,cover illustration 7see description on 
page #db73                              
,auguste ,renoir 7#ahda-aiai7           
,a ,girl with a ,watering ,can          
,canvas4 #ci  #bh inches4    ,dated     
#ahgf                        ,chester   
,dale ,collection                       
,french ,painting                       
of the #aith ,century                   
in the                         ,national
 ,gallery of ,art                       
by                               ,grose 
,evans                     ,curator of  
,extension ,services                    
,washington1 ,d4 ,c4                    
,copyright #aiei                        
,publications ,fund                     
,national ,gallery of ,art              
,washington1 ,d4 ,c4                    
,revised #aifg                          
,designed1 ,engraved1 and ,printed      
in the ,united ,states of ,america by   
,the ,beck ,engraving ,company          
,french ,painting3 #aith ,century   ,the
 story of ,french painters during the   

nineteenth century is an exciting one1  
colored by personal rivalries and       
revolutions in taste4 ,in the face of an
 indifferent or jeering public1 artists 
often had to make great sacrifices to   
achieve the sincere expression of their 
ideals4 ,firmly established academic    
painters bitterly opposed all young     
artists who tried to create new styles1 
and the inertia of popular taste lent   
such authority to the ,academy that     
artists could only be original at their 
own peril4  ,the academic style grew out
 of the classical idealism of           
,jacques-,louis ,david 7page #ac74 ,he  
rose to fame during the ,french         
,revolution 7#aghi-ie7 by producing     
pictures with propaganda content and    
attained great prominence as 8the       
painter of the people40 ,son of a ,paris
 tradesman1 ,david had been fortunate   
enough to study painting in the ,french 
,royal ,academy4 ,after four failures   
and an attempted suicide1 he won the    
,prix de ,rome and in #aggd was able to 

go to ,italy1 which was then considered 
the fountainhead of art4 ,there1 during 
a ten-year stay1 he reacted violently   
against the gay1 trivial style of       
painting that ,french aristocrats had   
loved4 ,idolizing the ancient statues he
 saw in ,rome1 he introduced a powerful 
,neo-,classical style and1 after his    
return to ,france1 he reorganized the   
,academy to sanction only a sober and   
8elevating0 imitation of classical art4 
,when ,napoleon became emperor1 in      
#ahjd1 he appointed ,david his court    
painter and commissioned a series of    
huge pictures illustrating imperial     
ceremonies4 ,however1 soon after the    
,bourbon monarchy was restored1 in      
#ahad1 ,david was exiled to ,brussels1  
where he spent his last years4  ,david's
 style was continued and refined by his 
pupil ,j4-,a4-,dominique ,ingres 7page  
#ae71 whose father was a painter at     
,montauban4 ,ingres' apprenticeship with
 ,david and eighteen years spent in     
,italy led ,ingres to paint with        

precise1 sculpturesque draftsmanship and
 coldly calculated color4 ,to sustain   
the classical tradition1 his subjects   
were usually drawn from mythology and   
ancient history4 ,after he returned to  
,paris1 in #ahbd1 ,ingres' ideal of     
perfectionism came to dominate academic 
art4  ,behind it the ,academy had the   
weight of traditionally accepted theory 
and the splendid accomplishments of the 
,old ,masters4 ,the theory1 growing from
 ancient classical concepts of art1     
seemed infallible and1 on such a        
theoretical basis1 the five hundred     
years preceding the nineteenth century  
had produced an extremely impressive    
art4 ,imitation of idealized figures was
 the chief aim of the academic painter4 
,by showing nature 8as it ought to be10 
the artist served philosophical and     
ethical ends2 he could educate mankind  
by painting morally improving           
illustrations of heroic deeds4 ,on this 
premise art had been raised during the  
,renaissance from a handicraft to rank  

with the liberal arts4 ,academies had   
arisen to prove the merits of art1 and  
why should such august institutions be  
challenged8  ,but even in the early     
years of the century artists revolted   
against the academic limitations4 ,eugne
 ,delacroix 7page #ag7 was the central  
figure in the opposing ,romantic        
movement4 ,son of a prefect of          
,marseilles1 ,delacroix began painting  
in #ahac as an amateur in a ,parisian   
academic studio4 ,soon new sensuous     
richness of coloring and a feeling of   
lively movement entered ,delacroix's    
pictures to express strong emotions4    
,his art reveals new psychological      
penetration2 as he said1 addressing his 
fellow artists1 8,anything can be a     
subject4 ,the real subject is yourself2 
it is your impressions1 your emotions   
before nature4 ,you must search within  
yourself1 not look about you40          
,delacroix's life was embittered by the 
jealous rivalry of ,ingres1 who called  
him 8the apostle of ugliness0 and       

prevented him from teaching in the      
,academy1 but his daring use of color   
was to influence many later painters4   
,in the ,romantic era1 nature1 which had
 been neglected as long as the classical
 tradition prevailed1 was extolled by   
poets and painted by outstanding        
masters4 ,camille ,corot 7page #ai71 son
 of a ,parisian milliner1 became a      
leading landscapist4 ,although his      
teachers were academicians1 admirers of 
,poussin and ,ingres1 ,corot turned to  
his own fresh experiences of nature4 ,as
 a ,romantic1 he saw the world about him
 passionately4 8,while imitating        
conscientiously10 he said1 8,i never for
 a moment lose the emotion which first  
caught my interest40 ,at times ,corot   
painted with the group of artists who   
worked at ,barbizon near the ,forest of 
,fontainebleau1 or sometimes he traveled
 in ,italy1 ,switzerland1 ,holland1 and 
,england1 but usually he was content to 
stay with his parents in ,paris or at   
their summer home in ,ville d',avray4   

