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  • 03/23/15--10:05: Film Posters 1950s - part 1
  • This is the fourth part in an occasional series on film (or movie) posters. I have previously featured "Film Posters 1913-1929",  "Film Posters 1930s" and "Film Posters 1940s" (see index under "F").


    This is part 1 of a 3-part post on film posters of the 1950s.


    1950 Across the Badlands

    1950 All About Eve

    1950 Backfire

    1950 Black Hand

    1950 Bunco Squad

    1950 Conspirator

    1950 D.O.A.

    1950 Deadly is the Female

    1950 Fugitive Lady

    1950 Gun Crazy

    1950 Gunmen of Abilene

    1950 In a Lonely Place

    1950 Mark of the Gorilla

    1950 Night and the City

    1950 No Way Out

    1950 Side Street

    1950 Sunset Boulevard

    1950 Sunset Boulevard

    1950 The Asphalt Jungle

    1950 The Big Hangover

    1950 The Black Cat

    1950 The File on Thelma Jordan

    1950 The Flying Missile

    1950 The Petty Girl

    1950 The Petty Girl

    1950 Where Danger Lives

    1950 Where the Sidewalk Ends

    1950 Woman on the Run


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  • 03/25/15--06:09: Film Posters 1950s - part 2
  • This is the fourth part in an occasional series on film (or movie) posters. I have previously featured "Film Posters 1913-1929",  "Film Posters 1930s" and "Film Posters 1940s" (see index under "F").


    This post is part 2 of a 3-part post on film posters of the 1950s.


    For earlier film posters of the 1950s, see part 1 also.


    1951 Iron Man

    1951 Sirocco

    1951 The African Queen

    1951 The African Queen

    1951 The Day the Earth Stood Still 

    1952 Affair in Trinidad

    1952 Affair in Trinidad

    1952 Affair in Trinidad

    1952 Deadline

    1952 Deadline (-U.S.A.)

    1952 Don't Bother to Knock

    5 Fingers

    1952 High Noon

    1952 Othello

    1952 The Bad and the Beautiful

    1952 The Las Vegas Story

    1952 The Secret People

    1953 Niagara

    1953 Niagara

    1953 The Beast from 20,000 Fathoms 

    1953 War of the Worlds

    1954 Carmen Jones

    1954 Creature From The Black Lagoon

    1954 Redada (Dragnet)

    1954 Seven Samurai

    1954 The Glass Slipper

    1955 No Man's Woman

    1955 Postmark for Danger

    1955 Secret Venture


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  • 03/27/15--09:30: Film Posters 1950s - part 3
  • This is the fourth part in an occasional series on film (or movie) posters. I have previously featured "Film Posters 1913-1929",  "Film Posters 1930s" and "Film Posters 1940s" (see index under "F").


    This post is part 3 of a 3-part post on film posters of the 1950s.


    For earlier film posters of the 1950s, see parts 1 and 2 also.


    1955 The Man with the Golden Arm

    1955 The Seven Year Itch

    1955 The Seven Year Itch

    1955 The Seven Year Itch

    1955 To Catch a Thief 

    1956 Around the World in 80 Days 

    1956 Bus Stop

    1956 Eyewitness

    1956 Forbidden Planet

    1956 Forbidden Planet

    1956 Nightmare

    1956 The Iron Petticoat

    1956 The Rack

    1956 Timetable

    1957 Invasion of the Saucer Men

    1957 Love in the Afternoon

    1957 The Astounding She Monster

    1958 Attack of the 50ft Woman

    1958 Attack of the Puppet People

    1958 Cat on a Hot Tin Roof

    1958 Cool and the Crazy

    1958 Gigi

    1958 Hell's Five Hours

    1958 High School Hellcats

    1958 Touch of Evil

    1958 Vertigo

    1959 Anatomy of a Murder

    1959 Ben-Hur

    1959 Rio Bravo

    1959 The Beat Generation


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  • 03/30/15--06:44: J. C. Leyendecker - part 1
  •  J. C. Leyendecker in 1895
    Joseph Christian Leyendecker (1874 – 1951) was one of the pre-eminent American illustrators of the early 20thcentury. He is best known for his poster, book and advertising illustrations, the trade character known as The Arrow Collar Man, and his numerous covers for The Saturday Evening Post.


    Between 1896 and 1950 Leyendecker illustrated more than 400 magazine covers including 322 for The Saturday Evening Post, as well as many advertisement illustrations for its interior pages. No other artist, until the arrival of Norman Rockwell two decades later, was so solidly identified with one publication.


    Leyendecker was born in 1874 in Montabaur, Germany. The family moved to Chicago in 1882. After working in late adolescence for an engraving firm in Chicago, and completing his first commercial commission of 60 Bible illustrations for the Powers Brother Company, he sought formal artistic training at the Chicago Art Institute.


    After studying drawing and anatomy under John H. Vanderpoel at the Institute, Joseph and his younger brother, Frank Xavier Leyendecker, enrolled at the Académie Julian in Paris for a year, where they were exposed to the work of Toulouse Lautrec, Jules Chéret and Alphonse Mucha. The brothers returned to America in 1899 and set up residence in Hyde Park, Illinois, and had a studio in Chicago. That year Joseph received his first commission for The Saturday Evening Post, beginning his four –year association.


    The brothers moved to New York in 1900 and during the next decade the brothers began lucrative long-term relationships with apparel manufacturers including Interwoven Socks, Kuppenheimer & Co., and Cluett Peabody and Co.


    The Flapper by F X Leyendecker

    Artwork by F X Leyendecker for The Flapper

    The latter resulted in Joseph Leyendecker’s most important commission when he was hired to develop a series of images for Arrow brand shirt collars. Leyendecker often used his favourite model and partner, Charles Beach.

    Charles Beach by J C Leyendecker

     

    In 1914 the Leyendeckers and Charles Beach moved into a large home and studio in New Rochelle, New York, where J.C. would remain for the rest of his life. 


    J C Leyender's home in New Rochelle, New York photo: public domain

    During World War 1 Leyendecker produced recruitment posters for the United States military. The 1920s saw Leyendecker at the peak of his career, with some of his most recognisable work completed during this period, and he himself became recognised as being among America’s pre-eminent commercial artists. (Frank Leyendecker died in 1924).

    The 1930s saw a decline in Leyendecker’s popularity, (the shirt, tie and collar industry had seriously declined after 1921), and the Wall Street Crash of 1929 also contributed to Leyendecker’s fall in commissions. His last cover for The Saturday Evening Post was January 2, 1943. 


    J C Leyendecker's last Saturday Evening Post cover
    Leyendecker died at his estate in New Rochelle in 1951. Charles Beach died a few months later.


    Leyendecker's monument
    Biographical notes adapted form WiKipedia, with thanks.



     

    This is part 1 of a 10-part series on the works of J. C. Leyendecker:


    n.d. At Tea gouache on cardboard with light tan paper facing 34.6 x 35.6 cm Metropolitan Museum of Art, New York

    n.d. Man Standing graphite on green wove paper 31.8 x 23.7 c, Metropolitan Museum of Art, New York

    n.d. Seated Woman black watercolour, white gouache and graphite on blue-grey wove paper 18.1 x 23.5 cm Metropolitan Museum of Art, New York

    1818 Collier's magazine 5 January 1918

    1896 The Century August, Midsummer Holiday Number commercial lithography in yellow, green, red, and gold 

    1897 "A Mon Ami…"

    1900 Success Magazine Christmas Number 1900

    1900 Success Magazine Christmas Number 1906

    1903 The Saturday Evening Post. 16 May 1903

    1904 "Christmas" The Saturday Evening Post. December 3 1904

    1904 "Christmas" The Saturday Evening Post. December 3 1904

    1904 "Couple on Deckchairs" Collier's magazine cover 18 June 1904 tempera on board

    1904 Charging Japanese Soldiers

    1904 The Club-Fellow & Washington Mirror

    1904 The Garden Walk

    1905 "Easter" The Saturday Evening Post. April 22 1905

    1905 Christmas Dinner

    1905 Success Magazine February 1905

    1905 Success Magazine December 1905


    1906 "Cuchulain" The Century Magazine January 1907

    1906 "Easter" The Saturday Evening Post. April 7 1906 1 oil on canvas 50.8 x 50.8 cm

    1906 "Easter" The Saturday Evening Post. April 7 1906 2

    1906 "Queen Maeve" The Century Magazine January 1907


    1906 "The Crimson Conquest" by Charles Bradford Hudson cover illustration

    1906 Ridolfo and Gismonda

    1906 The Saturday Evening Post. June 2 1906

    1907 "Christmas" The Saturday Evening Post. December 7 1907

    1907 "Thanksgiving" The Saturday Evening Post. November 23 1907

    1907 "The Speed God" Collier's magazine. January 19 1907

    1907 "Vacation" Collier's magazine cover illustration. Oil on canvas @ American Illustrators Gallery, New York

    1907 Arrow Collars and Cluett Shirts artwork

    1907 Arrow Collars and Cluett Shirts advertisement

    1907 Collier's' magazine 26 October 1907 artwork


    1907 Collier's' magazine 26 October 1907

    1907 Cuchulain In Battle

    1907 Harvard Crew Team advertisement for Howard Watch Company oil on canvas 76.2 x 55.9 cm

    1907 Success Magazine. March 1907

    1907 The Saturday Evening Post. October 5 1907

    1907 The Saturday Evening Post. July 6 1907 artwork

    1907 The Saturday Evening Post. July 6 1907

    1908 "February 29" The Saturday Evening Post. February 29 1908

    1908 "Independence Day" The Saturday Evening Post. July 4 1908 artwork

    1908 "Independence Day" The Saturday Evening Post. July 4 1908

    1908 Collier's magazine

    1908 The Punter

    1908 The Saturday Evening Post. April 11 1908

    1908 The Saturday Evening Post. December 19 1908

    1908 The Saturday Evening Post. December 26 1908

    1909 "1910" The Saturday Evening Post. January 1 1910 artwork

    1909 "1910" The Saturday Evening Post. January 1 1910


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  • 04/01/15--05:41: J. C. Leyendecker - part 2
  • Leyendecker presumably in 1909 - he appears to be working on a sketch for the cover of
    The Saturday Evening Post dated May 15 1909 (see below)

    Joseph Christian Leyendecker (1874 – 1951) was one of the pre-eminent American illustrators of the early 20th century. He is best known for his poster, book and advertising illustrations, the trade character known as The Arrow Collar Man, and his numerous covers for The Saturday Evening Post.


