Chronological Survey 1861 - 1865

1861 "Portrait of M. and Mme Auguste Manet" and "The Spanish Guitar-Player" accepted at the Salon (no Salon having taken place in 1860) and awarded an honorable mention by a very severe jury. In the " Moniteur Universel" Théophile Gautier writes: "Caramba! Here, for once, is a Guitarrero who hasn't come straight out of the Opéra-Comique."
Manet's first meeting with Degas.
" Boy with Cherries" exhibited at the Galerie Martinet, Paris.
1862 Manet moves from the Rue de Douai to 81 Rue Guyot.
In " Le Boulevard," reviewing an exhibition of the Société des Aquafortistes in which Manet showed several plates, Baudelaire wrote about him as follows: "At the forthcoming Salon we shall see several of his pictures, so deeply imbued with a Spanish flavor that one might almost think the genius of Spain had taken refuge in France."
September 25. Death of his father Auguste Manet.
First appearance of Victorine Meurend, later to pose for "Olympia," at the studio in the Rue Guyot.
" Portrait of Baudelaire's Mistress" ( Jeanne Duval) and "Le Déjeuner sur l'herbe."
1863 February-March. Exhibition at Martinet's of "The Street Singer," "The Spanish Ballet," "Lola de Valence," "Young Woman in a Spanish Costume," "Concert at the Tuileries"; the latter particularly excites the wrath of the public. March 1. In a letter to Madame Auguste Manet Baudelaire has this to say of her son: "It seems to me difficult indeed not to admire his character quite as much as his talents."  
1863 April. Manet sends in to the Salon "Le Déjeuner sur l'herbe," "Mademoiselle V. (Victorine Meurend) in the Costume of an Espada" and "Young Man in the Costume of a Majo"; all are rejected.
May. Opening of the so-called Salon des Refusés, in which these paintings figure. They provoke an unprecedented uproar. Autumn. "Olympia," for which Victorine Meurend poses.
October 6. Baudelaire writes to Carjat, the photographer: " Manet has just given me the most startling news. He is off tonight for Holland to fetch a wife. There is some excuse for it, however, since it would appear that she is beautiful to look upon, has a heart of gold, and is a very fine musician. So many treasures in a single female--monstrous, isn't it?"
October 28. Marriage of Manet and Suzanne Leenhoff at Zalt Bommel, Holland.
1863 August. Death of Delacroix.
1864 April. Baudelaire leaves for Brussels.
Manet "Episode of a Bullfight" and "Christ with Angels" unanimously accepted at the Salon. Of the latter Baudelaire writes: "By the way, I understand that it was Christ's right side that was pierced by the spear. In that case you'll have to change the wound before the opening. And take care not to lay yourself open to laughter." But it was too late for any changes. At the same Salon Fantin-Latour exhibited his "Homage to Delacroix," in which both Manet and Baudelaire figure.
June 19. The "Kearsarge," an American man-of-war, attacks and sinks the "Alabama," a Confederate raider, in the waters off Cherbourg. The battle had been expected for several days; the "Alabama" had put in to the neutral port of Cherbourg and was obliged to sail out again after an interval prescribed by international law. Manet probably witnessed the engagement from the French coast.
July. Manet exhibits his painting of "The Kearsarge and the Alabama" in the offices of the publisher Cadart.
1864 Birth of Henri de Toulouse-Lautrec.
1865 Manet "Olympia" and "Christ insulted by Soldiers" accepted at the Salon. The name of Olympia, probably suggested by the poet and sculptor Zacharie Astruc, is now given the picture for the first time, and against it the full fury of public and critics alike is unleashed immediately.
February. Manet exhibits seven canvases at Martinet's, among them "The Dead Toreador," "Races in the Bois de Boulogne" and "The Kearsarge off Boulogne."
1865 May 11. Baudelaire writes to Manet: "I see I've got to have another word with you about yourself. I've got to make an effort to impress your own value upon you. Confound it, but you expect a lot! It's really fantastic. They laugh at you, do they? Their pleasantries exasperate you. . . Do you suppose you're the first man to find himself in this situation? Are you a greater genius than Chateaubriand or Wagner? And do you think they weren't laughed at? Well, it didn't kill them. And so as to keep your pride within limits, let me tell you that these two men, each in his own way, are paragons in a period exceedingly rich. As for yourself, you are only the first in the decline of your art. I hope you won't take offense at the rough handling I'm giving you. I'm your friend, you know that. I wanted to get Monsieur Chorner's personal impression. What he had to say of you agrees with what I know to be true: 'He has lapses, shortcomings, he lacks self-assurance, but he has an irresistible charm.' I know all that; I was one of the first to notice it. He added that the picture of the nude, with the colored woman and the cat. . . is far superior to the religious picture." ( Baudelaire probably saw " Olympia" in Manet studio in 1863 or 1864.)
June. " Olympia" is moved from its original place at the Salon and hung high up on the wall. But a hilarious crowd continues to gather in front of the picture.
August. Manet travels to Spain. At the Prado he sees the Goyas but it is Velazquez he appreciates most. Meets Théodore Duret in Madrid.
October 26. Baudelaire writes to Ancelle: "I've just heard that our excellent friend Edouard Manet has been ill with cholera, but has pulled through all right." On the 28th he writes to Manet: "The first few lines of your letter sent a shiver through me. There aren't ten men in France--surely not even ten--of whom I could say as much."
By now Manet is looked up to as the leader of the nonconformist painters. On Friday evenings in particular Manet and his friends forgather at the Café Guerbois, 19 Avenue de Clichy (today the Brasserie Muller), where two tables are regularly set aside for them: Antonin Proust, Fantin-Latour, Frédéric Bazille, James McNeill Whistler, Nadar the photographer, Zacharie Astruc, Commandant Lejosne (a friend of Baudelaire), Léon Cladel, Edouard Duranty, Armand Silvestre, Renoir (from 1868 on), and occasionally Degas, Monet, Cézanne and Henner.
1865 At the Salon Degas exhibits "The Evils befalling the City of Orléans," a large historical painting.

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