,versatile in his art1 he combined      
elements of classical composition with  
romantic feeling and realistic vision4  
,corot's breadth of taste allowed him to
 see the importance of paintings by     
,daumier1 whom he saved from neglect and
 poverty4 ,honor ,daumier 7page #ba71   
after serving as a bailiff's clerk and a
 librarian1 was trained as a            
lithographer and turned to political and
 social caricature4 ,in the ,paris      
journals1 his lithographs1 lampooning   
prominent figures1 exposing graft1 and  
making fun of the bourgeoisie1 were     
intensely popular4 ,politics had been   
uppermost in ,french minds after the    
,revolution and times were very         
unsettled4 ,two civil revolutions in    
#ahcj and #ahdh were followed by        
invasion during the ,franco-,prussian   
,war in #ahgj4 ,during this time the    
government swerved precariously from    
monarchy to republic1 to empire1 and    
back to republic4 ,the turbulence of    
these years together with daily human   

follies was the material of ,daumier's  
striking cartoons4 ,his paintings1      
largely made for personal satisfaction1 
dwelt on the hardships of life in the   
growing industrial city or1 in a lighter
 vein1 on artists1 connoisseurs1 and    
circus performers4 ,with his interest in
 the life about him1 ,daumier was drawn 
from ,romanticism to ,realism4  ,among  
artists1 dissatisfaction was growing    
ever stronger against the implausible   
gods and heroes painted by academicians 
and also against the escapist tendency  
of the ,romantics1 who loved to paint   
exotic scenes1 removed from ordinary    
experience4 ,the increasing materialism 
and scientific objectivity of the       
nineteenth century demanded a realistic 
style4 ,the role of leader in the       
,realist school was taken by ,gustave   
,courbet 7page #bc74 ,this big1         
boisterous son of a wealthy farmer in   
,ornans came to ,paris in #ahdb4 ,after 
a few lessons1 ,courbet taught himself  
to paint1 chiefly by copying in the     

,louvre galleries4 ,his large1 coarsely 
executed pictures of common people      
shocked most of his contemporaries4     
,when his work was refused at the       
,international ,exhibition of #ahee1 he 
opened his own pavilion1 boldly titling 
it 8,le ,pavillon du ,ralisme40 ,among  
his best-known sayings are1 8,painting  
should consist only in the depiction of 
things visible and tangible to the      
artist10 and1 8,show me an angel1 and   
then ,i'll paint it40 ,his outspoken    
nature led him to embroil himself in    
politics after the ,franco-,prussian    
,war4 ,finally1 to escape imprisonment  
he fled to ,switzerland1 where he spent 
his last years in exile4  ,both         
,daumier's and ,courbet's realism       
depended upon their acceptance of       
everyday subjects as worthy of being    
painted4 ,but realism could be manifest1
 too1 in meticulous attention to        
details4 ,henri ,fantin-,latour 7page   
#be71 a friend of our ,american painter 
,whistler1 exhibits this exacting       

realism in portraits and still-life     
pictures4 ,strongly influenced by the   
early developments in photography1 he   
produced works which1 because they were 
pleasant and unassuming1 were often     
shown at the annual ,salon beside the   
conservative paintings of approved      
academicians4 ,in #ahfc1 however1 he    
found himself with the young 8rebels0   
who were allowed to exhibit only at the 
,salon des ,refuss1 and he began then to
 associate with the more advanced       
artists4  douard ,manet 7page #bg7 was  
probably more influential as a realist  
than even ,courbet4 ,his father1 a      
,paris magistrate1 offered him a choice 
between studying law and joining the    
merchant marine4 ,after a try at the    
latter1 in #aheg he was allowed to take 
up painting4 ,ironically he was warned  
by his academic teacher that unless he  
gave up his common subjects1 he 8would  
be only the ,daumier of painting40 ,his 
boldly painted1 unorthodox canvases     
stirred great controversy1 were defended

 by ,emile ,zola1 the realistic         
novelist1 and brought new courage to    
other artists who sought to escape from 
academic dullness4  ,manet associated   
with a number of young artists who      
became known as ,impressionists after a 
group exhibition in #ahgd4 ,one of them1
 ,claude ,monet 7page #bi71 displayed a 
picture called ,impression1 ,sunrise1   
and a newspaper critic1 vastly amused at
 its sketchy style and at the similar   
sketchiness of the other pictures in the
 exhibit1 jeered that these artists were
 not painters at all1 but               
8impressionists40 ,the name stuck to the
 group because it so aptly characterized
 their intentions4 ,their aim was to    
catch a fresh impression of nature in   
their pictures4 ,monet was the leading  
figure in ,impressionism1 which         
developed in the #ahgj's and '#hj's4    
,son of a grocer in ,le ,havre1 he was  
doing clever caricatures at the age of  
fifteen4 ,he began to paint landscapes  
with a fellow artist1 ,boudin1 who      

taught him to be aware of special       
effects of outdoor lighting4 ,going to  
,paris in #ahfc1 he attended academic   
classes but usually stayed only long    
enough to answer roll call4 ,then he    
would be off to the city's outskirts to 
paint nature instead of ancient heroes4 
,often he lured others with him1 and    
,impressionism was born in the friendly 
competition of ,monet1 ,renoir1         
,bazille1 and ,sisley4 ,soon they were  
joined by others1 among them ,camille   
,pissarro and ,berthe ,morisot4 ,for    
many years they sought understanding for
 their works4 ,monet1 who alone pursued 
,impressionism to its ultimate          
possibilities by painting vivid         
sensations of light1 suffered abject    
poverty4 ,only in his last years was his
 art recognized and internationally     
imitated4  ,few of the other            
,impressionists analyzed light as ,monet
 did2 they contented themselves with    
sketchy brush strokes which seemed to   
dissolve their forms in light4 ,berthe  

