{"page":"\u003clink rel=\"stylesheet\" href=\"https://lessonplanet.com/assets/packs/css/resources-c03aa079.css\" /\u003e\n\u003clink rel=\"stylesheet\" href=\"https://lessonplanet.com/assets/packs/css/lp_boclips_stylesheets-517835be.css\" media=\"all\" /\u003e\n\u003cdiv data-title='First exhibition ever of Manet as a portrait painter' data-url='/boclips/videos/5c54c194d8eafeecae153388' data-video-url='/boclips/videos/5c54c194d8eafeecae153388' id='bo_player_modal'\u003e\n\u003cdiv class='boclips-resource-page modal-dialog panel-container'\u003e\n\u003cdiv class='react-notifications-root'\u003e\u003c/div\u003e\n\u003cdiv class='rp-header'\u003e\n\u003cdiv class='rp-type'\u003e\n\u003ci aria-hidden='true' class='fai fa-regular fa-circle-play'\u003e\u003c/i\u003e\nVideo\n\u003c/div\u003e\n\u003ch1 class='rp-title' id='video-title'\u003e\nFirst exhibition ever of Manet as a portrait painter\n\u003c/h1\u003e\n\u003cdiv class='rp-actions'\u003e\n\u003cdiv class='mr-1'\u003e\n\u003ca class=\"btn btn-success\" data-posthog-event=\"Signup: LP Signup Activity\" data-posthog-location=\"body_link_boclips\" data-remote=\"true\" href=\"/subscription/new\"\u003e\u003cspan\u003e\u003cspan\u003eGet Free Access\u003c/span\u003e\u003cspan class=\"\"\u003e for 10 Days\u003c/span\u003e\u003cspan\u003e!\u003c/span\u003e\u003c/span\u003e\u003c/a\u003e\n\u003c/div\u003e\n\u003c/div\u003e\n\u003c/div\u003e\n\u003cdiv class='rp-body'\u003e\n\u003cdiv class='rp-info'\u003e\n\u003cdiv aria-label='Hide resource details' class='rp-hide-info' role='button' tabindex='0'\u003e\u0026times;\u003c/div\u003e\n\u003ci aria-label='Expand resource details' class='rp-expand-info fai fa-solid fa-up-right-and-down-left-from-center' role='button' tabindex='0'\u003e\u003c/i\u003e\n\u003ci aria-label='Compress resource details' class='rp-compress-info fai fa-solid fa-down-left-and-up-right-to-center' role='button' tabindex='0'\u003e\u003c/i\u003e\n\u003cdiv class='rp-rating'\u003e\n\u003cspan class='resource-pool'\u003e\n\u003cspan class='pool-label'\u003ePublisher:\u003c/span\u003e\n\u003cspan class='pool-name'\u003e\n\u003cspan class='text'\u003e\u003ca data-publisher-id=\"30356011\" href=\"/search?publisher_ids%5B%5D=30356011\"\u003eCurated Video\u003c/a\u003e\u003c/span\u003e\n\u003c/span\u003e\n\u003c/span\u003e\n\u003c/div\u003e\n\u003cdiv class='rp-description'\u003e\n\u003cspan class='short-description'\u003eLondon - 22 January 20131. Close up \"Self Portrait\" (1878-1879)2. Tilt up  \"Self Portrait\"3. Mid of woman taking picture of  \"Self Portrait\" on mobile 4. Pan from close up of mobile phone picture being taken to close up of  \"Self...\u003c/span\u003e\n\u003cspan class='full-description hide'\u003eLondon - 22 January 2013\u003cbr/\u003e1. Close up \"Self Portrait\" (1878-1879)\u003cbr/\u003e2. Tilt up  \"Self Portrait\"\u003cbr/\u003e3. Mid of woman taking picture of  \"Self Portrait\" on mobile \u003cbr/\u003e4. Pan from close up of mobile phone picture being taken to close up of  \"Self Portrait\"\u003cbr/\u003e5. Photo of Edouard Manet taken by David Winkie Wynfield  taken during a visit to London in 1862\u003cbr/\u003e6. Pan from woman to unattributed photo of Manet\u003cbr/\u003e7. Wide of exhibition, pan towards \"The Luncheon\" (1868) and \"Boy blowing bubbles\" (1867) both depicting his stepson Leon, the son of his wife\u003cbr/\u003e8. Tilt up \"The Luncheon\" \u003cbr/\u003e9. Close up \"Boy blowing bubble\"\u003cbr/\u003e10. Set up of curator MaryAnne Stevens, Director of Academic Affairs, Royal Academy of Arts, talking to journalists\u003cbr/\u003e11. SOUNDBITE: (English)  MaryAnne Stevens, Director of Academic Affairs, Royal Academy of Arts:\u003cbr/\u003e\"He's a totally committed portrait painter, but also and very importantly what this exhibition demonstrates is that when he came to paint scenes from contemporary life, which was the other aspect of his art which was very important, he used his family and his friends whom he had painted in portraits as models in these scenes of contemporary Parisian life.