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+Project Gutenberg (https://www.gutenberg.org) public repository for
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-The Project Gutenberg eBook of Impressionist painting: its genesis
-and development, by Wynford Dewhurst
-
-This eBook is for the use of anyone anywhere in the United States and
-most other parts of the world at no cost and with almost no restrictions
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-using this eBook.
-
-Title: Impressionist painting: its genesis and development
-
-Author: Wynford Dewhurst
-
-Release Date: December 13, 2022 [eBook #69533]
-
-Language: English
-
-Produced by: Tim Lindell, Barry Abrahamsen, and the Online Distributed
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-
-*** START OF THE PROJECT GUTENBERG EBOOK IMPRESSIONIST PAINTING: ITS
-GENESIS AND DEVELOPMENT ***
-
-
-
-
-
-
-
-                        IMPRESSIONIST PAINTING:
-                      ITS GENESIS AND DEVELOPMENT
-
-
-
-
-
-
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-
-[Illustration:
-
-  A STUDY · MAX LIEBERMANN
-]
-
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-
-
-                         IMPRESSIONIST PAINTING
-
-                      ITS GENESIS AND DEVELOPMENT
-
-                          BY WYNFORD DEWHURST
-
-
-
-[Illustration]
-
-
-
-
-
-
-                          LONDON PUBLISHED BY
-                         GEORGE NEWNES LIMITED
-                         SOUTHAMPTON ST. STRAND
-                                MDCCCCIV
-
-
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-
-
-
-
-
-
-                                   Á
-
-                         MONSIEUR CLAUDE MONET
-
-                         EN TÉMOIGNAGE D’ESTIME
-                            ET D’ADMIRATION
-
-                            WYNFORD DEWHURST
-
-
-
-    CHELMSCOTE
-    LEIGHTON BUZZARD
-       _Mar. 1904_
-
-
-
-
-
-
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-
-
-
-
-                                PREFACE
-
-
-IT may perhaps be interesting to the readers of this book to give a
-short account of its origin. From the earliest days of my pupilage to
-art I had been instinctively drawn towards the paintings of Turner,
-Corot, Constable, Bonington, and Watts, with an intense admiration for
-their manner in viewing, and methods of recreating, nature upon their
-canvases; and in later years I had been fascinated by the works of more
-modern artists, such as La Thangue, George Clausen, Edward Stott, and
-Robert Meyerheim. In 1891, a student in Paris, I found myself face to
-face with a beautiful development of landscape painting, which was quite
-new to me. “Impressionism,” together with its numerous progeny of
-eccentric offshoots, was at the time causing a great furore in the
-schools. Curiously enough I had been charged with copying Monet’s style
-long before I had seen his actual work, so that my conversion into an
-enthusiastic Impressionist was short, in fact, an instantaneous process.
-
-Since then I have endeavoured, by precept and by example, to preach the
-doctrine of Impressionism, particularly in England, where it is so
-little known and appreciated. It has always seemed to me astonishing
-that an art which has shown such magnificent proofs of virility, which
-has long been accepted at its true value on the Continent and in
-America, should be comparatively neglected in my own country. A
-stimulating propaganda being needed, I invaded for a short time the
-domain of the writer on art, a sphere of activity for which I feel
-myself none too well equipped. For years, as a hobby, I had collected
-all manner of documents bearing upon the subject of Impressionism, and
-the mass of material which thus accumulated formed the basis for several
-articles which have appeared under my name in the English magazines. To
-the Editors of the _Pall Mall Magazine_, the _Artist_, and the _Studio_,
-I must tender my best thanks for the leave, so courteously given, to
-incorporate the substance of the respective articles in this volume.
-
-Many of the pictures which illustrate these pages are unique, having
-been reproduced for the first time, the photographs not being for public
-sale. I have to acknowledge my sincere obligations to Miss Mary Cassatt,
-Messieurs Durand-Ruel (who have given me much personal assistance),
-George Petit, Bernheim jeune, Maxime Maufra, Alexander Harrison, Paul
-Chevallier, Lucien Sauphar, Emile Claus, Max Liebermann, and, indeed, to
-all the artists illustrated, for permission to use the photographs of
-their works. To Miss Mary Cassatt, and Messieurs Claude Monet, Emile
-Claus, and Max Liebermann I am also indebted for the loan of valuable
-pictures, and also for permission to reproduce them in colours. Without
-such aid it would have been impossible to produce satisfactorily any
-account of Impressionism. I trust that this volume may be of real
-service in the cause of art education, and that it may introduce to an
-extended circle of art-lovers the masterpieces of the great artists who
-founded and are continuing Impressionist Painting.
-
-
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-
-
-
-
-                                CONTENTS
-
-
-                                                                PAGE
-
-           DEDICATION                                              v
-
-           PREFACE                                               vii
-
-           LIST OF ILLUSTRATIONS                                  xi
-
-           LIST OF PORTRAITS                                      xv
-
-     CHAP.
-
-        I. THE EVOLUTION OF THE IMPRESSIONISTIC IDEA               1
-
-       II. JONGKIND, BOUDIN, AND CÉZANNE                           9
-
-      III. EDOUARD MANET (1832-1883)                              17
-
-       IV. THE IMPRESSIONIST GROUP, 1870-1886                     31
-
-        V. CLAUDE MONET                                           37
-
-       VI. PISSARRO, RENOIR, SISLEY                               49
-
-      VII. SOME YOUNGER IMPRESSIONISTS: CARRIÈRE, POINTELIN,      57
-             MAUFRA
-
-     VIII. “REALISTS”: RAFFAËLLI, DEGAS, TOULOUSE-LAUTREC         65
-
-       IX. THE “WOMEN-PAINTERS”: BERTHE MORISOT, MARY             75
-             CASSATT, MARIE BRACQUEMOND, EVA GONZALÈS
-
-        X. “LA PEINTURE CLAIRE”: CLAUS, LE SIDANER, BESNARD,      79
-             DIDIER-POUGET
-
-       XI. AMERICAN IMPRESSIONISTS: WHISTLER, HARRISON,           89
-             HASSAM
-
-      XII. A GERMAN IMPRESSIONIST, MAX LIEBERMANN                 95
-
-     XIII. INFLUENCES AND TENDENCIES                             101
-
-           APPENDIX                                              107
-
-           BIBLIOGRAPHY                                          113
-
-           INDEX                                                 121
-
-
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-
-
-
-
-                             ILLUSTRATIONS
-
-
-    MAX LIEBERMANN
-         A STUDY (_Frontispiece_)
-
-    J. M. W. TURNER
-         MODERN ITALY
-         PETWORTH PARK
-
-    JOHN CONSTABLE
-         THE CORN FIELD
-         A STUDY
-
-    THOMAS GIRTIN
-         VIEW ON THE THAMES
-
-    R. P. BONINGTON
-         HENRI IV. AND THE SPANISH AMBASSADOR
-         A COAST SCENE
-
-    G. F. WATTS
-         TIME, DEATH, AND JUDGMENT
-         RIDER ON THE WHITE HORSE
-
-    J. B. JONGKIND
-         VIEW OF HONFLEUR
-         MOONRISE
-
-    EUGÈNE BOUDIN
-         RETURN OF THE FISHING SMACKS
-         THE REPAIRING DOCKS AT DUNKIRK
-
-    PAUL CÉZANNE
-         LA ROUTE
-
-    EDOUARD MANET
-         THE BULLFIGHT
-         THE GARDEN
-         PORTRAIT OF BERTHE MORISOT
-         PORTRAIT OF M. P——, 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 (_in Colour_)
-         LA GRENOUILLÈRE
-         THE BEACH AT ÉTRETAT
-         POPLARS ON THE BANK OF THE EPTE: AUTUMN
-         MORNING ON THE SEINE
-         ARGENTEUIL
-         A RIVER SCENE
-         A LADY IN HER GARDEN
-         INTERIOR—AFTER DINNER
-
-    CAMILLE PISSARRO
-         CHURCH OF ST. JACQUES, DIEPPE
-         PLACE DU THÉÂTRE FRANÇAIS
-         THE BOULEVARD MONTMARTRE: A WINTER IMPRESSION
-
-    AUGUSTE RENOIR
-         PASTEL PORTRAIT OF CÉZANNE
-         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
-
-    EUGÈNE CARRIÈRE
-         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
-
-    J. F. RAFFAËLLI
-         A GLASS OF GOOD RED WINE
-         NOTRE DAME
-
-    EDGAR DEGAS
-         DANCING GIRL FASTENING HER SHOE
-         DANCING GIRL
-         CAFÉ SCENE ON THE BOULEVARD MONTMARTRE
-
-    MARY CASSATT
-         BABY’S TOILET (_in Colour_)
-
-    BERTHE MORISOT
-         LE LEVER
-
-    EMILE CLAUS
-         THE LAST RAYS (_in Colour_)
-         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 CORRÈZE
-         THE VALLEY OF THE CREUSE
-
-    J. A. McN 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-HOUSE, BAVARIA
-         THE COBBLERS
-         ASYLUM FOR OLD MEN, AMSTERDAM
-         WOMAN WITH GOATS
-
-
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-
-
-
-
-                           LIST OF PORTRAITS
-
-
-                           EDOUARD MANET
-                           GEORGES D’ESPAGNAT
-                           CLAUDE MONET
-                           CAMILLE PISSARRO
-                           AUGUSTE RENOIR
-                           ALFRED SISLEY
-                           J. F. RAFFAËLLI
-                           AUGUSTE POINTELIN
-                           MAXIME MAUFRA
-                           EMILE CLAUS
-                           ALEXANDER HARRISON
-
-------------------------------------------------------------------------
-
-[Illustration:
-
-  MODERN ITALY · J. M. W. TURNER
-]
-
-------------------------------------------------------------------------
-
-
-
-
-         CHAPTER I · THE EVOLUTION OF THE IMPRESSIONISTIC IDEA
-
-          “L’IMPRESSIONISME, ELLE EST DIGNE DE NOTRE
-          ADMIRATIVE ATTENTION, ET NOUS POUVONS
-          RATIONNELLEMENT CROIRE QUE, AUX YEUX DES GÉNÉRATIONS
-          FUTURES, ELLE JUSTIFIERA CETTE FIN DE SIÈCLE DANS
-          L’HISTOIRE GÉNÉRALE DE L’ART”
-
-                                                  _GEORGES
-          LECOMTE_
-
-
-ALTHOUGH the great revolution of 1793 changed the whole face of France
-both politically and socially, it failed to emancipate the twin arts of
-painting and literature. In each case one tradition was succeeded by
-another, and nearly forty years elapsed before the new spirit completely
-broke through the barriers set up by a past generation.
-
-In literature the victory was complete. The reason is easy to discover.
-The smart dramatist and the young novelist are always more likely to
-catch the fickle taste of the uneducated public than the budding
-painter, who depends to a great extent for his appreciation upon the
-trained and generally prejudiced eye of a connoisseur. There is another
-reason for the success of the Romantic School in literature. The
-majority of its leaders lived to extreme old age, and were themselves
-able to correct their youthful extravagances. Hugo, Dumas, Gautier (to
-mention but three) went down to their graves in honour. They had
-outlived the antagonisms of their early days, and no man dared to raise
-his voice in protest against poets who had added fresh laurels to the
-glory of France.
-
-The world of art was less fortunate. Many of the younger men barely
-lived through the first flush of youth. Destroying Death is the worst
-enemy to the arts. It is idle to imagine the changes which must have
-ensued had Géricault and Bonington reached the Psalmist’s allotted span.
-The unnatural union of Classical traditions with the yeast of
-Romanticism might not have taken place. Such artists as Delaroche and
-Couture would have dropped into the background, and there would have
-been less reason for the revolt of Edouard Manet. It is possible that
-Claude Monet might have been forestalled. Surely, Impressionism would
-have come to us in another shape from different easels. In any event it
-was bound to arrive, for a French artist had already struck the note
-nearly a century and a half before.
-
-The schools of painting which flourished under the last three Capet
-kings lacked many of the essentials of truly great art. But they
-possessed qualities, which the Classicalists despised, and the
-Romanticists never reached in exactly the same way. They possessed a
-strong sense of colour. Watteau, in particular, was the first to catch
-the sunlight. The painters of “les fêtes galantes” are artificial,
-unreal, dominated by mannerisms. But the cold inanities of David,
-Girodet, Gérard, and Gros are no more to be compared with them than the
-bituminous melodramatics of the lesser Romantic artists.
-
-Watteau’s successors never entirely lost their master’s sense of light
-and colour. In a mild way Chardin attempted realism. Boucher, and,
-later, Fragonard were influenced by that Japanese art which was to take
-such a prominent place in the movement of a hundred years later. But the
-world altered. The stern, hard ideals of Rome and Greece were too severe
-for these poor triflers with the Orient. David reigned supreme. The
-_Journal de l’Empire_ considered Boucher ridiculous. Unhappy, forgotten
-Fragonard, surely one of the most pathetic of figures, died in poverty
-whilst the drums of Austerlitz were still reverberating through the air.
-
-Ingres, a pupil of David, taught his students that draughtsmanship was
-of more importance than colour. “A thing well drawn,” he said, “is
-always well enough painted.” Such teaching was bound to provoke dissent,
-and the germs of the coming revolution were to cross from England. Byron
-and Scott were the sources of the literary revolution which swept across
-Europe. British artists showed the way in the fight against tradition
-and form, which resulted in the School of Barbizon, and its great
-successor, the School of Impressionism.
-
-Excluding the miniaturists, and such foreign masters as Holbein,
-Vandyck, Kneller, and Lely, English art could hardly boast one hundred
-consecutive years of history when its landscape artists first exhibited
-in the Paris Salon. The French School could not forget Italy and its own
-past. Even to this day the entrance to the École des Beaux-Arts is
-guarded by two colossal busts of Poujet and Poussin, and the supreme
-prize in its gift is the Prix de Rome. But English art has never been
-trammelled excessively by its own past, simply because it did not
-possess one, and, with insular pride, refused to accept that of the
-Continent.
-
-[Illustration:
-
-  _Photo by W. A. Mansell & Co._
-  PETWORTH PARK · J. M. W. TURNER
-]
-
-[Illustration:
-
-  _Photo by W. A. Mansell & Co._
-  THE CORN FIELD · J. CONSTABLE
-]
-
-Hogarth is a case in point. His education was slight and desultory; he
-did not indulge in the Grand Tour; he professed a truly British scorn
-for foreigners, uttering “blasphemous expressions against the divinity
-even of Raphael, Correggio, and Michelangelo.” He took his subjects from
-the life which daily surged under his windows in Leicester Square, and
-when he attempted a classical composition he utterly failed, and was
-promptly told so by his numerous enemies. His canvases form historical
-records of the men and women of the early Georgian era, in much the same
-manner as Edouard Manet represents the “noceurs” and “cocottes” who
-wrecked the Second Empire and reappeared during the first decade of the
-Third Republic.
-
-Hogarth was a colourist, and the early English School was always one of
-colour and animation, attempting to follow Nature as closely as
-possible. Some of the slighter portrait studies of Sir Joshua Reynolds
-have a strong affinity to the work of the French Impressionists. Richard
-Wilson was not altogether blind to the beautiful world around him,
-although he considered an English landscape always improved by a Grecian
-temple. Gainsborough was decidedly no formalist, and whilst the lifeless
-group, comprising Barry, West, Fuseli, and Northcote, was endeavouring
-to inculcate the classical idea, the English Water-colour School began
-to appear, the Norwich School was in the distance, Turner’s wonderful
-career had commenced, and Constable, the handsome boy from Suffolk, was
-studying atmospheric effects and the play of sunlight from the windows
-of his father’s mill at Bergholt. In 1819 Géricault, one of the leaders
-of the reaction in France against Classicalism, paid a visit to England.
-He does not seem to have been greatly influenced by English work, owing
-no doubt to his lamentably early death. But his visit resulted in
-Constable and Bonington becoming known in France.
-
-For years English painters exhibited regularly at the Salon. In 1822,
-the year when Delacroix hung _Dante’s Bark_, Bonington exhibited the
-_View of Lillebonne_ and a _View of Havre_, whilst other Englishmen
-exhibiting were Copley Fielding, John Varley, and Robson. In 1824 the
-Englishmen were still more prominent. John Constable received the Gold
-Medal from Charles X. for the _Hay Wain_ (now in the London National
-Gallery), and exhibited in company with Bonington, Copley Fielding,
-Harding, Samuel Prout, and Varley. In 1827 Constable exhibited for the
-last time, and, curious omen for the future, between the frames of
-Constable and Bonington was hung a canvas by a young painter who had
-never been accepted by the Salon before. His name was Corot, and he was
-quite unknown.
-
-The influence of these Englishmen upon French painting during the
-nineteenth century is one of the most striking episodes in the history
-of art. They were animated by a new spirit, the spirit of sincerity and
-truth. The French landscape group of 1830, which embraced such giants as
-Corot, Rousseau, and Daubigny, was the direct result of Constable’s
-power. The path was made ready for Manet, who, though not a
-“paysagiste,” became the head of the group which included Monet, Sisley,
-and Pissarro. Forty years later the younger men sought fresh inspiration
-in the works of an Englishman. Indirectly, Impressionism owes its birth
-to Constable; and its ultimate glory, the works of Claude Monet, is
-profoundly inspired by the genius of Turner.
-
-When the principles which animated these epoch-making English artists
-are contrasted with those which ruled the Impressionists, their
-resemblance is found to be strong. “There is room enough for a natural
-painter,” wrote Constable to a friend after visiting an exhibition which
-had bored him. “Come and see sincere works,” wrote Manet in his
-catalogue. “Tone is the most seductive and inviting quality a picture
-can possess,” said Constable. It cannot be too clearly understood that
-the Impressionistic idea is of English birth. Originated by Constable,
-Turner, Bonington, and some members of the Norwich School, like most
-innovators they found their practice to be in advance of the age.
-British artists did not fully grasp the significance of their work, and
-failed to profit by their valuable discoveries.
-
-It was not the first brilliant idea which, evolved in England, has had
-to cross the Channel for due appreciation, for appreciated it certainly
-was not in the country of its origin. As the genius of the dying Turner
-flickered out, English art reached its deepest degradation. The official
-art of the Great Exhibition of 1851 has become a byword and a reproach.
-In English minds it stands for everything that is insincere, unreal,
-tawdry, and trivial.
-
-The group of pre-Raphaelites, brilliantly gifted as they undoubtedly
-were, worked upon a foundation of retrograde mediævalism. And, as the
-years followed each other, English art failed as a whole to recover its
-lost vitality. Domestic anecdote, according to the formulæ of Augustus
-Egg, Poole, or, slightly higher in the scale, Mulready and Maclise,
-formed the product of nearly every studio. The false Greco-Roman
-convention of Lord Leighton luckily had no following. Rejuvenescence
-came from France in the shape of Impressionism, and English art received
-back an idea she had, as it proved, but lent.
-
-[Illustration:
-
-  A STUDY · J. CONSTABLE
-]
-
-[Illustration:
-
-  VIEW OF THE THAMES · THOMAS GIRTIN
-]
-
-[Illustration:
-
-  _Photo by W. A. Mansell & Co._
-  HENRI IV. AND THE SPANISH AMBASSADOR · R. P. BONINGTON
-]
-
-Those Englishmen who are taunted with following the methods of the
-French Impressionists, sneered at for imitating a foreign style, are in
-reality but practising their own, for the French artists simply
-developed a style which was British in its conception. Many things had
-assisted this development, some accidental, some natural. All the
-Englishmen had worked to a large extent in the open. Now the atmosphere
-of France lends itself admirably to Impressionistic painting “en plein
-air.” All landscapists notice that the light is purer, stronger, and
-less variable in France than in England.
-
-By thus working in the open both Constable and Turner, together with
-their French followers, were able to realise upon canvas a closer
-verisimilitude to the varying moods of nature than had been attempted
-before. By avoiding artificially darkened studios they were able to
-study the problems of light with an actuality impossible under a glass
-roof. They were in fact children of the sun, and through its worship
-they evolved an entirely new school of picture-making. The Modern
-Impressionist, too, is a worshipper of light, and is never happier than
-when attempting to fix upon his canvas some beautiful effect of
-sunshine, some exquisite gradation of atmosphere. Who better than Turner
-can teach the use and practice of value and tone? In triumph he fixed
-those fleeting mists upon his immortal canvases, immortal unhappily only
-so long as bitumen, mummy, and other pigment abominations will allow.
-
-The technical methods of the French Impressionists and of the early
-English group vary but little. The modern method of placing side by side
-upon the canvas spots, streaks, or dabs of more or less pure colour,
-following certain defined scientific principles, was made habitual use
-of by Turner. Both Constable and Turner worked pure white in impasto
-throughout their canvases, high light and shadow equally, long before
-the advent of the Frenchmen.
-
-An example of this was to be seen in a large painting by Constable hung
-in the Royal Academy Winter Exhibition of 1903. _The Opening of Waterloo
-Bridge_, exhibited in 1832, was declared by the artist’s enemies to have
-been painted with his palette-knife. Almost the whole of the canvas,
-especially the foreground, is dragged over by a full charged brush of
-pure white, which, catching the uneven surface of the underlying dry
-impasto work, produces a simple but successful illusion of brilliant
-vibrating light.
-
-This work was not well received by the contemporary press and public. It
-was regarded as a bad joke, became celebrated as a snowstorm, compared
-with Berlin wool-work (a favourite simile which Mr. Henley has recently
-applied to Burne-Jones), and was derided as the product of a disordered
-brain. Seventy years have barely sufficed for its full appreciation.
-
-By a curious coincidence Bonington’s _Boulogne Fishmarket_ was hung
-almost exactly opposite in the same Winter Exhibition. This canvas must
-have had an enormous influence with Manet, its blond harmony and rich
-flat values within a distinct general tone being a distinguishing
-feature of the great Frenchman’s style.
-
-The Impressionists, therefore, continued the methods of the English
-masters. But they added a strange and exotic ingredient. To the art of
-Corot and Constable they added the art of Japan, an art which had
-profoundly influenced French design one hundred years before. The
-opening of the Treaty ports flooded Europe with craft work from the
-islands. From Japanese colour-prints, and the gossamer sketches on silk
-and rice-paper, the Impressionists learnt the manner of painting scenes
-as observed from an altitude, with the curious perspective which
-results. They awoke to the multiplied gradation of values and to the use
-of pure colour in flat masses. This art was the source of the evolution
-to a system of simpler lines.
-
-In colour they ultimately departed from the practice of the English and
-Barbizon Schools. The Impressionists purified the palette, discarding
-blacks, browns, ochres, and muddy colours generally, together with all
-bitumens and siccatives. These they replaced by new and brilliant
-combinations, the result of modern chemical research. Cadmium Pale,
-Violet de Cobalt, Garance rose doré, enabled them to attain a higher
-degree of luminosity than was before possible. Special care was given to
-the study and rendering of colour, and also to the reflections to be
-found in shadows.
-
-So far as the term implies the position of teacher and pupils, the
-Impressionists did not form themselves into a school. On the contrary,
-they were independent co-workers, banded together by friendship, moved
-by the same sentiments, each one striving to solve the same æsthetic
-problem. At the same time it is possible to separate them into distinct
-personalities and groups.
-
-[Illustration:
-
-  _Photo by W. A. Mansell & Co._
-  A COAST SCENE · R. P. BONINGTON
-]
-
-[Illustration:
-
-  _Photo by Fredk. Hollyer_
-  TIME, DEATH, AND JUDGMENT · G. F. WATTS
-]
-
-Edouard Manet occupies a position alone. His work can be separated into
-two periods, divided by the year 1870. His earlier work deeply
-influenced Claude Monet, who was a prominent member of the group which
-gathered round Manet at the Café Guerbois. After 1870 the position was
-slightly changed, for, although he retained the nominal leadership of
-the group which was now known under the title of Impressionists, Manet
-was influenced by the technique of Claude Monet. The question has yet to
-be decided whether Manet or Monet was the founder of the new school.
-Monsieur Camille Mauclair declares for the latter, stating that Manet’s
-pre-eminence was due to the attention he attracted by his excessive
-realism, and that Claude Monet was the true initiator. It may be
-admitted that Impressionism, as the phrase is now understood, did not
-really gather force until 1867. Claude Monet was greatly attracted by
-Manet’s work as early as 1863, and upon these new methods he seems to
-have based his own, widened though after his visit to London with
-Pissarro in 1870.
-
-During his lifetime Manet was the recognised head, and around him was
-formed the famous circle of the Café Guerbois, which became known as the
-School of Batignolles. This included Monet, Pissarro, Sisley, Cézanne,
-Renoir, and Degas. If there is one man greater than the others it is
-Claude Monet. Only during comparatively recent years have his
-originality and strength been generally recognised. He now occupies the
-position held by Manet, although he cannot be said to be Manet’s
-successor. Manet painted the figure, seldom attempting landscape, a
-_genre_ which is primarily Monet’s. Claude Monet is doubly indebted to
-English art. Profoundly moved by Turner, whose works he studied at first
-hand in England, he also traces an artistic descent through Jongkind and
-Boudin from Corot, who caught the methods of Constable and Bonington.
-
-Jongkind and Boudin are two little masters not to be forgotten. Not
-altogether Impressionists themselves, they were in close affinity to the
-school upon which they had much influence. Men of uncommon character and
-earnestness of purpose, their art was sincere. In themselves they were
-interesting, for, richly endowed with natural talents, they were for the
-most part poor beyond belief in material wealth. Inspired by a genuine
-love for Nature in all her aspects they never reached the high technique
-of their English predecessors, and were far surpassed by Claude Monet
-and his group. Forerunners in the evolution of the school of “plein air”
-painting, a reference is necessary to them in order to follow the
-development of the school as a whole.
-
-For the first time in the history of art women have taken an active part
-in founding a new school. Madame Berthe Morisot, Miss Mary Cassatt, and
-Madame Eva Gonzalès must be included amongst the early Impressionists.
-
-Various movements based upon the Impressionistic idea have taken place
-in France and on the Continent generally. There are the _Pointillistes_
-for instance, and the Neo-Impressionists. Amongst foreign artists
-Whistler must be mentioned; a student at Gleyre’s he attended at the
-Café Guerbois, and embraced many of Manet’s ideas.
-
-The history of the early battles over Impressionism centres for the most
-part round one personality. In following the story of the failures and
-successes of Edouard Manet we follow the gradual rise of the entire
-school, for no man fought more bravely in defence of its principles.
-
-[Illustration]
-
-
-------------------------------------------------------------------------
-
-
-[Illustration:
-
-  _Photo by Fredk. Hollyer_
-  RIDER ON THE WHITE HORSE · G. F. WATTS
-]
-
-[Illustration:
-
-  VIEW OF HONFLEUR · J. B. JONGKIND
-]
-
-
-
-
-     CHAPTER II · “THE FORERUNNERS.” JONGKIND, BOUDIN, AND CEZANNE
-
-          “ILS PRENNENT LA NATURE ET ILS LA RENDENT, ILS
-          LA RENDENT VUE À TRAVERS LEURS TEMPÉRAMENTS
-          PARTICULIERS. CHAQUE ARTISTE VA NOUS DONNER AINSI UN
-          MONDE DIFFÉRENT, ET J’ACCEPTERAI VOLONTIERS TOUS CES
-          DIVERS MONDES”
-
-                                                  _ZOLA_
-
-
-JONGKIND and Boudin are the links which connect the Barbizon men of 1830
-to the Impressionist group of 1870. Although little public fame came to
-them during their lifetime, they had considerable influence upon the
-younger landscape-painters of their generation. Both were artists of
-great ability as well as of enormous industry; both suffered from
-continued misfortune and neglect. Yet no collection illustrating the
-history of Impressionism can exclude examples of the Dutch Jongkind, or
-of Boudin, a follower of Corot and master of Monet. Jongkind’s pictures
-are doubling, nay trebling, in value, and the records of the public
-sale-rooms are astounding evidences of the increasing appreciation of
-Boudin by modern collectors.
-
-The biographies of Jongkind and Boudin form excellent texts over which
-one may moralise upon the uncertainties of art as a career. It is not
-often that the Fates compel two men to struggle for so long against such
-hopeless and wretched surroundings. The life of Jongkind was a life of
-continued misery. Towards its end he utterly gave way, and died a
-dipsomaniac. Boudin possessed a little more grit, although his
-surroundings were not more propitious. He lived almost unnoticed until a
-beneficent Minister awarded him the greatest prize a Frenchman can
-receive on this earth, the Cross of the Legion of Honour.
-
-Johann Barthold Jongkind was born at Lathrop, near Rotterdam, in 1819.
-Dutch by birth, many years’ residence in France, together with a strong
-sympathy with Gallic ways, made him almost a citizen of his adopted
-country, and certainly a member of the French School of Painting. At
-first he was a pupil of Scheffont, and afterwards he worked under
-Isabey. At the Salon of 1852 he obtained a medal of the first class, and
-then for years in succession was rejected by the juries. Almost at the
-end of his life he was offered the long-coveted decoration, but he was
-never a popular artist, nor even well known amongst the art public. A
-few amateurs bought his works, his water-colours were lost in old
-portfolios, and the exhibition of his pictures previous to the sale
-after his death was a revelation alike to painters and critics. His life
-was a sad history of neglect, terrible privation, and want. All that we
-know of him is that he gave way to alcoholism, dying in Isère in 1891,
-alone, friendless, and forgotten.
-
-Jongkind was one of the very first men in France to occupy himself with
-the enormous difficulties surrounding the study of atmospheric effects,
-the decomposition of luminous rays, the play of reflections, and the
-unceasing change crossing over the same natural form during the
-different hours of the day. His influence over several of the more
-prominent men of the Impressionist group was great. Edouard Manet was
-strongly impressed by his methods, and Claude Monet refers to him as a
-man of profound genius and originality of character, “le grand peintre.”
-
-In the sale-rooms Jongkind’s water-colours and etchings are now reaching
-very high prices, although one cannot agree that they are his most
-remarkable creations. Works the artist was content to sell for £4 to £8
-now change hands under the hammer at sums ranging from £160 to £800. The
-best canvases were painted towards the end of his life, especially those
-depicting the luminous atmosphere of the beautiful Dauphiné countryside.
-His large landscapes are extremely unequal, somewhat hard and dry in
-technique, and more or less stereotyped in the choice of subject. His
-pictures do not always convey the true feeling for atmospheric effect,
-and many are simply experiments which lack the great quality of charm.
-Without a doubt he possessed extraordinary ability, but he lacked the
-illuminating spark of genius. He pointed out a way he was not himself
-strong enough to follow.
-
-[Illustration:
-
-  MOONRISE · J. B. JONGKIND
-]
-
-Louis-Eugène Boudin, an old comrade and life-long friend of Jongkind, is
-the head of the group of “little masters” who reigned during the
-transitional period in French landscape art between 1830 and 1870. He
-was born in the Rue Bourdet, Honfleur, on July 12, 1824, and died within
-a few miles of his birthplace in 1898. He leaves a magnificent record of
-work accomplished, and the memory of a noble life devoted to a beautiful
-ideal. Pissarro, in a letter addressed to the writer, says that Boudin
-had much influence upon the advancement of the Impressionist idea,
-particularly through his studies direct from Nature. His father was a
-pilot on board the steamboat _François_ of Havre, a bluff and hearty
-sailor, typical of the coast nearly a century ago. A good specimen is to
-be found in the burly guardian of the Musée Normand at Honfleur, who, by
-a coincidence not altogether strange in this world of coincidences,
-travelled round the world with old Boudin, and knew intimately “le petit
-Eugène.”
-
-The boy’s mother was stewardess on board the boat her husband piloted,
-and the artist commenced life in the humble and not altogether enviable
-capacity of cabin-boy. In that position he remained until his fourteenth
-year, travelling from French and English ports as far as the Antilles.
-At that age an irresistible desire came over his soul. He wished to quit
-seafaring life and devote himself to the brush. He had already made many
-sketches in bitumen, some having attracted attention from passengers.
-Those which have been preserved display wonderful proficiency,
-considering the many difficulties the boy had to labour under. Chance
-helped the youth; for his father, tiring of his endless struggle with
-the elements, retired from his post and opened a little stationery shop
-on the Grand Quai at Havre. The cabin-boy became shop-boy.
-
-This new mode of life gave him far greater time to follow his
-inclinations. All untaught he applied himself assiduously to
-draughtsmanship, painting on the quays, in the streets, devoting Sundays
-and fête-days to long excursions amongst the hills round about Havre.
-One day Troyon brought a canvas for framing to the elder Boudin’s shop.
-In the corner he noticed some curious little pastels of the shipping and
-harbour. Eugène made his first artistic friendship. Troyon, who was
-living in great poverty, only too pleased to sell a picture for
-twenty-five francs, was of great assistance to the lad. Another customer
-helped young Boudin. Norman by birth, son of a seaman, Jean-François
-Millet met the boy in Havre and was attracted by his evident skill.
-Millet was in the same quandary as Troyon; stranded in semi-starvation,
-he was executing portraits at thirty francs per head, diligently
-canvassing the retired ebony merchants, the harbour officials, the
-sailors and their sweethearts. Alphonse Karr and Courbet, whilst
-wandering through Normandy, became acquainted with Boudin’s sketches,
-and sought out the young artist.
-
-Eugène Boudin’s career was now determined. The advice of friends was
-vain. They pointed out that if Corot with his immense talent was unable
-to earn an independence at the age of fifty, an untrained shop-boy had
-still less chance. No man could tell a more bitter story of the artist’s
-life than Millet, and he attempted to persuade the boy to keep to the
-shop. All efforts were fruitless. Couture and a few other associates
-obtained a small student’s allowance from the Havre Town Council, and
-Boudin set out for Paris. The bursary of one pound weekly soon came to
-an end, and left the artist without resources or friends. He paid for
-his washing with a picture valued at the sum of forty francs. The
-laundress immediately sold the work to cover her bill, and the canvas
-has recently changed hands for four thousand francs. His “marchand de
-vin” exchanged wine for pictures which have lately passed through the
-sale-rooms at forty times their original agreed values. By these means,
-together with a few portrait commissions, Boudin managed to eke out a
-most precarious existence.
-
-From 1856 dates the foundation of the “Ecole Saint Simeon,” (so called
-from the rustic inn and farmhouse on the road from Honfleur to
-Villerville, halfway up the hill overlooking Havre and the mouth of the
-Seine), in which Boudin took a prominent part. In 1857 the artist
-exhibited ten pictures at the local Havre exhibition, which he followed
-with a sale by auction, his idea being to raise enough money to pay his
-expenses back to Paris. Claude Monet had been sending several pressing
-letters of invitation, holding out fair prospects of business with
-several art dealers. The sale was a complete failure, producing a net
-sum of £20. Boudin gave up his hopes of Paris and returned to the
-farmhouse of Saint Simeon saddened and discouraged. Roused by “la mère
-Toutain,” he opened an academy of painting, and the old inn of Saint
-Simeon may be called the cradle of French Impressionism.
-
-For twenty-five years it formed the resting-place, from time to time, of
-all the most celebrated men of the group. The list is a long one—Millet,
-Troyon, Courbet, Lepine, Diaz, Harpignies, Jongkind, Cals, Isabye,
-Daubigny, Monet, and many others. Boudin always regretted that there was
-no history written of the place, no record of the scenes which took
-place there. One has the same regret over many other famous sketching
-grounds and artistic inns in France. What stories can be told of the
-joyous life, of the good fellowship, the games and escapades, the
-brilliant jokes of many a world-renowned genius in playful mood, happy
-little bands of men with the spirit and souls of children!
-
-[Illustration:
-
-  RETURN OF THE FISHING SMACKS · EUGENE BOUDIN
-]
-
-The hostesses are of a type apart, and no other country but France
-produces them in such numbers. “Mères des artistes,” they are full of
-pride with their anecdotes of celebrated lodgers. Peasants of the best
-class, admired and respected by all who come into contact with them,
-they are remembered with affection. The peaceful holidays spent in these
-lovely villages represent much of the brighter side of the art-student’s
-career, and memories mix with regrets as one recalls a youth spent in
-that beloved country of art—la belle France.
-
-Boudin’s academy of painting at the inn was no great success, and he
-changed his habitat to Trouville, twenty miles down the coast, at the
-invitation of Isabey and the Duc de Morny. They suggested that he should
-paint “scènes de plage” of that gay and fashionable watering-place, the
-bathers, the frequenters of the Casino and the racecourse, the regattas,
-the “landscapes of the sea” as Courbet called them. “It is prodigious,
-my dear fellow; truly you are one of the seraphim, for you alone
-understand the heavens,” cried Courbet one day in excitement as he
-watched Boudin at work. Boudin was at last becoming famous. Alexandre
-Dumas addressed him as, “You who are master of the skies, ‘par
-excellence,’” and above all came the testimony of Corot, who described
-him as “le roi des ciels.”
-
-Unfortunately, the public did not buy Boudin’s pictures, and he remained
-in poverty. In 1864 he married, his wife receiving a “dot” of 2000
-francs, and a home was made up four flights of rickety stairs in a mean
-street in Honfleur, the rental of the garret being thirty-five shillings
-per annum. Amongst their visitors the saddest was Jongkind, the man of
-failure, a reproach to the blindness of his generation, and a warning to
-those who seek fortune by the brush. It was only by the combination of
-courage, energy, 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 appreciation.
-
-Four years later the little household was moved to Havre. 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 town,
-who had commissioned some decorative panels. The commission was lost,
-and the fight for bread was keener than before. During the winter
-furniture was converted into firewood, and the artist worked as an
-ordinary labourer. Boudin hated Paris, but at the urgent solicitation of
-artists, who promised him work, he left Havre for the metropolis. Ill
-luck still dogged his steps. No sooner had he settled with his wife in
-the new quarters than the war broke out with all the unendurable
-misfortunes of “l’année terrible” in its train.
-
-Hopes of commissions were at an end, the art colony being scattered far
-and wide. Boudin fled first to Deauville, then to Brussels. Crowded with
-French refugees, the struggle for life entered its bitterest stage. For
-the second time Boudin became a day-labourer. At last, by a most
-trifling chance, his wretched position was altered for the better. By
-hazard Madame Boudin met a picture-dealer whilst marketing, and his
-appreciation and encouragement enabled the artist to return to his
-easel. The artist’s progress was, however, extremely slow. Nine years
-later he held an auction sale of his pictures, at which four paintings
-realised £21. A friend who had joined in the sale was more unfortunate,
-for he sold nothing. “You see,” he wrote to Boudin, “that nothing
-succeeds with me. I don’t know how it will all finish. What upsets me
-most in the midst of all this worry is the fear that I should lose all
-love for painting.” This phrase must have represented Boudin’s thoughts
-during the long years of disheartening struggle.
-
-In 1881, after twenty-three years of almost annual exhibition in the
-Paris Salons, Boudin obtained a medal in the third class. Nowadays this
-award is usually made to the young man who exhibits for the first time.
-Three years later Boudin received a medal of the second class, which
-exempted his work from judgment by the jury, and places its recipient
-“hors concours.” He commenced, at the age of fifty, to sell his pictures
-more regularly, but at prices extremely low and out of proportion to
-their present value. At the Hôtel Drouot, Paris, in 1888, one hundred
-canvases by Boudin fetched the grand total of £280. It is difficult to
-estimate what sum such a lot would reach at the present day.
-
-The tide had changed, for the Government bought a large painting, _Une
-Corvette Russe dans le Bassin de l’Eure au Havre_ for the Luxembourg. In
-1889, public honour was marred by the most mournful blow. To his
-inconsolable grief his wife died, after twenty-five years of the
-happiest companionship. Amongst the letters of sympathy were many
-acknowledgments of the artist’s genius, notably from Claude Monet, “in
-recognition of the advice which has made me what I am”—a striking and
-flattering phrase from the head of the Impressionist group. In this same
-year Boudin was awarded the gold medal at the Salon. In 1896 the
-Government purchased his _Rade de Villefranche_ for the Luxembourg, and
-the old artist received from the hands of Puvis de Chavannes, at the
-recommendation of the Minister Léon Bourgeois, the ribbon and cross of
-the Legion of Honour.
-
-[Illustration:
-
-  THE REPAIRING DOCKS AT DUNKIRK · EUGENE BOUDIN
-]
-
-Boudin’s health, weakened by the long privations, had at last broken up.
-After several futile journeys he returned to his native Normandy, and,
-whilst working at his easel in his châlet near Deauville in 1898, died
-almost without warning. By his will he left a rich legacy of pictures to
-the gallery of his native town, Honfleur. Over one hundred of Boudin’s
-sketches can now be seen in the public gallery of Havre. Boudin’s
-connection with modern Impressionism is chiefly the influence generated
-by a strong enthusiasm for working “en plein air” and a deep love of
-Nature. His dominant colour, almost to the end of his life, was grey—a
-grey beautiful in its range and truthful in its effect. Personally
-Boudin had the head of an old pilot, with healthy ruddy complexion,
-white beard, and keen blue eyes. He spoke slowly in low monotonous
-tones, was doggedly tenacious of an idea, had strong artistic
-convictions. He was modest to a degree, and when he sought honours they
-were for brother artists, never for himself. His highest ambition was
-reached when the Town Council of Honfleur named a street “Rue
-Eugène-Boudin.” This street, long, narrow, hilly, with many rough places
-and occasional pitfalls, typifies the artist’s own life. After his death
-the town went further. Aided by M. Gustave Cahen, president of the
-“Société des Amis des Arts,” Honfleur erected a fine statue of its
-talented son by the jetty, where he had so often painted his favourite
-scenes of sea and shipping.
-
-Boudin has left a name which will be honoured in the annals of French
-art. He lived a long life, produced many works of which not one falls
-below his own high standard. His position, midway between two great
-schools, is perhaps one reason why he has not loomed more strongly in
-the public appreciation. Upon their merits his pictures cannot easily be
-forgotten. When it is remembered that he links Corot to Monet, was in
-fact the true master of the latter, it will be seen what an important
-niche he occupies in any history devoted to Modern French Impressionism.
-
-From Boudin is an easy step to Cézanne, one of the pioneers of the
-movement before 1870. Paul Cézanne and Zola were schoolboys together in
-Aix. They left Provence to conquer Paris, and whilst Zola was a clerk in
-Hachette’s publishing office Cézanne was working out in his studio the
-early theories of Manet, of whom he was an enthusiastic admirer. Both
-men frequented the Café Guerbois, and there is little doubt that in the
-remarkable series of articles contributed to De Villemessant’s paper
-“L’Événement,” Zola was assisted by Cézanne, who had introduced the
-journalist to the artists he had championed. When the criticisms were
-republished in 1866, in a volume entitled “Mes Haines,” Zola dedicated
-the book in affectionate terms, “A mon ami Paul Cézanne,” recalling ten
-years of friendship. The writer went still further, for the character of
-Claude Lantier, hero of “L’Œuvre,” a novel dealing largely with artistic
-life and Impressionism, is generally supposed to have been suggested by
-the personality of Paul Cézanne.
-
-For years Cézanne seldom exhibited, and his pictures are not known
-amongst the public. As to their merits, opinion is curiously divided. He
-has painted landscapes, figure compositions, and studies of still-life.
-His landscapes are crude and hazy, weak in colour, and many admirers of
-Impressionism find them entirely uninteresting. His figure compositions
-have been called “clumsy and brutal.” Probably his best work is to be
-found in his studies of still-life, yet even in this direction one
-cannot help noting that his draughtsmanship is defective. It is probable
-that the incorrect drawing of Cézanne 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 technique. Apart
-from this defect, Cézanne’s paintings of still-life have a brilliancy of
-colour not to be found in his landscapes.
-
-In his student-days this artist had a great admiration for Veronese,
-Rubens, and Delacroix, three masters who had some influence upon Manet.
-Some of his latter methods showed a strong sympathy with the Primitives.
-The modern symbolists are his descendants, and Van Gogh, Emile Bernard,
-and Gauguin owe much to his example. Personally he unites a curiously
-shy nature with a temperament half-savage, half-cynical. Cézanne’s work
-is remarkable for its evident sincerity, and the painter’s aim has been
-to attain an absolute truth to nature. These ambitions are the keynotes
-of Impressionist art.
-
-[Illustration]
-
-[Illustration:
-
-  LA ROUTE · PAUL CÉZANNE
-]
-
-
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-
-[Illustration:
-
-  THE BULLFIGHT · EDOUARD MANET
-]
-
-
-
-
-                CHAPTER III · EDOUARD MANET (1832-1883)
-
-          “CE QUI ME FRAPPE D’ABORD DANS CES TABLEAUX, C’EST
-          UNE JUSTESSE TRÈS DÉLICATE DANS LES RAPPORTS DES
-          TOUS ENTRE EUX.
-
-          “TOUTE LA PERSONNALITÉ DE L’ARTISTE CONSISTE DANS LA
-          MANIÈRE DONT SON ŒIL EST ORGANISÉ: IL VOIT BLOND, ET
-          IL VOIT PAR MASSES”
-
-                                                  _ZOLA_
-
-
-FOR over twenty years the technique and methods of Edouard Manet were a
-subject for the most virulent debate. His art, in fact, became the scene
-of a battle in which every painter in Europe had a hand. Officialdom
-found no place for him in its heart, no matter whether the State was
-Imperial or Republican. The Empress Eugénie once asked that his pictures
-might be removed from public exhibition; President Grévy demurred when
-the artist’s name was placed on the list for the Legion of Honour.
-Clearly this man was no supporter of the established order of things.
-Refused recognition as an artist by the school of tradition, disowned by
-his own teacher, a source of hilarity to the public, Edouard Manet
-caught but a glimpse of the long-wished-for land of success which he was
-fated never to enjoy fully.
-
-The battle is not quite finished, and the rout of the old school
-continues to the present day. One result remains. Manet has had a
-greater influence upon the art of the last forty years than any other
-master during that period, and the standard which he raised has become a
-rallying-point for the greatest painters of the present age.
-
-Edouard Manet was born in Paris on January 23, 1832, at No. 5, Rue des
-Petits Augustins. Thirty-six years previously Corot was born round the
-corner, in the Rue du Bac. To-day the Rue des Petits Augustins is a long
-street running through the Latin Quarter, southwards from the Seine and
-the Louvre, known as the Rue Bonaparte. It has become the chief mart for
-commerce in artists’ materials, photographs, pictures, and all the odds
-and ends which fill up a studio. With a quaint appropriateness, the
-birthplace of Manet faces the École Nationale des Beaux-Arts.
-
-The boy was the eldest of three brothers. His father was a judge
-attached to the tribunal of the Seine, and the family had been connected
-with the magistrature for generations. First a pupil at Vaugirard, under
-the Abbé Poiloup, Manet then entered the Collège Rollin, took his
-baccalaureate in letters, and grew into an elegant man of the world. But
-his inclinations clashed with his duties, and his uncle, amateur artist
-and colonel in the artillery, taught him how to sketch in pen and ink.
-M. Antonin Proust describes the result in a recent magazine article.
-
-“From earliest years,” he writes, “Manet drew by instinct, with a
-firmness of touch and vigour unexcelled even in his latest works. His
-family was intensely proud of the boy’s uncommon gift, and his
-artistically-inclined uncle, Colonel Fournier, supported him against his
-father, who—despite his admiration—had other views as to his son’s
-career.”
-
-“One should never thwart a child in the choice of his career,” said
-Colonel Fournier.
-
-“If,” replied the father, “the boy is not inclined towards the ‘Palais,’
-let him follow your example and become a soldier; but go in for
-painting—never!”
-
-A studio-stool tempted the boy far more than a probable seat on the
-Bench. If he had to waste time, it should not be in the Salle des Pas
-Perdus.
-
-His parents sent him, towards the close of his school-days, upon a
-voyage to Rio de Janeiro, hoping that travel might distract his mind
-from thoughts of an artistic life. It is said that they contemplated a
-naval career. Charles Méryon, it may be remembered, made the voyage
-round the world in a French corvette before he took up the etcher’s
-needle. Like Méryon, Manet improved his draughtsmanship, although a
-sailor. He sketched incessantly. One day the captain asked him to get
-out his paints and touch up a cargo of Dutch cheeses, which had become
-discoloured by the sea. “Conscientiously, with a brush,” says Manet, “I
-freshened up these _têtes de mort_, which reappeared in their beautiful
-tints of violet and red. It was my first piece of painting.”
-
-His voyage in the _Guadeloupe_ ended, he returned home with unaltered
-determination. After some protest his father relented, and in 1850 Manet
-entered the studio of Thomas Couture.
-
-[Illustration:
-
-  THE GARDEN · EDOUARD MANET
-]
-
-Couture occupied a leading position in that group sometimes called the
-“juste milieu.” Between the Romanticists and the Classicalists his
-preferences perhaps were for the latter. Of extreme irritability in
-temper, with a deep contempt for those in authority, he combined a keen
-desire for success both popular and financial. His picture, _The Romans
-of the Decadence_, in the Salon of 1847, brought both, and for a few
-years he remained one of the most celebrated artists in France. Then he
-criticised Delaroche, with the usual result when one painter puts
-another right: he offended King Louis-Philippe, he insulted the Emperor
-Napoleon III. Kings must be taken at their own valuation, if one wishes
-to enjoy their good graces. It was not surprising that Couture
-ultimately became a disappointed and forgotten man.
-
-He has been called an Apostle of Classicalism. Taught first by Baron
-Gros, who vacillated from one school to the other, and afterwards by
-Delaroche, who endeavoured to reconcile the opposing parties, Couture
-could hardly have taken any other position in the art world of the
-’forties. “He was apart among the painters of the day, as far removed
-from the cold academic school as from the new art just then making its
-way, with Delacroix at its head. The famous quarrel between the
-Classical and Romantic camps left him indifferent. He was of too
-independent a nature to follow any chief, however great.” This is the
-testimony of an American artist, Mr. P. A. Healy, who studied under
-Couture about the time Manet was in the atelier, and shows that the
-future Impressionist worked under a man by no means curbed by tradition.
-According to his pupil, Couture’s great precept was, “Look at Nature;
-copy Nature.” Manet’s doctrine was couched in almost the same words, “Do
-nothing without consulting Nature.”
-
-We know that during the time Manet remained in Couture’s studio, master
-and pupil quarrelled incessantly. The reason usually given is that Manet
-would not respect tradition. But neither would Couture. “That in the
-captain’s but a choleric word, which in the soldier is flat blasphemy.”
-One was there to teach, the other to be taught. The temperaments of the
-two men were fundamentally different. The thick-set, scowling Couture,
-of shoemaker descent, would naturally rub against the grain of the
-rather dandified young scion of the magistrature. Couture hated the
-middle classes, and Manet belonged to the “haute bourgeoisie.” Manet’s
-family was legal to the bone, and Couture detested lawyers even more
-than he disliked doctors. With all these drawbacks Couture was
-admittedly the best teacher in Paris. Manet evidently recognised the
-advantage, for he remained in the studio for six years, until he was
-twenty-five years of age, although quite able to sever the connection
-had he wished.
-
-Then came the “wanderjahre,” which commenced in 1856. Manet visited
-Germany, Holland, and Italy. In the Low Countries, Franz Hals exerted a
-great and permanent influence over the student; Rembrandt was copied in
-Germany; in Italy, Titian and Tintoretto received his homage. Dresden,
-Prague, Vienna, Munich, Venice and Florence were visited. Upon his
-return to Paris he copied assiduously in the Louvre, and it was in this
-wonderful gallery that he so thoroughly mastered all that a young
-painter could learn from the Spanish School. He did not visit Madrid
-until 1865. 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 Paris. In the Louvre he copied
-paintings by Velazquez, Titian, and Tintoretto.
-
-Of living artists Courbet considerably influenced the first period of
-Manet’s activity. Ever on the fringe of Impressionism, although never in
-the group, Courbet was a romantically inclined realist who taught the
-younger men to turn to everyday life for their subjects. His canvases
-were full of colour; although they have sadly toned down in the course
-of time, owing to the curious and unsuccessful experiments he made in
-trying to combine his practice with his theories.
-
-In 1859 Manet sent his work for the first time to the Salon. The
-_Absinthe Drinker_, strong, but reminiscent of Courbet, was rejected.
-The Salon was held every two years, and in 1861 both his contributions
-were accepted, one being a double portrait of his father and mother, the
-other a Spanish study called the _Guitarero_. For this Manet was awarded
-Honourable Mention, his first and almost his final official distinction,
-for he received no other until the year before his death, twenty-one
-years later. Working with tremendous energy in his studio in the Rue
-Lavoisier, Manet became the centre of a circle of friends which included
-Legros, Bracquemond, Jongkind, Monet, Degas, Fantin-Latour, Harpignies,
-and Whistler. The Guitar-player was an undoubted success. “_Caramba_,”
-writes genial Theo. Gautier, “Velazquez would greet this fellow with a
-friendly little wink, and Goya would hand him a pipe for his papelito.”
-Upon the jury it is said that Ingres himself was flattering, and the
-_mention honorable_ was ascribed to the lead of Delacroix. Couture’s
-sneer that Manet would become merely the Daumier of 1860 did not seem
-likely to be justified.
-
-Manet was now engaged upon several pictures which must not be ignored.
-_Music at the Tuileries_ (1861), refused at the Salon, was, as its name
-implies, an open-air study of the fashionable crowds gathered round the
-bandstand in the lovely gardens by the palace. The _Street Singer_ is
-the earliest of the almost realistic renderings of everyday life which
-the Impressionists delighted in. A sad-faced girl (a well-known
-character of the day) standing with a guitar at a street corner; the
-type is the same to this hour both in London and Paris, one of the
-thousand wretched beings superfluous to a great city, at once its
-pleasure and its sport.
-
-_The Boy with a Sword_, now in the Metropolitan Museum of New York, also
-belongs to this period. The picture is masterly. Inspired from Spain, it
-is, like most great paintings, full of simplicity, full of strength.
-_The Old Musician_ is also extremely Spanish, with a haunting
-reminiscence of _Los Borrachos_ by Velazquez (although Manet had not yet
-directly seen this canvas). A small group watches an old man about to
-play his fiddle. Some boys, a little girl with a doll (a figure very
-dear to Manet), a man drinking, a native of the Orient in a turban and a
-long robe, these form a straggling composition. The picture is a fantasy
-of a nation the painter loved but had never yet seen.
-
-Two personal matters affected the life of Manet about this time. His
-father died, leaving him a considerable private fortune, thus making the
-artist financially independent of dealers and the ups and downs of
-public exhibition. In 1863 he married Mlle. Suzanne Leenhoff, a Dutch
-lady of great musical talent. From one point of view 1863 was
-disastrous, from another triumphant. Hitherto a man of promise, Manet
-now developed into a man of notoriety.
-
-The little “one-man show” at the gallery of M. Martinet, Boulevard des
-Italiens, presaged the coming storm. Manet exhibited the _Spanish
-Ballet_, _Music at the Tuileries_, _Lola de Valence_, and nearly the
-whole of his other work up to that date. Baudelaire was enthusiastic.
-Verses on _Lola de Valence_ are enshrined in “Fleurs de Mal.” Other
-critics were not so kind. M. Paul Mantz did not restrain his pen and
-referred to “a struggle between noisy, plastery tones, and black,” with
-a result “hard, sinister, and deadly,” the whole summed up as “a
-caricature of colour.”
-
-The Salon of 1863, which followed, has become famous not through what it
-accepted, but by reason of what it refused. In a contemporary chronicle
-the most notable pictures of the exhibition are _La Prière au Désert_ by
-Gustave Guillaumet, a _Sainte Famille_ by Bouguereau, _La Déroute_ by
-Gustave Boulanger, _La Bataille de Solférino_ by Meissonier, and the
-_Chasse au Renard_ by Courbet. With the exception of Courbet it is an
-academical list, although it is extraordinary how Courbet crept in.
-
-The list of rejected artists is amazing. Like Herod’s soldiers, the jury
-seems to have been chiefly occupied in stamping out youth. Bracquemond,
-Cals, Cazin, Fantin-Latour, Harpignies, Jongkind, J. P. Laurens, Legros,
-Manet, Pissarro, Vallon, Whistler, these and many others were thrown
-out. The work was too vigorously performed, and Napoleon III. authorised
-the opening of another gallery in the same building as the old Salon,
-known as the Salon des Refusés. The most striking canvas in this room
-was Manet’s first great work, the _Déjeuner sur l’Herbe_ (_Breakfast on
-the Grass_), sometimes called _Le Bain_.
-
-The painting challenged opposition on two separate grounds. The first
-was its subject; the second its technique. Between two young men
-stretched on the grass, wearing the black frock-coats of a latter-day
-civilisation, sits a nude woman drying her legs with a towel. In the
-background another woman “en chemise” is paddling in the stream. In
-defence of such a subject it is usual to refer to the painters of the
-Renaissance, who, without exciting angry comment, mixed draped and
-undraped figures in their compositions. There is a celebrated Giorgione
-at the Louvre to which none objected. Other times, other manners.
-Infanticide is not encouraged in England although it is the practice in
-China. Many social practices of the Renaissance, innocent enough in the
-eyes of that golden age, are distinctly discouraged by the criminal code
-of to-day. Forty years have elapsed since the _Déjeuner sur l’Herbe_ was
-first exhibited, and Mrs. Grundy is not the power she was. 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-Ouen, there would be some sharp
-criticism.
-
-It is far more pleasing to discuss Manet’s manner of painting. In a
-period when work was sombre in tone and Nature rapidly losing her place
-in art, Manet with his _Déjeuner sur l’Herbe_, _Olympia_, and _Le Fifre
-de la Garde_, changed the current with startling directness.
-
-[Illustration:
-
-  PORTRAIT OF BERTHE MORISOT · EDOUARD MANET
-]
-
-In these and other canvases there was not a shadow, the surface being
-from end to end clear and highly coloured. Where a Classicalist would
-have rendered a shadow in the usual burnt umber, Manet made his tones a
-little less clear, but always coloured and always in value. His method
-of working was to discard all blacks and preparations of blacks. This
-was directly antagonistic to the teaching of Couture, who painted on a
-black canvas. Manet drew straight away on a white canvas with the end of
-his brush. Then, after having endeavoured to render with a single tone
-all the pale parts, he carried the lights right into the shadows, of
-which he studied the slightest nuance. The result was novel to the
-vision, and strange to the public. The _Déjeuner sur l’Herbe_ was a
-masterly rendering of white flesh against black clothes, which was not
-appreciated because it was so foreign to the eye.
-
-               “Be not the first by whom the new is tried,
-                Nor yet the last to lay the old aside,”
-
-is an excellent motto for painters who wish to achieve popular renown,
-but it was never the motto of Manet and the Impressionists.
-
-To a certain extent the Salon des Refusés was successful. The jury of
-the old Salon had received a fright, and in 1865 they opened their doors
-very widely. Making a virtue of necessity, they reversed their policy
-and welcomed the whole artistic world, in order to obviate the necessity
-of a second Salon des Refusés.
-
-_Olympia_ was far in advance of anything the artist had yet attempted.
-In composition it recalls Velazquez, Goya, and Titian. A girl, anæmic
-and decidedly unprepossessing, quite nude, is stretched upon a couch
-covered with an Indian shawl of yellowish tint. Behind is a negress,
-with a bouquet of flowers. At the foot of the bed a black cat strikes a
-sharp note of colour against the white linen.
-
-Gautier and Barbey D’Aurevilly—both men of exotic genius—received the
-painting with great favour. They found themselves alone in their
-opinions. Again the subject displeased the crowd, whilst the
-extraordinary technique exasperated the art world. Even Courbet,
-reformer as he was, repudiated it. “It is flat and lacks modelling. It
-looks like the queen of spades coming out of a bath.” Manet retorted:
-“He bores us with his modelling. Courbet’s idea of rotundity is a
-billiard-ball.” The general verdict, however, was one in which ridicule
-and mockery were equally mixed. A religious picture, _Christ reviled by
-the Soldiers_, received no greater encouragement, and in the next Salon
-Manet was rejected without mercy. _Le Fifre de la Garde_ and _The Tragic
-Actor_ were both refused. He had provoked such fierce animosity that he
-was even excluded from the representative exhibition of French art
-included in the Universal Exhibition of 1867.
-
-Luckily, no longer dependent for money on his art, Manet was able to
-exhibit under more favourable circumstances. Like Rodin a few years ago,
-Manet opened a large gallery in the Avenue de l’Alma, which he shared
-with Courbet. Here he collected fifty works, including the _Boy with the
-Sword_, several Spanish subjects, seascapes, portraits, studies of still
-life, aquafortes, even copies. A catalogue was issued containing a short
-introduction. “The artist does not say to you to-day, Come and see
-flawless works, but, Come and see sincere works.” Another sentence
-shares with a title of Claude Monet’s the origin of the generic phrase,
-“Impressionism.” “It is the effect of sincerity to give to a painter’s
-works a character that makes them resemble a protest, whereas the
-painter has only thought of rendering his impression.” Manet never
-considered himself as a man in revolt.
-
-The artist had now a considerable following, and was supported by
-several vigorous pens in the press, notably that wielded by Emile Zola,
-who had been introduced to Manet by an old school friend become artist,
-Cézanne. Zola’s campaign in 1866, following upon the rejection by the
-Salon of the _Fifre de la Garde_, saw some hard fights. Zola saluted
-Manet as the greatest artist of the age, and incidentally overturned a
-few pedestals in the Academy. Animosity directed against the artist was
-transferred to the journalist, and Zola was soon ejected from his
-position under M. de Villemessant as art critic to the _Figaro_ (then
-famous as _l’Événement_). Artists of the old school used to buy copies
-of this journal containing the offending articles, seek out Zola or
-Manet on the boulevards, and then destroy the paper under their eyes
-with every manifestation of scorn.
-
-About this time the gatherings in the Café Guerbois, in the Rue Guyot,
-behind the Parc Monceau, were held twice a week regularly, and the
-School of Batignolles became an established fact. The group was mixed,
-and held together more through comradeship than through identical aims.
-It included Whistler, Legros, Fantin-Latour, Monet, Degas (a young man
-fresh from the Ecole des Beaux Arts), Duranty, Zola, Vignaux, sometimes
-Proust, Henner, and Alfred Stevens. To these names should be added
-Pissarro, Sisley, Renoir, Bazille, and Cézanne. Monet had been attracted
-by Manet since the little exhibition at Monsieur Martinet’s in 1863,
-although they did not meet until 1866, the year that Camille Pissarro
-joined the camp. Fantin-Latour was an old chum, the friendship
-commencing in 1857, and he commemorated these gatherings in a picture of
-the members of the group, which attracted much attention in the Salon of
-1870.
-
-[Illustration:
-
-  PORTRAIT OF M. P——, THE LION-HUNTER · EDOUARD MANET
-]
-
-The home life of Edouard Manet was strangely different from what one
-would expect of such an artist, so notorious in the Paris of the Empire
-that when he entered a café its frequenters turned to stare at the
-incomer. Manet lived with his wife and his mother in the Rue St.
-Pétersbourg. The old lady, faithful to her remembrance of the age of
-Charles X. and the Citizen King, lived amidst souvenirs of the past.
-Modernity was entirely absent from the little household, and those who
-anticipated evidences of the spirit of revolution which characterised
-Manet in the world of the boulevards here discovered the atmosphere,
-even the decoration and furniture, of the Louis-Philippe period. Romance
-had also entered into the hitherto prosaic Manet family. Mlle. Berthe
-Morisot, a clever young artist from Bourges, had married Manet’s brother
-Eugène, and became an ardent follower of her brother-in-law’s artistic
-doctrines, whom she aided frequently.
-
-A famous work of this period is _The Execution of the Emperor
-Maximilian_, the subject representing a file of dark-hued Mexicans
-shooting the unfortunate monarch. It is a vast canvas, slightly
-inconsistent with many of the artist’s theories. Not lacking in
-actuality (it was commenced within a few months of the event), it was of
-historical _genre_ and painted in a studio from models, the face of the
-Emperor being copied from a photograph. Rarely, if ever before, seen in
-London, this magnificent painting was received enthusiastically when
-exhibited at the first collection made by the International Society in
-1898.
-
-In France the authorities forbade the public exhibition of the
-_Execution_, the tragedy having had too intimate a relation with French
-politics; but at the Salon of 1869 Manet was represented by _The
-Balcony_, which provoked considerable derision from critics and public.
-
-The famous duel with Duranty took place early in the following year.
-Duranty, an old friend and journalistic supporter of the movement, of
-great literary reputation in the ’sixties and ’seventies, but quite
-forgotten now, suddenly published a newspaper article in which the
-artist was violently attacked. There was no palpable reason for such a
-strange outbreak, and at the next gathering at the Café Guerbois, Manet
-requested explanations. In his anger the artist struck the writer across
-the face. Manet had for seconds Zola and Vigniaux, and his adversary was
-slightly wounded in the breast. Within a few years Manet stretched out
-his hand in friendship, and the quarrel was made up and forgotten by
-both parties.
-
-The tremendous upheaval of the year 1870 had its effect upon Manet’s
-art, as it had upon the whole national and intellectual life of France.
-It marks the end of his first period, for after the war Manet paid more
-attention to the question of lighting, and gathered closer to the little
-group of “Luminarists” of which Claude Monet was the most significant
-figure. Early in 1870 the artist, when painting near Paris, in the park
-of his friend De Nittis, for the first time woke up to the prime
-importance of working “en plein air.” The war intervened, and Manet
-served with the colours. After the campaign he returned to his easel,
-but no longer an exclusive follower of the Spanish School and the
-Romanticists of the type of Courbet.
-
-At the call of their country, artists and authors alike followed the
-flag. One can still remember how short-sighted Alphonse Daudet kept
-sentry-go during the first awful winter, and how, almost at the end of
-the siege of Paris, the brilliant Henri Regnault was shot down in a
-sortie. Bastien-Lepage was in the field, and one of the group of the
-Café Guerbois, Bazille, was killed in action. Manet enlisted in the
-Garde Nationale, and, for some reason which is not obvious, was at once
-promoted to the Staff. Unfortunately, Meissonier was nominated Colonel
-of the same regiment, which shows that the État-Major was quite ignorant
-of the state of contemporary art. Meissonier, a man of strong opinions,
-the recognised head of his profession, member of the Institute, was
-covered with official honour. Manet, with equally forcible convictions,
-the hero of the Salon des Refusés, was pariah to the Academy. It was not
-likely that two such men could get on well together.
-
-Some years afterwards Manet displayed his feelings. He was gazing in a
-public gallery at a _Charge of Cuirassiers_, recently painted by
-Meissonier. A crowd gathered round. His criticism was short. “It’s good,
-really good. Everything is in steel except the cuirasses.” The _mot_
-travelled round the town, and duly reached the ears of the venerable
-artist at Passy. Manet saw active service. He was under fire at the
-Battle of Champigny, and also took part in the suppression of the
-Commune. A vivid little sketch by Manet shows a Parisian street, after
-some sharp fighting with the insurgents. It may be found reproduced in
-Duret’s monograph. Broken down in health, Manet joined his mother and
-sister at their retreat in the Pyrenees, and at Oléron painted the
-_Battle of the “Kearsage” and “Alabama,”_ a wonderful piece of
-sea-painting, although executed far from the actual scene of the
-engagement.
-
-[Illustration:
-
-  EDOUARD MANET
-]
-
-Manet had exhausted the paternal inheritance and was living on the
-fruits of his labour. The Impressionist School, as we now know it, was
-at the height of its activity, but by no means at the summit of its
-success. It assumed as its title the designation which had been applied
-to it as a nickname. The origin of this title is obscure. As already
-mentioned, Manet used the term in his introduction to the catalogue of
-1867. Claude Monet named one of his pictures, a sunset, exhibited in the
-Salon des Refusés, “Impressions.” Ruskin though had used the same term
-years before in describing a canvas by Turner. Many of the members of
-the group were in the most abject poverty until the celebrated dealer,
-M. Durand-Ruel, came to their assistance. Manet had better sales than
-the rest of his brethren, for several collectors began to buy from his
-easel, viz. Gérard, Faure (of the Opera), Hecht, Ephrussi, Bernstein,
-May, and De Bellis. 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 Impressionists.
-
-In 1873 Manet contributed to the Salon a portrait of the engraver Belot
-seated in the Café Guerbois. Known as _Le Bon Bock_, it was his most
-popular success both with public and critics. Over eighty sittings were
-given before the canvas was completed. Manet had departed far from the
-technique of the Dutch portrait-painters, but _Le Bon Bock_ strongly
-suggests the manner of Hals, although ranking on its own merits as an
-independent triumph. To the year of _Le Bon Bock_ succeeded a long
-period of public indifference and artistic warfare. The Impressionists
-held their first collective exhibition, which was bitterly disappointing
-in its results. The public had changed but little. _The Opera Ball_ and
-_The Lady with Fans_ (about 1873), the _Railway_, painted wholly in the
-open air, and _Polichinelle_ (exhibited at the Salon of 1874), _The
-Artist_ and _L’Argenteuil_ of 1875, all were received with disfavour.
-
-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 ago. _L’Artiste_, a magnificent
-portrait of the engraver Desboutins, was refused by the Salon together
-with _Le Linge_. _L’Argenteuil_, a simple representation of two
-life-sized figures by the borders of the Seine, would be received with
-acclamation instead of disdain. Manet and his group were undoubtedly
-educating the public, but progress was very slow. There was an outburst
-of opinion in favour of the artist when the Salon refused _L’Artiste_
-and _Le Linge_. One sentence of criticism summed up the general feeling
-of those who were not entirely prejudiced against the new spirit. “The
-jury is at liberty to say that it does not like Manet. But it is not at
-liberty to cry ‘Down with Manet! To the doors with Manet!’”
-
-Reaction on the part of the jury followed, exactly as it had followed in
-previous years. After the success of the Salon des Refusés Manet was
-accepted. Then, being rejected, he opened the gallery of the Avenue
-d’Alma, and was hung by the jury at the ensuing Salon. Rejected in 1876,
-the outcry in the press surprised the jury, who accepted his works in
-1877. These extraordinary ups and downs culminated in 1878, when the
-jury of the Exposition Universelle, held in that year, definitely
-refused to hang any of his canvases. In the opinion of this jury the
-painter of _Le Bon Bock_ was not a representative French artist. Ten
-years had changed the official art world but little, for the same thing
-had happened in 1867. This was almost the last insult Manet had to
-endure. In 1881 he received a second medal at the Salon. The discussion
-in the Committee had been acrimonious, but seventeen members of the jury
-were found to support the award. Amongst the names of the majority are
-those of Carolus-Duran, Cazin, Henner, Lalanne, de Neuville, and Roll.
-
-One cannot deny that Manet’s work greatly varied. The portrait of M.
-Faure, in the character of Hamlet, was to a certain extent conventional
-studio-painting, and could offend nobody. The subject would not provoke
-the most susceptible. M. Faure was celebrated on the stage of the Grand
-Opera, possessed considerable wealth, and was one of Manet’s most
-devoted friends. _Nana_, sent to the Salon together with the portrait of
-M. Faure, was rejected. The technique was brilliant, but the subject,
-although harmless enough, suggested Zola’s heroine. Zola’s book was not
-published until 1879, but the name designated a class apart.
-
-In 1880 Manet exhibited a wonderful portrait of M. Antonin Proust, and
-in the December of the following year his old friend, now Directeur des
-Beaux-Arts, was able to give to his life-long companion the Cross of the
-Legion of Honour. Had Manet no friends at Court, he would certainly not
-have received this coveted decoration. President Grévy objected when he
-saw the painter’s name, and would have struck out Manet from the list
-had not Gambetta exerted some little pressure.
-
-But the struggle was nearly ended. Manet was dying. “This war to the
-knife has done me much harm,” he is reported to have told Antonin
-Proust. “I have suffered from it greatly, but it has whipped me up.... I
-would not wish that any artist should be praised and covered with
-adulation at the outset, for that means the annihilation of his
-personality.”
-
-On New Year’s Day, 1882, he received the Cross, and at the Salon
-exhibited _Un Bar aux Folies-Bergères_, a barmaid enshrined amidst her
-glasses at a Paris music-hall, and a portrait, _Jeanne_. Since 1879
-paralysis had been slowly sapping his powers. Edouard Manet died near
-Paris on April 30, 1883, at the early age of fifty-one. Disappointment,
-injured pride, lack of appreciation, continued and strong hostility,
-each had had its effect upon a physique always sensitive and never too
-strong. The artist had died for his art.
-
-[Illustration:
-
-  A GARDEN IN RUEIL · EDOUARD MANET
-]
-
-[Illustration:
-
-  FISHING · EDOUARD MANET
-]
-
-The secret of Manet’s power is sincerity and individuality; his main
-effort was a rendering of fact; his deepest interest the truthful
-juxtaposition of values, the broad and simple treatment of planes,
-combined with a constant search for the character of the person or
-object portrayed.
-
-The influences which guided Manet during the earlier portion of his
-career have been noticed at length. He travelled extensively, and his
-works bear many souvenirs of foreign masters. But sufficient stress is
-not always laid upon the influences at work around Manet in Paris,
-namely, the influences of Delacroix, Corot, and the men of 1830, who
-carried but one stage farther the methods and tradition of the English
-masters, Constable, Bonington, Girtin and Turner.
-
-Apart from sources of inspiration Manet was personally gifted. He
-possessed (as M. Duret so well points out) the faculty of sight, a gift
-from Nature which cannot be acquired by will or work. Technique he had
-obtained after six years’ hard study in the most severe atelier in
-Paris. But technique is a subsidiary equipment, for a complete command
-over one’s materials does not always imply the possession of genius.
-
-“The fools!” said Manet with bitterness to Proust. “They were for ever
-telling me my work was unequal. That was the highest praise they could
-bestow. Yet it was always my ambition to rise—not to remain on a certain
-level, not to remake one day what I had made the day before, but to be
-inspired again and again by a new aspect of things, to strike frequently
-a fresh note.”
-
-“Ah! I’m before my time. A hundred years hence people will be happier,
-for their sight will be clearer than ours to-day.”
-
-Ambition to rise, never to remain on the same level! That is the whole
-doctrine of art, and the supreme epitaph for Edouard Manet, pioneer and
-master.
-
-[Illustration]
-
-------------------------------------------------------------------------
-
-
-[Illustration:
-
-  GEORGES D’ESPAGNAT
-]
-
-
-
-
-            CHAPTER IV · THE IMPRESSIONIST GROUP, 1870-1886
-
-          “L’ADMIRATION DE LA FOULE EST TOUJOURS EN RAISON
-          INDIRECTE DU GÉNIE INDIVIDUEL. VOUS ÊTES D’AUTANT
-          PLUS ADMIRÉ ET COMPRIS, QUE VOUS ÊTES PLUS
-          ORDINAIRE”
-
-                                                  _ZOLA_
-
-
-THE outbreak of the Franco-German War in 1870 scattered far and wide the
-little group that congregated at the Café Guerbois, and had a curious
-effect upon the evolution of their methods of painting. Several of the
-leading members of the circle crossed to England, and the studies they
-pursued in London formed the basis for the unconventional departures
-which have produced the masterpieces of Modern Impressionism.
-Practically all the later developments of their art date from the
-above-named year, and if a place of genesis be sought for it will be
-found in the London National Gallery.
-
-As related in a previous chapter, Edouard Manet, the acknowledged head
-at the Café Guerbois gatherings, became a captain in the Garde
-Nationale, with Meissonier as his colonel. Boudin and Jongkind fled to
-Belgium, and became labourers. Monet, Pissarro, Bonvin, Daubigny, and
-some friends, braved the horrors of “La Manche” and settled in London.
-They arrived almost penniless, thoroughly disheartened by the terrible
-events which were threatening their motherland with disaster. The
-journey, momentous to the unhappy passengers, was the opening of a new
-epoch in art.
-
-The following letter from Pissarro, to the author, written in November
-1902, gives an interesting account of their doings in London. He says:
-“In 1870 I found myself in London with Monet, and we met Daubigny and
-Bonvin. Monet and I were very enthusiastic over the London landscapes.
-Monet worked in the parks, whilst I, living at Lower Norwood, at that
-time a charming suburb, studied the effects of fog, snow, and
-springtime. We worked from Nature, and later on Monet painted in London
-some superb studies of mist. We also visited the museums. The
-water-colours and paintings of Turner and of Constable, the canvases of
-Old Crome, have certainly had influence upon us. We admired
-Gainsborough, Lawrence, Reynolds, &c., but we were struck chiefly by the
-landscape-painters, who shared more in our aim with regard to “plein
-air,” light, and fugitive effects. Watts, Rossetti, strongly interested
-us amongst the modern men. About this time we had the idea of sending
-our studies to the exhibition of the Royal Academy. Naturally we were
-rejected.”
-
-“Naturally we were rejected!” These poor exiles were offering to the
-conservative Academy canvases painted in a method that Constable could
-not get accepted forty years before.
-
-Their admiration of Turner and Constable was a repetition of the
-experiences of another great Frenchman nearly fifty years earlier. In
-his published journal, Delacroix has written: “Constable and Turner are
-true reformers.” At the Salon of 1824 the pictures of Constable so
-profoundly impressed him that he completely repainted his large canvas,
-the _Massacre of Scio_, then hanging in the same exhibition. The next
-year he visited London in order that he might more closely study
-Constable’s work. He returned to Paris marvelling at the hitherto
-unsuspected splendour of Turner, Wilkie, Lawrence, and Constable.
-Immediately he began to profit by their examples. Delacroix chronicles
-that he noticed that Constable, instead of painting in the usual flat
-tones, composed his picture of innumerable touches of different colours
-juxtaposed, and, at a certain distance, recomposing in a more powerful
-and more atmospheric natural effect. He adds that he considers this new
-method far superior to the old-fashioned one.
-
-The group of 1870 made this discovery afresh. It is pleasant to imagine
-that these artistic explorations somewhat dulled the misery of their
-exile. They worked and copied in the public and private galleries, they
-painted by the riverside, and in the streets and parks. With enthusiasm
-they absorbed the technique of Turner and Constable, perhaps of Watts,
-and the result is to be seen in Claude Monet’s _Haystacks_, in
-Pissarro’s street scenes, in Sisley’s landscapes, in the luminous work
-of Guillaumin and d’Espagnat, in the canvases of Vuillard, Maufra, and
-many followers. Their style was revolutionised, their ideals changed.
-The dull greys and the russet browns which reigned supreme before 1870
-were banished for ever.
-
-[Illustration:
-
-  THE WHITE RABBITS · GEORGES D’ESPAGNAT
-]
-
-They returned to France the preachers of a new crusade. The “Café de la
-Nouvelle Athénée” became the centre of the group. Reunited under Manet,
-whose style commenced to show signs of much influence from Claude Monet,
-the reformers gathered many recruits, and gained more enemies. They were
-not without friends on the press: Emile Zola, who had written so
-eloquently in “Mes Haines,” Théodore Duret, friend and literary executor
-of Manet, Gustave Geffroy of “La Vie Artistique,” in Monet’s opinion the
-most slashing of the lot, Arsène Alexandre of “Le Figaro,” Gustave
-Cahen, Roger Marx, and many others.
-
-[Illustration:
-
-  A SUMMER AFTERNOON · GEORGES D’ESPAGNAT
-]
-
-But the financial position of the whole group was exceedingly
-precarious. They could not sell their pictures. It was admitted that the
-canvases of such men as Monet and Pissarro were the works of men of
-genius, but the buying public (and they are numerous in France) did not
-understand the new movement, and so failed to support it adequately. As
-a whole, it may be said that the art public were in open hostility to
-Impressionism. With a few exceptions, the critics of the established art
-journals condemned the movement. Even comic singers ridiculed the
-painters in the music-halls of Paris. The Salon was closed against them,
-and the dealers refused to look at their canvases.
-
-Meanwhile the artists starved. These were the evil days of evictions, of
-visits from the sheriff, of the forced sale of household furniture to
-pay insignificant debts. It is a sordid story of a struggle to obtain
-the barest necessities of existence. These wretched years proved a
-bitter chastening of the spirit to proud and refined natures. Tragedy
-and comedy were intermixed. Glimpses of hope and comfort appeared from
-time to time as some fresh buyer appeared on the scene. But these
-welcome callers were not frequent, and the rifts of sunshine through the
-grey clouds were, as a rule, transitory.
-
-The artists did not over-value their works. They were able to live in
-tranquillity if their pictures fetched prices ranging from £2 to £4. To
-sell a canvas at £8 was an event, and £20 was a figure absolutely
-unheard of. A letter from Manet, a comparatively rich man with an
-independent income, to Théodore Duret, the critic, gives a vivid insight
-into the situation in 1875. Manet had recently visited Claude Monet at
-Argenteuil. “Dear Duret,” he writes, “I went to see Monet yesterday. I
-found him altogether ‘hard up.’ He asked me if I knew of a purchaser for
-ten or twenty of his pictures at £4 each. Shall we take it on? I thought
-of a dealer, or of an amateur, but there I foresee the possibility of
-refusals. It is unfortunate that it is only connoisseurs, like
-ourselves, 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
-talent. Answer as quickly as possible or make an appointment with me.
-Amitiés, Edouard Manet.”
-
-This is good proof, if proof were needed, of the straits to which one of
-the leaders of the group was reduced. It is also odd to note that Manet
-was afraid of a refusal, from both dealers and collectors, to the offer
-of such a bargain as a score of works by Claude Monet at £4 apiece. The
-letter also proves that those professional dealers who had hitherto
-supported the Impressionists were at the end of their resources, notably
-M. Durand-Ruel.
-
-This celebrated dealer and collector had brought himself to the verge of
-bankruptcy through a too generous investment in Impressionist work. He
-was gradually ostracised by brother dealers, buyers, and art critics. He
-was regarded in much the same light as the artists themselves,
-considered to have lost his mental balance and also his acumen as a man
-of business. Certainly he speculated upon a large scale. In January
-1872, having previously bought two studies, M. Durand-Ruel called upon
-Manet at his studio and bought on the spot twenty-eight canvases for the
-sum of 38,600 francs (£1544). The whole Impressionist camp went wild
-with joy under the mistaken idea that their millennium had arrived. They
-had many years to wait. Both the pictures and the capital were locked up
-for a considerable time. The public had yet to be educated, and the few
-amateurs who bought Impressionist work could select examples in
-abundance from the artists’ easels.
-
-It is to the credit of the group that they followed their ideals and
-refused many temptations. Several of them, Monet in particular, were
-admirable portraitists, and could easily have gained a very respectable
-living from that branch of art. A writer in one of the French art
-reviews asserts that Claude Monet’s _Femme à la Robe Verte_ was the
-finest painting in the Salon of 1866. Only men who have passed through
-such experiences can appreciate at its true value the heroic courage,
-faith, and self-confidence required during such a trial.
-
-[Illustration:
-
-  FAIR ANGLERS · GEORGES D’ESPAGNAT
-]
-
-The ordeal was long and severe. It included public disdain and private
-poverty. The movement did not, however, remain stationary. In 1874 a
-small exhibition was organised, and held, from April 15 to May 15, at
-the galleries of M. Nadar, 35 Boulevard des Capucines. This little
-salon, entitled “L’Exposition des Impressionistes,” has become historic.
-The list of exhibitors included the following: Astruc, Attendu, Béliard,
-Boudin, Bracquemond, Brandon, Bureau, Cals, Cézanne, Gustave Colin,
-Debras, Degas, Guillaumin, Latouche, Lepic, Lépine, Levert, Meyer, de
-Molins, Monet, Berthe Morisot, Mulot-Durivage, de Nittis, Auguste Ottin,
-Léon Ottin, Pissarro, Renoir, Rouart, Robert, Sisley. From every point
-of view, except that of art, the exhibition was a failure. The press
-attacked it with exceptional virulence, the public kept away. The
-artists were lampooned in idiotic cartoons, and branded as traitors who
-were disloyal to the artistic traditions of their country. The public
-sales at the Hôtel Drouot were disastrous. In March 1875, excellent
-examples of Claude Monet were sold at prices varying between £6 and £13.
-Pictures by Mlle. Berthe Morisot fetched from £3 to £19, and by Sisley
-from £2 to £12. Renoir was the most unfortunate. Out of twenty
-paintings, ten did not reach £4 each. Not one sold for more than £12.
-
-[Illustration:
-
-  FISHING NEAR PARIS · LEPINE
-]
-
-The particulars of the following exhibitions and sales are fully
-detailed by M. Gustave Geffroy in his “Vie Artistique.” The second
-exhibition was held at the house of M. Durand-Ruel in April 1876. The
-participators were Béliard, Legros, Pissarro, Bureau, Lepic, Renoir,
-Caillebotte, Levert, Rouart, Cals, J.-B. Millet, Sisley, Degas, Claude
-Monet, Tillot, Desboutin, Berthe Morisot, Jacques François, and the
-younger Ottin.
-
-In 1877 a sale was held, but prices showed little improvement. An
-exhibition had been held a month previously, the exhibitors being
-Caillebotte, Cals, Cézanne, Cordey, Degas, Guillaumin, François, Lamy,
-Levert, Maureau, Monet, Berthe Morisot, Piette, Pissarro, Renoir,
-Rouart, Sisley, and Tillot.
-
-These lists are exceedingly interesting, as they show year by year the
-composition of the group. In succeeding years fresh names appeared. In
-1879, at the Spring Exhibition in the Avenue de l’Opéra, the catalogue
-included Bracquemond, Marie Bracquemond, Caillebotte, Cals, Mary
-Cassatt, Degas, Forain, Lebourg, Monet, Pissarro, Rouart, Somm, Tillot,
-and Zandomeneghi. In 1880, at the gallery in the Rue des Pyramides, the
-same names appeared, together with J. F. Raffaëlli, J. M. Raffaëlli,
-Vidal, and Vignon. Claude Monet does not appear to have sent any works,
-probably because of his “one-man show” at “La Vie Moderne” gallery. In
-April 1881, the annual collection began to decline in numbers, canvases
-being sent by Mary Cassatt, Berthe Morisot, Degas, Forain, Gauguin,
-Guillaumin, Pissarro, Raffaëlli, Rouart, Tillot, Vidal, Vignon, and
-Zandomeneghi. In the following year (at the Rue Saint-Honoré) the number
-was still less, Caillebotte, Gauguin, Guillaumin, Monet, Berthe Morisot,
-Pissarro, Renoir, Sisley, and Vignon. Practically the last collective
-exhibition was held in 1886, the catalogue consisting of works by Degas,
-Berthe Morisot, Gauguin, Guillaumin, Zandomeneghi, Forain, Mary Cassatt,
-Odilon Redon, Camille Pissarro, Seurat, Signac, and Lucien Pissarro.
-
-M. Geffroy refers to these exhibitions as battle-fields. Campaigns
-cannot last for ever, and victory had at last crowned the
-Impressionists. To-day these artists are honoured and decorated, their
-works hang in public galleries over the whole world. It may be said that
-we are all Impressionists now. Certainly of the students it is true, for
-ninety per cent. of those who take up landscape painting follow with
-admiration the paths of the Impressionists. A glance through the annual
-salons, either in Europe or America, fully proves the assertion. Before
-many years have elapsed, even in England, one will find this the case.
-The difficulty of Hanging Committees will be, not to hide away
-Impressionist work to the least damage of its surroundings, but to hang
-the anecdotal, moral, and all canvases of like _genre_, in such obscure
-corners as will give the least offence to their moribund and
-conservative creators.
-
-[Illustration]
-
-
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-
-[Illustration:
-
-  THE PICNIC · CLAUDE MONET
-]
-
-
-
-
-                        CHAPTER V · CLAUDE MONET
-
-          “SÛREMENT CET HOMME A VÉCU, ET LE DÉMON DE L’ART
-          HABITE EN LUI”
-
-                                                  _GUSTAVE
-          GEFFROY_
-
-
-CLAUDE MONET is one of the few fortunate painters whose fame is not
-posthumous, and whose material recompense runs parallel with the merit
-of their production. He, above all others, has lifted the School of
-Impressionism in France from the derision and disrepute which greeted
-its inception some thirty years ago, and to him is due the honour of
-making it one of the most prominent of latter-day art movements.
-
-The present generation witnesses the triumph of a remarkable revolution,
-and the success of a group of painters, of which Monet was head, after
-years of acrimonious struggle against a world of prejudice and disdain.
