,,impressionist ,,painting3 ,,its ,,genesis ,,and ,,development ---------------------------------------- -------------------------------- ,illustration3 ,a ,,study ,,max ,,liebermann ---------------------------------------- -------------------------------- ,,impressionist ,,painting ,,its ,,genesis ,,and ,,development ,,by ,,wynford ,,dewhurst ,illustration ,,london ,,published ,,by ,,george ,,newnes ,,limited ,,southampton ,,st4 ,,strand ,,mdcccciv ---------------------------------------- -------------------------------- ,,monsieur ,,claude ,,monet ,,en ,t,,moignage ,d',,estime ,,et ,d',,admiration ,,wynford ,,dewhurst ,,chelmscote ,,leighton ,,buzzard ,mar4 #aijd ---------------------------------------- -------------------------------- ,,preface ,,it may perhaps be interesting to the readers of this book to give a short account of its origin4 ,from the earliest days of my pupilage to art ,i had been instinctively drawn towards the paintings of ,turner1 ,corot1 ,constable1 ,bonington1 and ,watts1 with an intense admiration for their manner in viewing1 and methods of recreating1 nature upon their canvases2 and in later years ,i had been fascinated by the works of more modern artists1 such as ,la ,thangue1 ,george ,clausen1 ,edward ,stott1 and ,robert ,meyerheim4 ,in #ahia1 a student in ,paris1 ,i found myself face to face with a beautiful development of landscape painting1 which was quite new to me4 8,impressionism10 together with its numerous progeny of eccentric offshoots1 was at the time causing a great furore in the schools4 ,curiously enough ,i had been charged with copying ,monet's style long before ,i had seen his actual work1 so that my conversion into an enthusiastic ,impressionist was short1 in fact1 an instantaneous process4 ,since then ,i have endeavoured1 by precept and by example1 to preach the doctrine of ,impressionism1 particularly in ,england1 where it is so little known and appreciated4 ,it has always seemed to me astonishing that an art which has shown such magnificent proofs of virility1 which has long been accepted at its true value on the ,continent and in ,america1 should be comparatively neglected in my own country4 ,a stimulating propaganda being needed1 ,i invaded for a short time the domain of the writer on art1 a sphere of activity for which ,i feel myself none too well equipped4 ,for years1 as a hobby1 ,i had collected all manner of documents bearing upon the subject of ,impressionism1 and the mass of material which thus accumulated formed the basis for several articles which have appeared under my name in the ,english magazines4 ,to the ,editors of the ,pall ,mall ,magazine1 the ,artist1 and the ,studio1 ,i must tender my best thanks for the leave1 so courteously given1 to incorporate the substance of the respective articles in this volume4 ,many of the pictures which illustrate these pages are unique1 having been reproduced for the first time1 the photographs not being for public sale4 ,i have to acknowledge my sincere obligations to ,miss ,mary ,cassatt1 ,messieurs ,durand-,ruel 7who have given me much personal assistance71 ,george ,petit1 ,bernheim jeune1 ,maxime ,maufra1 ,alexander ,harrison1 ,paul ,chevallier1 ,lucien ,sauphar1 ,emile ,claus1 ,max ,liebermann1 and1 indeed1 to all the artists illustrated1 for permission to use the photographs of their works4 ,to ,miss ,mary ,cassatt1 and ,messieurs ,claude ,monet1 ,emile ,claus1 and ,max ,liebermann ,i am also indebted for the loan of valuable pictures1 and also for permission to reproduce them in colours4 ,without such aid it would have been impossible to produce satisfactorily any account of ,impressionism4 ,i trust that this volume may be of real service in the cause of art education1 and that it may introduce to an extended circle of art-lovers the masterpieces of the great artists who founded and are continuing ,impressionist ,painting4 ---------------------------------------- -------------------------------- ,,contents ,,page ,,dedication v ,,preface vii ,,list ,,of ,,illustrations xi ,,list ,,of ,,portraits xv ,,chap4 ,i4 ,,the ,,evolution ,,of ,,the ,,impressionistic ,,idea #a ,,ii4 ,,jongkind1 ,,boudin1 ,,and ,c,,zanne #i ,,iii4 ,,edouard ,,manet 7#ahcb-ahhc7 #ag ,,iv4 ,,the ,,impressionist ,,group1 #ahgj-ahhf #ca ,v4 ,,claude ,,monet #cg ,,vi4 ,,pissarro1 ,,renoir1 ,,sisley #di ,,vii4 ,,some ,,younger ,,impressionists3 ,,carri,,re1 ,,pointelin1 #eg ,,maufra ,,viii4 8,,realists03 ,,raffa,,lli1 ,,degas1 ,,toulouse-,,lautrec #fe ,,ix4 ,,the 8,,women-,,painters03 ,,berthe ,,morisot1 ,,mary #ge ,,cassatt1 ,,marie ,,bracquemond1 ,,eva ,,gonzal,s ,x4 8,,la ,,peinture ,,claire03 ,,claus1 ,,le ,,sidaner1 ,,besnard1 #gi ,,didier-,,pouget ,,xi4 ,,american ,,impressionists3 ,,whistler1 ,,harrison1 #hi ,,hassam ,,xii4 ,a ,,german ,,impressionist1 ,,max ,,liebermann #ie ,,xiii4 ,,influences ,,and ,,tendencies #aja ,,appendix #ajg ,,bibliography #aac ,,index #aba ---------------------------------------- -------------------------------- ,,illustrations ,,max ,,liebermann ,a ,,study 7,frontispiece7 ,j4 ,m4 ,w4 ,,turner ,,modern ,,italy ,,petworth ,,park ,,john ,,constable ,,the ,,corn ,,field ,a ,,study ,,thomas ,,girtin ,,view ,,on ,,the ,,thames ,r4 ,p4 ,,bonington ,,henri ,,iv4 ,,and ,,the ,,spanish ,,ambassador ,a ,,coast ,,scene ,g4 ,f4 ,,watts ,,time1 ,,death1 ,,and ,,judgment ,,rider ,,on ,,the ,,white ,,horse ,j4 ,b4 ,,jongkind ,,view ,,of ,,honfleur ,,moonrise ,,eug,,ne ,,boudin ,,return ,,of ,,the ,,fishing ,,smacks ,,the ,,repairing ,,docks ,,at ,,dunkirk ,,paul ,c,,zanne ,,la ,,route ,,edouard ,,manet ,,the ,,bullfight ,,the ,,garden ,,portrait ,,of ,,berthe ,,morisot ,,portrait ,,of ,m4 ,p----1 ,,the ,,lion-,,hunter ,a ,,garden ,,in ,,rueil ,,fishing ,,georges ,d',,espagnat ,,the ,,white ,,rabbits ,a ,,summer ,,afternoon ,,fair ,,anglers ,,lepine ,,fishing ,,near ,,paris ,,claude ,,monet ,,the ,,picnic ,a ,,study 7in ,colour7 ,,la ,,grenouill,,re ,,the ,,beach ,,at ,,tretat ,,poplars ,,on ,,the ,,bank ,,of ,,the ,,epte3 ,,autumn ,,morning ,,on ,,the ,,seine ,,argenteuil ,a ,,river ,,scene ,a ,,lady ,,in ,,her ,,garden ,,interior--,,after ,,dinner ,,camille ,,pissarro ,,church ,,of ,,st4 ,,jacques1 ,,dieppe ,,place ,,du ,,th,,tre ,,fran,,ais ,,the ,,boulevard ,,montmartre3 ,a ,,winter ,,impression ,,auguste ,,renoir ,,pastel ,,portrait ,,of ,c,,zanne ,,at ,,the ,,piano ,,alfred ,,sisley ,a ,,sunny ,,morning ,,in ,,autumn ,,outskirts ,,of ,,the ,,forest ,,of ,,fontainebleau ,,on ,,the ,,banks ,,of ,,the ,,loing ,,outskirts ,,of ,a ,,wood ,,eug,,ne ,,carri,,re ,,child ,,and ,,dog ,,the ,,family ,,motherhood ,,auguste ,,pointelin ,a ,,glade ,,in ,,the ,,wood ,,mountain ,,and ,,trees ,,maxime ,,maufra ,a ,,rocky ,,coast ,,an ,,etching ,,arrival ,,of ,,the ,,fishing ,,boats ,,at ,,camaret ,,shipwreck ,j4 ,f4 ,,raffa,,lli ,a ,,glass ,,of ,,good ,,red ,,wine ,,notre ,,dame ,,edgar ,,degas ,,dancing ,,girl ,,fastening ,,her ,,shoe ,,dancing ,,girl ,,caf ,,scene ,,on ,,the ,,boulevard ,,montmartre ,,mary ,,cassatt ,,baby',s ,,toilet 7in ,colour7 ,,berthe ,,morisot ,,le ,,lever ,,emile ,,claus ,,the ,,last ,,rays 7in ,colour7 ,,the ,,village ,,street ,,returning ,,from ,,market ,,golden ,,autumn ,,apple ,,gathering ,a ,,sunlit ,,house ,,the ,,quay ,,at ,,veere ,,the ,,barrier ,,henri ,,le ,,sidaner ,,an ,,alley ,,the ,,table ,,albert ,,besnard ,a ,,study ,,the ,,death ,,bed ,,didier ,,pouget ,,morning ,,mists ,,in ,,the ,,valley ,,of ,,the ,,creuse ,,morning ,,in ,,the ,,valley ,,of ,,the ,,corr,,ze ,,the ,,valley ,,of ,,the ,,creuse ,j4 ,a4 ,mc,n ,,whistler ,,portrait ,,of ,,his ,,mother ,,portrait ,,of ,,thomas ,,carlyle ,,princess ,,of ,,the ,,porcelain ,,country ,,alexander ,,harrison ,,in ,,arcady ,,the ,,wave ,,seascape ,,childe ,,hassam ,,sunlight ,,on ,,the ,,lake ,,children ,,pomona ,,max ,,liebermann ,a ,,country ,,beer-,,house1 ,,bavaria ,,the ,,cobblers ,,asylum ,,for ,,old ,,men1 ,,amsterdam ,,woman ,,with ,,goats ---------------------------------------- -------------------------------- ,,list ,,of ,,portraits ,,edouard ,,manet ,,georges ,d',,espagnat ,,claude ,,monet ,,camille ,,pissarro ,,auguste ,,renoir ,,alfred ,,sisley ,j4 ,f4 ,,raffa,,lli ,,auguste ,,pointelin ,,maxime ,,maufra ,,emile ,,claus ,,alexander ,,harrison ---------------------------------------- -------------------------------- ,illustration3 ,,modern ,,italy ,j4 ,m4 ,w4 ,,turner ---------------------------------------- -------------------------------- ,,chapter ,i ,,the ,,evolution ,,of ,,the ,,impressionistic ,,idea 8,l',,impressionisme1 ,,elle ,,est ,,digne ,,de ,,notre ,,admirative ,,attention1 ,,et ,,nous ,,pouvons ,,rationnellement ,,croire ,,que1 ,,aux ,,yeux ,,des ,g,n,,rations ,,futures1 ,,elle ,,justifiera ,,cette ,,fin ,,de ,,si,,cle ,,dans ,l',,histoire ,g,n,,rale ,,de ,l',,art0 ,,georges ,,lecomte ,,although the great revolution of #agic changed the whole face of ,france both politically and socially1 it failed to emancipate the twin arts of painting and literature4 ,in each case one tradition was succeeded by another1 and nearly forty years elapsed before the new spirit completely broke through the barriers set up by a past generation4 ,in literature the victory was complete4 ,the reason is easy to discover4 ,the smart dramatist and the young novelist are always more likely to catch the fickle taste of the uneducated public than the budding painter1 who depends to a great extent for his appreciation upon the trained and generally prejudiced eye of a connoisseur4 ,there is another reason for the success of the ,romantic ,school in literature4 ,the majority of its leaders lived to extreme old age1 and were themselves able to correct their youthful extravagances4 ,hugo1 ,dumas1 ,gautier 7to mention but three7 went down to their graves in honour4 ,they had outlived the antagonisms of their early days1 and no man dared to raise his voice in protest against poets who had added fresh laurels to the glory of ,france4 ,the world of art was less fortunate4 ,many of the younger men barely lived through the first flush of youth4 ,destroying ,death is the worst enemy to the arts4 ,it is idle to imagine the changes which must have ensued had ,gricault and ,bonington reached the ,psalmist's allotted span4 ,the unnatural union of ,classical traditions with the yeast of ,romanticism might not have taken place4 ,such artists as ,delaroche and ,couture would have dropped into the background1 and there would have been less reason for the revolt of ,edouard ,manet4 ,it is possible that ,claude ,monet might have been forestalled4 ,surely1 ,impressionism would have come to us in another shape from different easels4 ,in any event it was bound to arrive1 for a ,french artist had already struck the note nearly a century and a half before4 ,the schools of painting which flourished under the last three ,capet kings lacked many of the essentials of truly great art4 ,but they possessed qualities1 which the ,classicalists despised1 and the ,romanticists never reached in exactly the same way4 ,they possessed a strong sense of colour4 ,watteau1 in particular1 was the first to catch the sunlight4 ,the painters of 8les ftes galantes0 are artificial1 unreal1 dominated by mannerisms4 ,but the cold inanities of ,david1 ,girodet1 ,grard1 and ,gros are no more to be compared with them than the bituminous melodramatics of the lesser ,romantic artists4 ,watteau's successors never entirely lost their master's sense of light and colour4 ,in a mild way ,chardin attempted realism4 ,boucher1 and1 later1 ,fragonard were influenced by that ,japanese art which was to take such a prominent place in the movement of a hundred years later4 ,but the world altered4 ,the stern1 hard ideals of ,rome and ,greece were too severe for these poor triflers with the ,orient4 ,david reigned supreme4 ,the ,journal de l',empire considered ,boucher ridiculous4 ,unhappy1 forgotten ,fragonard1 surely one of the most pathetic of figures1 died in poverty whilst the drums of ,austerlitz were still reverberating through the air4 ,ingres1 a pupil of ,david1 taught his students that draughtsmanship was of more importance than colour4 8,a thing well drawn10 he said1 8is always well enough painted40 ,such teaching was bound to provoke dissent1 and the germs of the coming revolution were to cross from ,england4 ,byron and ,scott were the sources of the literary revolution which swept across ,europe4 ,british artists showed the way in the fight against tradition and form1 which resulted in the ,school of ,barbizon1 and its great successor1 the ,school of ,impressionism4 ,excluding the miniaturists1 and such foreign masters as ,holbein1 ,vandyck1 ,kneller1 and ,lely1 ,english art could hardly boast one hundred consecutive years of history when its landscape artists first exhibited in the ,paris ,salon4 ,the ,french ,school could not forget ,italy and its own past4 ,even to this day the entrance to the cole des ,beaux-,arts is guarded by two colossal busts of ,poujet and ,poussin1 and the supreme prize in its gift is the ,prix de ,rome4 ,but ,english art has never been trammelled excessively by its own past1 simply because it did not possess one1 and1 with insular pride1 refused to accept that of the ,continent4 ,illustration3 ,photo by ,w4 ,a4 ,mansell ,co4 ,,petworth ,,park ,j4 ,m4 ,w4 ,,turner ,illustration3 ,photo by ,w4 ,a4 ,mansell ,co4 ,,the ,,corn ,,field ,j4 ,,constable ,hogarth is a case in point4 ,his education was slight and desultory2 he did not indulge in the ,grand ,tour2 he professed a truly ,british scorn for foreigners1 uttering 8blasphemous expressions against the divinity even of ,raphael1 ,correggio1 and ,michelangelo40 ,he took his subjects from the life which daily surged under his windows in ,leicester ,square1 and when he attempted a classical composition he utterly failed1 and was promptly told so by his numerous enemies4 ,his canvases form historical records of the men and women of the early ,georgian era1 in much the same manner as ,edouard ,manet represents the 8noceurs0 and 8cocottes0 who wrecked the ,second ,empire and reappeared during the first decade of the ,third ,republic4 ,hogarth was a colourist1 and the early ,english ,school was always one of colour and animation1 attempting to follow ,nature as closely as possible4 ,some of the slighter portrait studies of ,sir ,joshua ,reynolds have a strong affinity to the work of the ,french ,impressionists4 ,richard ,wilson was not altogether blind to the beautiful world around him1 although he considered an ,english landscape always improved by a ,grecian temple4 ,gainsborough was decidedly no formalist1 and whilst the lifeless group1 comprising ,barry1 ,west1 ,fuseli1 and ,northcote1 was endeavouring to inculcate the classical idea1 the ,english ,water-colour ,school began to appear1 the ,norwich ,school was in the distance1 ,turner's wonderful career had commenced1 and ,constable1 the handsome boy from ,suffolk1 was studying atmospheric effects and the play of sunlight from the windows of his father's mill at ,bergholt4 ,in #ahai ,gricault1 one of the leaders of the reaction in ,france against ,classicalism1 paid a visit to ,england4 ,he does not seem to have been greatly influenced by ,english work1 owing no doubt to his lamentably early death4 ,but his visit resulted in ,constable and ,bonington becoming known in ,france4 ,for years ,english painters exhibited regularly at the ,salon4 ,in #ahbb1 the year when ,delacroix hung ,dante's ,bark1 ,bonington exhibited the ,view of ,lillebonne and a ,view of ,havre1 whilst other ,englishmen exhibiting were ,copley ,fielding1 ,john ,varley1 and ,robson4 ,in #ahbd the ,englishmen were still more prominent4 ,john ,constable received the ,gold ,medal from ,charles ,x4 for the ,hay ,wain 7now in the ,london ,national ,gallery71 and exhibited in company with ,bonington1 ,copley ,fielding1 ,harding1 ,samuel ,prout1 and ,varley4 ,in #ahbg ,constable exhibited for the last time1 and1 curious omen for the future1 between the frames of ,constable and ,bonington was hung a canvas by a young painter who had never been accepted by the ,salon before4 ,his name was ,corot1 and he was quite unknown4 ,the influence of these ,englishmen upon ,french painting during the nineteenth century is one of the most striking episodes in the history of art4 ,they were animated by a new spirit1 the spirit of sincerity and truth4 ,the ,french landscape group of #ahcj1 which embraced such giants as ,corot1 ,rousseau1 and ,daubigny1 was the direct result of ,constable's power4 ,the path was made ready for ,manet1 who1 though not a 8paysagiste10 became the head of the group which included ,monet1 ,sisley1 and ,pissarro4 ,forty years later the younger men sought fresh inspiration in the works of an ,englishman4 ,indirectly1 ,impressionism owes its birth to ,constable2 and its ultimate glory1 the works of ,claude ,monet1 is profoundly inspired by the genius of ,turner4 ,when the principles which animated these epoch-making ,english artists are contrasted with those which ruled the ,impressionists1 their resemblance is found to be strong4 8,there is room enough for a natural painter10 wrote ,constable to a friend after visiting an exhibition which had bored him4 8,come and see sincere works10 wrote ,manet in his catalogue4 8,tone is the most seductive and inviting quality a picture can possess10 said ,constable4 ,it cannot be too clearly understood that the ,impressionistic idea is of ,english birth4 ,originated by ,constable1 ,turner1 ,bonington1 and some members of the ,norwich ,school1 like most innovators they found their practice to be in advance of the age4 ,british artists did not fully grasp the significance of their work1 and failed to profit by their valuable discoveries4 ,it was not the first brilliant idea which1 evolved in ,england1 has had to cross the ,channel for due appreciation1 for appreciated it certainly was not in the country of its origin4 ,as the genius of the dying ,turner flickered out1 ,english art reached its deepest degradation4 ,the official art of the ,great ,exhibition of #ahea has become a byword and a reproach4 ,in ,english minds it stands for everything that is insincere1 unreal1 tawdry1 and trivial4 ,the group of pre-,raphaelites1 brilliantly gifted as they undoubtedly were1 worked upon a foundation of retrograde medivalism4 ,and1 as the years followed each other1 ,english art failed as a whole to recover its lost vitality4 ,domestic anecdote1 according to the formul of ,augustus ,egg1 ,poole1 or1 slightly higher in the scale1 ,mulready and ,maclise1 formed the product of nearly every studio4 ,the false ,greco-,roman convention of ,lord ,leighton luckily had no following4 ,rejuvenescence came from ,france in the shape of ,impressionism1 and ,english art received back an idea she had1 as it proved1 but lent4 ,illustration3 ,a ,,study ,j4 ,,constable ,illustration3 ,,view ,,of ,,the ,,thames ,,thomas ,,girtin ,illustration3 ,photo by ,w4 ,a4 ,mansell ,co4 ,,henri ,,iv4 ,,and ,,the ,,spanish ,,ambassador ,r4 ,p4 ,,bonington ,those ,englishmen who are taunted with following the methods of the ,french ,impressionists1 sneered at for imitating a foreign style1 are in reality but practising their own1 for the ,french artists simply developed a style which was ,british in its conception4 ,many things had assisted this development1 some accidental1 some natural4 ,all the ,englishmen had worked to a large extent in the open4 ,now the atmosphere of ,france lends itself admirably to ,impressionistic painting 8en plein air40 ,all landscapists notice that the light is purer1 stronger1 and less variable in ,france than in ,england4 ,by thus working in the open both ,constable and ,turner1 together with their ,french followers1 were able to realise upon canvas a closer verisimilitude to the varying moods of nature than had been attempted before4 ,by avoiding artificially darkened studios they were able to study the problems of light with an actuality impossible under a glass roof4 ,they were in fact children of the sun1 and through its worship they evolved an entirely new school of picture-making4 ,the ,modern ,impressionist1 too1 is a worshipper of light1 and is never happier than when attempting to fix upon his canvas some beautiful effect of sunshine1 some exquisite gradation of atmosphere4 ,who better than ,turner can teach the use and practice of value and tone8 ,in triumph he fixed those fleeting mists upon his immortal canvases1 immortal unhappily only so long as bitumen1 mummy1 and other pigment abominations will allow4 ,the technical methods of the ,french ,impressionists and of the early ,english group vary but little4 ,the modern method of placing side by side upon the canvas spots1 streaks1 or dabs of more or less pure colour1 following certain defined scientific principles1 was made habitual use of by ,turner4 ,both ,constable and ,turner worked pure white in impasto throughout their canvases1 high light and shadow equally1 long before the advent of the ,frenchmen4 ,an example of this was to be seen in a large painting by ,constable hung in the ,royal ,academy ,winter ,exhibition of #aijc4 ,the ,opening of ,waterloo ,bridge1 exhibited in #ahcb1 was declared by the artist's enemies to have been painted with his palette-knife4 ,almost the whole of the canvas1 especially the foreground1 is dragged over by a full charged brush of pure white1 which1 catching the uneven surface of the underlying dry impasto work1 produces a simple but successful illusion of brilliant vibrating light4 ,this work was not well received by the contemporary press and public4 ,it was regarded as a bad joke1 became celebrated as a snowstorm1 compared with ,berlin wool-work 7a favourite simile which ,mr4 ,henley has recently applied to ,burne-,jones71 and was derided as the product of a disordered brain4 ,seventy years have barely sufficed for its full appreciation4 ,by a curious coincidence ,bonington's ,boulogne ,fishmarket was hung almost exactly opposite in the same ,winter ,exhibition4 ,this canvas must have had an enormous influence with ,manet1 its blond harmony and rich flat values within a distinct general tone being a distinguishing feature of the great ,frenchman's style4 ,the ,impressionists1 therefore1 continued the methods of the ,english masters4 ,but they added a strange and exotic ingredient4 ,to the art of ,corot and ,constable they added the art of ,japan1 an art which had profoundly influenced ,french design one hundred years before4 ,the opening of the ,treaty ports flooded ,europe with craft work from the islands4 ,from ,japanese colour-prints1 and the gossamer sketches on silk and rice-paper1 the ,impressionists learnt the manner of painting scenes as observed from an altitude1 with the curious perspective which results4 ,they awoke to the multiplied gradation of values and to the use of pure colour in flat masses4 ,this art was the source of the evolution to a system of simpler lines4 ,in colour they ultimately departed from the practice of the ,english and ,barbizon ,schools4 ,the ,impressionists purified the palette1 discarding blacks1 browns1 ochres1 and muddy colours generally1 together with all bitumens and siccatives4 ,these they replaced by new and brilliant combinations1 the result of modern chemical research4 ,cadmium ,pale1 ,violet de ,cobalt1 ,garance rose dor1 enabled them to attain a higher degree of luminosity than was before possible4 ,special care was given to the study and rendering of colour1 and also to the reflections to be found in shadows4 ,so far as the term implies the position of teacher and pupils1 the ,impressionists did not form themselves into a school4 ,on the contrary1 they were independent co-workers1 banded together by friendship1 moved by the same sentiments1 each one striving to solve the same sthetic problem4 ,at the same time it is possible to separate them into distinct personalities and groups4 ,illustration3 ,photo by ,w4 ,a4 ,mansell ,co4 ,a ,,coast ,,scene ,r4 ,p4 ,,bonington ,illustration3 ,photo by ,fredk4 ,hollyer ,,time1 ,,death1 ,,and ,,judgment ,g4 ,f4 ,,watts ,edouard ,manet occupies a position alone4 ,his work can be separated into two periods1 divided by the year #ahgj4 ,his earlier work deeply influenced ,claude ,monet1 who was a prominent member of the group which gathered round ,manet at the ,caf ,guerbois4 ,after #ahgj the position was slightly changed1 for1 although he retained the nominal leadership of the group which was now known under the title of ,impressionists1 ,manet was influenced by the technique of ,claude ,monet4 ,the question has yet to be decided whether ,manet or ,monet was the founder of the new school4 ,monsieur ,camille ,mauclair declares for the latter1 stating that ,manet's pre-eminence was due to the attention he attracted by his excessive realism1 and that ,claude ,monet was the true initiator4 ,it may be admitted that ,impressionism1 as the phrase is now understood1 did not really gather force until #ahfg4 ,claude ,monet was greatly attracted by ,manet's work as early as #ahfc1 and upon these new methods he seems to have based his own1 widened though after his visit to ,london with ,pissarro in #ahgj4 ,during his lifetime ,manet was the recognised head1 and around him was formed the famous circle of the ,caf ,guerbois1 which became known as the ,school of ,batignolles4 ,this included ,monet1 ,pissarro1 ,sisley1 ,czanne1 ,renoir1 and ,degas4 ,if there is one man greater than the others it is ,claude ,monet4 ,only during comparatively recent years have his originality and strength been generally recognised4 ,he now occupies the position held by ,manet1 although he cannot be said to be ,manet's successor4 ,manet painted the figure1 seldom attempting landscape1 a genre which is primarily ,monet's4 ,claude ,monet is doubly indebted to ,english art4 ,profoundly moved by ,turner1 whose works he studied at first hand in ,england1 he also traces an artistic descent through ,jongkind and ,boudin from ,corot1 who caught the methods of ,constable and ,bonington4 ,jongkind and ,boudin are two little masters not to be forgotten4 ,not altogether ,impressionists themselves1 they were in close affinity to the school upon which they had much influence4 ,men of uncommon character and earnestness of purpose1 their art was sincere4 ,in themselves they were interesting1 for1 richly endowed with natural talents1 they were for the most part poor beyond belief in material wealth4 ,inspired by a genuine love for ,nature in all her aspects they never reached the high technique of their ,english predecessors1 and were far surpassed by ,claude ,monet and his group4 ,forerunners in the evolution of the school of 8plein air0 painting1 a reference is necessary to them in order to follow the development of the school as a whole4 ,for the first time in the history of art women have taken an active part in founding a new school4 ,madame ,berthe ,morisot1 ,miss ,mary ,cassatt1 and ,madame ,eva ,gonzals must be included amongst the early ,impressionists4 ,various movements based upon the ,impressionistic idea have taken place in ,france and on the ,continent generally4 ,there are the ,pointillistes for instance1 and the ,neo-,impressionists4 ,amongst foreign artists ,whistler must be mentioned2 a student at ,gleyre's he attended at the ,caf ,guerbois1 and embraced many of ,manet's ideas4 ,the history of the early battles over ,impressionism centres for the most part round one personality4 ,in following the story of the failures and successes of ,edouard ,manet we follow the gradual rise of the entire school1 for no man fought more bravely in defence of its principles4 ,illustration ---------------------------------------- -------------------------------- ,illustration3 ,photo by ,fredk4 ,hollyer ,,rider ,,on ,,the ,,white ,,horse ,g4 ,f4 ,,watts ,illustration3 ,,view ,,of ,,honfleur ,j4 ,b4 ,,jongkind ,,chapter ,,ii 8,,the ,,forerunners40 ,,jongkind1 ,,boudin1 ,,and ,,cezanne 8,,ils ,,prennent ,,la ,,nature ,,et ,,ils ,,la ,,rendent1 ,,ils ,,la ,,rendent ,,vue ,,travers ,,leurs ,,temp,,raments ,,particuliers4 ,,chaque ,,artiste ,,va ,,nous ,,donner ,,ainsi ,,un ,,monde ,,diff,,rent1 ,,et ,j',,accepterai ,,volontiers ,,tous ,,ces ,,divers ,,mondes0 ,,zola ,,jongkind and ,boudin are the links which connect the ,barbizon men of #ahcj to the ,impressionist group of #ahgj4 ,although little public fame came to them during their lifetime1 they had considerable influence upon the younger landscape-painters of their generation4 ,both were artists of great ability as well as of enormous industry2 both suffered from continued misfortune and neglect4 ,yet no collection illustrating the history of ,impressionism can exclude examples of the ,dutch ,jongkind1 or of ,boudin1 a follower of ,corot and master of ,monet4 ,jongkind's pictures are doubling1 nay trebling1 in value1 and the records of the public sale-rooms are astounding evidences of the increasing appreciation of ,boudin by modern collectors4 ,the biographies of ,jongkind and ,boudin form excellent texts over which one may moralise upon the uncertainties of art as a career4 ,it is not often that the ,fates compel two men to struggle for so long against such hopeless and wretched surroundings4 ,the life of ,jongkind was a life of continued misery4 ,towards its end he utterly gave way1 and died a dipsomaniac4 ,boudin possessed a little more grit1 although his surroundings were not more propitious4 ,he lived almost unnoticed until a beneficent ,minister awarded him the greatest prize a ,frenchman can receive on this earth1 the ,cross of the ,legion of ,honour4 ,johann ,barthold ,jongkind was born at ,lathrop1 near ,rotterdam1 in #ahai4 ,dutch by birth1 many years' residence in ,france1 together with a strong sympathy with ,gallic ways1 made him almost a citizen of his adopted country1 and certainly a member of the ,french ,school of ,painting4 ,at first he was a pupil of ,scheffont1 and afterwards he worked under ,isabey4 ,at the ,salon of #aheb he obtained a medal of the first class1 and then for years in succession was rejected by the juries4 ,almost at the end of his life he was offered the long-coveted decoration1 but he was never a popular artist1 nor even well known amongst the art public4 ,a few amateurs bought his works1 his water-colours were lost in old portfolios1 and the exhibition of his pictures previous to the sale after his death was a revelation alike to painters and critics4 ,his life was a sad history of neglect1 terrible privation1 and want4 ,all that we know of him is that he gave way to alcoholism1 dying in ,isre in #ahia1 alone1 friendless1 and forgotten4 ,jongkind was one of the very first men in ,france to occupy himself with the enormous difficulties surrounding the study of atmospheric effects1 the decomposition of luminous rays1 the play of reflections1 and the unceasing change crossing over the same natural form during the different hours of the day4 ,his influence over several of the more prominent men of the ,impressionist group was great4 ,edouard ,manet was strongly impressed by his methods1 and ,claude ,monet refers to him as a man of profound genius and originality of character1 8le grand peintre40 ,in the sale-rooms ,jongkind's water-colours and etchings are now reaching very high prices1 although one cannot agree that they are his most remarkable creations4 ,works the artist was content to sell for #d to #h now change hands under the hammer at sums ranging from #afj to #hjj4 ,the best canvases were painted towards the end of his life1 especially those depicting the luminous atmosphere of the beautiful ,dauphin countryside4 ,his large landscapes are extremely unequal1 somewhat hard and dry in technique1 and more or less stereotyped in the choice of subject4 ,his pictures do not always convey the true feeling for atmospheric effect1 and many are simply experiments which lack the great quality of charm4 ,without a doubt he possessed extraordinary ability1 but he lacked the illuminating spark of genius4 ,he pointed out a way he was not himself strong enough to follow4 ,illustration3 ,,moonrise ,j4 ,b4 ,,jongkind ,louis-,eugne ,boudin1 an old comrade and life-long friend of ,jongkind1 is the head of the group of 8little masters0 who reigned during the transitional period in ,french landscape art between #ahcj and #ahgj4 ,he was born in the ,rue ,bourdet1 ,honfleur1 on ,july #ab1 #ahbd1 and died within a few miles of his birthplace in #ahih4 ,he leaves a magnificent record of work accomplished1 and the memory of a noble life devoted to a beautiful ideal4 ,pissarro1 in a letter addressed to the writer1 says that ,boudin had much influence upon the advancement of the ,impressionist idea1 particularly through his studies direct from ,nature4 ,his father was a pilot on board the steamboat ,franois of ,havre1 a bluff and hearty sailor1 typical of the coast nearly a century ago4 ,a good specimen is to be found in the burly guardian of the ,muse ,normand at ,honfleur1 who1 by a coincidence not altogether strange in this world of coincidences1 travelled round the world with old ,boudin1 and knew intimately 8le petit ,eugne40 ,the boy's mother was stewardess on board the boat her husband piloted1 and the artist commenced life in the humble and not altogether enviable capacity of cabin-boy4 ,in that position he remained until his fourteenth year1 travelling from ,french and ,english ports as far as the ,antilles4 ,at that age an irresistible desire came over his soul4 ,he wished to quit seafaring life and devote himself to the brush4 ,he had already made many sketches in bitumen1 some having attracted attention from passengers4 ,those which have been preserved display wonderful proficiency1 considering the many difficulties the boy had to labour under4 ,chance helped the youth2 for his father1 tiring of his endless struggle with the elements1 retired from his post and opened a little stationery shop on the ,grand ,quai at ,havre4 ,the cabin-boy became shop-boy4 ,this new mode of life gave him far greater time to follow his inclinations4 ,all untaught he applied himself assiduously to draughtsmanship1 painting on the quays1 in the streets1 devoting ,sundays and fte-days to long excursions amongst the hills round about ,havre4 ,one day ,troyon brought a canvas for framing to the elder ,boudin's shop4 ,in the corner he noticed some curious little pastels of the shipping and harbour4 ,eugne made his first artistic friendship4 ,troyon1 who was living in great poverty1 only too pleased to sell a picture for twenty-five francs1 was of great assistance to the lad4 ,another customer helped young ,boudin4 ,norman by birth1 son of a seaman1 ,jean-,franois ,millet met the boy in ,havre and was attracted by his evident skill4 ,millet was in the same quandary as ,troyon2 stranded in semi-starvation1 he was executing portraits at thirty francs per head1 diligently canvassing the retired ebony merchants1 the harbour officials1 the sailors and their sweethearts4 ,alphonse ,karr and ,courbet1 whilst wandering through ,normandy1 became acquainted with ,boudin's sketches1 and sought out the young artist4 ,eugne ,boudin's career was now determined4 ,the advice of friends was vain4 ,they pointed out that if ,corot with his immense talent was unable to earn an independence at the age of fifty1 an untrained shop-boy had still less chance4 ,no man could tell a more bitter story of the artist's life than ,millet1 and he attempted to persuade the boy to keep to the shop4 ,all efforts were fruitless4 ,couture and a few other associates obtained a small student's allowance from the ,havre ,town ,council1 and ,boudin set out for ,paris4 ,the bursary of one pound weekly soon came to an end1 and left the artist without resources or friends4 ,he paid for his washing with a picture valued at the sum of forty francs4 ,the laundress immediately sold the work to cover her bill1 and the canvas has recently changed hands for four thousand francs4 ,his 8marchand de vin0 exchanged wine for pictures which have lately passed through the sale-rooms at forty times their original agreed values4 ,by these means1 together with a few portrait commissions1 ,boudin managed to eke out a most precarious existence4 ,from #ahef dates the foundation of the 8,ecole ,saint ,simeon10 7so called from the rustic inn and farmhouse on the road from ,honfleur to ,villerville1 halfway up the hill overlooking ,havre and the mouth of the ,seine71 in which ,boudin took a prominent part4 ,in #aheg the artist exhibited ten pictures at the local ,havre exhibition1 which he followed with a sale by auction1 his idea being to raise enough money to pay his expenses back to ,paris4 ,claude ,monet had been sending several pressing letters of invitation1 holding out fair prospects of business with several art dealers4 ,the sale was a complete failure1 producing a net sum of #bj4 ,boudin gave up his hopes of ,paris and returned to the farmhouse of ,saint ,simeon saddened and discouraged4 ,roused by 8la mre ,toutain10 he opened an academy of painting1 and the old inn of ,saint ,simeon may be called the cradle of ,french ,impressionism4 ,for twenty-five years it formed the resting-place1 from time to time1 of all the most celebrated men of the group4 ,the list is a long one--,millet1 ,troyon1 ,courbet1 ,lepine1 ,diaz1 ,harpignies1 ,jongkind1 ,cals1 ,isabye1 ,daubigny1 ,monet1 and many others4 ,boudin always regretted that there was no history written of the place1 no record of the scenes which took place there4 ,one has the same regret over many other famous sketching grounds and artistic inns in ,france4 ,what stories can be told of the joyous life1 of the good fellowship1 the games and escapades1 the brilliant jokes of many a world-renowned genius in playful mood1 happy little bands of men with the spirit and souls of children6 ,illustration3 ,,return ,,of ,,the ,,fishing ,,smacks ,,eugene ,,boudin ,the hostesses are of a type apart1 and no other country but ,france produces them in such numbers4 8,mres des artistes10 they are full of pride with their anecdotes of celebrated lodgers4 ,peasants of the best class1 admired and respected by all who come into contact