    Between 1896 and 1950 Leyendecker illustrated more than 400 magazine covers including 322 for The Saturday Evening Post, as well as many advertisement illustrations for its interior pages. No other artist, until the arrival of Norman Rockwell two decades later, was so solidly identified with one publication.

    For full biographical notes and for earlier works by Leyendecker, see part 1 also.


    This is part 2 of a 10-part series on the works of J. C. Leyendecker:


    1909 "Easter" The Saturday Evening Post. April 10 1909

    1909 Arrow Collars

    1909 Collier's magazine October 16 1909

    1909 Couple on a Raft

    1909 Flying in Style

    1909 (Unknown title) illustration

    1909 The Literary Digest. September 11 1909

    1909 The Saturday Evening Post. May 15 1909

    1909 "Christmas" The Saturday Evening Post. December 4 1909

    1909 "Christmas" The Saturday Evening Post. December 4 1909

    1909 The Saturday Evening Post. March 6 1909

    1909 The Tackle

    1909 The Watchers of the Plains

    1910 "Thanksgiving Couple" oil on canvas 76.2 x 53.3 cm (The Woman's Magazine November 1910

    1910 "Theodore Roosevelt" The Circle magazine June 1910

    1910 Arrow Collars and Cluett Shirts artwork

    1910 Arrow Collars and Cluett Shirts advertisement

    1910 Lucky Bag Girl

    1910 Lucky Bag Girl

    1910 Popular Magazine. May 1910

    1910 The Saturday Evening Post. August 6 1910 artwork

    1910 The Saturday Evening Post. August 6 1910

    1910 "Valentines" The Saturday Evening Post. February 12 1910

    1910 VIM magazine November 1910

    1910 Women's magazine illustration

    1911 "1912 Votes for Women" The Saturday Evening Post. December 30 1911

    1911 "Scouts Signalling" The Saturday Evening Post. September 2 1911 artwork

    1911 Cluett Dress shirts

    1911 The Saturday Evening Post. April 1 1911

    1911 The Saturday Evening Post. November 18 1911

    1911 The Saturday Evening Post artwork

    1911 A series of illustrations for Kuppenheimer Clothing. It's possible that some of these were by Joseph's brother Frank Leyendecker, I don't know:



















    1912 The Saturday Evening Post. December 2 1912

    1912 "Easter" The Saturday Evening Post. April 6 1912

    1912 "Halloween" The Saturday Evening Post. October 26 1912

    1912 The Saturday Evening Post. November 30 1912 artwork

    1912 The Saturday Evening Post. November 30 1912

    1912? Football Player

    1913 "Married Bliss" The Saturday Evening Post. June 21 1913

    1913 The Saturday Evening Post. March 22 1913

    1914 "1915" The Saturday Evening Post. January 2 1915 artwork

    1914 "Bellhop with Hyacinths" The Saturday Evening Post. May 30 1914 oil on canvas 71.1 x 50.8 cm


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  • 04/03/15--05:39: J. C. Leyendecker - part 3
  • Joseph Christian Leyendecker (1874 – 1951) was one of the pre-eminent American illustrators of the early 20th century. He is best known for his poster, book and advertising illustrations, the trade character known as The Arrow Collar Man, and his numerous covers for The Saturday Evening Post.


    Between 1896 and 1950 Leyendecker illustrated more than 400 magazine covers including 322 for The Saturday Evening Post, as well as many advertisement illustrations for its interior pages. No other artist, until the arrival of Norman Rockwell two decades later, was so solidly identified with one publication.

    For full biographical notes see part 1. For earlier works by Leyendecker, see parts 1 - 2 also.


    This is part 3 of a 10-part series on the works of J. C. Leyendecker:


    1914 "Thanksgiving" The Saturday Evening Post. November 28 1914

    1914 Kuppenheimer Clothing

    1914 Kuppenheimer Clothing

    1914 Kuppenheimer Clothing

    1914 The Saturday Evening Post. October 3 1914

    1914 The Saturday Evening Post. December 19 1914

    1914 The Saturday Evening Post. November 21 1914

    1914 The Saturday Evening Post. April 25 1914

    1914-1918 U.S. Marines WWI recruitment poster

    1914-1918 U.S. Navy recruitment poster

    1915 Collier's magazine cover illustration 9 October 1915

    1915 Cooper Underwear Company oil on canvas Haggin Museum

    1915 Kuppenheimer Clothing

    1915 The Saturday Evening Post. July 3 1915 studies

    1915 The Saturday Evening Post. July 3 1915

    1915 The Saturday Evening Post. July 3 1915 artwork

    1915 The Saturday Evening Post. July 3 1915

    1915 The Saturday Evening Post. July 24 1915

    1915 "1916" The Saturday Evening Post. January 1 1916

    1916 "Easter" The Saturday Evening Post. April 22 1916

    1916 Collier's magazine. June 24 1916

    1916 The Saturday Evening Post. November 4 1916 artwork

    1916 The Saturday Evening Post. November 4 1916

    1916 The Saturday Evening Post. May 6 1916

    1916 The Saturday Evening Post. March 11 1916

    1916 The Saturday Evening Post. April 15 1916

    1916 The Saturday Evening Post. July 17 1916

    1916 The Saturday Evening Post. September 30 1916

    1916 The Saturday Evening Post. July 1 1916 artwork

    1916 The Saturday Evening Post. July 1 1916

    1916-17 Cover of Kuppenheimer Style Booklet

    1917 "A Soldier's Thanksgiving" The Saturday Evening Post. December 8 1917 1 oil on canvas 63.5 x 51.4 cm

    1917 The Saturday Evening Post. December 8 1917

    1917 "Christmas" The Saturday Evening Post. December 22 1917

    1917 "George Washington" study for cover of The Saturday Evening Post. June 30 1917

    The Saturday Evening Post. June 30 1917

    1917 "Spring and Summer Styles" Kuppenheimer Clothing artwork

    1917 "Spring and Summer Styles" Kuppenheimer Clothing

    1917 Kuppenheimer Clothing. The Saturday Evening Post

    1917 Kuppenheimer Style Booklet

    1917 Poster commissioned by the Publicity Committee of the Citizens Preparedness Association

    1917 The Saturday Evening Post. May 19 1917

    1917-18 U.S.A. Bonds offset lithography poster

    1918 "Christmas 1918" The Saturday Evening Post. December 21 1918

    1918 "Drummer; Spirit of '76" oil on canvas 69.8 x 51.4 cm (The Saturday Evening Post)

    1918 "This is my Busy Day!" oil on canvas 63.8 x 48.6 cm

    1918 Great War Victory illustration for The Saturday Evening Post 1918 oil on canvas 68.6 x 50.4 cm Smithsonian American Art Museum, Washington, D.C.

    1918 Kuppenheimer Clothing. The Haggin Museum, Stockton, CA

    1918 The S.S. Leviathan advertisement for House of Kuppenheimer oil on canvas71.1 x 106.7 cm National Museum of American Illustration, Newport, Rhode Island

    1918 The Saturday Evening Post. June 1 1918

    1918 The Saturday Evening Post. December 7 1918

    1918 The Saturday Evening Post. December 7 1918

    1918 The Saturday Evening Post. August 17 1918

    1918 The Saturday Evening Post. June 29 1918 artwork

    1918 The Saturday Evening Post. June 29 1918


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  • 04/06/15--07:01: J. C. Leyendecker - part 4
  • Joseph Christian Leyendecker (1874 – 1951) was one of the pre-eminent American illustrators of the early 20th century. He is best known for his poster, book and advertising illustrations, the trade character known as The Arrow Collar Man, and his numerous covers for The Saturday Evening Post.


    Between 1896 and 1950 Leyendecker illustrated more than 400 magazine covers including 322 for The Saturday Evening Post, as well as many advertisement illustrations for its interior pages. No other artist, until the arrival of Norman Rockwell two decades later, was so solidly identified with one publication.

    For full biographical notes see part 1. For earlier works by Leyendecker, see parts 1 - 3 also.


    This is part 4 of a 10-part series on the works of J. C. Leyendecker:


    1918-19 Kuppenheimer Clothing Style Booklet

    1918c Order Coal Now lithographic poster

    1919 "April" The Saturday Evening Post. April 5 1919

    1919 "Lifeguard" The Saturday Evening Post. August 23 1919

    1919 "Thanksgiving" The Saturday Evening Post. November 29 1919

    1919 Chesterfield Cigarettes

    1919 Chesterfield Cigarettes

    1919 The Saturday Evening Post. May 10 1919 artwork

    1919 The Saturday Evening Post. WW1 Soldier and Civil War Veteran

    1920 "Easter 1920" The Saturday Evening Post. April 3 1920

    1920 "Graduate" oil on canvas 61.6 x 50.8 cm The Saturday Evening Post. June 5 1920

    The Saturday Evening Post. June 5 1920

    1920 "The Candidate" The Saturday Evening Post oil on canvas 71.1 x 55.9 cm

    1920 Arrow Shirts. The Saturday Evening Post. November 16 1929

    1920 Kuppenheimer Clothing artwork

    1920 The Saturday Evening Post. July 3 1920

    1920 The Saturday Evening Post. December 25 1920

    1920 The Saturday Evening Post. November 27 1920 artwork

    1920 The Saturday Evening Post. November 27 1920

    1920c Arrow Shirts

    1920c Kuppenheimer Good Clothes oil on canvas laid on board 67.9 x 50.8 cm

    1920s Arrow Dress Collars and Shirts

    1920s Arrow Dress Collars and Shirts study

    1921 "1922" The Saturday Evening Post. December 31 1921 artwork

    1921 "1922" The Saturday Evening Post. December 31 1921

    1921 Interwoven Socks advertisement

    1921 Interwoven Socks. The Saturday Evening Post. June 4 1921

    1921 Kuppenheimer Clothing. The Saturday Evening Post. October 8 1921

    1921 Kuppenheimer Clothing. The Saturday Evening Post. August 13 1921

    1921 Kuppenheimer Clothing. The Saturday Evening Post. April 23 1921

    1921 Kuppenheimer Good Clothing

    1922 "Easter" The Saturday Evening Post. April 15 1922

    1922 "Thanksgiving" The Saturday Evening Post. November 25 1922

    1922 Kuppenheimer Clothing. The Saturday Evening Post. September 9 1922

    1922 Kuppenheimer Clothing. The Saturday Evening Post. February 25 1922

    1922 Kuppenheimer Clothing

    1922 The Saturday Evening Post. October 14 1922

    1922 The Saturday Evening Post. December 23 1922 

    1922 The Saturday Evening Post. December 23 1922

    1922 The Saturday Evening Post. June 24 1922

    1923 Kuppenheimer Good Clothes oil on canvas 71.1 x 53.3 cm The Saturday Evening Post. June 14 1923

    1923 The Saturday Evening Post. October 6 1923

    1923 The Saturday Evening Post. March 17 1923 artwork

    1923 The Saturday Evening Post. March 17 1923

    1923 The Saturday Evening Post. December 22 1923 artwork

    1923 The Saturday Evening Post. December 22 1923

    1923 The Saturday Evening Post. August 25 1923 artwork

    1923 The Saturday Evening Post. August 25 1923

    1923 The Saturday Evening Post. October 27 1923

    1923 "Easter" The Saturday Evening Post. March 31 1923 Easter artwork

    1923 "Easter" The Saturday Evening Post. March 31 1923

    1923 The Saturday Evening Post. June 2 1923 studies

    1923 The Saturday Evening Post. June 2 1923


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  • 04/08/15--05:48: J. C. Leyendecker - part 5
  • Joseph Christian Leyendecker (1874 – 1951) was one of the pre-eminent American illustrators of the early 20th century. He is best known for his poster, book and advertising illustrations, the trade character known as The Arrow Collar Man, and his numerous covers for The Saturday Evening Post.


