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Olympia, Musee d'Orsay, Paris, Oil On Canvas by Edouard Manet (1832-1883, France) (buy Framed Print/order Framed Giclee/order Print on canvas)

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Olympia, Musee d'Orsay, Paris, Oil On Canvas by Edouard Manet  (buy Fine Art Framed Print Edouard Manet/order Fine Art Framed Giclee Edouard Manet/order Fine Art Print on canvas Edouard Manet/order Fine Art Poster on canvas Edouard Manet)
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  Olympia, Musee d'Orsay, Paris, Oil On Canvas by Edouard Manet  (buy Fine Art Framed Print Edouard Manet/order Fine Art Framed Giclee Edouard Manet/order Fine Art Print on canvas Edouard Manet/order Fine Art Poster on canvas Edouard Manet)  
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 Edouard Manet
Edouard Manet was a prominent 19th century painter who rose to great fame. A generation older than the Impressionists, that didn’t stop them from counting Manet as their friend and unofficial father of Impressionism. Manet denied the fact that he so greatly influenced anyone and tried to distance himself from Impressionism. In order to maintain popularity with the masses and prestige at the Academie, Manet tried to deny that he was an Impressionist painter in the slightest. But whatever prestige he had amongst the elite painters and critics was already tarnished somewhat by his painting Olympia. A mostly nude prostitute lounges on bed, looking directly out at the viewer. Although this was accepted for exhibition, it was considered scandalous and many didn’t give Manet good feedback. Nonetheless, this painting did draw attention from his young contemporaries the Impressionists and influenced them directly as they searched themselves for a new way in which to portray the world.
[Page - Edouard Manet - 4Ko]

Édouard Manet (French pronunciation: ), 23 January 1832 – 30 April 1883, was a French painter. One of the first nineteenth century artists to approach modern-life subjects, he was a pivotal figure in the transition from Realism to Impressionism.

His early masterworks The Luncheon on the Grass and Olympia engendered great controversy, and served as rallying points for the young painters who would create Impressionism. Today these are considered watershed paintings that mark the genesis of modern art.

Biography
Early life


Édouard Manet was born in Paris on 23 January 1832, to an affluent and well connected family. His mother, Eugénie-Desirée Fournier, was the daughter of a diplomat and the goddaughter of the Swedish crown prince, Charles Bernadotte, from whom the current Swedish monarchs are descended. His father, Auguste Manet, was a French judge who expected Édouard to pursue a career in law. His uncle, Charles Fournier, encouraged him to pursue painting and often took young Manet to the Louvre. In 1845, following the advice of his uncle, Manet enrolled in a special course of drawing where he met Antonin Proust, future Minister of Fine Arts and a subsequent life-long friend.
At his father's suggestion, in 1848 he sailed on a training vessel to Rio de Janeiro. After Manet twice failed the examination to join the navy, the elder Manet relented to his son's wishes to pursue an art education. From 1850 to 1856, Manet studied under the academic painter Thomas Couture, a painter of large historical paintings. In his spare time he copied the old masters in the Louvre.

From 1853 to 1856 he visited Germany, Italy, and the Netherlands, during which time he absorbed the influences of the Dutch painter Frans Hals, and the Spanish artists Diego Velázquez and Francisco José de Goya.


In 1856, he opened his own studio. His style in this period was characterized by loose brush strokes, simplification of details and the suppression of transitional tones. Adopting the current style of realism initiated by Gustave Courbet, he painted The Absinthe Drinker (1858-59) and other contemporary subjects such as beggars, singers, Gypsies, people in cafés, and bullfights. After his early years, he rarely painted religious, mythological, or historical subjects; examples include his Christ Mocked, now in the Art Institute of Chicago, and Christ with Angels, in the Metropolitan Museum of Art, New York.


Music in the Tuileries
Main article: Music in the Tuileries


Music in the Tuileries, 1862Music in the Tuileries is an early example of Manet's painterly style, inspired by Hals and Velázquez, and it is a harbinger of his life-long interest in the subject of leisure.


While the picture was regarded as unfinished by some, the suggested atmosphere imparts a sense of what the Tuileries gardens were like at the time; one may imagine the music and conversation.

Here Manet has depicted his friends, artists, authors, and musicians who take part, and he has included a self-portrait among the subjects.

