a young man on a merchant ship. In December 1848, the new Jung was aboard a sailboat sent to Rio de Janeiro.

Returning to France, Eduar was finally able to defeat the persistent dislike of his father to classes with art. The Bunlet Spirit forced him to look for not quite ordinary ways in life.

Instead of, like otherly dreaming of artistic vocation, go to the school of fine arts (the father of Mana insisted on this), he went to study at Tom Kutur's workshop, shortly before the ending in the 1847 Salon his picture of the Romans of the Epoch of the decline with the image ancient orgy. The young man attracted this scandalous fame. He graduated from Couture a full six-year study course (1850-1856), but all this time the relationship between the teacher and the student was left to desire the best. Mana clearly missed in the workshop of Coutor.

The death of his father, who followed the same year, liberated the artist from many restrictions that did his life. The resulting inheritance allowed him no longer thinking about how to earn a living. In the created conditions, Mane felt free enough to live and write as he wants. The consequences of this manifested themselves very quickly. Newly his picture "Breakfast on the grass".

By the end of the 1860s, Mane acquired an ambiguous reputation. Many considered him some kind of dissection of hell - meanwhile, as it was a brought-up man with immaculate manners. Mane's paintings exhibited in the cabin continued to be exposed to criticism attacks, and his personal exhibition organized at the World Paris Exhibition of 1867, simply spawned. In these discussions, the fundamental principles of impressionism were formulated.

But the French-Prussian war began in 1870 forced for a while to forget about painting. Mana entered the artillery in the rank of lieutenant.

After the war, "Banda Mana", as they called the "Batinolians" artists from art, again gathered in Paris.

Mana supported Impressionists, but never exhibited together with them, believing that the battle for modern art should be unfolded only within the framework of the official salon. However, it did not prevent him from taking some purely impressionistic letters of writing.

In 1874, he went to Arzhante, where he worked at the pleaire hand in hand with Monet and Renoir. Traces of all this is easily found in his works of that time.

In 1879, Mane had formidable signs of ataxia, in which, due to the lesion of the brain, the coordination of movements is disturbed. A little later, he could no longer write. According to the irony of fate, for these years, long-awaited recognition came to the artist.

In 1881, he received a salon medal, and a little later was awarded the Order of the Honorary Legion.

In the spring of 1883, Mana amputated left foot. The operation was unsuccessful, and soon Mane died. It happened on April 30, just on the eve of the opening of the next salon.

Creativity Mana

From the mid-50s, Mane began to create its own original works, whose heroes were regulars of Parisian cafes, passersby.

An unexpected section of the frame was an unexpected composition of the picture, cropping the image. Such a reception brought into the composition an element of instability, speakers.

At the same time, Mane struggled with the traditional academic manner of the letter and, retreating from the soft modeling of the shape, pulled it with fresh, expressive strokes.

Etude "Zucchini", referred to the end of the 70s, demonstrates the intensity and juiciness of the artist's colored submarine.

Rube, Pissarro, Claude Monet, Renoir and Sisley began around Manne. They impressed not only innovation mana, but also his professionalism, education, deep knowledge in the field of painting history, mastering all the techniques of picturesque and graphic technology.

In 1863, Manne put his picture "Breakfast on the grass" in the famous "salon", its content and unusual of pictorial techniques caused indignation of the public. From that moment on, Mana becomes a recognized leader of "independent" artists.

For the painting "Breakfast on the grass" followed "Olympia", where the simulator of the Quiz Meran was depicted nude on the bed. The picture was taken to the salon in 1865, but she suffered the same fate as "Breakfast on the grass".

THE LUNCHEON ON GRASS Olympia. A BAR AT THE FOLIES-BERGERE

In these works, Mana argued the right to the image in painting of his contemporaries without any idealization, thereby discovering the new topics for Renuara, Degas, Pissarro and other artists who sought to the truthful recreation of reality.

Defender and connoisseur of his creative method E. Mana found in the face of a young Emil Zol. The writer was the first to recognize the importance of the art of a talented artist for the future development of European painting and repeatedly acted with the analysis of creativity by E. Mana in print. Zola understood the injustice of the attacks on the paintings of Mana from the public and salon painters, predicting that over time they will be exhibited in Louvre.

In 1873, Manne presented the jury of the salon "For a mug of beer", traditional both on the interpretation of the plot and the manner of the letter.

This contradictory painter sought all his life to create a new "big" style in modern painting. Despite the attacks and reproaches both art critics and his friends Impressionists, Mane stubbornly continued to exhibit alone.

In 1882, he graduated from the most significant works in the European painting of the 70s-80s of the last century "Bar in Foli-Berger", for which he was awarded the Order of the Honorary Legion. Recognition has already come to a deadly painful artist.

Not considering himself an impressionist and refusing to participate in the exhibitions of this association, Mana nevertheless gave impetus to impressionism, becoming his inspirer.

In the 50s-60s of the XIX century, future impressionists focused on its original creative manner. But, unlike them, Mane has always strived for creating a picture, the main place in which is belonging to a person.

