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Longer works
Brombert, Beth Archer (1996). Édouard Manet: Rebel in a Frock Coat. Little, Brown. ISBN 0316109479. and Brombert, Beth Archer (1997). Édouard Manet: Rebel in a Frock Coat (paperback ed.). University of Chicago Press. ISBN 0226075443.
Cachin, Françoise (1983). Manet 1832–1883. Metropolitan Museum of Art. ISBN 0870993496.
Cachin, Françoise (1990). Manet (in French) (1991 English translation ed.). Henry Holt and Company. ISBN 0805017933.
Cachin, Françoise (1995). Manet: Painter of Modern Life. New Horizons. ISBN 050030050X.
Courthion, Pierre (1984). Manet. Harry N. Abrams. ISBN 0810913186.
de Leiris, Alain (1969). The Drawings of Édouard Manet. University of California Press. ISBN 0520015479.
Friedrich, Otto (1993). Olympia: Paris in the Age of Manet. Simon & Schuster. ISBN 978-0671864118.
Hamilton, George (1954). Manet and His Critics. Yale University Press.
King, Ross (2006). The Judgment of Paris: The Revolutionary Decade that Gave the World Impressionism. New York: Waller & Company. ISBN 0802714668.
Krell, Alan (1996). Manet and the Painters of Contemporary Life. Thames and Hudson. p. 83.
Mauner, G. L.; Loyrette, H. (2000). Manet: The Still-Life Paintings. New York: H.N. Abrams in association with the American Federation of Arts. p. 66. ISBN 0810943913.
Meyers, Jeffrey (2005). Impressionist Quartet: The Intimate Genius of Manet and Morisot, Degas and Cassatt. Harcourt. ISBN 9780151010769.
Stevens, Mary Anne; Nichols, Lawrence W., eds. (2012). Manet: Portraying Life. Toledo: Toledo Museum of Art. p. 199. ISBN 978-1907533532.
External links
Works by or about Édouard Manet at the Internet Archive
Union List of Artist Names, Getty Vocabularies. ULAN Full Record Display for Édouard Manet, Getty Research Institute
Impressionism: a centenary exhibition, an exhibition catalog from The Metropolitan Museum of Art (pp. 110–130)
Manet, a video documentary about his work
Documenting the Gilded Age: New York City Exhibitions at the Turn of the 20th Century
The Private Collection of Edgar Degas, material on Manet's relationship with Degas, Metropolitan Museum of Art
The Getty Manet: Is Beauty Transitory? 2016 Getty Museum lecture by Richard Brettell.
Jennifer A. Thompson, "The Battle of the USS 'Kearsarge' and the CSS 'Alabama' by Edouard Manet (cat. 1027)" in The John G. Johnson Collection: A History and Selected Works, a Philadelphia Museum of Art free digital publication.
Manet/Degas exhibition at Musée d'Orsay, from 28 March to 23 July 2023.
Manet/Degas exhibition at The Metropolitan Museum of Art, 24 September 2023 - 7 January 2024.
Johann Philipp Eduard Gaertner (2 June 1801 – 22 February 1877) was a German painter who specialized in depictions of urban architecture.
Early life and work
Education
In 1806, he moved with his mother to Kassel, where he received his first drawing lessons. They returned to Berlin in 1813 and he took up a six-year apprenticeship at the Royal Porcelain Factory. Although many artists had begun their careers at the factory, he felt that the instruction provided was superficial and took drawing classes at the Academy of Arts.
In 1821, he accepted a position as a decorative painter in the studios of Carl Wilhelm Gropius, the Royal Court Theater painter, where he remained until 1825. During this time, he became increasingly attracted to architectural painting. He was able to finance a study trip to Paris by selling a portrait of King Friedrich Wilhelm III of Prussia to the royal family. While there, he acquired more skill in the manipulation of light and atmosphere, and was inspired by the magnificent vistas of medieval buildings to devote himself almost entirely to painting vedute.
