Editing Édouard Manet (section)

==Career==
In 1856, Manet opened a studio. His style in this period was characterized by loose brush strokes, simplification of details, and the suppression of transitional tones. Adopting the current style of [[realism (arts)|realism]] initiated by [[Gustave Courbet]], he painted [[The Absinthe Drinker (Manet painting)|''The Absinthe Drinker'']] (1858–59) and other contemporary subjects such as beggars, singers, Romani, people in cafés, and bullfights. After his early career, he rarely painted religious, mythological, or historical subjects; religious paintings from 1864 include his ''[[:File:Jesus Mocked by the Soldiers.jpg|Jesus Mocked by the Soldiers]]''<ref>[[Jesus Insulted by the Soldiers]]</ref> and ''[[The Dead Christ with Angels]]''.<ref>{{Cite web |url=https://www.metmuseum.org/art/collection/search/436950?ft=manet&offset=0&rpp=40&pos=7 |title=The Dead Christ with Angels |date=1864 |access-date=4 December 2022 |archive-date=6 April 2022 |archive-url=https://web.archive.org/web/20220406095153/https://www.metmuseum.org/art/collection/search/436950?ft=manet&offset=0&rpp=40&pos=7 |url-status=live }}</ref>

Manet had two canvases accepted at the [[Salon (Paris)|Salon]] in 1861. A portrait of his mother and father (''[[Portrait of Monsieur and Madame Manet]]''), the latter of whom at the time was paralysed by a stroke or advanced syphilis, was ill-received by critics.{{sfn|Brombert|1996|p=86}} The other, ''[[The Spanish Singer]]'', was admired by [[Théophile Gautier]], and placed in a more conspicuous location as a result of its popularity with Salon-goers.{{sfn|Brombert|1996|p=88}} Manet's work, which appeared "slightly slapdash" when compared with the meticulous style of so many other Salon paintings, intrigued some young artists and brought new business to his studio.{{sfn|Brombert|1996|p=88}} According to one contemporary source, ''The Spanish Singer'', painted in a "strange new fashion[,] caused many painters' eyes to open and their jaws to drop."{{efn|quoting {{cite book|author-link=Fernand Desnoyers|first=Fernand|last=Desnoyers|title=Le Salon des Refusés|date=1863|language=fr}}{{sfn|King|2006|pp=20-21}} }}

===''Music in the Tuileries''===
{{main|Music in the Tuileries}}
[[File:MANET - Música en las Tullerías (National Gallery, Londres, 1862).jpg|thumb|''[[Music in the Tuileries]]'', 1862]]
In 1862, Manet exhibited ''Music in the Tuileries'' (probably painted in 1860),{{sfn|King|2006}}{{sfn|Courthion|1984|p=50}} one of his first masterpieces. With its portrayal of a crowd of subjects at the [[Tuileries Garden|Jardin des Tuileries]], the painting shows the outdoor leisure of contemporary Paris, which would be a lifelong subject of Manet's.{{sfn|Brombert|1996|pp=101-103}} Among the figures in the gardens are the poet [[Charles Baudelaire]], the musician [[Jacques Offenbach]], and others of Manet's family and friends, including a self-portrait of the artist.{{sfn|Courthion|1984|p=50}}

''Music in the Tuileries'' received substantial critical and public attention, most of it negative.{{sfn|King|2006}} In the words of one Manet biographer, "it is difficult for us to imagine the kind of fury ''Music in the Tuileries'' provoked when it was exhibited".{{sfn|Brombert|1996|p=103}} By portraying Manet's social circle instead of classical heroes, historical icons, or gods, the painting could be interpreted as challenging the value of those subjects or as an attempt to elevate his contemporaries to the same level.{{sfn|Brombert|1996|pp=103-104}} The public, accustomed to the finely detailed brushwork of historical painters such as [[Ernest Meissonier]], thought Manet's thick brushstrokes looked crude and unfinished. Angered by the subject matter and technique, several visitors even threatened to destroy the painting.{{sfn|King|2006}}{{sfn|Brombert|1996|p=130}} One of Manet's idols, [[Eugène Delacroix]], was one of the painting's few defenders.{{sfn|King|2006}} Despite the largely negative reaction, the controversy made Manet a well-known name in Paris.{{sfn|Brombert|1996|p=130}}

