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MASTERPIECES OF WESTERN PAINTINGS This series serves aa forum for the seasessmet of enportane Pains deesforern eatin that span a period ffom the Renaissance tothe aoe veh conn Each volume focuses ona single work and includes an vrfarton outining i gencrl histor, a well a 2 selection of 27> thar examine the work fiom a variety of methodological penpestiiss sae ating how and wiry ese pining have such enduring wave, qh volumes ao offer new insights nt their meaning fOr contemporiss and their subsequent reception: VOLUMES INTHE SERIES Masai’ “Tint” edited by Rona Goffen, Rutgers University Raphael “School of Aes” edited by Marcia Hall Temple Une Treen’ “Ves of Urbina” eited by Rona Goffen, Rutgers University Canavggio’s “Saint Pal,” edited by Gal Feigenbaum Canhendts “Bathsheba vith Davids Let,” edited by Ann Jensen “Adams, University of California, Santa Barbara Danids “Death of Mara,” edited by Will Vaughn and Helen Weston, ‘University College, University of London Maners “Le Déjeuner sur Here,” eit by Paul Hayes Tucket, Uni- verity of Masachusetts Boston Prams “Les Demoislesd’Avignon,” edited by Christopher Green, ‘Courtauld Institute of Art, University of London MANET’S LE DEJEUNER SUR TEE Re, Edited by Paul Hayes Tucker CAMBRIDGE UNIVERSITY PRESS‘on ir UNIVERSITY OF CAMIDGE {PUMLISHED BY THE PRESS SYNDICATE ie, CB2 ARE, United Kingsom ‘Fhe Pie Balding, Trumpington Steet, Cambri eenrcieburg Builling, Cambridge CB2 2RU, United Kingdom, ido Wes oth ret, New York, NY roott-4211, USA 18 Stamford Road, Oakleigh, Melbourne 3166, Australia © Cambridge University Pres 1998 “This books in copyright Subject to starutory exception ade the provisions of eelevane collective icensing agreements WOsm 2 Wy ATL iy of Comes Cag in Pisoni ms crate panera / ees Poa nigstecr (A % Tocludes bibliographical references re ar 7406-3 (bandback: alk paped)-— SN 0-521-47984-3 (pbk: alk pape) re Manes Edouard, 1432-1883, Luncheon on the gras. 2 Manet, Edges g2-1883 ~Ceticsm and interpretation. 3.Female mde in ar. Ticker, Paul Hayes, 1950- NDss3.aM3472 1998 s9.4~ deat ona Printed in the United States of America “Typeset in Bembo ‘A catalog werd or this book is aia fom the Bish Lary rsa 0-521-47466-3 hardback tse o-s2t-47984-3 paperback CONTENTS Mlustrations Adenowtedgments Contributors 1 Making Sense of Edouard Manet’s Le Déjeuner sur Vherbe PAUL HAYES TUCKER 2 Sex and the Salon: Defining Art and Immor in 1863 : aud 3 Manet and the De-Moralized Viewer JOHN HOUSE 4 To Paint, to Point, to Pose: Manet Le sur Uherbe nn 5 Manet’s Le Déjeuner sur Vherbe as a Family Romance 6 ‘The Fascination with This Rendezvous Does Not Diminish Bibliography Index page vii 8 1s 19 sa 167 15m ANNE MCCAULEY 105. The wal evidence for Manets purported astonishment a the negative reactions to his paintings isthe exehange of leters between him and ‘audelare in 1865, Manet had writen Baudeie,"Y'aurais vouls avoir wot jngement sur mes tableau, ea tous ces evi agent, ct eat Evie dent qu'il ya quelgu'wn qui se erompe.” However, Baudelate had already leaned chat bad publicity was the best fiend an author could have: Regarding the publication and tral of Les Fs du Mal, he wrote his mother on February 19, 1858:“I don't want an honest and vulgae reputation; I want co crush minds, astonish them like Byron, Balzac, or Chateaubriand.” An expanded version of the celebrated volume, Printed in an edition of 1,500, was ised in 1861 andthe poe signed a contract with the editor, Hetzel, in 186) for a third edition (published Dy Michel Lévy frées only in 1868). 106. almond and Jules de Goncourt, Mate Sakon (Pa 107. Baudelaire wed the same argument in his defense In his notes for his wyer, he wrote: "ily a plusieurs 'morle postive et pratique 3 Inquelle tout le monde doit obi. Masi y ala morale des ats, Celle- ‘Whatever Manet’ intention, the effect of his painting was to introduce the blague and the earnivalesque into the Salon; given his acute awareness of the politics and poetics of the art world, this can hardly have been accidental.” NOTES For contemporary press criticien of the Déjewner sw Phere, 1am indebted to Geonge Heart Hamilton, Mae and His Citi (New Haven 1954): Alan Krell,"Manet’s Déjeunr sur Uherbe in the Salon des Refs: A Re-appessal” Art allen 65 (hte 1983), 316-20; and Ee Darragon, Mane (Pari 198). Tanltons ae by the author. 