It was in 1861 that Manet first sent to the Salon the portraits of his parents and the Guitarero, which was hailed by Gautier, and rewarded by the jury, though it roused surprise and irritation. But after that he was rejected, whether it was a question of the Fifre or of the Déjeuner sur l'herbe. This canvas, with an admirable feminine nude, created a scandal, because an undressed woman figured in it amidst clothed figures, a matter of frequent occurrence with the masters of the Renaissance. The landscape is not painted in the open air, but in the studio, and resembles a tapestry, but it shows already the most brilliant evidence of Manet's talent in the study of the nude and the still-life of the foreground, which is the work of a powerful master. From the time of this canvas the artist's personality appeared in all its maturity. He painted it before he was thirty, and it has the air of an old master's work; it is based upon Hals and the Spaniards together.
The reputation of Manet became established after 1865. Furious critics were opposed by enthusiastic admirers. Baudelaire upheld Manet, as he had upheld Delacroix and Wagner, with his great clairvoyance, sympathetic to all real originality. The Olympia brought the discussion to a head. This courtesan lying in bed undressed, with a negress carrying a bouquet, and a black cat, made a tremendous stir. It is a powerful work of strong colour, broad design and intense sentiment, astounding in its parti-pris of reducing the values to the greatest simplicity. One can feel in it the artist's preoccupation with rediscovering the rude frankness of Hals and Goya, and his aversion against the prettiness and false nobility of the school. This famous Olympia which occasioned so much fury, appears to us to-day as a transition work. It is neither a masterpiece, nor an emotional work, but a technical experiment, very significant for the epoch during which it appeared in French art, and this canvas, which is very inferior to Manet's fine works, may well be considered as a date of evolution. He was doubtful about exhibiting it, but Baudelaire decided him and wrote to him on this occasion these typical remarks: "You complain about attacks? But are you the first to endure them? Have you more genius than Chateaubriand and Wagner? They were not killed by derision. And, in order not to make you too proud, I must tell you, that they are models each in his own way and in a very rich world, whilst you are only the first in the decrepitude of your art."
MANET
OLYMPIA
Thus it must be firmly established that from this moment Manet passed as an innovator, years before Impressionism existed or was even thought of. This is an important point: it will help to clear up the twofold origin of the movement which followed. To his realism, to his return to composition in the modern spirit, and to the simplifying of planes and values, Manet owed these attacks, though at that time his colour was still sombre and entirely influenced by Hals, Goya and Courbet. From that time the artist became a chief. As his friends used to meet him at an obscure Batignolles café, the café Guerbois (still existing), public derision baptized these meetings with the name of "L'Ecole des Batignolles." Manet then exhibited the Angels at the Tomb of Christ, a souvenir of the Venetians; Lola de Valence, commented upon by Baudelaire in a quatrain which can be found in the Fleurs du Mal; the Episode d'un combat de taureaux (dissatisfied with this picture, he cut out the dead toreador in the foreground, and burnt the rest). The Acteur tragique (portrait of Rouvière in Hamlet) and the Jésus insulté followed, and then came the Gitanos, L'Enfant à l'Epée, and the portrait of Mme. Manet. This series of works is admirable. It is here where he reveals himself as a splendid colourist, whose design is as vigorous as the technique is masterly. In these works one does not think of looking for anything but the witchery of technical strength; and the abundant wealth of his temperament is simply dazzling. Manet reveals himself as the direct heir of the great Spaniards, more interesting, more spontaneous, and freer than Courbet. The Rouvière is as fine a symphony in grey and black as the noblest portraits by Bronzino, and there is probably no Goya more powerful than the Toréador tué. Manet's altogether classic descent appears here undeniably. There is no question yet of Impressionism, and yet Monet and Renoir are already painting, Monet has exhibited at the Salon des Refusés, but criticism sees and attacks nobody but Manet. This great individuality who overwhelmed the Academy with its weak allegories, was the butt of great insults and the object of great admiration. Banished from the Salons, he collected fifty pictures in a room in the Avenue de l'Alma and invited the public thither. In 1868 appeared the portrait of Emile Zola, in 1860 the Déjeuner, works which are so powerful, that they enforced admiration in spite of all hostility. In the Salon of 1870 was shown the portrait of Eva Gonzalès, the charming pastellist and pupil of Manet, and the impressive Execution of Maximilian at Queretaro. Manet was at the apogee of his talent, when the Franco-German war broke out. At the age of thirty-eight he had put forth a considerable amount of work, tried himself in all styles, severed his individuality from the slavish admiration of the old masters, and attained his own mastery. And now he wanted to expand, and, in joining Monet, Renoir and Degas, interpret in his own way the Impressionist theory.
MANET
THE WOMAN WITH THE PARROT
The Fight of the Kearsage and the Alabama, a magnificent sea-piece, bathed in sunlight, announced this transformation in his work, as did also a study, a Garden, painted, I believe, in 1870, but exhibited only after the crisis of the terrible year. At that time the Durand-Ruel Gallery bought a considerable series by the innovator, and was imitated by some select art-lovers. The Musique aux Tuileries and the Bal de l'Opéra had, some years before, pointed towards the evolution of this great artist in the direction of plein-air painting. The Bon Bock, in which the very soul of Hals is revived, and the grave Liseur, sold immediately at Vienne, were the two last pledges given by the artist to his old admirers; these two pictures had moreover a splendid success, and the Bon Bock, popularised by an engraving, was hailed by the very men who had most unjustly attacked the author of the portrait of Mme. Morisot, a French masterpiece. But already Manet was attracted irresistibly towards the study of light, and, faithful to his programme, he prepared to face once again outbursts of anger and further sarcasms; he was resolved once again to offer battle to the Salons. Followed by all the Impressionists he tried to make them understand the necessity of introducing the new ideas into this retrograde Milieu. But they would not. Having already received a rebuff by the attacks directed for some years against their works, they exhibited among themselves in some private galleries: they declined to force the gate of the Salons, and Manet remained alone. In 1875 he submitted, with his Argenteuil, the most perfect epitome of his atmospheric researches. The jury admitted it in spite of loud protests: they were afraid of Manet; they admired his power of transformation, and he revolted the prejudiced, attracting them at the same time by the charm of his force. But in 1876 the portrait of Desboutin and the Linge (an exquisite picture,—one of the best productions of open-air study) were rejected. Manet then recommenced the experience of 1867, and opened his studio to the public. A register at the door was soon covered with signatures protesting against the jury, as well as with hostile jokes, and even anonymous insults! In 1877 the defeated jury admitted the portrait of the famous singer Faure in the part of Hamlet, and rejected Nana, a picture which was found scandalising, but has charming freshness and an intensely modern character. In 1878, 1879 and 1880 they accepted la Serre, the surprising symphony in blue and white which shows Mr George Moore in boating costume, the portrait of Antonin Proust, and the scene at the Père Lathuile restaurant, in which Manet's nervous and luminous realism has so curious a resemblance to the art of the Goncourts. In 1881 the portrait of Rochefort and that of the lion-killer, Pertuiset, procured the artist a medal at the Salon, and Antonin Proust, the friend of Manet's childhood, who had become Minister of Fine Arts, honoured himself in decorating him with the legion of honour. 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.