Successes
Upon his return to Berlin, he became a free-lance painter. In 1829, he married and ultimately had twelve children. Over the next ten years, he devoted himself to documenting the Biedermeier style buildings of Berlin and, with royal customers in mind, produced a series of scenes depicting the castles in Bellevue, Charlottenburg and Glienicke. In 1833, he was admitted to the Academy and designated a "Perspective Painter".
The following year, he began his most famous work: a six panel panorama of Berlin. It was painted from the roof of the Friedrichswerder Church, which is flat (and a popular place for sightseers, because all of the city's best-known buildings can be seen from there). This work was purchased by the King and a second version was bought by the King's daughter, Tsarina Alexandra Feodorovna. Its purchase became the occasion for a trip to Moscow and St. Petersburg (1837–1838), during which Gaertner painted extensively.
Career decline
In 1840, King Friedrich Wilhelm III died. His successor, Friedrich Wilhelm IV, preferred Italian-style paintings with Greek landscapes and bought very little from Gaertner who, without the income from his principal client, soon began to have financial difficulties.
He eventually made contact with a group that was interested in the protection and restoration of monuments and needed to have an illustrated inventory of them. As a result, Gaertner traveled to villages and towns throughout Prussia, making watercolor sketches, including scenic views meant to be sold on his return to Berlin. By this means, he was able to attract some middle-class customers, but they proved to be no substitute for royal patronage. He began to turn away from architecture, producing romantic scenes full of steep cliffs, Roma, ruins, and oak trees, but never restored that patronage. His paintings from this period are generally considered to be inferior.
As the century progressed, he increasingly suffered from competition with the newly emerging art of photography. In 1870, he and his family decided to leave the hectic atmosphere of Berlin and settle in Flecken Zechlin, a rural area near Rheinsberg. It was there that he died in 1877. His widow requested an annual allowance of 150 Marks from the Artist Support Fund of the Academy, but her application was denied. His works were virtually forgotten until the "Deutschen Jahrhundert-Ausstellung" of 1906 when they were shown again. Major exhibitions were staged in 1968, 1977, and 2001.
Method
It is believed that he made use of a camera obscura to sketch the layouts of his paintings. Although this is not expressly mentioned in his working notes, he does make oblique references to a "drafting machine" and some of his sketches are done on tracing paper. He also possessed a collection of photographs, but there is no indication that these were used as models.
Sources and further reading
Robert Dohme (1878), "Gärtner, Eduard", Allgemeine Deutsche Biographie (in German), vol. 8, Leipzig: Duncker & Humblot, p. 381
Irmgard Wirth (1964), "Gaertner, Johann Philipp Eduard", Neue Deutsche Biographie (in German), vol. 6, Berlin: Duncker & Humblot, p. 24; (full text online)
Irmgard Wirth: Eduard Gaertner. Der Berliner Architekturmaler. Propyläen, Frankfurt 1979, ISBN 3-549-06636-8.
Dominik Bartmann: Eduard Gaertner 1801–1877. Begleitband zur Ausstellung im Museum Ephraim-Palais, Berlin, 2001. Nicolai, Berlin 2001, ISBN 3-87584-070-4.
Frauke Josenhans: Gaertner, (Johann Philipp) Eduard, in: Bénédicte Savoy, France Nerlich : Pariser Lehrjahre. Ein Lexikon zur Ausbildung deutscher Maler in der französischen Hauptstadt. Vol. 1: 1793-1843. De Gruyter, Berlin/Boston 2013, ISBN 978-3-11-029057-8, pp. 86–90.
References
External links
"Works by Eduard Gaertner". Zeno.org (in German).
Eduard Gaertner – Exhibition in the Museum Ephraim-Palais, Berlin
Literature by and about Eduard Gaertner in the German National Library catalogue
Edward Lear (12 May 1812 – 29 January 1888) was an English artist, illustrator, musician, author and poet, who is known mostly for his literary nonsense in poetry and prose and especially his limericks, a form he popularised.
