Édouard Manet
(1832 - 1883)
 

Berthe Morisot with a Bouquet of Violets (French: Berthe Morisot au bouquet de violettes) is an 1872 oil painting by Édouard Manet. It depicts fellow painter Berthe Morisot dressed in black mourning dress, with a barely visible bouquet of violets. The painting, sometimes known as Portrait of Berthe Morisot, Berthe Morisot in a black hat or Young woman in a black hat, is in the collection of the Musée d'Orsay in Paris. Manet also created an etching and two lithographs of the same composition. 

Manet became acquainted with Berthe Morisot in 1868. She was the grand-niece of Fragonard, and also a painter; Morisot and Manet influenced each other's work. He painted her portrait many times, including his earlier work The Balcony. She married Manet's brother Eugène in 1874. 

https://en.wikipedia.org/wiki/Berthe_Morisot_with_a_Bouquet_of_Violets

Berthe Morisot with a Bouquet of Violets
1872
Oil on canvas
55.5 x 40.5 cm
Musée d'Orsay, Paris
https://www.musee-orsay.fr/en/artworks/berthe-morisot-au-bouquet-de-violettes-100102

Claude Monet 
(1840 - 1926)
 

Monet and Camille were often in financial straits during this period (1870-1880)—they were unable to pay their hotel bill during the summer of 1870 and likely lived on the outskirts of London as a result of insufficient funds. An inheritance from his father, together with sales of his paintings, did, however, enable them to hire two servants and a gardener by 1872. Following the successful exhibition of some maritime paintings and the winning of a silver medal at Le Havre, Monet's paintings were seized by creditors, from whom they were bought back by a shipping merchant, Gaudibert, who was also a patron of Boudin.

https://en.wikipedia.org/wiki/Claude_Monet

Ships Riding on the Seine at Rouen
1872
Lithograph
37.7 x 46 cm 
National Gallery of Art, Washington DC
https://www.nga.gov/artworks/52187-ships-riding-seine-rouen

Édouard Manet
(1832 - 1883)
 

The next painting is a portrait of the artist Berthe Morisot, a regular model, who was married to Manet's brother, Eugène. She is wearing a white dress as she sits with a fan in her right hand on a red sofa, beneath a then-fashionable Japanese print (in this case The Dragon King Pursuing the Ama with the Sacred Jewel by Utagawa Kuniyoshi). Her gaze seems meditative and absent. There is a striking contrast between the light tone of her dress and the dark tones of the furniture and the serenity of the subject with the violent activity on the print that is exhibited above her head.

Manet himself described the work as a study in physical and psychological repose — “not at all in the character of a portrait.” 

https://en.wikipedia.org/wiki/Repose_(painting)

 

Le repos (Repose  - Portrait of Berthe Morisot)
1871
Oil on canvas
150 x 114 cm
Rhode Island School of Design Museum, Providence, Rhode Island, US
https://risdmuseum.org/art-design/collection/repose-le-repos-59027?return=%2Fart-design%2Fcollection%3Fsearch_api_fulltext%3Dmanet%26op%3D%26page%3D1

Claude Monet 
(1840 - 1926)
 

Monet moved to Argenteuil, a suburban town on the right bank of the Seine River northwest of Paris, in late December 1871. Many of the types of scenes that he and the other Impressionists favored could be found in this small town, conveniently connected by rail to nearby Paris. In this painting, Monet was less interested in capturing a likeness than in studying how unblended dabs of color could suggest the effect of brilliant sunlight filtered through leaves. 
During the early 1870s, Monet frequently depicted views of his backyard garden that included his wife, Camille, and their son, Jean. However, when exhibited at the Second Impressionist Exhibition in 1876, this painting was titled more generically, "Woman Reading."

https://artsandculture.google.com/asset/springtime/pAEsabNHoa1naA

Springtime
1872
oil on canvas
52 x 65 cm. 
Walters Art Museum, Baltimore, US
https://art.thewalters.org/object/37.11/

 Édouard Manet
(1832 - 1883)
 

Luncheon in the Studio (or The Luncheon) is an 1868 oil painting by Édouard Manet. Partially a portrait of 16-year-old Léon Leenhoff — the son of Suzanne Leenhoff before her 1863 marriage to Manet, and possibly the son of Manet or Manet's father Auguste — it is also an enigmatic work that has received limited attention within Manet's oeuvre. Critic Nan Stalnaker notes that "despite continued questions about its meaning, the work is acknowledged to be brilliantly painted and a major Manet work". 

