Olympia (Manet)

1863 painting by Édouard Manet

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Olympia

Artist| Édouard Manet
Year| 1863–65
Medium| Oil on canvas
Dimensions| 130.5 cm × 190 cm (51.4 in × 74.8 in)
Location| Musée d'Orsay, Paris

Olympia is an 1863 oil painting by Édouard Manet, depicting a nude white woman ("Olympia") lying on a bed being attended to by a black maid. The French government acquired the painting in 1890 after a public subscription organized by Claude Monet. The painting is now in the Musée d'Orsay, Paris.

The figure of Olympia was modeled by Victorine Meurent, and that of her servant by Laure. Olympia's confrontational gaze caused shock and controversy when the painting was first exhibited at the 1865 Paris Salon, especially because a number of details in the picture identified her as a prostitute.

The title of the painting is generally attributed to Manet's close friend Zacharie Astruc, an art critic and artist, since an excerpt from one of Astruc's poems was included in the catalogue entry along with Olympia when it was first exhibited in 1865.[1]

## Content

[edit]

Contemporary audiences were shocked by Olympia's confrontational gaze, combined with details identifying her as a demi-mondaine, or courtesan.[2][3] These include the fact that the name "Olympia" was associated with prostitutes in 1860s Paris.[4][5]

The orchid flower in her hair, her bracelet, pearl earrings, the oriental shawl on which she lies, and the upright black cat[6] are symbols of wealth and sensuality. The black ribbon around her neck, in contrast with her pale skin and cast-off slipper, emphasizes the voluptuous atmosphere.

The painting takes inspiration from Titian's Venus of Urbino (c. 1534).[7][8] Whereas the left hand of Titian's Venus is curled and appears to entice, Olympia's left hand appears to block, which has been interpreted as symbolic of her role as a prostitute, granting access to her body in return for payment.[9] Manet replaced the little dog (symbol of fidelity) in Titian's painting with a black cat, a creature associated with nocturnal promiscuity.[9] The aroused posture of the cat was provocative; in French, chatte (cat) is slang for female genitalia.[10] Olympia disdainfully ignores the flowers presented to her by her servant, speculated by some to be a gift from one of her clients.[10] Some have suggested that she could be looking in the direction of the door as her client barges in unannounced.[10]

The painting deviates from the academic canon in its style, characterized by broad, quick brushstrokes, studio lighting that eliminates mid-tones, large color surfaces, and shallow depth. Unlike the smooth idealized nude of Alexandre Cabanel's La naissance de Vénus, also painted in 1863, Olympia is portrayed as a real woman whose nakedness is emphasized by the harsh lighting.[2] The canvas alone is 130.5 × 190 cm (51.4 × 74.8 inches), which is rather large. Most paintings that were this size depicted historical or mythological events, so the size of the work, among other factors, caused surprise. Finally, Olympia is fairly thin by the artistic standards of the time. Charles Baudelaire thought thinness was more indecent than fatness.[11]

The model for Olympia, Victorine Meurent, would have been recognized by viewers of the painting because she was well known in Paris circles. She started modeling when she was sixteen years old and she also was an accomplished painter in her own right.[12] Some of her paintings were exhibited in the Paris Salon. The familiarity with the identity of the model was a major reason this painting was considered shocking to viewers. A well known woman currently living in modern-day Paris could not simultaneously represent a historical or mythological woman.[13]

## Critical reaction

[edit]

Paul Cézanne, A Modern Olympia (c. 1873/74)

Though Manet's The Luncheon on the Grass (Le déjeuner sur l'herbe) had sparked controversy in 1863, his Olympia stirred an even bigger uproar when it was first exhibited at the 1865 Paris Salon. Conservatives condemned the work as "immoral" and "vulgar".[2] Journalist Antonin Proust later recalled, "If the canvas of the Olympia was not destroyed, it is only because of the precautions that were taken by the administration." The critics and the public condemned the work alike. Even Émile Zola was reduced to disingenuously commenting on the work's formal qualities rather than acknowledging the subject matter: "You wanted a nude, and you chose Olympia, the first that came along".[14][15] He paid tribute to Manet's honesty, however: "When our artists give us Venuses, they correct nature, they lie. Édouard Manet asked himself why lie, why not tell the truth; he introduced us to Olympia, this fille of our time, whom you meet on the sidewalks."[16]

### Olympia's maid

[edit]

Although originally overlooked, the figure of the maid in the painting, modelled by a woman named Laure, has become a topic of discussion among contemporary scholars. As T. J. Clark recounts of a friend's disbelief in the revised 1990 version of The Painting of Modern Life: "For God's sake! You've written about the white woman on the bed for fifty pages and more, and hardly mentioned the black woman alongside her!"[17][18] Olympia was created 15 years after slavery had been abolished in France and its empire, but negative stereotypes of black people persisted among some elements of French society. In some cases, the white prostitute in the painting was described using racially charged language. According to Marie Lathers, "references to Blackness thus invaded the image of white Olympia, turning her into the caricatural and grotesque animal that Black people are frequently made to represent in the nineteenth century."[19]

Many critics have applauded Manet in his use of white and black in the painting, an alternative to the tradition of chiaroscuro. Charles Bernheimer has responded,

> The black maid is not ... simply a darkly colored counterpart to Olympia's whiteness, but rather an emblem of the dark, threatening, anomalous sexuality lurking just under Olympia's hand. At least, this is the fantasy Manet's servant figure may well have aroused in the male spectator of 1865.[20]

According to Timothy Paul, some black feminists, including Lorraine O'Grady, have argued that it is not for artistic convention that Manet included Laure but to create an ideological binary between black and white, good and bad, clean and dirty and as such "inevitably reformulates the Cartesian perspectival logic that allows whiteness to function as the only subject of consideration".[21] When paired with a lighter skin tone, the black female model stands in as signifier to all of the racial stereotypes of the West.

