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'Opéra_ 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