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Updated: May 27, 2025
How many of us can say as much? Go round a picture gallery, and of how many pictures, ancient or modern, can you stand before and say, Voila un homme qui ne s'est pas trompe de metier? Perhaps above all men of our generation Manet made the least mistake in his choice of a trade. Let those who doubt go and look at the beautiful picture of Boulogne Pier, now on view in Mr.
English poetic feeling, combined with as much of French technique as it could assimilate there was the line of progress. Not the technique of these clever madmen Manet, Degas, Monet, and the rest with the mean view of life of some, and the hideous surface of others. No! but the Barbizon men and Mother Nature, first and foremost!
There can be no doubt that he would have pronounced the words 'people' and 'merry' in one uniform manner wherever they occur; but it is curious to consider how little we can judge respecting the pronunciation of our forefathers. Their litera scripta manet; but how they vocalised it, we cannot always decide.
Her swans are not diagrams drawn upon the water, their whiteness appears and disappears in the trembling of the light; and the underwood, how warm and quiet it is, and penetrated with the life of the summer; and the yellow-painted skiff, how happy and how real! Colours, tints of faint green and mauve passed lightly, a few branches indicated. Truly, the art of Manet transporte en eventail.
This is what Gérôme has done in the "Éminence Grise" a scene, it will be remembered, on a staircase in a palace interior. Manet inquires what would happen to this house of cards shored up into verisimilitude by mere correspondence, if Gérôme had been asked to cut a window in his staircase and admit the light of out-of-doors into his correspondent but artificial scene.
The period from 1860 to 1870 is logically connected with Hals and Goya; from 1870 to 1883 the artist's modernity is complicated by the study of light. His personality appears there even more original, but one may well give the palm to those works of Manet which are painted in his classic and low-toned manner.
Immediately after breakfast husband and wife sit down at their easels. "Let me mix a tone for you, dear," "I think I would put that up a little higher," etc. In a word, what Manet used to call la peinture a quatre mains. Nevertheless, among these well-intentioned ladies we find one artist of rare excellence I mean Madame Lebrun.
If Monet ever suffered seriously from a danger to his art it was success. He was abused in the beginning, but not as severely as Manet. But success perched on Monet's palette. His pictures never seem to suggest any time but high noon, in spirit, at least. And he is never sad. Yet, is there anything sadder under the sun than a soul incapable of sadness?
Renoir's realism bears in spite of all, the imprint of the lyric spirit and of sweetness. It has neither the nervous veracity of Manet, nor the bitterness of Degas, who both love their epoch and find it interesting without idealising it and who have the vision of psychologist novelists. Before everything else he is a painter.
Running forward with glad cries the red men drank eagerly of the liquor, laved their faces in it, and were made strong again; and in memory of that event they called the place the Hill of God, or Manitou Hill, and Manet or Manetta Hill it is to this day.
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