The painting was exhibited in the 1869 Paris Salon along with Manet's The Balcony, another work that lacked a simple genre affiliation, and in which at least one of the figures seems to confront the viewer as if challenging the "fourth wall". Both pieces were found wanting by art critics of the day; by this time a common criticism of Manet was that his goal was to "attract attention at any price".

https://en.wikipedia.org/wiki/Luncheon_in_the_Studio

Luncheon in the Studio
1868
Oil on canvas 
118.3 x 154 cm
Neue Pinakothek, Munich, Germany
https://www.sammlung.pinakothek.de/de/artwork/y7GEQB0GPV/edouard-manet/le-dejeuner
https://www.pinakothek.de/en/exhibition/from-goya-to-manet

Claude Monet
(1840 - 1926)
 

Le Pont de bois was painted in 1872, the year that Monet created his famous L’Impression, soleil levant, now in the Musée Marmottan, Paris.

The carefully nuanced pinks, yellows, greys and blues in the water and the sky mark very short-lived, fleeting moments of an evening. They come and go in a matter of minutes. Yet they are recorded with a deftness, rapidity, and sense of authority that is unmistakably the hand of Monet. As a compositional foil, he used the beams and scaffolding surrounding the bridge that was under reconstruction in the months following the Franco-Prussian War. The bridge itself had been destroyed by the French Army as it retreated from the advancing Prussian soldiers who occupied the town of Argenteuil. The scaffolding, bridge and reflections of the architecture in the water anticipate forms and shapes that would later reappear in the art of the twentieth century. One is reminded of Pierre Soulages, Franz Kline, and George Bellows. There are also echoes of bridges depicted in Japanese prints (fig. 2) that we know Monet admired. 

Charles S. Moffett
Vice Chairman, Impressionst, Modern and Contemporary Art, Sotheby's 

LE PONT DE BOIS (The Highway Bridge under repair)
1872
54 x 73 cm
Oil on canvas
National Gallery of Canada
https://www.gallery.ca/magazine/in-the-spotlight/a-new-monet-at-the-national-gallery-of-canada

Édouard Manet
(1832 - 1883)
 

The Balcony (French: Le balcon) is an 1868–69 oil painting by the French painter Édouard Manet. It depicts four figures on a balcony, one of whom is sitting: the painter Berthe Morisot, who married Manet's brother Eugène in 1874. In the centre is the painter Jean Baptiste Antoine Guillemet. On the right is Fanny Claus, a violinist. The fourth figure, partially obscured in the interior's background, is possibly Léon Leenhoff, Manet's son.

It was exhibited at the 1869 Paris Salon, and then kept by Manet until his death in 1883. It was sold to the painter Gustave Caillebotte in 1884, who left it to the French state in 1894. It is currently held at the Musée d'Orsay, Paris. 

In 1950, René Magritte made a wry diversion of it in which coffins replace the characters: Perspective II, Manet's Balcony.

https://en.wikipedia.org/wiki/The_Balcony_(Manet)

The Balcony
1868-69
Oil on canvas
170 x 124.5 cm
Musée d'Orsay, Paris
https://www.musee-orsay.fr/en/artworks/le-balcon-707

Claude Monet 
(1840 - 1926)

Immediately after the Franco-Prussian War, during which Claude Monet had sought exile in London, the artist travelled to the Netherlands. He and his family sojourned in a small town near Amsterdam called Zaandam, which was popular with tourists. “One would be busy for an entire painter’s life,” he wrote to his friend Camille Pissarro. While Paris lay in ruins, Monet depicted happy scenery. The soft light of a summer’s day is shimmering on the picturesque houses, which are reflected in the water on the bank of the Zaan River. The artist captures the carefree atmosphere of this idyllic location with Impressionist brushstrokes.

https://sammlung.staedelmuseum.de/en/work/houses-by-the-bank-of-the-river-zaan

Houses on the Zaan River at Zaandam
1871 -72
Oil on canvas
47 x 73.7 cm 
Städel Museum, Frankfurt am Main, Germany
https://sammlung.staedelmuseum.de/en/work/houses-by-the-bank-of-the-river-zaan

