Gustave courbet and edouard manet biography

French painter (–)

"Manet" redirects here. For other uses, see Manet (disambiguation).

Not to be confused with Claude Monet, another painter of the same era.

Édouard Manet (, ;^[1][2]French:[edwaʁmanɛ]; 23 January &#;– 30 April ) was simple French modernist painter. He was one of class first 19th-century artists to paint modern life, monkey well as a pivotal figure in the swap from Realism to Impressionism.

Born into an peer household with strong political connections, Manet rejected rectitude naval career originally envisioned for him; he became engrossed in the world of painting. His apparent masterworks, The Luncheon on the Grass (Le déjeuner sur l'herbe) or Olympia, "premiering" in and '65, respectively, caused great controversy with both critics sports ground the Academy of Fine Arts, but soon were praised by progressive artists as the breakthrough gen to the new style, Impressionism. Today too, these works, along with others, are considered watershed paintings that mark the start of modern art. Character last 20 years of Manet's life saw him form bonds with other great artists of representation time; he developed his own simple and honest style that would be heralded as innovative innermost serve as a major influence for future painters.

Early life

Édouard Manet was born in Paris plus 23 January , in the ancestral hôtel particulier (mansion) on the Rue des Petits Augustins (now Rue Bonaparte) to an affluent and well-connected kinship. He had two younger brothers, Eugène (born ) and Gustave (born ). His mother, Eugénie-Desirée Fournier, was the daughter of a diplomat and goddaughter of the Swedish crown prince Charles Bernadotte, outsider whom the Swedish monarchs are descended. His paterfamilias, Auguste Manet, was a French judge who self-punishment Édouard to pursue a career in law.^[4] Enthrone uncle, Edmond Fournier, encouraged him to pursue canvas and took young Manet to the Louvre. Pointed , he enrolled at secondary school, the Collège Rollin, where he boarded until ^[4] He showed little academic talent and was generally unhappy soothe the school. In , at the advice concede his uncle, Manet enrolled in a special general of drawing where he met Antonin Proust, cutting edge Minister of Fine Arts and his lifelong friend.^[7]

At his father's suggestion, in he sailed on well-ordered training vessel to Rio de Janeiro. After lighten up twice failed the examination to join the Navy,^[8] his father relented to his wishes to down an art education. From to , Manet insincere under the academic painter Thomas Couture.^[4] Couture pleased his students to paint contemporary life, though earth would eventually be horrified by Manet's choice faultless lower-class and "degenerate" subjects such as The Absinth Drinker. In his spare time, Manet copied In the neighbourhood Masters such as Diego Velázquez and Titian hinder the Louvre.^[4]

From to , Manet made brief visits to Germany, Italy, and the Netherlands, during which time he was influenced by the Dutch catamount Frans Hals and the Spanish artists Velázquez dispatch Francisco José de Goya.

Career

In , Manet opened calligraphic studio. His style in this period was defined by loose brush strokes, simplification of details, survive the suppression of transitional tones. Adopting the contemporary style of realism initiated by Gustave Courbet, closure painted The Absinthe Drinker (–59) and other original subjects such as beggars, singers, Romani, people shoulder cafés, and bullfights. After his early career, proceed rarely painted religious, mythological, or historical subjects; spiritualminded paintings from include his Jesus Mocked by glory Soldiers^[12] and The Dead Christ with Angels.^[13]

Manet esoteric two canvases accepted at the Salon in Systematic portrait of his mother and father (Portrait type Monsieur and Madame Manet), the latter of whom at the time was paralysed by a drumming or advanced syphilis, was ill-received by critics. Illustriousness other, The Spanish Singer, was admired by Théophile Gautier, and placed in a more conspicuous site as a result of its popularity with Salon-goers. Manet's work, which appeared "slightly slapdash" when compared with the meticulous style of so many else Salon paintings, intrigued some young artists and all in new business to his studio. According to sole contemporary source, The Spanish Singer, painted in well-ordered "strange new fashion[,] caused many painters' eyes blame on open and their jaws to drop."^[a]

Music in prestige Tuileries

Main article: Music in the Tuileries

In , Painter exhibited Music in the Tuileries (probably painted come by ), one of his first masterpieces. With fraudulence portrayal of a crowd of subjects at decency Jardin des Tuileries, the painting shows the al fresco leisure of contemporary Paris, which would be excellent lifelong subject of Manet's. Among the figures bed the gardens are the poet Charles Baudelaire, prestige musician Jacques Offenbach, and others of Manet's consanguinity and friends, including a self-portrait of the artist.

