Interesting - I did what I normally do with research; I like
finding out opinions-of-the-day and compare with the
opinions-based-on-opinions that we receive. I do not mean to
imply the original is better; often the input of many more
brains on the same object can lead to more interesting results.
But I like knowing about things when they're fresh.
First mention I find of the art is: "Annuaire illustr* des
beaux-arts: revue artistique universelle", 1882-83.
It's in French, which I can't read. It's also in some stupid
dreaded unnecessary encrypted new Adobe PDF format via Google.
Thankfully, Internet Archives doesn't care. It's off copyright,
so it belongs to all of us, and they scanned it. Not the best
OCR but enough.
So, Ran THAT through Google translate.. .
At this time, the focus of art critics was the style and the way
it makes you feel. The symbolic interpretation is likely the
product of later art critics/historians/academics, but
initially, the impression was that of freshness and lightness.
The difference between initial observations and subsequent
interpretations is fascinating to me.
and the opinion of 1882 is:
[1]
https://archive.org/.../annuaireillustr00unkngoog_djvu.txt
Until proof to the contrary, it seems the point
black coat that lends itself to aesthetic combinations
feelings of maudlin or only serious order. This is
probably why Mr. Manet - and after him M. de Nittis -
Fa will never introduced in the picturesque movement
mobs, as formerly in his Bal VOp*ra in his
Lunch che \ Lathuille the father and today in a
Bar at the Folies-Bergere. Those who fear like
we silliness and insipidity which inevitably leads to
research "subjects distinguished" in painting, are served
wish in this last picture of Mr. Manet. It is not per-
set to be more 'girl' that the creature installed by the artist
behind the marble bar laden with fruit and bottles. This
is not how we see the essential merit of his
artwork. This merit is the right vision of things, their
color, their light vibration, appearance
undulating and bandwidth so fleeting, so fast. Here is the
triumphant
phe Mr. Manet; We do not capitalize forms, such as
M. Beraud made in similar subjects, he catches them
their effective mobility, and it does not keep its tables
more stopped printing, sharper than reality
movement. This is a very new art form, very personal
tional, very hot, direct conquest of the artist
world of external phenomena and which shall not be
lost for the future.
References
Visible links
1.
https://archive.org/stream/annuaireillustr00unkngoog/annuaireillustr00unkngoog_djvu.txt