,morisot 7page #ca71 for example1       
followed ,manet rather than ,monet4     
,after six years of study with ,corot1  
she met ,manet while they were both     
copying pictures in the ,louvre4 ,a     
strong friendship developed between     
,manet and the ,morisot family4 ,berthe 
became his pupil and soon afterward     
married his brother4 ,her crisp1        
delicate brushwork is a feminine version
 of ,manet's bold style4  ,auguste      
,renoir 7cover illustration and page    
#db71 whose glowing colors rivaled      
,monet's1 was among the first to outgrow
 ,impressionism4 ,this son of a ,limoges
 tailor was earning his living at       
thirteen in ,paris by painting flowers  
on china4 ,he saved enough money to     
attend an academy and met ,monet1 with  
whom he often painted along the banks of
 the ,seine4 ,but by about #ahhc he     
found he 8had wrung ,impressionism dry40
 ,he regretted the loss of form1        
composition1 and human values in the    
shimmering ,impressionist pictures4     

,setting himself again to paint forms   
solidly in space1 he nevertheless       
retained the brilliant colors of        
,impressionism4  ,sometimes exhibiting  
with the ,impressionists1 ,edgar ,degas 
7page #cc7 was strongly influenced by   
their coloring and used it in realistic 
scenes of ,paris life1 the race track1  
and the opera ballet4 ,degas1 son of a  
wealthy banker1 received a thorough     
classical education and learned painting
 from a pupil of ,ingres4 ,in his       
compositions1 he preserved a classical  
sense of order which was quite foreign  
to ,impressionist aims4 ,as he said1    
8,no art was ever less spontaneous than 
mine4 ,what ,i accomplish is the result 
of reflection upon and study of the old 
masters44440 ,yet he reshaped           
conventional ideas of composition by    
drawing his subjects from life and      
refining his outlines after the example 
of ,japanese prints4 ,these ,oriental   
colored woodcuts1 which also influenced 
,manet1 ,whistler1 and many others1 came

 to ,paris first as wrapping in boxes of
 china2 they were discovered by         
painters1 who found inspiration in their
 simple lines and decorative flat areas 
of color4  ,henri de ,toulouse-,lautrec 
7page #ce71 like ,degas1 saw his        
pictures as both realistic and          
decorative4 ,as a delicate boy of       
fourteen he injured both his legs so    
that they failed to grow4 ,his father1  
,count ,alphonse de ,toulouse1 had no   
patience with his weakling heir1 but his
 mother encouraged him to paint4 ,in    
#ahhe he turned his back upon the       
academic style and1 taking hints from   
the free brushwork of the               
,impressionists and from ,japanese      
designs1 ,lautrec began to paint his    
pictures of ,parisian night life1 circus
 performers1 and cabaret entertainers4  
,degas1 at first hostile toward him1    
eventually declared1 8,well1 ,lautrec1  
,i can see you are one of our trade40   
,vincent van ,gogh 7page #cg7 was a     
,dutchman who came to ,paris in #ahhf   

and met the ,impressionists4 ,he        
possessed a deep sincerity1 but also had
 a difficult1 flaring temper which      
alienated many people4 ,after working   
unsuccessfully as a picture dealer1 a   
tutor1 and a lay preacher1 he turned to 
art as a means of expressing his        
passionate emotions4 ,at first he used  
dark1 somber colors like those of his   
countryman ,rembrandt2 then seeing the  
,impressionists' canvases1 he adopted   
their brilliant colors4 ,but their      
painting of merely optical impressions  
could not satisfy his urge for emotional
 expression4 ,while he borrowed their   
bright palette1 he used colors for      
emotional effects1 and in his hands the 
broken brushwork became a nervous1      
intensely expressive agent to record his
 inner feelings4 ,his whole remarkable  
career as an artist fell within the ten 
years before #ahij1 when he shot himself
 to escape insanity4  ,his friend ,paul 
,gauguin 7page #ci7 shared similar      
artistic aims4 ,a wealthy ,parisian     

stockbroker1 ,gauguin gave up his       
business and deserted his family because
 he felt compelled to paint4 ,after     
living for a time in ,brittany1 he went 
to ,tahiti and broke entirely with      
,impressionism4 ,he formed a style in   
which his experiences and feelings were 
symbolized by intense colors and        
sweeping outlines4 ,his art1 which      
anticipates twentieth-century trends1   
was incomprehensible to his             
contemporaries1 and he died impoverished
 in the ,marquesas4  ,paul ,czanne 7page
 #da71 too1 is a forerunner of the      
moderns4 ,born at ,aix-en-,provence1    
this banker's son followed his school   
friend ,zola to ,paris4 ,although an    
extremely shy youth he soon married a   
model and for a time painted and        
exhibited with the ,impressionists4     
,but1 constantly rebuffed by critics and
 even scorned by ,zola1 who failed to   
see any promise in his forceful early   
works1 ,czanne withdrew to live in      
,provence during the #ahhj's and        