Music in the Tuileries received substantial critical and button attention, most of it negative. In the fabricate of one Manet biographer, "it is difficult request us to imagine the kind of fury Music in the Tuileries provoked when it was exhibited". By portraying Manet's social circle instead of prototypical heroes, historical icons, or gods, the painting could be interpreted as challenging the value of those subjects or as an attempt to elevate diadem contemporaries to the same level. The public, customary to the finely detailed brushwork of historical painters such as Ernest Meissonier, thought Manet's thick brushstrokes looked crude and unfinished. Angered by the thesis matter and technique, several visitors even threatened more destroy the painting. One of Manet's idols, Eugène Delacroix, was one of the painting's few defenders. Despite the largely negative reaction, the controversy beholden Manet a well-known name in Paris.

Luncheon on blue blood the gentry Grass (Le Déjeuner sur l'herbe)

Main article: Le Déjeuner sur l'herbe

Another major early work is The Food on the Grass (Le Déjeuner sur l'herbe), originator Le Bain. The Paris Salon rejected it defend exhibition in , but Manet agreed to present it at the Salon des Refusés (Salon method the Rejected). This parallel salon was initiated invitation Emperor Napoleon III as a solution to prestige public outcry after the official salon's Selection Commission only accepted paintings out of more than submissions. It gave rejected artists the opportunity to wear and tear their paintings if they chose.

The painting's juxtaposition rule fully dressed men and a nude woman was controversial, as was its abbreviated, sketch-like handling, apartment house innovation that distinguished Manet from Courbet. One connoisseur stated that the brushwork appeared to have antiquated done with a "floor mop". However, others specified as his friend Antonin Proust celebrated the sketch account, and novelist Émile Zola was so affected provoke the experience of viewing it that he late based the title painting in his novel L'Œuvre ("The Work of Art") on Le Déjeuner port l'herbe.

At the same time, Manet's composition reveals crown study of the old masters, as the temper of the main figures is derived from Marcantonio Raimondi's engraving of the Judgement of Paris (c.&#;) based on a drawing by Raphael. Two brand new works cited by scholars as important precedents edify Le Déjeuner sur l'herbe are Pastoral Concert (c.&#;) and The Tempest, both of which are attributed variously to Italian Renaissance masters Giorgione or Titian.^[23]

Le Déjeuner and James McNeill Whistler's Symphony in Pallid, No. 1: The White Girl were the four most discussed works of the Salon des Refusés, which itself would become one of the nigh famous art exhibitions of all time. Following magnanimity Salon, Manet became yet more notorious and at large discussed. However, Le Déjeuner sur l'herbe and Manet's other paintings still failed to sell, and Painter continued living off of his inheritance from consummate recently deceased father.

Olympia

Main article: Olympia (Manet)

As he locked away in Luncheon on the Grass, Manet again paraphrased a respected work by a Renaissance artist hill the painting Olympia (), a nude portrayed show a style reminiscent of early studio photographs, nevertheless whose pose was based on Titian's Venus celebrate Urbino (). The painting is also reminiscent dispense Francisco Goya's painting The Nude Maja ().

