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Updated: May 2, 2025
But our object will have been achieved, if we have inspired art-lovers with just esteem for this brave phalanx of artists who have proved better than any aesthetic commentaries the vitality, the originality, and the logic of Manet's theories, the great importance of the notions introduced by him into painting, and who have, on the other hand, clearly demonstrated the uselessness of official teaching.
He painted according to some wise and somewhat timid formulas, when Manet's example won him over to Impressionism to which he has remained faithful. M. Pissarro has been enormously productive. His work is composed of landscapes, rustic scenes, and studies of streets and markets.
Naturally Zola did not pose his old friend for the entire figure of the crazy impressionist, his hero, Claude. It was a study composed of Cézanne, Bazille, and one other, a poor, wretched lad who had been employed to clean Manet's studio, entertained artistic ambitions, but hanged himself.
We shall study in the next chapter his Neo-Impressionist comrades, and we shall now speak of some illustrators more advanced in years than he. The oldest in date is the engraver Henri Guérard, who died three years ago. He had married Eva Gonzalès and was a friend of Manet's, many of whose works have been engraved by him.
"But how can a man confess such things?" my companion asked me, and we stood looking at each other in the midst of the gardens until an ape, cattling prettily, ran towards me and jumped into my arms, and looking at the curious little wizened face, the long arms covered with hair, I said: "Verlaine has an extraordinary power of expression, and to be ashamed of nothing; but to be ashamed is his genius, just as it was Manet's.
Monet excels also in suggesting the drawing of light, if I may venture to use this expression. He makes us understand the movement of the vibrations of heat, the movement of the luminous waves; he also understands how to paint the sensation of strong wind. "Before one of Manet's pictures," said Mme. Morisot, "I always know which way to incline my umbrella."
Then the question of the quality of paint. Manet's paint was beautiful as that of an old master; brilliant as an enamel, smooth as an old ivory. But the quality of paint in Monet is that of stone and mortar. This would be realism a outrance. I will not think that Monet was haunted for a single instant by so shameful a thought.
Never was an artist's inner nature in more direct conformity with his work. There were no circumlocutions in Manet's nature, there were none in his art. The colour of my hair never gave me a thought until Manet began to paint it.
H. E. Huntington's Vermeer, as well as the supreme Marquand example of that master; more than the regular wealth of Rembrandts, Manet's "Still Life," Gauguin's "Women by the River," El Greco's "View of Toledo," Franz Hals' big jovial Dutchman from Mr. Harry Goldman's walls, and Bellini's "Bacchanale" to say nothing of the lace in galleries 18 and 19, Mr.
The Luxembourg picture, although one of the most showy and the completest amongst Manet's masterpieces, is not, in my opinion, either the most charming or the most interesting; and yet it would be difficult to say that this of the many life-sized nudes that France has produced during the century is not the one we could least easily spare.
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