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{{redirect|Manet}}
{{distinguish2|[[Claude Monet]], another painter of the same era}}


i also like men so i quess that makes me bisexual like robert aka bj stevens which he has given out on count less times.
{{Infobox Artist
| name = Édouard Manet
| image = Édouard Manet.jpg
| imagesize = 250px
| caption = portrait by [[Nadar (photographer)|Nadar]]
| birthname = Édouard Manet
| birthdate = {{birth date|df=yes|1832|1|23}}
| location = Paris
| deathdate = {{death date and age|df=yes|1883|4|30|1832|1|23}}
| deathplace = Paris
| nationality = French
| field = [[Painting]]
| training =
| movement = [[realism (arts)|Realism]], [[Impressionism]]
| works = ''[[The Luncheon on the Grass]] (Le déjeuner sur l'herbe)'', 1863<br>
''[[Olympia (painting)|Olympia]]'', 1863<br>
''[[A Bar at the Folies-Bergère]] (Le Bar aux Folies-Bergère)'', 1882
}}

'''Édouard Manet''' ({{IPA-fr|edwaʁ manɛ}}), 23 January 1832 &ndash; 30 April 1883, was a French [[Painting|painter]]. One of the first nineteenth century artists to approach modern-life subjects, he was a pivotal figure in the transition from [[realism (arts)|Realism]] to [[Impressionism]].

His early masterworks ''[[The Luncheon on the Grass]]'' and ''[[Olympia (painting)|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 XIV John of Sweden|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]].<ref name = "King"/> 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,<ref>[http://www.metmuseum.org/toah/hd/mane/hd_mane.htm Édouard Manet, Metropolitan Museum of Art]</ref> 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 Master|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 Goya|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 (arts)|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|Music in the Tuileries}}
[[File:Edouard Manet 036.jpg|thumb|''[[Music in the Tuileries]]'', 1862]]
''Music 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,<ref name = "King"/> 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|The Luncheon on the Grass}}
[[File:Manet, Edouard - Le Déjeuner sur l'Herbe (The Picnic) (1).jpg|thumb|left|''[[Le déjeuner sur l'herbe|The Luncheon on the Grass]]'' (''Le déjeuner sur l'herbe''), 1863]]
A major early work is ''[[Le déjeuner sur l'herbe|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&mdash; 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]].<ref name = "King"/>

Scholars also cite two works as important precedents for ''Le déjeuner sur l'herbe,'' ''[[:Image:Fiesta campestre.jpg|Pastoral Concert]],'' 1508, ([[The Louvre]]) and ''[[The Tempest (painting)|The Tempest]]'' ([[Gallerie dell'Accademia]], [[Venice]]), both of which are famous [[Renaissance]] paintings attributed variously to Italian masters [[Giorgione]] or [[Titian]] (circa 1508).<ref>Paul Hayes Tucker, ''Manet's Le Déjeuner sur l'herbe'', Cambridge University Press, 1998, pp.12-14. ISBN 0-521-47466-3.</ref> ''The Tempest'' is a mysterious and enigmatic painting that 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.<ref>[[John Rewald]],''The History of Impressionism'', [[The Museum of Modern Art]], 4th revised edition 1973, (1st 1946, 2nd 1955, 3rd 1961), p.85. ISBN 0-87070-369-2.</ref> The painting ''[[:Image:Fiesta campestre.jpg|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 (instrument)|pipe]].

===''Olympia''===
[[File:Manet, Edouard - Olympia, 1863.jpg|thumb|''[[Olympia (Manet)|Olympia]]'', 1863]]
{{Main|Olympia (Manet)}}
As he had in ''Luncheon on the Grass'', Manet again paraphrased a respected work by a Renaissance artist in the painting ''[[Olympia (Manet)|Olympia]]'' (1863), a nude portrayed in a style reminiscent of early studio [[photography|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.<!-- by whom? -->
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.<ref name = "King"/> 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{{Fact|date=November 2007}} - 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. <ref name="King">Ross King. ''The Judgment of Paris: The Revolutionary Decade that Gave the World Impressionism''. New York: Waller & Company, 2006 ISBN 0802714668.</ref>

===Life and times ===
[[File:Edouard Manet 040.jpg|right|thumbnail|upright|''Berthe Morisot'', 1872]]
The 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 [[Impressionism|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.

