File:Manet and the French impressionists- Pissarro-Claude Monet-Sisley-Renoir-Berthe Morisot-Cézanne-Guillaumin (1910) (14783065332).jpg

Identifier: manetfrenchimpre00dure (find matches)
Title: Manet and the French impressionists: Pissarro--Claude Monet--Sisley--Renoir--Berthe Morisot--Cézanne--Guillaumin
Year: 1910 (1910s)
Authors: Duret, Théodore, 1838-1927 Flitch, J. E. Crawford (John Ernest Crawford), tr
Subjects: Manet, Edouard, 1832-1883 Painting Impressionism (Art)
Publisher: Philadelphia : J. B. Lippincott company
Contributing Library: Harold B. Lee Library
Digitizing Sponsor: Brigham Young University

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, it raised, if possible, a still greater storm of indignation because of its choice of subject, and the way in which the figures were treated. ^At this time there was not only one manner of painting and of observing the traditional rules, which for the public, taking their lead from the artists, was regarded as having any validity; there was a whole body of aesthetics which alone was admitted in the studios, and sanctioned by public opinion outside. Homage was paid to the ideal. High art was conceived as appertaining to a certain elevated sphere, which embraced historical and religious painting, and the representation of classical antiquity and mythology. The interest of artists, critics, and public was confined exclusively to this form of art, which was considered pure and dignified. Its condition gave rise to anxiety at each successive Salon; the important question was whether it was advancing or in decline. The artists who excelled in it, the younger men who cultivated it and gave
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LE DEJEUNER SUR LHERBE 21 promise of taking the place of the established masters, were theobject of universal attention. Upon them were showered congratu-lations, eulogies, rewards. I This grand art had become the objectof a national cult. It was the glory of France to perpetuate it.In so doing, she displayed her superiority over those other nationswhich lagged behind in the path of art, as art was thus under-stood. Thus love of tradition, devotion to what was called theideal, solicitude for the national honour, united in fostering theveneration of this inherited form of art. Now Manet, in the selection and treatment of his subject, hadsucceeded in attacking every sentiment which the rest of hiscountrymen held dear. He had disowned that grand art whichwas the glory of the nation. On a canvas of dimensions whichwere reserved exclusively for motives of an idealised character,(he had dared to paint a purely realistic scene,—a luncheon on thegrass. The characters in the picture, depicte

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