Musée No:397.027
Musée No:397.027

Musée No:397.027

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Pears

Artist: Edouard Manet

Date:  1880

Born into a wealthy family, Édouard Manet was encouraged by his uncle and often visited the Louvre. Initially, Manet wanted to pursue a naval career however when he failed the entrance exams for the naval academy, he decided to become an artist. In 1850 he entered the studio of Couture, who wanted to avoid conventional academic training and combine traditional painting methods with new techniques like allowing under-paint to form part of the final composition. Manet would absorb this technique into his work. His wealth meant that he didn't need to sell his work but he desperately wanted recognition as an artist. Baudelaire's call to young artists to paint contemporary life rather than antiquity and to take a distanced point of view because objectivity is more sincere and honest, appealed to him.

In 1863 the Salon jury rejected more than half of the five thousand works submitted, including his ‘Déjeuner sur l'herbe’ (yes THAT one at the Musée d'Orsay, Paris). The same year the Salon des Refusés was organized by Napoleon III in an attempt to calm the artists, and quell anti-government sentiment. The painting caused a “formidable succès de scandale” both for its technique and subject matter. He caused another scandal with ‘Olympia’ two years later at the Salon. Even though his work often received severe criticism, he continued to submit works to the Salon, which most he felt was the only legitimate place to prove himself as an artist.

At the Universal Exposition in Paris in 1867, Manet organized his own pavilion next to the Exposition where he showed more than fifty paintings. Émile Zola, the French writer, recognized his talent and modernity and vehemently defended him against harsh criticism and lauded him as the greatest painter of the nineteenth century. By the 1870s Manet's palette had lightened and his brushwork became freer. These new aspects of his painting technique may have come from his contact with the impressionist group that began exhibiting in 1874. Although Manet was friendly with its members, and understood their goals, he never exhibited with them and continued to show his paintings at the official Salon. During the late 1870s, he began to experience health problems that made it difficult for him to work in oil painting, instead, he began to draw using pastel. Manet was truly innovative in depicting subjects of urban life. However, during his lifetime he enjoyed little support, and it was not until the impressionists gained general recognition that Manet was acknowledged as a truly modern painter.


Borders & Mounts

None of our prints come with separate mounts. Some have a printed border which replaces the need for a mount, and some are borderless pieces. In either case the edge to edge size of the prints is 'A' sized as stated. If you should want a mount around your print, then you just need to buy a mount for the 'A' size you choose and then a frame to go with that.

What size frame do it need ?

Each piece of artwork in the Musée gallery has been resized to work perfectly with International 'A' paper sizes. All you need to think about when framing your Musée artwork is that it needs to be in the appropriate A sized frame. This means that no part of your artworkwill be lost to cropping when choosing frame sizes. It also means that everything will work proportionately in gallery walls, and print sets. There are many budget, off the shelf A sized frames on sites like Etsy and Ebay which we very happily recommend for our prints.

We also now produce our own collection of high quality, professionally framed artwork, ready to hang. To see our collection of quality frames - CLICK HERE

Print Quality

Our approach to printing is built on the ability to faithfully reproduce artworks using the finest inks and papers available today. A world away from mass produced posters we take pride in producing beautiful, affordable, fine art prints in-house, for discerning interior lovers everywhere.

Giclée Printing - In order to achieve this consistent, outstanding quality we produce every archival pigment print (alternatively know as giclée) to order using the same ink, paper and printing techniques used by museums all over the world. (Giclée is pronounced gee-clay with a soft G) Our archival giclée prints are loved for their vibrant tonal range and the handmade feel of their beautiful textured papers. The quality of a giclée print is far superior to all other forms of printing and when done authentically it is the closest reproduction printing method possible for matching to an original artwork.

Acid Free Paper - Each piece of Musée Art is printed to order on 312 GSM Paper. GSM is a measurement of the thickness of the paper. It is based on calculating the amount a sheet of paper would weigh, in grams, if it was exactly one square metre in size. Paper with a higher GSM will generally be thicker and therefore more difficult to crease or tear. Museum grade acid free papers are made from 100% cotton pulp rather than wood-based products. High quality cotton fibre paper is known to last hundreds of years without appreciable fading, discolouration, or deterioration due to the fact no chemicals are used in its production. Unlike wood based, mass produced alternatives,which will deteriorate, fade and change colour over time.

Inks - Archival pigment printing (giclée) uses inks which have longevity rates calculated at over 100 years. This printing technique must utilise eight or more different ink colours which are colour profiled to match the archival paper to achieve a perfectly colour accurate reproduction of the original piece of art. 

Mount Board - All Musée museum quality prints are professionally mounted on 2.4mm acid free art board ready to free stand or frame. Mounted prints also help to preserve the qualty of the edges and keep the prints perfectly flat with no risk of cockling. Cockling is the process by which a print starts to ripple due to changing levels of ambient moisture which are naturally present in the air in all our homes. Also, when you decide to either change your Musée artwork in your frames or swap them out for a new find, a Musée mounted print will stay flat and safe whilst in storage.

Stacked image of fanned white 312 gms paper showing the high quality and softly woven texture of the surface of the paper.

312 gsm Paper

All muséee prints are reproduced on the finest quality 312 gsm museum archival acid free paper.

Mount Board

All Musée prints are mounted on acid free 2.4 mm mount board ready for
framing or free standing display.

Image of a single sheet of cotton rag paper showing the soft woven texture of the surface.

Cotton Rag

100% natural cotton based paper has a beautiful fine textured finish.