#### Confrontational gaze and oppositional gaze

[edit]

In Lorraine O'Grady's essay "Olympia's Maid: Reclaiming Black Female Subjectivity",[22] she asserts, "Olympia's maid, like all other 'peripheral Negroes'", is a robot conveniently made to disappear into the background drapery. While the confrontational gaze of Olympia is often referenced as the pinnacle of defiance toward patriarchy, the oppositional gaze of Olympia's maid is ignored; she is part of the background with little to no attention given to the critical role of her presence.

O'Grady points out that we know she represents 'Jezebel and Mammy' "and best of all, she is not a real person", rather she is object to the objectified and excluded from sexual difference according to Freudian theory.[22] While Olympia looks directly at the viewer, her maid, too, is looking back.[23] In her essay "Mammy, Jezebel, Sapphire and Their Homegirls: Developing an Oppositional Gaze toward the Images of Black Women", Catherine West concludes that by claiming an oppositional gaze we can identify, criticize, resist and transform these and other oppressive images of black women.[24]

### Events

[edit]

#### Purchase for France

[edit]

After being alerted by John Singer Sargent in 1888 that Manet's widow, Suzanne was apparently in financial difficulties and that she intended to sell the painting, possibly to an unknown American, Claude Monet became determined to acquire his friend's painting for France.[25] He then launched a yearlong campaign to raise the 20,000 francs that was being asked for Olympia. The asking price was relatively low compared to prices paid by other artists. Around the same time, paintings by Jean-François Millet were sold for 750,000 francs. and by Ernest Meissonier for 850,000 francs. Georges de Bellio best summed up the objectives of the campaign: "It (the subscription) will have the triple merit of being a just tribute to the memory of this poor dear Manet, of coming to the aid of his widow in a discreet way and finally of preserving for France a truly valuable work."

Antonin Proust, both a childhood friend of Manet and a former arts minister was in favour of Manet's entry into the Louvre, but felt that this should be done through paintings other than Olympia. A misunderstanding in the press over the donation lead to Proust challenging Monet to a duel.[25] Monet's "seconds", Théodore Duret and Geffroy, were able to soothe Proust who after a subsequent friendly meeting with Monet agreed to use his influence to convince the government to accept the painting.[25]

By mid-October 15,000 francs had been raised, but it seemed that the Louvre was not ready to accept the donation.[26] A temporary solution seemed to be to first have the painting enter the Musée du Luxembourg instead. At the same time, Suzanne Manet made it known through the pages of the Figaro newspaper that she had no need of financial help. By November Monet had raised 18,559 francs had been raised.[25]

Among the nearly 100 people from a wide spectrum who donated money were, Monet 1,000 francs, Edgar Degas 100, Paul Durand-Ruel 200, Gustave Geffroy 50, Philippe Burty 25, Joris-Karl Huysmans 25, Stéphane Mallarmé 25, Octave Mirbeau 300, Georges Petit 200, Camille Pissarro 50, Antonin Proust 500, Rodin 25 with arts patron Winnaretta Singer giving the largest at 2,000 Francs.[25] Other included Siegfried Bing, Giovanni Boldini, Jules Chéret, Emmanuel Chabrier, Gustave Caillebotte, Emile Auguste Carolus-Duran, Henri Fantin-Latour, Henri Gervex, Alexandre Millerand, Étienne Moreau-Nélaton, Pierre Puvis de Chavannes, Augustin Théodule Ribot, Pierre-Auguste Renoir, Félicien Rops and John Singer Sargent. Emile Zola was one of the few that refused.

On 7 February 1890, Monet met with the Minister of Public Instruction and Fine Arts and gave him a letter formalizing the donation of the work to the Louvre, with the list of subscribers, on the condition that the painting be exhibited either at the Louvre or in the Luxembourg. The decision fell to Gustave Larroumet, then director of Fine Arts. He replied that the work could be admitted to Luxembourg but without assurance of exhibition. This response did not satisfy Monet, who was supported by his deputy Camille Pelletan. Finally, the Louvre reluctantly gave an assurance that the painting would be exhibited.[26] In March 1890, Olympia was purchased from Suzanne Manet for 19,415 francs and entered the Luxembourg shortly after.[26]

#### Display

[edit]

By order of prime minister Georges Clemenceau, Olympia finally took its place in the Louvre in 1907. In 1947 it was transferred to its extension, the Jeu de Paume, where it remained until in 1986 it was assigned to the Musée d'Orsay.

The painting has left Paris only three times. In 2013, for its 150th birthday, Olympia went to Venice and was displayed next to Titian's Venus of Urbino, which had been one of Manet's inspirations for Olympia.[27] In 2016, the painting was displayed in Moscow and St. Petersburg as part of a Franco-Russian diplomacy effort.[27] From September 2023 to January 2024, the painting was included in the exhibition "Manet/Degas" at the Metropolitan Museum of Art in New York.[27][28]

In January 2016, a Luxembourg performance artist, Deborah De Robertis, lay on the floor in front of the painting nude and mimicked the pose of the subject. She was arrested for indecent exposure.[29]

## Precedents

[edit]

In part, the painting was inspired by Titian's Venus of Urbino (c. 1534), which in turn derives from Giorgione's Sleeping Venus (c. 1510). The Titian has two fully clothed women, presumably servants, in the background. Léonce Bénédite was the first art historian to explicitly acknowledge the similarity to the Venus of Urbino in 1897.[30] There is also some similarity to Francisco Goya's La maja desnuda (c. 1800).[31]

There were also pictorial precedents for a nude white female, often pictured with a black female servant, such as Léon Benouville's Esther with Odalisque (1844), Ingres' Odalisque with a Slave (1842), and Charles Jalabert's Odalisque (1842).[32] Comparison is also made to Ingres' Grande Odalisque (1814). Manet did not depict a goddess or an odalisque but a high-class prostitute waiting for a client; it has often been argued that Titian did the same.[by whom?]