Édouard Manet
(1832 - 1883)
 

On January 1, 1867, Zola published in La Revue du XIXe siecle a second important article on Manet. "What a splendid New Year's present," wrote Manet, thanking him. The following year he expressed his gratitude to the writer by painting this portrait and presenting it to him. Zola posed for the painting in Manet's studio in the rue Guyot, but he is shown working at his desk in his own surroundings. Manet has pinned up on the wall a reproduction of Olympia and a Japanese print; there is also a Japanese screen. The picture radiates an astonishing freshness, and, as with Degas's portrait of Duranty or Cezanne's of Gustave Geffroy, one feels that the artist is in sympathy with his subject. 


https://www.manet.org/portrait-of-emlie-zola.jsp

Portrait of Emile Zola
1868
Oil on canvas
146.5 x 114 cm
Musée d'Orsay, Paris
https://www.musee-orsay.fr/fr/oeuvres/emile-zola-713

Of his experience as a sitter, Zola wrote in L'Evinement illustre, May 10, 1868: 
 

I remember posing for hours on end.With limbs numb from remaining motionless and my eyes weary from staring at the light, the same thoughts kept murmuring in the back of my mind. The foolish chatter one hears everywhere, the lies of some and the platitudes of others, all that human noise that flows idly by like dirty water, was far away. It seemed to me that I had left the earth for a higher sphere of truth, and I was filled with pity and disdain for the poor wretches stumbling along down below. 

Now and again, half-dozing off as I sat there, I looked at the artist standing at his easel, his features taut, his eyes bright, absorbed in his work. He had forgotten me; he no longer realized that I was there. 

 Claude Monet
(1840 - 1926)
 

 In the fall of 1870, Monet traveled to London and this painting is one of a series of works he created while based in the British capital. This view is of the Thames and the Houses of Parliament - covered in other pieces - as seen from Victoria Quay. Like many of Monet's other works, it has a photographic quality to it despite its Impressionist style. Again, Monet uses a fragmented brushstroke to create his magical movement in the river. He also, once again, alludes to the fog and smog that gripped London in the later part of the 19th century. The composition is made up of gray tones, with a pink hue that appears on the horizon. It was while in London that Monet met Paul Durand-Ruel who was to become his most supportive patron. 

https://www.claude-monet.com/the-thames-below-westminster.jsp

The Thames below Westminster
1871
Oil on canvas
47 x 73 cm
The National Gallery, London
https://www.nationalgallery.org.uk/paintings/claude-monet-the-thames-below-westminster

 

Monet was captivated by London’s fog during his first stay in the capital from 1870 to 1871. Later in life he told the art dealer Rene Gimpel: ‘Without the fog, London would not be a beautiful city. It’s the fog that gives it its magnificent breadth.’ This misty composition is anchored by carefully positioned horizontal and vertical structures – the jetty in the foreground, Westminster Bridge marking the horizon, and the Houses of Parliament.
Every architectural element in the picture was new at the time. The Houses of Parliament had only just been finished, as had the Victoria Embankment on the right. St Thomas’ Hospital, the low rectangular shape on the far left, was also nearing completion before opening in the summer of 1871, and Westminster Bridge had been reconstructed in 1862. However, Monet is more interested here in broad effects than architectural detail; indeed he has exaggerated the height of the towers of the Houses of Parliament, making the building seem like a fairy tale palace.

 Édouard Manet
(1832 - 1883)
 

The Execution of Emperor Maximilian is a series of paintings by Édouard Manet from 1867 to 1869, depicting the execution by firing squad of Emperor Maximilian I of the short-lived Second Mexican Empire. Manet produced three large oil paintings, a smaller oil sketch and a lithograph of the same subject. All five works were brought together for an exhibition in London and Mannheim in 1992–1993 and at the Museum of Modern Art in New York in 2006. 

