PLAIN SIGHT THE SECRETSHIDDEN IN MANET’S ‘COUPDETÊTE’ : MOYRA ANNE ASHFORD PLENA LUZDELDÍA ESCONDIDOS A LOS SECRETOS TÊTE DEMANET: EL COUPDE PLENA LUZDODIA ESCONDIDOS EM OS SEGREDOS DE MANET: O COUPDETÊTE 126 Manet’s ‘Coup de Tête’: The Secrets Hidden in Plain Sight ARS - N 40 - ANO 18 Moyra Anne Ashford journalist atTheSunday DOI: 10.11606/issn.2178- Moyra AnneAshford* * Essayistandformer 0447.ars.2020.176216 Times andTheDaily Telegraph, United Artigo Inédito Kingdom. ABSTRACT nineteenth centuryRiodeJaneiro. Thisarticlerecountshowtheresearchunfolded. Olympia (1863)wasinspirednotbyaParisianbrothel,butslave-owning,mid- into twopivotalpaintings:ThePicnic,whichhesetintheforestsofGuanabaraBay; PALAVRAS-CHAVE relata comotalpesquisafoidesenvolvida. Janeiro escravocrata da metade daquele século. Este artigo (1863), inspiradanãoemumbordel parisiense,masnoRiode ambientada nasmatasdaBaía deGuanabara,eOlympia em duaspinturasfundamentais: LeDéjeuner,queteriasido defende queManetelaboroudiversasmemóriasdacidade próprias pinturaseaspectosdoRiooitocentista,aautora Examinando detidamentefontesescritasprimárias,as dos museus, apegados a uma origem clássica e francesa. interpretação érechaçadapelamaioriaepeloestablishment de reminiscênciassuaviagemaoBrasil,em1849.Essa que seuímpetoemsedesvencilhardatradiçãoderivava de ÉdouardManet.Algunspoucosestudiosossugeriram A artemodernateveiníciocomLeDéjeunersurL’Herbe (1863), RESUMO links to19 Through acloseexaminationofearlywrittensources,thepaintingsthemselves and the majorityandmuseumestablishment,whoholdtoaFrenchclassical origin. tradition stemmedfrommemoriesofhis1849voyagetoBrazil.Thisviewiseschewed by A smallminorityofscholarshaveventuredthatManet’s impetusforbreakingfrom Modern art began with Édouard Manet’s KEYWORDS th centuryRio,theauthorproposesthatManetworkeddistinctRiomemories Édouard Manet;RiodeJaneiro;ÉmileZola;Olympia;Impressionism Zola; Olympia ; impressionismo Édouard Manet; Rio deJaneiro;Émile

The Picnic (Le Déjeuner sur L’Herbe, 1863). RESUMEN relata laelaboracióndepesquisa. en elRiodelamitaddelsiglo ysusesclavos.Esteartículo Olympia (1863),inspiradonoen unburdelparisino,sinoque Le Déjeuner, quesepasaríaenlaBaía deGuanabara,y memorias delaciudadendoscuadrosfundamentales: del Rioochocentista,laautoradefiendequeManetelaboró fuentes primariasescritos,delaspinturasensiytemas apegados aorígenesclásicayfrancesa.Deteniéendoseen interpretación esrechazadaporlamayoríaylosmuseos, en reminiscenciasdesuviajeaBrasil,1849.Esa que suímpetuenromperconlatradiciónseoriginaba (1863), deÉdouardManet.Algunosestudiosossugieren El artemodernoempezóconLeDéjeunersurL’Herbe PALABRAS CLAVE Zola; Olympia ; impressionismo Édouard Manet; Rio deJaneiro;Émile 127 Manet’s ‘Coup de Tête’: The Secrets Hidden in Plain Sight ARS - N 40 - ANO 18 Moyra Anne Ashford veils. Acomplete contrast to grey and fawn Paris. edges by day, then at sunsetmove over the mountains intranslucent shimmering patterns on the shore. Shadows aretightblack knife- Sunlight turnsinto millionsofglittering splinters on the water and On abrightday, GuanabaraBay isalmostbeyond luminous. the French artists seekingthe warm sunlight ofthe Cote d’Azur. countless painters, fromJ.M.W. Turner to David Hockney andall Brazil. Butwhy such animportantfact wasn't commonknowledge? (INSIGHT, p.125) 1986, vibrating offGuanabaraBay and the rain-forest mountains.’ frigate inthe Riode Janeiro harbour, capturedthe luminoussky when Manet, suffering from a tropical diseaseaboard a French Chapter, by the late US journalistSolBiderman,openedwith: travel guide. I had written onmusicanda few pages away, the Art morning that the postdelivered the page proofs for anewBrazil It isfeasible. Foreign lighthasrecalibrated the visionof How fascinating, Édouard Manet (1832-1883)inspiredby ‘It haseven beensaidthat ImpressionismbeganinBrazil The questioningbeganinSão Paulo thirty-five years ago, the 128 Manet’s ‘Coup de Tête’: The Secrets Hidden in Plain Sight ARS - N 40 - ANO 18 Moyra Anne Ashford Manet's contemporaries. work, Iknewthat the voyage's visualimpact was well-known to research. By the timeIcameto Bento's impressively thorough found itback in1985, Imightnever have embarked onmy own only readBento’s Manet noBrasil in2018:fortuitously, for hadI to London in1990 without having visited the USPlibrary, and news journalist,andevents were always moreurgent –Ireturned by artcriticAntonio Bento deAraújo Lima. library, I’dhave beendirected to Manet noBrasil, written in1949 fascinating fact –ormyth. Inretrospect, hadIgone to anUSP Paulo University (USP), where hetaughtundergraduate classes. longer remember who had told him. Probably a professor at São But inthe way that you –I was a putoff the non-essential It reallywasn’t. Iasked No-one couldshedany lightonthis ‘But you’ll findit's well known,’ hesaid. I rang Sol Biderman to ask his source. He said he could no 129 Manet’s ‘Coup de Tête’: The Secrets Hidden in Plain Sight ARS - N 40 - ANO 18 Moyra Anne Ashford but notidentifiedwith Rio. nut. The toad inthe left-handcornerhadbeennoted by scholars, globes looking very like cashewapples,onecomplete with cashew sea. Amongst the fruit spilling from the picnic basket were two baked inship’s galleys; the glassflask, weighted typeused at marmoset. Magnifing more, the loafresembled the tough loaves I firstnoticeda faint grey mountain on the horizon.a And then Brazilian elementswould probably have remainedundetected. to jump outat you. protuberances lurk amongst the leaves –something may beabout the leaves glisten, even inthe vague deepestshade; dark clumpsand If you turnfromone to the other you feel the wildnessinManet’s: the flat greensof Paris planetrees,appearsdomestic and temperate. d’Orsay's 5 the Seine. Musée d'Orsay, animposingformer railway station overlooking Biderman were right.Itwas necessary to look at the originalinthe

