Evening star. [volume] (Washington, D.C.) 1854-1972, 1929-10-20
BY LEILA MECHLIN.

TIME reopening of the Phillips
Memorial Gallery is given spe-
cial emphasis this year by the
4 fact that now, for the first time,
lately acquired masterpiece by
Manet, Ballet Espagnol." is placed on
view, and also because from now on this
unusual and delightful gallery will be
free to the public, not only on three
afternoons week, as heretofore, but
on every afternoon from 2 to 6.
The Manet is a small canvas. but an
extremely important one, painted in
1852, when a troop Of Spanish dancers
appeared at the Hippodrone in Paris
and won acclaim, as did the Russian
Ballet Immediately upon its appearance
in New York some years ago. This was
three years before Manet went to Spain,
but in its technique, color and tone the
painting is completely Spanish. Manet
is said to have invited the Spanish
dancers to his studio and persuaded
them to pose for him, singly and to-
gether. This painting, which the Phil
lips Memorial Gallery has secured,
shows the troupe before the footlights,
four of the figures occupying the center
of the stage, two guitar players and two
subsidiary figures framing the picture"
Immediately in the foreground, focusing
interest and light, is bouquet of flowers
incased in a paper cornucopia.
Mr.. Phillips. referring to this paint
ing. has said: Because Manet was
more than an eye and altogether a ro-
mantle temperament, it is not surprising
that in our ballet the technique is in
consistent. The four illuminated fig
ures, including the famous Lola da VAL
ence and her partner, who have finished
: their dance and are resting, and the
1.-THE Camprubi and his ballerina, who
are Just beginning their dance, derive
their great vitality OF appearance from
a rich jeweled paste and a crisp brush
stroke, whereas the subordinate guitar
strumming members of the troupe on
the shadowy edges Of light are sketchily
indicated in monochrome. Such is Wis
ual truth plus temperament and a con-
tempt for academic colors. Our eyes
are focused in fascination on the per-
forming stars, especially on the rounded
leg and pointed toe Of the dark beauty
on the right, and we scarcely notice the
Supers backstage and In the wings. The
truth to visual appearance was doc
trine of impreSsionism, and to that ex-
tent Manet here anticipated the impress
sionistS. But to cut out the figures with
so clear an edge against q background
totally devoid of air Is emotional rather
than visual truth. Later in his career
Manet would not have been so indif-
ferent to optical effects. Here he was
an expreSsionist ahead Of his age and
IN spite of himself"
This superb painting, sd vital, so gay
and at the same time so seriously rem
dered that 1t. not only instantly claims
but consistently holds attention. was
exhibited In 1858 at a dealers, Marti-
nets. on the Boulevard des Italiens,
together with IA other examples of Ma
nets work, and It evoked considerable
adverse criticism one critic declaring
that it was no more than "Goya trans
planted to Mexico and gone native: an
other that there was nothing but the
clash of black with crude and violet
colors" to be SEEM But, of course. Ma
net had his friends and admirers, among
them the great lola and the keenly
intelligent and sympathetic Durand-
Ruel It was the latter who purchased
the Ballet ESpagnol, in whose collec-
ton it remained practically until the
present. IT am told" says Mr. Phillips,
that 1t has been the most cherished
of all the Durand-Ruel Manets, the one
retained the most tenaciously by the
family" And one may well believe it.
The fact that this painting has been
in private ownership all these years
explains to an extent its remaining so
long comparatively unknown. Also, it
is a rather small canvas and at dis
advantage in a big exhibition. But as