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The Spanish Singer
The Spanish Singer
The Spanish Singer
is an 1860 oil painting on canvas by the French painter Édouard Manet, conserved since 1949 at the Metropolitan Museum of Art of New York. Composed in Manet's studio, it employed a model and props which were later used for at least one other painting.[1] This work, both realistic and exotic in its depiction of its subject, exhibits the influence of Spanish art, especially that of Diego Velázquez, on Manet's style. Manet, due to this painting, was accepted for the first time at the Salon of Paris in 1861, where he also exhibited a portrait of his parents.[2] The Spanish Singer
The Spanish Singer
received positive criticism at the time and won a decent mention. It was appreciated by French writer Charles Baudelaire, and by French journalist and literary critic Theophile Gautier, who praised the painting for its "very true color" and "vigorous brush"
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A Bar At The Folies-Bergère
A bar (also known as a saloon or a tavern or sometimes a pub or club, referring to the actual establishment, as in pub bar or savage club etc.) is a retail business establishment that serves alcoholic beverages, such as beer, wine, liquor, cocktails, and other beverages such as mineral water and soft drinks and often sell snack foods such as crisps (potato chips) or peanuts, for consumption on premises.[1] Some types of bars, such as pubs, may also serve food from a restaurant menu. The term "bar" also refers to the countertop and area where drinks are served. The term "bar" is also derived from the metal or wooden bar that is often located at feet along the length of the "bar".[citation needed] Bars provide stools or chairs that are placed at tables or counters for their patrons. Bars that offer entertainment or live music are often referred to as music bars, live venues, or nightclubs
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Theophile Gautier
Pierre Jules Théophile Gautier
Théophile Gautier
(French: [pjɛʁ ʒyl teofil ɡotje]; 30 August 1811 – 23 October 1872) was a French poet, dramatist, novelist, journalist, and art and literary critic. While an ardent defender of Romanticism, Gautier's work is difficult to classify and remains a point of reference for many subsequent literary traditions such as Parnassianism, Symbolism, Decadence and Modernism
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Special
Special
Special
or specials may refer to:Contents1 Music 2 Film and television 3 Other uses 4 See alsoMusic[edit] Special
Special
(album), a 1992
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Music In The Tuileries
Coordinates: 48°51′44″N 2°19′57″E / 48.86222°N 2.33250°E / 48.86222; 2.33250Tuileries PalacePalais des TuileriesThe Tuileries Palace
Palace
and the Arc de Triomphe du Carrousel
Arc de Triomphe du Carrousel
circa 1860. The Arc de Triomphe de l'Etoile
Arc de Triomphe de l'Etoile
can be seen in the background.General informationType Royal residenceArchitectural style Built in the 16th century: Renaissance, Additions of the 17th and 18th centuries: Louis XIII Style and Baroque, Additions of the 19th century: Neo-Classicism, Neo-Baroque and Napoleon III
Napoleon III
StyleConstruction started 1564Completed 1860'sDemolished 23 May 1871The Tuileries Palace
Palace
(French: Palais des Tuileries, IPA: [palɛ de tɥilʁi]) was a royal and imperial palace in Paris
Paris
which stood on the right bank of the River Seine
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Carolus-Duran
Charles Auguste Émile Durand, known as Carolus-Duran[1] ( Lille
Lille
4 July 1837 – 17 February 1917 Paris), was a French painter and art instructor. He is noted for his stylish depictions of members of high society in Third Republic France.Contents1 Biography 2 Pupils 3 Selected works 4 References 5 External linksBiography[edit] He was the son of a hotel owner. His first drawing lessons were with a local sculptor named Augustin-Phidias Cadet de Beaupré (1800-?) at the Académie de Lille; then took up painting with François Souchon, a student of Jacques Louis David. He went to Paris
Paris
in 1853, where he adopted the name "Carolus-Duran". In 1859, he had his first exhibition at the Salon. That same year, he began attending the Académie Suisse, where he studied until 1861
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Avant-garde
The avant-garde (/ˌævɒ̃ˈɡɑːrd/;[1] French pronunciation: ​[avɑ̃ɡaʁd];[2] from French, "advance guard" or "vanguard", literally "fore-guard")[3] are people or works that are experimental, radical, or unorthodox with respect to art, culture, or society.[3][4][5] It may be characterized by nontraditional, aesthetic innovation and initial unacceptability,[6] and it may offer a critique of the relationship between producer and consumer.[4] The avant-garde pushes the boundaries of what is accepted as the norm or the status quo, primarily in the cultural realm. The avant-garde is considered by some to be a hallmark of modernism, as distinct from postmodernism[citation needed]
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Henri Fantin-Latour
Henri Fantin-Latour
Henri Fantin-Latour
(14 January 1836 – 25 August 1904) was a French painter and lithographer best known for his flower paintings and group portraits of Parisian artists and writers.[1]Contents1 Biography 2 Legacy 3 Public collections holding works by Fantin-Latour 4 Gallery 5 Notes 6 References 7 External linksBiography[edit] Henri Fantin-Latour
Henri Fantin-Latour
- A Studio at Les Batignolles, Un atelier aux Batignolles, parody, "Worshipping Manet", 1870He was born Ignace Henri Jean Théodore Fantin-Latour in Grenoble, Isère
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Charles Baudelaire
Charles Pierre Baudelaire (/ˌboʊdəlˈɛər/;[1] French: [ʃaʁl bodlɛʁ] ( listen); April 9, 1821 – August 31, 1867) was a French poet who also produced notable work as an essayist, art critic, and pioneering translator of Edgar Allan Poe. His most famous work, Les Fleurs du mal
Les Fleurs du mal