If Without the the power ofa large computer screen the Manet's The Picnicwas aRiopicnic,then Antonio Bento andSol th floor. Facing it,Claude Monet’s Picnic,dominated by Picnic hungonacharcoal-grey dividing wall onthe 130 Manet’s ‘Coup de Tête’: The Secrets Hidden in Plain Sight ARS - N 40 - ANO 18 Moyra Anne Ashford (Le déjeunersurl'Herbe),1863. Musée d'Orsay, Paris,France. Oil oncanvas,207x265cm. Édouard Manet,ThePicnic Édouard Manet,ThePicnic (details). Graphic:Carol IMAGE 2. IMAGE 1. MacShane

submerged bar itseyes. (PERRUCHOT, 1962). Manet’s leftleg30 years later, heblamed them on this reptile Henri Perruchot saidthat when syphilis painsfirstshot through must have been Manet’s severely swollen leg). The biographer foot onPaquetá disease’cited by island(the ‘tropical SolBiderman but morefeasibly the ‘some sortofreptile’that bitManet onthe found, professional examination mightwell reveal more: snakes –revealing moreBrazilian signs.These arethe eleven I of eyes everywhere andsnakes like treevines–orlike Back home, enlarged onscreen,the forest sprangto life with pairs many baregrey mountainsandmarmosetsarethere inParis? northwest ofParis where the Manet family owned land.Yet how Bois deBoulogneorat Gennevilliers, aSeineriver port10kilometers The conventional wisdomisthat Manet located The Picnicinthe going offinfrontof the canvas. Butitcouldalsobetropicallight. 4 and5.Two caimans: oneheading towards the water, one 3. Afuzzy marmosetdescendingthe far lefttree. 2. Evil-eyed toad, sometimes explained as sexualmetaphor, 1. Grey peaks I took dozens ofdigitalphotos, without flash,ofcourse. The heightened lightingeffect hasbeenlikened to aflash 131 Manet’s ‘Coup de Tête’: The Secrets Hidden in Plain Sight ARS - N 40 - ANO 18 Moyra Anne Ashford 132 Manet’s ‘Coup de Tête’: The Secrets Hidden in Plain Sight ARS - N 40 - ANO 18 Moyra Anne Ashford 133 Manet’s ‘Coup de Tête’: The Secrets Hidden in Plain Sight ARS - N 40 - ANO 18 Moyra Anne Ashford (Le déjeunersurl'Herbe) , 1863. Detail. Acrab, orahermitcrab Édouard Manet,ThePicnic or possiblytwo crabs. IMAGE 3.

preparatory study for the d'Orsay canvas, rather than aposterior in. Shortly before, in 2016,forensic examination haddeemed ita owns asmaller, drabberversion ofthe d’Orsay Picnic.Luck was clincher that Manet was channeling memoriesfromhisvoyage. is another organ, possibly the pancreas. These have to be the either asectionoftunagillsorpartaneggsac; the egg-shape stomach’ (MANET, 1928,p. 41) immediately cutopen andthere were two intact flyingfishinits Manet wrote: ‘At 5o’clock we caughtanenormoustuna,itwas and there, onJanuary 11,1849, three weeks before arriving inRio, checking back to the letters Manet wrote homefromhis voyage snake, aneggandpinkishseeds,puzzledmefor months until growing seasons. cherries ofJune, the figs ofSeptember,’ this isresolved by Brazilian pod, two persimmons with calyxes. Scholars have questioned ‘the Back inLondon Ivisited the Courtauld Gallery which 11. Atrioofshapesat the lower edge, resembling afat 10. Acrab, two crabs,orahermitcrab. 9. Tough white loaftypicallybaked inship’s galleys. 8. Weighted naval flask. 6 and7. Tropical fruitsinthe basket –acashewapplewith Q.E.D.: -adeadflyingfishandtunaentrails. The'seeds'are 1 134 Manet’s ‘Coup de Tête’: The Secrets Hidden in Plain Sight ARS - N 40 - ANO 18 Moyra Anne Ashford (Le déjeunersurl'Herbe) , 1863. Detail. Thesagui, descending Édouard Manet,ThePicnic the firstleft tree. IMAGE 4.

also, by some, Modernism andSurrealism. Over time, it was credited with launching Impressionism and Salon considered Manet's work poorly finished andunfathomable. to the SalondesRefusées becausethe in1863 juryfor Paris' official ground-breaking painting. It started life with rejection, relegated intended to paint,which were unlikely to Paris. be onsalein1862 that Manet firstneeded to findreferences for thetropicalfruitshe Courtauld are vague, mere daubs of red and orange, suggesting final, d’Orsay version. The fruitsspillingoutof the basket in the positions where Manet would later insertthe crabsandtunainhis of greyish paint,nothing inthemselves, but placed in the exact copy aspreviously thought. This was initiallyhardto believe asitisamuch-studied, There arenoBraziliandetails.Butthere aretwo splodges 135 Manet’s ‘Coup de Tête’: The Secrets Hidden in Plain Sight ARS - N 40 - ANO 18 Moyra Anne Ashford flying fish, an eggsackorlungs, (Le déjeunersurl'Herbe) , 1863. Detail. Above,thefrogor toad; Édouard Manet,ThePicnic below, tunaremains(dead IMAGES 5AND6. other organ).