Maximilian was born in 1832, the second son of Archduke Franz Karl of Austria of the House of Habsburg and Princess Sophie of Bavaria. After a career in the Austrian Navy, he was encouraged by Napoleon III to become Emperor of Mexico following the French intervention in Mexico. Maximilian arrived in Mexico in May 1864. He faced significant opposition from forces loyal to the deposed president Benito Juárez throughout his reign, and the Empire collapsed after Napoleon withdrew French troops in 1866. 
Maximilian was captured on Cerro de las Campanas in May 1867, sentenced to death at a court martial, and executed, together with Generals Miguel Miramón and Tomás Mejía, on 19 June 1867. 

https://en.wikipedia.org/wiki/The_Execution_of_Emperor_Maximilian

The Execution of Emperor Maximilian of Mexico, June 19, 1867
1868
Oil on canvas
252 x 305 cm.
Kunsthalle Mannheim, Germany
https://www.bildindex.de/document/obj20283837

The link to the site of the Mannheim Kunsthalle leads to a very dark version of the painting. I haven't been to Mannheim myself so I cannot judge about the accuracy but here is a detail from the MoMA website

https://www.moma.org/calendar/exhibitions/8

Claude Monet
(1840 - 1926))
 

Monet left London and his friend Whistler in 1871 and traveled to Holland, where he was much more productive, possibly because he was joined by his wife Camille and son Jean. 

In the same year Monet painted this most untypical work depicting Camille reclining on a highly patterned sofa in an elegant room. Although Monet pointed Camille frequently, he rarely painted with such attention to detail. He has borrowed much from the work of Whistler, who painted a number of pictures in a similar style, showing a single figure seated within a strongly structured background. The dark, tonal treatment of the figure and the use of weighty background tones also recall the work of Monet's friend Manet, in turn, influenced by Velazquez. 

 

In stark contrast to Monet's painting is a work of the same subject by Renoir several years later. Renoir's is oil airy lightness, with the figure of Camille more Impressionist in style and wrought in pale, pastel tones. 

https://www.claude-monet.com/meditation.jsp

Méditation. Madame Monet au canapé
1871
Oil on canvas
48.2 x 174.5 cm
Musée d'Orsay, Paris

https://www.musee-orsay.fr/fr/oeuvres/meditation-madame-monet-au-canape-806 

Édouard Manet
(1832 - 1883)
 

On a trip to Spain in 1865, Édouard Manet visited the Prado, where the art of Diego Velázquez was a revelation. Upon his return to Paris in 1866, he began work on a new painting, depicting an anonymous regimental fifer of the Spanish army. In this picture, Manet presents the uniformed boy, in a manner that imitates and inverts the formula of Vélazquez's court portraits, against a barely inflected, flattened background of neutral tone, thus frustrating attempts to assess the figure's true size and, by extension, importance. 
The painting, entitled Le fifre, was rejected by the jury of the Salon of 1866. Outraged by the jury's decision, Émile Zola, an early champion of Manet's art, published a series of articles in the newspaper L'Évenement, that praised Manet's realist style and modern content. Following the example of Gustave Courbet, in May 1867, Manet personally funded and mounted an exhibition of his own work in a pavilion at the edge of the Éxposition universelle. The exhibition included Le fifre, which was ridiculed in the popular press for its unusual brushwork and inscrutable spatial setting. 

https://en.wikipedia.org/wiki/The_Fifer

The Fifer
1866
Oil on canvas
160 × 97 cm.
Musée d'Orsay, Paris
https://www.musee-orsay.fr/en/artworks/le-fifre-709

 Claude Monet 
(1840 - 1926)

In 1869, Claude Monet moved with his future wife and their son to a house near Bougival, a small but fashionable town on the Seine. Monet’s arrival at Bougival signaled a new era in his art in which outdoors, or plein-air, painting took precedence and the artist’s keen interest in the transformative effects of natural light were exhaustively explored. Monet’s The Seine at Bougival offers a view across a traversable bridge in France

https://currier.org/collection/claude-monet/

The Bridge at Bougival
1869
Oil on panel
65 x 92 cm
Currier Museum of Art, Manchester, New Hampshire, US
https://currier.org/collection/claude-monet/

Édouard Manet
(1832 - 1883)
 

A Young Lady in 1866 or Lady with a Parrot is an 1866 painting by Édouard Manet, showing his favourite model, Victorine Meurent, wearing a long pink peignoir, holding a small bouquet of violets, and accompanied by an African grey parrot. It is an oil painting on canvas measuring 185.1 x 128.6 cm, and is now in the Metropolitan Museum of Art in New York. It and Boy Carrying a Sword (also in the Met) were the first of Manet's works to enter a gallery collection.