Luncheon on the Grass (Le déjeuner sur l'herbe)
Main article: The Luncheon on the Grass

The Luncheon on the Grass (Le déjeuner sur l'herbe), 1863A major early work is The Luncheon on the Grass (Le déjeuner sur l'herbe). The Paris Salon rejected it for exhibition in 1863 but he exhibited it at the Salon des Refusés (Salon of the rejected) later in the year. Emperor Napoleon III had initiated The Salon des Refusés after the Paris Salon rejected more than 4,000 paintings in 1863.

The painting's juxtaposition of fully-dressed men and a nude woman was controversial, as was its abbreviated, sketch-like handling— an innovation that distinguished Manet from Courbet. At the same time, Manet's composition reveals his study of the old masters, as the disposition of the main figures is derived from Marcantonio Raimondi's engraving of the Judgement of Paris (c. 1515) based on a drawing by Raphael.

Scholars also cite two works as important precedents for Le déjeuner sur l'herbe, Pastoral Concert, 1508, (The Louvre) and The Tempest both of which are famous Renaissance paintings attributed variously to Italian masters Giorgione or Titian (circa 1508). The Tempest is housed in the Gallerie dell'Accademia of Venice. The mysterious and enigmatic painting also features a fully-dressed man and a nude female in a rural setting. The man is standing to the left and gazing to the side, apparently at the woman, who is sitting in the grass, partially nude, breastfeeding a baby; darkening clouds and distant lightning herald an approaching storm. The relationship between the two figures is unclear. The painting Pastoral Concert, c.1508, in the collection of the Louvre, depicts what appears to be two seated men, both fully dressed and gazing intently at each other in a pastoral setting; the figure on the left plays a lute while the figure on the right gazes attentively at him. In the foreground two naked women accompany the two seated male figures, drapery wrapped around bare legs; one nymph has a flute, the other a pitcher of water. In the background may be seen a distant house, a copse of trees and a shepherd who appears to be playing a pipe.

Olympia
Olympia, 1863Main article: Olympia (Manet)


As he had in Luncheon on the Grass, Manet again paraphrased a respected work by a Renaissance artist in the painting Olympia (1863), a nude portrayed in a style reminiscent of early studio photographs, but whose pose was based on Titian's Venus of Urbino (1538). The painting is also reminiscent of Francisco Goya's painting, The Nude Maja (1800).

Manet embarked on the canvas after being challenged to give the Salon a nude painting to display. The painting was controversial partly because the nude is wearing some small items of clothing such as an orchid in her hair, a bracelet, a ribbon around her neck, and mule slippers, all of which accentuated her nakedness, comfortable courtesan lifestyle and sexuality. The orchid, upswept hair, black cat, and bouquet of flowers were all recognized symbols of sexuality at the time. This modern Venus' body is thin, counter to prevailing standards; the painting's lack of idealism rankled viewers who noticed it despite its placement, high on the wall of the Salon. A fully-dressed black servant is featured, exploiting the then-current theory that black people were hyper-sexed. That she is wearing the clothing of a servant to a courtesan here, furthers the sexual tension of the piece.
The flatness of Olympia is inspired by Japanese wood block art. Her flatness serves to make her more human and less voluptuous. Her body as well as her gaze is unabashedly confrontational. She defiantly looks out as her servant offers flowers from one of her male suitors. Although her hand rests on her leg, hiding her pubic area in a "frog" gesture also another sex symbol, the reference to traditional female virtue is ironic; a notion of modesty is notoriously absent in this work. The alert black cat at the foot of the bed strikes a sexually rebellious note in contrast to that of the sleeping dog in Titian's portrayal of the goddess in his Venus of Urbino. Manet's uniquely frank (and largely unpopular) depiction of a self-assured prostitute was accepted by the Paris Salon in 1865. At the same time, his notoriety translated to popularity in the French avant-garde community.

"Olympia" immediately launched responses. Caricatures, sketches, and paintings, all addressed this nude. Artists such as Pablo Picasso, Paul Gauguin, Gustave Courbet, Paul Cézanne, and Claude Monet all appreciated the painting's significance.

As with Luncheon on the Grass, the painting raised the issue of prostitution within contemporary France and the roles of women within society.

Life and times

Berthe Morisot, 1872The roughly painted style and photographic lighting in these works was seen as specifically modern, and as a challenge to the Renaissance works Manet copied or used as source material. His work is considered 'early modern', partially because of the black outlining of figures, which draws attention to the surface of the picture plane and the material quality of paint.

He became friends with the Impressionists Edgar Degas, Claude Monet, Pierre-Auguste Renoir, Alfred Sisley, Paul Cézanne and Camille Pissarro through another painter, Berthe Morisot, who was a member of the group and drew him into their activities. The grand niece of the painter Jean-Honoré Fragonard, Morisot's paintings first had been accepted in the Salon de Paris in 1864 and she continued to show in the salon for ten years.

