How does this artwork elucidate its Criticism?
After being exhibited in the second Impressionism exhibition in 1876, the painting received attention, though not always positive, from art critics. Critics Émile Zola and Alexandre Pothey praised the work for its innovation and bold use of colors, but many critics described the work as "bizarre" and sexually suggestive. The critic Simon Boubée wrote in his review: "He has shown a Chinese in a red robe with two heads, one is that of a demi-mondaine placed on the shoulders, the other that of a monster, placed we dare not say where." Other writers pointed out the placement of the samurai's head on the robe as being suggestive, coupled with the depiction of unshesthing his sword. Camille's "coquettish" facial expression was also said to be part of the erotic symbolism.
The criticism seemed to embarrass Monet, who likely withdrew the work from the exhibition before its end to prevent public viewing, though he claimed the work had been purchased by a secret buyer at the unbelievably high price of 2,020 francs. Many art historians have questioned the authenticity of this record-breaking price, with a variety of different explanations. Some believe that it was a publicity stunt played by Monet and Ernest Hoschedé; that Hoschedé bought it at a high price and Monet secretly repurchased it back. Another art historian believes that the purchase was a "face-saving fable" to move the public attention away from the embarrassing criticism. The hypothesis that the unprecedentedly high price was not real offers an explanation for the content in a letter from Monet to his friend Édouard Manet, in which the painting was mentioned. Monet wrote:"I would be very obliged to you if you would not repeat to anyone what I told you on the subject of La Japonaise. I have promised to keep it quiet, it would inconvenience me. I count, then, on your discretion and, in case you may already have dropped a word to Dubois, recommend to him the most complete silence, otherwise, there would be endless gossip and annoyances for me."
It is possible that Monet had informed Manet of his trick, and that he had warned him not to tell anyone else, or that Monet wanted to hide from the public the painting Camille had modeled for, given the criticism of the painting's sexually suggestive nature, though no one mentioned Camille's name in connection with the work until Monet revealed her role to Georges Bernheim and René Gimpel in 1918, the blond wig having disguised her identity until this point.Monet himself did not have a high opinion of the work, describing it to Bernheim and Gimpel as "une saleté [a piece of junk]". The mixed reception has continued to the twenty-first century, with critics such as Julian Barnes, in a generally enthusiastic introduction to Monet, singling out the piece as "ferociously awful". The MFA curator notes, by contrast, describe it as "a virtuoso display of brilliant color that is also a witty comment on the [then] current Paris fad for all things Japanese".
Impressionism samurai Émile Zola Ernest Hoschedé fr Alexandre Pothey Édouard Manet René Gimpel