Artist's work

• Olympia
• Plum
• Racing in the Boulogne Forest
• Spanish singer

Mana Eduard (MANET, EDOUARD)

Mana Eduard (MANET, EDOUARD) (1832-1883), French painter and schedule, anticipate the emergence of impressionism and became one of his founders.

Virtually the whole life, Mane's creativity faces counterators and difficulties. His father was the head of the Department of the Ministry of Justice and prepared his son to the career of a lawyer. He was a tary opponent of art education for the Son. And the young artist has to constantly fight with the requirements of the influential Father, which forces him to leave the house.

Studying painting in academic style and a manner of romanticism (fashionable at the time), does not attract Edward. He constantly studies the work and creativity of the artists of the past, visits many museums and travels a lot (Italy, Venice, Florence, Holland, Dresden, Prague, Vienna). One of the artists who had the greatest influence on Mana becomes Velasquez.

Accumulated knowledge and vision he embodies in his works. Eduard persistently seeks to recognize in Paris, but his early works are rejected critics. The rejection of work, applicants for participation in the Paris Salon, forced Mane to hold the exhibition called the "Landscreen Salon". The artist laid great hopes for the recognition of his painting "Breakfast on the grass", but she was criticized and caused laughter from visitors to the salon. But the picture caused the biggest attention and became the symbol of the "salon of refined" 1863. Mana is seeking fame, albeit scandalous.

An innovative painting Manne was subjected to violent attacks of criticism, which considered the artist with a rigger in art. Using and rethinking plots and motifs of painting the old masters, Mana sought to fill them with sharp modern sound, polemically entering the famous classic compositions of a modern person ("Breakfast on the grass", 1863).

In the late 1860s. Mane got close to E. Degas, K. Monet, O. Renoir and moved to the captive painting; Deaf and dense tones with a predominance of dark colors changed lighter and free painting ("in the boat", 1874). The main topic of the works of Mana - the scene of the Parisian life ("Nana", 1877; "in the zucchi of Latuil's dad", 1879). In the most significant and deep product of the Bar "Foli-Berger" (1881-1882) showing illness and the ghostity of happiness among the sparkling, festive fun. Mana appealed to the most diverse themes, wrote portraits, still lifes and landscapes, played as a draftsman, master lithography and etching. Manet's creativity breathed a new life into French art of the 19th century and largely determined the main ways of further artistic quest in painting.

Since 1881, he is ill attachesia - disruption of coordination of movements. The further life of the artist is connected with the constant development of the disease. On April 19, 1883, he was amputated to the left leg, and after 11 days he died in terrible agony.

Eduard mana pictures:

Mana Eduar (1832-1883), French painter.

Born on January 23, 1832 in the family of the Parisian official, lived mainly in Paris, here and died on April 30, 1883

In 1850 - 1856 He studied at the school of graceful arts from T. Couture, where he copied the works of the Masters of the Italian Renaissance and the XVII century. (Titian, D. Velasquez, F. Hale, etc.), as well as F. Goya and E. Delacroix.

In the early works of Mana (the end of the 50s - the beginning of the 60s. XIX century), which constitute the gallery of human types and characters, mana tries to combine likelihood with the romanticization of the external appearance of the model ("Lover of Absinthe", 1859; "Lola Valencia, "1862).

Using traditional motifs, the artist fills them with new techniques and techniques. This composition "Breakfast on the grass" (1863) is the topic inspired by the "rural concert" by Georgeon. Olympia (also 1863) serves as an example of an image under the guise of the mythological heroine of Parisian of the middle of the XIX century.

Painting mana for the 60s. Gradually becomes brighter, but it is preserved, and even enhanced by contour, contrasts between dark and light zones.

In these years, Manne often refers to the episodes of modern history. Such are the "execution of the emperor Maximiliana" (1867), "Execution of Communards" (1871). But first of all, Mane's attention to modern life is manifested in scenes, as if grated from her everyday flow ("Breakfast in the workshop", "Balcony", both of 1868), as well as in portraits (for example, E. Zola, 1868 ).

In ordinary life situations, the painter is looking for beauty and harmony.

Anticipating impressionism, mana from the late 60s. Rates with his masters (E. Degas, K. Monet, O. Renoir) and from the beginning of the 70s. Moves to a captive painting.

A number of works, such as "Arzhantei", "Monet and Mrs. Monet in the boat" (both 1874), carry the features of this method. In the bustling of urban life, Mane chooses the most characteristic moments ("Ball Masquerade in Opera", 1873; "Nana", 1877). But the largest work of Mana is considered to be "Barger Bar" (1881-1882), where, like Velasquez, Mane is climbing in the composition of the game with a mirror. Behind the pensive bartenders - a ghostly corter, reflected in the glass.

In the 70s Mane works a lot over portraits, writes still lifes and landscapes, acts as a drawingman, master lithography and etching.

Eduard Mane (Edouard Manet) 1832-1883

French artist, one of the founders of impressionism. Biography and paintings.

