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4 Already a number of things must simply be signalled: you see the privilege that Manet accords to the great vertical lines which are represented by the trees. And you see that Manet's canvas organ ises itself accord ing to, at the bac k, two large axes: a horizontal axis which is signalled by the last line of the figures· heads and then the large vertical ' Thomas Couture 11 815-79 1. history and genre painte r, tutor to Man et for six years. Michel. 1 em Nation a l Gallery. Londo n. Lane Beques t.
St aa tlic he Musee n zu Be rli n 47 the vertical and horizontal lines; and the character, at once popular, unpolished, and the figures, and what is represented in this canvas, no more than a game for Manet, a game which consists of representing in a canvas the very properties of a weave and the interlacing and the matching up of the vertical and the horizontal. In the Greenhou se 11879i Would you like to move on to the next canvas, which is called In the Greenhouse and which is all the same one of the most important of Manet's canvases for understanding the manner of his play [it seems that Foucault had a problem at this point in finding his reproduction - the recording is broken here, indicating that a few seconds were lost].
There, if you like, is the gam e of sidestepping, of hiding, of illusion or elision which painting had practised since the quattrocento. What Manet did [it is in any case one of the important aspects, I believe, of the changes contributed by Manet to western painting] was to make reappear, in a way, at the very interior of what was represented in the picture, these properties, these qualities or these material limitations of the canvas which painting , which the pictor ial tradition, had up until then made it its mission in some way to sidestep and to mask.