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Updated: May 27, 2025
In 1882 appeared a magnificent canvas, the Bar des Folies-Bergère, in which there is some sparkling still-life painting of most attractive beauty. It was accompanied by a lady's portrait, Jeanne. But on April 30, 1883, Manet died, exhausted by his work and struggles, of locomotor ataxy, after having vainly undergone the amputation of a foot to avoid gangrene.
Defiance of all critical canons at any cost is their shibboleth. Compared to their fulgurant colour schemes the work of Manet, Monet, and Degas pales and retreats into the Pantheon of the past. They are become classic. Another king has usurped their throne his name is Paul Cézanne. No need now to recapitulate the story of the New Salon and the defection from it of these Independents.
Not so vain, so irritable as either Manet or Whistler, Monet's nerves have never prompted him to extravagances. Backbiters declare that Monet is suffering from an optical degeneration poor, overworked word! Monet sees better, sees more keenly than his fellow-men. What a misfortune! Ibsen and Wagner suffered, too, from superior brains.
A little older than his friends, he had already, quite alone, raised heated discussions by the works in his first manner. This was the first nucleus of a public which was to increase year by year. Manet had the personal qualities of a chief; he was a man of spirit, an ardent worker, and an enthusiastic and generous character. Manet commenced his first studies with Couture.
Before these works, in which the real Manet appeared for the first time, no one had a good word to say. To kill them more effectually, certain merits were even conceded to the "Bon Bock" and the Luxembourg picture. The "Bon Bock", as we have seen, at once challenges comparison with Hals. But in "Le Linge" no challenge is sent forth to any one; it is Manet, all Manet, and nothing but Manet.
That is what the really great masters have done, and it is the succession of their sincere and profound observations which constitutes the style of the races. Manet and his friends drew all their strength from this idea. Much finer and more learned than a man like Courbet, they saw an aspect of modernity far more complex, and less limited to immediate and grossly superficial realism.
In the year 1613 three interpreters arrived, Nicholas du Vignau, Jacques Hertel, and Thomas Godefroy. In the year 1618 there was only one arrival, Jean Manet, who took up his residence among the people residing on the shores of Lake Nipissing. In the year 1619 Jean Nicolet came to Canada, and won great esteem in the country of his choice.
Before Francis Bacon, before Velasquez or Manet, he prophesied not merely the new artist or the new man of science, but the new man who is to free himself from his inheritance and to see, feel, think, and act in all things with the spontaneity of God. That is why he is a legendary hero to us, with a legend that is not in the past but in the future.
It is true that in 1863 Manet had drawn upon his head the thunderous wrath of Paris by exhibiting his Déjeuner sur l'Herbe and Olympe by no means a representative effort of the painter's genius, despite its diabolic cleverness. He studied Hals and with what glorious results in Le Bon Bock!
Guido Reni, Watteau, Leighton were they not perhaps somewhat pure romanticists; Rembrandt, Hogarth, Manet mainly realists; Botticelli, Titian, Raphael, a blend. Dumas pere, and Scott, surely romantic; Flaubert and Tolstoy as surely realists; Dickens and Cervantes, blended. Keats and Swinburne romantic; Browning and Whitman realistic; Shakespeare and Goethe, both. The Greek dramatists realists.
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