Sebastian Smee, the art critic and author of the new book, Paris and Ruins, Love, War, and the Birth of Impressionism.

We haven't forgotten a love affair between Burt and Edward.

You show a love affair in the first act, you better make it tied together in the fifth act.

Well, we're in the fifth act.

And the love affair is advanced so that B Barrett is back being a model for Edward.

Edward is painting her routinely now.

There's one painting, I believe it comes from this period, where she's half reclining.

She's extremely fetching.

She's compelling.

She's unmarried.

His marriage may or may not be successful. There's suggestion that it's not, but then again, he's amarried. His marriage may or may not be successful.

There's suggestion that it's not, but then again he's a young man.

Things happen, and marriages are an adventure.

However, what does happen is that Edward's brother, Eugene, comes on the scene. And Eugene is well-to-do.

His other brother, the other brother, Gustav, is a lawyer.

Eugene owns land. And he falls in love with Barrett.

Or Edward encourages it. You haven't determined which way it goes.

Is that ambiguity in her letters?

It's really interesting. I mean, I'll go back just slightly and go back to the period you

described of Manet painting, Morrison. So in the wake of this terrible year, you know, from 1870,

let's say 72, up until that first

Impressionist exhibition, Manet paints her several times. In fact, you know, quite a few times.

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