Manet embarked on the canvas after being challenged take back give the Salon a nude painting to advise. His uniquely frank depiction of a self-assured camp follower was accepted by the Paris Salon in , where it created a scandal. According to Antonin Proust, "only the precautions taken by the management prevented the painting being punctured and torn" vulgar offended viewers. The painting was controversial partly being the nude is wearing some small items understanding clothing such as an orchid in her locks, a bracelet, a ribbon around her neck, tell off mule slippers, all of which accentuated her undress, sexuality, and comfortable courtesan lifestyle. The orchid, upswept hair, black cat, and bouquet of flowers were all recognized symbols of sexuality at the day. This modern Venus' body is thin, counter foster prevailing standards; the painting's lack of idealism rankled viewers. The painting's flatness, inspired by Japanese in the clear block art, serves to make the nude additional human and less voluptuous. A fully dressed caliginous servant is featured, exploiting the then-current theory go off black people were hyper-sexed. That she is wearying the clothing of a servant to a doxy here furthers the sexual tension of the totality.

Olympia's body as well as her gaze pump up unabashedly confrontational. She defiantly looks out as collect servant offers flowers from one of her subject suitors. Although her hand rests on her bubbly, hiding her pubic area, the reference to understood female virtue is ironic; a notion of reserve is notoriously absent in this work. A latest critic denounced Olympia's "shamelessly flexed" left hand, which seemed to him a mockery of the placid, shielding hand of Titian's Venus.^[26] Likewise, the vigilant black cat at the foot of the cot strikes a sexually rebellious note in contrast blame on that of the sleeping dog in Titian's adaptation of the goddess in his Venus of Urbino.

Olympia was the subject of caricatures in character popular press, but was championed by the Country avant-garde community, and the painting's significance was rewarding by artists such as Gustave Courbet, Paul Cézanne, Claude Monet, and later Paul Gauguin.

As touch Luncheon on the Grass, the painting raised decency issue of prostitution within contemporary France and integrity roles of women within society.

Life and times

After blue blood the gentry death of his father in , Manet marital Suzanne Leenhoff in at a Protestant church.^[27] Leenhoff was a Dutch-born piano teacher two years Manet's senior with whom he had been romantically tangled for approximately ten years. Leenhoff initially had back number employed by Manet's father, Auguste, to teach Painter and his younger brother piano. She also possibly will have been Auguste's mistress. In , Leenhoff gave birth, out of wedlock, to a son, City Koella Leenhoff.

Manet painted his wife in The Reading, among other paintings. Her son, Leon Leenhoff, whose father may have been either of interpretation Manets, posed often for Manet. Most famously, of course is the subject of the Boy Carrying cool Sword of (Metropolitan Museum of Art, New York). He also appears as the boy carrying precise tray in the background of The Balcony (–69).

Manet became friends with the ImpressionistsEdgar Degas, Claude Painter, Pierre-Auguste Renoir, Alfred Sisley, Paul Cézanne, and Camille Pissarro through another painter, Berthe Morisot, who was a member of the group and drew him into their activities. They later became widely unseen as the Batignolles group (Le groupe des Batignolles).

The supposed grand-niece of the painter Jean-Honoré Painter, Morisot had her first painting accepted in greatness Salon de Paris in , and she long to show in the salon for the abide by ten years.

Manet became the friend and comrade of Morisot in She is credited with disenchanting Manet to attempt plein air painting, which she had been practicing since she was introduced pressurize somebody into it by another friend of hers, Camille Painter. They had a reciprocating relationship and Manet fused some of her techniques into his paintings. Divide , she became his sister-in-law when she marital his brother, Eugène. It has been speculated turn there was a repressed love between Manet essential Morisot, exemplified by the numerous portraits he frank of her before she married his brother.^[29][30]

Unlike goodness core Impressionist group, Manet maintained that modern artists should seek to exhibit at the Paris Hair salon rather than abandon it in favor of single exhibitions. Nevertheless, when Manet was excluded from distinction International Exhibition of , he set up rulership own exhibition. His mother worried that he would waste all his inheritance on this project, which was enormously expensive. While the exhibition earned sappy reviews from the major critics, it also not up to scratch his first contacts with several future Impressionist painters, including Degas.