with them1 they are remembered with affection4 ,the peaceful holidays spent in these lovely villages represent much of the brighter side of the art-student's career1 and memories mix with regrets as one recalls a youth spent in that beloved country of art--la belle ,france4 ,boudin's academy of painting at the inn was no great success1 and he changed his habitat to ,trouville1 twenty miles down the coast1 at the invitation of ,isabey and the ,duc de ,morny4 ,they suggested that he should paint 8scnes de plage0 of that gay and fashionable watering-place1 the bathers1 the frequenters of the ,casino and the racecourse1 the regattas1 the 8landscapes of the sea0 as ,courbet called them4 8,it is prodigious1 my dear fellow2 truly you are one of the seraphim1 for you alone understand the heavens10 cried ,courbet one day in excitement as he watched ,boudin at work4 ,boudin was at last becoming famous4 ,alexandre ,dumas addressed him as1 8,you who are master of the skies1 #8par excellence1'0 and above all came the testimony of ,corot1 who described him as 8le roi des ciels40 ,unfortunately1 the public did not buy ,boudin's pictures1 and he remained in poverty4 ,in #ahfd he married1 his wife receiving a 8dot0 of #bjjj francs1 and a home was made up four flights of rickety stairs in a mean street in ,honfleur1 the rental of the garret being thirty-five shillings per annum4 ,amongst their visitors the saddest was ,jongkind1 the man of failure1 a reproach to the blindness of his generation1 and a warning to those who seek fortune by the brush4 ,it was only by the combination of courage1 energy1 and robust health that ,boudin was able to fight his way through actual periods of starvation in order to live to see his work justified by public appreciation4 ,four years later the little household was moved to ,havre4 ,boudin was reduced to such absolute poverty that he was not able to provide himself with sufficient decent clothing to visit a rich tradesman of the town1 who had commissioned some decorative panels4 ,the commission was lost1 and the fight for bread was keener than before4 ,during the winter furniture was converted into firewood1 and the artist worked as an ordinary labourer4 ,boudin hated ,paris1 but at the urgent solicitation of artists1 who promised him work1 he left ,havre for the metropolis4 ,ill luck still dogged his steps4 ,no sooner had he settled with his wife in the new quarters than the war broke out with all the unendurable misfortunes of 8l'anne terrible0 in its train4 ,hopes of commissions were at an end1 the art colony being scattered far and wide4 ,boudin fled first to ,deauville1 then to ,brussels4 ,crowded with ,french refugees1 the struggle for life entered its bitterest stage4 ,for the second time ,boudin became a day-labourer4 ,at last1 by a most trifling chance1 his wretched position was altered for the better4 ,by hazard ,madame ,boudin met a picture-dealer whilst marketing1 and his appreciation and encouragement enabled the artist to return to his easel4 ,the artist's progress was1 however1 extremely slow4 ,nine years later he held an auction sale of his pictures1 at which four paintings realised #ba4 ,a friend who had joined in the sale was more unfortunate1 for he sold nothing4 8,you see10 he wrote to ,boudin1 8that nothing succeeds with me4 ,i don't know how it will all finish4 ,what upsets me most in the midst of all this worry is the fear that ,i should lose all love for painting40 ,this phrase must have represented ,boudin's thoughts during the long years of disheartening struggle4 ,in #ahha1 after twenty-three years of almost annual exhibition in the ,paris ,salons1 ,boudin obtained a medal in the third class4 ,nowadays this award is usually made to the young man who exhibits for the first time4 ,three years later ,boudin received a medal of the second class1 which exempted his work from judgment by the jury1 and places its recipient 8hors concours40 ,he commenced1 at the age of fifty1 to sell his pictures more regularly1 but at prices extremely low and out of proportion to their present value4 ,at the ,htel ,drouot1 ,paris1 in #ahhh1 one hundred canvases by ,boudin fetched the grand total of #bhj4 ,it is difficult to estimate what sum such a lot would reach at the present day4 ,the tide had changed1 for the ,government bought a large painting1 ,une ,corvette ,russe dans le ,bassin de l',eure au ,havre for the ,luxembourg4 ,in #ahhi1 public honour was marred by the most mournful blow4 ,to his inconsolable grief his wife died1 after twenty-five years of the happiest companionship4 ,amongst the letters of sympathy were many acknowledgments of the artist's genius1 notably from ,claude ,monet1 8in recognition of the advice which has made me what ,i am0--a striking and flattering phrase from the head of the ,impressionist group4 ,in this same year ,boudin was awarded the gold medal at the ,salon4 ,in #ahif the ,government purchased his ,rade de ,villefranche for the ,luxembourg1 and the old artist received from the hands of ,puvis de ,chavannes1 at the recommendation of the ,minister ,lon ,bourgeois1 the ribbon and cross of the ,legion of ,honour4 ,illustration3 ,,the ,,repairing ,,docks ,,at ,,dunkirk ,,eugene ,,boudin ,boudin's health1 weakened by the long privations1 had at last broken up4 ,after several futile journeys he returned to his native ,normandy1 and1 whilst working at his easel in his chlet near ,deauville in #ahih1 died almost without warning4 ,by his will he left a rich legacy of pictures to the gallery of his native town1 ,honfleur4 ,over one hundred of ,boudin's sketches can now be seen in the public gallery of ,havre4 ,boudin's connection with modern ,impressionism is chiefly the influence generated by a strong enthusiasm for working 8en plein air0 and a deep love of ,nature4 ,his dominant colour1 almost to the end of his life1 was grey--a grey beautiful in its range and truthful in its effect4 ,personally ,boudin had the head of an old pilot1 with healthy ruddy complexion1 white beard1 and keen blue eyes4 ,he spoke slowly in low monotonous tones1 was doggedly tenacious of an idea1 had strong artistic convictions4 ,he was modest to a degree1 and when he sought honours they were for brother artists1 never for himself4 ,his highest ambition was reached when the ,town ,council of ,honfleur named a street 8,rue ,eugne-,boudin40 ,this street1 long1 narrow1 hilly1 with many rough places and occasional pitfalls1 typifies the artist's own life4 ,after his death the town went further4 ,aided by ,m4 ,gustave ,cahen1 president of the 8,socit des ,amis des ,arts10 ,honfleur erected a fine statue of its talented son by the jetty1 where he had so often painted his favourite scenes of sea and shipping4 ,boudin has left a name which will be honoured in the annals of ,french art4 ,he lived a long life1 produced many works of which not one falls below his own high standard4 ,his position1 midway between two great schools1 is perhaps one reason why he has not loomed more strongly in the public appreciation4 ,upon their merits his pictures cannot easily be forgotten4 ,when it is remembered that he links ,corot to ,monet1 was in fact the true master of the latter1 it will be seen what an important niche he occupies in any history devoted to ,modern ,french ,impressionism4 ,from ,boudin is an easy step to ,czanne1 one of the pioneers of the movement before #ahgj4 ,paul ,czanne and ,zola were schoolboys together in ,aix4 ,they left ,provence to conquer ,paris1 and whilst ,zola was a clerk in ,hachette's publishing office ,czanne was working out in his studio the early theories of ,manet1 of whom he was an enthusiastic admirer4 ,both men frequented the ,caf ,guerbois1 and there is little doubt that in the remarkable series of articles contributed to ,de ,villemessant's paper 8,l'vnement10 ,zola was assisted by ,czanne1 who had introduced the journalist to the artists he had championed4 ,when the criticisms were republished in #ahff1 in a volume entitled 8,mes ,haines10 ,zola dedicated the book in affectionate terms1 8,a mon ami ,paul ,czanne10 recalling ten years of friendship4 ,the writer went still further1 for the character of ,claude ,lantier1 hero of 8,l'uvre10 a novel dealing largely with artistic life and ,impressionism1 is generally supposed to have been suggested by the personality of ,paul ,czanne4 ,for years ,czanne seldom exhibited1 and his pictures are not known amongst the public4 ,as to their merits1 opinion is curiously divided4 ,he has painted landscapes1 figure compositions1 and studies of still-life4 ,his landscapes are crude and hazy1 weak in colour1 and many admirers of ,impressionism find them entirely uninteresting4 ,his figure compositions have been called 8clumsy and brutal40 ,probably his best work is to be found in his studies of still-life1 yet even in this direction one cannot help noting that his draughtsmanship is defective4 ,it is probable that the incorrect drawing of ,czanne is responsible for a reproach often directed against ,impressionists as a body--a general charge of carelessness in one of the first essentials of artistic technique4 ,apart from this defect1 ,czanne's paintings of still-life have a brilliancy of colour not to be found in his landscapes4 ,in his student-days this artist had a great admiration for ,veronese1 ,rubens1 and ,delacroix1 three masters who had some influence upon ,manet4 ,some of his latter methods showed a strong sympathy with the ,primitives4 ,the modern symbolists are his descendants1 and ,van ,gogh1 ,emile ,bernard1 and ,gauguin owe much to his example4 ,personally he unites a curiously shy nature with a temperament half-savage1 half-cynical4 ,czanne's work is remarkable for its evident sincerity1 and the painter's aim has been to attain an absolute truth to nature4 ,these ambitions are the keynotes of ,impressionist art4 ,illustration ,illustration3 ,,la ,,route ,,paul ,c,,zanne ---------------------------------------- -------------------------------- ,illustration3 ,,the ,,bullfight ,,edouard ,,manet ,,chapter ,,iii ,,edouard ,,manet 7#ahcb-ahhc7 8,,ce ,,qui ,,me ,,frappe ,d',,abord ,,dans ,,ces ,,tableaux1 ,c',,est ,,une ,,justesse ,,tr,s ,d,,licate ,,dans ,,les ,,rapports ,,des ,,tous ,,entre ,,eux4 8,,toute ,,la ,,personnalit ,,de ,l',,artiste ,,consiste ,,dans ,,la ,,mani,,re ,,dont ,,son ,,il ,,est ,,organis3 ,,il ,,voit ,,blond1 ,,et ,,il ,,voit ,,par ,,masses0 ,,zola ,,for over twenty years the technique and methods of ,edouard ,manet were a subject for the most virulent debate4 ,his art1 in fact1 became the scene of a battle in which every painter in ,europe had a hand4 ,officialdom found no place for him in its heart1 no matter whether the ,state was ,imperial or ,republican4 ,the ,empress ,eugnie once asked that his pictures might be removed from public exhibition2 ,president ,grvy demurred when the artist's name was placed on the list for the ,legion of ,honour4 ,clearly this man was no supporter of the established order of things4 ,refused recognition as an artist by the school of tradition1 disowned by his own teacher1 a source of hilarity to the public1 ,edouard ,manet caught but a glimpse of the long-wished-for land of success which he was fated never to enjoy fully4 ,the battle is not quite finished1 and the rout of the old school continues to the present day4 ,one result remains4 ,manet has had a greater influence upon the art of the last forty years than any other master during that period1 and the standard which he raised has become a rallying-point for the greatest painters of the present age4 ,edouard ,manet was born in ,paris on ,january #bc1 #ahcb1 at ,no4 #e1 ,rue des ,petits ,augustins4 ,thirty-six years previously ,corot was born round the corner1 in the ,rue du ,bac4 ,to-day the ,rue des ,petits ,augustins is a long street running through the ,latin ,quarter1 southwards from the ,seine and the ,louvre1 known as the ,rue ,bonaparte4 ,it has become the chief mart for commerce in artists' materials1 photographs1 pictures1 and all the odds and ends which fill up a studio4 ,with a quaint appropriateness1 the birthplace of ,manet faces the cole ,nationale des ,beaux-,arts4 ,the boy was the eldest of three brothers4 ,his father was a judge attached to the tribunal of the ,seine1 and the family had been connected with the magistrature for generations4 ,first a pupil at ,vaugirard1 under the ,abb ,poiloup1 ,manet then entered the ,collge ,rollin1 took his baccalaureate in letters1 and grew into an elegant man of the world4 ,but his inclinations clashed with his duties1 and his uncle1 amateur artist and colonel in the artillery1 taught him how to sketch in pen and ink4 ,m4 ,antonin ,proust describes the result in a recent magazine article4 8,from earliest years10 he writes1 8,manet drew by instinct1 with a firmness of touch and vigour unexcelled even in his latest works4 ,his family was intensely proud of the boy's uncommon gift1 and his artistically-inclined uncle1 ,colonel ,fournier1 supported him against his father1 who--despite his admiration--had other views as to his son's career40 8,one should never thwart a child in the choice of his career10 said ,colonel ,fournier4 8,if10 replied the father1 8the boy is not inclined towards the #8,palais1' let him follow your example and become a soldier2 but go in for painting--never60 ,a studio-stool tempted the boy far more than a probable seat on the ,bench4 ,if he had to waste time1 it should not be in the ,salle des ,pas ,perdus4 ,his parents sent him1 towards the close of his school-days1 upon a voyage to ,rio de ,janeiro1 hoping that travel might distract his mind from thoughts of an artistic life4 ,it is said that they contemplated a naval career4 ,charles ,mryon1 it may be remembered1 made the voyage round the world in a ,french corvette before he took up the etcher's needle4 ,like ,mryon1 ,manet improved his draughtsmanship1 although a sailor4 ,he sketched incessantly4 ,one day the captain asked him to get out his paints and touch up a cargo of ,dutch cheeses1 which had become discoloured by the sea4 8,conscientiously1 with a brush10 says ,manet1 8,i freshened up these ttes de mort1 which reappeared in their beautiful tints of violet and red4 ,it was my first piece of painting40 ,his voyage in the ,guadeloupe ended1 he returned home with unaltered determination4 ,after some protest his father relented1 and in #ahej ,manet entered the studio of ,thomas ,couture4 ,illustration3 ,,the ,,garden ,,edouard ,,manet ,couture occupied a leading position in that group sometimes called the 8juste milieu40 ,between the ,romanticists and the ,classicalists his preferences perhaps were for the latter4 ,of extreme irritability in temper1 with a deep contempt for those in authority1 he combined a keen desire for success both popular and financial4 ,his picture1 ,the ,romans of the ,decadence1 in the ,salon of #ahdg1 brought both1 and for a few years he remained one of the most celebrated artists in ,france4 ,then he criticised ,delaroche1 with the usual result when one painter puts another right3 he offended ,king ,louis-,philippe1 he insulted the ,emperor ,napoleon ,,iii4 ,kings must be taken at their own valuation1 if one wishes to enjoy their good graces4 ,it was not surprising that ,couture ultimately became a disappointed and forgotten man4 ,he has been called an ,apostle of ,classicalism4 ,taught first by ,baron ,gros1 who vacillated from one school to the other1 and afterwards by ,delaroche1 who endeavoured to reconcile the opposing parties1 ,couture could hardly have taken any other position in the art world of the 'forties4 8,he was apart among the painters of the day1 as far removed from the cold academic school as from the new art just then making its way1 with ,delacroix at its head4 ,the famous quarrel between the ,classical and ,romantic camps left him indifferent4 ,he was of too independent a nature to follow any chief1 however great40 ,this is the testimony of an ,american artist1 ,mr4 ,p4 ,a4 ,healy1 who studied under ,couture about the time ,manet was in the atelier1 and shows that the future ,impressionist worked under a man by no means curbed by tradition4 ,according to his pupil1 ,couture's great precept was1 8,look at ,nature2 copy ,nature40 ,manet's doctrine was couched in almost the same words1 8,do nothing without consulting ,nature40 ,we know that during the time ,manet remained in ,couture's studio1 master and pupil quarrelled incessantly4 ,the reason usually given is that ,manet would not respect tradition4 ,but neither would ,couture4 8,that in the captain's but a choleric word1 which in the soldier is flat blasphemy40 ,one was there to teach1 the other to be taught4 ,the temperaments of the two men were fundamentally different4 ,the thick-set1 scowling ,couture1 of shoemaker descent1 would naturally rub against the grain of the rather dandified young scion of the magistrature4 ,couture hated the middle classes1 and ,manet belonged to the 8haute bourgeoisie40 ,manet's family was legal to the bone1 and ,couture detested lawyers even more than he disliked doctors4 ,with all these drawbacks ,couture was admittedly the best teacher in ,paris4 ,manet evidently recognised the advantage1 for he remained in the studio for six years1 until he was twenty-five years of age1 although quite able to sever the connection had he wished4 ,then came the 8wanderjahre10 which commenced in #ahef4 ,manet visited ,germany1 ,holland1 and ,italy4 ,in the ,low ,countries1 ,franz ,hals exerted a great and permanent influence over the student2 ,rembrandt was copied in ,germany2 in ,italy1 ,titian and ,tintoretto received his homage4 ,dresden1 ,prague1 ,vienna1 ,munich1 ,venice and ,florence were visited4 ,upon his return to ,paris he copied assiduously in the ,louvre1 and it was in this wonderful gallery that he so thoroughly mastered all that a young painter could learn from the ,spanish ,school4 ,he did not visit ,madrid until #ahfe4 ,his ,spanish subjects before that date were the result of a careful study of ,velazquez and ,goya in the ,national ,collection and the visit of an ,iberian troupe of players to ,paris4 ,in the ,louvre he copied paintings by ,velazquez1 ,titian1 and ,tintoretto4 ,of living artists ,courbet considerably influenced the first period of ,manet's activity4 ,ever on the fringe of ,impressionism1 although never in the group1 ,courbet was a romantically inclined realist who taught the younger men to turn to everyday life for their subjects4 ,his canvases were full of colour2 although they have sadly toned down in the course of time1 owing to the curious and unsuccessful experiments he made in trying to combine his practice with his theories4 ,in #ahei ,manet sent his work for the first time to the ,salon4 ,the ,absinthe ,drinker1 strong1 but reminiscent of ,courbet1 was rejected4 ,the ,salon was held every two years1 and in #ahfa both his contributions were accepted1 one being a double portrait of his father and mother1 the other a ,spanish study called the ,guitarero4 ,for this ,manet was awarded ,honourable ,mention1 his first and almost his final official distinction1 for he received no other until the year before his death1 twenty-one years later4 ,working with tremendous energy in his studio in the ,rue ,lavoisier1 ,manet became the centre of a circle of friends which included ,legros1 ,bracquemond1 ,jongkind1 ,monet1 ,degas1 ,fantin-,latour1 ,harpignies1 and ,whistler4 ,the ,guitar-player was an undoubted success4 8,caramba10 writes genial ,theo4 ,gautier1 8,velazquez would greet this fellow with a friendly little wink1 and ,goya would hand him a pipe for his papelito40 ,upon the jury it is said that ,ingres himself was flattering1 and the mention honorable was ascribed to the lead of ,delacroix4 ,couture's sneer that ,manet would become merely the ,daumier of #ahfj did not seem likely to be justified4 ,manet was now engaged upon several pictures which must not be ignored4 ,music at the ,tuileries 7#ahfa71 refused at the ,salon1 was1 as its name implies1 an open-air study of the fashionable crowds gathered round the bandstand in the lovely gardens by the palace4 ,the ,street ,singer is the earliest of the almost realistic renderings of everyday life which the ,impressionists delighted in4 ,a sad-faced girl 7a well-known character of the day7 standing with a guitar at a street corner2 the type is the same to this hour both in ,london and ,paris1 one of the thousand wretched beings superfluous to a great city1 at once its pleasure and its sport4 ,the ,boy with a ,sword1 now in the ,metropolitan ,museum of ,new ,york1 also belongs to this period4 ,the picture is masterly4 ,inspired from ,spain1 it is1 like most great paintings1 full of simplicity1 full of strength4 ,the ,old ,musician is also extremely ,spanish1 with a haunting reminiscence of ,los ,borrachos by ,velazquez 7although ,manet had not yet directly seen this canvas74 ,a small group watches an old man about to play his fiddle4 ,some boys1 a little girl with a doll 7a figure very dear to ,manet71 a man drinking1 a native of the ,orient in a turban and a long robe1 these form a straggling composition4 ,the picture is a fantasy of a nation the painter loved but had never yet seen4 ,two personal matters affected the life of ,manet about this time4 ,his father died1 leaving him a considerable private fortune1 thus making the artist financially independent of dealers and the ups and downs of public exhibition4 ,in #ahfc he married ,mlle4 ,suzanne ,leenhoff1 a ,dutch lady of great musical talent4 ,from one point of view #ahfc was disastrous1 from another triumphant4 ,hitherto a man of promise1 ,manet now developed into a man of notoriety4 ,the little 8one-man show0 at the gallery of ,m4 ,martinet1 ,boulevard des ,italiens1 presaged the coming storm4 ,manet exhibited the ,spanish ,ballet1 ,music at the ,tuileries1 ,lola de ,valence1 and nearly the whole of his other work up to that date4 ,baudelaire was enthusiastic4 ,verses on ,lola de ,valence are enshrined in 8,fleurs de ,mal40 ,other critics were not so kind4 ,m4 ,paul ,mantz did not restrain his pen and referred to 8a struggle between noisy1 plastery tones1 and black10 with a result 8hard1 sinister1 and deadly10 the whole summed up as 8a caricature of colour40 ,the ,salon of #ahfc1 which followed1 has become famous not through what it accepted1 but by reason of what it refused4 ,in a contemporary chronicle the most notable pictures of the exhibition are ,la ,prire au ,dsert by ,gustave ,guillaumet1 a ,sainte ,famille by ,bouguereau1 ,la ,droute by ,gustave ,boulanger1 ,la ,bataille de ,solfrino by ,meissonier1 and the ,chasse au ,renard by ,courbet4 ,with the exception of ,courbet it is an academical list1 although it is extraordinary how ,courbet crept in4 ,the list of rejected artists is amazing4 ,like ,herod's soldiers1 the jury seems to have been chiefly occupied in stamping out youth4 ,bracquemond1 ,cals1 ,cazin1 ,fantin-,latour1 ,harpignies1 ,jongkind1 ,j4 ,p4 ,laurens1 ,legros1 ,manet1 ,pissarro1 ,vallon1 ,whistler1 these and many others were thrown out4 ,the work was too vigorously performed1 and ,napoleon ,,iii4 authorised the opening of another gallery in the same building as the old ,salon1 known as the ,salon des ,refuss4 ,the most striking canvas in this room was ,manet's first great work1 the ,djeuner sur l',herbe 7,breakfast on the ,grass71 sometimes called ,le ,bain4 ,the painting challenged opposition on two separate grounds4 ,the first was its subject2 the second its technique4 ,between two young men stretched on the grass1 wearing the black frock-coats of a latter-day civilisation1 sits a nude woman drying her legs with a towel4 ,in the background another woman 8en chemise0 is paddling in the stream4 ,in defence of such a subject it is usual to refer to the painters of the ,renaissance1 who1 without exciting angry comment1 mixed draped and undraped figures in their compositions4 ,there is a celebrated ,giorgione at the ,louvre to which none objected4 ,other times1 other manners4 ,infanticide is not encouraged in ,england although it is the practice in ,china4 ,many social practices of the ,renaissance1 innocent enough in the eyes of that golden age1 are distinctly discouraged by the criminal code of to-day4 ,forty years have elapsed since the ,djeuner sur l',herbe was first exhibited1 and ,mrs4 ,grundy is not the power she was4 ,but if any ,english painter hung a representation of two dressmaker's assistants bathing in the ,serpentine under exactly the same conditions as ,manet depicted the little party at ,saint-,ouen1 there would be some sharp criticism4 ,it is far more pleasing to discuss ,manet's manner of painting4 ,in a period when work was sombre in tone and ,nature rapidly losing her place in art1 ,manet with his ,djeuner sur l',herbe1 ,olympia1 and ,le ,fifre de la ,garde1 changed the current with startling directness4 ,illustration3 ,,portrait ,,of ,,berthe ,,morisot ,,edouard ,,manet ,in these and other canvases there was not a shadow1 the surface being from end to end clear and highly coloured4 ,where a ,classicalist would have rendered a shadow in the usual burnt umber1 ,manet made his tones a little less clear1 but always coloured and always in value4 ,his method of working was to discard all blacks and preparations of blacks4 ,this was directly antagonistic to the teaching of ,couture1 who painted on a black canvas4 ,manet drew straight away on a white canvas with the end of his brush4 ,then1 after having endeavoured to render with a single tone all the pale parts1 he carried the lights right into the shadows1 of which he studied the slightest nuance4 ,the result was novel to the vision1 and strange to the public4 ,the ,djeuner sur l',herbe was a masterly rendering of white flesh against black clothes1 which was not appreciated because it was so foreign to the eye4 8,be not the first by whom the new is tried1 ,nor yet the last to lay the old aside10 is an excellent motto for painters who wish to achieve popular renown1 but it was never the motto of ,manet and the ,impressionists4 ,to a certain extent the ,salon des ,refuss was successful4 ,the jury of the old ,salon had received a fright1 and in #ahfe they opened their doors very widely4 ,making a virtue of necessity1 they reversed their policy and welcomed the whole artistic world1 in order to obviate the necessity of a second ,salon des ,refuss4 ,olympia was far in advance of anything the artist had yet attempted4 ,in composition it recalls ,velazquez1 ,goya1 and ,titian4 ,a girl1 anmic and decidedly unprepossessing1 quite nude1 is stretched upon a couch covered with an ,indian shawl of yellowish tint4 ,behind is a negress1 with a bouquet of flowers4 ,at the foot of the bed a black cat strikes a sharp note of colour against the white linen4 ,gautier and ,barbey ,d',aurevilly--both men of exotic genius--received the painting with great favour4 ,they found themselves alone in their opinions4 ,again the subject displeased the crowd1 whilst the extraordinary technique exasperated the art world4 ,even ,courbet1 reformer as he was1 repudiated it4 8,it is flat and lacks modelling4 ,it looks like the queen of spades coming out of a bath40 ,manet retorted3 8,he bores us with his modelling4 ,courbet's idea of rotundity is a billiard-ball40 ,the general verdict1 however1 was one in which ridicule and mockery were equally mixed4 ,a religious picture1 ,christ reviled by the ,soldiers1 received no greater encouragement1 and in the next ,salon ,manet was rejected without mercy4 ,le ,fifre de la ,garde and ,the ,tragic ,actor were both refused4 ,he had provoked such fierce animosity that he was even excluded from the representative exhibition of ,french art included in the ,universal ,exhibition of #ahfg4 ,luckily1 no longer dependent for money on his art1 ,manet was able to exhibit under more favourable circumstances4 ,like ,rodin a few years ago1 ,manet opened a large gallery in the ,avenue de l',alma1 which he shared with ,courbet4 ,here he collected fifty works1 including the ,boy with the ,sword1 several ,spanish subjects1 seascapes1 portraits1 studies of still life1 aquafortes1 even copies4 ,a catalogue was issued containing a short introduction4 8,the artist does not say to you to-day1 ,come and see flawless works1 but1 ,come and see sincere works40 ,another sentence shares with a title of ,claude ,monet's the origin of the generic phrase1 8,impressionism40 8,it is the effect of sincerity to give to a painter's works a character that makes them resemble a protest1 whereas the painter has only thought of rendering his impression40 ,manet never considered himself as a man in revolt4 ,the artist had now a considerable following1 and was supported by several vigorous pens in the press1 notably that wielded by ,emile ,zola1 who had been introduced to ,manet by an old school friend become artist1 ,czanne4 ,zola's campaign in #ahff1 following upon the rejection by the ,salon of the ,fifre de la ,garde1 saw some hard fights4 ,zola saluted ,manet as the greatest artist of the age1 and incidentally overturned a few pedestals in the ,academy4 ,animosity directed against the artist was transferred to the journalist1 and ,zola was soon ejected from his position under ,m4 de ,villemessant as art critic to the ,figaro 7then famous as l'vnement74 ,artists of the old school used to buy copies of this journal containing the offending articles1 seek out ,zola or ,manet on the boulevards1 and then destroy the paper under their eyes with every manifestation of scorn4 ,about this time the gatherings in the ,caf ,guerbois1 in the ,rue ,guyot1 behind the ,parc ,monceau1 were held twice a week regularly1 and the ,school of ,batignolles became an established fact4 ,the group was mixed1 and held together more through comradeship than through identical aims4 ,it included ,whistler1 ,legros1 ,fantin-,latour1 ,monet1 ,degas 7a young man fresh from the ,ecole des ,beaux ,arts71 ,duranty1 ,zola1 ,vignaux1 sometimes ,proust1 ,henner1 and ,alfred ,stevens4 ,to these names should be added ,pissarro1 ,sisley1 ,renoir1 ,bazille1 and ,czanne4 ,monet had been attracted by ,manet since the little exhibition at ,monsieur ,martinet's in #ahfc1 although they did not meet until #ahff1 the year that ,camille ,pissarro joined the camp4 ,fantin-,latour was an old chum1 the friendship commencing in #aheg1 and he commemorated these gatherings in a picture of the members of the group1 which attracted much attention in the ,salon of #ahgj4 ,illustration3 ,,portrait ,,of ,m4 ,p----1 ,,the ,,lion-,,hunter ,,edouard ,,manet ,the home life of ,edouard ,manet was strangely different from what one would expect of such an artist1 so notorious in the ,paris of the ,empire that when he entered a caf its frequenters turned to stare at the incomer4 ,manet lived with his wife and his mother in the ,rue ,st4 ,ptersbourg4 ,the old lady1 faithful to her remembrance of the age of ,charles ,x4 and the ,citizen ,king1 lived amidst souvenirs of the past4 ,modernity was entirely absent from the little household1 and those who anticipated evidences of the spirit of revolution which characterised ,manet in the world of the boulevards here discovered the atmosphere1 even the decoration and furniture1 of the ,louis-,philippe period4 ,romance had also entered into the hitherto prosaic ,manet family4 ,mlle4 ,berthe ,morisot1 a clever young artist from ,bourges1 had married ,manet's brother ,eugne1 and became an ardent follower of her brother-in-law's artistic doctrines1 whom she aided frequently4 ,a famous work of this period is ,the ,execution of the ,emperor ,maximilian1 the subject representing a file of dark-hued ,mexicans shooting the unfortunate monarch4 ,it is a vast canvas1 slightly inconsistent with many of the artist's theories4 ,not lacking in actuality 7it was commenced within a few months of the event71 it was of historical genre and painted in a studio from models1 the face of the ,emperor being copied from a photograph4 ,rarely1 if ever before1 seen in ,london1 this magnificent painting was received enthusiastically when exhibited at the first collection made by the ,international ,society in #ahih4 ,in ,france the authorities forbade the public exhibition of the ,execution1 the tragedy having had too intimate a relation with ,french politics2 but at the ,salon of #ahfi ,manet was represented by ,the ,balcony1 which provoked considerable derision from critics and public4 ,the famous duel with ,duranty took place early in the following year4 ,duranty1 an old friend and journalistic supporter of the movement1 of great literary reputation in the 'sixties and 'seventies1 but quite forgotten now1 suddenly published a newspaper article in which the artist was violently attacked4 ,there was no palpable reason for such a strange outbreak1 and at the next gathering at the ,caf ,guerbois1 ,manet requested explanations4 ,in his anger the artist struck the writer across the face4 ,manet had for seconds ,zola and ,vigniaux1 and his adversary was slightly wounded in the breast4 ,within a few years ,manet stretched out his hand in friendship1 and the quarrel was made up and forgotten by both parties4 ,the tremendous upheaval of the year #ahgj had its effect upon ,manet's art1 as it had upon the whole national and intellectual life of ,france4 ,it marks the end of his first period1 for after the war ,manet paid more attention to the question of lighting1 and gathered closer to the little group of 8,luminarists0 of which ,claude ,monet was the most significant figure4 ,early in #ahgj the artist1 when painting near ,paris1 in the park of his friend ,de ,nittis1 for the first time woke up to the prime importance of working 8en plein air40 ,the war intervened1 and ,manet served with the colours4 ,after the campaign he returned to his easel1 but no longer an exclusive follower of the ,spanish ,school and the ,romanticists of the type of ,courbet4 ,at the call of their country1 artists and authors alike followed the flag4 ,one can still remember how short-sighted ,alphonse ,daudet kept sentry-go during the first awful winter1 and how1 almost at the end of the siege of ,paris1 the brilliant ,henri ,regnault was shot down in a sortie4 ,bastien-,lepage was in the field1 and one of the group of the ,caf ,guerbois1 ,bazille1 was killed in action4 ,manet enlisted in the ,garde ,nationale1 and1 for some reason which is not obvious1 was at once promoted to the ,staff4 ,unfortunately1 ,meissonier was nominated ,colonel of the same regiment1 which shows that the tat-,major was quite ignorant of the state of contemporary art4 ,meissonier1 a man of strong opinions1 the recognised head of his profession1 member of the ,institute1 was covered with official honour4 ,manet1 with equally forcible convictions1 the hero of the ,salon des ,refuss1 was pariah to the ,academy4 ,it was not likely that two such men could get on well together4 ,some years afterwards ,manet displayed his feelings4 ,he was gazing in a public gallery at a ,charge of ,cuirassiers1 recently painted by ,meissonier4 ,a crowd gathered round4 ,his criticism was short4 8,it's good1 really good4 ,everything is in steel except the cuirasses40 ,the mot travelled round the town1 and duly reached the ears of the venerable artist at ,passy4 ,manet saw active service4 ,he was under fire at the ,battle of ,champigny1 and also took part in the suppression of the ,commune4 ,a vivid little sketch by ,manet shows a ,parisian street1 after some sharp fighting with the insurgents4 ,it may be found reproduced in ,duret's monograph4 ,broken down in health1 ,manet joined his mother and sister at their retreat in the ,pyrenees1 and at ,olron painted the ,battle of the 8,kearsage0 and 8,alabama10 a wonderful piece of sea-painting1 although executed far from the actual scene of the engagement4 ,illustration3 ,,edouard ,,manet ,manet had exhausted the paternal inheritance and was living on the fruits of his labour4 ,the ,impressionist ,school1 as we now know it1 was at the height of its activity1 but by no means at the summit of its success4 ,it assumed as its title the designation which had been applied to it as a nickname4 ,the origin of this title is obscure4 ,as already mentioned1 ,manet used the term in his introduction to the catalogue of #ahfg4 ,claude ,monet named one of his pictures1 a sunset1 exhibited in the ,salon des ,refuss1 8,impressions40 ,ruskin though had used the same term years before in describing a canvas by ,turner4 ,many of the members of the group were in the most abject poverty until the celebrated dealer1 ,m4 ,durand-,ruel1 came to their assistance4 ,manet had better sales than the rest of his brethren1 for several collectors began to buy from his easel1 viz4 ,grard1 ,faure 7of the ,opera71 ,hecht1 ,ephrussi1 ,bernstein1 ,may1 and ,de ,bellis4 ,it is characteristic of the man that in his own studio he exhibited the works of his friends in order that the wealthy buyers he was beginning to attract should also invest in the productions of the less fortunate ,impressionists4 ,in #ahgc ,manet contributed to the ,salon a portrait of the engraver ,belot seated in the ,caf ,guerbois4 ,known as ,le ,bon ,bock1 it was his most popular success both with public and critics4 ,over eighty sittings were given before the canvas was completed4 ,manet had departed far from the technique of the ,dutch portrait-painters1 but ,le ,bon ,bock strongly suggests the manner of ,hals1 although ranking on its own merits as an independent triumph4 ,to the year of ,le ,bon ,bock succeeded a long period of public indifference and artistic warfare4 ,the ,impressionists held their first collective exhibition1 which was bitterly disappointing in its results4 ,the public had changed but little4 ,the ,opera ,ball and ,the ,lady with ,fans 7about #ahgc71 the ,railway1 painted wholly in the open air1 and ,polichinelle 7exhibited at the ,salon of #ahgd71 ,the ,artist and ,l',argenteuil of #ahge1 all were received with disfavour4 ,it is extremely curious to note how canvases which appear to-day perfectly normal in their methods and aims positively outraged the feelings of critics thirty years ago4 ,l',artiste1 