* Giorgione, Sleeping Venus (c. 1510), also known as the Dresden Venus

* Titian, Venus of Urbino (1538)

* Francisco de Goya, La maja desnuda (circa 1797–1800), known in English as The Naked (or Nude) Maja

* Jean Auguste Dominique Ingres, Grande Odalisque, (1814)

## Homages

[edit]

* A Modern Olympia, Paul Cézanne, c. 1873/74.
* Olympia, René Magritte, 1948
* Three Quarters of Olympia Minus the Servant, Jean-Michel Basquiat, 1982.[33]
* Untitled (Detail of Maid from Olympia), Jean-Michel Basquiat, 1982.[33]
* Crown Hotel (Mona Lisa Black Background), Jean-Michel Basquiat, 1982.[33]
* Portrait (Futago), Yasumasa Morimura, 1988.[34]
* Odalisque I. Looking at Manet. Olympia and A Family, Louis le Brocquy, 2005.
* "Somms Recreating Old Masters: Series 1", Mark Shipway, c. 2015.[35]

## Braun-Vega's appropriations

[edit]

Olympia is used as a subject for recurrent appropriations in the paintings of the Peruvian artist Herman Braun-Vega. He reinterpreted it for the first time in 1982 to create a portrait of a couple of friends in a humorous staging. The painting titled Robert and Odile Zantain (The Lesson...) shows Olympia in a hospital bed, her abdomen marked by a recent scar.[36] Mrs. Zantain, dressed in her surgeon's attire, poses as Dr. Tulp in The Anatomy Lesson, while her husband assumes the role of another character in Rembrandt's painting. Thus, from 1982 to 2001, Olympia found herself in unexpected situations:[37] in the middle of town in front of a newsstand,[38] in a Peruvian market among fruit stalls,[39] under the gaze of curious teenagers,[40] in the tropics,[41] by the sea,[42] wearing a turban in the Parc de Sceaux,[43] or in the company of Ingres' bather and Les Demoiselles d'Avignon in the drawing A New Turkish Bath.[44]

## See also

[edit]

* List of paintings by Édouard Manet
* 100 Great Paintings, 1980 BBC series
* 1863 in art

## References and sources

[edit]

### References

[edit]

