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The Cover
January 6, 1999

Portrait of a Lady With Black Fichu

JAMA. 1999;281(1):8. doi:10.1001/jama.281.1.8

Like a vintage wine that only becomes finer as it ages, the works of Édouard Manet (1832-1883) only got better as he painted. In the beginning, raw, shocking, scandalous to even the most jaded palette of the Salon-going public, the paintings—and Manet—were ridiculed mercilessly by journalists who knew a juicy story when they saw one. But, like the good vintner, Manet was patient: he continued to study, he traveled, he copied at the Louvre, he experimented, and he borrowed freely from the greats—from Raphael, Giorgione, Titian, Velazquez, Hals, the Carracci. Most importantly, in spite of the public ridicule and the Salon's repeated rejections, he continued to work. And, like the good steward, he kept some of his best till the last.

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