https://en.wikipedia.org/wiki/A_Young_Lady_in_1866#

A Young Lady in 1866
Oil on canvas
185.1 x 128.6 cm 
The MET
https://www.metmuseum.org/art/collection/search/436964

Manet’s model, Victorine Meurent, had recently posed as the brazen nudes in Olympia and Luncheon on the Grass (both Musée d’Orsay, Paris). Here, appearing relatively demure, she flaunts an intimate silk dressing gown. Critics eyed the painting as a rejoinder to Courbet’s Woman with a Parrot (29.100.57) and as indicative of Manet’s "current vice" of failing to "value a head more than a slipper." Recent scholars have interpreted it as an allegory of the five senses: the nosegay (smell), the orange (taste), the parrot-confidant (hearing), and the man’s monocle she fingers (sight and touch).

 
https://www.metmuseum.org/art/collection/search/436964

Claude Monet 
(1840 - 1926)

During the summer of 1869, Monet and Renoir set up their easels at La Grenouillère, a boating and bathing resort on the Seine River, not far from Paris. Monet noted on September 25, "I do have a dream, a painting, the baths of La Grenouillère, for which I have made some bad sketches, but it is only a dream. Renoir, who has just spent two months here, also wants to do this painting." Among their various depictions of the subject, this composition closely resembles one by Renoir in the Nationalmuseum, Stockholm. 

https://www.metmuseum.org/art/collection/search/437135

La Grenouillère
1869
Oil on canvas
74.6 x 99.7 cm.
The MET    
https://www.metmuseum.org/art/collection/search/437135

Édouard Manet
(1832 - 1883)

Bullfight (French - Combat de taureau ) is an 1865-1866 painting by Édouard Manet, now in the Musée d'Orsay in Paris. It was produced after the artist's trip to Spain in 1865 and forms part of his Spanish period (1862-1867). 
The painting depicts a rare event in the Spanish bullfight, when the bull manages to attack and bring down the horse. Admired and backed by Charles Baudelaire and Émile Zola, the work was so strongly attacked by other art critics that Manet kept it in his studio until 1872, when the Frères Goncourt praised it. 

https://en.wikipedia.org/wiki/Bullfight_(Manet)

Bullfight
1865-66
Oil on canvas
89 x 111 cm
Musée d'Orsay
https://www.musee-orsay.fr/en/artworks/combat-de-taureaux-711

Claude Monet
(1840 - 1926)
 

Art history would probably have taken a different course if the jury of the Paris Salon had not turned down this painting by Monet in 1870. This rejection was followed four years later by the first exhibition of the Impressionists, where Monet presented the work. It shows his family, a guest and a maidservant during luncheon. The liberal brushwork that Monet will apply in ‘La Grenouillère’ a few months later is not yet visible. This is a private scene from everyday life, but the nearly monumental format chosen by the artist raises its status to that of history painting.

https://sammlung.staedelmuseum.de/en/work/the-luncheon

The Luncheon
1868 – 1869 
Oil on canvas
231.5 x 151.5 cm
Städel Museum, Frankfurt am Main, Germany
https://sammlung.staedelmuseum.de/en/work/the-luncheon

The painting depicts his future wife, Camille, and their son, Jean, seated at a table. The scene is one of ease and comfort and was painted when Monet’s fortunes were changing for the better.
The portrait is about routine activities in the Monet household and the scene is set in Étretat. Claude Monet, plagued by a chronic lack of funds, was fortunate enough to secure a modest stipend from a patron in the summer of 1868.
This was the first time he could afford to live in a modest home. Monet is absent from the painting, and two empty chairs create the impression that Monet and a guest have yet to arrive.

https://www.monetpaintings.org/luncheon/

Édouard Manet
(1832 - 1883)
 

The Dead Christ with Angels is an 1864 oil painting by French painter Édouard Manet. The painting depicts the biblical story (John 20:12) of Mary Magdalene entering the tomb of Jesus and seeing two angels but finding Jesus's body missing. It is now in the Metropolitan Museum of Art in New York City. 
Manet seldom chose to paint images with religious meaning, and he tended to focus on contemporary subjects. John Hunisak speculates that Manet may have wanted to display a religious work in the 1864 Salon because of the negative reaction he had received for his recent paintings of modern subjects.Manet may have hoped, Hunisak suggests, that the more traditional topic, with a contemporary twist, would please his supporters and critics alike. 