a magnificent portrait of the engraver ,desboutins1 was refused by the ,salon together with ,le ,linge4 ,l',argenteuil1 a simple representation of two life-sized figures by the borders of the ,seine1 would be received with acclamation instead of disdain4 ,manet and his group were undoubtedly educating the public1 but progress was very slow4 ,there was an outburst of opinion in favour of the artist when the ,salon refused ,l',artiste and ,le ,linge4 ,one sentence of criticism summed up the general feeling of those who were not entirely prejudiced against the new spirit4 8,the jury is at liberty to say that it does not like ,manet4 ,but it is not at liberty to cry #8,down with ,manet6 ,to the doors with ,manet6'0 ,reaction on the part of the jury followed1 exactly as it had followed in previous years4 ,after the success of the ,salon des ,refuss ,manet was accepted4 ,then1 being rejected1 he opened the gallery of the ,avenue d',alma1 and was hung by the jury at the ensuing ,salon4 ,rejected in #ahgf1 the outcry in the press surprised the jury1 who accepted his works in #ahgg4 ,these extraordinary ups and downs culminated in #ahgh1 when the jury of the ,exposition ,universelle1 held in that year1 definitely refused to hang any of his canvases4 ,in the opinion of this jury the painter of ,le ,bon ,bock was not a representative ,french artist4 ,ten years had changed the official art world but little1 for the same thing had happened in #ahfg4 ,this was almost the last insult ,manet had to endure4 ,in #ahha he received a second medal at the ,salon4 ,the discussion in the ,committee had been acrimonious1 but seventeen members of the jury were found to support the award4 ,amongst the names of the majority are those of ,carolus-,duran1 ,cazin1 ,henner1 ,lalanne1 de ,neuville1 and ,roll4 ,one cannot deny that ,manet's work greatly varied4 ,the portrait of ,m4 ,faure1 in the character of ,hamlet1 was to a certain extent conventional studio-painting1 and could offend nobody4 ,the subject would not provoke the most susceptible4 ,m4 ,faure was celebrated on the stage of the ,grand ,opera1 possessed considerable wealth1 and was one of ,manet's most devoted friends4 ,nana1 sent to the ,salon together with the portrait of ,m4 ,faure1 was rejected4 ,the technique was brilliant1 but the subject1 although harmless enough1 suggested ,zola's heroine4 ,zola's book was not published until #ahgi1 but the name designated a class apart4 ,in #ahhj ,manet exhibited a wonderful portrait of ,m4 ,antonin ,proust1 and in the ,december of the following year his old friend1 now ,directeur des ,beaux-,arts1 was able to give to his life-long companion the ,cross of the ,legion of ,honour4 ,had ,manet no friends at ,court1 he would certainly not have received this coveted decoration4 ,president ,grvy objected when he saw the painter's name1 and would have struck out ,manet from the list had not ,gambetta exerted some little pressure4 ,but the struggle was nearly ended4 ,manet was dying4 8,this war to the knife has done me much harm10 he is reported to have told ,antonin ,proust4 8,i have suffered from it greatly1 but it has whipped me up4444 ,i would not wish that any artist should be praised and covered with adulation at the outset1 for that means the annihilation of his personality40 ,on ,new ,year's ,day1 #ahhb1 he received the ,cross1 and at the ,salon exhibited ,un ,bar aux ,folies-,bergres1 a barmaid enshrined amidst her glasses at a ,paris music-hall1 and a portrait1 ,jeanne4 ,since #ahgi paralysis had been slowly sapping his powers4 ,edouard ,manet died near ,paris on ,april #cj1 #ahhc1 at the early age of fifty-one4 ,disappointment1 injured pride1 lack of appreciation1 continued and strong hostility1 each had had its effect upon a physique always sensitive and never too strong4 ,the artist had died for his art4 ,illustration3 ,a ,,garden ,,in ,,rueil ,,edouard ,,manet ,illustration3 ,,fishing ,,edouard ,,manet ,the secret of ,manet's power is sincerity and individuality2 his main effort was a rendering of fact2 his deepest interest the truthful juxtaposition of values1 the broad and simple treatment of planes1 combined with a constant search for the character of the person or object portrayed4 ,the influences which guided ,manet during the earlier portion of his career have been noticed at length4 ,he travelled extensively1 and his works bear many souvenirs of foreign masters4 ,but sufficient stress is not always laid upon the influences at work around ,manet in ,paris1 namely1 the influences of ,delacroix1 ,corot1 and the men of #ahcj1 who carried but one stage farther the methods and tradition of the ,english masters1 ,constable1 ,bonington1 ,girtin and ,turner4 ,apart from sources of inspiration ,manet was personally gifted4 ,he possessed 7as ,m4 ,duret so well points out7 the faculty of sight1 a gift from ,nature which cannot be acquired by will or work4 ,technique he had obtained after six years' hard study in the most severe atelier in ,paris4 ,but technique is a subsidiary equipment1 for a complete command over one's materials does not always imply the possession of genius4 8,the fools60 said ,manet with bitterness to ,proust4 8,they were for ever telling me my work was unequal4 ,that was the highest praise they could bestow4 ,yet it was always my ambition to rise--not to remain on a certain level1 not to remake one day what ,i had made the day before1 but to be inspired again and again by a new aspect of things1 to strike frequently a fresh note40 8,ah6 ,i'm before my time4 ,a hundred years hence people will be happier1 for their sight will be clearer than ours to-day40 ,ambition to rise1 never to remain on the same level6 ,that is the whole doctrine of art1 and the supreme epitaph for ,edouard ,manet1 pioneer and master4 ,illustration ---------------------------------------- -------------------------------- ,illustration3 ,,georges ,d',,espagnat ,,chapter ,,iv ,,the ,,impressionist ,,group1 #ahgj-ahhf 8,l',,admiration ,,de ,,la ,,foule ,,est ,,toujours ,,en ,,raison ,,indirecte ,,du ,g,,nie ,,individuel4 ,,vous ,,tes ,d',,autant ,,plus ,,admir ,,et ,,compris1 ,,que ,,vous ,,tes ,,plus ,,ordinaire0 ,,zola ,,the outbreak of the ,franco-,german ,war in #ahgj scattered far and wide the little group that congregated at the ,caf ,guerbois1 and had a curious effect upon the evolution of their methods of painting4 ,several of the leading members of the circle crossed to ,england1 and the studies they pursued in ,london formed the basis for the unconventional departures which have produced the masterpieces of ,modern ,impressionism4 ,practically all the later developments of their art date from the above-named year1 and if a place of genesis be sought for it will be found in the ,london ,national ,gallery4 ,as related in a previous chapter1 ,edouard ,manet1 the acknowledged head at the ,caf ,guerbois gatherings1 became a captain in the ,garde ,nationale1 with ,meissonier as his colonel4 ,boudin and ,jongkind fled to ,belgium1 and became labourers4 ,monet1 ,pissarro1 ,bonvin1 ,daubigny1 and some friends1 braved the horrors of 8,la ,manche0 and settled in ,london4 ,they arrived almost penniless1 thoroughly disheartened by the terrible events which were threatening their motherland with disaster4 ,the journey1 momentous to the unhappy passengers1 was the opening of a new epoch in art4 ,the following letter from ,pissarro1 to the author1 written in ,november #aijb1 gives an interesting account of their doings in ,london4 ,he says3 8,in #ahgj ,i found myself in ,london with ,monet1 and we met ,daubigny and ,bonvin4 ,monet and ,i were very enthusiastic over the ,london landscapes4 ,monet worked in the parks1 whilst ,i1 living at ,lower ,norwood1 at that time a charming suburb1 studied the effects of fog1 snow1 and springtime4 ,we worked from ,nature1 and later on ,monet painted in ,london some superb studies of mist4 ,we also visited the museums4 ,the water-colours and paintings of ,turner and of ,constable1 the canvases of ,old ,crome1 have certainly had influence upon us4 ,we admired ,gainsborough1 ,lawrence1 ,reynolds1 c41 but we were struck chiefly by the landscape-painters1 who shared more in our aim with regard to 8plein air10 light1 and fugitive effects4 ,watts1 ,rossetti1 strongly interested us amongst the modern men4 ,about this time we had the idea of sending our studies to the exhibition of the ,royal ,academy4 ,naturally we were rejected40 8,naturally we were rejected60 ,these poor exiles were offering to the conservative ,academy canvases painted in a method that ,constable could not get accepted forty years before4 ,their admiration of ,turner and ,constable was a repetition of the experiences of another great ,frenchman nearly fifty years earlier4 ,in his published journal1 ,delacroix has written3 8,constable and ,turner are true reformers40 ,at the ,salon of #ahbd the pictures of ,constable so profoundly impressed him that he completely repainted his large canvas1 the ,massacre of ,scio1 then hanging in the same exhibition4 ,the next year he visited ,london in order that he might more closely study ,constable's work4 ,he returned to ,paris marvelling at the hitherto unsuspected splendour of ,turner1 ,wilkie1 ,lawrence1 and ,constable4 ,immediately he began to profit by their examples4 ,delacroix chronicles that he noticed that ,constable1 instead of painting in the usual flat tones1 composed his picture of innumerable touches of different colours juxtaposed1 and1 at a certain distance1 recomposing in a more powerful and more atmospheric natural effect4 ,he adds that he considers this new method far superior to the old-fashioned one4 ,the group of #ahgj made this discovery afresh4 ,it is pleasant to imagine that these artistic explorations somewhat dulled the misery of their exile4 ,they worked and copied in the public and private galleries1 they painted by the riverside1 and in the streets and parks4 ,with enthusiasm they absorbed the technique of ,turner and ,constable1 perhaps of ,watts1 and the result is to be seen in ,claude ,monet's ,haystacks1 in ,pissarro's street scenes1 in ,sisley's landscapes1 in the luminous work of ,guillaumin and d',espagnat1 in the canvases of ,vuillard1 ,maufra1 and many followers4 ,their style was revolutionised1 their ideals changed4 ,the dull greys and the russet browns which reigned supreme before #ahgj were banished for ever4 ,illustration3 ,,the ,,white ,,rabbits ,,georges ,d',,espagnat ,they returned to ,france the preachers of a new crusade4 ,the 8,caf de la ,nouvelle ,athne0 became the centre of the group4 ,reunited under ,manet1 whose style commenced to show signs of much influence from ,claude ,monet1 the reformers gathered many recruits1 and gained more enemies4 ,they were not without friends on the press3 ,emile ,zola1 who had written so eloquently in 8,mes ,haines10 ,thodore ,duret1 friend and literary executor of ,manet1 ,gustave ,geffroy of 8,la ,vie ,artistique10 in ,monet's opinion the most slashing of the lot1 ,arsne ,alexandre of 8,le ,figaro10 ,gustave ,cahen1 ,roger ,marx1 and many others4 ,illustration3 ,a ,,summer ,,afternoon ,,georges ,d',,espagnat ,but the financial position of the whole group was exceedingly precarious4 ,they could not sell their pictures4 ,it was admitted that the canvases of such men as ,monet and ,pissarro were the works of men of genius1 but the buying public 7and they are numerous in ,france7 did not understand the new movement1 and so failed to support it adequately4 ,as a whole1 it may be said that the art public were in open hostility to ,impressionism4 ,with a few exceptions1 the critics of the established art journals condemned the movement4 ,even comic singers ridiculed the painters in the music-halls of ,paris4 ,the ,salon was closed against them1 and the dealers refused to look at their canvases4 ,meanwhile the artists starved4 ,these were the evil days of evictions1 of visits from the sheriff1 of the forced sale of household furniture to pay insignificant debts4 ,it is a sordid story of a struggle to obtain the barest necessities of existence4 ,these wretched years proved a bitter chastening of the spirit to proud and refined natures4 ,tragedy and comedy were intermixed4 ,glimpses of hope and comfort appeared from time to time as some fresh buyer appeared on the scene4 ,but these welcome callers were not frequent1 and the rifts of sunshine through the grey clouds were1 as a rule1 transitory4 ,the artists did not over-value their works4 ,they were able to live in tranquillity if their pictures fetched prices ranging from #b to #d4 ,to sell a canvas at #h was an event1 and #bj was a figure absolutely unheard of4 ,a letter from ,manet1 a comparatively rich man with an independent income1 to ,thodore ,duret1 the critic1 gives a vivid insight into the situation in #ahge4 ,manet had recently visited ,claude ,monet at ,argenteuil4 8,dear ,duret10 he writes1 8,i went to see ,monet yesterday4 ,i found him altogether #8hard up4' ,he asked me if ,i knew of a purchaser for ten or twenty of his pictures at #d each4 ,shall we take it on8 ,i thought of a dealer1 or of an amateur1 but there ,i foresee the possibility of refusals4 ,it is unfortunate that it is only connoisseurs1 like ourselves1 who can at the same time--in spite of all the repugnance we may feel over it--make an excellent bargain and help a man of such talent4 ,answer as quickly as possible or make an appointment with me4 ,amitis1 ,edouard ,manet40 ,this is good proof1 if proof were needed1 of the straits to which one of the leaders of the group was reduced4 ,it is also odd to note that ,manet was afraid of a refusal1 from both dealers and collectors1 to the offer of such a bargain as a score of works by ,claude ,monet at #d apiece4 ,the letter also proves that those professional dealers who had hitherto supported the ,impressionists were at the end of their resources1 notably ,m4 ,durand-,ruel4 ,this celebrated dealer and collector had brought himself to the verge of bankruptcy through a too generous investment in ,impressionist work4 ,he was gradually ostracised by brother dealers1 buyers1 and art critics4 ,he was regarded in much the same light as the artists themselves1 considered to have lost his mental balance and also his acumen as a man of business4 ,certainly he speculated upon a large scale4 ,in ,january #ahgb1 having previously bought two studies1 ,m4 ,durand-,ruel called upon ,manet at his studio and bought on the spot twenty-eight canvases for the sum of #ch1fjj francs 7#aedd74 ,the whole ,impressionist camp went wild with joy under the mistaken idea that their millennium had arrived4 ,they had many years to wait4 ,both the pictures and the capital were locked up for a considerable time4 ,the public had yet to be educated1 and the few amateurs who bought ,impressionist work could select examples in abundance from the artists' easels4 ,it is to the credit of the group that they followed their ideals and refused many temptations4 ,several of them1 ,monet in particular1 were admirable portraitists1 and could easily have gained a very respectable living from that branch of art4 ,a writer in one of the ,french art reviews asserts that ,claude ,monet's ,femme la ,robe ,verte was the finest painting in the ,salon of #ahff4 ,only men who have passed through such experiences can appreciate at its true value the heroic courage1 faith1 and self-confidence required during such a trial4 ,illustration3 ,,fair ,,anglers ,,georges ,d',,espagnat ,the ordeal was long and severe4 ,it included public disdain and private poverty4 ,the movement did not1 however1 remain stationary4 ,in #ahgd a small exhibition was organised1 and held1 from ,april #ae to ,may #ae1 at the galleries of ,m4 ,nadar1 #ce ,boulevard des ,capucines4 ,this little salon1 entitled 8,l',exposition des ,impressionistes10 has become historic4 ,the list of exhibitors included the following3 ,astruc1 ,attendu1 ,bliard1 ,boudin1 ,bracquemond1 ,brandon1 ,bureau1 ,cals1 ,czanne1 ,gustave ,colin1 ,debras1 ,degas1 ,guillaumin1 ,latouche1 ,lepic1 ,lpine1 ,levert1 ,meyer1 de ,molins1 ,monet1 ,berthe ,morisot1 ,mulot-,durivage1 de ,nittis1 ,auguste ,ottin1 ,lon ,ottin1 ,pissarro1 ,renoir1 ,rouart1 ,robert1 ,sisley4 ,from every point of view1 except that of art1 the exhibition was a failure4 ,the press attacked it with exceptional virulence1 the public kept away4 ,the artists were lampooned in idiotic cartoons1 and branded as traitors who were disloyal to the artistic traditions of their country4 ,the public sales at the ,htel ,drouot were disastrous4 ,in ,march #ahge1 excellent examples of ,claude ,monet were sold at prices varying between #f and #ac4 ,pictures by ,mlle4 ,berthe ,morisot fetched from #c to #ai1 and by ,sisley from #b to #ab4 ,renoir was the most unfortunate4 ,out of twenty paintings1 ten did not reach #d each4 ,not one sold for more than #ab4 ,illustration3 ,,fishing ,,near ,,paris ,,lepine ,the particulars of the following exhibitions and sales are fully detailed by ,m4 ,gustave ,geffroy in his 8,vie ,artistique40 ,the second exhibition was held at the house of ,m4 ,durand-,ruel in ,april #ahgf4 ,the participators were ,bliard1 ,legros1 ,pissarro1 ,bureau1 ,lepic1 ,renoir1 ,caillebotte1 ,levert1 ,rouart1 ,cals1 ,j4-,b4 ,millet1 ,sisley1 ,degas1 ,claude ,monet1 ,tillot1 ,desboutin1 ,berthe ,morisot1 ,jacques ,franois1 and the younger ,ottin4 ,in #ahgg a sale was held1 but prices showed little improvement4 ,an exhibition had been held a month previously1 the exhibitors being ,caillebotte1 ,cals1 ,czanne1 ,cordey1 ,degas1 ,guillaumin1 ,franois1 ,lamy1 ,levert1 ,maureau1 ,monet1 ,berthe ,morisot1 ,piette1 ,pissarro1 ,renoir1 ,rouart1 ,sisley1 and ,tillot4 ,these lists are exceedingly interesting1 as they show year by year the composition of the group4 ,in succeeding years fresh names appeared4 ,in #ahgi1 at the ,spring ,exhibition in the ,avenue de l',opra1 the catalogue included ,bracquemond1 ,marie ,bracquemond1 ,caillebotte1 ,cals1 ,mary ,cassatt1 ,degas1 ,forain1 ,lebourg1 ,monet1 ,pissarro1 ,rouart1 ,somm1 ,tillot1 and ,zandomeneghi4 ,in #ahhj1 at the gallery in the ,rue des ,pyramides1 the same names appeared1 together with ,j4 ,f4 ,raffalli1 ,j4 ,m4 ,raffalli1 ,vidal1 and ,vignon4 ,claude ,monet does not appear to have sent any works1 probably because of his 8one-man show0 at 8,la ,vie ,moderne0 gallery4 ,in ,april #ahha1 the annual collection began to decline in numbers1 canvases being sent by ,mary ,cassatt1 ,berthe ,morisot1 ,degas1 ,forain1 ,gauguin1 ,guillaumin1 ,pissarro1 ,raffalli1 ,rouart1 ,tillot1 ,vidal1 ,vignon1 and ,zandomeneghi4 ,in the following year 7at the ,rue ,saint-,honor7 the number was still less1 ,caillebotte1 ,gauguin1 ,guillaumin1 ,monet1 ,berthe ,morisot1 ,pissarro1 ,renoir1 ,sisley1 and ,vignon4 ,practically the last collective exhibition was held in #ahhf1 the catalogue consisting of works by ,degas1 ,berthe ,morisot1 ,gauguin1 ,guillaumin1 ,zandomeneghi1 ,forain1 ,mary ,cassatt1 ,odilon ,redon1 ,camille ,pissarro1 ,seurat1 ,signac1 and ,lucien ,pissarro4 ,m4 ,geffroy refers to these exhibitions as battle-fields4 ,campaigns cannot last for ever1 and victory had at last crowned the ,impressionists4 ,to-day these artists are honoured and decorated1 their works hang in public galleries over the whole world4 ,it may be said that we are all ,impressionists now4 ,certainly of the students it is true1 for ninety per cent4 of those who take up landscape painting follow with admiration the paths of the ,impressionists4 ,a glance through the annual salons1 either in ,europe or ,america1 fully proves the assertion4 ,before many years have elapsed1 even in ,england1 one will find this the case4 ,the difficulty of ,hanging ,committees will be1 not to hide away ,impressionist work to the least damage of its surroundings1 but to hang the anecdotal1 moral1 and all canvases of like genre1 in such obscure corners as will give the least offence to their moribund and conservative creators4 ,illustration ---------------------------------------- -------------------------------- ,illustration3 ,,the ,,picnic ,,claude ,,monet ,,chapter ,v ,,claude ,,monet 8,s,,rement ,,cet ,,homme ,a ,v,,cu1 ,,et ,,le ,d,,mon ,,de ,l',,art ,,habite ,,en ,,lui0 ,,gustave ,,geffroy ,,claude ,,monet is one of the few fortunate painters whose fame is not posthumous1 and whose material recompense runs parallel with the merit of their production4 ,he1 above all others1 has lifted the ,school of ,impressionism in ,france from the derision and disrepute which greeted its inception some thirty years ago1 and to him is due the honour of making it one of the most prominent of latter-day art movements4 ,the present generation witnesses the triumph of a remarkable revolution1 and the success of a group of painters1 of which ,monet was head1 after years of acrimonious struggle against a world of prejudice and disdain4 ,claiming a right to exercise their art as they thought fit1 aided by a mere handful of far-sighted critics and patrons1 for thirty years they patiently endured public obloquy4 ,now the ,luxembourg ,gallery enlarges its space to receive their works1 and before long they will be represented side by side with the masters of the ,louvre4 ,appreciation is the order of the day1 and millionaires compete for their canvases4 ,the life-history of ,claude ,monet is inseparably connected with the story of ,impressionism in ,france4 ,as a leader of the little group any record of the subject must largely consider his part in the result4 ,it is remarkable that a man of such talent should remain comparatively unknown in ,england1 considering that another portion of the ,anglo-,saxon world has always generously encouraged him4 ,for the past twenty years a large proportion of his works has gone to the ,united ,states4 ,the ,english nation will have to pay dearly in the future for its present neglect of modern ,french art4 ,at the present moment there is not a single specimen of the work of ,monet on exhibition in any ,english public art gallery4 ,claude ,monet was born in ,paris on ,november #ad1 #ahdj4 ,son of a wealthy merchant of ,havre1 his inclinations towards art were soon shown1 and these tendencies1 as usual1 discouraged at home4 ,no member of the family had any artistic gifts1 and1 as in the case of ,edouard ,manet1 the youth was sent on a foreign tour4 ,his school work was spasmodic and irregular1 and he devoted much of his time at ,havre to caricature and the company of ,boudin the painter4 ,when remonstrated with his reply was the historic1 8,i would like to paint as a bird sings40 ,after two years of military service with the ,chasseurs d',afrique in ,algeria1 ,monet caught fever1 and returned home4 ,he then entered the ,atlier ,gleyre1 and remained in ,paris4 ,of personal history there is little to relate4 ,he is a man of high purpose1 greatly talented1 excessively active and self-reliant1 who has not faltered once from the path of his ideals4 ,his adventures have been those usual to the profession of a landscape-painter4 ,he has suffered from fever and rheumatism1 the results of working near mosquito-haunted marshes1 in drenching rain1 or in damp grass4 ,the occupation is peaceful enough1 the diseases named are of everyday occurrence1 yet they exert a powerful influence upon the life of a man for ever engaged with brain and eye1 with nerves strung to the most intense pitch4 ,his early struggles were the ordinary struggles of nine-tenths of those votaries who worship at the shrines of ,art4 ,claude ,monet has drunk deeply of the bitterness of life4 ,he has endured privations and disappointments which have brought him almost to the depths of despair4 ,he has survived only through his indomitable pluck4 8,one must have the strength for such a fight10 says ,monet1 with the assurance born of experience1 when recounting the history of those troublous days4 ,he is fortunately most generously endowed with the attributes peculiar to the true artistic temperament--those exquisite dreams and reveries which are at once a solace1 a pleasure1 and a sustaining impetus4 ,truly was ,baudelaire justified in writing3 8,nations have great men in spite of themselves1 and so have families4 ,they do their best not to have any1 so that the great man1 in order to exist1 must needs possess a power of attack greater than the force of resistance developed by millions of individuals40 ,it has long been granted1 even by the bitterest of his opponents1 that ,monet possesses a few at least of the attributes of genius--the capacity for turning out large quantities of work1 an almost unparalleled fertility of invention1 imagination1 and originality1 and above all that priceless gift to the artist--the supreme power of creation4 ,moreover1 he is ever keen and restless in search of the new and unexplored1 for ever mistrusting the value of his own productions4 ,illustration3 ,,claude ,,monet ,illustration3 ,a ,,study ,,claude ,,monet ,never has he been influenced strongly enough to waver in the pursuit of his ideals1 either through the gibes of the critics or the lack of appreciation on the part of the public4 ,his work is large and simple in character2 his colour vigorous to the utmost capacity of the prismatic tints1 bearing the impress of a passionate1 violent1 and highly sensitive artistic individuality4 ,monet is a lyrical poet1 singing the joy of life and nature4 ,the decadence of modern ,france in literary circles finds no reflection on his canvas4 ,strongly opposed by personal temperament to the ugly and morbid1 he allows his brush to touch no subject at all allied to such themes4 ,in every picture he paints we seem to hear ,pippa singing3 8,the year's at the ,spring1 ,and day's at the morn2 ,morning's at seven2 ,the hill-side's dew-pearled2 ,the lark's on the wing2 ,the snail's on the thorn3 ,god's in ,his heaven ,all's right with the world60 ,a happy serenity is his great charm1 and it has been arrived at by temperament1 not by training4 ,at the beginning of the ,impressionist movement the nightly meetings at the ,caf ,guerbois became the centre of a small band of innovators and iconoclasts1 attracted by the sympathy of a common aim1 the necessity of mutual encouragement1 and the prescience of the evolution of a new idea4 ,the first public exhibition of the works of these painters was held in the spring of #ahgd at ,nadar's1 in the ,boulevard des ,capucines4 ,it created an uproar in the art world1 which culminated in several scenes of personal violence between over-excited critics4 ,other exhibitions1 chiefly devoted to the works of ,claude ,monet1 may be roughly summarised as follows3 one in #ahgf2 at the galleries of ,m4 ,durand-,ruel in #ahgg2 in #ahhj at the offices of 8,la ,vie ,moderne10 ,boulevard des ,italiens2 in #ahhi in conjunction with ,rodin at the gallery of ,m4 ,georges ,petit4 ,monet exhibited at the ,salon for the first time in #ahfe4 ,the two marine pieces drew from ,edouard ,manet the remark1 8,who is this ,monet1 who looks as if he had taken my name1 and happens thus to profit by the noise ,i make80 ,he exhibited for the last time in #ahhj4 ,in #ahhb he forwarded ,glaons sur la ,seine1 a remarkably beautiful conception of an illusory effect1 the rejection of which finally ended all relations between the artist and a too conservative body4 ,with the exception of a semi-private show at ,dowdeswell's of ,bond ,street in #ahhc1 ,monet made his dbut in ,england at the ,winter ,exhibition of #ahhh of the ,royal ,society of ,british ,artists1 then under the presidency of ,mr4 ,whistler4 ,that careful critic1 ,mr4 ,h4 ,m4 ,spielman1 of the 8,magazine of ,art10 wrote the following lines in his journal3 8,he who contemplates these distinctive pieces of arch-impressionism1 without prejudice1 without #8arrire pense1' must own that for strength and brilliancy of general tone and for decorative effect1 they have few1 if any1 equals40 ,monet has never been seen at his best in ,england2 indeed1 the same may be said of all the members of the ,impressionist group4 ,owing to the ready market for their work in ,france and ,america1 it is rarely that the dealers are able to attract across the ,channel any but second-rate canvases4 ,isolated works have been shown at the ,boussod ,vallodon galleries1 the ,new ,english ,art ,club1 the ,international ,society's ,exhibition at ,knightsbridge1 and a miscellaneous collection on view at the ,hanover ,gallery1 ,bond ,street1 in #aija4 ,the standard of the latter was not high1 and the result disappointing to all parties4 ,a representative exhibition remains to be held4 ,no other country but ,france can boast of landscape so varied1 so picturesque1 and so atmospherically suited to the ,impressionist4 ,the principal scenes of ,monet's labours have been ,havre1 ,belle-,isle-en-,mer1 the ,riviera1 ,la ,creuse1 ,la ,manche1 with ,giverny and the ,seine valley in particular4 ,short visits have been devoted to ,england1 ,norway1 and ,holland2 but the first-named localities have seen the production of the famous series known under the titles of ,les ,meules1 ,peupliers au bord de l',ept1 ,glaons sur la ,seine1 ,matins sur la ,seine1 ,a ,argenteuil1 ,belle ,isle1 ,bordighera1 ,antibes1 ,champs des ,tulipes1 and ,les ,cathdrales4 ,there is also a series of paintings of the artist's ,japanese water-garden at ,giverny1 and yet another series dealing with ,london under different atmospheric aspects4 ,claude ,monet is enthusiastically in love with ,london from the painter's point of view4 ,from the balconies of the ,savoy ,hotel the ,french master has watched the tidal ebb and flow of the great grey river1 with its squalid southern banks shrouded day by day in white mist and brown smoke1 the warehouses and chimneys coated in a veil of soot1 the legacy of ages4 ,the autumnal fogs1 which harmonise discordant tones1 round off harsh outlines1 cloak the ugly and create the beautiful1 are to the foreigner ,london's greatest charm1 although to the inhabitant they are a deadly infliction4 ,illustration3 ,,la ,,grenouill,,re ,,claude ,,monet ,no writer ever expressed this fascination more eloquently than the 8,wizard of the ,butterfly ,mark10 who wrote3 8,and when the evening mist clothes the riverside world with poetry1 as with a veil1 and the poor buildings lose themselves in the dim sky1 and the tall chimneys become campanili1 and the warehouses are palaces in the night1 and the whole city hangs in the heavens and fairyland is before us--then the wayfarer hastens home2 the working man and the cultured one1 the wise man and the one of pleasure1 cease to understand1 as they have ceased to see2 and ,nature1 who1 for once has sung in tune1 sings her exquisite song to the artist alone1 her son and her master--her son in that he loves her1 her master in that he knows her40 ,with these thoughts ,claude ,monet is in perfect agreement4 ,he is amazed at the apathy and indifference of ,british artists1 blinded no doubt by familiarity1 in allowing so fertile a field of labour to remain comparatively unexplored1 not only with regard to the river scenes1 but to the ,metropolis as a whole4 ,whistler was fascinated1 so was ,bastien-,lepage1 so is ,claude ,monet2 but the ,englishman remains unmoved4 ,a chapter could be written upon the artist possibilities of the city1 and the fringe of the subject would have been then but touched4 ,where1 asks ,monet1 can more soul-inspiring subjects for the brush be found than in the ,strand from morning to night1 in the movement of ,piccadilly1 in the evening colour of ,leicester ,square1 the classic sweep and brilliancy of ,regent ,street1 the bustle of the great railway termini1 the dignity of ,pall ,mall and the sylvan glades of ,kensington8 ,they offer themes in such variety that the devotion of a lifetime would not give adequate realisation4 ,it was during his visit to ,london with ,pissarro and other painters in #ahgj that ,monet carried an introduction from ,daubigny which led to his acquaintance with ,m4 ,durand-,ruel1 expert connoisseur and most celebrated of all the ,parisian art dealers4 ,it proved to be the commencement of a life-long friendship1 and established business relations which meant the actual necessities of existence1 bread and butter itself1 to the struggling ,impressionists4 ,during this visit1 which had such auspicious results1 ,monet studied with profound admiration the canvases of ,turner in the ,national ,gallery1 and he was also able to increase very largely his knowledge of the art of ,japan4 ,in surveying as a whole the work of the last thirty years we can arrive at but a single conclusion--,claude ,monet will rank as one of the world's greatest landscapists1 the one who1 above all others1 has revealed the transcendent beauty of atmospheric effect in its rarest moods1 in its most varied manifestations1 in rocks1 skies1 trees1 seas1 architecture1 fogs1 snows1 even in crowded streets and moving trains4 ,and ,monet is not pre-eminent as a painter of easel-pictures alone4 ,in the unique decorations of ,m4 ,durand-,ruel's private apartment1 rooms which constitute the most admirable museum of contemporary painting to be found in ,france1 are realistic paintings of different forms of still-life1 which fully vindicate his supreme mastership4 ,little space can be devoted in these pages to an extended notice of individual canvases1 for the output 7to use a somewhat commercial term7 of ,claude ,monet has been exceptionally large4 ,where the whole is of such excellence it is difficult to select the masterpiece upon which can be staked not only the artist's reputation but the verdict of the future upon the entire movement4 ,personally one may say that the ,giverny work is the most triumphant exposition of the methods of ,impressionism4 ,if the series known as ,les ,cathdrales be added1 one may safely challenge the most critical4 ,it is natural that ,giverny should inspire the finest harvest1 for1 after years of experimental residence1 it is here that ,monet finally settled in #ahhc4 ,the dominant note in the ,giverny paintings is one of joy in the beauty of life and nature4 ,they are the works of an inspired genius1 who never forgets that ,beauty is the mission of ,art4 ,les ,meules or ,the ,haystacks1 exhibited for the first time at the ,durand-,ruel galleries in ,may #ahia1 are impressions of a simple and homely subject--two haystacks in a neighbour's field1 standing out in relief against the distant hillside4 ,these twenty canvases1 the fruits of a year's labour1 are as novel in conception as unapproachable in style4 ,the artist watched and painted the haystacks in the making1 followed and noted the atmospheric effects upon them at every different hour of the day1 at every changing season4 ,he portrays them covered with the pearls of dew1 baked by the sun1 lost in the fog1 rimed with early frosts1 and covered in snow4 ,each picture is a masterpiece of beauty1 truth and form4 ,the influence of such creations is world-wide4 ,the annual ,salon in ,paris demonstrates what a power ,monet has become in the land4 ,almost to a man the younger painters are ,impressionistic1 whilst not a few of the old generation have revised their methods4 ,illustration3 ,,the ,,beach ,,at ,,tretat ,,claude ,,monet ,soon after ,les ,meules came ,les ,peupliers1 exhibited in ,march #ahib4 ,the ,haystacks were a recital of history during the four seasons2 the ,poplars show us their differing aspects under the changing atmosphere of a single day4 ,again the subject is of the simplest4 ,seven great ,normandy poplars are reflected in the sluggish waters of a rivulet slowly running through marshy ground4 ,the continuation of the long column of these graceful trees1 ever diminishing1 is lost in the distance1 marking the sinuous course of the stream4 ,the gracefulness of the subject gives it a nobility of effect4 ,the landscapes are poems4 ,in some of the canvases the master has depicted the dim light of early morn1 through which can be seen nebulous tree-trunks1 leaves and grass1 dank and obscure4 ,upon the water floats a chill blue mist1 broken here and there with the gold rays of the rising sun4 ,in another canvas the mists have cleared away1 morning appears in its superb glory1 each dewdrop is a sparkling diamond1 each leaf a shimmering gem4 ,the stream throws out a sheen of gold and silver1 and the whole picture is flooded with a roseate hue4 ,then comes mid-noon4 ,the blue dome of the unclouded sky is reflected in a deeper tint across the still water4 ,the trees are dusty1 lifeless1 almost colourless4 ,the atmosphere vibrates in an intense silent heat4 ,nature is taking her siesta1 8,for now the mid-day quiet holds the hill3 ,the grasshopper is silent in the grass2 ,the lizard1 with his shadow on the stone1 ,rests like a shadow1 and the winds are dead2 ,the purple flower droops3 the golden bee ,is lily-cradled44440 ,in the last canvas night is shown falling gently upon the land1 obscuring1 with a veil of rich and sombre colour1 trees1 foliage1 stream4 ,the landscape is lost in sleep4 ,from the photographs1 reproduced by the courtesy of ,m4 ,claude ,monet1 ,m4 ,durand-,ruel1 ,m4 ,paul ,chevallier1 and ,m4 ,georges ,petit1 little idea can be gathered of the extreme beauty of the originals4 ,the colour and technique of ,impressionist pictures seem unfortunately to be insuperable barriers to their reproduction in monochrome4 ,upon this account it has been thought inadvisable to publish reproductions of any of the ,haystack or ,cathedral series4 ,monet's marine pictures are marvellous4 ,in them he depicts throbbing1 swelling1 sighing sea1 the trickling rills of water that follow a retreating wave1 the glass-like hues of the deep ocean1 and the violet transparencies of the shallow inlets over sand4 ,monet is the greatest living painter of water4 ,witness the ,matins sur la ,seine1 views painted from the river bank1 from the artist's houseboat1 anchored in mid-stream1 and on the various islands of the backwaters between ,vtheuil and ,vernon4 ,the handling is free1 loose1 and masterly4 ,never has art expressed1 through the hands of a craftsman1 anything finer or more virile2 never were ideas more frankly expressed1 more