its highest degree of pictorial attainment. These many and varied textures are reunited in his Le Déjeuner—a canvas which must not be confused with Le Déjeuner sur l’Herbe. Here we have a plant, a vase, four different materials in the boy’s clothing, a straw hat, a brass jug with all its reflections, a table cloth, a wall, an old sword, glassware, fruit and liquid. It is an orgy of textures, and Manet must have gloried in it. One critic of the day wondered why oysters and a cut lemon lay on the breakfast table. But we wonder why a cat with fluffy fur is not there also. Castagnary suggested that Manet, feeling himself to be the master of still-life, brought every possible texture into a single canvas for purposes of contrast and because he delighted in the material quality of objects. But the reason goes deeper. Manet was a superlatively conscious technician, and that sacrée commodité de la brosse, so displeasing to Delacroix, was his greatest intoxication. Hals also was seduced by it. Later, when the new vision of light was communicated to Manet by the Impressionists, his obsession for the purely technical diminished in intensity. In that topical bid for popularity, the Combat du Kerseage et de l’Alabama, we detect his interest in a new economy of means which would facilitate his search for broader illumination. This method took a step forward in Le Port de Bordeaux, and later reached maturity in his canvases painted in 1882, of which Le Jardin de Bellevue is a good example. But despite his heroic efforts, these last pictures, painted a year before he died when paralysis had already claimed him and he was devoting his time almost entirely to still-life, were without fulgency, and never approached the richness of even so slight a colourist as Monet.
Repose is a word used overmuch by modern critics to designate the dominant quality of Manet’s painting. From an entirely pictorial point of view the word is applicable, but in the precise æsthetic sense it is a misnomer. The illusion of repose in Manet is accounted for by his even use of greys, as in Le Chemin de Fer, Le Port de Bordeaux, the Exécution de Maximilien and the Course de Taureaux. Even in Les Bulles de Savon, the Rendez-vous de Chats, Le Clair de Lune and Le Bar des Folies-Bergère—canvases in which is exhibited Manet’s greatest opposition of tones—the ensemble is expressive of monotony. Real repose, however, is something much more recondite than uniformity or tedium. It is created by a complete harmonious organisation, not by an avoidance of movement. Giotto’s Death of Saint Francis and El Greco’s Annunciation have a simultaneity of presentation as unique as in Manet; but, because their compositions are so rhythmically co-ordinated, they present an absolute finality of movement and thus engender an emotional as well as an ocular repose.
Manet’s actual innovations are small, smaller even than Courbet’s. However, many critics credit him with grotesque novelties. There are very few books dealing with modern painting which do not assert that he was the first to note that flesh in the light is dazzlingly bright and of a cream-and-rose colour. But in this particular there is no improvement in Manet on the pictures of Rubens. He may have unearthed this illustrative point; certain it is he did not originate it. Yet no matter how slight his departures, we enjoy his pictures for their inherent æsthetic qualities, and not for their approximation to nature. Manet made many mistakes, but this was natural when we remember that in the whirlpool of new ambitions one is prone to forget the lessons of the past. Only by profiting by them can one go on toward the ever advancing goal of achievement. We must not forget that this new spirit of endeavour is only an impulse towards something greater, a rebellion against arbitrarily imposed obstacles. If men like Manet lost track of the fundamentals of the great art which had preceded them, it was only that their vision was clouded by new experiments.
The actual achievements of Manet epitomise the secondary in art. His attempt to combine artistic worth with popularity restricted him. That he was misunderstood at first was his own fault in continually changing his style. But acceptance or rejection by popular opinion does not indicate the measure of a painter’s significance. And Manet is to be judged by his contributions to the new idea. His importance lay in that he took the second step of the three which were to exhaust the possibilities of realism. In art every genuine method is consummated before a new one can take its place. Michelangelo brought architecture to its highest point of development; Rubens, linear painting; the Impressionists, the study of light; Beethoven, the classic ideal in music; Swinburne, the rhymed lyric. In fact, only after the épuisement of a certain line of endeavour, is felt the necessity to seek for a new and more adequate means of expression. Manet helped bring to a close a certain phase of art, thus hastening the advent of other and greater men. His accomplishments now stand for all that is academic and student-like; and although his interest as an innovator passed out with the appearance of Pissarro and Monet, men go on imitating his externals and using his brushing. In the same sense that Velazquez is a great painter, so is Manet. His influence has served the purpose of helping turn aside the academicians from their emulation of Italian painting.
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