-Claiming a right to exercise their art as they thought fit, aided by a
-mere handful of far-sighted critics and patrons, for thirty years they
-patiently endured public obloquy. Now the Luxembourg Gallery enlarges
-its space to receive their works, and before long they will be
-represented side by side with the masters of the Louvre. Appreciation is
-the order of the day, and millionaires compete for their canvases.
-
-The life-history of Claude Monet is inseparably connected with the story
-of Impressionism in France. As a leader of the little group any record
-of the subject must largely consider his part in the result. It is
-remarkable that a man of such talent should remain comparatively unknown
-in England, considering that another portion of the Anglo-Saxon world
-has always generously encouraged him. For the past twenty years a large
-proportion of his works has gone to the United States. The English
-nation will have to pay dearly in the future for its present neglect of
-modern French art. At the present moment there is not a single specimen
-of the work of Monet on exhibition in any English public art gallery.
-
-Claude Monet was born in Paris on November 14, 1840. Son of a wealthy
-merchant of Havre, his inclinations towards art were soon shown, and
-these tendencies, as usual, discouraged at home. No member of the family
-had any artistic gifts, and, as in the case of Edouard Manet, the youth
-was sent on a foreign tour. His school work was spasmodic and irregular,
-and he devoted much of his time at Havre to caricature and the company
-of Boudin the painter. When remonstrated with his reply was the
-historic, “I would like to paint as a bird sings.”
-
-After two years of military service with the Chasseurs d’Afrique in
-Algeria, Monet caught fever, and returned home. He then entered the
-Atélier Gleyre, and remained in Paris. Of personal history there is
-little to relate. He is a man of high purpose, greatly talented,
-excessively active and self-reliant, who has not faltered once from the
-path of his ideals. His adventures have been those usual to the
-profession of a landscape-painter. He has suffered from fever and
-rheumatism, the results of working near mosquito-haunted marshes, in
-drenching rain, or in damp grass. The occupation is peaceful enough, the
-diseases named are of everyday occurrence, yet they exert a powerful
-influence upon the life of a man for ever engaged with brain and eye,
-with nerves strung to the most intense pitch.
-
-His early struggles were the ordinary struggles of nine-tenths of those
-votaries who worship at the shrines of Art. Claude Monet has drunk
-deeply of the bitterness of life. He has endured privations and
-disappointments which have brought him almost to the depths of despair.
-He has survived only through his indomitable pluck.
-
-“One must have the strength for such a fight,” says Monet, with the
-assurance born of experience, when recounting the history of those
-troublous days. 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 solace, a pleasure, and a
-sustaining impetus. Truly was Baudelaire justified in writing: “Nations
-have great men in spite of themselves, and so have families. They do
-their best not to have any, so that the great man, in order to exist,
-must needs possess a power of attack greater than the force of
-resistance developed by millions of individuals.”
-
-It has long been granted, even by the bitterest of his opponents, that
-Monet possesses a few at least of the attributes of genius—the capacity
-for turning out large quantities of work, an almost unparalleled
-fertility of invention, imagination, and originality, and above all that
-priceless gift to the artist—the supreme power of creation. Moreover, he
-is ever keen and restless in search of the new and unexplored, for ever
-mistrusting the value of his own productions.
-
-[Illustration:
-
-  CLAUDE MONET
-]
-
-[Illustration:
-
-  A STUDY · CLAUDE MONET
-]
-
-Never has he been influenced strongly enough to waver in the pursuit of
-his ideals, either through the gibes of the critics or the lack of
-appreciation on the part of the public.
-
-His work is large and simple in character; his colour vigorous to the
-utmost capacity of the prismatic tints, bearing the impress of a
-passionate, violent, and highly sensitive artistic individuality.
-
-Monet is a lyrical poet, singing the joy of life and nature. The
-decadence of modern France in literary circles finds no reflection on
-his canvas. Strongly opposed by personal temperament to the ugly and
-morbid, he allows his brush to touch no subject at all allied to such
-themes. In every picture he paints we seem to hear Pippa singing:
-
-                      “The year’s at the Spring,
-                       And day’s at the morn;
-                       Morning’s at seven;
-                       The hill-side’s dew-pearled;
-                       The lark’s on the wing;
-                       The snail’s on the thorn:
-                       God’s in His heaven
-                       All’s right with the world!”
-
-A happy serenity is his great charm, and it has been arrived at by
-temperament, not by training.
-
-At the beginning of the Impressionist movement the nightly meetings at
-the Café Guerbois became the centre of a small band of innovators and
-iconoclasts, attracted by the sympathy of a common aim, the necessity of
-mutual encouragement, and the prescience of the evolution of a new idea.
-
-The first public exhibition of the works of these painters was held in
-the spring of 1874 at Nadar’s, in the Boulevard des Capucines. It
-created an uproar in the art world, which culminated in several scenes
-of personal violence between over-excited critics. Other exhibitions,
-chiefly devoted to the works of Claude Monet, may be roughly summarised
-as follows: one in 1876; at the galleries of M. Durand-Ruel in 1877; in
-1880 at the offices of “La Vie Moderne,” Boulevard des Italiens; in 1889
-in conjunction with Rodin at the gallery of M. Georges Petit.
-
-Monet exhibited at the Salon for the first time in 1865. The two marine
-pieces drew from Edouard Manet the remark, “Who is this Monet, who looks
-as if he had taken my name, and happens thus to profit by the noise I
-make?” He exhibited for the last time in 1880. In 1882 he forwarded
-_Glaçons sur la Seine_, a remarkably beautiful conception of an illusory
-effect, the rejection of which finally ended all relations between the
-artist and a too conservative body.
-
-With the exception of a semi-private show at Dowdeswell’s of Bond Street
-in 1883, Monet made his début in England at the Winter Exhibition of
-1888 of the Royal Society of British Artists, then under the presidency
-of Mr. Whistler. That careful critic, Mr. H. M. Spielman, of the
-“Magazine of Art,” wrote the following lines in his journal: “He who
-contemplates these distinctive pieces of arch-impressionism, without
-prejudice, without ‘arrière pensée,’ must own that for strength and
-brilliancy of general tone and for decorative effect, they have few, if
-any, equals.”
-
-Monet has never been seen at his best in England; indeed, the same may
-be said of all the members of the Impressionist group. Owing to the
-ready market for their work in France and America, it is rarely that the
-dealers are able to attract across the Channel any but second-rate
-canvases. Isolated works have been shown at the Boussod Vallodon
-galleries, the New English Art Club, the International Society’s
-Exhibition at Knightsbridge, and a miscellaneous collection on view at
-the Hanover Gallery, Bond Street, in 1901. The standard of the latter
-was not high, and the result disappointing to all parties. A
-representative exhibition remains to be held.
-
-No other country but France can boast of landscape so varied, so
-picturesque, and so atmospherically suited to the Impressionist. The
-principal scenes of Monet’s labours have been Havre, Belle-Isle-en-Mer,
-the Riviera, La Creuse, La Manche, with Giverny and the Seine valley in
-particular. Short visits have been devoted to England, Norway, and
-Holland; but the first-named localities have seen the production of the
-famous series known under the titles of _Les Meules_, _Peupliers au bord
-de l’Epté_, _Glaçons sur la Seine_, _Matins sur la Seine_, _A
-Argenteuil_, _Belle Isle_, _Bordighera_, _Antibes_, _Champs des
-Tulipes_, and _Les Cathédrales._ There is also a series of paintings of
-the artist’s Japanese water-garden at Giverny, and yet another series
-dealing with London under different atmospheric aspects.
-
-Claude Monet is enthusiastically in love with London from the painter’s
-point of view. From the balconies of the Savoy Hotel the French master
-has watched the tidal ebb and flow of the great grey river, with its
-squalid southern banks shrouded day by day in white mist and brown
-smoke, the warehouses and chimneys coated in a veil of soot, the legacy
-of ages. The autumnal fogs, which harmonise discordant tones, round off
-harsh outlines, cloak the ugly and create the beautiful, are to the
-foreigner London’s greatest charm, although to the inhabitant they are a
-deadly infliction.
-
-[Illustration:
-
-  LA GRENOUILLÈRE · CLAUDE MONET
-]
-
-No writer ever expressed this fascination more eloquently than the
-“Wizard of the Butterfly Mark,” who wrote: “And when the evening mist
-clothes the riverside world with poetry, as with a veil, and the poor
-buildings lose themselves in the dim sky, and the tall chimneys become
-campanili, and the warehouses are palaces in the night, and the whole
-city hangs in the heavens and fairyland is before us—then the wayfarer
-hastens home; the working man and the cultured one, the wise man and the
-one of pleasure, cease to understand, as they have ceased to see; and
-Nature, who, for once has sung in tune, sings her exquisite song to the
-artist alone, her son and her master—her son in that he loves her, her
-master in that he knows her.”
-
-With these thoughts Claude Monet is in perfect agreement. He is amazed
-at the apathy and indifference of British artists, blinded no doubt by
-familiarity, in allowing so fertile a field of labour to remain
-comparatively unexplored, not only with regard to the river scenes, but
-to the Metropolis as a whole. Whistler was fascinated, so was
-Bastien-Lepage, so is Claude Monet; but the Englishman remains unmoved.
-
-A chapter could be written upon the artist possibilities of the city,
-and the fringe of the subject would have been then but touched. Where,
-asks Monet, can more soul-inspiring subjects for the brush be found than
-in the Strand from morning to night, in the movement of Piccadilly, in
-the evening colour of Leicester Square, the classic sweep and brilliancy
-of Regent Street, the bustle of the great railway termini, the dignity
-of Pall Mall and the sylvan glades of Kensington? They offer themes in
-such variety that the devotion of a lifetime would not give adequate
-realisation.
-
-It was during his visit to London with Pissarro and other painters in
-1870 that Monet carried an introduction from Daubigny which led to his
-acquaintance with M. Durand-Ruel, expert connoisseur and most celebrated
-of all the Parisian art dealers. It proved to be the commencement of a
-life-long friendship, and established business relations which meant the
-actual necessities of existence, bread and butter itself, to the
-struggling Impressionists. During this visit, which had such auspicious
-results, Monet studied with profound admiration the canvases of Turner
-in the National Gallery, and he was also able to increase very largely
-his knowledge of the art of Japan.
-
-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 landscapists, the one who, above all others, has revealed the
-transcendent beauty of atmospheric effect in its rarest moods, in its
-most varied manifestations, in rocks, skies, trees, seas, architecture,
-fogs, snows, even in crowded streets and moving trains. And Monet is not
-pre-eminent as a painter of easel-pictures alone. In the unique
-decorations of M. Durand-Ruel’s private apartment, rooms which
-constitute the most admirable museum of contemporary painting to be
-found in France, are realistic paintings of different forms of
-still-life, which fully vindicate his supreme mastership.
-
-Little space can be devoted in these pages to an extended notice of
-individual canvases, for the output (to use a somewhat commercial term)
-of Claude Monet has been exceptionally large. 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 movement.
-
-Personally one may say that the Giverny work is the most triumphant
-exposition of the methods of Impressionism. If the series known as _Les
-Cathédrales_ be added, one may safely challenge the most critical. It is
-natural that Giverny should inspire the finest harvest, for, after years
-of experimental residence, it is here that Monet finally settled in
-1883. The dominant note in the Giverny paintings is one of joy in the
-beauty of life and nature. They are the works of an inspired genius, who
-never forgets that Beauty is the mission of Art.
-
-_Les Meules_ or _The Haystacks_, exhibited for the first time at the
-Durand-Ruel galleries in May 1891, are impressions of a simple and
-homely subject—two haystacks in a neighbour’s field, standing out in
-relief against the distant hillside. These twenty canvases, the fruits
-of a year’s labour, are as novel in conception as unapproachable in
-style. The artist watched and painted the haystacks in the making,
-followed and noted the atmospheric effects upon them at every different
-hour of the day, at every changing season. He portrays them covered with
-the pearls of dew, baked by the sun, lost in the fog, rimed with early
-frosts, and covered in snow. Each picture is a masterpiece of beauty,
-truth and form.
-
-The influence of such creations is world-wide. The annual Salon in Paris
-demonstrates what a power Monet has become in the land. Almost to a man
-the younger painters are Impressionistic, whilst not a few of the old
-generation have revised their methods.
-
-[Illustration:
-
-  THE BEACH AT ÉTRETAT · CLAUDE MONET
-]
-
-Soon after _Les Meules_ came _Les Peupliers_, exhibited in March 1892.
-The Haystacks were a recital of history during the four seasons; the
-Poplars show us their differing aspects under the changing atmosphere of
-a single day. Again the subject is of the simplest. Seven great Normandy
-poplars are reflected in the sluggish waters of a rivulet slowly running
-through marshy ground. The continuation of the long column of these
-graceful trees, ever diminishing, is lost in the distance, marking the
-sinuous course of the stream. The gracefulness of the subject gives it a
-nobility of effect. The landscapes are poems.
-
-In some of the canvases the master has depicted the dim light of early
-morn, through which can be seen nebulous tree-trunks, leaves and grass,
-dank and obscure. Upon the water floats a chill blue mist, broken here
-and there with the gold rays of the rising sun.
-
-In another canvas the mists have cleared away, morning appears in its
-superb glory, each dewdrop is a sparkling diamond, each leaf a
-shimmering gem. The stream throws out a sheen of gold and silver, and
-the whole picture is flooded with a roseate hue.
-
-Then comes mid-noon. The blue dome of the unclouded sky is reflected in
-a deeper tint across the still water. The trees are dusty, lifeless,
-almost colourless. The atmosphere vibrates in an intense silent heat.
-Nature is taking her siesta,
-
-              “For now the mid-day quiet holds the hill:
-               The grasshopper is silent in the grass;
-               The lizard, with his shadow on the stone,
-               Rests like a shadow, and the winds are dead;
-               The purple flower droops: the golden bee
-               Is lily-cradled....”
-
-In the last canvas night is shown falling gently upon the land,
-obscuring, with a veil of rich and sombre colour, trees, foliage,
-stream. The landscape is lost in sleep.
-
-From the photographs, reproduced by the courtesy of M. Claude Monet, M.
-Durand-Ruel, M. Paul Chevallier, and M. Georges Petit, little idea can
-be gathered of the extreme beauty of the originals. The colour and
-technique of Impressionist pictures seem unfortunately to be insuperable
-barriers to their reproduction in monochrome. Upon this account it has
-been thought inadvisable to publish reproductions of any of the Haystack
-or Cathedral series.
-
-Monet’s marine pictures are marvellous. In them he depicts throbbing,
-swelling, sighing sea, the trickling rills of water that follow a
-retreating wave, the glass-like hues of the deep ocean, and the violet
-transparencies of the shallow inlets over sand. Monet is the greatest
-living painter of water. Witness the _Matins sur la Seine_, views
-painted from the river bank, from the artist’s houseboat, anchored in
-mid-stream, and on the various islands of the backwaters between
-Vétheuil and Vernon. The handling is free, loose, and masterly. Never
-has art expressed, through the hands of a craftsman, anything finer or
-more virile; never were ideas more frankly expressed, more freshly and
-more brilliantly executed.
-
-Of the last exhibited group of “effects,” the series known as _Les
-Cathédrales_ of Rouen, exhibited at the Durand-Ruel gallery in the
-spring of 1895, Monet writes in a personal note to the author: “I
-painted them, in great discomfort, looking out of a shop window opposite
-the Cathedral. So there is nothing interesting to tell you except the
-immense difficulty of the task, which took me three years to
-accomplish.” Despite the immense difficulties involved in their
-production, Monet considers them to be his finest works. On the other
-hand, they are the works least understood by the public.
-
-The series consists of twenty-five huge canvases, a feat requiring
-considerable physical endurance and indomitable perseverance. Each
-canvas demonstrates the fact that the painter possesses eyes
-marvellously sensitive to the most subtle modulations of light, and
-capable of the acutest analysis of luminous phenomena. The façade of the
-ancient Norman fane is depicted rather by the varying atmospheric
-effects dissolved in their relative values, than by any actual
-draughtsmanship of correct architectural lines. It is very regrettable
-that the series was not purchased “en bloc” for the French nation. The
-opportunity has been lost. The canvases realised enormous prices, and
-are now scattered over two continents.
-
-In years to come visitors to Rouen will be shown with pride the little
-curiosity shop “Au Caprice” on the south-west side of the “Place,” from
-the windows of which Claude Monet evolved these world-famous paintings
-of Rouen Cathedral.
-
-The attitude of the press and the public in face of this glorious
-manifestation of a newly-created art has been, as usual, distinctly and
-actively antagonistic. Animosity has been pushed so far as to include
-threats of personal violence to the innovator, and of injury to the
-offending canvases. It is difficult to believe such stories amidst the
-recent pæans of praise and adulation. But the contemporary press of the
-period will prove to be a curious study in the hands of some careful
-historian of a future age. Readers of the “Figaro,” it may be mentioned,
-discontinued their subscriptions and advertisements because the band of
-“lunatic visionaries” were so much as mentioned in its orthodox columns.
-Dealers required courage in exposing for sale the “aberrations of
-disordered imaginations.” History monotonously repeats itself. A genius
-generally goes down broken-hearted to his grave before the world awakes
-to the value of his creations.
-
-[Illustration:
-
-  MORNING ON THE SEINE · CLAUDE MONET
-]
-
-[Illustration:
-
-  ARGENTEUIL · CLAUDE MONET
-]
-
-Paris, “la ville luminaire,” the birthplace of so many revolutions, both
-artistic and political, has almost invariably been hostile to any new
-spirit in Art. From memory one can cite many instances. In 1833,
-Parisians assembled that they might jeer and throw mud at Baryes’s _Le
-Lion_, a masterpiece now in the Jardin d’Acclimatation. Rude’s great
-bas-relief, _Départ des Volontaires de la République_, decorating one of
-the pillars of the Arc de Triomphe, met with a similar reception. In
-1844, the exquisite paintings of Eugene Delacroix, now in the Louvre,
-were greeted with a storm of ridicule. Carpeaux’s group of sculpture _La
-Danse_, ornamenting the façade of the Opera, was bombarded nightly with
-ink-pots, and the sculptor was broken-hearted when compelled to polish
-the figures of his magnificent _Fontaine des Heures_ facing the
-Observatory. Millet and the Barbizon group had small thanks to return
-for their reception. The frescoes of Puvis de Chavannes in the Panthéon,
-the Sorbonne, and the Luxembourg had to be guarded against the risk of
-damage from an ignorant and exasperated public. The vituperation which
-assailed Rodin upon the completion of his statue of Balzac is quite
-recent, and cannot be forgotten.
-
-Claude Monet has passed through like storms. Edouard Manet fell a victim
-to the fury of the attack. His physique was not strong enough to resist
-the continual warfare. But Monet is of stouter calibre, and has lived to
-see the triumph of his principles, although he has learnt to value much
-of the praise, nowadays lavished upon him, at its true worth.
-
-Monet is seen in his most genial moods when, with cigar for company, he
-strolls through his “propriété” at Giverny, discussing the grafting of
-plants and other agricultural mysteries with his numerous blue-bloused
-and sabotted gardeners. He settled with his family at Giverny in 1883;
-and Stephen Mallarmé, his old friend the poet, has given us the address
-for his letters:
-
-                 “Monsieur Monet, que l’hiver ni
-                    L’été sa vision ne leurre,
-                  Habite en peignant, Giverny,
-                    Sis auprès de Vernon, dans l’Eure.”
-
-He is now sixty-two years of age, in the prime of his powers, active and
-dauntless as ever. Each line of his sturdy figure, each flash from his
-keen blue eyes, betokens the giant within. He is one of those men who,
-through dogged perseverance and strength, would succeed in any branch of
-activity. Dressed in a soft khaki felt hat and jacket, lavender-coloured
-silk shirt open at the neck, drab trousers tapering to the ankles and
-there secured by big horn buttons, a short pair of cowhide boots, his
-appearance is at once practical and quaint, with a decided sense of
-smartness pervading the whole.
-
-Monet has the reputation of being surly and reserved with strangers. If
-true, this manner must have been assumed to repel those unwelcome
-visitors who, out of thoughtless curiosity, invade his privacy to the
-waste of valuable time and the gradual irritation of a most sensitive
-nature.
-
-Determination is the keynote of Monet’s character, as the following
-anecdote (told me on the spot by the poet Rollinat) shows. In the spring
-of 1892 the artist was busily occupied painting in the neighbourhood of
-Fresselines, a wild and picturesque region of precipitous cliffs and
-huge boulders in the valleys of the Creuse and Petit Creuse. A huge
-oak-tree, standing out in bold relief against the ruddy cliffs, was
-occupying Monet’s whole attention. Studies of it were taken at every
-possible angle, in every varying atmosphere of the day. Bad weather
-intervened, wet and foggy, and operations were suspended for three
-weeks. When Monet set up his easel again the tree was in full bud, and
-completely metamorphosed. An average painter would have quitted the spot
-in disgust. Not so Monet. Without hesitation he called out the whole
-village, made the carpenter foreman, and gave imperative orders that not
-a single leaf was to be visible by the same hour on the following
-morning. The work was accomplished, and next day Monet was able to
-continue work upon his canvases. One admires the painter, and feels
-sorry for the unhappy tree.
-
-After painting, Monet’s chief recreation is gardening. In his domain at
-Giverny, and in his Japanese water-garden across the road and railway
-(which to his lasting sorrow cuts his little world in twain), each
-season of the year brings its appointed and distinguishing colour
-scheme. Nowhere else can be found such a prodigal display of rare and
-marvellously beautiful colour effects, arranged from flowering plants
-gathered together without regard to expense from every quarter of the
-globe.
-
-Like the majority of Impressionists, Monet is most pleased with schemes
-of yellow and blue, the gold and sapphire of an artist’s dreams.
-
-[Illustration:
-
-  A RIVER SCENE · CLAUDE MONET
-]
-
-In the neighbouring fields are hundreds of poplars standing in long
-regimental lines. These trees, which inspired _Les Peupliers_, were
-bought by Monet to avoid the wholesale destruction which threatened
-every tree in the Seine valley a few years ago. The building authorities
-of the Paris Exhibition required materials for palisading, and thousands
-of trees were ruthlessly felled to make a cosmopolitan holiday.
-
-[Illustration:
-
-  A LADY IN HER GARDEN · CLAUDE MONET
-]
-
-In the distance are the mills, subjects of the master’s admiration and
-reproduction, yearly copied by the scores of students and amateurs who,
-year by year, during the summer, journey through this delightful
-country.
-
-In the peace of Giverny we leave the great painter. 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 public. Now he is able to enjoy not only the
-satisfaction of having his principles acknowledged, but also the receipt
-of the material fruits of a world-wide renown. Not often do pioneers
-succeed so thoroughly.
-
-Success in the sale-room is not always the same thing as artistic
-success, but some information as to the prices Monet now commands may
-prove of value. The _New York Herald_, referring to the well-known
-Chocquet auction, says: “It will be observed that the works by Monet are
-sought after and purchased at high prices, which are moreover justified
-by collectors as well as by dealers.” At the present moment a small
-example (about 26 in. by 32 in.) can be had for any price from four
-hundred guineas upwards.
-
-After the Chocquet sale, dealers of all nationalities flocked down to
-Giverny. Two series of impressions, entitled _Water Lilies_ and _Green
-Bridges_, were carried off, and the art public were deprived of seeing
-them exhibited as a whole, their creator’s original intention.
-
-The dealers were ready to buy every canvas Monet had in his studio, even
-down to the numerous studies he had condemned. Needless to say that with
-regard to the latter they were disappointed, and the destroying fires
-will still claim their own. In discussing with the writer this sudden
-and extraordinary popularity, Monet remarked: “Yes, my friend, to-day I
-cannot paint enough, and make probably fifteen thousand pounds a year;
-twenty years ago I was starving.” Only artists can fully appreciate the
-philosophy of this short sentence.
-
-The principal private collectors of Monet’s work are, in Paris, M.
-Durand-Ruel, Count Camondo, M. Faure, M. Dearp, M. Pellerin, M.
-Gallimard, and M. Bérard. In Rouen, M. Depeaux. In the United States,
-Messrs. C. Lambert Paterson and Potter Palmer of Chicago, Frank Thompson
-of Philadelphia, A. A. Pape of Cleveland, and H. O. Havemeyer of New
-York. All these rich collections of modern art are most generously
-thrown open to the inspection and enjoyment of students and lovers of
-art.
-
-Claude Monet is in the possession of undiminished vigour, and the list
-of his works will yet receive the names of many fresh triumphs. A life
-of strenuous labour, unflagging perseverance in the pursuit of a high
-ideal from which he has never flinched, the production of a long series
-of magnificent canvases—these great qualities of true and inspired
-genius merit and receive our deepest admiration, our most sincere and
-genuine homage.
-
-[Illustration]
-
-[Illustration:
-
-  INTERIOR—AFTER DINNER · CLAUDE MONET
-]
-
-
-------------------------------------------------------------------------
-
-
-[Illustration:
-
-  CHURCH OF ST. JACQUES, DIEPPE · CAMILLE PISSARRO
-]
-
-
-
-
-                 CHAPTER VI · PISSARRO, RENOIR, SISLEY
-
-          “JE CROIS QU’IL N’Y AURA RIEN DE PLUS TRISTE À
-          RACONTER DANS L’HISTOIRE DE L’ART, QUE LA LONGUE
-          PERSÉCUTION INFLIGÉE AUX ARTISTES VRAIMENT ORIGINAUX
-          ET CRÉATEURS DE CE SIÈCLE”
-
-                                                  _THÉODORE
-          DURET_
-
-
-THE artists who accepted originally the title of Impressionists numbered
-about fifty in all, and a complete list of their names can be found in
-the catalogues of the eight exhibitions held between 1874 and 1886.
-There were never more than a dozen active members. Twenty-six (including
-Boudin and Signac) exhibited but once, and ten were represented in two
-collections only. Pissarro was the single painter who contributed to the
-whole series, Degas and Berthe Morisot forwarding examples during seven
-years. Of the remainder, Rouart and Guillaumin were catalogued in six
-exhibitions; Caillebotte, Monet, and Tillot, in five; Cals, Mary
-Cassatt, Forain, Gauguin, Renoir, Sisley, and Zandomeneghi, in four.
-These artists were the original members of the group until it dispersed
-about 1886.
-
-It will be noted that Camille Pissarro exhibited eight times, and the
-fact is characteristic of an artist who was famous for his large output.
-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 France. The loss of Camille Pissarro is a severe
-blow to the art he loved so well, and it has formed the subject of
-general regret. Born in 1830 at St. Thomas, in the Antilles, son of a
-well-to-do trader of Jewish descent, Pissarro at an early age showed
-signs of artistic promise. In 1837 his parents moved to Europe, and his
-precocious talent was noticed by the Danish painter Melbye, who took the
-boy into his atelier as a pupil. In 1859 Pissarro exhibited for the
-first time at the Salon, and, by all accounts, his picture was
-successfully received. After passing through several varying phases of
-artistic evolution the young painter became an avowed Impressionist.
-Camille Pissarro’s career can be divided into no less than four
-different periods, his temperament being curiously influenced at times
-by novel technical ideas.
-
-At first he was a victim to Corot’s magic art, and Pissarro worked by
-the side of that master in the woods of Ville d’Avray. The young
-painter’s methods were those fashionable amongst such men as Courbet,
-Manet, and Sisley. He worked upon immense canvases, and some of the
-productions of this period are almost classic in style and quality of
-technique. Then he came under the influence of another great master,
-Jean-François Millet, whose methods he copied most faithfully. Following
-the example of Millet, Pissarro went to live in the solitude of plains
-and woods, painting the peasant life and landscape around him, and
-gradually gaining a considerable reputation. He sought to reproduce
-nature in art in much the same spirit as Virgil reproduced nature in
-poetry. His point of view was more that of an idealist than a realist,
-and his sympathies were clearly with the Fontainebleau school. Had there
-been no Monet we may feel sure that Pissarro would have ranked in
-history as one of the leaders of the Barbizon men.
-
-Then blossomed the Impressionist Idea, and Pissarro’s volatile
-imagination was fired. The great war of 1870 intervening, Pissarro fled
-from the terrors of the invasion, visited London in company with Monet,
-and studied on the spot the masterpieces of Turner, Constable, the
-Norwich painters, Watts, and the great English portraitists. He lodged
-in Lower Norwood, and painted, also with his friend Monet, in the parks
-and suburbs of the metropolis, along the riverside, and in the crowded
-picturesque streets of the City. Twelve years later, after much
-brilliant practice of Impressionism, Pissarro came under a new
-influence, the effects of which were but momentary. The hotly discussed
-idea known as Pointillism, originated by Seurat and Signac, attracted
-Pissarro, and, for a short time, he joined the group of such restless
-innovators as Angrand, Maurice Denis, and Van Rysselberghe.
-
-[Illustration:
-
-  CAMILLE PISSARRO
-]
-
-During a sketching tour in Normandy in the summer of 1903, the writer
-unexpectedly discovered some of the latest work produced by Pissarro.
-These pictures had been painted in Havre a few weeks previously, and had
-been immediately acquired by the Havre City Council, and placed on
-exhibition in the same gallery which contained the important collection
-of sketches by Eugene Boudin, as well as a score of works by other
-artists of the Impressionist group. Pissarro had represented the port of
-Havre as seen from various “coigns de vantage” offered by neighbouring
-balconies. The canvases are charged with life, and are painted with a
-most unsuspected brilliance of colour and freshness of tone pitched in
-the highest possible key, an effect to be found only in the pure
-sea-washed sunlit atmosphere of the morning. In this work of his
-seventy-third year, the veteran artist had never arrived at stronger,
-happier, and more distinguished results.
-
-[Illustration:
-
-  PLACE DU THÉÂTRE FRANÇAIS · CAMILLE PISSARRO
-]
-
-[Illustration:
-
-  THE BOULEVARD MONTMARTRE: 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 1886. The Havre works prove that he
-possessed an acute colour sense, and, in conjunction with his inimitable
-Parisian street scenes, place him second only to Manet and Monet in the
-history of modern French art. It is the opinion of many connoisseurs
-that Pissarro’s best work is comprised in the series of views (painted
-from elevated points of view) of the streets, squares, and railway
-stations, of Paris and Rouen. These vivid transcripts of modern town
-life form a remarkable monument of a long career of high resolve and
-incessant industry.
-
-Like that of Monet and other Impressionist artists, Pissarro’s work now
-commands high prices, which are steadily advancing. Shortly after his
-death a landscape entitled _La Coté Sainte Catherine à Rouen_ was sold
-by public auction for 11,000 francs, an average present value for his
-canvases, although not a record figure.
-
-With the etching needle Pissarro has done some particularly interesting
-work little known in England. Students of this fascinating medium should
-look through the Rouen etchings, a masterly little set.
-
-Camille Pissarro was a man of commanding personality, and his handsome
-features and long white beard gave him a patriarchal appearance. Of
-charming disposition, with a mind of simple nobility, an excellent
-raconteur of droll stories chiefly drawn from his own interesting
-experiences, he will long be remembered as one of the most attractive of
-the great French artists of the nineteenth century. He lived and worked,
-as befitted a “paysagist,” in the midst of a beautiful stretch of
-country at Eragny, outside Gisors, not far from Monet’s residence at
-Giverny. Pissarro left a considerable amount of work behind, paintings
-in oil and water-colour, drawings in every medium, etchings, and
-lithographs. His art may be summed up as powerful. It possessed a
-healthy vitality and sentiment, and these will assure a lasting respect
-and admiration for his name.
-
-Many of the foregoing remarks apply equally to Pissarro’s close comrade
-and friend, Renoir. Auguste Renoir was born in 1841, and has always
-taken an important place in the Impressionist movement. His work forms
-an epitome of the whole school, and perhaps it is for that very reason
-that the artist has not attained a higher popular appreciation. During
-his forty years of continual labour he has produced landscapes,
-seascapes, large subject compositions, studies of still-life, portraits,
-and exquisite nudes. Critics, charged with enthusiasm, have found in his
-canvases the finest traits of Boucher, Fragonard, Greuze, Reynolds, and
-Hoppner.
-
-Renoir is above all the painter of women and children, and his creations
-in this _genre_ glow with the sure fire of genius. He renders in a
-marvellous fashion the subtle play of light upon flesh. His portraits
-are charming and typically French, graceful in line and rich in colour,
-drawn with extraordinary skill, and with great truth to nature. In the
-portraits of Bonnat and Duran, writes a German critic, there are people
-who have “sat,” 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 “sitting.” Here are dreamy blond girls gazing out of
-their great blue eyes, ethereal fragrant flowers, like lilies leaning
-against a rose-bush through which the rays of the setting sun are
-shining. Here are coquettish young girls, now laughing, now pouting, now
-blythe and gay, and now angry once more, now faltering between both
-moods in a charming passion. And there are women of the world, of
-consummate elegance, slender and lightly built figures, with small hands
-and feet, an even pallor, almond-shaped eyes catching every light, moist
-shining lips of a tender grace, bearing witness to a love of pleasure
-refined by artifice. And children especially there are, children of
-sensitive and flexuous race; some as yet unconscious, dreamy and free
-from thought; others already animated, correct in pose, graceful, and
-wise. Good examples of this artist as portraitist are to be found in the
-pictures _Le loge_, and _On the Terrace_, the latter a most delightful
-composition.
-
-Another famous canvas by Renoir is the _Bal au Moulin de la Galette_, a
-most trying theme in which the master has triumphed over every
-difficulty. Degas would have conceived the composition in a very
-different spirit, throwing stress upon the sordidness of this scene from
-low life, adding a bitterness which is quite foreign to the temperament
-of Renoir, whose dominant note is one of sunlight and noisy
-dust-enveloped pleasure.
-
-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 blue, which strikes one at times as spotty and crude. The
-handling of the large-sized portrait groups seems often unnecessarily
-coarse and repellent. Many find it hard to appreciate his landscapes,
-considering them to be thin, of a greasy woolly texture, unatmospheric
-and lacking many of the qualities one looks for in such representations
-of nature.
-
-[Illustration:
-
-  PASTEL PORTRAIT OF CÉZANNE · AUGUSTE RENOIR
-]
-
-[Illustration:
-
-  AT THE PIANO · AUGUSTE RENOIR
-]
-
-The work of Auguste Renoir will always remain a battlefield for the
-critics. The champions of the group acclaim him as one of its most
-brilliant members. Renoir is voluptuous, bright, happy, and learned
-without heaviness, says M. Camille Mauclair, adding that the artist is
-intoxicated with the beauties of flowers, flesh, and sunlight.
-
-Rare are the artists who distinguish themselves in every branch of art,
-lucky the man who excels in one. An example of the latter is Alfred
-Sisley, “paysagist” pure and simple, who has left a legacy of some of
-the most fascinating landscapes ever painted.
-
-Sisley was born in Paris of English parents in 1839, and remained a
-citizen of the country of his birth, although he paid several visits to
-England. At first he painted conventional landscapes in russet and grey,
-after the type of Courbet. After passing under the influence of Corot he
-commenced to evolve a style peculiarly his own, abundantly rich in
-colour and agreeable in line, loving especially to paint the violet
-tints of a sunlit countryside, generally upon canvases of small and
-medium size. In his earlier days canvases of enormous extent alone
-seemed to satisfy him. He specialised his efforts almost solely to
-transcripts from the riverside. When in England he remained in the
-neighbourhood of Hampton Court and the Thames valley generally; in
-France he painted on the edge of the Seine, or the Loing, finally
-settling at Moret, where he died in 1899. He was less successful in
-draughtsmanship than in colour, particularly when he attempted to
-achieve with Moret church what Monet had done with Rouen cathedral.
-
-In spite of the production of many little masterpieces, Sisley lived to
-the day of his death on the verge of poverty. Never a popular artist,
-although he and his wife led a life of the most frugal description, he
-was for ever uncertain of finding the barest means of subsistence. This
-embittered his existence, and undoubtedly tended to cut short a life of
-much activity and talent. “Sisley, be it said, worked always, struggled
-long, and suffered much. But he was brave and strong, a man of will,
-consecrated to his art, and determined to go forward on the road he had
-taken, wherever it might lead. He faced bad fortune with a front of
-undaunted energy. His years of _début_ were cruel times. His pictures
-sold seldom and poorly. He kept on, however, with the same brave heart,
-with that joyous fervour which shines from all his works.” These words
-were spoken by an old friend at the graveside of Sisley. M. Tavernier
-went on to remark that the success which arrived for several of the
-other Impressionists was slower in coming to Sisley. “This never for a
-moment disturbed him; no approach to a feeling of jealousy swept the
-heart of this honest man, nor darkened this uplifted spirit. He only
-rejoiced in the favour which had fallen upon some of his group, saying
-with a smile, ‘They are beginning to give us our due: my turn will come
-after that of my friends.’... Sisley is gone too soon, and just at the
-moment when, in reparation for long injustice, full homage is about to
-be rendered those strong and charming qualities which make him a painter
-exquisite and original among them all, a magician of light, a poet of
-the heavens, of the waters, of the trees—in a word, one of the most
-remarkable landscapists of this day.”
-
-A contemporary of Sisley, equally gifted and more fortunate financially,
-is Armand Guillaumin, whose art is practically unknown in England. His
-style and his subjects are of the simplest, whilst his colour is
-vigorous, pure, and rich in tone. Possessing few tastes outside his art
-his life has been one of continued and active devotion to its
-perfection. Son of a linendraper, like Corot, his youth was passed
-behind the counter, and later as a clerk in an office. In the meanwhile
-he attended, when possible, the “Académie Suisse,” by the Quai des
-Orfèvres, a curious school without professors. Here he worked in company
-with Pissarro and Cézanne. This, combined with study in the public
-galleries and sketching along the riverside and in the streets and parks
-of Paris, constituted his sole education.
-
-In a letter to the writer, Guillaumin says that Courbet, Daubigny, and
-Monet are the masters who have influenced his style most, with perhaps
-special stress upon the methods of Monet.
-
-Some years ago a lucky speculation in a lottery attached to the Crédit
-Foncier brought the artist a “gros lot” of about £4000, which
-immediately freed him from further anxieties about money, and gave him
-complete liberty to exercise the art he lives for. He contributed to the
-original exhibition held by the Impressionists in 1874, where his
-pictures, views of Charenton, at once marked him as a painter of special
-talent and originality. In 1894, at the Durand-Ruel galleries, were
-exhibited about one hundred of his canvases executed in various mediums,
-and the effect of this collection upon students has been remarkable.
-These pictures were painted for the most part at Agay, Damiette, and
-Crozant. In the solitude of these deep valleys, overhung by cliffs down
-which rush the limpid Creuse and Sédelle from the mountains of the
-Cevenne to the sea, works the artist in hermit-like solitude, two
-hundred miles from Paris and far from railways and latter-day
-civilisation.
-
-[Illustration:
-
-  OUTSKIRTS OF THE FOREST OF FONTAINEBLEAU · ALFRED SISLEY
-]
-
-[Illustration:
-
-  ON THE BANKS OF THE LOING · ALFRED SISLEY
-]
-
-Guillaumin is an incredibly prolific worker, and this, although often a
-sign of great talent, is much deplored by his admirers, who cannot help
-believing that he is wasting in the production of countless sketches and
-repetitions a talent which is strong enough to create masterpieces.
-Zola’s reproach addressed to Gustave Doré comes to the mind when
-speaking of Guillaumin. Such an artist is likely to combine with
-business men in manufacturing works purely commercial. There is yet time
-for Guillaumin to produce some great masterpiece with which to crown the
-glory of his long career.
-
-[Illustration:
-
-  AUGUSTE RENOIR
-]
-
-[Illustration:
-
-  ALFRED SISLEY
-]
-
-Other manifestations from the parent stem of Impressionism took the form
-of Idealism with André Mellino at its head; the Salon of the Rose +
-Croix, with Sar Peladan in command; and the “Intimists,” a body
-consisting of Charles Cottet, Simon Bussy, and Henri Le Sidaner, who is
-referred to elsewhere. The Salon of the Rose + Croix, held in the early
-nineties, was one of the most eccentric art societies of the past
-century, a mixture of art, religion, politics, and rules of morality.
-Its members were forbidden to exhibit historical, prosaic, patriotic,
-and military subjects, portraits, representations of modern life, all
-rustic scenes and landscapes (except those in the style of Poussin),
-seamen and seascapes, comic subjects, oriental subjects, pictures of
-domestic animals, and studies of still-life. The doings of Sar Peladan
-and his followers have long since been forgotten, but at the time they
-afforded a curious study in artistic eccentricity.
-
-There are several other men who have rendered good service to
-Impressionism, although one is not able to mention more than their names
-in this chapter. Paul Gauguin, an artist of decided ability, whose death
-has only just been chronicled, contributed to several of the exhibitions
-in the Durand-Ruel and other galleries. At first a simple painter of
-Breton landscapes he inclined towards “Pointillism.” Upon his return
-from a long visit to Tahiti his manner became crude and bizarre to an
-extreme, not altogether admirable, although leaving an impression of
-uncommon strength. Gauguin was a friend of Van Gogh whom, together with
-Renoir and Cézanne, he may be said to have influenced. Another of his
-pupils is Emile Bernard, the symbolist.
-
-Vincent Van Gogh requires mention as a painter who practised the methods
-of Impressionism to their extreme limit. A Dutchman who lived in France,
-Van Gogh, a man of great talent, committed suicide after a most unhappy
-life. Like his own personality, these canvases are exotic, though at
-times displaying a more tender note. Had fortune been less unkind he
-would have developed into a great artist, for nature had endowed him
-with a rich genius.
-
-In the eighth exhibition organised by the Société des artistes
-Indépendants were some ambitious works, interesting but totally
-unconvincing, painted in the new and then hotly discussed “Pointillist”
-style. Seurat, Signac, Ibels, Maurice Denis, Henri-Edmond Cross, Théo
-Van Rysselberghe, and Angrand, were members of this movement initiated
-by Seurat and Signac. George Seurat died at an early age in 1890, and
-this was doubtless the chief reason for the collapse of the group. The
-aim of the “Pointillists” was to resolve the colours of nature back into
-six bands of the spectrum, and to represent these on the canvas by spots
-of unmixed pigment. At a sufficient distance these spots combine their
-hues upon the retina, giving the effect of a mixture of coloured lights
-rather than pigments, resulting in an increase instead of a loss of
-luminosity. One of the first converts was the veteran Camille Pissarro,
-who happily abandoned these extraordinary methods which Théo Van
-Rysselberghe and a few others continue to employ.
-
-[Illustration]
-
-[Illustration:
-
-  OUTSKIRTS OF A WOOD · ALFRED SISLEY
-]
-
-------------------------------------------------------------------------
-
-[Illustration:
-
-  CHILD AND DOG · EUGÈNE CARRIÈRE
-]
-
-------------------------------------------------------------------------
-
-
-
-
- CHAPTER VII · SOME YOUNGER IMPRESSIONISTS: CARRIÈRE, POINTELIN, MAUFRA
-
-          “WHENEVER MEN ARE NOBLE THEY LOVE BRIGHT COLOUR, AND
-          WHEREVER THEY CAN LIVE HEALTHILY, BRIGHT COLOUR
-          IS GIVEN THEM IN SKY, SEA, FLOWERS, AND LIVING
-          CREATURES”
-
-                                                  _RUSKIN_
-
-
-EUGÈNE Carrière is one of those great artists so prolific in France who
-alone would make the fame of any ordinary country. For his work the
-writer has always had deep sympathy, and this feeling has strengthened
-since the days when he copied the works of the master now in the
-Luxembourg. There can be no better method of studying any artist, and
-specially is it needed in the case of such a painter as Carrière. 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 qualities, their poetic intention, their thoughtful nature,
-and can fully recognise the fine achievement of the artist. As the
-copyist stands and works for hours, thinking, reasoning, reproducing,
-the whole history of the man and his art slowly reveals itself.
-
-It has been said of Carrière that he has “le génie de l’œil,” and it is
-exactly this “genius of the eye” which constitutes the bond of sympathy
-between all Impressionists. There exists between Carrière, Pointelin,
-and Whistler, the greatest similitude. Their outlook upon nature is
-identical, and their method of expression most characteristic. They have
-found their chief inspiration in rendering misty veiled effects,
-sometimes the result of natural means, haze, moonlight, river mist,
-early sunrise; sometimes purposely arranged by means of darkened
-interiors, and the skilful control and exclusion of strong lights. In
-each case the result sought after is the same.
-
-Carrière possesses, in almost the highest possible degree, the power of
-visualisation (one is nearly writing the power of second sight) which
-Claude Monet also has, though in a different degree. The first has
-caught in an entrancing style the infinitely varied degrees of luminous
-light in the evening twilight. He has painted the shadows of shades. The
-second, in an equally fascinating manner, has rendered the shadows of
-sunlight. In the works of both artists all exact contours are lost; in
-Carrière by reason of the semi-obscurity of night, in Monet because of
-the blinding equalising glare of noon-day sun. The one is as apparently
-colourless as the other is apparently exaggerated. Yet both are right,
-true to nature and to their own individual temperaments, in fact true
-Impressionists.
-
-As a portraitist Eugène Carrière has no rival at the present moment. His
-marvellous powers of vision have placed him in a position unassailable.
-The ordinary portraitist, the painter “à la mode” (probably “à la mode”
-for this very reason), depicts the superficial aspect of his sitter,
-together with a photographic delineation of the features. Whilst the
-onlooker wonders at the dexterous skill, the clever schooling and
-frequent harmonies of colour, he generally passes on unmoved. With
-Carrière the effect is different; one cannot easily leave such triumphs.
-On the contrary, we stay to admire, not the technical gymnastics of the
-artist, 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 genius.
-
-His lithographs too are marvellous. Should any reader carp at the use of
-such word let him carefully examine the portrait-studies of Anatole
-France, Rodin, Verlaine, Daudet, Geffroy, Madame Carrière, and the
-artist himself, also the _Christ at the Tomb_, the _Théâtre de
-Belleville_, _Maternité_, and many others. The more these great works
-are studied the more real they become. 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 artist. Eugène Carrière
-becomes a clairvoyant when he commences a portrait.
-
-His paintings of the intimate life of the family, the circle round the
-fireside or the little gatherings in the common room during a winter
-evening, have a quiet charm which his contemporaries rarely attain. Such
-groups, it may be said, find little favour from those who issue
-commissions for family heirlooms, and Carrière has no chance of becoming
-a fashionable painter of human mediocrity. One remembers though that Mr.
-Sargent has proved recently that even with mediocrity a genius can do a
-great deal. Carrière, however, is never likely to wish to rival Bonnat
-or Carolus-Duran. His scenes are not so much represented as suggested.
-His drawing is a reproduction of the play of light upon the different
-planes of the subject, the whole picture becoming a symphonic
-development of light. His brush manipulates colour much as a sculptor
-manipulates clay, and the results are real Impressions.
-
-[Illustration:
-
-  AUGUSTE POINTELIN
-]
-
-[Illustration:
-
-  THE FAMILY · EUGÈNE CARRIÈRE
-]
-
-Eugène Carrière has been inspired by no particular school, and has no
-special theories to regulate his methods. Yet, in spite of himself, a
-group, animated by his ideals, has gathered and formulated rules. This
-group and its system will have but a short duration, for an art so
-personal and distinguished as is that of Carrière cannot in any possible
-way be transmitted to pupils or followers. Carrière occupies in painting
-much the same position as his friend Rodin occupies in sculpture. Such
-art is not to be copied, much as it may be admired. If there could be
-any analogy in literature one would cite Edgar Allan Poe. The poet of
-the shadows has had an enormous influence upon French art and
-literature, and Carrière has undoubtedly come under his strange spell.
-
-[Illustration:
-
-  MOTHERHOOD · EUGÈNE CARRIÈRE
-]
-
-Much has been written concerning the exhibited works of this artist, and
-a bibliography would contain the names of the most celebrated art
-critics in Paris. The universal opinion is that in Carrière France
-possesses an artist of exceptional endowments. His gift is a peculiar
-one, which has not appeared before in exactly the same manner, and,
-within his own limitations, the painter’s equal will probably never be
-seen again. A well-known writer upon art subjects has penned an
-appreciation which conveys a clear insight into the methods of the
-master. Carrière, he says, is not an inductive painter, he does not
-construct his whole from parts. He does not work on, wisely, cautiously,
-from the forehead to the eyes, continuing by way of the cheekbones. In
-the manner of a sculptor, he builds up his picture as a complete whole,
-he balances his masses, he constructs. Insensibly the face lights up on
-the background, the successive veils which enveloped it are torn away
-and hide his thoughts no longer. This simultaneous process never leaves
-him quite satisfied, and he constantly reviews his original plans. He
-lives for the creation to which he gives life. His work is an effort, an
-attempt, the result of a mysterious genius whose secret is never all
-told. What he knows before is the impression he expects to obtain, what
-it will tell, what it will reveal of the character and will express of
-the invisible reality. And it is thus he approaches those faces which
-speak to us of an intense inner life. His plans settled, he paints
-astonishing faces, mobile and quivering as they smile and speak.
-
-A few personal particulars may be added. Eugène Carrière passed his life
-up to the age of eighteen in Strasbourg, and displayed no special
-inclination toward the artistic career. But a visit to some galleries
-awoke the latent fire, and his ambitions were roused. He then entered
-the atelier of Cabanel. During the war he was captured by the Germans,
-and sent as prisoner to Dresden, where he studied with diligence in the
-museums. Upon his return to France in 1872 he worked for five years at
-the École des Beaux-Arts (he had been there for a short time before the
-war) and then, none too well equipped for the battle, set up in his own
-studio. He attempted to gain the Prix de Rome, but failed. Shortly after
-followed his marriage, together with a semi-retreat to the Vaugirard,
-where he toiled for five years, turning his family to artistic account
-as models. These days of unremitting labour proved to be the foundations
-of his fame, for, when he returned to Paris, he reaped almost
-immediately the fruits of success and appreciation. As we write, the
-news comes that the authorities of the Luxembourg have purchased
-Carrière’s _Dead Christ_ for £1000.
-
-Auguste Pointelin is a passionate Impressionist in the best sense of the
-word. He paints in low tones (almost monotones) the twilight, moonrise,
-the sombre and melancholy notes in Nature. He is the poet-painter of
-those evening hours when—
-
-             The sun is set; the swallows are asleep;
-             The bats are flitting fast in the grey air;
-             The slow soft toads out of damp corners creep;
-             And evening’s breath, wandering here and there
-             Over the quivering surface of the stream,
-             Wakes not one ripple from its summer dream.
-
-The artist’s character can be read at a glance from these canvases. We
-see at once that he is a strong man, of nervous and romantic
-temperament, somewhat a pessimist, perhaps a writer of verse, probably a
-fine musician, fond of solitude and reverie, yet of good heart and noble
-mind.
-
-Monet is of the lowlands. He worships the plains and paints the sun hot
-and keen, and all that it reveals. He revels in depicting great trees,
-the lustrous brilliancy of corn and poppies, the bubble and iridescence
-of quick-flowing trout-streams, the flash of white cliffs, the luminous
-shadows of haycocks, every varying phase of the play of brilliant light
-upon the face of responsive nature. Pointelin is a man of the hills,
-delighting to work amidst deep wooded glens or lonely tracks of mountain
-scenery, trying to reproduce the glints of moonlight upon black
-bottomless pools. He loves to depict the tranquillity of the long silent
-valleys, through which roll heavy mists, whilst the rising sun tints
-with a rosy glow the tips of the neighbouring peaks. Our admiration of
-Monet does not blind us to the beauty of Pointelin. In a sense the two
-artists are complementary to each other. The art of Pointelin may be
-compared to a “Reverie” by Schumann, that of Monet to a “Rhapsody” by
-Brahms.
-
-[Illustration:
-
-  A GLADE IN THE WOOD · AUGUSTE POINTELIN
-]
-
-[Illustration:
-
-  MOUNTAIN AND TREES · AUGUSTE POINTELIN
-]
-
-[Illustration:
-
-  A ROCKY COAST · MAXIME MAUFRA
-]
-
-Auguste Emmanuel Pointelin was born at Arbois, June 23, 1839, and the
-first art teaching he received was from the hands of M. Victor Maire.
-Success was long in coming, and for a livelihood he had to turn to
-several other professions, the chief being that of a mathematical
-professor.
-
-Pointelin has received the usual honours France awards to her most
-distinguished citizens. He has been decorated with the Legion of Honour,
-is “Hors Concours” at the Salon, and received (amongst many other like
-trophies) the Gold Medals at the Exhibitions of 1889 and 1900. His work
-is to be found in many of the public galleries of the country, including
-the Luxembourg. The note of his art is a certain refinement and
-aloofness which is rarely found in contemporary Salons. Of him it may be
-said: “Through his brain, as through the last alembic, is distilled the
-refined essence of that thought which began with the gods, and which
-they left him to carry out.”
-
-Some time ago the writer was painting by the edge of the Seine in
-company with Maxime Maufra, and the artist recounted the origins of his
-Impressionist tendencies. “I am directly influenced by Turner and
-Constable,” he said. “I admired and studied their works whenever it was
-possible during the time I spent as a commercial man in Liverpool twenty
-years ago. There is no doubt that Monet, Pissarro, and the others of
-that group, owe the greater part of their art to the genius of the great
-Englishmen, just as Delacroix and Manet were indebted in a previous
-generation.”
-
-This testimony is interesting, as it comes from one of the leaders of
-the modern school of “La peinture claire,” the school of light, of life,
-and of movement. 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 debt. For instance,
-Pissarro writes: “I have read with great interest your article. I do not
-think, as you say, that the Impressionists are connected with the
-English school, for many reasons too long to develop here. It is true
-that Turner and Constable have been useful to us, as all painters of
-great talent have; but the base of our art is evidently of French
-tradition, our masters are Clouet, Nicolas Poussin, Claude Lorrain, the
-eighteenth century with Chardin, and 1830 with Corot.” This statement is
-somewhat at variance with facts as we know them, and does not agree with
-several letters from Pissarro in the writer’s possession previously
-quoted.
-
-To attempt to record bright open-air effects, to struggle with all the
-thousand nuances of the atmosphere, the division of tones, the
-juxtaposition of colour, the general principles and technical practice
-adopted by the Impressionists, is to come under a ban. There is an old
-and well-beloved professor at the Beaux-Arts who taught the writer, a
-member of the Institute and Officer of the Legion of Honour, a man of
-much official influence, who, in a single phrase, has summed up the
-feeling of a large body in France with reference to the Impressionists.
-“They are a disgrace to French art,” he said bitterly. 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 pages, a reactionary manner in many cases opposed to their natural
-temperaments. They seek in Nature for the slightest cause which will
-give them reason for the use of black paint, 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 blossom, which is black only by the
-exclusion of the atmosphere. The slightest shadow they paint black, any
-dark piece of clothing is rendered in black. They have evolved a
-lugubrious funereal style and choice of subject which is sad, dull,
-inartistic, dyspeptic. This section of the art community has been named
-the “Nubians.”
-
-Maxime Maufra is an adversary fighting this group of reactionaries, and
-perhaps his successful example may bring some of these erring ones back
-to the fold. He has the courage to paint in a light key, because he sees
-all nature in such a value, and by following the dictates of his
-artistic temperament he has become the exponent of a beautiful and
-personal art. He does not aspire to the position of a little Monet, but
-attempts to carry the master’s methods forward. Maufra maintains that
-Monet has by no means said the last word in Impressionism. Maufra and
-his friends are not content with the first illuminated corner presented
-by Nature, which, save for the sense of illumination, is probably
-uninteresting and ill-composed. They are equally attracted by beautiful
-rhythmic line, balance of form, by composition as well as by colour. The
-ethereal tints in nature which the pioneers were happy to reproduce,
-does not satisfy the younger men now that the fundamental laws of the
-Impressionists have been agreed upon.
-
-[Illustration:
-
-  AN ETCHING · MAXIME MAUFRA
-]
-
-[Illustration:
-
-  ARRIVAL OF THE FISHING BOATS AT CAMARET · MAXIME MAUFRA
-]
-
-[Illustration:
-
-  MAXIME MAUFRA
-]
-
-Born at Nantes in 1861, the only regular art education Maxime Maufra
-received was from M. Le Roux, a local professor. His father, a man of
-business, decided that the son should follow the same vocation, much to
-the son’s disgust. 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 house. Maufra studied
-English, more or less, and practised art, copying in the museums and
-private collections, and sketching in the neighbourhoods of New
-Brighton, Seacombe, and amongst the docks and shipping of the great
-port. Business was not neglected, but having effected a lucky “deal”
-which placed him in the possession of a little capital, he cut the cable
-which joined his life to commerce and sailed into the open sea of art.
-His family protested, his friends implored him not to take such a rash
-step. Maxime Maufra became a professional artist. For five years he
-toiled with his brush, working hard at every different method of
-technical expression, trying oils, water-colours, and the etching
-needle. Dealers did not come forward, buyers were never seen. At last,
-at the very end of his financial resources, he organised a tiny
-“one-man” show in Paris.
-
-In the “Echo de Paris” M. Octave Mirbeau published a short criticism,
-which voiced the general opinion of Maufra’s talent. “Yesterday,” writes
-Mirbeau, “I entered the galleries of de Boutheville, where are exhibited
-about sixty works by Maufra. I was immediately conquered, for I found
-myself in the presence of an artist in full control of himself, who,
-after the necessary indecisions, the usual educational troubles, has
-realised that style is the most important thing—in fact, the joy of
-art.”
-
-A few of the paintings were sold, enough to cover the expenses of the
-exhibition. A better luck awaited Maufra. M. Durand-Ruel casually
-glanced into the rooms before the close of the modest collection. He
-asked to see the artist. Maufra was in Brittany, and a telegram called
-him back to Paris. An interview followed in the Rue Lafitte between
-artist and dealer, and never since that day has Maufra known the
-anxieties of living on hope, for M. Durand-Ruel, with characteristic
-acumen, had arranged for his future.
-
-In the spring of 1901, at the galleries of M. Durand-Ruel, Maxime Maufra
-organised his last and most successful exhibition, about fifty canvases
-executed in various mediums being shown. From the admirable preface
-written by M. Arsène Alexandre, one of the most perspicacious of French
-critics, the following lines may be quoted: “Maufra continues in the
-school of the Impressionists in this manner, that the _point de départ_
-in each of his pictures is in reality a quick and profound impression.
-He detaches himself from the school inasmuch as the realisation is a
-calculated and skilful art; and this is complete Impressionism.” A final
-quotation from the pen of M. Gabriel Mourey in “Le Grand Journal” aptly
-sums up the talent of this artist: “One could accuse Maufra at the time
-of his first exhibition at the de Boutheville galleries of submitting
-himself to the influence of Claude Monet. Already, however, he reveals
-his strong personality. Here he is to-day a free man and master of
-himself, capable of realising whatever his thoughts impel him to. He has
-his own conception of Nature, and he realises it with a liberty and
-independence which is veritably masterful. The diversity of his talent
-is proved in the most striking fashion. Scotland, Brittany, Normandy are
-evoked with an extraordinary facility, the different characteristics of
-these three countrysides, their special conditions, their peculiar
-atmosphere. They are like portraits in which a soul breathes, in which
-the blood runs beneath the skin, where the mystery of being is declared.
-The words of Flaubert’s St. Anthony come involuntarily to the lips
-before these pictures of Nature, sometimes savage, sometimes in a more
-tender mood: ‘There are some spots on earth so beautiful that one wishes
-to press Nature against one’s heart.’”
-
-[Illustration]
-
-[Illustration:
-
-  SHIPWRECK · MAXIME MAUFRA
-]
-
-
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-
-
-[Illustration:
-
-  _Photo by Braun, Clement & Co._
-  A GLASS OF GOOD RED WINE · J. F. RAFFAËLLI
-]
-
-
-
-
-     CHAPTER VIII · “REALISTS”: RAFFAËLLI, DEGAS, TOULOUSE-LAUTREC
-
-          “IL Y A SELON MOI, DEUX ÉLÉMENTS DANS UNE ŒUVRE:
-          L’ÉLÉMENT RÉEL, QUI EST LA NATURE, ET L’ÉLÉMENT
-          INDIVIDUEL, QUI EST L’HOMME”
-
-                                                  _ZOLA_
-
-
-JEAN FRANÇOIS RAFFAËLLI joined the Impressionist movement late, and did
-not commence to exhibit with the other members of the group until 1880,
-when he sent a canvas to the gallery in the Rue des Pyramides. He had
-clearly grasped the trend and scope of the idea, but cannot be classed
-altogether with the other members of the group as a “Luminarist.” This
-may be due to many causes apparent in his work. He is not a painter for
-the love of painting itself, and does not revel in colour for colour’s
-sake. He is no analyst of the shimmering effects of a summer’s sun. That
-side of Impressionism has never appealed to him. Yet his right to be
-numbered amongst them is assured, for, in spirit, he is one of the first
-of the school.
-
-Raffaëlli is the historian of the “banlieue” of Paris. His street scenes
-are typical, life-like, and modern, and they will be treasured in future
-years as veritable documents of the daily existence of the great city.
-He wanders through the dreary “no man’s land” outside the
-fortifications, and transfers to his block the most vivid portraits of
-the nondescript characters who swarm through that gaunt wilderness. He
-is a man of much mental refinement, who has had to struggle for every
-inch of the artistic success which now surrounds him. Richly endowed by
-nature, he had no resources to fall back upon save his determination to
-conquer. In a few words M. Geffroy sums up the opening of this curious
-career.
-
-Raffaëlli has had many employments, has been engaged in many trades, has
-searched the town for work. He has been in an office, has sung bass at
-the Théâtre Lyrique, has chanted psalms in a church choir, and at the
-same time painted under the tuition of Gérôme at the École des
-Beaux-Arts. He travelled through Europe, penetrating even so far as
-Algeria, working in each town as he stopped. Returning to Paris he
-exhibited landscapes founded upon the studies he had accumulated in his
-portfolio, some pictures of the Louis XIII. style, some portraits, a
-view of the Opera. Suddenly he opened his eyes to a sight nobody had
-seen before, disdained by the whole world, subjects which had never
-reached the dignity of an entrance in art circles. He became the
-recorder of the suburbs of Paris and their wandering inhabitants.
-
-For years he experimented endeavouring to produce a medium best suited
-to his temperament. In the solid paint crayons we have an addition to
-the working tools of the artist which is of notable importance. This is
-not his only gift to France, for it is he who practically resuscitated
-the beautiful but dying art of etching in colours. In this work he was
-ably seconded by Miss Mary Cassatt. He is not only an artist but an
-actor, a musician, an orator, a sculptor, an etcher, a pastellist, an
-illustrator, and a man of letters. He is a fine example of the pioneer
-temperament. No sooner is success achieved in one branch of energy than
-he is in chase of another idea. One day he is trying to invent a perfect
-oil-crayon; the next, and colour etching is his sole ambition. He draws
-the elegant “mondaine” of the Boulevards, and then sallies out to study
-the frowsy denizens of the “banlieue.” In this quarter he found
-congenial subjects for a series of little masterpieces.
-
-Amidst these wretched surroundings, warehouses, factories, wooden sheds
-ruinous and dilapidated, refuse heaps, brick-kilns, homes of the
-outcasts and cut-throats of the metropolis, Raffaëlli discovered a rich
-mine of material hitherto entirely unworked. The district is peculiar to
-Paris, and owes its existence to the clear half-mile of view required
-around the useless fortifications. This territory has, in mining phrase,
-been “jumped” by the penniless. Upon it squat the failures, the
-drunkards, the thieves, all the vicious under-life of the city. The
-artist revealed this world to the unsuspecting citizens. He lived in it,
-studied it day by day, and is a greater authority than the “sergots”
-upon the manners and customs of a neighbourhood which even the police
-shun. Such a blot upon the fair page of so magnificent a capital is
-rapidly being wiped away, but Raffaëlli has immortalised in his etchings
-and drawings some of the poetic atmosphere which enveloped these legions
-of the damned.
-
-[Illustration:
-
-  _Photo by Braun, Clement & Co._
-  NOTRE DAME · J. F. RAFFAËLLI
-]
-
-[Illustration:
-
-  J. F. RAFFAËLLI
-]
-
-During the course of a long and strenuous career, Raffaëlli has received
-many decorations. He is of the Legion of Honour, besides having received
-numerous medals and awards from foreign exhibitions. He is represented
-adequately in the Luxembourg, and many continental galleries. He enjoys
-the admiration and friendship of a host of connoisseurs throughout the
-world. His studio is most pleasant. Facing the broad green sweeps of the
-boulevard by the fortifications, in the Rue de Courcelles, it occupies a
-large area on the ground floor, having been built over a spacious
-courtyard surrounded by banks of foliage and flowers. The predominant
-note is that of cheerfulness. The decoration is bright and restful, the
-ruling colours being delicate shades of yellow and blue. The usual
-theatrical adornments of a French studio are absent; there are no
-oriental carpets and rugs, no armour, no antique furniture, so dear to
-the heart of the Gallic painter. In this atelier the master holds
-periodical conferences, exhibitions, and friendly gatherings. Upon these
-occasions one will meet the cleverest men in Paris, for Raffaëlli is a
-celebrated conversationalist as well as a famous artist.
-
-Degas has a temperament strangely different from that of Raffaëlli, and,
-although always classed with the Impressionists, he stands apart from
-the recognised group. He has never endeavoured to transmit the
-impression of atmosphere, and work “en plein air” does not attract him.
-He has, however, profited much by the teaching of the Impressionists,
-particularly in relation to the use of radiant colour, for at one time
-he painted in greys which were closely allied to black. He exhibited
-continually with the other men in the early days of the movement, and
-proved a genius both in suggestion and organisation.
-
-Hilaire Germain Edgard Degas was born in Paris, July 19, 1834. He
-entered the École des Beaux-Arts in 1855, studying under Lamothe and
-also having Ingres for a master. He made his first appearance at the
-Salon of 1865 with a pastel entitled _War in the Middle Ages_. In 1866
-he contributed the _Steeplechase_, the first of his series devoted to
-scenes of modern life. In 1867 he exhibited _Family Portraits_, in 1868
-the portrait of a ballet-dancer, and during 1869 and 1870 some further
-portraits which closed his connection with official art, for he never
-sent contributions to the Salon again. In his early work he did not
-confine his brush to subjects of daily actuality, such compositions as
-_Semiramis Building the Walls of Babylon_ and _Spartan Youths Wrestling_
-being far removed both in style and _genre_ from later work. During the
-sixties his canvases were classical in spirit as well as in subject. He
-had a strong feeling for the Primitives together with Fra Angelico, and
-much of his work conveyed a reminiscence of Holbein. A Realist from the
-beginning, the _Interior of an American Cotton-Broker’s Office_, painted
-in 1860, shows that his temperament has never radically changed. This
-canvas, now in the museum at Pau, is minutely exact in all its details.
-It is Realism but emotionless, without atmosphere and lacking all
-feeling. 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 draughtsmen.
-
-Degas exhibited in company with Manet, Monet, and the Impressionists
-generally, at five exhibitions, namely 1874, 1876, 1878, 1879 and 1880.
-In the last-named year he exhibited a series of portraits of criminals,
-and commenced to model figures of dancers in wax. In December 1884 he
-showed some racecourse scenes, and at the last exhibition of the
-Impressionists in 1886 exhibited studies of the nude, jockeys,
-washerwomen, and other characters of modern life. He has worked with the
-etcher’s needle, and also in lithography, his subjects being generally
-confined to theatrical life and incidents noticeable on the Parisian
-boulevards.
-
-The characteristic of Degas personally is mystery. He now refuses to
-exhibit his works, he shuts his door to all visitors. Like most artists
-he detests writers, and there is a legend that he successfully grappled
-with one enterprising but unwelcome interviewer and dropped the
-unfortunate critic down a flight of stairs. This proves how thoroughly
-his principles are carried out in practice. “I think that literature has
-only done harm to art,” he said once to George Moore. “You puff out the
-artist with vanity, you inculcate the taste for notoriety, and that is
-all; you do not advance public taste by one jot. Notwithstanding all
-your scribbling it never was in a worse state than it is at present. You
-do not even help us to sell our pictures. A man buys a picture, not
-because he read an article in a newspaper, but because a friend, who he
-thinks knows something about pictures, told him it would be worth twice
-as much ten years hence as it is worth to-day.”
-
-With these strong views one can understand the attitude of Degas to the
-art world in general. It was a very different attitude from that of
-Manet who gloried in the fight. “Do you remember,” Degas said once to
-George Moore (who quotes the conversation in his “Impressions and
-Opinions”), “how Manet used to turn on me when I wouldn’t send my
-pictures to the Salon? He would say, ‘You, Degas, you are above the
-level of the sea, but for my part, if I get into an omnibus and some one
-doesn’t say, “M. Manet, how are you, where are you going?” I am
-disappointed, for I know then that I am not famous.’” This conversation
-reveals in a curious manner the differing characters of the two men;
-Manet with that attractive vanity so often to be found in the artistic
-temperament, Degas, a satiric misanthrope analysing the degraded types
-which make up the gay life of Paris.
-
-[Illustration:
-
-  DANCING GIRL FASTENING HER SHOE · EDGAR DEGAS
-]
-
-The work of Degas may be sorted into four main groups—the racing series,
-the theatrical studies, the drawings of the nude, and a few landscapes.
-From many points of view the scenes of the _coulisses_ come first.
-Superb in draughtsmanship, they represent the life of the theatre in a
-way it has never been represented before. In one we see shivering girls
-rehearsing upon a cold cheerless stage lit by a few gas jets; in another
-the _première danseuse_ quivering upon tiptoe amidst the frenzied
-plaudits of an excited audience. Degas reproduces the atmosphere with a
-marvellous precision, which only those engaged in the busy turmoil
-behind the curtain can fully judge. Upon these _scènes de théâtre_ will
-rest his fame, for humankind is never likely to tire of such vivid
-renderings of a life always fascinating to the outside world.
-
-Degas is not a countryman, and cannot be classed amongst sportsmen, or
-lovers of horseflesh. His jockeys and racehorses are highly extolled,
-but with animals he has not always succeeded. It is not sufficient to be
-a great artist in order to convey convincing impressions of sporting
-scenes. An artist must have the whole spirit of sport thoroughly
-engrained in his nature before he can properly represent it. Apart from
-the city, Degas is out of his element, and this is very apparent in the
-landscapes he has painted during the last eight years. The glamour of
-the fields and hedges does not touch his soul. Rural life he finds dull,
-and naturally his essays in landscape painting are somewhat painful. He
-has not the temperament which can faithfully interpret the poetry of the
-countryside, and is more at home in the purlieus of the opera or upon
-the asphalte of the boulevards.
-
-Degas is a realist, and his subjects are for the most part exceedingly
-trivial in selection. After racehorses and ballet-dancers, he loves to
-depict buxom ladies of the lower classes engaged in personal ablution.
-It is extraordinary that the pupil of Ingres, the painter of _La
-source_, should create such appalling creatures. The most plausible
-apology comes from Mr. George Moore. The nude, he writes, has become
-well-nigh incapable of artistic treatment. Even the more naïve are
-beginning to see that the well-known nymph exhibiting her beauty by the
-borders of a stream can be endured no longer. Let the artist strive as
-he will, he will not escape the conventional; he is running an
-impossible race. Broad harmonies of colour are hardly to be thought of;
-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 arms, neck, and thigh; and who in sheer beauty has a new
-word to say? Since Gainsborough and Ingres, all have failed to infuse
-new life into the worn-out theme. But cynicism was the great means of
-eloquence of the Middle Ages; and with cynicism Degas has again rendered
-the nude an artistic possibility. The critic then describes these works
-in most sympathetic phrases. Three coarse women, middle-aged and
-deformed by toil, are perhaps the most wonderful. One sponges herself in
-a tin bath; another passes a rough nightdress over her lumpy shoulders,
-and the touching ugliness of this poor human creature goes straight to
-the heart. Then follows a long series conceived in the same spirit.
-“Hitherto,” says Degas, “the nude has always been represented in poses
-which presuppose an audience, but these women of mine are honest, simple
-folk, unconcerned by any other interests than those involved in their
-physical condition.” In another phrase he gives you his point of view,
-“it is as if you looked through a keyhole.”
-
-Descendant of Poussin and Ingres (when Ingres fell down in the fit from
-which he never recovered, it was his pupil who carried him out of his
-studio), Degas worships drawing, and line is with him a cult. Japanese
-art has helped to mould his style, as it influenced many of the
-Impressionists. His oil-paintings, though for the most part correct in
-draughtsmanship, are frequently wiry and academic in technique. Colour
-was never his strong point, and it is in his pastels that we find the
-achievement of his life. In a masterly essay on this artist, Thèodore
-Duret writes: “Degas has proved once more that, with genius, subject is
-a secondary matter, merely its opportunity, one may say. It is out of
-itself, out of its inner consciousness, that the poetry and the beauty
-discovered in its production are drawn. His work will thus remain one of
-the most powerful, the most complete, and the most instinct with
-vitality amongst that of the masters of the nineteenth century.”
-
-Of Degas personally little is known. He comes of an old bourgeoise
-family, and at one time it is said that he possessed considerable
-financial means, which he sacrificed in order to save a brother from
-financial disaster. Although seventy years of age he still works with
-excessive labour at the art over which he has gained such a mastery.
-Scorning wealth, publicity, and popularity, he lives a life of complete
-isolation, dispensing with friends, able to more than hold his own
-against enemies.
-
-[Illustration:
-
-  DANCING GIRL · E. DEGAS
-]
-
-He has had two pupils whose names stand out prominently in the art of
-to-day, the American artist Miss Mary Cassatt (referred to elsewhere in
-this volume) and the caricaturist Forain. Degas has always had a bitter
-wit, the dread of his contemporaries, and many of his sayings have
-passed into history. During the height of the battle which raged around
-the Impressionists during the seventies, he remarked concerning the
-academic painters and critics: “On nous fusille, mais on fouille nos
-poches,” or, in other words, “They cover us with injuries, yet they make
-use of our ideas.” In him Whistler met his match. “My dear friend,” he
-said once to that great artist, “you conduct yourself in life just as if
-you had no talent at all.” Upon another occasion, speaking of Whistler
-when the latter was having a number of photographic portraits taken, he
-observed sarcastically, “You cannot talk to him; he throws his cloak
-around him—and goes off to the photographer.” It was not likely that two
-such spirits would appreciate each other.
-
-Degas is a pessimist. He has always been a realist, and the realist in
-this troubled world cannot look through rosy spectacles; acute pessimism
-becomes the natural result, especially when a great city is the venue.
-He is the analyst and ironist of the Impressionist group, with whom he
-has a sympathy of temperament rather than a sympathy of technique. At
-the present moment there are few artists better known in Paris, yet few
-who have received so small an amount of official acknowledgment. He has
-never received an official commission, has refused all decorations, his
-chief works are to be found in foreign countries. Yet an enthusiastic
-French critic has summed up the opinion of the art world of France in
-the striking phrase, “Degas is one of the greatest draughtsmen who have
-ever lived.”
-
-Ten years ago, when the writer was a student in Paris, the name of
-Toulouse-Lautrec was known only in connection with various daring and
-flamboyant posters advertising the exotic attractions of the “Moulin
-Rouge” and the “Divan Japonais,” and also through extraordinary sketches
-which appeared from time to time in Aristide Bruant’s feuilleton “Le
-Mirliton.” Now and again one found a sketch, with his signature, pinned
-up in an artistic cabaret of the Batignolles quarter. Few had seen him,
-nobody seemed to have any wish to discover his whereabouts. In the
-studios he was almost invariably spoken of with contempt as half a fool.
-He was celebrated in a way, and yet unknown.
-
-He was by no means a fool, for few men have possessed a brighter
-intellect. His semi-retirance and evident reluctance to appear amidst
-the crowd were partly owing to a temperament of ultra-refinement, and
-still more directly the result of a terrible personal misfortune. The
-story of his life is romantic.
-
-Henri de Toulouse-Lautrec-Monfa was born in 1864 at Albi, a scion of an
-ancient and illustrious family. His father, the Count de
-Toulouse-Lautrec, was a wealthy country gentleman, of sporting tastes, a
-splendid horseman, a crack shot, a sculptor, and a person of most
-violent and impulsive temper. The son inherited many of his father’s
-qualities. Generations of ancestors accustomed to the beauties and
-refinements of such a life in the country had developed at last an
-artist of peculiar sensibilities. These natural gifts were carefully
-cultivated, and the boy became a professional artist, who, although he
-possessed gifts of the most extreme refinement, became through the irony
-of fate primarily famous amongst his countrymen as a designer of street
-posters and comic sketches. Those who knew him superficially could not
-comprehend how his delicate and extraordinary exterior could cover such
-excellent qualities of heart, such delicacy of spirit. He met with scant
-respect and few patrons. Happily he was not dependent upon his brush for
-the means of existence, and his works, when they sold, fetched but
-little. After his sad and untimely death, the most insignificant
-sketches were eagerly disputed for and changed hands at large prices.
-
-Physically Toulouse-Lautrec was a weak man, of a highly-developed
-nervous temperament, with a brain too active for its frail tenement. To
-such a nature all excess proves fatal, although it is generally such
-natures that seek excess. In his infancy the artist had the unlucky
-mischance to break both his legs, and these, badly set, left him
-malformed for life, a dwarf. Thoroughly embittered, his proud and
-sensitive soul could not endure the inquisitive stares of the curious
-with which he was invariably greeted, and for the most part he lived a
-very solitary life. “Je suis une demi-bouteille,” he would often say to
-his friends in sarcastic reference to his own unhappy condition.
-
-[Illustration:
-
-  CAFÉ SCENE ON THE BOULEVARD MONTMARTRE · E. DEGAS
-]
-
-He drowned his griefs, as many have done before, keeping in his studio
-huge stocks of the most fiery spirits and liqueurs, from which he
-compounded wonderful “cocktails” for the benefit of himself and his
-friends. It is not surprising that first came the madhouse and then
-premature death completed this tragedy. Of an excitable temperament he
-found much pleasure in resorts such as the “Moulin Rouge.” Taverns,
-theatres, and the circus, found in him a constant patron. These were his
-schools; and hundreds, one may say thousands of sketches are the result
-of such teaching. He loved horses as his ancestors had done before him,
-and he studied their attitudes at the circus, sketching them in barbaric
-trappings and in eccentric poses. The smell of the sawdust always
-inspired him. The sketches here reproduced illustrate this phase of his
-career.
-
-M. Princeteau, the designer of sporting scenes, influenced Lautrec’s
-style, and became his intimate friend. Forain also counts for something
-in his development, whilst Pissarro and Renoir were frequent visitors to
-and critics of the young Impressionist. Perhaps of all men Degas
-inspired him most, and at times he undoubtedly copied the methods of
-that master. With serious study he had little to do. He worked in the
-atelier-Bonnat in 1883, and later on in the atelier-Cormont, where he
-continued the study of the nude; yet it was only after he had complete
-liberty and was entirely free from scholastic influence that his style
-began to form. Then his strong individuality displayed itself, and he
-became Toulouse-Lautrec as we know him.
-
-[Illustration]
-
-
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-
-
-[Illustration:
-
-  BABY’S TOILET · MARY CASSATT
-]
-
-
-
-
- CHAPTER IX · THE “WOMEN-PAINTERS”: BERTHE MORISOT, MARY CASSATT, MARIE
-                        RACQUEMOND, EVA GONZALÈS
-
-          “TOUTE TOILE QUI NE CONTIENT PAS UN TEMPÉRAMENT, EST
-          UNE TOILE MORTE”
-
-                                                  _ZOLA_
-
-
-AMONGST the artists who contributed paintings to the eight exhibitions
-of the Impressionist group are four women, who were influenced by the
-new methods: Mdlle. Berthe Morisot, Madame Marie Bracquemond, Miss Mary
-Cassatt, and Mdlle. Eva Gonzalès.
-
-The story of Berthe Morisot is romantic. She was the great
-grand-daughter of Fragonard, a famous beauty, a pupil of Manet, then the
-wife of his brother Eugène. Her position in the art world of France was
-unique, and her death at the early age of fifty in 1895 cut short a
-career devoted to a most charming and delicate style. She excelled above
-all in two branches of her art—an exquisite draughtsmanship and a most
-luminous and poetic sense of colour. Technical difficulties never
-discouraged her. She was one of those rare and fortunate individuals who
-can intuitively surmount any problem and consequently hardly require a
-teacher. Madame Eugène Manet was an artist to her finger-tips. Her work
-is charged with a feminine charm sympathetic to the temperament of any
-painter. Her canvases are iridescent poems in paint, and she possessed
-many qualities in common with her illustrious ancestor. “Only one woman
-created a style,” wrote the novelist George Moore (who, it may be
-remembered, had a close acquaintanceship with many of the
-Impressionists), “and that woman is Madame Morisot. Her pictures are the
-only pictures painted by a woman that could not be destroyed without
-creating a blank, a hiatus in the history of art.” She was a woman of
-great personality and charm, and took an active part in the furtherance
-of the movement which was initiated by her brother-in-law. “My
-sister-in-law would not have existed without me,” said Manet one day in
-the Rue d’Amsterdam to George Moore, and the latter adds, “True, indeed,
-that she would not have existed without him; and yet she has something
-that he has not—the charm of an exquisite feminine fancy, the charm of
-her sex. Madame Morisot is the eighteenth century quick with the
-nineteenth; she is in the nineteenth turning her eyes regretfully
-looking back on the eighteenth.”
-
-Miss Mary Cassatt is an American subject. She was born at Pittsburg,
-studied at the Philadelphia Academy, and then, after some work with
-Degas, became an accomplished painter of children and the varied scenes
-of maternity. A pastellist of note, with Raffaëlli she succeeded in
-resuscitating the moribund art of etching in colour. Miss Cassatt’s work
-shows evidence upon every side of unwearying years of effort. Its
-dominant character is strength, and, with the single exception of Berthe
-Morisot, the artist is probably one of the most virile woman painters
-the world has seen. Strength is decidedly not the keynote of any of the
-works of Angelica Kauffmann, Madame Lebrun, or even of the many women
-who exhibit to-day, although they display other qualities worthy of
-praise. Miss Cassatt has experimented in numerous directions, has often
-tried to express herself in a fresh way. She has succeeded. Her
-draughtsmanship is exceptionally firm, and her colour bright, pure, and
-harmonious. She has worked in oil, charcoal, water-colour, pastel, and
-etching, and has remained faithful to the inspiration of her master
-Degas, and through him to the art of Japan.
-
-The pastel drawing here reproduced is one of an extensive series devoted
-to scenes from maternal life. Although from the nature of things all
-such reproductions fall far short of the original, still a good idea is
-conveyed of technique and composition. Miss Mary Cassatt, it may be
-added, has travelled a great deal in search of subject inspiration, and
-is the friend of the older members of the original group of French
-Impressionists, to which she is allied by sympathy and the work of a
-lifetime.
-
-Madame Marie Bracquemond was also an “Impressioniste,” and joined
-ardently in the movement. At first following the example of Ingres, her
-first teacher, she received the most valuable help from her husband, an
-engraver of the rarest talent. The field of her art ranges from a
-colossal decorative panel (those exhibited in the Paris Exhibition of
-1878 were about twenty-one feet by nine feet in size) to a most delicate
-little etching. It may be understood that mere physical labour did not
-appal her, for the Exhibition panels required assiduous and heavy toil.
-
-[Illustration:
-
-  LE LEVER · BERTHE MORISOT
-]
-
-Of Eva Gonzalès there is, unfortunately, little to be said. At first
-taught by Chaplin, she became the favourite pupil of Edouard Manet, and
-commenced to display much talent as a pastellist. She married Henri
-Guérard, the engraver, but death ended at an untimely age a career of
-great promise. In the Luxembourg gallery she is represented by a pastel
-drawing.
-
-It has been often said that in art women cannot create: they can only
-assimilate and reproduce. In one sense this is true both of Berthe
-Morisot and Mary Cassatt, the two principal figures in this tiny
-feminine group. The first was profoundly influenced by her
-brother-in-law Manet, the second by her teacher Degas. Marie Bracquemond
-and Eva Gonzalès married husbands in the practice of their art.
-
-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 “confrères,” and produced a certain change of
-attitude. There was little light-heartedness in the work of Manet before
-these women-painters joined the group, and it is not altogether
-improbable that some of the change is due to their example. In any body
-of men feminine influence always makes for the good, and these women, of
-strong but charming personality, must (it is idle to write any less
-emphatic word) have had a strong influence upon the whole group. Their
-industry was great, for they exhibited almost without intermission from
-1874 to 1886. At times their talent touches genius, and for future
-historians they will prove an interesting study. Modernity is the note
-of Impressionism, and that movement was the very first artistic revolt
-in which women took a prominent part.
-
-[Illustration]
-
-
-------------------------------------------------------------------------
-
-
-[Illustration:
-
-  THE LAST RAYS · EMILE CLAUS
-]
-
-
-
-
-     CHAPTER X · “LA PEINTURE CLAIRE”: CLAUS, LE SIDANER, BESNARD,
-                             DIDIER-POUGET
-
-          “TOUT HOMME QUI NE RESSEMBLE PAS AUX AUTRES, DEVIENT
-          PAR LA MÊME UN OBJET DE DÉFIANCE. DÈS QUE LA FOULE
-          NE COMPREND PLUS, ELLE RIT. IL FAUT TOUTE UNE
-          ÉDUCATION POUR FAIRE ACCEPTER LE GÉNIE”
-
-                                                  _ZOLA_
-
-
-THE work of Emile Claus is a manifestation in quite another direction of
-the Impressionist idea. Born in Western Flanders in 1849, he was the
-sixteenth child of parents in very humble circumstances. Their business
-in life was to supply with provisions the boatmen who passed along on
-the river Lys. By various means the boy, who had very early displayed a
-yearning for the painter’s career, managed to evade all attempts to
-harness him in the drudgery of the home life. A pastrycook, a railway
-watchman, a linendraper’s assistant, these were a few of the vocations
-he was condemned to try, yet from which he escaped. At last he set out
-for Antwerp, with £7 in his pocket, and the warning that he need not
-expect a penny more. In the city of Rubens he became a free pupil of
-Professor de Keyser. All day long he studied in the Academy. When night
-came he earned a livelihood by giving drawing-lessons, acting as a
-sculptor’s “devil,” and colouring pictures of the Stations of the Cross.
-At last, after many struggles, he became a popular portrait-painter in
-the city, particularly of children in fancy costume. In 1879 he
-travelled through Spain and Morocco, painting the conventional
-compositions of an Iberian tour, and much influenced by the style of
-Charles Verlat. Despite his great success in Antwerp, in 1883 Emile
-Claus changed his manner entirely. He shook off the dust of the city for
-ever, renounced portrait-painting, and became “paysagiste.” Impelled by
-an intense love of nature he returned to his native village on the banks
-of the Lys, and recommenced his life as a landscape painter “en plein
-air.” He has never returned to the distracting turmoil of town, and, in
-his quaint white and green shuttered house at Astene between Ghent and
-Courtrai, has buried himself in the heart of the country. Although some
-distance from the larger cities of Belgium, Emile Claus does not
-vegetate in his obscurity. On wheel or a-foot he is equally active,
-visiting his friends and working on his canvases, of which he has always
-some six or eight in progress. It may be noted that he works entirely in
-the open air, and finishes in front of nature. One might judge of this
-from the strength and completeness of his pictures.
-
-It is years since the writer first saw a landscape by Claus, and he
-remembers vividly the pleasure it gave. The painting was in the
-well-known collection of Mr. John Maddocks, of Bradford. Upon a huge
-canvas the artist had depicted a cornfield ripe for the sickle, and in
-the midst of the wheat red poppies grew. Across the foreground, emerging
-from the wheat, wandered a few white ducks. Over the whole was the
-fierce glare of a noon-day sun. The work was convincing, naturalistic,
-yet poetic, inasmuch as it seemed to chant the universal hymn of nature.
-It was a revelation to those artists who found themselves in Bradford at
-that period. Unknown and a stranger, Claus received in spirit silent
-congratulations for his splendid achievement, which aroused in several
-breasts a keen feeling of emulation. The artist writes: “Mr. Maddocks
-has always strongly encouraged me, and had the courage to buy my work at
-a time when everybody in Belgium found me by far too audacious, because,
-as you may know, the leaders, the standard-bearers as it were, of the
-young Belgian school of painting are not at all in sympathy with the
-beautiful art of Monet and his school.” Since that day Emile Claus has
-greatly increased his following throughout the world, being least
-appreciated in his own country.
