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The first was stamped with the celebrated name: "Comedie Francaise, 1680." The manager announced in the most gracious terms that he had read with the keenest pleasure his drama in verse, entitled L'Atelier, and he hoped that the reading committee would accept this work. "Too late!" thought the young poet, as he tore open the other envelope.
Louis, in one room only, but large and bright, from whose window he can see, as he leans out, the coming and going of boats on the river and the sun as it sets behind Notre-Dame. Amedee has been working mostly upon his drama, for the Comedie-Francaise this summer, and it is nearly done; it is a modern drama in verse, entitled L'Atelier.
Manet's revolt against tradition began before he became an artist, as was in fact necessary, or he would never have been allowed to become one. The traditions of the Bourgoisie were sacred, and their power and importance since the revolution of 1848 not to be lightly set aside. But young Manet was so determined that he was at last allowed by his bourgeois parents to have his way, and was sent to study under that very rough diamond Couture. Now again his "revolting" qualities showed themselves, this time in the life class. Théodore Duret, his friend and biographer, puts it so amusingly that a quotation, untranslated, is imperative: "Cette repulsion qui se développe chez Manet pour l'art de la tradition," he says, "se manifeste surtout par le mépris qu'il témoigne aux modèles posant dans l'atelier et
The rehearsal of his piece, which had just begun at the Comedie Francaise, the long sittings at the theatre, and the changes to be made from day to day, were a useful and powerful distraction for Amedee Violette's grief. L'Atelier, when played the first week in April, did not obtain more than a respectful greeting from the public; it was an indifferent success.
The first was stamped with the celebrated name: "Comedie Francaise, 1680." The manager announced in the most gracious terms that he had read with the keenest pleasure his drama in verse, entitled L'Atelier, and he hoped that the reading committee would accept this work. "Too late!" thought the young poet, as he tore open the other envelope.
The rehearsal of his piece, which had just begun at the Comedie Francaise, the long sittings at the theatre, and the changes to be made from day to day, were a useful and powerful distraction for Amedee Violette's grief. L'Atelier, when played the first week in April, did not obtain more than a respectful greeting from the public; it was an indifferent success.
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