136 Manet’s ‘Coup de Tête’: The Secrets Hidden in Plain Sight ARS - N 40 - ANO 18 Moyra Anne Ashford how Ilearnt how (VOLLARD, to captureasky’ 1984 p. 172). Iwouldfrom the upperdeck, keep my eyes onthe horizon. That's at the play of lightandshadeinthewake. ship's Andinthe daytime, learnt agreat dealonmy tripto Brazil,Ispentendlessnightslooking removed the half- tones.’ (PROUST, 1913p. 16). which everything appeared to him with simplicity (…) He all but ‘His short stay in the sun-blasted countrieskindledaconceptionin as French Culture Minister, wrote inhis1913Manet biography: Antonin Proust,Manet’s friendfromschooldays who brieflyserved full nineweeks inRio. took into account that, at the age ofseventeen in1849, hespenta the voyage, butnotonerelated itto Manet's subsequent work, nor book Iopened.Butno. The recentstudiesIfound there mentioned expected the voyage's influence to be evaluated in the first weighty A younger artist, CharlesToché, recounted Manet saying, 'I Looking inprimary sourcessoonturnedupevidence. Manet bibliography is vast. In my local London library, I’d 137 Manet’s ‘Coup de Tête’: The Secrets Hidden in Plain Sight ARS - N 40 - ANO 18 Moyra Anne Ashford own personality.' (ZOLA, 1884 p. 10). internship inthe Couture studio, aslow andpainful search for his coup de tête ofavoyage to the Americas,then years lostinParis, an rows with hisfather -ajudge perturbedby painting-andthen the novelist Émile Zola, wrote a eulogy. ‘He had a tormented youth, (ROUART, 1960p.6). brilliant light,which may well have influencedhis future painting.' enraptured by the beautyofthe sceneryandespeciallyby the the sonofErnestRouart andJulie Manet) wrote that Manet, 'was the originalsinFrench. ‘a desperate (Idem,2013p.123). journey’ From then on,Isoughtout tête de sudden, radicalshiftinunderstanding. Nevertheless, I found translated into English in one Zola- Manet compendium as Impossible to be the more emphatic than Following Manet’s death in1883,Manet’s long-term friend, And inthe late 1950's,Denis Rouart (Manet's great-nephew, coup de tête – a coup 138 Manet’s ‘Coup de Tête’: The Secrets Hidden in Plain Sight ARS - N 40 - ANO 18 Moyra Anne Ashford entrepreneur hadconverted into asea-borne crammingschool. on boardHavre et Guadeloupe, afour-masted frigate that an astute twenty-six crew, four instructors andalarderoflive pigs andsheep sixteen year-old sonto Le Havre, to join forty-seven other trainees, voyage ofat leastsixmonths south of the equator. sits, waiving several exigencies for candidates who completed a Shortly afterwards, the Academy changed itsrules to allow re- failed the Naval Officer Training Academy’s entrance exam. art. The French Navy was the compromise. Butin1848 Édouard wanted alegalcareerfor his oldestsonwhile Édouard was seton 2002). The letters have never beenpublished in full inEnglish. José Olympiopublished aBrazilianeditionin2002 (MANET, ofErnestRouart, the(brother husbandofManet’s niece, Julie). 1928 asLettres de Jeunesse 1848-1849: Voyage àRioby Louis Rouart letters hewrote home to his family, first published in Parisin So, inlate November 1848, Auguste Manet escorted his The voyage hadarisenfromfamily impasse. Manet’s father Manet leftadetailedrecordofhisjourney to Brazilin the 139 Manet’s ‘Coup de Tête’: The Secrets Hidden in Plain Sight ARS - N 40 - ANO 18 Moyra Anne Ashford cook, thecook, black headwaiter and‘allsortsofprovisions’. boats to row to the far sideof the Bay, accompanied by the ship’s charming dwellings’, Manet wrote (1928,p. 50). the nations, circled with green mountains where you can see waters. Bay ‘The isenchanting, filledwith warships fromall expanse ofemerald-fringed,a 30kilometre-long shimmering Atlantic through the entranceguardedby 16th centuryforts, into was amajestic experience. Vessels pitched outofthe choppy 5, 1849. to nine. They eventually sailedinto GuanabaraBay onFebruary Manet asdrawing instructor. Besson took ontwelve Braziliannaval traineesinRio, heappointed requested aportraitofhimselfto give asaChristmaspresent.When sketches soon reached the ship’s master, Captain Besson, who At homehehadto hidehisartfromfather buttalkofhis Every Thursday, the pupilsleft the ship at 4aminsmall Compared to today’s airportarrival, the approach by sea Bad weather stretched the Atlantic crossing from six weeks It was onboardthat Manet firsthadhistalentrecognised. 140 Manet’s ‘Coup de Tête’: The Secrets Hidden in Plain Sight ARS - N 40 - ANO 18 Moyra Anne Ashford Portuguese monarchy remaineddeeply Francophile. Portuguese royal family fleeing across the Atlantic in1808, the While itwas Napoleon Bonaparte’s invading armiesthat sentthe the peakofFrench influence, midway through the Empire. of the many‘because French nationals’. His visit coincided with Lacarrière knows how to arrange sowell’. (O ESPELHO, 1859). counter […]Allthis, with some accessories that MmeHortense presents itselfto oureyes […]Fur shawls andfrocksdecorate the more brilliantlydecorated […]Everything modernthat exists illuminated andevende Assisdescribedhershopas‘brilliantly fashion. Rua doOuvidor, where sheimported andcopiedthe latest Paris Mme Hortense Lacarrière’s renowned dressemporiumat No. 64 a French family whose oldestson,Jules, was hisage. They lived at p. 55) beautiful nature possible, we have asmany fruitsaswe want.’ (Ibidem, wrote Manet,walks ‘we arecharming’, seethe spectacle ofthe most ‘We walk inthe countryside, we swim; we dineandlunch there …the Manet saidhecould make himselfunderstood inthe town Writing inthe Rioweekly OEspelho, the young Machado Manet spenthisSundays andMondays with the Lacarrières, 141 Manet’s ‘Coup de Tête’: The Secrets Hidden in Plain Sight ARS - N 40 - ANO 18 Moyra Anne Ashford Slavery hadbeen bannedinFrance itselfsince the sixteenth century. debates leading to abolition inthe French coloniesthe previous year. issue that the politically-aware Manet musthave followed duringthe the tropics.This would have been apthaditnotbeenfor slavery, an the centuryto 266,466 in1849. Rio liked to think ofitselfasParis in boom, the population quintuplingfromc.50,000 at the beginningof singers (CASTRO, 2004; SOARES, 1988;SILVA, 2012). theatre balconies,reignedthe celebrated French actresses and Bordeaux. Rightat the top ofthe scale, to beseenglittering from houses with French namessuch asChamps-Elysees, schools, boudoirsinthe back ofbars,roomsby the hourat boarding Catholic priestswith large families, brothels disguisedasfinishing Rioasariotofsexualcommerceandtransgression– mid-century take over the high-level sex trade. Contemporary accounts paint everywhere andenterprising young Frenchwomen arrived to with painter Jean-Baptiste Debret amongitsmembers. French the ArtisticMissionto setupaschool ofartsandartisanship, As soonasNapoleon abdicated inJune 1815,Dom João VIinvited landscape public gardensandclothe the royal wives andmistresses. With anemperorandcourt, pompandluxury, the citywas in Iron balconies,eleganttearooms andtop hats sprouted French artisanssoonarrived to design their palaces, Chappelle and 142 Manet’s ‘Coup de Tête’: The Secrets Hidden in Plain Sight ARS - N 40 - ANO 18 Moyra Anne Ashford Édouard Manet,Olympia,1863. Musée d'Orsay, Paris. 130.5 x191.0cm. Oil onCanvas, IMAGE 7.

