Édouard Manet法国, 1832–1883草地上的午餐
Luncheon on the Grass
关于这幅画
《草地上的午餐》（法文：Le Déjeuner sur l'herbe, 英文：The Picnic）是法国写实派与印象派画家愛德華·馬奈创作于1862年和1863年间的一幅布面油画。畫中的樹下裸女，被認為是印象主義的第一個宣示。原本名为《浴》（法文：Le Bain）。在1863年的「落選者沙龍」第一次展出。现藏于巴黎的奥塞美术馆。
作品信息
- 馆藏编号
- RF 1668
已收入目录
出处
- 维基数据
- 图片： 奥赛博物馆 — Édouard Manet · Public domain · Wikimedia Commons
Édouard Manet当时的生活
完整生平1861
His first participation in the Salon
In 1861 the Salon accepted two canvases by Manet: “Portrait of Monsieur and Madame Manet” and “The Spanish Singer”. Critics received the portrait coldly, while “The Spanish Singer” was admired by Théophile Gautier and, because of its popularity, hung in a more conspicuous place; the work intrigued young artists and brought new business to his studio.
1862
“Music in the Tuileries”: the fury of the public
In 1862 Manet exhibited “Music in the Tuileries” (probably painted in 1860), where the strollers include the poet Baudelaire, the musician Offenbach and the artist himself. It mostly provoked fury: the thick brushstrokes looked crude and unfinished, several visitors threatened to destroy the canvas; Delacroix defended it, and the controversy made Manet a well-known name in Paris.
1863
“The Luncheon on the Grass” at the Salon des Refusés
The Salon of 1863 rejected “The Luncheon on the Grass” (originally “Le Bain”), and Manet exhibited it at the Salon des Refusés, a parallel exhibition initiated by Napoleon III after a public outcry, the jury having accepted only 2,217 of more than 5,000 submissions. The juxtaposition of dressed men and a nude woman and the sketch-like handling caused a scandal; one critic compared the brushwork to a “floor mop”.
1863
Marries Suzanne Leenhoff
In 1863, a year after his father's death, Manet married Suzanne Leenhoff at a Protestant church: a Dutch-born piano teacher two years his senior with whom he had been romantically involved for about ten years. Auguste Manet had employed her to teach his sons the piano, and she may also have been Auguste's mistress.
1863
Married: Suzanne Manet
1865
“Olympia” at the Salon: a scandal
In 1865 the Salon accepted “Olympia”, and the frank depiction of a self-assured prostitute created a scandal; according to Antonin Proust, only the precautions taken by the administration prevented the painting from being punctured and torn. The popular press caricatured it, while the avant-garde, including Courbet, Cézanne and Monet, championed it.