perfected his individual style4 ,his    
methods paved the way for the abstract  
painting of our own day4 ,in his old age
 a number of young artists and critics  
sought him out and he enjoyed a small   
degree of recognition within his        
lifetime4 ,his work1 together with that 
of ,manet1 ,monet1 ,degas1 ,lautrec1 van
 ,gogh1 and ,gauguin1 has become the    
most popular painting today4            
,jacques-,louis ,david 7#agdh-ahbe7     
,napoleon in ,his ,study                
,samuel ,h4 ,kress ,collection          
,remarkably free from the allegorical   
pomposity of most official portraits1   
this picture presents ,napoleon ,i with 
reserved dignity4 ,the emperor himself  
approved it and1 upon its completion in 
#ahab1 complimented ,david4 ,dressed in 
his favorite costume1 the uniform of the
 chasseur de la garde with a general's  
epaulettes1 ,napoleon wears the ,legion 
of ,honor and the ,order of the ,iron   
,cross1 which commemorates his earlier  
coronation as king of ,italy4 ,he seems 

to have just risen from his desk1 on    
which lies the ,code ,napolon1 the      
codification of ,french law which he    
promulgated4  ,david's style is at its  
best in portraiture4 ,combining realism 
with a classicist's respect for human   
dignity1 he shows ,napoleon in a        
characteristic pose but with an air of  
grandeur4 ,david's assured touch gives  
authority to the work by its incisive1  
strong handling of details4 ,the        
composition is severely rectilinear2    
framing the figure1 vertical lines      
descend through the pilaster and table  
leg at the left and1 again1 from the    
clock through ,napoleon's arm and the   
leg of the chair4 ,against these1       
horizontal lines1 marked by the book    
shelves1 wall molding1 and desk1 lend   
compositional stability4 ,the diagonal  
lines of the chair are countered by the 
diagonal arrangement of the map and book
 on the floor4 ,before this orderly grid
 of lines ,napoleon's figure appears    
subtly animated4                        

,illustration3 ,canvas4 #hj  #di inches 
,dated #ahab                            
,jean-,auguste-,dominique ,ingres       
7#aghj-ahfg7                            
,madame ,moitessier                     
,samuel ,h4 ,kress ,collection   8,never
 has beauty more regal1 more splendid1  
more superb1 and of a type more         
,junoesque yielded its proud contours to
 the sensitive drawing of an artist40   
,so the poet ,thophile ,gautier         
described ,ingres' first portrait of    
,madame ,moitessier4 ,but ,ingres       
destroyed it because the lady's         
daughter1 who was included1 would not   
stand still for him4 ,he produced this  
second picture in #ahea1 after six      
months of careful work4 ,it perfectly   
embodies both his exacting perfectionism
 and ,french elegance during the ,second
 ,republic4  ,ingres was seventy-one    
years old when he painted this4         
,evidently he admired ,madame           
,moitessier1 for she was one of the very
 few people he consented to paint in his

 latter years4 ,he dreaded the arduous  
demands he imposed upon himself when    
doing a portrait4 8,art is never nearer 
perfection10 he said1 8than when it     
resembles nature so closely that it     
might be mistaken for nature itself40   
,yet for ,ingres1 nature had to be      
refined through the classical tradition 
of art1 and he sought to cast ,madame   
,moitessier in the form of an ideal     
figure by ,raphael4 ,despite astonishing
 realism in the hair with its flowers1  
in the lace and the jewelry1 our eyes   
move over graceful ,raphaelesque curving
 lines1 which dominate the face and     
figure4 ,by such means ,ingres strove to
 unite the real and the ideal4          
,illustration3 ,canvas4 #eg  #ci inches 
,dated #ahea                            
,eugne ,delacroix 7#agih-ahfc7          
,columbus and ,his ,son at ,la ,rbida   
,chester ,dale ,collection   ,in #adia  
,columbus1 despairing of ,spanish       
support for his voyage of exploration1  
was on his way to seek aid in ,france   

when he and his son ,diego stopped at   
the monastery of ,la ,rbida1 near       
,huelva1 in southern ,spain4 ,delacroix 
shows them resting here after their     
exhausting journey4 ,columbus gazes     
thoughtfully at a map1 while the prior1 
,juan ,perez1 behind him1 is about to   
welcome him4 ,perez1 who had been ,queen
 ,isabella's confessor1 was able to     
arrange a royal interview for ,columbus 
so that ships and men were secured for  
the adventure4  ,delacroix painted this 
in #ahch1 after a trip through ,spain4  
,evidently the air of quiet mystery in a
 ,spanish monastery caught his fancy1   
and he recreates it here4 ,unlike the   
,neo-,classicists1 the ,romantic        
,delacroix does not attempt to define   
his subjects exactly4 ,in his painting1 
vague1 suggestive forms are used to     
stimulate the imagination4 ,his         
composition is not a linear design2 it  
is spatial2 and our interest is drawn   
into the space of this room to discover 
the whispered confidences of the monks1 

the mystery of dark corridors1 and the  
kind reception of the weary travelers4  
,delacroix sought a 8silent power which 
speaks alone to the eyes and gains and  
conquers all the faculties of the       
spirit40           ,illustration3       
,canvas4 #ce  #df inches    ,dated #ahch
                                        