-
-Emile Claus is a painter whose brush is charged with the sweetness of
-life, courageous, healthful, and buoyant. His pictures breathe of
-sunlight and fresh air, and it is easy to see with what sheer delight he
-throws himself into his work. When one seeks for the reason which so
-suddenly changed this prosaic painter of the Antwerp bourgeois into an
-Impressionist of the most modern school, one discovers the usual cause,
-the Englishmen of the commencement of the last century. In a recent
-letter to the writer, Emile Claus says that in England, above all other
-countries, were born light and life in painting. “I have all too quickly
-glanced at the Turners and Constables of London, nevertheless it was a
-revelation to me, and those great artists Monet, Sisley, and Pissarro
-continue simply what that giant Turner discovered; just as the grand
-epoch of Rousseau, Millet, Dupré, and Corot, passed over Belgium to find
-their inspiration in the marvellous works of the Dutch school.”
-
-[Illustration:
-
-  EMILE CLAUS
-]
-
-[Illustration:
-
-  THE VILLAGE STREET · EMILE CLAUS
-]
-
-In the country of the Lys the artist continues to work, producing a
-series of pictures as beautiful as they are uncommon. One may mention
-his magnificent _Flemish Farm_ of 1883, the _Old Gardener_ of 1887 now
-in the Liége gallery, the canvas in the Antwerp gallery, and the fine
-work by which he is represented in the Luxembourg. Charming in colour,
-they will be found broad in manner, and perfectly original in sentiment.
-
-[Illustration:
-
-  RETURNING FROM MARKET · EMILE CLAUS
-]
-
-[Illustration:
-
-  GOLDEN AUTUMN · EMILE CLAUS
-]
-
-In 1891, Claus exhibited for the first time in the Champ de Mars, and
-has contributed each year from that date. His technical skill grows
-steadily. M. Gabriel Mourey, staunch supporter of “La peinture claire,”
-contributed a most sympathetic article to the “Studio,” in which he
-wrote, “In the old days, Claus was accused of being an ‘Impressionist,’
-and such he is to a certain degree just as any one may be without
-disrespect to the glorious traditions of the painter’s art. 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
-manifestations; while he is bound by no rule, subject to no formula, in
-his endeavour to interpret that meaning on his canvas. But, unlike most
-Impressionists, he has the rare capacity to know how to choose his
-impressions, to test them to the uttermost, and never to rest until he
-has translated them to his full satisfaction, disdaining the haphazard
-attempts which are sufficient for the majority of modern landscapists.
-Impressionist! One need feel no surprise that the superficial observer
-dubs him thus; for nowadays every painter whose work is luminous and
-bright, and devoid of bitumen, earns and deserves the title! The truth
-is that Claus, without adapting his style to any special method, is
-mainly concerned that his works shall be as full of atmosphere as
-possible, that his touch shall be as free and his colour as pure as he
-can make them. Thus he achieves that remarkable freshness of tint, that
-brightness of colouring, which constitute one of the chief charms of his
-art.”
-
-The little house near Astene is called in Flemish
-“Zonnenschyn”—“Sunshine,” and it is indeed sunshine which is predominant
-in the work of Emile Claus.
-
-Le Sidaner is an artist, who, after having passed through several
-antagonistic stages, has developed a style entirely his own. He may be
-described as a mystic who views the world with an air of detachment,
-standing aloof from the distractions of its inhabitants. He prefers an
-environment breathing some vague and undefined sorrow. The joy of life
-does not course through his veins. The subjects which appeal most to
-him suggest renunciation and world-weariness, the solemn peace of a
-Flemish _béguinage_, a cobbled street in Bruges recalling dead
-glories, a deserted canal with a solitary swan. When he designs a
-figure-composition the subject belongs to the same _genre_, a priest
-administering extreme unction to a dying girl, orphans under the care
-of a nun, old women waiting with the patience of extreme old age for
-Death to release them from their suffering senility. He instils into
-his canvases the very essence of Keats’ line, “Sorrow more beautiful
-than beauty’s self.”
-
-The only biographical account of Le Sidaner is to be found in one of M.
-Gabriel Mourey’s penetrating articles in the “Studio.” Le Sidaner was
-the son of fisherfolk from St. Malo and the Ile Bréhat. He was born in
-1862, and spent the first ten years of his life in his native place, the
-Ile Maurice. “While quite young,” says the writer of the preface to the
-catalogue of an exhibition held in 1897, “he came to live in Dunkirk,
-beside the murmuring North Sea, with its melancholy mists. The shock he
-felt at the change made him absolutely pensive. It was as though, half
-alarmed, he was taking refuge within himself the better to express the
-flame of Creole tenderness which burned within him.” His father, who
-practised painting and sculpture as an amateur, gave the boy every
-encouragement. At fifteen he was taken away from school, and sent to the
-local École des Beaux-Arts. Here he studied under a master who was slave
-to the doctrines of the Antwerp school.
-
-The artist, when telling his early experiences, deplored these evil
-influences. He admits that they were not worse than those forced upon
-him in Paris, where, at the École des Beaux-Arts, he studied under
-Cabanel. Five years he spent under that master, making sketches of the
-animals at the Jardin des Plantes, and copying Delacroix and Jordaens at
-the Louvre. Then he passed under the influence of Impressionism. He
-says: “It was in this year (1881) that Manet displayed his portraits of
-_Pertuiset, le tueur de lions_, and of _Rochefort_. The first of these
-pleased me infinitely, but the second gradually filled me with alarm; it
-was so different from that which I had hitherto seen. Nevertheless, I
-remember well that the famous _Bar des Folies-Bergère_ by this same
-Manet made the profoundest impression on me. Yet the rules of the school
-forbade me to consider all this as beautiful as I could have wished to
-consider it. When I look back on those days it really seems as though I
-was poisoned. Etaples, that is to say Nature, revived me, and drove the
-drug from my system.”
-
-[Illustration:
-
-  APPLE GATHERING · EMILE CLAUS
-]
-
-Le Sidaner goes on to tell how by chance he spent a holiday at Etaples
-in 1881. He settled there, and remained in the little coast town from
-1884 to 1893, where he made friendships with Eugène Vail, Thaulow, Henri
-Duhem, Alexander Harrison, and others. He refers to a visit to Holland,
-where Rembrandt, Peter de Hoogh, and Vermeer enchanted him. Having
-gained a third medal at the Salon des Champs-Élysées he was able to
-travel to Italy. “Italy simply turned my head, particularly Florence.
-Oh! the delicious hours I spent in the Convent of San Marco copying the
-face of the Virgin in Fra Angelico’s _Annunciation_. How much I
-preferred the simple grace of Fra Angelico and Giotto to the cleverness
-and skill of Titian, Veronese, and Tintoretto.” It was hardly necessary
-to have avowed these influences, they are so evident in the work of Le
-Sidaner.
-
-[Illustration:
-
-  A SUNLIT HOUSE · EMILE CLAUS
-]
-
-He is a man who avoids crowds and the distracting clamour of humanity,
-loving to work in such dead cities as Bruges, or the peaceful
-countryside in the neighbourhood of Beauvais. No modern artist has
-better expressed on canvas the words of the great Millet. “When you
-paint a picture, whether the subject be a house, a plain, the ocean, or
-the sky, remember always the presence of man. Think how his joys and
-sorrows have been intermixed in these landscapes. An inner voice speaks
-of his inquietude and turmoils. Humanity’s whole existence is conjured
-up. In painting a landscape think of man.”
-
-Le Sidaner has many affinities to Pointelin, Carrière, and Whistler.
-They each have sought harmonies of line and colour, and though distinct
-in personality and unlike in methods, they have produced wonderfully
-similar effects. One of the most impressive of Le Sidaner’s works is _La
-Table_ in the Luxembourg. Here is the unmistakable Impressionist
-technique. In the courtyard of a country house is spread a table, white
-with napery, upon which stands a glowing opalescent lamp. A calm summer
-moon diffuses a gentle light over the whole scene. No human figures
-disturb the peaceful atmosphere, yet the sentiment of their presence
-pervades the place. The painting is a little masterpiece of its kind.
-The first canvas exhibited at the Champs-Élysées in 1887 was entitled
-_After Church_. Since that time he has exhibited year after year, the
-subjects of his pictures being well explained by their French titles:
-_La Promenade des Orphelines_, _Communion in Extremis_, _Benediction de
-la Mer_ (1891), _Jeune fille Hollandaise_ (1892), _L’autel des
-Orphelines_ (1893), _Départ de Tobie_ (1894), _Les Promis_, and _Les
-Vieilles_ (1895). In 1900 he exhibited a notable collection of pictures
-of Bruges.
-
-Le Sidaner paints a world of dreams. No better description of his work
-can be found than in the words of Moore:
-
-               One of those passing rainbow dreams,
-               Half light, half shade, which fancy’s beams
-               Paint on the fleeting mists that roll,
-               In trance or slumber, round the soul.
-
-English readers and artists have hardly yet made the acquaintance of
-Besnard. To continental art-lovers he has long been known as the
-strongest and most audacious of the young men in the movement, and is
-thoroughly Impressionist in his ideas and methods. Few living artists
-have had the good fortune to be so much discussed as M. Besnard. Each
-Salon brings its chorus of admiration, its storm of disapprobation. The
-height of the argument was reached a few years ago, when, at the New
-Salon, the artist exhibited his _Ponies worried by Flies_. A startling
-piece of colour, it created a strong impression upon those who saw it.
-At that moment the existence of the violet tints in nature, which had
-been so beautifully demonstrated by Monet in his series of _Les
-Cathédrales_ and by Sisley in his charming river studies, was much under
-discussion in the studios. In some of the works of Monet and Sisley the
-whole picture is saturated in a glow of violet, which is frequently to
-be found in nature, particularly in northern France. Those who had not
-seen this natural effect disbelieved in its existence and charged the
-artists with painting “de chic.” Those who had seen it and essayed the
-difficult task of reproducing it upon canvas, loudly proclaimed its
-truths. Then came the _Ponies worried by Flies_. Besnard had heard of
-the heated discussion raging round the violet tints, and, having
-observed the truth of the effect, determined to demonstrate it in paint.
-Never had been seen in any Salon such a blaze of colour as this. The
-composition seemed to be but a peg upon which to hang a sermon in
-technique. Violet, violent in colour, pure hot impasto as shadow,
-juxtaposed directly to its natural complement of light in the shape of
-orange and citron colours, brilliantly loud and unadulterated. A
-sensation was created, and disbelief in the existence of violet tints in
-nature for ever silenced. M. Besnard has followed this success with many
-other surprising themes, for it is his pleasure to amaze. He seeks
-incessantly the new and incongruous.
-
-[Illustration:
-
-  THE QUAY AT VEERE · EMILE CLAUS
-]
-
-[Illustration:
-
-  THE BARRIER · EMILE CLAUS
-]
-
-Besnard’s talent has been, and continues to be, publicly recognised. The
-municipality of Paris yearly expends large sums of money in securing the
-best available skill for decorating the public buildings in its charge.
-In this laudable custom it is followed by every town of any importance
-throughout the country. Lavishly patronised by the Government, the
-municipalities, wealthy private collectors, and the sentiment of the
-people generally, artists thrive in France and multiply. In whatever
-respect—if any—in which France may be found lagging behind the nations,
-in Art she must by the very reason of things remain supreme, for Art is
-a part of her daily life. Besnard has been lucky with his commissions.
-He was called upon to assist in the decoration of the magnificent Hôtel
-de Ville of Paris, in the Town Hall of the First Arrondissement, in the
-lecture hall of the Sorbonne, and with the frescoes in the School of
-Pharmacy. In all these decorations one finds colour and composition as
-original as bizarre, harmonious yet forcible. All students of modern
-painting should not fail to see these works, the most striking in
-execution of the last few years. The artist’s atelier is also always
-open to connoisseurs, and it will be found to be crowded with sketches
-and pictures in progress, each one unmistakably the handiwork of a
-master craftsman.
-
-[Illustration:
-
-  AN ALLEY · HENRI LE SIDANER
-]
-
-[Illustration:
-
-  THE TABLE · HENRI LE SIDANER
-]
-
-Five of Besnard’s canvases have been bought by the Government, and all
-are now to be found in the Luxembourg, an honour few artists can boast
-of. A list is given for reference. The first of the series is a portrait
-of the artist, the others being entitled _Femme qui se chauffe_, _La
-Morte_, _Port d’Alger au Crépuscule_, and _Entre deux Rayons_. The
-second and third are excellent examples of a branch of art in which
-Besnard is supreme. His nudes and portraits are wonderfully fine in
-drawing, and bewitching in colour. They will form his greatest claim to
-future immortality.
-
-Besnard is a particularly sympathetic lover of horses, and no one can
-more naturally reproduce them in paint than he. His chief recreation is
-driving, and he is often to be seen “tooling” along the roads of the
-Bois de Boulogne and other suburbs of Paris. There is little to add
-personally about Albert Paul Besnard. He was born in Paris, married
-Mdlle. Dubray, a sculptor of much talent, and resides in the Rue
-Guillaume Tell. His career has been a continued series of success upon
-success, and at the present moment he is one of the shining stars of
-contemporary art in France.
-
-Allied to the later phase of the Impressionist movement, although not
-actually identified with the group of artists known as the typical
-Impressionists, is Didier-Pouget. His habitual manner of regarding
-Nature, his pure and cheerful colours, and his natural temperament,
-include him in this survey of workers in “la peinture claire.” He has a
-special gift of composition, “mise en plan,” as the French say, a strong
-feeling for balance and form. He is at his best when depicting morning
-and sunset effects. His scenes of heather bathed in sunshine or
-glistening with the dew of an autumnal sunrise are rendered with an
-exceptional verisimilitude, strength, and truth.
-
-Didier-Pouget was born at Toulouse in 1864, the son of the editor of one
-of the local journals. His father, a great lover of Nature, gave the boy
-every encouragement in his ambition to become an artist. It was the
-custom of father and son to take long country walks, and the elder would
-point out natural beauties and discuss the methods of their pictorial
-representation, relating at the same time biographical details of the
-great artists, and in every way endeavouring to train the child and
-sustain his ideals. After Didier-Pouget had passed through a plain
-schooling, professors were engaged, notably MM. Auguin and Baudit. For
-the latter (a local artist of genius, who, had he forsaken the quieter
-life of the provinces for the glare of Parisian publicity, should have
-attained to the highest honours an artist can reach) his old pupil has
-still much admiration. Then Didier-Pouget passed into the studio of
-Lalanne, the celebrated etcher and illustrator. Under these influences
-many profitable years were spent, the seed-time of a most fruitful
-career.
-
-Locally the youth was regarded as a prodigy of talent, and great things
-were expected of him. Pictures were exhibited in the provinces which
-attracted much appreciation, and found many purchasers. Thus encouraged,
-the artist sought a wider audience, and went to Paris. It was a wise
-step, and Fortune smiled on him from the first. From 1886 he has
-exhibited year by year at the Salon, each fresh season showing a marked
-advance in his art, bringing to the world of Paris new and delightful
-colour-schemes and vivid compositions.
-
-Didier-Pouget achieved his “Mention Honorable” in 1890, won the
-“Concours Troyon” the following year, and was awarded the gold medal at
-the Salon in 1896 upon the recommendation of Gérôme, hitherto a strong
-opponent to the new style. He is now a Chevalier of the Legion of
-Honour, his medals, diplomas, and awards from foreign exhibitions and
-Governments being almost innumerable. Such a measure of success is
-rarely achieved nowadays by a man under forty in the arduous profession
-of art. The State and the municipality of Paris are amongst his most
-regular patrons. Besides the pictures reserved for Paris, he is
-represented in the museums of Lyons, Macon, Toulouse, Tunis, the Embassy
-at St. Petersburg, the galleries of Boston, U.S.A., and Leipsic, and the
-private collections of the Kings of Italy and Greece.
-
-[Illustration:
-
-  A STUDY · ALBERT BESNARD
-]
-
-[Illustration:
-
-  THE DEATH-BED · ALBERT BESNARD
-]
-
-Personally Didier-Pouget is more Spanish than French. Of medium height,
-tanned complexion, black hair, dark eyes which tell unmistakably of the
-artist, very reserved in manner, and modest to a degree—these are his
-characteristics. He leads a solitary life in the Boulevard de Clichy. In
-his large studio will probably be found the canvas he is working upon,
-about ten feet by six, his favourite size. Innumerable studies are
-scattered around, rapid sketches of form and colour, line-drawings,
-careful black-and-white work full of detail, in fact every trifle which
-will aid him in completing the whole.
-
-[Illustration:
-
-  MORNING MISTS IN THE VALLEY OF THE CREUSE · DIDIER POUGET
-]
-
-
-[Illustration:
-
-  MORNING IN THE VALLEY OF THE CORRÈZE · DIDIER POUGET
-]
-
-If the greatest art is to represent an impression of Nature at her best,
-then the work of Didier-Pouget is great. “It is truly worth while being
-a painter to have produced any one of these,” writes the critic of “Le
-Temps.” The artist loves best to represent Nature in her peaceful moods,
-and generally seeks the solitudes of the exquisite hills, valleys, and
-rivers of the Tarbes countryside, or the rich watershed of La Creuse.
-Here, in the fresh early-morn, charged with dew and mist, he finds his
-subjects, overlooking magnificent panoramas of river, hillsides covered
-with heather, across valleys and plains from which loom out
-sculpturesque masses of foliage, dark and strong against the blue mist
-and distant mountain ridge. The painter prefers Nature serene and
-undisturbed, and introduces but little incident.
-
-It need hardly be said that his palette is free from all blacks, browns,
-ochres, or earth-colours generally, and that his strongest “effects” are
-gained by the juxtaposition of pure tints in harmonious contrast. His
-favourite colour-scheme seems to be the composition of subtle
-arrangements in yellow and blue, or pink and green. He contributes
-regularly to the Salon, yearly producing from two to four canvases of
-the size mentioned, and in these days of a limited market and unlimited
-talent, he invariably finds purchasers. So fortunate has he been that
-his numerous friends have but one fear for his future, that his enormous
-success may hasten a tendency to stereotype his compositions.
-Didier-Pouget is doubtless aware of this danger, and will probably
-follow his present aims in a manner which will not disfigure or flaw a
-most brilliant career.
-
-
-[Illustration]
-
-
-[Illustration:
-
-  THE VALLEY OF THE CREUSE · DIDIER POUGET
-]
-
-
-------------------------------------------------------------------------
-
-
-[Illustration:
-
-  PORTRAIT OF HIS MOTHER · J. A. McN. WHISTLER
-]
-
-
-
-
-    CHAPTER XI · AMERICAN IMPRESSIONISTS: WHISTLER, HARRISON, HASSAM
-
-          “THROUGH HIS BRAIN, AS THROUGH THE LAST ALEMBIC, IS
-          DISTILLED THE REFINED ESSENCE OF THAT THOUGHT WHICH
-          BEGAN WITH THE GODS, AND WHICH THEY LEFT HIM TO
-          CARRY OUT”
-
-                                                  _WHISTLER’S
-          TEN O’CLOCK_
-
-
-MR. WHISTLER’S personality was one of the most striking in the art world
-of the last forty years, and his death was an irreparable loss. That he
-will rank as one of the greatest masters of the nineteenth century there
-can be no doubt. As an Impressionist with a strong individuality his
-work requires attention in this volume.
-
-The Whistler family came originally from England, chiefly from the
-neighbourhoods of Whitchurch and Goring-on-Thames. A notable ancestor
-was Daniel Whistler, President of the Royal College of Physicians of
-England in the reign of Charles II. Several references to this “quaint
-gentleman of rare humour” are to be found in the pages of ‘Pepys’
-Diary,’ and the family trait reappeared (with emphasis) in the character
-of the famous artist. James Abbott McNeill Whistler was born at Lowell,
-Massachusetts, in 1834, his father being Major George Washington
-Whistler, for some time consulting engineer to the St. Petersburg and
-Moscow Railway. The son was destined for a military career, and received
-a considerable amount of tuition at the Government College at West
-Point. Work as a cadet, and also on the coast survey, does not seem to
-have interested him. In the fifties he migrated to Paris and became a
-student in the atelier of Gleyre, two of his fellow pupils being Sir
-Edward Poynter and George du Maurier. Whistler cannot have had much
-sympathy with the art in vogue at that time, a degenerated style based
-upon a sentimental classicalism. He found his best friends amongst young
-Frenchmen with extremely different ideas, men such as Fantin-Latour,
-Bracquemond, Degas, Manet, Duret, Claude Monet, and many others.
-Whistler first acquired fame as an etcher, and his first set of plates,
-known as the “little French set,” amply justifies the welcome with which
-it was received. From that early date until his death he has been
-acknowledged pre-eminent in the etcher’s delicate and graceful art.
-
-At the Salon de Refusés (to which frequent reference has already been
-made) Whistler exhibited his first important painting, the _Little White
-Girl, Symphony in White No. 2_. It created his reputation as a painter,
-and remains one of the most charming of his canvases. An early
-contribution to the Royal Academy was entitled _At the Piano_, and
-clearly showed that the artist was then dominated by the subtle
-influence of Dante Gabriel Rossetti. This influence was quickly
-discarded, for Rossetti’s talent was inferior to that of the gifted
-American.
-
-It has often been said that Whistler was never welcomed at the Royal
-Academy. This point remains debatable; the fact remains that the artist
-was constantly in evidence during the early part of his career. In 1859
-he exhibited _two etchings from nature_ (the title given in the
-catalogue to one frame); in 1860 the celebrated _At the Piano_ (which
-was bought by an Academician) and five other works, namely, _Monsieur
-Astruc, Rédacteur du Journal l’Artiste_ (Drypoint); _Thames—Black Lion
-Wharf_; _Portrait_ (Drypoint); _W. Jones, Lime Burner, Thames Street_
-(Etching); and _The Thames, from the Tunnel Pier_. In 1861 he was
-represented by one canvas, _La Mère Gérard_, together with _Thames from
-New Crane Wharf_ (Etching); _Monsieur Oxenfeld, Littérateur, Paris_
-(Drypoint); _The Thames, near Limehouse_ (Etching). In 1862 he sent two
-paintings, _The Twenty-Fifth of December, 1860, on the Thames, Alone
-with the Tide_; and _Rotherhithe_ (Etching). The next year, 1863, was
-prolific. The catalogue contains the following titles: _The Last of Old
-Westminster_; _Weary_ (Drypoint); _Old Westminster Bridge_; _Hungerford
-Bridge_ (Etching); _The Forge_ (Drypoint); _Monsieur Becgis_ (Etching);
-_The Pool_ (Drypoint). Two works were on view in 1864: _Wapping_ and
-_Die Lange Lizen—of the Six Marks_. In 1865 he exhibited _The Golden
-Screen_; _Old Battersea Bridge_; _The Little White Girl_ (with a
-quotation in the catalogue of fourteen lines from Swinburne); and _The
-Scarf_. Whistler was not represented in 1866, but in 1867 exhibited the
-_Symphony in White No. 3_; _Battersea_; and _Sea and Rain_. After a
-break of two years came _The Balcony_ in the Academy of 1870. The next
-year’s catalogue does not contain his name, but in 1872 the Academy
-accepted that exquisite example of his art, now in the Luxembourg,
-_Arrangement in Grey and Black: Portrait of the Painter’s Mother_. For
-six years Whistler was an absentee, being represented for the last time
-on the walls of Burlington House, in 1879, by _Old Putney Bridge_
-(Etching).
-
-[Illustration:
-
-  PORTRAIT OF THOMAS CARLYLE · J. A. McN. WHISTLER
-]
-
-[Illustration:
-
-  PRINCESS OF THE PORCELAIN COUNTRY · J. A. McN. 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
-direction. The walls of the rooms in Bond Street were repeatedly adorned
-by those charming creations known as _Nocturnes_ and _Symphonies_, by
-the remarkable _Valparaiso_, by many of the portraits, notably _Lady
-Archibald Campbell_, _Carlyle_, and the delightful _Miss Alexander_.
-Twenty years ago Whistler’s life in London and Paris was exceptionally
-active. In him Society discovered a wit of Gallic alertness, and he
-speedily became one of the most prominent characters of the day. Readers
-will remember the oft-told tale of how Whistler sacrificed (with a true
-Whistlerian light-heartedness) much costly Cordovan leather, in order
-that he might create a masterpiece of decoration in the celebrated
-Leyland mansion. Another historic story is the _cause célèbre_ of
-Whistler _v._ Ruskin, based upon the criticism of a Grosvenor Gallery
-nocturne as “a pot of paint flung in the public face,” with the
-resultant farthing damages. The canvas which called forth this elegant
-banter was that entitled _Nocturne in Black and Gold; the Fire Wheel_,
-the theme being a display of fireworks in the gardens at Cremorne. From
-a literary point of view, as a writer of biting sarcasm the artist
-scarcely had a peer. One admires that lively _jeu d’esprit_ “Ten
-o’clock,” and the strange mixture of correspondence entitled “The Gentle
-Art of Making Enemies” will not be out of date until all the shining
-lights of the present generation have been forgotten.
-
-After two years of probationship as an ordinary member, in 1886 Whistler
-became President of the Royal Society of British Artists, an
-old-established and hitherto staid and conservative institution. His
-term of office was brilliant and exciting; he himself exhibited such
-wonderful pictures as the _Sarasate_, and his reputation attracted the
-most talented of the younger artists of the day. The correspondence
-which ensued when Whistler vacated the presidential chair must be sought
-for in “The Gentle Art of Making Enemies.”
-
-In Whistler’s work there is a curious yet indefinable influence of
-Japanese painting. In company with most of the Impressionists, he was
-influenced by those Impressionists of another race. This influence is to
-be observed in all modern painting since 1870, when artists first
-commenced to collect examples of the Japanese methods.
-
-In his later years Whistler preferred the atmosphere of Paris to that of
-London, although he continued to visit occasionally the country he
-described as “humourless and dull.” The artist was thoroughly
-cosmopolitan, and was equally at home in New York, Paris, or London. His
-influence upon the art of to-day has been unmistakable, and one has
-little doubt as to its permanency. Whistler helped to purge art of the
-vice of subject, and the belief that the mission of the artist is to
-copy nature.
-
-[Illustration:
-
-  ALEXANDER HARRISON
-]
-
-Mr. Alexander Harrison is one of those numerous American artists who
-have settled in France, a natural result of French training and French
-sympathies. Inspired by Manet, influenced by Besnard, he has painted
-some of the most successful Impressionist work of the last fifteen
-years. One cannot agree always with Dr. Muther in his learned and not
-altogether satisfactory tomes, but his appreciation of Mr. Harrison is
-so delicate and just that it is worth reproducing. “_In Arcady_,” he
-writes, “was one of the finest studies of light which have been painted
-since Manet. The manner in which the sunlight fell upon the high grass
-and slender trees, its rays gliding over branch and shrub, touching the
-green blades like shining gold, and glancing over the nude bodies of
-fair women—here over a hand, here over a shoulder, and here again over
-the bosom—was painted with such virtuosity, felt with such poetry, and
-so free from all the heaviness of earth, that one hardly had the sense
-of looking at a picture at all.” The luminous painting of Besnard had
-here reached its final expression, and the summit of classic finish was
-surmounted. His third picture was called _The Wave_. 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 Manet. When Harrison exhibited his _Wave_, sea-pieces by
-Duez, Roll, and Victor Binet were also in existence; but Harrison’s
-_Wave_ was the best of them all.
-
-[Illustration:
-
-  IN ARCADY · ALEXANDER HARRISON
-]
-
-[Illustration:
-
-  THE WAVE · ALEXANDER HARRISON
-]
-
-Harrison’s vast studio in Paris breathes of the sea. The painter is an
-ardent yachtsman, and traces of his recreation are numerous. Here are to
-be found dozens of canvases, rolled up, piled in bundles, hung haphazard
-against the walls, each one telling some different story of the waters.
-These studies, probably worked upon in the neighbourhoods of Pould’hu or
-Begmiel, are often actually salted and sanded by contact with the
-elements which dash against the wild but lovely Breton shores. No modern
-man paints seascapes like Harrison. He produces effects which are
-evidently the results of patient vigil and watching, as well as a
-vigorous power of brushwork. They are transcripts of the ocean, which
-can only be seen as the sun rises out of the east over the waters, pale
-lilac tints, softly fading into citron, or gaining added strength in
-vermilion or deep orange reflected from the passing clouds, whilst
-sweeping ripples (one can almost hear their rhythmic cadence) are gently
-lost across the expanse of ethereal, glistening sand.
-
-[Illustration:
-
-  SUNLIGHT ON THE LAKE · CHILDE HASSAM
-]
-
-In other pictures we see the tide at full flood; nature is in a fairer
-mood, and the universe glows with an exquisite green. The waves, of a
-glassy transparency, are for the moment held in check by a supreme
-power. Such passing phases of Nature Mr. Harrison seizes with unerring
-touch. Another branch of his work, already referred to in speaking of
-the picture _In Arcady_, are the paintings of the nude amidst the actual
-surrounding of the fields. Part of their success may be ascribed to the
-fact that they have been painted in each case in the open air. From the
-photographs, which Mr. Harrison has allowed us to reproduce, both sides
-of his beautiful talent may be judged. Like most Impressionists, his art
-breathes of a love and joy with Nature as seen by a temperament refined,
-distinguished, one may add—aristocratic.
-
-In the days when Florida was a primæval wilderness Mr. Harrison as a
-very young man entered the United States Coast Survey. Whistler, it may
-be remembered, commenced his career under the auspices of the same
-department. Florida was just the place for an adventurous youth, and
-Harrison was interested in his work. His enthusiasm, coupled with his
-ability, resulted in being intrusted with most of the difficult and
-sometimes dangerous “reconnaissance” engineering scout work that called
-for lonely jaunts and camping out amongst the swamps and lagoons.
-
-After four years on the Florida coast the party moved on to Puget Sound.
-The young men connected with the survey had been dabbling for some time
-in the use of water-colours, and Harrison found that the artist in him
-was winning ascendency over the surveyor. An argument with the head of
-the survey settled the matter. Mr. Harrison went to San Francisco, and
-then travelled to Paris, and studied under Gérôme. He was in his
-twenty-sixth year, and conscious that his career was midway between
-success and failure. He exhibited at the Salon a picture _Châteaux en
-Espagne_, a boy stretched on his back in the sand of a warm, dry beach,
-wrapt in the spell of a day-dream. “It was rather symbolic,” said the
-artist once as he gazed at the photograph, “of my own state of mind at
-that time.”
-
-During the next ten years he was engaged in painting nudes in the open
-air. His chief source of inspiration was his friend Bastien-Lepage, with
-whom he travelled to Brittany. Harrison’s first success was _In Arcady_,
-now in the Luxembourg. A recent journalistic interview elicited many
-interesting facts about Mr. Harrison’s method of work. The writer
-concludes: “Mr. Harrison’s usual haunt in Brittany is Begmiel. Here
-there is a sandy peninsula jutting into the sea, whence you can watch
-the sun go down on the one horizon, and the moon come up from the other.
-He does not carry his paint-box about with him taking notes. Memory and
-imagination, knowledge and power of visualisation, take psychic
-photographs. It is not to be gathered from this that Mr. Harrison is
-unerring. He has scraped out as many yards of painted canvas as any man.
-But where his strength undeniably exists is in this subjective, rather
-than objective, genius for instantaneous notation. 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 reconnaissance. He takes his
-embryonic map (a small canvas) and puts down his known points. He knows
-just what spot of colour was here, what broken line there. The more he
-puts down the more he sees, and presently the little map is finished.
-The first map finished a larger size is made, and, if all goes well,
-perhaps one larger still, and we have a great picture like any one of
-those exhibited by the artist at the Salon of the Société Nationale.”
-
-It is hardly necessary to add that this artist is an officer of the
-Legion of Honour, and has received numerous medals and other awards. Of
-the Franco-American school of painting he is one of the recognised
-heads, and this has been acknowledged by his election to the chief art
-societies of Paris, New York, Berlin, and Munich, whilst he is
-represented in the permanent collections of the Luxembourg, the Royal
-Gallery, Dresden, the Museum at Quimper, and the American galleries of
-Philadelphia, Washington, Chicago, St. Louis, and San Francisco.
-
-[Illustration:
-
-  CHILDREN · CHILDE HASSAM
-]
-
-[Illustration:
-
-  POMONA · CHILDE HASSAM
-]
-
-[Illustration:
-
-  A COUNTRY BEER-HOUSE, BAVARIA · MAX LIEBERMANN
-]
-
-Childe Hassam is a young American artist who has been strongly
-influenced by Impressionism. Originally from Boston, he worked for
-several years in Paris, and when he returned to the States had already
-some reputation. In New York he has “rendered the street life in fresh
-and fleeting sketches; snow, smoke, and flaring gaslight pouring through
-the shop-windows, quivering out into the night, and reflected in an
-intense blaze upon the faces of men and women.” A typical example of his
-work in this _genre_ is _Seventh Avenue, New York_. Childe Hassam is an
-associate of the Société Nationale des Beaux-Arts, a member of the
-Secession of Munich, the American Water Colour Society, and numerous
-clubs and societies throughout the States. He has received medals at
-many of the recent International Exhibitions, including that of Paris in
-1889, whilst he is represented in several of the continental and
-transatlantic galleries. Being still young and enthusiastic, much may be
-expected of Mr. Hassam in the future.
-
-
-------------------------------------------------------------------------
-
-
-
-
-          CHAPTER XII · A GERMAN IMPRESSIONIST, MAX LIEBERMANN
-
-          “CE QUE JE CHERCHE AVANT TOUT DANS UN TABLEAU, C’EST
-          UN HOMME ET NON PAS UN TABLEAU”
-
-                                                  _ZOLA_
-
-
-GERMANY has been strongly affected by the French movement, as in fact
-has been the whole of the Continent. Any person who can remember the
-state of art in the Fatherland twenty years ago will notice the great
-change now taking place. He need only revisit the country and wander
-through the great annual exhibitions held in the larger cities, such as
-Berlin, Munich, and Dresden. In 1878 the “Gazette des Beaux-Arts,”
-referring to the German school of painting, said: “There are one or two
-artists of the first rank, and many men of talent, but in other respects
-German painting is still upon the level of the schools which had their
-day amongst us thirty years ago; 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 isolation.” Since that date, in the manner of viewing
-nature, in the choice of subject, in the style, composition, technique,
-and colour of pictures, the main trend of German art has been completely
-altered. Until quite recently Teutonic artists delighted in the
-allegorical. The output of fabulous monsters, fauns, unicorns, satyrs,
-was enormous. Every young painter turned his hand to the production of
-these fantastic mythological subjects. Happily a saner view of the
-mission of art has come over the land, and the fauns and satyrs are
-being gradually relegated to oblivion. From an absurd pseudo-classical
-style (the effect of teaching from men like Couture and Munkacsy),
-together with unlimited use of bitumen and black, a national school of
-painting has been evolved which follows “la peinture claire,” giving
-promise that in time it will travel, as regards purity of colour and
-brilliance of effect, far beyond the bounds Monet has restricted himself
-to. Work “en plein air” is the vogue, and no longer the exception,
-whilst the sun is recognised at his true worth in the universal scheme
-of nature. Hitherto King Sol has been disregarded, and his presence but
-rarely indicated in some low-toned sunrise, or a sunset effect—the
-conventional chrome-yellow band across a deep Prussian-blue hill
-distance. Following the lead of the artists, both critics and public are
-being gradually weaned from the love of black shadows, although it
-cannot be said that they are wholly converted. Still their education is
-in rapid progress, and the German people will soon be abreast of the
-times in matters artistic.
-
-One man, Max Liebermann, has brought about this healthy state of things
-almost single-handed. 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 impressionism, for Liebermann is a
-master, head and shoulders above all his colleagues. His artistic
-history is easy to trace. The greatest painters are always primarily
-attracted by the work of other great men. They copy the models of their
-choice, and, missing some of the peculiar qualities enshrined therein,
-gradually replace them in their own works with something equally fine.
-These fresh qualities will in their turn find admirers, and, fanning the
-zeal of newcomers, keep alight throughout the ages the sacred flame of
-art. If Delacroix borrowed from Constable, Manet borrowed from
-Delacroix, and Liebermann from Manet. In his turn, Liebermann has
-influenced a large and increasing number of young German and Dutch
-artists.
-
-With his pre-eminent position as a representative German painter, Max
-Liebermann combines a commanding and active personality. More than any
-other man of his time, his work has provoked discussion and attracted
-attention from the commencement. During the last thirty years he has
-fought strenuously the battle of light in painting. Strongly influenced
-by Manet, Monet, together with Millet and the Barbizon school, he has
-succeeded in inculcating amongst his brother artists a love of actuality
-in subject, a desire to work direct from nature (contrary to that old
-method of painting in the semi-gloom of the studio from incongruous
-models in more or less correct costume), together with the
-simplification and purification of the palette. Liebermann has taught
-German artists to look at nature as it is, and not to represent it as
-seen through the veil of a deadening academic tradition; he has taught
-them that art does not consist in a minute finish, that there is no
-finality in nature, and that the last impression which a true work of
-art should convey is that of excessive industry.
-
-[Illustration:
-
-  THE COBBLERS · MAX LIEBERMANN
-]
-
-Max Liebermann was born in Berlin, July 29, 1849, the son of a wealthy
-merchant. At an early age he decided to become an artist, but the
-fulfilment of his wish was opposed by his father, who suggested a course
-of philosophy at the University of Berlin as an antidote. Young
-Liebermann joined the faculty of philosophy, but at the same time worked
-in Steffeck’s studio where he made quick progress. He assisted his
-master, we are told, in the battle picture _Sadowa_, painting guns,
-sabres, uniforms, and hands, with much approbation from Steffeck. He
-frequented the galleries and museums in preference to the class-rooms,
-and preferred to sketch in the streets and parks of Berlin rather than
-sit at the feet of a professor at the University. In 1869, with parental
-authority, he deserted philosophy altogether, and joined the Academy at
-Weimar, then in high repute as a school of art producing the regulation
-painters of orthodox pattern. Here he worked for three years under
-Thumann and Pauwels, beginning pictures in their style which were left
-unfinished. The petrified classicalism which reigned in Weimar was
-little acceptable to a youth who had keenly studied the life around him,
-and who had developed a strong love for natural effects as well as
-modernity in technique. These heretical tendencies were sternly
-repressed by his respectable and erudite teachers. At last Liebermann
-threw aside artificiality, and, quitting the circles of the conservative
-Academy, occupied himself in painting in the open air.
-
-In 1873 he finished his first great picture, _Women plucking Geese_, now
-in the National Gallery, Berlin. It was more or less academic as to
-technique, and black tones predominated throughout in accordance with
-the fashion of the period. The subject brought the canvas into immediate
-notoriety, the picture was condemned as a gross vulgarity, and
-Liebermann was described as “the apostle of ugliness.” This hostile
-reception was entirely unexpected by the sensitive artist, who was much
-affected by it, and determined to leave Berlin for Paris.
-
-Thirty years ago the bituminous method of Munkacsy was the most popular
-art in Germany, and influenced many of the younger painters, Liebermann
-included. Upon his arrival in Paris the artist sought out the great
-Hungarian, and asked for advice. The result of the interview was that
-Liebermann quitted Paris for Holland. Munkacsy was at that time, as Dr.
-Muther remarks, under the influence of Ribot, and confirmed Liebermann
-in his preference for heavy Bolognese shadows. It was not until he came
-to know the works of Troyon, Daubigny, and Corot, that he liberated
-himself from the influence of the school of Courbet. As subsequent
-events proved, the advice given by Munkacsy was good and to the point,
-and Liebermann acknowledges his great obligation to the painter of
-_Christ before Pilate_.
-
-The first motive of importance which Liebermann found in the Low
-Countries resulted in the picture _Women preserving Vegetables_,
-completed at Weimar in 1873, and exhibited at the Salon of the same
-year. The subject represents a group of women in a dimly lit barn busily
-engaged in preserving cabbages and other vegetables. The canvas,
-although a great advance upon its predecessors, was ungraciously
-received in Germany. So little appreciation did Liebermann receive that
-he definitely removed to Paris, where he knew a welcome awaited him. In
-“la ville lumière” he worked in the schools and museums, studied Troyon,
-Daubigny, and Millet, whilst the influence of Manet, Monet, and the
-other Impressionists, was an important factor in the development of his
-art.
-
-[Illustration:
-
-  ASYLUM FOR OLD MEN, AMSTERDAM · MAX LIEBERMANN
-]
-
-[Illustration:
-
-  WOMAN WITH GOATS · MAX LIEBERMANN
-]
-
-So strong was his admiration for Millet that he went down to Barbizon,
-where he arrived shortly before the death of that great artist. Under
-the influence of Millet he painted _Labourers in the Turnip Field_, and
-_Brother and Sister_, which appeared in the Paris Salon of 1876. He now
-reached the turning-point of his career, for he had made up his mind
-that at all costs he must perfect his own individual style. A great
-unrest, useless to battle against, disorganised his movements. He
-travelled through Belgium, Holland, Germany, and Italy, studying and
-searching for the inspiration which should place him in the right path.
-During these travels he met at Venice Lenbach, the portrait-painter, who
-told him to study in Munich. Tired of wandering he acted upon the
-suggestion, and passed six years in the Bavarian capital. For a period
-his art assumed a religious character, and he painted many biblical
-compositions. These works were coldly received, and in Munich they were
-strongly and adversely criticised. The clergy objected to them as
-profane, and a debate on the subject followed in the Bavarian Assembly.
-The life of the artist becoming exceedingly uncomfortable, Liebermann
-settled in Amsterdam, where he found a freer artistic atmosphere more
-congenial to his temperament. Disdaining the critical capacity of his
-native city, Liebermann forwarded all his finest works to Paris, and in
-the Salon of 1881 exhibited _An Asylum for Old Men_, which gained a
-medal in the third class, the first honour awarded to German art since
-the war. Having received the official imprimatur of Paris, his
-countrymen began to realise that an artist had grown up amongst them
-they could no longer afford to neglect. Liebermann’s works found
-purchasers throughout the Continent, and his future was assured. He was
-elected a member of the “Cercle des Quinze,” of which Alfred Stevens and
-Bastien-Lepage were prominent supporters, and he exhibited annually at
-the Salon Petit and other French collections. Since 1884 he has divided
-his time between Berlin and the little village of Zandvoort, near
-Hilversum, in Holland. Perhaps his early experiences account for the
-fact that when in the German capital he mixes little with its artistic
-society.
-
-Liebermann has practised with success and ability every variety of
-artistic expression. His portraits alone would class him amongst the
-masters, taking as examples the _Burgomeister Petersen_, the _Professor
-Virchow_, and the _Gerhart Hauptmann_. He is equally facile with the
-burin, the needle, the pastel, or with water-colours. His activity is
-ceaseless, and his production, in consequence, enormous; he possesses
-robust health, uncommon strength, enormous fertility, traits common to
-the great artists of all ages.
-
-In his fine canvas of the _Courtyard of the Orphanage, Amsterdam_,
-painted in 1881, Liebermann shows for the first time complete
-emancipation from the thrall of Munkacsy’s influence. The picture was
-exhibited in the Salon of 1882, and in it appears that peculiar note of
-red, now one of the distinguishing features of the artist’s work. Of
-this canvas Hochédé, the Parisian art critic, said that Liebermann must
-surely have been stealing sunbeams to paint with. Then commenced a long
-series of pictures such as the _Ropeyard_, the _Netmenders_, now one of
-the most valued pictures in the modern section of the Gallery at
-Hamburg, in which the Impressionist spirit is clearly manifested. The
-unimportant has been omitted, and the pith of the subject only is given.
-The point of view is focused, the inconsequent suppressed, and the “mise
-en scène” proves the artist to be an irreproachable draughtsman, as well
-as a colourist of the first rank. Liebermann’s pictures of “sous bois”
-are particularly pleasing, strikingly painted and original; they were
-the first of their kind in Germany, and disconcerted the whole artistic
-community.
-
-In following the progress of Liebermann’s art, one notes that he is
-attracted unceasingly by problems of light. If Manet is the great
-apostle of “plein air” painting, 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 painting. His gradual emancipation from tradition may
-be easily traced from the days of _Women plucking Geese_, when he was
-with justice called a “son of darkness”; through the “sous bois”
-pictures, to the present period of vivid sunlight and violet shadows
-across open country, sea, and the human figure.
-
-Liebermann headed the party which revolted from the National Salon, and
-of the Secessionists he is the president. Similar cleavages of the young
-and progressive from the old and reactionary have taken place in most
-countries with equally important results. In Max Liebermann Germany has
-an artist of most exceptional gifts. “I do not seek for what is called
-the pictorial,” he writes, “but I would grasp nature in her simplicity
-and grandeur—the simplest thing and the hardest.”
-
-[Illustration]
-
-------------------------------------------------------------------------
-
-
-
-
-                CHAPTER XIII · INFLUENCES AND TENDENCIES
-
-          “C’EST L’AFFIRMATION GRANDIOSE DE L’EFFORT VERS LE
-          BEAU QUE CERTAINS ARTISTES INDÉPENDANTS TRAITÈRENT À
-          UN MOMENT DONNÉ EN DEHORS DE LA TRADITION ET DES
-          FORMULES ACQUISES”
-
-                                                  _GEORGES
-          LECOMTE_
-
-
-IT is the fashion nowadays amongst a certain class of art-critics to
-adopt the pessimistic note. They laud the past, deplore the present, and
-display sympathetic alarm for the future of art and artists. Should a
-modern manifestation of art be under discussion, some phase undeniably
-good and universally accepted by those best qualified to form an
-opinion, these critics recognise it with a guarded qualification and a
-prophecy of its speedy decadence in the immediate future; and these
-depreciatory remarks are extended to all those artists who have been
-attracted by the new movement and have ranged themselves under its
-banner. It has always been so. In the art literature of the past we read
-of Delacroix and the decadence, of Corot and the downfall, of Monet and
-the abyss. There are still living in France aged and honoured
-professors, members of the Institute and of the Salon juries, who
-believe that the teaching of Claude Monet has been a national calamity.
-They hold that art no longer exists, having been destroyed by these
-dreadful innovations. Is it not strange that the birth of new methods,
-rather than the death of old ones, should be heralded with melancholy
-head-shakings, with frequent and wrathful imprecations upon the impious
-intruders! Time rights all things. The new to-day is old to-morrow, the
-exotic becomes classic, and one more page is added to the history of the
-evolution of art.
-
-Nothing is more amazing than to read in the daily and weekly press of
-the “pernicious influence” and decadence of modern French art,
-criticisms the more astonishing as the present age is one of universal
-travel and liberal ideas. French art is in no such parlous state, and
-never, at any period of its history, displayed stronger signs of
-vitality. Never was its activity greater, nor its influence, poetry, and
-gaiety better for the general good of the nation. Such wild accusations
-are unjustifiable, hypocritical, and themselves pernicious. French
-influence dominates the work of the most successful painters and
-sculptors throughout the world. The art of such men as La Thangue,
-Edward Stott, Alfred East, Peppercorn, Bertram Priestman, Arnesby Brown,
-Fred Footet, John Lavery, Macaulay Stevenson, Edwin Abbey, John S.
-Sargent, George Clausen, and the men of the Glasgow school, is
-unquestionably derived from Paris, a city we are asked to believe is
-decadent in art matters. Of these artists it may be said that the
-majority were educated in Paris. It is well to acknowledge candidly
-that, although in the days of Gainsborough, Turner, Constable, and the
-other members of that brilliant band, English art led the world, to-day
-we must look to “la ville lumière” for instruction and inspiration. The
-fact is proved by the enormous preponderance of students of all
-nationalities who flock to Paris for the completion of their art
-education. In other words, French art is the leading art of the day, and
-will remain so for many years to come.
-
-Let any unbiased observer compare the two magnificent Salons of Painting
-and Sculpture held annually in Paris with the English Royal Academy, New
-Gallery, and British Artists’ Exhibitions. Note that France houses her
-artists in some of the most beautiful palaces in the world, then think
-of London. Observe the high average quality of the exhibits, their
-astounding technical excellence, the courage of the artists, and their
-bold experiments in untrodden paths, their extraordinary originality and
-diversity of temperament. They are not content with an ephemeral
-success, or the stereotyped reproduction of popular playthings. The
-contributors are cosmopolitan in nationality, for, provided the
-necessary passport of talent, Paris welcomes the stranger. Where in
-Great Britain can the foreigner, even if he possess acknowledged genius,
-be sure of meeting with a sympathetic reception and fair play from a
-Hanging Committee? He is fortunate if he escapes public ridicule. The
-Continental artist has learnt this lesson and troubles us no more, to
-the blight of our national education and the detriment of our taste.
-This blot upon our reputation for common sense has been to some extent
-redeemed of recent years by the International Society of Painters,
-Sculptors, and Gravers. Perhaps its intermittent exhibitions will
-rehabilitate our name abroad, and incidentally aid in revivifying our
-national taste.
-
-Recall haphazard the names of a few artists who are at the present
-moment exhibiting in France. Aman-Jean, Barillot, Binet, Besnard,
-Billotte, Bracquemond, Cottet, Chèret, Carrière, Cassatt, Cazin,
-Dagnan-Bouveret, Daillon, Dameron, Didier-Pouget, Degas, d’Espagnat,
-Forain, Fantin-Latour, Geffroy, Gosselin, Gaston la Touche, Gagliardini,
-Guillaumin, Harpignies, Henner, Lhermitte, Le Sidaner, Meunier, Marais,
-Monet, Menard, Maufra, Montenard, Pointelin, Ribot, Rigolot, Raffaëlli,
-Rodin, Renoir, Roybet, Ziem. This list can be extended indefinitely by
-the addition of the names of artists of the rarest temperaments. The art
-of the whole of the rest of the world cannot surpass the productions of
-these men.
-
-The state of the plastic arts in England is deplorable. If it be not
-soon remedied, we shall be compelled to go abroad for any statues
-needed. The little sculpture we have is frequently excellent, but its
-output is so insignificant that it cannot possibly be compared with the
-sculpture of France. The art cannot flourish in England whilst there are
-so few public commissions, or wealthy patrons. Financially the painter’s
-career is bad enough, but, as a remunerative profession, sculpture does
-not exist. Look around the galleries in London during the height of the
-season, and note the quite insignificant amount of sculpture exhibited.
-Many of the London galleries exclude it altogether, and in the
-provincial collections it is practically non-existent. If there is any
-it is systematically overlooked by visitors, and as for sales—! one
-never hears of such a thing. Then remember Paris with its immense annual
-production of excellent sculpture, and the admirable manner in which the
-State fosters this great art.
-
-If we take monuments and statues in public places as the fittest
-expression of national gratitude, we are sadly lacking. Where in England
-can we find monuments in perpetuation of the memory of such mighty
-painters as Turner, Reynolds, Gainsborough, Constable, Romney, and a
-score besides. If we possess such monuments, they are certainly hidden
-away from the sight of both native and stranger, and the latter
-frequently remarks upon their absence. In France the birthplaces of
-these artists would have raised some remembrance, whilst the capital
-city in which they laboured would surely have had its statues and
-collegiate endowments to perpetuate their spirit. An example can be
-quoted from the little country town in which these lines are being
-written. Here in Les Andelys, in the most prominent position, are two
-statues. One of them is as fine a memorial as can be seen in any capital
-city of Europe. The men so honoured in imperishable bronze are not
-kings, generals, statesmen, or even local benefactors. They are merely
-artists, and one of them (the son of an Englishwoman) is but distantly
-allied to the countryside. Chaplin and Poussin, two artists of
-thoughtful, gentle lives, of obscure birth, without fortune or
-influence, yet possessors, in some degree, of the ennobling fire of
-genius. Of these men the simple townspeople are exceedingly proud, and
-in such pride we see the whole spirit of the nation. France delights to
-honour genius, and the intelligent foreigner, noting these things, will
-pay little heed to stories that decadence and pernicious influences are
-the outcome of such a feeling.
-
-Following the lead of Paris, American painters may be said to have
-adopted “la peinture claire” almost to a man. Germany also has revolted,
-and the Secessionist movement, with Liebermann at its head, has gathered
-together the most vigorous talent in modern German art. Clean painting
-in a pure and healthy atmosphere now reigns supreme. Spain and Italy
-have also been deeply affected, and in both of these countries there is
-a marked recrudescence of that fine talent which in times past
-distinguished the two peninsulas. Together with this increasing activity
-is happily to be noted a commensurate degree of financial encouragement.
-Enormous sums yearly change hands in Germany alone for the products of
-the new school, irrespective of nationality. The sales recorded at the
-annual exhibitions in Berlin, Munich, Dresden, and Dusseldorf average
-about twenty times the amounts received at the Royal Academy, and it is
-clear that Germany intends to take as leading a position in the arts as
-she is doing in commerce.
-
-The tendency in England appears to be retrograde. Modern Dutch art
-reigns as the present fashion, its propagation admirably engineered, its
-influence widespread. The pictures _à-la-mode_ are those with foggy,
-sombre grey skies in heavy unatmospheric paint. They give us damp
-discoloured tenements, shipping the colour of coal-tar, clumsy barges,
-malodorous canals, ugly toil-broken humanity, the whole as unromantic,
-depressing, and dyspeptic as can be imagined. The seal of official
-approbation has been secured for this kind of thing, and the Mansion
-House requisitioned for its display. This poetry of the prosaic has been
-generally accepted, and never have times been better for the sturdy,
-plodding producer of Dutch pictures. As it is the dark and sordid side
-of Nature that appeals most forcibly to these men, we shall, within a
-given time, develop a whole race of “Nubians” of our own. Finally we
-shall deny the very existence of the sun and all he represents in our
-limited share of life.
-
-The cult of sun-worship, of joy in sparkling colour, of pure
-health-bringing open-air art must, sooner or later, predominate in
-England as it already predominates throughout the world. The mission of
-Impressionism is to depict beauty that elevates, light that cheers. In
-their struggle for this mastery of light, Impressionist painters have
-often in the past sacrificed many of the qualities which go towards the
-making of a picture, and have thus incurred public displeasure. Their
-subjects have been chosen at random, and they have gained their effects
-often regardless of composition. The artists were far too much occupied
-by technical difficulties to care about picture-making, and the results,
-mere studies, were not intended as pictures. They were the necessary
-experiments incidental to the invention of “Impressionism.” Yet how
-preferable are these “studies” to the ordinary canvases of commerce, and
-how treasured they are at the present day. Now that the material
-difficulties have been overcome, and settled methods achieved, this
-reproach will disappear, and we may confidently look to the
-Impressionist picture for all those qualities which go to the making of
-a perfect work of art.
-
-In the canvases of Vincent Van Gogh, Gauguin, Claus, Maufra, d’Espagnat,
-Liebermann, Harrison, Besnard, Le Sidaner, and many others of the later
-school, will be found not only colour, rich light, and subtly strong
-harmonies, but a feeling for beauty of line, composition, rhythm of
-movement. Our admiration for the great men of 1870 must not blind us to
-the fact that there are others; the road is not barred, and many of the
-followers are of great strength. The pioneers having opened up the new
-territory, the gift is free and all are welcome.
-
-[Illustration]
-
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-
-
-
-
-                                APPENDIX
-
-
-              (_a_) THE SCIENTIFIC ASPECT OF IMPRESSIONISM
-
-The clearest explanation of the scientific theory of colouring is to be
-found in the treatise written by Chevreul. First published in France in
-1838, it met with great success, and was translated into English in 1854
-by Charles Martel. Chevreul remains the standard authority, although he
-has been followed by Helmholtz, Church, Rood, and others.
-
-Given the necessary competence for accuracy in draughtsmanship, and
-considerable practice in the manipulation of colour, the art-student may
-take the field, and not before; for Impressionist painting demands the
-highest artistic capability. Firstly, he will discover that
-Impressionists worship light, using the trees, rocks, rivers, &c. of
-landscape, as so many vehicles for the conveyance of luminous
-impressions to the eye. This quality of atmosphere distinguishes
-Impressionist pictures from all others; here will be found what
-Brownell, Chevreul, MacColl, and Mauclair, have to say upon the subject.
-Secondly, the art-student will perceive the vital necessity of correct
-values within a general tone, a subject also enlarged upon by the above
-writers. Thirdly, some reference is given to the modern study of shadows
-and reflections, with regard to their influence and treatment.
-
-The following lines, extracted from “The French Impressionists,” by
-Camille Mauclair, sum up definitely the Impressionist Idea.
-
-    “In nature no colour exists by itself. The colouring of the
-    objects is a pure illusion: the only creative source of colour
-    is the sunlight which envelops all things, and reveals them,
-    according to the hours, with infinite modifications.... Only
-    artificially can we distinguish between outline and colour; in
-    nature the distinction does not exist.... A value is the degree
-    of dark or light intensity, which permits our eyes to comprehend
-    that one object is further or nearer than another.... The values
-    are the only means that remain for expressing depth on a flat
-    surface. Colour is therefore the procreatrix of design. Colour
-    being simply the irradiation of light, it follows that all
-    colour is composed of the same elements as sunlight, namely the
-    seven tones of the spectrum.... The colours vary with the
-    intensity of light. There is no colour peculiar to any object,
-    but only more or less rapid vibration of light upon its surface.
-    The speed depends, as is demonstrated by optics, on the degree
-    of the inclination of the rays which, according to their
-    vertical or oblique direction, give different light and
-    colour.... What has to be studied therefore in these objects, if
-    one wishes to recall their colour to the beholder of a picture,
-    is the composition of the atmosphere which separates them from
-    the eye. This atmosphere is the real subject of the picture, and
-    whatever is represented upon it only exists through its medium.
-    A second consequence of this analysis of light is, that shadow
-    is not absence of light, but light of _a different quality_ and
-    of different value. Shadow is not a part of the landscape where
-    light ceases, but where it is subordinate to a light which
-    appears to us more intense. In the shadow the rays of the
-    spectrum vibrate with different speed. The third conclusion
-    resulting from this: the colours in the shadow are modified by
-    _refraction_.... The colours mixed on the palette compose a
-    dirty grey.... Here we touch on the very foundations of
-    Impressionism. The painter will have to paint with only the
-    seven colours of the spectrum, and discard all the others; that
-    is what Claude Monet has done boldly, adding to them only black
-    and white. He will, furthermore, instead of composing mixtures
-    on his palette, place on his canvas touches of none but the
-    seven colours _juxtaposed_, and leave the individual rays of
-    each of these colours to blend at a certain distance, so as to
-    act like sunlight itself upon the eye of the beholder.”
-
-                                            CAMILLE MAUCLAIR.
-                                            (“The French
-                                               Impressionists.”)
-
-
-    “Take a landscape with a cloudy sky, which means diffused light
-    in the old sense of the term, and observe the effect upon it of
-    a sudden burst of sunlight. What is the effect when considerable
-    portions of the scene are suddenly thrown into marked shadow, as
-    well as others illuminated with intense light? Is the absolute
-    value of the parts in shadow lowered or raised? Raised, of
-    course, by reflected light. Formerly, to get the contrast
-    between sunlight and shadow in proper scales, the painter would
-    have painted the shadows darker than they were before the sun
-    appeared. Relatively they are darker, since their value, though
-    heightened, is raised infinitely less than the value of the
-    parts in sunlight. Absolutely their value is raised
-    considerably. If therefore they are painted lighter than they
-    were before the sun appeared, they in themselves seem true. The
-    part of Monet’s picture that is in shadow is measurably true,
-    far truer than it would have been if painted under the old
-    theory of correspondence, and had been unnaturally darkened to
-    express the relations of contrast between shadow and sunlight.
-    Scale has been lost. What has been gained? Simply truth of
-    impressionistic effect. Why? Because we know and judge and
-    appreciate and feel the measure of truth with which objects in
-    shadow are represented; we are insensibly more familiar with
-    them in nature than with objects directly sun-illuminated, 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 overpowering. In a word, in sunlit
-    landscapes objects in shadow are what customarily and
-    unconsciously we see and note and know, and the illusion is
-    greater if the relation between them and the objects in
-    sunlight, whose value habitually we do not note, be neglected or
-    falsified. 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 time, and his
-    astonishing ‘trompe d’œil’ is, I think, explained. Each part is
-    truer than ever before, and unless one have a specially
-    developed sense of ‘ensemble’ in this very special matter of
-    values in and affected by sunlight, one gets from Monet an
-    impression of actuality so much greater than he has ever got
-    before, that one may be pardoned for feeling, and even for
-    enthusiastically proclaiming, that in Monet realism finds its
-    apogee. Monet paints absolute values in a very wide range, plus
-    sunlight, as nearly as pigments can be got to represent it.”
-
-                                            W. C. BROWNELL.
-                                            (“Realistic Painting.”)
-
-
-    “Impressionism is the art that surveys the field and determines
-    which of the shapes and tones are of chief importance to the
-    interested eye, enforces these, and sacrifices the rest.
-
-    “If three objects, A, B, and C, stand at different depths before
-    the eye, we can at will fix A, whereupon B and C must fall out
-    of focus, or B, whereupon A and C must be blurred, or C,
-    sacrificing the clearness of A and B. All this apparatus makes
-    it impossible to see everything at once with equal clearness,
-    enables us, and forces us for the uses of real life, to frame
-    and limit our picture, according to the immediate interest of
-    the eye, whatever it may be.
-
-    “The painter instinctively uses these means to arrive at the
-    emphasis and neglect that his choice requires. If he is engaged
-    on a face he will screw his attention to a part and now relax
-    it, distributing the attention over the whole so as to restore
-    the bigger relations of aspect.
-
-    “Sir J. Reynolds describes this process as seeing the whole
-    ‘with the dilated eye;’ the commoner precept of the studios is,
-    ‘to look with the eyes half closed.’ In any case the result is
-    the minor planes are swamped in bigger, that smaller patches of
-    colour are swept up into broader, that markings are blurred.
-
-    “The Impressionist painter does not allot so much detail to a
-    face in a full-length portrait as to a head alone, nor to twenty
-    figures on a canvas as to one.”
-
-                                            D. S. MACCOLL.
-                                            (“Encyclopædia
-                                               Britannica.”)
-
-
-    “The discovery of these Impressionists consists in having
-    thoroughly understood the fact that strong light discolours
-    tones, and that sunlight reflected by the various objects in
-    nature, tends from its very strength of light to bring them all
-    up to one uniform degree of luminosity, which dissolves the
-    seven prismatic rays in one single colourless lustre, which is
-    the light.... Impressionism, in those works which represent it
-    at its best, is a kind of painting which tends towards
-    phenomenism, towards the visibility and the signification of
-    things in space, and which wishes to grasp the synthesis of
-    things as seen in a momentary glimpse.... One has now the right
-    to say, without provoking an outcry, 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 years.”
-
-                                            GEFFROY.
-
-
-    “Two coloured surfaces in juxtaposition will exhibit the
-    modification to the eye viewing them simultaneously, the one
-    relative to the height of tone of their respective colours, the
-    other relative to the physical composition of these same
-    colours.... We must not overlook the fact, that whenever we mix
-    pigments to represent primitive colours, we are not mixing the
-    colours of the solar spectrum, but mixing substances which
-    painters and dyers employ as Red, Yellow, and Blue colours....
-    All the primary colours gain in brilliancy and purity by the
-    proximity of Grey.... Grey in association with sombre colours,
-    such as Blue and Violet, and with broken tints of luminous
-    colours, produces harmonies of analogy which have not the vigour
-    of those with Black; if the colours do not combine well
-    together, it has the advantage of separating them from each
-    other.... Distant bodies are rendered sensible to the eye, only
-    in proportion as they radiate, or reflect, or transmit the light
-    which acts upon the retina.”
-
-                                            CHEVREUL.
-
-
-    “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
-    water.... One must seek above all else in a picture for some
-    manifestation of the artist’s spiritual state, for a portion of
-    his reverie.... In the career of an artist, one must have
-    conscience, self-confidence and perseverance. Thus armed the two
-    things in my eyes of the first importance are the severe study
-    of drawing and of values.”
-
-                                                                                                                                                                                                                                                                                                                                                                                                                                                                      COROT.
-
-
-                         (_b_) SALES AND PRICES
-
-For future comparison it will be interesting to note some results
-reached at recent sales of Impressionist paintings. Pictures which, in
-the early seventies, were unsaleable for five pounds, now average from
-£500 to £800 apiece, with a tendency to go much higher. A sale at New
-York, in December 1902, of seventeen pictures by members of the
-Impressionist and Barbizon schools, produced nearly £40,000, an average
-of £2300 for each canvas. The last great public sale by auction was “La
-Vente Chocquet” at the Petit Galerie, Paris, July 1, 1899. A few days
-previous to the sale the writer had a long conversation with Claude
-Monet at Giverny. Discussing the coming event, which was already
-exciting much press comment, Monet told how the late Père Chocquet, as
-he was affectionately called, a “chef du bureau” in the Department of
-Finance, had been a tower of strength to the early Impressionists. He
-encouraged them, foretold ultimate triumph, invested every franc of his
-savings in the purchase of their works, at prices ranging from £2 to
-£10. Late in life M. Chocquet inherited, quite unexpectedly, a large
-fortune. The Impressionists anticipated much, and the studios were
-jubilant. Long cherished plans were rediscussed; the Chocquet legacy was
-to be the source of a golden stream. But a great disappointment was to
-come. With the increase of M. Chocquet’s riches came the decrease and
-final extinction of M. Chocquet’s taste. He never bought another
-picture!
-
-Throughout the three days’ sale, the gorgeous rooms of M. Georges Petit
-were crowded, although many well-known and wealthy buyers were absent
-owing to the lateness of the season. Amongst the distinguished
-collectors and dealers, from all parts of Europe and America, were the
-Counts de Camondo, Gallimard, de Castellane, the Marquis de Charnacé,
-the Barons Oberkampff and de Saint-Joachim, and Messieurs Degas,
-Cheramy, de St. Léon, de la Brunière, de Léclanché, Clerq, Muhlbacher,
-Ligneau, André Sinet, Antonin Proust, Escudier, Natanson, de Laivargott,
-Bigot, Ferrier, Marcel, Cognet, Durey, Zacharian, Moreau-Latour,
-Mittmann, Durand-Ruel, Bernheim, Allard, Montagnac, Vollard, Boussod,
-Rosemberg, and Camemtron, Monet’s _La Prairie_ realised 6400 francs,
-_Les Meules_ 9000 francs, _Falaise à Varengeville_ 9500 francs, and _La
-Seine à Argenteuil_ was knocked down to M. d’Hauterive for 11,500
-francs. Renoir’s works fetched between ten and twenty thousand francs.
-Manet’s _Portrait of Claude Monet in his Studio_, which was sold after
-Manet’s death for 150 francs, changed hands at 10,000 francs.
-
-At the Vever sale in 1897, Monet’s _Le Pont d’Argenteuil_ realised
-21,500 francs.
-
-
-            (_c_) SOME COLLECTORS OF IMPRESSIONIST PICTURES
-
-The following list contains the names of the chief private collectors of
-Impressionist pictures. Though incomplete it will be noted that almost
-every country is represented:
-
-    ALEXANDRE, M. ARSÈNE
-    ASTOR, JOHN JACOB
-    BATHMONT, MADAME
-    BÉARN, COMTESSE DE
-    BERNHEIM, FILS, M.
-    BLANQUET, BARON
-    CAHEN, M. GUSTAVE
-    CAMONDO, COMTE ISAAC DE
-    CHAUVEAU, FRÉDÉRIC
-    COCHIN, M. DENIS
-    COQUELIN FRÈRES
-    CUREL, M. DE
-    DECUP, M.
-    DUPEAUX, M.
-    DUPUX, DR.
-    DURAND-RUEL ET FILS
-    DURET, M. THEODORE
-    EPHRUSSI, M. CHAS.
-    FEYDEAU, M. M.
-    FORWARD, M.
-    GACHET, DR.
-    GONJON, M. S.
-    HAVINIMANN, MADAME
-    HAVEMEYER, M.
-    HERSCH, M.
-    HETE, M. DE
-    HOHENTSCHEL
-    JOUBERT, M.
-    KAKOREFF
-    LEHRMANN
-    MADDOCKS, J.
-    MARCHANT, W. S.
-    MARKER
-    MARSDEN, S.
-    MESDAG
-    MONNIER, M.
-    MOROSOFF, IVAN
-    MURER, M.
-    PAQUIN, M.
-    PAWSON, T.
-    PELERIN, M. AUGUSTE
-    PETIT, M. GEORGES
-    PRIESTLEY, W. E. B.
-    PRIPPER
-    RONNELL, MAX
-    ROTHSCHILD, BARONNE GUSTAVE DE
-    ROTHSCHILD, BARON HENRI DE
-    RUEL, M.
-    ROUS, M.
-    SAMUEL, M.
-    SCHLESINGER, M.
-    SCHMITZ, M.
-    SCHULTE, HERR
-    SCHUMANN, M.
-    SMITH, J. W.
-    SOTA, SIGNOR DE LA
-    STRAUSS, GUIDO
-    STRAUSS, JACQUES
-    STRAUSS, JULES
-    TESIGMANN, M.
-    TSCHUDI, HERR VON
-    VANDERBILT
-    VAN DER VELDE, M.
-    VANIER, M.
-    VIAU, M. GEORGES
-    VLIEYERE, M. DE
-    WALDECK-ROUSSEAU, M.
-    WILLS, SIR W. H.
-    ZYGOMALCO, M.
-
-
-
-
-[Illustration]
-
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-
-
-
-
-                              BIBLIOGRAPHY
-
-
-ARSÈNE ALEXANDRE:
-
-                                      Préface du catalogue de
-          l’exposition des œuvres de Camille Pissarro. Paris, April
-          1891.
-
-                                      Claude Monet, _L’Éclair_. Paris,
-          26 May 1895.
-
-                                      · An article with portrait.
-
-                                     Préface du catalogue de
-          l’exposition des œuvres de Renoir. Paris, May 1893.
-
-                                     Préface du catalogue des Tableaux
-          Modernes, collection de M. Jules Strauss, MM. Paul Chevallier
-          et Bernheim jeune. Paris.
-
-                                            · A magnificently
-          illustrated record of a collection belonging to wealthy
-          connoisseurs; much sought after by collectors.
-
-                                     Histoire populaire de la peinture,
-          École Française. H. Laurens, Paris.
-
-                                             · A concise history of
-          French art, with 250 illustrations, by the art critic of the
-          _Figaro_.
-
-                                     Le “Balzac” de Rodin. H. Floury,
-          Paris.
-
-                                             · A witty defence of
-          Rodin’s statue, together with a scathing attack upon public
-          taste generally.
-
-                                     Préface du catalogue de
-          l’exposition des œuvres d’Armand Guillaumin. Durand-Ruel,
-          Paris.
-
-                                             · A sympathetic essay upon
-          the artist’s career.
-
-                                     Préface du catalogue de
-          l’exposition des œuvres de Zandomeneghi. Paris, 1893.
-
-
-A. M.:
-
-                                      Les artistes à l’atelier—Camille
-          Pissarro et A. Renoir. “L’Art dans les Deux Mondes.” Paris,
-          6th and 31st Jan. 1891.
-
-
-“ART JOURNAL”:
-
-                                      Some remarks upon Impressionism;
-          with.
-
-
-G. ALBERT AURIER:
-
-                                     Le Néo-Impressionisme (Camille
-          Pissarro). _Mercure de France_, Paris, 1895.
-
-                                     Le Syncholisme en peinture (Paul
-          Gauguin). _Mercure de France_, Paris, March 1891.
-
-                                     L’Impressionisme (Monet et Renoir).
-          _Mercure de France_, Paris, 1893.
-
-
-FRANCIS BATE:
-
-                                 The Naturalistic School of Painting.
-          _The Artist_, London, 1887.
-
-
-EDMOND BAZIRE:
-
-                                 Manet. Paris, 1884.
-
-
-EMILE BERNARD:
-
-                                 Les hommes d’aujourd’hui—Paul Cézanne,
-          avec dessin de Pissarro. Vannier, Paris.
-
-
-F. A. BRIDGMANN:
-
-                                 L’anarchie dans l’art,
-          Impressionisme—Symbolisme. L. H. May, Paris.
-
-
-W. C. BROWNELL:
-
-                                 French art, Realistic painting.
-          _Scribner’s Magazine_, Nov. 1892.
-
-                                  · A lengthy illustrated article
-          written with knowledge, although some of the conclusions
-          arrived at by the author cannot be admitted.
-
-                              French art. London, 1892. · The collected
-          articles first published in _Scribner’s_, but without the
-          illustrations.
-
-
-GUSTAVE CAHEN:
-
-                                 Eugène Boudin, sa vie et son œuvre
-          (Preface by Arsène Alexandre). H. Floury, Paris, 1900.
-
-                                   · Fully illustrated, with dry point
-          by Paul Helleu. It contains special references to the early
-          days of Impressionism.
-
-                                  Préface du catalogue des Tableaux
-          Modernes. Collection de Monsieur L. B. Chevallier et Bernheim
-          jeune, Paris. · Numerous photogravures of Impressionist works,
-          particularly of those by Boudin.
-
-
-M. CHEVREUL:
-
-                               The principles of harmony and contrast of
-          colours, and their application to the arts. Tr. C. Martel.
-          Longmans, London, 1854.
-
-                                      · This book, the standard work
-          upon the subject, should be in the hands of every person who
-          desires to study Impressionism thoroughly. This is the best
-          English translation.
-
-
-A. H. CHURCH:
-
-                             The Laws of Contrast of Colour. Tr. J.
-          Spanton. London, 1858.
-
-                              Colour, an Elementary Manual for Students.
-          Cassells, London, 1901.
-
-                              Chemistry of Paints and Painting. London,
-          1890.
-
-                              · These excellent books deal with all the
-          problems of light and colour.
-
-
-G. CLÉMENCEAU:
-
-                             Exposition des Cathédrales de Rouen. _La
-          Justice_, May 20, 1895.
-
-                              · An important article by a writer of
-          ability.
-
-
-E. DELACROIX:
-
-                              Mon Journal, 1823-63 (notes par Flat et
-          Riot). Paris, 1893. Three volumes.
-
-
-DENOINVILLE:
-
-                             Sensations d’art. Girard, Paris.
-
-                              · A collection of short essays dealing
-          with such subjects as Corot, Eugène Carrière, the Simplists,
-          l’Art nouveau, &c.
-
-
-WYNFORD DEWHURST:
-
-                             Claude Monet, Impressionist; _Pall Mall
-          Magazine_, London, June 1900.
-
-                              A great French Landscapist. _Artist_,
-          London, October 1900.
-
-                                 · These articles are notable for their
-          reproductions of Monet’s works.
-
-                              Impressionist Painting; its Genesis and
-          Development. _Studio_, London, June and September, 1903.
-
-
-DURANTY:
-
-                             La nouvelle peinture. Paris, 1876.
-
-                               · A rare and interesting _brochure_.
-
-
-THÉODORE DURET:
-
-                             Histoire d’Édouard Manet. H. Floury, Paris,
-          1902.
-
-                              · The official biography of Manet, by his
-          life-long friend and executor, with many illustrations, and a
-          complete catalogue of works.
-
-                              Les Peintures Impressionistes. Paris,
-          1878.
-
-                               · A short treatise on Impressionism,
-          explanatory and defensive, with biographical notes of Monet,
-          Sisley, Pissarro, Renoir, Morisot.
-
-                             L’art Japonais. Quantin, Paris.
-
-                              Critique d’avant garde. Charpentier,
-          Paris, 1885.
-
-                              Degas. _The Art Journal_, London, 1894.
-
-                               · A critical illustrated article.
-
-
-FÉLICIEN FAGUS:
-
-                             Petite gazette d’art Cézanne. _Revue
-          Blanche_, Paris, December 1899.
-
-                              Petite gazette d’art, Camille Pissarro.
-          _Revue Blanche._ Paris, April 1899.
-
-
-FELIX FÉNÉLON:
-
-                             Les Impressionistes en 1886. Paris, 1886.
-
-
-ANDRÉ FONTAINAS:
-
-                             Art Moderne, Zandomeneghi. _Mercure de
-          France_, April 1898.
-
-                              Art Moderne, Camille Pissarro. _Mercure de
-          France_, July 1898, May 1899.
-
-                              Art Moderne, Exposition Cézanne. _Mercure
-          de France_, June 1898.
-
-                              Art Moderne, Renoir. _Mercure de France_,
-          July 1898, May 1899.
-
-
-ANDRÉ FONTAINAS:
-
-                             Art Moderne, Claude Monet. _Mercure de
-          France_, July 1898, May 1899.
-
-
-PASCAL FORTHUNY:
-
-                             Catalogue des Tableaux Modernes. Preface by
-          Roger Marx. Durand-Ruel, Paris.
-
-                                    · Richly illustrated.
-
-
-PASCAL FORTHUNY:
-
-                             Catalogue de Tableaux. Préface by H.
-          Fourquier. Bernheim et Chevallier, Paris.
-
-                                    · A handsome volume illustrated by
-          many engravings and photographs.
-
-
-W. H. FULLER:
-
-                                 Claude Monet and his Paintings.
-          _Evening Sun_, New York, January 26, 1899.
-
-
-GUSTAVE GEFFROY:
-
-                             Sisley, Préface pour la Vente. May 1, 1899.
-
-                              Notice de l’Exposition d’Œuvres de Camille
-          Pissarro. Paris, February 1890.
-
-                              La Vie artistique. E. Dentu, Paris,
-          1892-1900.
-
-                                  · These volumes of art criticism cover
-          the whole field of Impressionism, and include a lengthy
-          history of the movement. To the student and historian of
-          modern French art they are invaluable.
-
-                              and Arsène Alexandre. Corot and Millet,
-          Winter Number of the _Studio_, London, 1902.
-
-                              (Préface). Catalogue de Tableaux,
-          collection de M. E. Blot. Paris, Bernheim jeune.
-
-                                   · Contains essays upon Carrière,
-          Cézanne, Fantin-Latour, Guillaumin, Jongkind, Monet, Morisot,
-          Pissarro, Renoir, Toulouse-Lautrec, Degas.
-
-
-MAURICE GUILLEMOT:
-
-                             Claude Monet. _Revue Illustrée_, Paris,
-          March 1898.
-
-
-J. K. HUYSMANS:
-
-                             Certains. Paris, 1896. L’Art Moderne.
-          Paris, 1883.
-
-
-FRANZ JOURDAIN:
-
-                             Renoir et Renouard. _Les Décorés_, 1895.
-
-                              Claude Monet. _Les Décorés_, 1895.
-
-                              Hommes du Jour, Renoir. _L’Éclair_, Paris,
-          May 1899.
-
-                              Hommes du Jour, Pissarro. _L’Éclair_,
-          Paris, June 1898.
-
-
-MISS R. G. KINGSLEY:
-
-                             A History of French Art. Longmans, London,
-          1899.
-
-
-GEORGES LECOMTE:
-
-                             L’Art Impressionniste. Paris, 1892.
-
-                                  · Contains 36 etchings of
-          Impressionist pictures in the collection of M. Durand Ruel.
-
-
-GEORGES LECOMTE:
-
-                             Camille Pissarro, Préface pour
-          l’Exposition. Paris, February 1892.
-
-                              Pissarro, Les Hommes d’Aujourd’hui, No.
-          366. Paris.
-
-                              Pissarro. “Revue populaire des
-          Beaux-Arts.” Paris, June 1898.
-
-                              Alfred Sisley. “Revue populaire des
-          Beaux-Arts.” February 1899.
-
-                              Alfred Sisley. “L’Art dans les Deux
-          Mondes.” Paris, February 1891.
-
-
-D. S. MACCOLL:
-
-                             Nineteenth Century Art. Maclehose, Glasgow,
-          1903.
-
-                              _The Albemarle Review_, London, Sept.
-          1892.
-
-                              _Fortnightly Review_, London, June 1894.
-
-                              _The Artist_, London, March and July 1896.
-
-                              Impressionism. “Encyclopædia Britannica”
-          Supplement, 1903.
-
-                              Mr. Whistler’s Paintings in Oil. _Art
-          Journal_, London, March 1893.
-
-
-CAMILLE MAUCLAIR:
-
-                             The French Impressionists. Duckworth,
-          London, 1903.
-
-                              The Néo-Impressionists. _Artist_, London,
-          May 1902.
-
-                              The Great French Painters. Duckworth,
-          London, 1903.
-
-
-CHARLES MAURICE:
-
-                             Rodin. Floury, Paris, 1900.
-
-
-ANDRÉ MELLERIO:
-
-                             L’Art Moderne, Exposition de Paul Cézanne.
-          La _Revue Artistique_, February 1896.
-
-                              Mary Cassatt, Préface de l’Exposition de
-          1897.
-
-                              L’Exposition de 1900, L’Impressionisme. H.
-
-                              Floury, Paris, 1900.
-
-                                 · Contains short essays upon pictures
-          exhibited at the Exhibition, with particular reference to
-          Impressionist works, together with a useful bibliography.
-
-                              Le Mouvement Idéaliste en Peinture. H.
-          Floury, Paris.
-
-                                 · A biographical sketch of the artists
-          who associated themselves with this movement, 1885-95; Puvis
-          de Chavannes, Gustave Moreau, Odilon Redon, Paul Cézanne,
-          Vincent van Gogh, Toulouse-Lautrec, &c.
-
-
-F. H. MEISSNER:
-
-                             A German Revolutionary—Max Liebermann. _Art
-          Journal_, London, August 1893.
-
-
-ANDRÉ MICHEL:
-
-                             Notes sur l’Art Moderne. Colin, Paris,
-          1896.
-
-                                · Essays on Corot, Millet, Delacroix,
-          Monet, Puvis de Chavannes.
-
-
-O. MIRBEAU:
-
-                             Claude Monet. “L’Art dans les Deux Mondes.”
-          Paris, March 1891.
-
-                              Camille Pissarro. “L’Art dans les Deux
-          Mondes.” Paris, January 1891. _Le Figaro_, Paris, February 1,
-          1892.
-
-
-O. MIRBEAU:
-
-                             Together with Bouyer, Tailhade, Maus
-          Mellerio, Dan, Mauclair, Geffroy, Marx, Mourey. J. F.
-          Raffaëlli. Paris.
-
-                                  · A collection of illustrated
-          appreciations of the artists.
-
-
-MATTHIAS MORHARDT:
-
-                             Eugène Carrière. _Magazine of Art_, London,
-          August 1898.
-
-
-GEORGE MOORE:
-
-                             Modern Painting. Scott, London, 1898.
-
-                              · Impressions and Opinions. Nutt, London,
-          1890. These two books contain interesting essays upon
-          Whistler, Manet, Corot, &c.
-
-
-RICHARD MUTHER:
-
-                             The History of Modern Painting (3 volumes).
-          Henry, London, 1896.
-
-
-THADÉE NATANSON:
-
-                             Claude Monet et Paul Cézanne. _La Revue
-          Blanche_, Paris 1900.
-
-                              De M. Renoir et de la Beauté. _La Revue
-          Blanche_, Paris, 1900.
-
-
-MAX OSBORN:
-
-                       Claude Monet. _Das Magazin für Literatur_, Dec.
-          1896.
-
-
-MILES L. ROGER:
-
-                             Les Artistes Célèbres. Corot, Paris.
-
-                              Catalogue de Tableaux, Collection du
-          Docteur D. Chevallier et Petit, Paris.
-
-                                  · Many illustrations, chiefly from
-          works by Boudin.
-
-                              Catalogue de Tableaux, Succession of Mme.
-          Veuve Chocquet. Petit et Mannheim, Paris.
-
-                              Sisley, Préface pour l’Exposition 1897.
-          Catalogue de Tableaux, Collection of Louis Schœngrun.
-          Chevallier et Petit, Paris.
-
-                                  · Many fine illustrations from the
-          works of Lépine, Lebourg, Thaulow, Bonvin, Lhermitte, &c.
-
-
-OGDEN ROOD:
-
-                             Colour; International Scientific Series,
-          1879-81.
-
-
-JOHN RUSKIN:
-
-                             Modern Painters, Vol. II. Allen.
-
-
-GABRIEL SÉAILLES:
-
-                             L’Impressionisme (Almanach du Bibliophile
-          pour l’Année 1898). Pelletan, Paris.
-
-
-PAUL SIGNAC:
-
-                             D’Eugène Delacroix au Néo-Impressionisme.
-          Edition de _La Revue Blanche_, Paris, 1899.
-
-                                  · Explains how the Impressionist idea
-          and technical method is almost entirely derived from Turner
-          and Constable.
-
-                    THIEBALT SISSON:
-
-                             Sur l’Impressionisme. _Le Temps_, Paris,
-          April 1899.
-
-
-R. A. M. STEVENSON:
-
-                             The Art of Velazquez. Bell, London, 1895.
-
-
-HUGO VON TSCHUDI:
-
-                             Manet. Cassirer, Berlin 1902.
-
-                              · A short illustrated essay upon Manet’s
-          art by the Director of the National Gallery of Berlin.
-
-
-C. WAERN:
-
-                             Notes on French Impressionism. _Atlantic
-          Monthly_, April 1892.
-
-
-FREDERICK WEDMORE:
-
-                             The Impressionists. _Fortnightly Review_,
-          London, January 1883.
-
-
-T. DE WYZEVA:
-
-                             Renoir. “L’Art dans les Deux Mondes.”
-          Paris, December 1890.
-
-
-Y. R. B.:
-
-                             Miss Cassatt. “L’Art dans les Deux Mondes.”
-          November 1890.
-
-
-ÉMILE ZOLA:
-
-                             Mes Haines. Paris.
-
-                                · Essays on Manet, Cézanne, the Salons
-          and the Impressionists.