freshly and more brilliantly executed4 ,of the last exhibited group of 8effects10 the series known as ,les ,cathdrales of ,rouen1 exhibited at the ,durand-,ruel gallery in the spring of #ahie1 ,monet writes in a personal note to the author3 8,i painted them1 in great discomfort1 looking out of a shop window opposite the ,cathedral4 ,so there is nothing interesting to tell you except the immense difficulty of the task1 which took me three years to accomplish40 ,despite the immense difficulties involved in their production1 ,monet considers them to be his finest works4 ,on the other hand1 they are the works least understood by the public4 ,the series consists of twenty-five huge canvases1 a feat requiring considerable physical endurance and indomitable perseverance4 ,each canvas demonstrates the fact that the painter possesses eyes marvellously sensitive to the most subtle modulations of light1 and capable of the acutest analysis of luminous phenomena4 ,the faade of the ancient ,norman fane is depicted rather by the varying atmospheric effects dissolved in their relative values1 than by any actual draughtsmanship of correct architectural lines4 ,it is very regrettable that the series was not purchased 8en bloc0 for the ,french nation4 ,the opportunity has been lost4 ,the canvases realised enormous prices1 and are now scattered over two continents4 ,in years to come visitors to ,rouen will be shown with pride the little curiosity shop 8,au ,caprice0 on the south-west side of the 8,place10 from the windows of which ,claude ,monet evolved these world-famous paintings of ,rouen ,cathedral4 ,the attitude of the press and the public in face of this glorious manifestation of a newly-created art has been1 as usual1 distinctly and actively antagonistic4 ,animosity has been pushed so far as to include threats of personal violence to the innovator1 and of injury to the offending canvases4 ,it is difficult to believe such stories amidst the recent pans of praise and adulation4 ,but the contemporary press of the period will prove to be a curious study in the hands of some careful historian of a future age4 ,readers of the 8,figaro10 it may be mentioned1 discontinued their subscriptions and advertisements because the band of 8lunatic visionaries0 were so much as mentioned in its orthodox columns4 ,dealers required courage in exposing for sale the 8aberrations of disordered imaginations40 ,history monotonously repeats itself4 ,a genius generally goes down broken-hearted to his grave before the world awakes to the value of his creations4 ,illustration3 ,,morning ,,on ,,the ,,seine ,,claude ,,monet ,illustration3 ,,argenteuil ,,claude ,,monet ,paris1 8la ville luminaire10 the birthplace of so many revolutions1 both artistic and political1 has almost invariably been hostile to any new spirit in ,art4 ,from memory one can cite many instances4 ,in #ahcc1 ,parisians assembled that they might jeer and throw mud at ,baryes's ,le ,lion1 a masterpiece now in the ,jardin d',acclimatation4 ,rude's great bas-relief1 ,dpart des ,volontaires de la ,rpublique1 decorating one of the pillars of the ,arc de ,triomphe1 met with a similar reception4 ,in #ahdd1 the exquisite paintings of ,eugene ,delacroix1 now in the ,louvre1 were greeted with a storm of ridicule4 ,carpeaux's group of sculpture ,la ,danse1 ornamenting the faade of the ,opera1 was bombarded nightly with ink-pots1 and the sculptor was broken-hearted when compelled to polish the figures of his magnificent ,fontaine des ,heures facing the ,observatory4 ,millet and the ,barbizon group had small thanks to return for their reception4 ,the frescoes of ,puvis de ,chavannes in the ,panthon1 the ,sorbonne1 and the ,luxembourg had to be guarded against the risk of damage from an ignorant and exasperated public4 ,the vituperation which assailed ,rodin upon the completion of his statue of ,balzac is quite recent1 and cannot be forgotten4 ,claude ,monet has passed through like storms4 ,edouard ,manet fell a victim to the fury of the attack4 ,his physique was not strong enough to resist the continual warfare4 ,but ,monet is of stouter calibre1 and has lived to see the triumph of his principles1 although he has learnt to value much of the praise1 nowadays lavished upon him1 at its true worth4 ,monet is seen in his most genial moods when1 with cigar for company1 he strolls through his 8proprit0 at ,giverny1 discussing the grafting of plants and other agricultural mysteries with his numerous blue-bloused and sabotted gardeners4 ,he settled with his family at ,giverny in #ahhc2 and ,stephen ,mallarm1 his old friend the poet1 has given us the address for his letters3 8,monsieur ,monet1 que l'hiver ni ,l't sa vision ne leurre1 ,habite en peignant1 ,giverny1 ,sis auprs de ,vernon1 dans l',eure40 ,he is now sixty-two years of age1 in the prime of his powers1 active and dauntless as ever4 ,each line of his sturdy figure1 each flash from his keen blue eyes1 betokens the giant within4 ,he is one of those men who1 through dogged perseverance and strength1 would succeed in any branch of activity4 ,dressed in a soft khaki felt hat and jacket1 lavender-coloured silk shirt open at the neck1 drab trousers tapering to the ankles and there secured by big horn buttons1 a short pair of cowhide boots1 his appearance is at once practical and quaint1 with a decided sense of smartness pervading the whole4 ,monet has the reputation of being surly and reserved with strangers4 ,if true1 this manner must have been assumed to repel those unwelcome visitors who1 out of thoughtless curiosity1 invade his privacy to the waste of valuable time and the gradual irritation of a most sensitive nature4 ,determination is the keynote of ,monet's character1 as the following anecdote 7told me on the spot by the poet ,rollinat7 shows4 ,in the spring of #ahib the artist was busily occupied painting in the neighbourhood of ,fresselines1 a wild and picturesque region of precipitous cliffs and huge boulders in the valleys of the ,creuse and ,petit ,creuse4 ,a huge oak-tree1 standing out in bold relief against the ruddy cliffs1 was occupying ,monet's whole attention4 ,studies of it were taken at every possible angle1 in every varying atmosphere of the day4 ,bad weather intervened1 wet and foggy1 and operations were suspended for three weeks4 ,when ,monet set up his easel again the tree was in full bud1 and completely metamorphosed4 ,an average painter would have quitted the spot in disgust4 ,not so ,monet4 ,without hesitation he called out the whole village1 made the carpenter foreman1 and gave imperative orders that not a single leaf was to be visible by the same hour on the following morning4 ,the work was accomplished1 and next day ,monet was able to continue work upon his canvases4 ,one admires the painter1 and feels sorry for the unhappy tree4 ,after painting1 ,monet's chief recreation is gardening4 ,in his domain at ,giverny1 and in his ,japanese water-garden across the road and railway 7which to his lasting sorrow cuts his little world in twain71 each season of the year brings its appointed and distinguishing colour scheme4 ,nowhere else can be found such a prodigal display of rare and marvellously beautiful colour effects1 arranged from flowering plants gathered together without regard to expense from every quarter of the globe4 ,like the majority of ,impressionists1 ,monet is most pleased with schemes of yellow and blue1 the gold and sapphire of an artist's dreams4 ,illustration3 ,a ,,river ,,scene ,,claude ,,monet ,in the neighbouring fields are hundreds of poplars standing in long regimental lines4 ,these trees1 which inspired ,les ,peupliers1 were bought by ,monet to avoid the wholesale destruction which threatened every tree in the ,seine valley a few years ago4 ,the building authorities of the ,paris ,exhibition required materials for palisading1 and thousands of trees were ruthlessly felled to make a cosmopolitan holiday4 ,illustration3 ,a ,,lady ,,in ,,her ,,garden ,,claude ,,monet ,in the distance are the mills1 subjects of the master's admiration and reproduction1 yearly copied by the scores of students and amateurs who1 year by year1 during the summer1 journey through this delightful country4 ,in the peace of ,giverny we leave the great painter4 ,he is one of the few original members of the ,impressionist group who has lived to see the almost complete reversal of the hostile judgment passed upon his canvases by an ill-educated public4 ,now he is able to enjoy not only the satisfaction of having his principles acknowledged1 but also the receipt of the material fruits of a world-wide renown4 ,not often do pioneers succeed so thoroughly4 ,success in the sale-room is not always the same thing as artistic success1 but some information as to the prices ,monet now commands may prove of value4 ,the ,new ,york ,herald1 referring to the well-known ,chocquet auction1 says3 8,it will be observed that the works by ,monet are sought after and purchased at high prices1 which are moreover justified by collectors as well as by dealers40 ,at the present moment a small example 7about #bf in4 by #cb in47 can be had for any price from four hundred guineas upwards4 ,after the ,chocquet sale1 dealers of all nationalities flocked down to ,giverny4 ,two series of impressions1 entitled ,water ,lilies and ,green ,bridges1 were carried off1 and the art public were deprived of seeing them exhibited as a whole1 their creator's original intention4 ,the dealers were ready to buy every canvas ,monet had in his studio1 even down to the numerous studies he had condemned4 ,needless to say that with regard to the latter they were disappointed1 and the destroying fires will still claim their own4 ,in discussing with the writer this sudden and extraordinary popularity1 ,monet remarked3 8,yes1 my friend1 to-day ,i cannot paint enough1 and make probably fifteen thousand pounds a year2 twenty years ago ,i was starving40 ,only artists can fully appreciate the philosophy of this short sentence4 ,the principal private collectors of ,monet's work are1 in ,paris1 ,m4 ,durand-,ruel1 ,count ,camondo1 ,m4 ,faure1 ,m4 ,dearp1 ,m4 ,pellerin1 ,m4 ,gallimard1 and ,m4 ,brard4 ,in ,rouen1 ,m4 ,depeaux4 ,in the ,united ,states1 ,messrs4 ,c4 ,lambert ,paterson and ,potter ,palmer of ,chicago1 ,frank ,thompson of ,philadelphia1 ,a4 ,a4 ,pape of ,cleveland1 and ,h4 ,o4 ,havemeyer of ,new ,york4 ,all these rich collections of modern art are most generously thrown open to the inspection and enjoyment of students and lovers of art4 ,claude ,monet is in the possession of undiminished vigour1 and the list of his works will yet receive the names of many fresh triumphs4 ,a life of strenuous labour1 unflagging perseverance in the pursuit of a high ideal from which he has never flinched1 the production of a long series of magnificent canvases--these great qualities of true and inspired genius merit and receive our deepest admiration1 our most sincere and genuine homage4 ,illustration ,illustration3 ,,interior--,,after ,,dinner ,,claude ,,monet ---------------------------------------- -------------------------------- ,illustration3 ,,church ,,of ,,st4 ,,jacques1 ,,dieppe ,,camille ,,pissarro ,,chapter ,,vi ,,pissarro1 ,,renoir1 ,,sisley 8,,je ,,crois ,,qu',,il ,n',y ,,aura ,,rien ,,de ,,plus ,,triste ,,raconter ,,dans ,l',,histoire ,,de ,l',,art1 ,,que ,,la ,,longue ,,pers,,cution ,,inflig,e ,,aux ,,artistes ,,vraiment ,,originaux ,,et ,,cr,,ateurs ,,de ,,ce ,,si,,cle0 ,,th,,odore ,,duret ,,the artists who accepted originally the title of ,impressionists numbered about fifty in all1 and a complete list of their names can be found in the catalogues of the eight exhibitions held between #ahgd and #ahhf4 ,there were never more than a dozen active members4 ,twenty-six 7including ,boudin and ,signac7 exhibited but once1 and ten were represented in two collections only4 ,pissarro was the single painter who contributed to the whole series1 ,degas and ,berthe ,morisot forwarding examples during seven years4 ,of the remainder1 ,rouart and ,guillaumin were catalogued in six exhibitions2 ,caillebotte1 ,monet1 and ,tillot1 in five2 ,cals1 ,mary ,cassatt1 ,forain1 ,gauguin1 ,renoir1 ,sisley1 and ,zandomeneghi1 in four4 ,these artists were the original members of the group until it dispersed about #ahhf4 ,it will be noted that ,camille ,pissarro exhibited eight times1 and the fact is characteristic of an artist who was famous for his large output4 ,on the eve of the publication of this volume comes the sad intelligence of the death of one of the most gifted members of the early ,impressionist group in ,france4 ,the loss of ,camille ,pissarro is a severe blow to the art he loved so well1 and it has formed the subject of general regret4 ,born in #ahcj at ,st4 ,thomas1 in the ,antilles1 son of a well-to-do trader of ,jewish descent1 ,pissarro at an early age showed signs of artistic promise4 ,in #ahcg his parents moved to ,europe1 and his precocious talent was noticed by the ,danish painter ,melbye1 who took the boy into his atelier as a pupil4 ,in #ahei ,pissarro exhibited for the first time at the ,salon1 and1 by all accounts1 his picture was successfully received4 ,after passing through several varying phases of artistic evolution the young painter became an avowed ,impressionist4 ,camille ,pissarro's career can be divided into no less than four different periods1 his temperament being curiously influenced at times by novel technical ideas4 ,at first he was a victim to ,corot's magic art1 and ,pissarro worked by the side of that master in the woods of ,ville d',avray4 ,the young painter's methods were those fashionable amongst such men as ,courbet1 ,manet1 and ,sisley4 ,he worked upon immense canvases1 and some of the productions of this period are almost classic in style and quality of technique4 ,then he came under the influence of another great master1 ,jean-,franois ,millet1 whose methods he copied most faithfully4 ,following the example of ,millet1 ,pissarro went to live in the solitude of plains and woods1 painting the peasant life and landscape around him1 and gradually gaining a considerable reputation4 ,he sought to reproduce nature in art in much the same spirit as ,virgil reproduced nature in poetry4 ,his point of view was more that of an idealist than a realist1 and his sympathies were clearly with the ,fontainebleau school4 ,had there been no ,monet we may feel sure that ,pissarro would have ranked in history as one of the leaders of the ,barbizon men4 ,then blossomed the ,impressionist ,idea1 and ,pissarro's volatile imagination was fired4 ,the great war of #ahgj intervening1 ,pissarro fled from the terrors of the invasion1 visited ,london in company with ,monet1 and studied on the spot the masterpieces of ,turner1 ,constable1 the ,norwich painters1 ,watts1 and the great ,english portraitists4 ,he lodged in ,lower ,norwood1 and painted1 also with his friend ,monet1 in the parks and suburbs of the metropolis1 along the riverside1 and in the crowded picturesque streets of the ,city4 ,twelve years later1 after much brilliant practice of ,impressionism1 ,pissarro came under a new influence1 the effects of which were but momentary4 ,the hotly discussed idea known as ,pointillism1 originated by ,seurat and ,signac1 attracted ,pissarro1 and1 for a short time1 he joined the group of such restless innovators as ,angrand1 ,maurice ,denis1 and ,van ,rysselberghe4 ,illustration3 ,,camille ,,pissarro ,during a sketching tour in ,normandy in the summer of #aijc1 the writer unexpectedly discovered some of the latest work produced by ,pissarro4 ,these pictures had been painted in ,havre a few weeks previously1 and had been immediately acquired by the ,havre ,city ,council1 and placed on exhibition in the same gallery which contained the important collection of sketches by ,eugene ,boudin1 as well as a score of works by other artists of the ,impressionist group4 ,pissarro had represented the port of ,havre as seen from various 8coigns de vantage0 offered by neighbouring balconies4 ,the canvases are charged with life1 and are painted with a most unsuspected brilliance of colour and freshness of tone pitched in the highest possible key1 an effect to be found only in the pure sea-washed sunlit atmosphere of the morning4 ,in this work of his seventy-third year1 the veteran artist had never arrived at stronger1 happier1 and more distinguished results4 ,illustration3 ,,place ,,du ,,th,,tre ,,fran,,ais ,,camille ,,pissarro ,illustration3 ,,the ,,boulevard ,,montmartre3 ,a ,,winter ,,impression ,,camille ,,pissarro ,these canvases were extremely different in technique and effect from the drab landscapes ,pissarro painted with such a niggling touch during that period of his career prior to #ahhf4 ,the ,havre works prove that he possessed an acute colour sense1 and1 in conjunction with his inimitable ,parisian street scenes1 place him second only to ,manet and ,monet in the history of modern ,french art4 ,it is the opinion of many connoisseurs that ,pissarro's best work is comprised in the series of views 7painted from elevated points of view7 of the streets1 squares1 and railway stations1 of ,paris and ,rouen4 ,these vivid transcripts of modern town life form a remarkable monument of a long career of high resolve and incessant industry4 ,like that of ,monet and other ,impressionist artists1 ,pissarro's work now commands high prices1 which are steadily advancing4 ,shortly after his death a landscape entitled ,la ,cot ,sainte ,catherine ,rouen was sold by public auction for #aa1jjj francs1 an average present value for his canvases1 although not a record figure4 ,with the etching needle ,pissarro has done some particularly interesting work little known in ,england4 ,students of this fascinating medium should look through the ,rouen etchings1 a masterly little set4 ,camille ,pissarro was a man of commanding personality1 and his handsome features and long white beard gave him a patriarchal appearance4 ,of charming disposition1 with a mind of simple nobility1 an excellent raconteur of droll stories chiefly drawn from his own interesting experiences1 he will long be remembered as one of the most attractive of the great ,french artists of the nineteenth century4 ,he lived and worked1 as befitted a 8paysagist10 in the midst of a beautiful stretch of country at ,eragny1 outside ,gisors1 not far from ,monet's residence at ,giverny4 ,pissarro left a considerable amount of work behind1 paintings in oil and water-colour1 drawings in every medium1 etchings1 and lithographs4 ,his art may be summed up as powerful4 ,it possessed a healthy vitality and sentiment1 and these will assure a lasting respect and admiration for his name4 ,many of the foregoing remarks apply equally to ,pissarro's close comrade and friend1 ,renoir4 ,auguste ,renoir was born in #ahda1 and has always taken an important place in the ,impressionist movement4 ,his work forms an epitome of the whole school1 and perhaps it is for that very reason that the artist has not attained a higher popular appreciation4 ,during his forty years of continual labour he has produced landscapes1 seascapes1 large subject compositions1 studies of still-life1 portraits1 and exquisite nudes4 ,critics1 charged with enthusiasm1 have found in his canvases the finest traits of ,boucher1 ,fragonard1 ,greuze1 ,reynolds1 and ,hoppner4 ,renoir is above all the painter of women and children1 and his creations in this genre glow with the sure fire of genius4 ,he renders in a marvellous fashion the subtle play of light upon flesh4 ,his portraits are charming and typically ,french1 graceful in line and rich in colour1 drawn with extraordinary skill1 and with great truth to nature4 ,in the portraits of ,bonnat and ,duran1 writes a ,german critic1 there are people who have 8sat10 but here are people from whom the painter has had the power of stealing and holding fast the secret of their being at a moment when they were not 8sitting40 ,here are dreamy blond girls gazing out of their great blue eyes1 ethereal fragrant flowers1 like lilies leaning against a rose-bush through which the rays of the setting sun are shining4 ,here are coquettish young girls1 now laughing1 now pouting1 now blythe and gay1 and now angry once more1 now faltering between both moods in a charming passion4 ,and there are women of the world1 of consummate elegance1 slender and lightly built figures1 with small hands and feet1 an even pallor1 almond-shaped eyes catching every light1 moist shining lips of a tender grace1 bearing witness to a love of pleasure refined by artifice4 ,and children especially there are1 children of sensitive and flexuous race2 some as yet unconscious1 dreamy and free from thought2 others already animated1 correct in pose1 graceful1 and wise4 ,good examples of this artist as portraitist are to be found in the pictures ,le loge1 and ,on the ,terrace1 the latter a most delightful composition4 ,another famous canvas by ,renoir is the ,bal au ,moulin de la ,galette1 a most trying theme in which the master has triumphed over every difficulty4 ,degas would have conceived the composition in a very different spirit1 throwing stress upon the sordidness of this scene from low life1 adding a bitterness which is quite foreign to the temperament of ,renoir1 whose dominant note is one of sunlight and noisy dust-enveloped pleasure4 ,criticising the work of ,renoir from a purely technical point of view one finds throughout almost the whole of his work an unpleasant tone of ,prussian blue1 which strikes one at times as spotty and crude4 ,the handling of the large-sized portrait groups seems often unnecessarily coarse and repellent4 ,many find it hard to appreciate his landscapes1 considering them to be thin1 of a greasy woolly texture1 unatmospheric and lacking many of the qualities one looks for in such representations of nature4 ,illustration3 ,,pastel ,,portrait ,,of ,c,,zanne ,,auguste ,,renoir ,illustration3 ,,at ,,the ,,piano ,,auguste ,,renoir ,the work of ,auguste ,renoir will always remain a battlefield for the critics4 ,the champions of the group acclaim him as one of its most brilliant members4 ,renoir is voluptuous1 bright1 happy1 and learned without heaviness1 says ,m4 ,camille ,mauclair1 adding that the artist is intoxicated with the beauties of flowers1 flesh1 and sunlight4 ,rare are the artists who distinguish themselves in every branch of art1 lucky the man who excels in one4 ,an example of the latter is ,alfred ,sisley1 8paysagist0 pure and simple1 who has left a legacy of some of the most fascinating landscapes ever painted4 ,sisley was born in ,paris of ,english parents in #ahci1 and remained a citizen of the country of his birth1 although he paid several visits to ,england4 ,at first he painted conventional landscapes in russet and grey1 after the type of ,courbet4 ,after passing under the influence of ,corot he commenced to evolve a style peculiarly his own1 abundantly rich in colour and agreeable in line1 loving especially to paint the violet tints of a sunlit countryside1 generally upon canvases of small and medium size4 ,in his earlier days canvases of enormous extent alone seemed to satisfy him4 ,he specialised his efforts almost solely to transcripts from the riverside4 ,when in ,england he remained in the neighbourhood of ,hampton ,court and the ,thames valley generally2 in ,france he painted on the edge of the ,seine1 or the ,loing1 finally settling at ,moret1 where he died in #ahii4 ,he was less successful in draughtsmanship than in colour1 particularly when he attempted to achieve with ,moret church what ,monet had done with ,rouen cathedral4 ,in spite of the production of many little masterpieces1 ,sisley lived to the day of his death on the verge of poverty4 ,never a popular artist1 although he and his wife led a life of the most frugal description1 he was for ever uncertain of finding the barest means of subsistence4 ,this embittered his existence1 and undoubtedly tended to cut short a life of much activity and talent4 8,sisley1 be it said1 worked always1 struggled long1 and suffered much4 ,but he was brave and strong1 a man of will1 consecrated to his art1 and determined to go forward on the road he had taken1 wherever it might lead4 ,he faced bad fortune with a front of undaunted energy4 ,his years of dbut were cruel times4 ,his pictures sold seldom and poorly4 ,he kept on1 however1 with the same brave heart1 with that joyous fervour which shines from all his works40 ,these words were spoken by an old friend at the graveside of ,sisley4 ,m4 ,tavernier went on to remark that the success which arrived for several of the other ,impressionists was slower in coming to ,sisley4 8,this never for a moment disturbed him2 no approach to a feeling of jealousy swept the heart of this honest man1 nor darkened this uplifted spirit4 ,he only rejoiced in the favour which had fallen upon some of his group1 saying with a smile1 #8,they are beginning to give us our due3 my turn will come after that of my friends4'444 ,sisley is gone too soon1 and just at the moment when1 in reparation for long injustice1 full homage is about to be rendered those strong and charming qualities which make him a painter exquisite and original among them all1 a magician of light1 a poet of the heavens1 of the waters1 of the trees--in a word1 one of the most remarkable landscapists of this day40 ,a contemporary of ,sisley1 equally gifted and more fortunate financially1 is ,armand ,guillaumin1 whose art is practically unknown in ,england4 ,his style and his subjects are of the simplest1 whilst his colour is vigorous1 pure1 and rich in tone4 ,possessing few tastes outside his art his life has been one of continued and active devotion to its perfection4 ,son of a linendraper1 like ,corot1 his youth was passed behind the counter1 and later as a clerk in an office4 ,in the meanwhile he attended1 when possible1 the 8,acadmie ,suisse10 by the ,quai des ,orfvres1 a curious school without professors4 ,here he worked in company with ,pissarro and ,czanne4 ,this1 combined with study in the public galleries and sketching along the riverside and in the streets and parks of ,paris1 constituted his sole education4 ,in a letter to the writer1 ,guillaumin says that ,courbet1 ,daubigny1 and ,monet are the masters who have influenced his style most1 with perhaps special stress upon the methods of ,monet4 ,some years ago a lucky speculation in a lottery attached to the ,crdit ,foncier brought the artist a 8gros lot0 of about #djjj1 which immediately freed him from further anxieties about money1 and gave him complete liberty to exercise the art he lives for4 ,he contributed to the original exhibition held by the ,impressionists in #ahgd1 where his pictures1 views of ,charenton1 at once marked him as a painter of special talent and originality4 ,in #ahid1 at the ,durand-,ruel galleries1 were exhibited about one hundred of his canvases executed in various mediums1 and the effect of this collection upon students has been remarkable4 ,these pictures were painted for the most part at ,agay1 ,damiette1 and ,crozant4 ,in the solitude of these deep valleys1 overhung by cliffs down which rush the limpid ,creuse and ,sdelle from the mountains of the ,cevenne to the sea1 works the artist in hermit-like solitude1 two hundred miles from ,paris and far from railways and latter-day civilisation4 ,illustration3 ,,outskirts ,,of ,,the ,,forest ,,of ,,fontainebleau ,,alfred ,,sisley ,illustration3 ,,on ,,the ,,banks ,,of ,,the ,,loing ,,alfred ,,sisley ,guillaumin is an incredibly prolific worker1 and this1 although often a sign of great talent1 is much deplored by his admirers1 who cannot help believing that he is wasting in the production of countless sketches and repetitions a talent which is strong enough to create masterpieces4 ,zola's reproach addressed to ,gustave ,dor comes to the mind when speaking of ,guillaumin4 ,such an artist is likely to combine with business men in manufacturing works purely commercial4 ,there is yet time for ,guillaumin to produce some great masterpiece with which to crown the glory of his long career4 ,illustration3 ,,auguste ,,renoir ,illustration3 ,,alfred ,,sisley ,other manifestations from the parent stem of ,impressionism took the form of ,idealism with ,andr ,mellino at its head2 the ,salon of the ,rose ,croix1 with ,sar ,peladan in command2 and the 8,intimists10 a body consisting of ,charles ,cottet1 ,simon ,bussy1 and ,henri ,le ,sidaner1 who is referred to elsewhere4 ,the ,salon of the ,rose ,croix1 held in the early nineties1 was one of the most eccentric art societies of the past century1 a mixture of art1 religion1 politics1 and rules of morality4 ,its members were forbidden to exhibit historical1 prosaic1 patriotic1 and military subjects1 portraits1 representations of modern life1 all rustic scenes and landscapes 7except those in the style of ,poussin71 seamen and seascapes1 comic subjects1 oriental subjects1 pictures of domestic animals1 and studies of still-life4 ,the doings of ,sar ,peladan and his followers have long since been forgotten1 but at the time they afforded a curious study in artistic eccentricity4 ,there are several other men who have rendered good service to ,impressionism1 although one is not able to mention more than their names in this chapter4 ,paul ,gauguin1 an artist of decided ability1 whose death has only just been chronicled1 contributed to several of the exhibitions in the ,durand-,ruel and other galleries4 ,at first a simple painter of ,breton landscapes he inclined towards 8,pointillism40 ,upon his return from a long visit to ,tahiti his manner became crude and bizarre to an extreme1 not altogether admirable1 although leaving an impression of uncommon strength4 ,gauguin was a friend of ,van ,gogh whom1 together with ,renoir and ,czanne1 he may be said to have influenced4 ,another of his pupils is ,emile ,bernard1 the symbolist4 ,vincent ,van ,gogh requires mention as a painter who practised the methods of ,impressionism to their extreme limit4 ,a ,dutchman who lived in ,france1 ,van ,gogh1 a man of great talent1 committed suicide after a most unhappy life4 ,like his own personality1 these canvases are exotic1 though at times displaying a more tender note4 ,had fortune been less unkind he would have developed into a great artist1 for nature had endowed him with a rich genius4 ,in the eighth exhibition organised by the ,socit des artistes ,indpendants were some ambitious works1 interesting but totally unconvincing1 painted in the new and then hotly discussed 8,pointillist0 style4 ,seurat1 ,signac1 ,ibels1 ,maurice ,denis1 ,henri-,edmond ,cross1 ,tho ,van ,rysselberghe1 and ,angrand1 were members of this movement initiated by ,seurat and ,signac4 ,george ,seurat died at an early age in #ahij1 and this was doubtless the chief reason for the collapse of the group4 ,the aim of the 8,pointillists0 was to resolve the colours of nature back into six bands of the spectrum1 and to represent these on the canvas by spots of unmixed pigment4 ,at a sufficient distance these spots combine their hues upon the retina1 giving the effect of a mixture of coloured lights rather than pigments1 resulting in an increase instead of a loss of luminosity4 ,one of the first converts was the veteran ,camille ,pissarro1 who happily abandoned these extraordinary methods which ,tho ,van ,rysselberghe and a few others continue to employ4 ,illustration ,illustration3 ,,outskirts ,,of ,a ,,wood ,,alfred ,,sisley ---------------------------------------- -------------------------------- ,illustration3 ,,child ,,and ,,dog ,,eug,,ne ,,carri,,re ---------------------------------------- -------------------------------- ,,chapter ,,vii ,,some ,,younger ,,impressionists3 ,,carri,,re1 ,,pointelin1 ,,maufra 8,,whenever ,,men ,,are ,,noble ,,they ,,love ,,bright ,,colour1 ,,and ,,wherever ,,they ,,can ,,live ,,healthily1 ,,bright ,,colour ,,is ,,given ,,them ,,in ,,sky1 ,,sea1 ,,flowers1 ,,and ,,living ,,creatures0 ,,ruskin ,,eug,,ne ,carrire is one of those great artists so prolific in ,france who alone would make the fame of any ordinary country4 ,for his work the writer has always had deep sympathy1 and this feeling has strengthened since the days when he copied the works of the master now in the ,luxembourg4 ,there can be no better method of studying any artist1 and specially is it needed in the case of such a painter as ,carrire4 ,it is only during the long patient hours spent in trying to reproduce in facsimile these strange elusive pictures that one can grasp their technical qualities1 their poetic intention1 their thoughtful nature1 and can fully recognise the fine achievement of the artist4 ,as the copyist stands and works for hours1 thinking1 reasoning1 reproducing1 the whole history of the man and his art slowly reveals itself4 ,it has been said of ,carrire that he has 8le gnie de l'il10 and it is exactly this 8genius of the eye0 which constitutes the bond of sympathy between all ,impressionists4 ,there exists between ,carrire1 ,pointelin1 and ,whistler1 the greatest similitude4 ,their outlook upon nature is identical1 and their method of expression most characteristic4 ,they have found their chief inspiration in rendering misty veiled effects1 sometimes the result of natural means1 haze1 moonlight1 river mist1 early sunrise2 sometimes purposely arranged by means of darkened interiors1 and the skilful control and exclusion of strong lights4 ,in each case the result sought after is the same4 ,carrire possesses1 in almost the highest possible degree1 the power of visualisation 7one is nearly writing the power of second sight7 which ,claude ,monet also has1 though in a different degree4 ,the first has caught in an entrancing style the infinitely varied degrees of luminous light in the evening twilight4 ,he has painted the shadows of shades4 ,the second1 in an equally fascinating manner1 has rendered the shadows of sunlight4 ,in the works of both artists all exact contours are lost2 in ,carrire by reason of the semi-obscurity of night1 in ,monet because of the blinding equalising glare of noon-day sun4 ,the one is as apparently colourless as the other is apparently exaggerated4 ,yet both are right1 true to nature and to their own individual temperaments1 in fact true ,impressionists4 ,as a portraitist ,eugne ,carrire has no rival at the present moment4 ,his marvellous powers of vision have placed him in a position unassailable4 ,the ordinary portraitist1 the painter 8 la mode0 7probably 8 la mode0 for this very reason71 depicts the superficial aspect of his sitter1 together with a photographic delineation of the features4 ,whilst the onlooker wonders at the dexterous skill1 the clever schooling and frequent harmonies of colour1 he generally passes on unmoved4 ,with ,carrire the effect is different2 one cannot easily leave such triumphs4 ,on the contrary1 we stay to admire1 not the technical gymnastics of the artist1 but the subtle superhuman manner in which the soul of the sitter has been transferred to the canvas by the brush of a man of rare genius4 ,his lithographs too are marvellous4 ,should any reader carp at the use of such word let him carefully examine the portrait-studies of ,anatole ,france1 ,rodin1 ,verlaine1 ,daudet1 ,geffroy1 ,madame ,carrire1 and the artist himself1 also the ,christ at the ,tomb1 the ,thtre de ,belleville1 ,maternit1 and many others4 ,the more these great works are studied the more real they become4 ,daudet lives again in a drawing recreating the great novelist in a peaceful atmosphere of dreams which seems to remain the peculiar secret of the artist4 ,eugne ,carrire becomes a clairvoyant when he commences a portrait4 ,his paintings of the intimate life of the family1 the circle round the fireside or the little gatherings in the common room during a winter evening1 have a quiet charm which his contemporaries rarely attain4 ,such groups1 it may be said1 find little favour from those who issue commissions for family heirlooms1 and ,carrire has no chance of becoming a fashionable painter of human mediocrity4 ,one remembers though that ,mr4 ,sargent has proved recently that even with mediocrity a genius can do a great deal4 ,carrire1 however1 is never likely to wish to rival ,bonnat or ,carolus-,duran4 ,his scenes are not so much represented as suggested4 ,his drawing is a reproduction of the play of light upon the different planes of the subject1 the whole picture becoming a symphonic development of light4 ,his brush manipulates colour much as a sculptor manipulates clay1 and the results are real ,impressions4 ,illustration3 ,,auguste ,,pointelin ,illustration3 ,,the ,,family ,,eug,,ne ,,carri,,re ,eugne ,carrire has been inspired by no particular school1 and has no special theories to regulate his methods4 ,yet1 in spite of himself1 a group1 animated by his ideals1 has gathered and formulated rules4 ,this group and its system will have but a short duration1 for an art so personal and distinguished as is that of ,carrire cannot in any possible way be transmitted to pupils or followers4 ,carrire occupies in painting much the same position as his friend ,rodin occupies in sculpture4 ,such art is not to be copied1 much as it may be admired4 ,if there could be any analogy in literature one would cite ,edgar ,allan ,poe4 ,the poet of the shadows has had an enormous influence upon ,french art and literature1 and ,carrire has undoubtedly come under his strange spell4 ,illustration3 ,,motherhood ,,eug,,ne ,,carri,,re ,much has been written concerning the exhibited works of this artist1 and a bibliography would contain the names of the most celebrated art critics in ,paris4 ,the universal opinion is that in ,carrire ,france possesses an artist of exceptional endowments4 ,his gift is a peculiar one1 which has not appeared before in exactly the same manner1 and1 within his own limitations1 the painter's equal will probably never be seen again4 ,a well-known writer upon art subjects has penned an appreciation which conveys a clear insight into the methods of the master4 ,carrire1 he says1 is not an inductive painter1 he does not construct his whole from parts4 ,he does not work on1 wisely1 cautiously1 