===''Luncheon on the Grass ''(''Le Déjeuner sur l'herbe'')===
{{Main|Le Déjeuner sur l'herbe}}
[[File:Edouard Manet - Luncheon on the Grass - Google Art Project.jpg|thumb|left|''[[Le Déjeuner sur l'herbe|The Luncheon on the Grass]]'' ({{Lang|fr|Le déjeuner sur l'herbe}}), 1863]]
Another major early work is ''[[Le Déjeuner sur l'herbe|The Luncheon on the Grass (Le Déjeuner sur l'herbe)]]'', originally ''Le Bain''. The [[Paris Salon]] rejected it for exhibition in 1863, but Manet agreed to exhibit it at the [[Salon des Refusés]] (Salon of the Rejected).{{sfn|Brombert|1996|p=130}} This parallel salon was initiated by Emperor [[Napoleon III]] as a solution to the public outcry after the official salon's Selection Committee only accepted 2,217 paintings out of more than 5,000 submissions. It gave rejected artists the opportunity to display their paintings if they chose.{{sfn|King|2006}}

The painting's juxtaposition of fully dressed men and a nude woman was controversial, as was its abbreviated, sketch-like handling, an innovation that distinguished Manet from Courbet. One critic stated that the brushwork appeared to have been done with a "floor mop".{{sfn|King|2006}} However, others such as his friend Antonin Proust celebrated the painting, and novelist [[Émile Zola]] was so affected by the experience of viewing it that he later based the title painting in his novel ''[[L'Œuvre]]'' ("The Work of Art") on ''Le Déjeuner sur l'herbe''.{{sfn|Brombert|1996|p=132}}

At the same time, Manet's composition reveals his study of the old masters, as the disposition of the main figures is derived from [[Marcantonio Raimondi]]'s [[engraving]] of the ''[[Judgement of Paris]]'' ({{Circa|1515}}) based on a drawing by [[Raphael]].{{sfn|King|2006}} Two additional works cited by scholars as important precedents for {{Lang|fr|Le Déjeuner sur l'herbe}} are ''[[Pastoral Concert]]'' ({{Circa|1510}}) and ''[[The Tempest (painting)|The Tempest]]'', both of which are attributed variously to Italian [[Renaissance]] masters [[Giorgione]] or [[Titian]].<ref>Paul Hayes Tucker, ''Manet's Le Déjeuner sur l'herbe'', Cambridge University Press, 1998, pp. 12–14. {{ISBN|0521474663}}.</ref>

''Le Déjeuner'' and [[James McNeill Whistler]]'s ''[[Symphony in White, No. 1: The White Girl]]'' were the two most discussed works of the Salon des Refusés, which itself would become one of the most famous art exhibitions of all time.{{sfn|Brombert|1996|p=132}} Following the Salon, Manet became yet more notorious and widely discussed.{{sfn|Courthion|1984|p=60}} However, ''Le Déjeuner sur l'herbe'' and Manet's other paintings still failed to sell, and Manet continued living off of his inheritance from his recently deceased father.{{sfn|King|2006}}

===''Olympia''===
{{Main|Olympia (Manet)}}
[[File:Edouard Manet - Olympia - Google Art Project 3.jpg|thumb|''[[Olympia (Manet)|Olympia]]'', 1863–65, [[oil on canvas]], [[Musée d'Orsay]]]]
As he had in ''Luncheon on the Grass'', Manet again paraphrased a respected work by a Renaissance artist in the painting ''[[Olympia (Manet)|Olympia]]'' (1863), a nude portrayed in a style reminiscent of early studio photographs, but whose pose was based on [[Titian]]'s ''[[Venus of Urbino]]'' (1538). The painting is also reminiscent of [[Francisco Goya]]'s painting ''[[The Nude Maja]]'' (1800).

