The Judgment of Paris (76 page)

7
Gréard,
Meissonier,
p. 291.

8
Ibid., p. 100. Valery Gréard was elected to the Institut de France in 1875.

9
Journal,
vol. 1, p. 138.

10
For an English translation of the poems, see
Le Spleen de Paris: City Blues,
trans. F. W. J. Hemmings (Melton Mowbray, Leicestershire: Brewhouse Private Press, 1977).

11
Correspondance de Baudelaire,
vol. 2, p. 350.

12
Quoted in F. W. J. Hemmings,
Baudelaire the Damned: A Biography
(London: Hamish Hamilton, 1982), p. 18.

Chapter Thirteen: Room M

1
The Illustrated London News,
May 7, 1864.

2
For the Emperor's children by Marguerite and Valentine, and the controversies surrounding their paternity, see Joanna Richardson,
The Courtesans,
pp. 81—3. Valentine's son, born in 1865, was Jules Hadot.

3
Quoted in Roger L. Williams,
The Mortal Napoléon III
(Princeton: Princeton University Press, 1971), p. 54.

4
The Illustrated London News,
June 27, 1863.

5
Malmesbury,
Memoirs of an Ex-Minister,
vol. 2, p. 321.

6
See the excellent discussion of Eugénie, bullfighting and animal welfare issues found in Ridley,
Napoléon III and Eugénie,
pp. 410-11.

7
Moniteur universel,
June 4, 1864.

8
Quoted in Jean Paladilhe and José Pierre,
Gustave Moreau,
trans. Bettina Wadia (London: Thames & Hudson, 1972), p. 25.

9
Quoted in Hungerford,
Ernest Meissonier,
p. 121.

10
Quoted in ibid., p. 135.

11
Le Figaro,
June 2, 1864;
Le Nain Jaune,
May 11, 1864.

12
Journal des Debats,
August 15, 1864;
Les Beaux Arts,
July 15, 1864;
L 'Union,
June 13, 1864.

13
La Presse,
June 2, 1864.

14
Westminster Review,
July 1864.

15
Le Salon de 1864
(Paris, 1864), p. 74.

16
Ibid.

17
Le Journal amusant,
May 21, 1864.

18
Le Monde illustre,
June 18, 1864.

19
L 'Artiste,
June 1, 1864;
Petit-Journal,
June 3, 1864.

20
Le Charivari,
June 15, 1864.

21
Le Moniteur universel,
June 25, 1864.

22
Gazette des Étrangers,
June 7, 1864.

23
La Vie Parisienne,
May 1, 1864.

24
Ibid.

25
Ernest Renan,
The Life of Jesus,
trans A. D. Howell Smith (London: Watts & Co., 1935), p. 215.

26
Recent critics have certainly read the painting in this way: see the discussion in Brombert,
Édouard Manet,
pp. 151-2. "Manet," she writes, "made graphic his acceptance of Renan's explanation: Mary Magdalen was hallucinating" (p. 152).

27
Le Moniteur universel,
June 25, 1864.

28
Correspondance de Baudelaire,
vol. 2, p. 408.

Chapter Fourteen: Plein Air

1
The Illustrated London News,
July 11, 1863. For Manet's sojourn in Boulogne in 1864, see Wilson-Bareau and Degener, "Manet and the Sea," in
Manet and the Sea
(New Haven: Yale University Press, 2003), pp. 61—7.

2
For an excellent overview of the history of seaside vacations in nineteenth-century France, see Herbert,
Impressionism: Art, Leisure, and Parisian Society,
pp. 265—302.

3
Quoted in ibid., p. 265.

4
The Times,
June 7, 1864.

5
For a good discussion of the history of this painting, see Théodore Reff,
Manet and Modern Paris: One Hundred Paintings, Drawings, Prints and Photographs by Manet and His Contemporaries
(Washington: National Gallery of Art, 1982), pp. 129—31.

6
Gazette des Beaux-Arts,
May 1862. Gautier wrote these words after a private viewing of the painting.

7
Manet by Himself',
p. 31.

8
Quoted in Juliet Wilson-Bareau and David Degener,
Manet and the American Civil War
(New York: Metropolitan Museum of Art, 2003), p. 54.

9
Quoted in ibid.

10
On Burty, see Gabriel P. Weisberg,
The Independent Critic: Philippe Burty and the Visual Arts of Mid-Nineteenth-Century France
(New York: P. Lang, 1993).

11
Manet by Himself,
p. 31.

12
Gréard,
Meissonier,
p. 185.

13
For details of Meissonier's sketches and his working method on
Friedland,
see Hungerford,
Ernest Meissonier,
pp. 168—70.

14
Gotlieb,
The Plight of Emulation,
p. 155.

15
Quoted in Pasquier-Guignard, "L'Installation a Poissy," p. 68.

16
Quoted in ibid., p. 66. For Meissonier's spending habits, see Gréard,
Meissonier,
p. 116.

17
Gréard asserts that Meissonier spent more than a million francs on his property in Poissy
{Meissonier,
p. 115).

18
See Pasquier-Guignard, "L'Installation a Poissy," p.
66.

19
On these matters, see ibid.

20
This anecdote is told by Edmond de Goncourt
in Journal,
vol. 1, p. 138.

21
Ibid.

22
Ibid.

23
Gréard,
Meissonier,
p. 125.

24
Ibid., p. 126.

25
For a discussion of Meissonier's paintings of artists in their studios, see Gotlieb,
The Plight of Emulation,
pp. 188-95.

