旧金山印象派画展 Birth of Impressionism

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从巴黎奥赛博物馆（法文：Musée d'Orsay）借的画。 愛德華·馬奈（法文：Édouard Manet，1832年1 月23日－1883年4 月30日）的 《吹笛子的少年》，法语: Le Joueur de fifre ， 1866年。

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威廉·阿道夫·布格罗（William Adolphe Bouguereau，1825年11月30日 - 1905年8 月19日）代表坚持唯美主义的学院派风格，打击压制后起的印象派画家。他的1879年作品维纳斯的诞生 (La naissance de Venus)。

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亨利·方丹-拉图尔（Henri Fantin-Latour ，1836年1月14日 - 1904年8 月25日）的《巴迪侬画室》(Un atelier aux Batignolles) 1870年 ，在这幅的群像画里，出色地将自己的好友——印象派的马奈，及雷诺瓦、莫奈、左拉等有机地组合在一起。他的人物画含有古典学院派严谨的写实手法与印象派的综合技法。这幅画表现的场景是马奈(Édouard Manet)正在作画，马奈的身旁，是作家左拉(Émile Zola)、画家莫奈(Claude Monet)、雷诺瓦(Auguste Renoir)、巴齐耶(Frédéric Bazille) 及他们的朋友在旁围观。

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愛德華·馬奈 (Édouard Manet, 1832年1 月23日~1883年4 月30日) 的 《 罗什福尔
的逃亡》(法语: L'Evasion de Rochefort) 。

There are two versions of Rochefort's Escape painted by Manet after December 1880, the smaller version is from the Musee d’Orsay, Paris, while the other version is in the Kunsthaus, Zurich.

Virulently opposed to the imperial regime, Rochefort founded a political newspaper, La Lanterne in 1868. The newspaper, which was published in Brussels, was soon banned. In 1873, the journalist was sentenced to penal servitude for his role during the Commune. His spectacular, swashbuckling escape by sea, in 1874, inspired Manet to paint this strange composition, six years after the event. The artist waited for the Republican victory in the Senate and the Chamber of Deputies in January 1879 and a law granting the communards amnesty, in July 1880, which permitted the fugitive to return to France, before tackling the subject. He intended to enter his painting in the Salon of 1881.

By commemorating an event still fresh in all minds, Manet revolutionised the genre of history painting traditionally restricted to antique or mythological subjects. The barely recognisable hero with his tousled blond hair "like a flaming punchbowl", is here shown at the stern of a tiny dinghy bobbing through the waves. Alongside him are his accomplices, Pain, Grousset and Jourde. The sense of solitude and danger is made palpable by the size of the craft. An electric, phosphorescent sea, painted with small, flicked strokes, floods the entire canvas. It "rises to the top of the frame", where the ship that picked up the fugitives looms on the horizon.

Manet chose a vague technique to represent a six-year-old event which he had not witnessed. But the endless sea superbly conjures up the danger and drama. This paradoxical canvas also expresses his disappointment with Rochefort who had dashed his Republican hopes.  (http://www.musee-orsay.fr/index. ... ;tx_commentaire_pi1[showUid]=315&no_cache=1)