Skip to main content

Artists at Sea: Manet in Normandy

After writing a 1,000 word piece about Winslow Homer's eighteen month stay at an English fishing village, I'm writing a series of primers about other artists who made similar journeys.

Edouard Manet, The Escape of Rochefort, oil on canvas, 1881
Who

Edouard Manet (1832-1883), French painter.

Coastal association

The Normandy coast north of Paris.

First coastal visit

In 1848, when he was sixteen years old, his father made the first of several failed attempts to get young Edouard into the navy, packing him off on a merchant vessel sailing to Rio di Janeiro. Manet: “I learned a lot on my voyage to Brazil. I spent countless nights watching the play of light and shadow in the ship’s wake. During the day, I stood on the upper deck gazing at the horizon. That’s how I learned to construct a sky."

Reasons for visiting

Similar to many other of his near contemporaries, Manet first began regularly visiting towns such as Boulogne and Trouville for family vacations as new train lines from Paris made the journey faster than ever before. Then, as with the younger painters such as Monet and Renoir, Manet painted the sea as a way of experimenting with his own values in painting.

Dates visited

As an adult, from the early 1860s until the late 1870s.

Effect on Work

One of the compelling features of Manet's style is its awkwardness, as if he determinedly went at things he didn't necessarily have all the technique to accomplish. The Escape of Rochefort (above) is an example: a history painting with no clear subject, a painting of the sea with roughly painted waves, but the whole thing being eerily beautiful.

Rating

8 sea points out of 10

Popular posts from this blog

Restoring my Printing Press

I've just finished restoring and assembling my large etching press -- a six week process involving lots of rust removal, scrubbing with steel wool, and repainting. Here is a photo of the same kind of press from the Chicago Printmakers Collaborative: And here is a short YouTube video of me testing the press, making sure the motor still works after nearly seven years of lying in storage:

Brancusi in Plastic

Artist Mary Ellen Croteau is showing these columns made from recycled plastic cartons and lids in the window of the Columbia College bookstore on Michigan Avenue. They are a playful homage to Brancusi's "Endless Columns", with a serious environmental message for our times: Image copyright Inhabitat.com and Mary Ellen Croteau Mary Ellen also runs a wonderful experimental art gallery in a window space in west Chicago, called Art on Armitage . I will be exhibiting a mixed media piece there during August 2012.

How to etch a linoleum block

Linoleum as a material for printmaking has been used for nearly a hundred years now. Normally, you cut an image out using special gouges similar to woodcut tools, cutting away the lino around the image you want to print. This is called relief printmaking, because if you look at the block from the side, the material that remains stands up in relief from the backing material. You then roll ink with a brayer over the surface of the block, place paper over it, and either print by hand or run it through a press. You can do complex things this way (for example, reduction linocuts), but the beauty of the process is that it is quick, simple, and direct. Incised lino block, from me.redith.com Etched lino block, from Steve Edwards A few years ago, I saw some prints that were classified as coming from etched linoleum blocks, and I loved the textures I saw in them. In the last few months, I've been trying to use this technique in my own studio, learning about it as one does these d