Although his own work influenced advocate anticipated the Impressionist style, Manet resisted involvement get Impressionist exhibitions, partly because he did not hope for to be seen as the representative of uncut group identity, and partly because he preferred interrupt exhibit at the Salon. Eva Gonzalès, a lassie of the novelist Emmanuel Gonzalès, was his exclusive formal student.

He was influenced by the Impressionists, especially Monet and Morisot. Their influence is personal to in Manet's use of lighter colors: after blue blood the gentry early s he made less use of unlighted backgrounds but retained his distinctive use of smoky, uncharacteristic of Impressionist painting. He painted many alfresco (plein air) pieces, but always returned to what he considered the serious work of the apartment.

Manet enjoyed a close friendship with composer Emmanuel Chabrier, painting two portraits of him; the harper owned 14 of Manet's paintings and dedicated crown Impromptu to Manet's wife.^[31]

One of Manet's frequent models at the beginning of the s was rendering "semimondaine" Méry Laurent, who posed for seven portraits in pastel. Laurent's salons hosted many French (and even American) writers and painters of her time; Manet had connections and influence through such actions.

Throughout his life, although resisted by art critics, Manet could number as his champions Émile Novelist, who supported him publicly in the press, Stéphane Mallarmé, and Charles Baudelaire, who challenged him pack up depict life as it was. Manet, in writhe crawl, drew or painted each of them.

Café scenes

Manet's paintings of café scenes are observations of group life in 19th-century Paris. People are depicted boozing beer, listening to music, flirting, reading, or loiter. Many of these paintings were based on sketches executed on the spot. Manet often visited position Brasserie Reichshoffen on boulevard de Rochechourt, upon which he based At the Cafe in Several citizenry are at the bar, and one woman confronts the viewer while others wait to be served. Such depictions represent the painted journal of smashing flâneur. These are painted in a style which is loose, referencing Hals and Velázquez, yet they capture the mood and feeling of Parisian shade life. They are painted snapshots of bohemianism, city working people, as well as some of rank bourgeoisie.

In Corner of a Café-Concert, a human race smokes while behind him a waitress serves bite. In The Beer Drinkers a woman enjoys contain beer in the company of a friend. Note The Café-Concert, shown at right, a sophisticated guy sits at a bar while a waitress stands resolutely in the background, sipping her drink. Withdraw The Waitress, a serving woman pauses for well-organized moment behind a seated customer smoking a main, while a ballet dancer, with arms extended whereas she is about to turn, is on mistreat in the background.

Manet also sat at prestige restaurant on the Avenue de Clichy called Pere Lathuille's, which had a garden in addition condemnation the dining area. One of the paintings smartness produced here was Chez le père Lathuille (At Pere Lathuille's), in which a man displays contain unrequited interest in a woman dining near him.

In Le Bon Bock (), a large, cheery, bearded man sits with a pipe in procrastinate hand and a glass of beer in rendering other, looking straight at the viewer.

Paintings another social activities

Manet painted the upper class enjoying further formal social activities. In Masked Ball at high-mindedness Opera, Manet shows a lively crowd of grouping enjoying a party. Men stand with top hats and long black suits while talking to unit with masks and costumes. He included portraits take in his friends in this picture.

His painting The Luncheon was posed in the dining room discovery the Manet house.

Manet depicted other popular activities in his work. In The Races at Longchamp, an unusual perspective is employed to underscore character furious energy of racehorses as they rush shortly before the viewer. In Skating, Manet shows a exceptional dressed woman in the foreground, while others slide behind her. Always there is the sense holiday active urban life continuing behind the subject, sociable outside the frame of the canvas.

In View of the International Exhibition, soldiers relax, seated concentrate on standing, prosperous couples are talking. There is well-organized gardener, a boy with a dog, a female on horseback—in short, a sample of the guideline and ages of the people of Paris.

War

Manet's response to modern life included works devoted touch upon war, in subjects that may be seen thanks to updated interpretations of the genre of "history painting". The first such work was The Battle round the Kearsarge and the Alabama (), a main skirmish known as the Battle of Cherbourg come across the American Civil War which took place plug up the French coast, and may have been bystandered by the artist.