1. ^ Sharon Flescher, Zacharie Astruc: Critic, Artist and Japoniste (1833–1907) (Garland Publishing: New York, 1978). ISBN 9780824032265
2. ^ a b c "Édouard Manet's Olympia by Beth Harris and Steven Zucker". Smarthistory. Khan Academy. Retrieved 11 February 2013.
3. ^ "Olympia | painting by Édouard Manet | Britannica". www.britannica.com. 2023-09-23. Retrieved 2023-10-15.
4. ^ Clark, T. J. (1999) The Painting of Modern Life: Paris in the Art of Manet and His Followers. Revised edition. Princeton: Princeton University Press, p.86.
5. ^ "Revisiting the Female Gazes in Manet's 'Olympia' | Arts | The Harvard Crimson". www.thecrimson.com. Retrieved 2023-10-15.
6. ^ Moffitt, John F. (1994). "Provocative Felinity in Manet's "Olympia"". Notes in the History of Art. 14 (1): 21–31\. doi:10.1086/sou.14.1.23205579. JSTOR 23205579. S2CID 191382469.
7. ^ Millett-Gallant, Ann (3 August 2010). The Disabled Body in Contemporary Art. Palgrave Macmillan. p. 31\. ISBN 978-0-230-10997-1. Retrieved 6 September 2014.
8. ^ Mitchell, Dolores (1994). "Manet's "Olympia": If Looks Could Kill". Notes in the History of Art. 13 (3): 39–46\. doi:10.1086/sou.13.3.23204895. JSTOR 23204895. S2CID 191378906.
9. ^ a b Dolan, Therese. "Fringe Benefits: Manet's Olympia and Her Shawl". The Art Bulletin, vol. 97, no. 4, 2015, pp. 409–429.
10. ^ a b c Moffitt, John F. "Provocative Felinity in Manet's Olympia". Source: Notes in the History of Art, vol. 14, no. 1, 1994, pp. 21–31.
11. ^ Reff, Theodore. (1976) Manet: Olympia. London: Allen Lane, p. 57. ISBN 0713908076
12. ^ Main, V. R. (3 October 2008). "The naked truth". The Guardian. Retrieved 18 December 2014.
13. ^ Smith, H. (13 September 2016). "Victorine Meurent: The Unvarnished Story of Manet's Muse". bonjourparis.com. Archived from the original on 2020-09-28. Retrieved 2023-04-15.
14. ^ Quoted in Honour, H. and Fleming, J. (2009). A World History of Art. 7th ed. London: Laurence King Publishing, p. 708. ISBN 9781856695848
15. ^ Quoted in a different translation in Zola, Emile (2013). Looking at Manet. London: Pallas Athene, p. 80. ISBN 978-1-84368-090-1
16. ^ Andersen, Frits (2004). Karen-Margarethe Simonsen; Marianne Ping Huang; Mads Rosendahl Thomsen (eds.). Reinventions of the Novel: Histories and Aesthetics of a Protean Genre. Rodopi. p. 79\. ISBN 9789042008434.
17. ^ Clark, T. J. (1984). The Painting of Modern Life. Princeton University Press. ISBN 978-0-691-00903-2.
18. ^ Murrell, Denise (2018). Posing Modernity: The Black Model from Manet and Matisse to Today. New Haven and London: Yale University Press, p. 2.
19. ^ Lathers, Marie (2013). Dictionary of Artists' Models. London: Routledge. pp. 315–316.
20. ^ Bernheimer, Charles (1989). "Manet's Olympia: The Figuration of Scandal". Poetics Today. 10 (2): 255–277\. doi:10.2307/1773024. JSTOR 1773024.
21. ^ Brown, Timothy Paul (2001). "Black Radical Feminism and the Reclamation of Identity". Third Text. 15 (55): 43–50\. doi:10.1080/09528820108576913. S2CID 143661040.
22. ^ a b O'Grady, Lorraine. "Olympia's Maid: Reclaiming Black Female Subjectivity". The Feminism and Visual Culture Reader. pp. 174–187.
23. ^ Jones, Amelia (2003). "The Oppositional Gaze: Black Female Spectator". The Feminism and Visual Cultural Reader. New York: Routledge. pp. 94–105.
24. ^ West, Carolyn M (1 January 2008). "Mammy, Jezebel, Sapphire and their homegirls: Developing an 'oppositional gaze' toward the images of Black women". Lectures on the psychology of women. Archived from the original on 9 May 2019. Retrieved 6 December 2016.
25. ^ a b c d e Wullschläger, Monet: The Restless Vision, pp. 298-300
26. ^ a b c Wildenstein, Monet ou le Triomphe de l'Impressionnisme, pp. 256-268
27. ^ a b c Farago, Jason (2023-09-09). "The 19th Century's Most Scandalous Painting Comes to New York". The New York Times. ISSN 0362-4331. Retrieved 2023-10-13.
28. ^ Manet/Degas, September 24, 2023–January 7, 2024
29. ^ "An artist has been arrested (again) for a nude stunt in a Paris gallery". Independent.co.uk. 18 January 2016. Archived from the original on 2022-05-23.
30. ^ Reff, p. 48.
31. ^ Meyers, Jeffrey. (2004). Impressionist Quartet: The Intimate Genius of Manet and Morisot, Degas and Cassatt, p. 35; Beruete y Moret, Aureliano. (1922). Goya as portrait painter, p. 190.
32. ^ The Puzzle of Olympia. Phylis A. Floyd, 19th Century Art Worldwide, 2012. Retrieved 5 December 2012.
33. ^ a b c Braziel, Jana Evans (2008). Artists, Performers, and Black Masculinity in the Haitian Diaspora. Indiana University Press. p. 178\. ISBN 978-0-253-21978-7.
34. ^ "Yasumasa Morimura, Portrait (Futago)". Archived from the original on 2012-11-13. Retrieved 2013-04-30.
35. ^ "Mark Shipway on Instagram: "Part 1 of a new Instagram series entitled Somms Recreating Old Masters, Sean Nelson & Hussain Askari's audaciousl attempt at Edouard..."". Instagram. Archived from the original on 2021-12-24.
36. ^ Chalumeau, Jean-Luc (January–February 1990). "Herman Braun-Vega". Opus International (in French) (117): 51. "Dans un remake de l'Olympia[,] Victorine Meurent est [...] sagement installée sur un lit d'hôpital et nous montre une cicatrice nouvelle"
37. ^ Askar, Amina (2001). "Olympia im krankenhaus". Berliner Morgenpost (in German). "Braun-Vega ruft immer wieder die Gemälde Alter Meister ins Gedächtnis und verarbeitet sie neu. "Die Venus mit dem Spiegel" von Velázquez findet sich ebenso in seinem Werk wie Manets "Olympia". Dabei stellt er die Figuren aus dem europäischen Bilderschatz in eninen neuen Kontext, macht er soziale und politische Zusammenhänge sichtbar."
38. ^ Jarque, Vicente (2005-08-13). "Álbum peruano". El País (in Spanish): 13. "Herman Braun-Vega, por su parte, se ha orientado hacia una figuración historicista capaz de recuperar la Olimpia de Manet y situarla en una vía pública."
39. ^ Braun-Vega, Herman (1985). "Olimpia en el mercado (Manet)". braunvega.com (Acrylic on canvas, 73 × 92 cm). Retrieved 2025-03-21.
40. ^ Soto, Raúl (1985-12-01). "Las (sub)versiones de Herman Braun". El Caballo Rojo (in Spanish). Lima: Marka. "[...] la ironía cultural de otras telas de Braun (Qué miran -la Olimpia de Manet observada por palomillas rijosos [...])"
41. ^ Braun-Vega, Herman (1987). "Tendres tropiques (Manet)". braunvega.com (Acrylic on canvas, 130 × 190 cm). Retrieved 2025-03-21.
42. ^ de Neuvillate, Alfonso (November 1999). "Herman Braun-Vega". Casas&Gente: La revista internacional de las cosas bellas (in Spanish). México: D.F. Ediarte: 8. "el gran desnudo, el maravilloso expositor de la sensualidad y sexualidad femenina que es la Olympia, asimismo de Manet está en su lecho, viéndonos, pero en vez de los cortinajes y la criada negra hay una ventana de vista al mar en donde un par de negritos simplemente pasan su spleen. Un gato siamés los observa. Y a la pobre de la Olympia la miran, con el deseo y la risa, un hombre de jean y camisa vaquera que obviamente clava su mirada en el sexo de ella y la chica groovy americana suelta o está por soltar la carcajada"
43. ^ "La croisée des mémoires". Coté Sud (in French) (76): 18. June–July 2002. "Olympia se prélasse sur un lit juponné de blanc dans la posture même qu'en 1863 Manet immortalisa. Perdue dans les méandres de ses pensées, elle ne s'offusque pas le moins du monde du changement de décor. C'est le vingtième siècle qui lui offre des roses d'une main blanche tandis que, sur le mur, derrière elle, l'œuvre d'un Lautrec qui n'est pas encore né accentue l'atmosphère éperdue de songes dans les yeux de ses futures amies Jeanne Avril et la Goulue... Herman Braun Vega est une véritable encyclopédie picturale."
44. ^ Siurana Roglán, Manuel (2006). "A new turkish bath". Braun-Vega y sus maestros, un recorrido por la historia del arte [Braun-Vega and his masters, a tour through the history of art.] (in Spanish). Teruel, Spain: Asociación Cultural Repavalde y Museo de Teruel (DPTE). p. 15.