Manet embarked on the canvas after being challenged to give the Salon a nude painting to display.<!-- by whom? --> His uniquely frank depiction of a self-assured [[prostitute]] was accepted by the Paris Salon in 1865, where it created a scandal. According to [[Antonin Proust]], "only the precautions taken by the administration prevented the painting being punctured and torn" by offended viewers.{{sfn|Néret|2003|p=22}} The painting was controversial partly because the nude is wearing some small items of clothing such as an [[orchid]] in her hair, a bracelet, a ribbon around her neck, and mule slippers, all of which accentuated her nakedness, sexuality, and comfortable [[courtesan]] lifestyle. The orchid, upswept hair, [[black cat]], and bouquet of flowers were all recognized symbols of sexuality at the time. This modern Venus' body is thin, counter to prevailing standards; the painting's lack of idealism rankled viewers. The painting's flatness, inspired by [[Ukiyo-e|Japanese wood block]] art, serves to make the nude more human and less voluptuous. A fully dressed black servant is featured, exploiting the then-current theory that black people were hyper-sexed.{{sfn|King|2006}} That she is wearing the clothing of a servant to a courtesan here furthers the sexual tension of the piece.

Olympia's body as well as her gaze is unabashedly confrontational. She defiantly looks out as her servant offers flowers from one of her male suitors. Although her hand rests on her leg, hiding her pubic area, the reference to traditional female virtue is ironic; a notion of modesty is notoriously absent in this work. A contemporary critic denounced Olympia's "shamelessly flexed" left hand, which seemed to him a mockery of the relaxed, shielding hand of Titian's Venus.<ref>{{cite book|last=Hunter|first=Dianne|title=Seduction and theory: readings of gender, representation, and rhetoric|publisher=University of Illinois Press|date=1989|page=19|isbn=0252060636}}</ref> Likewise, the alert black cat at the foot of the bed strikes a sexually rebellious note in contrast to that of the sleeping dog in Titian's portrayal of the goddess in his ''Venus of Urbino''.

''Olympia'' was the subject of caricatures in the popular press, but was championed by the French avant-garde community, and the painting's significance was appreciated by artists such as [[Gustave Courbet]], [[Paul Cézanne]], [[Claude Monet]], and later [[Paul Gauguin]].

As with ''Luncheon on the Grass'', the painting raised the issue of prostitution within contemporary France and the roles of women within society.{{sfn|King|2006}}

===Life and times===
[[File:Edouard Manet - Berthe Morisot With a Bouquet of Violets - Google Art Project.jpg|right|thumbnail|upright|''[[Berthe Morisot with a Bouquet of Violets]]'', 1872]]
[[File:Edouard Manet - Portrait de Berthe Morisot étendue, 1873.jpg|right|thumbnail|upright|''Berthe Morisot reclining'', 1873]]
After the death of his father in 1862, Manet married [[Suzanne Manet|Suzanne Leenhoff]] in 1863 at a [[Protestantism|Protestant]] church.<ref>{{cite book | url=https://books.google.com/books?id=GaRGAQAAIAAJ | isbn=978-1853752957 | title=Sex Lives of the Great Artists | year=1998 | publisher=Prion | access-date=19 March 2023 | archive-date=8 April 2023 | archive-url=https://web.archive.org/web/20230408083443/https://books.google.com/books?id=GaRGAQAAIAAJ | url-status=live }}</ref> Leenhoff was a Dutch-born piano teacher two years Manet's senior with whom he had been romantically involved for approximately ten years. Leenhoff initially had been employed by Manet's father, Auguste, to teach Manet and his younger brother piano. She also may have been Auguste's mistress. In 1852, Leenhoff gave birth, out of wedlock, to a son, Leon Koella Leenhoff.

Manet painted his wife in ''[[The Reading (Manet)|The Reading]]'', among other paintings. Her son, Leon Leenhoff, whose father may have been either of the Manets, posed often for Manet. Most famously, he is the subject of the ''[[Boy Carrying a Sword]]'' of 1861 ([[Metropolitan Museum of Art]], [[New York City|New York]]). He also appears as the boy carrying a tray in the background of ''[[The Balcony (painting)|The Balcony]]'' (1868–69).{{sfn|Mauner|Loyrette|2000|p=66}}

Manet became friends with the [[Impressionism|Impressionists]] [[Edgar Degas]], [[Claude Monet]], [[Pierre-Auguste Renoir]], [[Alfred Sisley]], [[Paul Cézanne]], and [[Camille Pissarro]] through another painter, [[Berthe Morisot]], who was a member of the group and drew him into their activities. They later became widely known as the [[Batignolles group]] (Le groupe des Batignolles).