His principal areas of work as an artist were threefold: as a draughtsman employed to make illustrations of birds and animals, making coloured drawings during his journeys (which he reworked later, sometimes as plates for his travel books) and as a minor illustrator of Alfred, Lord Tennyson's poems.
As an author, he is known principally for his popular nonsense collections of poems, songs, short stories, botanical drawings, recipes and alphabets. He also composed and published twelve musical settings of Tennyson's poetry.
Biography
Early years
Lear was born into a middle-class family at Holloway, North London, the penultimate of 21 children (and youngest to survive) of Ann Clark Skerrett and Jeremiah Lear, a stockbroker formerly working for the family sugar refining business. He was raised by his eldest sister, also named Ann, 21 years his senior. Jeremiah Lear ended up defaulting to the London Stock Exchange in the economic upheaval following the Napoleonic Wars. Because of the family's now more limited finances, when he was aged four, Lear and his sister were required to leave the family home, Bowmans Lodge, and live together. Ann doted on Edward and continued to act as a mother to him until her death, when he was almost 50 years of age.
Lear had lifelong health problems. From the age of six, he had frequent grand mal epileptic seizures, bronchitis, asthma and, during later life, partial blindness. Lear experienced his first seizure at a fair near Highgate when with his father. The event scared and embarrassed him. He felt lifelong guilt and shame for his epileptic condition, and his adult diaries indicate that he always sensed the onset of a seizure in time to remove himself from public view. When Lear was about seven years old he began to show signs of depression, possibly due to the instability of his childhood. He had periods of severe melancholia which he referred to as "the Morbids".
Artist
Lear was already drawing "for bread and cheese" by the time he was aged 16 and soon developed into a serious "ornithological draughtsman" employed by the Zoological Society and from 1832 to 1836 by the Earl of Derby, who kept a private menagerie at his estate, Knowsley Hall. He was the first major bird artist to draw birds from life rather than the skins of specimens. Lear's first publication, published when he was 19 years old, was Illustrations of the Family of Psittacidae, or Parrots in 1830. One of the greatest ornithological artists of his era, he taught Elizabeth Gould whilst also contributing to John Gould's works and was compared by some to the naturalist John James Audubon. In honor of Lear's bird illustrations, Anodorhynchus leari, popular name Lear's macaw, is named after him.
After his eyesight deteriorated too much to work with such precision on the fine drawings and etchings of plates used in lithography, he turned to landscape painting and travel.
Among other travels, he visited Greece and Egypt during 1848–49 and toured India during 1873–75, including a brief detour to Ceylon. While travelling he produced large quantities of coloured wash drawings in a distinctive style, which he converted later in his studio into oil and watercolour paintings, as well as prints for his books. His landscape style often shows views with strong sunlight, with intense contrasts of colour.
Between 1878 and 1883, Lear spent his summers on Monte Generoso, a mountain on the border between the Swiss canton of Ticino and the Italian region of Lombardy. His oil painting The Plains of Lombardy from Monte Generoso is in the Ashmolean Museum in Oxford.
Throughout his life, he continued to paint seriously. He had a lifelong ambition to illustrate Tennyson's poems; near the end of his life, a volume with a small number of illustrations was published.
Illustrated Excursions in Italy (1842–47)
In 1842, Lear began a journey into the Italian peninsula, travelling through the Lazio, Rome, Abruzzo, Molise, Apulia, Basilicata, Calabria and Sicily. In personal notes, together with drawings, Lear gathered his impressions on the Italian way of life, folk traditions, and the beauty of the ancient monuments. Of particular interest to Lear was the Abruzzo, which he visited in 1843, through the Marsica (Celano, Avezzano, Alba Fucens, Trasacco) and the plateau of Cinque Miglia (Castel di Sangro and Alfedena), by an old sheep track of the shepherds.