### Sources

[edit]

* King, Ross (2006). The Judgment of Paris: The Revolutionary Decade that Gave the World Impressionism. New York: Waller & Company, pp. 105–108. ISBN 0-8027-1466-8.
* Lipton, Eunice (1999). Alias Olympia: A Woman's Search for Manet's Notorious Model & Her Own Desire. Ithaca: Cornell University Press. ISBN 0-8014-8609-2
* Main, V. R. (2008). A Woman with No Clothes On: A Novel. London: Delancey Press. ISBN 978-0-9539119-7-4.
* Wildenstein, Daniel (1996). Monet ou le Triomphe de l'Impressionnisme (in French). Cologne: Taschen. ISBN 978-3-8365-2322-6.
* Wullschläger, Jackie (2023). Monet: The Restless Vision (Hardcover). London: Allen Lane. ISBN 978-0-241-18830-9.

### Further reading

[edit]

* Hamilton, George Heard (1954). Manet and His Critics. New Haven, Connecticut: Yale University Press, pp. 65–80.
* Murrell, Denise (2018). Posing Modernity: The Black Model from Manet and Matisse to Today. New Haven and London: Yale University Press.
* Reff, Theodore (1977). Manet: Olympia. New York: The Viking Press, Inc.

## External links

[edit]

External videos

Edouard Manet's Olympia From Smarthistory

Wikimedia Commons has media related to Olympia (Édouard Manet).

* Olympia at the Musée d'Orsay
* Phylis A. Floyd, The Puzzle of Olympia
* Seibert, Margaret Mary Armbrust. A Biography of Victorine-Louise Meurent and Her Role in the Art of Édouard Manet. Diss. The Ohio State University, 1986.

* v
* t
* e

Édouard Manet

Paintings|

* List of paintings
* The Barque of Dante (1854–1858)
* Christ the Gardener (1856–1859)
* The Absinthe Drinker (1859)
* Spanish Cavaliers (1859)
* Portrait of Madame Brunet (1860)
* Portrait of Monsieur and Madame Manet (1860)
* The Spanish Singer (1860)
* Boy Carrying a Sword (1861)
* La Nymphe surprise (1861)
* The Street Singer (1862)
* Music in the Tuileries (1862)
* The Old Musician (1862)
* Portrait of Victorine Meurent (1862)
* Mademoiselle V. in the Costume of an Espada (1862)
* Little Lange (1862)
* The Luncheon on the Grass (1863)
* La Négresse (1863)
* Olympia (1863)
* Young Man Dressed as a Majo (1863)
* The Dead Man (1864))
* The Bullfight (1864–65)
* The Dead Christ with Angels (1864)
* The Kearsarge at Boulogne (1864)
* The Battle of the Kearsarge and the Alabama (1864)
* The Races at Longchamp (1865)
* Jesus Insulted by the Soldiers (1865)
* Bullfight (1865–66)
* Bullfight – Death of the Bull (1865)
* The Matador Saluting (1866)
* The Fifer (1866)
* A Young Lady in 1866 (1866)
* The Execution of Emperor Maximilian (1867)
* Portrait of Emile Zola (1868)
* Boy Blowing Bubbles (1868)
* Madame Manet at the Piano (1867–68)
* The Balcony (1868)
* Luncheon in the Studio (1868)
* The Reading (1868)
* The Port of Boulogne by Moonlight (1868)
* Departure of the Folkestone Steamer (1869)
* The Brioche (1870)
* Repose (1870)
* The Funeral (1870)
* Effect of Snow on Petit-Montrouge (1870)
* Berthe Morisot with a Bouquet of Violets (1872)
* Tarring a Boat (1873)
* The Railway (1873)
* The Croquet Game (1873)
* Masked Ball at the Opera House (1873)
* Argenteuil (1874)
* Berthe Morisot with a Fan (1874)
* Claude Monet Painting in his Studio (1874)
* Boating (1874)
* Portrait of Marguerite de Conflans (c. 1876)
* Portrait of Stéphane Mallarmé (1876)
* Le Suicidé (1877–1881)
* Nana (1877)
* Plum Brandy (c. 1877)
* The Rue Mosnier Dressed with Flags (1878)
* Blonde Woman with Bare Breasts (c. 1878)
* Chez Tortoni (c. 1878–1880)
* Georges Clemenceau (Fort Worth) (1879)
* Georges Clemenceau (Paris) (1879)
* Chez le Père Lathuille (1879)
* Portrait of Marguerite Gauthier-Lathuille (1879)
* In the Conservatory (1879)
* Madame Manet in the Conservatory (1879)
* The Waitress (1879)
* Corner of a Café-Concert (1879)
* The Café-Concert (1879)
* Self-Portrait with Palette (1879)
* A Bundle of Asparagus (1880)
* A Sprig of Asparagus (1880)
* Portrait of Countess Albazzi (1880)
* Portrait of Monsieur Pertuiset the Lion-Hunter (1881)
* Dead Eagle Owl (1881)
* The Rabbit (1881)
* Rochefort's Escape (1881)
* Spring (1881)
* Autumn (1882)
* A Bar at the Folies-Bergère (1882)
* The House at Rueil (1882)
* Flowers in a Crystal Vase (1882)
* White Lilacs in a Glass Vase (1882)

