2019-12-01 The Artist\'s Magazine

ArtistsNetwork.com 7

BEQUEST

OF

JOAN

WHITNEY

PAYSON,

1975/THE

METROPOLITAN

MUSEUM

OF

ART

At the center of the composition is

a pyramid comprised of Camille and

Jean. The base is formed by Camille’s

skirt, spread in a broad, flat oval.

It’sa virtuosodisplayofgestural

paintingandsimplifiedform.

In the summer of 1874, Manet lived across the Seine from Monet and
often visited his friend in Argenteuil. The influence of Monet and Berthe
Morisot (French, 1841–95) can be seen in the canvases Manet painted at
this time, especially in the chromatic color and rapid brushwork. Here,
thelightblueofJean’soutfitisrepeatedinhisfather’sshirt,andbursts
ofredflowersrunacrossthecanvasandarepickedupinCamille’sfan.

ThesamedaythatManetpaintedthe

Monetfamilyintheirgarden,Monet

painted Manet at his easel. When they

finished, the artists exchanged canvases

in mutual respect. In 1876, this painting

was returned to Manet following a

quarrel between the artists.

Thepalettedidn’tmeetwithuniversalapproval;EdgarDegas

(French,1834–1917)lamentedthelossofManet’sSpanish-

inspired tones, which he called “magnificent prune juice.”

Still, Manet hadn’t yet fully adopted an Impressionist plein

air palette; he used black paint in Monet’s hat, Camille’s

dress and the ribbon of her hat. Manet liked Camille’s hat so

much that he used it in four other paintings.