Manet and Modernism
Manet and Modernism: A Perspective on Manet Modernism, as it relates to the work of Edouard Manet, requires at least two caveats as prerequisites to forming a perspective. The problem is twofold: 1) ‘modernism’ is a term with broad, even sometimes vague, definitions, and 2) Edouard Manet’s prolific work is open to broad degrees of interpretation. In the first instance, and for the contextual purposes of this essay, ‘modernism’ can be described here as primarily including efforts in the field of art within the political and historical framework of 1860 to 1970. However, as one expert notes, “Modernism has its roots in the past” (Witcombe, 1997). Here, we are concerned with the ‘mechanics’ of modern art (line, shape, color, etc.), but it is important to understand the philosophy that motivated such art. Secondly, Edouard Manet’s painting career of over 30 years included approximately 284 oil paintings (listing appended) with assorted discernible styles. Yet, between the formalism of his earliest works, and the impressionism of his later works, are works experimental in nature. With reference to one of these ‘typical’ experimental works, “Young Lady with a Parrot” (New York: The Metropolitan Museum of Art, 2000–, December 2008), a perspective on Manet can be simply stated: Edouard Manet’s work exhibits the essential hallmarks of modernism. In fact, by bridging and combining the styles traditionally thought of as impressionism, realism, and modernism, Manet can rightfully be considered a ‘father of modernism’ in art. Helpful in understanding the philosophy, and aesthetics, of ‘modernism’ in its historical context are the comments of Phi Delta Kappan Elkind. Although this author is specifically concerned with trends in education, his comments serve to summarize modernist philosophy well. He states, “Modernity was built on three unquestioned assumptions about the world. The first idea was that of progress, the notion that societies inevitably moved forward in a
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