\"\u003cbr/\u003e12. Mid of exhibition\u003cbr/\u003e13. Mid of women looking at \"Mme Manet in the Conservatory\" (1879) depicting his wife \u003cbr/\u003e14. Close up of \"Mme Manet in the Conservatory\" \u003cbr/\u003e15. Pan of several paintings all of them depicting his wife - the last one on the right is \"Woman with a cat\" (1880)\u003cbr/\u003e16. SOUNDBITE: (English) MaryAnne Stevens, Director of Academic Affairs, Royal Academy of Arts:\u003cbr/\u003e\"What is not new is the identification of the people of the people in a painting like \"Music in The Tuileries Garden\" or \"The Luncheon\" or The Railway. What is new and is brought to the fore in this exhibition is the significance of us knowing who they are within the painting. It is one thing to use a figure that you know just as a model in a painting, but is another thing for the artist to say I want you the viewer to identify that figure as Baudelaire, because that's very important, it then becomes a portrait of my life and that is something that has not been done before.\"\u003cbr/\u003e17. Zoom into \"Music in the Tuileries Garden\"  (1862)\u003cbr/\u003e18. Pan from left to right of detail of \"Music in the Tuileries Garden\", in the extreme left the first man with top hat is said to be Edouard Manet\u003cbr/\u003e19. Close up of leaflet explaining the painting and identifying characters\u003cbr/\u003e20. Mid of man looking at leaflet and painting and working out who they are  \u003cbr/\u003e21. Mid of woman looking at \"Berthe Morisot with a Bouquet of Violets\" (1872)\u003cbr/\u003e22. Close up of the same\u003cbr/\u003e23. Wide of portrait of \"Emile Zola\" (1868) \u003cbr/\u003e24. Pan up detail of Emile Zola portrait\u003cbr/\u003e26. Various of Sophie taking picture of portrait of French Prime Minister Clemenceau\u003cbr/\u003e27. SOUNDBITE: (French) Sophie Ponet Larget-Piet, art critic and writer for L'Echo magazine:\u003cbr/\u003e\"All eyes are now on this artist, who recovers his \"titles of nobility\". Because he had been a bit overshadowed by the Impressionists - as he had been assimilated to that group  - and after that by the post-Impressionists and the Cubists, and here we realise with these two exhibitions  - the previous one in Paris (focusing on Manet and costumes) and this one in London - we discover a Manet who opens the door to Modernism.\"\u003cbr/\u003e28. Women looking at portraits and commenting\u003cbr/\u003e29. Close up of \"The Railway\" (1873)\u003cbr/\u003e30. Man with headphones listening to explanation with \"The Railway\" in background\u003cbr/\u003e30. Wide of people looking at \"Dejeuner sur l'herbe\" (1863-1868)\u003cbr/\u003e31. Zoom into  \"Dejeuner sur l'herbe\" \u003cbr/\u003e32. Pan across naked lady in  \"Dejeuner sur l'herbe\"\u003cbr/\u003eA new exhibition brings together the portraits of French Impressionist painter, Edouard Manet. \u003cbr/\u003eSpanning the entire career of this enigmatic and at times controversial artist, 'Manet: Portraying Life' is being displayed at the Royal Academy in London. \u003cbr/\u003eThere has been many retrospectives on Manet's work, but for the first time ever, an exhibition focuses on his portraits. \u003cbr/\u003eThe artists own self-portrait opens the exhibition in London. An image which depicts him as a man at leisure rather than as an artist.