The supposed grand-niece of the painter [[Jean-Honoré Fragonard]], Morisot had her first painting accepted in the [[Salon de Paris]] in 1864, and she continued to show in the salon for the next ten years.

Manet became the friend and colleague of Morisot in 1868. She is credited with convincing Manet to attempt [[plein air]] painting, which she had been practicing since she was introduced to it by another friend of hers, [[Camille Corot]]. They had a reciprocating relationship and Manet incorporated some of her techniques into his paintings. In 1874, she became his sister-in-law when she married his brother, [[Eugène Manet|Eugène]]. It has been speculated that there was a repressed love between Manet and Morisot, exemplified by the numerous portraits he did of her before she married his brother.<ref>{{cite web| url=https://www.marmottan.fr/expositions/morisot-sacriste/| title=MORISOT / SACRISTE| date=2023| archive-url=https://web.archive.org/web/20231215081820/https://www.marmottan.fr/expositions/morisot-sacriste/| archive-date=2023-12-15| publisher=[[Musée Marmottan Monet]]| access-date=2024-01-15}}</ref><ref>{{cite web| url=https://www.lemonde.fr/m-le-mag/article/2023/10/18/berthe-morisot-par-edouard-manet-le-desir-en-peinture_6195133_4500055.html| title=Berthe Morisot par Edouard Manet, le désir en peinture| date=2023-10-18| archive-url=https://web.archive.org/web/20231018083328/https://www.lemonde.fr/m-le-mag/article/2023/10/18/berthe-morisot-par-edouard-manet-le-desir-en-peinture_6195133_4500055.html| archive-date=2023-10-18| quote="Tous les portraits de Berthe Morisot par Manet sont magnifiques, pleins de son amour pour celle qui avait épousé son frère Eugène. Ils disent un désir qui n’a pu s’exprimer et c’est autour de cette part manquante que j’ai imaginé mon exposition"| publisher=[[Le Monde]]| access-date=2023-10-18}}</ref>

[[File:Edouard Manet 060.jpg|left|thumbnail|upright|''[[Self-Portrait with Palette (Manet)|Self-Portrait with Palette]]'', 1879]]

Unlike the core Impressionist group, Manet maintained that modern artists should seek to exhibit at the [[Paris Salon]] rather than abandon it in favor of independent exhibitions. Nevertheless, when Manet was excluded from the International Exhibition of 1867, he set up his own exhibition. His mother worried that he would waste all his inheritance on this project, which was enormously expensive. While the exhibition earned poor reviews from the major critics, it also provided his first contacts with several future Impressionist painters, including Degas.

Although his own work influenced and anticipated the Impressionist style, Manet resisted involvement in Impressionist exhibitions, partly because he did not wish to be seen as the representative of a group identity, and partly because he preferred to exhibit at the Salon. [[Eva Gonzalès]], a daughter of the novelist [[Emmanuel Gonzalès]], was his only formal student.

He was influenced by the Impressionists, especially Monet and Morisot. Their influence is seen in Manet's use of lighter colors: after the early 1870s he made less use of dark backgrounds but retained his distinctive use of black, uncharacteristic of Impressionist painting. He painted many outdoor (plein air) pieces, but always returned to what he considered the serious work of the studio.

Manet enjoyed a close friendship with composer [[Emmanuel Chabrier]], painting two portraits of him; the musician owned 14 of Manet's paintings and dedicated his ''Impromptu'' to Manet's wife.<ref>Delage, R. ''Emmanuel Chabrier''. Paris: Fayard, 1999. Chapter XI examines in detail their relationship and the effects of each other on their work.</ref>

One of Manet's frequent models at the beginning of the 1880s was the "semimondaine" [[Méry Laurent]], who posed for seven portraits in pastel.{{sfn|Stevens|Nichols|2012|p=199}} Laurent's salons hosted many French (and even American) writers and painters of her time; Manet had connections and influence through such events.