[[File:Edouard Manet 060.jpg|left|thumbnail|upright|''[[Self-portrait]] with palette,'' 1879]]

Unlike 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 ([[En plein air|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. <ref>Delage R. ''Emmanuel Chabrier.'' Paris, Fayard, 1999. Chapter XI examines in detail their relationship and the effects of each other on their work.</ref>

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 ===
[[File:Edouard Manet 030.jpg|thumb|upright|''The Cafe Concert'', 1878]]

Manet'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 [[Frans Hals|Hals]] and [[Diego Velázquez|Velázquez]], yet they capture the mood and feeling of Parisian night life. They are painted snapshots of [[bohemianism]], [[Urban area|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 ===
[[File:Edouard Manet 053.jpg|thumb|left|''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.

===War===
[[File:Manet, Edouard - The Execution of Emperor Maximilian, 1867.jpg|thumb|upright| ''The Execution of [[Maximilian I of Mexico|Emperor Maximilian]],'' 1867. [[Museum of Fine Arts, Boston]]. The least finished of three large canvases devoted to the execution.]]
[[File:TheBaricade.jpg|thumb|upright| ''The Barricade (Civil War)'',]]
Manet's response to modern life included works devoted to war, in subjects that may be seen as updated interpretations of the genre of "history painting".<ref>Krell, Alan, ''Manet and the Painters of Contemporary Life'', page 83. Thames and Hudson, 1996.</ref> The first such work was the ''Battle of the Kearsarge and Alabama'' (1864), a sea skirmish from the [[American Civil War]] which took place off the French coast, and may have been witnessed by the artist.<ref>Krell, pages 84-6.</ref>

Of interest next was the French intervention in Mexico; from 1867 to 1869 Manet painted three versions of the ''Execution of Emperor Maximilian'', an event which raised concerns regarding French foreign and domestic policy.<ref>Krell, pages 87-91.</ref> The several versions of the ''Execution'' are among Manet's largest paintings, which suggests that the theme was one which the painter regarded as most important. Its subject is the execution by Mexican firing squad of a Habsburg emperor, who had been installed by Napoleon III. Neither the paintings nor a lithograph of the subject were permitted to be shown in France.<ref>Krell, page 91.</ref> As an indictment of formalized slaughter the paintings look back to [[Goya]],<ref>Krell, page 89.</ref> and anticipate [[Picasso]]'s ''[[Guernica (painting)|Guernica]]''.

In January 1871 Manet traveled to [[Oloron-Sainte-Marie]] in the [[Pyrenees]]. In his absence his friends added his name to the "Fédération des artistes" (see:[[Gustave Courbet|Courbet]]) of the [[Paris Commune]]. Manet stayed away from Paris, perhaps, until after the ''semaine sanglante''. In a letter to [[Berthe Morisot]] at [[Cherbourg]] (10 June 1871) he writes :" ''We came back to Paris a few days ago...''".(the semaine sanglante ended on 28 May).

The Prints and Drawings Collection of the [[Museum of Fine Arts (Budapest)]] has a [[watercolour]]/[[gouache]] (''The Barricade'') by Manet depicting a summary execution of [[Communards]] by Versailles troops based on a [[lithograph]] of the execution of [[Maximilian I of Mexico|Maximilian]]. A similar piece (''The Barricade''), oil on plywood, is held by a private collector.

On 18 March 1871 he wrote to his (confederate) friend [[Félix Bracquemond]] in Paris about his visit to [[Bordeaux]], the provisory seat of the French National Assembly of the [[Third French Republic]] where [[Emile Zola]] introduced him to the sites: " ''I never imagined that France could be represented by such doddering old fools, not excepting that little twit'' [[Adolphe Thiers|Thiers]]..." (There followed some colorful language unsuitable at social events. See ''"Manet by himself"'' 1991/2004.) If this could be interpreted as support of the Commune a following letter to Bracquemond (21 March 1871) expressed his idea more clearly: ''"Only party hacks and the ambitious, the Henrys of this world following on the heels of the Milliéres, the grotesque imitators of the Commune of 1793..."'' He knew the communard Lucien Henry to have been a former painters model and Millière, an insurance agent. ''"What an encouragement all these bloodthirsty caperings are for the arts! But there is at least one consolation in our misfortunes: that we're not politicians and have no desire to be elected as deputies"''. (The letters are published in Julliet Wilson-Bareau, ed., ''Manet by himself'' UK: Little Brown, 2004.)