Critics and many of Manet's supporters were confused by the new artistic direction that he took in the painting. The contradictions within The Dead Christ with Angels are characteristic of Manet's earlier exploration of discordances: the brightly colored angels contrast with the neutral background; the angels are not aligned; and the cloth is variously realistic and abstract.  The technique used to paint Jesus, most notably the blurring seen in his hand and feet, also shows movement typical of Manet's work. Despite the similarities in technique, the scene attracted attention due to its lack of alignment with Manet's previous works.

https://en.wikipedia.org/wiki/The_Dead_Christ_with_Angels

The Dead Christ with Angels
1864
Oil on canvas
179.4 x 149.9 cm
The MET
https://www.metmuseum.org/art/collection/search/436950

Claude Monet
(1840 - 1926)
 

The artwork Quai du Louvre (also Wharf of Louvre, Paris) is an oil on canvas painting by the  Claude Monet in the year 1867. A quintessential example of the Impressionist movement, the painting measures 93 by 65 centimeters and can be categorized as a cityscape genre. This piece is part of the collection at the Gemeentemuseum den Haag in The Hague, Netherlands.
The artwork epitomizes Impressionist sensibilities with its vivid representation of light and atmosphere. It portrays a bustling Parisian riverside scene near the Louvre, filled with activity and movement. The use of quick, visible brushstrokes imbues the scene with a sense of immediacy and the transient effects of light, a hallmark of the Impressionist style.

https://www.artchive.com/artwork/wharf-of-louvre-paris-claude-monet-1867/

Quai du Louvre
1867
65.1 x 92.5 cm
Oil on canvas
Kunstmuseum, Den Haag, Nederland
https://www.kunstmuseum.nl/en/collection/quai-du-louvre

Édouard Manet
(1832 - 1883)
 

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.

https://en.wikipedia.org/wiki/Olympia_(Manet)

Olympia
1863-65
Oil on canvas
130.5 x 190 cm
Musée d'Orsay, Paris
https://www.musee-orsay.fr/en/artworks/olympia-712

 

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". 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". 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."

 

 

 Claude Monet
(1840 - 1926)

A lot of artists made a reaction on yesterday’s painting by Manet, also Monet:

Le Déjeuner sur l'herbe (English: Luncheon on the Grass) is an 1865–1866 oil-on-canvas painting by Claude Monet, produced in response to the 1863 work of the same title by Édouard Manet. It remains unfinished, but two large fragments (central and left panels) are now in the Musée d'Orsay in Paris, while a smaller 1866 version is now in the Pushkin Museum in Moscow. 

Monet originally wanted to submit the painting to the Salon of 1866, but he underestimated how long it would take him to transfer his sketches to a life-size canvas, so it remained unfinished by the time of the exhibition. 

Monet later offered the large canvas of Déjeuner to his landlord in place of rent. When Monet bought it back from his landlord, it was badly damaged from the damp environment in which it was stored.

Monet had to cut it up in order to preserve the non-damaged parts. 

https://en.wikipedia.org/wiki/Le_Déjeuner_sur_l'herbe_(Monet,_Paris)

Le Déjeuner sur l'herbe
1865-66
Oil on canvas
248.9 × 218.0 cm 
Musée d'Orsay, Paris
https://www.musee-orsay.fr/en/artworks/le-dejeuner-sur-lherbe-25651

Le Déjeuner sur l'herbe, Study
1865
Oil on canvas
130 x 181 cm
Pushkin Museum of Fine Arts, Moscow
http://www.arts-museum.ru/data/fonds/europe_and_america/j/2001_3000/6075_Zavtrak_na_trave/index.php?lang=en

Édouard Manet
(1832 - 1883)

Rejected by the jury of the 1863 Salon, Manet exhibited Le déjeuner sur l’herbe under the title Le Bain at the Salon des Refusés (initiated the same year by Napoléon III) where it became the principal attraction, generating both laughter and scandal.


