Édouard ManetFrench, 1832–1883At the Café
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Cleveland, United States
It belongs to the collection, but is not on display at present.
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- In this state since
- Source
- The museum
About the work
This print by Édouard Manet depicts the Café Guerbois, a gathering place for Impressionist artists in 19th-century Paris. Although best known for his paintings, the artist was an avid printmaker throughout his entire career. Here, he experimented with gillotage—a new technique at the time—to suggest the quick, sketchy lines of drawing, making the image appear as if it had been created quickly and spontaneously.
The Cleveland Museum of Art
Particulars
- Accession number
- 2019.57
In the catalog
Sources
- The Cleveland Museum of Art
- Image: The Cleveland Museum of Art — Museum open access
Meanwhile, in the life of Édouard Manet
The whole life1870s
Refuses to exhibit with the Impressionists
Although his own work influenced and anticipated the Impressionist style, Manet resisted involvement in Impressionist exhibitions: he did not wish to be seen as the representative of a group identity and held that modern artists should seek to exhibit at the Salon.
1873
“Le Bon Bock”: a huge success
In his new studio in 1873 Manet painted “Le Bon Bock”, which became famous: for the first time in almost fifteen years he had a huge success, yet he did not turn into a fashionable, opportunistic painter.
1874
“The Railway”: ridicule at the Salon of 1874
“The Railway”, painted in 1873, puzzled visitors and critics at the Salon of 1874: its subject seemed baffling, its composition incoherent and its execution sketchy; caricaturists ridiculed it, and only later was it recognised as a symbol of modernity. The model was Victorine Meurent, for the last time.
1874
Morisot marries Manet's brother
In 1874 Berthe Morisot married Manet's brother Eugène and became his sister-in-law; it has been speculated that there was a repressed love between Manet and Morisot, exemplified by the numerous portraits he made of her before her marriage.
1874–1876
The Salon jury rejects his paintings again
In 1874 the jury rejected “Masked Ball at the Opera”, and in 1876 both paintings Manet sent. Independent exhibitions in those years brought nothing but public censure and the mockery of critics.
1875
Lithographs for Poe's “The Raven” in Mallarmé's translation
In 1875 a book-length French edition of Edgar Allan Poe's “The Raven” appeared, with lithographs by Manet and a translation by his friend Stéphane Mallarmé.
