i86 ecrivains, des artistes, des employes de bourse et 70. "Fort mal accueillie par la presse lyon- Notes de commerce; mais, le soir venu, ils cedent la naise . . ." (Tabarant, Manet, p. 333). to Pages place aux escrocs, filous, souteneurs et agents 71. "M. Manet nous a envoye de Paris une 142-44 d'affaires vereux. Les filles soumises et insou- toile etrange, portant pour titre le Cafe-Concert. mises .demandent ouverternent des consommations M. Manet est un naturaliste, cela se voit; un natu- aux clients et font de racolage officiel jusqu'a raliste de mauvais gout, cela se voit encore. Son 1'heure de la fermeture, c'est-a-dire deux heures ouvrier est un type reussi d'abruti, et sa fille de du matin" (Mace, La Police, pp. 99, 131). brasserie a 1'air crapuleux. Quant a sa peinture, 63. The titles and dates cited are those pub- si elle a une certaine verite de tons, nous croyons lished in Rouart and Wildenstein, Manet, vol. i , que cela ne suffit pas pour faire un tableau" (Ta- nos. 311, 312, and 280, respectively. In order that barant, Manet, p. 333). Vital to an evaluation of my inventory of Manet's images based on the this lyonnais reaction to a Parisian picture is that brasserie a femmes be complete, an additional Lyons most certainly had Paris-style brasseries a work should be mentioned: Au Cafe (Rouart and femmes after 1882 (see Corbin, Les Filles de noce, Wildenstein, no. 278) in the Fondation Oskar P- 253)- Reinhart, Winterthur. This painting was until late 72. "Ses sujets [sont] pris aux milieux douteux in 1878 the other half of the London picture (no. de la boheme parisienne, les skatings, les cafes- 311). Both pictures were clearly altered after their concerts et les brasseries"; "bien observees et separation. On this matter, see Rouart and Wil- rigoureusement rendues"; and "Le coin de cafe- denstein, vol. i, catalog entries nos. 311 and 278; concert avec ce type si cruellement observe de Martin Davies and Cecil Gould, National Gallery vieux beaux flanant dans les bas-fonds; un autre Catalogues: French School; Early Nineteenth Cen- Cafe-concert de dimensions plus grandes ou figure tury, Impressionists, Post-Impressionists, etc., Lon- un ouvrier attable fumant sa pipe d'un facture sin- don, 1970, entry 3,853, pp. 98—100; Adolphe gulierement male" ("Chronique," Le Temps, Apr. Tabarant, Manet, histoire catalographique, Paris, 10, 1880, p. 2). 1931, p. 333; Michael Wilson, "The Waitress," in 73. Such as Anne Coffin Hanson in the mid- Manet at Work, London: National Gallery, 1983, 1960s. See Hanson, Manet, p. 185. pp. 44—47; Juliet Wilson Bareau, The Hidden Face 74. See Robert L. Herbert's discussion of this of Manet, London: Burlington Magazine, 1986, matter in his Impressionism: Art, Leisure and Pa- pp. 65-71; and David Bomford, "Manet's The risian Society, New Haven, 1988, p. 76. Waitress: An Investigation into Its Origins and De- 75. Josephin Peladan, "Le Procede de Manet velopment," National Gallery Technical Bulletin 7 d'apres 1'Exposition de PEcole des Beaux-Arts," (1983)^ 3-!9' UArtiste, Feb. 1884, p. 103. This critic is probably 64. The catalog appears in the Apr. 10, 1880, the Belgian Symbolist of the same name whose issue of La Vie Moderne, p. 239. days as "czar" of the Salon de la Rose-Croix lay 65. Rouart and Wildenstein, Manet, vol. i, ahead of him when he wrote this. In view of his no. 311; Davies and Gould, National Gallery future enthusiasms, it is not surprising that Pe- Catalogues, p. 99. ladan did not like Manet's paintings. 66. Rouart and Wildenstein, Manet, vol. i, 76. See, for example, the domesticating and nos. 311, 312. sanitizing overview of Manet's career in Gustave 67. Davies and Gould, National Gallery Cata- Goetschy, "Edouard Manet," La Vie Moderne, logues, p. 99; Bareau, The Hidden Face, p. 65—76. Apr. 17, 1880, pp. 247, 250. 68. Davies and Gould, National Gallery Cata- 77. "Sans ideal, sans conception, sans emotion, logues, pp. 98 — 99; Rouart and Wildenstein, Ma- sans poesie, sans dessin, incapable d'un tableau net, vol. i, no. 311; Tabarant, Manet, pp. 330-34; compose, [il] n'est qu'un peintre et un peintre de Anne Coffin Hanson, Edouard Manet, 1832 — 1881, morceaux" (Peladan, "Le Procede de Manet," Philadelphia Museum of Art, 1966, p. 185; Ra- p. 103). For an illuminating discussion of the opin- re au, The Hidden Face, p. 65 — 76. ion that Impressionist paintings were (only) frag- 69. Although the London and Baltimore pic- ments, see T. J. Clark, The Painting of Modern tures were shown during Manet's lifetime, the Life: Paris in the An of Manet and His Followers, Paris picture was not exhibited until 1910. New York, 1984, pp. 259—60.