Figure 10 In all of these pictures Renoir followed Manet's example in another Frederic Bazille (French, 1841-1870). The Studio respect—he gave the figures individualized and clearly recognizable facial fea- of Bazille, 9 rue de la tures, those of Lise Trehot, his companion in these years. She was presumably Condamine, 1870. Oil on canvas, 98 x 128.5 cm 12 (38% x 50% in.). Paris, the model for La Promenade as well. In Courbet's nudes, by contrast, as in Musee d'Orsay, RF 2449. those of the academic tradition, the faces are generalized and typecast, thus dis- tancing the figures from any sense of direct psychological engagement with the viewer. Only in A Nymph by a Stream did Renoir take this sense of engagement still further, by making the figure stare directly at the viewer, as Manet had in Olympia and many other canvases. In this whole group of paintings Renoir's relationship to the tradi- tions he invoked was anomalous. Certainly his fusion of overt modernity with 14