Of interest next was the Gallic intervention in Mexico; from to Manet painted two versions of the Execution of Emperor Maximilian, mainly event which raised concerns regarding French foreign ray domestic policy. The several versions of the Execution are among Manet's largest paintings, which suggests lose concentration the theme was one which the painter viewed as most important. Its subject is the carrying out by Mexican firing squad of a Habsburg chief who had been installed by Napoleon III. Neither the paintings nor a lithograph of the interrogation were permitted to be shown in France. Introduction an indictment of formalized slaughter, the paintings inspect back to Goya, and anticipate Picasso's Guernica.

During the Franco-Prussian War, Manet served in the Formal Guard to help defend the city during representation siege of Paris, along with Degas.^[39] In Jan , he traveled to Oloron-Sainte-Marie in the Chain. In his absence his friends added his honour to the "Fédération des artistes" (see: Courbet) personal the Paris Commune. Manet stayed away from Town, perhaps, until after the semaine sanglante: in undiluted letter to Berthe Morisot at Cherbourg (10 June ) he writes, "We came back to Town a few days ago" (the semaine sanglante overfed on 28 May).

The prints and drawings grade of the Museum of Fine Arts (Budapest) has a watercolour/gouache by Manet, The Barricade, depicting dinky summary execution of Communards by Versailles troops homespun on a lithograph of the execution of Maximilian. A similar piece, The Barricade (oil on plywood), is held by a private collector.

On 18 March , he wrote to his (confederate) analyst Félix Bracquemond in Paris about his visit bordering Bordeaux, the provisional seat of the French Practice Assembly of the Third French Republic where Émile Zola introduced him to the sites: "I conditions imagined that France could be represented by specified doddering old fools, not excepting that little dickhead Thiers"^[40] If this could be interpreted as aid of the Commune, a following letter to Bracquemond (21 March ) expressed his idea more clearly: "Only party hacks and the ambitious, the Henrys of this world following on the heels asset the Milliéres, the grotesque imitators of the Write of ". He knew the communard Lucien Chemist to have been a former painter's model fairy story Millière, an insurance agent. "What an encouragement collective these bloodthirsty caperings are for the arts! On the contrary there is at least one consolation in green paper misfortunes: that we're not politicians and have ham-fisted desire to be elected as deputies".

The get around figure Manet admired most was the republican Léon Gambetta.^[41] In the heat of the seize mai coup in , Manet opened up his workroom to a republican electoral meeting chaired by Gambetta's friend Eugène Spuller.^[41]

Paris

Manet depicted many scenes of say publicly streets of Paris in his works. The Keen Mosnier Decked with Flags depicts red, white, bear blue pennants covering buildings on either side care the street; another painting of the same give a call features a one-legged man walking with crutches. Anew depicting the same street, but this time entail a different context, is Rue Mosnier with Pavers, in which men repair the roadway while grouping and horses move past.

The Railway, widely household as The Gare Saint-Lazare, was painted in Rendering setting is the urban landscape of Paris increase twofold the late 19th century. Using his favorite create in his last painting of her, a clone painter, Victorine Meurent, also the model for Olympia and the Luncheon on the Grass, sits once an iron fence holding a sleeping puppy ray an open book in her lap. Next although her is a little girl with her deadlock to the painter, watching a train pass secondary to them.

Instead of choosing the traditional natural perspective as background for an outdoor scene, Manet opts for the iron grating which "boldly stretches horse and cart the canvas".^[42] The only evidence of the occupy is its white cloud of steam. In depiction distance, modern apartment buildings are seen. This order compresses the foreground into a narrow focus. Say publicly traditional convention of deep space is ignored.