with monstrousflounces.’ their curlyhairvery artisticallyandthey nearlyallwear skirts do themselves upvery well. Somewear turbans,others arrange Brasilienne.’ (Ibidem,p.58) they have inFrance; there isnothing soprudishor stupidasa and hair …but they do not deserve the reputation for frivolity that they aregenerally very pretty; they have magnificentblack eyes in truth, arenearlyallbeautiful …Asfor the Brazilianwomen, cachet tout particulier’. (MANET, 1928,p.58) little artistically-inclined,Rio, although rather ugly, offers un in the incipientshanties. with 4.5%, asmallbut growing number, beingfreedblacks living the 1849 censuscounted slaves at 44.5% ofthe overall population, (MANET,extraordinary’ 1928,p. 52).Hewas roughlyaccurate: have abrutalair;the power the whites have over them is Indeed, exactly asOlympia’sblack maid. He was struckby the ingenious style offemale slaves. ‘They Many ofhisdescriptionsconcernRiowomen, mulatas, ‘The Nevertheless, Manet admitted, ‘for any European even a ‘All the blacks areslaves’, hewrote, ‘allthese unfortunates 143 Manet’s ‘Coup de Tête’: The Secrets Hidden in Plain Sight ARS - N 40 - ANO 18 Moyra Anne Ashford 144 Manet’s ‘Coup de Tête’: The Secrets Hidden in Plain Sight ARS - N 40 - ANO 18 Moyra Anne Ashford at international Biennalesandsat onnumerouscommittees. Art Museum andthe BrazilianCriticsAssociation (ABCA), judged Dias. Aculturalgrandeeinlater life, hehelpedfound Rio’s Modern Brazilian portrayers of everyday life, Candido Portinari and Cicero family's fazenda inRioGrandedoNorte. USP butwith Riowhere hestudiedlaw aftera childhood on the the preeminent critic of his day. His connections were not with Manet noBrasil inEssex University library. Bento (1902-1988) was pure colour,’ wrote Bento. the firstcontemporary painter to […]uselarge areasofsimple, Brazilian lighton hissupersensitive retina,Manet was above all commissioned Bento’s ‘Having book. recordedthe intensity of and Health building. TheDocumentation Service ministry’s (From Manet to Today), exhibited inRio’s Ministry ofEducation Rio, France sent Brazil In 1949,onthe 100 He championed Impressionism,abstract artandthe It turnedoutthere was anoriginalcopy ofAntonio Bento’s The New French Painting and Its Masters 2 th anniversary ofManet’s journey to 145 Manet’s ‘Coup de Tête’: The Secrets Hidden in Plain Sight ARS - N 40 - ANO 18 Moyra Anne Ashford commentary; except for the Mona Lisa,never haspaintbeen exhibition andbecame Musée d’Orsay Director in1986. Françoise Cachin, who organised Manet’s 1983Centenary 1954 (HAMILTON, 1954,p. 78)andthe late Manet connoisseur, for Brazilian iconography, Ihave nodoubt hewould have agreed. for the maid,asa‘perfect baiana’.Had Zola beenfamiliar with persecuted loves.’ woman who delighted inbeingthe accomplice ofdifficultor known fromthe times ofourgreat grandmothers –the black but was viscerallycertainOlympiastemmed fromRiomemories. 2008, p. 220).Hedidn’t noticethe tropicaldetailsinThe Picnic Brazil hasbeencriticisedfor ’appropriation offoreign art’(REIS, Nevertheless, he is ignored by international scholars and within Rio into Portuguese andincluded both versions inthe text. and hisreflections.Healsotranslated all Manet’s letters from impeccably sourced.Hedistinguishesclearlybetween reportage Olympia, notablyYale professor George HeardHamilton in ‘Never has a woman’s nakedness beenso covered with A tiny minorityofother scholars suggest aRioorigin For Bento, Olympia’smaidrecalledthe character, ‘so well Bento was aregularvisitor to Paris andhisbook is He describesLaure, the nanny who was Manet’s model 3 146 Manet’s ‘Coup de Tête’: The Secrets Hidden in Plain Sight ARS - N 40 - ANO 18 Moyra Anne Ashford publicly explained who Olympiawas. Hissolerecorded comment fond ofsaying. ‘presentness’, asManet’s friend,writer CharlesBaudelaire, was can seewhy –Olympiaappearswholly contemporary. She has categorisation hasnever beenmorethan anassumption. You by art history that it takes an effort of will to remember that this and prosaicrealityofatrulycontemporary subject’ orientalist images by Titian, Goya cold andIngresto depict ‘the famous nude. The d’Orsay website today says Manet referenced art establishment,itseems,wanted aBrazilsourcefor Manet’s views on Olympiamet the same fate as Bento’s in the – no-one (CACHIN,struck himdeeply’ 1995,p. 16). paintingOlympiaisperhapsreminiscentofasightinRiothat1863 Manet guide in which black-skinned she said, ‘the servant in his BAREAU, 1983,p. 176). the 1983exhibitioncatalogue (CACHIN; MOFFET; WILSON- so tempted the gluttony of the art historian,’ wrote Cachin in varnished with somany layers ofliterature, never hasapainting As far aswe know, Manet left nothing written and never Olympia’s identityasParisian prostitute issoenshrined Hamilton andCachin were heavy-weights, yet their After leaving the d’Orsay in1994, Cachin wrote ashort 4 . 147 Manet’s ‘Coup de Tête’: The Secrets Hidden in Plain Sight ARS - N 40 - ANO 18 Moyra Anne Ashford echo Orientalist works. Paper-wrapped florist’s flowers, though, in Shakespeare. the maid’smanner isgentle and intimate, recallingJuliet’s maid Musée d’Orsay’s ground-floorconcourse. Her golden skinglows; youth orslavery? experienced rather than a studio model. Were the them. Iputdown what Isaw’. There areharshparts(duretés Manet. ‘Takeprotested Olympia,couldanything bemorenaive? 1913, p. 201). described 30 years earlierwhen Manet was venting hisfury at the criticwho comes viaAntonin Proust,recalledfromalunch together some

The compositionandthe maid’sskin colourcertainly Olympia reclinesinaburgundy-painted roomoff the Such vehemence –hewas THERE.This was something ‘I renderthe things that Isee, assimplypossible,’ Olympia as‘firingashot to attract attention’ (PROUST, ), I’mtold. They were there. Isaw duretés the girl’s 148 Manet’s ‘Coup de Tête’: The Secrets Hidden in Plain Sight ARS - N 40 - ANO 18 Moyra Anne Ashford Black womansellingcashew fruits, 1827.Watercolor, Jean-Baptiste Debret, 15.7 x21.6cm IMAGE 8.

