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Thus it must be firmly established that from this moment Manet passed as an innovator, years before Impressionism existed or was even thought of. This is an important point: it will help to clear up the twofold origin of the movement which followed. To his realism, to his return to composition in the modern spirit, and to the simplifying of planes and values, Manet owed these attacks, though at that time his colour was still sombre and entirely influenced by Hals, Goya and Courbet. From that time the artist became a chief. As his friends used to meet him at an obscure Batignolles café, the café Guerbois (still existing), public derision baptized these meetings with the name of "L'Ecole des Batignolles." Manet then exhibited the Angels at the Tomb of Christ, a souvenir of the Venetians; Lola de Valence, commented upon by Baudelaire in a quatrain which can be found in the Fleurs du Mal; the Episode d'un combat de taureaux (dissatisfied with this picture, he cut out the dead toreador in the foreground, and burnt the rest). The Acteur tragique (portrait of Rouvière in Hamlet) and the Jésus insulté followed, and then came the Gitanos, L'Enfant
When I visited the amphitheatre, Les Arenes they are called, it was to see a Course aux Taureaux. The Provencals are passionately fond of these bull-baits, which take place weekly through the summer, beginning at Easter, but it is only at Arles and Nimes that they are carried out in the ancient Roman amphitheatres. These courses are quite distinct from the Spanish bull-fights.
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