Manet
Portraying Life
A Resource for Teachers
Manet: Portraying Life
Manet: Portraying Life is an exhibition of portraits by acclaimed French artist Édouard Manet, sometimes referred to as
the “father of modern art.” A contemporary of the Impressionists, Manet (1832–1883) was considered to be one of the
most stylish of the 19th-century French painters and a major recorder of Parisian life at that time. The exhibition is the first
in-depth examination of his considerable talents as a portraitist. Manet painted his family, friends, and the literary, political,
and artistic figures of his day, often in casual settings rather than in traditionally posed portraits. His subjects come to life
on canvas, making the viewer curious to know more about these people and their lives.
THE CITY
The Grand Boulevard
The Street
The Paris of today, with its grand boulevards and sweeping vistas, was a
product of the thinking and planning of the mid-19th century. During the
1870s, Baron Georges-Eugène Haussmann redesigned central Paris,
replacing the narrow streets and densely populated areas with a system
of stately avenues with long, straight vistas. Artists painted these vistas
from hotel windows, capturing the sensation of moving carriages and
bustling crowds.
Life on the back streets was a common theme among artists of the
1890s. Montmartre, once a separate medieval town on a hill overlooking
Paris, became the home of many artists. It had escaped the modern
vision of Haussmann; accommodation was cheap, the night life colorful,
and it attracted people from all walks of life—the upper classes, tourists,
bohemians, and the down and out.
Manet: Portraying Life
NIGHT LIFE
Theaters
Balls and Salles de danse
By the 1890s, there were at least 20 large theaters in Paris. Classical plays
were staged at the Odéon and lyrical drama at the Opéra Comique, but
the theater with the highest status was the Théâtre Français. There were
also many avant-garde theaters where experimental plays were performed.
Artists were often employed to create advertising posters, to illustrate
programs, and to design sets and costumes for these productions.
Ballrooms and dance halls proliferated during the 1890s, catering to both
a young, racy audience and the tourists who flocked to Paris to observe
them. The most famous dance hall was the Moulin Rouge, on the Boulevard
Clichy at the foot of Montmartre.
The Opera House
At the turn of the century the Louvre was the most famous museum in
Paris. It consisted of the old wing built in the 16th century, and the new
wing built in the 19th century. Along with the Tuillerie Gardens, the Louvre
covered a 19.5-hectare (48.1-acre) site on the banks of the Seine.
The Opéra de Paris, completed by architect Charles Garnier in 1874, was
the largest theater in the world at the time. It covered an area of more than
1.2 hectares (3 acres) and seated more than 2,100 patrons. The Opera
had four tiers of boxes and it was as important for the visitors to see each
other as it was to view the performances. A ballet was staged between
the first and second acts of operatic performances.
Cafés and the Café-concert
The coffee house became popular in Paris around the middle of the 18th
century. The redesigned wide boulevards allowed cafés to spill out onto
footpaths and these lively casual venues became a feature of Parisian life.
Café-concerts became an attraction during the Exposition Universelle (the
World’s Fair) of 1867. Patrons were not required to be rich or elegant; the
entertainment was cheap, often irreverent, and always popular.
THE LOUVRE
Initially, the Louvre was rich in art from the French and Italian Schools, but
after the conquests of Napoleon, Dutch and German art and Egyptian,
Greek, and Roman antiquities were added to the museum’s collection. Many
French artists were inspired by the works of Rembrandt, Frans Hals, and
Vermeer that they saw in the Louvre. For some artists, the Dutch masters
were particularly important as they focused attention on images of ordinary
life painted on an intimate scale.
Manet: Portraying Life
THE SALON
SPIRIT OF THE TIMES
From the mid 1600s, the Salon was the most prestigious exhibition of
paintings and sculptures in Paris. The Salon was linked to the Académie
des Beaux-Arts, whose teachers exerted enormous influence, and it made
the names of many artists. The most successful painters, such as WilliamAdolphe Bouguereau, conformed to the academic style—often idealized
classical, religious, or historical themes painted in a smooth, illusionistic
style. The popularity of such academic paintings was increased by the
production of engravings that reproduced the images. The engravings
then were sold to an enthusiastic public.
During the 19th century in France, frequent outbreaks of revolutionary
activity resulted in the overthrow of political regimes. This unstable political
atmosphere encouraged many social theories that advocated revolution,
anarchism, and individual action and insurrection.
The Salon reached the peak of its influence and popularity in the mid-19th
century, each year exhibiting thousands of paintings selected by a jury and
attracting crowds of viewers.
