[Illustration:  MANET

THE WOMAN WITH THE PARROT]

The Fight of the Kearsage and the Alabama, a magnificent sea-piece, bathed in sunlight, announced this transformation in his work, as did also a study, a Garden, painted, I believe, in 1870, but exhibited only after the crisis of the terrible year.  At that time the Durand-Ruel Gallery bought a considerable series by the innovator, and was imitated by some select art-lovers.  The Musique aux Tuileries and the Bal de l’Opera had, some years before, pointed towards the evolution of this great artist in the direction of plein-air painting.  The Bon Bock, in which the very soul of Hals is revived, and the grave Liseur, sold immediately at Vienne, were the two last pledges given by the artist to his old admirers; these two pictures had moreover a splendid success, and the Bon Bock, popularised by an engraving, was hailed by the very men who had most unjustly attacked the author of the portrait of Mme. Morisot, a French masterpiece.  But already Manet was attracted irresistibly towards the study of light, and, faithful to his programme, he prepared to face once again outbursts of anger and further sarcasms; he was resolved once again to offer battle to the Salons.  Followed by all the Impressionists he tried to make them understand the necessity of introducing the new ideas into this retrograde Milieu.  But they would not.  Having already received a rebuff by the attacks directed for some years against their works, they exhibited among themselves in some private galleries:  they declined to force the gate of the Salons, and Manet remained alone.  In 1875 he submitted, with his Argenteuil, the most perfect epitome of his atmospheric researches.  The jury admitted it in spite of loud protests:  they were afraid of Manet; they admired his power of transformation, and he revolted the prejudiced, attracting them at the same time by the charm of his force.  But in 1876 the portrait of Desboutin and the Linge (an exquisite picture,—­one of the best productions of open-air study) were rejected.  Manet then recommenced the experience of 1867, and opened his studio to the public.  A register at the door was soon covered with signatures protesting against the jury, as well as with hostile jokes, and even anonymous insults!  In 1877 the defeated jury admitted the portrait of the famous singer Faure in the part of Hamlet, and rejected Nana, a picture which was found scandalising, but has charming freshness and an intensely modern character.  In 1878, 1879 and 1880 they accepted la Serre, the surprising symphony in blue and white which shows Mr George Moore in boating costume, the portrait of Antonin Proust, and the scene at the Pere Lathuile restaurant, in which Manet’s nervous and luminous realism has so curious a resemblance to the art of the Goncourts.  In 1881 the portrait of Rochefort