Question

Manet’s early paintings were very much in the style of realism. Describe some of the objections his critics had. What was their reaction?

Answer 1

Édouard Manet’s early mature works upset critics for two linked reasons: their subject matter (modern, morally ambiguous scenes) and the way they were painted (a deliberate break with academic finish and illusionistic modeling). The most famous flashpoints — Le Déjeuner sur l’herbe (1863) and Olympia (1863) — show the complaints clearly.

What critics objected to
- Immorality and vulgarity: Manet depicted contemporary-looking naked women in plain, familiar settings rather than as mythological or allegorical nudes. Critics read Le Déjeuner as obscene (a nude woman picnicking with clothed young men) and Olympia as an indecent portrait of a prostitute, and accused him of promoting vice.
- Modern, recognizably contemporary subjects: The models and settings seemed ordinary and up-to-date, which offended a tradition that reserved the nude for timeless, elevated themes.
- “Unfinished” technique and bad draftsmanship: Reviewers complained about visible brushwork, large flat areas of color, abrupt transitions, and what they called sketchy, careless handling — they argued Manet’s paintings looked incomplete or sloppy.
- Lack of conventional modeling and depth: Critics disliked his reduced chiaroscuro and apparent flattening of space; figures could appear pasted in or poorly integrated with their backgrounds.
- Compositional awkwardness and disregard for academic rules: Unusual cropping, bold simplifications, and perceived anatomical or perspectival problems were held up as evidence of incompetence or insolence toward established rules.

How critics and the public reacted
- Outrage and scandal: Paintings like Le Déjeuner sur l’herbe and Olympia provoked outrage in the press and at the Salon. Commentators denounced them as indecent, ugly, or an insult to art.
- Rejection and official controversy: Le Déjeuner was rejected by the official Salon jury in 1863 and became a centerpiece of the Salon des Refusés (an exhibition set up for rejected works). Olympia caused a scandal when shown at the Salon (its frankness shocked viewers).
- Ridicule and caricature: Manet’s work and person were lampooned in caricatures, satirical prints, and hostile reviews that mocked the subject matter and technique.
- Polarization: While many conservative critics and much of the public reacted negatively, younger artists and some progressive writers defended or were intrigued by Manet’s work. Émile Zola and a number of avant‑garde artists recognized his significance and later defended him.
- Long-term effect: The hostile reception slowed Manet’s acceptance in official circles, but the debates his paintings provoked helped galvanize younger artists and contributed to the break with academic traditions that led to Impressionism and modern art.

In short, critics attacked Manet for what he painted (modern, sometimes provocative subjects) and how he painted it (visible brushwork, flattening, “unfinished” effects). The immediate reaction was scandal, press denunciations, Salon controversy and ridicule, though these very controversies made him a focal point for the emerging modern movement.