[[File:Portrait-of-jeanne-duval-1862.jpg!Large.jpg|right|thumbnail|upright|''[[Baudelaire's Mistress (Portrait of Jeanne Duval)]]'', 1862]]

Throughout his life, although resisted by art critics, Manet could number as his champions [[Émile Zola]], who supported him publicly in the press, [[Stéphane Mallarmé]], and [[Charles Baudelaire]], who challenged him to depict life as it was. Manet, in turn, drew or painted each of them.

=== Café scenes ===
[[File:Edouard Manet - At the Café - Google Art Project.jpg|thumb|upright|''The Café-Concert'', 1878. Scene set in the Cabaret de Reichshoffen on the Boulevard Rochechouart, where women on the fringes of society freely intermingled with well-heeled gentlemen.<ref>{{cite web|publisher=[[The Walters Art Museum]]|url=http://art.thewalters.org/detail/16473|title=At the Café|access-date=20 September 2012|archive-date=13 May 2013|archive-url=https://web.archive.org/web/20130513162148/http://art.thewalters.org/detail/16473|url-status=live}}</ref> The Walters Art Museum.]]

Manet's paintings of café scenes are observations of social life in 19th-century Paris. People are depicted drinking beer, listening to music, flirting, reading, or waiting. Many of these paintings were based on sketches executed on the spot. Manet often visited the Brasserie Reichshoffen on boulevard de Rochechourt, upon which he based ''At the Cafe'' in 1878. Several people are at the bar, and one woman confronts the viewer while others wait to be served. Such depictions represent the painted journal of a [[flâneur]]. These are painted in a style which is loose, referencing [[Frans Hals|Hals]] and [[Diego Velázquez|Velázquez]], yet they capture the mood and feeling of Parisian night life. They are painted snapshots of [[bohemianism]], urban [[working people]], as well as some of the [[bourgeoisie]].

In ''[[Corner of a Café-Concert]]'', a man smokes while behind him a waitress serves drinks. In ''The Beer Drinkers'' a woman enjoys her beer in the company of a friend. In ''[[The Café-Concert]]'', shown at right, a sophisticated gentleman sits at a bar while a waitress stands resolutely in the background, sipping her drink. In ''[[The Waitress (painting)|The Waitress]]'', a serving woman pauses for a moment behind a seated customer smoking a pipe, while a ballet dancer, with arms extended as she is about to turn, is on stage in the background.

Manet also sat at the restaurant on the Avenue de Clichy called Pere Lathuille's, which had a garden in addition to the dining area. One of the paintings he produced here was ''[[Chez le père Lathuille]]'' (At Pere Lathuille's), in which a man displays an unrequited interest in a woman dining near him.

In ''Le Bon Bock'' (1873), a large, cheerful, bearded man sits with a pipe in one hand and a glass of beer in the other, looking straight at the viewer.

===Paintings of social activities===
[[File:Edouard Manet 053.jpg|thumb|left|''[[The Races at Longchamp]]'', 1864]]

Manet painted the upper class enjoying more formal social activities. In ''Masked Ball at the Opera'', Manet shows a lively crowd of people enjoying a party. Men stand with top hats and long black suits while talking to women with masks and costumes. He included portraits of his friends in this picture.

His 1868 painting ''[[The Luncheon]]'' was posed in the dining room of the Manet house.

Manet depicted other popular activities in his work. In ''[[The Races at Longchamp]]'', an unusual perspective is employed to underscore the furious energy of racehorses as they rush toward the viewer. In ''Skating'', Manet shows a well dressed woman in the foreground, while others skate behind her. Always there is the sense of active urban life continuing behind the subject, extending outside the frame of the canvas.

In ''View of the International Exhibition'', soldiers relax, seated and standing, prosperous couples are talking. There is a gardener, a boy with a dog, a woman on horseback—in short, a sample of the classes and ages of the people of Paris.

===War===
[[File:Manet, Edouard - The Execution of Emperor Maximilian, 1867.jpg|thumb|''[[The Execution of Emperor Maximilian]]'', 1867. [[Museum of Fine Arts, Boston]]. The least finished of three large canvases devoted to the execution of [[Maximilian I of Mexico]].]]