from the forehead to the eyes1 continuing by way of the cheekbones4 ,in the manner of a sculptor1 he builds up his picture as a complete whole1 he balances his masses1 he constructs4 ,insensibly the face lights up on the background1 the successive veils which enveloped it are torn away and hide his thoughts no longer4 ,this simultaneous process never leaves him quite satisfied1 and he constantly reviews his original plans4 ,he lives for the creation to which he gives life4 ,his work is an effort1 an attempt1 the result of a mysterious genius whose secret is never all told4 ,what he knows before is the impression he expects to obtain1 what it will tell1 what it will reveal of the character and will express of the invisible reality4 ,and it is thus he approaches those faces which speak to us of an intense inner life4 ,his plans settled1 he paints astonishing faces1 mobile and quivering as they smile and speak4 ,a few personal particulars may be added4 ,eugne ,carrire passed his life up to the age of eighteen in ,strasbourg1 and displayed no special inclination toward the artistic career4 ,but a visit to some galleries awoke the latent fire1 and his ambitions were roused4 ,he then entered the atelier of ,cabanel4 ,during the war he was captured by the ,germans1 and sent as prisoner to ,dresden1 where he studied with diligence in the museums4 ,upon his return to ,france in #ahgb he worked for five years at the cole des ,beaux-,arts 7he had been there for a short time before the war7 and then1 none too well equipped for the battle1 set up in his own studio4 ,he attempted to gain the ,prix de ,rome1 but failed4 ,shortly after followed his marriage1 together with a semi-retreat to the ,vaugirard1 where he toiled for five years1 turning his family to artistic account as models4 ,these days of unremitting labour proved to be the foundations of his fame1 for1 when he returned to ,paris1 he reaped almost immediately the fruits of success and appreciation4 ,as we write1 the news comes that the authorities of the ,luxembourg have purchased ,carrire's ,dead ,christ for #ajjj4 ,auguste ,pointelin is a passionate ,impressionist in the best sense of the word4 ,he paints in low tones 7almost monotones7 the twilight1 moonrise1 the sombre and melancholy notes in ,nature4 ,he is the poet-painter of those evening hours when-- ,the sun is set2 the swallows are asleep2 ,the bats are flitting fast in the grey air2 ,the slow soft toads out of damp corners creep2 ,and evening's breath1 wandering here and there ,over the quivering surface of the stream1 ,wakes not one ripple from its summer dream4 ,the artist's character can be read at a glance from these canvases4 ,we see at once that he is a strong man1 of nervous and romantic temperament1 somewhat a pessimist1 perhaps a writer of verse1 probably a fine musician1 fond of solitude and reverie1 yet of good heart and noble mind4 ,monet is of the lowlands4 ,he worships the plains and paints the sun hot and keen1 and all that it reveals4 ,he revels in depicting great trees1 the lustrous brilliancy of corn and poppies1 the bubble and iridescence of quick-flowing trout-streams1 the flash of white cliffs1 the luminous shadows of haycocks1 every varying phase of the play of brilliant light upon the face of responsive nature4 ,pointelin is a man of the hills1 delighting to work amidst deep wooded glens or lonely tracks of mountain scenery1 trying to reproduce the glints of moonlight upon black bottomless pools4 ,he loves to depict the tranquillity of the long silent valleys1 through which roll heavy mists1 whilst the rising sun tints with a rosy glow the tips of the neighbouring peaks4 ,our admiration of ,monet does not blind us to the beauty of ,pointelin4 ,in a sense the two artists are complementary to each other4 ,the art of ,pointelin may be compared to a 8,reverie0 by ,schumann1 that of ,monet to a 8,rhapsody0 by ,brahms4 ,illustration3 ,a ,,glade ,,in ,,the ,,wood ,,auguste ,,pointelin ,illustration3 ,,mountain ,,and ,,trees ,,auguste ,,pointelin ,illustration3 ,a ,,rocky ,,coast ,,maxime ,,maufra ,auguste ,emmanuel ,pointelin was born at ,arbois1 ,june #bc1 #ahci1 and the first art teaching he received was from the hands of ,m4 ,victor ,maire4 ,success was long in coming1 and for a livelihood he had to turn to several other professions1 the chief being that of a mathematical professor4 ,pointelin has received the usual honours ,france awards to her most distinguished citizens4 ,he has been decorated with the ,legion of ,honour1 is 8,hors ,concours0 at the ,salon1 and received 7amongst many other like trophies7 the ,gold ,medals at the ,exhibitions of #ahhi and #aijj4 ,his work is to be found in many of the public galleries of the country1 including the ,luxembourg4 ,the note of his art is a certain refinement and aloofness which is rarely found in contemporary ,salons4 ,of him it may be said3 8,through his brain1 as through the last alembic1 is distilled the refined essence of that thought which began with the gods1 and which they left him to carry out40 ,some time ago the writer was painting by the edge of the ,seine in company with ,maxime ,maufra1 and the artist recounted the origins of his ,impressionist tendencies4 8,i am directly influenced by ,turner and ,constable10 he said4 8,i admired and studied their works whenever it was possible during the time ,i spent as a commercial man in ,liverpool twenty years ago4 ,there is no doubt that ,monet1 ,pissarro1 and the others of that group1 owe the greater part of their art to the genius of the great ,englishmen1 just as ,delacroix and ,manet were indebted in a previous generation40 ,this testimony is interesting1 as it comes from one of the leaders of the modern school of 8,la peinture claire10 the school of light1 of life1 and of movement4 ,it is valuable in view of the fact that some of the artists who have profited most by the valuable example of our men of genius seem least inclined to acknowledge their debt4 ,for instance1 ,pissarro writes3 8,i have read with great interest your article4 ,i do not think1 as you say1 that the ,impressionists are connected with the ,english school1 for many reasons too long to develop here4 ,it is true that ,turner and ,constable have been useful to us1 as all painters of great talent have2 but the base of our art is evidently of ,french tradition1 our masters are ,clouet1 ,nicolas ,poussin1 ,claude ,lorrain1 the eighteenth century with ,chardin1 and #ahcj with ,corot40 ,this statement is somewhat at variance with facts as we know them1 and does not agree with several letters from ,pissarro in the writer's possession previously quoted4 ,to attempt to record bright open-air effects1 to struggle with all the thousand nuances of the atmosphere1 the division of tones1 the juxtaposition of colour1 the general principles and technical practice adopted by the ,impressionists1 is to come under a ban4 ,there is an old and well-beloved professor at the ,beaux-,arts who taught the writer1 a member of the ,institute and ,officer of the ,legion of ,honour1 a man of much official influence1 who1 in a single phrase1 has summed up the feeling of a large body in ,france with reference to the ,impressionists4 8,they are a disgrace to ,french art10 he said bitterly4 ,such an irreconcilable attitude has compelled a section of the younger artists in ,france to adopt a style altogether opposite to that discussed in these pages1 a reactionary manner in many cases opposed to their natural temperaments4 ,they seek in ,nature for the slightest cause which will give them reason for the use of black paint1 forgetting that in a world charged with sun and iridescence the only absolute black that can be found is in the heart of a bean blossom1 which is black only by the exclusion of the atmosphere4 ,the slightest shadow they paint black1 any dark piece of clothing is rendered in black4 ,they have evolved a lugubrious funereal style and choice of subject which is sad1 dull1 inartistic1 dyspeptic4 ,this section of the art community has been named the 8,nubians40 ,maxime ,maufra is an adversary fighting this group of reactionaries1 and perhaps his successful example may bring some of these erring ones back to the fold4 ,he has the courage to paint in a light key1 because he sees all nature in such a value1 and by following the dictates of his artistic temperament he has become the exponent of a beautiful and personal art4 ,he does not aspire to the position of a little ,monet1 but attempts to carry the master's methods forward4 ,maufra maintains that ,monet has by no means said the last word in ,impressionism4 ,maufra and his friends are not content with the first illuminated corner presented by ,nature1 which1 save for the sense of illumination1 is probably uninteresting and ill-composed4 ,they are equally attracted by beautiful rhythmic line1 balance of form1 by composition as well as by colour4 ,the ethereal tints in nature which the pioneers were happy to reproduce1 does not satisfy the younger men now that the fundamental laws of the ,impressionists have been agreed upon4 ,illustration3 ,,an ,,etching ,,maxime ,,maufra ,illustration3 ,,arrival ,,of ,,the ,,fishing ,,boats ,,at ,,camaret ,,maxime ,,maufra ,illustration3 ,,maxime ,,maufra ,born at ,nantes in #ahfa1 the only regular art education ,maxime ,maufra received was from ,m4 ,le ,roux1 a local professor4 ,his father1 a man of business1 decided that the son should follow the same vocation1 much to the son's disgust4 ,after a few years of preliminary training ,maufra was sent to ,liverpool in order that he might acquire the language and further the commercial interests of his father's house4 ,maufra studied ,english1 more or less1 and practised art1 copying in the museums and private collections1 and sketching in the neighbourhoods of ,new ,brighton1 ,seacombe1 and amongst the docks and shipping of the great port4 ,business was not neglected1 but having effected a lucky 8deal0 which placed him in the possession of a little capital1 he cut the cable which joined his life to commerce and sailed into the open sea of art4 ,his family protested1 his friends implored him not to take such a rash step4 ,maxime ,maufra became a professional artist4 ,for five years he toiled with his brush1 working hard at every different method of technical expression1 trying oils1 water-colours1 and the etching needle4 ,dealers did not come forward1 buyers were never seen4 ,at last1 at the very end of his financial resources1 he organised a tiny 8one-man0 show in ,paris4 ,in the 8,echo de ,paris0 ,m4 ,octave ,mirbeau published a short criticism1 which voiced the general opinion of ,maufra's talent4 8,yesterday10 writes ,mirbeau1 8,i entered the galleries of de ,boutheville1 where are exhibited about sixty works by ,maufra4 ,i was immediately conquered1 for ,i found myself in the presence of an artist in full control of himself1 who1 after the necessary indecisions1 the usual educational troubles1 has realised that style is the most important thing--in fact1 the joy of art40 ,a few of the paintings were sold1 enough to cover the expenses of the exhibition4 ,a better luck awaited ,maufra4 ,m4 ,durand-,ruel casually glanced into the rooms before the close of the modest collection4 ,he asked to see the artist4 ,maufra was in ,brittany1 and a telegram called him back to ,paris4 ,an interview followed in the ,rue ,lafitte between artist and dealer1 and never since that day has ,maufra known the anxieties of living on hope1 for ,m4 ,durand-,ruel1 with characteristic acumen1 had arranged for his future4 ,in the spring of #aija1 at the galleries of ,m4 ,durand-,ruel1 ,maxime ,maufra organised his last and most successful exhibition1 about fifty canvases executed in various mediums being shown4 ,from the admirable preface written by ,m4 ,arsne ,alexandre1 one of the most perspicacious of ,french critics1 the following lines may be quoted3 8,maufra continues in the school of the ,impressionists in this manner1 that the point de dpart in each of his pictures is in reality a quick and profound impression4 ,he detaches himself from the school inasmuch as the realisation is a calculated and skilful art2 and this is complete ,impressionism40 ,a final quotation from the pen of ,m4 ,gabriel ,mourey in 8,le ,grand ,journal0 aptly sums up the talent of this artist3 8,one could accuse ,maufra at the time of his first exhibition at the de ,boutheville galleries of submitting himself to the influence of ,claude ,monet4 ,already1 however1 he reveals his strong personality4 ,here he is to-day a free man and master of himself1 capable of realising whatever his thoughts impel him to4 ,he has his own conception of ,nature1 and he realises it with a liberty and independence which is veritably masterful4 ,the diversity of his talent is proved in the most striking fashion4 ,scotland1 ,brittany1 ,normandy are evoked with an extraordinary facility1 the different characteristics of these three countrysides1 their special conditions1 their peculiar atmosphere4 ,they are like portraits in which a soul breathes1 in which the blood runs beneath the skin1 where the mystery of being is declared4 ,the words of ,flaubert's ,st4 ,anthony come involuntarily to the lips before these pictures of ,nature1 sometimes savage1 sometimes in a more tender mood3 #8,there are some spots on earth so beautiful that one wishes to press ,nature against one's heart4'0 ,illustration ,illustration3 ,,shipwreck ,,maxime ,,maufra ---------------------------------------- -------------------------------- ,illustration3 ,photo by ,braun1 ,clement ,co4 ,a ,,glass ,,of ,,good ,,red ,,wine ,j4 ,f4 ,,raffa,,lli ,,chapter ,,viii 8,,realists03 ,,raffa,,lli1 ,,degas1 ,,toulouse-,,lautrec 8,,il ,y ,a ,,selon ,,moi1 ,,deux ,l,,ments ,,dans ,,une ,,uvre3 ,l',l,,ment ,r,,el1 ,,qui ,,est ,,la ,,nature1 ,,et ,l',l,,ment ,,individuel1 ,,qui ,,est ,l',,homme0 ,,zola ,,jean ,,fran,,ois ,,raffa,,lli joined the ,impressionist movement late1 and did not commence to exhibit with the other members of the group until #ahhj1 when he sent a canvas to the gallery in the ,rue des ,pyramides4 ,he had clearly grasped the trend and scope of the idea1 but cannot be classed altogether with the other members of the group as a 8,luminarist40 ,this may be due to many causes apparent in his work4 ,he is not a painter for the love of painting itself1 and does not revel in colour for colour's sake4 ,he is no analyst of the shimmering effects of a summer's sun4 ,that side of ,impressionism has never appealed to him4 ,yet his right to be numbered amongst them is assured1 for1 in spirit1 he is one of the first of the school4 ,raffalli is the historian of the 8banlieue0 of ,paris4 ,his street scenes are typical1 life-like1 and modern1 and they will be treasured in future years as veritable documents of the daily existence of the great city4 ,he wanders through the dreary 8no man's land0 outside the fortifications1 and transfers to his block the most vivid portraits of the nondescript characters who swarm through that gaunt wilderness4 ,he is a man of much mental refinement1 who has had to struggle for every inch of the artistic success which now surrounds him4 ,richly endowed by nature1 he had no resources to fall back upon save his determination to conquer4 ,in a few words ,m4 ,geffroy sums up the opening of this curious career4 ,raffalli has had many employments1 has been engaged in many trades1 has searched the town for work4 ,he has been in an office1 has sung bass at the ,thtre ,lyrique1 has chanted psalms in a church choir1 and at the same time painted under the tuition of ,grme at the cole des ,beaux-,arts4 ,he travelled through ,europe1 penetrating even so far as ,algeria1 working in each town as he stopped4 ,returning to ,paris he exhibited landscapes founded upon the studies he had accumulated in his portfolio1 some pictures of the ,louis ,,xiii4 style1 some portraits1 a view of the ,opera4 ,suddenly he opened his eyes to a sight nobody had seen before1 disdained by the whole world1 subjects which had never reached the dignity of an entrance in art circles4 ,he became the recorder of the suburbs of ,paris and their wandering inhabitants4 ,for years he experimented endeavouring to produce a medium best suited to his temperament4 ,in the solid paint crayons we have an addition to the working tools of the artist which is of notable importance4 ,this is not his only gift to ,france1 for it is he who practically resuscitated the beautiful but dying art of etching in colours4 ,in this work he was ably seconded by ,miss ,mary ,cassatt4 ,he is not only an artist but an actor1 a musician1 an orator1 a sculptor1 an etcher1 a pastellist1 an illustrator1 and a man of letters4 ,he is a fine example of the pioneer temperament4 ,no sooner is success achieved in one branch of energy than he is in chase of another idea4 ,one day he is trying to invent a perfect oil-crayon2 the next1 and colour etching is his sole ambition4 ,he draws the elegant 8mondaine0 of the ,boulevards1 and then sallies out to study the frowsy denizens of the 8banlieue40 ,in this quarter he found congenial subjects for a series of little masterpieces4 ,amidst these wretched surroundings1 warehouses1 factories1 wooden sheds ruinous and dilapidated1 refuse heaps1 brick-kilns1 homes of the outcasts and cut-throats of the metropolis1 ,raffalli discovered a rich mine of material hitherto entirely unworked4 ,the district is peculiar to ,paris1 and owes its existence to the clear half-mile of view required around the useless fortifications4 ,this territory has1 in mining phrase1 been 8jumped0 by the penniless4 ,upon it squat the failures1 the drunkards1 the thieves1 all the vicious under-life of the city4 ,the artist revealed this world to the unsuspecting citizens4 ,he lived in it1 studied it day by day1 and is a greater authority than the 8sergots0 upon the manners and customs of a neighbourhood which even the police shun4 ,such a blot upon the fair page of so magnificent a capital is rapidly being wiped away1 but ,raffalli has immortalised in his etchings and drawings some of the poetic atmosphere which enveloped these legions of the damned4 ,illustration3 ,photo by ,braun1 ,clement ,co4 ,,notre ,,dame ,j4 ,f4 ,,raffa,,lli ,illustration3 ,j4 ,f4 ,,raffa,,lli ,during the course of a long and strenuous career1 ,raffalli has received many decorations4 ,he is of the ,legion of ,honour1 besides having received numerous medals and awards from foreign exhibitions4 ,he is represented adequately in the ,luxembourg1 and many continental galleries4 ,he enjoys the admiration and friendship of a host of connoisseurs throughout the world4 ,his studio is most pleasant4 ,facing the broad green sweeps of the boulevard by the fortifications1 in the ,rue de ,courcelles1 it occupies a large area on the ground floor1 having been built over a spacious courtyard surrounded by banks of foliage and flowers4 ,the predominant note is that of cheerfulness4 ,the decoration is bright and restful1 the ruling colours being delicate shades of yellow and blue4 ,the usual theatrical adornments of a ,french studio are absent2 there are no oriental carpets and rugs1 no armour1 no antique furniture1 so dear to the heart of the ,gallic painter4 ,in this atelier the master holds periodical conferences1 exhibitions1 and friendly gatherings4 ,upon these occasions one will meet the cleverest men in ,paris1 for ,raffalli is a celebrated conversationalist as well as a famous artist4 ,degas has a temperament strangely different from that of ,raffalli1 and1 although always classed with the ,impressionists1 he stands apart from the recognised group4 ,he has never endeavoured to transmit the impression of atmosphere1 and work 8en plein air0 does not attract him4 ,he has1 however1 profited much by the teaching of the ,impressionists1 particularly in relation to the use of radiant colour1 for at one time he painted in greys which were closely allied to black4 ,he exhibited continually with the other men in the early days of the movement1 and proved a genius both in suggestion and organisation4 ,hilaire ,germain ,edgard ,degas was born in ,paris1 ,july #ai1 #ahcd4 ,he entered the cole des ,beaux-,arts in #ahee1 studying under ,lamothe and also having ,ingres for a master4 ,he made his first appearance at the ,salon of #ahfe with a pastel entitled ,war in the ,middle ,ages4 ,in #ahff he contributed the ,steeplechase1 the first of his series devoted to scenes of modern life4 ,in #ahfg he exhibited ,family ,portraits1 in #ahfh the portrait of a ballet-dancer1 and during #ahfi and #ahgj some further portraits which closed his connection with official art1 for he never sent contributions to the ,salon again4 ,in his early work he did not confine his brush to subjects of daily actuality1 such compositions as ,semiramis ,building the ,walls of ,babylon and ,spartan ,youths ,wrestling being far removed both in style and genre from later work4 ,during the sixties his canvases were classical in spirit as well as in subject4 ,he had a strong feeling for the ,primitives together with ,fra ,angelico1 and much of his work conveyed a reminiscence of ,holbein4 ,a ,realist from the beginning1 the ,interior of an ,american ,cotton-,broker's ,office1 painted in #ahfj1 shows that his temperament has never radically changed4 ,this canvas1 now in the museum at ,pau1 is minutely exact in all its details4 ,it is ,realism but emotionless1 without atmosphere and lacking all feeling4 ,it shows too that forty-three years ago the artist was acquiring that facility of hand which has placed him at the head of modern draughtsmen4 ,degas exhibited in company with ,manet1 ,monet1 and the ,impressionists generally1 at five exhibitions1 namely #ahgd1 #ahgf1 #ahgh1 #ahgi and #ahhj4 ,in the last-named year he exhibited a series of portraits of criminals1 and commenced to model figures of dancers in wax4 ,in ,december #ahhd he showed some racecourse scenes1 and at the last exhibition of the ,impressionists in #ahhf exhibited studies of the nude1 jockeys1 washerwomen1 and other characters of modern life4 ,he has worked with the etcher's needle1 and also in lithography1 his subjects being generally confined to theatrical life and incidents noticeable on the ,parisian boulevards4 ,the characteristic of ,degas personally is mystery4 ,he now refuses to exhibit his works1 he shuts his door to all visitors4 ,like most artists he detests writers1 and there is a legend that he successfully grappled with one enterprising but unwelcome interviewer and dropped the unfortunate critic down a flight of stairs4 ,this proves how thoroughly his principles are carried out in practice4 8,i think that literature has only done harm to art10 he said once to ,george ,moore4 8,you puff out the artist with vanity1 you inculcate the taste for notoriety1 and that is all2 you do not advance public taste by one jot4 ,notwithstanding all your scribbling it never was in a worse state than it is at present4 ,you do not even help us to sell our pictures4 ,a man buys a picture1 not because he read an article in a newspaper1 but because a friend1 who he thinks knows something about pictures1 told him it would be worth twice as much ten years hence as it is worth to-day40 ,with these strong views one can understand the attitude of ,degas to the art world in general4 ,it was a very different attitude from that of ,manet who gloried in the fight4 8,do you remember10 ,degas said once to ,george ,moore 7who quotes the conversation in his 8,impressions and ,opinions071 8how ,manet used to turn on me when ,i wouldn't send my pictures to the ,salon8 ,he would say1 #8,you1 ,degas1 you are above the level of the sea1 but for my part1 if ,i get into an omnibus and some one doesn't say1 8,m4 ,manet1 how are you1 where are you going80 ,i am disappointed1 for ,i know then that ,i am not famous4'0 ,this conversation reveals in a curious manner the differing characters of the two men2 ,manet with that attractive vanity so often to be found in the artistic temperament1 ,degas1 a satiric misanthrope analysing the degraded types which make up the gay life of ,paris4 ,illustration3 ,,dancing ,,girl ,,fastening ,,her ,,shoe ,,edgar ,,degas ,the work of ,degas may be sorted into four main groups--the racing series1 the theatrical studies1 the drawings of the nude1 and a few landscapes4 ,from many points of view the scenes of the coulisses come first4 ,superb in draughtsmanship1 they represent the life of the theatre in a way it has never been represented before4 ,in one we see shivering girls rehearsing upon a cold cheerless stage lit by a few gas jets2 in another the premire danseuse quivering upon tiptoe amidst the frenzied plaudits of an excited audience4 ,degas reproduces the atmosphere with a marvellous precision1 which only those engaged in the busy turmoil behind the curtain can fully judge4 ,upon these scnes de thtre will rest his fame1 for humankind is never likely to tire of such vivid renderings of a life always fascinating to the outside world4 ,degas is not a countryman1 and cannot be classed amongst sportsmen1 or lovers of horseflesh4 ,his jockeys and racehorses are highly extolled1 but with animals he has not always succeeded4 ,it is not sufficient to be a great artist in order to convey convincing impressions of sporting scenes4 ,an artist must have the whole spirit of sport thoroughly engrained in his nature before he can properly represent it4 ,apart from the city1 ,degas is out of his element1 and this is very apparent in the landscapes he has painted during the last eight years4 ,the glamour of the fields and hedges does not touch his soul4 ,rural life he finds dull1 and naturally his essays in landscape painting are somewhat painful4 ,he has not the temperament which can faithfully interpret the poetry of the countryside1 and is more at home in the purlieus of the opera or upon the asphalte of the boulevards4 ,degas is a realist1 and his subjects are for the most part exceedingly trivial in selection4 ,after racehorses and ballet-dancers1 he loves to depict buxom ladies of the lower classes engaged in personal ablution4 ,it is extraordinary that the pupil of ,ingres1 the painter of ,la source1 should create such appalling creatures4 ,the most plausible apology comes from ,mr4 ,george ,moore4 ,the nude1 he writes1 has become well-nigh incapable of artistic treatment4 ,even the more nave are beginning to see that the well-known nymph exhibiting her beauty by the borders of a stream can be endured no longer4 ,let the artist strive as he will1 he will not escape the conventional2 he is running an impossible race4 ,broad harmonies of colour are hardly to be thought of2 the gracious mystery of human emotion is out of all question--he must rely on whatever measure of elegant drawing he can include in his delineation of arms1 neck1 and thigh2 and who in sheer beauty has a new word to say8 ,since ,gainsborough and ,ingres1 all have failed to infuse new life into the worn-out theme4 ,but cynicism was the great means of eloquence of the ,middle ,ages2 and with cynicism ,degas has again rendered the nude an artistic possibility4 ,the critic then describes these works in most sympathetic phrases4 ,three coarse women1 middle-aged and deformed by toil1 are perhaps the most wonderful4 ,one sponges herself in a tin bath2 another passes a rough nightdress over her lumpy shoulders1 and the touching ugliness of this poor human creature goes straight to the heart4 ,then follows a long series conceived in the same spirit4 8,hitherto10 says ,degas1 8the nude has always been represented in poses which presuppose an audience1 but these women of mine are honest1 simple folk1 unconcerned by any other interests than those involved in their physical condition40 ,in another phrase he gives you his point of view1 8it is as if you looked through a keyhole40 ,descendant of ,poussin and ,ingres 7when ,ingres fell down in the fit from which he never recovered1 it was his pupil who carried him out of his studio71 ,degas worships drawing1 and line is with him a cult4 ,japanese art has helped to mould his style1 as it influenced many of the ,impressionists4 ,his oil-paintings1 though for the most part correct in draughtsmanship1 are frequently wiry and academic in technique4 ,colour was never his strong point1 and it is in his pastels that we find the achievement of his life4 ,in a masterly essay on this artist1 ,thodore ,duret writes3 8,degas has proved once more that1 with genius1 subject is a secondary matter1 merely its opportunity1 one may say4 ,it is out of itself1 out of its inner consciousness1 that the poetry and the beauty discovered in its production are drawn4 ,his work will thus remain one of the most powerful1 the most complete1 and the most instinct with vitality amongst that of the masters of the nineteenth century40 ,of ,degas personally little is known4 ,he comes of an old bourgeoise family1 and at one time it is said that he possessed considerable financial means1 which he sacrificed in order to save a brother from financial disaster4 ,although seventy years of age he still works with excessive labour at the art over which he has gained such a mastery4 ,scorning wealth1 publicity1 and popularity1 he lives a life of complete isolation1 dispensing with friends1 able to more than hold his own against enemies4 ,illustration3 ,,dancing ,,girl ,e4 ,,degas ,he has had two pupils whose names stand out prominently in the art of to-day1 the ,american artist ,miss ,mary ,cassatt 7referred to elsewhere in this volume7 and the caricaturist ,forain4 ,degas has always had a bitter wit1 the dread of his contemporaries1 and many of his sayings have passed into history4 ,during the height of the battle which raged around the ,impressionists during the seventies1 he remarked concerning the academic painters and critics3 8,on nous fusille1 mais on fouille nos poches10 or1 in other words1 8,they cover us with injuries1 yet they make use of our ideas40 ,in him ,whistler met his match4 8,my dear friend10 he said once to that great artist1 8you conduct yourself in life just as if you had no talent at all40 ,upon another occasion1 speaking of ,whistler when the latter was having a number of photographic portraits taken1 he observed sarcastically1 8,you cannot talk to him2 he throws his cloak around him--and goes off to the photographer40 ,it was not likely that two such spirits would appreciate each other4 ,degas is a pessimist4 ,he has always been a realist1 and the realist in this troubled world cannot look through rosy spectacles2 acute pessimism becomes the natural result1 especially when a great city is the venue4 ,he is the analyst and ironist of the ,impressionist group1 with whom he has a sympathy of temperament rather than a sympathy of technique4 ,at the present moment there are few artists better known in ,paris1 yet few who have received so small an amount of official acknowledgment4 ,he has never received an official commission1 has refused all decorations1 his chief works are to be found in foreign countries4 ,yet an enthusiastic ,french critic has summed up the opinion of the art world of ,france in the striking phrase1 8,degas is one of the greatest draughtsmen who have ever lived40 ,ten years ago1 when the writer was a student in ,paris1 the name of ,toulouse-,lautrec was known only in connection with various daring and flamboyant posters advertising the exotic attractions of the 8,moulin ,rouge0 and the 8,divan ,japonais10 and also through extraordinary sketches which appeared from time to time in ,aristide ,bruant's feuilleton 8,le ,mirliton40 ,now and again one found a sketch1 with his signature1 pinned up in an artistic cabaret of the ,batignolles quarter4 ,few had seen him1 nobody seemed to have any wish to discover his whereabouts4 ,in the studios he was almost invariably spoken of with contempt as half a fool4 ,he was celebrated in a way1 and yet unknown4 ,he was by no means a fool1 for few men have possessed a brighter intellect4 ,his semi-retirance and evident reluctance to appear amidst the crowd were partly owing to a temperament of ultra-refinement1 and still more directly the result of a terrible personal misfortune4 ,the story of his life is romantic4 ,henri de ,toulouse-,lautrec-,monfa was born in #ahfd at ,albi1 a scion of an ancient and illustrious family4 ,his father1 the ,count de ,toulouse-,lautrec1 was a wealthy country gentleman1 of sporting tastes1 a splendid horseman1 a crack shot1 a sculptor1 and a person of most violent and impulsive temper4 ,the son inherited many of his father's qualities4 ,generations of ancestors accustomed to the beauties and refinements of such a life in the country had developed at last an artist of peculiar sensibilities4 ,these natural gifts were carefully cultivated1 and the boy became a professional artist1 who1 although he possessed gifts of the most extreme refinement1 became through the irony of fate primarily famous amongst his countrymen as a designer of street posters and comic sketches4 ,those who knew him superficially could not comprehend how his delicate and extraordinary exterior could cover such excellent qualities of heart1 such delicacy of spirit4 ,he met with scant respect and few patrons4 ,happily he was not dependent upon his brush for the means of existence1 and his works1 when they sold1 fetched but little4 ,after his sad and untimely death1 the most insignificant sketches were eagerly disputed for and changed hands at large prices4 ,physically ,toulouse-,lautrec was a weak man1 of a highly-developed nervous temperament1 with a brain too active for its frail tenement4 ,to such a nature all excess proves fatal1 although it is generally such natures that seek excess4 ,in his infancy the artist had the unlucky mischance to break both his legs1 and these1 badly set1 left him malformed for life1 a dwarf4 ,thoroughly embittered1 his proud and sensitive soul could not endure the inquisitive stares of the curious with which he was invariably greeted1 and for the most part he lived a very solitary life4 8,je suis une demi-bouteille10 he would often say to his friends in sarcastic reference to his own unhappy condition4 ,illustration3 ,,caf ,,scene ,,on ,,the ,,boulevard ,,montmartre ,e4 ,,degas ,he drowned his griefs1 as many have done before1 keeping in his studio huge stocks of the most fiery spirits and liqueurs1 from which he compounded wonderful 8cocktails0 for the benefit of himself and his friends4 ,it is not surprising that first came the madhouse and then premature death completed this tragedy4 ,of an excitable temperament he found much pleasure in resorts such as the 8,moulin ,rouge40 ,taverns1 theatres1 and the circus1 found in him a constant patron4 ,these were his schools2 and hundreds1 one may say thousands of sketches are the result of such teaching4 ,he loved horses as his ancestors had done before him1 and he studied their attitudes at the circus1 sketching them in barbaric trappings and in eccentric poses4 ,the smell of the sawdust always inspired him4 ,the sketches here reproduced illustrate this phase of his career4 ,m4 ,princeteau1 the designer of sporting scenes1 influenced ,lautrec's style1 and became his intimate friend4 ,forain also counts for something in his development1 whilst ,pissarro and ,renoir were frequent visitors to and critics of the young ,impressionist4 ,perhaps of all men ,degas inspired him most1 and at times he undoubtedly copied the methods of that master4 ,with serious study he had little to do4 ,he worked in the atelier-,bonnat in #ahhc1 and later on in the atelier-,cormont1 where he continued the study of the nude2 yet it was only after he had complete liberty and was entirely free from scholastic influence that his style began to form4 ,then his strong individuality displayed itself1 and he became ,toulouse-,lautrec as we know him4 ,illustration ---------------------------------------- -------------------------------- ,illustration3 ,,baby',s ,,toilet ,,mary ,,cassatt ,,chapter ,,ix ,,the 8,,women-,,painters03 ,,berthe ,,morisot1 ,,mary ,,cassatt1 ,,marie ,,racquemond1 ,,eva ,,gonzal,s 8,,toute ,,toile ,,qui ,,ne ,,contient ,,pas ,,un ,,temp,,rament1 ,,est ,,une ,,toile ,,morte0 ,,zola ,,amongst the artists who contributed paintings to the eight exhibitions of the ,impressionist group are four women1 who were influenced by the new methods3 ,mdlle4 ,berthe ,morisot1 ,madame ,marie ,bracquemond1 ,miss ,mary ,cassatt1 and ,mdlle4 ,eva ,gonzals4 ,the story of ,berthe ,morisot is romantic4 ,she was the great grand-daughter of ,fragonard1 a famous beauty1 a pupil of ,manet1 then the wife of his brother ,eugne4 ,her position in the art world of ,france was unique1 and her death at the early age of fifty in #ahie cut short a career devoted to a most charming and delicate style4 ,she excelled above all in two branches of her art--an exquisite draughtsmanship and a most luminous and poetic sense of colour4 ,technical difficulties never discouraged her4 ,she was one of those rare and fortunate individuals who can intuitively surmount any problem and consequently hardly require a teacher4 ,madame ,eugne ,manet was an artist to her finger-tips4 ,her work is charged with a feminine charm sympathetic to the temperament of any painter4 ,her canvases are iridescent poems in paint1 and she possessed many qualities in common with her illustrious ancestor4 8,only one woman created a style10 wrote the novelist ,george ,moore 7who1 it may be remembered1 had a close acquaintanceship with many of the ,impressionists71 8and that woman is ,madame ,morisot4 ,her pictures are the only pictures painted by a woman that could not be destroyed without creating a blank1 a hiatus in the history of art40 ,she was a woman of great personality and charm1 and took an active part in the furtherance of the movement which was initiated by her brother-in-law4 8,my sister-in-law would not have existed without me10 said ,manet one day in the ,rue d',amsterdam to ,george ,moore1 and the latter adds1 8,true1 indeed1 that she would not have existed without him2 and yet she has something that he has not--the charm of