Madame Auguste Manet

1861

His first participation in the Salon

In 1861 the Salon accepted two canvases by Manet: “Portrait of Monsieur and Madame Manet” and “The Spanish Singer”. Critics received the portrait coldly, while “The Spanish Singer” was admired by Théophile Gautier and, because of its popularity, hung in a more conspicuous place; the work intrigued young artists and brought new business to his studio.

1862

“Music in the Tuileries”: the fury of the public

In 1862 Manet exhibited “Music in the Tuileries” (probably painted in 1860), where the strollers include the poet Baudelaire, the musician Offenbach and the artist himself. It mostly provoked fury: the thick brushstrokes looked crude and unfinished, several visitors threatened to destroy the canvas; Delacroix defended it, and the controversy made Manet a well-known name in Paris.

1863

“The Luncheon on the Grass” at the Salon des Refusés

The Salon of 1863 rejected “The Luncheon on the Grass” (originally “Le Bain”), and Manet exhibited it at the Salon des Refusés, a parallel exhibition initiated by Napoleon III after a public outcry, the jury having accepted only 2,217 of more than 5,000 submissions. The juxtaposition of dressed men and a nude woman and the sketch-like handling caused a scandal; one critic compared the brushwork to a “floor mop”.

1863

Marries Suzanne Leenhoff

In 1863, a year after his father's death, Manet married Suzanne Leenhoff at a Protestant church: a Dutch-born piano teacher two years his senior with whom he had been romantically involved for about ten years. Auguste Manet had employed her to teach his sons the piano, and she may also have been Auguste's mistress.

1863

Paints “Olympia”

Manet embarked on “Olympia” after being challenged to give the Salon a nude painting; the pose of the figure derives from Titian's “Venus of Urbino”, and the painting also recalls early studio photographs and Goya's “The Nude Maja”.

1865

“Olympia” at the Salon: a scandal

In 1865 the Salon accepted “Olympia”, and the frank depiction of a self-assured prostitute created a scandal; according to Antonin Proust, only the precautions taken by the administration prevented the painting from being punctured and torn. The popular press caricatured it, while the avant-garde, including Courbet, Cézanne and Monet, championed it.