Editing Édouard Manet (section)

===Paris===<!--Section linked from [[Victorine Meurent]]-->
Manet depicted many scenes of the streets of Paris in his works. ''The Rue Mosnier Decked with Flags'' depicts red, white, and blue pennants covering buildings on either side of the street; another painting of the same title features a one-legged man walking with crutches. Again depicting the same street, but this time in a different context, is ''Rue Mosnier with Pavers'', in which men repair the roadway while people and horses move past.

[[File:Edouard Manet - Le Chemin de fer - Google Art Project.jpg|thumb|left| ''[[The Railway]]'', 1873]]
''[[The Railway]]'', widely known as ''The Gare Saint-Lazare'', was painted in 1873. The setting is the urban [[landscape]] of Paris in the late 19th century. Using his favorite model in his last painting of her, a fellow painter, [[Victorine Meurent]], also the model for ''Olympia'' and the ''Luncheon on the Grass'', sits before an iron fence holding a sleeping puppy and an open book in her lap. Next to her is a little girl with her back to the painter, watching a train pass beneath them.

Instead of choosing the traditional natural view as background for an outdoor scene, Manet opts for the iron grating which "boldly stretches across the canvas".<ref>Gay, Peter. ''Art and Act: On Causes in History--Manet, Gropius, Mondrian.'' United Kingdom, Harper & Row, 1976. p. 106.</ref> The only evidence of the train is its white cloud of steam. In the distance, modern apartment buildings are seen. This arrangement compresses the foreground into a narrow focus. The traditional convention of deep space is ignored.

Historian Isabelle Dervaux has described the reception this painting received when it was first exhibited at the official Paris Salon of 1874: "Visitors and critics found its subject baffling, its composition incoherent, and its execution sketchy. [[caricature|Caricaturists]] ridiculed Manet's picture, in which only a few recognized the symbol of modernity that it has become today".<ref>{{cite book|last1=Adams|first1=Katherine H.|last2=Keene|first2=Michael L.|title=After the Vote Was Won: The Later Achievements of Fifteen Suffragists|publisher=McFarland|date=2010|page=37|isbn=978-0786449385}}</ref> The painting is currently in the [[National Gallery of Art]] in Washington, D.C.<ref>{{cite web|url=http://www.nga.gov/fcgi-bin/tinfo_f?object=43340.0|title=Art Object Page|publisher=Nga.gov|access-date=22 July 2013|archive-url=https://web.archive.org/web/20121003025509/http://www.nga.gov/fcgi-bin/tinfo_f?object=43340.0|archive-date=3 October 2012|url-status=dead}}</ref>

Manet painted several boating subjects in 1874. ''Boating'', now in the Metropolitan Museum of Art, exemplifies in its conciseness the lessons Manet learned from Japanese prints, and the abrupt cropping by the frame of the boat and sail adds to the immediacy of the image.<ref>Herbert, Robert L. ''Impressionism: Art, Leisure, and Parisian Society''. Yale University Press, 1991. p. 236. {{ISBN|0300050836}}.</ref>

In 1875, a book-length French edition of [[Edgar Allan Poe]]'s ''[[The Raven]]'' included lithographs by Manet and translation by Mallarmé.<ref>{{cite web|url=http://digitalgallery.nypl.org/nypldigital/dgkeysearchresult.cfm?parent_id=173889&word=|title=NYPL Digital Gallery &#124; Browse Title|publisher=Digitalgallery.nypl.org|access-date=22 July 2013|archive-date=7 October 2008|archive-url=https://web.archive.org/web/20081007110957/http://digitalgallery.nypl.org/nypldigital/dgkeysearchresult.cfm?parent_id=173889&word=|url-status=live}}</ref>

In 1881, with pressure from his friend [[Antonin Proust]], the French government awarded Manet the [[Légion d'honneur]].<ref>{{Base Léonore|LH 1715/41|id=245101}}</ref>