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After all, distortion is not only a way to magnify or reduce the image, but also to attract attention to the idea that is being presented or to the object of mockery These distortions are, in fact, typical of the impressionists, who introduced a more dynamic vision of composition by focusing on different subjects in the same painting. And even when a subject looks ‘normal’ within the overall context of a work, there is always some irregular detail that attracts attention. In Le Bon Bock [Fig.20], for example, the hand holding the pipe is too large in relation to the head of the portrayed figure. In Jobarde, we see a comparable phenomenon at work. The elongated form of the Amazon’s body shortens the horse between head and hind quarters, causing the belly of the pregnant horse to look as if it is pushed even further outward. 5.3 – Light & Color Tonality The loss of visual depth is not only a consequence of Manet’s handling of composition, but also of the role of light in his paintings.23 He visualizes light by juxtaposing colors rather than by building them up in layers. In dark areas, the light is almost completely absorbed and transitions in volume and tone are hardly discernible.24 When you give light a different depth or, in other words, a different technical build-up in paint, the texture of the depicted materials also changes. Disucssing Manet's handling of light, Anne Coffin Hanson writes: “Manet’s handling of black is similarly new and personal. The intense absorption of light by dark colors, particularly dark-colored fabrics, makes it impossible to see changes in value in these colors under many normal light conditions.”25 This also applies to Jobarde: the details that are present in the deep black color of the Amazon’s costume are almost indiscernible under normal daylight conditions.26 The other dark areas are handled in a clear and nuanced manner, while the light areas are executed in pure tones and have a sculptural form – as can be seen in the crests on the water and the cuffs and collar of the Amazon’s blouse. Light Sources Fig. 32 By changing scales, Manet is not only able to magnify or minimize the ‘image’, but also the focus point.
Manet often introduces different light sources in his paintings. This means that the shadows can fall in different directions. In the years surrounding 1873, Manet is