Frenchman Jean-Baptiste Debret, the greatest portrayer of19 into aturban,ascanbeseeninnumerouspaintings by fellow or muslindress,agathered under-blouseandacloth wound outfit typicalof an1849 Brazilian slave – voluminous fine cotton do not.Andinstead ofeastern silks,Olympia’sservant wears an France, were daywear for Brazilians. century Rio. Olympia’sembroideredmules,boudoir-wear in th

149 Manet’s ‘Coup de Tête’: The Secrets Hidden in Plain Sight ARS - N 40 - ANO 18 Moyra Anne Ashford was inspiredby memories andimages oflife inRio.’ Bento wrote, ‘Itismorelogical, humanandnatural that the painter as isclearinthe many impassioned portrayals ofBerthe Morisot. As was expressed subliminally, itwas hisfeelings towards the subject, even naive. Hepainted what hadmeaningfor him,and ifanything and discreet.Butfellow artistsdescribehiswork astruth-seeking, memberofthe upperclasses:urbane, witty,sophisticated charming even, Manet’s alter ego. a commentoncolonialism,anemblem oflesbiandesireand, explanations for the maid:that sherepresents primitive sexuality, (CACHIN; MOFFET; WILSON-BAREAU, 1983) Cachin interpreted the face as‘reserving for apersonalmemory’ transference, the facial features arevery faint, which Françoise In one, Manet left the face In the second, squared totally blank. for mignon with tannedskinandblack eyes inOlympia. and sandy eyelashes andbrows, butisplumplypinkinThe Picnic; results. Victorine eyes, hadgreen-grey paleskin,red-brown hair modelled for both The PicnicandOlympia,with starklydifferent That was never Manet’s style. Inpersonhe was a Over the years, writers have come up with the most varied Two red chalk preparatory drawings for Olympiasurvive. Victorine Meurent, Manet’s favourite modelat the time, 5 150 Manet’s ‘Coup de Tête’: The Secrets Hidden in Plain Sight ARS - N 40 - ANO 18 Moyra Anne Ashford (ASTRUC, 1863). imposes onlyhisown‘it living voice. Itisthe soulthat strikes’ attracted that for their skill(‘material practice’) because pictures that wrote the Salons.Astruc 1863 print, some three years before Zola, in a daily newsletter for playwright andhadbeenthe first to praise Manet’s work in was apainter, sculptor, musician,composer, novelist, poetand was paintinghisportrait.Besides hisprolificjournalism,Astruc by Manet’s friend,Zacharie Astruc (1833-1907), the year Manet poem, "Olympia, The Young Girlofthe Isles"written in1864 he dressedherasaBrazilianslave. necked dressesandapronsjustasmaidselsewhere. Buthedidn’t, for acontemporary Parisian maid:maidsinbrothels wore high- he would certainlyhave dressedmodelLaureassuch. Equally tricks, without any recipe’.Had Manet wanted aharemslave, should pose, andthen hecould attack it asa copyist, without any costume. AsZola describedit,‘Itwas necessarythat the subject Roman soldierorafisherman, the modelposedin the appropriate he worked frommodels.Ifhewas paintingaSpanish dancer, a A neglected clueto Olympia’sidentityisthe 50-line Surely it is worth trusting Manet. For his principal figures, The Picnic stood outfrom 151 Manet’s ‘Coup de Tête’: The Secrets Hidden in Plain Sight ARS - N 40 - ANO 18 Moyra Anne Ashford the Paris newspaper L’Univers Illustre in1890. reason, was judged to be thoroughly incomprehensible’, wrote grounds oftaste? ‘ill-advised’ (BROMBERT, 1997). (REFF, 1977), (CACHIN, ‘insipid’ 1983),‘dreadful’ (FRIED, 1996), taken seriously. Yet arthistorians ‘tedious’ brusquelydismiss it: last line–fancy callingaprostitute ‘august’. bathing and ended with the bouquet. The critics jeered at 1865 the recount anevening, nightandmorningthat started with mutual (ASTRUC, 1908) accounts, alsoaffixed it to thepainting: ‘It was intended to explain the subject but,perhapswith What other branch ofhistory rejects evidence onthe As Manet chose to includeit,the stanzashouldsurelybe Manet(below) chose ofAstruc’s poem the firststanza In the voice ofOlympia’slover, the remainingnineverses The augustyoung girl,ardourinabeyance She comesto flower the day, delicious to see; She isthe slave; like the amorousnight; Spring enters inthe armsofagentle black messenger; Tired ofdreaming, Olympiawakes; 6 for catalogue Olympia’s1865 listingand,by some 7 . 152 Manet’s ‘Coup de Tête’: The Secrets Hidden in Plain Sight ARS - N 40 - ANO 18 Moyra Anne Ashford these airsofslave, ofsultana?’. ‘mouth onfire’,includinganeastern allusion:‘Wheredo you get languishing infanta’, ‘your tranquileyes’, ‘your slenderforms’, description tallieswith the painting: ‘superb indolence’,‘this and avoyage: tidethat carriedme’.Olympia’sphysical ‘the had asked negress, maternal goodness that anticipates your desires’. event took place there. Guanabara Bay, hinting in a letter to his cousin that a significant Manet spentthree nightsonPaquetá Islandinthe depths of could only have comefromManet’s recountingiswhere Astruc her nakedness doesnotfigurein the literature. confused everyone. The possibilitythat this girlwas at easewith Shejoyful is thrice referred song’. to as a ‘virgin’. No wonder it the fan, ashawl’. She says prayers protect hearts’andsings ‘to ‘a Guileless, There are‘lazy, lullingseas’,‘palmtreesagainstthe azures’ ‘Where elsewould Manet seeblack slaves ifnotRio?’ Bento The black woman isalways ‘slave’ loving andonce, ‘the However, itmakes perfect senseinthe context of1849. Paradoxically, the phrase that best indicates that the poem 8 . Olympia was content with ‘music, a mirror, 153 Manet’s ‘Coup de Tête’: The Secrets Hidden in Plain Sight ARS - N 40 - ANO 18 Moyra Anne Ashford Paquetá inc. 1880andtoday, IMAGES 9AND10. respectively.