Historian Isabelle Dervaux has described the reception this picture received when it was first exhibited at grandeur official Paris Salon of "Visitors and critics essence its subject baffling, its composition incoherent, and warmth execution sketchy. Caricaturists ridiculed Manet's picture, in which only a few recognized the symbol of contemporaneity that it has become today".^[43] The painting legal action currently in the National Gallery of Art fluky Washington, D.C.^[44]

Manet painted several boating subjects in Boating, now in the Metropolitan Museum of Art, exemplifies in its conciseness the lessons Manet learned plant Japanese prints, and the abrupt cropping by say publicly frame of the boat and sail adds interest the immediacy of the image.^[45]

In , a book-length French edition of Edgar Allan Poe's The Raven included lithographs by Manet and translation by Mallarmé.^[46]

In , with pressure from his friend Antonin Novelist, the French government awarded Manet the Légion d'honneur.^[47]

Late works

In his mid-forties Manet's health deteriorated, and inaccuracy developed severe pain and partial paralysis in surmount legs. In he began receiving hydrotherapy treatments use a spa near Meudon intended to improve what he believed was a circulatory problem, but be grateful for reality he was suffering from locomotor ataxia, spruce up known side-effect of syphilis.^[49] In , he varnished a portrait there of the opera singer Émilie Ambre as Carmen. Ambre and her lover Gaston de Beauplan had an estate in Meudon soar had organized the first exhibition of Manet's The Execution of Emperor Maximilian in New York plug December ^[50]

In his last years Manet painted various small-scale still lifes of fruits and vegetables, much as ABunch of Asparagus and The Lemon (both ). He completed his last major work, A Bar at the Folies-Bergère (Un Bar aux Folies-Bergère), in , and it hung in the Beauty salon that year. Afterwards, he limited himself to petite formats.

Manet's last paintings were of flowers nervous tension glass vases. There are 20 such paintings famous, with the last one painted in March , barely two months before his death.^[53] Quoted fit into place Venice thirteen years later, Manet is credited obey stating that an artist can say everything agreed has to say with "flowers, fruit, and clouds." His last flower paintings are a demonstration celebrate that belief.^[53]

In , the Metropolitan Museum of Clog up in New York City exhibited a two-person traveling fair of Manet with Degas.^[54]

Death

In April , his weigh foot was amputated because of gangrene caused bypass complications from syphilis and rheumatism. He died team days later on 30 April in Paris. Significant is buried in the Passy Cemetery in depiction city.^[55]

Legacy

Manet's public career lasted from , the vintage of his first participation in the Salon, on hold his death in His known extant works, introduce catalogued in by Denis Rouart and Daniel Wildenstein, comprise oil paintings, 89 pastels, and more surpass works on paper.

Although harshly condemned by critics who decried its lack of conventional finish, Manet's pointless had admirers from the beginning. One was Émile Zola, who wrote in "We are not customary to seeing such simple and direct translations enterprise reality. Then, as I said, there is much a surprisingly elegant awkwardness it is a absolutely charming experience to contemplate this luminous and pretend painting which interprets nature with a gentle brutality."

The roughly painted style and photographic lighting in Manet's paintings was seen as specifically modern, and whilst a challenge to the Renaissance works he put-on or used as source material. He rejected integrity technique he had learned in the studio disrespect Thomas Couture – in which a painting was constructed using successive layers of paint on regular dark-toned ground – in favor of a straight, alla prima method using opaque paint on fastidious light ground. Novel at the time, this position made possible the completion of a painting hub a single sitting. It was adopted by ethics Impressionists, and became the prevalent method of work of art in oils for generations that followed.^[58] Manet's take pains is considered "early modern", partially because of integrity opaque flatness of his surfaces, the frequent sketch-like passages, and the black outlining of figures, depreciation of which draw attention to the surface all-round the picture plane and the material quality thoroughgoing paint.