,jean-,baptiste-,camille ,corot         
7#agif-ahge7                            
,ville d',avray                    ,gift
 of ,count ,cecil ,pecci-,blunt   ,with 
clean1 luminous colors ,corot has shown 
a serene view near his summer home1 at  
,ville d',avray4 ,his father had bought 
a house in this small village a few     
miles west of ,paris1 and ,corot often  
returned to it throughout his long life4
 ,painted when he was in his seventies1 
this picture seems to epitomize the     
development of ,corot's style4 ,the     
simple buff and terra-cotta planes1     
which emphasize the cubic construction  
of the distant buildings1 recall his    
early works1 especially those painted in

 ,italy between #ahbe and #ahbh4 ,after 
#ahej he evolved his most popular style1
 with its predominant silver-gray hues4 
,gentle1 diffuse outdoor light gives    
harmony in these pictures to misty      
greens and watery blues1 and the trees  
take on a feathery softness4 ,a few     
touches of reddish hue complement the   
cool colors4 ,all of these qualities are
 apparent in this late picture4  ,corot 
conceived his paintings broadly in form 
and value4 8,i am never in a hurry to   
determine details10 he said2 8the masses
 and general character of a picture     
concern me above all40 ,he also sought  
to preserve his emotions about nature3  
8,what we feel is indeed real4 ,before a
 subject1 we are moved by a certain     
elegant grace4 ,never lose sight of that
 in looking for exactness and detail40  
,the mood he suggests is a romantic     
reverie upon the subtle colors and      
serenity of nature4      ,illustration3 
,canvas4 #ai  #be inches    ,painted c4 
#ahfg-ahgj                              

,honor ,daumier 7#ahjh-ahgi7            
,advice to a ,young ,artist             
,gift of ,duncan ,phillips   ,daumier's 
broad planes of deep1 vibrant color and 
his roughly applied highlights struck   
most of his contemporaries as           
preposterously crude4 ,his paintings    
were astonishingly daring for an era    
which looked for meretricious fidelity  
to nature in its pictures4 ,few could   
grasp the significance of his simple1   
massive forms or understand how his     
profound human sympathy made these forms
 expressive symbols of emotion4 ,in this
 picture a mood1 sympathetic and quiet1 
is established between the young man and
 his master as they discuss a sketch    
selected from the big portfolio4  ,for  
the eye sensitive to color and value1   
there is a remarkable satisfaction in   
,daumier's choice of hues4 ,how deftly  
he contrasts the cool1 shadowed paper in
 the old man's hands with the warm white
 of the sheets below1 yet how nicely    
distinguished the grayish paper is from 

the gray smock of the young man6 ,these 
cool hues reappear1 echoed in the       
background1 to climax in the blue       
portfolio which rests against the red   
couch4 ,the starkly simple1 brown-clad  
old man stands out against the cool     
colors about him4 ,on his face a few    
details1 boldly indicated in dark lines 
and planes of light1 strengthen the     
picture's emotional content4 ,such a    
composition has qualities analogous to  
the majestic movements of a symphony4   
,illustration3 ,canvas4 #af  #ab inches 
,painted probably after #ahfj           
,gustave ,courbet 7#ahai-ahgg7          
,la ,grotte de la ,loue                 
,gift of ,charles ,l4 ,lindemann        
,below a three-hundred-foot             
perpendicular cliff in the ,jura        
mountains1 the ,loue ,river issues in   
cascades from a cavernous grotto and    
flows through ,courbet's native town1   
,ornans1 to join the ,doubs and         
ultimately swell the ,sane4 ,courbet1   
who loved his native scenery1 does not  

choose to paint the picturesque aspects 
of this fine scene4 ,instead he looks   
with new intensity at nature and places 
his unprecedented1 forthright vision    
almost brutally on canvas4 ,having      
little patience with refinements of     
draftsmanship1 he seems to have used the
 thick body of his generously applied   
paint to counterfeit reality in his     
picture4 ,while light and shade are     
present1 ,courbet is unconventional in  
his modeling of the great rocks4 ,the   
eye is often uncertain of the surfaces  
of these rocks2 their directions in     
space are ill-defined and one form is   
not connected with another4 ,but viewing
 the work broadly1 we are conscious of  
the painter's power4 ,how solidly the   
man spearing a fish stands before the   
opening of the spacious cavern and how  
substantially the huge masses of rock   
swell forward from the darkness6 ,with  
his powerful1 unorthodox style1 ,courbet
 broke radically with traditional modes 
of painting 8to transcribe10 as he said1

 8the customs1 ideas1 the appearances10 
of his time1 8in a word1 to create a    
living art40        ,illustration3      
,canvas4 #ch  #ea inches    ,painted c4 
#ahfe                         ,henri    
,fantin-,latour 7#ahcf-aijd7            
,still ,life                            
,chester ,dale ,collection   ,a careful 
rendering of objects selected for their 
varied colors1 shapes1 and textures and 
neatly arranged on a table top is a     
perfect vehicle for the display of      
,fantin-,latour's technical facility4 ,a
 companion of artists with such diverse 
tastes as ,ingres1 ,delacroix1 ,corot1  
,courbet1 and ,whistler1 he created a   
delicate art which appealed to all4 ,the
 objects in this still life have been   
skillfully placed on the table to       
establish a self-contained pictorial    
composition4 ,the book is turned at an  
angle to lead the eye back towards the  
vase of flowers1 which forms a climax   
for the picture4 ,the bald shape of the 
book is artfully interrupted by the     