Manet became the friend and colleague of Berthe Morisot in 1868. She is credited with convincing Manet to attempt plein air painting, which she had been practicing since she was introduced to it by another friend of hers, Camille Corot. They had a reciprocating relationship and Manet incorporated some of her techniques into his paintings. In 1874, she became his sister-in-law when she married his brother, Eugene.

Self-portrait with palette, 1879Unlike the core Impressionist group, Manet maintained that modern artists should seek to exhibit at the Paris Salon rather than abandon it in favor of independent exhibitions. Nevertheless, when Manet was excluded from the International exhibition of 1867, he set up his own exhibition. His mother worried that he would waste all his inheritance on this project, which was enormously expensive. While the exhibition earned poor reviews from the major critics, it also provided his first contacts with several future Impressionist painters, including Degas.

Although his own work influenced and anticipated the Impressionist style, he resisted involvement in Impressionist exhibitions, partly because he did not wish to be seen as the representative of a group identity, and partly because he preferred to exhibit at the Salon. Eva Gonzalès was his only formal student.

He was influenced by the Impressionists, especially Monet and Morisot. Their influence is seen in Manet's use of lighter colors, but he retained his distinctive use of black, uncharacteristic of Impressionist painting. He painted many outdoor (plein air) pieces, but always returned to what he considered the serious work of the studio.

Manet enjoyed a close friendship with composer Emmanuel Chabrier, painting two portraits of him; the musician owned 14 of Manet's paintings and dedicated his Impromptu to Manet's wife.

Throughout his life, although resisted by art critics, Manet could number as his champions Émile Zola, who supported him publicly in the press, Stéphane Mallarmé, and Charles Baudelaire, who challenged him to depict life as it was. Manet, in turn, drew or painted each of them.

Cafe scenes

The Cafe Concert, 1878Manet's paintings of cafe scenes are observations of social life in nineteenth century Paris. People are depicted drinking beer, listening to music, flirting, reading, or waiting. Many of these paintings were based on sketches executed on the spot. He often visited the Brasserie Reichshoffen on boulevard de Rochechourt, upon which he based At the Cafe in 1878. Several people are at the bar, and one woman confronts the viewer while others wait to be served. Such depictions represent the painted journal of a flâneur. These are painted in a style which is loose, referencing Hals and Velázquez, yet they capture the mood and feeling of Parisian night life. They are painted snapshots of bohemianism, urban working people, as well as some of the bourgeoisie.

In Corner of a Cafe Concert, a man smokes while behind him a waitress serves drinks. In The Beer Drinkers a woman enjoys her beer in the company of a friend. In The Cafe Concert, shown at right, a sophisticated gentleman sits at a bar while a waitress stands resolutely in the background, sipping her drink. In The Waitress, a serving woman pauses for a moment behind a seated customer smoking a pipe, while a ballet dancer, with arms extended as she is about to turn, is on stage in the background.

Manet also sat at the restaurant on the Avenue de Clichy called Pere Lathuille's, which had a garden as well as the dining area. One of the paintings he produced here was, At Pere Lathuille's, in which a man displays an unrequited interest in a woman dining near him.

In Le Bon Bock, a large, cheerful, bearded man sits with a pipe in one hand and a glass of beer in the other, looking straight at the viewer.
Paintings of social activities


Racing at Longchamp, 1864.Manet also painted the upper class enjoying more formal social activities. In Masked ball at the Opera, Manet shows a lively crowd of people enjoying a party. Men stand with top hats and long black suits while talking to women with masks and costumes. He included portraits of his friends in this picture.

Manet depicted other popular activities in his work. In Racing at Longchamp, an unusual perspective is employed to underscore the furious energy of racehorses as they rush toward the viewer. In Skating Manet shows a well dressed woman in the foreground, while others skate behind her. Always there is the sense of active urban life continuing behind the subject, extending outside the frame of the canvas.

In View of the International Exhibition, soldiers relax, seated and standing, prosperous couples are talking. There is a gardener, a boy with a dog, a woman on horseback -— in short, a sample of the classes and ages of the people of Paris.

