Manet and the French impressionists: Pissarro--Claude Monet--Sisley--Renoir--Berthe Morisot--Cézanne--Guillaumin . e was accused ofthe lowest and most unworthy motives, and all the reward thathe got for his courage was the reputation of a man who lackedboth honesty and a sense of respect for what ought to berespected. Some time after, M. Arsene Houssaye, who was lookingabout for sensational articles for a literary and artistic review,La Revue du XIXe siecle, which he edited, asked Zola to write aspecial study of Manet. This appeared in the number for January1867. This time Zola forbore deliver
Manet and the French impressionists: Pissarro--Claude Monet--Sisley--Renoir--Berthe Morisot--Cézanne--Guillaumin . e was accused ofthe lowest and most unworthy motives, and all the reward thathe got for his courage was the reputation of a man who lackedboth honesty and a sense of respect for what ought to berespected. Some time after, M. Arsene Houssaye, who was lookingabout for sensational articles for a literary and artistic review,La Revue du XIXe siecle, which he edited, asked Zola to write aspecial study of Manet. This appeared in the number for January1867. This time Zola forbore delivering those attacks on thetraditional painters which had so greatly provoked the anger ofthe readers of the articles in LEvenement, and devoted himselfexclusively to Manet. To-day his study appears to contain onlythe simplest truths. Only irreconcilable conservatives, stilldevoted to obsolete formulas, could object to the judgmentwhich he delivered; but upon the ears of contemporaries theyfell like paradoxes. He gave special attention to the Olympia,praising it unstintedly. This alone was enough to convict him]. LA CHANTEUSE DES RUES MANET THE PRIVATE EXHIBITION OF 1867 37 of insincerity; no one supposed that he really believed a wordof what he wrote. Olympia and her black cat had been soroundly denounced that it appeared positively monstrous to saya word in their defence. Not content with the publicity whichhis articles had received in LEvenement and La Revue duXIXe Steele, Zola issued them as pamphlets, in order to givethem greater permanence. This pertinacity, or, as it was con-sidered, perverseness, caused him to be regarded as a distinctlydangerous person, and he now found it impossible to securepublication for his essays in art criticism. For the moment Manet found that he had gained nothingby Zolas advocacy, for the angry public classed them togetheras equally reprehensible. _None the less Zolas resonant defencehad drawn Manet out of the absolute isolation in which he had
Size: 1276px × 1959px
Photo credit: © The Reading Room / Alamy / Afripics
License: Licensed
Model Released: No
Keywords: ., bookcentury1900, bookdecade1910, booksubjectpainting, bookyear191
