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A 6 page research paper that discusses Manet's place in art history. The writer compares his work to that of Couture and Courbet and explains why Manet is considered to be the first modernist painter. Bibliography lists 8 sources.
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6 pages (~225 words per page)
File: D0_khmanet.rtf
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being the first painter to address consciousness itself as a subject for art. This intriguing statement can best be understood by placing it in context, via an examination of art
from Manets era, focusing on the work of Manets mentor Gustave Courbet and this teacher Thomas Couture. Manet was born on January 23, 1832. In 1850, he entered the
studio of Thomas Couture, where he studied until 1856 (Anonymous, 2002). During this period, Manet spent a great deal of time studying the work of the Old Masters in both
foreign and French collections (Anonymous, 2002). In 1865, Manet shows his painting "Olympia" at an official Salon and his reputation as a renegade became widespread (Anonymous, 2002). This "radical"
quality in Manets work led directly how he is evaluated by critics today. Specifically, Witcombe (2002) points out that Manet is generally agreed to be the first modernist painter, and
that modernism in art originated in the 1860s. Clement Greenberg also supports this estimation, as he wrote that Manets paintings from the 1860s can be viewed as the first modernist
paintings "by virtue of the frankness with which they declared the surfaces on which they were painted" (Locke, 1997, p. 622). Prior to the middle of the middle of
the nineteenth century, painting was characterized by "flights of imagination" and "academic glorifications of the heroic past" (Fleming, 1974, p. 337). Gustave Courbet was an artistic leader of a group
of artists who rejected the traditional perspectives of the past and styled themselves as "realists." According to Courbet, the saints and miracles of the nineteenth century were "mines, machines, and
railroad stations" (Fleming, 1974, p. 337). Edouard Manet was one the artists that Courbet greatly influenced (Fleming, 1974). However, by examining paintings by the Couture, Courbet and Manet, one
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