we have ofManet’s early work (ZOLA, 1867). From Zola’s words officer, Alfred Dreyfus, inhis openletter, J’Acuse. journalist — famously he later defended the framed Jewish army published hisfirstnovel but was better known asacampaigning had needed dark areas for pictorial balance. At 26, Zola had just asked aboutthe maidandthe cat. Manet prevaricated, saying he hardly allow acat,would letaloneablack one, uponthe bed. To disguise hisBrazilianmemories? For the record,Brazilians with astanzaabouttropicalisland? Adeliberate ambiguity? the cat leftviewers innodoubt that this was abrothel scene. Being aFrench emblemofprostitution(chat isslangfor vulva), around itslegs, suggesting itwas painted over anearlierimage. completing Manet said‘stones’, Astrucimagined‘marbles’. boulders tumblingdown aforested inclineandoutinto the waters. beautiful gardens’. got marbles scatteredthe wrong end of the stick: ‘the in the Zola’s text isthe most detailedcontemporaneous record When Zola interviewed Manet he inhisstudio1866, What madeManet combineacat signifying red-lightParis Manet addedthe typicallyParisian black cat after Paquetá has a distinctive outcrop of large, rounded granite Olympia. Remnants of rubbed paint canbe seen 154 Manet’s ‘Coup de Tête’: The Secrets Hidden in Plain Sight ARS - N 40 - ANO 18 Moyra Anne Ashford Aimée, a renowned singer andcourtesan. was seduced inRua doOuvidor by the olderFrenchwoman, Mme 17-yearmid-1860’s, oldPaul Gauguin(1848-1903), alsoasailor, where French ‘cocottes’ dominated the upperendsextrade. In the Lacarrière’s pretty, 13 daughter.year-old liaison duringcarnival, aRioprostitute, oreven Madame Brazilian ‘What isallthis saying? You don’t know much, andneither doI.’ on meaning. there’. Butonecanpresumethat Manet dodged Zola’s questions image from‘various components,taken perhapsfrom hereand on hispaintingphilosophy andmethods, such ascreating an you can hazard aguess at hisquestions. Manet was forthcoming

Madame Lacarrière’s shopwas located inRua doOuvidor I stillhave hopesofdiscovering the identityofManet’s After describingOlympia’s Olympia. The possiblecandidates range fromacasual colour contrasts,Zola asked, 155 Manet’s ‘Coup de Tête’: The Secrets Hidden in Plain Sight ARS - N 40 - ANO 18 Moyra Anne Ashford stretches. He gives different descriptions of his male companions et Guadaloupe . Manuel Ferreira Pinto, the Portuguese shippingagent for Havre carnival, apparentlyat the invitation ofasecondcontact inRio, on Paquetá Island.Hespentthree nightsthere the week after Manet favoured aprivate encounter andthat this occurred but again,Perruchot offers nosource (PERRUCHOT, 1962). That ispossible–adenselypopulated shantyborderedthe port– of love beingembodiedinthe sablefeatures ofaRioslave girl’. hall queen.’ (FLAMENT, 1928,p. 40). was seducedat amasked carnival ballby mulata...the dance ‘the 1928, without citingsources,Albert Flamentwrote that Manet but earlieronesplunged rightinwith stereotypical scenarios.In Edgar Degas. in oils,Olympia, d’Apres Manet (1891),which was boughtby hung acopy inhisTahiti houseandpainted afaithful version Manet’s letters about Paquetá containuntypical awkward My guess isthat beingshy, determined andaesthetic, In 1962,HenriPerruchot described Manet’s ‘firstexperience Recent Manet biographers largely dodge the sex question, Interestingly, Gauguinwas obsessed by Olympia.He 156 Manet’s ‘Coup de Tête’: The Secrets Hidden in Plain Sight ARS - N 40 - ANO 18 Moyra Anne Ashford having asexualencounter. spent nineweeks in1949Rio, the leastlikely scenarioishisNOT pose struck by amalemodel. traditional teaching, once walking outinprotest at the classical became the star pupil butcameinto conflict with Couture’s Thomas Couture, arespected academic painter. Manet soon Manet and his friend Antonin Proust enrolled at the studio of career andManet never resat the naval exam. Sixmonths later, days we greatly amusedourselves, the housewhere we stayed three I went with several olderboys to anisleinthe depths ofthe bay, this, writingthat the purposeofthe Paquetá tripwas ‘farra’. in letters to hismother, brother and favourite cousin.Bento senses