    Between 1896 and 1950 Leyendecker illustrated more than 400 magazine covers including 322 for The Saturday Evening Post, as well as many advertisement illustrations for its interior pages. No other artist, until the arrival of Norman Rockwell two decades later, was so solidly identified with one publication.

    For full biographical notes see part 1. For earlier works by Leyendecker, see parts 1 - 4 also.


    This is part 5 of a 10-part series on the works of J. C. Leyendecker:


    1923? The Saturday Evening Post oil on canvas 54 x 40.6 cm

    1924 "Easter" The Saturday Evening Post. April 19 1924

    1924 "July Fourth" The Saturday Evening Post. Jul 5 1924

    1924 "Saint Valentine" The Saturday Evening Post. February 16 1924 artwork

    1924 "Saint Valentine" The Saturday Evening Post. February 16 1924

    1924 "Spring Styles" Kuppenheimer Clothing study

    1924 "Spring Styles" Kuppenheimer Clothing

    1924 "Thanksgiving" The Saturday Evening Post. November 29 1924

    1924 The Saturday Evening Post. August 9 1924

    1924 The Saturday Evening Post. December 20 1924

    1924 The Saturday Evening Post. December 20 1924

    1924 The Saturday Evening Post. October 25 1924

    1924c Kuppenheimer Clothing

    1925 "Christmas" The Saturday Evening Post. December 26 1925

    1925 "Christmas" The Saturday Evening Post. December 26 1925

    1925 "Easter" The Saturday Evening Post. April 11 1925

    1925 Kuppenheimer Clothing. The Saturday Evening Post. October 3 1925

    1925 Making Money magazine. November 1925

    1926 "Easter" The Saturday Evening Post. November 26 1921

    1926 "Lune de Miel" (Honeymoon) The Saturday Evening Post. July 17 1926 artwork 

    1926 "Lune de Miel" (Honeymoon) The Saturday Evening Post. July 17 1926


    1926 "Who, Me Work?" The Saturday Evening Post. January 23 1926

    1926 "Who, Me Work?" The Saturday Evening Post. January 23 1926

    1926 Interwoven Socks. The Saturday Evening Post. September 25 1926

    1926 Kuppenheimer Clothing. The Saturday Evening Post. September 18 1926

    1926 Kuppenheimer Clothing. The Saturday Evening Post. September 18 1926

    1926 Kuppenheimer Clothing

    1926 "Christmas" The Saturday Evening Post. December 25 1926

    1926 "Christmas" The Saturday Evening Post. December 25 1926 1


    1927 "1928" The Saturday Evening Post. December 31 1927 artwork

    1927 "1928" The Saturday Evening Post. December 31 1927


    1927 "Christmas" The Saturday Evening Post. December 24 1927 study 

    1927 "Christmas" The Saturday Evening Post. December 24 1927

    1927 "Christmas" The Saturday Evening Post. December 24 1927


    1927 "George Washington" oil on canvas 72.4 x 54.6 cm The Saturday Evening Post. July 2 1927

    7 "George Washington" The Saturday Evening Post. July 2 1927

    1927 "John Barrymore" Kuppenheimer Clothing

    1927 "Thanksgiving" The Saturday Evening Post. November 26 1927

    1927 A Senator of Rome

    1927 Collier's Weekly September 1927 artwork

    1927 Interwoven Socks advertisement oil on canvas 99.1 x 73 cm National Museum of American Illustration, Newport, Rhode Island

    1927 Interwoven Socks advertisement studies

    1927 Kuppenheimer Clothing. The Saturday Evening Post. September 24 1927

    1927 Kuppenheimer Clothing. The Saturday Evening Post. October 29 1927


    1927 The Saturday Evening Post. May 7 1927 "Springtime-Little Bo Peep" oil on canvas 81.3 x 61 cm

    1927 The Saturday Evening Post. May 7 1927

    1927 The Saturday Evening Post. May 7 1927 study

    1928 "1628-1928 Thanksgiving" The Saturday Evening Post. November 24 1928

    The Saturday Evening Post. November 24 1928

    1928 "1776" The Saturday Evening Post. June 30 1928

    1928 "Spring" The Saturday Evening Post. June 2 1928

    1928 Kuppemheimer Clothing. The Saturday Evening Post. October 27 1928

    1929 "1776" The Saturday Evening Post. June 29 1929

    1929 "1776" The Saturday Evening Post. June 29 1929 study (lower left)

    1929 "1930" The Saturday Evening Post. December 28 1929

    1929 "Spring" The Saturday Evening Post. March 30 1929


    The Saturday Evening Post. March 30 1929


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  • 04/10/15--05:07: J. C. Leyendecker - part 6
  • Joseph Christian Leyendecker (1874 – 1951) was one of the pre-eminent American illustrators of the early 20th century. He is best known for his poster, book and advertising illustrations, the trade character known as The Arrow Collar Man, and his numerous covers for The Saturday Evening Post.


    Between 1896 and 1950 Leyendecker illustrated more than 400 magazine covers including 322 for The Saturday Evening Post, as well as many advertisement illustrations for its interior pages. No other artist, until the arrival of Norman Rockwell two decades later, was so solidly identified with one publication.

    For full biographical notes see part 1. For earlier works by Leyendecker, see parts 1 - 5 also.


    This is part 6 of a 10-part series on the works of J. C. Leyendecker:



    1929 Kuppenheimer Clothing

    1929 Kuppenheimer Clothing

    1929 "June" The Saturday Evening Post. June 8 1929 oil on canvas

    1929 "June" The Saturday Evening Post. June 8 1929 detail

    1929 "June" The Saturday Evening Post. June 8 1929

    1929c Arrow Shirts

    1930 "1776" The Saturday Evening Post. June 28 1930

    1930 "Easter" The Saturday Evening Post. April 19 1930 artwork

    1930 "Easter" The Saturday Evening Post. April 19 1930

    1930 "Forging a New Year" 1931 for The Saturday Evening Post. December 27 1930 oil on canvas 81.3 x 61 cm National Museum of American Illustration, Newport, Rhode Island

    The Saturday Evening Post. December 27 1930

    1930 "Tally Ho" Kuppenheimer Clothing

    1930 Kuppenheimer Clothing. The Saturday Evening Post. April 12 1930

    1930 The Saturday Evening Post. December 20 1930

    1930 The Saturday Evening Post. July 26 1930

    1931 "1776" The Saturday Evening Post. July 4 1931

    1931 "Queen of Spring" The Saturday Evening Post. May 23 1931 oil on canvas

    1931 "Queen of Spring" The Saturday Evening Post. May 23 1931 studies

    1931 "Queen of Spring" The Saturday Evening Post. May 23 1931

    1931 "Yule" The Saturday Evening Post December 26 1931

    1931 The Saturday Evening Post. March 14 1931

    1931 The Saturday Evening Post. November 28 1931

    1932 "1933" The Saturday Evening Post. December 31 1932

    1932 "September Morn" The Saturday Evening Post. September 24 1932

    1932 "Thanksgiving" The Saturday Evening Post. November 26 1932

    1931 Illustration for The Saturday Evening Post. January 2 1932

    1931 Illustration for The Saturday Evening Post. January 2 1932 detail

    1931 The Saturday Evening Post. January 2 1932

    1932 The Saturday Evening Post. July 2 1932

    1932 The Saturday Evening Post. September 3 1932

    1932 The Saturday Evening Post. June 4 1932

    1932 The Saturday Evening Post. March 5 1932

    1932 The Saturday Evening Post. August 6 1932

    1932 The Saturday Evening Post. May 14 1932

    1932 The Saturday Evening Post. December 24 1932

    1932 The Saturday Evening Post. December 24 1932

    1932 The Saturday Evening Post. March 26 1932 artwork

    1932 The Saturday Evening Post. March 26 1932

    1932 The Saturday Evening Post. November 26 1932

    1933 "1934" The Saturday Evening Post. December 30 1933

    1933 "Carnival" The Saturday Evening Post. February 25 1933 artwork

    The Saturday Evening Post. February 25 1933

    1933 "Thanksgiving" The Saturday Evening Post. December 2 1933

    1933 The Saturday Evening Post. July 1 1933

    1933 The Saturday Evening Post. November 4 1933

    1933 "Easter" The Saturday Evening Post. April 15 1933

    1933 The Saturday Evening Post. December 23 1933

    1933 "Summer" The Saturday Evening Post. August 26 1933 artwork

    The Saturday Evening Post. August 26 1933

    1934 "Easter" The Saturday Evening Post. March 31 1934

    1934 "Holy Night" The Saturday Evening Post. December 29 1934

    The Saturday Evening Post. December 29 1934


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  • 04/13/15--07:05: J. C. Leyendecker - part 7
  • Joseph Christian Leyendecker (1874 – 1951) was one of the pre-eminent American illustrators of the early 20th century. He is best known for his poster, book and advertising illustrations, the trade character known as The Arrow Collar Man, and his numerous covers for The Saturday Evening Post.