By 1881, however, there was a growing criticism of the conservative values
of the Salon and the government withdrew its official sponsorship. Two
Salons were spawned: the Salon des Champs-Élysées and the Salon du
Champ de Mars. Meanwhile, artists who had been excluded from exhibition
because they experimented with new ways of painting were looking for
non-traditional sources of patronage. Alternative public exhibitions were
popular. The Impressionist exhibitions of 1874 to 1886 were based on
self-selection rather than upon selection by jury.
The last decades of the 19th century saw the rise of art dealers, private
galleries, and other new Salons devoted to specific schools of painting.
The Salon des Cent and the mystical Salon de la Rose+Croix, for example,
both favored Symbolist artists.
In the last decades of the century, after the suppression of the Paris
Commune (a coalition of the working class that briefly held power) in
1871, the French bourgeoisie, government, and military became the targets
of spontaneous acts of terrorism. The publication of anarchist journals,
posters, and leaflets was an integral part of the insurrection and many
artists were involved in propagandist activities to enlighten the poor, depict
injustice, or incite revolutionary behavior.
There was also a widespread interest in the occult, black magic, and satanic
practices. The status of science was undermined by a rise in mysticism.
Many people believed in dreams and fantastic and mysterious happenings
which could not be explained by scientific theory.
The Industrial Revolution
It was rare for artists of the late 19th century to depict the toil and misery of
workers during the industrial revolution. The Impressionists, for example,
concentrated on visions of leisure and plenty suffused with color and light.
For many people, however, life was miserable. Jean-Francois Millet was
one artist who did portray the life of the working classes. His painting The
Quarriers shows men clearing the way for a railway, an invention integral
to the industrial revolution. Conditions for this back-breaking work were far
from ideal, with quarries rarely living past age 45 due to respiratory illness
from dust and the physical toll of the hard labor.
in the TMA Collection
In the late 1800s, frustration with the practices of the Salon was building among progressive
artists. It reached its peak in 1863 when the Salon jury turned down nearly 3,000 works of art
which were submitted to the exhibition. In protest Napoleon III ordered an exhibition of refused
work called the Salon des Refusés (“Salon of the Rejected Ones”). In the exhibition was a painting
by Édouard Manet, Le Dejeuner sur l’Herbe (Picnic in the Grass), which upset viewers because
it broke away from the classical viewpoint that art should follow established conventions. The
painting was rejected not so much because of its female nudes but because of their presence
in a modern setting accompanied by clothed, bourgeois men. This suggested that the women
were not goddesses but companions of men.
This established Manet as a radical artist. In the years to follow many in the group of artists known
as the Impressionists would gather with him and follow his lead in challenging artistic practices.
While Manet was never really considered an Impressionist, the colors in his paintings brightened
in his later years because of their influence.
Manet’s style of painting shows broadly applied paint in flat areas and an absence of subtle
halftones characteristic of traditional chiaroscuro, meaning the use of light and shadow in a work
of art. The subject matter of Manet’s works of art recalls paintings by the Realist artist Gustave
Courbet. Realism is the term used to refer to the style of mid-19th-century art in which figures
and scenes from everyday life are depicted in a realistic, objective manner.
Note: the following works of art can be viewed and enlarged online at http://classes.
toledomuseum.org:8080/emuseum. Select Paintings then type in the artist’s last name
in the Search field.
Gustave Courbet (French, 1819–1877),
The Trellis, 1862. Oil on canvas. Purchased
with funds from the Libbey Endowment, Gift
of Edward Drummond Libbey.
Current Location: Gallery 33
in the TMA Collection
T
“
here’s just one real thing, to get down what
one sees at the first shot. When it’s there, it’s
there. When it’s not there, one starts over.”
—Édouard Manet
About this Painting
Posed in an attitude of carefully studied relaxation, the elegantly urbane and impeccably dressed
Antonin Proust (1832–1905) embodies something of the essential traits of the modern Parisian
dandy. At the time Manet painted this likeness of his childhood friend, Proust was a rapidly rising
leftist legislator in Paris, active in arts issues. In 1879, as Proust later recounted in his biography
of the artist, Manet was fixed on a plan “to paint my portrait on unprepared white canvas, in a
single sitting.” Exhibited at the Paris Salon of 1880, the resulting painting was praised by one
critic for its “bold and decisive brushwork,” and by another for its “supple and spirited” execution.
The appearance of improvisatory freedom and immediacy that Manet achieved in Antonin Proust,
however, was hard won.