I did not think and did not wonder the judge of the Department of Seine Auguste Mane, that his firstborn, the pride of his father, Eduard, would not want to be a follower of a family case, preferring a respected profession a question of the artist with uncertain prospects. But it was Eduard Mane that is destined to become one of the hedlemen of impressionism, to create a completely new aesthetic value scale, thus changed world visual art.

Against the family towards the beautiful

The defining role in the fate of Edward Mana played his uncle Fournier - it was he who supported the young man who studied in the best establishments of Paris, but came to life and bloomed when it came to art. The uncle and nephew spent a lot of time in the halls of the Louvre, getting acquainted with the work of outstanding predecessors. It was Fournier, closing his eyes to the protests of the native father, began to pay the lessons of painting Eduard.

Quarrels with the Father ended with the achievement of a compromise - Mana was invited to choose any profession, except for artistic field. The young man chose a maritime case. It was unlikely to guess the severe Auguste that this choice would even more pushing his son in an embrace of art - the first and only cruise brought him only to one thought: I will be an artist and a point.

Painting Mane began to study in 1850. Already at first, the talented and rebellious subsidiary of the young man made himself a felt. Lessons at the famous painter-academic of Tom Kutuur did not bring creative satisfaction, and Manet comprehended himself, traveling around Europe and copying the work of prominent masters. The first works were outlined and the first innovations associated mainly with the contour. In the works of "Boy with Cherries" and "Absinthe Lover", you can see how deftly mana improvises with a line of contour, deliberately highlighting it or completely "merging" it with a background.

The first successes of Mana were associated with the pictures of "Portrait of Parents", where the author showed a filigree game of light and shades, and "Galitero", a lively energetic picture written under the influence of the concert of the Wart guitarist. Both works were taken in the salon.

In 1862, Mane under the influence of the philosophy of Baudelaire creates its first major work - "Music in Tuileries", the purpose of which was an attempt using the means of expressive arts to implement art musical - such sound paints.

In the same year, the author is fond of writing portraits, starting a new rule - to write in just one session in just one session. Mana believed that only such a quick job would grab a moment, making the most important thing. Portraits of Mana were adopted by the public with great enthusiasm.

Scandalous author with the Great Heritage

In all the work, mansion is the paintings, which were trying hard in their time - so much frank their plot and incarnation, however, it is precisely these works, incomprehensible to contemporaries today are considered true masterpieces, who made a new word in world art. These paintings include "Breakfast on the grass", where impressive cavaners are in the society of naked maids, Olympia, whose frankness so annoyed the public that the exhibition organizers had to hang a picture as high as possible, fearing that she was puzzled in indignation by a cane or umbrella . It was a hard period for the painter, settled, he decided to leave to Spain, where wonderful "Bulls in Madrid", Fleutist were created.

But the times changed and around a bold artist with an unusual manner of writing began to assemble the creative intelligentsia, seeking to overthrow the old principles, thereby expanding the framework of artistic art. Morizo, Degas, Monet, Renoir, Degas, Bazil, Cezanne, Pissaro, Zola and a number of other writers form around Mane "Batinol School", choosing the meeting and discussions of the Cafe "Gerbua", where this unusual company was called simply - "Band Mana" .

After the cabin is increasingly refusing to take the canvas man and its like-minded people even to consideration, the artist is decided to build his own pavilion. The personal exhibition did not bring the author of the expected success, but it didn't break at all - after the failure he creates the brightest paintings "Balcony", "Emperor Maximilian", "Breakfast in the workshop".

Inspirer impressionism and impressionists.

For 10 years, from 1870 to 1880. Mana was considered an inspiration of impressionists, although the work of Mane himself was significantly wider and multifaceted. In 1872, the artist finally overtook success - his picture "Mug of beer" was not only adopted admired by the audience and squeezing with critics, but also multiplied by reproductions, which rapidly bought up.

1874 was marked by a curious union - Monet and Mane are departed in summer in Argentey to look for new plots and experiment with technology. Here were created "Claude Monet in the boat", "Argenty", "The Coast of the Seine near Argentei", "in the boat". When the colorful paintings were taken by the salon, Mane again felt all the sharpness of the ridicule - work was swore for the brightness and the uncertainty of the plot. And again, Mane runs away from evil languages \u200b\u200band ridicule, this time in Venice, who also inspired the artist on a number of wonderful poetic works.

In the last years of his life, Mana worked a lot, overcoming malaise - Attakia destroyed it from the inside, leading to the separation of movement and the brain emigration. But even during this period, Mane did not fell into a despondency, he saved his craft. The most significant canvas of this period "Bar in Foli-Berzhar".

Optimism never left Mane: he could not walk more to his friends - but he took them in the workshop, it was hard to have a big cloth - began for thumbnails, constantly convincing himself that his well-being is normal.

In 1883, Mane did not become, but his wonderful work remained, as a reflection of the deep and bright inner world, and his biography can rightly be considered an example of selfless service to art, faith in their own strength, and huge courage with which the author met all critical attacks , and fatal disease.