Manet's response to modern life included works devoted to war, in subjects that may be seen as updated interpretations of the genre of "history painting".{{sfn|Krell|1996|p=83}} The first such work was ''[[The Battle of the Kearsarge and the Alabama]]'' (1864), a sea skirmish known as the ''[[Battle of Cherbourg (1864)|Battle of Cherbourg]]'' from the [[American Civil War]] which took place off the French coast, and may have been witnessed by the artist.{{sfn|Krell|1996|pp=84–6}}

Of interest next was the French intervention in Mexico; from 1867 to 1869 Manet painted three versions of the ''[[Execution of Emperor Maximilian]]'', an event which raised concerns regarding French foreign and domestic policy.{{sfn|Krell|1996|pp=87–91}} The several versions of the ''Execution'' are among Manet's largest paintings, which suggests that the theme was one which the painter regarded as most important. Its subject is the execution by Mexican firing squad of a Habsburg emperor who had been installed by [[Napoleon III]]. Neither the paintings nor a [[lithograph]] of the subject were permitted to be shown in France.{{sfn|Krell|1996|p=91}} As an indictment of formalized slaughter, [[The Third of May 1808|the paintings look back]] to [[Francisco Goya|Goya]],{{sfn|Krell|1996|p=89}} and anticipate [[Picasso]]'s ''[[Guernica (painting)|Guernica]]''.
[[File:Boy blowing bubbles by Édouard Manet (1867).JPG|left|thumb|[[Boy Blowing Bubbles|Boy blowing bubbles]] (1867), Manet paints about the fleetingness of life, a theme traditionally represented by soap bubbles in painting]]
During the [[Franco-Prussian War]], Manet served in the National Guard to help defend the city during the [[Siege of Paris (1870–1871)|siege of Paris]], along with Degas.<ref name="Manet/Degas">{{cite web |title=Manet/Degas |website=The Metropolitan Museum of Art |url=https://www.metmuseum.org/exhibitions/manet-degas |access-date=19 November 2023 |archive-date=14 November 2023 |archive-url=https://web.archive.org/web/20231114000837/https://www.metmuseum.org/exhibitions/manet-degas |url-status=live }}</ref> In January 1871, he traveled to [[Oloron-Sainte-Marie]] in the [[Pyrenees]]. In his absence his friends added his name to the "Fédération des artistes" (see: [[Gustave Courbet|Courbet]]) of the [[Paris Commune]]. Manet stayed away from Paris, perhaps, until after the ''[[semaine sanglante]]'': in a letter to [[Berthe Morisot]] at [[Cherbourg-en-Cotentin|Cherbourg]] (10 June 1871) he writes, ''"We came back to Paris a few days ago..."'' (the semaine sanglante ended on 28 May).

The prints and drawings collection of the [[Museum of Fine Arts (Budapest)]] has a [[watercolour]]/[[gouache]] by Manet, ''The Barricade'', depicting a [[summary execution]] of [[Communards]] by Versailles troops based on a [[lithograph]] of the execution of [[Maximilian I of Mexico|Maximilian]]. A similar piece, ''The Barricade'' (oil on plywood), is held by a private collector.

On 18 March 1871, he wrote to his (confederate) friend [[Félix Bracquemond]] in Paris about his visit to [[Bordeaux]], the provisional seat of the French National Assembly of the [[Third French Republic]] where [[Émile Zola]] introduced him to the sites: "I never imagined that France could be represented by such doddering old fools, not excepting that little twit [[Adolphe Thiers|Thiers]]..."<ref>{{cite book|editor-last=Wilson-Bareau|editor-first=Juliet|editor-link=Juliet Wilson-Bareau|title=Manet by himself|location=UK|publisher=Little Brown|date=2004}}</ref> If this could be interpreted as support of the Commune, a following letter to Bracquemond (21 March 1871) expressed his idea more clearly: "Only party hacks and the ambitious, the Henrys of this world following on the heels of the Milliéres, the grotesque imitators of the Commune of 1793". He knew the communard Lucien Henry to have been a former painter's model and Millière, an insurance agent. "What an encouragement all these bloodthirsty caperings are for the arts! But there is at least one consolation in our misfortunes: that we're not politicians and have no desire to be elected as deputies".