===Paris===<!--Section linked from [[Victorine Meurent]]-->
Manet depicted many scenes of the streets of Paris in his works. The ''Rue Mosnier Decked with Flags'' depicts red, white, and blue pennants covering buildings on either side of the street—another painting of the same title features a one-legged man walking with crutches. Again depicting the same street, but this time in a different context, is ''Rue Monsnier with Pavers'', in which men repair the roadway while people and horses move past.
[[File:Edouard Manet 021.jpg|thumb|left| ''The Railway'', 1872]]
''The Railway'', widely known as ''The Gare Saint-Lazare'', was painted in 1873. The setting is the [[urban area|urban]] [[landscape]] of Paris in the late nineteenth century. Using his favorite model in his last painting of her, a fellow painter, [[Victorine Meurent]], also the model for ''Olympia'' and the ''Luncheon on the Grass'', sits before an iron fence holding a sleeping puppy and an open book in her lap. Next to her is a little girl with her back to the painter, who watches a train pass beneath them.

Instead of choosing the traditional natural view as background for an outdoor scene, Manet opts for the iron grating which "boldly stretches across the canvas" (Gay 106). The only evidence of the train is its white cloud of steam. In the distance, modern apartment buildings are seen. This arrangement compresses the foreground into a narrow focus. The traditional convention of deep space is ignored.

When the painting was first exhibited at the official Paris Salon of 1874: "Visitors and critics found its subject baffling, its composition incoherent, and its execution sketchy. [[caricature|Caricaturists]] ridiculed Manet's picture, in which only a few recognized the symbol of modernity that it has become today"(Dervaux 1). The painting is currently displayed at the [[National Gallery of Art]] in [[Washington, D.C.]]<ref>[http://www.nga.gov/cgi-bin/pinfo?Object=43340+0+none National Gallery of Art].</ref>

=== Late works ===
[[File:Raven Manet D2.jpg|thumb|150px|right|Illustration for the [[Stéphane Mallarmé]] translation of [[Edgar Allan Poe]]'s "[[The Raven]]", 1875. Digitally restored.]]
He completed painting his last major work, ''[[A Bar at the Folies-Bergère]] (Le Bar aux Folies-Bergère)'', in 1882 and it hung in the Salon that year.

In 1875, a book-length French edition of [[Edgar Allan Poe]]'s "[[The Raven]]" included lithographs by Manet and translation by Mallarmé.<ref>[http://digitalgallery.nypl.org/nypldigital/dgkeysearchresult.cfm?parent_id=173889&word= The Digital Collection of the New York Public Library].</ref>

In 1881, with pressure from his friend [[Antonin Proust]], the French government awarded Manet the [[Légion d'honneur]].
[[File:Edouard Manet 004.jpg|thumb|left|''[[A Bar at the Folies-Bergère]] (Le Bar aux Folies-Bergère)'', 1882]]

==Private life==

In 1863 Manet married Suzanne Leenhoff, a Dutch-born piano teacher of his own age with whom he had been romantically involved for approximately ten years. Leenhoff initially had been employed by Manet's father, Auguste, to teach Manet and his younger brother piano. She also may have been Auguste's mistress. In 1852, Leenhoff gave birth, out of wedlock, to a son, Leon Koella Leenhoff.

After the death of his father in 1862, Manet married Suzanne. Eleven-year-old Leon Leenhoff, whose father may have been either of the Manets, posed often for Manet. Most famously, he is the subject of the ''Boy Carrying a Sword'' of 1861 (Metropolitan Museum of Art, New York). He also appears as the boy carrying a tray in the background of ''The Balcony''.<ref>Mauner, G. L., & Loyrette, H. (2000). ''Manet: the still-life paintings''. New York: H.N. Abrams in association with the American Federation of Arts. ISBN 0810943913, p. 66</ref>

Manet painted her wife in ''[[The Reading]]'', among other paintings.

