CHICAGO – I wonder how often he thought of him: the horror, the bad delay, the shame, the folly. In 1865, two years after their denial of her 'Déjeuner sur l', her Parisian Salon took two pictures with Édouard Manet. Europe's most prestigious exhibition. One day it was a religious scene under the influence of Spain Christ read by Roman readers. But it was the other which provided more than 3,500 other works in the Salon, and began a scandal that makes the recent brouhaha at Whitney Biennial look resolutely as a Noh play.
Visitors listened and bawled before “Olympia,” a A fairly sharp view of common prostitution, a servant and a cat with gloomy candles. Students spent punches art. The security guards were forced to call in. The newspapers published imitation carving of Manet and a Models, and art critics uncomfortable that it was “ugly,” “ugly,” “stupid,” “shamelessly”, a work that “focuses on examining the public health inspectors.” t
A more bohemian artist might be relying on the hatred. By Manet. He was a Parisian bourgeois, hungry for public approval and civic honors, even when he painted works so honestly that they kept it outside the establishment. He hit the first blow for modern art, but he came to punish social cost. And as he went old, he leaned out of his scandalous childhood to flowers, fruit bowls, and fashionable women to paint, all in principle lighter, more enjoyable even favored in the stone salon.
This is the great paradox of the great 19th century painter, and the torture is also the “Manet and Modern Beauty” exhibition, which is featured at the Chicago Institute of Art, which focuses on the art of six or seven years. His Manet before he died in early 1883, when he was 5 years old. “Manet and Modern Beauty”, which is very fast and almost stylish, is in line with these portraits, these genre scenes and hooligans – which include the last century art historians, who “Olympia” and a multiple written, concentrated with the three Fs: feminine, fashionable and (worst of all) feminine.