Head of Jean-Baptiste Faure - Edouard Manet
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A portrait study of the baritone Jean-Baptiste Faure, painted by Edouard Manet with his signature loose brushwork and focus on light.
This portrait study depicts the celebrated French baritone Jean-Baptiste Faure. Painted by Edouard Manet towards the end of his career, the work captures the singer with a direct, unvarnished gaze. Manet employs his characteristic loose brushwork, focusing on the essential structure of the face rather than minute detail. The subject is rendered against a dark, atmospheric background, which pushes the illuminated features forward. Faure was a significant patron of the Impressionists and a close associate of Manet. This specific study demonstrates the artist's ability to convey personality through economy of form. The application of paint is fluid, particularly in the rendering of the beard and the subtle transitions of light across the forehead and cheekbones. The white collar provides a sharp contrast to the deeper tones of the background, grounding the figure within the frame. Manet's approach to portraiture often avoided the rigid formality of the academic tradition. Instead, he prioritised the immediate impression of the sitter. This work reflects his interest in the psychological presence of his subjects. The composition is cropped closely, directing the viewer's attention entirely to the expression and the play of light upon the skin. It remains a fine example of the artist's late style, where his technical confidence allowed for a more spontaneous and expressive handling of the medium. The painting is currently held in the collection of the Metropolitan Museum of Art, providing a clear window into the social and artistic circles of late nineteenth-century Paris.
Head of Jean-Baptiste Faure - Edouard Manet
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Premium materials
Solid wood frames, UV-protected acrylic glaze, and archival backing for lasting durability.
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Museum-grade prints
12-colour giclée printing on FSC-certified 200gsm fine art paper, with lifetime fade resistance.
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Crafted in the UK
Sustainably sourced materials, precision manufactured locally, reducing carbon footprint.
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Ready to hang
Each frame is sealed with rigid backing and fixings attached, no extra effort required.
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What our customers say
Real reviews from real customers
Received the beautiful hummingbird print in black frame. Great service, stunning print, I will post a picture when the room is finished. Thank you
Delighted with this print! The colours are extremely vibrant, the imagine crystal clear and beautifully displayed in an attractive frame. Delivery was prompt and securely packaged. Highly recommended and will be using again!
So pleased with my print and the frame it’s housed in. Fantastic quality and really adds character to the room. Communication was great and it was delivered quicker than estimated. Overall I’m extremely pleased and will recommend to friends. I’m already eying up my next purchase!
Beautiful print, great quality and love it with the white frame. Delivery was really fast. I've had loads of compliments from visitors as I've hung it in my hallway as the first thing you see when you enter the house. Couldn't be happier.
Edouard Manet
Guards had to be stationed around Olympia to prevent physical attack. The painting, exhibited at the 1865 Paris Salon, depicts a prostitute staring directly at the viewer, attended by a Black servant holding flowers from a client. The journalist Antonin Proust recalled that only administrative precautions saved the canvas from being destroyed. Two years earlier, Le Dejeuner sur l'herbe, rejected by the official Salon and shown at the Salon des Refuses, had caused a similar fury: a naked woman among fully clothed men at a picnic. Manet was born in 1832 into wealth. His father was a high court judge. His mother was the daughter of a diplomat and goddaughter of the Swedish Crown Prince, from whom all subsequent Swedish monarchs descend. The family wanted him to study law. He refused. As a compromise, he attempted the naval college entrance exam. Failed. Was sent on a merchant ship to Rio de Janeiro. Took the exam again on return. Failed again. His father finally relented and let him study art. He repeatedly refused invitations to exhibit with the Impressionists, insisting that the official Salon was where serious artists should show their work. This despite the fact that his own paintings had done more to provoke the movement into existence than any other single body of work. Monet, Renoir, and Pissarro acknowledged the debt. He kept his distance anyway. He contracted syphilis. By 1879 he was receiving hydrotherapy treatments, believing the problem was circulatory. The actual diagnosis was locomotor ataxia, a late-stage syphilis complication. His left foot was amputated in April 1883 due to gangrene. He died eleven days later, aged fifty-one.
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