Traces of the artist’s struggle with spontaneity are still evident in the canvas’s extensive surface
crackle, a sign of considerable reworking. Manet generally dispensed with preliminary studies
and preparatory underpainting, instead developing his compositions directly on the canvas. He
would revise, scrape away, repaint, and sometimes even discard a canvas to begin afresh. Of
his portrait session, Proust recalled: “After using up seven or eight canvases, the portrait came
all at once. Only the hands and parts of the background remained to be finished… ‘Look here
[Manet said], that’s it this time, and how well the background works! …The gloved hand is only
suggested. With three strokes—pique, pique, pique—it will be there.’”
Édouard Manet (French, 1832–1883),
Antonin Proust, 1880. Oil on canvas. Gift of
Edward Drummond Libbey, 1925.108.
Current location: Manet: Portraying Life
exhibition.
in the TMA Collection
About this Painting
In the 1860s and 1870s, a new fashion for painting outdoor scenes outside broke the artistic
standards of the time. For the first time, artists were finishing entire paintings en plein air (out-ofdoors), giving them a sense of immediacy and freshness as they captured the fleeting impressions
of sunlight and shadows.
The Impressionists, as they came to be called, were not interested in telling stories. Instead they
preferred to explore how paint could capture their sensory impressions. These artists explored
the sensations of light, color, and movement as they applied color in looser, more distinct brush
strokes. One invention in particular made painting outside possible: pre-mixed, ready-to-use oil
paints in re-sealable metal tubes. These, along with portable paint boxes and easels, enabled
artists to paint wherever they desired.
In 1879, Pierre-Auguste Renoir, a leading Impressionist, set up his easel in Wargemont in the
Normandy countryside in northern France to record his impressions of the landscape. Here he
painted Road at Wargemont. The dreamlike view of rolling hills, winding road, lines of trees,
and clumps of bushes was experimental and forward-looking in technique. Renoir applied thin,
translucent layers of paint wet into wet, giving the work its fluid, unfocused appearance.
Questions for Discussion
Describe what you see.
1. How does Renoir convey an impression of the landscape?
2. How does the artist give us a sense of movement in the work?
3. Why might Renoir have chosen to paint a picture of a road?
4. Do you like this work? Why? What aspect of the painting do you think is most successful?
Pierre-Auguste Renoir (French,1841–1919),
Road at Wargemont, 1879.Oil on canvas.
Purchased with funds from the Libbey
Endowment, Gift of Edward Drummond Libbey.
Current Location: Gallery 33
in the TMA Collection
About this Painting
Rejecting city life and the European industrial age, French artist Paul Gauguin left Paris in the late 19th
century, eventually traveling to the island of Tahiti. Away from European civilization, he abandoned
the Impressionist style and developed a deliberately crude style inspired by traditional Pacific art.
Many of Gauguin’s color choices resulted from his inner feelings rather than his observations of
nature. A man of deep emotions, he was always searching for answers to his spiritual needs, and
he used painting as a means of resolving these inner questions. In the last decade of his life, he
hoped to find the answers on the “paradise” island of Tahiti. Like many of his paintings, Street in
Tahiti is meant to show people living in harmony with nature while depicting the simple life of the
Tahitian people.
Questions for Discussion
1. What do you see in this painting? Discuss the people, the setting, the background.
2. What clues has Gauguin given us about the setting of this painting?
3. What impact does color have on this work of art?
4. Where do the color choices seem unnatural in places?
5. How does Gauguin create depth in this painting?
6. Imagine if this picture was painted today, how might it be different?
Paul Gauguin (French, 1848–1903), Street
in Tahiti, 1891. Oil on canvas. Purchased with
funds from the Libbey Endowment, Gift of
Edward Drummond Libbey.
Current location: Gallery 35
in the TMA Collection
About this Painting
One of a series of four paintings representing interior scenes of the Musée du Louvre in Paris, La
Salle Clarac depicts an ornate gallery, a favorite of Vuilland’s, decorated in 1826 with paintings,
colored marble, and gilded paneling. The artist has included four figures—a man and three women—
who are looking at, reading about, and contemplating Greek antiquities displayed in glass and
wood cases that are still in use today in a space that has remained essentially unchanged. As a
member in the 1890s of the group of artists known as the Nabis (“Prophets”), Vuillard added flat
patches of color and pattern to scenes of everyday Parisian life. By rendering this scene from a
low vantage point, Vuillard encourages us to identify ourselves with the museum visitors by placing
ourselves more or less at their vantage point. While very much a picture that captures Parisian
life, it is also an image about the act of looking at art.