[Biography - Edouard Manet - 15Ko]
édouard Manet (né à Paris le 23 janvier 1832 - mort à Paris le 30 avril 1883) est un peintre français majeur de la fin du XIXe siècle. Manet en esquisse Issu d'une famille grand-bourgeoise, bambin dessinateur et griffonneur, adolescent artiste dans l'âme, Edouard Manet refuse de s’engager dans les classiques études de droit auxquelles son père le p...
[Biography - Edouard Manet - 11Ko]
édouard Manet (* 23. Januar 1832 in Paris &dagger 30. April 1883 ebenda) war ein französischer Maler. Er gilt als einer der Wegbereiter der modernen Malerei. Leben Kindheit Bildnis der Eltern, 1860 Musée d’Orsay, Parisédouard Manet kam 1832 im Haus Nummer 5 in der Rue des Petits-Augustins (heute Rue Bonaparte) im Pariser Stadtviertel Saint-Germai...
[Biography - Edouard Manet - 6Ko]
édouard Manet (Parigi, 23 gennaio 1832 - Parigi, 30 aprile 1883) è stato un pittore francese. è conosciuto come il padre dell'Impressionismo, sebbene egli stesso non abbia mai voluto essere identificato col gruppo degli Impressionisti, né partecipò mai alle loro esposizioni. Questo perché, per tutta la vita, preferì avere un riconoscimento ufficial...
[Biography - Edouard Manet - 6Ko]
édouard Manet (23 de enero de 1832 - 30 de abril de 1883) fue un célebre pintor francés, que se destacó al ser uno de los iniciadores del impresionismo. Vida édouard Manet nació en París el 23 de Enero de 1832, en una familia acomodada. Sus días escolares pasaron sin acontecimientos destacables y terminó su formación sin obtener la calificación nec...
[Biography - Edouard Manet - 9Ko]
Эдуар Мане (французское произношение:), 23 января 1832 - 30 апреля 1883, был французский художник. Одним из первых художников девятнадцатого века до подхода современной жизни предметы, он был ключевой фигурой в процессе перехода от реализма к импрессионизму. Его ранние шедевры Завтрак на траве и Олимпия породило большие споры, и служила объединяющи...
[Biography - Edouard Manet - 14Ko]
马奈(法语的发音:),1832年1月23日 - 1883年4月30日,是一个法国画家。十九世纪的第一个艺术家接近现代生活的科目之一,他在从现实主义到印象派过渡的一个举足轻重的人物。 他的早期杰作草地上的午餐和奥林匹亚所产生很大的争议,并担任创建印象派的青年画家的凝聚点。如今,这些被视为分水岭,标志着现代艺术的起源画。 传记 早期的生活 马奈于1832年1月23日出生在巴黎一个富裕和连接家庭。他的母亲,欧热妮西瑞富尼耶,是一名外交官的女儿和瑞典王储查尔斯贝纳多特,从他们目前的瑞典君主的后裔的义女。他的父亲,奥古斯特马奈,是一名法国法官预期爱德华追求法律的职业生涯。他的伯父,查尔斯富尼耶,鼓励他追求绘画和常常带年轻马奈到卢浮宫。在1845年,他的伯父的意见后,马奈参加了一个特殊的绘图过程中他在那...
[Biography - Edouard Manet - 6Ko]
édouard Manet (pronúncia francesa:), 23 de janeiro de 1832 - 30 de Abril de 1883, foi um pintor francês. Um dos primeiros artistas do século XIX para abordagem moderna da vida assuntos, ele foi uma figura central na transição do Realismo ao Impressionismo. Suas obras primas início Almoço na Relva A e polêmica Olympia engendrado grande, e serviu com...
[Biography - Edouard Manet - 17Ko]
エドゥアールマネ(フランス語の発音:)、1832年1月23日 - 1883年4月30日は、フランスの画家。現代の生活課題にアプローチする最初の19世紀のアーティストの一人は、彼は写実主義から印象派への移行において重要な人物だった。 彼の初期の名作グラスとオリンピア爆発だった大きな論争の昼食会、そして印象派を作成するという若い画家のためのラリーポイントを務めた。今日これらは、現代美術の起源をマーク流域絵画を考えられている。 初期の人生 エドゥアールマネが豊かで、適切に接続さ家族に、1832年1月23日にパリで生まれました。彼の母、ウジェニー - デジフルニエは、外交官の娘と現在のスウェーデンの君主が派生している人からスウェーデン皇太子、チャールズベルナドット、の名付け娘だった。彼の父、オーギュ...
[Biography - Edouard Manet - 7Ko]
 

 

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This painting is an example or realism — a style that shows exactly what the eye sees. It created an uproar, not because the subject was nude, but because of the way he painted her gaze and other subtleties indicating that she was a mistress.
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