![]() ![]() Stick to it and refuse to budge.“īoudin made his debut at the Paris Salon in 1859, and continued to exhibit with the Salon for years. “ anything painted directly, on the spot, always has a strength, a power, a lively touch that is lost in the studio. Boudin, together with Camille Corot, was a strong influence on young Impressionist painters. Painting styles were changing and artists began to paint nature with a spontaneous approach. “ If I have become a painter, I owe it to Eugène Boudin.” Claude Monet, Winter Sun, Lavacourt, c1879-80 Boudin’s Painting Styleīy the middle of the 1850s, plein-air painting was becoming an established method of painting. Drawing of Monet, presumed to be by Boudin ![]() The two remained lifelong friends and Monet later paid tribute to Boudin’s early influence. In 1857 Boudin met the young Claude Monet ( also living in Le Havre) who spent several months working with him in his studio. In Paris he also developed an interest in the paintings of Realist painter Jean-Baptiste-Camille Corot. Sponsored by former artist clients of the framing business, Boudin went to Paris to study and copy at the Louvre, and in 1851 the town of Le Havre awarded him a three-year scholarship to support his study. In 1846 Boudin started painting full-time. Louis Gabriel Isabey, Low Ebb Tide, 1861 Johan Barthold Jongkind, Quay in Honfluer, 1866 However, his art hero at the time was Dutch landscape master Johan Jongkind (1819-1891). This included tourists in search of the healthful benefits of sea water and air, as well as artists who took the opportunity to paint scenic locales and peasant life.īoth Jean-Francois Millet (1814-75), a founding members of the French Barbizon School of landscape painting, and Constant Troyon (1810-65) sold their paintings at the Boudin family shop, and Eugène was able to study their works, and talk to such to artists as miniature painter Jean-Baptiste Isabey (1767–1855) and the history painter Thomas Couture (1815–79). By the 1830s some small fishing villages were accommodating visitors from both countries. (Although the research I did was a little contradictory, it is likely that Eugène also had a share in this business.)ĭuring Boudin’s lifetime the Channel coast between France and England was transformed by tourism. His family moved across the river to Le Havre in 1835, where his father started a picture framing and stationery business. Boudin’s abilities were recognised and he was encouraged to develop his artistic talent. Whereas The Surprised Nymph depicts a naked bourgeois woman who shields her body from the gaze of the voyeuristic onlooker, she is presented in the Dejeuner as a professional working model apparentlyįlaunts her body and subverts the traditional roles of the spectator and the nude.Following an accident on the ferry when Eugène fell almost drowned, his mother sent him to school. She is perhaps best understood in contrast to the nude woman in the Dejeuner for whom she represents both a prototypeĪnd a transformation. Around the time he produced this work, Manet moved into a new apartment on the rue de l'Hotel de Ville with Suzanne and Leon and the ambivalent attitude of the nude woman may suggest theĪrtist's response to his future wife who in later paintings is shown as an upright member of the bourgeoisie. In part, the work may be a pun on her name, for her pose is reminiscent of that of conventional depictions of Susannah disturbed by theĮlders, at once provocative and chaste. It is believed that the model for the painting was Suzanne Leen-hoff, Manet's future wife. Like the two slightly later paintings, this is a large work and one which clearly took Manet some time to produce. The Surprised Nymph, 1859-61 by Édouard ManetĪlong with the Dejeuner sur I'herbe and Olympia, The Surprised Nymph is one of Manet's major treatments of the quintessential subject-matter of academic ![]()
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