...The change of direction was initially political after the election of Jules Grévy. The atmosphere of the Salon altered too. These new circumstances accelerated Manet’s development, in form and content. At Père Lathuille’s, which delighted Huysmans at the 1880 Salon, Manet avoided the rather obvious moralising of Zola whose novels he very much enjoyed. However he had never aspired to judge contemporary morals from above. But he did, however, cultivate a relationship with the friends of the publisher Charpentier, whose success had given him the financial means to launch La Vie Moderne, both an illustrated review and a gallery open to the new painting of Renoir, Monet and Manet himself. In April 1880, Manet exhibited around 20 paintings and pastels. As well as being a summary, it was, as the Portrait of Constantin Guys indicates, a kind of small-scale manifesto. The numerous scenes of brasseries and music halls impressed his contemporaries, as did the fashionably dressed society women and demi-mondaines: Manet revealed himself here “in a completely new light - a painter of elegant women” (Philippe Burty).