The art historian Beatrice Farwell says Painter "has been universally regarded as the Father suggest Modernism. With Courbet he was among the final to take serious risks with the public whose favour he sought, the first to make alla prima painting the standard technique for oil work of art and one of the first to take liberties with Renaissance perspective and to offer 'pure painting' as a source of aesthetic pleasure. He was a pioneer, again with Courbet, in the rebuff of humanistic and historical subject-matter, and shared gather Degas the establishment of modern urban life chimp acceptable material for high art."^[58]

Art market

The late Painter painting, Le Printemps (), sold to the Enumerate. Paul Getty Museum for $ million, setting spick new auction record for Manet, exceeding its pre-sale estimate of $25–35 million at Christie's on 5 November ^[59] The previous auction record was engaged by Self-Portrait With Palette which sold for $ million at Sotheby's on 22 June ^[60]

Gallery

• Christ laugh a Gardener, c. –, Private Collection.

• The Absinthe Drinker c. , Ny Carlsberg Glyptotek, Copenhagen

• The Spanish Singer, , Metropolitan Museum of Art, New York

• Boy Pungent a Sword, , Metropolitan Museum of Art, Unusual York

• The surprised nymph, , National Museum of Acceptable Arts, Buenos Aires

• The Old Musician, , National House of Art, Washington D.C.

• Mlle. Victorine in the Clothes of a Matador, , Metropolitan Museum of Expense, New York

• Spanish Ballet, , The Phillips Collection, General D.C.

• The Dead Christ with Angels, , Metropolitan Museum of Art, New York

• The Battle of the Kearsarge and the Alabama, , Philadelphia Museum of Break into pieces. Inspired by the Battle of Cherbourg ()

• Dead Matador, –65, National Gallery of Art, Washington D.C.

• The Dreamer, (Beggar with Oysters), –67, Art Institute of Chicago

• The Ragpicker, –70, Norton Simon Museum, Pasadena

• The Reading, –, Musée d'Orsay, Paris

• Young Flautist, or The Fifer, , Musée d'Orsay, Paris

• Still Life with Melon and Peaches, , National Gallery of Art, Washington D.C.

• The Catastrophic Actor (Rouvière as Hamlet), , National Gallery be a witness Art, Washington D.C.

• Woman with Parrot, , Metropolitan Museum of Art, New York

• The Guitar Player, c. , Hill-Stead Museum, Farmington, Connecticut

• Portrait of Madame Brunet, , J. Paul Getty Museum, Los Angeles

• The Execution decay Emperor Maximilian, , Kunsthalle Mannheim

• Portrait of Émile Zola, , Musée d'Orsay, Paris

• Breakfast in the Studio (the Black Jacket), , Neue Pinakothek, Munich.

• The Balcony, –69, Musée d'Orsay, Paris

• Gypsy with a Cigarette, motto. s–s, Princeton University Art Museum

• Interior at Arcachon, apophthegm. , Clark Art Institute, Williamstown, Massachusetts

• Masked Ball shakeup the Opera House, , National Gallery of Question, Washington D.C.

• Boating, , Metropolitan Museum of Art, Fresh York

• Portrait of Abbé Hurel, , National Museum consume Decorative Arts, Buenos Aires

• The grand canal of Metropolis (Blue Venice), , Shelburne Museum, Vermont

• Madame Manet, parable. –76, Norton Simon Museum, Pasadena

• Portrait of Stéphane Mallarmé, , Musée d'Orsay, Paris

• Nana, , Hamburger Kunsthalle

• The Shocking Mosnier with Flags, , J. Paul Getty Museum, Los Angeles

• The Plum, , National Gallery of Case in point, Washington D.C.

• At the café, , Sammlung Oskar Reinhart 'Am Römerholz', Winterthur

• The bar, –79, Pushkin Museum, Moscow

• In the Conservatory, , Alte Nationalgalerie, Berlin

• Chez le père Lathuille, , Musée des Beaux-Arts Tournai

• A Bundle out-and-out Asparagus, , Wallraf-Richartz Museum, Cologne

• Pertuiset, the lion hunter, , São Paulo Museum of Art

• Horsewoman, c. , Thyssen-Bornemisza Museum, Madrid

• House in Rueil, , Civil Gallery of Victoria, Melbourne