-
-[Illustration]
-
-------------------------------------------------------------------------
-
-
-
-
-                                 INDEX
-
-
- _A Argenteuil_ (Monet), 40, 111
-
- Abbey, E. A., 102
-
- _Absinthe drinker_, the (Manet), 20
-
- “Académie Suisse,” 54
-
- _After church_ (Le Sidaner), 83
-
- Alexandre, Arsène, 33, 63
-
- _Alone with the tide_ (Whistler), 90
-
- Aman-Jean, 102
-
- Angrand, 50, 56
-
- Anguin, 86
-
- _Antibes_ (Monet), 40
-
- Antwerp, 79, 80
-
- _Argenteuil_, _l’_ (Manet), 27
-
- _Arrangement in grey and black_ (Whistler), 90
-
- _Artiste_, _l’_ (Manet), 27
-
- Astruc, 34
-
- _Asylum for old men, an_ (Liebermann), 98
-
- Attendu, 34
-
- _At the piano_ (Whistler), 90
-
- _Autel des orphelines, l’_ (Le Sidaner), 83
-
-
- _Bain, le_ (Manet), 22
-
- _Bal au Moulin de la Galette_ (Renoir), 52
-
- _Balcony, the_ (Manet), 25
-
- _Balcony, the_ (Whistler), 90
-
- Balzac, 45
-
- Barbey d’Aurevilly, 23
-
- Barbizon, School of, 2, 6, 9, 45, 50, 98, 110
-
- Barillot, 102
-
- Barry, 3
-
- Barye, 45
-
- Bastien-Lepage, 26, 41, 93, 98
-
- Batignolles, School of, 7, 24
-
- _Bataille de Solférino_ (Meissonier), 21
-
- _Battle of the “Kearsage” and “Alabama”_ (Manet), 26
-
- Baudelaire, 21
-
- Baudit, 86
-
- Bazille, 24, 26
-
- Beauvais, 83
-
- Béliard, 34, 35
-
- Belle Isle (Monet), 40
-
- Belot, 27
-
- _Bénédiction de la mer_ (Le Sidaner), 83
-
- Bérard, 47
-
- Bernard, Emile, 16, 55
-
- Bernstein, 27
-
- Besnard, Albert Paul, 84-85, 91, 102, 105
-   _Entre deux Rayons_, 85
-   _Femme qui se chauffe_, 85
-   _La Morte_, 85
-   _Ponies worried by flies_, 84
-   _Porte d’Alger au Crépuscule_, 85
-   _Portrait of the artist_, 85
-
- Billotte, 102
-
- Binet, Victor, 92, 102
-
- _Bon Bock, le_ (Manet), 27, 28
-
- Bonington, 1, 3, 4, 5, 7, 29
-   _Boulogne Fishmarket_, 5
-   _View of Havre_, 3
-   _View of Lillebonne_, 3
-
- Bonnat, 52, 58, 73
-
- Bonvin, 31
-
- _Bordighera_ (Monet), 40
-
- Boucher, 2, 52
-
- Boudin, Eugène, 7, 9-15, 31, 34, 38, 49, 50
-   _Corvette Russe au Havre_, 14
-   _Rade de Villefranche_, 14
-
- Bouguereau, 21
-
- Boulanger, 21
-
- _Boulogne Fishmarket_ (Bonington), 5
-
- Bourgeois, Léon, 14
-
- Boussod Vallodon, 40
-
- _Boy with a sword_ (Manet), 21, 23
-
- Bracquemond, Marie, 35, 76
-
- Bracquemond, 20, 21, 34, 89, 102
-
- Brandon, 34
-
- _Breakfast on the grass_ (Manet), 22
-
- _Brother and sister_ (Liebermann), 98
-
- Brown, Arnesby, 102
-
- Brownell, W. C., 107
-
- Bruant, Aristide, 71
-
- Bruges, 83
-
- Bureau, 34, 35
-
- _Burgomeister Petersen_ (Liebermann), 99
-
- Burne-Jones, 5
-
- Bussy, Simon, 55
-
- Byron, 2
-
-
- Cabanel, 59, 82
-
- Café Guerbois, 6, 7, 15, 24, 25, 26, 27, 31, 39
-
- Café de la Nouvelle Athénée, 32
-
- Cahen, Gustave, 15, 33
-
- Caillebotte, 35, 49
-
- Cals, 12, 21, 34, 35, 49
-
- _Carlyle_ (Whistler), 91
-
- Carolus-Duran, 28, 52, 58
-
- Carpeaux, 45
-
- Carrière, Eugène, 57-60, 83, 102
-   _Christ at the Tomb_, 58, 60
-   _Maternité_, 58
-   _Portraits_, 58
-   _Théâtre de Belleville_, 58
-
- Cassatt, Mary, 7, 35, 49, 66, 70, 76, 102
-
- _Cathédrales, les_ (Monet), 40, 42, 44, 84
-
- Cazin, 21, 28, 102
-
- “Cercle des Quinze,” 98
-
- Cézanne, 7, 15, 16, 24, 34, 35, 54, 55
-
- _Champs des Tulipes_ (Monet), 40
-
- Chaplin, 76, 103
-
- Chardin, 2, 61
-
- _Charge of Cuirassiers_ (Meissonier), 26
-
- Charles X., 3, 24
-
- _Chasse au renard_ (Courbet), 21
-
- _Châteaux en Espagne_ (Harrison), 93
-
- Chéret, 102
-
- Chevallier, Paul, 43
-
- Chevreul, 107, 110
-
- Chocquet, 47, 110
-
- _Christ at the Tomb_ (Carrière), 58, 60
-
- _Christ before Pilate_ (Liebermann), 97
-
- _Christ reviled by the Soldiers_ (Manet), 23
-
- Church, 107
-
- Claude, 61
-
- Claus, Emile, 79-81, 105
-   _Flemish Farm_, 81
-   _Old Gardener_, 81
-
- Clausen, George, 102
-
- Clouet, 61
-
- Colin, Gustave, 34
-
- Collectors of Impressionist Paintings, 111, 112
-
- _Communion in extremis_ (Le Sidaner), 83
-
- Comondo, Count, 47
-
- Constable, John, 3, 4, 5, 6, 7, 29, 31, 32, 61, 80, 102, 103
-   _Hay Wain_, 3
-   _Opening of Waterloo Bridge_, 5
-
- Cordey, 35
-
- Cormont, 73
-
- Corot, 3, 4, 6, 7, 9, 11, 13, 15, 17, 29, 49, 53, 54, 59, 61, 80, 97,
-    101, 110
-
- Correggio, 2
-
- _Corvette Russe_ (Boudin), 14
-
- _Côte St. Catherine à Rouen_ (Pissarro), 51
-
- Cottet, 55, 102
-
- _Cotton-Broker’s Office_ (Degas), 67
-
- Courbet, 11, 12, 13, 20, 21, 23, 26, 49, 50, 53, 54, 97
-
- _Courtyard of the orphanage_ (Liebermann), 99
-
- Couture, 1, 11, 18, 19, 20, 22
-   _Romans of the Decadence_, 18
-
- Cross, H. E., 56
-
-
- Dagnan-Bouveret, 102
-
- Daillon, 102
-
- Dameron, 102
-
- _Dante’s Bark_ (Delacroix), 3
-
- Daubigny, 4, 12, 31, 41, 54, 97, 98
-
- Daudet, 26, 58
-
- Daumier, 20
-
- David, 2
-
- Dearp, 47
-
- De Bellis, 27
-
- Debras, 34
-
- Degas, 7, 20, 24, 34, 35, 49, 52, 67-71, 73, 76, 89, 102
-   _Family Portraits_, 67
-   _Interior of a Cotton-Broker’s Office_, 67
-   _Semiramis_, 67
-   _Spartan Youths Wrestling_, 67
-   _Steeplechase_, 67
-   _War in the Middle Ages_, 67
-
- _Déjeuner sur l’herbe_ (Manet), 22
-
- Delacroix, 3, 16, 19, 20, 29, 32, 45, 61, 82, 101
-   _Massacre of Scio_, 32
-   _Dante’s Bark_, 3
-
- Delaroche, 1, 19
-
- Denis, Maurice, 50, 56
-
- _Départ de Tobie_ (Le Sidaner), 83
-
- Depeam, 47
-
- _Déroute, la_ (Boulanger), 21
-
- Desboutins, 27, 35
-
- D’Espagnat, 32, 102, 105
-
- Diaz, 12
-
- Didier-Pouget, 85-87, 102
-
- _Die Lange Lizen_ (Whistler), 90
-
- Doré, Gustave, 55
-
- Dowdeswell Gallery, 40
-
- Duhem, H., 82
-
- Dumas père, 1, 13
-
- Dupré, 80
-
- Durand-Ruel, 27, 34, 35, 39, 41, 42, 43, 47, 54, 63
-
- Duranty, 24, 25
-
- Duret, T., 26, 29, 32, 33, 70, 89
-
- Dutch School, 80
-
-
- East, Alfred, 102
-
- “Echo de Paris,” 63
-
- Egg, R.A., Augustus, 4
-
- English School of Painting, 2, 6
-
- English School of Water-Colours, 3
-
- _Entre deux Rayons_ (Besnard), 85
-
- Ephrussi, 27
-
- _Etchings_ (Whistler), 89, 90
-
- “L’Événement,” 15, 24
-
- Eugénie, Empress, 17
-
- _Execution of Emperor Maximilian_ (Manet), 25.
-
- Exhibitions (_see also_ Salons)
-
- Exhibitions Martinet, 21, 24
-
- Exhibitions Great, 1851, 4
-
- Exhibitions Great Paris, 1867, 23
-
- Exhibitions Universal Paris 1878, 27, 28, 76
-
- Exhibitions Universal Paris 1889 and 1900, 61
-
- Exhibitions Impressionist, 34, 35, 39, 49, 54, 68
-
-
- _Falaise_ (Monet), 111
-
- Fantin-Latour, 20, 21, 24, 89, 102
-
- Faure, 27, 28, 47
-
- _Femme à la Robe Verte_ (Monet), 34
-
- _Femme qui se chauffe_ (Besnard), 85
-
- Fielding, Copley, 3
-
- _Fifre de la Garde_ (Manet), 22, 23, 24
-
- “Figaro, Le,” 24, 33, 44
-
- Flaubert, 64
-
- _Flemish Farm_ (Claus), 81
-
- “Fleurs de Mal,” 21
-
- Footet, F., 102
-
- Forain, 35, 49, 70, 73, 102
-
- Fra Angelico, 67, 83
-
- Fragonard, 2, 52, 75
-
- France, Anatole, 58
-
- French painting, 2, 4, 9
-
- Fuseli, 3
-
-
- Gagliardini, 103
-
- Gainsborough, 3, 31, 70, 102, 103
-
- Gallimard, 47
-
- Gambetta, 28
-
- Gauguin, 16, 35, 49, 55, 105
-
- Gautier, 1, 20, 23
-
- Geffroy, Gustave, 33, 35, 58, 65, 109
-
- Geffroy, 102
-
- Gérard (artist), 2
-
- Gérard (collector), 27
-
- Géricault, 1, 3
-
- Gérôme, 65, 93
-
- Ghent, 79
-
- Giorgione, 22
-
- Giotto, 82
-
- Girodet, 2
-
- Girtin, 29
-
- Giverny, 46, 51
-
- _Glaçons sur la Seine_ (Monet), 40
-
- Glasgow School of Painting, 90, 102
-
- Gleyre, 7, 38, 89
-
- _Golden Screen_ (Whistler), 90
-
- Gonzalès, 7, 76-77
-
- Goya, 20, 23
-
- “Grand Journal, Le,” 63
-
- _Green Bridges_ (Monet), 47
-
- Greuze, 52
-
- Grévy, President, 17, 28
-
- Gros, 2, 19
-
- Grosvenor Gallery, 69
-
- Guérard, 76
-
- Guillaumet, 21
-
- Guillaumin, 32, 34, 35, 49, 54-55, 103
-
- _Guitarero_ (Manet), 20
-
-
- Harding, 3
-
- Hals, 19, 27
-
- Hanover Gallery, 40
-
- Harpignies, 12, 20, 21, 103
-
- Harrison, Alexander, 82, 91-94, 105
-   _In Arcady_, 92
-   _The Wave_, 92
-   _Châteaux en Espagne_, 93
-
- Hassam, Childe, 94
-   _Seventh Avenue_, 94
-
- _Hauptmann_ (Liebermann), 99
-
- Havemeyer, H. O., 47
-
- _Havre_ (Bonington), 3
-
- _Haystacks_ (Monet), 32, 42
-
- _Hay Wain_ (Constable), 3
-
- Hecht, 27
-
- Helmholtz, 107
-
- Henley, W. E., 5
-
- Henner, 24, 28, 103
-
- Hochédé, 99
-
- Hogarth, 2, 3
-
- Holbein, 2, 67
-
- Hoogh, 82
-
- Hoppner, 52
-
- Hugo, 1
-
-
- Ibels, 56
-
- “Idealists,” 55
-
- _In Arcady_ (Harrison), 92
-
- Ingres, 2, 69, 70
-
- International Society of Painters, &c. 25, 40, 102
-
- “Intimists,” 55
-
- Isabey, 9, 12, 13
-
-
- Japanese Art, 2, 6, 41, 70, 76, 91
-
- _Jeanne_ (Manet), 28
-
- _Jeune fille Hollandaise_ (Le Sidaner), 83
-
- Jongkind, 7, 9-13, 20, 21, 31
-
- Jordaens, 82
-
-
- Karr, Alphonse, 11
-
- Kauffmann, 76
-
- Keyser, 79
-
- Kneller, 2
-
-
- _Labourers in the turnip field_ (Liebermann), 98
-
- _Lady Archibald Campbell_ (Whistler), 91
-
- _Lady with fan_ (Manet), 27
-
- Lalanne, 28
-
- _La mère Gérard_ (Whistler), 90
-
- Lamy, 35
-
- “Lantier, Claude,” 15
-
- _Last of Old Westminster_ (Whistler), 90
-
- _La table_ (Le Sidaner) 83
-
- La Thangue, 102
-
- Latouche, 34
-
- Laurens, J. P., 22
-
- Lavery, 102
-
- Lawrence, 31, 32
-
- Lebrun, 76
-
- Lebourg, 35
-
- Leenhoff, Mdlle., 21
-
- Legros, 20, 22, 24, 35
-
- Lely, 2
-
- Leighton, 4
-
- Lenbach, 98
-
- Lepic, 34, 35
-
- Lépine, 12, 34
-
- Le Roux, 62
-
- Le Sidaner, 55, 81-83, 103, 105
-   _After church_, 83
-   _Benediction de la mer_, 83
-   _Communion in extremis_, 83
-   _Départ de Tobie_, 83
-   _Jeune fille Hollandaise_, 83
-   _L’autel des orphelines_, 83
-   _La promenade des orphelines_, 83
-   _La table_, 83
-   _Les promis_, 83
-   _Les vieilles_, 83
-
- Levert, 34, 35
-
- Lhermitte, 103
-
- Liebermann, 95-100, 105
-   _An asylum for old men_, 98
-   _Brother and sister_, 98
-   _Burgomeister Petersen_, 99
-   _Christ before Pilate_, 97
-   _Courtyard of the orphanage, Amsterdam_, 99
-   _Gerhart Hauptmann_, 99
-   _Labourers in the turnip field_, 98
-   _Netmenders_, 99
-   _Professor Virchow_, 99
-   _Ropeyard_, 99
-   _Women plucking geese_, 97, 99
-   _Women preserving vegetables_, 97
-
- _Lillebonne_ (Bonington), 3
-
- Lindsay, Sir Coutts, 90
-
- _Linge_, _le_ (Manet), 27
-
- _Little white girl_ (Whistler), 90
-
- _Loge_, _la_ (Renoir), 52
-
- _Lola de Valence_ (Manet), 21
-
- _Los Borrachos_ (Velasquez), 21
-
- Louis-Philippe, 19, 24
-
- “Luminarists,” 25, 65
-
-
- MacColl, 107, 109
-
- Maclise, 4
-
- Maddocks, John, 80
-
- Maire, Victor, 61
-
- Mallarmé, 45
-
- Manet, Edouard, 1, 3, 4, 6, 7, 8, 10, 16, 17-29, 31, 32, 33, 34, 38,
-    39, 45, 50, 61, 68, 75, 76, 82, 89, 98
-   _Absinthe drinker_, 20
-   _Argenteuil_, 27
-   _L’Artiste_, 27
-   _Le Bain_, 22
-   _Le Balcon_, 25
-   _Battle of “Kearsage” and “Alabama,”_ 26
-   _Le Bon Bock_, 27, 28
-   _Boy with a sword_, 21, 23
-   _Christ reviled by the soldiers_, 23
-   _Déjeuner sur l’herbe_, 22
-   _Execution of the Emperor Maximilian_, 25
-   _Le fifre de la Garde_, 22, 23, 24
-   _Guitarero_, 20
-   _Jeanne_, 28
-   _Lady with fan_, 27
-   _Le Linge_, 27
-   _Lola de Valence_, 21
-   _Music at the Tuileries_, 20, 21
-   _Nana_, 28
-   _Old Musician_, 21
-   _Olympia_, 22, 23
-   _Opera Ball_, 27
-   _Pertuiset_, 82
-   _Polichinelle_, 27
-   _Portraits_, 111
-   _The Railway_, 27
-   _Rochefort_, 82
-   _Spanish Ballet_, 21
-   _Street Singer_, 20
-   _Tragic Actor_, 23, 28
-   _Un Bar des Folies-Bergères_, 28, 82
-
- Manet, Eugène, 25, 75
-
- Mantz, Paul, 21
-
- Marais, 103
-
- Martel, Charles, 107
-
- Martinet, 21, 24
-
- Marx, Roger, 33
-
- _Massacre of Scio_ (Delacroix), 32
-
- _Maternité_ (Carrière), 58
-
- _Matins sur la Seine_ (Monet), 40, 43
-
- Mauclair, C., 6, 53, 107
-
- Maufra, Maxime, 32, 61-64, 103, 105
-
- Maureau, 35
-
- Maurier, G. du, 89
-
- May, 27
-
- Meissonier, 21, 26, 31
-
- Melbye, 49
-
- Mellino, André, 55
-
- Ménard, 103
-
- Méryon, 18
-
- “Mes Haines,” 32
-
- Metropolitan Museum, New York, 21
-
- _Meules, les_ (Monet), 40, 42, 111
-
- Meunier, 103
-
- Meyer, 34
-
- Michelangelo, 2
-
- Millet, J. B., 35
-
- Millet, J. F., 11, 12, 45, 50, 80, 83, 98
-
- Mirbeau, Octave, 63
-
- “Mirliton, Le,” 71
-
- _Miss Alexander_ (Whistler), 91
-
- Molins, de, 34
-
- Monet, Claude, 1, 4, 6, 7, 9, 10, 12, 14, 15, 20, 24, 25, 26, 31, 32,
-    33, 34, 35, 37, 49, 50, 54, 57, 60, 61, 64, 68, 80, 84, 98, 101,
-    108, 109, 110, 111
-   _A Argenteuil_, 40, 111
-   _Antibes_, 40
-   _Belle Isle_, 40
-   _Bordighera_, 40
-   _Les Cathédrales_, 40, 44, 84
-   _Champs des Tulipes_, 40
-   _Falaise à Varenqeville_, 111
-   _Femme à la Robe Verte_, 34
-   _Glaçons sur la Seine_, 39, 40
-   _Green Bridges_, 47
-   _The Haystacks_, 32
-   _Matins sur la Seine_, 40, 43
-   _Les Meules_, 40, 42, 111
-   _Peupliers au bord de l’Epté_, 40, 42, 46
-   _Pont d’Argenteuil_, 111
-   _La Prairie_, 111
-   _Water Lilies_, 47
-
- Montenard, 103
-
- Moore, George, 68, 69, 83
-
- Moret, 53
-
- Morisot, Berthe, 7, 25, 34, 35, 49, 75, 76
-
- Morny, de, 13
-
- _Morte, La_ (Besnard), 85
-
- Mourey, G., 63, 81, 82
-
- Mulot-Durivage, 34
-
- Mulready, 4
-
- Munich, 98
-
- Munkacsy, 97, 99
-
- _Music at the Tuileries_ (Manet), 20, 21
-
- Muther, 97
-
-
- Nadar, 34, 39
-
- _Nana_ (Manet), 28
-
- Napoleon III., 19, 22
-
- National Gallery, London, 3, 41
-
- National Salon, Paris, 99
-
- _Netmenders_ (Liebermann), 99
-
- New English Art Club, 40
-
- New Gallery, 102
-
- Neuville, de, 28
-
- Nittis, de, 25, 34
-
- _Nocturne_ (Whistler), 91
-
- Northcote, 3
-
- Norwich School of Painting, 3, 4, 50
-
- “Nubians,” 62, 104
-
-
- “L’Œuvre,” 15
-
- _Old Battersea Bridge_ (Whistler), 90
-
- Old Crome, 31
-
- _Old Gardener_ (Claus), 81
-
- _Old Musician_ (Manet), 21
-
- Oleron, 26
-
- _Olympia_ (Manet), 22, 23
-
- _On the Terrace_ (Renoir), 52
-
- _Opening of Waterloo Bridge_ (Constable), 5
-
- _Opera Ball_ (Manet), 27
-
- Ottin, Auguste, 34
-
- Ottin, Léon, 34, 35
-
-
- Palmer, Potter, 47
-
- Pape, A. A., 47
-
- Paterson, C. Lambert, 47
-
- Pauvels, 97
-
- Pellerin, 47
-
- Peppercorn, 102
-
- _Pertuiset_ (Manet), 82
-
- Petit, Georges, 39, 43, 98, 111
-
- _Peupliers au bord de l’Epté_ (Monet), 40, 42, 46
-
- Philadelphia Academy, 76
-
- Piette, 35
-
- Pissarro, Camille, 4, 7, 10, 22, 24, 31, 32, 33, 34, 35, 41, 49-51, 54,
-    61, 73, 80, 103
-   _La Côte St. Catherine à Rouen_, 51
-
- Pissarro, Lucien, 35
-
- Poe, E. A., 59
-
- Poiloup, Abbé, 18
-
- Pointelin, 57, 60-61, 83, 103
-
- “Pointillism,” 7, 50, 55, 56
-
- _Polichinelle_ (Manet), 27
-
- _Ponies worried by flies_ (Besnard), 85
-
- Poole, 4
-
- _Porte d’Alger au Crépuscule_ (Besnard), 85
-
- _Portrait of the artist_ (Besnard), 85
-
- Pouget, 2
-
- Poussin, 2, 55, 61, 70, 103
-
- Poynter, 89
-
- _Prairie, la_ (Monet), 111
-
- “Pre-Raphaelites,” 4
-
- Priestman, B., 102
-
- “Primitives,” 16
-
- Princeteau, M., 73
-
- _Promenade des Orphelines_ (Le Sidaner), 83
-
- _Promis, les_ (Le Sidaner), 83
-
- Proust, Antonin, 18, 24, 28, 29
-
- Prout, Samuel, 3
-
- Puvis de Chavannes, 14, 45
-
-
- _Rade de Villefranche_ (Boudin), 14
-
- Raffaëlli, J. F., 35, 65-67, 76, 103
-
- Raffaëlli, J. M., 35
-
- _Railway, the_ (Manet), 27
-
- Raphael, 2
-
- “Realists,” 65, 73
-
- Redon, Odilon, 35
-
- Regnault, 26
-
- Rembrandt, 19, 72
-
- Renoir, 7, 24, 34, 35, 49, 51-53, 55, 73, 103, 111
-   _Bal au Moulin de la Galette_, 52
-   _La loge_, 52
-   _On the Terrace_, 52
-
- Reynolds, 3, 31, 52, 103, 109
-
- Ribot, 97, 103
-
- Rigolet, 103
-
- Robert, 34
-
- Robson, 3
-
- Rodin, 23, 45, 58, 103
-
- _Rochefort_ (Manet), 82
-
- Roll, 28, 92
-
- Rollinat, 46
-
- _Romans of the Decadence_ (Couture), 18
-
- Romney, 103
-
- Rood, 107
-
- _Ropeyard_ (Liebermann) 99
-
- “Rose + Croix?” 55
-
- Rossetti, 32, 90
-
- Rouart, 34, 35, 49
-
- Rousseau, 4, 80
-
- Royal Academy, 5, 32, 90, 102
-
- Royal Society of British Artists, 40, 91
-
- Roybet, 103
-
- Rubens, 16
-
- Rude, 45
-
- Ruskin, 26, 90
-
-
- Sale Prices, 33, 35, 47, 51, 110, 111
-
- Salon, 3, 9, 14, 18, 20, 21, 22, 23, 26, 27, 28, 49, 86, 98
-
- Salon des Refusés, 22, 26, 27, 90
-
- _Sarasate_ (Whistler), 91
-
- Sargent, J. S., 58, 102
-
- Sar Peladan, 55
-
- _Scarf_, _the_ (Whistler), 90
-
- Scheffont, 9
-
- Schumann, 60
-
- Scott, 2
-
- “Secession,” 99, 104
-
- _Semiramis_ (Degas), 67
-
- Seurat, 35, 50, 56
-
- Signac, 35, 49, 50, 56
-
- Sisley, 4, 7, 24, 32, 34, 35, 49, 50, 53-54, 80, 84
-
- Société des Artistes Indépendants, 56
-
- Somm, 35
-
- _Spanish Ballet_ (Manet), 21
-
- _Spartan youths wrestling_ (Degas), 67
-
- Spielman, M. H., 40
-
- _Steeplechase_ (Degas), 67
-
- Steffeck, 97
-
- Stevens, Alfred, 24, 98
-
- Stevenson, Macaulay, 102
-
- Stott, Edward, 102
-
- _Street Singer_ (Manet), 20
-
- “Studio,” 81, 82
-
- “Symbolists,” 16
-
-
- Tarbes, 87
-
- Tavernier, 53
-
- “Temps, Le,” 87
-
- Thaulow, 82
-
- _Théâtre de Belleville_ (Carrière), 58
-
- Thumann, 97
-
- Tillot, 35, 49
-
- Tintoretto, 19, 20, 83,
-
- Titian, 19, 20, 23, 83
-
- Toulouse-Lautrec, 71-72
-
- _Tragic Actor_ (Manet), 23, 28
-
- Troyon, 11, 12, 97, 98
-
- Turner, 3, 4, 5, 7, 26, 29, 31, 32, 41, 50, 57, 61, 80, 102, 103
-
-
- _Un Bar aux Folies-Bergères_ (Manet), 28
-
-
- Vail, Eugène, 82
-
- Vallon, 22
-
- _Valparaiso_ (Whistler), 91
-
- Vandyck, 2
-
- Van Gogh, 16, 55
-
- Van Rysselberghe, 50, 56
-
- Varley, John, 3
-
- Velazquez, 20, 21, 23
-
- Verlaine, 58
-
- Verlat, Charles, 79
-
- Vermeer, 83
-
- Veronese, 16, 83
-
- Vidal, 35
-
- “Vie Artistique,” 33, 35
-
- _Vieilles, les_ (Le Sidaner), 83
-
- “Vie Moderne,” 35, 39
-
- Vignaux, 24, 25
-
- Vignon, 35
-
- Villemessant, 15, 24
-
- _Virchow_ (Liebermann), 99
-
- Virgil, 50
-
- Vuillard, 32
-
-
- _Wapping_ (Whistler), 90
-
- _War in the Middle Ages_ (Degas), 67
-
- _Water Lilies_ (Monet), 47
-
- _Waterloo Bridge_ (Constable), 5
-
- Watteau, 2
-
- Watts, G. F., 32, 50
-
- _Wave, the_ (Harrison), 92
-
- Weimar, 97
-
- West, Benjamin, 3
-
- Whistler, J. A. McNeill, 7, 20, 22, 24, 40, 41, 57, 71, 83, 89, 92
-   _Alone with the tide_, 90
-   _Arrangement in grey and black_, 90
-   _At the piano_, 90
-   _Balcony, the_, 90
-   _Carlyle_, 91
-   _Die Lange Lizen_, 90
-   _Etchings_, 89, 90
-   _Golden Screen_, 90
-   _Lady Archibald Campbell_, 91
-   _La mère Gérard_, 90
-   _Last of Old Westminster_, 90
-   _Little white girl_, 90
-   _Miss Alexander_, 91
-   _Nocturne_, 91
-   _Old Battersea Bridge_, 90
-   _Sarasate_, 91
-   _Scarf, the_, 90
-   _Valparaiso_, 91
-   _Wapping_, 90
-
- Wilkie, 32
-
- Wilson, Richard, 3
-
- _Women plucking geese_ (Liebermann), 97, 99
-
- _Women preserving vegetables_ (Liebermann), 97
-
-
- Zandomeneghi, 35, 49
-
- Ziem, 103
-
- Zola, 15, 24, 25, 28, 32, 55
-
-
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-<p style='text-align:center; font-size:1.2em; font-weight:bold'>The Project Gutenberg eBook of Impressionist painting: its genesis and development, by Wynford Dewhurst</p>
-<div style='display:block; margin:1em 0'>
-This eBook is for the use of anyone anywhere in the United States and
-most other parts of the world at no cost and with almost no restrictions
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-<p style='display:block; margin-top:1em; margin-bottom:1em; margin-left:2em; text-indent:-2em'>Title: Impressionist painting: its genesis and development</p>
-<p style='display:block; margin-top:1em; margin-bottom:0; margin-left:2em; text-indent:-2em'>Author: Wynford Dewhurst</p>
-<p style='display:block; text-indent:0; margin:1em 0'>Release Date: December 13, 2022 [eBook #69533]</p>
-<p style='display:block; text-indent:0; margin:1em 0'>Language: English</p>
-  <p style='display:block; margin-top:1em; margin-bottom:0; margin-left:2em; text-indent:-2em; text-align:left'>Produced by: Tim Lindell, Barry Abrahamsen, and the Online Distributed Proofreading Team at https://www.pgdp.net (This file was produced from images generously made available by The Internet Archive/American Libraries.)</p>
-<div style='margin-top:2em; margin-bottom:4em'>*** START OF THE PROJECT GUTENBERG EBOOK IMPRESSIONIST PAINTING: ITS GENESIS AND DEVELOPMENT ***</div>
-
-<div  class='figcenter id001'>
-<img src='images/cover.jpg' alt='' class='ig001' />
-</div>
-<div class='pbb'>
- <hr class='pb c000' />
-</div>
-<div>
-  <h1 class='c001'>IMPRESSIONIST PAINTING:<br />ITS GENESIS AND DEVELOPMENT</h1>
-</div>
-<div class='pbb'>
- <hr class='pb c002' />
-</div>
-
-<div id='frontis'  class='figcenter id001'>
-<img src='images/frontis.jpg' alt='' class='ig001' />
-<div class='ic002'>
-<p><span class='small'>A STUDY · MAX LIEBERMANN</span></p>
-</div>
-</div>
-
-<div class='pbb'>
- <hr class='pb c000' />
-</div>
-
-<div class='nf-center-c0'>
-<div class='nf-center c003'>
-    <div><span class='c004'>IMPRESSIONIST PAINTING</span></div>
-    <div class='c000'><span class='c005'>ITS GENESIS AND DEVELOPMENT</span></div>
-    <div class='c000'><span class='c005'>BY WYNFORD DEWHURST</span></div>
-  </div>
-</div>
-
-<div  class='figcenter id003'>
-<img src='images/publogo.jpg' alt='' class='ig001' />
-</div>
-
-<div class='nf-center-c0'>
-<div class='nf-center c006'>
-    <div class='c000'><span class='c007'>LONDON PUBLISHED BY</span></div>
-    <div><span class='c007'>GEORGE NEWNES LIMITED</span></div>
-    <div><span class='c007'>SOUTHAMPTON ST. STRAND</span></div>
-    <div><span class='c007'>MDCCCCIV</span></div>
-  </div>
-</div>
-
-<div class='pbb'>
- <hr class='pb c003' />
-</div>
-
-<div class='nf-center-c0'>
-<div class='nf-center c002'>
-    <div><span class='pageno' id='Page_v'>v</span>Á</div>
-    <div class='c000'><span class='c007'>MONSIEUR CLAUDE MONET</span></div>
-    <div class='c000'><span class='c008'>EN TÉMOIGNAGE D’ESTIME</span></div>
-    <div><span class='c008'>ET D’ADMIRATION</span></div>
-    <div class='c000'><span class='c009'>WYNFORD DEWHURST</span></div>
-  </div>
-</div>
-
-<div class='lg-container-l c010'>
-  <div class='linegroup'>
-    <div class='group'>
-      <div class='line'><span class='c008'>CHELMSCOTE</span></div>
-      <div class='line'><span class='c008'>LEIGHTON BUZZARD</span></div>
-      <div class='line in3'><span class='c008'><i>Mar. 1904</i></span></div>
-    </div>
-  </div>
-</div>
-
-<div class='pbb'>
- <hr class='pb c002' />
-</div>
-<div class='chapter'>
-  <span class='pageno' id='Page_vii'>vii</span>
-  <h2 class='c011'>PREFACE</h2>
-</div>
-<div class='c012'>
-  <img class='drop-capi' src='images/di-i.jpg' width='100' height='100' alt='' />
-</div><p class='drop-capi0_75'>
-IT may perhaps be interesting to the readers of this
-book to give a short account of its origin. From the
-earliest days of my pupilage to art I had been instinctively
-drawn towards the paintings of Turner, Corot,
-Constable, Bonington, and Watts, with an intense
-admiration for their manner in viewing, and methods of
-recreating, nature upon their canvases; and in later years I had been
-fascinated by the works of more modern artists, such as La Thangue,
-George Clausen, Edward Stott, and Robert Meyerheim. In 1891,
-a student in Paris, I found myself face to face with a beautiful
-development of landscape painting, which was quite new to me.
-“Impressionism,” together with its numerous progeny of eccentric
-offshoots, was at the time causing a great furore in the schools.
-Curiously enough I had been charged with copying Monet’s style
-long before I had seen his actual work, so that my conversion into
-an enthusiastic Impressionist was short, in fact, an instantaneous
-process.</p>
-
-<p class='c013'>Since then I have endeavoured, by precept and by example, to
-preach the doctrine of Impressionism, particularly in England, where
-it is so little known and appreciated. It has always seemed to me
-astonishing that an art which has shown such magnificent proofs of
-virility, which has long been accepted at its true value on the
-Continent and in America, should be comparatively neglected in my
-own country. A stimulating propaganda being needed, I invaded
-for a short time the domain of the writer on art, a sphere of activity
-for which I feel myself none too well equipped. For years, as a
-hobby, I had collected all manner of documents bearing upon the
-subject of Impressionism, and the mass of material which thus
-accumulated formed the basis for several articles which have appeared
-under my name in the English magazines. To the Editors of the <i>Pall
-Mall Magazine</i>, the <i>Artist</i>, and the <i>Studio</i>, I must
-tender my best thanks for the leave, so courteously given, to
-incorporate the substance of the respective articles in this volume.</p>
-
-<p class='c013'><span class='pageno' id='Page_viii'>viii</span>Many of the pictures which illustrate these pages are unique,
-having been reproduced for the first time, the photographs not being
-for public sale. I have to acknowledge my sincere obligations to
-Miss Mary Cassatt, Messieurs Durand-Ruel (who have given me
-much personal assistance), George Petit, Bernheim jeune, Maxime
-Maufra, Alexander Harrison, Paul Chevallier, Lucien Sauphar, Emile
-Claus, Max Liebermann, and, indeed, to all the artists illustrated, for
-permission to use the photographs of their works. To Miss Mary
-Cassatt, and Messieurs Claude Monet, Emile Claus, and Max Liebermann
-I am also indebted for the loan of valuable pictures, and also
-for permission to reproduce them in colours. Without such aid it
-would have been impossible to produce satisfactorily any account of
-Impressionism. I trust that this volume may be of real service in
-the cause of art education, and that it may introduce to an extended
-circle of art-lovers the masterpieces of the great artists who founded
-and are continuing Impressionist Painting.</p>
-<div class='pbb'>
- <hr class='pb c003' />
-</div>
-<div class='chapter'>
-  <span class='pageno' id='Page_ix'>ix</span>
-  <h2 class='c011'>CONTENTS</h2>
-</div>
-<table class='table0' summary=''>
-<colgroup>
-<col width='9%' />
-<col width='80%' />
-<col width='9%' />
-</colgroup>
-  <tr>
-    <td class='c014'>&nbsp;</td>
-    <td class='c015'>&nbsp;</td>
-    <td class='c016'><span class='xsmall'>PAGE</span></td>
-  </tr>
-  <tr>
-    <td class='c014'>&nbsp;</td>
-    <td class='c015'>DEDICATION</td>
-    <td class='c016'><a href='#Page_v'>v</a></td>
-  </tr>
-  <tr>
-    <td class='c014'>&nbsp;</td>
-    <td class='c015'>PREFACE</td>
-    <td class='c016'><a href='#Page_vii'>vii</a></td>
-  </tr>
-  <tr>
-    <td class='c014'>&nbsp;</td>
-    <td class='c015'>LIST OF ILLUSTRATIONS</td>
-    <td class='c016'><a href='#Page_xi'>xi</a></td>
-  </tr>
-  <tr>
-    <td class='c014'>&nbsp;</td>
-    <td class='c015'>LIST OF PORTRAITS</td>
-    <td class='c016'><a href='#Page_xv'>xv</a></td>
-  </tr>
-  <tr>
-    <td class='c014'><span class='xsmall'>CHAP.</span></td>
-    <td class='c015'>&nbsp;</td>
-    <td class='c016'>&nbsp;</td>
-  </tr>
-  <tr>
-    <td class='c014'>I.</td>
-    <td class='c015'>THE EVOLUTION OF THE IMPRESSIONISTIC IDEA</td>
-    <td class='c016'><a href='#Page_1'>1</a></td>
-  </tr>
-  <tr>
-    <td class='c014'>II.</td>
-    <td class='c015'>JONGKIND, BOUDIN, AND CÉZANNE</td>
-    <td class='c016'><a href='#Page_9'>9</a></td>
-  </tr>
-  <tr>
-    <td class='c014'>III.</td>
-    <td class='c015'>EDOUARD MANET (1832-1883)</td>
-    <td class='c016'><a href='#Page_17'>17</a></td>
-  </tr>
-  <tr>
-    <td class='c014'>IV.</td>
-    <td class='c015'>THE IMPRESSIONIST GROUP, 1870-1886</td>
-    <td class='c016'><a href='#Page_31'>31</a></td>
-  </tr>
-  <tr>
-    <td class='c014'>V.</td>
-    <td class='c015'>CLAUDE MONET</td>
-    <td class='c016'><a href='#Page_37'>37</a></td>
-  </tr>
-  <tr>
-    <td class='c014'>VI.</td>
-    <td class='c015'>PISSARRO, RENOIR, SISLEY</td>
-    <td class='c016'><a href='#Page_49'>49</a></td>
-  </tr>
-  <tr>
-    <td class='c014'>VII.</td>
-    <td class='c015'>SOME YOUNGER IMPRESSIONISTS: CARRIÈRE, POINTELIN, MAUFRA</td>
-    <td class='c016'><a href='#Page_57'>57</a></td>
-  </tr>
-  <tr>
-    <td class='c014'>VIII.</td>
-    <td class='c015'>“REALISTS”: RAFFAËLLI, DEGAS, TOULOUSE-LAUTREC</td>
-    <td class='c016'><a href='#Page_65'>65</a></td>
-  </tr>
-  <tr>
-    <td class='c014'>IX.</td>
-    <td class='c015'>THE “WOMEN-PAINTERS”: BERTHE MORISOT, MARY CASSATT, MARIE BRACQUEMOND, EVA GONZALÈS</td>
-    <td class='c016'><a href='#Page_75'>75</a></td>
-  </tr>
-  <tr>
-    <td class='c014'>X.</td>
-    <td class='c015'>“LA PEINTURE CLAIRE”: CLAUS, LE SIDANER, BESNARD, DIDIER-POUGET</td>
-    <td class='c016'><a href='#Page_79'>79</a></td>
-  </tr>
-  <tr>
-    <td class='c014'>XI.</td>
-    <td class='c015'>AMERICAN IMPRESSIONISTS: WHISTLER, HARRISON, HASSAM</td>
-    <td class='c016'><a href='#Page_89'>89</a></td>
-  </tr>
-  <tr>
-    <td class='c014'>XII.</td>
-    <td class='c015'>A GERMAN IMPRESSIONIST, MAX LIEBERMANN</td>
-    <td class='c016'><a href='#Page_95'>95</a></td>
-  </tr>
-  <tr>
-    <td class='c014'>XIII.</td>
-    <td class='c015'>INFLUENCES AND TENDENCIES</td>
-    <td class='c016'><a href='#Page_101'>101</a></td>
-  </tr>
-  <tr>
-    <td class='c014'>&nbsp;</td>
-    <td class='c015'>APPENDIX</td>
-    <td class='c016'><a href='#Page_107'>107</a></td>
-  </tr>
-  <tr>
-    <td class='c014'>&nbsp;</td>
-    <td class='c015'>BIBLIOGRAPHY</td>
-    <td class='c016'><a href='#Page_113'>113</a></td>
-  </tr>
-  <tr>
-    <td class='c014'>&nbsp;</td>
-    <td class='c015'>INDEX</td>
-    <td class='c016'><a href='#Page_121'>121</a></td>
-  </tr>
-</table>
-<div class='pbb'>
- <hr class='pb c003' />
-</div>
-<div class='chapter'>
-  <span class='pageno' id='Page_xi'>xi</span>
-  <h2 id='ills' class='c011'>ILLUSTRATIONS</h2>
-</div>
-<div class='lg-container-l c003'>
-  <div class='linegroup'>
-    <div class='group'>
-      <div class='line'>MAX LIEBERMANN</div>
-      <div class='line in5'><a href='#frontis'>A STUDY</a></div>
-    </div>
-  </div>
-</div>
-
-<div class='lg-container-l'>
-  <div class='linegroup'>
-    <div class='group'>
-      <div class='line'>J. M. W. TURNER</div>
-      <div class='line in5'><a href='#i001fp'>MODERN ITALY</a></div>
-      <div class='line in5'><a href='#i002-1'>PETWORTH PARK</a></div>
-    </div>
-    <div class='group'>
-      <div class='line'>JOHN CONSTABLE</div>
-      <div class='line in5'><a href='#i002-2'>THE CORN FIELD</a></div>
-      <div class='line in5'><a href='#i004-1'>A STUDY</a></div>
-    </div>
-    <div class='group'>
-      <div class='line'>THOMAS GIRTIN</div>
-      <div class='line in5'><a href='#i004-2'>VIEW OF THE THAMES</a></div>
-    </div>
-    <div class='group'>
-      <div class='line'>R. P. BONINGTON</div>
-      <div class='line in5'><a href='#i004-3'>HENRI IV. AND THE SPANISH AMBASSADOR</a></div>
-      <div class='line in5'><a href='#i006-1'>A COAST SCENE</a></div>
-    </div>
-    <div class='group'>
-      <div class='line'>G. F. WATTS</div>
-      <div class='line in5'><a href='#i006-2'>TIME, DEATH, AND JUDGMENT</a></div>
-      <div class='line in5'><a href='#i008fp'>RIDER ON THE WHITE HORSE</a></div>
-    </div>
-    <div class='group'>
-      <div class='line'>J. B. JONGKIND</div>
-      <div class='line in5'><a href='#i009fp'>VIEW OF HONFLEUR</a></div>
-      <div class='line in5'><a href='#i010fp'>MOONRISE</a></div>
-    </div>
-    <div class='group'>
-      <div class='line'>EUGÈNE BOUDIN</div>
-      <div class='line in5'><a href='#i012fp'>RETURN OF THE FISHING SMACKS</a></div>
-      <div class='line in5'><a href='#i014fp'>THE REPAIRING DOCKS AT DUNKIRK</a></div>
-    </div>
-    <div class='group'>
-      <div class='line'>PAUL CÉZANNE</div>
-      <div class='line in5'><a href='#i016fp'>LA ROUTE</a></div>
-    </div>
-    <div class='group'>
-      <div class='line'><span class='pageno' id='Page_xii'>xii</span>EDOUARD MANET</div>
-      <div class='line in5'><a href='#i017fp'>THE BULLFIGHT</a></div>
-      <div class='line in5'><a href='#i018fp'>THE GARDEN</a></div>
-      <div class='line in5'><a href='#i022fp'>PORTRAIT OF BERTHE MORISOT</a></div>
-      <div class='line in5'><a href='#i024fp'>PORTRAIT OF M. P——, THE LION-HUNTER</a></div>
-      <div class='line in5'><a href='#i028-1'>A GARDEN IN RUEIL</a></div>
-      <div class='line in5'><a href='#i028-2'>FISHING</a></div>
-    </div>
-    <div class='group'>
-      <div class='line'>GEORGES D’ESPAGNAT</div>
-      <div class='line in5'><a href='#i032-1'>THE WHITE RABBITS</a></div>
-      <div class='line in5'><a href='#i032-2'>A SUMMER AFTERNOON</a></div>
-      <div class='line in5'><a href='#i034-1'>FAIR ANGLERS</a></div>
-    </div>
-    <div class='group'>
-      <div class='line'>LEPINE</div>
-      <div class='line in5'><a href='#i034-2'>FISHING NEAR PARIS</a></div>
-    </div>
-    <div class='group'>
-      <div class='line'>CLAUDE MONET</div>
-      <div class='line in5'><a href='#i037fp'>THE PICNIC</a></div>
-      <div class='line in5'><a href='#i038-2'>A STUDY (<i>in Colour</i>)</a></div>
-      <div class='line in5'><a href='#i040fp'>LA GRENOUILLÈRE</a></div>
-      <div class='line in5'><a href='#i042fp'>THE BEACH AT ÉTRETAT</a></div>
-      <div class='line in5'>POPLARS ON THE BANK OF THE EPTE: AUTUMN</div>
-      <div class='line in5'><a href='#i044-1'>MORNING ON THE SEINE</a></div>
-      <div class='line in5'><a href='#i044-2'>ARGENTEUIL</a></div>
-      <div class='line in5'><a href='#i046-1'>A RIVER SCENE</a></div>
-      <div class='line in5'><a href='#i046-2'>A LADY IN HER GARDEN</a></div>
-      <div class='line in5'><a href='#i048fp'>INTERIOR—AFTER DINNER</a></div>
-    </div>
-    <div class='group'>
-      <div class='line'>CAMILLE PISSARRO</div>
-      <div class='line in5'><a href='#i049fp'>CHURCH OF ST. JACQUES, DIEPPE</a></div>
-      <div class='line in5'><a href='#i050-2'>PLACE DU THÉÂTRE FRANÇAIS</a></div>
-      <div class='line in5'><a href='#i050-3'>THE BOULEVARD MONTMARTRE: A WINTER IMPRESSION</a></div>
-    </div>
-    <div class='group'>
-      <div class='line'>AUGUSTE RENOIR</div>
-      <div class='line in5'><a href='#i052-1'>PASTEL PORTRAIT OF CÉZANNE</a></div>
-      <div class='line in5'><a href='#i052-2'>AT THE PIANO</a></div>
-    </div>
-    <div class='group'>
-      <div class='line'>ALFRED SISLEY</div>
-      <div class='line in5'>A SUNNY MORNING IN AUTUMN</div>
-      <div class='line in5'><a href='#i054-1'>OUTSKIRTS OF THE FOREST OF FONTAINEBLEAU</a></div>
-      <div class='line in5'><a href='#i054-2'>ON THE BANKS OF THE LOING</a></div>
-      <div class='line in5'><a href='#i056fp'>OUTSKIRTS OF A WOOD</a></div>
-    </div>
-    <div class='group'>
-      <div class='line'><span class='pageno' id='Page_xiii'>xiii</span>EUGÈNE CARRIÈRE</div>
-      <div class='line in5'><a href='#i057fp'>CHILD AND DOG</a></div>
-      <div class='line in5'><a href='#i058-2'>THE FAMILY</a></div>
-      <div class='line in5'><a href='#i058-3'>MOTHERHOOD</a></div>
-    </div>
-    <div class='group'>
-      <div class='line'>AUGUSTE POINTELIN</div>
-      <div class='line in5'><a href='#i060-1'>A GLADE IN THE WOOD</a></div>
-      <div class='line in5'><a href='#i060-2'>MOUNTAIN AND TREES</a></div>
-    </div>
-    <div class='group'>
-      <div class='line'>MAXIME MAUFRA</div>
-      <div class='line in5'><a href='#i060-3'>A ROCKY COAST</a></div>
-      <div class='line in5'><a href='#i062-1'>AN ETCHING</a></div>
-      <div class='line in5'><a href='#i062-2'>ARRIVAL OF THE FISHING BOATS AT CAMARET</a></div>
-      <div class='line in5'><a href='#i064fp'>SHIPWRECK</a></div>
-    </div>
-    <div class='group'>
-      <div class='line'>J. F. RAFFAËLLI</div>
-      <div class='line in5'><a href='#i065fp'>A GLASS OF GOOD RED WINE</a></div>
-      <div class='line in5'><a href='#i066-1'>NOTRE DAME</a></div>
-    </div>
-    <div class='group'>
-      <div class='line'>EDGAR DEGAS</div>
-      <div class='line in5'><a href='#i068fp'>DANCING GIRL FASTENING HER SHOE</a></div>
-      <div class='line in5'><a href='#i070fp'>DANCING GIRL</a></div>
-      <div class='line in5'><a href='#i072fp'>CAFÉ SCENE ON THE BOULEVARD MONTMARTRE</a></div>
-    </div>
-    <div class='group'>
-      <div class='line'>MARY CASSATT</div>
-      <div class='line in5'><a href='#i075fp'>BABY’S TOILET (<i>in Colour</i>)</a></div>
-    </div>
-    <div class='group'>
-      <div class='line'>BERTHE MORISOT</div>
-      <div class='line in5'><a href='#i076'>LE LEVER</a></div>
-    </div>
-    <div class='group'>
-      <div class='line'>EMILE CLAUS</div>
-      <div class='line in5'><a href='#i079fp'>THE LAST RAYS (<i>in Colour</i>)</a></div>
-      <div class='line in5'><a href='#i080-2'>THE VILLAGE STREET</a></div>
-      <div class='line in5'><a href='#i080-3'>RETURNING FROM MARKET</a></div>
-      <div class='line in5'><a href='#i080-4'>GOLDEN AUTUMN</a></div>
-      <div class='line in5'><a href='#i082-1'>APPLE GATHERING</a></div>
-      <div class='line in5'><a href='#i082-2'>A SUNLIT HOUSE</a></div>
-      <div class='line in5'><a href='#i084-1'>THE QUAY AT VEERE</a></div>
-      <div class='line in5'><a href='#i084-2'>THE BARRIER</a></div>
-    </div>
-    <div class='group'>
-      <div class='line'><span class='pageno' id='Page_xiv'>xiv</span>HENRI LE SIDANER</div>
-      <div class='line in5'><a href='#i084-3'>AN ALLEY</a></div>
-      <div class='line in5'><a href='#i084-4'>THE TABLE</a></div>
-    </div>
-    <div class='group'>
-      <div class='line'>ALBERT BESNARD</div>
-      <div class='line in5'><a href='#i086-1'>A STUDY</a></div>
-      <div class='line in5'><a href='#i086-2'>THE DEATH BED</a></div>
-    </div>
-    <div class='group'>
-      <div class='line'>DIDIER POUGET</div>
-      <div class='line in5'><a href='#i086-3'>MORNING MISTS IN THE VALLEY OF THE CREUSE</a></div>
-      <div class='line in5'><a href='#i086-4'>MORNING IN THE VALLEY OF THE CORRÈZE</a></div>
-      <div class='line in5'><a href='#i088fp'>THE VALLEY OF THE CREUSE</a></div>
-    </div>
-    <div class='group'>
-      <div class='line'>J. A. McN WHISTLER</div>
-      <div class='line in5'><a href='#i089fp'>PORTRAIT OF HIS MOTHER</a></div>
-      <div class='line in5'><a href='#i090-1'>PORTRAIT OF THOMAS CARLYLE</a></div>
-      <div class='line in5'><a href='#i090-2'>PRINCESS OF THE PORCELAIN COUNTRY</a></div>
-    </div>
-    <div class='group'>
-      <div class='line'>ALEXANDER HARRISON</div>
-      <div class='line in5'><a href='#i092-2'>IN ARCADY</a></div>
-      <div class='line in5'><a href='#i092-3'>THE WAVE</a></div>
-      <div class='line in5'>SEASCAPE</div>
-    </div>
-    <div class='group'>
-      <div class='line'>CHILDE HASSAM</div>
-      <div class='line in5'><a href='#i092-4'>SUNLIGHT ON THE LAKE</a></div>
-      <div class='line in5'><a href='#i094-1'>CHILDREN</a></div>
-      <div class='line in5'><a href='#i094-2'>POMONA</a></div>
-    </div>
-    <div class='group'>
-      <div class='line'>MAX LIEBERMANN</div>
-      <div class='line in5'><a href='#i095fp'>A COUNTRY BEER-HOUSE, BAVARIA</a></div>
-      <div class='line in5'><a href='#i096'>THE COBBLERS</a></div>
-      <div class='line in5'><a href='#i098-1'>ASYLUM FOR OLD MEN, AMSTERDAM</a></div>
-      <div class='line in5'><a href='#i098-2'>WOMAN WITH GOATS</a></div>
-    </div>
-  </div>
-</div>
-
-<div class='pbb'>
- <hr class='pb c003' />
-</div>
-<div class='chapter'>
-  <span class='pageno' id='Page_xv'>xv</span>
-  <h2 id='portraits' class='c011'>LIST OF PORTRAITS</h2>
-</div>
-
-<div class='lg-container-b c003'>
-  <div class='linegroup'>
-    <div class='group'>
-      <div class='line'><a href='#i026fp'>EDOUARD MANET</a></div>
-      <div class='line'><a href='#i031fp'>GEORGES D’ESPAGNAT</a></div>
-      <div class='line'><a href='#i038-1'>CLAUDE MONET</a></div>
-      <div class='line'><a href='#i050-1'>CAMILLE PISSARRO</a></div>
-      <div class='line'><a href='#i054-3'>AUGUSTE RENOIR</a></div>
-      <div class='line'><a href='#i054-4'>ALFRED SISLEY</a></div>
-      <div class='line'><a href='#i066-2'>J. F. RAFFAËLLI</a></div>
-      <div class='line'><a href='#i058-1'>AUGUSTE POINTELIN</a></div>
-      <div class='line'><a href='#i062-3'>MAXIME MAUFRA</a></div>
-      <div class='line'><a href='#i080-1'>EMILE CLAUS</a></div>
-      <div class='line'><a href='#i092-1'>ALEXANDER HARRISON</a></div>
-    </div>
-  </div>
-</div>
-
-<div class='pbb'>
- <hr class='pb c000' />
-</div>
-
-<div id='i001fp'  class='figcenter id001'>
-<img src='images/i001fp.jpg' alt='' class='ig001' />
-<div class='ic002'>
-<p><span class='small'>MODERN ITALY · J. M. W. TURNER</span></p>
-</div>
-</div>
-
-<div class='pbb'>
- <hr class='pb c000' />
-</div>
-<div class='chapter'>
-  <span class='pageno' id='Page_1'>1</span>
-  <h2 class='c011'>CHAPTER I · THE EVOLUTION OF THE IMPRESSIONISTIC IDEA</h2>
-</div>
-<div class='lh c017'>
-
-<p class='c018'>“L’IMPRESSIONISME, ELLE EST DIGNE DE NOTRE
-ADMIRATIVE ATTENTION, ET NOUS POUVONS RATIONNELLEMENT
-CROIRE QUE, AUX YEUX DES
-GÉNÉRATIONS FUTURES, ELLE JUSTIFIERA CETTE
-FIN DE SIÈCLE DANS L’HISTOIRE GÉNÉRALE DE
-L’ART”</p>
-<p class='c019'><i>GEORGES LECOMTE</i></p>
-
-</div>
-<div class='c020'>
-  <img class='drop-capi' src='images/di-a.jpg' width='100' height='100' alt='' />
-</div><p class='drop-capi0_75'>
-ALTHOUGH the great revolution of 1793 changed
-the whole face of France both politically and socially,
-it failed to emancipate the twin arts of painting and
-literature. In each case one tradition was succeeded
-by another, and nearly forty years elapsed before the
-new spirit completely broke through the barriers set
-up by a past generation.</p>
-
-<p class='c021'>In literature the victory was complete. The reason is easy to
-discover. The smart dramatist and the young novelist are always
-more likely to catch the fickle taste of the uneducated public than
-the budding painter, who depends to a great extent for his appreciation
-upon the trained and generally prejudiced eye of a connoisseur.
-There is another reason for the success of the Romantic School in
-literature. The majority of its leaders lived to extreme old age, and
-were themselves able to correct their youthful extravagances. Hugo,
-Dumas, Gautier (to mention but three) went down to their graves in
-honour. They had outlived the antagonisms of their early days, and
-no man dared to raise his voice in protest against poets who had
-added fresh laurels to the glory of France.</p>
-
-<p class='c021'>The world of art was less fortunate. Many of the younger men
-barely lived through the first flush of youth. Destroying Death is
-the worst enemy to the arts. It is idle to imagine the changes
-which must have ensued had Géricault and Bonington reached the
-Psalmist’s allotted span. The unnatural union of Classical traditions
-with the yeast of Romanticism might not have taken place. Such
-artists as Delaroche and Couture would have dropped into the background,
-and there would have been less reason for the revolt of
-Edouard Manet. It is possible that Claude Monet might have been
-forestalled. Surely, Impressionism would have come to us in another
-shape from different easels. In any event it was bound to arrive, for
-a French artist had already struck the note nearly a century and a
-half before.</p>
-
-<p class='c021'><span class='pageno' id='Page_2'>2</span>The schools of painting which flourished under the last three
-Capet kings lacked many of the essentials of truly great art. But
-they possessed qualities, which the Classicalists despised, and the
-Romanticists never reached in exactly the same way. They possessed
-a strong sense of colour. Watteau, in particular, was the first to
-catch the sunlight. The painters of “les fêtes galantes” are artificial,
-unreal, dominated by mannerisms. But the cold inanities of David,
-Girodet, Gérard, and Gros are no more to be compared with them
-than the bituminous melodramatics of the lesser Romantic artists.</p>
-
-<p class='c021'>Watteau’s successors never entirely lost their master’s sense of
-light and colour. In a mild way Chardin attempted realism.
-Boucher, and, later, Fragonard were influenced by that Japanese art
-which was to take such a prominent place in the movement of a
-hundred years later. But the world altered. The stern, hard ideals
-of Rome and Greece were too severe for these poor triflers with the
-Orient. David reigned supreme. The <i>Journal de l’Empire</i> considered
-Boucher ridiculous. Unhappy, forgotten Fragonard, surely one of
-the most pathetic of figures, died in poverty whilst the drums of
-Austerlitz were still reverberating through the air.</p>
-
-<p class='c021'>Ingres, a pupil of David, taught his students that draughtsmanship
-was of more importance than colour. “A thing well drawn,” he
-said, “is always well enough painted.” Such teaching was bound to
-provoke dissent, and the germs of the coming revolution were to
-cross from England. Byron and Scott were the sources of the
-literary revolution which swept across Europe. British artists
-showed the way in the fight against tradition and form, which
-resulted in the School of Barbizon, and its great successor, the
-School of Impressionism.</p>
-
-<p class='c021'>Excluding the miniaturists, and such foreign masters as Holbein,
-Vandyck, Kneller, and Lely, English art could hardly boast one
-hundred consecutive years of history when its landscape artists first
-exhibited in the Paris Salon. The French School could not forget
-Italy and its own past. Even to this day the entrance to the École
-des Beaux-Arts is guarded by two colossal busts of Poujet and
-Poussin, and the supreme prize in its gift is the Prix de Rome. But
-English art has never been trammelled excessively by its own past,
-simply because it did not possess one, and, with insular pride, refused
-to accept that of the Continent.</p>
-
-<div id='i002-1'  class='figcenter id001'>
-<img src='images/i002-1.jpg' alt='' class='ig001' />
-<div class='ic002'>
-<p><span class='small'><span class='small'><i>Photo by W. A. Mansell &amp; Co.</i></span><br />PETWORTH PARK · J. M. W. TURNER</span></p>
-</div>
-</div>
-
-<div id='i002-2'  class='figcenter id001'>
-<img src='images/i002-2.jpg' alt='' class='ig001' />
-<div class='ic002'>
-<p><span class='small'><span class='small'><i>Photo by W. A. Mansell &amp; Co.</i></span><br />THE CORN FIELD · J. CONSTABLE</span></p>
-</div>
-</div>
-
-<p class='c021'>Hogarth is a case in point. His education was slight and
-desultory; he did not indulge in the Grand Tour; he professed a
-truly British scorn for foreigners, uttering “blasphemous expressions
-against the divinity even of Raphael, Correggio, and Michelangelo.”
-<span class='pageno' id='Page_3'>3</span>He took his subjects from the life which daily surged under his
-windows in Leicester Square, and when he attempted a classical
-composition he utterly failed, and was promptly told so by his
-numerous enemies. His canvases form historical records of the men
-and women of the early Georgian era, in much the same manner as
-Edouard Manet represents the “noceurs” and “cocottes” who
-wrecked the Second Empire and reappeared during the first decade
-of the Third Republic.</p>
-
-<p class='c021'>Hogarth was a colourist, and the early English School was always
-one of colour and animation, attempting to follow Nature as closely
-as possible. Some of the slighter portrait studies of Sir Joshua
-Reynolds have a strong affinity to the work of the French Impressionists.
-Richard Wilson was not altogether blind to the beautiful
-world around him, although he considered an English landscape
-always improved by a Grecian temple. Gainsborough was decidedly
-no formalist, and whilst the lifeless group, comprising Barry, West,
-Fuseli, and Northcote, was endeavouring to inculcate the classical
-idea, the English Water-colour School began to appear, the Norwich
-School was in the distance, Turner’s wonderful career had commenced,
-and Constable, the handsome boy from Suffolk, was studying atmospheric
-effects and the play of sunlight from the windows of his
-father’s mill at Bergholt. In 1819 Géricault, one of the leaders of
-the reaction in France against Classicalism, paid a visit to England.
-He does not seem to have been greatly influenced by English work,
-owing no doubt to his lamentably early death. But his visit resulted
-in Constable and Bonington becoming known in France.</p>
-
-<p class='c021'>For years English painters exhibited regularly at the Salon. In
-1822, the year when Delacroix hung <i>Dante’s Bark</i>, Bonington
-exhibited the <i>View of Lillebonne</i> and a <i>View of Havre</i>, whilst other
-Englishmen exhibiting were Copley Fielding, John Varley, and
-Robson. In 1824 the Englishmen were still more prominent. John
-Constable received the Gold Medal from Charles X. for the <i>Hay
-Wain</i> (now in the London National Gallery), and exhibited in
-company with Bonington, Copley Fielding, Harding, Samuel
-Prout, and Varley. In 1827 Constable exhibited for the last time,
-and, curious omen for the future, between the frames of Constable
-and Bonington was hung a canvas by a young painter who had
-never been accepted by the Salon before. His name was Corot, and
-he was quite unknown.</p>
-
-<p class='c021'>The influence of these Englishmen upon French painting during
-the nineteenth century is one of the most striking episodes in the
-history of art. They were animated by a new spirit, the spirit
-<span class='pageno' id='Page_4'>4</span>of sincerity and truth. The French landscape group of 1830,
-which embraced such giants as Corot, Rousseau, and Daubigny, was
-the direct result of Constable’s power. The path was made ready
-for Manet, who, though not a “paysagiste,” became the head of the
-group which included Monet, Sisley, and Pissarro. Forty years later
-the younger men sought fresh inspiration in the works of an
-Englishman. Indirectly, Impressionism owes its birth to Constable;
-and its ultimate glory, the works of Claude Monet, is profoundly
-inspired by the genius of Turner.</p>
-
-<p class='c021'>When the principles which animated these epoch-making
-English artists are contrasted with those which ruled the Impressionists,
-their resemblance is found to be strong. “There is room
-enough for a natural painter,” wrote Constable to a friend after
-visiting an exhibition which had bored him. “Come and see
-sincere works,” wrote Manet in his catalogue. “Tone is the most
-seductive and inviting quality a picture can possess,” said Constable.
-It cannot be too clearly understood that the Impressionistic idea
-is of English birth. Originated by Constable, Turner, Bonington,
-and some members of the Norwich School, like most innovators
-they found their practice to be in advance of the age. British artists
-did not fully grasp the significance of their work, and failed to profit
-by their valuable discoveries.</p>
-
-<p class='c021'>It was not the first brilliant idea which, evolved in England, has
-had to cross the Channel for due appreciation, for appreciated it
-certainly was not in the country of its origin. As the genius of the
-dying Turner flickered out, English art reached its deepest degradation.
-The official art of the Great Exhibition of 1851 has become
-a byword and a reproach. In English minds it stands for everything
-that is insincere, unreal, tawdry, and trivial.</p>
-
-<p class='c021'>The group of pre-Raphaelites, brilliantly gifted as they
-undoubtedly were, worked upon a foundation of retrograde
-mediævalism. And, as the years followed each other, English art
-failed as a whole to recover its lost vitality. Domestic anecdote,
-according to the formulæ of Augustus Egg, Poole, or, slightly higher
-in the scale, Mulready and Maclise, formed the product of nearly
-every studio. The false Greco-Roman convention of Lord Leighton
-luckily had no following. Rejuvenescence came from France in the
-shape of Impressionism, and English art received back an idea she
-had, as it proved, but lent.</p>
-
-<div id='i004-1'  class='figcenter id001'>
-<img src='images/i004-1.jpg' alt='' class='ig001' />
-<div class='ic002'>
-<p><span class='small'>A STUDY · J. CONSTABLE</span></p>
-</div>
-</div>
-
-<div id='i004-2'  class='figcenter id001'>
-<img src='images/i004-2.jpg' alt='' class='ig001' />
-<div class='ic002'>
-<p><span class='small'>VIEW OF THE THAMES · THOMAS GIRTIN</span></p>
-</div>
-</div>
-
-<div id='i004-3'  class='figcenter id001'>
-<img src='images/i004-3.jpg' alt='' class='ig001' />
-<div class='ic002'>
-<p><span class='small'><span class='small'><i>Photo by W. A. Mansell &amp; Co.</i></span><br />HENRI IV. AND THE SPANISH AMBASSADOR · R. P. BONINGTON</span></p>
-</div>
-</div>
-
-<p class='c021'>Those Englishmen who are taunted with following the methods
-of the French Impressionists, sneered at for imitating a foreign style,
-are in reality but practising their own, for the French artists simply
-<span class='pageno' id='Page_5'>5</span>developed a style which was British in its conception. Many things
-had assisted this development, some accidental, some natural. All
-the Englishmen had worked to a large extent in the open. Now
-the atmosphere of France lends itself admirably to Impressionistic
-painting “en plein air.” All landscapists notice that the light is
-purer, stronger, and less variable in France than in England.</p>
-
-<p class='c021'>By thus working in the open both Constable and Turner, together
-with their French followers, were able to realise upon canvas a
-closer verisimilitude to the varying moods of nature than had been
-attempted before. By avoiding artificially darkened studios they
-were able to study the problems of light with an actuality impossible
-under a glass roof. They were in fact children of the sun, and
-through its worship they evolved an entirely new school of picture-making.
-The Modern Impressionist, too, is a worshipper of light, and
-is never happier than when attempting to fix upon his canvas some
-beautiful effect of sunshine, some exquisite gradation of atmosphere.
-Who better than Turner can teach the use and practice of value and
-tone? In triumph he fixed those fleeting mists upon his immortal
-canvases, immortal unhappily only so long as bitumen, mummy, and
-other pigment abominations will allow.</p>
-
-<p class='c021'>The technical methods of the French Impressionists and of the
-early English group vary but little. The modern method of placing
-side by side upon the canvas spots, streaks, or dabs of more or less
-pure colour, following certain defined scientific principles, was made
-habitual use of by Turner. Both Constable and Turner worked
-pure white in impasto throughout their canvases, high light and
-shadow equally, long before the advent of the Frenchmen.</p>
-
-<p class='c021'>An example of this was to be seen in a large painting by Constable
-hung in the Royal Academy Winter Exhibition of 1903. <i>The
-Opening of Waterloo Bridge</i>, exhibited in 1832, was declared by the
-artist’s enemies to have been painted with his palette-knife. Almost
-the whole of the canvas, especially the foreground, is dragged over
-by a full charged brush of pure white, which, catching the uneven
-surface of the underlying dry impasto work, produces a simple but
-successful illusion of brilliant vibrating light.</p>
-
-<p class='c021'>This work was not well received by the contemporary press and
-public. It was regarded as a bad joke, became celebrated as a snowstorm,
-compared with Berlin wool-work (a favourite simile which
-Mr. Henley has recently applied to Burne-Jones), and was derided
-as the product of a disordered brain. Seventy years have barely
-sufficed for its full appreciation.</p>
-
-<p class='c021'>By a curious coincidence Bonington’s <i>Boulogne Fishmarket</i> was
-<span class='pageno' id='Page_6'>6</span>hung almost exactly opposite in the same Winter Exhibition. This
-canvas must have had an enormous influence with Manet, its blond
-harmony and rich flat values within a distinct general tone being a
-distinguishing feature of the great Frenchman’s style.</p>
-
-<p class='c021'>The Impressionists, therefore, continued the methods of the
-English masters. But they added a strange and exotic ingredient.
-To the art of Corot and Constable they added the art of Japan, an
-art which had profoundly influenced French design one hundred
-years before. The opening of the Treaty ports flooded Europe with
-craft work from the islands. From Japanese colour-prints, and the
-gossamer sketches on silk and rice-paper, the Impressionists learnt
-the manner of painting scenes as observed from an altitude, with
-the curious perspective which results. They awoke to the multiplied
-gradation of values and to the use of pure colour in flat masses.
-This art was the source of the evolution to a system of simpler
-lines.</p>
-
-<p class='c021'>In colour they ultimately departed from the practice of the
-English and Barbizon Schools. The Impressionists purified the
-palette, discarding blacks, browns, ochres, and muddy colours generally,
-together with all bitumens and siccatives. These they replaced by
-new and brilliant combinations, the result of modern chemical
-research. Cadmium Pale, Violet de Cobalt, Garance rose doré,
-enabled them to attain a higher degree of luminosity than was
-before possible. Special care was given to the study and rendering
-of colour, and also to the reflections to be found in shadows.</p>
-
-<p class='c021'>So far as the term implies the position of teacher and pupils, the
-Impressionists did not form themselves into a school. On the
-contrary, they were independent co-workers, banded together by
-friendship, moved by the same sentiments, each one striving to solve
-the same æsthetic problem. At the same time it is possible to
-separate them into distinct personalities and groups.</p>
-
-<div id='i006-1'  class='figcenter id001'>
-<img src='images/i006-1.jpg' alt='' class='ig001' />
-<div class='ic002'>
-<p><span class='small'><span class='small'><i>Photo by W. A. Mansell &amp; Co.</i></span><br />A COAST SCENE · R. P. BONINGTON</span></p>
-</div>
-</div>
-
-<div id='i006-2'  class='figcenter id001'>
-<img src='images/i006-2.jpg' alt='' class='ig001' />
-<div class='ic002'>
-<p><span class='small'><span class='small'><i>Photo by Fredk. Hollyer</i></span><br />TIME, DEATH, AND JUDGMENT  · G. F. WATTS</span></p>
-</div>
-</div>
-
-<p class='c021'>Edouard Manet occupies a position alone. His work can be
-separated into two periods, divided by the year 1870. His earlier
-work deeply influenced Claude Monet, who was a prominent
-member of the group which gathered round Manet at the Café
-Guerbois. After 1870 the position was slightly changed, for,
-although he retained the nominal leadership of the group which was
-now known under the title of Impressionists, Manet was influenced
-by the technique of Claude Monet. The question has yet to be
-decided whether Manet or Monet was the founder of the new
-school. Monsieur Camille Mauclair declares for the latter, stating
-that Manet’s pre-eminence was due to the attention he attracted by
-<span class='pageno' id='Page_7'>7</span>his excessive realism, and that Claude Monet was the true initiator.
-It may be admitted that Impressionism, as the phrase is now
-understood, did not really gather force until 1867. Claude Monet
-was greatly attracted by Manet’s work as early as 1863, and upon
-these new methods he seems to have based his own, widened though
-after his visit to London with Pissarro in 1870.</p>
-
-<p class='c021'>During his lifetime Manet was the recognised head, and around
-him was formed the famous circle of the Café Guerbois, which
-became known as the School of Batignolles. This included Monet,
-Pissarro, Sisley, Cézanne, Renoir, and Degas. If there is one man
-greater than the others it is Claude Monet. Only during comparatively
-recent years have his originality and strength been
-generally recognised. He now occupies the position held by
-Manet, although he cannot be said to be Manet’s successor. Manet
-painted the figure, seldom attempting landscape, a <i>genre</i> which is
-primarily Monet’s. Claude Monet is doubly indebted to English
-art. Profoundly moved by Turner, whose works he studied at first
-hand in England, he also traces an artistic descent through Jongkind
-and Boudin from Corot, who caught the methods of Constable and
-Bonington.</p>
-
-<p class='c021'>Jongkind and Boudin are two little masters not to be forgotten.
-Not altogether Impressionists themselves, they were in close affinity
-to the school upon which they had much influence. Men of
-uncommon character and earnestness of purpose, their art was sincere.
-In themselves they were interesting, for, richly endowed with
-natural talents, they were for the most part poor beyond belief in
-material wealth. Inspired by a genuine love for Nature in all her
-aspects they never reached the high technique of their English
-predecessors, and were far surpassed by Claude Monet and his group.
-Forerunners in the evolution of the school of “plein air” painting,
-a reference is necessary to them in order to follow the development
-of the school as a whole.</p>
-
-<p class='c021'>For the first time in the history of art women have taken an
-active part in founding a new school. Madame Berthe Morisot,
-Miss Mary Cassatt, and Madame Eva Gonzalès must be included
-amongst the early Impressionists.</p>
-
-<p class='c021'>Various movements based upon the Impressionistic idea have
-taken place in France and on the Continent generally. There are
-the <i>Pointillistes</i> for instance, and the Neo-Impressionists. Amongst
-foreign artists Whistler must be mentioned; a student at Gleyre’s
-he attended at the Café Guerbois, and embraced many of Manet’s
-ideas.</p>
-
-<p class='c021'><span class='pageno' id='Page_8'>8</span>The history of the early battles over Impressionism centres for
-the most part round one personality. In following the story of the
-failures and successes of Edouard Manet we follow the gradual rise
-of the entire school, for no man fought more bravely in defence of
-its principles.</p>
-
-<div  class='figcenter id003'>
-<img src='images/i008.jpg' alt='' class='ig001' />
-</div>
-
-<div class='pbb'>
- <hr class='pb c003' />
-</div>
-<div id='i008fp'  class='figcenter id001'>
-<img src='images/i008fp.jpg' alt='' class='ig001' />
-<div class='ic002'>
-<p><span class='small'><span class='small'><i>Photo by Fredk. Hollyer</i></span><br />RIDER ON THE WHITE HORSE · G. F. WATTS</span></p>
-</div>
-</div>
-
-<div id='i009fp'  class='figcenter id001'>
-<img src='images/i009fp.jpg' alt='' class='ig001' />
-<div class='ic002'>
-<p><span class='small'>VIEW OF HONFLEUR · J. B. JONGKIND</span></p>
-</div>
-</div>
-
-<div class='chapter'>
-  <span class='pageno' id='Page_9'>9</span>
-  <h2 class='c011'>CHAPTER II · “THE FORERUNNERS.” JONGKIND, BOUDIN, AND CEZANNE</h2>
-</div>
-<div class='lh c017'>
-
-<p class='c018'>“ILS PRENNENT LA NATURE ET ILS LA RENDENT, ILS LA
-RENDENT VUE À TRAVERS LEURS TEMPÉRAMENTS PARTICULIERS.
-CHAQUE ARTISTE VA NOUS DONNER AINSI
-UN MONDE DIFFÉRENT, ET J’ACCEPTERAI VOLONTIERS
-TOUS CES DIVERS MONDES”</p>
-<p class='c019'><i>ZOLA</i></p>
-
-</div>
-<div class='c020'>
-  <img class='drop-capi' src='images/di-j.jpg' width='100' height='100' alt='' />
-</div><p class='drop-capi0_75'>
-JONGKIND and Boudin are the links which connect
-the Barbizon men of 1830 to the Impressionist
-group of 1870. Although little public fame came
-to them during their lifetime, they had considerable
-influence upon the younger landscape-painters of
-their generation. Both were artists of great ability
-as well as of enormous industry; both suffered from continued misfortune
-and neglect. Yet no collection illustrating the history of
-Impressionism can exclude examples of the Dutch Jongkind, or of
-Boudin, a follower of Corot and master of Monet. Jongkind’s
-pictures are doubling, nay trebling, in value, and the records of
-the public sale-rooms are astounding evidences of the increasing
-appreciation of Boudin by modern collectors.</p>
-
-<p class='c021'>The biographies of Jongkind and Boudin form excellent texts over
-which one may moralise upon the uncertainties of art as a career.
-It is not often that the Fates compel two men to struggle for so
-long against such hopeless and wretched surroundings. The life of
-Jongkind was a life of continued misery. Towards its end he utterly
-gave way, and died a dipsomaniac. Boudin possessed a little more
-grit, although his surroundings were not more propitious. He
-lived almost unnoticed until a beneficent Minister awarded him the
-greatest prize a Frenchman can receive on this earth, the Cross of the
-Legion of Honour.</p>
-
-<p class='c021'>Johann Barthold Jongkind was born at Lathrop, near Rotterdam,
-in 1819. Dutch by birth, many years’ residence in France, together
-with a strong sympathy with Gallic ways, made him almost a citizen
-of his adopted country, and certainly a member of the French School
-of Painting. At first he was a pupil of Scheffont, and afterwards he
-worked under Isabey. At the Salon of 1852 he obtained a medal of
-the first class, and then for years in succession was rejected by the
-juries. Almost at the end of his life he was offered the long-coveted
-decoration, but he was never a popular artist, nor even well known
-<span class='pageno' id='Page_10'>10</span>amongst the art public. A few amateurs bought his works, his
-water-colours were lost in old portfolios, and the exhibition of his
-pictures previous to the sale after his death was a revelation alike to
-painters and critics. His life was a sad history of neglect, terrible
-privation, and want. All that we know of him is that he gave
-way to alcoholism, dying in Isère in 1891, alone, friendless, and
-forgotten.</p>
-
-<p class='c021'>Jongkind was one of the very first men in France to occupy
-himself with the enormous difficulties surrounding the study of
-atmospheric effects, the decomposition of luminous rays, the play of
-reflections, and the unceasing change crossing over the same natural
-form during the different hours of the day. His influence over
-several of the more prominent men of the Impressionist group was
-great. Edouard Manet was strongly impressed by his methods, and
-Claude Monet refers to him as a man of profound genius and originality
-of character, “le grand peintre.”</p>
-
-<p class='c021'>In the sale-rooms Jongkind’s water-colours and etchings are now
-reaching very high prices, although one cannot agree that they are
-his most remarkable creations. Works the artist was content to sell for
-£4 to £8 now change hands under the hammer at sums ranging from
-£160 to £800. The best canvases were painted towards the end of
-his life, especially those depicting the luminous atmosphere of the
-beautiful Dauphiné countryside. His large landscapes are extremely
-unequal, somewhat hard and dry in technique, and more or less
-stereotyped in the choice of subject. His pictures do not always
-convey the true feeling for atmospheric effect, and many are simply
-experiments which lack the great quality of charm. Without a
-doubt he possessed extraordinary ability, but he lacked the illuminating
-spark of genius. He pointed out a way he was not himself strong
-enough to follow.</p>
-
-<div id='i010fp'  class='figcenter id001'>
-<img src='images/i010fp.jpg' alt='' class='ig001' />
-<div class='ic002'>
-<p><span class='small'>MOONRISE · J. B. JONGKIND</span></p>
-</div>
-</div>
-
-<p class='c021'>Louis-Eugène Boudin, an old comrade and life-long friend of
-Jongkind, is the head of the group of “little masters” who reigned
-during the transitional period in French landscape art between 1830
-and 1870. He was born in the Rue Bourdet, Honfleur, on July 12,
-1824, and died within a few miles of his birthplace in 1898.
-He leaves a magnificent record of work accomplished, and the
-memory of a noble life devoted to a beautiful ideal. Pissarro, in
-a letter addressed to the writer, says that Boudin had much influence
-upon the advancement of the Impressionist idea, particularly through
-his studies direct from Nature. His father was a pilot on board the
-steamboat <i>François</i> of Havre, a bluff and hearty sailor, typical of the
-coast nearly a century ago. A good specimen is to be found in the
-<span class='pageno' id='Page_11'>11</span>burly guardian of the Musée Normand at Honfleur, who, by a
-coincidence not altogether strange in this world of coincidences,
-travelled round the world with old Boudin, and knew intimately
-“le petit Eugène.”</p>
-
-<p class='c021'>The boy’s mother was stewardess on board the boat her husband
-piloted, and the artist commenced life in the humble and not
-altogether enviable capacity of cabin-boy. In that position he
-remained until his fourteenth year, travelling from French and
-English ports as far as the Antilles. At that age an irresistible
-desire came over his soul. He wished to quit seafaring life and
-devote himself to the brush. He had already made many sketches
-in bitumen, some having attracted attention from passengers. Those
-which have been preserved display wonderful proficiency, considering
-the many difficulties the boy had to labour under. Chance helped
-the youth; for his father, tiring of his endless struggle with the
-elements, retired from his post and opened a little stationery shop on
-the Grand Quai at Havre. The cabin-boy became shop-boy.</p>
-
-<p class='c021'>This new mode of life gave him far greater time to follow his
-inclinations. All untaught he applied himself assiduously to
-draughtsmanship, painting on the quays, in the streets, devoting
-Sundays and fête-days to long excursions amongst the hills round
-about Havre. One day Troyon brought a canvas for framing to the
-elder Boudin’s shop. In the corner he noticed some curious little
-pastels of the shipping and harbour. Eugène made his first artistic
-friendship. Troyon, who was living in great poverty, only too
-pleased to sell a picture for twenty-five francs, was of great assistance
-to the lad. Another customer helped young Boudin. Norman by
-birth, son of a seaman, Jean-François Millet met the boy in Havre
-and was attracted by his evident skill. Millet was in the same
-quandary as Troyon; stranded in semi-starvation, he was executing
-portraits at thirty francs per head, diligently canvassing the retired
-ebony merchants, the harbour officials, the sailors and their sweethearts.
-Alphonse Karr and Courbet, whilst wandering through
-Normandy, became acquainted with Boudin’s sketches, and sought
-out the young artist.</p>
-
-<p class='c021'>Eugène Boudin’s career was now determined. The advice of
-friends was vain. They pointed out that if Corot with his immense
-talent was unable to earn an independence at the age of fifty, an
-untrained shop-boy had still less chance. No man could tell a more
-bitter story of the artist’s life than Millet, and he attempted to
-persuade the boy to keep to the shop. All efforts were fruitless.
-Couture and a few other associates obtained a small student’s allowance
-<span class='pageno' id='Page_12'>12</span>from the Havre Town Council, and Boudin set out for Paris.
-The bursary of one pound weekly soon came to an end, and left the
-artist without resources or friends. He paid for his washing with a
-picture valued at the sum of forty francs. The laundress immediately
-sold the work to cover her bill, and the canvas has recently changed
-hands for four thousand francs. His “marchand de vin” exchanged
-wine for pictures which have lately passed through the sale-rooms at
-forty times their original agreed values. By these means, together
-with a few portrait commissions, Boudin managed to eke out a most
-precarious existence.</p>
-
-<p class='c021'>From 1856 dates the foundation of the “Ecole Saint Simeon,”
-(so called from the rustic inn and farmhouse on the road from
-Honfleur to Villerville, halfway up the hill overlooking Havre and
-the mouth of the Seine), in which Boudin took a prominent part.
-In 1857 the artist exhibited ten pictures at the local Havre
-exhibition, which he followed with a sale by auction, his idea being
-to raise enough money to pay his expenses back to Paris. Claude
-Monet had been sending several pressing letters of invitation, holding
-out fair prospects of business with several art dealers. The sale was
-a complete failure, producing a net sum of £20. Boudin gave up
-his hopes of Paris and returned to the farmhouse of Saint Simeon
-saddened and discouraged. Roused by “la mère Toutain,” he opened
-an academy of painting, and the old inn of Saint Simeon may be
-called the cradle of French Impressionism.</p>
-
-<p class='c021'>For twenty-five years it formed the resting-place, from time to
-time, of all the most celebrated men of the group. The list is a long
-one—Millet, Troyon, Courbet, Lepine, Diaz, Harpignies, Jongkind,
-Cals, Isabye, Daubigny, Monet, and many others. Boudin always
-regretted that there was no history written of the place, no record
-of the scenes which took place there. One has the same regret over
-many other famous sketching grounds and artistic inns in France.
-What stories can be told of the joyous life, of the good fellowship,
-the games and escapades, the brilliant jokes of many a world-renowned
-genius in playful mood, happy little bands of men with the spirit
-and souls of children!</p>
-
-<div id='i012fp'  class='figcenter id001'>
-<img src='images/i012fp.jpg' alt='' class='ig001' />
-<div class='ic002'>
-<p><span class='small'>RETURN OF THE FISHING SMACKS · EUGENE BOUDIN</span></p>
-</div>
-</div>
-
-<p class='c021'>The hostesses are of a type apart, and no other country but
-France produces them in such numbers. “Mères des artistes,” they
-are full of pride with their anecdotes of celebrated lodgers. Peasants
-of the best class, admired and respected by all who come into contact
-with them, they are remembered with affection. The peaceful
-holidays spent in these lovely villages represent much of the brighter
-side of the art-student’s career, and memories mix with regrets as
-<span class='pageno' id='Page_13'>13</span>one recalls a youth spent in that beloved country of art—la belle
-France.</p>
-
-<p class='c021'>Boudin’s academy of painting at the inn was no great success,
-and he changed his habitat to Trouville, twenty miles down the
-coast, at the invitation of Isabey and the Duc de Morny. They
-suggested that he should paint “scènes de plage” of that gay and
-fashionable watering-place, the bathers, the frequenters of the
-Casino and the racecourse, the regattas, the “landscapes of the sea”
-as Courbet called them. “It is prodigious, my dear fellow; truly
-you are one of the seraphim, for you alone understand the heavens,”
-cried Courbet one day in excitement as he watched Boudin at work.
-Boudin was at last becoming famous. Alexandre Dumas addressed
-him as, “You who are master of the skies, ‘par excellence,’” and
-above all came the testimony of Corot, who described him as
-“le roi des ciels.”</p>
-
-<p class='c021'>Unfortunately, the public did not buy Boudin’s pictures, and he
-remained in poverty. In 1864 he married, his wife receiving a “dot”
-of 2000 francs, and a home was made up four flights of rickety
-stairs in a mean street in Honfleur, the rental of the garret being
-thirty-five shillings per annum. Amongst their visitors the saddest
-was Jongkind, the man of failure, a reproach to the blindness of his
-generation, and a warning to those who seek fortune by the brush. It
-was only by the combination of courage, energy, 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 appreciation.</p>
-
-<p class='c021'>Four years later the little household was moved to Havre.
-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 town, who had commissioned some decorative
-panels. The commission was lost, and the fight for bread was
-keener than before. During the winter furniture was converted
-into firewood, and the artist worked as an ordinary labourer.
-Boudin hated Paris, but at the urgent solicitation of artists, who
-promised him work, he left Havre for the metropolis. Ill luck
-still dogged his steps. No sooner had he settled with his wife
-in the new quarters than the war broke out with all the unendurable
-misfortunes of “l’année terrible” in its train.</p>
-
-<p class='c021'>Hopes of commissions were at an end, the art colony being
-scattered far and wide. Boudin fled first to Deauville, then to
-Brussels. Crowded with French refugees, the struggle for life entered
-its bitterest stage. For the second time Boudin became a day-labourer.
-At last, by a most trifling chance, his wretched position
-<span class='pageno' id='Page_14'>14</span>was altered for the better. By hazard Madame Boudin met a
-picture-dealer whilst marketing, and his appreciation and encouragement
-enabled the artist to return to his easel. The artist’s progress
-was, however, extremely slow. Nine years later he held an auction
-sale of his pictures, at which four paintings realised £21. A friend
-who had joined in the sale was more unfortunate, for he sold
-nothing. “You see,” he wrote to Boudin, “that nothing succeeds
-with me. I don’t know how it will all finish. What upsets me
-most in the midst of all this worry is the fear that I should lose all
-love for painting.” This phrase must have represented Boudin’s
-thoughts during the long years of disheartening struggle.</p>
-
-<p class='c021'>In 1881, after twenty-three years of almost annual exhibition in
-the Paris Salons, Boudin obtained a medal in the third class. Nowadays
-this award is usually made to the young man who exhibits
-for the first time. Three years later Boudin received a medal of
-the second class, which exempted his work from judgment by the
-jury, and places its recipient “hors concours.” He commenced, at
-the age of fifty, to sell his pictures more regularly, but at prices
-extremely low and out of proportion to their present value. At the
-Hôtel Drouot, Paris, in 1888, one hundred canvases by Boudin
-fetched the grand total of £280. It is difficult to estimate what
-sum such a lot would reach at the present day.</p>
-
-<p class='c021'>The tide had changed, for the Government bought a large
-painting, <i>Une Corvette Russe dans le Bassin de l’Eure au Havre</i> for the
-Luxembourg. In 1889, public honour was marred by the most
-mournful blow. To his inconsolable grief his wife died, after
-twenty-five years of the happiest companionship. Amongst the
-letters of sympathy were many acknowledgments of the artist’s genius,
-notably from Claude Monet, “in recognition of the advice which
-has made me what I am”—a striking and flattering phrase from the
-head of the Impressionist group. In this same year Boudin was
-awarded the gold medal at the Salon. In 1896 the Government
-purchased his <i>Rade de Villefranche</i> for the Luxembourg, and the old
-artist received from the hands of Puvis de Chavannes, at the recommendation
-of the Minister Léon Bourgeois, the ribbon and cross of
-the Legion of Honour.</p>
-
-<div id='i014fp'  class='figcenter id001'>
-<img src='images/i014fp.jpg' alt='' class='ig001' />
-<div class='ic002'>
-<p><span class='small'>THE REPAIRING DOCKS AT DUNKIRK · EUGENE BOUDIN</span></p>
-</div>
-</div>
-
-<p class='c021'>Boudin’s health, weakened by the long privations, had at last
-broken up. After several futile journeys he returned to his native
-Normandy, and, whilst working at his easel in his châlet near
-Deauville in 1898, died almost without warning. By his will he
-left a rich legacy of pictures to the gallery of his native town,
-Honfleur. Over one hundred of Boudin’s sketches can now be
-<span class='pageno' id='Page_15'>15</span>seen in the public gallery of Havre. Boudin’s connection with
-modern Impressionism is chiefly the influence generated by a strong
-enthusiasm for working “en plein air” and a deep love of Nature.