Yet in Le déjeuner sur l'herbe, Manet was paying tribute to Europe's artistic heritage, borrowing his subject from the Concert champêtre – a painting by Titian attributed at the time to Giorgione (Louvre) – and taking his inspiration for the composition of the central group from the Marcantonio Raimondi engraving after Raphael's Judgement of Paris. But the classical references were counterbalanced by Manet's boldness. The presence of a nude woman among clothed men is justified neither by mythological nor allegorical precedents. This, and the contemporary dress, rendered the strange and almost unreal scene obscene in the eyes of the public of the day. 

Manet himself jokingly nicknamed his painting "la partie carrée".
In those days, Manet's style and treatment were considered as shocking as the subject itself. He made no transition between the light and dark elements of the picture, abandoning the usual subtle gradations in favour of brutal contrasts, thereby drawing reproaches for his "mania for seeing in blocks". And the characters seem to fit uncomfortably in the sketchy background of woods from which Manet has deliberately excluded both depth and perspective. 

Le déjeuner sur l'herbe - testimony to Manet's refusal to conform to convention and his initiation of a new freedom from traditional subjects and modes of representation - can perhaps be considered as the departure point for Modern Art.

https://www.musee-orsay.fr/en/artworks/le-dejeuner-sur-lherbe-904

Le Déjeuner sur l'herbe
 

1863
Oil on canvas
207 x 265 cm
Musée d'Orsay, Paris
https://www.musee-orsay.fr/en/artworks/le-dejeuner-sur-lherbe-904

 <b>Claude Monet </b>
(1840 - 1926)
 

Monet was in his early twenties when he painted this view across the breakwaters to the headland of La Hève, near Sainte-Adresse on the Normandy coast. He knew the area well, as he had spent his childhood in nearby Le Havre. The picture was probably made on the spot as a study for a larger studio painting, La Pointe de la Hève at Low Tide (Kimbell Art Museum, Fort Worth) which he showed at the Paris Salon in 1865.

La Pointe de la Hève, Sainte-Adresse
1864 (24 years old)
Oil on canvas
41 x 73 cm. 
The National Gallery, London
https://www.nationalgallery.org.uk/paintings/claude-monet-la-pointe-de-la-heve-sainte-adresse
https://kimbellart.org/collection/ap-196807

Édouard Manet
(1832 - 1883)
 

Lola Melea, nicknamed Lola de Valence (Lola from Valencia), was the star of Mariano Camprubi's Spanish ballet troupe. From 12 August to 2 November 1862, the troupe performed at the Hippodrome in Paris, much to the delight of Manet and his friends Baudelaire and Zacharie Astruc. Manet persuaded the troupe to pose for him in the studio of Alfred Stevens, who had a large room at his disposal. This led to a small series of paintings and etchings, including The Spanish Ballet and Lola de Valence.
Originally, the dancer was depicted against a neutral background. Not long after an exhibition in 1867, Manet painted over the background, also enlarging the canvas. Now, the back of the set and a small part of a theatre with an audience can be seen. Because the performances in the hippodrome took place outdoors, this cannot represent the actual situation in 1862.

https://nl.wikipedia.org/wiki/Lola_de_Valence

Lola de Valence
1862 (30 years old)
Oil on canvas
123 x 92 cm
Musée d'Orsay, Paris
https://www.musee-orsay.fr/en/artworks/lola-de-valence-710

Claude Monet
(1840 - 1926)

Monet was 23 years old and, after attending Gleyre's classes in Paris and seeking inspiration in the footsteps of the Barbizon School painters, returned to Normandy in May 1864, where his family was staying. He thought he could find lodging and even invited Bazille to accompany him. But the trip actually ended in Honfleur. Bazille was due to return to Paris during the summer, and Monet extended his stay until autumn. At the Saint-Siméon farm, he met up with Jongkind and Boudin and fell into debt with the owner, Mère Toutain, who agreed to be paid according to the sales of her boarders. Monet therefore set to work, drawing inspiration from various locations in the town and its surroundings. But short of resources, he finally asked Bazille in November to help finance his return to Paris

https://fr.wikipedia.org/wiki/La_Rue_de_la_Bavolle_à_Honfleur

La Rue de la Bavolle à Honfleur
1864 (23 years old)
Oil on canvas
56 × 61 cm
MFA, Boston, US
https://collections.mfa.org/objects/33309