an exquisite feminine fancy1 the charm of her sex4 ,madame ,morisot is the eighteenth century quick with the nineteenth2 she is in the nineteenth turning her eyes regretfully looking back on the eighteenth40 ,miss ,mary ,cassatt is an ,american subject4 ,she was born at ,pittsburg1 studied at the ,philadelphia ,academy1 and then1 after some work with ,degas1 became an accomplished painter of children and the varied scenes of maternity4 ,a pastellist of note1 with ,raffalli she succeeded in resuscitating the moribund art of etching in colour4 ,miss ,cassatt's work shows evidence upon every side of unwearying years of effort4 ,its dominant character is strength1 and1 with the single exception of ,berthe ,morisot1 the artist is probably one of the most virile woman painters the world has seen4 ,strength is decidedly not the keynote of any of the works of ,angelica ,kauffmann1 ,madame ,lebrun1 or even of the many women who exhibit to-day1 although they display other qualities worthy of praise4 ,miss ,cassatt has experimented in numerous directions1 has often tried to express herself in a fresh way4 ,she has succeeded4 ,her draughtsmanship is exceptionally firm1 and her colour bright1 pure1 and harmonious4 ,she has worked in oil1 charcoal1 water-colour1 pastel1 and etching1 and has remained faithful to the inspiration of her master ,degas1 and through him to the art of ,japan4 ,the pastel drawing here reproduced is one of an extensive series devoted to scenes from maternal life4 ,although from the nature of things all such reproductions fall far short of the original1 still a good idea is conveyed of technique and composition4 ,miss ,mary ,cassatt1 it may be added1 has travelled a great deal in search of subject inspiration1 and is the friend of the older members of the original group of ,french ,impressionists1 to which she is allied by sympathy and the work of a lifetime4 ,madame ,marie ,bracquemond was also an 8,impressioniste10 and joined ardently in the movement4 ,at first following the example of ,ingres1 her first teacher1 she received the most valuable help from her husband1 an engraver of the rarest talent4 ,the field of her art ranges from a colossal decorative panel 7those exhibited in the ,paris ,exhibition of #ahgh were about twenty-one feet by nine feet in size7 to a most delicate little etching4 ,it may be understood that mere physical labour did not appal her1 for the ,exhibition panels required assiduous and heavy toil4 ,illustration3 ,,le ,,lever ,,berthe ,,morisot ,of ,eva ,gonzals there is1 unfortunately1 little to be said4 ,at first taught by ,chaplin1 she became the favourite pupil of ,edouard ,manet1 and commenced to display much talent as a pastellist4 ,she married ,henri ,gurard1 the engraver1 but death ended at an untimely age a career of great promise4 ,in the ,luxembourg gallery she is represented by a pastel drawing4 ,it has been often said that in art women cannot create3 they can only assimilate and reproduce4 ,in one sense this is true both of ,berthe ,morisot and ,mary ,cassatt1 the two principal figures in this tiny feminine group4 ,the first was profoundly influenced by her brother-in-law ,manet1 the second by her teacher ,degas4 ,marie ,bracquemond and ,eva ,gonzals married husbands in the practice of their art4 ,but these women introduced into the stern methods of the early ,impressionists a feminine gaiety and charm which were reflected upon the canvases of their 8confrres10 and produced a certain change of attitude4 ,there was little light-heartedness in the work of ,manet before these women-painters joined the group1 and it is not altogether improbable that some of the change is due to their example4 ,in any body of men feminine influence always makes for the good1 and these women1 of strong but charming personality1 must 7it is idle to write any less emphatic word7 have had a strong influence upon the whole group4 ,their industry was great1 for they exhibited almost without intermission from #ahgd to #ahhf4 ,at times their talent touches genius1 and for future historians they will prove an interesting study4 ,modernity is the note of ,impressionism1 and that movement was the very first artistic revolt in which women took a prominent part4 ,illustration ---------------------------------------- -------------------------------- ,illustration3 ,,the ,,last ,,rays ,,emile ,,claus ,,chapter ,x 8,,la ,,peinture ,,claire03 ,,claus1 ,,le ,,sidaner1 ,,besnard1 ,,didier-,,pouget 8,,tout ,,homme ,,qui ,,ne ,,ressemble ,,pas ,,aux ,,autres1 ,,devient ,,par ,,la ,m,,me ,,un ,,objet ,,de ,d,,fiance4 ,d,s ,,que ,,la ,,foule ,,ne ,,comprend ,,plus1 ,,elle ,,rit4 ,,il ,,faut ,,toute ,,une ,,ducation ,,pour ,,faire ,,accepter ,,le ,g,,nie0 ,,zola ,,the work of ,emile ,claus is a manifestation in quite another direction of the ,impressionist idea4 ,born in ,western ,flanders in #ahdi1 he was the sixteenth child of parents in very humble circumstances4 ,their business in life was to supply with provisions the boatmen who passed along on the river ,lys4 ,by various means the boy1 who had very early displayed a yearning for the painter's career1 managed to evade all attempts to harness him in the drudgery of the home life4 ,a pastrycook1 a railway watchman1 a linendraper's assistant1 these were a few of the vocations he was condemned to try1 yet from which he escaped4 ,at last he set out for ,antwerp1 with #g in his pocket1 and the warning that he need not expect a penny more4 ,in the city of ,rubens he became a free pupil of ,professor de ,keyser4 ,all day long he studied in the ,academy4 ,when night came he earned a livelihood by giving drawing-lessons1 acting as a sculptor's 8devil10 and colouring pictures of the ,stations of the ,cross4 ,at last1 after many struggles1 he became a popular portrait-painter in the city1 particularly of children in fancy costume4 ,in #ahgi he travelled through ,spain and ,morocco1 painting the conventional compositions of an ,iberian tour1 and much influenced by the style of ,charles ,verlat4 ,despite his great success in ,antwerp1 in #ahhc ,emile ,claus changed his manner entirely4 ,he shook off the dust of the city for ever1 renounced portrait-painting1 and became 8paysagiste40 ,impelled by an intense love of nature he returned to his native village on the banks of the ,lys1 and recommenced his life as a landscape painter 8en plein air40 ,he has never returned to the distracting turmoil of town1 and1 in his quaint white and green shuttered house at ,astene between ,ghent and ,courtrai1 has buried himself in the heart of the country4 ,although some distance from the larger cities of ,belgium1 ,emile ,claus does not vegetate in his obscurity4 ,on wheel or a-foot he is equally active1 visiting his friends and working on his canvases1 of which he has always some six or eight in progress4 ,it may be noted that he works entirely in the open air1 and finishes in front of nature4 ,one might judge of this from the strength and completeness of his pictures4 ,it is years since the writer first saw a landscape by ,claus1 and he remembers vividly the pleasure it gave4 ,the painting was in the well-known collection of ,mr4 ,john ,maddocks1 of ,bradford4 ,upon a huge canvas the artist had depicted a cornfield ripe for the sickle1 and in the midst of the wheat red poppies grew4 ,across the foreground1 emerging from the wheat1 wandered a few white ducks4 ,over the whole was the fierce glare of a noon-day sun4 ,the work was convincing1 naturalistic1 yet poetic1 inasmuch as it seemed to chant the universal hymn of nature4 ,it was a revelation to those artists who found themselves in ,bradford at that period4 ,unknown and a stranger1 ,claus received in spirit silent congratulations for his splendid achievement1 which aroused in several breasts a keen feeling of emulation4 ,the artist writes3 8,mr4 ,maddocks has always strongly encouraged me1 and had the courage to buy my work at a time when everybody in ,belgium found me by far too audacious1 because1 as you may know1 the leaders1 the standard-bearers as it were1 of the young ,belgian school of painting are not at all in sympathy with the beautiful art of ,monet and his school40 ,since that day ,emile ,claus has greatly increased his following throughout the world1 being least appreciated in his own country4 ,emile ,claus is a painter whose brush is charged with the sweetness of life1 courageous1 healthful1 and buoyant4 ,his pictures breathe of sunlight and fresh air1 and it is easy to see with what sheer delight he throws himself into his work4 ,when one seeks for the reason which so suddenly changed this prosaic painter of the ,antwerp bourgeois into an ,impressionist of the most modern school1 one discovers the usual cause1 the ,englishmen of the commencement of the last century4 ,in a recent letter to the writer1 ,emile ,claus says that in ,england1 above all other countries1 were born light and life in painting4 8,i have all too quickly glanced at the ,turners and ,constables of ,london1 nevertheless it was a revelation to me1 and those great artists ,monet1 ,sisley1 and ,pissarro continue simply what that giant ,turner discovered2 just as the grand epoch of ,rousseau1 ,millet1 ,dupr1 and ,corot1 passed over ,belgium to find their inspiration in the marvellous works of the ,dutch school40 ,illustration3 ,,emile ,,claus ,illustration3 ,,the ,,village ,,street ,,emile ,,claus ,in the country of the ,lys the artist continues to work1 producing a series of pictures as beautiful as they are uncommon4 ,one may mention his magnificent ,flemish ,farm of #ahhc1 the ,old ,gardener of #ahhg now in the ,lige gallery1 the canvas in the ,antwerp gallery1 and the fine work by which he is represented in the ,luxembourg4 ,charming in colour1 they will be found broad in manner1 and perfectly original in sentiment4 ,illustration3 ,,returning ,,from ,,market ,,emile ,,claus ,illustration3 ,,golden ,,autumn ,,emile ,,claus ,in #ahia1 ,claus exhibited for the first time in the ,champ de ,mars1 and has contributed each year from that date4 ,his technical skill grows steadily4 ,m4 ,gabriel ,mourey1 staunch supporter of 8,la peinture claire10 contributed a most sympathetic article to the 8,studio10 in which he wrote1 8,in the old days1 ,claus was accused of being an #8,impressionist1' and such he is to a certain degree just as any one may be without disrespect to the glorious traditions of the painter's art4 ,he is an ,impressionist to this extent--that he possesses the gift of feeling with the utmost keenness the true meaning of ,nature in all her manifestations2 while he is bound by no rule1 subject to no formula1 in his endeavour to interpret that meaning on his canvas4 ,but1 unlike most ,impressionists1 he has the rare capacity to know how to choose his impressions1 to test them to the uttermost1 and never to rest until he has translated them to his full satisfaction1 disdaining the haphazard attempts which are sufficient for the majority of modern landscapists4 ,impressionist6 ,one need feel no surprise that the superficial observer dubs him thus2 for nowadays every painter whose work is luminous and bright1 and devoid of bitumen1 earns and deserves the title6 ,the truth is that ,claus1 without adapting his style to any special method1 is mainly concerned that his works shall be as full of atmosphere as possible1 that his touch shall be as free and his colour as pure as he can make them4 ,thus he achieves that remarkable freshness of tint1 that brightness of colouring1 which constitute one of the chief charms of his art40 ,the little house near ,astene is called in ,flemish 8,zonnenschyn0--8,sunshine10 and it is indeed sunshine which is predominant in the work of ,emile ,claus4 ,le ,sidaner is an artist1 who1 after having passed through several antagonistic stages1 has developed a style entirely his own4 ,he may be described as a mystic who views the world with an air of detachment1 standing aloof from the distractions of its inhabitants4 ,he prefers an environment breathing some vague and undefined sorrow4 ,the joy of life does not course through his veins4 ,the subjects which appeal most to him suggest renunciation and world-weariness1 the solemn peace of a ,flemish bguinage1 a cobbled street in ,bruges recalling dead glories1 a deserted canal with a solitary swan4 ,when he designs a figure-composition the subject belongs to the same genre1 a priest administering extreme unction to a dying girl1 orphans under the care of a nun1 old women waiting with the patience of extreme old age for ,death to release them from their suffering senility4 ,he instils into his canvases the very essence of ,keats' line1 8,sorrow more beautiful than beauty's self40 ,the only biographical account of ,le ,sidaner is to be found in one of ,m4 ,gabriel ,mourey's penetrating articles in the 8,studio40 ,le ,sidaner was the son of fisherfolk from ,st4 ,malo and the ,ile ,brhat4 ,he was born in #ahfb1 and spent the first ten years of his life in his native place1 the ,ile ,maurice4 8,while quite young10 says the writer of the preface to the catalogue of an exhibition held in #ahig1 8he came to live in ,dunkirk1 beside the murmuring ,north ,sea1 with its melancholy mists4 ,the shock he felt at the change made him absolutely pensive4 ,it was as though1 half alarmed1 he was taking refuge within himself the better to express the flame of ,creole tenderness which burned within him40 ,his father1 who practised painting and sculpture as an amateur1 gave the boy every encouragement4 ,at fifteen he was taken away from school1 and sent to the local cole des ,beaux-,arts4 ,here he studied under a master who was slave to the doctrines of the ,antwerp school4 ,the artist1 when telling his early experiences1 deplored these evil influences4 ,he admits that they were not worse than those forced upon him in ,paris1 where1 at the cole des ,beaux-,arts1 he studied under ,cabanel4 ,five years he spent under that master1 making sketches of the animals at the ,jardin des ,plantes1 and copying ,delacroix and ,jordaens at the ,louvre4 ,then he passed under the influence of ,impressionism4 ,he says3 8,it was in this year 7#ahha7 that ,manet displayed his portraits of ,pertuiset1 le tueur de lions1 and of ,rochefort4 ,the first of these pleased me infinitely1 but the second gradually filled me with alarm2 it was so different from that which ,i had hitherto seen4 ,nevertheless1 ,i remember well that the famous ,bar des ,folies-,bergre by this same ,manet made the profoundest impression on me4 ,yet the rules of the school forbade me to consider all this as beautiful as ,i could have wished to consider it4 ,when ,i look back on those days it really seems as though ,i was poisoned4 ,etaples1 that is to say ,nature1 revived me1 and drove the drug from my system40 ,illustration3 ,,apple ,,gathering ,,emile ,,claus ,le ,sidaner goes on to tell how by chance he spent a holiday at ,etaples in #ahha4 ,he settled there1 and remained in the little coast town from #ahhd to #ahic1 where he made friendships with ,eugne ,vail1 ,thaulow1 ,henri ,duhem1 ,alexander ,harrison1 and others4 ,he refers to a visit to ,holland1 where ,rembrandt1 ,peter de ,hoogh1 and ,vermeer enchanted him4 ,having gained a third medal at the ,salon des ,champs-lyses he was able to travel to ,italy4 8,italy simply turned my head1 particularly ,florence4 ,oh6 the delicious hours ,i spent in the ,convent of ,san ,marco copying the face of the ,virgin in ,fra ,angelico's ,annunciation4 ,how much ,i preferred the simple grace of ,fra ,angelico and ,giotto to the cleverness and skill of ,titian1 ,veronese1 and ,tintoretto40 ,it was hardly necessary to have avowed these influences1 they are so evident in the work of ,le ,sidaner4 ,illustration3 ,a ,,sunlit ,,house ,,emile ,,claus ,he is a man who avoids crowds and the distracting clamour of humanity1 loving to work in such dead cities as ,bruges1 or the peaceful countryside in the neighbourhood of ,beauvais4 ,no modern artist has better expressed on canvas the words of the great ,millet4 8,when you paint a picture1 whether the subject be a house1 a plain1 the ocean1 or the sky1 remember always the presence of man4 ,think how his joys and sorrows have been intermixed in these landscapes4 ,an inner voice speaks of his inquietude and turmoils4 ,humanity's whole existence is conjured up4 ,in painting a landscape think of man40 ,le ,sidaner has many affinities to ,pointelin1 ,carrire1 and ,whistler4 ,they each have sought harmonies of line and colour1 and though distinct in personality and unlike in methods1 they have produced wonderfully similar effects4 ,one of the most impressive of ,le ,sidaner's works is ,la ,table in the ,luxembourg4 ,here is the unmistakable ,impressionist technique4 ,in the courtyard of a country house is spread a table1 white with napery1 upon which stands a glowing opalescent lamp4 ,a calm summer moon diffuses a gentle light over the whole scene4 ,no human figures disturb the peaceful atmosphere1 yet the sentiment of their presence pervades the place4 ,the painting is a little masterpiece of its kind4 ,the first canvas exhibited at the ,champs-lyses in #ahhg was entitled ,after ,church4 ,since that time he has exhibited year after year1 the subjects of his pictures being well explained by their ,french titles3 ,la ,promenade des ,orphelines1 ,communion in ,extremis1 ,benediction de la ,mer 7#ahia71 ,jeune fille ,hollandaise 7#ahib71 ,l'autel des ,orphelines 7#ahic71 ,dpart de ,tobie 7#ahid71 ,les ,promis1 and ,les ,vieilles 7#ahie74 ,in #aijj he exhibited a notable collection of pictures of ,bruges4 ,le ,sidaner paints a world of dreams4 ,no better description of his work can be found than in the words of ,moore3 ,one of those passing rainbow dreams1 ,half light1 half shade1 which fancy's beams ,paint on the fleeting mists that roll1 ,in trance or slumber1 round the soul4 ,english readers and artists have hardly yet made the acquaintance of ,besnard4 ,to continental art-lovers he has long been known as the strongest and most audacious of the young men in the movement1 and is thoroughly ,impressionist in his ideas and methods4 ,few living artists have had the good fortune to be so much discussed as ,m4 ,besnard4 ,each ,salon brings its chorus of admiration1 its storm of disapprobation4 ,the height of the argument was reached a few years ago1 when1 at the ,new ,salon1 the artist exhibited his ,ponies worried by ,flies4 ,a startling piece of colour1 it created a strong impression upon those who saw it4 ,at that moment the existence of the violet tints in nature1 which had been so beautifully demonstrated by ,monet in his series of ,les ,cathdrales and by ,sisley in his charming river studies1 was much under discussion in the studios4 ,in some of the works of ,monet and ,sisley the whole picture is saturated in a glow of violet1 which is frequently to be found in nature1 particularly in northern ,france4 ,those who had not seen this natural effect disbelieved in its existence and charged the artists with painting 8de chic40 ,those who had seen it and essayed the difficult task of reproducing it upon canvas1 loudly proclaimed its truths4 ,then came the ,ponies worried by ,flies4 ,besnard had heard of the heated discussion raging round the violet tints1 and1 having observed the truth of the effect1 determined to demonstrate it in paint4 ,never had been seen in any ,salon such a blaze of colour as this4 ,the composition seemed to be but a peg upon which to hang a sermon in technique4 ,violet1 violent in colour1 pure hot impasto as shadow1 juxtaposed directly to its natural complement of light in the shape of orange and citron colours1 brilliantly loud and unadulterated4 ,a sensation was created1 and disbelief in the existence of violet tints in nature for ever silenced4 ,m4 ,besnard has followed this success with many other surprising themes1 for it is his pleasure to amaze4 ,he seeks incessantly the new and incongruous4 ,illustration3 ,,the ,,quay ,,at ,,veere ,,emile ,,claus ,illustration3 ,,the ,,barrier ,,emile ,,claus ,besnard's talent has been1 and continues to be1 publicly recognised4 ,the municipality of ,paris yearly expends large sums of money in securing the best available skill for decorating the public buildings in its charge4 ,in this laudable custom it is followed by every town of any importance throughout the country4 ,lavishly patronised by the ,government1 the municipalities1 wealthy private collectors1 and the sentiment of the people generally1 artists thrive in ,france and multiply4 ,in whatever respect--if any--in which ,france may be found lagging behind the nations1 in ,art she must by the very reason of things remain supreme1 for ,art is a part of her daily life4 ,besnard has been lucky with his commissions4 ,he was called upon to assist in the decoration of the magnificent ,htel de ,ville of ,paris1 in the ,town ,hall of the ,first ,arrondissement1 in the lecture hall of the ,sorbonne1 and with the frescoes in the ,school of ,pharmacy4 ,in all these decorations one finds colour and composition as original as bizarre1 harmonious yet forcible4 ,all students of modern painting should not fail to see these works1 the most striking in execution of the last few years4 ,the artist's atelier is also always open to connoisseurs1 and it will be found to be crowded with sketches and pictures in progress1 each one unmistakably the handiwork of a master craftsman4 ,illustration3 ,,an ,,alley ,,henri ,,le ,,sidaner ,illustration3 ,,the ,,table ,,henri ,,le ,,sidaner ,five of ,besnard's canvases have been bought by the ,government1 and all are now to be found in the ,luxembourg1 an honour few artists can boast of4 ,a list is given for reference4 ,the first of the series is a portrait of the artist1 the others being entitled ,femme qui se chauffe1 ,la ,morte1 ,port d',alger au ,crpuscule1 and ,entre deux ,rayons4 ,the second and third are excellent examples of a branch of art in which ,besnard is supreme4 ,his nudes and portraits are wonderfully fine in drawing1 and bewitching in colour4 ,they will form his greatest claim to future immortality4 ,besnard is a particularly sympathetic lover of horses1 and no one can more naturally reproduce them in paint than he4 ,his chief recreation is driving1 and he is often to be seen 8tooling0 along the roads of the ,bois de ,boulogne and other suburbs of ,paris4 ,there is little to add personally about ,albert ,paul ,besnard4 ,he was born in ,paris1 married ,mdlle4 ,dubray1 a sculptor of much talent1 and resides in the ,rue ,guillaume ,tell4 ,his career has been a continued series of success upon success1 and at the present moment he is one of the shining stars of contemporary art in ,france4 ,allied to the later phase of the ,impressionist movement1 although not actually identified with the group of artists known as the typical ,impressionists1 is ,didier-,pouget4 ,his habitual manner of regarding ,nature1 his pure and cheerful colours1 and his natural temperament1 include him in this survey of workers in 8la peinture claire40 ,he has a special gift of composition1 8mise en plan10 as the ,french say1 a strong feeling for balance and form4 ,he is at his best when depicting morning and sunset effects4 ,his scenes of heather bathed in sunshine or glistening with the dew of an autumnal sunrise are rendered with an exceptional verisimilitude1 strength1 and truth4 ,didier-,pouget was born at ,toulouse in #ahfd1 the son of the editor of one of the local journals4 ,his father1 a great lover of ,nature1 gave the boy every encouragement in his ambition to become an artist4 ,it was the custom of father and son to take long country walks1 and the elder would point out natural beauties and discuss the methods of their pictorial representation1 relating at the same time biographical details of the great artists1 and in every way endeavouring to train the child and sustain his ideals4 ,after ,didier-,pouget had passed through a plain schooling1 professors were engaged1 notably ,,mm4 ,auguin and ,baudit4 ,for the latter 7a local artist of genius1 who1 had he forsaken the quieter life of the provinces for the glare of ,parisian publicity1 should have attained to the highest honours an artist can reach7 his old pupil has still much admiration4 ,then ,didier-,pouget passed into the studio of ,lalanne1 the celebrated etcher and illustrator4 ,under these influences many profitable years were spent1 the seed-time of a most fruitful career4 ,locally the youth was regarded as a prodigy of talent1 and great things were expected of him4 ,pictures were exhibited in the provinces which attracted much appreciation1 and found many purchasers4 ,thus encouraged1 the artist sought a wider audience1 and went to ,paris4 ,it was a wise step1 and ,fortune smiled on him from the first4 ,from #ahhf he has exhibited year by year at the ,salon1 each fresh season showing a marked advance in his art1 bringing to the world of ,paris new and delightful colour-schemes and vivid compositions4 ,didier-,pouget achieved his 8,mention ,honorable0 in #ahij1 won the 8,concours ,troyon0 the following year1 and was awarded the gold medal at the ,salon in #ahif upon the recommendation of ,grme1 hitherto a strong opponent to the new style4 ,he is now a ,chevalier of the ,legion of ,honour1 his medals1 diplomas1 and awards from foreign exhibitions and ,governments being almost innumerable4 ,such a measure of success is rarely achieved nowadays by a man under forty in the arduous profession of art4 ,the ,state and the municipality of ,paris are amongst his most regular patrons4 ,besides the pictures reserved for ,paris1 he is represented in the museums of ,lyons1 ,macon1 ,toulouse1 ,tunis1 the ,embassy at ,st4 ,petersburg1 the galleries of ,boston1 ,u4,s4,a41 and ,leipsic1 and the private collections of the ,kings of ,italy and ,greece4 ,illustration3 ,a ,,study ,,albert ,,besnard ,illustration3 ,,the ,,death-,,bed ,,albert ,,besnard ,personally ,didier-,pouget is more ,spanish than ,french4 ,of medium height1 tanned complexion1 black hair1 dark eyes which tell unmistakably of the artist1 very reserved in manner1 and modest to a degree--these are his characteristics4 ,he leads a solitary life in the ,boulevard de ,clichy4 ,in his large studio will probably be found the canvas he is working upon1 about ten feet by six1 his favourite size4 ,innumerable studies are scattered around1 rapid sketches of form and colour1 line-drawings1 careful black-and-white work full of detail1 in fact every trifle which will aid him in completing the whole4 ,illustration3 ,,morning ,,mists ,,in ,,the ,,valley ,,of ,,the ,,creuse ,,didier ,,pouget ,illustration3 ,,morning ,,in ,,the ,,valley ,,of ,,the ,,corr,,ze ,,didier ,,pouget ,if the greatest art is to represent an impression of ,nature at her best1 then the work of ,didier-,pouget is great4 8,it is truly worth while being a painter to have produced any one of these10 writes the critic of 8,le ,temps40 ,the artist loves best to represent ,nature in her peaceful moods1 and generally seeks the solitudes of the exquisite hills1 valleys1 and rivers of the ,tarbes countryside1 or the rich watershed of ,la ,creuse4 ,here1 in the fresh early-morn1 charged with dew and mist1 he finds his subjects1 overlooking magnificent panoramas of river1 hillsides covered with heather1 across valleys and plains from which loom out sculpturesque masses of foliage1 dark and strong against the blue mist and distant mountain ridge4 ,the painter prefers ,nature serene and undisturbed1 and introduces but little incident4 ,it need hardly be said that his palette is free from all blacks1 browns1 ochres1 or earth-colours generally1 and that his strongest 8effects0 are gained by the juxtaposition of pure tints in harmonious contrast4 ,his favourite colour-scheme seems to be the composition of subtle arrangements in yellow and blue1 or pink and green4 ,he contributes regularly to the ,salon1 yearly producing from two to four canvases of the size mentioned1 and in these days of a limited market and unlimited talent1 he invariably finds purchasers4 ,so fortunate has he been that his numerous friends have but one fear for his future1 that his enormous success may hasten a tendency to stereotype his compositions4 ,didier-,pouget is doubtless aware of this danger1 and will probably follow his present aims in a manner which will not disfigure or flaw a most brilliant career4 ,illustration ,illustration3 ,,the ,,valley ,,of ,,the ,,creuse ,,didier ,,pouget ---------------------------------------- -------------------------------- ,illustration3 ,,portrait ,,of ,,his ,,mother ,j4 ,a4 ,mc,n4 ,,whistler ,,chapter ,,xi ,,american ,,impressionists3 ,,whistler1 ,,harrison1 ,,hassam 8,,through ,,his ,,brain1 ,,as ,,through ,,the ,,last ,,alembic1 ,,is ,,distilled ,,the ,,refined ,,essence ,,of ,,that ,,thought ,,which ,,began ,,with ,,the ,,gods1 ,,and ,,which ,,they ,,left ,,him ,,to ,,carry ,,out0 ,,whistler',s ,,ten ,o',,clock ,,mr4 ,,whistler',s personality was one of the most striking in the art world of the last forty years1 and his death was an irreparable loss4 ,that he will rank as one of the greatest masters of the nineteenth century there can be no doubt4 ,as an ,impressionist with a strong individuality his work requires attention in this volume4 ,the ,whistler family came originally from ,england1 chiefly from the neighbourhoods of ,whitchurch and ,goring-on-,thames4 ,a notable ancestor was ,daniel ,whistler1 ,president of the ,royal ,college of ,physicians of ,england in the reign of ,charles ,,ii4 ,several references to this 8quaint gentleman of rare humour0 are to be found in the pages of #8,pepys' ,diary1' and the family trait reappeared 7with emphasis7 in the character of the famous artist4 ,james ,abbott ,mc,neill ,whistler was born at ,lowell1 ,massachusetts1 in #ahcd1 his father being ,major ,george ,washington ,whistler1 for some time consulting engineer to the ,st4 ,petersburg and ,moscow ,railway4 ,the son was destined for a military career1 and received a considerable amount of tuition at the ,government ,college at ,west ,point4 ,work as a cadet1 and also on the coast survey1 does not seem to have interested him4 ,in the fifties he migrated to ,paris and became a student in the atelier of ,gleyre1 two of his fellow pupils being ,sir ,edward ,poynter and ,george du ,maurier4 ,whistler cannot have had much sympathy with the art in vogue at that time1 a degenerated style based upon a sentimental classicalism4 ,he found his best friends amongst young ,frenchmen with extremely different ideas1 men such as ,fantin-,latour1 ,bracquemond1 ,degas1 ,manet1 ,duret1 ,claude ,monet1 and many others4 ,whistler first acquired fame as an etcher1 and his first set of plates1 known as the 8little ,french set10 amply justifies the welcome with which it was received4 ,from that early date until his death he has been acknowledged pre-eminent in the etcher's delicate and graceful art4 ,at the ,salon de ,refuss 7to which frequent reference has already been made7 ,whistler exhibited his first important painting1 the ,little ,white ,girl1 ,symphony in ,white ,no4 #b4 ,it created his reputation as a painter1 and remains one of the most charming of his canvases4 ,an early contribution to the ,royal ,academy was entitled ,at the ,piano1 and clearly showed that the artist was then dominated by the subtle influence of ,dante ,gabriel ,rossetti4 ,this influence was quickly discarded1 for ,rossetti's talent was inferior to that of the gifted ,american4 ,it has often been said that ,whistler was never welcomed at the ,royal ,academy4 ,this point remains debatable2 the fact remains that the artist was constantly in evidence during the early part of his career4 ,in #ahei he exhibited two etchings from nature 7the title given in the catalogue to one frame72 in #ahfj the celebrated ,at the ,piano 7which was bought by an ,academician7 and five other works1 namely1 ,monsieur ,astruc1 ,rdacteur du ,journal l',artiste 7,drypoint72 ,thames--,black ,lion ,wharf2 ,portrait 7,drypoint72 ,w4 ,jones1 ,lime ,burner1 ,thames ,street 7,etching72 and ,the ,thames1 from the ,tunnel ,pier4 ,in #ahfa he was represented by one canvas1 ,la ,mre ,grard1 together with ,thames from ,new ,crane ,wharf 7,etching72 ,monsieur ,oxenfeld1 ,littrateur1 ,paris 7,drypoint72 ,the ,thames1 near ,limehouse 7,etching74 ,in #ahfb he sent two paintings1 ,the ,twenty-,fifth of ,december1 #ahfj1 on the ,thames1 ,alone with the ,tide2 and ,rotherhithe 7,etching74 ,the next year1 #ahfc1 was prolific4 ,the catalogue contains the following titles3 ,the ,last of ,old ,westminster2 ,weary 7,drypoint72 ,old ,westminster ,bridge2 ,hungerford ,bridge 7,etching72 ,the ,forge 7,drypoint72 ,monsieur ,becgis 7,etching72 ,the ,pool 7,drypoint74 ,two works were on view in #ahfd3 ,wapping and ,die ,lange ,lizen--of the ,six ,marks4 ,in #ahfe he exhibited ,the ,golden ,screen2 ,old ,battersea ,bridge2 ,the ,little ,white ,girl 7with a quotation in the catalogue of fourteen lines from ,swinburne72 and ,the ,scarf4 ,whistler was not represented in #ahff1 but in #ahfg exhibited the ,symphony in ,white ,no4 #c2 ,battersea2 and ,sea and ,rain4 ,after a break of two years came ,the ,balcony in the ,academy of #ahgj4 ,the next year's catalogue does not contain his name1 but in #ahgb the ,academy accepted that exquisite example of his art1 now in the ,luxembourg1 ,arrangement in ,grey and ,black3 ,portrait of the ,painter's ,mother4 ,for six years ,whistler was an absentee1 being represented for the last time on the walls of ,burlington ,house1 in #ahgi1 by ,old ,putney ,bridge 7,etching74 ,illustration3 ,,portrait ,,of ,,thomas ,,carlyle ,j4 ,a4 ,mc,n4 ,,whistler ,illustration3 ,,princess ,,of ,,the ,,porcelain ,,country ,j4 ,a4 ,mc,n4 ,,whistler ,the majority of ,whistler's masterpieces were exhibited at the ,grosvenor ,gallery in the days when ,sir ,coutts ,lindsay was at the head of the direction4 ,the walls of the rooms in ,bond ,street were repeatedly adorned by those charming creations known as ,nocturnes and ,symphonies1 by the remarkable ,valparaiso1 by many of the portraits1 notably ,lady ,archibald ,campbell1 ,carlyle1 and the delightful ,miss ,alexander4 ,twenty years ago ,whistler's life in ,london and ,paris was exceptionally active4 ,in him ,society discovered a wit of ,gallic alertness1 and he speedily became one of the most prominent characters of the day4 ,readers will remember the oft-told tale of how ,whistler sacrificed 7with a true ,whistlerian light-heartedness7 much costly ,cordovan leather1 in order that he might create a masterpiece of decoration in the celebrated ,leyland mansion4 ,another historic story is the cause clbre of ,whistler v4 ,ruskin1 based upon the criticism of a ,grosvenor ,gallery nocturne as 8a pot of paint flung in the public face10 with the resultant farthing damages4 ,the canvas which called forth this elegant banter was that entitled ,nocturne in ,black and ,gold2 the ,fire ,wheel1 the theme being a display of fireworks in the gardens at ,cremorne4 ,from a literary point of view1 as a writer of biting sarcasm the artist scarcely had a peer4 ,one admires that lively jeu d'esprit 8,ten o'clock10 and the strange mixture of correspondence entitled 8,the ,gentle ,art of ,making ,enemies0 will not be out of date until all the shining lights of the present generation have been forgotten4 ,after two years of probationship as an ordinary member1 in #ahhf ,whistler became ,president of the ,royal ,society of ,british ,artists1 an old-established and hitherto staid and conservative institution4 ,his term of office was brilliant and exciting2 he himself exhibited such wonderful pictures as the ,sarasate1 and his reputation attracted the most talented of the younger artists of the day4 ,the correspondence which ensued when ,whistler vacated the presidential chair must be sought for in 8,the ,gentle ,art of ,making ,enemies40 ,in ,whistler's work there is a curious yet indefinable influence of ,japanese painting4 ,in company with most of the ,impressionists1 he was influenced by those ,impressionists of another race4 ,this influence is to be observed in all modern painting since #ahgj1 when artists first commenced to collect examples of the ,japanese methods4 ,in his later years ,whistler preferred the atmosphere of ,paris to that of ,london1 although he continued to visit occasionally the country he described as 8humourless and dull40 ,the artist was thoroughly cosmopolitan1 and was equally at home in ,new ,york1 ,paris1 or ,london4 ,his influence upon the art of to-day has been unmistakable1 and one has little doubt as to its permanency4 ,whistler helped to purge art of the vice of subject1 and the belief that the mission of the artist is to copy nature4 ,illustration3 ,,alexander ,,harrison ,mr4 ,alexander ,harrison is one of those numerous ,american artists who have settled in ,france1 a natural result of ,french training and ,french sympathies4 ,inspired by ,manet1 influenced by ,besnard1 he has painted some of the most successful ,impressionist work of the last fifteen years4 ,one cannot agree always with ,dr4 ,muther in his learned and not altogether satisfactory tomes1 but his appreciation of ,mr4 ,harrison is so delicate and just that it is worth reproducing4 8,in ,arcady10 he writes1 8was one of the finest studies of light which have been painted since ,manet4 ,the manner in which the sunlight fell upon the high grass and slender trees1 its rays gliding over branch and shrub1 touching the green blades like shining gold1 and glancing over the nude bodies of fair women--here over a hand1 here over a shoulder1 and here again over the bosom--was painted with such virtuosity1 felt with such poetry1 and so free from all the heaviness of earth1 that one hardly had the sense of looking at a picture at all40 ,the luminous painting of ,besnard had here reached its final expression1 and the summit of classic finish was surmounted4 ,his third picture was called ,the ,wave4 ,to seize such phenomena of ,nature in their completeness--things so fickle and so hard to arrest in their mutability--had been the chief study of ,french