-His dominant colour, almost to the end of his life, was grey—a
-grey beautiful in its range and truthful in its effect. Personally
-Boudin had the head of an old pilot, with healthy ruddy complexion,
-white beard, and keen blue eyes. He spoke slowly in low
-monotonous tones, was doggedly tenacious of an idea, had strong
-artistic convictions. He was modest to a degree, and when he
-sought honours they were for brother artists, never for himself.
-His highest ambition was reached when the Town Council of
-Honfleur named a street “Rue Eugène-Boudin.” This street, long,
-narrow, hilly, with many rough places and occasional pitfalls, typifies
-the artist’s own life. After his death the town went further. Aided
-by M. Gustave Cahen, president of the “Société des Amis des Arts,”
-Honfleur erected a fine statue of its talented son by the jetty, where
-he had so often painted his favourite scenes of sea and shipping.</p>
-
-<p class='c021'>Boudin has left a name which will be honoured in the annals of
-French art. He lived a long life, produced many works of which
-not one falls below his own high standard. His position, midway
-between two great schools, is perhaps one reason why he has not
-loomed more strongly in the public appreciation. Upon their
-merits his pictures cannot easily be forgotten. When it is remembered
-that he links Corot to Monet, was in fact the true master
-of the latter, it will be seen what an important niche he occupies
-in any history devoted to Modern French Impressionism.</p>
-
-<p class='c021'>From Boudin is an easy step to Cézanne, one of the pioneers of
-the movement before 1870. Paul Cézanne and Zola were schoolboys
-together in Aix. They left Provence to conquer Paris, and
-whilst Zola was a clerk in Hachette’s publishing office Cézanne
-was working out in his studio the early theories of Manet, of whom
-he was an enthusiastic admirer. Both men frequented the Café
-Guerbois, and there is little doubt that in the remarkable series of
-articles contributed to De Villemessant’s paper “L’Événement,”
-Zola was assisted by Cézanne, who had introduced the journalist to
-the artists he had championed. When the criticisms were republished
-in 1866, in a volume entitled “Mes Haines,” Zola dedicated the
-book in affectionate terms, “A mon ami Paul Cézanne,” recalling ten
-years of friendship. The writer went still further, for the character
-of Claude Lantier, hero of “L’Œuvre,” a novel dealing largely with
-artistic life and Impressionism, is generally supposed to have been
-suggested by the personality of Paul Cézanne.</p>
-
-<p class='c021'><span class='pageno' id='Page_16'>16</span>For years Cézanne seldom exhibited, and his pictures are not
-known amongst the public. As to their merits, opinion is curiously
-divided. He has painted landscapes, figure compositions, and studies
-of still-life. His landscapes are crude and hazy, weak in colour, and
-many admirers of Impressionism find them entirely uninteresting.
-His figure compositions have been called “clumsy and brutal.”
-Probably his best work is to be found in his studies of still-life, yet
-even in this direction one cannot help noting that his draughtsmanship
-is defective. It is probable that the incorrect drawing of
-Cézanne 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 technique. Apart from this defect, Cézanne’s
-paintings of still-life have a brilliancy of colour not to be found in
-his landscapes.</p>
-
-<p class='c021'>In his student-days this artist had a great admiration for
-Veronese, Rubens, and Delacroix, three masters who had some
-influence upon Manet. Some of his latter methods showed a strong
-sympathy with the Primitives. The modern symbolists are his
-descendants, and Van Gogh, Emile Bernard, and Gauguin owe
-much to his example. Personally he unites a curiously shy nature
-with a temperament half-savage, half-cynical. Cézanne’s work is
-remarkable for its evident sincerity, and the painter’s aim has been
-to attain an absolute truth to nature. These ambitions are the
-keynotes of Impressionist art.</p>
-
-<div  class='figcenter id003'>
-<img src='images/i016.jpg' alt='' class='ig001' />
-</div>
-
-<div id='i016fp'  class='figcenter id001'>
-<img src='images/i016fp.jpg' alt='' class='ig001' />
-<div class='ic002'>
-<p><span class='small'>LA ROUTE · PAUL CÉZANNE</span></p>
-</div>
-</div>
-
-<div class='pbb'>
- <hr class='pb c003' />
-</div>
-
-<div id='i017fp'  class='figcenter id001'>
-<img src='images/i017fp.jpg' alt='' class='ig001' />
-<div class='ic002'>
-<p><span class='small'>THE BULLFIGHT · EDOUARD MANET</span></p>
-</div>
-</div>
-
-<div class='chapter'>
-  <span class='pageno' id='Page_17'>17</span>
-  <h2 class='c011'>CHAPTER III · EDOUARD MANET (1832-1883)</h2>
-</div>
-<div class='lh c017'>
-
-<p class='c018'>“CE QUI ME FRAPPE D’ABORD DANS CES TABLEAUX,
-C’EST UNE JUSTESSE TRÈS DÉLICATE DANS
-LES RAPPORTS DES TOUS ENTRE EUX.</p>
-
-<p class='c022'>“TOUTE LA PERSONNALITÉ DE L’ARTISTE CONSISTE
-DANS LA MANIÈRE DONT SON ŒIL EST ORGANISÉ:
-IL VOIT BLOND, ET IL VOIT PAR MASSES”</p>
-<p class='c019'><i>ZOLA</i></p>
-
-</div>
-<div class='c020'>
-  <img class='drop-capi' src='images/di-f.jpg' width='100' height='100' alt='' />
-</div><p class='drop-capi0_75'>
-FOR over twenty years the technique and methods of
-Edouard Manet were a subject for the most virulent
-debate. His art, in fact, became the scene of a battle
-in which every painter in Europe had a hand.
-Officialdom found no place for him in its heart, no
-matter whether the State was Imperial or Republican.
-The Empress Eugénie once asked that his pictures might be removed
-from public exhibition; President Grévy demurred when the artist’s
-name was placed on the list for the Legion of Honour. Clearly this
-man was no supporter of the established order of things. Refused
-recognition as an artist by the school of tradition, disowned by his
-own teacher, a source of hilarity to the public, Edouard Manet
-caught but a glimpse of the long-wished-for land of success which
-he was fated never to enjoy fully.</p>
-
-<p class='c021'>The battle is not quite finished, and the rout of the old school
-continues to the present day. One result remains. Manet has
-had a greater influence upon the art of the last forty years than
-any other master during that period, and the standard which he
-raised has become a rallying-point for the greatest painters of the
-present age.</p>
-
-<p class='c021'>Edouard Manet was born in Paris on January 23, 1832, at No. 5, Rue des
-Petits Augustins. Thirty-six years previously Corot was born round the
-corner, in the Rue du Bac. To-day the Rue des Petits Augustins is a
-long street running through the Latin Quarter, southwards from the
-Seine and the Louvre, known as the Rue Bonaparte. It has become the
-chief mart for commerce in artists’ materials, photographs, pictures,
-and all the odds and ends which fill up a studio. With a quaint
-appropriateness, the birthplace of Manet faces the École Nationale des
-Beaux-Arts.</p>
-
-<p class='c021'>The boy was the eldest of three brothers. His father was a
-judge attached to the tribunal of the Seine, and the family had been
-connected with the magistrature for generations. First a pupil at
-<span class='pageno' id='Page_18'>18</span>Vaugirard, under the Abbé Poiloup, Manet then entered the Collège
-Rollin, took his baccalaureate in letters, and grew into an elegant
-man of the world. But his inclinations clashed with his duties, and
-his uncle, amateur artist and colonel in the artillery, taught him how
-to sketch in pen and ink. M. Antonin Proust describes the result
-in a recent magazine article.</p>
-
-<p class='c021'>“From earliest years,” he writes, “Manet drew by instinct,
-with a firmness of touch and vigour unexcelled even in his latest
-works. His family was intensely proud of the boy’s uncommon
-gift, and his artistically-inclined uncle, Colonel Fournier, supported
-him against his father, who—despite his admiration—had other
-views as to his son’s career.”</p>
-
-<p class='c021'>“One should never thwart a child in the choice of his career,”
-said Colonel Fournier.</p>
-
-<p class='c021'>“If,” replied the father, “the boy is not inclined towards the
-‘Palais,’ let him follow your example and become a soldier; but go
-in for painting—never!”</p>
-
-<p class='c021'>A studio-stool tempted the boy far more than a probable seat on
-the Bench. If he had to waste time, it should not be in the Salle
-des Pas Perdus.</p>
-
-<p class='c021'>His parents sent him, towards the close of his school-days, upon
-a voyage to Rio de Janeiro, hoping that travel might distract his
-mind from thoughts of an artistic life. It is said that they contemplated
-a naval career. Charles Méryon, it may be remembered,
-made the voyage round the world in a French corvette before he
-took up the etcher’s needle. Like Méryon, Manet improved his
-draughtsmanship, although a sailor. He sketched incessantly. One
-day the captain asked him to get out his paints and touch up a
-cargo of Dutch cheeses, which had become discoloured by the sea.
-“Conscientiously, with a brush,” says Manet, “I freshened up these
-<i>têtes de mort</i>, which reappeared in their beautiful tints of violet and
-red. It was my first piece of painting.”</p>
-
-<p class='c021'>His voyage in the <i>Guadeloupe</i> ended, he returned home with
-unaltered determination. After some protest his father relented, and
-in 1850 Manet entered the studio of Thomas Couture.</p>
-
-<div id='i018fp'  class='figcenter id001'>
-<img src='images/i018fp.jpg' alt='' class='ig001' />
-<div class='ic002'>
-<p><span class='small'>THE GARDEN · EDOUARD MANET</span></p>
-</div>
-</div>
-
-<p class='c021'>Couture occupied a leading position in that group sometimes
-called the “juste milieu.” Between the Romanticists and the
-Classicalists his preferences perhaps were for the latter. Of extreme
-irritability in temper, with a deep contempt for those in authority,
-he combined a keen desire for success both popular and financial.
-His picture, <i>The Romans of the Decadence</i>, in the Salon of 1847, brought
-both, and for a few years he remained one of the most celebrated
-<span class='pageno' id='Page_19'>19</span>artists in France. Then he criticised Delaroche, with the usual
-result when one painter puts another right: he offended King Louis-Philippe,
-he insulted the Emperor Napoleon III. Kings must be
-taken at their own valuation, if one wishes to enjoy their good graces.
-It was not surprising that Couture ultimately became a disappointed
-and forgotten man.</p>
-
-<p class='c021'>He has been called an Apostle of Classicalism. Taught first
-by Baron Gros, who vacillated from one school to the other,
-and afterwards by Delaroche, who endeavoured to reconcile the
-opposing parties, Couture could hardly have taken any other position
-in the art world of the ’forties. “He was apart among the
-painters of the day, as far removed from the cold academic school
-as from the new art just then making its way, with Delacroix at
-its head. The famous quarrel between the Classical and Romantic
-camps left him indifferent. He was of too independent a nature to
-follow any chief, however great.” This is the testimony of an
-American artist, Mr. P. A. Healy, who studied under Couture about
-the time Manet was in the atelier, and shows that the future Impressionist
-worked under a man by no means curbed by tradition.
-According to his pupil, Couture’s great precept was, “Look at
-Nature; copy Nature.” Manet’s doctrine was couched in almost
-the same words, “Do nothing without consulting Nature.”</p>
-
-<p class='c021'>We know that during the time Manet remained in Couture’s
-studio, master and pupil quarrelled incessantly. The reason usually
-given is that Manet would not respect tradition. But neither
-would Couture. “That in the captain’s but a choleric word, which
-in the soldier is flat blasphemy.” One was there to teach, the
-other to be taught. The temperaments of the two men were fundamentally
-different. The thick-set, scowling Couture, of shoemaker
-descent, would naturally rub against the grain of the rather dandified
-young scion of the magistrature. Couture hated the middle classes,
-and Manet belonged to the “haute bourgeoisie.” Manet’s family
-was legal to the bone, and Couture detested lawyers even more than
-he disliked doctors. With all these drawbacks Couture was admittedly
-the best teacher in Paris. Manet evidently recognised the
-advantage, for he remained in the studio for six years, until he was
-twenty-five years of age, although quite able to sever the connection
-had he wished.</p>
-
-<p class='c021'>Then came the “wanderjahre,” which commenced in 1856.
-Manet visited Germany, Holland, and Italy. In the Low Countries,
-Franz Hals exerted a great and permanent influence over the student;
-Rembrandt was copied in Germany; in Italy, Titian and Tintoretto
-<span class='pageno' id='Page_20'>20</span>received his homage. Dresden, Prague, Vienna, Munich, Venice and
-Florence were visited. Upon his return to Paris he copied assiduously
-in the Louvre, and it was in this wonderful gallery that he so
-thoroughly mastered all that a young painter could learn from the
-Spanish School. He did not visit Madrid until 1865. 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 Paris. In the Louvre he copied paintings
-by Velazquez, Titian, and Tintoretto.</p>
-
-<p class='c021'>Of living artists Courbet considerably influenced the first period
-of Manet’s activity. Ever on the fringe of Impressionism, although
-never in the group, Courbet was a romantically inclined realist who
-taught the younger men to turn to everyday life for their subjects.
-His canvases were full of colour; although they have sadly toned
-down in the course of time, owing to the curious and unsuccessful
-experiments he made in trying to combine his practice with his
-theories.</p>
-
-<p class='c021'>In 1859 Manet sent his work for the first time to the Salon.
-The <i>Absinthe Drinker</i>, strong, but reminiscent of Courbet, was rejected.
-The Salon was held every two years, and in 1861 both his contributions
-were accepted, one being a double portrait of his father and
-mother, the other a Spanish study called the <i>Guitarero</i>. For this
-Manet was awarded Honourable Mention, his first and almost
-his final official distinction, for he received no other until the
-year before his death, twenty-one years later. Working with
-tremendous energy in his studio in the Rue Lavoisier, Manet
-became the centre of a circle of friends which included Legros,
-Bracquemond, Jongkind, Monet, Degas, Fantin-Latour, Harpignies,
-and Whistler. The Guitar-player was an undoubted success.
-“<i>Caramba</i>,” writes genial Theo. Gautier, “Velazquez would
-greet this fellow with a friendly little wink, and Goya would
-hand him a pipe for his papelito.” Upon the jury it is said that
-Ingres himself was flattering, and the <i>mention honorable</i> was ascribed
-to the lead of Delacroix. Couture’s sneer that Manet would
-become merely the Daumier of 1860 did not seem likely to be
-justified.</p>
-
-<p class='c021'>Manet was now engaged upon several pictures which must not
-be ignored. <i>Music at the Tuileries</i> (1861), refused at the Salon, was,
-as its name implies, an open-air study of the fashionable crowds
-gathered round the bandstand in the lovely gardens by the palace.
-The <i>Street Singer</i> is the earliest of the almost realistic renderings
-of everyday life which the Impressionists delighted in. A sad-faced
-<span class='pageno' id='Page_21'>21</span>girl (a well-known character of the day) standing with a guitar
-at a street corner; the type is the same to this hour both in London
-and Paris, one of the thousand wretched beings superfluous to a
-great city, at once its pleasure and its sport.</p>
-
-<p class='c021'><i>The Boy with a Sword</i>, now in the Metropolitan Museum of New
-York, also belongs to this period. The picture is masterly. Inspired
-from Spain, it is, like most great paintings, full of simplicity, full of
-strength. <i>The Old Musician</i> is also extremely Spanish, with a haunting
-reminiscence of <i>Los Borrachos</i> by Velazquez (although Manet
-had not yet directly seen this canvas). A small group watches an
-old man about to play his fiddle. Some boys, a little girl with a
-doll (a figure very dear to Manet), a man drinking, a native of the
-Orient in a turban and a long robe, these form a straggling composition.
-The picture is a fantasy of a nation the painter loved but had
-never yet seen.</p>
-
-<p class='c021'>Two personal matters affected the life of Manet about this time.
-His father died, leaving him a considerable private fortune, thus
-making the artist financially independent of dealers and the ups and
-downs of public exhibition. In 1863 he married Mlle. Suzanne
-Leenhoff, a Dutch lady of great musical talent. From one point of
-view 1863 was disastrous, from another triumphant. Hitherto a
-man of promise, Manet now developed into a man of notoriety.</p>
-
-<p class='c021'>The little “one-man show” at the gallery of M. Martinet,
-Boulevard des Italiens, presaged the coming storm. Manet exhibited
-the <i>Spanish Ballet</i>, <i>Music at the Tuileries</i>, <i>Lola de Valence</i>, and nearly
-the whole of his other work up to that date. Baudelaire was
-enthusiastic. Verses on <i>Lola de Valence</i> are enshrined in “Fleurs
-de Mal.” Other critics were not so kind. M. Paul Mantz did not
-restrain his pen and referred to “a struggle between noisy, plastery
-tones, and black,” with a result “hard, sinister, and deadly,” the
-whole summed up as “a caricature of colour.”</p>
-
-<p class='c021'>The Salon of 1863, which followed, has become famous not
-through what it accepted, but by reason of what it refused. In a
-contemporary chronicle the most notable pictures of the exhibition
-are <i>La Prière au Désert</i> by Gustave Guillaumet, a <i>Sainte Famille</i> by
-Bouguereau, <i>La Déroute</i> by Gustave Boulanger, <i>La Bataille de Solférino</i>
-by Meissonier, and the <i>Chasse au Renard</i> by Courbet. With the
-exception of Courbet it is an academical list, although it is extraordinary
-how Courbet crept in.</p>
-
-<p class='c021'>The list of rejected artists is amazing. Like Herod’s soldiers,
-the jury seems to have been chiefly occupied in stamping out youth.
-Bracquemond, Cals, Cazin, Fantin-Latour, Harpignies, Jongkind,
-<span class='pageno' id='Page_22'>22</span>J. P. Laurens, Legros, Manet, Pissarro, Vallon, Whistler, these and
-many others were thrown out. The work was too vigorously
-performed, and Napoleon III. authorised the opening of another
-gallery in the same building as the old Salon, known as the Salon des
-Refusés. The most striking canvas in this room was Manet’s first
-great work, the <i>Déjeuner sur l’Herbe</i> (<i>Breakfast on the Grass</i>), sometimes
-called <i>Le Bain</i>.</p>
-
-<p class='c021'>The painting challenged opposition on two separate grounds.
-The first was its subject; the second its technique. Between two
-young men stretched on the grass, wearing the black frock-coats of
-a latter-day civilisation, sits a nude woman drying her legs with a
-towel. In the background another woman “en chemise” is paddling
-in the stream. In defence of such a subject it is usual to refer to the
-painters of the Renaissance, who, without exciting angry comment,
-mixed draped and undraped figures in their compositions. There
-is a celebrated Giorgione at the Louvre to which none objected.
-Other times, other manners. Infanticide is not encouraged in
-England although it is the practice in China. Many social practices
-of the Renaissance, innocent enough in the eyes of that golden age,
-are distinctly discouraged by the criminal code of to-day. Forty
-years have elapsed since the <i>Déjeuner sur l’Herbe</i> was first exhibited,
-and Mrs. Grundy is not the power she was. 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-Ouen, there would be some sharp
-criticism.</p>
-
-<p class='c021'>It is far more pleasing to discuss Manet’s manner of painting.
-In a period when work was sombre in tone and Nature rapidly losing
-her place in art, Manet with his <i>Déjeuner sur l’Herbe</i>, <i>Olympia</i>, and
-<i>Le Fifre de la Garde</i>, changed the current with startling directness.</p>
-
-<div id='i022fp'  class='figcenter id001'>
-<img src='images/i022fp.jpg' alt='' class='ig001' />
-<div class='ic002'>
-<p><span class='small'>PORTRAIT OF BERTHE MORISOT · EDOUARD MANET</span></p>
-</div>
-</div>
-
-<p class='c021'>In these and other canvases there was not a shadow, the surface
-being from end to end clear and highly coloured. Where a Classicalist
-would have rendered a shadow in the usual burnt umber, Manet
-made his tones a little less clear, but always coloured and always in
-value. His method of working was to discard all blacks and preparations
-of blacks. This was directly antagonistic to the teaching
-of Couture, who painted on a black canvas. Manet drew straight
-away on a white canvas with the end of his brush. Then, after
-having endeavoured to render with a single tone all the pale parts,
-he carried the lights right into the shadows, of which he studied the
-slightest nuance. The result was novel to the vision, and strange
-to the public. The <i>Déjeuner sur l’Herbe</i> was a masterly rendering of
-<span class='pageno' id='Page_23'>23</span>white flesh against black clothes, which was not appreciated because
-it was so foreign to the eye.</p>
-
-<div class='lg-container-b c023'>
-  <div class='linegroup'>
-    <div class='group'>
-      <div class='line'>“Be not the first by whom the new is tried,</div>
-      <div class='line in1'>Nor yet the last to lay the old aside,”</div>
-    </div>
-  </div>
-</div>
-
-<p class='c024'>is an excellent motto for painters who wish to achieve popular
-renown, but it was never the motto of Manet and the Impressionists.</p>
-<p class='c013'>To a certain extent the Salon des Refusés was successful. The
-jury of the old Salon had received a fright, and in 1865 they opened
-their doors very widely. Making a virtue of necessity, they reversed
-their policy and welcomed the whole artistic world, in order to obviate
-the necessity of a second Salon des Refusés.</p>
-
-<p class='c013'><i>Olympia</i> was far in advance of anything the artist had yet attempted.
-In composition it recalls Velazquez, Goya, and Titian. A girl,
-anæmic and decidedly unprepossessing, quite nude, is stretched upon a
-couch covered with an Indian shawl of yellowish tint. Behind is a
-negress, with a bouquet of flowers. At the foot of the bed a black
-cat strikes a sharp note of colour against the white linen.</p>
-
-<p class='c013'>Gautier and Barbey D’Aurevilly—both men of exotic genius—received
-the painting with great favour. They found themselves alone
-in their opinions. Again the subject displeased the crowd, whilst the
-extraordinary technique exasperated the art world. Even Courbet,
-reformer as he was, repudiated it. “It is flat and lacks modelling.
-It looks like the queen of spades coming out of a bath.” Manet
-retorted: “He bores us with his modelling. Courbet’s idea of
-rotundity is a billiard-ball.” The general verdict, however, was
-one in which ridicule and mockery were equally mixed. A
-religious picture, <i>Christ reviled by the Soldiers</i>, received no greater
-encouragement, and in the next Salon Manet was rejected without
-mercy. <i>Le Fifre de la Garde</i> and <i>The Tragic Actor</i> were both refused.
-He had provoked such fierce animosity that he was even excluded
-from the representative exhibition of French art included in the
-Universal Exhibition of 1867.</p>
-
-<p class='c013'>Luckily, no longer dependent for money on his art, Manet was able
-to exhibit under more favourable circumstances. Like Rodin a few
-years ago, Manet opened a large gallery in the Avenue de l’Alma,
-which he shared with Courbet. Here he collected fifty works,
-including the <i>Boy with the Sword</i>, several Spanish subjects, seascapes,
-portraits, studies of still life, aquafortes, even copies. A catalogue
-was issued containing a short introduction. “The artist does not say
-to you to-day, Come and see flawless works, but, Come and see
-<span class='pageno' id='Page_24'>24</span>sincere works.” Another sentence shares with a title of Claude
-Monet’s the origin of the generic phrase, “Impressionism.” “It is
-the effect of sincerity to give to a painter’s works a character that
-makes them resemble a protest, whereas the painter has only thought
-of rendering his impression.” Manet never considered himself as a
-man in revolt.</p>
-
-<p class='c013'>The artist had now a considerable following, and was supported
-by several vigorous pens in the press, notably that wielded by Emile
-Zola, who had been introduced to Manet by an old school friend
-become artist, Cézanne. Zola’s campaign in 1866, following upon
-the rejection by the Salon of the <i>Fifre de la Garde</i>, saw some hard
-fights. Zola saluted Manet as the greatest artist of the age, and
-incidentally overturned a few pedestals in the Academy. Animosity
-directed against the artist was transferred to the journalist, and Zola
-was soon ejected from his position under M. de Villemessant as art critic
-to the <i>Figaro</i> (then famous as <i>l’Événement</i>). Artists of the old
-school used to buy copies of this journal containing the offending
-articles, seek out Zola or Manet on the boulevards, and then destroy
-the paper under their eyes with every manifestation of scorn.</p>
-
-<p class='c013'>About this time the gatherings in the Café Guerbois, in the
-Rue Guyot, behind the Parc Monceau, were held twice a week
-regularly, and the School of Batignolles became an established fact.
-The group was mixed, and held together more through comradeship
-than through identical aims. It included Whistler, Legros, Fantin-Latour,
-Monet, Degas (a young man fresh from the Ecole des Beaux
-Arts), Duranty, Zola, Vignaux, sometimes Proust, Henner, and
-Alfred Stevens. To these names should be added Pissarro, Sisley,
-Renoir, Bazille, and Cézanne. Monet had been attracted by Manet
-since the little exhibition at Monsieur Martinet’s in 1863, although
-they did not meet until 1866, the year that Camille Pissarro joined
-the camp. Fantin-Latour was an old chum, the friendship commencing
-in 1857, and he commemorated these gatherings in a picture
-of the members of the group, which attracted much attention in the
-Salon of 1870.</p>
-
-<div id='i024fp'  class='figcenter id001'>
-<img src='images/i024fp.jpg' alt='' class='ig001' />
-<div class='ic002'>
-<p><span class='small'>PORTRAIT OF M. P——, THE LION-HUNTER · EDOUARD MANET</span></p>
-</div>
-</div>
-
-<p class='c013'>The home life of Edouard Manet was strangely different from
-what one would expect of such an artist, so notorious in the Paris
-of the Empire that when he entered a café its frequenters turned to
-stare at the incomer. Manet lived with his wife and his mother in
-the Rue St. Pétersbourg. The old lady, faithful to her remembrance
-of the age of Charles X. and the Citizen King, lived amidst
-souvenirs of the past. Modernity was entirely absent from the little
-household, and those who anticipated evidences of the spirit of
-<span class='pageno' id='Page_25'>25</span>revolution which characterised Manet in the world of the boulevards
-here discovered the atmosphere, even the decoration and furniture,
-of the Louis-Philippe period. Romance had also entered into the
-hitherto prosaic Manet family. Mlle. Berthe Morisot, a clever
-young artist from Bourges, had married Manet’s brother Eugène, and
-became an ardent follower of her brother-in-law’s artistic doctrines,
-whom she aided frequently.</p>
-
-<p class='c013'>A famous work of this period is <i>The Execution of the Emperor
-Maximilian</i>, the subject representing a file of dark-hued Mexicans
-shooting the unfortunate monarch. It is a vast canvas, slightly
-inconsistent with many of the artist’s theories. Not lacking in
-actuality (it was commenced within a few months of the event), it
-was of historical <i>genre</i> and painted in a studio from models, the face
-of the Emperor being copied from a photograph. Rarely, if ever
-before, seen in London, this magnificent painting was received
-enthusiastically when exhibited at the first collection made by the
-International Society in 1898.</p>
-
-<p class='c013'>In France the authorities forbade the public exhibition of the
-<i>Execution</i>, the tragedy having had too intimate a relation with French
-politics; but at the Salon of 1869 Manet was represented by <i>The
-Balcony</i>, which provoked considerable derision from critics and
-public.</p>
-
-<p class='c013'>The famous duel with Duranty took place early in the following
-year. Duranty, an old friend and journalistic supporter of the
-movement, of great literary reputation in the ’sixties and ’seventies,
-but quite forgotten now, suddenly published a newspaper article in
-which the artist was violently attacked. There was no palpable
-reason for such a strange outbreak, and at the next gathering at the
-Café Guerbois, Manet requested explanations. In his anger the
-artist struck the writer across the face. Manet had for seconds Zola
-and Vigniaux, and his adversary was slightly wounded in the breast.
-Within a few years Manet stretched out his hand in friendship, and
-the quarrel was made up and forgotten by both parties.</p>
-
-<p class='c013'>The tremendous upheaval of the year 1870 had its effect upon
-Manet’s art, as it had upon the whole national and intellectual life of
-France. It marks the end of his first period, for after the war Manet
-paid more attention to the question of lighting, and gathered closer
-to the little group of “Luminarists” of which Claude Monet was
-the most significant figure. Early in 1870 the artist, when painting
-near Paris, in the park of his friend De Nittis, for the first time
-woke up to the prime importance of working “en plein air.” The
-war intervened, and Manet served with the colours. After the
-<span class='pageno' id='Page_26'>26</span>campaign he returned to his easel, but no longer an exclusive
-follower of the Spanish School and the Romanticists of the type of
-Courbet.</p>
-
-<p class='c013'>At the call of their country, artists and authors alike followed the
-flag. One can still remember how short-sighted Alphonse Daudet
-kept sentry-go during the first awful winter, and how, almost at the
-end of the siege of Paris, the brilliant Henri Regnault was shot down
-in a sortie. Bastien-Lepage was in the field, and one of the group of
-the Café Guerbois, Bazille, was killed in action. Manet enlisted in
-the Garde Nationale, and, for some reason which is not obvious,
-was at once promoted to the Staff. Unfortunately, Meissonier was
-nominated Colonel of the same regiment, which shows that the
-État-Major was quite ignorant of the state of contemporary art.
-Meissonier, a man of strong opinions, the recognised head of his
-profession, member of the Institute, was covered with official
-honour. Manet, with equally forcible convictions, the hero of the
-Salon des Refusés, was pariah to the Academy. It was not likely
-that two such men could get on well together.</p>
-
-<p class='c013'>Some years afterwards Manet displayed his feelings. He was
-gazing in a public gallery at a <i>Charge of Cuirassiers</i>, recently painted
-by Meissonier. A crowd gathered round. His criticism was short.
-“It’s good, really good. Everything is in steel except the cuirasses.”
-The <i>mot</i> travelled round the town, and duly reached the ears of the
-venerable artist at Passy. Manet saw active service. He was under
-fire at the Battle of Champigny, and also took part in the suppression
-of the Commune. A vivid little sketch by Manet shows a Parisian
-street, after some sharp fighting with the insurgents. It may be
-found reproduced in Duret’s monograph. Broken down in health,
-Manet joined his mother and sister at their retreat in the Pyrenees,
-and at Oléron painted the <i>Battle of the “Kearsage” and “Alabama,”</i>
-a wonderful piece of sea-painting, although executed far from the
-actual scene of the engagement.</p>
-
-<div id='i026fp'  class='figcenter id004'>
-<img src='images/i026fp.jpg' alt='' class='ig001' />
-<div class='ic002'>
-<p><span class='small'>EDOUARD MANET</span></p>
-</div>
-</div>
-
-<p class='c013'>Manet had exhausted the paternal inheritance and was living
-on the fruits of his labour. The Impressionist School, as we now
-know it, was at the height of its activity, but by no means at
-the summit of its success. It assumed as its title the designation
-which had been applied to it as a nickname. The origin of this
-title is obscure. As already mentioned, Manet used the term in his
-introduction to the catalogue of 1867. Claude Monet named one
-of his pictures, a sunset, exhibited in the Salon des Refusés, “Impressions.”
-Ruskin though had used the same term years before in
-describing a canvas by Turner. Many of the members of the
-<span class='pageno' id='Page_27'>27</span>group were in the most abject poverty until the celebrated dealer,
-M. Durand-Ruel, came to their assistance. Manet had better sales
-than the rest of his brethren, for several collectors began to buy
-from his easel, viz. Gérard, Faure (of the Opera), Hecht, Ephrussi,
-Bernstein, May, and De Bellis. 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 Impressionists.</p>
-
-<p class='c013'>In 1873 Manet contributed to the Salon a portrait of the
-engraver Belot seated in the Café Guerbois. Known as <i>Le Bon Bock</i>,
-it was his most popular success both with public and critics. Over
-eighty sittings were given before the canvas was completed. Manet
-had departed far from the technique of the Dutch portrait-painters,
-but <i>Le Bon Bock</i> strongly suggests the manner of Hals, although
-ranking on its own merits as an independent triumph. To the year
-of <i>Le Bon Bock</i> succeeded a long period of public indifference and
-artistic warfare. The Impressionists held their first collective
-exhibition, which was bitterly disappointing in its results. The
-public had changed but little. <i>The Opera Ball</i> and <i>The Lady with
-Fans</i> (about 1873), the <i>Railway</i>, painted wholly in the open air,
-and <i>Polichinelle</i> (exhibited at the Salon of 1874), <i>The Artist</i> and
-<i>L’Argenteuil</i> of 1875, all were received with disfavour.</p>
-
-<p class='c013'>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 ago. <i>L’Artiste</i>, a magnificent portrait
-of the engraver Desboutins, was refused by the Salon together with
-<i>Le Linge</i>. <i>L’Argenteuil</i>, a simple representation of two life-sized figures
-by the borders of the Seine, would be received with acclamation
-instead of disdain. Manet and his group were undoubtedly educating
-the public, but progress was very slow. There was an outburst of
-opinion in favour of the artist when the Salon refused <i>L’Artiste</i> and
-<i>Le Linge</i>. One sentence of criticism summed up the general feeling of
-those who were not entirely prejudiced against the new spirit. “The
-jury is at liberty to say that it does not like Manet. But it is not at
-liberty to cry ‘Down with Manet! To the doors with Manet!’”</p>
-
-<p class='c013'>Reaction on the part of the jury followed, exactly as it had
-followed in previous years. After the success of the Salon des
-Refusés Manet was accepted. Then, being rejected, he opened the
-gallery of the Avenue d’Alma, and was hung by the jury at the ensuing
-Salon. Rejected in 1876, the outcry in the press surprised the
-jury, who accepted his works in 1877. These extraordinary ups
-and downs culminated in 1878, when the jury of the Exposition
-<span class='pageno' id='Page_28'>28</span>Universelle, held in that year, definitely refused to hang any of his
-canvases. In the opinion of this jury the painter of <i>Le Bon Bock</i>
-was not a representative French artist. Ten years had changed the
-official art world but little, for the same thing had happened in
-1867. This was almost the last insult Manet had to endure. In
-1881 he received a second medal at the Salon. The discussion in
-the Committee had been acrimonious, but seventeen members of the
-jury were found to support the award. Amongst the names of the
-majority are those of Carolus-Duran, Cazin, Henner, Lalanne, de
-Neuville, and Roll.</p>
-
-<p class='c013'>One cannot deny that Manet’s work greatly varied. The
-portrait of M. Faure, in the character of Hamlet, was to a certain
-extent conventional studio-painting, and could offend nobody. The
-subject would not provoke the most susceptible. M. Faure was
-celebrated on the stage of the Grand Opera, possessed considerable
-wealth, and was one of Manet’s most devoted friends. <i>Nana</i>, sent to
-the Salon together with the portrait of M. Faure, was rejected. The
-technique was brilliant, but the subject, although harmless enough,
-suggested Zola’s heroine. Zola’s book was not published until 1879,
-but the name designated a class apart.</p>
-
-<p class='c013'>In 1880 Manet exhibited a wonderful portrait of M. Antonin
-Proust, and in the December of the following year his old friend,
-now Directeur des Beaux-Arts, was able to give to his life-long
-companion the Cross of the Legion of Honour. Had Manet no
-friends at Court, he would certainly not have received this coveted
-decoration. President Grévy objected when he saw the painter’s
-name, and would have struck out Manet from the list had not
-Gambetta exerted some little pressure.</p>
-
-<p class='c013'>But the struggle was nearly ended. Manet was dying. “This
-war to the knife has done me much harm,” he is reported to have
-told Antonin Proust. “I have suffered from it greatly, but it has
-whipped me up.... I would not wish that any artist should be
-praised and covered with adulation at the outset, for that means the
-annihilation of his personality.”</p>
-
-<p class='c013'>On New Year’s Day, 1882, he received the Cross, and at the
-Salon exhibited <i>Un Bar aux Folies-Bergères</i>, a barmaid enshrined
-amidst her glasses at a Paris music-hall, and a portrait, <i>Jeanne</i>.
-Since 1879 paralysis had been slowly sapping his powers. Edouard
-Manet died near Paris on April 30, 1883, at the early age of fifty-one.
-Disappointment, injured pride, lack of appreciation, continued and
-strong hostility, each had had its effect upon a physique always
-sensitive and never too strong. The artist had died for his art.</p>
-
-<div id='i028-1'  class='figcenter id001'>
-<img src='images/i028-1.jpg' alt='' class='ig001' />
-<div class='ic002'>
-<p><span class='small'>A GARDEN IN RUEIL · EDOUARD MANET</span></p>
-</div>
-</div>
-
-<div id='i028-2'  class='figcenter id001'>
-<img src='images/i028-2.jpg' alt='' class='ig001' />
-<div class='ic002'>
-<p><span class='small'>FISHING · EDOUARD MANET</span></p>
-</div>
-</div>
-
-<p class='c013'><span class='pageno' id='Page_29'>29</span>The secret of Manet’s power is sincerity and individuality;
-his main effort was a rendering of fact; his deepest interest the
-truthful juxtaposition of values, the broad and simple treatment
-of planes, combined with a constant search for the character of the
-person or object portrayed.</p>
-
-<p class='c013'>The influences which guided Manet during the earlier portion of
-his career have been noticed at length. He travelled extensively,
-and his works bear many souvenirs of foreign masters. But sufficient
-stress is not always laid upon the influences at work around Manet
-in Paris, namely, the influences of Delacroix, Corot, and the men of
-1830, who carried but one stage farther the methods and tradition
-of the English masters, Constable, Bonington, Girtin and Turner.</p>
-
-<p class='c013'>Apart from sources of inspiration Manet was personally gifted.
-He possessed (as M. Duret so well points out) the faculty of sight,
-a gift from Nature which cannot be acquired by will or work.
-Technique he had obtained after six years’ hard study in the most
-severe atelier in Paris. But technique is a subsidiary equipment, for
-a complete command over one’s materials does not always imply the
-possession of genius.</p>
-
-<p class='c013'>“The fools!” said Manet with bitterness to Proust. “They
-were for ever telling me my work was unequal. That was the
-highest praise they could bestow. Yet it was always my ambition
-to rise—not to remain on a certain level, not to remake one day what
-I had made the day before, but to be inspired again and again by a
-new aspect of things, to strike frequently a fresh note.”</p>
-
-<p class='c013'>“Ah! I’m before my time. A hundred years hence people will
-be happier, for their sight will be clearer than ours to-day.”</p>
-
-<p class='c013'>Ambition to rise, never to remain on the same level! That is
-the whole doctrine of art, and the supreme epitaph for Edouard
-Manet, pioneer and master.</p>
-
-<div  class='figcenter id003'>
-<img src='images/i030.jpg' alt='' class='ig001' />
-</div>
-
-<div class='pbb'>
- <hr class='pb c000' />
-</div>
-<div id='i031fp'  class='figcenter id004'>
-<img src='images/i031fp.jpg' alt='' class='ig001' />
-<div class='ic002'>
-<p><span class='small'>GEORGES D’ESPAGNAT</span></p>
-</div>
-</div>
-
-<div class='chapter'>
-  <span class='pageno' id='Page_31'>31</span>
-  <h2 class='c011'>CHAPTER IV · THE IMPRESSIONIST GROUP, 1870-1886</h2>
-</div>
-<div class='lh c017'>
-
-<p class='c018'>“L’ADMIRATION DE LA FOULE EST TOUJOURS
-EN RAISON INDIRECTE DU GÉNIE INDIVIDUEL.
-VOUS ÊTES D’AUTANT PLUS ADMIRÉ ET COMPRIS,
-QUE VOUS ÊTES PLUS ORDINAIRE”</p>
-<p class='c019'><i>ZOLA</i></p>
-
-</div>
-<div class='c020'>
-  <img class='drop-capi' src='images/di-t.jpg' width='100' height='100' alt='' />
-</div><p class='drop-capi0_75'>
-THE outbreak of the Franco-German War in 1870
-scattered far and wide the little group that congregated
-at the Café Guerbois, and had a curious effect
-upon the evolution of their methods of painting.
-Several of the leading members of the circle crossed
-to England, and the studies they pursued in London
-formed the basis for the unconventional departures which have
-produced the masterpieces of Modern Impressionism. Practically
-all the later developments of their art date from the above-named
-year, and if a place of genesis be sought for it will be found in the
-London National Gallery.</p>
-
-<p class='c021'>As related in a previous chapter, Edouard Manet, the acknowledged
-head at the Café Guerbois gatherings, became a captain in
-the Garde Nationale, with Meissonier as his colonel. Boudin and
-Jongkind fled to Belgium, and became labourers. Monet, Pissarro,
-Bonvin, Daubigny, and some friends, braved the horrors of “La
-Manche” and settled in London. They arrived almost penniless,
-thoroughly disheartened by the terrible events which were threatening
-their motherland with disaster. The journey, momentous to
-the unhappy passengers, was the opening of a new epoch in art.</p>
-
-<p class='c021'>The following letter from Pissarro, to the author, written in
-November 1902, gives an interesting account of their doings in
-London. He says: “In 1870 I found myself in London with
-Monet, and we met Daubigny and Bonvin. Monet and I were very
-enthusiastic over the London landscapes. Monet worked in the
-parks, whilst I, living at Lower Norwood, at that time a charming
-suburb, studied the effects of fog, snow, and springtime. We worked
-from Nature, and later on Monet painted in London some superb
-studies of mist. We also visited the museums. The water-colours
-and paintings of Turner and of Constable, the canvases of Old Crome,
-have certainly had influence upon us. We admired Gainsborough,
-Lawrence, Reynolds, &amp;c., but we were struck chiefly by the landscape-painters,
-<span class='pageno' id='Page_32'>32</span>who shared more in our aim with regard to “plein
-air,” light, and fugitive effects. Watts, Rossetti, strongly interested
-us amongst the modern men. About this time we had the idea
-of sending our studies to the exhibition of the Royal Academy.
-Naturally we were rejected.”</p>
-
-<p class='c021'>“Naturally we were rejected!” These poor exiles were offering
-to the conservative Academy canvases painted in a method that
-Constable could not get accepted forty years before.</p>
-
-<p class='c021'>Their admiration of Turner and Constable was a repetition of
-the experiences of another great Frenchman nearly fifty years earlier.
-In his published journal, Delacroix has written: “Constable and
-Turner are true reformers.” At the Salon of 1824 the pictures of
-Constable so profoundly impressed him that he completely repainted
-his large canvas, the <i>Massacre of Scio</i>, then hanging in the same
-exhibition. The next year he visited London in order that he
-might more closely study Constable’s work. He returned to Paris
-marvelling at the hitherto unsuspected splendour of Turner, Wilkie,
-Lawrence, and Constable. Immediately he began to profit by their
-examples. Delacroix chronicles that he noticed that Constable,
-instead of painting in the usual flat tones, composed his picture of
-innumerable touches of different colours juxtaposed, and, at a certain
-distance, recomposing in a more powerful and more atmospheric
-natural effect. He adds that he considers this new method far
-superior to the old-fashioned one.</p>
-
-<p class='c021'>The group of 1870 made this discovery afresh. It is pleasant
-to imagine that these artistic explorations somewhat dulled the
-misery of their exile. They worked and copied in the public and
-private galleries, they painted by the riverside, and in the streets and
-parks. With enthusiasm they absorbed the technique of Turner
-and Constable, perhaps of Watts, and the result is to be seen in
-Claude Monet’s <i>Haystacks</i>, in Pissarro’s street scenes, in Sisley’s landscapes,
-in the luminous work of Guillaumin and d’Espagnat, in the
-canvases of Vuillard, Maufra, and many followers. Their style was
-revolutionised, their ideals changed. The dull greys and the russet
-browns which reigned supreme before 1870 were banished for ever.</p>
-
-<div id='i032-1'  class='figcenter id001'>
-<img src='images/i032-1.jpg' alt='' class='ig001' />
-<div class='ic002'>
-<p><span class='small'>THE WHITE RABBITS · GEORGES D’ESPAGNAT</span></p>
-</div>
-</div>
-
-<p class='c021'>They returned to France the preachers of a new crusade. The
-“Café de la Nouvelle Athénée” became the centre of the group.
-Reunited under Manet, whose style commenced to show signs of
-much influence from Claude Monet, the reformers gathered many
-recruits, and gained more enemies. They were not without friends
-on the press: Emile Zola, who had written so eloquently in
-“Mes Haines,” Théodore Duret, friend and literary executor of
-<span class='pageno' id='Page_33'>33</span>Manet, Gustave Geffroy of “La Vie Artistique,” in Monet’s opinion
-the most slashing of the lot, Arsène Alexandre of “Le Figaro,”
-Gustave Cahen, Roger Marx, and many others.</p>
-
-<div id='i032-2'  class='figcenter id001'>
-<img src='images/i032-2.jpg' alt='' class='ig001' />
-<div class='ic002'>
-<p><span class='small'>A SUMMER AFTERNOON · GEORGES D’ESPAGNAT</span></p>
-</div>
-</div>
-
-<p class='c021'>But the financial position of the whole group was exceedingly
-precarious. They could not sell their pictures. It was admitted
-that the canvases of such men as Monet and Pissarro were the
-works of men of genius, but the buying public (and they are
-numerous in France) did not understand the new movement, and so
-failed to support it adequately. As a whole, it may be said that the
-art public were in open hostility to Impressionism. With a few
-exceptions, the critics of the established art journals condemned the
-movement. Even comic singers ridiculed the painters in the
-music-halls of Paris. The Salon was closed against them, and the
-dealers refused to look at their canvases.</p>
-
-<p class='c021'>Meanwhile the artists starved. These were the evil days of
-evictions, of visits from the sheriff, of the forced sale of household
-furniture to pay insignificant debts. It is a sordid story of a struggle
-to obtain the barest necessities of existence. These wretched years
-proved a bitter chastening of the spirit to proud and refined natures.
-Tragedy and comedy were intermixed. Glimpses of hope and
-comfort appeared from time to time as some fresh buyer appeared
-on the scene. But these welcome callers were not frequent, and
-the rifts of sunshine through the grey clouds were, as a rule,
-transitory.</p>
-
-<p class='c021'>The artists did not over-value their works. They were able to
-live in tranquillity if their pictures fetched prices ranging from
-£2 to £4. To sell a canvas at £8 was an event, and £20 was
-a figure absolutely unheard of. A letter from Manet, a comparatively
-rich man with an independent income, to Théodore
-Duret, the critic, gives a vivid insight into the situation in 1875.
-Manet had recently visited Claude Monet at Argenteuil. “Dear
-Duret,” he writes, “I went to see Monet yesterday. I found
-him altogether ‘hard up.’ He asked me if I knew of a purchaser
-for ten or twenty of his pictures at £4 each. Shall we take it on?
-I thought of a dealer, or of an amateur, but there I foresee the
-possibility of refusals. It is unfortunate that it is only connoisseurs,
-like ourselves, 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 talent. Answer as quickly as possible or make an
-appointment with me. Amitiés, Edouard Manet.”</p>
-
-<p class='c021'>This is good proof, if proof were needed, of the straits to
-which one of the leaders of the group was reduced. It is also odd
-<span class='pageno' id='Page_34'>34</span>to note that Manet was afraid of a refusal, from both dealers and
-collectors, to the offer of such a bargain as a score of works by Claude
-Monet at £4 apiece. The letter also proves that those professional
-dealers who had hitherto supported the Impressionists were at the
-end of their resources, notably M. Durand-Ruel.</p>
-
-<p class='c021'>This celebrated dealer and collector had brought himself to the
-verge of bankruptcy through a too generous investment in Impressionist
-work. He was gradually ostracised by brother dealers,
-buyers, and art critics. He was regarded in much the same light as
-the artists themselves, considered to have lost his mental balance and
-also his acumen as a man of business. Certainly he speculated upon
-a large scale. In January 1872, having previously bought two
-studies, M. Durand-Ruel called upon Manet at his studio and bought
-on the spot twenty-eight canvases for the sum of 38,600 francs
-(£1544). The whole Impressionist camp went wild with joy under
-the mistaken idea that their millennium had arrived. They had
-many years to wait. Both the pictures and the capital were locked
-up for a considerable time. The public had yet to be educated,
-and the few amateurs who bought Impressionist work could select
-examples in abundance from the artists’ easels.</p>
-
-<p class='c021'>It is to the credit of the group that they followed their ideals
-and refused many temptations. Several of them, Monet in particular,
-were admirable portraitists, and could easily have gained a very
-respectable living from that branch of art. A writer in one of the
-French art reviews asserts that Claude Monet’s <i>Femme à la Robe Verte</i>
-was the finest painting in the Salon of 1866. Only men who have
-passed through such experiences can appreciate at its true value the
-heroic courage, faith, and self-confidence required during such a
-trial.</p>
-
-<div id='i034-1'  class='figcenter id001'>
-<img src='images/i034-1.jpg' alt='' class='ig001' />
-<div class='ic002'>
-<p><span class='small'>FAIR ANGLERS · GEORGES D’ESPAGNAT</span></p>
-</div>
-</div>
-
-<p class='c021'>The ordeal was long and severe. It included public disdain and
-private poverty. The movement did not, however, remain stationary.
-In 1874 a small exhibition was organised, and held, from April 15
-to May 15, at the galleries of M. Nadar, 35 Boulevard des
-Capucines. This little salon, entitled “L’Exposition des Impressionistes,”
-has become historic. The list of exhibitors included
-the following: Astruc, Attendu, Béliard, Boudin, Bracquemond,
-Brandon, Bureau, Cals, Cézanne, Gustave Colin, Debras, Degas,
-Guillaumin, Latouche, Lepic, Lépine, Levert, Meyer, de Molins,
-Monet, Berthe Morisot, Mulot-Durivage, de Nittis, Auguste Ottin,
-Léon Ottin, Pissarro, Renoir, Rouart, Robert, Sisley. From every
-point of view, except that of art, the exhibition was a failure.
-The press attacked it with exceptional virulence, the public kept
-<span class='pageno' id='Page_35'>35</span>away. The artists were lampooned in idiotic cartoons, and branded
-as traitors who were disloyal to the artistic traditions of their
-country. The public sales at the Hôtel Drouot were disastrous.
-In March 1875, excellent examples of Claude Monet were sold at
-prices varying between £6 and £13. Pictures by Mlle. Berthe
-Morisot fetched from £3 to £19, and by Sisley from £2 to £12.
-Renoir was the most unfortunate. Out of twenty paintings, ten did
-not reach £4 each. Not one sold for more than £12.</p>
-
-<div id='i034-2'  class='figcenter id001'>
-<img src='images/i034-2.jpg' alt='' class='ig001' />
-<div class='ic002'>
-<p><span class='small'>FISHING NEAR PARIS · LEPINE</span></p>
-</div>
-</div>
-
-<p class='c021'>The particulars of the following exhibitions and sales are fully
-detailed by M. Gustave Geffroy in his “Vie Artistique.” The
-second exhibition was held at the house of M. Durand-Ruel in
-April 1876. The participators were Béliard, Legros, Pissarro,
-Bureau, Lepic, Renoir, Caillebotte, Levert, Rouart, Cals, J.-B. Millet,
-Sisley, Degas, Claude Monet, Tillot, Desboutin, Berthe Morisot,
-Jacques François, and the younger Ottin.</p>
-
-<p class='c021'>In 1877 a sale was held, but prices showed little improvement.
-An exhibition had been held a month previously, the
-exhibitors being Caillebotte, Cals, Cézanne, Cordey, Degas, Guillaumin,
-François, Lamy, Levert, Maureau, Monet, Berthe Morisot,
-Piette, Pissarro, Renoir, Rouart, Sisley, and Tillot.</p>
-
-<p class='c021'>These lists are exceedingly interesting, as they show year by year
-the composition of the group. In succeeding years fresh names
-appeared. In 1879, at the Spring Exhibition in the Avenue de
-l’Opéra, the catalogue included Bracquemond, Marie Bracquemond,
-Caillebotte, Cals, Mary Cassatt, Degas, Forain, Lebourg, Monet,
-Pissarro, Rouart, Somm, Tillot, and Zandomeneghi. In 1880, at
-the gallery in the Rue des Pyramides, the same names appeared,
-together with J. F. Raffaëlli, J. M. Raffaëlli, Vidal, and Vignon.
-Claude Monet does not appear to have sent any works, probably
-because of his “one-man show” at “La Vie Moderne” gallery. In
-April 1881, the annual collection began to decline in numbers,
-canvases being sent by Mary Cassatt, Berthe Morisot, Degas,
-Forain, Gauguin, Guillaumin, Pissarro, Raffaëlli, Rouart, Tillot,
-Vidal, Vignon, and Zandomeneghi. In the following year (at the
-Rue Saint-Honoré) the number was still less, Caillebotte, Gauguin,
-Guillaumin, Monet, Berthe Morisot, Pissarro, Renoir, Sisley, and
-Vignon. Practically the last collective exhibition was held in 1886,
-the catalogue consisting of works by Degas, Berthe Morisot,
-Gauguin, Guillaumin, Zandomeneghi, Forain, Mary Cassatt,
-Odilon Redon, Camille Pissarro, Seurat, Signac, and Lucien
-Pissarro.</p>
-
-<p class='c021'>M. Geffroy refers to these exhibitions as battle-fields. Campaigns
-<span class='pageno' id='Page_36'>36</span>cannot last for ever, and victory had at last crowned the
-Impressionists. To-day these artists are honoured and decorated,
-their works hang in public galleries over the whole world. It may
-be said that we are all Impressionists now. Certainly of the students
-it is true, for ninety per cent. of those who take up landscape painting
-follow with admiration the paths of the Impressionists.
-A glance through the annual salons, either in Europe or America,
-fully proves the assertion. Before many years have elapsed, even in
-England, one will find this the case. The difficulty of Hanging
-Committees will be, not to hide away Impressionist work to the
-least damage of its surroundings, but to hang the anecdotal, moral,
-and all canvases of like <i>genre</i>, in such obscure corners as will
-give the least offence to their moribund and conservative creators.</p>
-
-<div  class='figcenter id003'>
-<img src='images/i036.jpg' alt='' class='ig001' />
-</div>
-<div class='pbb'>
- <hr class='pb c003' />
-</div>
-
-<div id='i037fp'  class='figcenter id001'>
-<img src='images/i037fp.jpg' alt='' class='ig001' />
-<div class='ic002'>
-<p><span class='small'>THE PICNIC · CLAUDE MONET</span></p>
-</div>
-</div>
-
-<div class='chapter'>
-  <span class='pageno' id='Page_37'>37</span>
-  <h2 class='c011'>CHAPTER V · CLAUDE MONET</h2>
-</div>
-<div class='lh c017'>
-
-<p class='c018'>“SÛREMENT CET HOMME A VÉCU, ET LE DÉMON
-DE L’ART HABITE EN LUI”</p>
-<p class='c019'><i>GUSTAVE GEFFROY</i></p>
-
-</div>
-<div class='c020'>
-  <img class='drop-capi' src='images/di-c.jpg' width='100' height='100' alt='' />
-</div><p class='drop-capi0_75'>
-CLAUDE MONET is one of the few fortunate
-painters whose fame is not posthumous, and whose
-material recompense runs parallel with the merit of
-their production. He, above all others, has lifted
-the School of Impressionism in France from the
-derision and disrepute which greeted its inception
-some thirty years ago, and to him is due the honour of making it
-one of the most prominent of latter-day art movements.</p>
-
-<p class='c021'>The present generation witnesses the triumph of a remarkable
-revolution, and the success of a group of painters, of which Monet
-was head, after years of acrimonious struggle against a world of
-prejudice and disdain. Claiming a right to exercise their art as they
-thought fit, aided by a mere handful of far-sighted critics and
-patrons, for thirty years they patiently endured public obloquy.
-Now the Luxembourg Gallery enlarges its space to receive their
-works, and before long they will be represented side by side with
-the masters of the Louvre. Appreciation is the order of the day,
-and millionaires compete for their canvases.</p>
-
-<p class='c021'>The life-history of Claude Monet is inseparably connected with
-the story of Impressionism in France. As a leader of the little group
-any record of the subject must largely consider his part in the result.
-It is remarkable that a man of such talent should remain comparatively
-unknown in England, considering that another portion of the
-Anglo-Saxon world has always generously encouraged him. For
-the past twenty years a large proportion of his works has gone to
-the United States. The English nation will have to pay dearly in
-the future for its present neglect of modern French art. At the
-present moment there is not a single specimen of the work of Monet
-on exhibition in any English public art gallery.</p>
-
-<p class='c021'>Claude Monet was born in Paris on November 14, 1840. Son
-of a wealthy merchant of Havre, his inclinations towards art were
-soon shown, and these tendencies, as usual, discouraged at home.
-<span class='pageno' id='Page_38'>38</span>No member of the family had any artistic gifts, and, as in the case of
-Edouard Manet, the youth was sent on a foreign tour. His school
-work was spasmodic and irregular, and he devoted much of his time
-at Havre to caricature and the company of Boudin the painter.
-When remonstrated with his reply was the historic, “I would like
-to paint as a bird sings.”</p>
-
-<p class='c021'>After two years of military service with the Chasseurs d’Afrique
-in Algeria, Monet caught fever, and returned home. He then
-entered the Atélier Gleyre, and remained in Paris. Of personal
-history there is little to relate. He is a man of high purpose, greatly
-talented, excessively active and self-reliant, who has not faltered once
-from the path of his ideals. His adventures have been those usual
-to the profession of a landscape-painter. He has suffered from fever
-and rheumatism, the results of working near mosquito-haunted
-marshes, in drenching rain, or in damp grass. The occupation is
-peaceful enough, the diseases named are of everyday occurrence, yet
-they exert a powerful influence upon the life of a man for ever
-engaged with brain and eye, with nerves strung to the most intense
-pitch.</p>
-
-<p class='c021'>His early struggles were the ordinary struggles of nine-tenths of
-those votaries who worship at the shrines of Art. Claude Monet
-has drunk deeply of the bitterness of life. He has endured privations
-and disappointments which have brought him almost to the
-depths of despair. He has survived only through his indomitable
-pluck.</p>
-
-<p class='c021'>“One must have the strength for such a fight,” says Monet, with
-the assurance born of experience, when recounting the history of
-those troublous days. 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 solace, a pleasure,
-and a sustaining impetus. Truly was Baudelaire justified in writing:
-“Nations have great men in spite of themselves, and so have
-families. They do their best not to have any, so that the great man,
-in order to exist, must needs possess a power of attack greater than
-the force of resistance developed by millions of individuals.”</p>
-
-<p class='c021'>It has long been granted, even by the bitterest of his opponents,
-that Monet possesses a few at least of the attributes of genius—the
-capacity for turning out large quantities of work, an almost unparalleled
-fertility of invention, imagination, and originality, and above
-all that priceless gift to the artist—the supreme power of creation.
-Moreover, he is ever keen and restless in search of the new and
-unexplored, for ever mistrusting the value of his own productions.</p>
-
-<div id='i038-1'  class='figcenter id005'>
-<img src='images/i038-1.jpg' alt='' class='ig001' />
-<div class='ic002'>
-<p><span class='small'>CLAUDE MONET</span></p>
-</div>
-</div>
-
-<div id='i038-2'  class='figcenter id001'>
-<img src='images/i038-2.jpg' alt='' class='ig001' />
-<div class='ic002'>
-<p><span class='small'>A STUDY · CLAUDE MONET</span></p>
-</div>
-</div>
-
-<p class='c021'><span class='pageno' id='Page_39'>39</span>Never has he been influenced strongly enough to waver in the
-pursuit of his ideals, either through the gibes of the critics or the
-lack of appreciation on the part of the public.</p>
-
-<p class='c021'>His work is large and simple in character; his colour vigorous
-to the utmost capacity of the prismatic tints, bearing the impress of
-a passionate, violent, and highly sensitive artistic individuality.</p>
-
-<p class='c021'>Monet is a lyrical poet, singing the joy of life and nature. The
-decadence of modern France in literary circles finds no reflection on
-his canvas. Strongly opposed by personal temperament to the ugly
-and morbid, he allows his brush to touch no subject at all allied to
-such themes. In every picture he paints we seem to hear Pippa
-singing:</p>
-
-<div class='lg-container-b c023'>
-  <div class='linegroup'>
-    <div class='group'>
-      <div class='line'>“The year’s at the Spring,</div>
-      <div class='line in1'>And day’s at the morn;</div>
-      <div class='line in1'>Morning’s at seven;</div>
-      <div class='line in1'>The hill-side’s dew-pearled;</div>
-      <div class='line in1'>The lark’s on the wing;</div>
-      <div class='line in1'>The snail’s on the thorn:</div>
-      <div class='line in1'>God’s in His heaven</div>
-      <div class='line in1'>All’s right with the world!”</div>
-    </div>
-  </div>
-</div>
-
-<p class='c025'>A happy serenity is his great charm, and it has been arrived at by
-temperament, not by training.</p>
-
-<p class='c013'>At the beginning of the Impressionist movement the nightly
-meetings at the Café Guerbois became the centre of a small band of
-innovators and iconoclasts, attracted by the sympathy of a common
-aim, the necessity of mutual encouragement, and the prescience of
-the evolution of a new idea.</p>
-
-<p class='c013'>The first public exhibition of the works of these painters was
-held in the spring of 1874 at Nadar’s, in the Boulevard des
-Capucines. It created an uproar in the art world, which culminated
-in several scenes of personal violence between over-excited critics.
-Other exhibitions, chiefly devoted to the works of Claude Monet,
-may be roughly summarised as follows: one in 1876; at the
-galleries of M. Durand-Ruel in 1877; in 1880 at the offices of
-“La Vie Moderne,” Boulevard des Italiens; in 1889 in conjunction
-with Rodin at the gallery of M. Georges Petit.</p>
-
-<p class='c013'>Monet exhibited at the Salon for the first time in 1865. The
-two marine pieces drew from Edouard Manet the remark, “Who is
-this Monet, who looks as if he had taken my name, and happens
-thus to profit by the noise I make?” He exhibited for the
-last time in 1880. In 1882 he forwarded <i>Glaçons sur la Seine</i>, a
-remarkably beautiful conception of an illusory effect, the rejection
-<span class='pageno' id='Page_40'>40</span>of which finally ended all relations between the artist and a too
-conservative body.</p>
-
-<p class='c013'>With the exception of a semi-private show at Dowdeswell’s of
-Bond Street in 1883, Monet made his début in England at the
-Winter Exhibition of 1888 of the Royal Society of British Artists,
-then under the presidency of Mr. Whistler. That careful critic,
-Mr. H. M. Spielman, of the “Magazine of Art,” wrote the
-following lines in his journal: “He who contemplates these
-distinctive pieces of arch-impressionism, without prejudice, without
-‘arrière pensée,’ must own that for strength and brilliancy of general
-tone and for decorative effect, they have few, if any, equals.”</p>
-
-<p class='c013'>Monet has never been seen at his best in England; indeed, the
-same may be said of all the members of the Impressionist group.
-Owing to the ready market for their work in France and America,
-it is rarely that the dealers are able to attract across the Channel
-any but second-rate canvases. Isolated works have been shown at
-the Boussod Vallodon galleries, the New English Art Club, the
-International Society’s Exhibition at Knightsbridge, and a miscellaneous
-collection on view at the Hanover Gallery, Bond Street, in 1901.
-The standard of the latter was not high, and the result disappointing
-to all parties. A representative exhibition remains to be held.</p>
-
-<p class='c013'>No other country but France can boast of landscape so varied,
-so picturesque, and so atmospherically suited to the Impressionist.
-The principal scenes of Monet’s labours have been Havre, Belle-Isle-en-Mer,
-the Riviera, La Creuse, La Manche, with Giverny and
-the Seine valley in particular. Short visits have been devoted to
-England, Norway, and Holland; but the first-named localities have
-seen the production of the famous series known under the titles of
-<i>Les Meules</i>, <i>Peupliers au bord de l’Epté</i>, <i>Glaçons sur la Seine</i>, <i>Matins
-sur la Seine</i>, <i>A Argenteuil</i>, <i>Belle Isle</i>, <i>Bordighera</i>, <i>Antibes</i>, <i>Champs des
-Tulipes</i>, and <i>Les Cathédrales.</i> There is also a series of paintings of
-the artist’s Japanese water-garden at Giverny, and yet another series
-dealing with London under different atmospheric aspects.</p>
-
-<p class='c013'>Claude Monet is enthusiastically in love with London from the
-painter’s point of view. From the balconies of the Savoy Hotel
-the French master has watched the tidal ebb and flow of the great
-grey river, with its squalid southern banks shrouded day by day in
-white mist and brown smoke, the warehouses and chimneys coated
-in a veil of soot, the legacy of ages. The autumnal fogs, which
-harmonise discordant tones, round off harsh outlines, cloak the ugly
-and create the beautiful, are to the foreigner London’s greatest
-charm, although to the inhabitant they are a deadly infliction.</p>
-
-<div id='i040fp'  class='figcenter id001'>
-<img src='images/i040fp.jpg' alt='' class='ig001' />
-<div class='ic002'>
-<p><span class='small'>LA GRENOUILLÈRE · CLAUDE MONET</span></p>
-</div>
-</div>
-
-<p class='c013'><span class='pageno' id='Page_41'>41</span>No writer ever expressed this fascination more eloquently than
-the “Wizard of the Butterfly Mark,” who wrote: “And when the
-evening mist clothes the riverside world with poetry, as with a veil,
-and the poor buildings lose themselves in the dim sky, and the tall
-chimneys become campanili, and the warehouses are palaces in the
-night, and the whole city hangs in the heavens and fairyland is
-before us—then the wayfarer hastens home; the working man and
-the cultured one, the wise man and the one of pleasure, cease to
-understand, as they have ceased to see; and Nature, who, for once
-has sung in tune, sings her exquisite song to the artist alone, her son
-and her master—her son in that he loves her, her master in that he
-knows her.”</p>
-
-<p class='c013'>With these thoughts Claude Monet is in perfect agreement.
-He is amazed at the apathy and indifference of British artists, blinded
-no doubt by familiarity, in allowing so fertile a field of labour to
-remain comparatively unexplored, not only with regard to the river
-scenes, but to the Metropolis as a whole. Whistler was fascinated, so
-was Bastien-Lepage, so is Claude Monet; but the Englishman
-remains unmoved.</p>
-
-<p class='c013'>A chapter could be written upon the artist possibilities of the
-city, and the fringe of the subject would have been then but
-touched. Where, asks Monet, can more soul-inspiring subjects for
-the brush be found than in the Strand from morning to night, in
-the movement of Piccadilly, in the evening colour of Leicester
-Square, the classic sweep and brilliancy of Regent Street, the bustle
-of the great railway termini, the dignity of Pall Mall and the sylvan
-glades of Kensington? They offer themes in such variety that the
-devotion of a lifetime would not give adequate realisation.</p>
-
-<p class='c013'>It was during his visit to London with Pissarro and other
-painters in 1870 that Monet carried an introduction from Daubigny
-which led to his acquaintance with M. Durand-Ruel, expert connoisseur
-and most celebrated of all the Parisian art dealers. It
-proved to be the commencement of a life-long friendship, and
-established business relations which meant the actual necessities of
-existence, bread and butter itself, to the struggling Impressionists.
-During this visit, which had such auspicious results, Monet
-studied with profound admiration the canvases of Turner in the
-National Gallery, and he was also able to increase very largely his
-knowledge of the art of Japan.</p>
-
-<p class='c013'>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 landscapists, the one who, above all others, has
-<span class='pageno' id='Page_42'>42</span>revealed the transcendent beauty of atmospheric effect in its rarest
-moods, in its most varied manifestations, in rocks, skies, trees,
-seas, architecture, fogs, snows, even in crowded streets and moving
-trains. And Monet is not pre-eminent as a painter of easel-pictures
-alone. In the unique decorations of M. Durand-Ruel’s private
-apartment, rooms which constitute the most admirable museum of
-contemporary painting to be found in France, are realistic paintings
-of different forms of still-life, which fully vindicate his supreme
-mastership.</p>
-
-<p class='c013'>Little space can be devoted in these pages to an extended notice of
-individual canvases, for the output (to use a somewhat commercial
-term) of Claude Monet has been exceptionally large. 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 movement.</p>
-
-<p class='c013'>Personally one may say that the Giverny work is the most
-triumphant exposition of the methods of Impressionism. If the
-series known as <i>Les Cathédrales</i> be added, one may safely challenge
-the most critical. It is natural that Giverny should inspire the
-finest harvest, for, after years of experimental residence, it is here
-that Monet finally settled in 1883. The dominant note in the
-Giverny paintings is one of joy in the beauty of life and nature.
-They are the works of an inspired genius, who never forgets that
-Beauty is the mission of Art.</p>
-
-<p class='c013'><i>Les Meules</i> or <i>The Haystacks</i>, exhibited for the first time at the
-Durand-Ruel galleries in May 1891, are impressions of a simple
-and homely subject—two haystacks in a neighbour’s field, standing
-out in relief against the distant hillside. These twenty canvases,
-the fruits of a year’s labour, are as novel in conception as unapproachable
-in style. The artist watched and painted the haystacks
-in the making, followed and noted the atmospheric effects upon
-them at every different hour of the day, at every changing season.
-He portrays them covered with the pearls of dew, baked by the sun,
-lost in the fog, rimed with early frosts, and covered in snow. Each
-picture is a masterpiece of beauty, truth and form.</p>
-
-<p class='c013'>The influence of such creations is world-wide. The annual
-Salon in Paris demonstrates what a power Monet has become in the
-land. Almost to a man the younger painters are Impressionistic,
-whilst not a few of the old generation have revised their methods.</p>
-
-<div id='i042fp'  class='figcenter id001'>
-<img src='images/i042fp.jpg' alt='' class='ig001' />
-<div class='ic002'>
-<p><span class='small'>THE BEACH AT ÉTRETAT · CLAUDE MONET</span></p>
-</div>
-</div>
-
-<p class='c013'>Soon after <i>Les Meules</i> came <i>Les Peupliers</i>, exhibited in March
-1892. The Haystacks were a recital of history during the four
-seasons; the Poplars show us their differing aspects under the
-<span class='pageno' id='Page_43'>43</span>changing atmosphere of a single day. Again the subject is of the
-simplest. Seven great Normandy poplars are reflected in the sluggish
-waters of a rivulet slowly running through marshy ground.
-The continuation of the long column of these graceful trees, ever
-diminishing, is lost in the distance, marking the sinuous course of the
-stream. The gracefulness of the subject gives it a nobility of effect.
-The landscapes are poems.</p>
-
-<p class='c013'>In some of the canvases the master has depicted the dim light of
-early morn, through which can be seen nebulous tree-trunks, leaves
-and grass, dank and obscure. Upon the water floats a chill blue
-mist, broken here and there with the gold rays of the rising sun.</p>
-
-<p class='c013'>In another canvas the mists have cleared away, morning appears
-in its superb glory, each dewdrop is a sparkling diamond, each leaf
-a shimmering gem. The stream throws out a sheen of gold and
-silver, and the whole picture is flooded with a roseate hue.</p>
-
-<p class='c013'>Then comes mid-noon. The blue dome of the unclouded sky is
-reflected in a deeper tint across the still water. The trees are dusty,
-lifeless, almost colourless. The atmosphere vibrates in an intense
-silent heat. Nature is taking her siesta,</p>
-
-<div class='lg-container-b c023'>
-  <div class='linegroup'>
-    <div class='group'>
-      <div class='line'>“For now the mid-day quiet holds the hill:</div>
-      <div class='line in1'>The grasshopper is silent in the grass;</div>
-      <div class='line in1'>The lizard, with his shadow on the stone,</div>
-      <div class='line in1'>Rests like a shadow, and the winds are dead;</div>
-      <div class='line in1'>The purple flower droops: the golden bee</div>
-      <div class='line in1'>Is lily-cradled....”</div>
-    </div>
-  </div>
-</div>
-
-<p class='c025'>In the last canvas night is shown falling gently upon the land,
-obscuring, with a veil of rich and sombre colour, trees, foliage,
-stream. The landscape is lost in sleep.</p>
-
-<p class='c013'>From the photographs, reproduced by the courtesy of M. Claude
-Monet, M. Durand-Ruel, M. Paul Chevallier, and M. Georges
-Petit, little idea can be gathered of the extreme beauty of the
-originals. The colour and technique of Impressionist pictures seem
-unfortunately to be insuperable barriers to their reproduction in
-monochrome. Upon this account it has been thought inadvisable
-to publish reproductions of any of the Haystack or Cathedral series.</p>
-
-<p class='c013'>Monet’s marine pictures are marvellous. In them he depicts
-throbbing, swelling, sighing sea, the trickling rills of water that
-follow a retreating wave, the glass-like hues of the deep ocean, and
-the violet transparencies of the shallow inlets over sand. Monet is
-the greatest living painter of water. Witness the <i>Matins sur la
-Seine</i>, views painted from the river bank, from the artist’s houseboat,
-anchored in mid-stream, and on the various islands of the backwaters
-<span class='pageno' id='Page_44'>44</span>between Vétheuil and Vernon. The handling is free, loose, and
-masterly. Never has art expressed, through the hands of a craftsman,
-anything finer or more virile; never were ideas more frankly
-expressed, more freshly and more brilliantly executed.</p>
-
-<p class='c013'>Of the last exhibited group of “effects,” the series known as <i>Les
-Cathédrales</i> of Rouen, exhibited at the Durand-Ruel gallery in the
-spring of 1895, Monet writes in a personal note to the author: “I
-painted them, in great discomfort, looking out of a shop window
-opposite the Cathedral. So there is nothing interesting to tell you
-except the immense difficulty of the task, which took me three years
-to accomplish.” Despite the immense difficulties involved in their
-production, Monet considers them to be his finest works. On the
-other hand, they are the works least understood by the public.</p>
-
-<p class='c013'>The series consists of twenty-five huge canvases, a feat requiring
-considerable physical endurance and indomitable perseverance. Each
-canvas demonstrates the fact that the painter possesses eyes marvellously
-sensitive to the most subtle modulations of light, and capable
-of the acutest analysis of luminous phenomena. The façade of the
-ancient Norman fane is depicted rather by the varying atmospheric
-effects dissolved in their relative values, than by any actual draughtsmanship
-of correct architectural lines. It is very regrettable that
-the series was not purchased “en bloc” for the French nation. The
-opportunity has been lost. The canvases realised enormous prices,
-and are now scattered over two continents.</p>
-
-<p class='c013'>In years to come visitors to Rouen will be shown with pride
-the little curiosity shop “Au Caprice” on the south-west side of the
-“Place,” from the windows of which Claude Monet evolved these
-world-famous paintings of Rouen Cathedral.</p>
-
-<p class='c013'>The attitude of the press and the public in face of this glorious
-manifestation of a newly-created art has been, as usual, distinctly and
-actively antagonistic. Animosity has been pushed so far as to include
-threats of personal violence to the innovator, and of injury to the
-offending canvases. It is difficult to believe such stories amidst the
-recent pæans of praise and adulation. But the contemporary press
-of the period will prove to be a curious study in the hands of some
-careful historian of a future age. Readers of the “Figaro,” it may be
-mentioned, discontinued their subscriptions and advertisements
-because the band of “lunatic visionaries” were so much as mentioned
-in its orthodox columns. Dealers required courage in exposing for
-sale the “aberrations of disordered imaginations.” History monotonously
-repeats itself. A genius generally goes down broken-hearted
-to his grave before the world awakes to the value of his creations.</p>
-
-<div id='i044-1'  class='figcenter id001'>
-<img src='images/i044-1.jpg' alt='' class='ig001' />
-<div class='ic002'>
-<p><span class='small'>MORNING ON THE SEINE · CLAUDE MONET</span></p>
-</div>
-</div>
-
-<div id='i044-2'  class='figcenter id001'>
-<img src='images/i044-2.jpg' alt='' class='ig001' />
-<div class='ic002'>
-<p><span class='small'>ARGENTEUIL · CLAUDE MONET</span></p>
-</div>
-</div>
-
-<p class='c013'><span class='pageno' id='Page_45'>45</span>Paris, “la ville luminaire,” the birthplace of so many revolutions,
-both artistic and political, has almost invariably been hostile to any
-new spirit in Art. From memory one can cite many instances. In
-1833, Parisians assembled that they might jeer and throw mud at
-Baryes’s <i>Le Lion</i>, a masterpiece now in the Jardin d’Acclimatation.
-Rude’s great bas-relief, <i>Départ des Volontaires de la République</i>, decorating
-one of the pillars of the Arc de Triomphe, met with a similar
-reception. In 1844, the exquisite paintings of Eugene Delacroix,
-now in the Louvre, were greeted with a storm of ridicule. Carpeaux’s
-group of sculpture <i>La Danse</i>, ornamenting the façade of the Opera,
-was bombarded nightly with ink-pots, and the sculptor was broken-hearted
-when compelled to polish the figures of his magnificent
-<i>Fontaine des Heures</i> facing the Observatory. Millet and the Barbizon
-group had small thanks to return for their reception. The frescoes
-of Puvis de Chavannes in the Panthéon, the Sorbonne, and the
-Luxembourg had to be guarded against the risk of damage from an
-ignorant and exasperated public. The vituperation which assailed
-Rodin upon the completion of his statue of Balzac is quite recent,
-and cannot be forgotten.</p>
-
-<p class='c013'>Claude Monet has passed through like storms. Edouard Manet
-fell a victim to the fury of the attack. His physique was not
-strong enough to resist the continual warfare. But Monet is of
-stouter calibre, and has lived to see the triumph of his principles,
-although he has learnt to value much of the praise, nowadays
-lavished upon him, at its true worth.</p>
-
-<p class='c013'>Monet is seen in his most genial moods when, with cigar for
-company, he strolls through his “propriété” at Giverny, discussing
-the grafting of plants and other agricultural mysteries with his
-numerous blue-bloused and sabotted gardeners. He settled with
-his family at Giverny in 1883; and Stephen Mallarmé, his old
-friend the poet, has given us the address for his letters:</p>
-
-<div class='lg-container-b c023'>
-  <div class='linegroup'>
-    <div class='group'>
-      <div class='line'>“Monsieur Monet, que l’hiver ni</div>
-      <div class='line in3'>L’été sa vision ne leurre,</div>
-      <div class='line in1'>Habite en peignant, Giverny,</div>
-      <div class='line in3'>Sis auprès de Vernon, dans l’Eure.”</div>
-    </div>
-  </div>
-</div>
-
-<p class='c025'>He is now sixty-two years of age, in the prime of his powers,
-active and dauntless as ever. Each line of his sturdy figure, each
-flash from his keen blue eyes, betokens the giant within. He is
-one of those men who, through dogged perseverance and strength,
-would succeed in any branch of activity. Dressed in a soft khaki
-felt hat and jacket, lavender-coloured silk shirt open at the neck,
-<span class='pageno' id='Page_46'>46</span>drab trousers tapering to the ankles and there secured by big horn
-buttons, a short pair of cowhide boots, his appearance is at once
-practical and quaint, with a decided sense of smartness pervading
-the whole.</p>
-
-<p class='c013'>Monet has the reputation of being surly and reserved with
-strangers. If true, this manner must have been assumed to repel
-those unwelcome visitors who, out of thoughtless curiosity, invade
-his privacy to the waste of valuable time and the gradual irritation
-of a most sensitive nature.</p>
-
-<p class='c013'>Determination is the keynote of Monet’s character, as the following
-anecdote (told me on the spot by the poet Rollinat) shows. In the
-spring of 1892 the artist was busily occupied painting in the neighbourhood
-of Fresselines, a wild and picturesque region of precipitous
-cliffs and huge boulders in the valleys of the Creuse and Petit Creuse.
-A huge oak-tree, standing out in bold relief against the ruddy cliffs, was
-occupying Monet’s whole attention. Studies of it were taken at
-every possible angle, in every varying atmosphere of the day. Bad
-weather intervened, wet and foggy, and operations were suspended
-for three weeks. When Monet set up his easel again the tree was
-in full bud, and completely metamorphosed. An average painter
-would have quitted the spot in disgust. Not so Monet. Without
-hesitation he called out the whole village, made the carpenter
-foreman, and gave imperative orders that not a single leaf was
-to be visible by the same hour on the following morning. The
-work was accomplished, and next day Monet was able to continue
-work upon his canvases. One admires the painter, and feels sorry
-for the unhappy tree.</p>
-
-<p class='c013'>After painting, Monet’s chief recreation is gardening. In his
-domain at Giverny, and in his Japanese water-garden across the road
-and railway (which to his lasting sorrow cuts his little world in
-twain), each season of the year brings its appointed and distinguishing
-colour scheme. Nowhere else can be found such a prodigal display
-of rare and marvellously beautiful colour effects, arranged from
-flowering plants gathered together without regard to expense from
-every quarter of the globe.</p>
-
-<p class='c013'>Like the majority of Impressionists, Monet is most pleased with
-schemes of yellow and blue, the gold and sapphire of an artist’s
-dreams.</p>
-
-<div id='i046-1'  class='figcenter id001'>
-<img src='images/i046-1.jpg' alt='' class='ig001' />
-<div class='ic002'>
-<p><span class='small'>A RIVER SCENE · CLAUDE MONET</span></p>
-</div>
-</div>
-
-<p class='c013'>In the neighbouring fields are hundreds of poplars standing in
-long regimental lines. These trees, which inspired <i>Les Peupliers</i>,
-were bought by Monet to avoid the wholesale destruction which
-threatened every tree in the Seine valley a few years ago. The
-<span class='pageno' id='Page_47'>47</span>building authorities of the Paris Exhibition required materials for
-palisading, and thousands of trees were ruthlessly felled to make a
-cosmopolitan holiday.</p>
-
-<div id='i046-2'  class='figcenter id001'>
-<img src='images/i046-2.jpg' alt='' class='ig001' />
-<div class='ic002'>
-<p><span class='small'>A LADY IN HER GARDEN · CLAUDE MONET</span></p>
-</div>
-</div>
-
-<p class='c013'>In the distance are the mills, subjects of the master’s admiration
-and reproduction, yearly copied by the scores of students and
-amateurs who, year by year, during the summer, journey through
-this delightful country.</p>
-
-<p class='c013'>In the peace of Giverny we leave the great painter. 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 public. Now he is able
-to enjoy not only the satisfaction of having his principles acknowledged,
-but also the receipt of the material fruits of a world-wide
-renown. Not often do pioneers succeed so thoroughly.</p>
-
-<p class='c013'>Success in the sale-room is not always the same thing as artistic
-success, but some information as to the prices Monet now commands
-may prove of value. The <i>New York Herald</i>, referring to the well-known
-Chocquet auction, says: “It will be observed that the works
-by Monet are sought after and purchased at high prices, which are
-moreover justified by collectors as well as by dealers.” At the
-present moment a small example (about 26 in. by 32 in.) can be had
-for any price from four hundred guineas upwards.</p>
-
-<p class='c013'>After the Chocquet sale, dealers of all nationalities flocked
-down to Giverny. Two series of impressions, entitled <i>Water
-Lilies</i> and <i>Green Bridges</i>, were carried off, and the art public were
-deprived of seeing them exhibited as a whole, their creator’s original
-intention.</p>
-
-<p class='c013'>The dealers were ready to buy every canvas Monet had in his
-studio, even down to the numerous studies he had condemned.
-Needless to say that with regard to the latter they were disappointed,
-and the destroying fires will still claim their own. In discussing
-with the writer this sudden and extraordinary popularity, Monet
-remarked: “Yes, my friend, to-day I cannot paint enough, and
-make probably fifteen thousand pounds a year; twenty years ago I
-was starving.” Only artists can fully appreciate the philosophy of
-this short sentence.</p>
-
-<p class='c013'>The principal private collectors of Monet’s work are, in
-Paris, M. Durand-Ruel, Count Camondo, M. Faure, M. Dearp,
-M. Pellerin, M. Gallimard, and M. Bérard. In Rouen, M. Depeaux.
-In the United States, Messrs. C. Lambert Paterson and Potter
-Palmer of Chicago, Frank Thompson of Philadelphia, A. A. Pape
-of Cleveland, and H. O. Havemeyer of New York. All these
-<span class='pageno' id='Page_48'>48</span>rich collections of modern art are most generously thrown open to
-the inspection and enjoyment of students and lovers of art.</p>
-
-<p class='c013'>Claude Monet is in the possession of undiminished vigour, and
-the list of his works will yet receive the names of many fresh
-triumphs. A life of strenuous labour, unflagging perseverance in
-the pursuit of a high ideal from which he has never flinched, the
-production of a long series of magnificent canvases—these great
-qualities of true and inspired genius merit and receive our deepest
-admiration, our most sincere and genuine homage.</p>
-
-<div  class='figcenter id003'>
-<img src='images/i048.jpg' alt='' class='ig001' />
-</div>
-
-<div id='i048fp'  class='figcenter id001'>
-<img src='images/i048fp.jpg' alt='' class='ig001' />
-<div class='ic002'>
-<p><span class='small'>INTERIOR—AFTER DINNER · CLAUDE MONET</span></p>
-</div>
-</div>
-
-<div class='pbb'>
- <hr class='pb c003' />
-</div>
-<div id='i049fp'  class='figcenter id001'>
-<img src='images/i049fp.jpg' alt='' class='ig001' />
-<div class='ic002'>
-<p><span class='small'>CHURCH OF ST. JACQUES, DIEPPE · CAMILLE PISSARRO</span></p>
-</div>
-</div>
-
-<div class='chapter'>
-  <span class='pageno' id='Page_49'>49</span>
-  <h2 class='c011'>CHAPTER VI · PISSARRO, RENOIR, SISLEY</h2>
-</div>
-<div class='lh c017'>
-
-<p class='c018'>“JE CROIS QU’IL N’Y AURA RIEN DE PLUS TRISTE
-À RACONTER DANS L’HISTOIRE DE L’ART, QUE LA
-LONGUE PERSÉCUTION INFLIGÉE AUX ARTISTES
-VRAIMENT ORIGINAUX ET CRÉATEURS DE CE
-SIÈCLE”</p>
-<p class='c019'><i>THÉODORE DURET</i></p>
-
-</div>
-<div class='c020'>
-  <img class='drop-capi' src='images/di-t.jpg' width='100' height='100' alt='' />
-</div><p class='drop-capi0_75'>
-THE artists who accepted originally the title of
-Impressionists numbered about fifty in all, and a
-complete list of their names can be found in the
-catalogues of the eight exhibitions held between
-1874 and 1886. There were never more than a
-dozen active members. Twenty-six (including
-Boudin and Signac) exhibited but once, and ten were represented
-in two collections only. Pissarro was the single painter who
-contributed to the whole series, Degas and Berthe Morisot
-forwarding examples during seven years. Of the remainder, Rouart
-and Guillaumin were catalogued in six exhibitions; Caillebotte,
-Monet, and Tillot, in five; Cals, Mary Cassatt, Forain, Gauguin,
-Renoir, Sisley, and Zandomeneghi, in four. These artists were the
-original members of the group until it dispersed about 1886.</p>
-
-<p class='c021'>It will be noted that Camille Pissarro exhibited eight times, and
-the fact is characteristic of an artist who was famous for his large
-output. 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 France. The loss of Camille Pissarro
-is a severe blow to the art he loved so well, and it has formed the
-subject of general regret. Born in 1830 at St. Thomas, in the
-Antilles, son of a well-to-do trader of Jewish descent, Pissarro at an
-early age showed signs of artistic promise. In 1837 his parents
-moved to Europe, and his precocious talent was noticed by the
-Danish painter Melbye, who took the boy into his atelier as a pupil.
