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Additional resources for Manet; [biographical and critical study
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These incidents show us Manet resisting—as young men are wont to do—what the past attempted to foist on him. But his individual attitude was the first sign of a fundamental change soon to come over all European painting. Hitherto held in representational service, it now began moving towards the autonomy it has enjoyed since Manet’s time. From the moment the model’s extravagant pose got on his nerves, the issue was no longer in doubt. What Manet insisted upon, uncompromisingly, was an end to rhetoric in painting.
In the preface to the catalogue of the exhibition he held in 1867 at his own expense, he addressed himself in the most diffident terms to the public that had so brazenly manhandled him. “ Monsieur Manet,” he wrote, “ has never meant to protest. On the contrary, it is against him, to his great surprise, that the protesting has been done. ” Could anything be farther from the ways of the present day, now that aggressiveness and high-powered propaganda, calculated to dazzle and amaze, have got the upper hand?
He seems to have urged him “ to go Spanish,” though for the painter himself this was only a passing phase, not to say a dead end. The only pictures he is known to have genuinely liked are those curious compositions, often very fine, that Manet made in Paris, generally from such Spanish models as he could find to pose for him. One of the best of these is The Spanish Ballet, in which he blended “ what he saw” with a desire to achieve an exotic effect. Similar to these is Baudelaire's Mistress; here, on the basis of a brilliant simplification, Manet transposed the merely picturesque into a delicate fugue of lace and calico.