painters since ,manet4 ,when ,harrison exhibited his ,wave1 sea-pieces by ,duez1 ,roll1 and ,victor ,binet were also in existence2 but ,harrison's ,wave was the best of them all4 ,illustration3 ,,in ,,arcady ,,alexander ,,harrison ,illustration3 ,,the ,,wave ,,alexander ,,harrison ,harrison's vast studio in ,paris breathes of the sea4 ,the painter is an ardent yachtsman1 and traces of his recreation are numerous4 ,here are to be found dozens of canvases1 rolled up1 piled in bundles1 hung haphazard against the walls1 each one telling some different story of the waters4 ,these studies1 probably worked upon in the neighbourhoods of ,pould'hu or ,begmiel1 are often actually salted and sanded by contact with the elements which dash against the wild but lovely ,breton shores4 ,no modern man paints seascapes like ,harrison4 ,he produces effects which are evidently the results of patient vigil and watching1 as well as a vigorous power of brushwork4 ,they are transcripts of the ocean1 which can only be seen as the sun rises out of the east over the waters1 pale lilac tints1 softly fading into citron1 or gaining added strength in vermilion or deep orange reflected from the passing clouds1 whilst sweeping ripples 7one can almost hear their rhythmic cadence7 are gently lost across the expanse of ethereal1 glistening sand4 ,illustration3 ,,sunlight ,,on ,,the ,,lake ,,childe ,,hassam ,in other pictures we see the tide at full flood2 nature is in a fairer mood1 and the universe glows with an exquisite green4 ,the waves1 of a glassy transparency1 are for the moment held in check by a supreme power4 ,such passing phases of ,nature ,mr4 ,harrison seizes with unerring touch4 ,another branch of his work1 already referred to in speaking of the picture ,in ,arcady1 are the paintings of the nude amidst the actual surrounding of the fields4 ,part of their success may be ascribed to the fact that they have been painted in each case in the open air4 ,from the photographs1 which ,mr4 ,harrison has allowed us to reproduce1 both sides of his beautiful talent may be judged4 ,like most ,impressionists1 his art breathes of a love and joy with ,nature as seen by a temperament refined1 distinguished1 one may add--aristocratic4 ,in the days when ,florida was a primval wilderness ,mr4 ,harrison as a very young man entered the ,united ,states ,coast ,survey4 ,whistler1 it may be remembered1 commenced his career under the auspices of the same department4 ,florida was just the place for an adventurous youth1 and ,harrison was interested in his work4 ,his enthusiasm1 coupled with his ability1 resulted in being intrusted with most of the difficult and sometimes dangerous 8reconnaissance0 engineering scout work that called for lonely jaunts and camping out amongst the swamps and lagoons4 ,after four years on the ,florida coast the party moved on to ,puget ,sound4 ,the young men connected with the survey had been dabbling for some time in the use of water-colours1 and ,harrison found that the artist in him was winning ascendency over the surveyor4 ,an argument with the head of the survey settled the matter4 ,mr4 ,harrison went to ,san ,francisco1 and then travelled to ,paris1 and studied under ,grme4 ,he was in his twenty-sixth year1 and conscious that his career was midway between success and failure4 ,he exhibited at the ,salon a picture ,chteaux en ,espagne1 a boy stretched on his back in the sand of a warm1 dry beach1 wrapt in the spell of a day-dream4 8,it was rather symbolic10 said the artist once as he gazed at the photograph1 8of my own state of mind at that time40 ,during the next ten years he was engaged in painting nudes in the open air4 ,his chief source of inspiration was his friend ,bastien-,lepage1 with whom he travelled to ,brittany4 ,harrison's first success was ,in ,arcady1 now in the ,luxembourg4 ,a recent journalistic interview elicited many interesting facts about ,mr4 ,harrison's method of work4 ,the writer concludes3 8,mr4 ,harrison's usual haunt in ,brittany is ,begmiel4 ,here there is a sandy peninsula jutting into the sea1 whence you can watch the sun go down on the one horizon1 and the moon come up from the other4 ,he does not carry his paint-box about with him taking notes4 ,memory and imagination1 knowledge and power of visualisation1 take psychic photographs4 ,it is not to be gathered from this that ,mr4 ,harrison is unerring4 ,he has scraped out as many yards of painted canvas as any man4 ,but where his strength undeniably exists is in this subjective1 rather than objective1 genius for instantaneous notation4 ,when he comes to put the picture on the canvas--now mark the importance of early influences--he becomes the young surveyor again engaged in reconnaissance4 ,he takes his embryonic map 7a small canvas7 and puts down his known points4 ,he knows just what spot of colour was here1 what broken line there4 ,the more he puts down the more he sees1 and presently the little map is finished4 ,the first map finished a larger size is made1 and1 if all goes well1 perhaps one larger still1 and we have a great picture like any one of those exhibited by the artist at the ,salon of the ,socit ,nationale40 ,it is hardly necessary to add that this artist is an officer of the ,legion of ,honour1 and has received numerous medals and other awards4 ,of the ,franco-,american school of painting he is one of the recognised heads1 and this has been acknowledged by his election to the chief art societies of ,paris1 ,new ,york1 ,berlin1 and ,munich1 whilst he is represented in the permanent collections of the ,luxembourg1 the ,royal ,gallery1 ,dresden1 the ,museum at ,quimper1 and the ,american galleries of ,philadelphia1 ,washington1 ,chicago1 ,st4 ,louis1 and ,san ,francisco4 ,illustration3 ,,children ,,childe ,,hassam ,illustration3 ,,pomona ,,childe ,,hassam ,illustration3 ,a ,,country ,,beer-,,house1 ,,bavaria ,,max ,,liebermann ,childe ,hassam is a young ,american artist who has been strongly influenced by ,impressionism4 ,originally from ,boston1 he worked for several years in ,paris1 and when he returned to the ,states had already some reputation4 ,in ,new ,york he has 8rendered the street life in fresh and fleeting sketches2 snow1 smoke1 and flaring gaslight pouring through the shop-windows1 quivering out into the night1 and reflected in an intense blaze upon the faces of men and women40 ,a typical example of his work in this genre is ,seventh ,avenue1 ,new ,york4 ,childe ,hassam is an associate of the ,socit ,nationale des ,beaux-,arts1 a member of the ,secession of ,munich1 the ,american ,water ,colour ,society1 and numerous clubs and societies throughout the ,states4 ,he has received medals at many of the recent ,international ,exhibitions1 including that of ,paris in #ahhi1 whilst he is represented in several of the continental and transatlantic galleries4 ,being still young and enthusiastic1 much may be expected of ,mr4 ,hassam in the future4 ---------------------------------------- -------------------------------- ,,chapter ,,xii ,a ,,german ,,impressionist1 ,,max ,,liebermann 8,,ce ,,que ,,je ,,cherche ,,avant ,,tout ,,dans ,,un ,,tableau1 ,c',,est ,,un ,,homme ,,et ,,non ,,pas ,,un ,,tableau0 ,,zola ,,germany has been strongly affected by the ,french movement1 as in fact has been the whole of the ,continent4 ,any person who can remember the state of art in the ,fatherland twenty years ago will notice the great change now taking place4 ,he need only revisit the country and wander through the great annual exhibitions held in the larger cities1 such as ,berlin1 ,munich1 and ,dresden4 ,in #ahgh the 8,gazette des ,beaux-,arts10 referring to the ,german school of painting1 said3 8,there are one or two artists of the first rank1 and many men of talent1 but in other respects ,german painting is still upon the level of the schools which had their day amongst us thirty years ago2 this is the solitary school of painting which does not seem to perceive that the age of railways and ,world ,exhibitions needs an art different from that of the age of philosophy and provincial isolation40 ,since that date1 in the manner of viewing nature1 in the choice of subject1 in the style1 composition1 technique1 and colour of pictures1 the main trend of ,german art has been completely altered4 ,until quite recently ,teutonic artists delighted in the allegorical4 ,the output of fabulous monsters1 fauns1 unicorns1 satyrs1 was enormous4 ,every young painter turned his hand to the production of these fantastic mythological subjects4 ,happily a saner view of the mission of art has come over the land1 and the fauns and satyrs are being gradually relegated to oblivion4 ,from an absurd pseudo-classical style 7the effect of teaching from men like ,couture and ,munkacsy71 together with unlimited use of bitumen and black1 a national school of painting has been evolved which follows 8la peinture claire10 giving promise that in time it will travel1 as regards purity of colour and brilliance of effect1 far beyond the bounds ,monet has restricted himself to4 ,work 8en plein air0 is the vogue1 and no longer the exception1 whilst the sun is recognised at his true worth in the universal scheme of nature4 ,hitherto ,king ,sol has been disregarded1 and his presence but rarely indicated in some low-toned sunrise1 or a sunset effect--the conventional chrome-yellow band across a deep ,prussian-blue hill distance4 ,following the lead of the artists1 both critics and public are being gradually weaned from the love of black shadows1 although it cannot be said that they are wholly converted4 ,still their education is in rapid progress1 and the ,german people will soon be abreast of the times in matters artistic4 ,one man1 ,max ,liebermann1 has brought about this healthy state of things almost single-handed4 ,a consideration of his lifework is of the highest importance and interest to all concerned either with the progress of ,german art or the movement of ,french impressionism1 for ,liebermann is a master1 head and shoulders above all his colleagues4 ,his artistic history is easy to trace4 ,the greatest painters are always primarily attracted by the work of other great men4 ,they copy the models of their choice1 and1 missing some of the peculiar qualities enshrined therein1 gradually replace them in their own works with something equally fine4 ,these fresh qualities will in their turn find admirers1 and1 fanning the zeal of newcomers1 keep alight throughout the ages the sacred flame of art4 ,if ,delacroix borrowed from ,constable1 ,manet borrowed from ,delacroix1 and ,liebermann from ,manet4 ,in his turn1 ,liebermann has influenced a large and increasing number of young ,german and ,dutch artists4 ,with his pre-eminent position as a representative ,german painter1 ,max ,liebermann combines a commanding and active personality4 ,more than any other man of his time1 his work has provoked discussion and attracted attention from the commencement4 ,during the last thirty years he has fought strenuously the battle of light in painting4 ,strongly influenced by ,manet1 ,monet1 together with ,millet and the ,barbizon school1 he has succeeded in inculcating amongst his brother artists a love of actuality in subject1 a desire to work direct from nature 7contrary to that old method of painting in the semi-gloom of the studio from incongruous models in more or less correct costume71 together with the simplification and purification of the palette4 ,liebermann has taught ,german artists to look at nature as it is1 and not to represent it as seen through the veil of a deadening academic tradition2 he has taught them that art does not consist in a minute finish1 that there is no finality in nature1 and that the last impression which a true work of art should convey is that of excessive industry4 ,illustration3 ,,the ,,cobblers ,,max ,,liebermann ,max ,liebermann was born in ,berlin1 ,july #bi1 #ahdi1 the son of a wealthy merchant4 ,at an early age he decided to become an artist1 but the fulfilment of his wish was opposed by his father1 who suggested a course of philosophy at the ,university of ,berlin as an antidote4 ,young ,liebermann joined the faculty of philosophy1 but at the same time worked in ,steffeck's studio where he made quick progress4 ,he assisted his master1 we are told1 in the battle picture ,sadowa1 painting guns1 sabres1 uniforms1 and hands1 with much approbation from ,steffeck4 ,he frequented the galleries and museums in preference to the class-rooms1 and preferred to sketch in the streets and parks of ,berlin rather than sit at the feet of a professor at the ,university4 ,in #ahfi1 with parental authority1 he deserted philosophy altogether1 and joined the ,academy at ,weimar1 then in high repute as a school of art producing the regulation painters of orthodox pattern4 ,here he worked for three years under ,thumann and ,pauwels1 beginning pictures in their style which were left unfinished4 ,the petrified classicalism which reigned in ,weimar was little acceptable to a youth who had keenly studied the life around him1 and who had developed a strong love for natural effects as well as modernity in technique4 ,these heretical tendencies were sternly repressed by his respectable and erudite teachers4 ,at last ,liebermann threw aside artificiality1 and1 quitting the circles of the conservative ,academy1 occupied himself in painting in the open air4 ,in #ahgc he finished his first great picture1 ,women plucking ,geese1 now in the ,national ,gallery1 ,berlin4 ,it was more or less academic as to technique1 and black tones predominated throughout in accordance with the fashion of the period4 ,the subject brought the canvas into immediate notoriety1 the picture was condemned as a gross vulgarity1 and ,liebermann was described as 8the apostle of ugliness40 ,this hostile reception was entirely unexpected by the sensitive artist1 who was much affected by it1 and determined to leave ,berlin for ,paris4 ,thirty years ago the bituminous method of ,munkacsy was the most popular art in ,germany1 and influenced many of the younger painters1 ,liebermann included4 ,upon his arrival in ,paris the artist sought out the great ,hungarian1 and asked for advice4 ,the result of the interview was that ,liebermann quitted ,paris for ,holland4 ,munkacsy was at that time1 as ,dr4 ,muther remarks1 under the influence of ,ribot1 and confirmed ,liebermann in his preference for heavy ,bolognese shadows4 ,it was not until he came to know the works of ,troyon1 ,daubigny1 and ,corot1 that he liberated himself from the influence of the school of ,courbet4 ,as subsequent events proved1 the advice given by ,munkacsy was good and to the point1 and ,liebermann acknowledges his great obligation to the painter of ,christ before ,pilate4 ,the first motive of importance which ,liebermann found in the ,low ,countries resulted in the picture ,women preserving ,vegetables1 completed at ,weimar in #ahgc1 and exhibited at the ,salon of the same year4 ,the subject represents a group of women in a dimly lit barn busily engaged in preserving cabbages and other vegetables4 ,the canvas1 although a great advance upon its predecessors1 was ungraciously received in ,germany4 ,so little appreciation did ,liebermann receive that he definitely removed to ,paris1 where he knew a welcome awaited him4 ,in 8la ville lumire0 he worked in the schools and museums1 studied ,troyon1 ,daubigny1 and ,millet1 whilst the influence of ,manet1 ,monet1 and the other ,impressionists1 was an important factor in the development of his art4 ,illustration3 ,,asylum ,,for ,,old ,,men1 ,,amsterdam ,,max ,,liebermann ,illustration3 ,,woman ,,with ,,goats ,,max ,,liebermann ,so strong was his admiration for ,millet that he went down to ,barbizon1 where he arrived shortly before the death of that great artist4 ,under the influence of ,millet he painted ,labourers in the ,turnip ,field1 and ,brother and ,sister1 which appeared in the ,paris ,salon of #ahgf4 ,he now reached the turning-point of his career1 for he had made up his mind that at all costs he must perfect his own individual style4 ,a great unrest1 useless to battle against1 disorganised his movements4 ,he travelled through ,belgium1 ,holland1 ,germany1 and ,italy1 studying and searching for the inspiration which should place him in the right path4 ,during these travels he met at ,venice ,lenbach1 the portrait-painter1 who told him to study in ,munich4 ,tired of wandering he acted upon the suggestion1 and passed six years in the ,bavarian capital4 ,for a period his art assumed a religious character1 and he painted many biblical compositions4 ,these works were coldly received1 and in ,munich they were strongly and adversely criticised4 ,the clergy objected to them as profane1 and a debate on the subject followed in the ,bavarian ,assembly4 ,the life of the artist becoming exceedingly uncomfortable1 ,liebermann settled in ,amsterdam1 where he found a freer artistic atmosphere more congenial to his temperament4 ,disdaining the critical capacity of his native city1 ,liebermann forwarded all his finest works to ,paris1 and in the ,salon of #ahha exhibited ,an ,asylum for ,old ,men1 which gained a medal in the third class1 the first honour awarded to ,german art since the war4 ,having received the official imprimatur of ,paris1 his countrymen began to realise that an artist had grown up amongst them they could no longer afford to neglect4 ,liebermann's works found purchasers throughout the ,continent1 and his future was assured4 ,he was elected a member of the 8,cercle des ,quinze10 of which ,alfred ,stevens and ,bastien-,lepage were prominent supporters1 and he exhibited annually at the ,salon ,petit and other ,french collections4 ,since #ahhd he has divided his time between ,berlin and the little village of ,zandvoort1 near ,hilversum1 in ,holland4 ,perhaps his early experiences account for the fact that when in the ,german capital he mixes little with its artistic society4 ,liebermann has practised with success and ability every variety of artistic expression4 ,his portraits alone would class him amongst the masters1 taking as examples the ,burgomeister ,petersen1 the ,professor ,virchow1 and the ,gerhart ,hauptmann4 ,he is equally facile with the burin1 the needle1 the pastel1 or with water-colours4 ,his activity is ceaseless1 and his production1 in consequence1 enormous2 he possesses robust health1 uncommon strength1 enormous fertility1 traits common to the great artists of all ages4 ,in his fine canvas of the ,courtyard of the ,orphanage1 ,amsterdam1 painted in #ahha1 ,liebermann shows for the first time complete emancipation from the thrall of ,munkacsy's influence4 ,the picture was exhibited in the ,salon of #ahhb1 and in it appears that peculiar note of red1 now one of the distinguishing features of the artist's work4 ,of this canvas ,hochd1 the ,parisian art critic1 said that ,liebermann must surely have been stealing sunbeams to paint with4 ,then commenced a long series of pictures such as the ,ropeyard1 the ,netmenders1 now one of the most valued pictures in the modern section of the ,gallery at ,hamburg1 in which the ,impressionist spirit is clearly manifested4 ,the unimportant has been omitted1 and the pith of the subject only is given4 ,the point of view is focused1 the inconsequent suppressed1 and the 8mise en scne0 proves the artist to be an irreproachable draughtsman1 as well as a colourist of the first rank4 ,liebermann's pictures of 8sous bois0 are particularly pleasing1 strikingly painted and original2 they were the first of their kind in ,germany1 and disconcerted the whole artistic community4 ,in following the progress of ,liebermann's art1 one notes that he is attracted unceasingly by problems of light4 ,if ,manet is the great apostle of 8plein air0 painting1 surely no one has yet surpassed the marvellous style in which ,liebermann succeeds in rendering the attenuated scheme of interior lighting in conjunction with extraordinary powers of sunlight painting4 ,his gradual emancipation from tradition may be easily traced from the days of ,women plucking ,geese1 when he was with justice called a 8son of darkness02 through the 8sous bois0 pictures1 to the present period of vivid sunlight and violet shadows across open country1 sea1 and the human figure4 ,liebermann headed the party which revolted from the ,national ,salon1 and of the ,secessionists he is the president4 ,similar cleavages of the young and progressive from the old and reactionary have taken place in most countries with equally important results4 ,in ,max ,liebermann ,germany has an artist of most exceptional gifts4 8,i do not seek for what is called the pictorial10 he writes1 8but ,i would grasp nature in her simplicity and grandeur--the simplest thing and the hardest40 ,illustration ---------------------------------------- -------------------------------- ,,chapter ,,xiii ,,influences ,,and ,,tendencies 8,c',,est ,l',,affirmation ,,grandiose ,,de ,l',,effort ,,vers ,,le ,,beau ,,que ,,certains ,,artistes ,,ind,,pendants ,,trait,,rent ,,un ,,moment ,,donn ,,en ,,dehors ,,de ,,la ,,tradition ,,et ,,des ,,formules ,,acquises0 ,,georges ,,lecomte ,,it is the fashion nowadays amongst a certain class of art-critics to adopt the pessimistic note4 ,they laud the past1 deplore the present1 and display sympathetic alarm for the future of art and artists4 ,should a modern manifestation of art be under discussion1 some phase undeniably good and universally accepted by those best qualified to form an opinion1 these critics recognise it with a guarded qualification and a prophecy of its speedy decadence in the immediate future2 and these depreciatory remarks are extended to all those artists who have been attracted by the new movement and have ranged themselves under its banner4 ,it has always been so4 ,in the art literature of the past we read of ,delacroix and the decadence1 of ,corot and the downfall1 of ,monet and the abyss4 ,there are still living in ,france aged and honoured professors1 members of the ,institute and of the ,salon juries1 who believe that the teaching of ,claude ,monet has been a national calamity4 ,they hold that art no longer exists1 having been destroyed by these dreadful innovations4 ,is it not strange that the birth of new methods1 rather than the death of old ones1 should be heralded with melancholy head-shakings1 with frequent and wrathful imprecations upon the impious intruders6 ,time rights all things4 ,the new to-day is old to-morrow1 the exotic becomes classic1 and one more page is added to the history of the evolution of art4 ,nothing is more amazing than to read in the daily and weekly press of the 8pernicious influence0 and decadence of modern ,french art1 criticisms the more astonishing as the present age is one of universal travel and liberal ideas4 ,french art is in no such parlous state1 and never1 at any period of its history1 displayed stronger signs of vitality4 ,never was its activity greater1 nor its influence1 poetry1 and gaiety better for the general good of the nation4 ,such wild accusations are unjustifiable1 hypocritical1 and themselves pernicious4 ,french influence dominates the work of the most successful painters and sculptors throughout the world4 ,the art of such men as ,la ,thangue1 ,edward ,stott1 ,alfred ,east1 ,peppercorn1 ,bertram ,priestman1 ,arnesby ,brown1 ,fred ,footet1 ,john ,lavery1 ,macaulay ,stevenson1 ,edwin ,abbey1 ,john ,s4 ,sargent1 ,george ,clausen1 and the men of the ,glasgow school1 is unquestionably derived from ,paris1 a city we are asked to believe is decadent in art matters4 ,of these artists it may be said that the majority were educated in ,paris4 ,it is well to acknowledge candidly that1 although in the days of ,gainsborough1 ,turner1 ,constable1 and the other members of that brilliant band1 ,english art led the world1 to-day we must look to 8la ville lumire0 for instruction and inspiration4 ,the fact is proved by the enormous preponderance of students of all nationalities who flock to ,paris for the completion of their art education4 ,in other words1 ,french art is the leading art of the day1 and will remain so for many years to come4 ,let any unbiased observer compare the two magnificent ,salons of ,painting and ,sculpture held annually in ,paris with the ,english ,royal ,academy1 ,new ,gallery1 and ,british ,artists' ,exhibitions4 ,note that ,france houses her artists in some of the most beautiful palaces in the world1 then think of ,london4 ,observe the high average quality of the exhibits1 their astounding technical excellence1 the courage of the artists1 and their bold experiments in untrodden paths1 their extraordinary originality and diversity of temperament4 ,they are not content with an ephemeral success1 or the stereotyped reproduction of popular playthings4 ,the contributors are cosmopolitan in nationality1 for1 provided the necessary passport of talent1 ,paris welcomes the stranger4 ,where in ,great ,britain can the foreigner1 even if he possess acknowledged genius1 be sure of meeting with a sympathetic reception and fair play from a ,hanging ,committee8 ,he is fortunate if he escapes public ridicule4 ,the ,continental artist has learnt this lesson and troubles us no more1 to the blight of our national education and the detriment of our taste4 ,this blot upon our reputation for common sense has been to some extent redeemed of recent years by the ,international ,society of ,painters1 ,sculptors1 and ,gravers4 ,perhaps its intermittent exhibitions will rehabilitate our name abroad1 and incidentally aid in revivifying our national taste4 ,recall haphazard the names of a few artists who are at the present moment exhibiting in ,france4 ,aman-,jean1 ,barillot1 ,binet1 ,besnard1 ,billotte1 ,bracquemond1 ,cottet1 ,chret1 ,carrire1 ,cassatt1 ,cazin1 ,dagnan-,bouveret1 ,daillon1 ,dameron1 ,didier-,pouget1 ,degas1 d',espagnat1 ,forain1 ,fantin-,latour1 ,geffroy1 ,gosselin1 ,gaston la ,touche1 ,gagliardini1 ,guillaumin1 ,harpignies1 ,henner1 ,lhermitte1 ,le ,sidaner1 ,meunier1 ,marais1 ,monet1 ,menard1 ,maufra1 ,montenard1 ,pointelin1 ,ribot1 ,rigolot1 ,raffalli1 ,rodin1 ,renoir1 ,roybet1 ,ziem4 ,this list can be extended indefinitely by the addition of the names of artists of the rarest temperaments4 ,the art of the whole of the rest of the world cannot surpass the productions of these men4 ,the state of the plastic arts in ,england is deplorable4 ,if it be not soon remedied1 we shall be compelled to go abroad for any statues needed4 ,the little sculpture we have is frequently excellent1 but its output is so insignificant that it cannot possibly be compared with the sculpture of ,france4 ,the art cannot flourish in ,england whilst there are so few public commissions1 or wealthy patrons4 ,financially the painter's career is bad enough1 but1 as a remunerative profession1 sculpture does not exist4 ,look around the galleries in ,london during the height of the season1 and note the quite insignificant amount of sculpture exhibited4 ,many of the ,london galleries exclude it altogether1 and in the provincial collections it is practically non-existent4 ,if there is any it is systematically overlooked by visitors1 and as for sales--6 one never hears of such a thing4 ,then remember ,paris with its immense annual production of excellent sculpture1 and the admirable manner in which the ,state fosters this great art4 ,if we take monuments and statues in public places as the fittest expression of national gratitude1 we are sadly lacking4 ,where in ,england can we find monuments in perpetuation of the memory of such mighty painters as ,turner1 ,reynolds1 ,gainsborough1 ,constable1 ,romney1 and a score besides4 ,if we possess such monuments1 they are certainly hidden away from the sight of both native and stranger1 and the latter frequently remarks upon their absence4 ,in ,france the birthplaces of these artists would have raised some remembrance1 whilst the capital city in which they laboured would surely have had its statues and collegiate endowments to perpetuate their spirit4 ,an example can be quoted from the little country town in which these lines are being written4 ,here in ,les ,andelys1 in the most prominent position1 are two statues4 ,one of them is as fine a memorial as can be seen in any capital city of ,europe4 ,the men so honoured in imperishable bronze are not kings1 generals1 statesmen1 or even local benefactors4 ,they are merely artists1 and one of them 7the son of an ,englishwoman7 is but distantly allied to the countryside4 ,chaplin and ,poussin1 two artists of thoughtful1 gentle lives1 of obscure birth1 without fortune or influence1 yet possessors1 in some degree1 of the ennobling fire of genius4 ,of these men the simple townspeople are exceedingly proud1 and in such pride we see the whole spirit of the nation4 ,france delights to honour genius1 and the intelligent foreigner1 noting these things1 will pay little heed to stories that decadence and pernicious influences are the outcome of such a feeling4 ,following the lead of ,paris1 ,american painters may be said to have adopted 8la peinture claire0 almost to a man4 ,germany also has revolted1 and the ,secessionist movement1 with ,liebermann at its head1 has gathered together the most vigorous talent in modern ,german art4 ,clean painting in a pure and healthy atmosphere now reigns supreme4 ,spain and ,italy have also been deeply affected1 and in both of these countries there is a marked recrudescence of that fine talent which in times past distinguished the two peninsulas4 ,together with this increasing activity is happily to be noted a commensurate degree of financial encouragement4 ,enormous sums yearly change hands in ,germany alone for the products of the new school1 irrespective of nationality4 ,the sales recorded at the annual exhibitions in ,berlin1 ,munich1 ,dresden1 and ,dusseldorf average about twenty times the amounts received at the ,royal ,academy1 and it is clear that ,germany intends to take as leading a position in the arts as she is doing in commerce4 ,the tendency in ,england appears to be retrograde4 ,modern ,dutch art reigns as the present fashion1 its propagation admirably engineered1 its influence widespread4 ,the pictures -la-mode are those with foggy1 sombre grey skies in heavy unatmospheric paint4 ,they give us damp discoloured tenements1 shipping the colour of coal-tar1 clumsy barges1 malodorous canals1 ugly toil-broken humanity1 the whole as unromantic1 depressing1 and dyspeptic as can be imagined4 ,the seal of official approbation has been secured for this kind of thing1 and the ,mansion ,house requisitioned for its display4 ,this poetry of the prosaic has been generally accepted1 and never have times been better for the sturdy1 plodding producer of ,dutch pictures4 ,as it is the dark and sordid side of ,nature that appeals most forcibly to these men1 we shall1 within a given time1 develop a whole race of 8,nubians0 of our own4 ,finally we shall deny the very existence of the sun and all he represents in our limited share of life4 ,the cult of sun-worship1 of joy in sparkling colour1 of pure health-bringing open-air art must1 sooner or later1 predominate in ,england as it already predominates throughout the world4 ,the mission of ,impressionism is to depict beauty that elevates1 light that cheers4 ,in their struggle for this mastery of light1 ,impressionist painters have often in the past sacrificed many of the qualities which go towards the making of a picture1 and have thus incurred public displeasure4 ,their subjects have been chosen at random1 and they have gained their effects often regardless of composition4 ,the artists were far too much occupied by technical difficulties to care about picture-making1 and the results1 mere studies1 were not intended as pictures4 ,they were the necessary experiments incidental to the invention of 8,impressionism40 ,yet how preferable are these 8studies0 to the ordinary canvases of commerce1 and how treasured they are at the present day4 ,now that the material difficulties have been overcome1 and settled methods achieved1 this reproach will disappear1 and we may confidently look to the ,impressionist picture for all those qualities which go to the making of a perfect work of art4 ,in the canvases of ,vincent ,van ,gogh1 ,gauguin1 ,claus1 ,maufra1 d',espagnat1 ,liebermann1 ,harrison1 ,besnard1 ,le ,sidaner1 and many others of the later school1 will be found not only colour1 rich light1 and subtly strong harmonies1 but a feeling for beauty of line1 composition1 rhythm of movement4 ,our admiration for the great men of #ahgj must not blind us to the fact that there are others2 the road is not barred1 and many of the followers are of great strength4 ,the pioneers having opened up the new territory1 the gift is free and all are welcome4 ,illustration ---------------------------------------- -------------------------------- ,,appendix 7a7 ,,the ,,scientific ,,aspect ,,of ,,impressionism ,the clearest explanation of the scientific theory of colouring is to be found in the treatise written by ,chevreul4 ,first published in ,france in #ahch1 it met with great success1 and was translated into ,english in #ahed by ,charles ,martel4 ,chevreul remains the standard authority1 although he has been followed by ,helmholtz1 ,church1 ,rood1 and others4 ,given the necessary competence for accuracy in draughtsmanship1 and considerable practice in the manipulation of colour1 the art-student may take the field1 and not before2 for ,impressionist painting demands the highest artistic capability4 ,firstly1 he will discover that ,impressionists worship light1 using the trees1 rocks1 rivers1 c4 of landscape1 as so many vehicles for the conveyance of luminous impressions to the eye4 ,this quality of atmosphere distinguishes ,impressionist pictures from all others2 here will be found what ,brownell1 ,chevreul1 ,mac,coll1 and ,mauclair1 have to say upon the subject4 ,secondly1 the art-student will perceive the vital necessity of correct values within a general tone1 a subject also enlarged upon by the above writers4 ,thirdly1 some reference is given to the modern study of shadows and reflections1 with regard to their influence and treatment4 ,the following lines1 extracted from 8,the ,french ,impressionists10 by ,camille ,mauclair1 sum up definitely the ,impressionist ,idea4 8,in nature no colour exists by itself4 ,the colouring of the objects is a pure illusion3 the only creative source of colour is the sunlight which envelops all things1 and reveals them1 according to the hours1 with infinite modifications4444 ,only artificially can we distinguish between outline and colour2 in nature the distinction does not exist4444 ,a value is the degree of dark or light intensity1 which permits our eyes to comprehend that one object is further or nearer than another4444 ,the values are the only means that remain for expressing depth on a flat surface4 ,colour is therefore the procreatrix of design4 ,colour being simply the irradiation of light1 it follows that all colour is composed of the same elements as sunlight1 namely the seven tones of the spectrum4444 ,the colours vary with the intensity of light4 ,there is no colour peculiar to any object1 but only more or less rapid vibration of light upon its surface4 ,the speed depends1 as is demonstrated by optics1 on the degree of the inclination of the rays which1 according to their vertical or oblique direction1 give different light and colour4444 ,what has to be studied therefore in these objects1 if one wishes to recall their colour to the beholder of a picture1 is the composition of the atmosphere which separates them from the eye4 ,this atmosphere is the real subject of the picture1 and whatever is represented upon it only exists through its medium4 ,a second consequence of this analysis of light is1 that shadow is not absence of light1 but light of a different quality and of different value4 ,shadow is not a part of the landscape where light ceases1 but where it is subordinate to a light which appears to us more intense4 ,in the shadow the rays of the spectrum vibrate with different speed4 ,the third conclusion resulting from this3 the colours in the shadow are modified by refraction4444 ,the colours mixed on the palette compose a dirty grey4444 ,here we touch on the very foundations of ,impressionism4 ,the painter will have to paint with only the seven colours of the spectrum1 and discard all the others2 that is what ,claude ,monet has done boldly1 adding to them only black and white4 ,he will1 furthermore1 instead of composing mixtures on his palette1 place on his canvas touches of none but the seven colours juxtaposed1 and leave the individual rays of each of these colours to blend at a certain distance1 so as to act like sunlight itself upon the eye of the beholder40 ,,camille ,,mauclair4 78,the ,french ,impressionists407 8,take a landscape with a cloudy sky1 which means diffused light in the old sense of the term1 and observe the effect upon it of a sudden burst of sunlight4 ,what is the effect when considerable portions of the scene are suddenly thrown into marked shadow1 as well as others illuminated with intense light8 ,is the absolute value of the parts in shadow lowered or raised8 ,raised1 of course1 by reflected light4 ,formerly1 to get the contrast between sunlight and shadow in proper scales1 the painter would have painted the shadows darker than they were before the sun appeared4 ,relatively they are darker1 since their value1 though heightened1 is raised infinitely less than the value of the parts in sunlight4 ,absolutely their value is raised considerably4 ,if therefore they are painted lighter than they were before the sun appeared1 they in themselves seem true4 ,the part of ,monet's picture that is in shadow is measurably true1 far truer than it would have been if painted under the old theory of correspondence1 and had been unnaturally darkened to express the relations of contrast between shadow and sunlight4 ,scale has been lost4 ,what has been gained8 ,simply truth of impressionistic effect4 ,why8 ,because we know and judge and appreciate and feel the measure of truth with which objects in