By Francoise Cachin, Charles Moffett
Indicates hundreds of thousands of the French artists work, drawings, watercolors, and prints, and describes the history of every paintings.
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Extra info for Manet, 1832-1883
Furthermore, the artists at the Nouvelle-Athenes who showed their work at the Impressionist exhibitions seem not to have resented Manet's decision not to join them. Both he and they continued to frequent the cafe, which apparently served as a source of unity that superseded any factionalism. The artists whose work was included in the "Impressionist" shows should perhaps be seen as a splinter group that originated in the circle in which Manet was visibly and indisputably a primary figure. The "Impressionists" joined and defected from their own organization with great frequency, but throughout the 1870s the 25.
Another of Manet's advocates, the department store magnate Hoschede (see Provenance, cat. 32), published a booklet on the Salon of 1882; the cover bears a color reproduction of the Jeanne painting. It was the first color photogravure to be printed by the process developed by Charles Cros. At that date, Pissarro, Degas, and Whistler were very much involved with the techniques of original printmaking. No two were alike: in multiple states, they were inked like monotypes, signed in pencil, and scrupulously numbered; Whistler's first Venice Set scandalized his publisher.
Its firmness of execution and realism of expression were at least an indication that their son was capable, that the years spent in the Couture studio had not been a total loss. Besides, they do not seem people preoccupied with appearances; love of truth and the courage to face it, even in painting, were solid bourgeois virtues they surely would have appreciated. Yet at the time, the work was found objectionably vulgar. Leon Lagrange, in an account of the Salon of 1861, reproaches it with all the sins of ket, perhaps to somewhat out of line and has been seen as what a scourge to society is a realist painter!