26
See "Extraits de l'agenda de Charles Meissonier," in
Ernest Meissonier: Retrospective,
P. 73.

27 Ibid.

28
Ibid.

Chapter Fifteen: A Beastly Slop

1
Quoted in William Gaunt,
The Pre-Raphaelite Tragedy
(London: Cardinal, 1975), p. 29.

2
Letters of Dante Gabriel Rossetti,
ed. Oswald Doughty and John Robert Wahl, 5 vols. (Oxford: Clarendon Press, 1965-7), vol. 2, p. 527.

3
Dante Gabriel Rossetti and Jane Morris: Their Correspondence,
ed. John Bryson and Janet Camp Troxell (Oxford: Clarendon Press, 1976), p. 174. This particular comment dates from 1881, but there is no doubt that it represents Rossetti's opinion in 1864.

4
Letters of Dante Gabriel Rossetti,
vol. 2, p. 530.

5
Quoted in Tabarant,
Manet et ses oeuvres,
p. 100.

6
Wilson-Bareau, ed.,
Manet by Himself,
p. 32. The price paid by Chesneau is not recorded.

7
Ibid.

8
See Brombert,
Édouard Manet,
p. 167. See also the ingenious argument made by Théodore Reff that, in sending these two particular paintings to the Salon, Manet was imitating the example of Titian, who had once presented Emperor Charles V with a Venus and a derided Christ: "The Meaning of Olympia,"
Gazette des Beaux-Arts
63 (1964), p. 116.

9
See Louis Leroy's comments in
Le Charivari,
May 5, 1865.

10
Wilson-Bareau, ed.,
Manet by Himself,
p. 32.

11
Ibid., p. 33.

12
Le Temps,
November 27, 1900.

13
Quoted in Rewald,
The History of Impressionism,
p. 50.

14
Gazette des Beaux-Arts,
July 1865.

15
This anecdote is repeated in Rewald,
The History of Impressionism,
p. 123.

Chapter Sixteen: The Apostle of Ugliness

1
Wilson-Bareau, ed.,
Manet by Himself,
p. 33.

2
Correspondance de Baudelaire,
vol. 2, pp. 553, 437.

3
Ibid., p. 500.

4
Ibid., p. 496.

5
Louis Auvray,
Exposition des beaux-arts: Salon de 1865
(Paris, 1865), p. 59.

6
Le Moniteur des arts,
May 5, 1865; Ze
Monde illustré,
May 13,
1865; L'Époque,
May 17, 1865.

7
Jules Clarétie,
Le Figaro,
June 20, 1865.

8
Le Moniteur universel,
June 24, 1865;
La Presse,
May 28, 1865;
Le Grand Journal,
May 21, 1865;
L'Illustration,
June 3, 1865;
Le Siècle,
June 2, 1865;
La Gazette de France,
June 30, 1865. For an excellent overview of the critical responses to
Olympia,
see the discussion in Clark,
The Painting of Modern Life,
pp. 83—98. I am indebted to Clark for his gleaning of so many reviews as well as for his discussion of the place of both nudes and prostitutes in French art and society (see especially pp. 100—46).

9
La Presse,
May 28, 1865.

10
L'Époque,
May 17, 1865;
Le Grand Journal,
May 21, 1865;
Le Siècle,
June 2, 1865; Félix Jahyer,
Étude sur les beaux-arts: Salon de 1865
(Paris, 1865), p. 23.

11
Quoted in Clark,
The Painting of Modern Life,
p. 96.

12
Le Journal Littiraire de la Semaine,
May 29—June 4 1865.

13
Le Grand Journal,
May 21, 1865; and A.-J. Lorentz, quoted in Clark,
The Painting of Modern Life,
p. 289, note 69.

14
Quoted in McCauley,
Industrial Madness,
p. 155.1 am indebted to this work for its account of the "flesh trade" on pp. 153—85.

15
Quoted in ibid., p. 158.

16
Jacques-Émile Blanche,
Manet
(Paris: F. Rieder & Cie, 1924), pp. 36—7.

17
Quoted in Courthion and Cailler, eds.,
Portrait of Manet,
trans. Michael Ross, p. 55.

18
Quoted in ibid., p. 51.

19
L'Artiste,
April 1, 1865.

20
For a good discussion of Meissonier's manipulation of interior light in
The Etcher,
see Hungerford,
Ernest Meissonier,
p. 88.

21
The Astronomer
is now in the Louvre,
The Geographer
in the Städel Museum in Frankfurt. How and where Meissonier may have seen
The Astronomer
—if indeed he was familiar with the work—is something of a mystery. According to Dr. Ivan Gaskell, a Vermeer scholar at Harvard University, the painting appears to have been in England by 1804, and by 1857 it may have been owned by Henry Tate. No reliable information indicates when it returned to France. Thoré claimed in his 1866 article in the
Gazette des Beaux-Arts
that the painting was offered by Christie's in London in 1863, but the details of this sale have
not
been traced. It is known, however, that
The Astronomer
was not among the eleven paintings in the 1866 exhibition of Vermeer's work in Paris. Meissonier may well have been familiar with the work through an 1784 engraving by Louis Garreau. This reproduction was included by Jean-Baptiste-Pierre Le Brun (the dealer who owned the painting and commissioned the engraving) in his three-volume illustrated publication,
Galérie des peintres flamands, hollandais et allemands
(Paris, 1792—96), vol. 2, p. 49. On Le Brun, see Ivan Gaskell, "Tradesmen as Scholars: Interdependencies in the Study and Exchange of Art,"
Art History and Its Institutions: Foundations of a Discipline,
ed. Elizabeth Mansfield (London and New York: Routledge, 2002), pp. 146—162. For the 1866 Vermeer exhibition in Paris, see Gaskell's
Vermeer's Wager
(London: Reaktion, 2000), p. 123. I am grateful to Dr. Gaskell for supplying this information.