Manet at the Royal Academy

experience could be staged with the import of only one picture. We all know what a brilliant, enigmatic piece the src="//"> Barmaid is, but the earlier scene of post-prandial insouciance was

equally dazzling and google_ad_width = 970; also ambiguous, even mysterious, in subject. Of both pictures one asks

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in genuine bewilderment: /* xin2 */ ‘What is going on here?’ And the answer is up to you to make of them what you will by google_ad_height = 90; considering every last detail.

Manet’s best paintings rarely fall easily into any genre; an ulterior motive, even in what might appear to be a straightforward portrait, is never far away. For example, what is

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in The Railway doing beside the track google_ad_height = 90; with a bunch of grapes on the

parapet, a puppy dog, a hissing
loco and


an apparently bored daughter? Whatever it is, there is clearly more than meets the eye in the painter’s

relationship with
his favourite model Victorine Meurent, for it is she who appears in many of
the better works, including The Street Singer.

The Luncheon google_ad_height = 90; features again in the Manet exhibition at the Royal Academy (until April 14th) and by itself is worth the


£15 admission fee. The
right //--> hand vertical quarter of the painting showing an unknown man still src="//"> wearing a hat and smoking a cigar beside the wreckage
lunch, itself a still life so brilliant it’s hard
to recall anything anywhere comparably so fine, has got to src="//"> be


among the

of the inevitable opprobrious response. As early as Degas came to the same

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Manet also discovered that a painting might google_ad_client = "ca-pub-3967079123942817"; reach fruition
well before it appeared complete in conventional
terms. Thus begins here with genius the reductiveness which soon descended into absurdity.

Ever respectful of its

charitable obligations, the Academy is offering a chance for a few to view the exhibition
on a Sunday evening

​ throughout the run in a less


crowded gathering conducive to actually seeing the work on display. For thirty
quid the ever-giving institution will even chuck
in a
glass of wine, doubtless from its own cave.