Questions for Discussion
1. What do you notice about the figures in this painting: Their dress? Their facial expressions?
The objects they are looking at?
3. Who might these people be? How do they relate to the setting?
Edouard Vuillard (French, 1868–1940),
La Salle Clarac, 1922. Oil with distemper
on canvas. Purchased with funds from
the Libbey Endowment, Gift of Edward
Drummond Libbey, 1999.2.
4. How does the artist invite the viewer into the painting
Current Location: Gallery 35
2. What do you notice about the background?
in the TMA Collection
About this Painting
Edgar Degas stands apart in some respects from other painters in the Impressionist movement.
He did not use the vivid colors associated with other Impressionists and he clearly outlined his
figures. But like them, he was preoccupied with scenes related to everyday life. The ballet fascinated
Degas and he produced more than 1500 works portraying the Paris Opéra Ballet. As a recorder
of contemporary life, he not only attended ballet performances and concerts, but he also gained
access to rehearsals and dance classes, which he observed with great attention.
Throughout his life, Degas made countless drawings and paintings of dancers in motion and at
rest. He never forgot the words of another French painter, Jean-Auguste-Dominique Ingres: “Use
lines, young man, many lines, both to remember as well as to copy nature.” Line became the
bedrock of Degas’s work. In this painting, he captured a moment in the dancers’ world with his
mastery of line.
After 1895, Degas turned more and more to pastel as his eyesight grew worse. Unlike oil painting,
it required little preparation, no drying time, and could be easily reworked. Over the course of his
career, the artist produced more than 700 pastel works like The Dancers.
Degas’s work also reveals the influence of Japanese prints in its tilted perspectives. His snapshotlike compositions might be based on his study of photography.
Questions for Discussion
1. What do you notice about the dancers: Their facial expressions? Their poses? Their
clothing?
2. Why do you think the artist only shows three-quarters of their bodies and not entire bodies?
3. How does Degas use line to define form and suggest texture in this painting?
4. How does line communicate energy and movement?
5. How is this work like a photograph? How is it different?
6. What does this work of art suggest about a dancer’s world?
Edgar Degas (French, 1834–1917), The
Dancers,1899. Pastel on paper. Purchased
with funds from the Libbey Endowment, Gift
of Edward Drummond Libbey, 1928.198.
Current location: Director’s Conference Room,
open to the public off Libbey Court.
in the TMA Collection
About this Painting
Claude Monet’s paintings of his water garden at Giverny were a culmination of his desire to capture
the temporary effects of nature. “These landscapes of water and reflections have become an
obsession,” he wrote in 1908. By 1914 Monet’s obsession had developed into a project for an
installation of large-scale water lily paintings conceived as a gift to France. This project, which
occupied the artist for the rest of his life, was completed shortly before his death in 1926. He
executed more than 60 paintings and studies of his lily pond in all types of light and weather.
Monet was a central figure within the Impressionist movement. He was the classic Impressionist
painter whose art was based on the capture of fleeting visual sensations. Monet was primarily a
landscapist. Among the many subjects he painted were fields of poppies, haystacks, city views,
a Gothic cathedral façade, and a modern train station.
Questions for Discussion
1. What kind of plants are in the pond?
2. What colors has the artist used to paint this pond?
3. What time of day is suggested by the color choice?
4. How would the colors in the painting change if Monet had painted this in the rain?
5. How is the painting of the Water Lilies different than Renoir’s Road at Wargemont? How
is it similar?
Claude Monet (French, 1840–1926), Water
Lilies, 1922. Oil on canvas. Purchased with
funds from the Libbey Endowment, Gift of
Edward Drummond Libbey, 1981.54.
Current location: Gallery 35
Suggested Reading
Manet: Portraying Life by Maryanne Stevens, Colin B. Baily Stéphane Guégan,
Carol M. Armstrong, Leah Lehmbeck, Lawrence W. Nichols. Royal Academy of
Arts, London, 2012.
Edouard Manet, 1832–1883: The First of the Moderns by Gilles Neret. Taschen,
Köln, 2003.
The Painting of Modern Life: Paris in the Art of Manet and his Followers by T.J.
Clark. Princeton University Press, 1999.
Background
Foreground
Realism
The part of the work of art that seems farthest
away.
The part of the picture that seems closest to the
viewer.
