Édouard Manet – The Father of Modern Art

Often called the father of modern art, Édouard Manet (Édouard Manet) is in fact one of the most important figures in art history. His swift brushstrokes and flat patches of colour laid the groundwork for Impressionism, Post-Impressionism, and many other modern art movements whose representatives the Academy dismissed as amateurs.

Read on to find out why, without Manet, there would be no Monet!

Édouard Manet

Édouard Manet was born in Paris on 23 January 1832, into a wealthy, elite family. Although he became interested in art as a child, his father had a different path planned for him — a career in the naval academy. Only after Manet twice failed the entrance exams did his father allow him to pursue a career in art. Manet began studying in the private studio of Thomas Couture (Thomas Couture), an academic painter, and, copying the works of the old masters, travelled through Germany, the Netherlands, Czechoslovakia, Austria, and Italy.

Manet painted at a time when it was the Academy that decided what counted as "good" or "bad" art, and the Academy prized classical technique and grand paintings depicting great people and events — heroic scenes from history and mythology. Countless artists worked accordingly. It was perfectly normal to make dozens of sketches and then spend months on end holed up in the studio perfecting a single painting. Paint was applied in thin layers, smoothed over again and again until no trace of the brushstroke remained. Bright colours were simply out of the question. A painting had to be brown. Twice a year the Academy held an exhibition called the Salon, which was, at the time, the most important art exhibition in all of Europe. Manet's first successful work, "The Spanish Singer," was exhibited at the Salon in 1861 and earned the painter recognition.

Although Manet wanted to exhibit his work at the Salon, he agreed with modern thinkers such as Charles Baudelaire (Charles Baudelaire) that art should depict contemporary life rather than historical events and mythology. His friend, the painter Gustave Courbet (Gustave Courbet), who, incidentally, painted the famous work "The Origin of the World" (Orgines du Monde), said: "Show me an angel and I will paint one." The painter wanted to paint life as he saw it. Manet's modernism begins with his work "Luncheon on the Grass" (Le Dejeuner sur l'Herbe), which the Salon rejected. Incidentally, the Salon did not reject him alone that year.

Édouard Manet, "Luncheon on the Grass," 1863

"Luncheon on the Grass" was criticised by academics for its poor perspective and flat patches of colour, but what offended them most was the shameless, openly displayed nudity of the central figure — a prostitute sitting with well-known gentlemen and staring directly at the viewer. This subject matter prompted reflection on the reality of the contemporary world in which he lived. Moreover, Manet created this painting with a clear allusion to a famous work by Titian, only without the sense of sanctity typical of the latter.

A few years later, in 1865, Manet again caused a scandal at the Salon, which agreed to exhibit his "Olympia" (Olympia). Manet also created "Olympia" based on Titian's revered "Urbino Olympia," but while Titian's Olympia was innocent, Manet's Olympia forced viewers to acknowledge the less-than-virtuous aspects of Parisian life — once again, a shameless, naked prostitute stared straight at the viewer. Manet said: "I paint what I see, not what others wish to see." The painting's message is further heightened by its stark lighting and abundance of symbols (a slipping-off slipper and a black cat symbolise lost innocence, while the orchid in her hair and the bouquet of flowers symbolise sexual intercourse).

Édouard Manet, "Olympia," 1863

Although the Academy's criticism disappointed Manet, he continued to submit paintings to the Salon. Many of his paintings were rejected, but the painter refused to change his style to suit their taste. Finally, one of the last major works of his career, "A Bar at the Folies-Bergère," was exhibited in 1882. Although accepted into the exhibition, the painting was criticised for its unexpected subject. It again depicted contemporary Parisian life, but, moreover, instead of portraying the joy and vitality of the popular music hall, the painter chose a tired, daydreaming barmaid.

Édouard Manet, "A Bar at the Folies-Bergère," 1882

Manet's rebellion against the Academy's rules inspired the coming generations of artists, including the Impressionists. The Impressionists also wanted to depict contemporary life but, unlike Manet, they carried their canvases outdoors and painted en plein air — in the open air. From Manet, the Impressionists adopted flat patches of colour and swift brushstrokes, but even more important to them was capturing light. Rejected by the Salon, these artists began organising and funding their own exhibitions. Although Manet greatly encouraged the budding Impressionists and was invited to take part in their exhibitions, he preferred to keep submitting his work to the Salon, hoping to eventually change the Academy's expectations.

Édouard Manet died in 1883 at the age of 51. Although his artistic career was short, his legacy is immense. His refusal to submit to the Academy, which had reigned for ages, inspired countless modern artists who chafed against tradition to rise up. Manet's brief career became a pivotal turning point in art history, and it is for this reason that he is regarded as the father of modern art.