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A critical exchange between Émile Zola and Édouard Manet
photograph) or a creative re-presentation of the real? Ensnared in the painter’s play with pictorial devices, we should now ask, to what degree does Manet as the ‘analytic observer’ conform to the naturalist painter that Zola configured? Before answering this question, I would like to insert a critical vignette which mirrors the (cultural) para-iconotext that I previously defined. In J. K. Huysmans’s 1877 review of Manet’s Nana, the writer conflated the painting and novel to produce a third dimension of meaning and provocation in the social imaginary.41 The painting had