silhouette of the dainty cup2 and the   
tray1 overlapping the table edge1 also  
relieves the monotony of too straight a 
line4 ,for the same reason the fruits   
overlap the tray and basket4 ,further   
variety is given by the careful         
distinction of various textures4 ,like a
 ,dutch ,old ,master1 ,fantin-,latour   
has included a peeled orange to let him 
display his cleverness in showing       
textural variety1 and he has dwelt      
lovingly on the petals of the flowers4  
,such a picture conservatively retains  
much of the academic style2 it was      
composed on the table top before it was 
ever painted1 and it should be          
distinguished from the work of          
,fantin-,latour's more progressive      
friends4           ,illustration3       
,canvas4 #bd  #bi inches    ,dated #ahff
                            douard      
,manet 7#ahcb-ahhc7                     
,gare ,saint-,lazare ,gift of ,horace   
,havemeyer in memory of his mother      
,louisine ,w4 ,havemeyer   ,as chic as a

 fashion plate1 ,manet's picture shows  
how he reacted against the academy and  
found a fresh style to paint the life of
 his times4 ,the fashionable young woman
 is ,victorine ,meurend1 ,manet's       
favorite model1 whom he painted in ,the 
,picnic and ,olympia1 where his bold    
treatment of the nude figure shocked or 
entertained most of ,paris4 ,the little 
girl was the daughter of a friend1 in   
whose garden ,manet painted the picture4
 ,the child looks through the iron      
railing1 evidently fascinated by a train
 that has pulled into the ,saint-,lazare
 station in ,paris4 ,obligingly the     
train has left behind it a cloud of     
white smoke which obliterates unwanted  
detail from the background so that      
,manet can arrange the figures in a     
handsome pattern against the regular    
intervals of the railing4  ,like the    
,impressionists ,manet used light colors
 and1 by suppressing shadows1 he secured
 the effect of bright1 outdoor lighting4
 ,while he satisfies the ,realist's love

 for an apparently casual composition1  
with its figures off-center and         
8unposed10 actually he has sensitively  
composed them according to principles   
learned from ,japanese prints4 ,as in   
the ,oriental woodcuts1 here1 too1 broad
 silhouettes of contrasting colors lend 
the picture its sparkle1 while graceful 
curving contours in the figures and     
costumes form a pleasing design4        
,illustration3 ,canvas4 #cf  #de        
,dated #ahgc                            
,claude ,monet 7#ahdj-aibf7             
,rouen ,cathedral1 ,west ,faade1        
,sunlight                               
,chester ,dale ,collection   ,the hot   
sun of early afternoon blazes down upon 
the lacy stone faade of ,rouen          
,cathedral4 ,painted in #ahid1 twenty   
years after the first ,impressionist    
exhibition1 this picture reveals        
,monet's ultimate achievement in        
capturing sunlight with broken color4   
,the myriad glowing spots of color      
almost dissolve the cathedral's form4   

,small1 separate touches of paint1      
prismatic in their brilliance1          
complement each other to dazzle the eye 
and suggest the shimmer of actual light4
 ,monet painted an extensive series of  
pictures showing different effects of   
light playing across the elaborate      
,gothic tracery of ,rouen ,cathedral4   
,he said that often he could paint on   
each picture for only two or three      
minutes at a time2 after that1 the light
 would have changed and1 for him1 the   
subject would become quite different4   
,monet created a new kind of pictorial  
unity4 ,it did not depend upon lines or 
patterns1 but upon the unity of a single
 visual sensation1 an impression4 ,he   
gave up such traditional aims as        
balancing his composition or expressing 
emotions about his subjects4 ,instead he
 painted vivid optical sensations4      
,through long experience he had         
discovered what effects of light might  
be achieved by juxtaposing certain      
bright1 pure colors which interplay1 one

 against another1 to simulate the visual
 experience of light4 ,as ,czanne said1 
8,monet was only an eye1 but what an    
eye60           ,illustration3 ,canvas4 
#ci  #bf inches    ,dated #ahid         
,berthe ,morisot 7#ahda-ahie7           
,in the ,dining ,room                   
,chester ,dale ,collection              
,characteristically feminine in her     
choice of subject and delicacy of       
coloring1 ,berthe ,morisot has painted  
an interior of the house at ,bougival1  
near ,paris1 where she spent her summers
 in the #ahhj's4 ,probably it is her    
housemaid1 busy in the dining room1 who 
stands between the open cupboard and the
 table4 ,a playful little dog adds a    
touch of animation to the domestic      
scene4  ,during the middle of her       
career1 ,berthe ,morisot was strongly   
influenced by ,impressionism4 ,in this  
picture particular details of the       
furniture1 of the girl's costume1 or    
even of her face1 held interest for the 
painter only in so far as they reflected

 light in different ways4 ,much as it   
does in ,monet's art1 light seems to    
fill the scene and blur the edges of the
 forms4 ,yet1 as in ,manet's pictures1  
the colors here have not the daring     
brilliance of the spectrum hues ,monet  
used4 ,berthe ,morisot has sustained a  
refined color harmony of delicate warm  
and cool hues in the blue-grays and     
creamy highlights4 ,her composition1    
too1 shows her allegiance to ,manet     
rather than to ,monet2 the forms are    
broadly seen in silhouette so that light
 and shadow do not impinge upon them    
enough to destroy their character as    
elements in the design4                 
,illustration3 ,canvas4 #bd  #ai inches 
,painted #ahhf                          
,edgar ,degas 7#ahcd-aiag7              
,four ,dancers                          
,chester ,dale ,collection   ,before a  
colorful stage set1 four ballerinas are 
awaiting their cue to perform4 ,dancers 
were among ,degas' most frequent        
subjects4 ,because the forms of their   

