Focuses on the relationship between painting and beholder. Examines a selection of works by Legros, Fantin and Whistler before turning to Manet, in an attempt to show how the construction of the painting-beholder relationship in the Déjeuner sur l'herbe and other works of the period at once reflects concerns Manet shared with his three contemporaries, and embodies Manet's most radical departure from the norms of their art.
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