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Zola, pitching overboard many friends, wrote his famous eulogy of Manet in the Evenement, and the row he raised was so fierce that he was forced to resign as art critic from that journal. The fight then began in earnest. The story is a thrice-told one. It may be read in Théodore Duret's study of Manet and, as regards Cézanne, in the same critic's volume on Impressionism.
Monsieur Gravier called this "from grave to gay." The Abbe Duret's rubber made another pleasing variety on the monologues of the oracle. The three rivals, tired of keeping their minds up to the level of the "high range of discussion" as they called their conversation but not daring to confess it, would sometimes turn with ingratiating hints to the old priest.
There were to be seen drawings of maps which he had begun, and some that he had finished. He had a clever method of washing them in. His geographical memory was prodigious. Over the hall was the turning and joining room, furnished with ingenious instruments for working in wood. He inherited some from Louis XV., and he often busied himself, with Duret's assistance, in keeping them clean and bright.
Monsieur Gravier called this "from grave to gay." The Abbe Duret's rubber made another pleasing variety on the monologues of the oracle. The three rivals, tired of keeping their minds up to the level of the "high range of discussion" as they called their conversation but not daring to confess it, would sometimes turn with ingratiating hints to the old priest.
There were to be seen drawings of maps which he had begun, and some that he had finished. He had a clever method of washing them in. His geographical memory was prodigious. Over the hall was the turning and joining room, furnished with ingenious instruments for working in wood. He inherited some from Louis XV., and he often busied himself, with Duret's assistance, in keeping them clean and bright.
"I prefer to serve the King of France. He is at present on good terms with the Huguenots, is he not?" "Yes, at least, he is not at war with them. Well, gentlemen like you are not to be wasted, even though Huguenots. Attach yourself to Duret's company of the guards for the present, and who knows when you may win a vacant captaincy? I will bring you to the attention of the King.
Whistler's nights are the blue transparent darknesses which are half of the world's life. Sometimes he foregoes even the aid of earthly light, and his picture is but luminous blue shadow, delicately graduated, as in the nocturne in M. Duret's collection purple above and below, a shadow in the middle of the picture a little less and there would be nothing.
But when all has been said, I prefer Manet in the quieter and I think the more original mood in the portrait of his sister-in-law, Madame Morisot. The portrait is in M. Duret's collection; it hangs in a not too well lighted passage, and if I did not spend six or ten minutes in admiration before this picture, I should feel that some familiar pleasure had drifted out of my yearly visit to Paris.
There were to be seen drawings of maps which he had begun, and some that he had finished. He had a clever method of washing them in. His geographical memory was prodigious. Over the hall was the turning and joining room, furnished with ingenious instruments for working in wood. He inherited some from Louis XV., and he often busied himself, with Duret's assistance, in keeping them clean and bright.
It was the beginning of a lifelong friendship. About eight years ago Duret's definitive biography of Manet appeared, Histoire de Edouard Manet et de Son Oeuvre. No one was better qualified to write of the dead painter than Théodore Duret. A critic of perspicacity, his enthusiasm was kindled during the birth throes of impressionism and has never been quenched.
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