Manet and the French impressionists: Pissarro--Claude Monet--Sisley--Renoir--Berthe Morisot--Cézanne--Guillaumin . icand the press an opportunity of adopting a more conciliatoryattitude towards Manet. Critics admitted that perhaps the toneof their articles had been rather too sharp and both critics and public were full of self-congratulation. Theyclaimed that long ago they had expressed their opinion that allthe objectionable features of Manets painting—his violence, his patchwork, his choice of extraordinary subjects—simply pro-ceeded from the insolence of youth, from a desir
Manet and the French impressionists: Pissarro--Claude Monet--Sisley--Renoir--Berthe Morisot--Cézanne--Guillaumin . icand the press an opportunity of adopting a more conciliatoryattitude towards Manet. Critics admitted that perhaps the toneof their articles had been rather too sharp and both critics and public were full of self-congratulation. Theyclaimed that long ago they had expressed their opinion that allthe objectionable features of Manets painting—his violence, his patchwork, his choice of extraordinary subjects—simply pro-ceeded from the insolence of youth, from a desire to force him-self into notoriety, and that sooner or later he would adopt theordinary, conventional rules like everybody else. In Le BonBock they detected the signs of the change which they had pre-dicted, and the picture pleased them all the more in that it borewitness to their own sagacity. Of course this supposition ofcritics and public was purely imaginative. Manet had paintedLe Bon Bock with his usual sincerity and naivete of composi-tion. It was merely an accident of circumstance that this picture. LE BON NOCK MANET LE BON BOCK 65 met with a more favourable reception than any of his other had no idea that his picture would be remarked for its suavityof handling, or that it would please because of a supposed dis-similarity from his usual manner. Its success always remaineda mystery to him. ^Among those who praised Le Bon Bock there were certainconnoisseurs who explained that the good qualities of the picturewere due to the influence of Franz Hals. J Manet had visitedHolland again in 1872; he had seen once more the pictures ofFranz Hals at Haarlem which had made such a keen impressionupon him in his younger days. After his return to Paris, therecollection of what he had seen suggested to him the idea of paint-ing Belot with a glass of beer in his hand; the pose and crampedspacing of the half-length figure are not exactly characteristic ofManet, and may have
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Keywords: ., bookcentury1900, bookdecade1910, booksubjectpainting, bookyear191