Monet made a second version, on another time of day. That painting is now in the Kunsthalle Mannheim, Germany

https://www.kuma.art/en/exponat/la-rue-de-la-bavolle-honfleur

Édouard Manet
(1832 - 1883)
 

Music in the Tuileries is an 1862 oil-on-canvas painting by Édouard Manet. It is owned by the National Gallery, London and the Hugh Lane Gallery, Dublin as part of the shared Lane Bequest. 
The work is an early example of Manet's painterly style, inspired by Frans Hals and Diego Velázquez, and it is a harbinger of his lifelong interest in the subject of leisure. The painting influenced Manet's contemporaries – such as Monet, Renoir and Bazille – to paint similar large groups of people. 
The painting depicts the gatherings of Parisians at weekly concerts in the Tuileries gardens near the Louvre, although no musicians are depicted. While the picture was regarded as unfinished by some, the suggested atmosphere imparts a sense of what the Tuileries gardens were like at the time; one may imagine the music and conversation.

https://en.wikipedia.org/wiki/Music_in_the_Tuileries

Music in the Tuileries
1862 (30 years old)
Oil on canvas
76.2 x 118.1 cm
National Gallery, London

https://www.nationalgallery.org.uk/paintings/edouard-manet-music-in-the-tuileries-gardens 

 Claude Monet
(1840 - 1926)

Monet was raised in Le Havre, Normandy, and became interested in the outdoors and drawing from an early age. Although his mother, Louise-Justine Aubrée Monet, supported his ambitions to be a painter, his father, Claude-Adolphe, disapproved and wanted him to pursue a career in business. He was very close to his mother, but she died in January 1857 when he was sixteen years old, and he was sent to live with his childless, widowed but wealthy aunt, Marie-Jeanne Lecadre.

https://en.wikipedia.org/wiki/Claude_Monet

Still Life with Bottle, Carafe, Bread, and Wine 
1862 (22 years old)
Oil on canvas
39.69 × 59.85 cm
National Gallery of Art, Washington, DC
https://www.nga.gov/artworks/164942-still-life-bottle-carafe-bread-and-wine

 Édouard Manet
(1832 - 1883)

The Spanish Singer is an 1860 oil painting composed in Manet's studio, it employed a model and props which were later used for at least one other painting. This work, both realistic and exotic in its depiction of its subject, exhibits the influence of Spanish art, especially that of Diego Velázquez, on Manet's style. Manet, due to this painting, was accepted for the first time at the Salon of Paris in 1861, where he also exhibited a portrait of his parents.
The Spanish Singer received positive criticism at the time and won a decent mention. It was appreciated by French writer Charles Baudelaire, and by French journalist and literary critic Theophile Gautier, who praised the painting for its "very true color" and "vigorous brush". Manet consequently became the leader of the avant-garde movement and inspired a group of young artists, including Henri Fantin-Latour and Carolus-Duran, who decided to visit Manet's studio.

https://en.wikipedia.org/wiki/The_Spanish_Singer

The Spanish Singer
1860 (28 years old)
Oil on canvas
147.35 × 114.3 cm
The MET,  N.Y.

https://www.metmuseum.org/art/collection/search/436944

 Claude Monet 
(1840 - 1926)

Oscar-Claude Monet was a French painter and founder of Impressionism painting who is seen as a key precursor to modernism, especially in his attempts to paint nature as he perceived it. During his long career, he was the most consistent and prolific practitioner of Impressionism's philosophy of expressing one's perceptions of nature, especially as applied to plein air (outdoor) landscape painting. The term "Impressionism" is derived from the title of his painting Impression, soleil levant, which was first exhibited in the so-called "exhibition of rejects" of 1874–an exhibition initiated by Monet and like-minded artists as an alternative to the Salon. 

https://en.wikipedia.org/wiki/Claude_Monet

View from Rouelles
1858 (18 years old)
Oil on canvas
46 x 65 cm
Private collection

Édouard Manet
(1832 - 1883)

Édouard Manet was a French modernist painter. He was one of the first 19th-century artists to paint modern life, as well as a pivotal figure in the transition from Realism to Impressionism.

https://en.wikipedia.org/wiki/Édouard_Manet

The Absinthe Drinker
1859 (27 years old)
Oil on canvas
180 x 105 cm
Ny Carlsberg Glyptotek

https://glyptoteket.com/whats-on/collections/french-art-1800