Picture This: The Influence of Photography on Manet’s Paintings

     France experienced a rise of the impressionist movement of painting during the nineteenth century. Impressionists rejected tradition and chose instead to stress modernity. They emphasized the idea of a utopia and embraced a linear view of history in which society was constantly moving toward a better, more perfect world. To emphasize the betterment of humanity, impressionists focused on modern changes to society, such as economic, sociological, and technological developments. With the emphasis on technological changes and the rise of the industrial revolution, artists also looked toward using new technology for their artistic processes. In particular, many impressionists began to use photography due to the development of the new photographic camera. The accessibility to photographs allowed individuals to obtain personal snapshots of reality that could be used as references. Artists often painted using models and in-person references of landscapes and places. However, photography allowed new inspiration for paintings’ general composition and lighting.

    French impressionist Édouard Manet was known for his love of photography. Scenes of ballet stars and the contemporary opera have been noted as particular references Manet has utilized, and Manet was also known to use daguerreotypes when painting portraits. Clear examples of Manet utilization of photography can be seen in his portraits. With the static figures seated or standing, these could pass as staged photos if not for the brushstrokes on the canvas. However, it can be harder to see the influence in paintings that start to divert from reality. Manet did not only paint real subjects; he created his own scenes, whether representative of his personal conception of cultures or of biblical scenes. However, these paintings also contained distinct lighting and composition choices that produce a photographic quality highly reminiscent of theatrical pictures. While more obvious in some of his paintings than others, Manet intentionally kept the evidence of brushstrokes in his paintings and did not try to paint an entirely naturalistic portrait; his focus when it came to painting was not to produce something realistic. Manet’s paintings are not inspired by photographs in the sense that they themselves look like reproductions of photographs. The evidence of the influence of photography on Manet’s work is seen in his stylistic choices. The aim of this exhibit is to challenge the viewer to “picture this”; that is, to look at a work by Manet and try to see it first as a painting and then identify what influence photographed pictures had on the work.

Portrait of Mademoiselle Claus, Édouard Manet, Oil on Canvas, 111 x 70 cm, 1868

The Ashmolean Museum of Art and Archaeology

Manet’s Portrait of Mademoiselle Claus depicts a central figure, Mademoiselle Claus, who is accompanied by another lady on the right side of the canvas. Seated, posed, and depicted with her body and eyes angled slightly toward the viewer, Claus looks like she is getting her picture taken. The stone floor and railing depict a balcony scene, but the sharp highlights and overall brightness of the painting do not reflect outdoor lighting. Rather, the lighting seems reminiscent of stage light. Mademoiselle Claus is not simply sitting outdoors; she is being presented like a stage performer. She is meant to be viewed, like an entertainer or a photograph.

The Balcony,  Édouard Manet, Oil on Canvas, 170x125 cm, 1868-69

Musée d’Orsay

Manet’s The Balcony provides a similar scene to what is depicted in Portrait of Mademoiselle Claus: a group of figures sits or stands outside on a balcony. The same stage-like lighting is used, with prominent figures highlighted with bright, well-lit faces and less prominent figures recessed into the shadows of the background. Only some of the figures fully face the viewer, and the lady seated sets her gaze to the left side of the painting. This does not feel like a typical portrait painting that one may get for their home. The features of the turned gaze, the hidden figure in the background barely visible in the shadows, and the man in the blue tie seemingly unaware of what is happening makes this feel like a photo. The process of painting takes hours, days, and, on occasion, months and years to complete; this is a long process with multiple chances for corrections and changes. However, Manet includes distinct details that make the painting feel like he has merely captured a quick instant in time.

Mademoiselle V . . . in the Costume of an Espada, Édouard Manet 

Oil on Canvas, 165.1 x 127.6 cm, 1862

The Metropolitan Museum of Art

While Manet’s portraits resemble photographs in a more traditional French setting, Mademoiselle V . . . in the Costume of an Espada shows the influence of Spanish culture in his work. A matadora is depicted in the center of the painting with a nontraditional bullfighting outfit, which is evident by elements such as the bows in her shoes and the pink cape she holds in her left hand. Instead of being depicted mid-action, she is posing. Her sword points outward at a distinct angle and her eyes are directed toward the viewer. She does not need to be wearing an actual bullfighting outfit because she is wearing a costume, like an actor. Elements such as her strong pose and the highly contrasted lighting on her face make the painting feel staged.

Jesus Mocked by the Soldiers , Édouard Manet, Oil on Canvas, 

190.8 × 148.3 cm, 1865

The Art Institute of Chicago

                In Manet’s Jesus Mocked by the Soldiers, the viewer is confronted with a scene that could not have been photographed during the nineteenth century period in which it was painted. The main subject of the painting is the seated figure of Jesus Christ, who is depicted with his hands bound at the wrists and a crown of thorns on his head. Surrounded by Roman soldiers, this Christ figure is supposed to represent Jesus being mocked before his death on the cross.While not representative of a photograph, this painting does mirror aspects of photographs taken at the time of theater actors. The strong, dynamic lighting of the figures is contrasted with the dark, void-like background. The viewer is introduced not just to a painting, but to a set.

Olympia, Édouard Manet, Oil on Canvas, 1863, 130.5x191 cm, 

Musée d’Orsay

    Olympia gives one example of Manet’s depiction of nude figures in his artwork. The main subject of the piece is the nude female figure who is laying expectantly on a bed. It has been largely accepted that the woman depicted is a prostitute. She depicts the same show-like qualities seen in many of Manet’s other paintings. Her body is bright and contrasted against a dark background, and her pose is distinct. She has moved herself in a very specific way; one can tell, for instance, that she has distinctly moved her left hand as a means of coverage. As a prostitute, she is similar to the pictures of actors in the nineteenth century in the sense that she is meant to be viewed, for a price.

The Café Concert, Édouard Manet, Oil on Canvas, 47.3 x 39.1 cm,  ca. 1879

The Walters Art Museum

    Manet’s The Café Concert does not look like a photograph in the same way his portrait paintings with stiffly posed figures do. In these pieces, the brushstrokes are much more loose, and the painting is filled with movement. A man toward the right side of the painting has his head turned away, the woman next to him is in the process of tilting her head toward the counter, and the woman behind these two figures is caught mid-sip of her drink. The action, whether actual or implied, reproduces the sense of a motion blur. Like a photograph, the painting includes figures that represent one singular unit of time.