Manet was close friends with
Baudelaire. In many ways his art takes
from the inspiration of his friend's take on Modernist philosophy in art, in
daily life, and in the higher sense of universal truth. Consequently, Manet's artworks centered
heavily around metropolitan scenes of everyday individuals, often complete
strangers—because he was being a man of the crowd, as it were, and a flâneur, you see. He was also more concerned with how to paint
than with what to paint. This is the
reason for his very intentional style of brushwork; his art is inventing a new
style of painting, ahead of its time, that would inspire the future generation
of artists known as the Impressionists.
Ever since the Italian Renaissance
we have seen artists making use of one-point linear perspective (going all the
way back to Masaccio's Holy Trinity fresco).
Even though the canvas (or wall) on which an image is being painted is
flat and two-dimensional, artists can, through visual tricks, generate the
illusion that the looker is seeing a three-dimensional space—or at least the
concept of three-dimensionality resides there in the painting. If you think about it, it's quite
extraordinary, actually; that on a flat canvas a scenic landscape of hundreds
of miles can be reproduced. This is done
through optical devices of artistic style that deceive the viewer—emphasis on
the word "deceive." If people
like Charles Baudelaire and Édouard Manet were trying to record truth by
observing reality around them as flâneurs,
then what role would deception play in their published works? Manet decided that it should play no role and
adopted this philosophy to his painting.
For if art is done on a flat, two-dimensional canvas, there ought to be
no trickery or illusions about its two-dimensionality. For this reason, Manet's artwork often
appears flat—since it's a painting; and the artist knows it's a painting; and
we know it's a painting; and we've all accepted the fact. Just look at this crude self-portrait by the
artist, which appears quite two-dimensional and unfinished, if not wholly
indiscernible. While visually it does
not appeal to our sense of realism, Manet would suggest this painting's style
and construction rings more idealistically true to real-life.
Furthermore, Manet's truthful
approach to painting included the stylistic decision to paint busy, public
scenes without much clarity. He wanted
to recreate things the way the human eye really saw them; and since the
industrial pace of life had quickened so prodigiously for the new, Modern Era,
things tended to move faster than one could keep up with (at least, one like
Manet). People came in and out of shops,
tripping around the streets, hardly stopping to think or take in their
surroundings; or, if they did stop, everyone else around them was still
scurrying to and fro. The world moved at
an industrious rhythm now, and no pastoral quietude existed in the energetic
metropolis of Modern urban life. Sights,
then, came to one blurred from this rapidity of city living or hazy from the
smoke of factories and mills. Manet's
paintings, therefore, often lack detail or appear hazy and unclear because he
intends to produce a different effect in his art: that not just of what the ordinary person would see in
the late 19th century city scene but of how one sees it.
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