1. For anlyis of Manet work that do focus on speci politcal contexts, sec for example, John Hutton, "The Clown 3 the Ball Mancts Masked Balla the Opers and the Collpre of Monarchism inthe Eatly Third Republic” Osjnd Art ounal 0, no 2 (1987), 76-94; Jane Mayo Roos, “Within the “Zone of Silence’: Monet and Manet in 1878" Art History 11, no. 2 (September 198, 374-00: Philp Nord, “Manet and Radic Poli” Journal of Itedisiplnary History 19, 10.3 (Winter 1985), 447-80. See Jean-Pierre Alexandre Amtigns, exhibition catalogue (Musée des Beaux-Ans d'Orléans, 1978-9), etalogue no. ,n-P 3. We are indebted to Beatrice Farwell revurches for our knowledge of this eperite of imagery. Moston’ pre is reproduced in The Cult of Inope! Boule onde ph Cmory Mea Explain, eon cx logue by Beatrice Farwell and others (UCSB Art Museu, Univesity of California, Santa Baer, 1977), 9.72.JOHN NOUS! 4. For farther discussion of these issues, see Anne McCauley’ esty in this volume 5, Teas first cited in the book version of Chesneaus 1863 review, L’An et les artistes modernes en Prnce et on Anglo (Patt: 1864), pp. 188-9: see Hamilton, asin note 1, p44 6, Théophile Thoxé, Salons de 1. Barge, 18614 186s (Paris 1870), Isp. 425. 7. Horace de Viel-Castl, “Le Salon de 1863," La France (May 2r, 1863), ‘quoted in Darragon, a in unnumbered opening note, p. 87; Adrien Paul, "Salon de 1863: Les Refiss” Le Sie July 10,1863), quoted in Keel, ‘in unnumbered opening note p. 317 48, For Géréme' eamas see Gerald M, Ackerman, The Lif and Wonk of Jen Léon Géxine (London and New York: 1986), pp. $7, 210; for Cabanels Picture, bought by the Emperor Napoleon Ill, sce The Sotnd Empire, exhibition catalogue (Philadelphia Museum of Art, 3978), pp. 26)-4 9. On the critical response to Courbet’ painting, sce Court Ksomidond, ‘exhibition catalogue by Sarah Faunce and Linda Nochlin (Brooklyn Museum, 1988), pp. 133-4 10, Maxime Du Camp, Le Salon de 186 (aris: 1861), pp. 136-7. uu, Delacroix provided the most perceptive response to the problems that Courbet’s picture posed: "What a picture! what a subject! The vulgarity ‘of the forms would not matter: its the vulgarity and wsclessnes of the ‘idea that are abominable; and .. if only tha iea, such asi i, was clear! ‘What do these two figures mean? ... [The standing woman} makes a gesture that expreses nothing... "There is some exchange of thought ‘between the figures, but itis incomprehensible” (Eugine Delacroix, Journal, ea. A. Joubin [Paris: 980}, pp. 327-8, entry for April 15,1853.) 12, Jules Castagnary, "Salon de 1860,” reprinted in Selon (1857-1879) (Pats 1852), vol. I pp 364-S. 13, See, eg, Mane, exhibition catalogue (Metropolitan Museum of Art, New York: 1983),p. 169. 14. Pier Larousse, Grand dicionnaiveunivenel du dix-newime side (Paris 1807), vol Il, p-s7 1, Paul, asin note 7, 16, For Tisots canvas, see Christopher Wood, Tisot (London: 1986), p47: for a recent discussion of the immoral reputation of the Directory, sce Susan L. Siegftied, The Art of Louis-Léepold Bolly: Modern Life in ‘Napoleonic France (New Haven and London: 1998), pp. 7. 17, See Alan Krell, Manet (London: 1996) pp. 32-3, who quotes the Dion are éique moderne of 186. 18, Louis Etienne, Le Jny ef fn exponans (Pars 83), Pp 29-30, quoted in Darragon, as in unnumbered opening note, p. 86; de Viel-Castel, asin note 7; Ernest Chesneau, “Le Salon de 1863," Le Constitutonnel (May 19, MANET AND THE DE-MORALIZED VIEWER. %» 33. 1863), quoted in Darragon, asin unnumbered opening note, ps; Paul, asin note 7. Les Etudionts et les femmes du Quarter Latin en 1860 (Paris: 1860); the suthor is identified ac Noe! Plant in another pamphlee by Picard Ler Lom de Province (Pars 1861. For responses thit defended the morality of male students, see Anon., Vive Vtudiant (Paris: 1860); O- Mounpais, Aux vrais Gudiams: Guerre! Guere! ta bluse Les Enudiants tes femmes di Quaner Latin en 1860 (ais: 1860) (Gee pp. 40-2 on the grist). More equivocal were two ‘other responses tothe original pamphlet: Anon., Le Quaner Latin (Pars: 1861); and Un Enadiant en droit, Su ax ganna! Sus auc bikes! apropos de a brohre Les Edin et es fms ds Quartier Latin (Pats: 1860).The whole debate coincided with the contoversy aroused by the so-called Mémoires ofthe prostitute Rigolboche. ‘On these fears, viewed from two very different perspectives, see Jennifer Shaw, “The Figure of Venus: Rhetoric of the Ideal and the Salon of 1863," Art History 14, no. 4 (December 1991), s40-s7:and Elizabeth Anne McCauley, Industrie! Madness: Commerial Photography in Pars, 848-1871 (New Haven and London: 1994), Chap. 4 ‘Munger’ gists, abandoning their independence and their gery, have become, aeconling to the term used by stents, grnouiles de bree ‘Macé, quoted in J. Colin and J.P. Mével, Larowse, Disionnaie de anor (aris: 1992) p 317 Edouard and Jules de Goncourt, Manate Salomon, first published 1867, new ed, Pats, 1979, pp. 42-3: 38¢ Linda Nochlin, “The Invention of the ‘Avant-Garde in The Politics of Vision: Esays on Ninetenth-Contury Art and Society (New York: 1985), pp. 13-16 “This assesment is informed by P.Stallybrass and A. Wright, The Polts nd Poot of Tiangession (London: 1986).