-In 1859 Pissarro exhibited for the first time at the Salon, and, by all
-accounts, his picture was successfully received. After passing through
-several varying phases of artistic evolution the young painter became
-an avowed Impressionist. Camille Pissarro’s career can be divided
-into no less than four different periods, his temperament being
-curiously influenced at times by novel technical ideas.</p>
-
-<p class='c021'>At first he was a victim to Corot’s magic art, and Pissarro worked
-<span class='pageno' id='Page_50'>50</span>by the side of that master in the woods of Ville d’Avray. The
-young painter’s methods were those fashionable amongst such men
-as Courbet, Manet, and Sisley. He worked upon immense canvases,
-and some of the productions of this period are almost classic in style
-and quality of technique. Then he came under the influence of
-another great master, Jean-François Millet, whose methods he copied
-most faithfully. Following the example of Millet, Pissarro went to
-live in the solitude of plains and woods, painting the peasant life
-and landscape around him, and gradually gaining a considerable
-reputation. He sought to reproduce nature in art in much the
-same spirit as Virgil reproduced nature in poetry. His point of view
-was more that of an idealist than a realist, and his sympathies were
-clearly with the Fontainebleau school. Had there been no Monet
-we may feel sure that Pissarro would have ranked in history as one
-of the leaders of the Barbizon men.</p>
-
-<p class='c021'>Then blossomed the Impressionist Idea, and Pissarro’s volatile
-imagination was fired. The great war of 1870 intervening, Pissarro
-fled from the terrors of the invasion, visited London in company with
-Monet, and studied on the spot the masterpieces of Turner, Constable,
-the Norwich painters, Watts, and the great English portraitists. He
-lodged in Lower Norwood, and painted, also with his friend Monet,
-in the parks and suburbs of the metropolis, along the riverside, and
-in the crowded picturesque streets of the City. Twelve years later,
-after much brilliant practice of Impressionism, Pissarro came under
-a new influence, the effects of which were but momentary. The
-hotly discussed idea known as Pointillism, originated by Seurat and
-Signac, attracted Pissarro, and, for a short time, he joined the group
-of such restless innovators as Angrand, Maurice Denis, and Van
-Rysselberghe.</p>
-
-<div id='i050-1'  class='figcenter id004'>
-<img src='images/i050-1.jpg' alt='' class='ig001' />
-<div class='ic002'>
-<p><span class='small'>CAMILLE PISSARRO</span></p>
-</div>
-</div>
-
-<p class='c021'>During a sketching tour in Normandy in the summer of 1903,
-the writer unexpectedly discovered some of the latest work produced
-by Pissarro. These pictures had been painted in Havre a few weeks
-previously, and had been immediately acquired by the Havre City
-Council, and placed on exhibition in the same gallery which contained
-the important collection of sketches by Eugene Boudin, as well as a
-score of works by other artists of the Impressionist group. Pissarro
-had represented the port of Havre as seen from various “coigns de
-vantage” offered by neighbouring balconies. The canvases are
-charged with life, and are painted with a most unsuspected brilliance
-of colour and freshness of tone pitched in the highest possible key,
-an effect to be found only in the pure sea-washed sunlit atmosphere
-of the morning. In this work of his seventy-third year, the veteran
-artist had never arrived at stronger, happier, and more distinguished
-results.</p>
-
-<div id='i050-2'  class='figcenter id001'>
-<img src='images/i050-2.jpg' alt='' class='ig001' />
-<div class='ic002'>
-<p><span class='small'>PLACE DU THÉÂTRE FRANÇAIS · CAMILLE PISSARRO</span></p>
-</div>
-</div>
-
-<div id='i050-3'  class='figcenter id001'>
-<img src='images/i050-3.jpg' alt='' class='ig001' />
-<div class='ic002'>
-<p><span class='small'>THE BOULEVARD MONTMARTRE: A WINTER IMPRESSION · CAMILLE PISSARRO</span></p>
-</div>
-</div>
-<p class='c021'><span class='pageno' id='Page_51'>51</span>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 1886. The Havre works
-prove that he possessed an acute colour sense, and, in conjunction
-with his inimitable Parisian street scenes, place him second only to
-Manet and Monet in the history of modern French art. It is the
-opinion of many connoisseurs that Pissarro’s best work is comprised
-in the series of views (painted from elevated points of view) of the
-streets, squares, and railway stations, of Paris and Rouen. These
-vivid transcripts of modern town life form a remarkable monument
-of a long career of high resolve and incessant industry.</p>
-
-<p class='c021'>Like that of Monet and other Impressionist artists, Pissarro’s
-work now commands high prices, which are steadily advancing.
-Shortly after his death a landscape entitled <i>La Coté Sainte Catherine à
-Rouen</i> was sold by public auction for 11,000 francs, an average
-present value for his canvases, although not a record figure.</p>
-
-<p class='c021'>With the etching needle Pissarro has done some particularly
-interesting work little known in England. Students of this fascinating
-medium should look through the Rouen etchings, a masterly
-little set.</p>
-
-<p class='c021'>Camille Pissarro was a man of commanding personality, and his
-handsome features and long white beard gave him a patriarchal
-appearance. Of charming disposition, with a mind of simple
-nobility, an excellent raconteur of droll stories chiefly drawn from
-his own interesting experiences, he will long be remembered as one
-of the most attractive of the great French artists of the nineteenth
-century. He lived and worked, as befitted a “paysagist,” in the
-midst of a beautiful stretch of country at Eragny, outside Gisors,
-not far from Monet’s residence at Giverny. Pissarro left a considerable
-amount of work behind, paintings in oil and water-colour,
-drawings in every medium, etchings, and lithographs. His art may be
-summed up as powerful. It possessed a healthy vitality and sentiment,
-and these will assure a lasting respect and admiration for his name.</p>
-
-<p class='c021'>Many of the foregoing remarks apply equally to Pissarro’s close
-comrade and friend, Renoir. Auguste Renoir was born in 1841,
-and has always taken an important place in the Impressionist movement.
-His work forms an epitome of the whole school, and
-perhaps it is for that very reason that the artist has not attained a
-higher popular appreciation. During his forty years of continual
-labour he has produced landscapes, seascapes, large subject compositions,
-<span class='pageno' id='Page_52'>52</span>studies of still-life, portraits, and exquisite nudes. Critics,
-charged with enthusiasm, have found in his canvases the finest
-traits of Boucher, Fragonard, Greuze, Reynolds, and Hoppner.</p>
-
-<p class='c021'>Renoir is above all the painter of women and children, and his
-creations in this <i>genre</i> glow with the sure fire of genius. He renders
-in a marvellous fashion the subtle play of light upon flesh. His
-portraits are charming and typically French, graceful in line and
-rich in colour, drawn with extraordinary skill, and with great
-truth to nature. In the portraits of Bonnat and Duran, writes a
-German critic, there are people who have “sat,” 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 “sitting.” Here are dreamy blond girls gazing out of their
-great blue eyes, ethereal fragrant flowers, like lilies leaning against
-a rose-bush through which the rays of the setting sun are shining.
-Here are coquettish young girls, now laughing, now pouting, now
-blythe and gay, and now angry once more, now faltering between
-both moods in a charming passion. And there are women of the
-world, of consummate elegance, slender and lightly built figures,
-with small hands and feet, an even pallor, almond-shaped eyes catching
-every light, moist shining lips of a tender grace, bearing witness
-to a love of pleasure refined by artifice. And children especially
-there are, children of sensitive and flexuous race; some as yet unconscious,
-dreamy and free from thought; others already animated,
-correct in pose, graceful, and wise. Good examples of this artist as
-portraitist are to be found in the pictures <i>Le loge</i>, and <i>On the Terrace</i>,
-the latter a most delightful composition.</p>
-
-<p class='c021'>Another famous canvas by Renoir is the <i>Bal au Moulin de la
-Galette</i>, a most trying theme in which the master has triumphed
-over every difficulty. Degas would have conceived the composition
-in a very different spirit, throwing stress upon the sordidness of this
-scene from low life, adding a bitterness which is quite foreign to the
-temperament of Renoir, whose dominant note is one of sunlight and
-noisy dust-enveloped pleasure.</p>
-
-<p class='c021'>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 blue, which strikes one at times as spotty and
-crude. The handling of the large-sized portrait groups seems often
-unnecessarily coarse and repellent. Many find it hard to appreciate
-his landscapes, considering them to be thin, of a greasy woolly
-texture, unatmospheric and lacking many of the qualities one looks
-for in such representations of nature.</p>
-
-<div id='i052-1'  class='figcenter id001'>
-<img src='images/i052-1.jpg' alt='' class='ig001' />
-<div class='ic002'>
-<p><span class='small'>PASTEL PORTRAIT OF CÉZANNE · AUGUSTE RENOIR</span></p>
-</div>
-</div>
-
-<div id='i052-2'  class='figcenter id001'>
-<img src='images/i052-2.jpg' alt='' class='ig001' />
-<div class='ic002'>
-<p><span class='small'>AT THE PIANO · AUGUSTE RENOIR</span></p>
-</div>
-</div>
-
-<p class='c021'><span class='pageno' id='Page_53'>53</span>The work of Auguste Renoir will always remain a battlefield
-for the critics. The champions of the group acclaim him as one
-of its most brilliant members. Renoir is voluptuous, bright, happy,
-and learned without heaviness, says M. Camille Mauclair, adding
-that the artist is intoxicated with the beauties of flowers, flesh, and
-sunlight.</p>
-
-<p class='c021'>Rare are the artists who distinguish themselves in every branch
-of art, lucky the man who excels in one. An example of the latter
-is Alfred Sisley, “paysagist” pure and simple, who has left a legacy
-of some of the most fascinating landscapes ever painted.</p>
-
-<p class='c021'>Sisley was born in Paris of English parents in 1839, and remained
-a citizen of the country of his birth, although he paid several visits
-to England. At first he painted conventional landscapes in russet
-and grey, after the type of Courbet. After passing under the influence
-of Corot he commenced to evolve a style peculiarly his own,
-abundantly rich in colour and agreeable in line, loving especially to
-paint the violet tints of a sunlit countryside, generally upon canvases
-of small and medium size. In his earlier days canvases of enormous
-extent alone seemed to satisfy him. He specialised his efforts almost
-solely to transcripts from the riverside. When in England he
-remained in the neighbourhood of Hampton Court and the Thames
-valley generally; in France he painted on the edge of the Seine, or
-the Loing, finally settling at Moret, where he died in 1899. He
-was less successful in draughtsmanship than in colour, particularly
-when he attempted to achieve with Moret church what Monet had
-done with Rouen cathedral.</p>
-
-<p class='c021'>In spite of the production of many little masterpieces, Sisley
-lived to the day of his death on the verge of poverty. Never a
-popular artist, although he and his wife led a life of the most frugal
-description, he was for ever uncertain of finding the barest means of
-subsistence. This embittered his existence, and undoubtedly tended
-to cut short a life of much activity and talent. “Sisley, be it said,
-worked always, struggled long, and suffered much. But he was
-brave and strong, a man of will, consecrated to his art, and determined
-to go forward on the road he had taken, wherever it might
-lead. He faced bad fortune with a front of undaunted energy. His
-years of <i>début</i> were cruel times. His pictures sold seldom and
-poorly. He kept on, however, with the same brave heart, with that
-joyous fervour which shines from all his works.” These words were
-spoken by an old friend at the graveside of Sisley. M. Tavernier
-went on to remark that the success which arrived for several of the
-other Impressionists was slower in coming to Sisley. “This never
-<span class='pageno' id='Page_54'>54</span>for a moment disturbed him; no approach to a feeling of jealousy
-swept the heart of this honest man, nor darkened this uplifted spirit.
-He only rejoiced in the favour which had fallen upon some of his
-group, saying with a smile, ‘They are beginning to give us our due:
-my turn will come after that of my friends.’... Sisley is gone too
-soon, and just at the moment when, in reparation for long injustice,
-full homage is about to be rendered those strong and charming
-qualities which make him a painter exquisite and original among
-them all, a magician of light, a poet of the heavens, of the waters,
-of the trees—in a word, one of the most remarkable landscapists of
-this day.”</p>
-
-<p class='c021'>A contemporary of Sisley, equally gifted and more fortunate
-financially, is Armand Guillaumin, whose art is practically unknown
-in England. His style and his subjects are of the simplest, whilst
-his colour is vigorous, pure, and rich in tone. Possessing few tastes
-outside his art his life has been one of continued and active devotion
-to its perfection. Son of a linendraper, like Corot, his youth was
-passed behind the counter, and later as a clerk in an office. In the
-meanwhile he attended, when possible, the “Académie Suisse,” by
-the Quai des Orfèvres, a curious school without professors. Here
-he worked in company with Pissarro and Cézanne. This, combined
-with study in the public galleries and sketching along the riverside
-and in the streets and parks of Paris, constituted his sole education.</p>
-
-<p class='c021'>In a letter to the writer, Guillaumin says that Courbet,
-Daubigny, and Monet are the masters who have influenced his
-style most, with perhaps special stress upon the methods of Monet.</p>
-
-<p class='c021'>Some years ago a lucky speculation in a lottery attached to the
-Crédit Foncier brought the artist a “gros lot” of about £4000,
-which immediately freed him from further anxieties about money,
-and gave him complete liberty to exercise the art he lives for. He
-contributed to the original exhibition held by the Impressionists in
-1874, where his pictures, views of Charenton, at once marked
-him as a painter of special talent and originality. In 1894, at the
-Durand-Ruel galleries, were exhibited about one hundred of his
-canvases executed in various mediums, and the effect of this collection
-upon students has been remarkable. These pictures were
-painted for the most part at Agay, Damiette, and Crozant. In the
-solitude of these deep valleys, overhung by cliffs down which rush
-the limpid Creuse and Sédelle from the mountains of the Cevenne
-to the sea, works the artist in hermit-like solitude, two hundred
-miles from Paris and far from railways and latter-day civilisation.</p>
-
-<div id='i054-1'  class='figcenter id001'>
-<img src='images/i054-1.jpg' alt='' class='ig001' />
-<div class='ic002'>
-<p><span class='small'>OUTSKIRTS OF THE FOREST OF FONTAINEBLEAU · ALFRED SISLEY</span></p>
-</div>
-</div>
-
-<div id='i054-2'  class='figcenter id001'>
-<img src='images/i054-2.jpg' alt='' class='ig001' />
-<div class='ic002'>
-<p><span class='small'>ON THE BANKS OF THE LOING · ALFRED SISLEY</span></p>
-</div>
-</div>
-
-<p class='c021'>Guillaumin is an incredibly prolific worker, and this, although
-<span class='pageno' id='Page_55'>55</span>often a sign of great talent, is much deplored by his admirers, who
-cannot help believing that he is wasting in the production of countless
-sketches and repetitions a talent which is strong enough to
-create masterpieces. Zola’s reproach addressed to Gustave Doré
-comes to the mind when speaking of Guillaumin. Such an artist
-is likely to combine with business men in manufacturing works
-purely commercial. There is yet time for Guillaumin to produce
-some great masterpiece with which to crown the glory of his long
-career.</p>
-
-<div id='i054-3'  class='figcenter id004'>
-<img src='images/i054-3.jpg' alt='' class='ig001' />
-<div class='ic002'>
-<p><span class='small'>AUGUSTE RENOIR</span></p>
-</div>
-</div>
-
-<div id='i054-4'  class='figcenter id004'>
-<img src='images/i054-4.jpg' alt='' class='ig001' />
-<div class='ic002'>
-<p><span class='small'>ALFRED SISLEY</span></p>
-</div>
-</div>
-
-<p class='c021'>Other manifestations from the parent stem of Impressionism took
-the form of Idealism with André Mellino at its head; the Salon of
-the Rose + Croix, with Sar Peladan in command; and the “Intimists,”
-a body consisting of Charles Cottet, Simon Bussy, and Henri
-Le Sidaner, who is referred to elsewhere. The Salon of the Rose +
-Croix, held in the early nineties, was one of the most eccentric art
-societies of the past century, a mixture of art, religion, politics,
-and rules of morality. Its members were forbidden to exhibit
-historical, prosaic, patriotic, and military subjects, portraits, representations
-of modern life, all rustic scenes and landscapes (except
-those in the style of Poussin), seamen and seascapes, comic subjects,
-oriental subjects, pictures of domestic animals, and studies of still-life.
-The doings of Sar Peladan and his followers have long since been
-forgotten, but at the time they afforded a curious study in artistic
-eccentricity.</p>
-
-<p class='c021'>There are several other men who have rendered good service to
-Impressionism, although one is not able to mention more than their
-names in this chapter. Paul Gauguin, an artist of decided ability,
-whose death has only just been chronicled, contributed to several of
-the exhibitions in the Durand-Ruel and other galleries. At first a
-simple painter of Breton landscapes he inclined towards “Pointillism.”
-Upon his return from a long visit to Tahiti his manner became crude
-and bizarre to an extreme, not altogether admirable, although leaving
-an impression of uncommon strength. Gauguin was a friend of Van
-Gogh whom, together with Renoir and Cézanne, he may be said to
-have influenced. Another of his pupils is Emile Bernard, the symbolist.</p>
-
-<p class='c021'>Vincent Van Gogh requires mention as a painter who practised
-the methods of Impressionism to their extreme limit. A Dutchman
-who lived in France, Van Gogh, a man of great talent, committed
-suicide after a most unhappy life. Like his own personality, these
-canvases are exotic, though at times displaying a more tender note.
-Had fortune been less unkind he would have developed into a great
-artist, for nature had endowed him with a rich genius.</p>
-
-<p class='c021'><span class='pageno' id='Page_56'>56</span>In the eighth exhibition organised by the Société des artistes
-Indépendants were some ambitious works, interesting but totally
-unconvincing, painted in the new and then hotly discussed “Pointillist”
-style. Seurat, Signac, Ibels, Maurice Denis, Henri-Edmond
-Cross, Théo Van Rysselberghe, and Angrand, were members of this
-movement initiated by Seurat and Signac. George Seurat died at an
-early age in 1890, and this was doubtless the chief reason for the
-collapse of the group. The aim of the “Pointillists” was to resolve
-the colours of nature back into six bands of the spectrum, and to
-represent these on the canvas by spots of unmixed pigment. At a
-sufficient distance these spots combine their hues upon the retina,
-giving the effect of a mixture of coloured lights rather than pigments,
-resulting in an increase instead of a loss of luminosity. One of the
-first converts was the veteran Camille Pissarro, who happily abandoned
-these extraordinary methods which Théo Van Rysselberghe and a few
-others continue to employ.</p>
-
-<div  class='figcenter id003'>
-<img src='images/i056.jpg' alt='' class='ig001' />
-</div>
-
-<div id='i056fp'  class='figcenter id001'>
-<img src='images/i056fp.jpg' alt='' class='ig001' />
-<div class='ic002'>
-<p><span class='small'>OUTSKIRTS OF A WOOD · ALFRED SISLEY</span></p>
-</div>
-</div>
-
-<div class='pbb'>
- <hr class='pb c000' />
-</div>
-
-<div id='i057fp'  class='figcenter id001'>
-<img src='images/i057fp.jpg' alt='' class='ig001' />
-<div class='ic002'>
-<p><span class='small'>CHILD AND DOG · EUGÈNE CARRIÈRE</span></p>
-</div>
-</div>
-
-<div class='pbb'>
- <hr class='pb c000' />
-</div>
-<div class='chapter'>
-  <span class='pageno' id='Page_57'>57</span>
-  <h2 class='c011'>CHAPTER VII · SOME YOUNGER IMPRESSIONISTS: CARRIÈRE, POINTELIN, MAUFRA</h2>
-</div>
-<div class='lh c017'>
-
-<p class='c018'>“WHENEVER MEN ARE NOBLE THEY LOVE BRIGHT
-COLOUR, AND WHEREVER THEY CAN LIVE
-HEALTHILY, BRIGHT COLOUR IS GIVEN THEM IN
-SKY, SEA, FLOWERS, AND LIVING CREATURES”</p>
-<p class='c019'><i>RUSKIN</i></p>
-
-</div>
-<div class='c020'>
-  <img class='drop-capi' src='images/di-e.jpg' width='100' height='100' alt='' />
-</div><p class='drop-capi0_75'>
-EUGÈNE Carrière is one of those great artists so
-prolific in France who alone would make the fame of
-any ordinary country. For his work the writer has
-always had deep sympathy, and this feeling has
-strengthened since the days when he copied the
-works of the master now in the Luxembourg. There
-can be no better method of studying any artist, and specially is it
-needed in the case of such a painter as Carrière. 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 qualities,
-their poetic intention, their thoughtful nature, and can fully recognise
-the fine achievement of the artist. As the copyist stands and works
-for hours, thinking, reasoning, reproducing, the whole history of the
-man and his art slowly reveals itself.</p>
-
-<p class='c021'>It has been said of Carrière that he has “le génie de l’œil,” and
-it is exactly this “genius of the eye” which constitutes the bond of
-sympathy between all Impressionists. There exists between Carrière,
-Pointelin, and Whistler, the greatest similitude. Their outlook
-upon nature is identical, and their method of expression most
-characteristic. They have found their chief inspiration in rendering
-misty veiled effects, sometimes the result of natural means, haze,
-moonlight, river mist, early sunrise; sometimes purposely arranged
-by means of darkened interiors, and the skilful control and exclusion
-of strong lights. In each case the result sought after is the same.</p>
-
-<p class='c021'>Carrière possesses, in almost the highest possible degree, the
-power of visualisation (one is nearly writing the power of second
-sight) which Claude Monet also has, though in a different degree.
-The first has caught in an entrancing style the infinitely varied
-degrees of luminous light in the evening twilight. He has painted
-the shadows of shades. The second, in an equally fascinating
-manner, has rendered the shadows of sunlight. In the works of
-both artists all exact contours are lost; in Carrière by reason of
-<span class='pageno' id='Page_58'>58</span>the semi-obscurity of night, in Monet because of the blinding
-equalising glare of noon-day sun. The one is as apparently colourless
-as the other is apparently exaggerated. Yet both are right,
-true to nature and to their own individual temperaments, in fact
-true Impressionists.</p>
-
-<p class='c021'>As a portraitist Eugène Carrière has no rival at the present
-moment. His marvellous powers of vision have placed him in
-a position unassailable. The ordinary portraitist, the painter
-“à la mode” (probably “à la mode” for this very reason), depicts
-the superficial aspect of his sitter, together with a photographic
-delineation of the features. Whilst the onlooker wonders at the
-dexterous skill, the clever schooling and frequent harmonies of
-colour, he generally passes on unmoved. With Carrière the effect
-is different; one cannot easily leave such triumphs. On the contrary,
-we stay to admire, not the technical gymnastics of the artist, 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 genius.</p>
-
-<p class='c021'>His lithographs too are marvellous. Should any reader carp at the
-use of such word let him carefully examine the portrait-studies of
-Anatole France, Rodin, Verlaine, Daudet, Geffroy, Madame
-Carrière, and the artist himself, also the <i>Christ at the Tomb</i>, the
-<i>Théâtre de Belleville</i>, <i>Maternité</i>, and many others. The more these
-great works are studied the more real they become. 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
-artist. Eugène Carrière becomes a clairvoyant when he commences
-a portrait.</p>
-
-<p class='c021'>His paintings of the intimate life of the family, the circle round
-the fireside or the little gatherings in the common room during a
-winter evening, have a quiet charm which his contemporaries rarely
-attain. Such groups, it may be said, find little favour from those
-who issue commissions for family heirlooms, and Carrière has no
-chance of becoming a fashionable painter of human mediocrity.
-One remembers though that Mr. Sargent has proved recently that
-even with mediocrity a genius can do a great deal. Carrière, however,
-is never likely to wish to rival Bonnat or Carolus-Duran. His
-scenes are not so much represented as suggested. His drawing is a
-reproduction of the play of light upon the different planes of the
-subject, the whole picture becoming a symphonic development of
-light. His brush manipulates colour much as a sculptor manipulates
-clay, and the results are real Impressions.</p>
-
-<div id='i058-1'  class='figcenter id004'>
-<img src='images/i058-1.jpg' alt='' class='ig001' />
-<div class='ic002'>
-<p><span class='small'>AUGUSTE POINTELIN</span></p>
-</div>
-</div>
-
-<div id='i058-2'  class='figcenter id001'>
-<img src='images/i058-2.jpg' alt='' class='ig001' />
-<div class='ic002'>
-<p><span class='small'>THE FAMILY · EUGÈNE CARRIÈRE</span></p>
-</div>
-</div>
-
-<p class='c021'>Eugène Carrière has been inspired by no particular school, and
-<span class='pageno' id='Page_59'>59</span>has no special theories to regulate his methods. Yet, in spite of
-himself, a group, animated by his ideals, has gathered and formulated
-rules. This group and its system will have but a short duration, for
-an art so personal and distinguished as is that of Carrière cannot
-in any possible way be transmitted to pupils or followers. Carrière
-occupies in painting much the same position as his friend Rodin
-occupies in sculpture. Such art is not to be copied, much as it may
-be admired. If there could be any analogy in literature one would
-cite Edgar Allan Poe. The poet of the shadows has had an
-enormous influence upon French art and literature, and Carrière
-has undoubtedly come under his strange spell.</p>
-
-<div id='i058-3'  class='figcenter id001'>
-<img src='images/i058-3.jpg' alt='' class='ig001' />
-<div class='ic002'>
-<p><span class='small'>MOTHERHOOD · EUGÈNE CARRIÈRE</span></p>
-</div>
-</div>
-
-<p class='c021'>Much has been written concerning the exhibited works of this
-artist, and a bibliography would contain the names of the most celebrated
-art critics in Paris. The universal opinion is that in Carrière
-France possesses an artist of exceptional endowments. His gift is
-a peculiar one, which has not appeared before in exactly the same
-manner, and, within his own limitations, the painter’s equal will
-probably never be seen again. A well-known writer upon art subjects
-has penned an appreciation which conveys a clear insight into the
-methods of the master. Carrière, he says, is not an inductive painter,
-he does not construct his whole from parts. He does not work on,
-wisely, cautiously, from the forehead to the eyes, continuing by way
-of the cheekbones. In the manner of a sculptor, he builds up his
-picture as a complete whole, he balances his masses, he constructs.
-Insensibly the face lights up on the background, the successive veils
-which enveloped it are torn away and hide his thoughts no longer.
-This simultaneous process never leaves him quite satisfied, and he
-constantly reviews his original plans. He lives for the creation to
-which he gives life. His work is an effort, an attempt, the result of
-a mysterious genius whose secret is never all told. What he knows
-before is the impression he expects to obtain, what it will tell, what
-it will reveal of the character and will express of the invisible
-reality. And it is thus he approaches those faces which speak to us
-of an intense inner life. His plans settled, he paints astonishing
-faces, mobile and quivering as they smile and speak.</p>
-
-<p class='c021'>A few personal particulars may be added. Eugène Carrière
-passed his life up to the age of eighteen in Strasbourg, and displayed
-no special inclination toward the artistic career. But a visit to some
-galleries awoke the latent fire, and his ambitions were roused. He
-then entered the atelier of Cabanel. During the war he was captured
-by the Germans, and sent as prisoner to Dresden, where he
-studied with diligence in the museums. Upon his return to France
-<span class='pageno' id='Page_60'>60</span>in 1872 he worked for five years at the École des Beaux-Arts (he
-had been there for a short time before the war) and then, none too
-well equipped for the battle, set up in his own studio. He attempted
-to gain the Prix de Rome, but failed. Shortly after followed his
-marriage, together with a semi-retreat to the Vaugirard, where he
-toiled for five years, turning his family to artistic account as models.
-These days of unremitting labour proved to be the foundations of
-his fame, for, when he returned to Paris, he reaped almost immediately
-the fruits of success and appreciation. As we write, the news comes
-that the authorities of the Luxembourg have purchased Carrière’s
-<i>Dead Christ</i> for £1000.</p>
-
-<p class='c021'>Auguste Pointelin is a passionate Impressionist in the best sense of
-the word. He paints in low tones (almost monotones) the twilight,
-moonrise, the sombre and melancholy notes in Nature. He is the
-poet-painter of those evening hours when—</p>
-
-<div class='lg-container-b c023'>
-  <div class='linegroup'>
-    <div class='group'>
-      <div class='line'>The sun is set; the swallows are asleep;</div>
-      <div class='line'>The bats are flitting fast in the grey air;</div>
-      <div class='line'>The slow soft toads out of damp corners creep;</div>
-      <div class='line'>And evening’s breath, wandering here and there</div>
-      <div class='line'>Over the quivering surface of the stream,</div>
-      <div class='line'>Wakes not one ripple from its summer dream.</div>
-    </div>
-  </div>
-</div>
-
-<p class='c024'>The artist’s character can be read at a glance from these canvases.
-We see at once that he is a strong man, of nervous and romantic
-temperament, somewhat a pessimist, perhaps a writer of verse, probably
-a fine musician, fond of solitude and reverie, yet of good heart
-and noble mind.</p>
-<p class='c013'>Monet is of the lowlands. He worships the plains and paints
-the sun hot and keen, and all that it reveals. He revels in depicting
-great trees, the lustrous brilliancy of corn and poppies, the bubble
-and iridescence of quick-flowing trout-streams, the flash of white
-cliffs, the luminous shadows of haycocks, every varying phase of
-the play of brilliant light upon the face of responsive nature.
-Pointelin is a man of the hills, delighting to work amidst deep
-wooded glens or lonely tracks of mountain scenery, trying to reproduce
-the glints of moonlight upon black bottomless pools. He
-loves to depict the tranquillity of the long silent valleys, through
-which roll heavy mists, whilst the rising sun tints with a rosy glow
-the tips of the neighbouring peaks. Our admiration of Monet does
-not blind us to the beauty of Pointelin. In a sense the two artists
-are complementary to each other. The art of Pointelin may be
-compared to a “Reverie” by Schumann, that of Monet to a
-“Rhapsody” by Brahms.</p>
-
-<div id='i060-1'  class='figcenter id001'>
-<img src='images/i060-1.jpg' alt='' class='ig001' />
-<div class='ic002'>
-<p><span class='small'>A GLADE IN THE WOOD · AUGUSTE POINTELIN</span></p>
-</div>
-</div>
-
-<div id='i060-2'  class='figcenter id001'>
-<img src='images/i060-2.jpg' alt='' class='ig001' />
-<div class='ic002'>
-<p><span class='small'>MOUNTAIN AND TREES · AUGUSTE POINTELIN</span></p>
-</div>
-</div>
-
-<div id='i060-3'  class='figcenter id001'>
-<img src='images/i060-3.jpg' alt='' class='ig001' />
-<div class='ic002'>
-<p><span class='small'>A ROCKY COAST · MAXIME MAUFRA</span></p>
-</div>
-</div>
-
-<p class='c013'><span class='pageno' id='Page_61'>61</span>Auguste Emmanuel Pointelin was born at Arbois, June 23, 1839,
-and the first art teaching he received was from the hands of
-M. Victor Maire. Success was long in coming, and for a livelihood
-he had to turn to several other professions, the chief being that of a
-mathematical professor.</p>
-
-<p class='c013'>Pointelin has received the usual honours France awards to her
-most distinguished citizens. He has been decorated with the
-Legion of Honour, is “Hors Concours” at the Salon, and received
-(amongst many other like trophies) the Gold Medals at the Exhibitions
-of 1889 and 1900. His work is to be found in many of the
-public galleries of the country, including the Luxembourg. The
-note of his art is a certain refinement and aloofness which is rarely
-found in contemporary Salons. Of him it may be said: “Through
-his brain, as through the last alembic, is distilled the refined essence
-of that thought which began with the gods, and which they left
-him to carry out.”</p>
-
-<p class='c013'>Some time ago the writer was painting by the edge of the
-Seine in company with Maxime Maufra, and the artist recounted
-the origins of his Impressionist tendencies. “I am directly influenced
-by Turner and Constable,” he said. “I admired and studied their
-works whenever it was possible during the time I spent as a
-commercial man in Liverpool twenty years ago. There is no doubt
-that Monet, Pissarro, and the others of that group, owe the greater
-part of their art to the genius of the great Englishmen, just as
-Delacroix and Manet were indebted in a previous generation.”</p>
-
-<p class='c013'>This testimony is interesting, as it comes from one of the leaders
-of the modern school of “La peinture claire,” the school of light,
-of life, and of movement. 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 debt.
-For instance, Pissarro writes: “I have read with great interest your
-article. I do not think, as you say, that the Impressionists are
-connected with the English school, for many reasons too long to
-develop here. It is true that Turner and Constable have been
-useful to us, as all painters of great talent have; but the base of our
-art is evidently of French tradition, our masters are Clouet, Nicolas
-Poussin, Claude Lorrain, the eighteenth century with Chardin, and
-1830 with Corot.” This statement is somewhat at variance with
-facts as we know them, and does not agree with several letters from
-Pissarro in the writer’s possession previously quoted.</p>
-
-<p class='c013'>To attempt to record bright open-air effects, to struggle with all
-the thousand nuances of the atmosphere, the division of tones, the
-<span class='pageno' id='Page_62'>62</span>juxtaposition of colour, the general principles and technical practice
-adopted by the Impressionists, is to come under a ban. There is
-an old and well-beloved professor at the Beaux-Arts who taught the
-writer, a member of the Institute and Officer of the Legion of
-Honour, a man of much official influence, who, in a single phrase,
-has summed up the feeling of a large body in France with reference
-to the Impressionists. “They are a disgrace to French art,” he said
-bitterly. 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 pages, a reactionary manner in many cases
-opposed to their natural temperaments. They seek in Nature for the
-slightest cause which will give them reason for the use of black paint,
-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
-blossom, which is black only by the exclusion of the atmosphere.
-The slightest shadow they paint black, any dark piece of clothing is
-rendered in black. They have evolved a lugubrious funereal style
-and choice of subject which is sad, dull, inartistic, dyspeptic. This
-section of the art community has been named the “Nubians.”</p>
-
-<p class='c013'>Maxime Maufra is an adversary fighting this group of reactionaries,
-and perhaps his successful example may bring some of
-these erring ones back to the fold. He has the courage to paint in a
-light key, because he sees all nature in such a value, and by following
-the dictates of his artistic temperament he has become the exponent
-of a beautiful and personal art. He does not aspire to the position
-of a little Monet, but attempts to carry the master’s methods forward.
-Maufra maintains that Monet has by no means said the last word
-in Impressionism. Maufra and his friends are not content with the
-first illuminated corner presented by Nature, which, save for the
-sense of illumination, is probably uninteresting and ill-composed.
-They are equally attracted by beautiful rhythmic line, balance of
-form, by composition as well as by colour. The ethereal tints in
-nature which the pioneers were happy to reproduce, does not satisfy
-the younger men now that the fundamental laws of the Impressionists
-have been agreed upon.</p>
-
-<div id='i062-1'  class='figcenter id001'>
-<img src='images/i062-1.jpg' alt='' class='ig001' />
-<div class='ic002'>
-<p><span class='small'>AN ETCHING · MAXIME MAUFRA</span></p>
-</div>
-</div>
-
-<div id='i062-2'  class='figcenter id001'>
-<img src='images/i062-2.jpg' alt='' class='ig001' />
-<div class='ic002'>
-<p><span class='small'>ARRIVAL OF THE FISHING BOATS AT CAMARET · MAXIME MAUFRA</span></p>
-</div>
-</div>
-
-<div id='i062-3'  class='figcenter id004'>
-<img src='images/i062-3.jpg' alt='' class='ig001' />
-<div class='ic002'>
-<p><span class='small'>MAXIME MAUFRA</span></p>
-</div>
-</div>
-
-<p class='c013'>Born at Nantes in 1861, the only regular art education Maxime
-Maufra received was from M. Le Roux, a local professor. His
-father, a man of business, decided that the son should follow the
-same vocation, much to the son’s disgust. 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 house. Maufra studied English, more or less, and
-<span class='pageno' id='Page_63'>63</span>practised art, copying in the museums and private collections, and
-sketching in the neighbourhoods of New Brighton, Seacombe, and
-amongst the docks and shipping of the great port. Business was
-not neglected, but having effected a lucky “deal” which placed him
-in the possession of a little capital, he cut the cable which joined his
-life to commerce and sailed into the open sea of art. His family
-protested, his friends implored him not to take such a rash step.
-Maxime Maufra became a professional artist. For five years he
-toiled with his brush, working hard at every different method of
-technical expression, trying oils, water-colours, and the etching needle.
-Dealers did not come forward, buyers were never seen. At last, at
-the very end of his financial resources, he organised a tiny “one-man”
-show in Paris.</p>
-
-<p class='c013'>In the “Echo de Paris” M. Octave Mirbeau published a short
-criticism, which voiced the general opinion of Maufra’s talent.
-“Yesterday,” writes Mirbeau, “I entered the galleries of de
-Boutheville, where are exhibited about sixty works by Maufra.
-I was immediately conquered, for I found myself in the presence
-of an artist in full control of himself, who, after the necessary
-indecisions, the usual educational troubles, has realised that style is
-the most important thing—in fact, the joy of art.”</p>
-
-<p class='c013'>A few of the paintings were sold, enough to cover the expenses
-of the exhibition. A better luck awaited Maufra. M. Durand-Ruel
-casually glanced into the rooms before the close of the
-modest collection. He asked to see the artist. Maufra was in
-Brittany, and a telegram called him back to Paris. An interview
-followed in the Rue Lafitte between artist and dealer, and never
-since that day has Maufra known the anxieties of living on hope,
-for M. Durand-Ruel, with characteristic acumen, had arranged for
-his future.</p>
-
-<p class='c013'>In the spring of 1901, at the galleries of M. Durand-Ruel,
-Maxime Maufra organised his last and most successful exhibition,
-about fifty canvases executed in various mediums being shown.
-From the admirable preface written by M. Arsène Alexandre, one
-of the most perspicacious of French critics, the following lines
-may be quoted: “Maufra continues in the school of the Impressionists
-in this manner, that the <i>point de départ</i> in each of his
-pictures is in reality a quick and profound impression. He detaches
-himself from the school inasmuch as the realisation is a calculated
-and skilful art; and this is complete Impressionism.” A final quotation
-from the pen of M. Gabriel Mourey in “Le Grand Journal”
-aptly sums up the talent of this artist: “One could accuse Maufra
-<span class='pageno' id='Page_64'>64</span>at the time of his first exhibition at the de Boutheville galleries of
-submitting himself to the influence of Claude Monet. Already,
-however, he reveals his strong personality. Here he is to-day a free
-man and master of himself, capable of realising whatever his thoughts
-impel him to. He has his own conception of Nature, and he
-realises it with a liberty and independence which is veritably
-masterful. The diversity of his talent is proved in the most striking
-fashion. Scotland, Brittany, Normandy are evoked with an extraordinary
-facility, the different characteristics of these three countrysides,
-their special conditions, their peculiar atmosphere. They are
-like portraits in which a soul breathes, in which the blood runs
-beneath the skin, where the mystery of being is declared. The
-words of Flaubert’s St. Anthony come involuntarily to the lips
-before these pictures of Nature, sometimes savage, sometimes in a
-more tender mood: ‘There are some spots on earth so beautiful
-that one wishes to press Nature against one’s heart.’”</p>
-
-<div  class='figcenter id003'>
-<img src='images/i064.jpg' alt='' class='ig001' />
-</div>
-
-<div id='i064fp'  class='figcenter id001'>
-<img src='images/i064fp.jpg' alt='' class='ig001' />
-<div class='ic002'>
-<p><span class='small'>SHIPWRECK · MAXIME MAUFRA</span></p>
-</div>
-</div>
-<div class='pbb'>
- <hr class='pb c003' />
-</div>
-<div id='i065fp'  class='figcenter id001'>
-<img src='images/i065fp.jpg' alt='' class='ig001' />
-<div class='ic002'>
-<p><span class='small'><span class='small'><i>Photo by Braun, Clement &amp; Co.</i></span><br />A GLASS OF GOOD RED WINE · J. F. RAFFAËLLI</span></p>
-</div>
-</div>
-
-<div class='chapter'>
-  <span class='pageno' id='Page_65'>65</span>
-  <h2 class='c011'>CHAPTER VIII · “REALISTS”: RAFFAËLLI, DEGAS, TOULOUSE-LAUTREC</h2>
-</div>
-<div class='lh c017'>
-
-<p class='c018'>“IL Y A SELON MOI, DEUX ÉLÉMENTS DANS UNE
-ŒUVRE: L’ÉLÉMENT RÉEL, QUI EST LA NATURE,
-ET L’ÉLÉMENT INDIVIDUEL, QUI EST L’HOMME”</p>
-<p class='c019'><i>ZOLA</i></p>
-
-</div>
-<div class='c020'>
-  <img class='drop-capi' src='images/di-j.jpg' width='100' height='100' alt='' />
-</div><p class='drop-capi0_75'>
-JEAN FRANÇOIS RAFFAËLLI joined the Impressionist
-movement late, and did not commence to
-exhibit with the other members of the group until
-1880, when he sent a canvas to the gallery in the
-Rue des Pyramides. He had clearly grasped the
-trend and scope of the idea, but cannot be classed
-altogether with the other members of the group as a “Luminarist.”
-This may be due to many causes apparent in his work. He is not
-a painter for the love of painting itself, and does not revel in colour
-for colour’s sake. He is no analyst of the shimmering effects of a
-summer’s sun. That side of Impressionism has never appealed to
-him. Yet his right to be numbered amongst them is assured, for, in
-spirit, he is one of the first of the school.</p>
-
-<p class='c021'>Raffaëlli is the historian of the “banlieue” of Paris. His street
-scenes are typical, life-like, and modern, and they will be treasured
-in future years as veritable documents of the daily existence of the
-great city. He wanders through the dreary “no man’s land” outside
-the fortifications, and transfers to his block the most vivid portraits of
-the nondescript characters who swarm through that gaunt wilderness.
-He is a man of much mental refinement, who has had to struggle
-for every inch of the artistic success which now surrounds him.
-Richly endowed by nature, he had no resources to fall back upon
-save his determination to conquer. In a few words M. Geffroy
-sums up the opening of this curious career.</p>
-
-<p class='c021'>Raffaëlli has had many employments, has been engaged in many
-trades, has searched the town for work. He has been in an office,
-has sung bass at the Théâtre Lyrique, has chanted psalms in a church
-choir, and at the same time painted under the tuition of Gérôme at
-the École des Beaux-Arts. He travelled through Europe, penetrating
-even so far as Algeria, working in each town as he stopped.
-Returning to Paris he exhibited landscapes founded upon the studies
-he had accumulated in his portfolio, some pictures of the Louis XIII.
-<span class='pageno' id='Page_66'>66</span>style, some portraits, a view of the Opera. Suddenly he opened his
-eyes to a sight nobody had seen before, disdained by the whole
-world, subjects which had never reached the dignity of an entrance
-in art circles. He became the recorder of the suburbs of Paris and
-their wandering inhabitants.</p>
-
-<p class='c021'>For years he experimented endeavouring to produce a medium
-best suited to his temperament. In the solid paint crayons we have
-an addition to the working tools of the artist which is of notable
-importance. This is not his only gift to France, for it is he who
-practically resuscitated the beautiful but dying art of etching in
-colours. In this work he was ably seconded by Miss Mary Cassatt.
-He is not only an artist but an actor, a musician, an orator, a
-sculptor, an etcher, a pastellist, an illustrator, and a man of letters.
-He is a fine example of the pioneer temperament. No sooner is
-success achieved in one branch of energy than he is in chase of
-another idea. One day he is trying to invent a perfect oil-crayon;
-the next, and colour etching is his sole ambition. He draws the
-elegant “mondaine” of the Boulevards, and then sallies out to study
-the frowsy denizens of the “banlieue.” In this quarter he found
-congenial subjects for a series of little masterpieces.</p>
-
-<p class='c021'>Amidst these wretched surroundings, warehouses, factories, wooden
-sheds ruinous and dilapidated, refuse heaps, brick-kilns, homes of the
-outcasts and cut-throats of the metropolis, Raffaëlli discovered a rich
-mine of material hitherto entirely unworked. The district is peculiar
-to Paris, and owes its existence to the clear half-mile of view required
-around the useless fortifications. This territory has, in mining phrase,
-been “jumped” by the penniless. Upon it squat the failures, the
-drunkards, the thieves, all the vicious under-life of the city. The
-artist revealed this world to the unsuspecting citizens. He lived in
-it, studied it day by day, and is a greater authority than the “sergots”
-upon the manners and customs of a neighbourhood which even the
-police shun. Such a blot upon the fair page of so magnificent a
-capital is rapidly being wiped away, but Raffaëlli has immortalised
-in his etchings and drawings some of the poetic atmosphere which
-enveloped these legions of the damned.</p>
-
-<div id='i066-1'  class='figcenter id001'>
-<img src='images/i066-1.jpg' alt='' class='ig001' />
-<div class='ic002'>
-<p><span class='small'><span class='small'><i>Photo by Braun, Clement &amp; Co.</i></span><br />NOTRE DAME · J. F. RAFFAËLLI</span></p>
-</div>
-</div>
-
-<div id='i066-2'  class='figcenter id004'>
-<img src='images/i066-2.jpg' alt='' class='ig001' />
-<div class='ic002'>
-<p><span class='small'>J. F. RAFFAËLLI</span></p>
-</div>
-</div>
-
-<p class='c021'>During the course of a long and strenuous career, Raffaëlli has
-received many decorations. He is of the Legion of Honour, besides
-having received numerous medals and awards from foreign exhibitions.
-He is represented adequately in the Luxembourg, and
-many continental galleries. He enjoys the admiration and friendship
-of a host of connoisseurs throughout the world. His studio
-is most pleasant. Facing the broad green sweeps of the boulevard
-<span class='pageno' id='Page_67'>67</span>by the fortifications, in the Rue de Courcelles, it occupies a large
-area on the ground floor, having been built over a spacious courtyard
-surrounded by banks of foliage and flowers. The predominant
-note is that of cheerfulness. The decoration is bright and restful,
-the ruling colours being delicate shades of yellow and blue. The
-usual theatrical adornments of a French studio are absent; there
-are no oriental carpets and rugs, no armour, no antique furniture, so
-dear to the heart of the Gallic painter. In this atelier the master
-holds periodical conferences, exhibitions, and friendly gatherings.
-Upon these occasions one will meet the cleverest men in Paris,
-for Raffaëlli is a celebrated conversationalist as well as a famous
-artist.</p>
-
-<p class='c021'>Degas has a temperament strangely different from that of Raffaëlli,
-and, although always classed with the Impressionists, he stands
-apart from the recognised group. He has never endeavoured to
-transmit the impression of atmosphere, and work “en plein air”
-does not attract him. He has, however, profited much by the
-teaching of the Impressionists, particularly in relation to the use of
-radiant colour, for at one time he painted in greys which were
-closely allied to black. He exhibited continually with the other
-men in the early days of the movement, and proved a genius both in
-suggestion and organisation.</p>
-
-<p class='c021'>Hilaire Germain Edgard Degas was born in Paris, July 19, 1834.
-He entered the École des Beaux-Arts in 1855, studying under
-Lamothe and also having Ingres for a master. He made his first
-appearance at the Salon of 1865 with a pastel entitled <i>War in the
-Middle Ages</i>. In 1866 he contributed the <i>Steeplechase</i>, the first of
-his series devoted to scenes of modern life. In 1867 he exhibited
-<i>Family Portraits</i>, in 1868 the portrait of a ballet-dancer, and during
-1869 and 1870 some further portraits which closed his connection
-with official art, for he never sent contributions to the Salon again.
-In his early work he did not confine his brush to subjects of daily
-actuality, such compositions as <i>Semiramis Building the Walls of Babylon</i>
-and <i>Spartan Youths Wrestling</i> being far removed both in style and <i>genre</i>
-from later work. During the sixties his canvases were classical in
-spirit as well as in subject. He had a strong feeling for the
-Primitives together with Fra Angelico, and much of his work
-conveyed a reminiscence of Holbein. A Realist from the beginning,
-the <i>Interior of an American Cotton-Broker’s Office</i>, painted in 1860, shows
-that his temperament has never radically changed. This canvas, now
-in the museum at Pau, is minutely exact in all its details. It is
-Realism but emotionless, without atmosphere and lacking all feeling.
-<span class='pageno' id='Page_68'>68</span>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
-draughtsmen.</p>
-
-<p class='c021'>Degas exhibited in company with Manet, Monet, and the
-Impressionists generally, at five exhibitions, namely 1874, 1876, 1878,
-1879 and 1880. In the last-named year he exhibited a series of
-portraits of criminals, and commenced to model figures of dancers in
-wax. In December 1884 he showed some racecourse scenes, and
-at the last exhibition of the Impressionists in 1886 exhibited studies
-of the nude, jockeys, washerwomen, and other characters of modern
-life. He has worked with the etcher’s needle, and also in lithography,
-his subjects being generally confined to theatrical life and
-incidents noticeable on the Parisian boulevards.</p>
-
-<p class='c021'>The characteristic of Degas personally is mystery. He now
-refuses to exhibit his works, he shuts his door to all visitors. Like
-most artists he detests writers, and there is a legend that he successfully
-grappled with one enterprising but unwelcome interviewer and
-dropped the unfortunate critic down a flight of stairs. This proves
-how thoroughly his principles are carried out in practice. “I think
-that literature has only done harm to art,” he said once to George
-Moore. “You puff out the artist with vanity, you inculcate the
-taste for notoriety, and that is all; you do not advance public taste
-by one jot. Notwithstanding all your scribbling it never was in a
-worse state than it is at present. You do not even help us to sell
-our pictures. A man buys a picture, not because he read an article
-in a newspaper, but because a friend, who he thinks knows something
-about pictures, told him it would be worth twice as much ten years
-hence as it is worth to-day.”</p>
-
-<p class='c021'>With these strong views one can understand the attitude of
-Degas to the art world in general. It was a very different attitude
-from that of Manet who gloried in the fight. “Do you remember,”
-Degas said once to George Moore (who quotes the conversation in
-his “Impressions and Opinions”), “how Manet used to turn on me
-when I wouldn’t send my pictures to the Salon? He would say,
-‘You, Degas, you are above the level of the sea, but for my part, if
-I get into an omnibus and some one doesn’t say, “M. Manet, how
-are you, where are you going?” I am disappointed, for I know
-then that I am not famous.’” This conversation reveals in a curious
-manner the differing characters of the two men; Manet with that
-attractive vanity so often to be found in the artistic temperament,
-Degas, a satiric misanthrope analysing the degraded types which
-make up the gay life of Paris.</p>
-
-<div id='i068fp'  class='figcenter id001'>
-<img src='images/i068fp.jpg' alt='' class='ig001' />
-<div class='ic002'>
-<p><span class='small'>DANCING GIRL FASTENING HER SHOE · EDGAR DEGAS</span></p>
-</div>
-</div>
-
-<p class='c021'><span class='pageno' id='Page_69'>69</span>The work of Degas may be sorted into four main groups—the
-racing series, the theatrical studies, the drawings of the nude, and
-a few landscapes. From many points of view the scenes of the
-<i>coulisses</i> come first. Superb in draughtsmanship, they represent the
-life of the theatre in a way it has never been represented before.
-In one we see shivering girls rehearsing upon a cold cheerless stage
-lit by a few gas jets; in another the <i>première danseuse</i> quivering
-upon tiptoe amidst the frenzied plaudits of an excited audience.
-Degas reproduces the atmosphere with a marvellous precision, which
-only those engaged in the busy turmoil behind the curtain can
-fully judge. Upon these <i>scènes de théâtre</i> will rest his fame, for
-humankind is never likely to tire of such vivid renderings of a life
-always fascinating to the outside world.</p>
-
-<p class='c021'>Degas is not a countryman, and cannot be classed amongst
-sportsmen, or lovers of horseflesh. His jockeys and racehorses are
-highly extolled, but with animals he has not always succeeded. It
-is not sufficient to be a great artist in order to convey convincing
-impressions of sporting scenes. An artist must have the whole
-spirit of sport thoroughly engrained in his nature before he can
-properly represent it. Apart from the city, Degas is out of his
-element, and this is very apparent in the landscapes he has painted
-during the last eight years. The glamour of the fields and hedges
-does not touch his soul. Rural life he finds dull, and naturally his
-essays in landscape painting are somewhat painful. He has not the
-temperament which can faithfully interpret the poetry of the countryside,
-and is more at home in the purlieus of the opera or upon the
-asphalte of the boulevards.</p>
-
-<p class='c021'>Degas is a realist, and his subjects are for the most part
-exceedingly trivial in selection. After racehorses and ballet-dancers,
-he loves to depict buxom ladies of the lower classes engaged in
-personal ablution. It is extraordinary that the pupil of Ingres, the
-painter of <i>La source</i>, should create such appalling creatures. The
-most plausible apology comes from Mr. George Moore. The nude,
-he writes, has become well-nigh incapable of artistic treatment.
-Even the more naïve are beginning to see that the well-known nymph
-exhibiting her beauty by the borders of a stream can be endured no
-longer. Let the artist strive as he will, he will not escape the
-conventional; he is running an impossible race. Broad harmonies of
-colour are hardly to be thought of; 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 arms, neck, and
-thigh; and who in sheer beauty has a new word to say? Since
-<span class='pageno' id='Page_70'>70</span>Gainsborough and Ingres, all have failed to infuse new life into the
-worn-out theme. But cynicism was the great means of eloquence of
-the Middle Ages; and with cynicism Degas has again rendered the
-nude an artistic possibility. The critic then describes these works in
-most sympathetic phrases. Three coarse women, middle-aged and
-deformed by toil, are perhaps the most wonderful. One sponges
-herself in a tin bath; another passes a rough nightdress over her
-lumpy shoulders, and the touching ugliness of this poor human
-creature goes straight to the heart. Then follows a long series
-conceived in the same spirit. “Hitherto,” says Degas, “the nude
-has always been represented in poses which presuppose an audience,
-but these women of mine are honest, simple folk, unconcerned by
-any other interests than those involved in their physical condition.”
-In another phrase he gives you his point of view, “it is as if you
-looked through a keyhole.”</p>
-
-<p class='c021'>Descendant of Poussin and Ingres (when Ingres fell down in the
-fit from which he never recovered, it was his pupil who carried him
-out of his studio), Degas worships drawing, and line is with him a
-cult. Japanese art has helped to mould his style, as it influenced
-many of the Impressionists. His oil-paintings, though for the most
-part correct in draughtsmanship, are frequently wiry and academic
-in technique. Colour was never his strong point, and it is in his
-pastels that we find the achievement of his life. In a masterly essay
-on this artist, Thèodore Duret writes: “Degas has proved once
-more that, with genius, subject is a secondary matter, merely its
-opportunity, one may say. It is out of itself, out of its inner consciousness,
-that the poetry and the beauty discovered in its production
-are drawn. His work will thus remain one of the most powerful,
-the most complete, and the most instinct with vitality amongst that
-of the masters of the nineteenth century.”</p>
-
-<p class='c021'>Of Degas personally little is known. He comes of an old
-bourgeoise family, and at one time it is said that he possessed
-considerable financial means, which he sacrificed in order to save a
-brother from financial disaster. Although seventy years of age he
-still works with excessive labour at the art over which he has gained
-such a mastery. Scorning wealth, publicity, and popularity, he lives
-a life of complete isolation, dispensing with friends, able to more
-than hold his own against enemies.</p>
-
-<div id='i070fp'  class='figcenter id001'>
-<img src='images/i070fp.jpg' alt='' class='ig001' />
-<div class='ic002'>
-<p><span class='small'>DANCING GIRL · E. DEGAS</span></p>
-</div>
-</div>
-
-<p class='c021'>He has had two pupils whose names stand out prominently in
-the art of to-day, the American artist Miss Mary Cassatt (referred to
-elsewhere in this volume) and the caricaturist Forain. Degas has
-always had a bitter wit, the dread of his contemporaries, and many
-<span class='pageno' id='Page_71'>71</span>of his sayings have passed into history. During the height of the
-battle which raged around the Impressionists during the seventies, he
-remarked concerning the academic painters and critics: “On nous
-fusille, mais on fouille nos poches,” or, in other words, “They cover
-us with injuries, yet they make use of our ideas.” In him Whistler
-met his match. “My dear friend,” he said once to that great artist,
-“you conduct yourself in life just as if you had no talent at all.”
-Upon another occasion, speaking of Whistler when the latter was
-having a number of photographic portraits taken, he observed
-sarcastically, “You cannot talk to him; he throws his cloak around
-him—and goes off to the photographer.” It was not likely that two
-such spirits would appreciate each other.</p>
-
-<p class='c021'>Degas is a pessimist. He has always been a realist, and the
-realist in this troubled world cannot look through rosy spectacles;
-acute pessimism becomes the natural result, especially when a great
-city is the venue. He is the analyst and ironist of the Impressionist
-group, with whom he has a sympathy of temperament rather than a
-sympathy of technique. At the present moment there are few artists
-better known in Paris, yet few who have received so small an amount
-of official acknowledgment. He has never received an official commission,
-has refused all decorations, his chief works are to be found in
-foreign countries. Yet an enthusiastic French critic has summed up
-the opinion of the art world of France in the striking phrase,
-“Degas is one of the greatest draughtsmen who have ever lived.”</p>
-
-<p class='c021'>Ten years ago, when the writer was a student in Paris, the
-name of Toulouse-Lautrec was known only in connection with
-various daring and flamboyant posters advertising the exotic attractions
-of the “Moulin Rouge” and the “Divan Japonais,” and also
-through extraordinary sketches which appeared from time to time
-in Aristide Bruant’s feuilleton “Le Mirliton.” Now and again one
-found a sketch, with his signature, pinned up in an artistic cabaret of
-the Batignolles quarter. Few had seen him, nobody seemed to have
-any wish to discover his whereabouts. In the studios he was almost
-invariably spoken of with contempt as half a fool. He was
-celebrated in a way, and yet unknown.</p>
-
-<p class='c021'>He was by no means a fool, for few men have possessed a brighter
-intellect. His semi-retirance and evident reluctance to appear
-amidst the crowd were partly owing to a temperament of ultra-refinement,
-and still more directly the result of a terrible personal
-misfortune. The story of his life is romantic.</p>
-
-<p class='c021'>Henri de Toulouse-Lautrec-Monfa was born in 1864 at Albi, a
-scion of an ancient and illustrious family. His father, the Count
-<span class='pageno' id='Page_72'>72</span>de Toulouse-Lautrec, was a wealthy country gentleman, of sporting
-tastes, a splendid horseman, a crack shot, a sculptor, and a person of
-most violent and impulsive temper. The son inherited many of his
-father’s qualities. Generations of ancestors accustomed to the
-beauties and refinements of such a life in the country had developed
-at last an artist of peculiar sensibilities. These natural gifts were
-carefully cultivated, and the boy became a professional artist, who,
-although he possessed gifts of the most extreme refinement, became
-through the irony of fate primarily famous amongst his countrymen
-as a designer of street posters and comic sketches. Those who
-knew him superficially could not comprehend how his delicate and
-extraordinary exterior could cover such excellent qualities of heart,
-such delicacy of spirit. He met with scant respect and few
-patrons. Happily he was not dependent upon his brush for the
-means of existence, and his works, when they sold, fetched but
-little. After his sad and untimely death, the most insignificant
-sketches were eagerly disputed for and changed hands at large
-prices.</p>
-
-<p class='c021'>Physically Toulouse-Lautrec was a weak man, of a highly-developed
-nervous temperament, with a brain too active for its
-frail tenement. To such a nature all excess proves fatal, although
-it is generally such natures that seek excess. In his infancy the
-artist had the unlucky mischance to break both his legs, and these,
-badly set, left him malformed for life, a dwarf. Thoroughly
-embittered, his proud and sensitive soul could not endure the
-inquisitive stares of the curious with which he was invariably
-greeted, and for the most part he lived a very solitary life. “Je
-suis une demi-bouteille,” he would often say to his friends in
-sarcastic reference to his own unhappy condition.</p>
-
-<div id='i072fp'  class='figcenter id001'>
-<img src='images/i072fp.jpg' alt='' class='ig001' />
-<div class='ic002'>
-<p><span class='small'>CAFÉ SCENE ON THE BOULEVARD MONTMARTRE · E. DEGAS</span></p>
-</div>
-</div>
-
-<p class='c021'>He drowned his griefs, as many have done before, keeping in
-his studio huge stocks of the most fiery spirits and liqueurs, from
-which he compounded wonderful “cocktails” for the benefit of himself
-and his friends. It is not surprising that first came the madhouse
-and then premature death completed this tragedy. Of an excitable
-temperament he found much pleasure in resorts such as the “Moulin
-Rouge.” Taverns, theatres, and the circus, found in him a constant
-patron. These were his schools; and hundreds, one may say
-thousands of sketches are the result of such teaching. He loved
-horses as his ancestors had done before him, and he studied their
-attitudes at the circus, sketching them in barbaric trappings and in
-eccentric poses. The smell of the sawdust always inspired him.
-The sketches here reproduced illustrate this phase of his career.</p>
-
-<p class='c021'><span class='pageno' id='Page_73'>73</span>M. Princeteau, the designer of sporting scenes, influenced
-Lautrec’s style, and became his intimate friend. Forain also counts
-for something in his development, whilst Pissarro and Renoir were
-frequent visitors to and critics of the young Impressionist. Perhaps
-of all men Degas inspired him most, and at times he undoubtedly
-copied the methods of that master. With serious study he had
-little to do. He worked in the atelier-Bonnat in 1883, and later on
-in the atelier-Cormont, where he continued the study of the nude;
-yet it was only after he had complete liberty and was entirely free
-from scholastic influence that his style began to form. Then his
-strong individuality displayed itself, and he became Toulouse-Lautrec
-as we know him.</p>
-
-<div  class='figcenter id003'>
-<img src='images/i073.jpg' alt='' class='ig001' />
-</div>
-<div class='pbb'>
- <hr class='pb c003' />
-</div>
-<div id='i075fp'  class='figcenter id001'>
-<img src='images/i075fp.jpg' alt='' class='ig001' />
-<div class='ic002'>
-<p><span class='small'>BABY’S TOILET · MARY CASSATT</span></p>
-</div>
-</div>
-
-<div class='chapter'>
-  <span class='pageno' id='Page_75'>75</span>
-  <h2 class='c011'>CHAPTER IX · THE “WOMEN-PAINTERS”: BERTHE MORISOT, MARY CASSATT, MARIE RACQUEMOND, EVA GONZALÈS</h2>
-</div>
-<div class='lh c017'>
-
-<p class='c018'>“TOUTE TOILE QUI NE CONTIENT PAS UN TEMPÉRAMENT, EST UNE TOILE MORTE”</p>
-<p class='c019'><i>ZOLA</i></p>
-
-</div>
-<div class='c020'>
-  <img class='drop-capi' src='images/di-a.jpg' width='100' height='100' alt='' />
-</div><p class='drop-capi0_75'>
-AMONGST the artists who contributed paintings to
-the eight exhibitions of the Impressionist group are
-four women, who were influenced by the new
-methods: Mdlle. Berthe Morisot, Madame Marie
-Bracquemond, Miss Mary Cassatt, and Mdlle. Eva
-Gonzalès.</p>
-
-<p class='c021'>The story of Berthe Morisot is romantic. She was the great
-grand-daughter of Fragonard, a famous beauty, a pupil of Manet,
-then the wife of his brother Eugène. Her position in the art world
-of France was unique, and her death at the early age of fifty in 1895
-cut short a career devoted to a most charming and delicate style.
-She excelled above all in two branches of her art—an exquisite
-draughtsmanship and a most luminous and poetic sense of colour.
-Technical difficulties never discouraged her. She was one of those
-rare and fortunate individuals who can intuitively surmount any
-problem and consequently hardly require a teacher. Madame
-Eugène Manet was an artist to her finger-tips. Her work is
-charged with a feminine charm sympathetic to the temperament of
-any painter. Her canvases are iridescent poems in paint, and she
-possessed many qualities in common with her illustrious ancestor.
-“Only one woman created a style,” wrote the novelist George
-Moore (who, it may be remembered, had a close acquaintanceship
-with many of the Impressionists), “and that woman is Madame
-Morisot. Her pictures are the only pictures painted by a woman
-that could not be destroyed without creating a blank, a hiatus in the
-history of art.” She was a woman of great personality and charm,
-and took an active part in the furtherance of the movement which
-was initiated by her brother-in-law. “My sister-in-law would
-not have existed without me,” said Manet one day in the Rue
-d’Amsterdam to George Moore, and the latter adds, “True, indeed,
-that she would not have existed without him; and yet she has
-something that he has not—the charm of an exquisite feminine
-<span class='pageno' id='Page_76'>76</span>fancy, the charm of her sex. Madame Morisot is the eighteenth
-century quick with the nineteenth; she is in the nineteenth turning
-her eyes regretfully looking back on the eighteenth.”</p>
-
-<p class='c021'>Miss Mary Cassatt is an American subject. She was born at
-Pittsburg, studied at the Philadelphia Academy, and then, after
-some work with Degas, became an accomplished painter of children
-and the varied scenes of maternity. A pastellist of note, with Raffaëlli
-she succeeded in resuscitating the moribund art of etching in colour.
-Miss Cassatt’s work shows evidence upon every side of unwearying
-years of effort. Its dominant character is strength, and, with
-the single exception of Berthe Morisot, the artist is probably one of
-the most virile woman painters the world has seen. Strength is
-decidedly not the keynote of any of the works of Angelica Kauffmann,
-Madame Lebrun, or even of the many women who exhibit to-day,
-although they display other qualities worthy of praise. Miss Cassatt
-has experimented in numerous directions, has often tried to express
-herself in a fresh way. She has succeeded. Her draughtsmanship
-is exceptionally firm, and her colour bright, pure, and harmonious.
-She has worked in oil, charcoal, water-colour, pastel, and etching,
-and has remained faithful to the inspiration of her master Degas,
-and through him to the art of Japan.</p>
-
-<p class='c021'>The pastel drawing here reproduced is one of an extensive series
-devoted to scenes from maternal life. Although from the nature of
-things all such reproductions fall far short of the original, still a
-good idea is conveyed of technique and composition. Miss Mary
-Cassatt, it may be added, has travelled a great deal in search of
-subject inspiration, and is the friend of the older members of the
-original group of French Impressionists, to which she is allied by
-sympathy and the work of a lifetime.</p>
-
-<p class='c021'>Madame Marie Bracquemond was also an “Impressioniste,” and
-joined ardently in the movement. At first following the example of
-Ingres, her first teacher, she received the most valuable help from
-her husband, an engraver of the rarest talent. The field of her art
-ranges from a colossal decorative panel (those exhibited in the
-Paris Exhibition of 1878 were about twenty-one feet by nine feet in
-size) to a most delicate little etching. It may be understood that
-mere physical labour did not appal her, for the Exhibition panels
-required assiduous and heavy toil.</p>
-
-<div id='i076'  class='figcenter id001'>
-<img src='images/i076.jpg' alt='' class='ig001' />
-<div class='ic002'>
-<p><span class='small'>LE LEVER · BERTHE MORISOT</span></p>
-</div>
-</div>
-
-<p class='c021'>Of Eva Gonzalès there is, unfortunately, little to be said. At
-first taught by Chaplin, she became the favourite pupil of Edouard
-Manet, and commenced to display much talent as a pastellist. She
-married Henri Guérard, the engraver, but death ended at an untimely
-<span class='pageno' id='Page_77'>77</span>age a career of great promise. In the Luxembourg gallery she is
-represented by a pastel drawing.</p>
-
-<p class='c021'>It has been often said that in art women cannot create: they
-can only assimilate and reproduce. In one sense this is true both
-of Berthe Morisot and Mary Cassatt, the two principal figures in
-this tiny feminine group. The first was profoundly influenced by
-her brother-in-law Manet, the second by her teacher Degas. Marie
-Bracquemond and Eva Gonzalès married husbands in the practice of
-their art.</p>
-
-<p class='c021'>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 “confrères,” and produced a certain
-change of attitude. There was little light-heartedness in the work
-of Manet before these women-painters joined the group, and it is
-not altogether improbable that some of the change is due to their
-example. In any body of men feminine influence always makes for
-the good, and these women, of strong but charming personality,
-must (it is idle to write any less emphatic word) have had a strong
-influence upon the whole group. Their industry was great, for they
-exhibited almost without intermission from 1874 to 1886. At
-times their talent touches genius, and for future historians they
-will prove an interesting study. Modernity is the note of Impressionism,
-and that movement was the very first artistic revolt in
-which women took a prominent part.</p>
-
-<div  class='figcenter id003'>
-<img src='images/i077.jpg' alt='' class='ig001' />
-</div>
-<div class='pbb'>
- <hr class='pb c003' />
-</div>
-<div id='i079fp'  class='figcenter id001'>
-<img src='images/i079fp.jpg' alt='' class='ig001' />
-<div class='ic002'>
-<p><span class='small'>THE LAST RAYS · EMILE CLAUS</span></p>
-</div>
-</div>
-
-<div class='chapter'>
-  <span class='pageno' id='Page_79'>79</span>
-  <h2 class='c011'>CHAPTER X · “LA PEINTURE CLAIRE”: CLAUS, LE SIDANER, BESNARD, DIDIER-POUGET</h2>
-</div>
-<div class='lh c017'>
-
-<p class='c018'>“TOUT HOMME QUI NE RESSEMBLE PAS AUX
-AUTRES, DEVIENT PAR LA MÊME UN OBJET DE
-DÉFIANCE. DÈS QUE LA FOULE NE COMPREND
-PLUS, ELLE RIT. IL FAUT TOUTE UNE ÉDUCATION
-POUR FAIRE ACCEPTER LE GÉNIE”</p>
-<p class='c019'><i>ZOLA</i></p>
-
-</div>
-<div class='c020'>
-  <img class='drop-capi' src='images/di-t.jpg' width='100' height='100' alt='' />
-</div><p class='drop-capi0_75'>
-THE work of Emile Claus is a manifestation in quite
-another direction of the Impressionist idea. Born
-in Western Flanders in 1849, he was the sixteenth
-child of parents in very humble circumstances. Their
-business in life was to supply with provisions the
-boatmen who passed along on the river Lys. By
-various means the boy, who had very early displayed a yearning for
-the painter’s career, managed to evade all attempts to harness him in
-the drudgery of the home life. A pastrycook, a railway watchman,
-a linendraper’s assistant, these were a few of the vocations he was condemned
-to try, yet from which he escaped. At last he set out for
-Antwerp, with £7 in his pocket, and the warning that he need not
-expect a penny more. In the city of Rubens he became a free pupil
-of Professor de Keyser. All day long he studied in the Academy.
-When night came he earned a livelihood by giving drawing-lessons,
-acting as a sculptor’s “devil,” and colouring pictures of the Stations
-of the Cross. At last, after many struggles, he became a popular
-portrait-painter in the city, particularly of children in fancy costume.
-In 1879 he travelled through Spain and Morocco, painting the conventional
-compositions of an Iberian tour, and much influenced by
-the style of Charles Verlat. Despite his great success in Antwerp,
-in 1883 Emile Claus changed his manner entirely. He shook off
-the dust of the city for ever, renounced portrait-painting, and
-became “paysagiste.” Impelled by an intense love of nature he
-returned to his native village on the banks of the Lys, and recommenced
-his life as a landscape painter “en plein air.” He has
-never returned to the distracting turmoil of town, and, in his quaint
-white and green shuttered house at Astene between Ghent and
-Courtrai, has buried himself in the heart of the country. Although
-some distance from the larger cities of Belgium, Emile Claus
-does not vegetate in his obscurity. On wheel or a-foot he is
-equally active, visiting his friends and working on his canvases,
-<span class='pageno' id='Page_80'>80</span>of which he has always some six or eight in progress. It may
-be noted that he works entirely in the open air, and finishes in
-front of nature. One might judge of this from the strength and
-completeness of his pictures.</p>
-
-<p class='c021'>It is years since the writer first saw a landscape by Claus,
-and he remembers vividly the pleasure it gave. The painting
-was in the well-known collection of Mr. John Maddocks, of
-Bradford. Upon a huge canvas the artist had depicted a cornfield
-ripe for the sickle, and in the midst of the wheat red poppies
-grew. Across the foreground, emerging from the wheat, wandered
-a few white ducks. Over the whole was the fierce glare of a noon-day
-sun. The work was convincing, naturalistic, yet poetic, inasmuch as
-it seemed to chant the universal hymn of nature. It was a revelation
-to those artists who found themselves in Bradford at that
-period. Unknown and a stranger, Claus received in spirit silent
-congratulations for his splendid achievement, which aroused in
-several breasts a keen feeling of emulation. The artist writes:
-“Mr. Maddocks has always strongly encouraged me, and had the
-courage to buy my work at a time when everybody in Belgium
-found me by far too audacious, because, as you may know, the
-leaders, the standard-bearers as it were, of the young Belgian school
-of painting are not at all in sympathy with the beautiful art of
-Monet and his school.” Since that day Emile Claus has greatly
-increased his following throughout the world, being least appreciated
-in his own country.</p>
-
-<p class='c021'>Emile Claus is a painter whose brush is charged with the sweetness
-of life, courageous, healthful, and buoyant. His pictures
-breathe of sunlight and fresh air, and it is easy to see with what
-sheer delight he throws himself into his work. When one seeks
-for the reason which so suddenly changed this prosaic painter of the
-Antwerp bourgeois into an Impressionist of the most modern school,
-one discovers the usual cause, the Englishmen of the commencement
-of the last century. In a recent letter to the writer, Emile
-Claus says that in England, above all other countries, were born light
-and life in painting. “I have all too quickly glanced at the Turners
-and Constables of London, nevertheless it was a revelation to me, and
-those great artists Monet, Sisley, and Pissarro continue simply what
-that giant Turner discovered; just as the grand epoch of Rousseau,
-Millet, Dupré, and Corot, passed over Belgium to find their inspiration
-in the marvellous works of the Dutch school.”</p>
-
-<div id='i080-1'  class='figcenter id004'>
-<img src='images/i080-1.jpg' alt='' class='ig001' />
-<div class='ic002'>
-<p><span class='small'>EMILE CLAUS</span></p>
-</div>
-</div>
-
-<div id='i080-2'  class='figcenter id001'>
-<img src='images/i080-2.jpg' alt='' class='ig001' />
-<div class='ic002'>
-<p><span class='small'>THE VILLAGE STREET · EMILE CLAUS</span></p>
-</div>
-</div>
-
-<p class='c021'>In the country of the Lys the artist continues to work, producing
-a series of pictures as beautiful as they are uncommon. One may
-<span class='pageno' id='Page_81'>81</span>mention his magnificent <i>Flemish Farm</i> of 1883, the <i>Old Gardener</i> of
-1887 now in the Liége gallery, the canvas in the Antwerp gallery,
-and the fine work by which he is represented in the Luxembourg.
-Charming in colour, they will be found broad in manner, and perfectly
-original in sentiment.</p>
-
-<div id='i080-3'  class='figcenter id001'>
-<img src='images/i080-3.jpg' alt='' class='ig001' />
-<div class='ic002'>
-<p><span class='small'>RETURNING FROM MARKET · EMILE CLAUS</span></p>
-</div>
-</div>
-
-<div id='i080-4'  class='figcenter id001'>
-<img src='images/i080-4.jpg' alt='' class='ig001' />
-<div class='ic002'>
-<p><span class='small'>GOLDEN AUTUMN · EMILE CLAUS</span></p>
-</div>
-</div>
-
-<p class='c021'>In 1891, Claus exhibited for the first time in the Champ de
-Mars, and has contributed each year from that date. His technical
-skill grows steadily. M. Gabriel Mourey, staunch supporter of
-“La peinture claire,” contributed a most sympathetic article to the
-“Studio,” in which he wrote, “In the old days, Claus was accused
-of being an ‘Impressionist,’ and such he is to a certain degree just
-as any one may be without disrespect to the glorious traditions of the
-painter’s art. He is an Impressionist to this extent—that he
-possesses the gift of <i>feeling</i> with the utmost keenness the true meaning
-of Nature in all her manifestations; while he is bound by no rule,
-subject to no formula, in his endeavour to interpret that meaning on
-his canvas. But, unlike most Impressionists, he has the rare
-capacity to know how to choose his impressions, to test them to the
-uttermost, and never to rest until he has translated them to his full
-satisfaction, disdaining the haphazard attempts which are sufficient
-for the majority of modern landscapists. Impressionist! One need
-feel no surprise that the superficial observer dubs him thus; for
-nowadays every painter whose work is luminous and bright, and
-devoid of bitumen, earns and deserves the title! The truth is that
-Claus, without adapting his style to any special method, is mainly
-concerned that his works shall be as full of atmosphere as possible, that
-his touch shall be as free and his colour as pure as he can make them.
-Thus he achieves that remarkable freshness of tint, that brightness
-of colouring, which constitute one of the chief charms of his art.”</p>
-
-<p class='c021'>The little house near Astene is called in Flemish “Zonnenschyn”—“Sunshine,”
-and it is indeed sunshine which is predominant
-in the work of Emile Claus.</p>
-
-<p class='c021'>Le Sidaner is an artist, who, after having passed through several
-antagonistic stages, has developed a style entirely his own. He
-may be described as a mystic who views the world with an air of
-detachment, standing aloof from the distractions of its inhabitants.
-He prefers an environment breathing some vague and undefined
-sorrow. The joy of life does not course through his veins. The
-subjects which appeal most to him suggest renunciation and world-weariness,
-the solemn peace of a Flemish <i>béguinage</i>, a cobbled street
-in Bruges recalling dead glories, a deserted canal with a solitary
-swan. When he designs a figure-composition the subject belongs
-<span class='pageno' id='Page_82'>82</span>to the same <i>genre</i>, a priest administering extreme unction to a dying
-girl, orphans under the care of a nun, old women waiting with the
-patience of extreme old age for Death to release them from their
-suffering senility. He instils into his canvases the very essence of
-Keats’ line, “Sorrow more beautiful than beauty’s self.”</p>
-
-<p class='c021'>The only biographical account of Le Sidaner is to be found in
-one of M. Gabriel Mourey’s penetrating articles in the “Studio.”
-Le Sidaner was the son of fisherfolk from St. Malo and the Ile
-Bréhat. He was born in 1862, and spent the first ten years of his
-life in his native place, the Ile Maurice. “While quite young,”
-says the writer of the preface to the catalogue of an exhibition held
-in 1897, “he came to live in Dunkirk, beside the murmuring North
-Sea, with its melancholy mists. The shock he felt at the change
-made him absolutely pensive. It was as though, half alarmed, he
-was taking refuge within himself the better to express the flame of
-Creole tenderness which burned within him.” His father, who
-practised painting and sculpture as an amateur, gave the boy every
-encouragement. At fifteen he was taken away from school, and
-sent to the local École des Beaux-Arts. Here he studied under a
-master who was slave to the doctrines of the Antwerp school.</p>
-
-<p class='c021'>The artist, when telling his early experiences, deplored these evil
-influences. He admits that they were not worse than those forced
-upon him in Paris, where, at the École des Beaux-Arts, he studied
-under Cabanel. Five years he spent under that master, making
-sketches of the animals at the Jardin des Plantes, and copying
-Delacroix and Jordaens at the Louvre. Then he passed under the
-influence of Impressionism. He says: “It was in this year (1881)
-that Manet displayed his portraits of <i>Pertuiset, le tueur de lions</i>, and
-of <i>Rochefort</i>. The first of these pleased me infinitely, but the second
-gradually filled me with alarm; it was so different from that which
-I had hitherto seen. Nevertheless, I remember well that the
-famous <i>Bar des Folies-Bergère</i> by this same Manet made the profoundest
-impression on me. Yet the rules of the school forbade
-me to consider all this as beautiful as I could have wished to
-consider it. When I look back on those days it really seems as
-though I was poisoned. Etaples, that is to say Nature, revived me,
-and drove the drug from my system.”</p>
-
-<div id='i082-1'  class='figcenter id001'>
-<img src='images/i082-1.jpg' alt='' class='ig001' />
-<div class='ic002'>
-<p><span class='small'>APPLE GATHERING · EMILE CLAUS</span></p>
-</div>
-</div>
-
-<p class='c021'>Le Sidaner goes on to tell how by chance he spent a holiday at
-Etaples in 1881. He settled there, and remained in the little coast
-town from 1884 to 1893, where he made friendships with Eugène
-Vail, Thaulow, Henri Duhem, Alexander Harrison, and others.
-He refers to a visit to Holland, where Rembrandt, Peter de Hoogh,
-<span class='pageno' id='Page_83'>83</span>and Vermeer enchanted him. Having gained a third medal at the
-Salon des Champs-Élysées he was able to travel to Italy. “Italy
-simply turned my head, particularly Florence. Oh! the delicious
-hours I spent in the Convent of San Marco copying the face of the
-Virgin in Fra Angelico’s <i>Annunciation</i>. How much I preferred the
-simple grace of Fra Angelico and Giotto to the cleverness and skill of
-Titian, Veronese, and Tintoretto.” It was hardly necessary to have
-avowed these influences, they are so evident in the work of Le Sidaner.</p>
-
-<div id='i082-2'  class='figcenter id001'>
-<img src='images/i082-2.jpg' alt='' class='ig001' />
-<div class='ic002'>
-<p><span class='small'>A SUNLIT HOUSE · EMILE CLAUS</span></p>
-</div>
-</div>
-
-<p class='c021'>He is a man who avoids crowds and the distracting clamour of
-humanity, loving to work in such dead cities as Bruges, or the
-peaceful countryside in the neighbourhood of Beauvais. No modern
-artist has better expressed on canvas the words of the great Millet.
-“When you paint a picture, whether the subject be a house, a plain,
-the ocean, or the sky, remember always the presence of man. Think
-how his joys and sorrows have been intermixed in these landscapes.
-An inner voice speaks of his inquietude and turmoils. Humanity’s
-whole existence is conjured up. In painting a landscape think of man.”</p>
-
-<p class='c021'>Le Sidaner has many affinities to Pointelin, Carrière, and
-Whistler. They each have sought harmonies of line and colour,
-and though distinct in personality and unlike in methods, they have
-produced wonderfully similar effects. One of the most impressive
-of Le Sidaner’s works is <i>La Table</i> in the Luxembourg. Here is
-the unmistakable Impressionist technique. In the courtyard of a
-country house is spread a table, white with napery, upon which
-stands a glowing opalescent lamp. A calm summer moon diffuses
-a gentle light over the whole scene. No human figures disturb
-the peaceful atmosphere, yet the sentiment of their presence pervades
-the place. The painting is a little masterpiece of its kind.
-The first canvas exhibited at the Champs-Élysées in 1887 was
-entitled <i>After Church</i>. Since that time he has exhibited year after
-year, the subjects of his pictures being well explained by their
-French titles: <i>La Promenade des Orphelines</i>, <i>Communion in Extremis</i>,
-<i>Benediction de la Mer</i> (1891), <i>Jeune fille Hollandaise</i> (1892), <i>L’autel
-des Orphelines</i> (1893), <i>Départ de Tobie</i> (1894), <i>Les Promis</i>, and <i>Les
-Vieilles</i> (1895). In 1900 he exhibited a notable collection of pictures
-of Bruges.</p>
-
-<p class='c021'>Le Sidaner paints a world of dreams. No better description of
-his work can be found than in the words of Moore:</p>
-
-<div class='lg-container-b c023'>
-  <div class='linegroup'>
-    <div class='group'>
-      <div class='line'>One of those passing rainbow dreams,</div>
-      <div class='line'>Half light, half shade, which fancy’s beams</div>
-      <div class='line'>Paint on the fleeting mists that roll,</div>
-      <div class='line'>In trance or slumber, round the soul.</div>
-    </div>
-  </div>
-</div>
-
-<p class='c025'><span class='pageno' id='Page_84'>84</span>English readers and artists have hardly yet made the acquaintance
-of Besnard. To continental art-lovers he has long been known as
-the strongest and most audacious of the young men in the movement,
-and is thoroughly Impressionist in his ideas and methods.
-Few living artists have had the good fortune to be so much discussed
-as M. Besnard. Each Salon brings its chorus of admiration,
-its storm of disapprobation. The height of the argument was
-reached a few years ago, when, at the New Salon, the artist exhibited
-his <i>Ponies worried by Flies</i>. A startling piece of colour, it
-created a strong impression upon those who saw it. At that moment
-the existence of the violet tints in nature, which had been so beautifully
-demonstrated by Monet in his series of <i>Les Cathédrales</i> and by
-Sisley in his charming river studies, was much under discussion in
-the studios. In some of the works of Monet and Sisley the whole
-picture is saturated in a glow of violet, which is frequently to be
-found in nature, particularly in northern France. Those who had
-not seen this natural effect disbelieved in its existence and charged
-the artists with painting “de chic.” Those who had seen it and
-essayed the difficult task of reproducing it upon canvas, loudly
-proclaimed its truths. Then came the <i>Ponies worried by Flies</i>.
-Besnard had heard of the heated discussion raging round the violet
-tints, and, having observed the truth of the effect, determined to
-demonstrate it in paint. Never had been seen in any Salon such
-a blaze of colour as this. The composition seemed to be but a peg
-upon which to hang a sermon in technique. Violet, violent in
-colour, pure hot impasto as shadow, juxtaposed directly to its
-natural complement of light in the shape of orange and citron
-colours, brilliantly loud and unadulterated. A sensation was created,
-and disbelief in the existence of violet tints in nature for ever
-silenced. M. Besnard has followed this success with many other
-surprising themes, for it is his pleasure to amaze. He seeks incessantly
-the new and incongruous.</p>
-
-<div id='i084-1'  class='figcenter id001'>
-<img src='images/i084-1.jpg' alt='' class='ig001' />
-<div class='ic002'>
-<p><span class='small'>THE QUAY AT VEERE · EMILE CLAUS</span></p>
-</div>
-</div>
-
-<div id='i084-2'  class='figcenter id001'>
-<img src='images/i084-2.jpg' alt='' class='ig001' />
-<div class='ic002'>
-<p><span class='small'>THE BARRIER · EMILE CLAUS</span></p>
-</div>
-</div>
-
-<p class='c013'>Besnard’s talent has been, and continues to be, publicly recognised.
-The municipality of Paris yearly expends large sums of money in
-securing the best available skill for decorating the public buildings
-in its charge. In this laudable custom it is followed by every town
-of any importance throughout the country. Lavishly patronised by
-the Government, the municipalities, wealthy private collectors, and
-the sentiment of the people generally, artists thrive in France and
-multiply. In whatever respect—if any—in which France may be
-found lagging behind the nations, in Art she must by the very reason
-of things remain supreme, for Art is a part of her daily life. Besnard
-<span class='pageno' id='Page_85'>85</span>has been lucky with his commissions. He was called upon to assist
-in the decoration of the magnificent Hôtel de Ville of Paris, in the
-Town Hall of the First Arrondissement, in the lecture hall of the
-Sorbonne, and with the frescoes in the School of Pharmacy. In
-all these decorations one finds colour and composition as original as
-bizarre, harmonious yet forcible. All students of modern painting
-should not fail to see these works, the most striking in execution of
-the last few years. The artist’s atelier is also always open to connoisseurs,
-and it will be found to be crowded with sketches and
-pictures in progress, each one unmistakably the handiwork of a
-master craftsman.</p>
-
-<div id='i084-3'  class='figcenter id001'>
-<img src='images/i084-3.jpg' alt='' class='ig001' />
-<div class='ic002'>
-<p><span class='small'>AN ALLEY · HENRI LE SIDANER</span></p>
-</div>
-</div>
-
-<div id='i084-4'  class='figcenter id001'>
-<img src='images/i084-4.jpg' alt='' class='ig001' />
-<div class='ic002'>
-<p><span class='small'>THE TABLE · HENRI LE SIDANER</span></p>
-</div>
-</div>
-
-<p class='c013'>Five of Besnard’s canvases have been bought by the Government,
-and all are now to be found in the Luxembourg, an honour few
-artists can boast of. A list is given for reference. The first of the
-series is a portrait of the artist, the others being entitled <i>Femme qui se
-chauffe</i>, <i>La Morte</i>, <i>Port d’Alger au Crépuscule</i>, and <i>Entre deux Rayons</i>.
-The second and third are excellent examples of a branch of art in
-which Besnard is supreme. His nudes and portraits are wonderfully
-fine in drawing, and bewitching in colour. They will form his
-greatest claim to future immortality.</p>
-
-<p class='c013'>Besnard is a particularly sympathetic lover of horses, and no
-one can more naturally reproduce them in paint than he. His
-chief recreation is driving, and he is often to be seen “tooling”
-along the roads of the Bois de Boulogne and other suburbs of Paris.