Color wheel
Genre Scene
The term used to refer to the style of mid-19thcentury art in which figures and scenes from
everyday life are depicted in a realistic, objective
manner.
A way of arranging the primary colors (blue,
red, yellow) or secondary colors (orange, green,
violet).
A scene of everyday life.
Landscape
Self-portrait
A portrait the artist makes of him- or herself,
especially one showing the face.
Complementary Colors
A view of natural scenery on land, or a
representation of the outdoors.
The colors that are directly across from each
other on the color wheel. When placed next to
each other, they look pleasing to the eye and
both colors seem bright and filled with energy.
Middleground
The person who is the subject of a portrait.
The halfway point or what appears to be the
middle part of the picture
Still Life
Composition
The combination of elements in a painting or
other work of art that provides order or structure
to the overall image.
Cool Color
A color that suggests something cool
(examples: blue, green).
Focal Point
The area in a pictorial composition to which the
eye returns most naturally.
Portrait
A painting, photograph, sculpture, or other
artistic representation of a person.
Primary Colors
Red, yellow, and blue. These colors cannot be
made by mixing other colors together, but when
combined, they make secondary colors.
Sitter
A painting of inanimate objects such as fruit or
flowers.
Warm Color
A color which suggests something warm
(examples: yellow, red).
Manet: Portraying Life
Manet was considered to be one of the most stylish of the 19th-century French painters and a major recorder of Parisian
life at that time. This exhibition is a look at his talents as a portraitist. You’ll see that Manet painted his family and friends as
well as the literary, political, and artistic figures of his day, often in casual settings rather than traditionally posed portraits.
While in the exhibition, select two portraits to study:
Title of portrait 1: ______________________________
Describe how parts of these works of art would feel to the touch.
Describe Manet’s use of bold.
Portrait 1: ____________________________________
Title of portrait 2: ______________________________
Portrait 2: ____________________________________
Describe the artist’s use of line in each. Does he use diagonal, vertical,
thick, straight, or curved lines? What other kinds of lines do you see?
Portrait 1: ____________________________________
How does the artist show the personality of the sitter (the subject of the
portrait) in each image?
Portrait 1:_____________________________________
Portrait 2: ____________________________________
Portrait 2:_____________________________________
What types of shapes do you see in these portraits? Do you find squares, triangles, circles, or more complex shapes?
Portrait 1:_____________________________________
Compare the two portraits you chose. What is similar about them?
What is different?
Similar:_______________________________________
Portrait 2: ____________________________________
Different:______________________________________
Describe the artist’s use of color to create these works of art. Does Manet use primary, secondary, or a mix of colors?
Portrait 1:_____________________________________
Portrait 2:_____________________________________
What’s Your Story?
When an artist makes a portrait, he or she is often trying to answer an important
question—”Who are you?”—just as an author seeks to answer that same question
when writing a person’s biography. A self-portrait is an image an artist creates of
him- or herself. Édouard Manet created both self-portraits and portraits of other
people in his life.
In this Lesson
Students will discuss a work of art by Manet, create a self-portrait, write two different stories, and
present their creations to the class.
ƒƒ Begin by introducing the concepts of portraiture and self-portraiture by showing examples
of each. Discuss how portraiture can be used to express the point of view of either the
sitter or the artist. How do paintings and writings help you to understand people better?
Why might portraits and biographies be important in history?
Ask students to look closely at this work of art by Manet and discuss
1. What does Manet want you to know about the sitter in this picture?
2. What is the sitter’s story?
3. How might the story Manet is telling in his painting be different from the true story of the
sitter’s life? How might they be the same?
Lady with a Fan (Jeanne Duval), 1862.
Oil on canvas, Budapest, Szépm~
uvészeti
Múzeum
What’s Your Story?
Lady with a Fan is also known as Baudelaire’s Mistress Reclining. Charles Baudelaire was a French poet and friend of Manet’s for many years.
ƒƒ Baudelaire met Jeanne Duval in1842 when he was 21. When this portrait was painted Duval was between 40 and 50
ƒƒ Baudelaire and Duval had a tumultuous relationship as evidenced by letters written by the poet.
ƒƒ Duval was an invalid for almost 15 years, mostly supported by Baudelaire who was frequently short of funds. In 1859 Duval became partly
paralyzed and was cared for in a sanatorium. This accounts for the odd angle of her leg in the portrait
ƒƒ Duval was tall, angular and had crimped hair and a dark complexion (her ancestry was mixed African and French); she was sometimes
called a “black Venus.”
