By Georges Bataille
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Extra resources for Manet; [biographical and critical study
But in The Suicide (1877), with the pistol still clutched in a limply hanging hand, we have the clearest demonstration of his desire to subordinate—or sublimate—the horror of death in a naively unconcerned play of light. T H E F IF E R , I 866. (6 2 % X 3 8 V2') LO U V R E, PAR IS. Modem painting attains through absence what Goya, in a world freighted with solemnity and grave respect, attained through excess. A stranger to it, Manet was absent from that gravity which Goya transformed into excess, carrying it to an unendurable pitch.
Delacroix, it is fair to add, availed himself with some 44 reluctance of the architectural order handed down to him, which the weltering tumult of his own forms, instead of rounding out or completing, only disrupted. Anyhow there was nothing in the painting of either to meet the problem raised by the now irrevocable disappearance of any majestic governing influence, nothing that could have dominated the vulgar agitation of the crowd. This is about as far as Baudelaire’s critical insight seems to have carried.
4 2 Yi X 6 8 % ') ON LO AN TO T H E MUSEUM OF F IN E A R T S, BOSTON. ’ Manet used to exclaim. ’ “ Finally he got hold of a model named Donato who, I believe, later became an actor in one of the boulevard theaters and, after that, a mesmerizer somewhere. Everything went fine to begin with. But it wasn’t long before Donato, after spending a little time with the other models, was sticking his chest out with the best of them, bulging his muscles and taking heroic poses. ” Further on, though getting away from Manet’s basic attitude to these methods of teaching, Proust brings out the animosity that arose between pupil and teacher.