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Compared with the "Bar at the Folies-Bergère," either the "Raft of the Medusa" or the "Convulsionists of Tangiers" is a classic production. And the difference is not at all due to the forty years' accretion of Protestantism which Manet represents as compared with the early romanticists. It is due to a complete difference in attitude. Géricault imbued himself with the inspiration of the Louvre.

In the nineteenth century no one has made such beautiful use of the material as Manet and Whistler, and we find these two painters using it respectively exactly like Hals and Velasquez. It would therefore seem that those who excel in the use of paint are agreed as to the handling of it, just as all good dancers are agreed as to the step.

When, hypocritically, I said the picture was a lesson, I referred to the woman, who happens to be sitting next to M. Deboutin. Mr. Crane, Mr. Richmond, and others have jumped to the conclusion that M. Deboutin has come to the cafe with the woman, and that they are "boozing" together. Nothing can be farther from the truth. Deboutin always came to the cafe alone, as did Manet, Degas, Duranty.

Pathetic, yet calm, rich in noble sentiments and animated by the purest and loftiest spirit, it is a fit topstone to that monument, in respect to which T. felt so well founded an assurance, which still manet mansurumque est in animis hominum, in aeternitate temporum, fama rerum.

It was at the corner of the Rue Pontiere that we got rid of him. Some days afterwards she sat to Manet. The pastel now hangs in the room of a friend of mine; I bought it for him. The picture of a woman one knows is never so agreeable a companion as the picture of a woman one has never seen.

The daughter of a peasant, and the mistress of all the great men perhaps I should have said of all the distinguished men. I used to call her toute la lyre. The last time I saw her we talked about Manet. She said that every year she took the first lilac to lay upon his grave. Is there one of her many lovers who brings flowers to her grave?

Cézanne is the Christopher Columbus of a new continent of form. In 1839 he was born at Aix-en-Provence, and for forty years he painted patiently in the manner of his master Pissarro. To the eyes of the world he appeared, so far as he appeared at all, a respectable, minor Impressionist, an admirer of Manet, a friend, if not a protégé, of Zola, a loyal, negligible disciple.

In my article on Manet I referred to a beautiful picture of his "Boulogne Pier". It was then on exhibition in Bond Street. I asked a friend to buy it. "You will not like the picture now," I said; "but if you have any latent aesthetic feeling in you it will bring it out, and you will like it in six months' time."

It was painted early in the sixties, probably about the same period as the Luxembourg picture, when the effects of his Spanish travel were wearing off, and Paris was beginning to command his art. Manet used to say, "When Degas was painting Semiramis I was painting modern Paris." It would have been more true to have said modern Spain. For it was in Spain that Manet found his inspiration.

On that understanding, gentlemen, be pleased to bestow, and let me receive, the rare compliment you have paid me by admitting me to citizenship in your delightful town." Low courtesy; profound bows; exit deputation enchanted with her; manet Klosking with the freedom of the city in her hand and ingratitude in her heart; for her one idea was to get hold of Mr.

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