    Between 1896 and 1950 Leyendecker illustrated more than 400 magazine covers including 322 for The Saturday Evening Post, as well as many advertisement illustrations for its interior pages. No other artist, until the arrival of Norman Rockwell two decades later, was so solidly identified with one publication.

    For full biographical notes see part 1. For earlier works by Leyendecker, see parts 1 - 6 also.


    This is part 7 of a 10-part series on the works of J. C. Leyendecker:


    1934 "July Fourth 1934" The Saturday Evening Post. July 7 1934

    1934 Arrow Shirts. The Saturday Evening Post. February 10 1934

    1934 The Saturday Evening Post. December 1 1934

    1934 The Saturday Evening Post. March 10 1934 study

    1934 The Saturday Evening Post. March 10 1934

    1934 The Saturday Evening Post. September 15 1934 artwork

    1934 The Saturday Evening Post. September 15 1934

    1934 The Saturday Evening Post. May 26 1934

    1935 "Easter" The Saturday Evening Post. April 20 1935

    1935 "Going South" oil on canvas 50.8 x 40.6 cm (The Saturday Evening Post) 1935

    1935 "Liberty Bell 1776" The Saturday Evening Post. July 6 1935 study

    1935 "Liberty Bell 1776" The Saturday Evening Post. July 6 1935

    1935 "She's my Girl!" The Saturday Evening Post. September 28 1935

    1935 "Thanksgiving" The Saturday Evening Post. November 23 1935 artwork

    1935 "Thanksgiving" The Saturday Evening Post. November 23 1935

    1935 The Saturday Evening Post. June 8 1935 artwork

    1935 The Saturday Evening Post. June 8 1935

    1935 The Saturday Evening Post. February 23 1935

    1935 The Saturday Evening Post. December 28 1935

    1935 "1936" The Saturday Evening Post. January 4 1936

    1936 "Basting the Turkey" The Saturday Evening Post. November 28 1936

    1936 "Constitution" The Saturday Evening Post. July 4 1936

    1936 "Easter" The Saturday Evening Post. April 11 1936 artwork

    1936 "Easter" The Saturday Evening Post. April 11 1936


    1936 "St. Valentine" The Saturday Evening Post. February 15 1936 artwork

    The Saturday Evening Post. February 15 1936

    1936 "Twas the Night before Christmas" The Saturday Evening Post. December 26 1936 artwork

    1936The Saturday Evening Post. December 26 1936

    1936 The Saturday Evening Post. January 2 1937

    1937 "Easter" The Saturday Evening Post. March 27 1937

    1937 "Queen of the May" The Saturday Evening Post. May 15 1937

    1937 "Tipping the Porter" The Saturday Evening Post. December 18 1937 study

    1937 The Saturday Evening Post. December 181937

    1937 The Saturday Evening Post. July 3 1937

    1937 The Saturday Evening Post. February 20 1937

    1937 "1938" The Saturday Evening Post. January 1 1938

    1938 "1939" The Saturday Evening Post. December 31 1938 artwork
    The Saturday Evening Post. December 31 1938


    1938 "Christmas Stocking" The Saturday Evening Post. December 24 1938 artwork

    The Saturday Evening Post. December 24 1938


    1938 "Easter" The Saturday Evening Post. April 16 1938

    1938 The Saturday Evening Post. February 17 1938 study

    1938 The Saturday Evening Post. February 17 1938

    1939 "1940" The Saturday Evening Post. December 30 1939

    1939 "Christmas Peek" The Saturday Evening Post. December 23 1940

    1939 Arrow Collar Company. The Saturday Evening Post. February 18 1939 artwork

    1939 Arrow Collar Company. The Saturday Evening Post. February 18 1939

    1939 The Saturday Evening Post. November 25 1939

    1940 "Robert E. Lee on Traveler" The Saturday Evening Post. January 20 1940

    The Saturday Evening Post. January 20 1940

    1940 "Will Rogers" The Saturday Evening Post. October 5 1940

    1940 Coffee "Some folks frown on it…but it's a lot of fun" Life magazine. October 7 1940

    1940 Coffee "What every young girl should girl should know" Life magazine. November 11 1940

    1941 Coffee "The postman always drinks twice" Life magazine. January 20 1941

    1941 Coffee "Two rules about coffee you may not know"

    Coffee "Merry Christmas to all, and to all a good night"

    Coffee


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  • 04/15/15--07:11: J. C. Leyendecker - part 8
  • Joseph Christian Leyendecker (1874 – 1951) was one of the pre-eminent American illustrators of the early 20th century. He is best known for his poster, book and advertising illustrations, the trade character known as The Arrow Collar Man, and his numerous covers for The Saturday Evening Post.


    Between 1896 and 1950 Leyendecker illustrated more than 400 magazine covers including 322 for The Saturday Evening Post, as well as many advertisement illustrations for its interior pages. No other artist, until the arrival of Norman Rockwell two decades later, was so solidly identified with one publication.

    For full biographical notes see part 1. For earlier works by Leyendecker, see parts 1 - 7 also.


    This is part 8 of a 10-part series on the works of J. C. Leyendecker:


    1940 The Saturday Evening Post. December 21 1940

    1942 "Baby New Year at War" The Saturday Evening Post. January 2 1943

    1941 "No Trespassing" The Saturday Evening Post. January 3 1942

    1944 U.S.A War Bonds poster

    1946 Thanksgiving. American Weekly magazine. November 24 1946

    1947 "Father's Day" The American Weekly. June 15 1947

    1947 "Memorial Day" The American Weekly. May 25 1947

    1947 "Thanksgiving" The American Weekly. November 23 1947

    1948 "Easter" The American Weekly. March 28 1948

    1948 "Thanksgiving 1648" The American Weekly. November 21 1948

    The American Weekly. November 21 1948

    1948 The American Weekly. December 19 1948

    1949 "Thanksgiving" The American Weekly. November 20 1949

    Note: I do not have dates for the remainder of the images in this series. 

    A Real Happy New Year

    Arrow Collar Company study

    Arrow Collar Company

    Arrow Collar Company

    Arrow Collar Company

    Arrow Collar Company

    Arrow Collar Company

    Arrow Collars and Shirts

    Arrow Collars and Shirts

    Arrow Collars and Shirts artwork

    Arrow Collars and Shirts

    Arrow Collars and Shirts

    Arrow Collars and Shirts

    Arrow Collars and Shirts

    Arrow Collars and Shirts

    Arrow Collars and Shirts artwork

    Arrow Collars and Shirts artwork

    Arrow Collars and Shirts

    Arrow Collars and Shirts for Dress

    Arrow Collars. Hampton's Magazine Advertiser

    Arrow College Shirts artwork

    Arrow College Shirts

    Arrow Dress Collars and Shirts

    Arrow Silk Shirts and Arrow Collars

    Boys of Summer

    Caught in the Act of the Plan artwork

    Chesterfield Cigarettes

    Christmas

    Cluett Shirts

    Collier's magazine

    Cream of Wheat

    Downed lithograph 71.1 x 55.9 cm

    Drum Major oil on canvas 67.3 x 52.1 cm (The Saturday Evening Post)  artwork

    Drum Major oil on canvas 67.3 x 52.1 cm (The Saturday Evening Post) 2 Studies

    Found the date for this one: 


    Fourth of July (George Washington) study for The Saturday Evening Post June 30 1917

    The Saturday Evening Post June 30 1917

    Gillette Razors lithography on die-cut tin hanging sign


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  • 04/17/15--05:11: J. C. Leyendecker - part 9
  • Joseph Christian Leyendecker (1874 – 1951) was one of the pre-eminent American illustrators of the early 20th century. He is best known for his poster, book and advertising illustrations, the trade character known as The Arrow Collar Man, and his numerous covers for The Saturday Evening Post.


    Between 1896 and 1950 Leyendecker illustrated more than 400 magazine covers including 322 for The Saturday Evening Post, as well as many advertisement illustrations for its interior pages. No other artist, until the arrival of Norman Rockwell two decades later, was so solidly identified with one publication.

    For full biographical notes see part 1. For earlier works by Leyendecker, see parts 1 - 8 also.


    This is part 9 of a 10-part series on the works of J. C. Leyendecker:


    Gloria in Excelsis Deo

    Inter Toe and Heel Socks

    Interwoven Socks

    Interwoven Socks

    Interwoven Socks

    Interwoven Socks

    Interwoven Socks

    Interwoven Socks

    Interwoven Socks

    Interwoven Socks

    Interwoven Socks

    Interwoven Socks

    Karo Corn Syrup study oil on canvas 61 x 35.6 cm

    Kuppenheimer Clothing

    Kuppenheimer Clothing

    Kuppenheimer Clothing

    Kuppenheimer Clothing

    Kuppenheimer Clothing

    Kuppenheimer Clothing

    Kuppenheimer Clothing

    Kuppenheimer Clothing

    Kuppenheimer Clothing

    Kuppenheimer Clothing

    Kuppenheimer Clothing

    Kuppenheimer Clothing

    Kuppenheimer Clothing

    Kuppenheimer Clothing

    Kuppenheimer Clothing

    Kuppenheimer Clothing

    Kuppenheimer Clothing study

    Kuppenheimer Clothing

    Kuppenheimer Clothing

    Kuppenheimer Clothing

    Kuppenheimer Clothing

    Kuppenheimer Clothing

    Kuppenheimer Clothing

    Kuppenheimer Clothing

    Kuppenheimer Clothing artwork

    Kuppenheimer Clothing

    Kuppenheimer Clothing

    Kuppenheimer Clothing

    Kuppenheimer Clothing

    Kuppenheimer Clothing

    Kuppenheimer Clothing

    Kuppenheimer Clothing artwork

    Kuppenheimer Clothing

    Kuppenheimer Clothing

    Kuppenheimer Clothing

    Kuppenheimer Clothing


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  • 04/20/15--05:42: J. C. Leyendecker - part 10
  • Joseph Christian Leyendecker (1874 – 1951) was one of the pre-eminent American illustrators of the early 20th century. He is best known for his poster, book and advertising illustrations, the trade character known as The Arrow Collar Man, and his numerous covers for The Saturday Evening Post.


    Between 1896 and 1950 Leyendecker illustrated more than 400 magazine covers including 322 for The Saturday Evening Post, as well as many advertisement illustrations for its interior pages. No other artist, until the arrival of Norman Rockwell two decades later, was so solidly identified with one publication.