-There is little to add personally about Albert Paul Besnard. He
-was born in Paris, married Mdlle. Dubray, a sculptor of much
-talent, and resides in the Rue Guillaume Tell. His career has been
-a continued series of success upon success, and at the present
-moment he is one of the shining stars of contemporary art in
-France.</p>
-
-<p class='c013'>Allied to the later phase of the Impressionist movement, although
-not actually identified with the group of artists known as the typical
-Impressionists, is Didier-Pouget. His habitual manner of regarding
-Nature, his pure and cheerful colours, and his natural temperament,
-include him in this survey of workers in “la peinture claire.” He
-has a special gift of composition, “mise en plan,” as the French
-say, a strong feeling for balance and form. He is at his best when
-depicting morning and sunset effects. His scenes of heather bathed
-in sunshine or glistening with the dew of an autumnal sunrise are
-rendered with an exceptional verisimilitude, strength, and truth.</p>
-
-<p class='c013'>Didier-Pouget was born at Toulouse in 1864, the son of the
-editor of one of the local journals. His father, a great lover of
-<span class='pageno' id='Page_86'>86</span>Nature, gave the boy every encouragement in his ambition to become
-an artist. It was the custom of father and son to take long country
-walks, and the elder would point out natural beauties and discuss
-the methods of their pictorial representation, relating at the same
-time biographical details of the great artists, and in every way
-endeavouring to train the child and sustain his ideals. After
-Didier-Pouget had passed through a plain schooling, professors were
-engaged, notably MM. Auguin and Baudit. For the latter (a
-local artist of genius, who, had he forsaken the quieter life of the
-provinces for the glare of Parisian publicity, should have attained
-to the highest honours an artist can reach) his old pupil has still
-much admiration. Then Didier-Pouget passed into the studio of
-Lalanne, the celebrated etcher and illustrator. Under these influences
-many profitable years were spent, the seed-time of a most fruitful
-career.</p>
-
-<p class='c013'>Locally the youth was regarded as a prodigy of talent, and great
-things were expected of him. Pictures were exhibited in the
-provinces which attracted much appreciation, and found many
-purchasers. Thus encouraged, the artist sought a wider audience,
-and went to Paris. It was a wise step, and Fortune smiled on him
-from the first. From 1886 he has exhibited year by year at the
-Salon, each fresh season showing a marked advance in his art,
-bringing to the world of Paris new and delightful colour-schemes
-and vivid compositions.</p>
-
-<p class='c013'>Didier-Pouget achieved his “Mention Honorable” in 1890,
-won the “Concours Troyon” the following year, and was awarded
-the gold medal at the Salon in 1896 upon the recommendation of
-Gérôme, hitherto a strong opponent to the new style. He is now a
-Chevalier of the Legion of Honour, his medals, diplomas, and
-awards from foreign exhibitions and Governments being almost
-innumerable. Such a measure of success is rarely achieved nowadays
-by a man under forty in the arduous profession of art. The State
-and the municipality of Paris are amongst his most regular patrons.
-Besides the pictures reserved for Paris, he is represented in the
-museums of Lyons, Macon, Toulouse, Tunis, the Embassy at St.
-Petersburg, the galleries of Boston, U.S.A., and Leipsic, and the
-private collections of the Kings of Italy and Greece.</p>
-
-<div id='i086-1'  class='figcenter id001'>
-<img src='images/i086-1.jpg' alt='' class='ig001' />
-<div class='ic002'>
-<p><span class='small'>A STUDY · ALBERT BESNARD</span></p>
-</div>
-</div>
-
-<div id='i086-2'  class='figcenter id001'>
-<img src='images/i086-2.jpg' alt='' class='ig001' />
-<div class='ic002'>
-<p><span class='small'>THE DEATH-BED · ALBERT BESNARD</span></p>
-</div>
-</div>
-
-<p class='c013'>Personally Didier-Pouget is more Spanish than French. Of
-medium height, tanned complexion, black hair, dark eyes which
-tell unmistakably of the artist, very reserved in manner, and
-modest to a degree—these are his characteristics. He leads a solitary
-life in the Boulevard de Clichy. In his large studio will probably
-<span class='pageno' id='Page_87'>87</span>be found the canvas he is working upon, about ten feet by six, his
-favourite size. Innumerable studies are scattered around, rapid
-sketches of form and colour, line-drawings, careful black-and-white
-work full of detail, in fact every trifle which will aid him in
-completing the whole.</p>
-
-<div id='i086-3'  class='figcenter id001'>
-<img src='images/i086-3.jpg' alt='' class='ig001' />
-<div class='ic002'>
-<p><span class='small'>MORNING MISTS IN THE VALLEY OF THE CREUSE · DIDIER POUGET</span></p>
-</div>
-</div>
-<div id='i086-4'  class='figcenter id001'>
-<img src='images/i086-4.jpg' alt='' class='ig001' />
-<div class='ic002'>
-<p><span class='small'>MORNING IN THE VALLEY OF THE CORRÈZE · DIDIER POUGET</span></p>
-</div>
-</div>
-
-<p class='c012'>If the greatest art is to represent an impression of Nature at her
-best, then the work of Didier-Pouget is great. “It is truly worth
-while being a painter to have produced any one of these,” writes
-the critic of “Le Temps.” The artist loves best to represent Nature
-in her peaceful moods, and generally seeks the solitudes of the exquisite
-hills, valleys, and rivers of the Tarbes countryside, or the
-rich watershed of La Creuse. Here, in the fresh early-morn,
-charged with dew and mist, he finds his subjects, overlooking
-magnificent panoramas of river, hillsides covered with heather,
-across valleys and plains from which loom out sculpturesque masses
-of foliage, dark and strong against the blue mist and distant mountain
-ridge. The painter prefers Nature serene and undisturbed,
-and introduces but little incident.</p>
-
-<p class='c013'>It need hardly be said that his palette is free from all blacks,
-browns, ochres, or earth-colours generally, and that his strongest
-“effects” are gained by the juxtaposition of pure tints in harmonious
-contrast. His favourite colour-scheme seems to be the
-composition of subtle arrangements in yellow and blue, or pink and
-green. He contributes regularly to the Salon, yearly producing
-from two to four canvases of the size mentioned, and in these days
-of a limited market and unlimited talent, he invariably finds
-purchasers. So fortunate has he been that his numerous friends
-have but one fear for his future, that his enormous success may
-hasten a tendency to stereotype his compositions. Didier-Pouget
-is doubtless aware of this danger, and will probably follow his
-present aims in a manner which will not disfigure or flaw a most
-brilliant career.</p>
-
-<div  class='figcenter id003'>
-<img src='images/i088.jpg' alt='' class='ig001' />
-</div>
-<div id='i088fp'  class='figcenter id001'>
-<img src='images/i088fp.jpg' alt='' class='ig001' />
-<div class='ic002'>
-<p><span class='small'>THE VALLEY OF THE CREUSE · DIDIER POUGET</span></p>
-</div>
-</div>
-<div class='pbb'>
- <hr class='pb c003' />
-</div>
-<div id='i089fp'  class='figcenter id001'>
-<img src='images/i089fp.jpg' alt='' class='ig001' />
-<div class='ic002'>
-<p><span class='small'>PORTRAIT OF HIS MOTHER · J. A. McN. WHISTLER</span></p>
-</div>
-</div>
-
-<div class='chapter'>
-  <span class='pageno' id='Page_89'>89</span>
-  <h2 class='c011'>CHAPTER XI · AMERICAN IMPRESSIONISTS: WHISTLER, HARRISON, HASSAM</h2>
-</div>
-<div class='lh c017'>
-
-<p class='c018'>“THROUGH HIS BRAIN, AS THROUGH THE LAST
-ALEMBIC, IS DISTILLED THE REFINED ESSENCE
-OF THAT THOUGHT WHICH BEGAN WITH THE
-GODS, AND WHICH THEY LEFT HIM TO CARRY
-OUT”</p>
-<p class='c019'><i>WHISTLER’S TEN O’CLOCK</i></p>
-
-</div>
-<div class='c020'>
-  <img class='drop-capi' src='images/di-m.jpg' width='100' height='100' alt='' />
-</div><p class='drop-capi0_75'>
-MR. WHISTLER’S personality was one of the most
-striking in the art world of the last forty years, and
-his death was an irreparable loss. That he will rank
-as one of the greatest masters of the nineteenth century
-there can be no doubt. As an Impressionist with a
-strong individuality his work requires attention in
-this volume.</p>
-
-<p class='c021'>The Whistler family came originally from England, chiefly from
-the neighbourhoods of Whitchurch and Goring-on-Thames. A
-notable ancestor was Daniel Whistler, President of the Royal College
-of Physicians of England in the reign of Charles II. Several references
-to this “quaint gentleman of rare humour” are to be found in
-the pages of ‘Pepys’ Diary,’ and the family trait reappeared (with
-emphasis) in the character of the famous artist. James Abbott
-McNeill Whistler was born at Lowell, Massachusetts, in 1834, his
-father being Major George Washington Whistler, for some time
-consulting engineer to the St. Petersburg and Moscow Railway.
-The son was destined for a military career, and received a considerable
-amount of tuition at the Government College at West Point. Work
-as a cadet, and also on the coast survey, does not seem to have interested
-him. In the fifties he migrated to Paris and became a student
-in the atelier of Gleyre, two of his fellow pupils being Sir Edward
-Poynter and George du Maurier. Whistler cannot have had much
-sympathy with the art in vogue at that time, a degenerated style
-based upon a sentimental classicalism. He found his best friends
-amongst young Frenchmen with extremely different ideas, men such
-as Fantin-Latour, Bracquemond, Degas, Manet, Duret, Claude
-Monet, and many others. Whistler first acquired fame as an etcher,
-and his first set of plates, known as the “little French set,” amply
-justifies the welcome with which it was received. From that early
-date until his death he has been acknowledged pre-eminent in the
-etcher’s delicate and graceful art.</p>
-
-<p class='c021'><span class='pageno' id='Page_90'>90</span>At the Salon de Refusés (to which frequent reference has already
-been made) Whistler exhibited his first important painting, the
-<i>Little White Girl, Symphony in White No. 2</i>. It created his reputation
-as a painter, and remains one of the most charming of his canvases.
-An early contribution to the Royal Academy was entitled <i>At the
-Piano</i>, and clearly showed that the artist was then dominated by the
-subtle influence of Dante Gabriel Rossetti. This influence was
-quickly discarded, for Rossetti’s talent was inferior to that of the
-gifted American.</p>
-
-<p class='c021'>It has often been said that Whistler was never welcomed at the
-Royal Academy. This point remains debatable; the fact remains
-that the artist was constantly in evidence during the early part of his
-career. In 1859 he exhibited <i>two etchings from nature</i> (the title given
-in the catalogue to one frame); in 1860 the celebrated <i>At the Piano</i>
-(which was bought by an Academician) and five other works,
-namely, <i>Monsieur Astruc, Rédacteur du Journal l’Artiste</i> (Drypoint);
-<i>Thames—Black Lion Wharf</i>; <i>Portrait</i> (Drypoint); <i>W. Jones, Lime
-Burner, Thames Street</i> (Etching); and <i>The Thames, from the Tunnel Pier</i>.
-In 1861 he was represented by one canvas, <i>La Mère Gérard</i>, together
-with <i>Thames from New Crane Wharf</i> (Etching); <i>Monsieur Oxenfeld,
-Littérateur, Paris</i> (Drypoint); <i>The Thames, near Limehouse</i> (Etching).
-In 1862 he sent two paintings, <i>The Twenty-Fifth of December, 1860, on
-the Thames, Alone with the Tide</i>; and <i>Rotherhithe</i> (Etching). The next
-year, 1863, was prolific. The catalogue contains the following titles:
-<i>The Last of Old Westminster</i>; <i>Weary</i> (Drypoint); <i>Old Westminster
-Bridge</i>; <i>Hungerford Bridge</i> (Etching); <i>The Forge</i> (Drypoint); <i>Monsieur
-Becgis</i> (Etching); <i>The Pool</i> (Drypoint). Two works were on view in
-1864: <i>Wapping</i> and <i>Die Lange Lizen—of the Six Marks</i>. In 1865 he
-exhibited <i>The Golden Screen</i>; <i>Old Battersea Bridge</i>; <i>The Little White
-Girl</i> (with a quotation in the catalogue of fourteen lines from Swinburne);
-and <i>The Scarf</i>. Whistler was not represented in 1866, but in
-1867 exhibited the <i>Symphony in White No. 3</i>; <i>Battersea</i>; and <i>Sea and
-Rain</i>. After a break of two years came <i>The Balcony</i> in the Academy
-of 1870. The next year’s catalogue does not contain his name, but
-in 1872 the Academy accepted that exquisite example of his art, now
-in the Luxembourg, <i>Arrangement in Grey and Black: Portrait of the
-Painter’s Mother</i>. For six years Whistler was an absentee, being represented
-for the last time on the walls of Burlington House, in
-1879, by <i>Old Putney Bridge</i> (Etching).</p>
-
-<div id='i090-1'  class='figcenter id001'>
-<img src='images/i090-1.jpg' alt='' class='ig001' />
-<div class='ic002'>
-<p><span class='small'>PORTRAIT OF THOMAS CARLYLE · J. A. McN. WHISTLER</span></p>
-</div>
-</div>
-
-<div id='i090-2'  class='figcenter id001'>
-<img src='images/i090-2.jpg' alt='' class='ig001' />
-<div class='ic002'>
-<p><span class='small'>PRINCESS OF THE PORCELAIN COUNTRY · J. A. McN. WHISTLER</span></p>
-</div>
-</div>
-
-<p class='c021'>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 direction. The walls of the rooms in Bond Street were
-<span class='pageno' id='Page_91'>91</span>repeatedly adorned by those charming creations known as <i>Nocturnes</i>
-and <i>Symphonies</i>, by the remarkable <i>Valparaiso</i>, by many of the
-portraits, notably <i>Lady Archibald Campbell</i>, <i>Carlyle</i>, and the delightful
-<i>Miss Alexander</i>. Twenty years ago Whistler’s life in London
-and Paris was exceptionally active. In him Society discovered a
-wit of Gallic alertness, and he speedily became one of the most
-prominent characters of the day. Readers will remember the oft-told
-tale of how Whistler sacrificed (with a true Whistlerian light-heartedness)
-much costly Cordovan leather, in order that he might
-create a masterpiece of decoration in the celebrated Leyland mansion.
-Another historic story is the <i>cause célèbre</i> of Whistler <i>v.</i> Ruskin,
-based upon the criticism of a Grosvenor Gallery nocturne as “a pot
-of paint flung in the public face,” with the resultant farthing
-damages. The canvas which called forth this elegant banter
-was that entitled <i>Nocturne in Black and Gold; the Fire Wheel</i>, the
-theme being a display of fireworks in the gardens at Cremorne.
-From a literary point of view, as a writer of biting sarcasm the
-artist scarcely had a peer. One admires that lively <i>jeu d’esprit</i>
-“Ten o’clock,” and the strange mixture of correspondence entitled
-“The Gentle Art of Making Enemies” will not be out of date
-until all the shining lights of the present generation have been
-forgotten.</p>
-
-<p class='c021'>After two years of probationship as an ordinary member, in 1886
-Whistler became President of the Royal Society of British Artists,
-an old-established and hitherto staid and conservative institution.
-His term of office was brilliant and exciting; he himself exhibited
-such wonderful pictures as the <i>Sarasate</i>, and his reputation attracted
-the most talented of the younger artists of the day. The correspondence
-which ensued when Whistler vacated the presidential chair must
-be sought for in “The Gentle Art of Making Enemies.”</p>
-
-<p class='c021'>In Whistler’s work there is a curious yet indefinable influence of
-Japanese painting. In company with most of the Impressionists, he
-was influenced by those Impressionists of another race. This
-influence is to be observed in all modern painting since 1870,
-when artists first commenced to collect examples of the Japanese
-methods.</p>
-
-<p class='c021'>In his later years Whistler preferred the atmosphere of Paris to
-that of London, although he continued to visit occasionally the
-country he described as “humourless and dull.” The artist was
-thoroughly cosmopolitan, and was equally at home in New York,
-Paris, or London. His influence upon the art of to-day has been
-unmistakable, and one has little doubt as to its permanency.
-<span class='pageno' id='Page_92'>92</span>Whistler helped to purge art of the vice of subject, and the belief
-that the mission of the artist is to copy nature.</p>
-
-<div id='i092-1'  class='figcenter id004'>
-<img src='images/i092-1.jpg' alt='' class='ig001' />
-<div class='ic002'>
-<p><span class='small'>ALEXANDER HARRISON</span></p>
-</div>
-</div>
-
-<p class='c021'>Mr. Alexander Harrison is one of those numerous American
-artists who have settled in France, a natural result of French training
-and French sympathies. Inspired by Manet, influenced by Besnard,
-he has painted some of the most successful Impressionist work of
-the last fifteen years. One cannot agree always with Dr. Muther in
-his learned and not altogether satisfactory tomes, but his appreciation
-of Mr. Harrison is so delicate and just that it is worth reproducing.
-“<i>In Arcady</i>,” he writes, “was one of the finest studies of light
-which have been painted since Manet. The manner in which the
-sunlight fell upon the high grass and slender trees, its rays gliding
-over branch and shrub, touching the green blades like shining gold,
-and glancing over the nude bodies of fair women—here over a hand,
-here over a shoulder, and here again over the bosom—was painted
-with such virtuosity, felt with such poetry, and so free from all the
-heaviness of earth, that one hardly had the sense of looking at a
-picture at all.” The luminous painting of Besnard had here reached
-its final expression, and the summit of classic finish was surmounted.
-His third picture was called <i>The Wave</i>. 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 Manet. When Harrison exhibited his <i>Wave</i>, sea-pieces
-by Duez, Roll, and Victor Binet were also in existence; but
-Harrison’s <i>Wave</i> was the best of them all.</p>
-
-<div id='i092-2'  class='figcenter id001'>
-<img src='images/i092-2.jpg' alt='' class='ig001' />
-<div class='ic002'>
-<p><span class='small'>IN ARCADY · ALEXANDER HARRISON</span></p>
-</div>
-</div>
-
-<div id='i092-3'  class='figcenter id001'>
-<img src='images/i092-3.jpg' alt='' class='ig001' />
-<div class='ic002'>
-<p><span class='small'>THE WAVE · ALEXANDER HARRISON</span></p>
-</div>
-</div>
-
-<p class='c021'>Harrison’s vast studio in Paris breathes of the sea. The painter
-is an ardent yachtsman, and traces of his recreation are numerous.
-Here are to be found dozens of canvases, rolled up, piled in bundles,
-hung haphazard against the walls, each one telling some different
-story of the waters. These studies, probably worked upon in the
-neighbourhoods of Pould’hu or Begmiel, are often actually salted
-and sanded by contact with the elements which dash against the
-wild but lovely Breton shores. No modern man paints seascapes
-like Harrison. He produces effects which are evidently the results
-of patient vigil and watching, as well as a vigorous power of brushwork.
-They are transcripts of the ocean, which can only be seen as
-the sun rises out of the east over the waters, pale lilac tints, softly
-fading into citron, or gaining added strength in vermilion or deep
-orange reflected from the passing clouds, whilst sweeping ripples
-(one can almost hear their rhythmic cadence) are gently lost across
-the expanse of ethereal, glistening sand.</p>
-
-<div id='i092-4'  class='figcenter id001'>
-<img src='images/i092-4.jpg' alt='' class='ig001' />
-<div class='ic002'>
-<p><span class='small'>SUNLIGHT ON THE LAKE · CHILDE HASSAM</span></p>
-</div>
-</div>
-
-<p class='c021'>In other pictures we see the tide at full flood; nature is in a
-<span class='pageno' id='Page_93'>93</span>fairer mood, and the universe glows with an exquisite green. The
-waves, of a glassy transparency, are for the moment held in check
-by a supreme power. Such passing phases of Nature Mr. Harrison
-seizes with unerring touch. Another branch of his work, already
-referred to in speaking of the picture <i>In Arcady</i>, are the paintings
-of the nude amidst the actual surrounding of the fields. Part of
-their success may be ascribed to the fact that they have been painted
-in each case in the open air. From the photographs, which Mr.
-Harrison has allowed us to reproduce, both sides of his beautiful
-talent may be judged. Like most Impressionists, his art breathes of
-a love and joy with Nature as seen by a temperament refined,
-distinguished, one may add—aristocratic.</p>
-
-<p class='c021'>In the days when Florida was a primæval wilderness Mr. Harrison
-as a very young man entered the United States Coast Survey.
-Whistler, it may be remembered, commenced his career under the
-auspices of the same department. Florida was just the place for an
-adventurous youth, and Harrison was interested in his work. His
-enthusiasm, coupled with his ability, resulted in being intrusted
-with most of the difficult and sometimes dangerous “reconnaissance”
-engineering scout work that called for lonely jaunts and camping
-out amongst the swamps and lagoons.</p>
-
-<p class='c021'>After four years on the Florida coast the party moved on to
-Puget Sound. The young men connected with the survey had been
-dabbling for some time in the use of water-colours, and Harrison
-found that the artist in him was winning ascendency over the surveyor.
-An argument with the head of the survey settled the matter. Mr.
-Harrison went to San Francisco, and then travelled to Paris, and
-studied under Gérôme. He was in his twenty-sixth year, and conscious
-that his career was midway between success and failure. He
-exhibited at the Salon a picture <i>Châteaux en Espagne</i>, a boy stretched
-on his back in the sand of a warm, dry beach, wrapt in the spell of
-a day-dream. “It was rather symbolic,” said the artist once as he
-gazed at the photograph, “of my own state of mind at that time.”</p>
-
-<p class='c021'>During the next ten years he was engaged in painting nudes in
-the open air. His chief source of inspiration was his friend Bastien-Lepage,
-with whom he travelled to Brittany. Harrison’s first success
-was <i>In Arcady</i>, now in the Luxembourg. A recent journalistic
-interview elicited many interesting facts about Mr. Harrison’s
-method of work. The writer concludes: “Mr. Harrison’s usual
-haunt in Brittany is Begmiel. Here there is a sandy peninsula
-jutting into the sea, whence you can watch the sun go down on the
-one horizon, and the moon come up from the other. He does not
-<span class='pageno' id='Page_94'>94</span>carry his paint-box about with him taking notes. Memory and
-imagination, knowledge and power of visualisation, take psychic
-photographs. It is not to be gathered from this that Mr. Harrison
-is unerring. He has scraped out as many yards of painted canvas as
-any man. But where his strength undeniably exists is in this
-subjective, rather than objective, genius for instantaneous notation.
-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 reconnaissance. He takes his embryonic map (a
-small canvas) and puts down his known points. He knows just
-what spot of colour was here, what broken line there. The more
-he puts down the more he sees, and presently the little map is
-finished. The first map finished a larger size is made, and, if all
-goes well, perhaps one larger still, and we have a great picture like
-any one of those exhibited by the artist at the Salon of the Société
-Nationale.”</p>
-
-<p class='c021'>It is hardly necessary to add that this artist is an officer of the
-Legion of Honour, and has received numerous medals and other
-awards. Of the Franco-American school of painting he is one of the
-recognised heads, and this has been acknowledged by his election to
-the chief art societies of Paris, New York, Berlin, and Munich,
-whilst he is represented in the permanent collections of the
-Luxembourg, the Royal Gallery, Dresden, the Museum at Quimper,
-and the American galleries of Philadelphia, Washington, Chicago,
-St. Louis, and San Francisco.</p>
-
-<div id='i094-1'  class='figcenter id001'>
-<img src='images/i094-1.jpg' alt='' class='ig001' />
-<div class='ic002'>
-<p><span class='small'>CHILDREN · CHILDE HASSAM</span></p>
-</div>
-</div>
-
-<div id='i094-2'  class='figcenter id001'>
-<img src='images/i094-2.jpg' alt='' class='ig001' />
-<div class='ic002'>
-<p><span class='small'>POMONA · CHILDE HASSAM</span></p>
-</div>
-</div>
-
-<div id='i095fp'  class='figcenter id001'>
-<img src='images/i095fp.jpg' alt='' class='ig001' />
-<div class='ic002'>
-<p><span class='small'>A COUNTRY BEER-HOUSE, BAVARIA · MAX LIEBERMANN</span></p>
-</div>
-</div>
-
-<p class='c021'>Childe Hassam is a young American artist who has been strongly
-influenced by Impressionism. Originally from Boston, he worked
-for several years in Paris, and when he returned to the States had
-already some reputation. In New York he has “rendered the street
-life in fresh and fleeting sketches; snow, smoke, and flaring gaslight
-pouring through the shop-windows, quivering out into the night,
-and reflected in an intense blaze upon the faces of men and women.”
-A typical example of his work in this <i>genre</i> is <i>Seventh Avenue, New
-York</i>. Childe Hassam is an associate of the Société Nationale des
-Beaux-Arts, a member of the Secession of Munich, the American
-Water Colour Society, and numerous clubs and societies throughout
-the States. He has received medals at many of the recent International
-Exhibitions, including that of Paris in 1889, whilst he is
-represented in several of the continental and transatlantic galleries.
-Being still young and enthusiastic, much may be expected of
-Mr. Hassam in the future.</p>
-<div class='pbb'>
- <hr class='pb c003' />
-</div>
-<div class='chapter'>
-  <span class='pageno' id='Page_95'>95</span>
-  <h2 class='c011'>CHAPTER XII · A GERMAN IMPRESSIONIST, MAX LIEBERMANN</h2>
-</div>
-<div class='lh c017'>
-
-<p class='c018'>“CE QUE JE CHERCHE AVANT TOUT DANS UN
-TABLEAU, C’EST UN HOMME ET NON PAS UN
-TABLEAU”</p>
-<p class='c019'><i>ZOLA</i></p>
-
-</div>
-<div class='c020'>
-  <img class='drop-capi' src='images/di-g.jpg' width='100' height='100' alt='' />
-</div><p class='drop-capi0_75'>
-GERMANY has been strongly affected by the French
-movement, as in fact has been the whole of the Continent.
-Any person who can remember the state
-of art in the Fatherland twenty years ago will notice
-the great change now taking place. He need only
-revisit the country and wander through the great
-annual exhibitions held in the larger cities, such as Berlin, Munich,
-and Dresden. In 1878 the “Gazette des Beaux-Arts,” referring to
-the German school of painting, said: “There are one or two artists
-of the first rank, and many men of talent, but in other respects
-German painting is still upon the level of the schools which had
-their day amongst us thirty years ago; 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 isolation.” Since that date, in the manner
-of viewing nature, in the choice of subject, in the style, composition,
-technique, and colour of pictures, the main trend of German art has
-been completely altered. Until quite recently Teutonic artists
-delighted in the allegorical. The output of fabulous monsters, fauns,
-unicorns, satyrs, was enormous. Every young painter turned his
-hand to the production of these fantastic mythological subjects.
-Happily a saner view of the mission of art has come over the land,
-and the fauns and satyrs are being gradually relegated to oblivion.
-From an absurd pseudo-classical style (the effect of teaching from
-men like Couture and Munkacsy), together with unlimited use of
-bitumen and black, a national school of painting has been evolved
-which follows “la peinture claire,” giving promise that in time it
-will travel, as regards purity of colour and brilliance of effect, far
-beyond the bounds Monet has restricted himself to. Work “en
-plein air” is the vogue, and no longer the exception, whilst the sun
-is recognised at his true worth in the universal scheme of nature.
-Hitherto King Sol has been disregarded, and his presence but rarely
-indicated in some low-toned sunrise, or a sunset effect—the conventional
-<span class='pageno' id='Page_96'>96</span>chrome-yellow band across a deep Prussian-blue hill distance.
-Following the lead of the artists, both critics and public are being
-gradually weaned from the love of black shadows, although it cannot
-be said that they are wholly converted. Still their education is
-in rapid progress, and the German people will soon be abreast of the
-times in matters artistic.</p>
-
-<p class='c021'>One man, Max Liebermann, has brought about this healthy
-state of things almost single-handed. 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 impressionism,
-for Liebermann is a master, head and shoulders above
-all his colleagues. His artistic history is easy to trace. The greatest
-painters are always primarily attracted by the work of other great
-men. They copy the models of their choice, and, missing some of
-the peculiar qualities enshrined therein, gradually replace them in
-their own works with something equally fine. These fresh qualities
-will in their turn find admirers, and, fanning the zeal of newcomers,
-keep alight throughout the ages the sacred flame of art. If Delacroix
-borrowed from Constable, Manet borrowed from Delacroix,
-and Liebermann from Manet. In his turn, Liebermann has influenced
-a large and increasing number of young German and Dutch artists.</p>
-
-<p class='c021'>With his pre-eminent position as a representative German painter,
-Max Liebermann combines a commanding and active personality.
-More than any other man of his time, his work has provoked discussion
-and attracted attention from the commencement. During
-the last thirty years he has fought strenuously the battle of light in
-painting. Strongly influenced by Manet, Monet, together with
-Millet and the Barbizon school, he has succeeded in inculcating
-amongst his brother artists a love of actuality in subject, a desire to
-work direct from nature (contrary to that old method of painting in
-the semi-gloom of the studio from incongruous models in more or
-less correct costume), together with the simplification and purification
-of the palette. Liebermann has taught German artists to
-look at nature as it is, and not to represent it as seen through the
-veil of a deadening academic tradition; he has taught them that
-art does not consist in a minute finish, that there is no finality in
-nature, and that the last impression which a true work of art should
-convey is that of excessive industry.</p>
-
-<div id='i096'  class='figcenter id001'>
-<img src='images/i096.jpg' alt='' class='ig001' />
-<div class='ic002'>
-<p><span class='small'>THE COBBLERS · MAX LIEBERMANN</span></p>
-</div>
-</div>
-
-<p class='c021'>Max Liebermann was born in Berlin, July 29, 1849, the son of
-a wealthy merchant. At an early age he decided to become an
-artist, but the fulfilment of his wish was opposed by his father, who
-suggested a course of philosophy at the University of Berlin as an
-<span class='pageno' id='Page_97'>97</span>antidote. Young Liebermann joined the faculty of philosophy, but
-at the same time worked in Steffeck’s studio where he made quick
-progress. He assisted his master, we are told, in the battle picture
-<i>Sadowa</i>, painting guns, sabres, uniforms, and hands, with much approbation
-from Steffeck. He frequented the galleries and museums
-in preference to the class-rooms, and preferred to sketch in the
-streets and parks of Berlin rather than sit at the feet of a professor at
-the University. In 1869, with parental authority, he deserted
-philosophy altogether, and joined the Academy at Weimar, then in
-high repute as a school of art producing the regulation painters of
-orthodox pattern. Here he worked for three years under Thumann
-and Pauwels, beginning pictures in their style which were left unfinished.
-The petrified classicalism which reigned in Weimar was
-little acceptable to a youth who had keenly studied the life around
-him, and who had developed a strong love for natural effects as well
-as modernity in technique. These heretical tendencies were sternly
-repressed by his respectable and erudite teachers. At last Liebermann
-threw aside artificiality, and, quitting the circles of the conservative
-Academy, occupied himself in painting in the open air.</p>
-
-<p class='c021'>In 1873 he finished his first great picture, <i>Women plucking Geese</i>,
-now in the National Gallery, Berlin. It was more or less academic
-as to technique, and black tones predominated throughout in accordance
-with the fashion of the period. The subject brought the canvas
-into immediate notoriety, the picture was condemned as a gross vulgarity,
-and Liebermann was described as “the apostle of ugliness.”
-This hostile reception was entirely unexpected by the sensitive artist,
-who was much affected by it, and determined to leave Berlin for
-Paris.</p>
-
-<p class='c021'>Thirty years ago the bituminous method of Munkacsy was the
-most popular art in Germany, and influenced many of the younger
-painters, Liebermann included. Upon his arrival in Paris the artist
-sought out the great Hungarian, and asked for advice. The result of
-the interview was that Liebermann quitted Paris for Holland.
-Munkacsy was at that time, as Dr. Muther remarks, under the
-influence of Ribot, and confirmed Liebermann in his preference for
-heavy Bolognese shadows. It was not until he came to know the
-works of Troyon, Daubigny, and Corot, that he liberated himself
-from the influence of the school of Courbet. As subsequent events
-proved, the advice given by Munkacsy was good and to the point,
-and Liebermann acknowledges his great obligation to the painter of
-<i>Christ before Pilate</i>.</p>
-
-<p class='c021'>The first motive of importance which Liebermann found in the
-<span class='pageno' id='Page_98'>98</span>Low Countries resulted in the picture <i>Women preserving Vegetables</i>,
-completed at Weimar in 1873, and exhibited at the Salon of the same
-year. The subject represents a group of women in a dimly lit barn
-busily engaged in preserving cabbages and other vegetables. The
-canvas, although a great advance upon its predecessors, was
-ungraciously received in Germany. So little appreciation did
-Liebermann receive that he definitely removed to Paris, where he
-knew a welcome awaited him. In “la ville lumière” he worked in
-the schools and museums, studied Troyon, Daubigny, and Millet,
-whilst the influence of Manet, Monet, and the other Impressionists,
-was an important factor in the development of his art.</p>
-
-<div id='i098-1'  class='figcenter id001'>
-<img src='images/i098-1.jpg' alt='' class='ig001' />
-<div class='ic002'>
-<p><span class='small'>ASYLUM FOR OLD MEN, AMSTERDAM · MAX LIEBERMANN</span></p>
-</div>
-</div>
-
-<div id='i098-2'  class='figcenter id001'>
-<img src='images/i098-2.jpg' alt='' class='ig001' />
-<div class='ic002'>
-<p><span class='small'>WOMAN WITH GOATS · MAX LIEBERMANN</span></p>
-</div>
-</div>
-
-<p class='c021'>So strong was his admiration for Millet that he went down to
-Barbizon, where he arrived shortly before the death of that great
-artist. Under the influence of Millet he painted <i>Labourers in the
-Turnip Field</i>, and <i>Brother and Sister</i>, which appeared in the Paris
-Salon of 1876. He now reached the turning-point of his career,
-for he had made up his mind that at all costs he must perfect his own
-individual style. A great unrest, useless to battle against, disorganised
-his movements. He travelled through Belgium, Holland, Germany,
-and Italy, studying and searching for the inspiration which should
-place him in the right path. During these travels he met at Venice
-Lenbach, the portrait-painter, who told him to study in Munich.
-Tired of wandering he acted upon the suggestion, and passed six
-years in the Bavarian capital. For a period his art assumed a religious
-character, and he painted many biblical compositions. These works
-were coldly received, and in Munich they were strongly and
-adversely criticised. The clergy objected to them as profane, and a
-debate on the subject followed in the Bavarian Assembly. The life
-of the artist becoming exceedingly uncomfortable, Liebermann
-settled in Amsterdam, where he found a freer artistic atmosphere more
-congenial to his temperament. Disdaining the critical capacity of his
-native city, Liebermann forwarded all his finest works to Paris, and in
-the Salon of 1881 exhibited <i>An Asylum for Old Men</i>, which gained a
-medal in the third class, the first honour awarded to German art
-since the war. Having received the official imprimatur of Paris, his
-countrymen began to realise that an artist had grown up amongst
-them they could no longer afford to neglect. Liebermann’s works
-found purchasers throughout the Continent, and his future was
-assured. He was elected a member of the “Cercle des Quinze,”
-of which Alfred Stevens and Bastien-Lepage were prominent supporters,
-and he exhibited annually at the Salon Petit and other French
-collections. Since 1884 he has divided his time between Berlin and
-<span class='pageno' id='Page_99'>99</span>the little village of Zandvoort, near Hilversum, in Holland. Perhaps
-his early experiences account for the fact that when in the German
-capital he mixes little with its artistic society.</p>
-
-<p class='c021'>Liebermann has practised with success and ability every variety
-of artistic expression. His portraits alone would class him amongst
-the masters, taking as examples the <i>Burgomeister Petersen</i>, the <i>Professor
-Virchow</i>, and the <i>Gerhart Hauptmann</i>. He is equally facile with the
-burin, the needle, the pastel, or with water-colours. His activity is
-ceaseless, and his production, in consequence, enormous; he possesses
-robust health, uncommon strength, enormous fertility, traits common
-to the great artists of all ages.</p>
-
-<p class='c021'>In his fine canvas of the <i>Courtyard of the Orphanage, Amsterdam</i>,
-painted in 1881, Liebermann shows for the first time complete
-emancipation from the thrall of Munkacsy’s influence. The picture
-was exhibited in the Salon of 1882, and in it appears that peculiar
-note of red, now one of the distinguishing features of the artist’s
-work. Of this canvas Hochédé, the Parisian art critic, said that
-Liebermann must surely have been stealing sunbeams to paint with.
-Then commenced a long series of pictures such as the <i>Ropeyard</i>, the
-<i>Netmenders</i>, now one of the most valued pictures in the modern
-section of the Gallery at Hamburg, in which the Impressionist spirit
-is clearly manifested. The unimportant has been omitted, and the
-pith of the subject only is given. The point of view is focused, the
-inconsequent suppressed, and the “mise en scène” proves the artist
-to be an irreproachable draughtsman, as well as a colourist of the
-first rank. Liebermann’s pictures of “sous bois” are particularly
-pleasing, strikingly painted and original; they were the first of
-their kind in Germany, and disconcerted the whole artistic community.</p>
-
-<p class='c021'>In following the progress of Liebermann’s art, one notes that he
-is attracted unceasingly by problems of light. If Manet is the great
-apostle of “plein air” painting, 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 painting. His gradual emancipation
-from tradition may be easily traced from the days of <i>Women plucking
-Geese</i>, when he was with justice called a “son of darkness”; through
-the “sous bois” pictures, to the present period of vivid sunlight
-and violet shadows across open country, sea, and the human
-figure.</p>
-
-<p class='c021'>Liebermann headed the party which revolted from the National
-Salon, and of the Secessionists he is the president. Similar cleavages
-<span class='pageno' id='Page_100'>100</span>of the young and progressive from the old and reactionary have taken
-place in most countries with equally important results. In Max
-Liebermann Germany has an artist of most exceptional gifts. “I do
-not seek for what is called the pictorial,” he writes, “but I would
-grasp nature in her simplicity and grandeur—the simplest thing and
-the hardest.”</p>
-
-<div  class='figcenter id003'>
-<img src='images/i100.jpg' alt='' class='ig001' />
-</div>
-
-<div class='pbb'>
- <hr class='pb c000' />
-</div>
-<div class='chapter'>
-  <span class='pageno' id='Page_101'>101</span>
-  <h2 class='c011'>CHAPTER XIII · INFLUENCES AND TENDENCIES</h2>
-</div>
-<div class='lh c017'>
-
-<p class='c018'>“C’EST L’AFFIRMATION GRANDIOSE DE L’EFFORT
-VERS LE BEAU QUE CERTAINS ARTISTES INDÉPENDANTS
-TRAITÈRENT À UN MOMENT DONNÉ EN
-DEHORS DE LA TRADITION ET DES FORMULES
-ACQUISES”</p>
-<p class='c019'><i>GEORGES LECOMTE</i></p>
-
-</div>
-<div class='c020'>
-  <img class='drop-capi' src='images/di-i.jpg' width='100' height='100' alt='' />
-</div><p class='drop-capi0_75'>
-IT is the fashion nowadays amongst a certain class of
-art-critics to adopt the pessimistic note. They laud
-the past, deplore the present, and display sympathetic
-alarm for the future of art and artists. Should a
-modern manifestation of art be under discussion, some
-phase undeniably good and universally accepted by
-those best qualified to form an opinion, these critics
-recognise it with a guarded qualification and a prophecy of its
-speedy decadence in the immediate future; and these depreciatory
-remarks are extended to all those artists who have been attracted by
-the new movement and have ranged themselves under its banner.
-It has always been so. In the art literature of the past we read of
-Delacroix and the decadence, of Corot and the downfall, of Monet
-and the abyss. There are still living in France aged and honoured
-professors, members of the Institute and of the Salon juries, who
-believe that the teaching of Claude Monet has been a national
-calamity. They hold that art no longer exists, having been
-destroyed by these dreadful innovations. Is it not strange that the
-birth of new methods, rather than the death of old ones, should be
-heralded with melancholy head-shakings, with frequent and wrathful
-imprecations upon the impious intruders! Time rights all things.
-The new to-day is old to-morrow, the exotic becomes classic, and
-one more page is added to the history of the evolution of art.</p>
-
-<p class='c021'>Nothing is more amazing than to read in the daily and weekly
-press of the “pernicious influence” and decadence of modern French
-art, criticisms the more astonishing as the present age is one of
-universal travel and liberal ideas. French art is in no such parlous
-state, and never, at any period of its history, displayed stronger signs
-of vitality. Never was its activity greater, nor its influence, poetry,
-and gaiety better for the general good of the nation. Such wild
-accusations are unjustifiable, hypocritical, and themselves pernicious.
-French influence dominates the work of the most successful painters
-<span class='pageno' id='Page_102'>102</span>and sculptors throughout the world. The art of such men as La
-Thangue, Edward Stott, Alfred East, Peppercorn, Bertram Priestman,
-Arnesby Brown, Fred Footet, John Lavery, Macaulay Stevenson,
-Edwin Abbey, John S. Sargent, George Clausen, and the men of the
-Glasgow school, is unquestionably derived from Paris, a city we are
-asked to believe is decadent in art matters. Of these artists it may
-be said that the majority were educated in Paris. It is well to
-acknowledge candidly that, although in the days of Gainsborough,
-Turner, Constable, and the other members of that brilliant band,
-English art led the world, to-day we must look to “la ville
-lumière” for instruction and inspiration. The fact is proved by the
-enormous preponderance of students of all nationalities who flock to
-Paris for the completion of their art education. In other words,
-French art is the leading art of the day, and will remain so for
-many years to come.</p>
-
-<p class='c021'>Let any unbiased observer compare the two magnificent Salons
-of Painting and Sculpture held annually in Paris with the English
-Royal Academy, New Gallery, and British Artists’ Exhibitions.
-Note that France houses her artists in some of the most beautiful
-palaces in the world, then think of London. Observe the high
-average quality of the exhibits, their astounding technical excellence,
-the courage of the artists, and their bold experiments in untrodden
-paths, their extraordinary originality and diversity of temperament.
-They are not content with an ephemeral success, or the stereotyped
-reproduction of popular playthings. The contributors are cosmopolitan
-in nationality, for, provided the necessary passport of
-talent, Paris welcomes the stranger. Where in Great Britain can
-the foreigner, even if he possess acknowledged genius, be sure of
-meeting with a sympathetic reception and fair play from a Hanging
-Committee? He is fortunate if he escapes public ridicule. The
-Continental artist has learnt this lesson and troubles us no more, to
-the blight of our national education and the detriment of our taste.
-This blot upon our reputation for common sense has been to some
-extent redeemed of recent years by the International Society of
-Painters, Sculptors, and Gravers. Perhaps its intermittent exhibitions
-will rehabilitate our name abroad, and incidentally aid in revivifying
-our national taste.</p>
-
-<p class='c021'>Recall haphazard the names of a few artists who are at the
-present moment exhibiting in France. Aman-Jean, Barillot, Binet,
-Besnard, Billotte, Bracquemond, Cottet, Chèret, Carrière, Cassatt,
-Cazin, Dagnan-Bouveret, Daillon, Dameron, Didier-Pouget, Degas,
-d’Espagnat, Forain, Fantin-Latour, Geffroy, Gosselin, Gaston la
-<span class='pageno' id='Page_103'>103</span>Touche, Gagliardini, Guillaumin, Harpignies, Henner, Lhermitte,
-Le Sidaner, Meunier, Marais, Monet, Menard, Maufra, Montenard,
-Pointelin, Ribot, Rigolot, Raffaëlli, Rodin, Renoir, Roybet, Ziem.
-This list can be extended indefinitely by the addition of the names
-of artists of the rarest temperaments. The art of the whole of the
-rest of the world cannot surpass the productions of these men.</p>
-
-<p class='c021'>The state of the plastic arts in England is deplorable. If it be
-not soon remedied, we shall be compelled to go abroad for any statues
-needed. The little sculpture we have is frequently excellent, but its
-output is so insignificant that it cannot possibly be compared with
-the sculpture of France. The art cannot flourish in England whilst
-there are so few public commissions, or wealthy patrons. Financially
-the painter’s career is bad enough, but, as a remunerative profession,
-sculpture does not exist. Look around the galleries in London
-during the height of the season, and note the quite insignificant
-amount of sculpture exhibited. Many of the London galleries
-exclude it altogether, and in the provincial collections it is
-practically non-existent. If there is any it is systematically
-overlooked by visitors, and as for sales—! one never hears of such a
-thing. Then remember Paris with its immense annual production
-of excellent sculpture, and the admirable manner in which the State
-fosters this great art.</p>
-
-<p class='c021'>If we take monuments and statues in public places as the fittest
-expression of national gratitude, we are sadly lacking. Where in
-England can we find monuments in perpetuation of the memory of
-such mighty painters as Turner, Reynolds, Gainsborough, Constable,
-Romney, and a score besides. If we possess such monuments, they
-are certainly hidden away from the sight of both native and
-stranger, and the latter frequently remarks upon their absence. In
-France the birthplaces of these artists would have raised some
-remembrance, whilst the capital city in which they laboured would
-surely have had its statues and collegiate endowments to perpetuate
-their spirit. An example can be quoted from the little country
-town in which these lines are being written. Here in Les Andelys,
-in the most prominent position, are two statues. One of them is as
-fine a memorial as can be seen in any capital city of Europe. The
-men so honoured in imperishable bronze are not kings, generals,
-statesmen, or even local benefactors. They are merely artists, and
-one of them (the son of an Englishwoman) is but distantly allied to
-the countryside. Chaplin and Poussin, two artists of thoughtful,
-gentle lives, of obscure birth, without fortune or influence, yet
-possessors, in some degree, of the ennobling fire of genius. Of these
-<span class='pageno' id='Page_104'>104</span>men the simple townspeople are exceedingly proud, and in such
-pride we see the whole spirit of the nation. France delights to
-honour genius, and the intelligent foreigner, noting these things,
-will pay little heed to stories that decadence and pernicious
-influences are the outcome of such a feeling.</p>
-
-<p class='c021'>Following the lead of Paris, American painters may be said to
-have adopted “la peinture claire” almost to a man. Germany also
-has revolted, and the Secessionist movement, with Liebermann at its
-head, has gathered together the most vigorous talent in modern
-German art. Clean painting in a pure and healthy atmosphere now
-reigns supreme. Spain and Italy have also been deeply affected, and
-in both of these countries there is a marked recrudescence of that
-fine talent which in times past distinguished the two peninsulas.
-Together with this increasing activity is happily to be noted a
-commensurate degree of financial encouragement. Enormous sums
-yearly change hands in Germany alone for the products of the new
-school, irrespective of nationality. The sales recorded at the annual
-exhibitions in Berlin, Munich, Dresden, and Dusseldorf average
-about twenty times the amounts received at the Royal Academy,
-and it is clear that Germany intends to take as leading a position in
-the arts as she is doing in commerce.</p>
-
-<p class='c021'>The tendency in England appears to be retrograde. Modern
-Dutch art reigns as the present fashion, its propagation admirably
-engineered, its influence widespread. The pictures <i>à-la-mode</i> are
-those with foggy, sombre grey skies in heavy unatmospheric paint.
-They give us damp discoloured tenements, shipping the colour of
-coal-tar, clumsy barges, malodorous canals, ugly toil-broken humanity,
-the whole as unromantic, depressing, and dyspeptic as can be
-imagined. The seal of official approbation has been secured for this
-kind of thing, and the Mansion House requisitioned for its display.
-This poetry of the prosaic has been generally accepted, and never
-have times been better for the sturdy, plodding producer of Dutch
-pictures. As it is the dark and sordid side of Nature that appeals
-most forcibly to these men, we shall, within a given time, develop a
-whole race of “Nubians” of our own. Finally we shall deny the
-very existence of the sun and all he represents in our limited share
-of life.</p>
-
-<p class='c021'>The cult of sun-worship, of joy in sparkling colour, of pure
-health-bringing open-air art must, sooner or later, predominate in
-England as it already predominates throughout the world. The
-mission of Impressionism is to depict beauty that elevates, light that
-cheers. In their struggle for this mastery of light, Impressionist
-<span class='pageno' id='Page_105'>105</span>painters have often in the past sacrificed many of the qualities which
-go towards the making of a picture, and have thus incurred public
-displeasure. Their subjects have been chosen at random, and they
-have gained their effects often regardless of composition. The
-artists were far too much occupied by technical difficulties to care
-about picture-making, and the results, mere studies, were not
-intended as pictures. They were the necessary experiments
-incidental to the invention of “Impressionism.” Yet how preferable
-are these “studies” to the ordinary canvases of commerce, and how
-treasured they are at the present day. Now that the material
-difficulties have been overcome, and settled methods achieved, this
-reproach will disappear, and we may confidently look to the
-Impressionist picture for all those qualities which go to the making
-of a perfect work of art.</p>
-
-<p class='c021'>In the canvases of Vincent Van Gogh, Gauguin, Claus, Maufra,
-d’Espagnat, Liebermann, Harrison, Besnard, Le Sidaner, and many
-others of the later school, will be found not only colour, rich light,
-and subtly strong harmonies, but a feeling for beauty of line,
-composition, rhythm of movement. Our admiration for the great
-men of 1870 must not blind us to the fact that there are others; the
-road is not barred, and many of the followers are of great strength.
-The pioneers having opened up the new territory, the gift is free
-and all are welcome.</p>
-
-<div  class='figcenter id003'>
-<img src='images/i105.jpg' alt='' class='ig001' />
-</div>
-
-<div class='pbb'>
- <hr class='pb c000' />
-</div>
-<div class='chapter'>
-  <span class='pageno' id='Page_107'>107</span>
-  <h2 class='c011'>APPENDIX</h2>
-</div>
-<h3 class='c026'>(<i>a</i>) THE SCIENTIFIC ASPECT OF IMPRESSIONISM</h3>
-
-<p class='c027'>The clearest explanation of the scientific theory of colouring is to be found
-in the treatise written by Chevreul. First published in France in 1838, it
-met with great success, and was translated into English in 1854 by Charles
-Martel. Chevreul remains the standard authority, although he has been
-followed by Helmholtz, Church, Rood, and others.</p>
-
-<p class='c021'>Given the necessary competence for accuracy in draughtsmanship, and
-considerable practice in the manipulation of colour, the art-student may take
-the field, and not before; for Impressionist painting demands the highest
-artistic capability. Firstly, he will discover that Impressionists worship light,
-using the trees, rocks, rivers, &amp;c. of landscape, as so many vehicles for the
-conveyance of luminous impressions to the eye. This quality of atmosphere
-distinguishes Impressionist pictures from all others; here will be found
-what Brownell, Chevreul, MacColl, and Mauclair, have to say upon the
-subject. Secondly, the art-student will perceive the vital necessity of correct
-values within a general tone, a subject also enlarged upon by the above
-writers. Thirdly, some reference is given to the modern study of shadows
-and reflections, with regard to their influence and treatment.</p>
-
-<p class='c021'>The following lines, extracted from “The French Impressionists,” by
-Camille Mauclair, sum up definitely the Impressionist Idea.</p>
-
-<p class='c028'>“In nature no colour exists by itself. The colouring of the objects is a
-pure illusion: the only creative source of colour is the sunlight which
-envelops all things, and reveals them, according to the hours, with infinite
-modifications.... Only artificially can we distinguish between outline and
-colour; in nature the distinction does not exist.... A value is the degree
-of dark or light intensity, which permits our eyes to comprehend that one
-object is further or nearer than another.... The values are the only means
-that remain for expressing depth on a flat surface. Colour is therefore the
-procreatrix of design. Colour being simply the irradiation of light, it follows
-that all colour is composed of the same elements as sunlight, namely the seven
-tones of the spectrum.... The colours vary with the intensity of light.
-There is no colour peculiar to any object, but only more or less rapid
-vibration of light upon its surface. The speed depends, as is demonstrated by
-optics, on the degree of the inclination of the rays which, according to their
-vertical or oblique direction, give different light and colour.... What has
-to be studied therefore in these objects, if one wishes to recall their colour to
-<span class='pageno' id='Page_108'>108</span>the beholder of a picture, is the composition of the atmosphere which
-separates them from the eye. This atmosphere is the real subject of the
-picture, and whatever is represented upon it only exists through its medium.
-A second consequence of this analysis of light is, that shadow is not absence
-of light, but light of <i>a different quality</i> and of different value. Shadow is not
-a part of the landscape where light ceases, but where it is subordinate to a
-light which appears to us more intense. In the shadow the rays of the
-spectrum vibrate with different speed. The third conclusion resulting from
-this: the colours in the shadow are modified by <i>refraction</i>.... The colours
-mixed on the palette compose a dirty grey.... Here we touch on the very
-foundations of Impressionism. The painter will have to paint with only the
-seven colours of the spectrum, and discard all the others; that is what Claude
-Monet has done boldly, adding to them only black and white. He will,
-furthermore, instead of composing mixtures on his palette, place on his canvas
-touches of none but the seven colours <i>juxtaposed</i>, and leave the individual rays
-of each of these colours to blend at a certain distance, so as to act like sunlight
-itself upon the eye of the beholder.”</p>
-<div class='lg-container-l c029'>
-  <div class='linegroup'>
-    <div class='group'>
-      <div class='line'><span class='sc'>Camille Mauclair.</span></div>
-      <div class='line'>(“The French Impressionists.”)</div>
-    </div>
-  </div>
-</div>
-
-<p class='c030'>“Take a landscape with a cloudy sky, which means diffused light in the
-old sense of the term, and observe the effect upon it of a sudden burst of
-sunlight. What is the effect when considerable portions of the scene are
-suddenly thrown into marked shadow, as well as others illuminated with
-intense light? Is the absolute value of the parts in shadow lowered or raised?
-Raised, of course, by reflected light. Formerly, to get the contrast between
-sunlight and shadow in proper scales, the painter would have painted the
-shadows darker than they were before the sun appeared. Relatively they are
-darker, since their value, though heightened, is raised infinitely less than the
-value of the parts in sunlight. Absolutely their value is raised considerably.
-If therefore they are painted lighter than they were before the sun appeared,
-they in themselves seem true. The part of Monet’s picture that is in shadow
-is measurably true, far truer than it would have been if painted under the old
-theory of correspondence, and had been unnaturally darkened to express the
-relations of contrast between shadow and sunlight. Scale has been lost. What
-has been gained? Simply truth of impressionistic effect. Why? Because
-we know and judge and appreciate and feel the measure of truth with which
-objects in shadow are represented; we are insensibly more familiar with them
-in nature than with objects directly sun-illuminated, 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 overpowering. In a word,
-in sunlit landscapes objects in shadow are what customarily and unconsciously
-we see and note and know, and the illusion is greater if the relation between
-them and the objects in sunlight, whose value habitually we do not note, be
-neglected or falsified. 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 time, and his astonishing ‘trompe d’œil’ is,
-<span class='pageno' id='Page_109'>109</span>I think, explained. Each part is truer than ever before, and unless one have
-a specially developed sense of ‘ensemble’ in this very special matter of values
-in and affected by sunlight, one gets from Monet an impression of actuality so
-much greater than he has ever got before, that one may be pardoned for
-feeling, and even for enthusiastically proclaiming, that in Monet realism finds
-its apogee. Monet paints absolute values in a very wide range, plus sunlight,
-as nearly as pigments can be got to represent it.”</p>
-
-<div class='lg-container-l c029'>
-  <div class='linegroup'>
-    <div class='group'>
-      <div class='line'><span class='sc'>W. C. Brownell.</span></div>
-      <div class='line'>(“Realistic Painting.”)</div>
-    </div>
-  </div>
-</div>
-
-<p class='c030'>“Impressionism is the art that surveys the field and determines which of
-the shapes and tones are of chief importance to the interested eye, enforces
-these, and sacrifices the rest.</p>
-
-<p class='c031'>“If three objects, A, B, and C, stand at different depths before the eye, we
-can at will fix A, whereupon B and C must fall out of focus, or B, whereupon
-A and C must be blurred, or C, sacrificing the clearness of A and B. All this
-apparatus makes it impossible to see everything at once with equal clearness,
-enables us, and forces us for the uses of real life, to frame and limit our
-picture, according to the immediate interest of the eye, whatever it may be.</p>
-
-<p class='c031'>“The painter instinctively uses these means to arrive at the emphasis and
-neglect that his choice requires. If he is engaged on a face he will screw his
-attention to a part and now relax it, distributing the attention over the whole
-so as to restore the bigger relations of aspect.</p>
-
-<p class='c031'>“Sir J. Reynolds describes this process as seeing the whole ‘with the
-dilated eye;’ the commoner precept of the studios is, ‘to look with the eyes
-half closed.’ In any case the result is the minor planes are swamped in
-bigger, that smaller patches of colour are swept up into broader, that
-markings are blurred.</p>
-
-<p class='c031'>“The Impressionist painter does not allot so much detail to a face in a
-full-length portrait as to a head alone, nor to twenty figures on a canvas as
-to one.”</p>
-<div class='lg-container-l c029'>
-  <div class='linegroup'>
-    <div class='group'>
-      <div class='line'><span class='sc'>D. S. MacColl.</span></div>
-      <div class='line'>(“Encyclopædia Britannica.”)</div>
-    </div>
-  </div>
-</div>
-
-<p class='c030'>“The discovery of these Impressionists consists in having thoroughly
-understood the fact that strong light discolours tones, and that sunlight
-reflected by the various objects in nature, tends from its very strength of light
-to bring them all up to one uniform degree of luminosity, which dissolves the
-seven prismatic rays in one single colourless lustre, which is the light....
-Impressionism, in those works which represent it at its best, is a kind of
-painting which tends towards phenomenism, towards the visibility and the
-signification of things in space, and which wishes to grasp the synthesis of
-things as seen in a momentary glimpse.... One has now the right to say,
-without provoking an outcry, 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
-years.”</p>
-<p class='c032'><span class='sc'>Geffroy.</span></p>
-<p class='c030'><span class='pageno' id='Page_110'>110</span>“Two coloured surfaces in juxtaposition will exhibit the modification to
-the eye viewing them simultaneously, the one relative to the height of tone of
-their respective colours, the other relative to the physical composition of these
-same colours.... We must not overlook the fact, that whenever we mix
-pigments to represent primitive colours, we are not mixing the colours of the
-solar spectrum, but mixing substances which painters and dyers employ as
-Red, Yellow, and Blue colours.... All the primary colours gain in
-brilliancy and purity by the proximity of Grey.... Grey in association with
-sombre colours, such as Blue and Violet, and with broken tints of luminous
-colours, produces harmonies of analogy which have not the vigour of those
-with Black; if the colours do not combine well together, it has the advantage
-of separating them from each other.... Distant bodies are rendered sensible
-to the eye, only in proportion as they radiate, or reflect, or transmit the light
-which acts upon the retina.”</p>
-<p class='c032'><span class='sc'>Chevreul.</span></p>
-<p class='c030'>“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 water.... One must seek
-above all else in a picture for some manifestation of the artist’s spiritual state,
-for a portion of his reverie.... In the career of an artist, one must have
-conscience, self-confidence and perseverance. Thus armed the two things in
-my eyes of the first importance are the severe study of drawing and of values.”</p>
-<p class='c033'><span class='sc'>Corot.</span></p>
-<h3 class='c026'>(<i>b</i>) SALES AND PRICES</h3>
-
-<p class='c025'>For future comparison it will be interesting to note some results reached
-at recent sales of Impressionist paintings. Pictures which, in the early
-seventies, were unsaleable for five pounds, now average from £500 to £800
-apiece, with a tendency to go much higher. A sale at New York, in
-December 1902, of seventeen pictures by members of the Impressionist and
-Barbizon schools, produced nearly £40,000, an average of £2300 for each
-canvas. The last great public sale by auction was “La Vente Chocquet” at
-the Petit Galerie, Paris, July 1, 1899. A few days previous to the sale the
-writer had a long conversation with Claude Monet at Giverny. Discussing
-the coming event, which was already exciting much press comment, Monet
-told how the late Père Chocquet, as he was affectionately called, a “chef du
-bureau” in the Department of Finance, had been a tower of strength to the
-early Impressionists. He encouraged them, foretold ultimate triumph,
-invested every franc of his savings in the purchase of their works, at prices
-ranging from £2 to £10. Late in life M. Chocquet inherited, quite
-unexpectedly, a large fortune. The Impressionists anticipated much, and the
-studios were jubilant. Long cherished plans were rediscussed; the Chocquet
-legacy was to be the source of a golden stream. But a great disappointment
-was to come. With the increase of M. Chocquet’s riches came the decrease
-and final extinction of M. Chocquet’s taste. He never bought another
-picture!</p>
-
-<p class='c013'><span class='pageno' id='Page_111'>111</span>Throughout the three days’ sale, the gorgeous rooms of M. Georges
-Petit were crowded, although many well-known and wealthy buyers were
-absent owing to the lateness of the season. Amongst the distinguished
-collectors and dealers, from all parts of Europe and America, were the Counts
-de Camondo, Gallimard, de Castellane, the Marquis de Charnacé, the Barons
-Oberkampff and de Saint-Joachim, and Messieurs Degas, Cheramy, de St.
-Léon, de la Brunière, de Léclanché, Clerq, Muhlbacher, Ligneau, André
-Sinet, Antonin Proust, Escudier, Natanson, de Laivargott, Bigot, Ferrier,
-Marcel, Cognet, Durey, Zacharian, Moreau-Latour, Mittmann, Durand-Ruel,
-Bernheim, Allard, Montagnac, Vollard, Boussod, Rosemberg, and Camemtron,
-Monet’s <i>La Prairie</i> realised 6400 francs, <i>Les Meules</i> 9000 francs, <i>Falaise à
-Varengeville</i> 9500 francs, and <i>La Seine à Argenteuil</i> was knocked down to
-M. d’Hauterive for 11,500 francs. Renoir’s works fetched between ten and
-twenty thousand francs. Manet’s <i>Portrait of Claude Monet in his Studio</i>, which
-was sold after Manet’s death for 150 francs, changed hands at 10,000 francs.</p>
-
-<p class='c013'>At the Vever sale in 1897, Monet’s <i>Le Pont d’Argenteuil</i> realised 21,500
-francs.</p>
-<h3 class='c026'>(<i>c</i>) SOME COLLECTORS OF IMPRESSIONIST PICTURES</h3>
-
-<p class='c025'>The following list contains the names of the chief private collectors of
-Impressionist pictures. Though incomplete it will be noted that almost
-every country is represented:</p>
-
-<div class='lg-container-l'>
-  <div class='linegroup'>
-    <div class='group'>
-      <div class='line'><span class='sc'>Alexandre, M. Arsène</span></div>
-      <div class='line'><span class='sc'>Astor, John Jacob</span></div>
-      <div class='line'><span class='sc'>Bathmont, Madame</span></div>
-      <div class='line'><span class='sc'>Béarn, Comtesse de</span></div>
-      <div class='line'><span class='sc'>Bernheim, fils, M.</span></div>
-      <div class='line'><span class='sc'>Blanquet, Baron</span></div>
-      <div class='line'><span class='sc'>Cahen, M. Gustave</span></div>
-      <div class='line'><span class='sc'>Camondo, Comte Isaac de</span></div>
-      <div class='line'><span class='sc'>Chauveau, Frédéric</span></div>
-      <div class='line'><span class='sc'>Cochin, M. Denis</span></div>
-      <div class='line'><span class='sc'>Coquelin Frères</span></div>
-      <div class='line'><span class='sc'>Curel, M. de</span></div>
-      <div class='line'><span class='sc'>Decup, M.</span></div>
-      <div class='line'><span class='sc'>Dupeaux, M.</span></div>
-      <div class='line'><span class='sc'>Dupux, Dr.</span></div>
-      <div class='line'><span class='sc'>Durand-Ruel et Fils</span></div>
-      <div class='line'><span class='sc'>Duret, M. Theodore</span></div>
-      <div class='line'><span class='sc'>Ephrussi, M. Chas.</span></div>
-      <div class='line'><span class='sc'>Feydeau, M. M.</span></div>
-      <div class='line'><span class='sc'>Forward, M.</span></div>
-      <div class='line'><span class='sc'>Gachet, Dr.</span></div>
-      <div class='line'><span class='sc'>Gonjon, M. S.</span></div>
-      <div class='line'><span class='sc'>Havinimann, Madame</span></div>
-      <div class='line'><span class='sc'>Havemeyer, M.</span></div>
-      <div class='line'><span class='sc'>Hersch, M.</span></div>
-      <div class='line'><span class='sc'>Hete, M. de</span></div>
-      <div class='line'><span class='sc'>Hohentschel</span></div>
-      <div class='line'><span class='sc'>Joubert, M.</span></div>
-      <div class='line'><span class='sc'>Kakoreff</span></div>
-      <div class='line'><span class='sc'>Lehrmann</span></div>
-      <div class='line'><span class='sc'>Maddocks, J.</span></div>
-      <div class='line'><span class='sc'>Marchant, W. S.</span></div>
-      <div class='line'><span class='sc'>Marker</span></div>
-      <div class='line'><span class='sc'>Marsden, S.</span></div>
-      <div class='line'><span class='sc'>Mesdag</span></div>
-      <div class='line'><span class='sc'>Monnier, M.</span></div>
-      <div class='line'><span class='sc'>Morosoff, Ivan</span></div>
-      <div class='line'><span class='sc'>Murer, M.</span></div>
-      <div class='line'><span class='sc'>Paquin, M.</span></div>
-      <div class='line'><span class='sc'>Pawson, T.</span></div>
-      <div class='line'><span class='sc'>Pelerin, M. Auguste</span></div>
-      <div class='line'><span class='sc'>Petit, M. Georges</span></div>
-      <div class='line'><span class='sc'>Priestley, W. E. B.</span></div>
-      <div class='line'><span class='sc'>Pripper</span></div>
-      <div class='line'><span class='sc'>Ronnell, Max</span></div>
-      <div class='line'><span class='sc'>Rothschild, Baronne Gustave de</span></div>
-      <div class='line'><span class='pageno' id='Page_112'>112</span><span class='sc'>Rothschild, Baron Henri de</span></div>
-      <div class='line'><span class='sc'>Ruel, M.</span></div>
-      <div class='line'><span class='sc'>Rous, M.</span></div>
-      <div class='line'><span class='sc'>Samuel, M.</span></div>
-      <div class='line'><span class='sc'>Schlesinger, M.</span></div>
-      <div class='line'><span class='sc'>Schmitz, M.</span></div>
-      <div class='line'><span class='sc'>Schulte, Herr</span></div>
-      <div class='line'><span class='sc'>Schumann, M.</span></div>
-      <div class='line'><span class='sc'>Smith, J. W.</span></div>
-      <div class='line'><span class='sc'>Sota, Signor de la</span></div>
-      <div class='line'><span class='sc'>Strauss, Guido</span></div>
-      <div class='line'><span class='sc'>Strauss, Jacques</span></div>
-      <div class='line'><span class='sc'>Strauss, Jules</span></div>
-      <div class='line'><span class='sc'>Tesigmann, M.</span></div>
-      <div class='line'><span class='sc'>Tschudi, Herr von</span></div>
-      <div class='line'><span class='sc'>Vanderbilt</span></div>
-      <div class='line'><span class='sc'>Van der Velde, M.</span></div>
-      <div class='line'><span class='sc'>Vanier, M.</span></div>
-      <div class='line'><span class='sc'>Viau, M. Georges</span></div>
-      <div class='line'><span class='sc'>Vlieyere, M. de</span></div>
-      <div class='line'><span class='sc'>Waldeck-Rousseau, M.</span></div>
-      <div class='line'><span class='sc'>Wills, Sir W. H.</span></div>
-      <div class='line'><span class='sc'>Zygomalco, M.</span></div>
-    </div>
-  </div>
-</div>
-
-<div  class='figcenter id003'>
-<img src='images/i112.jpg' alt='' class='ig001' />
-</div>
-
-<div class='pbb'>
- <hr class='pb c034' />
-</div>
-<div class='chapter'>
-  <span class='pageno' id='Page_113'>113</span>
-  <h2 class='c011'>BIBLIOGRAPHY</h2>
-</div>
-<p class='c035'><span class='sc'>Arsène Alexandre</span>:</p>
-<p class='c036'>                            Préface du catalogue de l’exposition des œuvres de
-                             Camille Pissarro. Paris, April 1891.</p>
-
-<p class='c036'>                            Claude Monet, <i>L’Éclair</i>. Paris, 26 May 1895.</p>
-
-<p class='c036'>                            <span class='small'>· An article with portrait.</span></p>
-
-<p class='c036'>                           Préface du catalogue de l’exposition des œuvres de
-                             Renoir. Paris, May 1893.</p>
-
-<p class='c036'>                           Préface du catalogue des Tableaux Modernes,
-                             collection de M. Jules Strauss, MM. Paul
-                             Chevallier et Bernheim jeune. Paris.</p>
-
-<p class='c036'>                                  <span class='small'>· A magnificently illustrated record of a collection
-                                     belonging to wealthy connoisseurs;
-                                     much sought after by collectors.</span></p>
-
-<p class='c036'>                           Histoire populaire de la peinture, École Française.
-                             H. Laurens, Paris.</p>
-
-<p class='c036'>                                   <span class='small'>· A concise history of French art, with 250
-                                     illustrations, by the art critic of the
-                                     <i>Figaro</i>.</span></p>
-
-<p class='c036'>                           Le “Balzac” de Rodin. H. Floury, Paris.</p>
-
-<p class='c036'>                                   <span class='small'>· A witty defence of Rodin’s statue, together
-                                     with a scathing attack upon public taste
-                                     generally.</span></p>
-
-<p class='c036'>                           Préface du catalogue de l’exposition des œuvres
-                             d’Armand Guillaumin. Durand-Ruel, Paris.</p>
-
-<p class='c036'>                                   <span class='small'>· A sympathetic essay upon the artist’s career.</span></p>
-
-<p class='c036'>                           Préface du catalogue de l’exposition des œuvres de
-                             Zandomeneghi. Paris, 1893.</p>
-<p class='c037'>A. M.:</p>
-
-<p class='c036'>                            Les artistes à l’atelier—Camille Pissarro et A. Renoir.
-                             “L’Art dans les Deux Mondes.” Paris, 6th
-                             and 31st Jan. 1891.</p>
-<p class='c037'>“<span class='sc'>Art Journal</span>”:</p>
-
-<p class='c036'>                            Some remarks upon Impressionism; with.</p>
-<p class='c037'><span class='sc'>G. Albert Aurier</span>:</p>
-
-<p class='c036'>                           Le Néo-Impressionisme (Camille Pissarro). <i>Mercure
-                             de France</i>, Paris, 1895.</p>
-
-<p class='c036'>                           Le Syncholisme en peinture (Paul Gauguin).
-                             <i>Mercure de France</i>, Paris, March 1891.</p>
-
-<p class='c036'>                           L’Impressionisme (Monet et Renoir). <i>Mercure de
-                             France</i>, Paris, 1893.</p>
-<p class='c037'><span class='pageno' id='Page_114'>114</span><span class='sc'>Francis Bate</span>:</p>
-
-<p class='c036'>                       The Naturalistic School of Painting. <i>The Artist</i>,
-                        London, 1887.</p>
-<p class='c037'><span class='sc'>Edmond Bazire</span>:</p>
-
-<p class='c036'>                       Manet. Paris, 1884.</p>
-<p class='c037'><span class='sc'>Emile Bernard</span>:</p>
-
-<p class='c036'>                       Les hommes d’aujourd’hui—Paul Cézanne, avec
-                      dessin de Pissarro. Vannier, Paris.</p>
-<p class='c037'><span class='sc'>F. A. Bridgmann</span>:</p>
-
-<p class='c036'>                       L’anarchie dans l’art, Impressionisme—Symbolisme.
-                      L. H. May, Paris.</p>
-
-<p class='c037'><span class='sc'>W. C. Brownell</span>:</p>
-
-<p class='c036'>                       French art, Realistic painting. <i>Scribner’s Magazine</i>,
-                      Nov. 1892.</p>
-
-<p class='c036'>                        <span class='small'>· A lengthy illustrated article written with
-                          knowledge, although some of the conclusions
-                          arrived at by the author cannot be
-                          admitted.</span></p>
-
-<p class='c036'>                    French art. London, 1892.
-                      <span class='small'>· The collected articles first published in
-                        <i>Scribner’s</i>, but without the illustrations.</span></p>
-
-<p class='c037'><span class='sc'>Gustave Cahen</span>:</p>
-
-<p class='c036'>                       Eugène Boudin, sa vie et son œuvre (Preface by
-                      Arsène Alexandre). H. Floury, Paris, 1900.</p>
-
-<p class='c036'>                         <span class='small'>· Fully illustrated, with dry point by Paul
-                          Helleu. It contains special references to
-                          the early days of Impressionism.</span></p>
-
-<p class='c036'>                        Préface du catalogue des Tableaux Modernes.
-                      Collection de Monsieur L. B. Chevallier et
-                      Bernheim jeune, Paris.
-                       <span class='small'>· Numerous photogravures of Impressionist
-                        works, particularly of those by Boudin.</span></p>
-
-<p class='c037'><span class='sc'>M. Chevreul</span>:</p>
-
-<p class='c036'>                     The principles of harmony and contrast of colours,
-                      and their application to the arts. Tr. C. Martel.
-                      Longmans, London, 1854.</p>
-
-<p class='c036'>                            <span class='small'>· This book, the standard work upon the
-                          subject, should be in the hands of every
-                          person who desires to study Impressionism
-                          thoroughly. This is the best English
-                          translation.</span></p>
-<p class='c037'><span class='sc'>A. H. Church</span>:</p>
-
-<p class='c036'>                   The Laws of Contrast of Colour. Tr. J. Spanton.
-                      London, 1858.</p>
-
-<p class='c036'>                    Colour, an Elementary Manual for Students.
-                      Cassells, London, 1901.</p>
-
-<p class='c036'>                    Chemistry of Paints and Painting. London,
-                      1890.</p>
-
-<p class='c036'>                    <span class='small'>· These excellent books deal with all the problems
-                          of light and colour.</span></p>
-<p class='c037'><span class='sc'>G. Clémenceau</span>:</p>
-
-<p class='c036'>                   Exposition des Cathédrales de Rouen. <i>La Justice</i>,
-                      May 20, 1895.</p>
-
-<p class='c036'>                    <span class='small'>· An important article by a writer of ability.</span></p>
-<p class='c037'><span class='pageno' id='Page_115'>115</span><span class='sc'>E. Delacroix</span>:</p>
-
-<p class='c036'>                    Mon Journal, 1823-63 (notes par Flat et Riot).
-                     Paris, 1893. Three volumes.</p>
-<p class='c037'><span class='sc'>Denoinville</span>:</p>
-
-<p class='c036'>                   Sensations d’art. Girard, Paris.</p>
-
-<p class='c036'>                    <span class='small'>· A collection of short essays dealing with such
-                       subjects as Corot, Eugène Carrière, the
-                       Simplists, l’Art nouveau, &amp;c.</span></p>
-<p class='c037'><span class='sc'>Wynford Dewhurst</span>:</p>
-
-<p class='c036'>                   Claude Monet, Impressionist; <i>Pall Mall Magazine</i>,
-                     London, June 1900.</p>
-
-<p class='c036'>                    A great French Landscapist. <i>Artist</i>, London,
-                     October 1900.</p>
-
-<p class='c036'>                       <span class='small'>· These articles are notable for their reproductions
-                         of Monet’s works.</span></p>
-
-<p class='c036'>                    Impressionist Painting; its Genesis and Development.
-                     <i>Studio</i>, London, June and September,
-                     1903.</p>
-<p class='c037'><span class='sc'>Duranty</span>:</p>
-
-<p class='c036'>                   La nouvelle peinture. Paris, 1876.</p>
-
-<p class='c036'>                     <span class='small'>· A rare and interesting <i>brochure</i>.</span></p>
-
-<p class='c037'><span class='sc'>Théodore Duret</span>:</p>
-
-<p class='c036'>                   Histoire d’Édouard Manet. H. Floury, Paris,
-                     1902.</p>
-
-<p class='c036'>                    <span class='small'>· The official biography of Manet, by his life-long
-                         friend and executor, with many illustrations,
-                         and a complete catalogue of works.</span></p>
-
-<p class='c036'>                    Les Peintures Impressionistes. Paris, 1878.</p>
-
-<p class='c036'>                     <span class='small'>· A short treatise on Impressionism, explanatory
-                       and defensive, with biographical notes of
-                       Monet, Sisley, Pissarro, Renoir, Morisot.</span></p>
-
-<p class='c036'>                   L’art Japonais. Quantin, Paris.</p>
-
-<p class='c036'>                    Critique d’avant garde. Charpentier, Paris, 1885.</p>
-
-<p class='c036'>                    Degas. <i>The  Art Journal</i>, London, 1894.</p>
-
-<p class='c036'>                     <span class='small'>· A critical illustrated article.</span></p>
-<p class='c037'><span class='sc'>Félicien Fagus</span>:</p>
-
-<p class='c036'>                   Petite gazette d’art Cézanne. <i>Revue Blanche</i>, Paris,
-                     December 1899.</p>
-
-<p class='c036'>                    Petite gazette d’art, Camille Pissarro. <i>Revue
-                     Blanche.</i> Paris, April 1899.</p>
-<p class='c037'><span class='sc'>Felix Fénélon</span>:</p>
-
-<p class='c036'>                   Les Impressionistes en 1886. Paris, 1886.</p>
-
-<p class='c037'><span class='sc'>André Fontainas</span>:</p>
-
-<p class='c036'>                   Art Moderne, Zandomeneghi. <i>Mercure de France</i>,
-                     April 1898.</p>
-
-<p class='c036'>                    Art Moderne, Camille Pissarro. <i>Mercure de
-                     France</i>, July 1898, May 1899.</p>
-
-<p class='c036'>                    Art Moderne, Exposition Cézanne. <i>Mercure de
-                     France</i>, June 1898.</p>
-
-<p class='c036'>                    Art Moderne, Renoir. <i>Mercure de France</i>, July
-                     1898, May 1899.</p>
-<p class='c037'><span class='pageno' id='Page_116'>116</span><span class='sc'>André Fontainas</span>:</p>
-
-<p class='c036'>                   Art Moderne, Claude Monet. <i>Mercure de France</i>,
-                        July 1898, May 1899.</p>
-<p class='c037'><span class='sc'>Pascal Forthuny</span>:</p>
-
-<p class='c036'>                   Catalogue des Tableaux Modernes. Preface by
-                        Roger Marx. Durand-Ruel, Paris.</p>
-
-<p class='c036'>                          <span class='small'>· Richly illustrated.</span></p>
-<p class='c037'><span class='sc'>Pascal Forthuny</span>:</p>
-
-<p class='c036'>                   Catalogue de Tableaux. Préface by H. Fourquier.
-                        Bernheim et Chevallier, Paris.</p>
-
-<p class='c036'>                          <span class='small'>· A handsome volume illustrated by many
-                            engravings and photographs.</span></p>
-<p class='c037'><span class='sc'>W. H. Fuller</span>:</p>
-
-<p class='c036'>                       Claude Monet and his Paintings. <i>Evening Sun</i>,
-                        New York, January 26, 1899.</p>
-<p class='c037'><span class='sc'>Gustave Geffroy</span>:</p>
-
-<p class='c036'>                   Sisley, Préface pour la Vente. May 1, 1899.</p>
-
-<p class='c036'>                    Notice de l’Exposition d’Œuvres de Camille Pissarro.
-                        Paris, February 1890.</p>
-
-<p class='c036'>                    La Vie artistique. E. Dentu, Paris, 1892-1900.</p>
-
-<p class='c036'>                        <span class='small'>· These volumes of art criticism cover the whole
-                          field of Impressionism, and include a
-                          lengthy history of the movement. To
-                          the student and historian of modern
-                          French art they are invaluable.</span></p>
-
-<p class='c036'>                    and Arsène Alexandre. Corot and Millet, Winter
-                        Number of the <i>Studio</i>, London, 1902.</p>
-
-<p class='c036'>                    (Préface). Catalogue de Tableaux, collection de
-                       M. E. Blot. Paris, Bernheim jeune.</p>
-
-<p class='c036'>                         <span class='small'>· Contains essays upon Carrière, Cézanne,
-                           Fantin-Latour, Guillaumin, Jongkind,
-                           Monet, Morisot, Pissarro, Renoir, Toulouse-Lautrec,
-                           Degas.</span></p>
-<p class='c037'><span class='sc'>Maurice Guillemot</span>:</p>
-
-<p class='c036'>                   Claude Monet. <i>Revue Illustrée</i>, Paris, March
-                        1898.</p>
-<p class='c037'><span class='sc'>J. K. Huysmans</span>:</p>
-
-<p class='c036'>                   Certains. Paris, 1896.
-                        L’Art Moderne. Paris, 1883.</p>
-<p class='c037'><span class='sc'>Franz Jourdain</span>:</p>
-
-<p class='c036'>                   Renoir et Renouard. <i>Les Décorés</i>, 1895.</p>
-
-<p class='c036'>                    Claude Monet. <i>Les Décorés</i>, 1895.</p>
-
-<p class='c036'>                    Hommes du Jour, Renoir. <i>L’Éclair</i>, Paris, May
-                        1899.</p>
-
-<p class='c036'>                    Hommes du Jour, Pissarro. <i>L’Éclair</i>, Paris, June
-                        1898.</p>
-<p class='c037'><span class='sc'>Miss R. G. Kingsley</span>:</p>
-
-<p class='c036'>                   A History of French Art. Longmans, London,  1899.</p>
-<p class='c037'><span class='sc'>Georges Lecomte</span>:</p>
-
-<p class='c036'>                   L’Art Impressionniste. Paris, 1892.</p>
-
-<p class='c036'>                        <span class='small'>· Contains 36 etchings of Impressionist pictures
-                          in the collection of M. Durand Ruel.</span></p>
-<p class='c037'><span class='pageno' id='Page_117'>117</span><span class='sc'>Georges Lecomte</span>:</p>
-
-<p class='c036'>                   Camille Pissarro, Préface pour l’Exposition. Paris,
-                     February 1892.</p>
-
-<p class='c036'>                    Pissarro, Les Hommes d’Aujourd’hui, No. 366.
-                     Paris.</p>
-
-<p class='c036'>                    Pissarro. “Revue populaire des Beaux-Arts.”
-                     Paris, June 1898.</p>
-
-<p class='c036'>                    Alfred Sisley. “Revue populaire des Beaux-Arts.”
-                     February 1899.</p>
-
-<p class='c036'>                    Alfred Sisley. “L’Art dans les Deux Mondes.”
-                     Paris, February 1891.</p>
-<p class='c037'><span class='sc'>D. S. MacColl</span>:</p>
-
-<p class='c036'>                   Nineteenth Century Art. Maclehose, Glasgow, 1903.</p>
-
-<p class='c036'>                    <i>The Albemarle Review</i>,
-                       London, Sept. 1892.</p>
-
-<p class='c036'>                    <i>Fortnightly Review</i>, London,
-                       June 1894.</p>
-
-<p class='c036'>                    <i>The Artist</i>, London, March
-                       and July 1896.</p>
-
-<p class='c036'>                    Impressionism. “Encyclopædia Britannica”
-                     Supplement, 1903.</p>
-
-<p class='c036'>                    Mr. Whistler’s Paintings in Oil. <i>Art Journal</i>,
-                     London, March 1893.</p>
-<p class='c037'><span class='sc'>Camille Mauclair</span>:</p>
-
-<p class='c036'>                   The French Impressionists. Duckworth, London,
-                     1903.</p>
-
-<p class='c036'>                    The Néo-Impressionists. <i>Artist</i>, London, May
-                     1902.</p>
-
-<p class='c036'>                    The Great French Painters. Duckworth, London,
-                     1903.</p>
-<p class='c037'><span class='sc'>Charles Maurice</span>:</p>
-
-<p class='c036'>                   Rodin. Floury, Paris, 1900.</p>
-<p class='c037'><span class='sc'>André Mellerio</span>:</p>
-
-<p class='c036'>                   L’Art Moderne, Exposition de Paul Cézanne. La
-                     <i>Revue Artistique</i>, February 1896.</p>
-
-<p class='c036'>                    Mary Cassatt, Préface de l’Exposition de 1897.</p>
-
-<p class='c036'>                    L’Exposition de 1900, L’Impressionisme. H.</p>
-
-<p class='c036'>                    Floury, Paris, 1900.</p>
-
-<p class='c036'>                       <span class='small'>· Contains short essays upon pictures exhibited
-                         at the Exhibition, with particular reference
-                         to Impressionist works, together with a
-                         useful bibliography.</span></p>
-
-<p class='c036'>                    Le Mouvement Idéaliste en Peinture. H. Floury,
-                     Paris.</p>
-
-<p class='c036'>                       <span class='small'>· A biographical sketch of the artists who associated
-                         themselves with this movement,
-                         1885-95; Puvis de Chavannes, Gustave
-                         Moreau, Odilon Redon, Paul Cézanne,
-                         Vincent van Gogh, Toulouse-Lautrec,
-                         &amp;c.</span></p>
-<p class='c037'><span class='pageno' id='Page_118'>118</span><span class='sc'>F. H. Meissner</span>:</p>
-
-<p class='c036'>                   A German Revolutionary—Max Liebermann. <i>Art
-                      Journal</i>, London, August 1893.</p>
-<p class='c037'><span class='sc'>André Michel</span>:</p>
-
-<p class='c036'>                   Notes sur l’Art Moderne. Colin, Paris, 1896.</p>
-
-<p class='c036'>                      <span class='small'>· Essays on Corot, Millet, Delacroix, Monet,
-                        Puvis de Chavannes.</span></p>
-<p class='c037'><span class='sc'>O. Mirbeau</span>:</p>
-
-<p class='c036'>                   Claude Monet. “L’Art dans les Deux Mondes.”
-                      Paris, March 1891.</p>
-
-<p class='c036'>                    Camille Pissarro. “L’Art dans les Deux Mondes.”
-                                        Paris, January 1891.
-                                      <i>Le Figaro</i>, Paris, February 1,
-                                        1892.</p>
-<p class='c037'><span class='sc'>O. Mirbeau</span>:</p>
-
-<p class='c036'>                   Together with Bouyer, Tailhade, Maus Mellerio,
-                      Dan, Mauclair, Geffroy, Marx, Mourey. J. F.
-                      Raffaëlli. Paris.</p>
-
-<p class='c036'>                        <span class='small'>· A collection of illustrated appreciations of the
-                          artists.</span></p>
-<p class='c037'><span class='sc'>Matthias Morhardt</span>:</p>
-
-<p class='c036'>                   Eugène Carrière. <i>Magazine of Art</i>, London,
-                      August 1898.</p>
-<p class='c037'><span class='sc'>George Moore</span>:</p>
-
-<p class='c036'>                   Modern Painting. Scott, London, 1898.</p>
-
-<p class='c036'>                    <span class='small'>· Impressions and Opinions. Nutt, London, 1890.
-                      These two books contain interesting essays
-                        upon Whistler, Manet, Corot, &amp;c.</span></p>
-<p class='c037'><span class='sc'>Richard Muther</span>:</p>
-
-<p class='c036'>                   The History of Modern Painting (3 volumes).
-                      Henry, London, 1896.</p>
-<p class='c037'><span class='sc'>Thadée Natanson</span>:</p>
-
-<p class='c036'>                   Claude Monet et Paul Cézanne. <i>La Revue Blanche</i>,
-                      Paris 1900.</p>
-
-<p class='c036'>                    De M. Renoir et de la Beauté. <i>La Revue Blanche</i>,
-                      Paris, 1900.</p>
-<p class='c037'><span class='sc'>Max Osborn</span>:</p>
-
-<p class='c036'>             Claude Monet. <i>Das Magazin für Literatur</i>, Dec. 1896.</p>
-<p class='c037'><span class='sc'>Miles L. Roger</span>:</p>
-
-<p class='c036'>                   Les Artistes Célèbres. Corot, Paris.</p>
-
-<p class='c036'>                    Catalogue de Tableaux, Collection du Docteur D.