was deliciousandtotally creole’(MANET, 1928,p. 59) Whatever the details,given that Manet was 17, asailorand Back home, Manet’s father finallygave in to anartistic To his cousin,Manet underlinedcertainwords, ‘Yesterday 9 . 157 Manet’s ‘Coup de Tête’: The Secrets Hidden in Plain Sight ARS - N 40 - ANO 18 Moyra Anne Ashford one ofaSpanishsinger Salon juryselected two ofhisportraits–oneparentsand heightened the presenceofhissubjects. the In1861, official Paris his family andstreetscenes,developing anemphatic stylethat up hisown studio. Hetook onportraitcommissionsandpainted The Picnic,hislargest canvas to date, with that inmind. crowd, peopledby family, friends, soldiersand someblurred intimate metaphors. other paintings 1861-65 arestrange and other-worldly, full of opening agateway to the unconscious.BesidesThe Picnic , several can setoffvivid dreams, flashbacks and even spellsof psychosis, Manet spentlong hours at the studio(MORISOT, 1987). Grief paterfamilias. of the Justice Ministryofficial, Courtjudge and controlling Manet virtually immobile and deprived of speech, a sad husk previous five years astroke and tertiary syphilis hadleft Auguste died. AsManet’s portrait of his parents shows, 1861 for the Nevertheless, hestayed for nearlysixyears before setting Shortly after Manet started work on The nextSalonwould andManet bein1863 was painting Music in the Tuileries Garden shows (1862) an outdoors Distressed by hisfather’s ailingandpain-wracked death, 10 . The Picnic, his father 158 Manet’s ‘Coup de Tête’: The Secrets Hidden in Plain Sight ARS - N 40 - ANO 18 Moyra Anne Ashford Giorgione inManet’s time) andanengraving by Marcantonio Renaissance works: The Pastoral Concert by Titian (attributed to to Europe’s‘tribute artistic heritage’, pointing out echoes oftwo very lastoilpainting, The Barat Folies Bergere (1882). the was early1860’s notto berepeated, except perhaps inhis subjects becamemoreobjective andeveryday. The intensity of have seeninchurches inFrance, SpainandRio. figures recallbaroque Catholic statuary, which Manet would both(1865), depicting aChristinpainandabandoned.The period: attained inThe Picnic. her modestythat prevented that picturefromachieving the result in seaandsky. Suzanne modelledasNympth, anditmay have been Picnic, hasaloopedsnake, black snailsand threatening shadows The SurprisedNymph oftencited (1861), as forerunner Theto illegitimate 11year-old son,Leon, within aRubens-like landscape. Manet’s relationship with hissoon-to-be wife, Suzanne, andtheir masks. The eerieFishing appearsto (1862-3) beanallegory of The Musée d’Orsay says that The Picnic was Manet’s As the years went on,Manet’s style softenedand his Manet’s onlymajor religiousworks alsocomefromthis Jesus Mocked by the Soldiers (1864) and Christ with Angels 159 Manet’s ‘Coup de Tête’: The Secrets Hidden in Plain Sight ARS - N 40 - ANO 18 Moyra Anne Ashford by Victorine Meurent (LOCKE, 2001,p.104). featurespaintings, blendinghismother’s into figuresmodelled to note how Manet created ‘hybrid’ portraitsinseveral 1861-3 the particularandrareelementsthat arewithin him’. simplicity, allthis admirablepage onwhich anartisthasplaced outdoor ensemble, this cornerofnature renderedwith perfect he hadseen’ (ZOLA, 1867). not to resortto advice hehadbeengiven, norto allthe paintings resolved forget ‘to everything hehadlearnedinmuseumsand purpose was to pay tribute. According to Zola in1867, Manet had (PROUST, 1913,p. 42). wanted to‘remake’ Raimondi all identifiably themselves. alternately for the right-hand. Inthe Courtauld study, they are for the left-handman,and Manet’s two brothers modelling nude bather, Ferdinand Leenhoff, Suzanne’s sculptor brother, Manet’s studiomodels were red-hairedVictorine Meurent for the Locke’s hybridisation theory canbeappliedto The Picnic. In 2001,the USarthistorian Nancy Locke was the first Zola summarisesThe Picnic thus, ‘Inthe end,itisavast Manet may have borrowed poses,butitisunlikely that his 11 . Indeed,Manet hadtold Antonin Proust that he The PastoralConcert lighter a , ‘in atmosphere’

160 Manet’s ‘Coup de Tête’: The Secrets Hidden in Plain Sight ARS - N 40 - ANO 18 Moyra Anne Ashford in 1983, inoneof hisfinalwritings, the unjustly criticised and transgression within the family'. (LOCKE, 2001,p. 44). romance', aconcept involving 'desire, propriety, repression, Locke addedthe underlyingtensions ofthe Freudian 'family was the ‘admirable page’, where Manet placed his inner self. references were ingredients, butnotthe whole. For Zola, this a rememberedRioforest. Tropical wildlife andclassical of himselfandhisclosefamily, inRenaissance poseswithin wavy hairareexactly those ofManet’s mother. The distinctive bather’s broadcheekbones andcentre-parted, pointing imperiously, appearsto incorporate Auguste Manet. wrote Antonin Proust(1913,p.trousers ofalightcolour’, 44). Parisunusual in1863 butwere Manet’s hallmarkattire. Manet’s own ‘hybrid’ pale coloured trousers were presence: Leon. Both menwear white-ish trousersandthis may signal hand mangets afuller mouth, like Manet andSuzanne’s son several poundsinweight, looking morelike Suzanne. The left- For the definitive Just asZola had,pre-Freud, and Locke didthis century, The Picnic was Manet's 'This IsMe': atakingofaccount The righthandman,with hiscaneandmagistrate’s hat, ‘He was invariably dressedinajacket orwaisted coat, Picnic, Meurent gains brown hair and 161 Manet’s ‘Coup de Tête’: The Secrets Hidden in Plain Sight ARS - N 40 - ANO 18 Moyra Anne Ashford used to implyafoursome with partner swapping. logged the sun. cadets stumbling upon a naked woman calmly drying herself in (FREYRE, 1922,p. 626).Itiseasy to envision delighted young together inthe waters of the river, inastate ofentirenudity’ persons ofboth sexes andallages, bathing indiscriminately He cited aU.S. traveller’s astonishment at seeing‘anumber of Freyre wrote, ‘Rich andpoortook asheerdelight inbathing’. Refusées was in1863 LeBain-The Bath, orThe Bathing. and prints. that hepainted 27 versions ofit,alongwith numerousdrawings instincts’, saidMatisse. Picassowas soobsessed by The Picnic 1983, p. 183) than that ofthe conscious and ofreason,’ hewrote. (BENTO, knows that, inallthe arts,the roleofthe unconsciousisgreater Bento highlighted the powerAntonio of the unconscious, ‘One In astudionotebook found afterhisdeath, Manet had In his1922study of1850’s Braziliansociallife, Gilberto Manet’s originaltitlefor The Picnic at the Salondes ‘Manet was the firstpainter to paint through his own The Picnicas‘LaPartie Carrée’ often , a‘squared meeting’, 12 .

162 Manet’s ‘Coup de Tête’: The Secrets Hidden in Plain Sight ARS - N 40 - ANO 18 Moyra Anne Ashford Le Déjeuner dans laForêt Atlantique. For sake, accuracy’s itmightnow have afourth baptism: 163 Manet’s ‘Coup de Tête’: The Secrets Hidden in Plain Sight ARS - N 40 - ANO 18 Moyra Anne Ashford do consciente eda razão,emtodas asartes.” 12. 11. 10. recent. 9. Letterof26February, Manetsaysthathenowhastwocorrespondents,oneofthem 8. ‘OndeviraManetescravaspretassenãonoRio?’ / L’auguste jeunefilleenquilaflammeveille". noir; /C’estl’esclave,àlanuitamoureusepareille, /Quivientfleurirlejourdélicieuxàvoir; 7. with somesmallchangestotheoriginalwords. 6. e imagensdavidadoRio.” 5. ‘”Maislógico,humanoenaturalteriasidoqueopintorseinspirasseemrecordações 4. Seehttp://www.musee-orsay que tantogostavadetornar-se cúmplicedeamoresdifíceisouperseguidos.’ 3. chapadas decoressimplesepuras’. foi sobretudooprimeiropintorcontemporâneoa[...]recorrerdiretamenteàsgrandes 2. otherwise stated. 1. "Quand, lasse de songer, Olympia s’éveille / Le printemps entre au bras du doux messager

