The Luncheon: Difference between revisions
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'''The Luncheon''' is a painting by [[Edouard Manet]] |
'''The Luncheon''' is a painting by [[Edouard Manet]] |
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[[Image:Edouard Manet 025.jpg|thumb| |
[[Image:Edouard Manet 025.jpg|thumb|right|350px|"the signatures of masculine bravery became cast-off props in a provincial dining-room"]] |
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In the summer of 1868 Manet travelled to [[Boulogne-sur-Mer]] for his summer vacation. Oil canvases such as ''Jetty at Boulogne'' and ''Beach at Boulogne'' were among the ''plein-air'' seascapes that resulted. Manet also painted an interior scene on a five-foot-wide canvas. Called ''The Luncheon'' it was posed in the dining room of the Manet's rented house, that of a retired sailor, and featured a portrait of Leon Koella standing in the foreground |
In the summer of 1868 Manet travelled to [[Boulogne-sur-Mer]] for his summer vacation. Oil canvases such as ''Jetty at Boulogne'' and ''Beach at Boulogne'' were among the ''plein-air'' seascapes that resulted. Manet also painted an interior scene on a five-foot-wide canvas. Called ''The Luncheon'' it was posed in the dining room of the Manet's rented house, that of a retired sailor, and featured a portrait of Leon Koella standing in the foreground. The young man stands in front of a table that bears the remains of a meal of [[oysters]]. Seated at the table, smoking a cigar, enjoying both a coffee and a ''digestif'', is the painter [[Auguste Rousselin]], a friend of Manet since their time together in the studio of [[Thomas Couture]]. |
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==Notes== |
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| ⚫ | In the bottom left of the painting is a medieval helmet and a pair of swords. |
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The painting is discussed in Ross King's ''Judgment of Paris' where King notes ; |
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In front of the helmet, a black cat - an earlier black cat had become "the most famous and controversial black cat in the history of art, arching its back in ''[[Olympia (Manet)|Olympia]]'' - this one turns its back on the heroic-looking helmet and licks itself. So the signatures of masculine bravery "became cast-off props in a provincial diningroom, sharing the same dignity and distinsction - no more, no les, - as te potted plants, corked bottles and coffee urn." |
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| ⚫ | "In the bottom left of the painting is a medieval helmet and a pair of swords. In many respects it was, like ''Le dejeuner sur l'herbe'', and ''Olympia'' , a defiant reworking of artistic tradition. Helmets such as the one depicted were a staple of nineteenth century French art. Masterpieces by David and [[Ingres]], featured heroic male figures nude but for their helmets and the occasional strategic fold of toga - the students and imitators of David and Ingres followed [-] In 1868 at the [[Ecole des Beaux-Arts]] the most recent topic for the [[Prix de Rome]] had been ''[[Astyanax|The Death of Astyanax]]'' [-] The style was one with which Manet had little sympathy. The helmet and swords are placed on the retired sailor's armchair, where they form a counterpoint to Leon's straw boater and Rousselin's pearl-grey top hat. In front of the helmet, a black cat - an earlier black cat had become the most famous and controversial black cat in the history of art, arching its back in ''[[Olympia (Manet)|Olympia]]'' - this one turns its back on the heroic-looking helmet and licks itself. So the signatures of masculine bravery became cast-off props in a provincial dining-room, sharing the same dignity and distinsction - no more, no less, - as the potted plants, corked bottles and coffee urn." |
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Revision as of 20:21, 17 June 2012
The Luncheon is a painting by Edouard Manet
In the summer of 1868 Manet travelled to Boulogne-sur-Mer for his summer vacation. Oil canvases such as Jetty at Boulogne and Beach at Boulogne were among the plein-air seascapes that resulted. Manet also painted an interior scene on a five-foot-wide canvas. Called The Luncheon it was posed in the dining room of the Manet's rented house, that of a retired sailor, and featured a portrait of Leon Koella standing in the foreground. The young man stands in front of a table that bears the remains of a meal of oysters. Seated at the table, smoking a cigar, enjoying both a coffee and a digestif, is the painter Auguste Rousselin, a friend of Manet since their time together in the studio of Thomas Couture.
Notes
The painting is discussed in Ross King's Judgment of Paris' where King notes ;
"In the bottom left of the painting is a medieval helmet and a pair of swords. In many respects it was, like Le dejeuner sur l'herbe, and Olympia , a defiant reworking of artistic tradition. Helmets such as the one depicted were a staple of nineteenth century French art. Masterpieces by David and Ingres, featured heroic male figures nude but for their helmets and the occasional strategic fold of toga - the students and imitators of David and Ingres followed [-] In 1868 at the Ecole des Beaux-Arts the most recent topic for the Prix de Rome had been The Death of Astyanax [-] The style was one with which Manet had little sympathy. The helmet and swords are placed on the retired sailor's armchair, where they form a counterpoint to Leon's straw boater and Rousselin's pearl-grey top hat. In front of the helmet, a black cat - an earlier black cat had become the most famous and controversial black cat in the history of art, arching its back in Olympia - this one turns its back on the heroic-looking helmet and licks itself. So the signatures of masculine bravery became cast-off props in a provincial dining-room, sharing the same dignity and distinsction - no more, no less, - as the potted plants, corked bottles and coffee urn."