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Updated: May 27, 2025
He thought himself very cool and competent, this skilful Jack, leading her down in the illumined, dewy woods, talking on and on, talking the fool for so, with a bitter smile, her inner commentary dubbed him of Manet, of Monet, of Whistler, of the decomposition of light, the vibration of color. From the heat of fierce anger Imogen reached a contemptuous coolness.
There is nothing very trenchantly French about him either, except the large necktie; his eyes are small and his words are sharp, ironical, cynical. These two men are the leaders of the impressionist school. Their friendship has been jarred by inevitable rivalry. "Degas was painting 'Semiramis' when I was painting 'Modern Paris," says Manet.
As a rule he was not an irascible man, if the unpleasant nature of the attacks upon him is taken into consideration. With the exception of Richard Wagner and Ibsen, I know of no artist who was vilified during his lifetime as was Manet. A gentleman, he was the reverse of the bohemian. Duret writes of him that he was shocked at the attempt to make of him a monster.
After seeing the Maja desnuda at the Prado you realise that Manet's trip to Madrid was not without important results. Between the noble lady who was the Duchess of Alba and the ignoble girl called Olympe there is only the difference between the respective handlings of Goya and Manet. The noblest castle in Spain is the museum on the Prado.
Passionate vivacity and the blinding sunshine are not qualities that appeal to Zuloaga. He portrays darkest let us rather say greenest, brownest Spain. The Basque in him is the strongest strain. He is artistically a lineal descendant of El Greco, Velasquez, Goya; and the map of his memory has been traversed by Manet. He is more racial, more truly Spanish, than any painter since Goya.
He took it as it was a white sky, full of an inner radiance, two sailing-boats floating in mist of heat, one in shadow, the other in light. Vandervelde would seem trivial and precious beside painting so firm, so manly, so free from trick, so beautifully logical, and so unerring. Manet did not often paint sea-pieces.
"I wanted to have a look at the Manet, I've heard so much about it." "Would you like me to come with you? I know the Luxembourg rather well. I could show you one or two good things." He understood that, unable to bring herself to apologise directly, she made this offer as amends. "It's awfully kind of you. I should like it very much."
At that time impressionism reigned in the Latin Quarter, but its victory over the older schools was still recent; and Carolus-Duran, Bouguereau, and their like were set up against Manet, Monet, and Degas. To appreciate these was still a sign of grace. Whistler was an influence strong with the English and his compatriots, and the discerning collected Japanese prints.
The truth is that Manet dearly loved a fight, and being chef d'école, he naturally drifted to the impressionists' camp. And it is significant that Duret did not give this virile spirit a place in his new volume, confining the estimate of his genius to the preface.
Like Manet, and like all truly great and powerful painters, M. Renoir has treated almost everything, nudes, portraits, subject pictures, seascapes and still-life, all with equal beauty. His first manner shows him to be a very direct descendant of Boucher.
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