Models|

* Méry Laurent
* Victorine Meurent
* Laure
* Suzanne Manet (wife)
* Berthe Morisot

Portrayals|

* A Studio at Les Batignolles (1870 painting)
* Bazille's Studio (1870 painting)
* The Impressionists (2006 series)

Related|

* Eugène Manet (brother)

* v
* t
* e

Musée d'Orsay

Building

* Gare d'Orsay

Paintings

| French|

* Baader: Remorse
* Bartholomé: In the Conservatory
* Bastien-Lepage: Haymaking
* Bazille: The Family Reunion – The Improvised Field Hospital – The Pink Dress – Bazille's Studio
* Belly: Pilgrims going to Mecca
* Bonnard: Woman with a Cat
* Bonheur: Ploughing in the Nivernais
* Bouguereau: The Birth of Venus – La Danse – Dante and Virgil – Equality Before Death – Les Oréades
* Boulanger: Répétition du "Joueur de flûte" et de "La femme de Diomède" chez le prince Napoléon
* Bracquemond: The Lady in White – Three Women with Parasols
* Cabanel: The Birth of Venus
* Caillebotte: Les raboteurs de parquet – Partie de bateau – Vue de toits (Effet de neige)
* Cézanne: The Hanged Man's House – The Card Players – Portrait of Gustave Geffroy
* Chassériau: Arab Chiefs Challenging each other to Single Combat under the Ramparts of a City
* de Chavannes: The Poor Fisherman – The Turtle Seller
* Courbet: A Burial at Ornans – L'Origine du monde – The Painter's Studio – Le ruisseau noir – The Wounded Man
* Couture: The Romans in their Decadence
* Daubigny: The Harvest
* Daumier: The Laundress – The Republic
* Degas: L'Absinthe – The Bellelli Family – Café-Concert at Les Ambassadeurs (1885) – Les Choristes – The Orchestra at the Opera – Portraits at the Stock Exchange – The Tub
* Dehodencq: Boabdil's Farewell to Granada
* Delacroix: Arab Horses Fighting in a Stable
* Denis: Homage to Cézanne
* Detaille: The Dream
* Doré: The Enigma
* Fantin-Latour: Around the Piano – The Corner of the Table – Homage to Delacroix – A Studio at Les Batignolles
* Gauguin: Arearea – The Beautiful Angel – Breton Peasant Women – The Schuffenecker Family – Self-Portrait in a Hat – Self-Portrait with the Yellow Christ – Tahitian Women on the Beach – Vairumati
* Gérôme: The Cock Fight – Jerusalem – Reception of the Grand Condé at Versailles
* Gervex: A Session of the Painting Jury
* Glaize: The Gallic Women: Episode from the Roman Invasion
* Ingres: The Source
* Laurens: The Excommunication of Robert the Pious
* Lefebvre: The Truth
* Luce: The Quai Saint-Michel and Notre-Dame
* Manet: The Balcony – Berthe Morisot with a Bouquet of Violets – Blonde Woman with Bare Breasts – Bullfight – Le Déjeuner sur l'herbe – Flowers in a Crystal Vase – The Fifer – Madame Manet at the Piano – Olympia – The Port of Boulogne by Moonlight – Portrait of Clemenceau – Portrait of Emile Zola – Portrait of Marguerite de Conflans [1] – Portrait of Monsieur and Madame Manet – Portrait of Stéphane Mallarmé – The Reading – A Sprig of Asparagus – The Waitress
* Matisse: Luxe, Calme et Volupté
* Meissonier: French Campaign, 1814 – The Siege of Paris
* Millet: The Angelus – The Gleaners – Shepherdess with her Flock – The Winnower
* Monet: The Artist's Garden at Giverny – A Cart on the Snowy Road at Honfleur – Le Déjeuner sur l'herbe – The Magpie – Regatta at Argenteuil – Resting Under a Lilac Bush – The Road in Front of Saint-Simeon Farm in Winter – Women in the Garden
* Moreau: The Apparition
* Morisot: The Cradle
* Motte: The Fiancée of Belus
* Ottmann: The Luxembourg Station in Brussels
* Regnault: Summary Execution under the Moorish Kings of Granada
* Renoir: Bal du moulin de la Galette – The Bathers – Dance in the City – Dance in the Country – Frédéric Bazille at his Easel – Girls at the Piano – Portrait of the Painter Claude Monet – Portrait of William Sisley – The Swing
* Rousseau: The Snake Charmer
* Sérusier: The Talisman
* Seurat: The Circus
* Sisley: Avenue of Poplars near Moret-sur-Loing – The Canal du Loing – The Canal Saint-Martin – Chemin de la Machine, Louveciennes – The Forge at Marly-le-Roi – Regatta at Molesey near Hampton Court – Resting by a Stream at the Edge of the Wood – Rue de la Chaussée in Argenteuil – View of the Canal Saint-Martin – The Village of Voisins
* Toulouse-Lautrec: Le Lit – La Toilette

|

American|

* Harrison: Solitude
* Tanner: The Resurrection of Lazarus
* Whistler: Whistler's Mother

Belgian|

* van Rysselberghe: Sailboats and Estuary
* Stevens: The Bath – What is Called Vagrancy