    For full biographical notes see part 1. For earlier works by Leyendecker, see parts 1 - 9 also.


    This is part 10 of a 10-part series on the works of J. C. Leyendecker:


    Kuppenheimer Clothing

    Kuppenheimer Clothing

    Kuppenheimer Clothing

    Kuppenheimer Clothing

    Kuppenheimer Clothing

    Kuppenheimer Clothing oil on canvas laid on panel 76.2 x 54.6 cm

    Kuppenheimer Clothing studies

    Kuppenheimer Clothing studies

    Kuppenheimer Clothing studies

    Kuppenheimer Clothing study

    Unknown

    Unknown

    Unknown

    Unknown

    Unknown study

    Unknown

    Unknown

    Unknown artwork

    Unknown artwork

    Unknown

    Unknown

    Unknown

    Unknown

    Unknown

    Unknown

    Unknown

    Unknown

    Unknown

    Unknown

    Unknown

    Unknown

    Unknown

    Sailor Girl oil on canvas laid on board 58.4 x 50.8 cm

    Soldier at Home oil 48.3 x 48.3 cm

    Studies

    Studies

    Studies

    Studies

    Studies

    Study

    Studies

    Studies

    Study

    Study

    Study

    The Consolation oil on canvas

    The Pierce-Arrow Motor Car Company

    U.S. Navy Recruitment Poster oil on canvas 101.4 x 71.1 cm

    U.S. Navy Recruitment Poster

    WW2 General

    That's all folks!


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  • 04/01/15--05:41: J. C. Leyendecker - part 2
  • Leyendecker presumably in 1909 - he appears to be working on a sketch for the cover of
    The Saturday Evening Post dated May 15 1909 (see below)

    Joseph Christian Leyendecker (1874 – 1951) was one of the pre-eminent American illustrators of the early 20th century. He is best known for his poster, book and advertising illustrations, the trade character known as The Arrow Collar Man, and his numerous covers for The Saturday Evening Post.


    Between 1896 and 1950 Leyendecker illustrated more than 400 magazine covers including 322 for The Saturday Evening Post, as well as many advertisement illustrations for its interior pages. No other artist, until the arrival of Norman Rockwell two decades later, was so solidly identified with one publication.

    For full biographical notes and for earlier works by Leyendecker, see part 1 also.


    This is part 2 of a 10-part series on the works of J. C. Leyendecker:


    1909 "Easter" The Saturday Evening Post. April 10 1909

    1909 Arrow Collars

    1909 Collier's magazine October 16 1909

    1909 Couple on a Raft

    1909 Flying in Style

    1909 (Unknown title) illustration

    1909 The Literary Digest. September 11 1909

    1909 The Saturday Evening Post. May 15 1909

    1909 "Christmas" The Saturday Evening Post. December 4 1909

    1909 "Christmas" The Saturday Evening Post. December 4 1909

    1909 The Saturday Evening Post. March 6 1909

    1909 The Tackle

    1909 The Watchers of the Plains

    1910 "Thanksgiving Couple" oil on canvas 76.2 x 53.3 cm (The Woman's Magazine November 1910

    1910 "Theodore Roosevelt" The Circle magazine June 1910

    1910 Arrow Collars and Cluett Shirts artwork

    1910 Arrow Collars and Cluett Shirts advertisement

    1910 Lucky Bag Girl

    1910 Lucky Bag Girl

    1910 Popular Magazine. May 1910

    1910 The Saturday Evening Post. August 6 1910 artwork

    1910 The Saturday Evening Post. August 6 1910

    1910 "Valentines" The Saturday Evening Post. February 12 1910

    1910 VIM magazine November 1910

    1910 Women's magazine illustration

    1911 "1912 Votes for Women" The Saturday Evening Post. December 30 1911

    1911 "Scouts Signalling" The Saturday Evening Post. September 2 1911 artwork

    1911 Cluett Dress shirts

    1911 The Saturday Evening Post. April 1 1911

    1911 The Saturday Evening Post. November 18 1911

    1911 The Saturday Evening Post artwork

    1911 A series of illustrations for Kuppenheimer Clothing. It's possible that some of these were by Joseph's brother Frank Leyendecker, I don't know:



















    1912 The Saturday Evening Post. December 2 1912

    1912 "Easter" The Saturday Evening Post. April 6 1912

    1912 "Halloween" The Saturday Evening Post. October 26 1912

    1912 The Saturday Evening Post. November 30 1912 artwork

    1912 The Saturday Evening Post. November 30 1912

    1912? Football Player

    1913 "Married Bliss" The Saturday Evening Post. June 21 1913

    1913 The Saturday Evening Post. March 22 1913

    1914 "1915" The Saturday Evening Post. January 2 1915 artwork

    1914 "Bellhop with Hyacinths" The Saturday Evening Post. May 30 1914 oil on canvas 71.1 x 50.8 cm


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  • 04/22/15--06:11: Édouard Manet - part 1

  • Édouard Manet in 1846c
    Édouard Manet (1832 – 1883) was a French painter. He was one of the first 19th century artists to paint modern life, and was a pivotal figure in the transition from Realism to Impressionism. His early masterworks “Le déjeuner sur l’herbe” (The luncheon on the Grass) and “Olympia”, both painted in 1863, caused great controversy and served as rallying points for the young painters who would create Impressionism. Today, these are considered watershed paintings that mark the genesis of modern art.


    Born in Paris in 1832, he was the son of Auguste Manet, a high-ranking judge, and Eugénie-Desirée Fournier, the daughter of a diplomat and the goddaughter of the Swedish crown prince. Affluent and well connected, the couple hoped their son would choose a respectable career, preferably law. Édouard refused, and wanted to create art.


    Manet’s uncle, Edmond Fournier, supported his early interests and arranged frequent trios for him to the Louvre. His father, ever fearful that his family’s prestige would be tarnished, continued to present Manet with more “appropriate” options. In 1848 Manet boarded a Navy vessel headed for Brazil; his father hoped he might take to a seafaring life. Manet returned in 1849 and promptly failed his naval examinations. He repeatedly failed over the course of a decade, so his parents finally gave in and supported his dream of attending art school.


    At age 18 Manet began studying under Thomas Couture, learning the basics of drawing and painting. For several years Manet would steal away to the Louvre and sit for hours copying the works of the old masters. Between 1853 and 1856 he travelled through Italy, Germany and Holland to take in the brilliance of several admired painters; notably Frans Hals, Diego Velázquez and Francisco Goya.


    After six years as a student Manet finally opened his own studio. His painting “The Absinthe Drinker” is a fine example of his early attempts at realism, the most popular style of the day. Despite his success with realism, Manet began to entertain a looser, more impressionistic style. Using broad brushstrokes, he chose as his subjects everyday people engaged in everyday tasks. His canvases were populated with singers, street people, gypsies and beggars. This unconventional focus combined with a mature knowledge of the old masters startled some and impressed others.


    For his painting “Concert in the Tuileries Gardens,” Manet set up his easel in the open air and stood for hours while he composed a fashionable crowd of city dwellers. When he showed the painting, some thought it unfinished, while others understood what he was trying to convey. (See below in this post)

    Perhaps his most famous painting “Le déjeuner sur l’herbe,” which he completed and exhibited in 1863. The scene of two young men dressed and sitting beside a female nude alarmed several of the jury members making selections for the annual Paris Salon, the official exhibition hosted by the Académie des beaux-Arts in Paris. Due to its perceived indecency, they refused to show it. Manet was not alone, as more than 4000 works were denied entry that year. In response Napoleon III established the Salon des Refusés to exhibit some of those rejected works, including Manet’s submission.


    1863 Le déjeuner sur l'herbe [Luncheon on the Grass] oil on canvas 208 x 264.5 cm Musée d'Orsay, Paris © RMN-Grand Palais (Musée d'Orsay)

    During this time he married Suzanne Leenhoff, a Dutch woman. She had been Manet’s piano tutor when he was a child. By the time they officially married, they had been involved for nearly ten years and had an infant (step)son named Leon Keoella Leenhoff. The boy posed for his father for the 1861 painting “Boy Carrying a Sword” (see in this post below). Suzanne was the model for several paintings, including “The Reading” (1865–73).

    1865-73c The Reading 61 x 74.3 cm Musée d'Orsay, Paris

    Trying once again to gain acceptance into the Salon, Manet submitted “Olympia” in 1865. This striking portrait, inspired by Titian’s “Venus of Urbino,” shows a lounging nude beauty unabashedly staring at her viewers. The Salon jury members were not impressed – they deemed it scandalous, as did the general public. Manet’s contemporaries on the other hand began to think of him as a hero, willing to break the mould. In hindsight, he was ringing in a new style and leading the transition to Impressionism. Within 42 years “Olympia” would be installed in the Louvre museum.

    1863 Olympia oil on canvas 130 x 190 cm Musée d'Orsay, Paris © RMN-Grand Palais (Musée d'Orsay)

    After this unsuccessful attempt with the Salon, Manet travelled to Spain, during which time he painted a number of Spanish subjects. In 1866 he met and befriended the novelist Emile Zola, who in 1867 wrote a glowing article about Manet in the French newspaper Le Figaro. He pointed out that almost all significant artists start by offending the current public sensibilities. This review impressed the art critic Louis-Edmond Duranty, who began to support Manet as well. Painters like Cezanne, Gauguin, Degas and Monet became his friends.

    Some of Manet’s best-loved works are his café scenes. His completed paintings were often based on small sketches he made whilst out socialising. These works, such as “At the Café”  and “The Café Concert” (both 1878) typically depict 19th century Parisian culture. Unlike conventional painters of his time, he strove to illuminate the rituals of both common and bourgeoisie French people.


    1878 The Cafe-Concert oil on canvas 47.3 x 39 cm Walters Art Museum, Baltimore, Maryland

    In stark contrast to his café scenes, Manet also painted the tradegies and triumphs of war. In 1870 he served as a soldier during the Franco-German War and observed the destruction of Paris. His studio was partially destroyed during the siege of Paris, but to his delight, the art dealer Paul Durand-Ruel bought everything he could salvage from the wreckage for 50,000 francs.

    In 1874 Manet was invited to show at the very first exhibition put on by Impressionist artists. However supportive he was of the general movement, he turned them down, as well as seven other invitations. He felt it was necessary to remain devoted to the Salon and its place in the art world. In 1875, a year after the first Impressionist exhibition he was offered the opportunity to illustrate Edgar Allen Poe’s book-length French edition of “The Raven.”


