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Olympia By Edouard Manet. Regarded as one of the greatest modern paintings of the nineteenth century. For an interpretation of other pictures from the 19th and 20th centuries, see: Analysis of Modern Paintings Edouard Manet has long been seen as a pioneer of modern art and a major contributor to the modernizing of French painting during the period His avant-garde art was a source of inspiration for Impressionist painters who in turn influenced his own brushwork and colour palette.

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He was one of the first 19th-century artists to paint modern life, and a pivotal figure in the transition from Realism to Impressionism. Born into an upper-class household with strong political connections, Manet rejected the future originally envisioned for him, and became engrossed in the world of painting. Today, these are considered watershed paintings that mark the start of modern art. The last 20 years of Manet's life saw him form bonds with other great artists of the time, and develop his own style that would be heralded as innovative and serve as a major influence for future painters. His uncle, Edmond Fournier, encouraged him to pursue painting and took young Manet to the Louvre.
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A pivotal figure in the transition from Realism to Impressionism, Edouard Manet was an influential painter who left his own unique mark on the art world. In , in his early thirties, Manet opened his own studio. He began painting in a quasi-realist style, which transitioned to a more Impressionist style when he met the painter Berthe Morisot, who exposed him to her circle of Impressionist painter friends, including Claude Monet, Pierre-Auguste Renoir, and Edgar Degas, and their plein air painting techniques. Although his work was Impressionistic, he resisted involvement with any specific style of painting, and thus preferred to present his works to the Salon of Paris rather than the many Impressionist Exhibitions. Manet died eleven days after the amputation of his left foot due to gangrene, from complications of syphilis and rheumatism, which had been so bad as to cause partial paralysis in the years leading up to his death.
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This lecture addresses issues of gender—masculine and feminine—in nineteenth-century art. It primarily focuses on works produced in France, corresponding with the standard narrative of the nineteenth-century survey. However, images produced in Britain, Belgium, and the United States are also addressed.
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