![]() Put on mine,' he said to me at last, handing me his own jacket of tussore silk. I took up my pose again with her, but it was not the same thing. "The next day," recounted Gautluer-Lathuille, "I saw ManetĬome in with Mile Judith French, a relative of Offenbach. With a rather cool reception from Manet, who said that if that was how things stood, he could do without her. She begged to be excused: she was rehearsing a play. He was to have posed in uniform with Ellen Andree, who was at that time still very young, charming, amusing, and beautifully dressed.Īfter two sittings the picture was progressing very well, but at the third - no Ellen Andree. He had met Manet at his parents' restaurant while he was a It was then that Gauthier-Lathuille told him the story of Manet's painting. Woman: There were all these paintings that were easy to read at the academy. Man: It's a very difficult painting to read in certain ways. Tabarant knew him later when he had turned the old restaurant We're looking at Edouard Manet's The Railway, which is one of their great canvases. The young dandy is the son of the proprietor, M. The model for the woman was Mile French, who took over from the original model, Ellen Andree, Manet's day, the restaurant was near the Guerbois, off the avenue de Clichy. (Its sign appears in a picture by Horace Vernet.) In ![]() The picture was painted at the restaurant Pere Lathuille, an old establishment near the Clichy tollhouse. I admire the restrained emotion which gives the painting this lyrical quality. One of those pictures in which time has been evoked like a melody underlying the color. The painter, permitting his talent to blossom forth, has expressed his whole art in this canvas. Although Manet never chose to associate himself officially with the impressionist group, this painting’s scene of modern life, as well as its loose, abstract effects, show the influence of the younger artists on his work.We have before us one of the crowning works of Manet's career. Reviewers were critical of the unfinished appearance of The Railway and that the rail station itself was not well–defined in the picture. The painting was completed by Edouard Manet in 1872/73 and portrays the young girl with her back turned from the viewer. Of the four, only two were accepted, The Railway and a watercolor. Manet submitted four works to the Paris Salon of 1874. The composition is a complex contrapuntal apposition of the two figures: one clad in a white dress trimmed with a blue bow and the other dressed in dark blue trimmed with white one with hair bound by a narrow black ribbon and the other with flowing tresses under a black hat and one a child standing and looking at anonymous trains and buildings in the background and the other a seated adult staring forward to confront viewers directly. The woman is Victorine Meurent, Manet's favorite model in the 1860s, and the child was the daughter of a fellow painter who allowed Manet to use his garden to create The Railway. Confined to a narrow space backed by the black bars of an iron fence and isolated by clouds of steam sent up from a train passing below, Manet's two models are enigmatic presences. Advances in industrial technology and train travel, intrinsic to most contemporary depictions of the site, remain in Manet's painting the almost invisible background for a genre depiction of a woman and child. The Gare Saint–Lazare, in 1873 the largest and busiest train station in Paris, is unseen in this painting. Édouard Manet, “The Railway,” 1873, oil on canvas, 36 x 43 in/ National Gallery of Art
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