flaring skirts and bodices were simple1 
he could arrange them easily into       
handsome patterns and make them colorful
 by the artificial richness of stage    
lighting4 ,he sketched the ballet       
dancers frequently during their         
exhausting hours of rehearsal and again 
in their spritely performances at the   
,paris ,opera4  ,though ,degas shared   
interests with both ,realists and       
,impressionists1 he cannot be classified
 simply as either4 ,his art synthesized 
several trends2 he merged the academic  
and the progressive styles4 ,firmly     
grounded in the academic manner1 he used
 precise outlines1 which were foreign to
 the ,realist or ,impressionist4 ,in    
this picture1 his lines describe the    
ballerinas' heads1 arms and costumes and
 also establish an intricate design of  
diagonals moving back into depth4 ,while
 the extreme off-center balance of the  
composition gives a realistic           
8snap-shot0 view1 it also heightens our 
awareness of the design so that the eye 

enjoys the variety of shapes and colors4
 ,though the colors are applied with    
,impressionistic freedom1 they combine  
into a vibrant harmony typical of       
,degas' late style4 ,very fond of this  
picture1 ,degas kept it in his studio   
until his death4         ,illustration3 
,canvas4 #ei  #ga inches    ,painted c4 
#ahii                      ,henri de    
,toulouse-,lautrec 7#ahfd-aija7         
,quadrille at the ,moulin ,rouge        
,chester ,dale ,collection   ,in tones  
of green and copper ,toulouse-,lautrec  
has captured the tawdry gaiety of       
,montmartre's most colorful night spot  
in the gay 'nineties4 ,the ,moulin      
,rouge1 despite its name1 was never a   
windmill2 it is a dance hall which uses 
the sails of a mill for advertising4    
,lautrec frequented it because he       
enjoyed watching the nightly            
performances of its spirited dancers4   
,their specialty1 the quadrille1 grew   
out of the high-kicking cancan2 almost  
as vigorous1 it was even more           

complicated4 ,dominating the scene here1
 ,gabrielle1 a popular professional     
dancer1 has hoisted her skirts as she   
lines up with the others to begin the   
dance4 ,with telling outline1 ,lautrec  
characterizes her robust physique and   
hoydenish air4 ,she is in sharp contrast
 to the woman facing her1 in the        
foreground1 whom ,lautrec has shown as  
delicately refined4  ,admiring ,manet1  
,morisot1 and especially ,degas1        
,lautrec produced handsome compositions 
similar to theirs4 ,again1 under the    
influence of ,japanese prints1 light and
 shadow have disappeared1 replaced by   
bold color patterns and strong lines4   
,but ,lautrec was far more concerned    
with characterization than were the     
other painters of his time and1 like    
,daumier in an earlier generation1 he   
gives a wonderfully vivid picture of his
 age4   ,illustration3 ,gouache on      
cardboard4 #ca  #bc inches    ,painted  
#ahib                           ,vincent
 van ,gogh 7#ahec-ahij7                 

,la ,mousm                              
,chester ,dale ,collection   ,loving the
 delicacy of ,japanese art and having   
read about ,japan1 van ,gogh named this 
young girl a 8mousm40 ,the word was     
taken from a romantic novel by ,pierre  
,loti1 who used it in describing the    
charm of the young ,japanese tea-house  
attendants4 ,actually this subject was a
 peasant of ,provence1 in southern      
,france4 ,van ,gogh went there in #ahhh 
hoping to capture in its bright sunshine
 some of the beauty he imagined in      
,japan4  ,with a very personal          
interpretation of ,japanese style1 he   
has shown this figure in a bold pattern 
of startling1 bright colors4 ,earlier in
 ,paris he had learned the color        
theories which ,neo-,impressionists were
 applying to painting1 and here his     
green1 orange red1 and intense blue are 
used with the purity that characterizes 
them in the spectrum4 ,the              
,neo-,impressionists juxtaposed very    
small touches of such pure colors in    

order to suggest light even brighter    
than the ,impressionists had achieved4  
,but van ,gogh was disinterested in     
effects of natural lighting4 ,in this   
picture the girl is like a figure in an 
icon4 ,set against the plain1 intense   
green background1 she seems to be       
isolated from commonplace experience1   
and we are reminded of van ,gogh's      
stated aim1 8,i wish to paint men and   
women with that quality of the eternal  
which used to be suggested by the halo  
and which we attempt to give by the pure
 radiance and vibration of the colors40 
,illustration3 ,canvas4 #bh  #bc inches 
,painted #ahhh                          
,paul ,gauguin 7#ahdh-aijc7             
,fatata te ,miti                        
,chester ,dale ,collection   ,fatata te 
,miti means simply 8by the sea10 but    
what a curious vision ,gauguin's        
imagination has created from this scene 
of two ,tahitian girls on the beach6    
,the artist has found himself in a      
disquieting1 primeval world where rich  

tropical colors and exotic forms of     
life1 both human and vegetable1 engender
 a haunting air of mystery4 ,gauguin    
painted this in #ahib1 during his second
 year in ,tahiti4 ,he had fled from     
,western civilization for he believed   
its materialistic culture rejected the  
artist as a useful citizen4 ,he turned  
to the ,pacific islands because he felt 
the need to become a primitive in both  
life and art4 ,only by returning to the 
primitive's simple standards might man  
rediscover significant meaning in his   
life and work4  ,the almost forgotten   
religion of the ,maori cult stirred     
,gauguin's mind to prodigious creative  
activity4 ,lingering superstitions      
delighted him2 phosphorescent fungi on  
the trees glowing in the twilight1 as he
 painted them here1 were thought to     
represent the spirits of long dead      
ancestors4 ,in his art he evolved an    
expressive symbolism4 ,he spoke of 8the 
music of the picture10 a 8magic accord0 
of the colors and arabesque patterns1   

