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Updated: May 2, 2025
Having first been a pupil of Chaplin, she soon came to forget the tricks of technique in order to acquire under Manet's guidance the qualities of clearness and the strength of the great painter of Argenteuil; and she would certainly have taken one of the first places in modern art, had not her career been cut short by death.
Quieter men came and studied Emma Campbell and her cat, and clapped Peter on the back; the more exuberant Latins kissed him, noisy, hearty, hairy kisses on both cheeks. Undoubtedly, it would be accepted, they said! It was, and hung conspicuously. There were always small groups before it, for it created something like the uproar that Manet's "Olympia" had raised in its time.
It is neither a masterpiece, nor an emotional work, but a technical experiment, very significant for the epoch during which it appeared in French art, and this canvas, which is very inferior to Manet's fine works, may well be considered as a date of evolution.
It is so fascinating, that one cannot but love its very mistakes which make it more human and more accessible. Renoir is the most lyrical, the most musical, the most subtle of the masters of this art. Some of his landscapes are as beautiful as those of Claude Monet. His nudes are as masterly in painting as Manet's, and more supple.
When I left Paris hurriedly, and left my things to be sold, the countess came to the sale and bought her picture, and then she sold it years afterwards to a picture-dealer, tempted by the price that Manet's pictures were fetching. Hearing that it was for sale, I bought it, as I have said, for a friend.
His technique, especially in his later work, is quite individual in its character. He models with short swift strokes of the brush not unlike the brush work in some of Manet's pictures.
"You needn't say yes if you'd rather go alone," she said suspiciously. "I wouldn't." They walked towards the gallery. Caillebotte's collection had lately been placed on view, and the student for the first time had the opportunity to examine at his ease the works of the impressionists. Miss Price led Philip straight up to Manet's Olympia. He looked at it in astonished silence.
The very young artists Laprade and Charles Guérin have shown for the last three years, at the exhibition of the Indépendants, some works which are the worthy result of Manet's and Renoir's influence. They, too, justify great expectations. The landscapists Paul Vogler and Maxime Maufra, more advanced in years, have made themselves known by some solid series of vigorously presented landscapes.
His first intention was to paint me in a cafe; he had met me in a cafe, and he thought he could realise his impression of me in the first surrounding he had seen me in. The portrait did not come right; ultimately it was destroyed; but it gave me every opportunity of studying Manet's method of painting. Strictly speaking, he had no method; painting with him was a pure instinct.
What I reproach Millet with is that it is always the same thing, the same peasant, the same sabot, the same sentiment. You must admit that it is somewhat stereotyped. What does that matter; what is more stereotyped than Japanese art? But that does not prevent it from being always beautiful. People talk of Manet's originality; that is just what I can't see.
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