British|

* Burne-Jones: The Wheel of Fortune

Dutch|

* Van Gogh: L'Arlésienne – Bedroom in Arles (3rd version) – The Church at Auvers – Starry Night Over the Rhône – Portrait of Dr. Gachet (2nd version) – Doctor Gachet's Garden in Auvers – Imperial Fritillaries in a Copper Vase – Self-portrait

Finnish|

* Edelfelt: Pasteur's portrait by Edelfelt

Italian|

* Boldini: Madame Charles Max – Portrait of Robert de Montesquiou

Spanish|

* Sorolla: The Return from Fishing: Hauling the Boat

Sculptures

| French|

* Barrias: Nature Unveiling Herself Before Science
* Clésinger: Woman Bitten by a Serpent
* Claudel: The Mature Age
* Delaplanche: Virgin with a Lily
* Jacquemart: Rhinocéros
* Gauguin: Objet décoratif carré avec dieux tahitiens – Oviri

|

* [1] On display at the Musée des Augustins in Toulouse

* v
* t
* e

Impressionism

Originators|

* Frédéric Bazille
* Eugène Boudin
* Gustave Caillebotte
* Mary Cassatt
* Paul Cézanne
* Edgar Degas
* Armand Guillaumin
* Johan Jongkind
* Édouard Manet
* Claude Monet
* Berthe Morisot
* Camille Pissarro
* Pierre-Auguste Renoir
* Alfred Sisley

Patrons|

* Gustave Caillebotte
* Victor Chocquet
* Henry O. Havemeyer
* Ernest Hoschedé

Dealers|

* Paul Durand-Ruel
* Georges Petit
* Ambroise Vollard

Exhibitions|

* First Impressionist Exhibition

American
artists|

* William Merritt Chase
* Frederick Carl Frieseke
* Childe Hassam
* Alphonse Maureau
* Willard Metcalf
* Lilla Cabot Perry
* Theodore Robinson
* Walter Elmer Schofield
* John Henry Twachtman
* Robert Vonnoh
* J. Alden Weir

Australian
artists|

* Charles Conder
* E. Phillips Fox
* Elioth Gruner
* Frederick McCubbin
* Tom Roberts
* John Russell
* Arthur Streeton
* Walter Withers

Canadian
artists|

* Henri Beau
* William Blair Bruce
* William Brymner
* Marc-Aurèle de Foy Suzor-Coté
* Maurice Cullen
* Helen Galloway McNicoll
* James Wilson Morrice
* Laura Muntz Lyall
* Robert Wakeham Pilot

Other
artists|

* Eugène Baudouin
* Olga Boznańska
* Marie Bracquemond
* Giovanni Battista Ciolina
* Lovis Corinth
* Eva Gonzalès
* Antoine Guillemet
* Nazmi Ziya Güran
* Dominique Lang
* Max Liebermann
* Konstantin Korovin
* Martín Malharro
* Henry Moret
* Francisco Oller
* Nadežda Petrović
* Władysław Podkowiński
* Valentin Serov
* Max Slevogt
* Joaquín Sorolla
* Philip Wilson Steer
* Eliseu Visconti

Other media|

* Music
* Literature
* French impressionist cinema

See also|

* Amsterdam Impressionism
* Boston School
* California Impressionism
* Decorative Impressionism
* Neo-Impressionism
* Pennsylvania Impressionism
* Post-Impressionism
* Synthetic impressionism
* The Ten

Related|

* Wilfrid de Glehn
* The Impressionists (2006 TV series)
* Louis Leroy
* Nadar
* Pays des Impressionnistes

* v
* t
* e

Modernism

Movements|

* Acmeism
* Art Deco
* Art Nouveau
* Ashcan School
* Constructivism
* Cubism
* Dada
* Expressionism
* Der Blaue Reiter
* Die Brücke
* Music
* Fauvism
* Functionalism
* Bauhaus
* Futurism
* Imagism
* Lettrism
* Neoplasticism
* De Stijl
* Orphism
* Surrealism
* Symbolism
* Synchromism
* Tonalism

Literary arts|

| Literature|

* Apollinaire
* Barnes
* Beckett
* Bely
* Breton
* Broch
* Bulgakov
* Chekhov
* Conrad
* Döblin
* Forster
* Faulkner
* Flaubert
* Ford
* Gide
* Hamsun
* Hašek
* Hemingway
* Hesse
* Joyce
* Kafka
* Koestler
* Lawrence
* Mann
* Mansfield
* Marinetti
* Musil
* Dos Passos
* Platonov
* Porter
* Proust
* Stein
* Svevo
* Unamuno
* Woolf

|

Poetry|

* Akhmatova
* Aldington
* Auden
* Cendrars
* Crane
* H.D.
* Desnos
* Eliot
* Éluard
* Elytis
* George
* Jacob
* Lorca
* Lowell (Amy)
* Lowell (Robert)
* Mallarmé
* Moore
* Owen
* Pessoa
* Pound
* Rilke
* Seferis
* Stevens
* Thomas
* Tzara
* Valéry
* Williams
* Yeats

Works|

* In Search of Lost Time (1913–1927)
* The Metamorphosis (1915)
* Ulysses (1922)
* The Waste Land (1922)
* The Magic Mountain (1924)
* Mrs Dalloway (1925)
* The Sun Also Rises (1926)
* The Master and Margarita (1928–1940)
* The Sound and the Fury (1929)