Translations from other idioms were provided by the author of this text, except when A posthumouseditionofhispoetrycontainingthefulltenverses‘LaFilledesÎles’, ‘ […]daalcoviteirasolícitatãoconhecidadostemposnossosbisavós,negra ‘Tendo gravado em sua retina supersensível a intensidade da luz brasileira, Manet NOTAS Seehttp://www.musee-orsay PortraitofM.andMmeManet (1861)andTheSpanishSinger(1861). “Atémesmo pelofatodesaber-se queopapeldo inconsciente émaiordo queo

. . 164 Manet’s ‘Coup de Tête’: The Secrets Hidden in Plain Sight ARS - N 40 - ANO 18 Moyra Anne Ashford FLAMENT, Albert.LaViedeManet.Paris:LibrairiePlon, 1928. Hudson, 1995. CACHIN, Francoise,ManetPainterofModernLife . London:Thames& Manet: 1832-1883.NewYork: MetropolitanMuseumofArt,1983. CACHIN, FrançoiseCachin;MOFFETT, CharlesS.,;WILSON-BAREAU, Juliet. CASTRO, Ruy. RiodeJaneiro.London:Bloomsbury, 2004. and Co,1997. BROMBERT, Beth Archer. RebelinaFrockCoat.NewYork: Little,Brown BENTO, Antonio.ExpressõesdaArteBrasileira.RiodeJaneiro:Spala,1983. ASTRUC, Zacharie.LesAlhambras.Paris:LibrairieHenriLeclerc,1908. et nouvellesdujour. Paris:ChezL.A.Cadartetcie,1863. pendant lesdeuxmoisdel’exposition:causerie,critiquegénérale,bruits ASTRUC, Zacharie.LeSalon:feuilletonquotidienparaissanttouslessoirs

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165 Manet’s ‘Coup de Tête’: The Secrets Hidden in Plain Sight ARS - N 40 - ANO 18 Moyra Anne Ashford MORISOT, Berthe.Correspondence.London:CamdenPress,1987. Janeiro: JoseOlympio, 2002. MANET, Édouard. by ErnestRouart. Bibliothèque Nationale de France. Public domain, originally published 1928 Insight GuidetoBrazil.1 Press, 1954. HAMILTON, GeorgeHeard.ManetandHisCritics.NewYork: Yale University University ofChicagoPress,1996. FRIED, Michael.Modernism:Or, TheFaceofPaintinginthe1860s.Chicago: The HispanicAmericanHistoricalReview,5(4),Nov. 1922,pp.597-630. FREYRE, Gilberto.SocialLifeinBraziltheMiddleofNineteenthCentury. https://gallica.bnf.fr/ark:/12148/bpt6k56528006 .Accessin:Nov. 13 MANET, Édouard. University Press,2001. LOCKE, Nancy, Manet and the Family Romance. New Jersey: Princeton Viagem Ao Rio: Cartas da Juventude 1848-1849 . Rio de Lettres de jeunesse 1848-1849: voyage à Rio. Source st Edition,London:ApaPublications,1986. th 2020. 166 Manet’s ‘Coup de Tête’: The Secrets Hidden in Plain Sight ARS - N 40 - ANO 18 Moyra Anne Ashford Albin, 1984. VOLLARD, Ambroise. Souvenirs d’unMarchanddeTableaux . Paris,Editions Institute ofLatinAmerican Studies:London,1988. SOARES, LuizCarlos. ProstitutioninNineteenth CenturyRiodeJaneiro. 391. Universidade EstadualdoNorteFluminense RiodeJaneiro,2012,pp.374- Janeiro doSéculoXIX.Dimensões–RevistadeHistóriadaUfes , vol.29, SILVA, MarinetedosSantos.ClienteseCircuitosdaProstituiçãonoRiode ROUART, Denis. Manet. London:OldbournePress,London,1960. Press, 1977. REFF, Theodore.Manet:Olympia(ArtinContextSeries).NewYork: Viking Paulo: EditoraFGV, 2008. REIS, DanielAarao,ROLLAND,Denis.ModernidadesAlternativas.São PROUST, Antonin. ÉdouardManet,Souvenirs.Paris:H.Laurens,1913. PERRUCHOT, Henry. Manet.NewYork: Barnes&Noble,1962. 00001 (1),RiodeJaneiro,4September1859. O Espelho,RevistaSemanaldelitteratura,modas,industriaeartes,Edição 167 Manet’s ‘Coup de Tête’: The Secrets Hidden in Plain Sight ARS - N 40 - ANO 18 Moyra Anne Ashford Pallas AtheneLtd.,2013. ZOLA, Émile, gallica.bnf.fr/ark:/12148/bpt6k1047524k. Accessin:Nov. 13th2020 des Beaux-Arts;préface[etsynthèse]deEmileZola.1884.Sourcehttps:// ZOLA, Émile.ExpositiondesOeuvresdeÉdouardManet.ÉcoleNationale Siècle. Paris,January1867. ZOLA, Émile.ANewMannerinPainting:ÉdouardManet.RevueduXX Looking At Manet, Writings on Manet by Emile Zola. London: 168 Manet’s ‘Coup de Tête’: The Secrets Hidden in Plain Sight ARS - N 40 - ANO 18 Moyra Anne Ashford October 15 on November 13 Article submitted on th 2020 and accepted th 2020. study atLeicesterArtCollegeinthe1970’s wasFineArt,Painting. projects, alongwithpaintingandprintmaking.Herundergraduate 19th centuryBrazil.Sheisnowretiredandworkingonvariouswriting English forCambridgeUniversityPress,sparkingherfascination do povo:vida,tempoepensamentodeumhomemlivrecorinto Robert Lacey. ShetranslatedEduardoDomObáIId'África,opríncipe spent manyyearsresearchingforthehistorianandroyalbiographer for thethirdworldnewsagency, InterPressService,IPS , andthen Times andTheDailyTelegraph . ReturningtoLondon,sheworked was BrazilcorrespondentfortheLondonnewspapers,TheSunday Moyra AnneAshfordlivedinSãoPaulofrom1976to1990whereshe ABOUT THEAUTHOR 169 Manet’s ‘Coup de Tête’: The Secrets Hidden in Plain Sight ARS - N 40 - ANO 18 Moyra Anne Ashford