Author: Nancy Locke

We need to look more specifically at the kinds of formal effects typical of photography at mid-century in order to see Manet’s profound engagement with this new image paradigm. We also need to think about the photograph as an image whose source was not human, but optical and mechanical, and thus mysterious. Like Balzac, Manet was primarily concerned with the human, social world, but in Manet’s case, the ommatophore of the camera—the automatism of an eye on a stalk—has a greater presence than we have previously acknowledged.