We are now accepting books on exchange and credits to shop cards.
We are not buying stock for cash yet. We are operating under Level 2 restrictions.
Please note that we will require you
* to wear a mask at all times whilst instore
* sign in and sanitise your hands at entry
* maintain a 2m distance between you and other browsing customers
We are here to help you if you need assistance and are happy to organise a delivery for those who are still staying safe at home. Web orders will be processed and delivered via courier and NZ Post.
Store pick ups can be ordered online or organised by phone and email. We will send you an email when your pick up is ready to be collected.
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Our next book club meeting is on Monday 13 December at 6pm. Check out Facebook or email us to find out more.
The work of Edouard Manet scandalized his compatriots. It was not primarily Manet's new subject matter - the pulsating night life of Paris with its cafes, bars, and cabarets - that offended contemporary taste. For journalists and art critics of the day his paintings lacked realism - they were too flat and the coloring too harsh. In Hajo Duchting's vivid descripion of the changing Paris of Napoleon III, Manet's famous friends - Baudelaire, Zola, and Mallarme - speak out in his defense.
In a detailed discussion of a wide selection of Manet's paintings the tension between traditionalism and modernism emerges as a key feature of his work. Well trained in academic painting and strongly influenced by Velazquez, Goya and Hals, Manet's painting technique was based on the juxtaposition of light and dark blocks of color, using a restricted palette in which black was very important. In contrast to the impressionists, who were concerned with transforming fleeting visual impressions of atmosphere and light into a web of shimmering colors, Manet's eye concentrates on the motif, on the figure in its individuality, the essence of which he was able to capture with a few adroit brushstrokes.