shadow are represented2 we are insensibly more familiar with them in nature than with objects directly sun-illuminated1 the value as well as the definition of which are far vaguer to us on account of their blending and infinite heightening by a luminosity absolutely overpowering4 ,in a word1 in sunlit landscapes objects in shadow are what customarily and unconsciously we see and note and know1 and the illusion is greater if the relation between them and the objects in sunlight1 whose value habitually we do not note1 be neglected or falsified4 ,add to this source of illusion the success of ,monet in giving a juster value to the sunlit half of his picture than has ever been systematically attempted before his time1 and his astonishing #8trompe d'il' is1 ,i think1 explained4 ,each part is truer than ever before1 and unless one have a specially developed sense of #8ensemble' in this very special matter of values in and affected by sunlight1 one gets from ,monet an impression of actuality so much greater than he has ever got before1 that one may be pardoned for feeling1 and even for enthusiastically proclaiming1 that in ,monet realism finds its apogee4 ,monet paints absolute values in a very wide range1 plus sunlight1 as nearly as pigments can be got to represent it40 ,w4 ,c4 ,,brownell4 78,realistic ,painting407 8,impressionism is the art that surveys the field and determines which of the shapes and tones are of chief importance to the interested eye1 enforces these1 and sacrifices the rest4 8,if three objects1 ,a1 ,b1 and ,c1 stand at different depths before the eye1 we can at will fix ,a1 whereupon ,b and ,c must fall out of focus1 or ,b1 whereupon ,a and ,c must be blurred1 or ,c1 sacrificing the clearness of ,a and ,b4 ,all this apparatus makes it impossible to see everything at once with equal clearness1 enables us1 and forces us for the uses of real life1 to frame and limit our picture1 according to the immediate interest of the eye1 whatever it may be4 8,the painter instinctively uses these means to arrive at the emphasis and neglect that his choice requires4 ,if he is engaged on a face he will screw his attention to a part and now relax it1 distributing the attention over the whole so as to restore the bigger relations of aspect4 8,sir ,j4 ,reynolds describes this process as seeing the whole #8with the dilated eye2' the commoner precept of the studios is1 #8to look with the eyes half closed4' ,in any case the result is the minor planes are swamped in bigger1 that smaller patches of colour are swept up into broader1 that markings are blurred4 8,the ,impressionist painter does not allot so much detail to a face in a full-length portrait as to a head alone1 nor to twenty figures on a canvas as to one40 ,d4 ,s4 ,,maccoll4 78,encyclopdia ,britannica407 8,the discovery of these ,impressionists consists in having thoroughly understood the fact that strong light discolours tones1 and that sunlight reflected by the various objects in nature1 tends from its very strength of light to bring them all up to one uniform degree of luminosity1 which dissolves the seven prismatic rays in one single colourless lustre1 which is the light4444 ,impressionism1 in those works which represent it at its best1 is a kind of painting which tends towards phenomenism1 towards the visibility and the signification of things in space1 and which wishes to grasp the synthesis of things as seen in a momentary glimpse4444 ,one has now the right to say1 without provoking an outcry1 that it has been given to the people of the present time to witness a magnificent and phenomenal artistic evolution by this succession of canvases painted by ,claude ,monet during the past twenty years40 ,,geffroy4 8,two coloured surfaces in juxtaposition will exhibit the modification to the eye viewing them simultaneously1 the one relative to the height of tone of their respective colours1 the other relative to the physical composition of these same colours4444 ,we must not overlook the fact1 that whenever we mix pigments to represent primitive colours1 we are not mixing the colours of the solar spectrum1 but mixing substances which painters and dyers employ as ,red1 ,yellow1 and ,blue colours4444 ,all the primary colours gain in brilliancy and purity by the proximity of ,grey4444 ,grey in association with sombre colours1 such as ,blue and ,violet1 and with broken tints of luminous colours1 produces harmonies of analogy which have not the vigour of those with ,black2 if the colours do not combine well together1 it has the advantage of separating them from each other4444 ,distant bodies are rendered sensible to the eye1 only in proportion as they radiate1 or reflect1 or transmit the light which acts upon the retina40 ,,chevreul4 8,the object of landscape painting is the imitation of light in the regions of the air and on the surface of the earth and of water4444 ,one must seek above all else in a picture for some manifestation of the artist's spiritual state1 for a portion of his reverie4444 ,in the career of an artist1 one must have conscience1 self-confidence and perseverance4 ,thus armed the two things in my eyes of the first importance are the severe study of drawing and of values40 ,,corot4 7b7 ,,sales ,,and ,,prices ,for future comparison it will be interesting to note some results reached at recent sales of ,impressionist paintings4 ,pictures which1 in the early seventies1 were unsaleable for five pounds1 now average from #ejj to #hjj apiece1 with a tendency to go much higher4 ,a sale at ,new ,york1 in ,december #aijb1 of seventeen pictures by members of the ,impressionist and ,barbizon schools1 produced nearly #dj1jjj1 an average of #bcjj for each canvas4 ,the last great public sale by auction was 8,la ,vente ,chocquet0 at the ,petit ,galerie1 ,paris1 ,july #a1 #ahii4 ,a few days previous to the sale the writer had a long conversation with ,claude ,monet at ,giverny4 ,discussing the coming event1 which was already exciting much press comment1 ,monet told how the late ,pre ,chocquet1 as he was affectionately called1 a 8chef du bureau0 in the ,department of ,finance1 had been a tower of strength to the early ,impressionists4 ,he encouraged them1 foretold ultimate triumph1 invested every franc of his savings in the purchase of their works1 at prices ranging from #b to #aj4 ,late in life ,m4 ,chocquet inherited1 quite unexpectedly1 a large fortune4 ,the ,impressionists anticipated much1 and the studios were jubilant4 ,long cherished plans were rediscussed2 the ,chocquet legacy was to be the source of a golden stream4 ,but a great disappointment was to come4 ,with the increase of ,m4 ,chocquet's riches came the decrease and final extinction of ,m4 ,chocquet's taste4 ,he never bought another picture6 ,throughout the three days' sale1 the gorgeous rooms of ,m4 ,georges ,petit were crowded1 although many well-known and wealthy buyers were absent owing to the lateness of the season4 ,amongst the distinguished collectors and dealers1 from all parts of ,europe and ,america1 were the ,counts de ,camondo1 ,gallimard1 de ,castellane1 the ,marquis de ,charnac1 the ,barons ,oberkampff and de ,saint-,joachim1 and ,messieurs ,degas1 ,cheramy1 de ,st4 ,lon1 de la ,brunire1 de ,lclanch1 ,clerq1 ,muhlbacher1 ,ligneau1 ,andr ,sinet1 ,antonin ,proust1 ,escudier1 ,natanson1 de ,laivargott1 ,bigot1 ,ferrier1 ,marcel1 ,cognet1 ,durey1 ,zacharian1 ,moreau-,latour1 ,mittmann1 ,durand-,ruel1 ,bernheim1 ,allard1 ,montagnac1 ,vollard1 ,boussod1 ,rosemberg1 and ,camemtron1 ,monet's ,la ,prairie realised #fdjj francs1 ,les ,meules #ijjj francs1 ,falaise ,varengeville #iejj francs1 and ,la ,seine ,argenteuil was knocked down to ,m4 d',hauterive for #aa1ejj francs4 ,renoir's works fetched between ten and twenty thousand francs4 ,manet's ,portrait of ,claude ,monet in his ,studio1 which was sold after ,manet's death for #aej francs1 changed hands at #aj1jjj francs4 ,at the ,vever sale in #ahig1 ,monet's ,le ,pont d',argenteuil realised #ba1ejj francs4 7c7 ,,some ,,collectors ,,of ,,impressionist ,,pictures ,the following list contains the names of the chief private collectors of ,impressionist pictures4 ,though incomplete it will be noted that almost every country is represented3 ,,alexandre1 ,m4 ,,ars,,ne ,,astor1 ,,john ,,jacob ,,bathmont1 ,,madame ,b,,arn1 ,,comtesse ,,de ,,bernheim1 ,,fils1 ,m4 ,,blanquet1 ,,baron ,,cahen1 ,m4 ,,gustave ,,camondo1 ,,comte ,,isaac ,,de ,,chauveau1 ,,fr,d,,ric ,,cochin1 ,m4 ,,denis ,,coquelin ,,fr,,res ,,curel1 ,m4 ,,de ,,decup1 ,m4 ,,dupeaux1 ,m4 ,,dupux1 ,,dr4 ,,durand-,,ruel ,,et ,,fils ,,duret1 ,m4 ,,theodore ,,ephrussi1 ,m4 ,,chas4 ,,feydeau1 ,m4 ,m4 ,,forward1 ,m4 ,,gachet1 ,,dr4 ,,gonjon1 ,m4 ,s4 ,,havinimann1 ,,madame ,,havemeyer1 ,m4 ,,hersch1 ,m4 ,,hete1 ,m4 ,,de ,,hohentschel ,,joubert1 ,m4 ,,kakoreff ,,lehrmann ,,maddocks1 ,j4 ,,marchant1 ,w4 ,s4 ,,marker ,,marsden1 ,s4 ,,mesdag ,,monnier1 ,m4 ,,morosoff1 ,,ivan ,,murer1 ,m4 ,,paquin1 ,m4 ,,pawson1 ,t4 ,,pelerin1 ,m4 ,,auguste ,,petit1 ,m4 ,,georges ,,priestley1 ,w4 ,e4 ,b4 ,,pripper ,,ronnell1 ,,max ,,rothschild1 ,,baronne ,,gustave ,,de ,,rothschild1 ,,baron ,,henri ,,de ,,ruel1 ,m4 ,,rous1 ,m4 ,,samuel1 ,m4 ,,schlesinger1 ,m4 ,,schmitz1 ,m4 ,,schulte1 ,,herr ,,schumann1 ,m4 ,,smith1 ,j4 ,w4 ,,sota1 ,,signor ,,de ,,la ,,strauss1 ,,guido ,,strauss1 ,,jacques ,,strauss1 ,,jules ,,tesigmann1 ,m4 ,,tschudi1 ,,herr ,,von ,,vanderbilt ,,van ,,der ,,velde1 ,m4 ,,vanier1 ,m4 ,,viau1 ,m4 ,,georges ,,vlieyere1 ,m4 ,,de ,,waldeck-,,rousseau1 ,m4 ,,wills1 ,,sir ,w4 ,h4 ,,zygomalco1 ,m4 ,illustration ---------------------------------------- -------------------------------- ,,bibliography ,,ars,,ne ,,alexandre3 ,prface du catalogue de l'exposition des uvres de ,camille ,pissarro4 ,paris1 ,april #ahia4 ,claude ,monet1 ,l'clair4 ,paris1 #bf ,may #ahie4 ,an article with portrait4 ,prface du catalogue de l'exposition des uvres de ,renoir4 ,paris1 ,may #ahic4 ,prface du catalogue des ,tableaux ,modernes1 collection de ,m4 ,jules ,strauss1 ,,mm4 ,paul ,chevallier et ,bernheim jeune4 ,paris4 ,a magnificently illustrated record of a collection belonging to wealthy connoisseurs2 much sought after by collectors4 ,histoire populaire de la peinture1 cole ,franaise4 ,h4 ,laurens1 ,paris4 ,a concise history of ,french art1 with #bej illustrations1 by the art critic of the ,figaro4 ,le 8,balzac0 de ,rodin4 ,h4 ,floury1 ,paris4 ,a witty defence of ,rodin's statue1 together with a scathing attack upon public taste generally4 ,prface du catalogue de l'exposition des uvres d',armand ,guillaumin4 ,durand-,ruel1 ,paris4 ,a sympathetic essay upon the artist's career4 ,prface du catalogue de l'exposition des uvres de ,zandomeneghi4 ,paris1 #ahic4 ,a4 ,m43 ,les artistes l'atelier--,camille ,pissarro et ,a4 ,renoir4 8,l',art dans les ,deux ,mondes40 ,paris1 #fth and #cast ,jan4 #ahia4 8,,art ,,journal03 ,some remarks upon ,impressionism2 with4 ,g4 ,,albert ,,aurier3 ,le ,no-,impressionisme 7,camille ,pissarro74 ,mercure de ,france1 ,paris1 #ahie4 ,le ,syncholisme en peinture 7,paul ,gauguin74 ,mercure de ,france1 ,paris1 ,march #ahia4 ,l',impressionisme 7,monet et ,renoir74 ,mercure de ,france1 ,paris1 #ahic4 ,,francis ,,bate3 ,the ,naturalistic ,school of ,painting4 ,the ,artist1 ,london1 #ahhg4 ,,edmond ,,bazire3 ,manet4 ,paris1 #ahhd4 ,,emile ,,bernard3 ,les hommes d'aujourd'hui--,paul ,czanne1 avec dessin de ,pissarro4 ,vannier1 ,paris4 ,f4 ,a4 ,,bridgmann3 ,l'anarchie dans l'art1 ,impressionisme--,symbolisme4 ,l4 ,h4 ,may1 ,paris4 ,w4 ,c4 ,,brownell3 ,french art1 ,realistic painting4 ,scribner's ,magazine1 ,nov4 #ahib4 ,a lengthy illustrated article written with knowledge1 although some of the conclusions arrived at by the author cannot be admitted4 ,french art4 ,london1 #ahib4 ,the collected articles first published in ,scribner's1 but without the illustrations4 ,,gustave ,,cahen3 ,eugne ,boudin1 sa vie et son uvre 7,preface by ,arsne ,alexandre74 ,h4 ,floury1 ,paris1 #aijj4 ,fully illustrated1 with dry point by ,paul ,helleu4 ,it contains special references to the early days of ,impressionism4 ,prface du catalogue des ,tableaux ,modernes4 ,collection de ,monsieur ,l4 ,b4 ,chevallier et ,bernheim jeune1 ,paris4 ,numerous photogravures of ,impressionist works1 particularly of those by ,boudin4 ,m4 ,,chevreul3 ,the principles of harmony and contrast of colours1 and their application to the arts4 ,tr4 ,c4 ,martel4 ,longmans1 ,london1 #ahed4 ,this book1 the standard work upon the subject1 should be in the hands of every person who desires to study ,impressionism thoroughly4 ,this is the best ,english translation4 ,a4 ,h4 ,,church3 ,the ,laws of ,contrast of ,colour4 ,tr4 ,j4 ,spanton4 ,london1 #aheh4 ,colour1 an ,elementary ,manual for ,students4 ,cassells1 ,london1 #aija4 ,chemistry of ,paints and ,painting4 ,london1 #ahij4 ,these excellent books deal with all the problems of light and colour4 ,g4 ,,cl,,menceau3 ,exposition des ,cathdrales de ,rouen4 ,la ,justice1 ,may #bj1 #ahie4 ,an important article by a writer of ability4 ,e4 ,,delacroix3 ,mon ,journal1 #ahbc-fc 7notes par ,flat et ,riot74 ,paris1 #ahic4 ,three volumes4 ,,denoinville3 ,sensations d'art4 ,girard1 ,paris4 ,a collection of short essays dealing with such subjects as ,corot1 ,eugne ,carrire1 the ,simplists1 l',art nouveau1 c4 ,,wynford ,,dewhurst3 ,claude ,monet1 ,impressionist2 ,pall ,mall ,magazine1 ,london1 ,june #aijj4 ,a great ,french ,landscapist4 ,artist1 ,london1 ,october #aijj4 ,these articles are notable for their reproductions of ,monet's works4 ,impressionist ,painting2 its ,genesis and ,development4 ,studio1 ,london1 ,june and ,september1 #aijc4 ,,duranty3 ,la nouvelle peinture4 ,paris1 #ahgf4 ,a rare and interesting brochure4 ,,th,,odore ,,duret3 ,histoire d'douard ,manet4 ,h4 ,floury1 ,paris1 #aijb4 ,the official biography of ,manet1 by his life-long friend and executor1 with many illustrations1 and a complete catalogue of works4 ,les ,peintures ,impressionistes4 ,paris1 #ahgh4 ,a short treatise on ,impressionism1 explanatory and defensive1 with biographical notes of ,monet1 ,sisley1 ,pissarro1 ,renoir1 ,morisot4 ,l'art ,japonais4 ,quantin1 ,paris4 ,critique d'avant garde4 ,charpentier1 ,paris1 #ahhe4 ,degas4 ,the ,art ,journal1 ,london1 #ahid4 ,a critical illustrated article4 ,f,,licien ,,fagus3 ,petite gazette d'art ,czanne4 ,revue ,blanche1 ,paris1 ,december #ahii4 ,petite gazette d'art1 ,camille ,pissarro4 ,revue ,blanche4 ,paris1 ,april #ahii4 ,,felix ,f,n,,lon3 ,les ,impressionistes en #ahhf4 ,paris1 #ahhf4 ,,andr ,,fontainas3 ,art ,moderne1 ,zandomeneghi4 ,mercure de ,france1 ,april #ahih4 ,art ,moderne1 ,camille ,pissarro4 ,mercure de ,france1 ,july #ahih1 ,may #ahii4 ,art ,moderne1 ,exposition ,czanne4 ,mercure de ,france1 ,june #ahih4 ,art ,moderne1 ,renoir4 ,mercure de ,france1 ,july #ahih1 ,may #ahii4 ,,andr ,,fontainas3 ,art ,moderne1 ,claude ,monet4 ,mercure de ,france1 ,july #ahih1 ,may #ahii4 ,,pascal ,,forthuny3 ,catalogue des ,tableaux ,modernes4 ,preface by ,roger ,marx4 ,durand-,ruel1 ,paris4 ,richly illustrated4 ,,pascal ,,forthuny3 ,catalogue de ,tableaux4 ,prface by ,h4 ,fourquier4 ,bernheim et ,chevallier1 ,paris4 ,a handsome volume illustrated by many engravings and photographs4 ,w4 ,h4 ,,fuller3 ,claude ,monet and his ,paintings4 ,evening ,sun1 ,new ,york1 ,january #bf1 #ahii4 ,,gustave ,,geffroy3 ,sisley1 ,prface pour la ,vente4 ,may #a1 #ahii4 ,notice de l',exposition d'uvres de ,camille ,pissarro4 ,paris1 ,february #ahij4 ,la ,vie artistique4 ,e4 ,dentu1 ,paris1 #ahib-aijj4 ,these volumes of art criticism cover the whole field of ,impressionism1 and include a lengthy history of the movement4 ,to the student and historian of modern ,french art they are invaluable4 and ,arsne ,alexandre4 ,corot and ,millet1 ,winter ,number of the ,studio1 ,london1 #aijb4 7,prface74 ,catalogue de ,tableaux1 collection de ,m4 ,e4 ,blot4 ,paris1 ,bernheim jeune4 ,contains essays upon ,carrire1 ,czanne1 ,fantin-,latour1 ,guillaumin1 ,jongkind1 ,monet1 ,morisot1 ,pissarro1 ,renoir1 ,toulouse-,lautrec1 ,degas4 ,,maurice ,,guillemot3 ,claude ,monet4 ,revue ,illustre1 ,paris1 ,march #ahih4 ,j4 ,k4 ,,huysmans3 ,certains4 ,paris1 #ahif4 ,l',art ,moderne4 ,paris1 #ahhc4 ,,franz ,,jourdain3 ,renoir et ,renouard4 ,les ,dcors1 #ahie4 ,claude ,monet4 ,les ,dcors1 #ahie4 ,hommes du ,jour1 ,renoir4 ,l'clair1 ,paris1 ,may #ahii4 ,hommes du ,jour1 ,pissarro4 ,l'clair1 ,paris1 ,june #ahih4 ,,miss ,r4 ,g4 ,,kingsley3 ,a ,history of ,french ,art4 ,longmans1 ,london1 #ahii4 ,,georges ,,lecomte3 ,l',art ,impressionniste4 ,paris1 #ahib4 ,contains #cf etchings of ,impressionist pictures in the collection of ,m4 ,durand ,ruel4 ,,georges ,,lecomte3 ,camille ,pissarro1 ,prface pour l',exposition4 ,paris1 ,february #ahib4 ,pissarro1 ,les ,hommes d',aujourd'hui1 ,no4 #cff4 ,paris4 ,pissarro4 8,revue populaire des ,beaux-,arts40 ,paris1 ,june #ahih4 ,alfred ,sisley4 8,revue populaire des ,beaux-,arts40 ,february #ahii4 ,alfred ,sisley4 8,l',art dans les ,deux ,mondes40 ,paris1 ,february #ahia4 ,d4 ,s4 ,,maccoll3 ,nineteenth ,century ,art4 ,maclehose1 ,glasgow1 #aijc4 ,the ,albemarle ,review1 ,london1 ,sept4 #ahib4 ,fortnightly ,review1 ,london1 ,june #ahid4 ,the ,artist1 ,london1 ,march and ,july #ahif4 ,impressionism4 8,encyclopdia ,britannica0 ,supplement1 #aijc4 ,mr4 ,whistler's ,paintings in ,oil4 ,art ,journal1 ,london1 ,march #ahic4 ,,camille ,,mauclair3 ,the ,french ,impressionists4 ,duckworth1 ,london1 #aijc4 ,the ,no-,impressionists4 ,artist1 ,london1 ,may #aijb4 ,the ,great ,french ,painters4 ,duckworth1 ,london1 #aijc4 ,,charles ,,maurice3 ,rodin4 ,floury1 ,paris1 #aijj4 ,,andr ,,mellerio3 ,l',art ,moderne1 ,exposition de ,paul ,czanne4 ,la ,revue ,artistique1 ,february #ahif4 ,mary ,cassatt1 ,prface de l',exposition de #ahig4 ,l',exposition de #aijj1 ,l',impressionisme4 ,h4 ,floury1 ,paris1 #aijj4 ,contains short essays upon pictures exhibited at the ,exhibition1 with particular reference to ,impressionist works1 together with a useful bibliography4 ,le ,mouvement ,idaliste en ,peinture4 ,h4 ,floury1 ,paris4 ,a biographical sketch of the artists who associated themselves with this movement1 #ahhe-ie2 ,puvis de ,chavannes1 ,gustave ,moreau1 ,odilon ,redon1 ,paul ,czanne1 ,vincent van ,gogh1 ,toulouse-,lautrec1 c4 ,f4 ,h4 ,,meissner3 ,a ,german ,revolutionary--,max ,liebermann4 ,art ,journal1 ,london1 ,august #ahic4 ,,andr ,,michel3 ,notes sur l',art ,moderne4 ,colin1 ,paris1 #ahif4 ,essays on ,corot1 ,millet1 ,delacroix1 ,monet1 ,puvis de ,chavannes4 ,o4 ,,mirbeau3 ,claude ,monet4 8,l',art dans les ,deux ,mondes40 ,paris1 ,march #ahia4 ,camille ,pissarro4 8,l',art dans les ,deux ,mondes40 ,paris1 ,january #ahia4 ,le ,figaro1 ,paris1 ,february #a1 #ahib4 ,o4 ,,mirbeau3 ,together with ,bouyer1 ,tailhade1 ,maus ,mellerio1 ,dan1 ,mauclair1 ,geffroy1 ,marx1 ,mourey4 ,j4 ,f4 ,raffalli4 ,paris4 ,a collection of illustrated appreciations of the artists4 ,,matthias ,,morhardt3 ,eugne ,carrire4 ,magazine of ,art1 ,london1 ,august #ahih4 ,,george ,,moore3 ,modern ,painting4 ,scott1 ,london1 #ahih4 ,impressions and ,opinions4 ,nutt1 ,london1 #ahij4 ,these two books contain interesting essays upon ,whistler1 ,manet1 ,corot1 c4 ,,richard ,,muther3 ,the ,history of ,modern ,painting 7#c volumes74 ,henry1 ,london1 #ahif4 ,,thad,e ,,natanson3 ,claude ,monet et ,paul ,czanne4 ,la ,revue ,blanche1 ,paris #aijj4 ,de ,m4 ,renoir et de la ,beaut4 ,la ,revue ,blanche1 ,paris1 #aijj4 ,,max ,,osborn3 ,claude ,monet4 ,das ,magazin fr ,literatur1 ,dec4 #ahif4 ,,miles ,l4 ,,roger3 ,les ,artistes ,clbres4 ,corot1 ,paris4 ,catalogue de ,tableaux1 ,collection du ,docteur ,d4 ,chevallier et ,petit1 ,paris4 ,many illustrations1 chiefly from works by ,boudin4 ,catalogue de ,tableaux1 ,succession of ,mme4 ,veuve ,chocquet4 ,petit et ,mannheim1 ,paris4 ,sisley1 ,prface pour l',exposition #ahig4 ,catalogue de ,tableaux1 ,collection of ,louis ,schngrun4 ,chevallier et ,petit1 ,paris4 ,many fine illustrations from the works of ,lpine1 ,lebourg1 ,thaulow1 ,bonvin1 ,lhermitte1 c4 ,,ogden ,,rood3 ,colour2 ,international ,scientific ,series1 #ahgi-ha4 ,,john ,,ruskin3 ,modern ,painters1 ,vol4 ,,ii4 ,allen4 ,,gabriel ,s,,ailles3 ,l',impressionisme 7,almanach du ,bibliophile pour l',anne #ahih74 ,pelletan1 ,paris4 ,,paul ,,signac3 ,d',eugne ,delacroix au ,no-,impressionisme4 ,edition de ,la ,revue ,blanche1 ,paris1 #ahii4 ,explains how the ,impressionist idea and technical method is almost entirely derived from ,turner and ,constable4 ,,thiebalt ,,sisson3 ,sur l',impressionisme4 ,le ,temps1 ,paris1 ,april #ahii4 ,r4 ,a4 ,m4 ,,stevenson3 ,the ,art of ,velazquez4 ,bell1 ,london1 #ahie4 ,,hugo ,,von ,,tschudi3 ,manet4 ,cassirer1 ,berlin #aijb4 ,a short illustrated essay upon ,manet's art by the ,director of the ,national ,gallery of ,berlin4 ,c4 ,,waern3 ,notes on ,french ,impressionism4 ,atlantic ,monthly1 ,april #ahib4 ,,frederick ,,wedmore3 ,the ,impressionists4 ,fortnightly ,review1 ,london1 ,january #ahhc4 ,t4 ,,de ,,wyzeva3 ,renoir4 8,l',art dans les ,deux ,mondes40 ,paris1 ,december #ahij4 ,y4 ,r4 ,b43 ,miss ,cassatt4 8,l',art dans les ,deux ,mondes40 ,november #ahij4 ,,mile ,,zola3 ,mes ,haines4 ,paris4 ,essays on ,manet1 ,czanne1 the ,salons and the ,impressionists4 ,illustration ---------------------------------------- -------------------------------- ,,index ,a ,argenteuil 7,monet71 #dj1 #aaa ,abbey1 ,e4 ,a41 #ajb ,absinthe drinker1 the 7,manet71 #bj 8,acadmie ,suisse10 #ed ,after church 7,le ,sidaner71 #hc ,alexandre1 ,arsne1 #cc1 #fc ,alone with the tide 7,whistler71 #ij ,aman-,jean1 #ajb ,angrand1 #ej1 #ef ,anguin1 #hf ,antibes 7,monet71 #dj ,antwerp1 #gi1 #hj ,argenteuil1 l' 7,manet71 #bg ,arrangement in grey and black 7,whistler71 #ij ,artiste1 l' 7,manet71 #bg ,astruc1 #cd ,asylum for old men1 an 7,liebermann71 #ih ,attendu1 #cd ,at the piano 7,whistler71 #ij ,autel des orphelines1 l' 7,le ,sidaner71 #hc ,bain1 le 7,manet71 #bb ,bal au ,moulin de la ,galette 7,renoir71 #eb ,balcony1 the 7,manet71 #be ,balcony1 the 7,whistler71 #ij ,balzac1 #de ,barbey d',aurevilly1 #bc ,barbizon1 ,school of1 #b1 #f1 #i1 #de1 #ej1 #ih1 #aaj ,barillot1 #ajb ,barry1 #c ,barye1 #de ,bastien-,lepage1 #bf1 #da1 #ic1 #ih ,batignolles1 ,school of1 #g1 #bd ,bataille de ,solfrino 7,meissonier71 #ba ,battle of the 8,kearsage0 and 8,alabama0 7,manet71 #bf ,baudelaire1 #ba ,baudit1 #hf ,bazille1 #bd1 #bf ,beauvais1 #hc ,bliard1 #cd1 #ce ,belle ,isle 7,monet71 #dj ,belot1 #bg ,bndiction de la mer 7,le ,sidaner71 #hc ,brard1 #dg ,bernard1 ,emile1 #af1 #ee ,bernstein1 #bg ,besnard1 ,albert ,paul1 #hd-he1 #ia1 #ajb1 #aje ,entre deux ,rayons1 #he ,femme qui se chauffe1 #he ,la ,morte1 #he ,ponies worried by flies1 #hd ,porte d',alger au ,crpuscule1 #he ,portrait of the artist1 #he ,billotte1 #ajb ,binet1 ,victor1 #ib1 #ajb ,bon ,bock1 le 7,manet71 #bg1 #bh ,bonington1 #a1 #c1 #d1 #e1 #g1 #bi ,boulogne ,fishmarket1 #e ,view of ,havre1 #c ,view of ,lillebonne1 #c ,bonnat1 #eb1 #eh1 #gc ,bonvin1 #ca ,bordighera 7,monet71 #dj ,boucher1 #b1 #eb ,boudin1 ,eugne1 #g1 #i-ae1 #ca1 #cd1 #ch1 #di1 #ej ,corvette ,russe au ,havre1 #ad ,rade de ,villefranche1 #ad ,bouguereau1 #ba ,boulanger1 #ba ,boulogne ,fishmarket 7,bonington71 #e ,bourgeois1 ,lon1 #ad ,boussod ,vallodon1 #dj ,boy with a sword 7,manet71 #ba1 #bc ,bracquemond1 ,marie1 #ce1 #gf ,bracquemond1 #bj1 #ba1 #cd1 #hi1 #ajb ,brandon1 #cd ,breakfast on the grass 7,manet71 #bb ,brother and sister 7,liebermann71 #ih ,brown1 ,arnesby1 #ajb ,brownell1 ,w4 ,c41 #ajg ,bruant1 ,aristide1 #ga ,bruges1 #hc ,bureau1 #cd1 #ce ,burgomeister ,petersen 7,liebermann71 #ii ,burne-,jones1 #e ,bussy1 ,simon1 #ee ,byron1 #b ,cabanel1 #ei1 #hb ,caf ,guerbois1 #f1 #g1 #ae1 #bd1 #be1 #bf1 #bg1 #ca1 #ci ,caf de la ,nouvelle ,athne1 #cb ,cahen1 ,gustave1 #ae1 #cc ,caillebotte1 #ce1 #di ,cals1 #ab1 #ba1 #cd1 #ce1 #di ,carlyle 7,whistler71 #ia ,carolus-,duran1 #bh1 #eb1 #eh ,carpeaux1 #de ,carrire1 ,eugne1 #eg-fj1 #hc1 #ajb ,christ at the ,tomb1 #eh1 #fj ,maternit1 #eh ,portraits1 #eh ,thtre de ,belleville1 #eh ,cassatt1 ,mary1 #g1 #ce1 #di1 #ff1 #gj1 #gf1 #ajb ,cathdrales1 les 7,monet71 #dj1 #db1 #dd1 #hd ,cazin1 #ba1 #bh1 #ajb 8,cercle des ,quinze10 #ih ,czanne1 #g1 #ae1 #af1 #bd1 #cd1 #ce1 #ed1 #ee ,champs des ,tulipes 7,monet71 #dj ,chaplin1 #gf1 #ajc ,chardin1 #b1 #fa ,charge of ,cuirassiers 7,meissonier71 #bf ,charles ,x41 #c1 #bd ,chasse au renard 7,courbet71 #ba ,chteaux en ,espagne 7,harrison71 #ic ,chret1 #ajb ,chevallier1 ,paul1 #dc ,chevreul1 #ajg1 #aaj ,chocquet1 #dg1 #aaj ,christ at the ,tomb 7,carrire71 #eh1 #fj ,christ before ,pilate 7,liebermann71 #ig ,christ reviled by the ,soldiers 7,manet71 #bc ,church1 #ajg ,claude1 #fa ,claus1 ,emile1 #gi-ha1 #aje ,flemish ,farm1 #ha ,old ,gardener1 #ha ,clausen1 ,george1 #ajb ,clouet1 #fa ,colin1 ,gustave1 #cd ,collectors of ,impressionist ,paintings1 #aaa1 #aab ,communion in extremis 7,le ,sidaner71 #hc ,comondo1 ,count1 #dg ,constable1 ,john1 #c1 #d1 #e1 #f1 #g1 #bi1 #ca1 #cb1 #fa1 #hj1 #ajb1 #ajc ,hay ,wain1 #c ,opening of ,waterloo ,bridge1 #e ,cordey1 #ce ,cormont1 #gc ,corot1 #c1 #d1 #f1 #g1 #i1 #aa1 #ac1 #ae1 #ag1 #bi1 #di1 #ec1 #ed1 #ei1 #fa1 #hj1 #ig1 #aja1 #aaj ,correggio1 #b ,corvette ,russe 7,boudin71 #ad ,cte ,st4 ,catherine ,rouen 7,pissarro71 #ea ,cottet1 #ee1 #ajb ,cotton-,broker's ,office 7,degas71 #fg ,courbet1 #aa1 #ab1 #ac1 #bj1 #ba1 #bc1 #bf1 #di1 #ej1 #ec1 #ed1 #ig ,courtyard of the orphanage 7,liebermann71 #ii ,couture1 #a1 #aa1 #ah1 #ai1 #bj1 #bb ,romans of the ,decadence1 #ah ,cross1 ,h4 ,e41 #ef ,dagnan-,bouveret1 #ajb ,daillon1 #ajb ,dameron1 #ajb ,dante's ,bark 7,delacroix71 #c ,daubigny1 #d1 #ab1 #ca1 #da1 #ed1 #ig1 #ih ,daudet1 #bf1 #eh ,daumier1 #bj ,david1 #b ,dearp1 #dg ,de ,bellis1 #bg ,debras1 #cd ,degas1 #g1 #bj1 #bd1 #cd1 #ce1 #di1 #eb1 #fg-ga1 #gc1 #gf1 #hi1 #ajb ,family ,portraits1 #fg ,interior of a ,cotton-,broker's ,office1 #fg ,semiramis1 #fg ,spartan ,youths ,wrestling1 #fg ,steeplechase1 #fg ,war in the ,middle ,ages1 #fg ,djeuner sur l'herbe 7,manet71 #bb ,delacroix1 #c1 #af1 #ai1 #bj1 #bi1 #cb1 #de1 #fa1 #hb1 #aja ,massacre of ,scio1 #cb ,dante's ,bark1 #c ,delaroche1 #a1 #ai ,denis1 ,maurice1 #ej1 #ef ,dpart de ,tobie 7,le ,sidaner71 #hc ,depeam1 #dg ,droute1 la 7,boulanger71 #ba ,desboutins1 #bg1 #ce ,d',espagnat1 #cb1 #ajb1 #aje ,diaz1 #ab ,didier-,pouget1 #he-hg1 #ajb ,die ,lange ,lizen 7,whistler71 #ij ,dor1 ,gustave1 #ee ,dowdeswell ,gallery1 #dj ,duhem1 ,h41 #hb ,dumas pre1 #a1 #ac ,dupr1 #hj ,durand-,ruel1 #bg1 #cd1 #ce1 #ci1 #da1 #db1 #dc1 #dg1 #ed1 #fc ,duranty1 #bd1 #be ,duret1 ,t41 #bf1 #bi1 #cb1 #cc1 #gj1 #hi ,dutch ,school1 #hj ,east1 ,alfred1 #ajb 8,echo de ,paris10 #fc ,egg1 ,r4,a41 ,augustus1 #d ,english ,school of ,painting1 #b1 #f ,english ,school of ,water-,colours1 #c ,entre deux ,rayons 7,besnard71 #he ,ephrussi1 #bg ,etchings 7,whistler71 #hi1 #ij 8,l'vnement10 #ae1 #bd ,eugnie1 ,empress1 #ag ,execution of ,emperor ,maximilian 7,manet71 #be4 ,exhibitions 7see also ,salons7 ,exhibitions ,martinet1 #ba1 #bd ,exhibitions ,great1 #ahea1 #d ,exhibitions ,great ,paris1 #ahfg1 #bc ,exhibitions ,universal ,paris #ahgh1 #bg1 #bh1 #gf ,exhibitions ,universal ,paris #ahhi and #aijj1 #fa ,exhibitions ,impressionist1 #cd1 #ce1 #ci1 #di1 #ed1 #fh ,falaise 7,monet71 #aaa ,fantin-,latour1 #bj1 #ba1 #bd1 #hi1 #ajb ,faure1 #bg1 #bh1 #dg ,femme la ,robe ,verte 7,monet71 #cd ,femme qui se chauffe 7,besnard71 #he ,fielding1 ,copley1 #c ,fifre de la ,garde 7,manet71 #bb1 #bc1 #bd 8,figaro1 ,le10 #bd1 #cc1 #dd ,flaubert1 #fd ,flemish ,farm 7,claus71 #ha 8,fleurs de ,mal10 #ba ,footet1 ,f41 #ajb ,forain1 #ce1 #di1 #gj1 #gc1 #ajb ,fra ,angelico1 #fg1 #hc ,fragonard1 #b1 #eb1 #ge ,france1 ,anatole1 #eh ,french painting1 #b1 #d1 #i ,fuseli1 #c ,gagliardini1 #ajc ,gainsborough1 #c1 #ca1 #gj1 #ajb1 #ajc ,gallimard1 #dg ,gambetta1 #bh ,gauguin1 #af1 #ce1 #di1 #ee1 #aje ,gautier1 #a1 #bj1 #bc ,geffroy1 ,gustave1 #cc1 #ce1 #eh1 #fe1 #aji ,geffroy1 #ajb ,grard 7artist71 #b ,grard 7collector71 #bg ,gricault1 #a1 #c ,grme1 #fe1 #ic ,ghent1 #gi ,giorgione1 #bb ,giotto1 #hb ,girodet1 #b ,girtin1 #bi ,giverny1 #df1 #ea ,glaons sur la ,seine 7,monet71 #dj ,glasgow ,school of ,painting1 #ij1 #ajb ,gleyre1 #g1 #ch1 #hi ,golden ,screen 7,whistler71 #ij ,gonzals1 #g1 #gf-gg ,goya1 #bj1 #bc 8,grand ,journal1 ,le10 #fc ,green ,bridges 7,monet71 #dg ,greuze1 #eb ,grvy1 ,president1 #ag1 #bh ,gros1 #b1 #ai ,grosvenor ,gallery1 #fi ,gurard1 #gf ,guillaumet1 #ba ,guillaumin1 #cb1 #cd1 #ce1 #di1 #ed-ee1 #ajc ,guitarero 7,manet71 #bj ,harding1 #c ,hals1 #ai1 #bg ,hanover ,gallery1 #dj ,harpignies1 #ab1 #bj1 #ba1 #ajc ,harrison1 ,alexander1 #hb1 #ia-id1 #aje ,in ,arcady1 #ib ,the ,wave1 #ib ,chteaux en ,espagne1 #ic ,hassam1 ,childe1 #id ,seventh ,avenue1 #id ,hauptmann 7,liebermann71 #ii ,havemeyer1 ,h4 ,o41 #dg ,havre 7,bonington71 #c ,haystacks 7,monet71 #cb1 #db ,hay ,wain 7,constable71 #c ,hecht1 #bg ,helmholtz1 #ajg ,henley1 ,w4 ,e41 #e ,henner1 #bd1 #bh1 #ajc ,hochd1 #ii ,hogarth1 #b1 #c ,holbein1 #b1 #fg ,hoogh1 #hb ,hoppner1 #eb ,hugo1 #a ,ibels1 #ef 8,idealists10 #ee ,in ,arcady 7,harrison71 #ib ,ingres1 #b1 #fi1 #gj ,international ,society of ,painters1 c4 #be1 #dj1 #ajb 8,intimists10 #ee ,isabey1 #i1 #ab1 #ac ,japanese ,art1 #b1 #f1 #da1 #gj1 #gf1 #ia ,jeanne 7,manet71 #bh ,jeune fille ,hollandaise 7,le ,sidaner71 #hc ,jongkind1 #g1 #i-ac1 #bj1 #ba1 #ca ,jordaens1 #hb ,karr1 ,alphonse1 #aa ,kauffmann1 #gf ,keyser1 #gi ,kneller1 #b ,labourers in the turnip field 7,liebermann71 #ih ,lady ,archibald ,campbell 7,whistler71 #ia ,lady with fan 7,manet71 #bg ,lalanne1 #bh ,la mre ,grard 7,whistler71 #ij ,lamy1 #ce 8,lantier1 ,claude10 #ae ,last of ,old ,westminster 7,whistler71 #ij ,la table 7,le ,sidaner7 #hc ,la ,thangue1 #ajb ,latouche1 #cd ,laurens1 ,j4 ,p41 #bb ,lavery1 #ajb ,lawrence1 #ca1 #cb ,lebrun1 #gf ,lebourg1 #ce ,leenhoff1 ,mdlle41 #ba ,legros1 #bj1 #bb1 #bd1 #ce ,lely1 #b ,leighton1 #d ,lenbach1 #ih ,lepic1 #cd1 #ce ,lpine1 #ab1 #cd ,le ,roux1 #fb ,le ,sidaner1 #ee1 #ha-hc1 #ajc1 #aje ,after church1 #hc ,benediction de la mer1 #hc ,communion in extremis1 #hc ,dpart de ,tobie1 #hc ,jeune fille ,hollandaise1 #hc ,l'autel des orphelines1 #hc ,la promenade des orphelines1 #hc ,la table1 #hc ,les promis1 #hc ,les vieilles1 #hc ,levert1 #cd1 #ce ,lhermitte1 #ajc ,liebermann1 #ie-ajj1 #aje ,an asylum for old men1 #ih ,brother and sister1 #ih ,burgomeister ,petersen1 #ii ,christ before ,pilate1 #ig ,courtyard of the orphanage1 ,amsterdam1 #ii ,gerhart ,hauptmann1 #ii ,labourers in the turnip field1 #ih ,netmenders1 #ii ,professor ,virchow1 #ii ,ropeyard1 #ii ,women plucking geese1 #ig1 #ii ,women preserving vegetables1 #ig ,lillebonne 7,bonington71 #c ,lindsay1 ,sir ,coutts1 #ij ,linge1 le 7,manet71 #bg ,little white girl 7,whistler71 #ij ,loge1 la 7,renoir71 #eb ,lola de ,valence 7,manet71 #ba ,los ,borrachos 7,velasquez71 #ba ,louis-,philippe1 #ai1 #bd 8,luminarists10 #be1 #fe ,mac,coll1 #ajg1 #aji ,maclise1 #d ,maddocks1 ,john1 #hj ,maire1 ,victor1 #fa ,mallarm1 #de ,manet1 ,edouard1 #a1 #c1 #d1 #f1 #g1 #h1 #aj1 #af1 #ag-bi1 #ca1 #cb1 #cc1 #cd1 #ch1 #ci1 #de1 #ej1 #fa1 #fh1 #ge1 #gf1 #hb1 #hi1 #ih ,absinthe drinker1 #bj ,argenteuil1 #bg ,l',artiste1 #bg ,le ,bain1 #bb ,le ,balcon1 #be ,battle of 8,kearsage0 and 8,alabama10 #bf ,le ,bon ,bock1 #bg1 #bh ,boy with a sword1 #ba1 #bc ,christ reviled by the soldiers1 #bc ,djeuner sur l'herbe1 #bb ,execution of the ,emperor ,maximilian1 #be ,le fifre de la ,garde1 #bb1 #bc1 #bd ,guitarero1 #bj ,jeanne1 #bh ,lady with fan1 #bg ,le ,linge1 #bg ,lola de ,valence1 #ba ,music at the ,tuileries1 #bj1 #ba ,nana1 #bh ,old ,musician1 #ba ,olympia1 #bb1 #bc ,opera ,ball1 #bg ,pertuiset1 #hb ,polichinelle1 #bg ,portraits1 #aaa ,the ,railway1 #bg ,rochefort1 #hb ,spanish ,ballet1 #ba ,street ,singer1 #bj ,tragic ,actor1 #bc1 #bh ,un ,bar des ,folies-,bergres1 #bh1 #hb ,manet1 ,eugne1 #be1 #ge ,mantz1 ,paul1 #ba ,marais1 #ajc ,martel1 ,charles1 #ajg ,martinet1 #ba1 #bd ,marx1 ,roger1 #cc ,massacre of ,scio 7,delacroix71 #cb ,maternit 7,carrire71 #eh ,matins sur la ,seine 7,monet71 #dj1 #dc ,mauclair1 ,c41 #f1 #ec1 #ajg ,maufra1 ,maxime1 #cb1 #fa-fd1 #ajc1 #aje ,maureau1 #ce ,maurier1 ,g4 du1 #hi ,may1 #bg ,meissonier1 #ba1 #bf1 #ca ,melbye1 #di ,mellino1 ,andr1 #ee ,mnard1 #ajc ,mryon1 #ah 8,mes ,haines10 #cb ,metropolitan ,museum1 ,new ,york1 #ba ,meules1 les 7,monet71 #dj1 #db1 #aaa ,meunier1 #ajc ,meyer1 #cd ,michelangelo1 #b ,millet1 ,j4 ,b41 #ce ,millet1 ,j4 ,f41 #aa1 #ab1 #de1 #ej1 #hj1 #hc1 #ih ,mirbeau1 ,octave1 #fc 8,mirliton1 ,le10 #ga ,miss ,alexander 7,whistler71 #ia ,molins1 de1 #cd ,monet1 ,claude1 #a1 #d1 #f1 #g1 #i1 #aj1 #ab1 #ad1 #ae1 #bj1 #bd1 #be1 #bf1 #ca1 #cb1 #cc1 #cd1 #ce1 #cg1 #di1 #ej1 #ed1 #eg1 #fj1 #fa1 #fd1 #fh1 #hj1 #hd1 #ih1 #aja1 #ajh1 #aji1 #aaj1 #aaa ,a ,argenteuil1 #dj1 #aaa ,antibes1 #dj ,belle ,isle1 #dj ,bordighera1 #dj ,les ,cathdrales1 #dj1 #dd1 #hd ,champs des ,tulipes1 #dj ,falaise ,varenqeville1 #aaa ,femme la ,robe ,verte1 #cd ,glaons sur la ,seine1 #ci1 #dj ,green ,bridges1 #dg ,the ,haystacks1 #cb ,matins sur la ,seine1 #dj1 #dc ,les ,meules1 #dj1 #db1 #aaa ,peupliers au bord de l',ept1 #dj1 #db1 #df ,pont d',argenteuil1 #aaa ,la ,prairie1 #aaa ,water ,lilies1 #dg ,montenard1 #ajc ,moore1 ,george1 #fh1 #fi1 #hc ,moret1 #ec ,morisot1 ,berthe1 #g1 #be1 #cd1 #ce1 #di1 #ge1 #gf ,morny1 de1 #ac ,morte1 ,la 7,besnard71 #he ,mourey1 ,g41 #fc1 #ha1 #hb ,mulot-,durivage1 #cd ,mulready1 #d ,munich1 #ih ,munkacsy1 #ig1 #ii ,music at the ,tuileries 7,manet71 #bj1 #ba ,muther1 #ig ,nadar1 #cd1 #ci ,nana 7,manet71 #bh ,napoleon ,,iii41 #ai1 #bb ,national ,gallery1 ,london1 #c1 #da ,national ,salon1 ,paris1 #ii ,netmenders 7,liebermann71 #ii ,new ,english ,art ,club1 #dj ,new ,gallery1 #ajb ,neuville1 de1 #bh ,nittis1 de1 #be1 #cd ,nocturne 7,whistler71 #ia ,northcote1 #c ,norwich ,school of ,painting1 #c1 #d1 #ej 8,nubians10 #fb1 #ajd 8,l'uvre10 #ae ,old ,battersea ,bridge 7,whistler71 #ij ,old ,crome1 #ca ,old ,gardener 7,claus71 #ha ,old ,musician 7,manet71 #ba ,oleron1 #bf ,olympia 7,manet71 #bb1 #bc ,on the ,terrace 7,renoir71 #eb ,opening of ,waterloo ,bridge 7,constable71 #e ,opera ,ball 7,manet71 #bg ,ottin1 ,auguste1 #cd ,ottin1 ,lon1 #cd1 #ce ,palmer1 ,potter1 #dg ,pape1 ,a4 ,a41 #dg ,paterson1 ,c4 ,lambert1 #dg ,pauvels1 #ig ,pellerin1 #dg ,peppercorn1 #ajb ,pertuiset 7,manet71 #hb ,petit1 ,georges1 #ci1 #dc1 #ih1 #aaa ,peupliers au bord de l',ept 7,monet71 #dj1 #db1 #df ,philadelphia ,academy1 #gf ,piette1 #ce ,pissarro1 ,camille1 #d1 #g1 #aj1 #bb1 #bd1 #ca1 #cb1 #cc1 #cd1 #ce1 #da1 #di-ea1 #ed1 #fa1 #gc1 #hj1 #ajc ,la ,cte ,st4 ,catherine ,rouen1 #ea ,pissarro1 ,lucien1 #ce ,poe1 ,e4 ,a41 #ei ,poiloup1 ,abb1 #ah ,pointelin1 #eg1 #fj-fa1 #hc1 #ajc 8,pointillism10 #g1 #ej1 #ee1 #ef ,polichinelle 7,manet71 #bg ,ponies worried by flies 7,besnard71 #he ,poole1 #d ,porte d',alger au ,crpuscule 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#ajg ,ropeyard 7,liebermann7 #ii 8,rose ,croix80 #ee ,rossetti1 #cb1 #ij ,rouart1 #cd1 #ce1 #di ,rousseau1 #d1 #hj ,royal ,academy1 #e1 #cb1 #ij1 #ajb ,royal ,society of ,british ,artists1 #dj1 #ia ,roybet1 #ajc ,rubens1 #af ,rude1 #de ,ruskin1 #bf1 #ij ,sale ,prices1 #cc1 #ce1 #dg1 #ea1 #aaj1 #aaa ,salon1 #c1 #i1 #ad1 #ah1 #bj1 #ba1 #bb1 #bc1 #bf1 #bg1 #bh1 #di1 #hf1 #ih ,salon des ,refuss1 #bb1 #bf1 #bg1 #ij ,sarasate 7,whistler71 #ia ,sargent1 ,j4 ,s41 #eh1 #ajb ,sar ,peladan1 #ee ,scarf1 the 7,whistler71 #ij ,scheffont1 #i ,schumann1 #fj ,scott1 #b 8,secession10 #ii1 #ajd ,semiramis 7,degas71 #fg ,seurat1 #ce1 #ej1 #ef ,signac1 #ce1 #di1 #ej1 #ef ,sisley1 #d1 #g1 #bd1 #cb1 #cd1 #ce1 #di1 #ej1 #ec-ed1 #hj1 #hd ,socit des ,artistes ,indpendants1 #ef ,somm1 #ce ,spanish ,ballet 7,manet71 #ba ,spartan youths wrestling 7,degas71 #fg ,spielman1 ,m4 ,h41 #dj ,steeplechase 7,degas71 #fg ,steffeck1 #ig ,stevens1 ,alfred1 #bd1 #ih ,stevenson1 ,macaulay1 #ajb ,stott1 ,edward1 #ajb ,street ,singer 7,manet71 #bj 8,studio10 #ha1 #hb 8,symbolists10 #af ,tarbes1 #hg ,tavernier1 #ec 8,temps1 ,le10 #hg ,thaulow1 #hb ,thtre de ,belleville 7,carrire71 #eh ,thumann1 #ig ,tillot1 #ce1 #di ,tintoretto1 #ai1 #bj1 #hc1 ,titian1 #ai1 #bj1 #bc1 #hc ,toulouse-,lautrec1 #ga-gb ,tragic ,actor 7,manet71 #bc1 #bh ,troyon1 #aa1 #ab1 #ig1 #ih ,turner1 #c1 #d1 #e1 #g1 #bf1 #bi1 #ca1 #cb1 #da1 #ej1 #eg1 #fa1 #hj1 #ajb1 #ajc ,un ,bar aux ,folies-,bergres 7,manet71 #bh ,vail1 ,eugne1 #hb ,vallon1 #bb ,valparaiso 7,whistler71 #ia ,vandyck1 #b ,van ,gogh1 #af1 #ee ,van ,rysselberghe1 #ej1 #ef ,varley1 ,john1 #c ,velazquez1 #bj1 #ba1 #bc ,verlaine1 #eh ,verlat1 ,charles1 #gi ,vermeer1 #hc ,veronese1 #af1 #hc ,vidal1 #ce 8,vie ,artistique10 #cc1 #ce ,vieilles1 les 7,le ,sidaner71 #hc 8,vie ,moderne10 #ce1 #ci ,vignaux1 #bd1 #be ,vignon1 #ce ,villemessant1 #ae1 #bd ,virchow 7,liebermann71 #ii ,virgil1 #ej ,vuillard1 #cb ,wapping 7,whistler71 #ij ,war in the ,middle ,ages 7,degas71 #fg ,water ,lilies 7,monet71 #dg ,waterloo ,bridge 7,constable71 #e ,watteau1 #b ,watts1 ,g4 ,f41 #cb1 #ej ,wave1 the 7,harrison71 #ib ,weimar1 #ig ,west1 ,benjamin1 #c ,whistler1 ,j4 ,a4 ,mc,neill1 #g1 #bj1 #bb1 #bd1 #dj1 #da1 #eg1 #ga1 #hc1 #hi1 #ib ,alone with the tide1 #ij ,arrangement in grey and black1 #ij ,at the piano1 #ij ,balcony1 the1 #ij ,carlyle1 #ia ,die ,lange ,lizen1 #ij ,etchings1 #hi1 #ij ,golden ,screen1 #ij ,lady ,archibald ,campbell1 #ia ,la mre ,grard1 #ij ,last of ,old ,westminster1 #ij ,little white girl1 #ij ,miss ,alexander1 #ia ,nocturne1 #ia ,old ,battersea ,bridge1 #ij ,sarasate1 #ia ,scarf1 the1 #ij ,valparaiso1 #ia ,wapping1 #ij ,wilkie1 #cb ,wilson1 ,richard1 #c ,women plucking geese 7,liebermann71 #ig1 #ii ,women preserving vegetables 7,liebermann71 #ig ,zandomeneghi1 #ce1 #di ,ziem1 #ajc ,zola1 #ae1 #bd1 #be1 #bh1 #cb1 #ee ---------------------------------------- -------------------------------- ,printed by ,,ballantyne1 ,,hanson ,,co4 ,london ,edinburgh ---------------------------------------- -------------------------------- ,transcriber's ,notes3 ,missing or obscured punctuation was silently corrected4 ,typographical errors were silently corrected4 ,inconsistent spelling and hyphenation were made consistent only when a predominant form was found in this book4 ,text that3 was in italics is enclosed by underscores 7italics74