(The Flowers of Evil), expresses the changing nature of beauty in modern, industrializing Paris during the 19th century. Baudelaire's highly original style of prose-poetry influenced a whole generation of poets including Paul Verlaine, Arthur Rimbaud
Arthur Rimbaud
and Stéphane Mallarmé
Stéphane Mallarmé
among many others
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Salon (Paris)
The Salon (French: Salon), or rarely Paris
Paris
Salon (French: Salon de Paris), beginning in 1667[1] was the official art exhibition of the Académie des Beaux-Arts
Académie des Beaux-Arts
in Paris. Between 1748 and 1890 it was arguably the greatest annual or biennial art event in the Western world. At the 1761 Salon, thirty-three painters, nine sculptors, and eleven engravers contributed.[2] From 1881 onward, it has been managed by the Société des Artistes Français.Contents1 Origins 2 Prominence (1748–1890)2.1 Early splinter groups3 Secession 4 See also 5 Gallery 6 References 7 Sources 8 External linksOrigins[edit] In 1667, the royally sanctioned French institution of art patronage, the Académie royale de peinture et de sculpture[1] (a division of the Académie des beaux-arts), held its first semi-public art exhibit at the Salon Carré
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Diego Velázquez
Diego Rodríguez de Silva y Velázquez[a] (Spanish: [ˈdjeɣo roˈðɾiɣeθ ðe ˈsilβa i βeˈlaθkeθ]; baptized on June 6, 1599 – August 6, 1660) was a Spanish painter, the leading artist in the court of King Philip IV, and one of the most important painters of the Spanish Golden Age. He was an individualistic artist of the contemporary Baroque
Baroque
period. In addition to numerous renditions of scenes of historical and cultural significance, he painted scores of portraits of the Spanish royal family, other notable European figures, and commoners, culminating in the production of his masterpiece Las Meninas
Las Meninas
(1656). From the first quarter of the nineteenth century, Velázquez's artwork was a model for the realist and impressionist painters, in particular Édouard Manet
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New York City
Bronx, Kings (Brooklyn), New York (Manhattan), Queens, Richmond (Staten Island)Historic colonies New Netherland Province of New YorkSettled 1624Consolidated 1898Named for James, Duke of YorkGovernment[2] • Type Mayor–Council • Body New York City
New York City
Council • Mayor Bill de Blasio
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Metropolitan Museum Of Art
www.metmuseum.orgThe Metropolitan Museum of ArtU.S. National Register of Historic PlacesU.S. National Historic LandmarkElevation by Simon FieldhouseBuilt 1874; 144 years ago (1874)Architect Richard Morris Hunt; also Calvert Vaux; Jacob Wrey MouldArchitectural style Beaux-ArtsNRHP reference # 86003556Significant datesAdded to NRHP January 29, 1972[5]Designated NHLJune 24, 1986[6] [7]The Metropolitan Museum of Art
Metropolitan Museum of Art
of New York, colloquially "the Met",[a] is the largest art museum in the United States. With 7.06 million visitors in 2016, it was the second most visited art museum in the world, and the fifth most visited museum of any kind. [8] Its permanent collection contains over two million works,[9] divided among seventeen curatorial departments
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Self-Portrait With Palette (Manet)
Self-Portrait with Palette (French: Autoportrait à la palette) is an 1878–79 oil-on-canvas painting by the French artist Édouard Manet. This late impressionistic work is one of his two self-portraits. Velasquez's self-portrait in Las Meninas
Las Meninas
was a particular inspiration for Manet's painting which despite its allusion to the previous artist's work is very modern in its focus upon the personality of the artist and loose paint handling. A long series of prominent collectors have owned this painting. Most recently, it sold for $29.48 million at Sotheby's
Sotheby's
on 22 June 2010.Contents1 Description 2 Origin and meaning 3 Position in the Oeuvre 4 Reception 5 Provenance 6 Gallery 7 Citations 8 ReferencesDescription[edit] The 83 × 67 cm (33 × 26 in) painting shows a half-length portrait of the painter Édouard Manet
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Nana (painting)
Nana is a painting by French painter Édouard Manet. It was completed in 1877 and was refused at the Salon of Paris the same year. The work is now at the Kunsthalle Hamburg
Kunsthalle Hamburg
art museum in Germany.Contents1 Description 2 Interpretations 3 Reception 4 ReferencesDescription[edit] The painting shows a young and beautiful woman who stands before a mirror with two extinguished candles, her face turned to the spectator. Her dress is incomplete; she wears a white chemise, blue corset, silk stockings and high-heeled footwear. The interior suggests that it is a boudoir. Behind the woman is a sofa with two pillows. An elegantly dressed man, sitting on the sofa, can be partly seen on the right of the painting. On the left side, there is a chair, a table and a flowerpot. Interpretations[edit] Both the title and the numerous details suggest that the picture represents a high class prostitute and her client
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The Plum
The Plum
The Plum
(French: La Prune) - also known as Plum Brandy - is an oil-on-canvas painting by Édouard Manet. It is undated but thought to have been painted about 1877. The painting is a study in loneliness, depicting a quiet, almost melancholy, scene of a young working girl seated in a café. The subject is viewed from nearby, perhaps by another seated customer. She may be a prostitute waiting for a client, or possibly a shop worker hoping for some conversation. On the table is a plum soaked in brandy, a speciality of Parisian cafés at the time (originally painted as a glass of beer), which gives the painting its title. She may be waiting for a waiter to bring a spoon to eat her plum. The plum may be a reference to the woman's sexuality, as the fruit was later used in James Joyce's Ulysses. She leans forward, with her cheek resting on her right hand, and her right elbow on the marble tabletop, looking into the distance with a blank pensive look
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