At the age of 31, Manet exhibited Lunch on the Grass at the Salon of Defeat, which caused an uproar in Paris and was attacked by Na=Poleon III and public opinion. Zola, on the other hand, affirmed his art. Manet has always blended classical nobility and gorgeous impressionist colors in his paintings. In 1882, the Salon exhibited his last work, The Bar of Follet Berger, which was so successful that he was officially awarded the "Order of Honor".

Manet, who was ill, said: "It was too late. On April 30 of the following year, Manet left forever the world of light and color, which he loved.

So the boy who played the piccolo became a masterpiece of the origin of Impressionism......

The next painter Zhang Feng saw was Jean Frédéric Bazille (1841-1870), who was born in Montpellier into a Protestant bourgeois upper class. While in Paris, Bazier studied medicine and painting, which boresome him and soon led to failure in his studies, while painting made him happy.

When Frédéric Bazier enrolled in the studio of the Swiss painter Gührer, he became acquainted with Monet, Renoir and Sisley, and soon became close friends. Although Baziye was not very wealthy, he was able to help them regularly. Bazier painted in the sun sometimes with Monet and sometimes with Renoir. It is widely known that Bazier is more obsessed with expressing bright colors and depicting the freshness of the air than anyone else.

This is how fate linked the pioneers of Impressionism, even though they themselves did not know that they were preparing for the school a dozen years later.

Of all the painters who created Impressionism, Frédéric Bazier was the most enthusiastic and considered by his friends to be the most talented. But by the time the school began to meet the public, in 1874, when the first Impressionists were formed, Bazier was no longer among them. Baziye joined the Zhuaf team and was killed in the war. The newly born Impressionism lost its most prominent member. In the years that followed, the painter who died in battle was often forgotten.

Eventually, however, the years will restore things to their original form, revealing the virtues of Frédéric Bazier. Bazier seems to have played a role between Courbet and the Impressionism he represented. Bazier gives an idea of how the aesthetic revolution of the nineteenth century developed logically and coherently, and thus far more so than anyone concerned could have realized in relation to classicism. If Bazier had not died, but had become one of the masters of Impressionism, as one can imagine, his work might not have been so remarkable. One can see a striking sophistication in Bazier's paintings, and each work is powerful and complete.

What Zhang Feng saw was a family portrait, although it was not familiar, but he had seen it on many occasions...... Some websites used the cover of "The House of Nobles", which made Zhang Feng speechless.

Lunch on the grass. A controversial painting by Manet at the time. To say that controversy is all polite.

He presented it to the jury of the annual art exhibition in 1863. Anyone familiar with art history will immediately recognize that its subject matter is borrowed from the famous Concerto de la Pastoral by the 16th-century Venetian painters Giorgio or Titian, and the professionals and critics of the time are no exception, as it is in the Louvre.

The Pastoral Concerto is already a very obscure work, with each figure on the picture having a symbolic connotation, and some speculate that they represent the muses and lyric poets of Greek mythology. In contrast, Manet's intentions are even more puzzling. He painted four modern figures on the grass in the suburbs: the nude = body figure on the left is his favorite model, in the middle is his own brother, and on the right is a sculptor with a hat, who soon became a relative of Manet; The woman in the distance is unrecognizable.

Critics also believe that Manet's works, whether in terms of elegant shapes or rigorous colors, cannot be compared with their Renaissance predecessors. His way of applying paint was too crude, and it was very inappropriate to paint nude = naked women next to well-dressed gentlemen.

In 1863, "Lunch on the Grass" was exhibited in the Salon of the Losers, causing a sensation in the world, and he directly represented the earthly environment, painting a full=naked woman and a well-dressed gentleman together, and making a bold innovation in the painting method, getting rid of the fine brushstrokes and a large number of tan tones in traditional painting, and replacing them with bright, contrasting, almost flat generalized color blocks, all of which made the official academic school unbearable.

The composition of the painting places the figures in the same wooded background, with a limited depth in the center, and the bent woman not far in the middle becomes the culmination of a classical triangular composition with the three figures in the foreground. In terms of technique, the idea of painting as a two-dimensional surface is taken one step further, and a new attempt is made to appear in external light and dark backgrounds, so that this painting is an innovation in both artistic technique and historical sense.

At the time, most people were a little unaccustomed to the content of the painting, which had never been seen in real life in Paris.

Some people say that it is absurd for a painter to conceive the way of life of modern people in this way. If the two dashing young men were not depicted in the painting, would it not be the oil painting of the bathing or the mythical character Diana, which was commonplace in the French and common in Western painting of all eras? If the clothes of the two men were also taken off, wouldn't it be similar to the nude = body painting of Raphael or Tintoletto's mythological theme?

At the exhibitions of the time, enlightened French gentlemen also accused Manet of being too "uncultivated" in his colors.

The appearance of this painting in the exhibition hall is almost like a large hole carved into the wall of an ornate building, which is very eye-catching. The figures and the light and shade of the colors are full of sharp contrasts. Such a peculiar conception. They had nothing to do with the academic "rules", and even the realist painters were stunned. This was the situation at the time of Manet's most important masterpiece.

Sisley was also an important member of Impressionism, and was a classmate of Monet in his early years. He was not well-known during his lifetime, and his honor in the Impressionists was not as good as that of the painters mentioned earlier.