==Gallery==
<gallery>
Image:Edouard Manet 061.jpg|''Spanish Singer,'' [[Metropolitan Museum of Art]], 1860
Image:Edouard Manet Old Musician 1862.jpg|''Old Musician,'' [[National Gallery of Art, Washington, DC]] 1862
Image:Edouard Manet 047.jpg|''Mlle. Victorine in the Costume of a Matador,'' [[Metropolitan Museum of Art]], 1862
Image:Édouard Manet-Kearsarge-Alabama2.jpg|''Battle of the Kearsarge and the Alabama,'' [[Philadelphia Museum of Art]], 1864
Image:Edouard Manet 073.jpg|''Dead Matador,'' [[National Gallery of Art, Washington, DC]], 1864-1865
Image:The Philosopher.jpg|''The Philosopher, (Beggar with Oysters),'' [[Art Institute of Chicago]], 1864-1867
Image:Manet, Edouard - Young Flautist, or The Fifer, 1866 (2).jpg|''Young Flautist, or [[The Fifer]],'' [[Musée d'Orsay]], 1866
Image:Edouard Manet 089.jpg|''Woman with Parrot,'' [[Metropolitan Museum of Art]], 1866
Image:Edouard Manet 022.jpg|''Execution of [[Maximilian I of Mexico|Emperor Maximilian of Mexico]],'' 1868
Image:Edouard Manet 049.jpg|''Portrait of [[Emile Zola]],'' [[Musée d'Orsay]], 1868
Image:Edouard Manet 025.jpg|''Breakfast in the Studio (the Black Jacket),'' [[Neue Pinakothek|New Pinakothek]], [[Munich, Germany]], 1868
Image:Edouard Manet 016.jpg|''The Balcony,'' [[Musée d'Orsay]], 1868-1869
Image:Edouard Manet Boating.jpg|''Boating,'' [[Metropolitan Museum of Art]], 1874
Image:Portrait of Stéphane Mallarmé (Manet).jpg|''Portrait of [[Stéphane Mallarmé]],'' [[Musée d'Orsay]], 1876
Image:Edouard Manet 037.jpg|''[[Nana (novel)|Nana]],'' 1877
Image:Edouard Manet 039.jpg|''Plum,'' [[National Gallery of Art, Washington, DC]], 1878
Image:In the Conservatory.jpg|''In the Conservatory,'' [[Alte Nationalgalerie|National Gallery]], [[Berlin, Germany]], 1879
Image:Edouard Manet 027.jpg|''House in Rueil,'' [[National Gallery of Victoria]], [[Melbourne, Australia]] 1882
Image:Manet - Gartenweg in Rueil.jpg|''Garden Path in Rueil,'' [[Musée des Beaux-Arts]], [[Dijon, France]] 1882
Image:Edouard Manet 011.jpg|''Carnations and Clematis in a Crystal Vase,'' [[Musée d'Orsay]], 1883
</gallery>

== Death ==

[[File:Manet-grave.jpg|thumb|right|The grave of Manet at Passy]]

Manet died of untreated [[syphilis]] and [[rheumatism]], which he contracted in his forties. The disease caused him considerable pain and partial paralysis from [[Tabes dorsalis|locomotor ataxia]] in the years prior to his death.

His left foot was [[amputated]] because of [[gangrene]], an operation followed eleven days later by his death. He died at the age of fifty-one in Paris in 1883, and was buried in the [[Cimetière de Passy]] in the city.

==See also==
*[[History of painting]]
*[[Western painting]]
*[[:Category:Édouard Manet paintings]]

==References==
{{Reflist}}

==Further reading==
*''Edouard Manet: Rebel in a Frock Coat'' by Beth Archer Brombert (1996), ISBN 0316109479 and ISBN 0226075443 (1997 paperback)
*''Manet'' by Françoise Cachin (1990 in French; English translation 1991), ISBN 0805017933
*''The Drawings of Edouard Manet'' by Alain de Leiris (1969), ISBN 0520015479
*''The Painting of Modern Life: Paris in the Art of Manet and His Followers'' by TJ Clark (1985), ISBN 0500281793 (2000 paperback edition)
*''Manet: Painter of Modern Life'' by Françoise Cachin (1995), ISBN 050030050X
Short introductory works:
*''Manet'' by Gilles Neret (2003; Taschen), ISBN 3822819492
*''Manet'' by John Richardson (1992; Phaidon Colour Library), ISBN 071482755X
*Ross King. ''The Judgment of Paris: The Revolutionary Decade that Gave the World Impressionism''. New York: Waller & Company, 2006 ISBN 0802714668.