    1875 Portfolio cover and text for The Raven by Edgar Allan Poe Metropolitan Museum of Art, New York

    In 1881 the French government awarded him the Legion d’honneur. He died two years later in April 1883.
    Biography adapted from: Edouard Manet. (2015). The Biography.com


    This is part 1 of a 9 – part post on the works of Édouard Manet:


    1849 Pierrot Dancing ink on paper 26.7 x 20.4 cm Private Collection

    1852-58 Man Wearing a Cloak (recto) charcoal on wove paper 40.6 x 22.5 cm National Gallery of Art, Washington DC

    1852-58 Man Wearing a Cloak (verso) charcoal on wove paper 40.6 x 22.5 cm National Gallery of Art, Washington DC


    1855-59c The Barque of Dante

    There are two versions by Manet of Delacroix’s painting of 1822 (Musée du Louvre, Paris). The more literal copy dates from around 1855, when the original was on view at the Exposition Universelle. The other freely executed study is thought to date from around 1859, the year of Manet’s first Salon submission.


    Eugène Delacroix 1822 The Barque of Dante oil on canvas 189 x 246 cm Louvre, Paris

    1855c The Barque of Dante (after Delacroix) oil on canvas 38.1 x 45.7 cm

    1859c The Barque of Dante oil on canvas 33 x 41 cm Metropolitan Museum of Art, New York

    1856c Portrait of a Young Man pastel on paper 35.6 x 28.6 cm Detroit Institute of Arts, Michigan Photo ©2015, Detroit Institute of Arts

    1856c The Anatomy Lesson (after Rembrandt) 24.9 x 39.2 cm Private Collection

    1856c The Anatomy Lesson (after Rembrandt) 24.9 x 39.2 cm Private Collection

    1858 A Woman Pouring Water (Study of Suzanne Leenhoff) oil on canvas 56 x 47 cm Ordrupgaard Collection, Copenhagen

    1859 Study of Trees oil on canvas Private Collection

    1859 The Absinthe Drinker oil on canvas 180.5 x 105.6 cm Ny Carlsberg Glyptotek, Copenhagen, Denmark

    1862 The Absinthe Drinker etching and plate tone on ivory laid paper 24.8 x 14.5 cm (image) Art Institute of Chicago, IL

    1859 The Boy with Cherries oil on canvas Fundação Calouste Gulbenkian, Lisbon

    1859-60c The Little Cavaliers (after an attributed Velazquez watercolour) oil on canvas 47 x 78 cm Chrysler Museum of Art, Norfolk, VA

    1861-62 The Little Cavaliers etching and drypoint on blue laid paper from the Strölin edition of 1905 25.1 x 38.9 cm

    1859-61 The Surprised Nymph oil on canvas 146 x 114.3 cm Museu Nacional de Bellas Artes, Buenos Aires

    1860 Portrait of a Man oil on canvas 62 x 50 cm Kröller-Müller Museum, Otterlo, Netherlands

    1860 Portrait of Monsieur and Madame Auguste Manet oil on canvas 110 x 90 cm Musée d'Orsay, Paris

    1860 The Spanish Singer oil on canvas 147.3 x 114.3 cm Metropolitan Museum of Art, New York

    1861-62 The Spanish Singer etching on blue laid paper 29.5 x 24.3 cm Metropolitan Museum of Art, New York

    1860-61 Boy Carrying a Tray watercolour and gouache over graphite on paper 8.4 x 4.5 cm The Phillips Collection, Washington DC

    1862 Child Carrying a Tray etching and aquatint Cleveland Museum of Art, OH

    1860c Scene in a Spanish Studio oil on canvas 45.7 x 38.1 cm Private Collection

    1861 A Boy with a Dog oil on canvas 92.1 x 71.8 cm Private Collection

    1862 Boy and Dog etching and aquatint on blue laid paper from the Strölin edition of 1905 20.3 x 14.1 cm (plate) Metropolitan Museum of Art, New York

    1861 A Cat Curled Up, Sleeping graphite on ivory-coloured paper 11.7 x 10.8 cm Metropolitan Museum of Art, New York

    1861 A Cat Resting on All Fours, Seen from Behind graphite on ivory-coloured paper 9.5 x 12.2 cm Metropolitan Museum of Art, New York

    1861 Boy with a Sword

    This is a portrait of Manet’s stepson Leon, dressed in a 17th Century costume and carrying a sword as a prop. It is a tribute to the great Spanish painters of that century and notably, Velazquez, whom Manet admired so much.


    1861 Boy with a Sword oil on canvas 131.1 x 93.4 cm Metropolitan Museum of Art, New York

    1862 Boy with a Sword, Turned Left etching and aquatint on laid paper 32 x 23.8 cm (plate) Metropolitan Museum of Art, New York

    1861-62 The Reader oil on canvas 99.7 x 81.3 cm Saint Louis Art Museum, Missouri

    1861-62 The Reader etching


    1861-62 The Little Girl etching and drypoint on blue laid paper from the Strölin edition of 1905 20.6 x 11.6 cm Metropolitan Museum of Art, New York

    1861-62 The Toilette etching with roulette and bitten tone on blue laid paper from the Strölin edition of 1905 28.4 x 22.2 cm (plate) Metropolitan Museum of Art, New York

    1861-63 reworked by 1867 Portrait of Madame Brunet oil on canvas 132.4 x 100 cm J. Paul Getty Museum, Los Angeles, CA

    1862 Boy and Dog etching and aquatint on blue laid paper from the Strölin edition of 1905 20.3 x 14.1 cm (plate) Metropolitan Museum of Art, New York

    1862 Concert in the Tuileries Gardens (aka Music in the Tuileries Gardens) oil on canvas 76.2 x 118.1 cm The National Gallery, London

    1862 Don Mariano Camprubi (Le Bailarin) etching 30.2 x 19.6 cm (plate) National Gallery of Art, Washington DC

    1862 Hat and Guitar. Cover design for "Eaux-fortes par Edouard Manet," an album of fourteen etchings. etching, drypoint, and aquatint; final state on blue laid paper 22.9 x 21.6 cm Metropolitan Museum of Art, New York

    1862 Lola de Valence oil on canvas 123 x 92 cm Musée d'Orsay, Paris

    1862 Mademoiselle Victorine in the Costume of an Espada oil on canvas 165.1 x 127.6 cm Metropolitan Museum of Art, New York

    1862 Mademoiselle Victorine in the Costume of an "Espada" etching, aquatint, and bitten tone on laid paper 33.7 x 27.9 cm (plate) Metropolitan Museum of Art, New York

    1862 Oysters oil on canvas 39.2 x 46.8 cm National Gallery of Art, Washington DC

    1862 Phillip IV King of Spain (after Velazquez) etching, drypoint and retroussage inking in bistre on China paper 31.9 x 20.2 cm (image) Art Institute of Chicago, IL

    Velazquez 1632-33c Phillip IV King of Spain oil on canvas 126 x 191 cm Museo del Prado, Madrid, Spain

    1862 Portrait of Charles Baudelaire, in Profile etching on laid paper 13.3 x 7.6 cm Metropolitan Museum of Art, New York

    1862 Spanish Ballet oil on canvas 24 x 35.6 cm The Phillips Collection, Washington DC



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  • 04/24/15--05:30: Édouard Manet - part 2
  • Edgar Degas 1864-65 Edouard Manet, Bust-Length Portrait etching, drypoint, and aquatint on laid paper 13 x 10.5 cm (plate) Metropolitan Museum of Art, New York
    Édouard Manet (1832 – 1883) was a French painter. He was one of the first 19th century artists to paint modern life, and was a pivotal figure in the transition from Realism to Impressionism. His early masterworks “Le déjeuner sur l’herbe” (The luncheon on the Grass) and “Olympia”, both painted in 1863, caused great controversy and served as rallying points for the young painters who would create Impressionism. Today, these are considered watershed paintings that mark the genesis of modern art.


    This is part 2 of a 9 – part post on the works of Édouard Manet. For full biographical notes, and for earlier works, see part 1 also.




    1862 The Balloon lithograph in black on laid paper 40.3 x 50.8 cm (image) National Gallery of Art, Washington DC

    1862 The Gypsies etching on blue laid paper 30.5 x 23.8 cm Metropolitan Museum of Art, New York

    1862 The Old Musician oil on canvas 187.4 x 248.2 cm National Gallery of Art, Washington DC

    1862 The Toilette etching in black on ivory laid China paper 28.5 x 22.2 cm Art Institute of Chicago, IL

    1862 Young Woman Reclining oil on canvas 93.98 x 113 cm Yale University Art Gallery, New Haven, CT

    1862-63 Don Mariano Camprubi etching on blue laid paper from 1905 Strölin edition 29.8 x 19.7 cm (plate) Metropolitan Museum of Art, New York

    1862-63c Fishing oil on canvas 76.8 x 123.2 cm Metropolitan Museum of Art, New York

    1862-64 Silentium etching on blue laid paper from 1905 Strölin edition 20.3 x 15.1 cm (plate) Metropolitan Museum of Art, New York


    1862-64 The Infanta Marguerita after Velázquez etching on blue laid paper from 1905 Strölin edition 23.2 x 20.2 cm (plate) Metropolitan Museum of Art, New York

    Velazquez 1654-55 Infanta Margarita oil on canvas 70 x 59 cm Musée du Louvre, Paris


    1862-72c Boy with Pitcher oil on canvas 61.8 x 54.3 cm Art Institute of Chicago, IL

    1862c Gypsy with a Cigarette oil on canvas 92 x 73 cm The Art Museum, Princeton University, New Jersey

    1862c Jeanne Duval, Baudelaire's Mistress, Reclining (Lady with a Fan) 90 x 113 cm Museum of Fine Arts, Budapest, Hungary


    1862c Street Singer

    Manet was inspired by the sight of a woman with a guitar emerging from a sleazy café. She refused to pose for the picture, so Manet employed his favourite model of the 1860s, Victorine Meurent.

    No one embodied this new aesthetic better than Victorine Meurent – Manet was to paint her nine times in total, producing two pictures in particular that would shake up the art world forever. The story goes that Manet spotted the 18 year old musician hurrying through the streets and decided she would be the ideal subject to illustrate his new way of seeing the world.

