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Updated: May 27, 2025
The amazement with which at first he had looked upon the works of the impressionists, changed to admiration; and presently he found himself talking as emphatically as the rest on the merits of Manet, Monet, and Degas. He bought a photograph of a drawing by Ingres of the Odalisque and a photograph of the Olympia.
Louis Legrand also shows to what extent Manet and Degas have revolutionised the art of illustration, in freeing the painters from obsolete laws and guiding them toward truth and frank psychological study. Legrand is full of them without resembling them.
Westley, who was very pleasant to Cornelia while the banter with Charmian went on, and proposed to show his pictures; he fancied that was what he had got them there, for; but he would make a decent pretence of the Manet, first. The Manet was one of that painter's most excessive; it was almost insolent in its defiance of the old theory and method of art.
He manipulated paint like an "old master" and did astounding things with the higher tones of the colour scale. He was not an impressionist until he met Monet. Then in audacity he outstripped his associates. Discouraged by critical attacks, his courage had been revived by Charles Baudelaire, who fought for Richard Wagner as well as for Poe and Manet.
One has to attribute his relative isolation to the violence of the controversies, and particularly to the dignity of a poet gently disdainful of public opinion and paying attention solely to painting, his great and only love. Manet has been a fighter whose works have created scandal.
His inequality is perhaps the cause of his relative want of success; it has put the public off, but nevertheless in certain of this brave and serious painter's canvases can be seen the happy influence of Manet. It seems to us only right to sum up our impartial opinion of Neo-Impressionism by saying that it has lacked cohesion, that Pointillism in particular has led painting into an aimless path.
In the Louvre where the Salon Carré is little changed Manet's Olympe, with her every-day seductiveness, resolves the phantasies of Moreau into thin air. Here is reality for you, familiar as it may be. It is wonderful how long it took French critics to discover that Manet was un peintre de race. He is very French in the French gallery where he now hangs.
As a painter, however, Manet had shown himself unmistakably as the great figure of the age, and if we have to go to Paris or to New York to catch a glimpse of any of his work, it is partly because we are too backward in seizing opportunities so eagerly snapped up by others.
Manet, who, by his spirit and by the chance of his friendships, grouped around him the principal members, commenced by being classed in the ranks of the Realists of the second Romanticism by the side of Courbet; and during the whole first period of his work he only endeavoured to describe contemporary scenes, at a time when the laws of the new technique were already dawning upon Claude Monet.
Besides this one, Millet painted "The Gleaners," "The Woodcutters," "The Sower," "The Man with the Hoe;" "The Water Carrier," "The Reaper," and many other stories of the peasant poor. Another Manet was the founder of this school among modern painters, but Monet is always considered his most conspicuous follower.
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