Monday, 5 January 1880

Well, things are going badly.
I return to work, but as it was never frankly interrupted, I feel a lassitude, an extraordinary discouragement. And the Salon approaches. I go to discuss all this with the great Julian, and we are agreed, especially he, that I am not ready.
Let us see, it has been two years and four months that I have been working, without discounting lost time or travels. It is little but it is enormous. I have not worked enough, I have lost time, I have slackened, I... in a word, I am not ready. "Pinpricks drive you mad," said Edmond, "but you bear a well-aimed sledgehammer blow." It is true. The eternal comparison... Breslau began in June 1875, which makes four and a half years for her and two years in Zurich or Munich, a total of six and a half years, without discounting travels or lost time as for me. She had been painting for a little more than two years when she exhibited. I have been painting for one year and four months and I could not exhibit as honorably as she.
Oh! For myself it would make no difference; I would wait. I am courageous, and when I am told to wait a year I answer sincerely: very well.
But my public, but my family. They will no longer believe in me! I could exhibit, but what Julian wanted was for me to make a sensational portrait, and I could only manage it mediocrely, very.
That is what comes of getting on one's high horse. There are those in the studio five times weaker than I who have exhibited, and nothing was said, it is true; but me: what for? You need neither lessons nor commissions at fifty or a hundred francs; you need a sensation. Exhibit something like the others, but it is beneath you; as for painting a famous man, you would not do it well enough.
That is my opinion too, but my public and the family and in Russia...
You understand, Julian says I draw ten times better than Manet, who is a big fool, and he then adds that I do not know how to draw. "You must do more!"
As for me, I am very troubled, and I am trying to find a way out.