    The second time Victorine sat for Manet, something remarkable happened. In Victorine Meurent (c1862) Manet grants her all the attention that a more conventional painter might lavish on a society beauty. She is no longer a generic, anonymous ‘street singer’ but is afforded the honour of being named.


    It was though, Manet’s next painting that projected Victorine into the middle of a public scandal. Le déjeuner sur l’herbe(1863) famously shows three people lounging on the grass following what looks like an excellent picnic of fruit and oysters. In many ways it is a typical tableau – except for the fact that although the young men are fully clothed, their female companion is completely naked.


    If Le déjeuner sur l’herbe hinted at sexual activity, Olympia (1863) left nothing to the imagination. In it, she appears as a courtesan lying on a rumpled post-coital bed. Leaning towards her is a black maidservant carrying a bouquet that has arrived from a smitten admirer.



    Victorine Meurent was to feature in several more paintings by Manet.


    1862c Street Singer oil on canvas 171.1 x 105.8 cm Museum of Fine Arts, Boston, MA

    1862c Victorine Meurent oil on canvas 43 x 44 cm Museum of Fine Arts, Boston

    Victorine Meurent, c. 1865 from an album of portraits belonging to Édouard Manet

    1862c Study of a Seated Nude (La Toilette) red chalk on buff laid paper 28 x 20 cm Art Institute of Chicago, IL

    1863 Le déjeuner sur l'herbe [Luncheon on the Grass] oil on canvas 208 x 264.5 cm Musée d'Orsay, Paris © RMN-Grand Palais (Musée d'Orsay

    1863 Lola de Valence etching and aquatint on laid paper 26.4 x 18.1 cm (plate) Metropolitan Museum of Art, New York

    1863 Lola de Valence lithograph in black on light grey wove paper 24.1 x 21.2 cm (image) Art Institute of Chicago, IL

    1863 Olympia
    Manet stated that the composition and inspiration for Olympia had been influenced by similar compositions by Goya and by Titian:

    1863 Olympia oil on canvas 130 x 190 cm Musée d'Orsay, Paris © RMN-Grand Palais (Musée d'Orsay *notes

    Titian 1538 Venus of Urbino oil on canvas 119.2 x 165.5 cm Uffizi Gallery, Florence

    Francisco de Goya 1797-1800 Maja desnuda oil on canvas 97 x 190 cm Museo del Prado, Madrid

    1867 Olympia (large plate) etching on blue laid paper from the 1905 Strölin edition 16.8 x 24 cm (plate) Metropolitan Museum of Art, New York

    1867 Olympia (small plate) etching in brown ink on laid paper 8.8 x 17.9 cm Metropolitan Museum of Art, New York

    1864 1864 The "Kearsarge" at Boulogne Ink wash and watercolour on wove paper 24.6 x 35.6 cm Musée des Beaux-Arts de Dijon

    1864 The "Kearsarge" at Boulogne oil on canvas 81.6 x 100 cm Metropolitan Museum of Art, New York

    1864 Battle of the U.S.S. 'Kearsarge' and the C.S.S. 'Alabama' oil on canvas 134 x 127 cm Philadelphia Museum of Art, PA

    1864 Steamboat Leaving Boulogne oil on canvas 73.6 x 92.6 cm Art Institute of Chicago, IL

    1864-68c Sailing Ships and Seagulls oil on canvas 21 x 26 cm Private Collection

    1864 Eel and Red Mullet oil on canvas  Musée d'Orsay, Paris

    1864 Fish (Still Life) oil on canvas 73.4 x 92.1 cm Art Institute of Chicago, IL

    1864 Fruit on a Table oil on canvas 45.1 x 73.3 cm Musée d'Orsay, Paris

    1864 Peony Stems and Pruning Shears oil on canvas 56.8 x 46.4 cm Musée d'Orsay, Paris

    1864 Still Life; Fruits on a Table oil on canvas 45 x 73.5 cm Musée d'Orsay, Paris

    1864 The Dead Christ with Angels oil on canvas 179.4 x 149.9 cm Metropolitan Museum of Art, New York

    1866-67 Dead Christ with Angels etching and aquatint in brown-black ink on wove paper 39.4 x 32.7 cm (plate) Metropolitan Museum of Art, New York

    1864 The Races at Longchamp oil on canvas Art Institute of Chicago, IL

    1865-72 published 1884 The Races lithograph on chine collé 38.7 x 51.1 cm Metropolitan Museum of Art, New York

    1864 Vase of Peonies on a Small Pedestal oil on canvas 93 x 70 cm Musée d'Orsay, Paris

    1864-65 Peonies oil on canvas 59.4 x 35.2 Metropolitan Museum of Art, New York

    1864-65 La Corrida 48 x 108 cm The Frick Collection, New York

    1864-65c The Head of Christ oil on canvas California Palace of the Legion of Honour, San Francisco



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  • 04/27/15--08:20: Édouard Manet - part 3
  • 1Edgar Degas 1865 Édouard Manet, Seated, Holding his Hat graphite and black chalk on move paper 33.1 x 23 cm Metropolitan Museum of Art, New York
    Édouard Manet (1832 – 1883) was a French painter. He was one of the first 19th century artists to paint modern life, and was a pivotal figure in the transition from Realism to Impressionism. His early masterworks “Le déjeuner sur l’herbe” (The luncheon on the Grass) and “Olympia”, both painted in 1863, caused great controversy and served as rallying points for the young painters who would create Impressionism. Today, these are considered watershed paintings that mark the genesis of modern art.


    This is part 3 of a 9 – part post on the works of Édouard Manet. For full biographical notes see part 1. For earlier works see parts 1 - 2 also.




    1864-68c Sailing Ships at Sea oil on canvas 34 x 55.8 cm Cleveland Museum of Art, Ohio

    1864c Basket of Fruits oil on canvas 37.8 x 44.4 cm Museum of Fine Arts, Boston, MA

    1864c Branch of White Peonies, with Pruning Shears oil on canvas 31.1 x 46.4 cm Musée d'Orsay, Paris

    1864c Departure of the Folkstone Boat - The Large Study oil on canvas 62 x 100.5 cm Private Collection

    1865 Angelina oil on canvas 92 x 72 cm Musée d'Orsay, Paris

    1865 Jesus Mocked by the Soldiers oil on canvas 190.8 x 148.3 cm Art Institute of Chicago, IL

    1865 Monk at Prayer oil on canvas 146 x 115 cm Museum of Fine Arts, Boston, MA

    1865 Portrait of Félix Bracquémond lift-ground etching with plate tone on ivory laid paper 16 x 10.4 cm (image) Art Institute of Chicago, IL

    1865 Women at the Races oil on canvas 42.2 x 32.1 cm Cincinnati Art Museum, OH

    1865-66 Bullfight


    Manet’s trip to Spain in 1865 lasted only about ten days, though it had a profound impact on him. In a letter to his friend the poet Charles Baudelaire, he described a bullfight he attended in Madrid as “one of the finest, most curious and terrifying sights to be seen.” He made quick sketches there that informed several later canvases, including this one. Here he presented the moment of truth, as bullfighter and bull face one another; a gored horse lies dead or dying in the sand.


    1865-66 Bullfight oil on canvas 48 x 60.4 cm Art Institute of Chicago, IL 

    1865-66 Bullfight oil on canvas 90.2 x 109.9 cm Musée d'Orsay, Paris

    1865c The Dead Toreador oil on canvas 75.9 x 153.3 cm National Gallery of Art, Washington DC

    1867-68 Dead Toreador etching and aquatint on blue laid paper from the 1905 Strölin edition 15.2 x 22.4 cm (image) Metropolitan Museum of Art, New York

    1865 The Bullfight watercolour over graphite 19.2 x 21.4 cm J. Paul Getty Museum, Los Angeles, CA

    1865-66 Marine etching, aquatint, roulette and bitten tone in brown ink on laid paper 14 x 20 cm (plate) Metropolitan Museum of Art, New York

    1865-67 Beggar with a Duffle Coat (Philosopher) oil on canvas 187.7 x 109.9 cm Art Institute of Chicago, IL

    1865-67 Beggar with Oysters (Philosopher) oil on canvas 187.3 x 108 cm Art Institute of Chicago, IL

    1865-66 The Philosopher etching and drypoint on blue laid paper from the 1905 Strölin edition 31.8 x 23.5 cm Metropolitan Museum of Art, New York

    1865-68 At the Prado etching and aquatint 22.4 x 15.5 cm (plate) National Gallery of Art, Washington DC

    1865-68 At the Prado etching and aquatint 22.4 x 15.5 cm (plate) National Gallery of Art, Washington DC

    1865-73c The Reading 61 x 74.3 cm Musée d'Orsay, Paris

    1865c Madame Brunet oil on canvas 132 x 99.5 cm Private Collection

    1865c Spanish Woman with a Black Cross oil on canvas 61 x 50 cm Private Collection

    1866 Portrait of Zacharie Astruc oil on canvas 90.2 x 116.2 cm

    1866 The Fife Player oil on canvas 160 x 97 cm Paris, Musée d'Orsay © RMN-Grand Palais (Musée d'Orsay)

    1866 The Rabbit etching, drypoint, and bitten tone on laid paper 13.5 x 10.2 cm (plate) Metropolitan Museum of Art, New York

    1866 The Races at Longchamp oil on canvas 43.9 x 84.5 cm Art Institute of Chicago, IL

    1866 The Tragic Actor (Rouvière as Hamlet) oil on canvas 187.2 x 108.1 cm National Gallery of Art, Washington DC

    1866 The Tragic Actor; Rouvière in the Role of Hamlet etching on blue laid paper from the 1905 Strölin edition 36.5 x 21.7 cm (plate) Metropolitan Museum of Art, New York

    1866 Young Lady with a Parrot oil on canvas 185.1 x 128.6 cm Metropolitan Museum of Art, New York

    1866-67 A Matador oil on canvas 171.1 x 113 cm Metropolitan Museum of Art, New York

    1866-67 The Smoker etching on blue laid paper from 1905 Strölin edition 17.3 x 14.8 cm (plate) Metropolitan Museum of Art, New York

    1879-82 The Smoker etching and drypoint on blue laid paper from 1905 Strölin edition 23.2 x 15.2 cm (plate) Metropolitan Museum of Art, New York

    1866c A King Charles Spaniel oil on linen 46 x 38 cm National Gallery of Art, Washington DC

    1866c Still Life with Melon and Peaches oil on canvas 68.3 x 91 cm National Gallery of Art, Washington DC

    1867 Henri Fantin-Latour oil on canvas 117.5 x 90 cm Art Institute of Chicago, IL

    1867-68 The Execution of Emporer Maximilian

    In 1863 the Austrian, Archduke Ferdinand Maximilian, was installed in Mexico as a puppet Emporer by Napoleon III. He was dependent on the support of the occupying French army, and when Napoleon withdrew his troops, Maximilian was captured by Mexican forces loyal to the legitimate Republican government. He was executed alongside two of his generals on 19 June 1867.