Visual arts|

| Painting|

* Albers
* Arp
* Balthus
* Bellows
* Boccioni
* Bonnard
* Brâncuși
* Braque
* Calder
* Cassatt
* Cézanne
* Chagall
* Chirico
* Claudel
* Dalí
* Degas
* Delaunay
* Delaunay
* Demuth
* Dix
* Doesburg
* Duchamp
* Dufy
* Ensor
* Ernst
* Gauguin
* Giacometti
* Goncharova
* Gris
* Grosz
* Höch
* Hopper
* Kahlo
* Kandinsky
* Kirchner
* Klee
* Kokoschka
* Kooning
* Lawrence
* Léger
* Magritte
* Malevich
* Manet
* Marc
* Matisse
* Metzinger
* Miró
* Modigliani
* Mondrian
* Monet
* Moore
* Munch
* Nolde
* O'Keeffe
* Picabia
* Picasso
* Pissarro
* Ray
* Redon
* Renoir
* Rodin
* Rousseau
* Schiele
* Seurat
* Signac
* Sisley
* Soutine
* Steichen
* Stieglitz
* Toulouse-Lautrec
* Van Gogh
* Vuillard
* Wood

|

Film|

* Akerman
* Aldrich
* Antonioni
* Avery
* Bergman
* Bresson
* Buñuel
* Carné
* Cassavetes
* Chaplin
* Clair
* Cocteau
* Dassin
* Deren
* Dovzhenko
* Dreyer
* Edwards
* Eisenstein
* Epstein
* Fassbinder
* Fellini
* Flaherty
* Ford
* Fuller
* Gance
* Godard
* Hitchcock
* Hubley
* Jones
* Keaton
* Kubrick
* Kuleshov
* Kurosawa
* Lang
* Losey
* Lupino
* Lye
* Marker
* Minnelli
* Murnau
* Ozu
* Pabst
* Pudovkin
* Ray (Nicholas)
* Ray (Satyajit)
* Resnais
* Renoir
* Richardson
* Rossellini
* Sirk
* Sjöström
* Sternberg
* Tarkovsky
* Tati
* Trnka
* Truffaut
* Varda
* Vertov
* Vigo
* Welles
* Wiene
* Wood

Architecture|

* Breuer
* Bunshaft
* Gaudí
* Gropius
* Guimard
* Horta
* Hundertwasser
* Johnson
* Kahn
* Le Corbusier
* Loos
* Melnikov
* Mendelsohn
* Mies
* Nervi
* Neutra
* Niemeyer
* Rietveld
* Saarinen
* Steiner
* Sullivan
* Tatlin
* Wright

Works|

* A Sunday Afternoon on the Island of La Grande Jatte (1886)
* Mont Sainte-Victoir (1887)
* The Starry Night (1889)
* Les Demoiselles d'Avignon (1907)
* The Dance (1909–1910)
* Nude Descending a Staircase, No. 2 (1912)
* Black Square (1915)
* The Cabinet of Dr. Caligari (1920)
* Ballet Mécanique (1923)
* Battleship Potemkin (1925)
* Metropolis (1927)
* Un Chien Andalou (1929)
* Villa Savoye (1931)
* Fallingwater (1936)
* Citizen Kane (1941)
* Meshes of the Afternoon (1943)

Performing
arts|

| Music|

* Antheil
* Bartók
* Berg
* Berio
* Boulanger
* Boulez
* Copland
* Debussy
* Dutilleux
* Falla
* Feldman
* Górecki
* Hindemith
* Honegger
* Ives
* Janáček
* Ligeti
* Lutosławski
* Milhaud
* Nono
* Partch
* Russolo
* Satie
* Schaeffer
* Schoenberg
* Scriabin
* Stockhausen
* Strauss
* Stravinsky
* Szymanowski
* Varèse
* Villa-Lobos
* Webern
* Weill

|

Theatre|

* Anderson
* Anouilh
* Artaud
* Beckett
* Brecht
* Chekhov
* Ibsen
* Jarry
* Kaiser
* Maeterlinck
* Mayakovsky
* O'Casey
* O'Neill
* Osborne
* Pirandello
* Piscator
* Strindberg
* Toller
* Wedekind
* Wilder
* Witkiewicz

Dance|

* Balanchine
* Cunningham
* Diaghilev
* Duncan
* Fokine
* Fuller
* Graham
* Holm
* Laban
* Massine
* Nijinsky
* Shawn
* Sokolow
* St. Denis
* Tamiris
* Wiesenthal
* Wigman

Works|

* Don Juan (1888)
* Ubu Roi (1896)
* Verklärte Nacht (1899)
* Pelléas et Mélisande (1902)
* Salome (1905)
* The Firebird (1910)
* Afternoon of a Faun (1912)
* The Rite of Spring (1913)
* Fountain (1917)
* Six Characters in Search of an Author (1921)
* The Threepenny Opera (1928)
* Waiting for Godot (1953)

Related|

* American modernism
* Armory Show
* Avant-garde
* Ballets Russes
* Bloomsbury Group
* Buddhist modernism
* Classical Hollywood cinema
* Degenerate art
* Ecomodernism
* Experimental film
* Film noir
* Fin de siècle
* Fourth dimension in art
* Fourth dimension in literature
* Grosvenor School of Modern Art
* Hanshinkan Modernism
* High modernism
* Hippie modernism
* Impressionism
* Music
* Literature
* Post-
* Incoherents
* International Style
* Late modernism
* Late modernity
* List of art movements
* List of avant-garde artists
* List of modernist poets
* Maximalism
* Metamodernism
* Modernity
* Neo-primitivism
* Neo-romanticism
* New Hollywood
* New Objectivity
* Poetic realism
* Pop Art
* Pulp noir
* Reactionary modernism
* Remodernism
* Second Viennese School
* Structural film
* Underground film
* Vulgar modernism

← Romanticism

Postmodernism →

Category

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Authority control databases

International|

* VIAF

National|

* Germany
* United States
* France
* BnF data

Other|

* Joconde

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