Lear drew a sketch of the medieval village of Albe with Mount Sirente, and described the medieval village of Celano, with the castle of Piccolomini dominating the vast plain of Lago Fucino, which was drained a few years later to promote agricultural development. At Castel di Sangro, Lear described the winter stillness of the mountains and the beautiful basilica.
More adventurous was the voyage to the regions of southern Italy in 1847, described in Lear's Journals of a Landscape Painter in Southern Calabria, & c. The broad Calabria section in which Lear tells his itinerary among breathtaking landscapes and often surreal characters, is thought to be among the best in his travel literature.
Composer and musician
Lear primarily played the piano, but he also played the accordion, flute, and small guitar. He composed music for many Romantic and Victorian poems, but was known mostly for his many musical settings of Tennyson's poetry. He published four settings in 1853, five in 1859, and three in 1860. Lear's were the only musical settings that Tennyson approved of. Lear also composed music for many of his nonsense songs, including "The Owl and the Pussy-Cat", but only two of the scores have survived, the music for "The Courtship of the Yonghy-Bonghy-Bò" and "The Pelican Chorus". While he never played professionally, he did perform his own nonsense songs and his settings of others' poetry at countless social gatherings, sometimes adding his own lyrics (as with the song "The Nervous Family"), and sometimes replacing serious lyrics with nursery rhymes.
Relationships
Lear's most fervent and painful friendship was with Franklin Lushington. He met the young barrister in Malta in 1849 and toured southern Greece with him. Lear developed an infatuation for him that Lushington did not wholly reciprocate. Although they remained friends for almost forty years until Lear's death, the disparity of their feelings constantly tormented Lear. Indeed, Lear's attempts at male companionship were not always successful; the very intensity of Lear's affections may have doomed these relationships.
He proposed twice to another writer, Augusta Bethell, whom he had known for a long time, when he was 26 years her senior. For companions, he relied instead on friends and correspondents, and especially, during later life, on his Albanian Souliote chef, Giorgis, a faithful friend and (as Lear complained) a thoroughly unsatisfactory chef. Another trusted companion in San Remo was his cat, Foss, who died in 1887 and was buried with some ceremony in a garden at Villa Tennyson.
San Remo and death
Lear eventually settled in San Remo, on his beloved Mediterranean coast in the 1870s at a villa he named "Villa Tennyson."
Lear was known to introduce himself with a long pseudonym: "Mr Abebika kratoponoko Prizzikalo Kattefello Ablegorabalus Ableborinto phashyph" or "Chakonoton the Cozovex Dossi Fossi Sini Tomentilla Coronilla Polentilla
Battledore & Shuttlecock Derry down Derry Dumps", which he based on Aldiborontiphoskyphorniostikos.
After a long decline in his health, Lear died at his villa in 1888 of heart disease, which he had since at least 1870. Lear's funeral was described as a sad, lonely affair by the wife of Dr. Hassall, Lear's physician, none of Lear's many lifelong friends being able to attend.
Lear is buried in the Cemetery Foce in San Remo. On his headstone are inscribed these lines about Mount Tomohrit (in Albania) from Tennyson's poem To E.L. [Edward Lear], On His Travels in Greece:
The centenary of his death was marked in Britain with a set of Royal Mail stamps in 1988 and an exhibition at the Royal Academy. Lear's birthplace area is now marked with a plaque at Bowman's Mews, Islington, in London, and his bicentenary during 2012 was celebrated with a variety of events, exhibitions and lectures in venues across the world including an International Owl and Pussycat Day on his birth anniversary.
Author
In 1846, Lear published A Book of Nonsense, a volume of limericks which went through three editions and helped popularise the form and the genre of literary nonsense. In 1871, he published Nonsense Songs, Stories, Botany and Alphabets, which included the nonsense song "The Owl and the Pussy-Cat", which he wrote for the children of his patron Edward Stanley, 13th Earl of Derby. Many other works followed.