    The left-hand section of the canvas showing General Mejía was probably cut off by Manet himself. After the artist’s death the canvas was cut up into smaller fragments, some of which were sold separately. Edgar Degas eventually purchased all the surviving fragments and reassembled them on a single canvas.


    1867-68 The Execution of Maximilian oil on canvas 193 x 284 cm The National Gallery, London

    1867 The Execution of Maximilian oil on canvas 253.4 x 304.8 cm Kunsthalle Mannheim, Germany

    1867 The Execution of the Emperor Maximillian (final sketch for Mannhein piece) oil on canvas 48 x 58 cm Ny Carlsberg Glyptotek, Copenhagen

    1868 The Execution of the Emperor Maximilian lithograph on chine collée 34 x 43.8 cm (image) Metropolitan Museum of Art, New York

    1867 The Execution of the Emperor Maximilian oil on canvas 196.2 x 259.7 cm Museum of Fine Arts, Boston, MA

    1867c The Funeral oil on canvas 72.7 x 90.5 cm Metropolitan Museum of Art, New York

    1868 Emile Zola oil on canvas 146.5 x 114 cm Musée d'Orsay, Paris © RMN-Grand Palais (Musée d'Orsay

    1868 Exotic Flower etching and aquatint on laid paper 17.3 x 11.4 cm (plate) Metropolitan Museum of Art, New York

    1868 Le déjeuner oil on canvas 118.3 x 154 cm Neue Pinakothek, Munich

    1868 Madame Manet at the Piano oil on canvas 38 x 46.5 cm Musée d'Orsay, Paris

    1868 Odalisque etching and aquatint in brown on ivory wove paper 12.2 x 19.2 cm (image) Art Institute of Chicago, IL


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  • 04/29/15--06:00: Édouard Manet - part 4
  • Edgar Degas 1864-65 Manet Seated, Turned to the Right etching and drypoint 19.5 x 13 cm (plate) Metropolitan Museum of Art, New York
    Édouard Manet (1832 – 1883) was a French painter. He was one of the first 19th century artists to paint modern life, and was a pivotal figure in the transition from Realism to Impressionism. His early masterworks “Le déjeuner sur l’herbe” (The luncheon on the Grass) and “Olympia”, both painted in 1863, caused great controversy and served as rallying points for the young painters who would create Impressionism. Today, these are considered watershed paintings that mark the genesis of modern art.


    This is part 4 of a 9 – part post on the works of Édouard Manet. For full biographical notes see part 1. For earlier works see parts 1 - 3 also.


    1868 Charles Baudelaire, Full Face III etching and plate tone heightened with brush and gray wash on ivory laid paper 16.6 x 9.8 cm (image) Art Institute of Chicago, IL

    1868 Portrait of Charles Baudelaire, Full Face, after a photograph by Nadar etching on wove paper 9.4 x 8.2 cm Metropolitan Museum of Art, New York

    Charles Baudelaire photograph by Paul Nadar 1862

    1868 Steamboat off Boulogne watercolour and graphite on laid paper 14.3 x 18.5 cm Private Collection

    1868 The Steamboat, Seascape with Porpoises oil on canvas 81 x 100 cm Philadelphia Museum of Art, PA

    1868 The Cats' Rendezvous reproductive lithograph in black on ivory wove paper 43.9 x 33.4 cm (image) Art Institute of Chicago, IL

    1868 Théodore Duret oil on canvas 43 x 35 cm Petiti Palais, Paris

    1868 Young Man Peeling a Pear (Leon Leenhoff) oil on canvas 85 x 71 cm Nationalmuseum, Stockholm, Sweden

    1868 Young Woman with a Pink Shoe (Portrait of Berthe Morisot) oil on canvas Hiroshima Museum of Art, Japan

    1868-69 Cats etching on blue laid paper from 1905 Strölin edition 16.8 x 21.4 cm (plate) Metropolitan Museum of Art, New York

    1868-69 Portrait of Mademoiselle Clauss oil on canvas 71 x 43 cm Ashmolean Museum, University of Oxford, UK

    1868-69 The Balcony oil on canvas 170 x 124.5 cm Musée d'Orsay, Paris © Musée d'Orsay, dist. RMN-Grand Palais 

    1868c On the Beach oil on canvas 40 x 48.3 cm Detroit Institute of Arts, Michigan Photo ©2015, Detroit Institute of Arts

    1868c Seascape with Bather watercolour and gouache on wove paper 20.5 x 24 cm Private Collection

    1868c Seascape with Sailing Ships watercolour on wove paper 11 x 21 cm Musée d'Orsay, Paris

    1868c Ship's Deck oil on canvas 56.4 x 47 cm National Gallery of Victoria, Melbourne, Australia

    1868c The Salmon oil on canvas 72 x 92 cm Shelburne Museum, Vermont

    1869 A Café Interior ink on paper Harvard Art Museums, Boston, MA

    1869 Almonds, Currants and Peaches oil on canvas 17.5 x 22.5 cm Private Collection

    1869 Boats at Sea, Sunset oil on canvas 42 x 94 cm Musée d'art moderne André Malraux, Le Havre, France

    1869 Boy Blowing Bubbles oil on canvas 100.5 x 81.4 cm Museu Calouste Gulbenkian, Lisbon, Portugal

    1869c Boy with Soap Bubbles etching and aquatint on laid paper 25.1 x 21.1 cm (plate) Metropolitan Museum of Art, New York

    1869 Cat and Flowers. Illustration to The Cats by Champfleury etching and aquatint in brown ink on tan wove paper 17 x 13 cm (plate) Metropolitan Museum of Art, New York

    1869 Moonlight over Boulogne Harbour oil on canvas 81.9 x 101 cm Musée d'Orsay, Paris

    1869 On the Beach at Boulogne oil on canvas 32 x 65 cm Virginia Museum of Fine Arts, Richmond, VA

    1869 Seascape (aka Two Fishing Boats) oil on canvas 38.5 x 47 cm Private Collection

    1869 The Folkestone Boat, Boulogne oil on canvas 60 x 73.5 cm Philadelphia Museum of Art, PA

     Also shown in part 3 (1964):

    1864c Departure of the Folkstone Boat - The Large Study oil on canvas 62 x 100.5 cm Private Collection copy

    1869 The Jetty at Boulogne oil on canvas 31.7 x 43.8 cm Private Collection

    1869 The Pier at Boulogne oil on canvas 59.7 x 73 cm Private Collection

    1869 The Ragpicker oil on canvas Norton Simon Museum, Pasadena, CA

    1870 Effect of Snow at Petit-Montrouge oil on canvas 61.6 x 50.4 cm National Museum Wales, Cardiff

    1870 Eva Gonzalès oil on canvas 191.1 x 133.4 cm The National Gallery, London

    1870 In the Garden oil on canvas 44 x 54 cm Musée National Picasso, Paris

    1870 Music Lesson oil on canvas 141 x 173 cm Museum of Fine Arts, Boston, MA

    1870 Portrait of Suzanne Manet oil on canvas 60 x 50 cm Norton Simon Museum, Pasadena, CA

    1870 Profile of Eva Gonzales turned to the Left etching on blue laid paper from the 1905 Strölin edition 23.5 x 15.7 cm (plate) Metropolitan Museum of Art, New York

    1870 Repose: Portrait of Berthe Morisot oil on board 148 x 111.1 cm Rhode Island School of Design Museum of Art, Providence, RI

    1870 The Brioche oil on canvas 65.1 x 81 cm Metropolitan Museum of Art, New York

    1870 The Railway Station in Sceaux oil on canvas 50 x 60 cm Private Collection

    1870-71 Line in front of the Butcher Shop etching on blue laid paper from the 1905 Strölin edition 23.5 x 15.6 cm (plate) Metropolitan Museum of Art, New York

    1870-74 Landscape with a Village Church oil on canvas 30 x 44 cm Ashmolean Museum, University of Oxford, UK

    1870-74 The Water Drinker etching and drypoint, from 1905 Strölin edition 23.5 x 15.6 cm (plate) Metropolitan Museum of Art, New York

    1870-80 Au Bal – Marguerite de Conflans en Toilette de Bal oil on canvas 55.7 x 35.5 cm The Samuel Courtauld Trust, The Courtauld Gallery, London

    1871 Boats at Low Tide on the Bay of Arachon oil on canvas 37 x 51 cm Private Collection

    1871 Civil War (The Barricade)  ink wash and watercolour 46.2 x 32.5 cm Szépművészeti Múzeum, Budapest, Hungary

    1871 Fine Weather at Arcachon oil on canvas 25 x 42 cm Private Collection


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  • 05/01/15--04:34: Édouard Manet - part 5
  • Henri Fantin-Latour 1867-80 Portrait of Édouard Manet black crayon, with touches of charcoal, on cream wove paper 39.9 x 31.1 cm Art Institute of Chcago,IL
    Édouard Manet (1832 – 1883) was a French painter. He was one of the first 19th century artists to paint modern life, and was a pivotal figure in the transition from Realism to Impressionism. His early masterworks “Le déjeuner sur l’herbe” (The luncheon on the Grass) and “Olympia”, both painted in 1863, caused great controversy and served as rallying points for the young painters who would create Impressionism. Today, these are considered watershed paintings that mark the genesis of modern art.


    This is part 5 of a 9 – part post on the works of Édouard Manet. For full biographical notes see part 1. For earlier works see parts 1 -  4 also.


    1871 Interior at Arcachon (study) watercolour, pen and ink with brush and wash and graphite on paper 18.5 x 23.5 cm Fogg Museum of Art, Harvard University, Boston, MA

    1871 Interior at Arcachon oil on canvas 39.4 x 53.7 cm Sterling and Francine Clark Art Institute, Williamstown, MA

    1871 Tarring the Boat oil on canvas 59 x 60 cm The Barnes Foundation, Philadelphia, PA

    1871 The Barricade