Vase of White Lilacs and Roses (1883)-full by Édouard Manet HD Download

Vase of White Lilacs and Roses (1883)-full by Édouard Manet

Vase of White Lilacs and Roses (1883)-d2 by Édouard Manet

Vase of White Lilacs and Roses

Édouard Manet

Artist Édouard Manet

Date 1883

Medium Oil on canvas

Collection Private Collection

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1500 x 1800 pixels · 2.87 MB · JPEG

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6077 x 7289 pixels · 45.63 MB · JPEG

About the Artist

Édouard Manet

French (1832–1883)

Édouard Manet, a pivotal figure in the transition from realism to impressionism, was born on January 23, 1832, in Paris, where he also passed away on April 30, 1883. Despite his initial aspirations towards a career in law or the navy, Manet's passion for art led him to the studio of Thomas Couture in 1850, marking the beginning of his formal training as a painter. By 1860, he had begun to exhibit his work, including the notable 'Portrait of M. and Mme Auguste Manet.' Manet's art, characterized by its bold realism and departure from academic conventions, often stirred controversy, as seen with works like 'Le Déjeuner sur l'herbe' and 'Olympia,' which challenged societal norms and artistic traditions. Manet's oeuvre reflects a diverse range of subjects, from intimate portraits and vibrant scenes of Parisian life to dramatic historical narratives and serene marines. His friendship with literary and artistic luminaries such as Charles Baudelaire, Émile Zola, and Edgar Degas placed him at the heart of Paris's cultural avant-garde. Despite the initial rejection of his work by the official art establishment, Manet's influence on modern painting is undeniable. His innovative approach to composition and subject matter paved the way for future movements, securing his legacy as a cornerstone of 19th-century art.

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Artwork Story

Manet’s late-career pivot to still lifes like Vase of White Lilacs and Roses feels like watching a swordsman take up watercolors—there’s that same lethal precision, just quieter. The flowers aren’t arranged so much as happening, stems jostling against the vase’s rim with the casual urgency of a Parisian crowd. Those lilacs? They’re not the perfumed aristocrats of Dutch vanitas paintings; they’re already half-ghosted, petals bleeding into the background like faces in a foggy train window. And the roses—god, the roses—they’ve got this bruised pink edging their whites, as if the canvas itself remembers the feverish reds of his earlier Olympia.
You could hang this in a banker’s study and watch the numbers dissolve. It belongs where sunlight pools unevenly on warped floorboards, where the air smells of turpentine and overripe pears. Compare it to Fantin-Latour’s fussy bouquets and you’ll see the difference—Manet’s blooms aren’t posing for eternity, they’re caught mid-argument with gravity. That vase isn’t some porcelain heirloom either; it’s the kind you’d grab from a café windowsill, still sticky with yesterday’s wine. Funny how a dying man painting dying flowers makes you feel so violently alive.
(Note: The actual painting’s current whereabouts are murky—last seen at a 1992 auction—which feels fitting. Manet always worked best in the corners of your vision anyway.)