ƒƒ Shown at the Galerie Martinet in 1865, its vague and sketchy appearance was shocking.
ƒƒ Ask students to bring in two photographs of themselves: one in a formal setting (like a school picture), and one in a casual setting. Discuss
how Manet painted his family and friends in formal and casual settings. Have students write a short story about themselves in each picture.
Discuss how the stories are the same and how they are different.
ƒƒ Afterward, have students use oil pastels to create a drawing that combines the two photos by taking the pose of the formal picture and
adding details from the casual picture to illustrate their personality.
Next, students should present their photos, stories and works of art to the class.
1. Divide into pairs. Draw a portrait of your partner using only
10 lines. Draw a second portrait using only 5 lines. Draw
a third portrait using only 3 lines. Ask your partner which
drawing he/she likes best, and why.
ƒƒ Which portrait was easiest to create?
ƒƒ What drawing has the most likeness to the sitter?
2. Divide into pairs. Student #1 will draw 5 random lines on a
piece of paper, then pass it to your partner. Student #2 will
connect the lines in a way that creates a face or a figure.
Switch roles and repeat the process to create a second
drawing.
ƒƒ Was this exercise easy or difficult?
ƒƒ Which role was more fun?
3. Discuss Manet’s use of color in his portraits.
ƒƒ Does the artist use warm or cool colors?
ƒƒ How does Manet’s use of color reflect the sitter’s personality, if at all?
ƒƒ If the sitter had chosen to paint the picture, do you think
other colors would have been chosen? Why?
4. Create a self-portrait using only 3 colors. When finished,
be prepared to present your work to the class and discuss
why those colors were chosen, and the impact of the color
choices on the work of art.
Directions: Print each sheet of Sitter Stories and Images. Cut into cards at dotted lines and
shuffle the cards. Ask students to match each Sitter Story to an image, and discuss.
Antonin Proust, 1880. Oil on canvas,
Toledo Museum of Art, Gift of Edward
Drummond Libbey, 1925.108
Lady with a Fan (Jeanne Duval), 1862.
~
Oil on canvas, Budapest, Szépmuvészeti
Múzeum
Soap Bubbles (Léon Koëlla-Leenhoff),
1867. Oil on canvas, Calouste Gulbenkian
Foundation, Lisbon
The Railway, 1872–73. Oil on canvas,
National Gallery of Art, Washington, Gift
of Edith Stuyvesant Gerry, 1959.3.1
Portrait of Emilie Ambre as Carmen, 1880.
Oil on canvas, Philadelphia Museum of Art,
Gift of Edgar Scott, 1964
I am a stately person, tall and
proud. I was a close friend of
Édouard Manet›s from childhood.
I have been known as a journalist,
critic, and politician. Manet and
I were both students of Thomas
Couture, another portrait painter.
When painting this work of art my
friend had to start over several
times, but this painting was
created in mostly one sitting!
I was between 40 and 50 years
old when this portrait was painted
of me. I was partially paralyzed
and left as an invalid for almost
15 years. That’s the reason my
leg is painted at an odd angle. I
was once called a “black Venus”
because of my dark, angular
looks.
I posed for this painting when
I was 15 years old. That was
in 1867. I am also in many of
Manet’s other portraits. I have
been called Manet’s stepchild,
but am I really? Something in
this work of art represents the
precariousness of life.
I am a frequent model for Manet,
and am featured in many of his
other paintings. It is a warm day,
and I might be over dressed. It is
actually very quiet here. I thought
it would be much noisier.
I look like I was painted quickly,
with very little paint. My face is the
most finished part of this picture,
and highlighted with white. I was
once a neighbor of Manet. I was
born in Algeria and my family had
ties to the army, marines, and the
Moroccan court
Unscramble the words to the left. Use the Glossary for assistance.
Write the numbered letters in the appropriate box below to spell a secret message.
Answers on next page.
ROBKGDUCNA
2
TIINOCMOPSO
21
1
DOEGOURFNR
3
NEREG
8
DGDEMRIDNOUL
CSPAADELN
9
20
23
10
ROPTIRTA
5
SALIMRE
26
SIAPR
22 6
14 12
NAEFRC
25
13
SIETRT
4
MENTA
15 17
PAINITNG
2
16 18
11
RORPEFSATILT
1
19
3
7
4
5
6
7
8
9
10 11 12 13
14 15 16 17 18 19 20
21 22
23 24 25 26
Answer Key
background
composition
foreground
genre
middleground
landscape
portrait
realism
selfportrait
paris
france
sitter
manet
painting