in her catalogue entry on Masked Ball at the Opera in Manet 1832- 1883 ( New York, 1983),
no. 138, pp. 349-52. This catalogue entry is a rich source of information and documentation about the painting, as are Theodore Reff, Manet and Modern Paris ( Washington,
D.C., 1982), no. 39, p. 122, and Denis Rouart and
Daniel Wildenstein, Edouard Manet:
Catalogue raisonné (Lausanne, 1975), I, no. 216. For another interpretation of the work
see Alain de Leiris, "Manet and El Greco: The 'Opera Ball,'" Arts, September 1980,
pp. 95-99. For studies of Manet Masked Ball published after the completion of this
article, see Melissa Hall, "Manet's Ball at the Opera: A Matter of Response", Rutgers
Art Review, Spring, 1984, and John Hutton, "The Clown at the Ball: Manet's Masked
Ball at the Opera," The Oxford Art Journal 10:2 ( 1987):76-94. For the theme of the
masked ball from the viewpoint of cultural history, see Ann Ilan-Alter, "Je te connais,
beau masque . . ." ( Women, Sex and Class at the Bal de L'Opéra, 1830- 1873). Paper
presented at the American Historical Association, December 1985.
Julius Meier-Graefe, Edouard Manet ( Munich, 1912), p. 216. Meier-Graefe also maintained that the painting was "ein Stück, das ein Ganzes ergibt." His analysis of the
work (pp. 215-18), though brief, is brilliant.
Stéphane Mallarmé, "Le Jury de peinture pour 1874 et M. Manet," Oeuvres complètes,
H. Mondor and G. Jean-Aubry ( Paris, 1945), p. 695. The letter originally appeared
in La Renaissance artistique et littéraire in 1874.
Théodore Duret, Histoire d'Edouard Manet et son oeuvre, 2nd ed. ( Paris, 1919), p. 109.
For related works see the oil sketches in Rouart-Wildenstein, I, nos. 214-15, and an
ink-wash study, II, no. 503. There may be three or four related drawings as well. See de Leiris, The Drawings of Edouard Manet ( Berkeley and Los Angeles, 1969), nos. 412-15.
Reff reproduces the relevant Grévin caricature in Manet and Modern Paris, fig. 62,
Roman Jakobson, "The Metaphoric and Metonymic Poles," Fundamentals of Language ( The Hague, 1956), pp. 76-82.
T. Reff, "The Symbolism of Manet's Frontispiece Etchings," Burlington Magazine, May 1962, pp. 182-87.
For the color lithograph, see Reff, Manet and Modern Paris, no. 40. For the watercolor study, see Rouart-Wildenstein II, no. 563; for the oil sketch, I, no. 212; and for
the finished oil, I, no. 213.
Cited by Jean C. Harris, "A Little-Known Essay on Manet by Stéphane Mallarmé," Art Bulletin, Dec. 1964, p. 561. Mallarmé essay had originally appeared in the English Art Monthly Review in 1876.
See, for example, the caricature of the work of the photographer Disderi by Cham,
from Le Charivari of 1861, reproduced by
Aaron Scharf, Art and Photography ( London, 1968), fig. 144. p. 155, in which the legs of the passengers on an omnibus are amputated
by the upper margin of the image.
T. Reff, "Manet's 'Portrait of Zola,'" Burlington Magazine, Jan. 1975, p. 41.
Cachin, p. 350. For images of Chabrier, see R. DeCage, "Chabrier et ses amis
impressionistes", L'Oeil, Dec. 1963, pp. 16-23f.
De Leiris, "Manet and El Greco," p. 98.