-                      Chevallier et Petit, Paris.</p>
-
-<p class='c036'>                        <span class='small'>· Many illustrations, chiefly from works by
-                          Boudin.</span></p>
-
-<p class='c036'>                    Catalogue de Tableaux, Succession of Mme. Veuve
-                      Chocquet. Petit et Mannheim, Paris.</p>
-
-<p class='c036'>                    Sisley, Préface pour l’Exposition 1897.
-                    Catalogue de Tableaux, Collection of Louis
-                      Schœngrun. Chevallier et Petit, Paris.</p>
-
-<p class='c036'>                        <span class='small'>· Many fine illustrations from the works of
-                          Lépine, Lebourg, Thaulow, Bonvin,
-                          Lhermitte, &amp;c.</span></p>
-<p class='c037'><span class='sc'>Ogden Rood</span>:</p>
-
-<p class='c036'>                   Colour; International Scientific Series, 1879-81.</p>
-<p class='c037'><span class='pageno' id='Page_119'>119</span><span class='sc'>John Ruskin</span>:</p>
-
-<p class='c036'>                   Modern Painters, Vol. II. Allen.</p>
-<p class='c037'><span class='sc'>Gabriel Séailles</span>:</p>
-
-<p class='c036'>                   L’Impressionisme (Almanach du Bibliophile pour
-                      l’Année 1898). Pelletan, Paris.</p>
-<p class='c037'><span class='sc'>Paul Signac</span>:</p>
-
-<p class='c036'>                   D’Eugène Delacroix au Néo-Impressionisme.
-                      Edition de <i>La Revue Blanche</i>, Paris, 1899.</p>
-
-<p class='c036'>                        <span class='small'>· Explains how the Impressionist idea and
-                          technical method is almost entirely derived
-                          from Turner and Constable.</span></p>
-<p class='c038'><span class='sc'>Thiebalt Sisson</span>:</p>
-
-<p class='c036'>                   Sur l’Impressionisme. <i>Le Temps</i>, Paris, April 1899.</p>
-<p class='c037'><span class='sc'>R. A. M. Stevenson</span>:</p>
-
-<p class='c036'>                   The Art of Velazquez. Bell, London, 1895.</p>
-<p class='c037'><span class='sc'>Hugo von Tschudi</span>:</p>
-
-<p class='c036'>                   Manet. Cassirer, Berlin 1902.</p>
-
-<p class='c036'>                    <span class='small'>· A short illustrated essay upon Manet’s art by
-                        the Director of the National Gallery of
-                        Berlin.</span></p>
-<p class='c037'><span class='sc'>C. Waern</span>:</p>
-
-<p class='c036'>                   Notes on French Impressionism. <i>Atlantic Monthly</i>,
-                      April 1892.</p>
-<p class='c037'><span class='sc'>Frederick Wedmore</span>:</p>
-
-<p class='c036'>                   The Impressionists. <i>Fortnightly Review</i>, London,
-                      January 1883.</p>
-<p class='c037'><span class='sc'>T. de Wyzeva</span>:</p>
-
-<p class='c036'>                   Renoir. “L’Art dans les Deux Mondes.” Paris,
-                      December 1890.</p>
-<p class='c037'><span class='fss'>Y. R. B.</span>:</p>
-
-<p class='c036'>                   Miss Cassatt. “L’Art dans les Deux Mondes.”
-                      November 1890.</p>
-<p class='c037'><span class='sc'>Émile Zola</span>:</p>
-
-<p class='c036'>                   Mes Haines. Paris.</p>
-
-<p class='c036'>                      <span class='small'>· Essays on Manet, Cézanne, the Salons and
-                        the Impressionists.</span></p>
-
-<div  class='figcenter id003'>
-<img src='images/i119.jpg' alt='' class='ig001' />
-</div>
-
-<div class='pbb'>
- <hr class='pb c000' />
-</div>
-<div class='chapter'>
-  <span class='pageno' id='Page_121'>121</span>
-  <h2 class='c011'>INDEX</h2>
-</div>
-<ul class='index c003'>
-  <li class='c039'><i>A Argenteuil</i> (Monet), <a href='#Page_40'>40</a>, <a href='#Page_111'>111</a></li>
-  <li class='c039'>Abbey, E. A., <a href='#Page_102'>102</a></li>
-  <li class='c039'><i>Absinthe drinker</i>, the (Manet), <a href='#Page_20'>20</a></li>
-  <li class='c039'>“Académie Suisse,” <a href='#Page_54'>54</a></li>
-  <li class='c039'><i>After church</i> (Le Sidaner), <a href='#Page_83'>83</a></li>
-  <li class='c039'>Alexandre, Arsène, <a href='#Page_33'>33</a>, <a href='#Page_63'>63</a></li>
-  <li class='c039'><i>Alone with the tide</i> (Whistler), <a href='#Page_90'>90</a></li>
-  <li class='c039'>Aman-Jean, <a href='#Page_102'>102</a></li>
-  <li class='c039'>Angrand, <a href='#Page_50'>50</a>, <a href='#Page_56'>56</a></li>
-  <li class='c039'>Anguin, <a href='#Page_86'>86</a></li>
-  <li class='c039'><i>Antibes</i> (Monet), <a href='#Page_40'>40</a></li>
-  <li class='c039'>Antwerp, <a href='#Page_79'>79</a>, <a href='#Page_80'>80</a></li>
-  <li class='c039'><i>Argenteuil</i>, <i>l’</i> (Manet), <a href='#Page_27'>27</a></li>
-  <li class='c039'><i>Arrangement in grey and black</i> (Whistler), <a href='#Page_90'>90</a></li>
-  <li class='c039'><i>Artiste</i>, <i>l’</i> (Manet), <a href='#Page_27'>27</a></li>
-  <li class='c039'>Astruc, <a href='#Page_34'>34</a></li>
-  <li class='c039'><i>Asylum for old men, an</i> (Liebermann), <a href='#Page_98'>98</a></li>
-  <li class='c039'>Attendu, <a href='#Page_34'>34</a></li>
-  <li class='c039'><i>At the piano</i> (Whistler), <a href='#Page_90'>90</a></li>
-  <li class='c039'><i>Autel des orphelines, l’</i> (Le Sidaner), <a href='#Page_83'>83</a></li>
-  <li class='c003'><i>Bain, le</i> (Manet), <a href='#Page_22'>22</a></li>
-  <li class='c039'><i>Bal au Moulin de la Galette</i> (Renoir), <a href='#Page_52'>52</a></li>
-  <li class='c039'><i>Balcony, the</i> (Manet), <a href='#Page_25'>25</a></li>
-  <li class='c039'><i>Balcony, the</i> (Whistler), <a href='#Page_90'>90</a></li>
-  <li class='c039'>Balzac, <a href='#Page_45'>45</a></li>
-  <li class='c039'>Barbey d’Aurevilly, <a href='#Page_23'>23</a></li>
-  <li class='c039'>Barbizon, School of, <a href='#Page_2'>2</a>, <a href='#Page_6'>6</a>, <a href='#Page_9'>9</a>, <a href='#Page_45'>45</a>, <a href='#Page_50'>50</a>, <a href='#Page_98'>98</a>, <a href='#Page_110'>110</a></li>
-  <li class='c039'>Barillot, <a href='#Page_102'>102</a></li>
-  <li class='c039'>Barry, <a href='#Page_3'>3</a></li>
-  <li class='c039'>Barye, <a href='#Page_45'>45</a></li>
-  <li class='c039'>Bastien-Lepage, <a href='#Page_26'>26</a>, <a href='#Page_41'>41</a>, <a href='#Page_93'>93</a>, <a href='#Page_98'>98</a></li>
-  <li class='c039'>Batignolles, School of, <a href='#Page_7'>7</a>, <a href='#Page_24'>24</a></li>
-  <li class='c039'><i>Bataille de Solférino</i> (Meissonier), <a href='#Page_21'>21</a></li>
-  <li class='c039'><i>Battle of the “Kearsage” and “Alabama”</i> (Manet), <a href='#Page_26'>26</a></li>
-  <li class='c039'>Baudelaire, <a href='#Page_21'>21</a></li>
-  <li class='c039'>Baudit, <a href='#Page_86'>86</a></li>
-  <li class='c039'>Bazille, <a href='#Page_24'>24</a>, <a href='#Page_26'>26</a></li>
-  <li class='c039'><span class='pageno' id='Page_122'>122</span>Beauvais, <a href='#Page_83'>83</a></li>
-  <li class='c039'>Béliard, <a href='#Page_34'>34</a>, <a href='#Page_35'>35</a></li>
-  <li class='c039'>Belle Isle (Monet), <a href='#Page_40'>40</a></li>
-  <li class='c039'>Belot, <a href='#Page_27'>27</a></li>
-  <li class='c039'><i>Bénédiction de la mer</i> (Le Sidaner), <a href='#Page_83'>83</a></li>
-  <li class='c039'>Bérard, <a href='#Page_47'>47</a></li>
-  <li class='c039'>Bernard, Emile, <a href='#Page_16'>16</a>, <a href='#Page_55'>55</a></li>
-  <li class='c039'>Bernstein, <a href='#Page_27'>27</a></li>
-  <li class='c039'>Besnard, Albert Paul, <a href='#Page_84'>84</a>-<a href='#Page_85'>85</a>, <a href='#Page_91'>91</a>, <a href='#Page_102'>102</a>, <a href='#Page_105'>105</a>
-    <ul>
-      <li><i>Entre deux Rayons</i>, <a href='#Page_85'>85</a></li>
-      <li><i>Femme qui se chauffe</i>, <a href='#Page_85'>85</a></li>
-      <li><i>La Morte</i>, <a href='#Page_85'>85</a></li>
-      <li><i>Ponies worried by flies</i>, <a href='#Page_84'>84</a></li>
-      <li><i>Porte d’Alger au Crépuscule</i>, <a href='#Page_85'>85</a></li>
-      <li><i>Portrait of the artist</i>, <a href='#Page_85'>85</a></li>
-    </ul>
-  </li>
-  <li class='c039'>Billotte, <a href='#Page_102'>102</a></li>
-  <li class='c039'>Binet, Victor, <a href='#Page_92'>92</a>, <a href='#Page_102'>102</a></li>
-  <li class='c039'><i>Bon Bock, le</i> (Manet), <a href='#Page_27'>27</a>, <a href='#Page_28'>28</a></li>
-  <li class='c039'>Bonington, <a href='#Page_1'>1</a>, <a href='#Page_3'>3</a>, <a href='#Page_4'>4</a>, <a href='#Page_5'>5</a>, <a href='#Page_7'>7</a>, <a href='#Page_29'>29</a>
-    <ul>
-      <li><i>Boulogne Fishmarket</i>, <a href='#Page_5'>5</a></li>
-      <li><i>View of Havre</i>, <a href='#Page_3'>3</a></li>
-      <li><i>View of Lillebonne</i>, <a href='#Page_3'>3</a></li>
-    </ul>
-  </li>
-  <li class='c039'>Bonnat, <a href='#Page_52'>52</a>, <a href='#Page_58'>58</a>, <a href='#Page_73'>73</a></li>
-  <li class='c039'>Bonvin, <a href='#Page_31'>31</a></li>
-  <li class='c039'><i>Bordighera</i> (Monet), <a href='#Page_40'>40</a></li>
-  <li class='c039'>Boucher, <a href='#Page_2'>2</a>, <a href='#Page_52'>52</a></li>
-  <li class='c039'>Boudin, Eugène, <a href='#Page_7'>7</a>, <a href='#Page_9'>9</a>-<a href='#Page_15'>15</a>, <a href='#Page_31'>31</a>, <a href='#Page_34'>34</a>, <a href='#Page_38'>38</a>, <a href='#Page_49'>49</a>, <a href='#Page_50'>50</a>
-    <ul>
-      <li><i>Corvette Russe au Havre</i>, <a href='#Page_14'>14</a></li>
-      <li><i>Rade de Villefranche</i>, <a href='#Page_14'>14</a></li>
-    </ul>
-  </li>
-  <li class='c039'>Bouguereau, <a href='#Page_21'>21</a></li>
-  <li class='c039'>Boulanger, <a href='#Page_21'>21</a></li>
-  <li class='c039'><i>Boulogne Fishmarket</i> (Bonington), <a href='#Page_5'>5</a></li>
-  <li class='c039'>Bourgeois, Léon, <a href='#Page_14'>14</a></li>
-  <li class='c039'>Boussod Vallodon, <a href='#Page_40'>40</a></li>
-  <li class='c039'><i>Boy with a sword</i> (Manet), <a href='#Page_21'>21</a>, <a href='#Page_23'>23</a></li>
-  <li class='c039'>Bracquemond, Marie, <a href='#Page_35'>35</a>, <a href='#Page_76'>76</a></li>
-  <li class='c039'>Bracquemond, <a href='#Page_20'>20</a>, <a href='#Page_21'>21</a>, <a href='#Page_34'>34</a>, <a href='#Page_89'>89</a>, <a href='#Page_102'>102</a></li>
-  <li class='c039'>Brandon, <a href='#Page_34'>34</a></li>
-  <li class='c039'><i>Breakfast on the grass</i> (Manet), <a href='#Page_22'>22</a></li>
-  <li class='c039'><i>Brother and sister</i> (Liebermann), <a href='#Page_98'>98</a></li>
-  <li class='c039'><span class='pageno' id='Page_123'>123</span>Brown, Arnesby, <a href='#Page_102'>102</a></li>
-  <li class='c039'>Brownell, W. C., <a href='#Page_107'>107</a></li>
-  <li class='c039'>Bruant, Aristide, <a href='#Page_71'>71</a></li>
-  <li class='c039'>Bruges, <a href='#Page_83'>83</a></li>
-  <li class='c039'>Bureau, <a href='#Page_34'>34</a>, <a href='#Page_35'>35</a></li>
-  <li class='c039'><i>Burgomeister Petersen</i> (Liebermann), <a href='#Page_99'>99</a></li>
-  <li class='c039'>Burne-Jones, <a href='#Page_5'>5</a></li>
-  <li class='c039'>Bussy, Simon, <a href='#Page_55'>55</a></li>
-  <li class='c039'>Byron, <a href='#Page_2'>2</a></li>
-  <li class='c003'>Cabanel, <a href='#Page_59'>59</a>, <a href='#Page_82'>82</a></li>
-  <li class='c039'>Café Guerbois, <a href='#Page_6'>6</a>, <a href='#Page_7'>7</a>, <a href='#Page_15'>15</a>, <a href='#Page_24'>24</a>, <a href='#Page_25'>25</a>, <a href='#Page_26'>26</a>, <a href='#Page_27'>27</a>, <a href='#Page_31'>31</a>, <a href='#Page_39'>39</a></li>
-  <li class='c039'>Café de la Nouvelle Athénée, <a href='#Page_32'>32</a></li>
-  <li class='c039'>Cahen, Gustave, <a href='#Page_15'>15</a>, <a href='#Page_33'>33</a></li>
-  <li class='c039'>Caillebotte, <a href='#Page_35'>35</a>, <a href='#Page_49'>49</a></li>
-  <li class='c039'>Cals, <a href='#Page_12'>12</a>, <a href='#Page_21'>21</a>, <a href='#Page_34'>34</a>, <a href='#Page_35'>35</a>, <a href='#Page_49'>49</a></li>
-  <li class='c039'><i>Carlyle</i> (Whistler), <a href='#Page_91'>91</a></li>
-  <li class='c039'>Carolus-Duran, <a href='#Page_28'>28</a>, <a href='#Page_52'>52</a>, <a href='#Page_58'>58</a></li>
-  <li class='c039'>Carpeaux, <a href='#Page_45'>45</a></li>
-  <li class='c039'>Carrière, Eugène, <a href='#Page_57'>57</a>-<a href='#Page_60'>60</a>, <a href='#Page_83'>83</a>, <a href='#Page_102'>102</a>
-    <ul>
-      <li><i>Christ at the Tomb</i>, <a href='#Page_58'>58</a>, <a href='#Page_60'>60</a></li>
-      <li><i>Maternité</i>, <a href='#Page_58'>58</a></li>
-      <li><i>Portraits</i>, <a href='#Page_58'>58</a></li>
-      <li><i>Théâtre de Belleville</i>, <a href='#Page_58'>58</a></li>
-    </ul>
-  </li>
-  <li class='c039'>Cassatt, Mary, <a href='#Page_7'>7</a>, <a href='#Page_35'>35</a>, <a href='#Page_49'>49</a>, <a href='#Page_66'>66</a>, <a href='#Page_70'>70</a>, <a href='#Page_76'>76</a>, <a href='#Page_102'>102</a></li>
-  <li class='c039'><i>Cathédrales, les</i> (Monet), <a href='#Page_40'>40</a>, <a href='#Page_42'>42</a>, <a href='#Page_44'>44</a>, <a href='#Page_84'>84</a></li>
-  <li class='c039'>Cazin, <a href='#Page_21'>21</a>, <a href='#Page_28'>28</a>, <a href='#Page_102'>102</a></li>
-  <li class='c039'>“Cercle des Quinze,” <a href='#Page_98'>98</a></li>
-  <li class='c039'>Cézanne, <a href='#Page_7'>7</a>, <a href='#Page_15'>15</a>, <a href='#Page_16'>16</a>, <a href='#Page_24'>24</a>, <a href='#Page_34'>34</a>, <a href='#Page_35'>35</a>, <a href='#Page_54'>54</a>, <a href='#Page_55'>55</a></li>
-  <li class='c039'><i>Champs des Tulipes</i> (Monet), <a href='#Page_40'>40</a></li>
-  <li class='c039'>Chaplin, <a href='#Page_76'>76</a>, <a href='#Page_103'>103</a></li>
-  <li class='c039'>Chardin, <a href='#Page_2'>2</a>, <a href='#Page_61'>61</a></li>
-  <li class='c039'><i>Charge of Cuirassiers</i> (Meissonier), <a href='#Page_26'>26</a></li>
-  <li class='c039'>Charles X., <a href='#Page_3'>3</a>, <a href='#Page_24'>24</a></li>
-  <li class='c039'><i>Chasse au renard</i> (Courbet), <a href='#Page_21'>21</a></li>
-  <li class='c039'><i>Châteaux en Espagne</i> (Harrison), <a href='#Page_93'>93</a></li>
-  <li class='c039'>Chéret, <a href='#Page_102'>102</a></li>
-  <li class='c039'>Chevallier, Paul, <a href='#Page_43'>43</a></li>
-  <li class='c039'>Chevreul, <a href='#Page_107'>107</a>, <a href='#Page_110'>110</a></li>
-  <li class='c039'>Chocquet, <a href='#Page_47'>47</a>, <a href='#Page_110'>110</a></li>
-  <li class='c039'><i>Christ at the Tomb</i> (Carrière), <a href='#Page_58'>58</a>, <a href='#Page_60'>60</a></li>
-  <li class='c039'><i>Christ before Pilate</i> (Liebermann), <a href='#Page_97'>97</a></li>
-  <li class='c039'><i>Christ reviled by the Soldiers</i> (Manet), <a href='#Page_23'>23</a></li>
-  <li class='c039'>Church, <a href='#Page_107'>107</a></li>
-  <li class='c039'>Claude, <a href='#Page_61'>61</a></li>
-  <li class='c039'>Claus, Emile, <a href='#Page_79'>79</a>-<a href='#Page_81'>81</a>, <a href='#Page_105'>105</a>
-    <ul>
-      <li><i>Flemish Farm</i>, <a href='#Page_81'>81</a></li>
-      <li><i>Old Gardener</i>, <a href='#Page_81'>81</a></li>
-    </ul>
-  </li>
-  <li class='c039'>Clausen, George, <a href='#Page_102'>102</a></li>
-  <li class='c039'>Clouet, <a href='#Page_61'>61</a></li>
-  <li class='c039'>Colin, Gustave, <a href='#Page_34'>34</a></li>
-  <li class='c039'><span class='pageno' id='Page_124'>124</span>Collectors of Impressionist Paintings, <a href='#Page_111'>111</a>, <a href='#Page_112'>112</a></li>
-  <li class='c039'><i>Communion in extremis</i> (Le Sidaner), <a href='#Page_83'>83</a></li>
-  <li class='c039'>Comondo, Count, <a href='#Page_47'>47</a></li>
-  <li class='c039'>Constable, John, <a href='#Page_3'>3</a>, <a href='#Page_4'>4</a>, <a href='#Page_5'>5</a>, <a href='#Page_6'>6</a>, <a href='#Page_7'>7</a>, <a href='#Page_29'>29</a>, <a href='#Page_31'>31</a>, <a href='#Page_32'>32</a>, <a href='#Page_61'>61</a>, <a href='#Page_80'>80</a>, <a href='#Page_102'>102</a>, <a href='#Page_103'>103</a>
-    <ul>
-      <li><i>Hay Wain</i>, <a href='#Page_3'>3</a></li>
-      <li><i>Opening of Waterloo Bridge</i>, <a href='#Page_5'>5</a></li>
-    </ul>
-  </li>
-  <li class='c039'>Cordey, <a href='#Page_35'>35</a></li>
-  <li class='c039'>Cormont, <a href='#Page_73'>73</a></li>
-  <li class='c039'>Corot, <a href='#Page_3'>3</a>, <a href='#Page_4'>4</a>, <a href='#Page_6'>6</a>, <a href='#Page_7'>7</a>, <a href='#Page_9'>9</a>, <a href='#Page_11'>11</a>, <a href='#Page_13'>13</a>, <a href='#Page_15'>15</a>, <a href='#Page_17'>17</a>, <a href='#Page_29'>29</a>, <a href='#Page_49'>49</a>, <a href='#Page_53'>53</a>, <a href='#Page_54'>54</a>, <a href='#Page_59'>59</a>, <a href='#Page_61'>61</a>, <a href='#Page_80'>80</a>, <a href='#Page_97'>97</a>, <a href='#Page_101'>101</a>, <a href='#Page_110'>110</a></li>
-  <li class='c039'>Correggio, <a href='#Page_2'>2</a></li>
-  <li class='c039'><i>Corvette Russe</i> (Boudin), <a href='#Page_14'>14</a></li>
-  <li class='c039'><i>Côte St. Catherine à Rouen</i> (Pissarro), <a href='#Page_51'>51</a></li>
-  <li class='c039'>Cottet, <a href='#Page_55'>55</a>, <a href='#Page_102'>102</a></li>
-  <li class='c039'><i>Cotton-Broker’s Office</i> (Degas), <a href='#Page_67'>67</a></li>
-  <li class='c039'>Courbet, <a href='#Page_11'>11</a>, <a href='#Page_12'>12</a>, <a href='#Page_13'>13</a>, <a href='#Page_20'>20</a>, <a href='#Page_21'>21</a>, <a href='#Page_23'>23</a>, <a href='#Page_26'>26</a>, <a href='#Page_49'>49</a>, <a href='#Page_50'>50</a>, <a href='#Page_53'>53</a>, <a href='#Page_54'>54</a>, <a href='#Page_97'>97</a></li>
-  <li class='c039'><i>Courtyard of the orphanage</i> (Liebermann), <a href='#Page_99'>99</a></li>
-  <li class='c039'>Couture, <a href='#Page_1'>1</a>, <a href='#Page_11'>11</a>, <a href='#Page_18'>18</a>, <a href='#Page_19'>19</a>, <a href='#Page_20'>20</a>, <a href='#Page_22'>22</a>
-    <ul>
-      <li><i>Romans of the Decadence</i>, <a href='#Page_18'>18</a></li>
-    </ul>
-  </li>
-  <li class='c039'>Cross, H. E., <a href='#Page_56'>56</a></li>
-  <li class='c003'>Dagnan-Bouveret, <a href='#Page_102'>102</a></li>
-  <li class='c039'>Daillon, <a href='#Page_102'>102</a></li>
-  <li class='c039'>Dameron, <a href='#Page_102'>102</a></li>
-  <li class='c039'><i>Dante’s Bark</i> (Delacroix), <a href='#Page_3'>3</a></li>
-  <li class='c039'>Daubigny, <a href='#Page_4'>4</a>, <a href='#Page_12'>12</a>, <a href='#Page_31'>31</a>, <a href='#Page_41'>41</a>, <a href='#Page_54'>54</a>, <a href='#Page_97'>97</a>, <a href='#Page_98'>98</a></li>
-  <li class='c039'>Daudet, <a href='#Page_26'>26</a>, <a href='#Page_58'>58</a></li>
-  <li class='c039'>Daumier, <a href='#Page_20'>20</a></li>
-  <li class='c039'>David, <a href='#Page_2'>2</a></li>
-  <li class='c039'>Dearp, <a href='#Page_47'>47</a></li>
-  <li class='c039'>De Bellis, <a href='#Page_27'>27</a></li>
-  <li class='c039'>Debras, <a href='#Page_34'>34</a></li>
-  <li class='c039'>Degas, <a href='#Page_7'>7</a>, <a href='#Page_20'>20</a>, <a href='#Page_24'>24</a>, <a href='#Page_34'>34</a>, <a href='#Page_35'>35</a>, <a href='#Page_49'>49</a>, <a href='#Page_52'>52</a>, <a href='#Page_67'>67</a>-<a href='#Page_71'>71</a>, <a href='#Page_73'>73</a>, <a href='#Page_76'>76</a>, <a href='#Page_89'>89</a>, <a href='#Page_102'>102</a>
-    <ul>
-      <li><i>Family Portraits</i>, <a href='#Page_67'>67</a></li>
-      <li><i>Interior of a Cotton-Broker’s Office</i>, <a href='#Page_67'>67</a></li>
-      <li><i>Semiramis</i>, <a href='#Page_67'>67</a></li>
-      <li><i>Spartan Youths Wrestling</i>, <a href='#Page_67'>67</a></li>
-      <li><i>Steeplechase</i>, <a href='#Page_67'>67</a></li>
-      <li><i>War in the Middle Ages</i>, <a href='#Page_67'>67</a></li>
-    </ul>
-  </li>
-  <li class='c039'><i>Déjeuner sur l’herbe</i> (Manet), <a href='#Page_22'>22</a></li>
-  <li class='c039'>Delacroix, <a href='#Page_3'>3</a>, <a href='#Page_16'>16</a>, <a href='#Page_19'>19</a>, <a href='#Page_20'>20</a>, <a href='#Page_29'>29</a>, <a href='#Page_32'>32</a>, <a href='#Page_45'>45</a>, <a href='#Page_61'>61</a>, <a href='#Page_82'>82</a>, <a href='#Page_101'>101</a>
-    <ul>
-      <li><i>Massacre of Scio</i>, <a href='#Page_32'>32</a></li>
-      <li><i>Dante’s Bark</i>, <a href='#Page_3'>3</a></li>
-    </ul>
-  </li>
-  <li class='c039'>Delaroche, <a href='#Page_1'>1</a>, <a href='#Page_19'>19</a></li>
-  <li class='c039'>Denis, Maurice, <a href='#Page_50'>50</a>, <a href='#Page_56'>56</a></li>
-  <li class='c039'><i>Départ de Tobie</i> (Le Sidaner), <a href='#Page_83'>83</a></li>
-  <li class='c039'>Depeam, <a href='#Page_47'>47</a></li>
-  <li class='c039'><span class='pageno' id='Page_125'>125</span><i>Déroute, la</i> (Boulanger), <a href='#Page_21'>21</a></li>
-  <li class='c039'>Desboutins, <a href='#Page_27'>27</a>, <a href='#Page_35'>35</a></li>
-  <li class='c039'>D’Espagnat, <a href='#Page_32'>32</a>, <a href='#Page_102'>102</a>, <a href='#Page_105'>105</a></li>
-  <li class='c039'>Diaz, <a href='#Page_12'>12</a></li>
-  <li class='c039'>Didier-Pouget, <a href='#Page_85'>85</a>-<a href='#Page_87'>87</a>, <a href='#Page_102'>102</a></li>
-  <li class='c039'><i>Die Lange Lizen</i> (Whistler), <a href='#Page_90'>90</a></li>
-  <li class='c039'>Doré, Gustave, <a href='#Page_55'>55</a></li>
-  <li class='c039'>Dowdeswell Gallery, <a href='#Page_40'>40</a></li>
-  <li class='c039'>Duhem, H., <a href='#Page_82'>82</a></li>
-  <li class='c039'>Dumas père, <a href='#Page_1'>1</a>, <a href='#Page_13'>13</a></li>
-  <li class='c039'>Dupré, <a href='#Page_80'>80</a></li>
-  <li class='c039'>Durand-Ruel, <a href='#Page_27'>27</a>, <a href='#Page_34'>34</a>, <a href='#Page_35'>35</a>, <a href='#Page_39'>39</a>, <a href='#Page_41'>41</a>, <a href='#Page_42'>42</a>, <a href='#Page_43'>43</a>, <a href='#Page_47'>47</a>, <a href='#Page_54'>54</a>, <a href='#Page_63'>63</a></li>
-  <li class='c039'>Duranty, <a href='#Page_24'>24</a>, <a href='#Page_25'>25</a></li>
-  <li class='c039'>Duret, T., <a href='#Page_26'>26</a>, <a href='#Page_29'>29</a>, <a href='#Page_32'>32</a>, <a href='#Page_33'>33</a>, <a href='#Page_70'>70</a>, <a href='#Page_89'>89</a></li>
-  <li class='c039'>Dutch School, <a href='#Page_80'>80</a></li>
-  <li class='c003'>East, Alfred, <a href='#Page_102'>102</a></li>
-  <li class='c039'>“Echo de Paris,” <a href='#Page_63'>63</a></li>
-  <li class='c039'>Egg, R.A., Augustus, <a href='#Page_4'>4</a></li>
-  <li class='c039'>English School of Painting, <a href='#Page_2'>2</a>, <a href='#Page_6'>6</a></li>
-  <li class='c039'>English School of Water-Colours, <a href='#Page_3'>3</a></li>
-  <li class='c039'><i>Entre deux Rayons</i> (Besnard), <a href='#Page_85'>85</a></li>
-  <li class='c039'>Ephrussi, <a href='#Page_27'>27</a></li>
-  <li class='c039'><i>Etchings</i> (Whistler), <a href='#Page_89'>89</a>, <a href='#Page_90'>90</a></li>
-  <li class='c039'>“L’Événement,” <a href='#Page_15'>15</a>, <a href='#Page_24'>24</a></li>
-  <li class='c039'>Eugénie, Empress, <a href='#Page_17'>17</a></li>
-  <li class='c039'><i>Execution of Emperor Maximilian</i> (Manet), <a href='#Page_25'>25</a>.</li>
-  <li class='c039'>Exhibitions (<i>see also</i> Salons)</li>
-  <li class='c039'>Exhibitions Martinet, <a href='#Page_21'>21</a>, <a href='#Page_24'>24</a></li>
-  <li class='c039'>Exhibitions Great, 1851, <a href='#Page_4'>4</a></li>
-  <li class='c039'>Exhibitions Great Paris, 1867, <a href='#Page_23'>23</a></li>
-  <li class='c039'>Exhibitions Universal Paris 1878, <a href='#Page_27'>27</a>, <a href='#Page_28'>28</a>, <a href='#Page_76'>76</a></li>
-  <li class='c039'>Exhibitions Universal Paris 1889 and 1900, <a href='#Page_61'>61</a></li>
-  <li class='c039'>Exhibitions Impressionist, <a href='#Page_34'>34</a>, <a href='#Page_35'>35</a>, <a href='#Page_39'>39</a>, <a href='#Page_49'>49</a>, <a href='#Page_54'>54</a>, <a href='#Page_68'>68</a></li>
-  <li class='c003'><i>Falaise</i> (Monet), <a href='#Page_111'>111</a></li>
-  <li class='c039'>Fantin-Latour, <a href='#Page_20'>20</a>, <a href='#Page_21'>21</a>, <a href='#Page_24'>24</a>, <a href='#Page_89'>89</a>, <a href='#Page_102'>102</a></li>
-  <li class='c039'>Faure, <a href='#Page_27'>27</a>, <a href='#Page_28'>28</a>, <a href='#Page_47'>47</a></li>
-  <li class='c039'><i>Femme à la Robe Verte</i> (Monet), <a href='#Page_34'>34</a></li>
-  <li class='c039'><i>Femme qui se chauffe</i> (Besnard), <a href='#Page_85'>85</a></li>
-  <li class='c039'>Fielding, Copley, <a href='#Page_3'>3</a></li>
-  <li class='c039'><i>Fifre de la Garde</i> (Manet), <a href='#Page_22'>22</a>, <a href='#Page_23'>23</a>, <a href='#Page_24'>24</a></li>
-  <li class='c039'>“Figaro, Le,” <a href='#Page_24'>24</a>, <a href='#Page_33'>33</a>, <a href='#Page_44'>44</a></li>
-  <li class='c039'>Flaubert, <a href='#Page_64'>64</a></li>
-  <li class='c039'><i>Flemish Farm</i> (Claus), <a href='#Page_81'>81</a></li>
-  <li class='c039'>“Fleurs de Mal,” <a href='#Page_21'>21</a></li>
-  <li class='c039'>Footet, F., <a href='#Page_102'>102</a></li>
-  <li class='c039'>Forain, <a href='#Page_35'>35</a>, <a href='#Page_49'>49</a>, <a href='#Page_70'>70</a>, <a href='#Page_73'>73</a>, <a href='#Page_102'>102</a></li>
-  <li class='c039'>Fra Angelico, <a href='#Page_67'>67</a>, <a href='#Page_83'>83</a></li>
-  <li class='c039'>Fragonard, <a href='#Page_2'>2</a>, <a href='#Page_52'>52</a>, <a href='#Page_75'>75</a></li>
-  <li class='c039'><span class='pageno' id='Page_126'>126</span>France, Anatole, <a href='#Page_58'>58</a></li>
-  <li class='c039'>French painting, <a href='#Page_2'>2</a>, <a href='#Page_4'>4</a>, <a href='#Page_9'>9</a></li>
-  <li class='c039'>Fuseli, <a href='#Page_3'>3</a></li>
-  <li class='c003'>Gagliardini, <a href='#Page_103'>103</a></li>
-  <li class='c039'>Gainsborough, <a href='#Page_3'>3</a>, <a href='#Page_31'>31</a>, <a href='#Page_70'>70</a>, <a href='#Page_102'>102</a>, <a href='#Page_103'>103</a></li>
-  <li class='c039'>Gallimard, <a href='#Page_47'>47</a></li>
-  <li class='c039'>Gambetta, <a href='#Page_28'>28</a></li>
-  <li class='c039'>Gauguin, <a href='#Page_16'>16</a>, <a href='#Page_35'>35</a>, <a href='#Page_49'>49</a>, <a href='#Page_55'>55</a>, <a href='#Page_105'>105</a></li>
-  <li class='c039'>Gautier, <a href='#Page_1'>1</a>, <a href='#Page_20'>20</a>, <a href='#Page_23'>23</a></li>
-  <li class='c039'>Geffroy, Gustave, <a href='#Page_33'>33</a>, <a href='#Page_35'>35</a>, <a href='#Page_58'>58</a>, <a href='#Page_65'>65</a>, <a href='#Page_109'>109</a></li>
-  <li class='c039'>Geffroy, <a href='#Page_102'>102</a></li>
-  <li class='c039'>Gérard (artist), <a href='#Page_2'>2</a></li>
-  <li class='c039'>Gérard (collector), <a href='#Page_27'>27</a></li>
-  <li class='c039'>Géricault, <a href='#Page_1'>1</a>, <a href='#Page_3'>3</a></li>
-  <li class='c039'>Gérôme, <a href='#Page_65'>65</a>, <a href='#Page_93'>93</a></li>
-  <li class='c039'>Ghent, <a href='#Page_79'>79</a></li>
-  <li class='c039'>Giorgione, <a href='#Page_22'>22</a></li>
-  <li class='c039'>Giotto, <a href='#Page_82'>82</a></li>
-  <li class='c039'>Girodet, <a href='#Page_2'>2</a></li>
-  <li class='c039'>Girtin, <a href='#Page_29'>29</a></li>
-  <li class='c039'>Giverny, <a href='#Page_46'>46</a>, <a href='#Page_51'>51</a></li>
-  <li class='c039'><i>Glaçons sur la Seine</i> (Monet), <a href='#Page_40'>40</a></li>
-  <li class='c039'>Glasgow School of Painting, <a href='#Page_90'>90</a>, <a href='#Page_102'>102</a></li>
-  <li class='c039'>Gleyre, <a href='#Page_7'>7</a>, <a href='#Page_38'>38</a>, <a href='#Page_89'>89</a></li>
-  <li class='c039'><i>Golden Screen</i> (Whistler), <a href='#Page_90'>90</a></li>
-  <li class='c039'>Gonzalès, <a href='#Page_7'>7</a>, <a href='#Page_76'>76</a>-<a href='#Page_77'>77</a></li>
-  <li class='c039'>Goya, <a href='#Page_20'>20</a>, <a href='#Page_23'>23</a></li>
-  <li class='c039'>“Grand Journal, Le,” <a href='#Page_63'>63</a></li>
-  <li class='c039'><i>Green Bridges</i> (Monet), <a href='#Page_47'>47</a></li>
-  <li class='c039'>Greuze, <a href='#Page_52'>52</a></li>
-  <li class='c039'>Grévy, President, <a href='#Page_17'>17</a>, <a href='#Page_28'>28</a></li>
-  <li class='c039'>Gros, <a href='#Page_2'>2</a>, <a href='#Page_19'>19</a></li>
-  <li class='c039'>Grosvenor Gallery, <a href='#Page_69'>69</a></li>
-  <li class='c039'>Guérard, <a href='#Page_76'>76</a></li>
-  <li class='c039'>Guillaumet, <a href='#Page_21'>21</a></li>
-  <li class='c039'>Guillaumin, <a href='#Page_32'>32</a>, <a href='#Page_34'>34</a>, <a href='#Page_35'>35</a>, <a href='#Page_49'>49</a>, <a href='#Page_54'>54</a>-<a href='#Page_55'>55</a>, <a href='#Page_103'>103</a></li>
-  <li class='c039'><i>Guitarero</i> (Manet), <a href='#Page_20'>20</a></li>
-  <li class='c003'>Harding, <a href='#Page_3'>3</a></li>
-  <li class='c039'>Hals, <a href='#Page_19'>19</a>, <a href='#Page_27'>27</a></li>
-  <li class='c039'>Hanover Gallery, <a href='#Page_40'>40</a></li>
-  <li class='c039'>Harpignies, <a href='#Page_12'>12</a>, <a href='#Page_20'>20</a>, <a href='#Page_21'>21</a>, <a href='#Page_103'>103</a></li>
-  <li class='c039'>Harrison, Alexander, <a href='#Page_82'>82</a>, <a href='#Page_91'>91</a>-<a href='#Page_94'>94</a>, <a href='#Page_105'>105</a>
-    <ul>
-      <li><i>In Arcady</i>, <a href='#Page_92'>92</a></li>
-      <li><i>The Wave</i>, <a href='#Page_92'>92</a></li>
-      <li><i>Châteaux en Espagne</i>, <a href='#Page_93'>93</a></li>
-    </ul>
-  </li>
-  <li class='c039'>Hassam, Childe, <a href='#Page_94'>94</a>
-    <ul>
-      <li><i>Seventh Avenue</i>, <a href='#Page_94'>94</a></li>
-    </ul>
-  </li>
-  <li class='c039'><i>Hauptmann</i> (Liebermann), <a href='#Page_99'>99</a></li>
-  <li class='c039'>Havemeyer, H. O., <a href='#Page_47'>47</a></li>
-  <li class='c039'><i>Havre</i> (Bonington), <a href='#Page_3'>3</a></li>
-  <li class='c039'><span class='pageno' id='Page_127'>127</span><i>Haystacks</i> (Monet), <a href='#Page_32'>32</a>, <a href='#Page_42'>42</a></li>
-  <li class='c039'><i>Hay Wain</i> (Constable), <a href='#Page_3'>3</a></li>
-  <li class='c039'>Hecht, <a href='#Page_27'>27</a></li>
-  <li class='c039'>Helmholtz, <a href='#Page_107'>107</a></li>
-  <li class='c039'>Henley, W. E., <a href='#Page_5'>5</a></li>
-  <li class='c039'>Henner, <a href='#Page_24'>24</a>, <a href='#Page_28'>28</a>, <a href='#Page_103'>103</a></li>
-  <li class='c039'>Hochédé, <a href='#Page_99'>99</a></li>
-  <li class='c039'>Hogarth, <a href='#Page_2'>2</a>, <a href='#Page_3'>3</a></li>
-  <li class='c039'>Holbein, <a href='#Page_2'>2</a>, <a href='#Page_67'>67</a></li>
-  <li class='c039'>Hoogh, <a href='#Page_82'>82</a></li>
-  <li class='c039'>Hoppner, <a href='#Page_52'>52</a></li>
-  <li class='c039'>Hugo, <a href='#Page_1'>1</a></li>
-  <li class='c003'>Ibels, <a href='#Page_56'>56</a></li>
-  <li class='c039'>“Idealists,” <a href='#Page_55'>55</a></li>
-  <li class='c039'><i>In Arcady</i> (Harrison), <a href='#Page_92'>92</a></li>
-  <li class='c039'>Ingres, <a href='#Page_2'>2</a>, <a href='#Page_69'>69</a>, <a href='#Page_70'>70</a></li>
-  <li class='c039'>International Society of Painters, &amp;c. <a href='#Page_25'>25</a>, <a href='#Page_40'>40</a>, <a href='#Page_102'>102</a></li>
-  <li class='c039'>“Intimists,” <a href='#Page_55'>55</a></li>
-  <li class='c039'>Isabey, <a href='#Page_9'>9</a>, <a href='#Page_12'>12</a>, <a href='#Page_13'>13</a></li>
-  <li class='c003'>Japanese Art, <a href='#Page_2'>2</a>, <a href='#Page_6'>6</a>, <a href='#Page_41'>41</a>, <a href='#Page_70'>70</a>, <a href='#Page_76'>76</a>, <a href='#Page_91'>91</a></li>
-  <li class='c039'><i>Jeanne</i> (Manet), <a href='#Page_28'>28</a></li>
-  <li class='c039'><i>Jeune fille Hollandaise</i> (Le Sidaner), <a href='#Page_83'>83</a></li>
-  <li class='c039'>Jongkind, <a href='#Page_7'>7</a>, <a href='#Page_9'>9</a>-<a href='#Page_13'>13</a>, <a href='#Page_20'>20</a>, <a href='#Page_21'>21</a>, <a href='#Page_31'>31</a></li>
-  <li class='c039'>Jordaens, <a href='#Page_82'>82</a></li>
-  <li class='c003'>Karr, Alphonse, <a href='#Page_11'>11</a></li>
-  <li class='c039'>Kauffmann, <a href='#Page_76'>76</a></li>
-  <li class='c039'>Keyser, <a href='#Page_79'>79</a></li>
-  <li class='c039'>Kneller, <a href='#Page_2'>2</a></li>
-  <li class='c003'><i>Labourers in the turnip field</i> (Liebermann), <a href='#Page_98'>98</a></li>
-  <li class='c039'><i>Lady Archibald Campbell</i> (Whistler), <a href='#Page_91'>91</a></li>
-  <li class='c039'><i>Lady with fan</i> (Manet), <a href='#Page_27'>27</a></li>
-  <li class='c039'>Lalanne, <a href='#Page_28'>28</a></li>
-  <li class='c039'><i>La mère Gérard</i> (Whistler), <a href='#Page_90'>90</a></li>
-  <li class='c039'>Lamy, <a href='#Page_35'>35</a></li>
-  <li class='c039'>“Lantier, Claude,” <a href='#Page_15'>15</a></li>
-  <li class='c039'><i>Last of Old Westminster</i> (Whistler), <a href='#Page_90'>90</a></li>
-  <li class='c039'><i>La table</i> (Le Sidaner) <a href='#Page_83'>83</a></li>
-  <li class='c039'>La Thangue, <a href='#Page_102'>102</a></li>
-  <li class='c039'>Latouche, <a href='#Page_34'>34</a></li>
-  <li class='c039'>Laurens, J. P., <a href='#Page_22'>22</a></li>
-  <li class='c039'>Lavery, <a href='#Page_102'>102</a></li>
-  <li class='c039'>Lawrence, <a href='#Page_31'>31</a>, <a href='#Page_32'>32</a></li>
-  <li class='c039'>Lebrun, <a href='#Page_76'>76</a></li>
-  <li class='c039'>Lebourg, <a href='#Page_35'>35</a></li>
-  <li class='c039'><span class='pageno' id='Page_128'>128</span>Leenhoff, Mdlle., <a href='#Page_21'>21</a></li>
-  <li class='c039'>Legros, <a href='#Page_20'>20</a>, <a href='#Page_22'>22</a>, <a href='#Page_24'>24</a>, <a href='#Page_35'>35</a></li>
-  <li class='c039'>Lely, <a href='#Page_2'>2</a></li>
-  <li class='c039'>Leighton, <a href='#Page_4'>4</a></li>
-  <li class='c039'>Lenbach, <a href='#Page_98'>98</a></li>
-  <li class='c039'>Lepic, <a href='#Page_34'>34</a>, <a href='#Page_35'>35</a></li>
-  <li class='c039'>Lépine, <a href='#Page_12'>12</a>, <a href='#Page_34'>34</a></li>
-  <li class='c039'>Le Roux, <a href='#Page_62'>62</a></li>
-  <li class='c039'>Le Sidaner, <a href='#Page_55'>55</a>, <a href='#Page_81'>81</a>-<a href='#Page_83'>83</a>, <a href='#Page_103'>103</a>, <a href='#Page_105'>105</a>
-    <ul>
-      <li><i>After church</i>, <a href='#Page_83'>83</a></li>
-      <li><i>Benediction de la mer</i>, <a href='#Page_83'>83</a></li>
-      <li><i>Communion in extremis</i>, <a href='#Page_83'>83</a></li>
-      <li><i>Départ de Tobie</i>, <a href='#Page_83'>83</a></li>
-      <li><i>Jeune fille Hollandaise</i>, <a href='#Page_83'>83</a></li>
-      <li><i>L’autel des orphelines</i>, <a href='#Page_83'>83</a></li>
-      <li><i>La promenade des orphelines</i>, <a href='#Page_83'>83</a></li>
-      <li><i>La table</i>, <a href='#Page_83'>83</a></li>
-      <li><i>Les promis</i>, <a href='#Page_83'>83</a></li>
-      <li><i>Les vieilles</i>, <a href='#Page_83'>83</a></li>
-    </ul>
-  </li>
-  <li class='c039'>Levert, <a href='#Page_34'>34</a>, <a href='#Page_35'>35</a></li>
-  <li class='c039'>Lhermitte, <a href='#Page_103'>103</a></li>
-  <li class='c039'>Liebermann, <a href='#Page_95'>95</a>-<a href='#Page_100'>100</a>, <a href='#Page_105'>105</a>
-    <ul>
-      <li><i>An asylum for old men</i>, <a href='#Page_98'>98</a></li>
-      <li><i>Brother and sister</i>, <a href='#Page_98'>98</a></li>
-      <li><i>Burgomeister Petersen</i>, <a href='#Page_99'>99</a></li>
-      <li><i>Christ before Pilate</i>, <a href='#Page_97'>97</a></li>
-      <li><i>Courtyard of the orphanage, Amsterdam</i>, <a href='#Page_99'>99</a></li>
-      <li><i>Gerhart Hauptmann</i>, <a href='#Page_99'>99</a></li>
-      <li><i>Labourers in the turnip field</i>, <a href='#Page_98'>98</a></li>
-      <li><i>Netmenders</i>, <a href='#Page_99'>99</a></li>
-      <li><i>Professor Virchow</i>, <a href='#Page_99'>99</a></li>
-      <li><i>Ropeyard</i>, <a href='#Page_99'>99</a></li>
-      <li><i>Women plucking geese</i>, <a href='#Page_97'>97</a>, <a href='#Page_99'>99</a></li>
-      <li><i>Women preserving vegetables</i>, <a href='#Page_97'>97</a></li>
-    </ul>
-  </li>
-  <li class='c039'><i>Lillebonne</i> (Bonington), <a href='#Page_3'>3</a></li>
-  <li class='c039'>Lindsay, Sir Coutts, <a href='#Page_90'>90</a></li>
-  <li class='c039'><i>Linge</i>, <i>le</i> (Manet), <a href='#Page_27'>27</a></li>
-  <li class='c039'><i>Little white girl</i> (Whistler), <a href='#Page_90'>90</a></li>
-  <li class='c039'><i>Loge</i>, <i>la</i> (Renoir), <a href='#Page_52'>52</a></li>
-  <li class='c039'><i>Lola de Valence</i> (Manet), <a href='#Page_21'>21</a></li>
-  <li class='c039'><i>Los Borrachos</i> (Velasquez), <a href='#Page_21'>21</a></li>
-  <li class='c039'>Louis-Philippe, <a href='#Page_19'>19</a>, <a href='#Page_24'>24</a></li>
-  <li class='c039'>“Luminarists,” <a href='#Page_25'>25</a>, <a href='#Page_65'>65</a></li>
-  <li class='c003'>MacColl, <a href='#Page_107'>107</a>, <a href='#Page_109'>109</a></li>
-  <li class='c039'>Maclise, <a href='#Page_4'>4</a></li>
-  <li class='c039'>Maddocks, John, <a href='#Page_80'>80</a></li>
-  <li class='c039'>Maire, Victor, <a href='#Page_61'>61</a></li>
-  <li class='c039'>Mallarmé, <a href='#Page_45'>45</a></li>
-  <li class='c039'>Manet, Edouard, <a href='#Page_1'>1</a>, <a href='#Page_3'>3</a>, <a href='#Page_4'>4</a>, <a href='#Page_6'>6</a>, <a href='#Page_7'>7</a>, <a href='#Page_8'>8</a>, <a href='#Page_10'>10</a>, <a href='#Page_16'>16</a>, <a href='#Page_17'>17</a>-<a href='#Page_29'>29</a>, <a href='#Page_31'>31</a>, <a href='#Page_32'>32</a>, <a href='#Page_33'>33</a>, <a href='#Page_34'>34</a>, <a href='#Page_38'>38</a>, <a href='#Page_39'>39</a>, <a href='#Page_45'>45</a>, <a href='#Page_50'>50</a>, <a href='#Page_61'>61</a>, <a href='#Page_68'>68</a>, <a href='#Page_75'>75</a>, <a href='#Page_76'>76</a>, <a href='#Page_82'>82</a>, <a href='#Page_89'>89</a>, <a href='#Page_98'>98</a>
-    <ul>
-      <li><span class='pageno' id='Page_129'>129</span><i>Absinthe drinker</i>, <a href='#Page_20'>20</a></li>
-      <li><i>Argenteuil</i>, <a href='#Page_27'>27</a></li>
-      <li><i>L’Artiste</i>, <a href='#Page_27'>27</a></li>
-      <li><i>Le Bain</i>, <a href='#Page_22'>22</a></li>
-      <li><i>Le Balcon</i>, <a href='#Page_25'>25</a></li>
-      <li><i>Battle of “Kearsage” and “Alabama,”</i> <a href='#Page_26'>26</a></li>
-      <li><i>Le Bon Bock</i>, <a href='#Page_27'>27</a>, <a href='#Page_28'>28</a></li>
-      <li><i>Boy with a sword</i>, <a href='#Page_21'>21</a>, <a href='#Page_23'>23</a></li>
-      <li><i>Christ reviled by the soldiers</i>, <a href='#Page_23'>23</a></li>
-      <li><i>Déjeuner sur l’herbe</i>, <a href='#Page_22'>22</a></li>
-      <li><i>Execution of the Emperor Maximilian</i>, <a href='#Page_25'>25</a></li>
-      <li><i>Le fifre de la Garde</i>, <a href='#Page_22'>22</a>, <a href='#Page_23'>23</a>, <a href='#Page_24'>24</a></li>
-      <li><i>Guitarero</i>, <a href='#Page_20'>20</a></li>
-      <li><i>Jeanne</i>, <a href='#Page_28'>28</a></li>
-      <li><i>Lady with fan</i>, <a href='#Page_27'>27</a></li>
-      <li><i>Le Linge</i>, <a href='#Page_27'>27</a></li>
-      <li><i>Lola de Valence</i>, <a href='#Page_21'>21</a></li>
-      <li><i>Music at the Tuileries</i>, <a href='#Page_20'>20</a>, <a href='#Page_21'>21</a></li>
-      <li><i>Nana</i>, <a href='#Page_28'>28</a></li>
-      <li><i>Old Musician</i>, <a href='#Page_21'>21</a></li>
-      <li><i>Olympia</i>, <a href='#Page_22'>22</a>, <a href='#Page_23'>23</a></li>
-      <li><i>Opera Ball</i>, <a href='#Page_27'>27</a></li>
-      <li><i>Pertuiset</i>, <a href='#Page_82'>82</a></li>
-      <li><i>Polichinelle</i>, <a href='#Page_27'>27</a></li>
-      <li><i>Portraits</i>, <a href='#Page_111'>111</a></li>
-      <li><i>The Railway</i>, <a href='#Page_27'>27</a></li>
-      <li><i>Rochefort</i>, <a href='#Page_82'>82</a></li>
-      <li><i>Spanish Ballet</i>, <a href='#Page_21'>21</a></li>
-      <li><i>Street Singer</i>, <a href='#Page_20'>20</a></li>
-      <li><i>Tragic Actor</i>, <a href='#Page_23'>23</a>, <a href='#Page_28'>28</a></li>
-      <li><i>Un Bar des Folies-Bergères</i>, <a href='#Page_28'>28</a>, <a href='#Page_82'>82</a></li>
-    </ul>
-  </li>
-  <li class='c039'>Manet, Eugène, <a href='#Page_25'>25</a>, <a href='#Page_75'>75</a></li>
-  <li class='c039'>Mantz, Paul, <a href='#Page_21'>21</a></li>
-  <li class='c039'>Marais, <a href='#Page_103'>103</a></li>
-  <li class='c039'>Martel, Charles, <a href='#Page_107'>107</a></li>
-  <li class='c039'>Martinet, <a href='#Page_21'>21</a>, <a href='#Page_24'>24</a></li>
-  <li class='c039'>Marx, Roger, <a href='#Page_33'>33</a></li>
-  <li class='c039'><i>Massacre of Scio</i> (Delacroix), <a href='#Page_32'>32</a></li>
-  <li class='c039'><i>Maternité</i> (Carrière), <a href='#Page_58'>58</a></li>
-  <li class='c039'><i>Matins sur la Seine</i> (Monet), <a href='#Page_40'>40</a>, <a href='#Page_43'>43</a></li>
-  <li class='c039'>Mauclair, C., <a href='#Page_6'>6</a>, <a href='#Page_53'>53</a>, <a href='#Page_107'>107</a></li>
-  <li class='c039'>Maufra, Maxime, <a href='#Page_32'>32</a>, <a href='#Page_61'>61</a>-<a href='#Page_64'>64</a>, <a href='#Page_103'>103</a>, <a href='#Page_105'>105</a></li>
-  <li class='c039'>Maureau, <a href='#Page_35'>35</a></li>
-  <li class='c039'>Maurier, G. du, <a href='#Page_89'>89</a></li>
-  <li class='c039'>May, <a href='#Page_27'>27</a></li>
-  <li class='c039'>Meissonier, <a href='#Page_21'>21</a>, <a href='#Page_26'>26</a>, <a href='#Page_31'>31</a></li>
-  <li class='c039'>Melbye, <a href='#Page_49'>49</a></li>
-  <li class='c039'>Mellino, André, <a href='#Page_55'>55</a></li>
-  <li class='c039'>Ménard, <a href='#Page_103'>103</a></li>
-  <li class='c039'>Méryon, <a href='#Page_18'>18</a></li>
-  <li class='c039'>“Mes Haines,” <a href='#Page_32'>32</a></li>
-  <li class='c039'><span class='pageno' id='Page_130'>130</span>Metropolitan Museum, New York, <a href='#Page_21'>21</a></li>
-  <li class='c039'><i>Meules, les</i> (Monet), <a href='#Page_40'>40</a>, <a href='#Page_42'>42</a>, <a href='#Page_111'>111</a></li>
-  <li class='c039'>Meunier, <a href='#Page_103'>103</a></li>
-  <li class='c039'>Meyer, <a href='#Page_34'>34</a></li>
-  <li class='c039'>Michelangelo, <a href='#Page_2'>2</a></li>
-  <li class='c039'>Millet, J. B., <a href='#Page_35'>35</a></li>
-  <li class='c039'>Millet, J. F., <a href='#Page_11'>11</a>, <a href='#Page_12'>12</a>, <a href='#Page_45'>45</a>, <a href='#Page_50'>50</a>, <a href='#Page_80'>80</a>, <a href='#Page_83'>83</a>, <a href='#Page_98'>98</a></li>
-  <li class='c039'>Mirbeau, Octave, <a href='#Page_63'>63</a></li>
-  <li class='c039'>“Mirliton, Le,” <a href='#Page_71'>71</a></li>
-  <li class='c039'><i>Miss Alexander</i> (Whistler), <a href='#Page_91'>91</a></li>
-  <li class='c039'>Molins, de, <a href='#Page_34'>34</a></li>
-  <li class='c039'>Monet, Claude, <a href='#Page_1'>1</a>, <a href='#Page_4'>4</a>, <a href='#Page_6'>6</a>, <a href='#Page_7'>7</a>, <a href='#Page_9'>9</a>, <a href='#Page_10'>10</a>, <a href='#Page_12'>12</a>, <a href='#Page_14'>14</a>, <a href='#Page_15'>15</a>, <a href='#Page_20'>20</a>, <a href='#Page_24'>24</a>, <a href='#Page_25'>25</a>, <a href='#Page_26'>26</a>, <a href='#Page_31'>31</a>, <a href='#Page_32'>32</a>, <a href='#Page_33'>33</a>, <a href='#Page_34'>34</a>, <a href='#Page_35'>35</a>, <a href='#Page_37'>37</a>, <a href='#Page_49'>49</a>, <a href='#Page_50'>50</a>, <a href='#Page_54'>54</a>, <a href='#Page_57'>57</a>, <a href='#Page_60'>60</a>, <a href='#Page_61'>61</a>, <a href='#Page_64'>64</a>, <a href='#Page_68'>68</a>, <a href='#Page_80'>80</a>, <a href='#Page_84'>84</a>, <a href='#Page_98'>98</a>, <a href='#Page_101'>101</a>, <a href='#Page_108'>108</a>, <a href='#Page_109'>109</a>, <a href='#Page_110'>110</a>, <a href='#Page_111'>111</a>
-    <ul>
-      <li><i>A Argenteuil</i>, <a href='#Page_40'>40</a>, <a href='#Page_111'>111</a></li>
-      <li><i>Antibes</i>, <a href='#Page_40'>40</a></li>
-      <li><i>Belle Isle</i>, <a href='#Page_40'>40</a></li>
-      <li><i>Bordighera</i>, <a href='#Page_40'>40</a></li>
-      <li><i>Les Cathédrales</i>, <a href='#Page_40'>40</a>, <a href='#Page_44'>44</a>, <a href='#Page_84'>84</a></li>
-      <li><i>Champs des Tulipes</i>, <a href='#Page_40'>40</a></li>
-      <li><i>Falaise à Varenqeville</i>, <a href='#Page_111'>111</a></li>
-      <li><i>Femme à la Robe Verte</i>, <a href='#Page_34'>34</a></li>
-      <li><i>Glaçons sur la Seine</i>, <a href='#Page_39'>39</a>, <a href='#Page_40'>40</a></li>
-      <li><i>Green Bridges</i>, <a href='#Page_47'>47</a></li>
-      <li><i>The Haystacks</i>, <a href='#Page_32'>32</a></li>
-      <li><i>Matins sur la Seine</i>, <a href='#Page_40'>40</a>, <a href='#Page_43'>43</a></li>
-      <li><i>Les Meules</i>, <a href='#Page_40'>40</a>, <a href='#Page_42'>42</a>, <a href='#Page_111'>111</a></li>
-      <li><i>Peupliers au bord de l’Epté</i>, <a href='#Page_40'>40</a>, <a href='#Page_42'>42</a>, <a href='#Page_46'>46</a></li>
-      <li><i>Pont d’Argenteuil</i>, <a href='#Page_111'>111</a></li>
-      <li><i>La Prairie</i>, <a href='#Page_111'>111</a></li>
-      <li><i>Water Lilies</i>, <a href='#Page_47'>47</a></li>
-    </ul>
-  </li>
-  <li class='c039'>Montenard, <a href='#Page_103'>103</a></li>
-  <li class='c039'>Moore, George, <a href='#Page_68'>68</a>, <a href='#Page_69'>69</a>, <a href='#Page_83'>83</a></li>
-  <li class='c039'>Moret, <a href='#Page_53'>53</a></li>
-  <li class='c039'>Morisot, Berthe, <a href='#Page_7'>7</a>, <a href='#Page_25'>25</a>, <a href='#Page_34'>34</a>, <a href='#Page_35'>35</a>, <a href='#Page_49'>49</a>, <a href='#Page_75'>75</a>, <a href='#Page_76'>76</a></li>
-  <li class='c039'>Morny, de, <a href='#Page_13'>13</a></li>
-  <li class='c039'><i>Morte, La</i> (Besnard), <a href='#Page_85'>85</a></li>
-  <li class='c039'>Mourey, G., <a href='#Page_63'>63</a>, <a href='#Page_81'>81</a>, <a href='#Page_82'>82</a></li>
-  <li class='c039'>Mulot-Durivage, <a href='#Page_34'>34</a></li>
-  <li class='c039'>Mulready, <a href='#Page_4'>4</a></li>
-  <li class='c039'>Munich, <a href='#Page_98'>98</a></li>
-  <li class='c039'>Munkacsy, <a href='#Page_97'>97</a>, <a href='#Page_99'>99</a></li>
-  <li class='c039'><i>Music at the Tuileries</i> (Manet), <a href='#Page_20'>20</a>, <a href='#Page_21'>21</a></li>
-  <li class='c039'>Muther, <a href='#Page_97'>97</a></li>
-  <li class='c003'>Nadar, <a href='#Page_34'>34</a>, <a href='#Page_39'>39</a></li>
-  <li class='c039'><i>Nana</i> (Manet), <a href='#Page_28'>28</a></li>
-  <li class='c039'>Napoleon III., <a href='#Page_19'>19</a>, <a href='#Page_22'>22</a></li>
-  <li class='c039'>National Gallery, London, <a href='#Page_3'>3</a>, <a href='#Page_41'>41</a></li>
-  <li class='c039'>National Salon, Paris, <a href='#Page_99'>99</a></li>
-  <li class='c039'><i>Netmenders</i> (Liebermann), <a href='#Page_99'>99</a></li>
-  <li class='c039'><span class='pageno' id='Page_131'>131</span>New English Art Club, <a href='#Page_40'>40</a></li>
-  <li class='c039'>New Gallery, <a href='#Page_102'>102</a></li>
-  <li class='c039'>Neuville, de, <a href='#Page_28'>28</a></li>
-  <li class='c039'>Nittis, de, <a href='#Page_25'>25</a>, <a href='#Page_34'>34</a></li>
-  <li class='c039'><i>Nocturne</i> (Whistler), <a href='#Page_91'>91</a></li>
-  <li class='c039'>Northcote, <a href='#Page_3'>3</a></li>
-  <li class='c039'>Norwich School of Painting, <a href='#Page_3'>3</a>, <a href='#Page_4'>4</a>, <a href='#Page_50'>50</a></li>
-  <li class='c039'>“Nubians,” <a href='#Page_62'>62</a>, <a href='#Page_104'>104</a></li>
-  <li class='c003'>“L’Œuvre,” <a href='#Page_15'>15</a></li>
-  <li class='c039'><i>Old Battersea Bridge</i> (Whistler), <a href='#Page_90'>90</a></li>
-  <li class='c039'>Old Crome, <a href='#Page_31'>31</a></li>
-  <li class='c039'><i>Old Gardener</i> (Claus), <a href='#Page_81'>81</a></li>
-  <li class='c039'><i>Old Musician</i> (Manet), <a href='#Page_21'>21</a></li>
-  <li class='c039'>Oleron, <a href='#Page_26'>26</a></li>
-  <li class='c039'><i>Olympia</i> (Manet), <a href='#Page_22'>22</a>, <a href='#Page_23'>23</a></li>
-  <li class='c039'><i>On the Terrace</i> (Renoir), <a href='#Page_52'>52</a></li>
-  <li class='c039'><i>Opening of Waterloo Bridge</i> (Constable), <a href='#Page_5'>5</a></li>
-  <li class='c039'><i>Opera Ball</i> (Manet), <a href='#Page_27'>27</a></li>
-  <li class='c039'>Ottin, Auguste, <a href='#Page_34'>34</a></li>
-  <li class='c039'>Ottin, Léon, <a href='#Page_34'>34</a>, <a href='#Page_35'>35</a></li>
-  <li class='c003'>Palmer, Potter, <a href='#Page_47'>47</a></li>
-  <li class='c039'>Pape, A. A., <a href='#Page_47'>47</a></li>
-  <li class='c039'>Paterson, C. Lambert, <a href='#Page_47'>47</a></li>
-  <li class='c039'>Pauvels, <a href='#Page_97'>97</a></li>
-  <li class='c039'>Pellerin, <a href='#Page_47'>47</a></li>
-  <li class='c039'>Peppercorn, <a href='#Page_102'>102</a></li>
-  <li class='c039'><i>Pertuiset</i> (Manet), <a href='#Page_82'>82</a></li>
-  <li class='c039'>Petit, Georges, <a href='#Page_39'>39</a>, <a href='#Page_43'>43</a>, <a href='#Page_98'>98</a>, <a href='#Page_111'>111</a></li>
-  <li class='c039'><i>Peupliers au bord de l’Epté</i> (Monet), <a href='#Page_40'>40</a>, <a href='#Page_42'>42</a>, <a href='#Page_46'>46</a></li>
-  <li class='c039'>Philadelphia Academy, <a href='#Page_76'>76</a></li>
-  <li class='c039'>Piette, <a href='#Page_35'>35</a></li>
-  <li class='c039'>Pissarro, Camille, <a href='#Page_4'>4</a>, <a href='#Page_7'>7</a>, <a href='#Page_10'>10</a>, <a href='#Page_22'>22</a>, <a href='#Page_24'>24</a>, <a href='#Page_31'>31</a>, <a href='#Page_32'>32</a>, <a href='#Page_33'>33</a>, <a href='#Page_34'>34</a>, <a href='#Page_35'>35</a>, <a href='#Page_41'>41</a>, <a href='#Page_49'>49</a>-<a href='#Page_51'>51</a>, <a href='#Page_54'>54</a>, <a href='#Page_61'>61</a>, <a href='#Page_73'>73</a>, <a href='#Page_80'>80</a>, <a href='#Page_103'>103</a>
-    <ul>
-      <li><i>La Côte St. Catherine à Rouen</i>, <a href='#Page_51'>51</a></li>
-    </ul>
-  </li>
-  <li class='c039'>Pissarro, Lucien, <a href='#Page_35'>35</a></li>
-  <li class='c039'>Poe, E. A., <a href='#Page_59'>59</a></li>
-  <li class='c039'>Poiloup, Abbé, <a href='#Page_18'>18</a></li>
-  <li class='c039'>Pointelin, <a href='#Page_57'>57</a>, <a href='#Page_60'>60</a>-<a href='#Page_61'>61</a>, <a href='#Page_83'>83</a>, <a href='#Page_103'>103</a></li>
-  <li class='c039'>“Pointillism,” <a href='#Page_7'>7</a>, <a href='#Page_50'>50</a>, <a href='#Page_55'>55</a>, <a href='#Page_56'>56</a></li>
-  <li class='c039'><i>Polichinelle</i> (Manet), <a href='#Page_27'>27</a></li>
-  <li class='c039'><i>Ponies worried by flies</i> (Besnard), <a href='#Page_85'>85</a></li>
-  <li class='c039'>Poole, <a href='#Page_4'>4</a></li>
-  <li class='c039'><i>Porte d’Alger au Crépuscule</i> (Besnard), <a href='#Page_85'>85</a></li>
-  <li class='c039'><i>Portrait of the artist</i> (Besnard), <a href='#Page_85'>85</a></li>
-  <li class='c039'>Pouget, <a href='#Page_2'>2</a></li>
-  <li class='c039'>Poussin, <a href='#Page_2'>2</a>, <a href='#Page_55'>55</a>, <a href='#Page_61'>61</a>, <a href='#Page_70'>70</a>, <a href='#Page_103'>103</a></li>
-  <li class='c039'>Poynter, <a href='#Page_89'>89</a></li>
-  <li class='c039'><i>Prairie, la</i> (Monet), <a href='#Page_111'>111</a></li>
-  <li class='c039'><span class='pageno' id='Page_132'>132</span>“Pre-Raphaelites,” <a href='#Page_4'>4</a></li>
-  <li class='c039'>Priestman, B., <a href='#Page_102'>102</a></li>
-  <li class='c039'>“Primitives,” <a href='#Page_16'>16</a></li>
-  <li class='c039'>Princeteau, M., <a href='#Page_73'>73</a></li>
-  <li class='c039'><i>Promenade des Orphelines</i> (Le Sidaner), <a href='#Page_83'>83</a></li>
-  <li class='c039'><i>Promis, les</i> (Le Sidaner), <a href='#Page_83'>83</a></li>
-  <li class='c039'>Proust, Antonin, <a href='#Page_18'>18</a>, <a href='#Page_24'>24</a>, <a href='#Page_28'>28</a>, <a href='#Page_29'>29</a></li>
-  <li class='c039'>Prout, Samuel, <a href='#Page_3'>3</a></li>
-  <li class='c039'>Puvis de Chavannes, <a href='#Page_14'>14</a>, <a href='#Page_45'>45</a></li>
-  <li class='c003'><i>Rade de Villefranche</i> (Boudin), <a href='#Page_14'>14</a></li>
-  <li class='c039'>Raffaëlli, J. F., <a href='#Page_35'>35</a>, <a href='#Page_65'>65</a>-<a href='#Page_67'>67</a>, <a href='#Page_76'>76</a>, <a href='#Page_103'>103</a></li>
-  <li class='c039'>Raffaëlli, J. M., <a href='#Page_35'>35</a></li>
-  <li class='c039'><i>Railway, the</i> (Manet), <a href='#Page_27'>27</a></li>
-  <li class='c039'>Raphael, <a href='#Page_2'>2</a></li>
-  <li class='c039'>“Realists,” <a href='#Page_65'>65</a>, <a href='#Page_73'>73</a></li>
-  <li class='c039'>Redon, Odilon, <a href='#Page_35'>35</a></li>
-  <li class='c039'>Regnault, <a href='#Page_26'>26</a></li>
-  <li class='c039'>Rembrandt, <a href='#Page_19'>19</a>, <a href='#Page_72'>72</a></li>
-  <li class='c039'>Renoir, <a href='#Page_7'>7</a>, <a href='#Page_24'>24</a>, <a href='#Page_34'>34</a>, <a href='#Page_35'>35</a>, <a href='#Page_49'>49</a>, <a href='#Page_51'>51</a>-<a href='#Page_53'>53</a>, <a href='#Page_55'>55</a>, <a href='#Page_73'>73</a>, <a href='#Page_103'>103</a>, <a href='#Page_111'>111</a>
-    <ul>
-      <li><i>Bal au Moulin de la Galette</i>, <a href='#Page_52'>52</a></li>
-      <li><i>La loge</i>, <a href='#Page_52'>52</a></li>
-      <li><i>On the Terrace</i>, <a href='#Page_52'>52</a></li>
-    </ul>
-  </li>
-  <li class='c039'>Reynolds, <a href='#Page_3'>3</a>, <a href='#Page_31'>31</a>, <a href='#Page_52'>52</a>, <a href='#Page_103'>103</a>, <a href='#Page_109'>109</a></li>
-  <li class='c039'>Ribot, <a href='#Page_97'>97</a>, <a href='#Page_103'>103</a></li>
-  <li class='c039'>Rigolet, <a href='#Page_103'>103</a></li>
-  <li class='c039'>Robert, <a href='#Page_34'>34</a></li>
-  <li class='c039'>Robson, <a href='#Page_3'>3</a></li>
-  <li class='c039'>Rodin, <a href='#Page_23'>23</a>, <a href='#Page_45'>45</a>, <a href='#Page_58'>58</a>, <a href='#Page_103'>103</a></li>
-  <li class='c039'><i>Rochefort</i> (Manet), <a href='#Page_82'>82</a></li>
-  <li class='c039'>Roll, <a href='#Page_28'>28</a>, <a href='#Page_92'>92</a></li>
-  <li class='c039'>Rollinat, <a href='#Page_46'>46</a></li>
-  <li class='c039'><i>Romans of the Decadence</i> (Couture), <a href='#Page_18'>18</a></li>
-  <li class='c039'>Romney, <a href='#Page_103'>103</a></li>
-  <li class='c039'>Rood, <a href='#Page_107'>107</a></li>
-  <li class='c039'><i>Ropeyard</i> (Liebermann) <a href='#Page_99'>99</a></li>
-  <li class='c039'>“Rose + Croix?” <a href='#Page_55'>55</a></li>
-  <li class='c039'>Rossetti, <a href='#Page_32'>32</a>, <a href='#Page_90'>90</a></li>
-  <li class='c039'>Rouart, <a href='#Page_34'>34</a>, <a href='#Page_35'>35</a>, <a href='#Page_49'>49</a></li>
-  <li class='c039'>Rousseau, <a href='#Page_4'>4</a>, <a href='#Page_80'>80</a></li>
-  <li class='c039'>Royal Academy, <a href='#Page_5'>5</a>, <a href='#Page_32'>32</a>, <a href='#Page_90'>90</a>, <a href='#Page_102'>102</a></li>
-  <li class='c039'>Royal Society of British Artists, <a href='#Page_40'>40</a>, <a href='#Page_91'>91</a></li>
-  <li class='c039'>Roybet, <a href='#Page_103'>103</a></li>
-  <li class='c039'>Rubens, <a href='#Page_16'>16</a></li>
-  <li class='c039'>Rude, <a href='#Page_45'>45</a></li>
-  <li class='c039'>Ruskin, <a href='#Page_26'>26</a>, <a href='#Page_90'>90</a></li>
-  <li class='c003'>Sale Prices, <a href='#Page_33'>33</a>, <a href='#Page_35'>35</a>, <a href='#Page_47'>47</a>, <a href='#Page_51'>51</a>, <a href='#Page_110'>110</a>, <a href='#Page_111'>111</a></li>
-  <li class='c039'>Salon, <a href='#Page_3'>3</a>, <a href='#Page_9'>9</a>, <a href='#Page_14'>14</a>, <a href='#Page_18'>18</a>, <a href='#Page_20'>20</a>, <a href='#Page_21'>21</a>, <a href='#Page_22'>22</a>, <a href='#Page_23'>23</a>, <a href='#Page_26'>26</a>, <a href='#Page_27'>27</a>, <a href='#Page_28'>28</a>, <a href='#Page_49'>49</a>, <a href='#Page_86'>86</a>, <a href='#Page_98'>98</a></li>
-  <li class='c039'>Salon des Refusés, <a href='#Page_22'>22</a>, <a href='#Page_26'>26</a>, <a href='#Page_27'>27</a>, <a href='#Page_90'>90</a></li>
-  <li class='c039'><span class='pageno' id='Page_133'>133</span><i>Sarasate</i> (Whistler), <a href='#Page_91'>91</a></li>
-  <li class='c039'>Sargent, J. S., <a href='#Page_58'>58</a>, <a href='#Page_102'>102</a></li>
-  <li class='c039'>Sar Peladan, <a href='#Page_55'>55</a></li>
-  <li class='c039'><i>Scarf</i>, <i>the</i> (Whistler), <a href='#Page_90'>90</a></li>
-  <li class='c039'>Scheffont, <a href='#Page_9'>9</a></li>
-  <li class='c039'>Schumann, <a href='#Page_60'>60</a></li>
-  <li class='c039'>Scott, <a href='#Page_2'>2</a></li>
-  <li class='c039'>“Secession,” <a href='#Page_99'>99</a>, <a href='#Page_104'>104</a></li>
-  <li class='c039'><i>Semiramis</i> (Degas), <a href='#Page_67'>67</a></li>
-  <li class='c039'>Seurat, <a href='#Page_35'>35</a>, <a href='#Page_50'>50</a>, <a href='#Page_56'>56</a></li>
-  <li class='c039'>Signac, <a href='#Page_35'>35</a>, <a href='#Page_49'>49</a>, <a href='#Page_50'>50</a>, <a href='#Page_56'>56</a></li>
-  <li class='c039'>Sisley, <a href='#Page_4'>4</a>, <a href='#Page_7'>7</a>, <a href='#Page_24'>24</a>, <a href='#Page_32'>32</a>, <a href='#Page_34'>34</a>, <a href='#Page_35'>35</a>, <a href='#Page_49'>49</a>, <a href='#Page_50'>50</a>, <a href='#Page_53'>53</a>-<a href='#Page_54'>54</a>, <a href='#Page_80'>80</a>, <a href='#Page_84'>84</a></li>
-  <li class='c039'>Société des Artistes Indépendants, <a href='#Page_56'>56</a></li>
-  <li class='c039'>Somm, <a href='#Page_35'>35</a></li>
-  <li class='c039'><i>Spanish Ballet</i> (Manet), <a href='#Page_21'>21</a></li>
-  <li class='c039'><i>Spartan youths wrestling</i> (Degas), <a href='#Page_67'>67</a></li>
-  <li class='c039'>Spielman, M. H., <a href='#Page_40'>40</a></li>
-  <li class='c039'><i>Steeplechase</i> (Degas), <a href='#Page_67'>67</a></li>
-  <li class='c039'>Steffeck, <a href='#Page_97'>97</a></li>
-  <li class='c039'>Stevens, Alfred, <a href='#Page_24'>24</a>, <a href='#Page_98'>98</a></li>
-  <li class='c039'>Stevenson, Macaulay, <a href='#Page_102'>102</a></li>
-  <li class='c039'>Stott, Edward, <a href='#Page_102'>102</a></li>
-  <li class='c039'><i>Street Singer</i> (Manet), <a href='#Page_20'>20</a></li>
-  <li class='c039'>“Studio,” <a href='#Page_81'>81</a>, <a href='#Page_82'>82</a></li>
-  <li class='c039'>“Symbolists,” <a href='#Page_16'>16</a></li>
-  <li class='c003'>Tarbes, <a href='#Page_87'>87</a></li>
-  <li class='c039'>Tavernier, <a href='#Page_53'>53</a></li>
-  <li class='c039'>“Temps, Le,” <a href='#Page_87'>87</a></li>
-  <li class='c039'>Thaulow, <a href='#Page_82'>82</a></li>
-  <li class='c039'><i>Théâtre de Belleville</i> (Carrière), <a href='#Page_58'>58</a></li>
-  <li class='c039'>Thumann, <a href='#Page_97'>97</a></li>
-  <li class='c039'>Tillot, <a href='#Page_35'>35</a>, <a href='#Page_49'>49</a></li>
-  <li class='c039'>Tintoretto, <a href='#Page_19'>19</a>, <a href='#Page_20'>20</a>, <a href='#Page_83'>83</a>,</li>
-  <li class='c039'>Titian, <a href='#Page_19'>19</a>, <a href='#Page_20'>20</a>, <a href='#Page_23'>23</a>, <a href='#Page_83'>83</a></li>
-  <li class='c039'>Toulouse-Lautrec, <a href='#Page_71'>71</a>-<a href='#Page_72'>72</a></li>
-  <li class='c039'><i>Tragic Actor</i> (Manet), <a href='#Page_23'>23</a>, <a href='#Page_28'>28</a></li>
-  <li class='c039'>Troyon, <a href='#Page_11'>11</a>, <a href='#Page_12'>12</a>, <a href='#Page_97'>97</a>, <a href='#Page_98'>98</a></li>
-  <li class='c039'>Turner, <a href='#Page_3'>3</a>, <a href='#Page_4'>4</a>, <a href='#Page_5'>5</a>, <a href='#Page_7'>7</a>, <a href='#Page_26'>26</a>, <a href='#Page_29'>29</a>, <a href='#Page_31'>31</a>, <a href='#Page_32'>32</a>, <a href='#Page_41'>41</a>, <a href='#Page_50'>50</a>, <a href='#Page_57'>57</a>, <a href='#Page_61'>61</a>, <a href='#Page_80'>80</a>, <a href='#Page_102'>102</a>, <a href='#Page_103'>103</a></li>
-  <li class='c003'><i>Un Bar aux Folies-Bergères</i> (Manet), <a href='#Page_28'>28</a></li>
-  <li class='c003'>Vail, Eugène, <a href='#Page_82'>82</a></li>
-  <li class='c039'>Vallon, <a href='#Page_22'>22</a></li>
-  <li class='c039'><i>Valparaiso</i> (Whistler), <a href='#Page_91'>91</a></li>
-  <li class='c039'>Vandyck, <a href='#Page_2'>2</a></li>
-  <li class='c039'>Van Gogh, <a href='#Page_16'>16</a>, <a href='#Page_55'>55</a></li>
-  <li class='c039'>Van Rysselberghe, <a href='#Page_50'>50</a>, <a href='#Page_56'>56</a></li>
-  <li class='c039'>Varley, John, <a href='#Page_3'>3</a></li>
-  <li class='c039'>Velazquez, <a href='#Page_20'>20</a>, <a href='#Page_21'>21</a>, <a href='#Page_23'>23</a></li>
-  <li class='c039'><span class='pageno' id='Page_134'>134</span>Verlaine, <a href='#Page_58'>58</a></li>
-  <li class='c039'>Verlat, Charles, <a href='#Page_79'>79</a></li>
-  <li class='c039'>Vermeer, <a href='#Page_83'>83</a></li>
-  <li class='c039'>Veronese, <a href='#Page_16'>16</a>, <a href='#Page_83'>83</a></li>
-  <li class='c039'>Vidal, <a href='#Page_35'>35</a></li>
-  <li class='c039'>“Vie Artistique,” <a href='#Page_33'>33</a>, <a href='#Page_35'>35</a></li>
-  <li class='c039'><i>Vieilles, les</i> (Le Sidaner), <a href='#Page_83'>83</a></li>
-  <li class='c039'>“Vie Moderne,” <a href='#Page_35'>35</a>, <a href='#Page_39'>39</a></li>
-  <li class='c039'>Vignaux, <a href='#Page_24'>24</a>, <a href='#Page_25'>25</a></li>
-  <li class='c039'>Vignon, <a href='#Page_35'>35</a></li>
-  <li class='c039'>Villemessant, <a href='#Page_15'>15</a>, <a href='#Page_24'>24</a></li>
-  <li class='c039'><i>Virchow</i> (Liebermann), <a href='#Page_99'>99</a></li>
-  <li class='c039'>Virgil, <a href='#Page_50'>50</a></li>
-  <li class='c039'>Vuillard, <a href='#Page_32'>32</a></li>
-  <li class='c003'><i>Wapping</i> (Whistler), <a href='#Page_90'>90</a></li>
-  <li class='c039'><i>War in the Middle Ages</i> (Degas), <a href='#Page_67'>67</a></li>
-  <li class='c039'><i>Water Lilies</i> (Monet), <a href='#Page_47'>47</a></li>
-  <li class='c039'><i>Waterloo Bridge</i> (Constable), <a href='#Page_5'>5</a></li>
-  <li class='c039'>Watteau, <a href='#Page_2'>2</a></li>
-  <li class='c039'>Watts, G. F., <a href='#Page_32'>32</a>, <a href='#Page_50'>50</a></li>
-  <li class='c039'><i>Wave, the</i> (Harrison), <a href='#Page_92'>92</a></li>
-  <li class='c039'>Weimar, <a href='#Page_97'>97</a></li>
-  <li class='c039'>West, Benjamin, <a href='#Page_3'>3</a></li>
-  <li class='c039'>Whistler, J. A. McNeill, <a href='#Page_7'>7</a>, <a href='#Page_20'>20</a>, <a href='#Page_22'>22</a>, <a href='#Page_24'>24</a>, <a href='#Page_40'>40</a>, <a href='#Page_41'>41</a>, <a href='#Page_57'>57</a>, <a href='#Page_71'>71</a>, <a href='#Page_83'>83</a>, <a href='#Page_89'>89</a>, <a href='#Page_92'>92</a>
-    <ul>
-      <li><i>Alone with the tide</i>, <a href='#Page_90'>90</a></li>
-      <li><i>Arrangement in grey and black</i>, <a href='#Page_90'>90</a></li>
-      <li><i>At the piano</i>, <a href='#Page_90'>90</a></li>
-      <li><i>Balcony, the</i>, <a href='#Page_90'>90</a></li>
-      <li><i>Carlyle</i>, <a href='#Page_91'>91</a></li>
-      <li><i>Die Lange Lizen</i>, <a href='#Page_90'>90</a></li>
-      <li><i>Etchings</i>, <a href='#Page_89'>89</a>, <a href='#Page_90'>90</a></li>
-      <li><i>Golden Screen</i>, <a href='#Page_90'>90</a></li>
-      <li><i>Lady Archibald Campbell</i>, <a href='#Page_91'>91</a></li>
-      <li><i>La mère Gérard</i>, <a href='#Page_90'>90</a></li>
-      <li><i>Last of Old Westminster</i>, <a href='#Page_90'>90</a></li>
-      <li><i>Little white girl</i>, <a href='#Page_90'>90</a></li>
-      <li><i>Miss Alexander</i>, <a href='#Page_91'>91</a></li>
-      <li><i>Nocturne</i>, <a href='#Page_91'>91</a></li>
-      <li><i>Old Battersea Bridge</i>, <a href='#Page_90'>90</a></li>
-      <li><i>Sarasate</i>, <a href='#Page_91'>91</a></li>
-      <li><i>Scarf, the</i>, <a href='#Page_90'>90</a></li>
-      <li><i>Valparaiso</i>, <a href='#Page_91'>91</a></li>
-      <li><i>Wapping</i>, <a href='#Page_90'>90</a></li>
-    </ul>
-  </li>
-  <li class='c039'>Wilkie, <a href='#Page_32'>32</a></li>
-  <li class='c039'>Wilson, Richard, <a href='#Page_3'>3</a></li>
-  <li class='c039'><i>Women plucking geese</i> (Liebermann), <a href='#Page_97'>97</a>, <a href='#Page_99'>99</a></li>
-  <li class='c039'><i>Women preserving vegetables</i> (Liebermann), <a href='#Page_97'>97</a></li>
-  <li class='c003'>Zandomeneghi, <a href='#Page_35'>35</a>, <a href='#Page_49'>49</a></li>
-  <li class='c039'>Ziem, <a href='#Page_103'>103</a></li>
-  <li class='c039'>Zola, <a href='#Page_15'>15</a>, <a href='#Page_24'>24</a>, <a href='#Page_25'>25</a>, <a href='#Page_28'>28</a>, <a href='#Page_32'>32</a>, <a href='#Page_55'>55</a></li>
-</ul>
-<div class='pbb'>
- <hr class='pb c003' />
-</div>
-
-<div class='nf-center-c1'>
-<div class='nf-center c034'>
-    <div><span class='pageno' id='Page_135'>135</span>Printed by <span class='sc'>Ballantyne, Hanson &amp; Co.</span></div>
-    <div>London &amp; Edinburgh</div>
-  </div>
-</div>
-
-<div class='pbb'>
- <hr class='pb c034' />
-</div>
-<p class='c040'>&nbsp;</p>
-<div class='tnbox'>
-
- <ul class='ul_1 c003'>
-    <li>Transcriber’s Notes:
-      <ul  class='ul_2'>
-        <li>Links to the paintings in the list of <a href='#ills'>Illustrations</a> have been added.
-        </li>
-        <li>A few of the paintings in the list of <a href='#ills'>Illustrations</a> don't actually appear in 
-        this book. They are not shown as blue links in that list.
-        </li>
-        <li>Links to the <a href='#portraits'>List of Portraits</a> of the artists have been added.
-        </li>
-        <li>Missing or obscured punctuation was silently corrected.
-        </li>
-        <li>Typographical errors were silently corrected.
-        </li>
-        <li>Inconsistent spelling and hyphenation were made consistent only when a predominant 
-        form was found in this book.
-        </li>
-      </ul>
-    </li>
-  </ul>
-
-</div>
-<p class='c040'>&nbsp;</p>
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