which 8addresses itself to the most     
intimate part of the soul40             
,illustration3 ,canvas4 #bf  #cf inches 
,dated #ahib                            
,paul ,czanne 7#ahci-aijf7              
,still ,life                            
,chester ,dale ,collection   ,against   
rigid horizontal and vertical lines in  
the background1 ,czanne has juxtaposed  
the curves of apples1 bottles1 and folds
 of drapery in turbulent1 sweeping      
lines4 ,he delighted in painting        
still-life subjects1 for here were      
things that1 unlike people1 did not want
 to move but remained uncomplainingly   
motionless during the long hours1 even  
days1 that ,czanne needed for his       
intensive1 exacting studies4  ,realizing
 that ,impressionists sacrificed the    
pictorial structure he admired in the   
,old ,masters' works1 ,czanne took the  
formless touches of the ,impressionists'
 broken color and made each brush stroke
 a distinct 8little plane40 ,in an      
apple1 for example1 he realized its form

 and color by integrating these small   
modulating planes of color so that the  
apple appears solid1 round1 and glowing 
with light4 ,yet ,czanne was aiming     
beyond simply reproducing the appearance
 of an apple4 ,he strove for a total    
form in which every brush stroke in his 
composition is integrated4 ,every touch 
of paint1 like a link in a chain1 must  
contribute to the consistent unity of   
the picture4 ,he believed a picture     
should give a unified sensation in which
 8every color-touch must contain air1   
light1 the object1 the plane1 the       
character1 the drawing1 the style40 ,by 
abstracting nature into the painter's   
colored planes1 ,czanne paved the way   
for the abstract styles of the present  
century4         ,illustration3 ,canvas4
 #bf  #cb inches    ,painted c4 #ahij   
,auguste ,renoir 7#ahda-aiai7           
,a ,girl with a ,watering ,can          
7,illustrated on cover7                 
,canvas4 #ci  #bh inches4 ,dated #ahgf  
,chester ,dale ,collection   ,this      

picture of a very dressed-up little     
girl1 who has been watering flowers in  
her garden1 inherits the long tradition 
of appealing children's portraits which 
have been well loved since the days of  
,titian and ,van ,dyck4 ,renoir1 with   
his love of the ,old ,masters1 combined 
this tradition and his ,impressionist   
style4 ,he created delightful portraits1
 which were popular at once and gained  
wider understanding for the             
,impressionists4 ,their art was still   
entirely misunderstood in #ahgf1 when   
this was painted4 ,they were thought to 
be incompetent daubers1 incapable of    
8finishing0 a picture properly4 ,but    
,renoir's extraordinarily deft handling 
of delicate flesh tones1 as in the      
child's face1 and the radiance of his   
coloring could silence such criticism4  
,by nature ,renoir was too sympathetic  
with his fellow man--and too charmed by 
the loveliness of women and children--to
 be content with the strict limits of   
,monet's ,impressionism4 ,merely        

painting sensations of light in a       
landscape did not satisfy the humanist  
,renoir4 ,once he showed a friend a     
delicately tinted sketch of rose petals 
and told him it was really a study for  
flesh tones4 8,for me10 he said1 8a     
painting should be a lovable thing1 gay 
and pretty2 yes1 pretty4 ,there are     
enough things to bore us in life without
 our making more of them40              
,index of ,artists                      
,illustration pages in bold-faced       
italics4    ,artist                     
,page    ,czanne1 ,paul                 
#aj-aa1 #bh1 #dj1 #da   ,corot1         
,jean-,baptiste-,camille                
#c-d1 #h1 #ah1 #ai1 #bd   ,courbet1     
,gustave                                
#e-f1 #bb1 #bc1 #bd   ,daumier1 ,honor  
#d-e1 #f1 #bj1 #ba1 #cd   ,david1       
,jacques-,louis                         
#a-b1 #ab1 #ac   ,degas1 ,edgar         
#h-i1 #aa1 #cb1 #cc1 #cd   ,delacroix1  
,eugne                                  
#c1 #af1 #ag1 #bd   ,fantin-,latour1    

,henri                                  
#f1 #bd1 #be   ,gauguin1 ,paul          
#aj1 #aa1 #ch1 #ci   ,gogh1 ,vincent van
                                  #i-aj1
 #aa1 #cf1 #cg   ,ingres1               
,jean-,auguste-,dominique               
#b1 #d1 #i1 #ad1 #ae1 #bd   ,manet1     
douard                        #f-g1 #h1 
#i1 #aa1 #bf1 #bg1 #cj1 #cd   ,monet1   
,claude                                 
#g-h1 #aa1 #bh1 #bi1 #cj1 #db           
,morisot1 ,berthe                       
#g1 #h1 #cj1 #ca1 #cd   ,renoir1        
,auguste                                
cover1 #g1 #h1 #db   ,toulouse-,lautrec1
 ,henri de                              
#i1 #aa1 #cd1 #ce                       
,illustration3 ,national ,gallery of    
,art  ,u4,s4,a4                         
,transcriber's ,notes   --,silently     
corrected a few typos4  --,retained     
publication information from the printed
 edition3 this e,book   is public-domain
 in the country of publication4  --,in  
the text versions only1 text in italics 

is delimited by   underscores4