The public figure Manet admired most was the republican [[Léon Gambetta]].<ref name="Nord">{{cite book|last=Nord|first=Philip G.|title=The Republican Moment: Struggles for Democracy in Nineteenth Century France|date=1995|publisher=Harvard University Press|pages=170–171}}</ref> In the heat of the ''[[16 May 1877 crisis|seize mai]]'' coup in 1877, Manet opened up his atelier to a republican electoral meeting chaired by Gambetta's friend [[Eugène Spuller]].<ref name="Nord" />

===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>

===Late works===
[[File:"Un Bar aux Folies-Bergère" by Édouard Manet (1882).jpg|thumb|''[[A Bar at the Folies-Bergère]] (Un Bar aux Folies-Bergère)'', 1882, [[Courtauld Gallery]], London]]
In his mid-forties Manet's health deteriorated, and he developed severe pain and [[hemiplegia|partial paralysis]] in his legs. In 1879 he began receiving [[hydrotherapy]] treatments at a spa near [[Meudon]] intended to improve what he believed was a [[circulatory disease|circulatory problem]], but in reality he was suffering from [[Tabes dorsalis|locomotor ataxia]], a known side-effect of [[syphilis]].{{sfn|Meyers|2005|p=80}}<ref>"Manet, Édouard" in ''[[Benezit Dictionary of Artists]]''. [http://www.oxfordartonline.com/public/book/oao_benz Oxford Art Online] {{Webarchive|url=https://web.archive.org/web/20160110140409/http://www.oxfordartonline.com/public/book/oao_benz |date=10 January 2016 }} ([[Oxford University Press]]), accessed 23 November 2013 (subscription required).</ref> In 1880, he painted a portrait there of the opera singer [[Émilie Ambre]] as [[Carmen]]. Ambre and her lover Gaston de Beauplan had an estate in Meudon and had organized the first exhibition of Manet's ''[[The Execution of Emperor Maximilian]]'' in New York in December 1879.<ref name="Tinterow">{{cite book|last1=Tinterow|first1=Gary|last2=Lacambre|first2=Geneviève|author2-link=Geneviève Lacambre|url=https://books.google.com/books?id=4somoplUFVwC&pg=PA503|title=Manet/Velázquez: The French Taste for Spanish Painting|date=2003|page=503|publisher=[[Metropolitan Museum of Art]]|isbn=978-1588390400}}</ref>

In his last years Manet painted many small-scale [[still life]]s of fruits and vegetables, such as [[A Bundle of Asparagus|''A'' ''Bunch of Asparagus'']] and ''The Lemon'' (both 1880).{{sfn|Mauner|Loyrette|2000|pp=96–100}} He completed his last major work, ''[[A Bar at the Folies-Bergère]] (Un Bar aux Folies-Bergère)'', in 1882, and it hung in the Salon that year. Afterwards, he limited himself to small formats.

Manet's last paintings were of flowers in glass vases.{{sfn|Mauner|Loyrette|2000|p=144}} There are 20 such paintings known, with the last one painted in March 1883, barely two months before his death.<ref name=":0">{{Cite book |last=Mauner |first=George L. |title=Manet: The Still Life Paintings |publisher=Harry N. Abrams, Inc. |year=2000 |isbn=0-8109-4391-3 |edition=1st |location=New York |pages=144 |language=English}}</ref> Quoted in Venice thirteen years later, Manet is credited with stating that an artist can say everything he has to say with "flowers, fruit, and clouds." His last flower paintings are a demonstration of that belief.<ref name=":0" />

In 2023, the [[Metropolitan Museum of Art]] in New York City exhibited a two-person exhibition of Manet with [[Edgar Degas|Degas]].<ref>{{Cite news |last=Cotter |first=Holland |date=21 September 2023 |title=Manet and Degas: A Masterful Pas de Deux at the Met |work=The New York Times |url=https://www.nytimes.com/2023/09/21/arts/design/manet-degas-met-museum.html |access-date=16 November 2023 |archive-date=28 November 2023 |archive-url=https://web.archive.org/web/20231128041349/https://www.nytimes.com/2023/09/21/arts/design/manet-degas-met-museum.html |url-status=live }}</ref>