\u003cbr/\u003eManet tried to create images of ordinary people as his subjects, the characters coming to life on the canvas. \u003cbr/\u003eBut very often Manet constructed the image of \"reality\", and was actually painting family and friends. \u003cbr/\u003eHis stepson, Leon Leenhoff, was the model for these two emblematic paintings: \"The Luncheon\" and \"Boy blowing bubbles\"\u003cbr/\u003eManet painted his family, friends and the literary, political and artistic figures of his day, giving life not only to his subjects but also to Parisian society of the time.\u003cbr/\u003eMaryAnne Stevens, Director of Academic Affairs, Royal Academy of Arts, explains how the artist bridged different aspects of his artistic expression: \u003cbr/\u003e\"He's a totally committed portraIt painter, but also and very importantly what this exhibition demonstrates is that when he came to paint scenes from contemporary life, which was the other aspect of his art which was very important, he used his family and his friends whom he had painted in portraits as models in these scenes of contemporary Parisian life.\"\u003cbr/\u003eThe exhibition consists of more than 50 works, among them are portraits of Manet's most frequent sitter, his wife Suzanne Leenhoff. \u003cbr/\u003eSuzanne was painted as herself in \"Mme Manet in the Conservatory\" but also served as a model for many other paintings such as  \"Woman with a  cat.\"\u003cbr/\u003eThe exhibition is arranged thematically, exploring his world and the landscape of 19th century Parisian society.\u003cbr/\u003eThe famous \"Music in the Tuileries Garden\", which had not been considered a portrait until now, is at the centre of this exhibition, and key to understanding the painter's work.\u003cbr/\u003eThe curator explains why:  \u003cbr/\u003e\"What is not new is the identification of the people of the people in a painting like \"Music in The Tuileries Garden\" or \"The Luncheon\" or The Railway. What is new and is brought to the fore by this exhibition is the significance of us knowing who they are within the painting. It is one thing to use a figure that you know just as a model in a painting, but is another thing for the artist to say I want you the viewer to identify that figure as Baudelaire, because that's very important, it then becomes a portrait of my life and that is something that has not been done before.\"\u003cbr/\u003eThe first man with a top hat on the extreme left hand side of the painting is said to be Edouard Manet. Others in the painting include his wife and poet Baudelaire. \u003cbr/\u003eSophie Ponet Larget-Piet is an art critic and writer for L'Echo magazine.\u003cbr/\u003eShe says Manet is being finally rediscovered by the art world.\u003cbr/\u003e\"All eyes are now on this artist, who recovers his \"titles of nobility\". Because he had been a bit overshadowed by the Impressionists - as he had been assimilated to that group  - and after that by the post-Impressionists and the Cubists, and here we realise with these two exhibitions  - the previous one in Paris (focusing on Manet and costumes) and this one in London - we discover a Manet who opens the door to Modernism.\"\u003cbr/\u003e'Manet: Portraying Life' has been organised by the Royal Academy of Arts, London, in collaboration with the Toledo Museum of Art, Ohio.\u003cbr/\u003eThe collection brings together works from across Europe, Asia and the USA from museums and private collections alike. \u003cbr/\u003eThe exhibition runs from Saturday 26 January until April 14 2013. \u003cbr/\u003e\u003c/span\u003e\n\u003c/div\u003e\n\u003cdiv class='action-container flex justify-between'\u003e\n\u003cbutton aria-expanded='false' aria-label='Read more description' class='rp-full-description' type='button'\u003e\n\u003ci class='fai fa-solid 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