==External links==
{{commons+cat|Édouard Manet}}
{{wikiquote}}
* [http://www.ricci-art.com/en/Edouard-Manet.htm Paintings by Edouard Manet]
* [http://mushecht.haifa.ac.il/hecht/art/Artist-Collection-eng.aspx?id=10 Hecht Museum]
* [http://www.manetedouard.org 241 works by Edouard Manet at www.ManetEdouard.org]
* [http://www.biography.com/impressionists/artists_manet.html ''The Impressionsts: Manet'' at biography.com]
* [http://www.abcgallery.com/M/manet/manet.html Édouard Manet at Olga's Gallery]
* {{gutenberg author|id= Édouard_Manet|name= Édouard Manet}}
* [http://www.hillstead.org/collection/paint_manet.html Édouard Manet at Hill-Stead Museum, Farmington, Connecticut]
* [http://www.thewalters.org/works_of_art/itemdetails.aspx?aid=25/ The Walters]
* [http://www.museumsyndicate.com/artist.php?artist=222 Manet Gallery at MuseumSyndicate]
* [http://artsmia.org/search/index.cfm?term=manet&err=no_array Manet works at the [[Minneapolis Institute of Arts]]]
* [http://www.allpaintings.org/v/Impressionism/Edouard+Manet/ Édouard Manet at allpaintings.org]
* [http://www.mootnotes.com/art/manet/ Édouard Manet paintings, media & interactive timeline]
* [http://www.getty.edu/vow/ULANFullDisplay?find=manet&role=&nation=&prev_page=1&subjectid=500010363 Union List of Artist Names, Getty Vocabularies.] ULAN Full Record Display for Edouard Manet. Getty Vocabulary Program, Getty Research Institute. Los Angeles, California.

{{Manet}}
{{Impressionists}}

{{Persondata
|NAME=Manet, Édouard
|ALTERNATIVE NAMES=
|SHORT DESCRIPTION=Artist
|DATE OF BIRTH={{birth date|df=yes|1832|1|23}}
|PLACE OF BIRTH=Paris
|DATE OF DEATH={{death date|df=yes|1883|4|30}}
|PLACE OF DEATH=Paris
}}
{{DEFAULTSORT:Manet, Edouard}}
[[Category:1832 births]]
[[Category:1883 deaths]]
[[Category:People from Paris]]
[[Category:French painters]]
[[Category:Realist painters]]
[[Category:Impressionist painters]]
[[Category:Légion d'honneur recipients]]

{{Link FA|nl}}
{{Link FA|fr}}

[[ar:إدوار مانيه]]
[[bn:এদুয়ার মানে]]
[[be-x-old:Эдуард Манэ]]
[[bs:Édouard Manet]]
[[br:Édouard Manet]]
[[bg:Едуар Мане]]
[[ca:Édouard Manet]]
[[cs:Édouard Manet]]
[[da:Édouard Manet]]
[[de:Édouard Manet]]
[[el:Εντουάρ Μανέ]]
[[es:Édouard Manet]]
[[eo:Édouard Manet]]
[[eu:Édouard Manet]]
[[fa:ادوار مانه]]
[[fr:Édouard Manet]]
[[fy:Edouard Manet]]
[[gl:Édouard Manet]]
[[ko:에두아르 마네]]
[[hy:Էդուարդ Մանե]]
[[hr:Édouard Manet]]
[[io:Édouard Manet]]
[[bpy:এডৱার মানে]]
[[is:Édouard Manet]]
[[it:Édouard Manet]]
[[he:אדואר מאנה]]
[[ka:ედუარ მანე]]
[[lad:Edouard Manet]]
[[la:Eduardus Manet]]
[[lt:Édouard Manet]]
[[hu:Édouard Manet]]
[[mk:Едуар Мане]]
[[nl:Édouard Manet]]
[[new:एडुआर्ड म्यानेट]]
[[ja:エドゥアール・マネ]]
[[no:Édouard Manet]]
[[nn:Édouard Manet]]
[[oc:Édouard Manet]]
[[pl:Édouard Manet]]
[[pt:Édouard Manet]]
[[ro:Édouard Manet]]
[[qu:Édouard Manet]]
[[ru:Мане, Эдуар]]
[[scn:Édouard Manet]]
[[simple:Édouard Manet]]
[[sk:Édouard Manet]]
[[szl:Édouard Manet]]
[[sr:Едуар Мане]]
[[sh:Édouard Manet]]
[[fi:Édouard Manet]]
[[sv:Édouard Manet]]
[[th:เอดวด มาเนท์]]
[[tr:Édouard Manet]]
[[uk:Едуар Мане]]
[[vi:Édouard Manet]]
[[zh:愛德華·馬奈]]

Revision as of 14:42, 20 January 2010

hello im the bearded lady and i am a super lesbo

i also like men so i quess that makes me bisexual like robert aka bj stevens which he has given out on count less times.

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