diff options
| author | nfenwick <nfenwick@pglaf.org> | 2025-01-25 06:08:40 -0800 |
|---|---|---|
| committer | nfenwick <nfenwick@pglaf.org> | 2025-01-25 06:08:40 -0800 |
| commit | a8f914f11a84eabd5d56dd46c9f91be47bef7755 (patch) | |
| tree | b12a38a79717af2060c3ccbc1ec700cb0e2e20dd /old/69533-h | |
| parent | c0e5c8f93b7ed38f7337ba425273326a2427e207 (diff) | |
Diffstat (limited to 'old/69533-h')
| -rw-r--r-- | old/69533-h/69533-h.htm | 7776 | ||||
| -rw-r--r-- | old/69533-h/images/cover.jpg | bin | 251645 -> 0 bytes | |||
| -rw-r--r-- | old/69533-h/images/di-a.jpg | bin | 14971 -> 0 bytes | |||
| -rw-r--r-- | old/69533-h/images/di-c.jpg | bin | 14521 -> 0 bytes | |||
| -rw-r--r-- | old/69533-h/images/di-e.jpg | bin | 14988 -> 0 bytes | |||
| -rw-r--r-- | old/69533-h/images/di-f.jpg | bin | 14826 -> 0 bytes | |||
| -rw-r--r-- | old/69533-h/images/di-g.jpg | bin | 15403 -> 0 bytes | |||
| -rw-r--r-- | old/69533-h/images/di-i.jpg | bin | 15170 -> 0 bytes | |||
| -rw-r--r-- | old/69533-h/images/di-j.jpg | bin | 15005 -> 0 bytes | |||
| -rw-r--r-- | old/69533-h/images/di-m.jpg | bin | 15472 -> 0 bytes | |||
| -rw-r--r-- | old/69533-h/images/di-t.jpg | bin | 15067 -> 0 bytes | |||
| -rw-r--r-- | old/69533-h/images/frontis.jpg | bin | 251168 -> 0 bytes | |||
| -rw-r--r-- | old/69533-h/images/i001fp.jpg | bin | 246903 -> 0 bytes | |||
| -rw-r--r-- | old/69533-h/images/i002-1.jpg | bin | 237797 -> 0 bytes | |||
| -rw-r--r-- | old/69533-h/images/i002-2.jpg | bin | 253998 -> 0 bytes | |||
| -rw-r--r-- | old/69533-h/images/i004-1.jpg | bin | 253969 -> 0 bytes | |||
| -rw-r--r-- | old/69533-h/images/i004-2.jpg | bin | 219621 -> 0 bytes | |||
| -rw-r--r-- | old/69533-h/images/i004-3.jpg | bin | 255714 -> 0 bytes | |||
| -rw-r--r-- | old/69533-h/images/i006-1.jpg | bin | 249732 -> 0 bytes | |||
| -rw-r--r-- | old/69533-h/images/i006-2.jpg | bin | 251887 -> 0 bytes | |||
| -rw-r--r-- | old/69533-h/images/i008.jpg | bin | 107020 -> 0 bytes | |||
| -rw-r--r-- | old/69533-h/images/i008fp.jpg | bin | 240863 -> 0 bytes | |||
| -rw-r--r-- | old/69533-h/images/i009fp.jpg | bin | 231987 -> 0 bytes | |||
| -rw-r--r-- | old/69533-h/images/i010fp.jpg | bin | 246819 -> 0 bytes | |||
| -rw-r--r-- | old/69533-h/images/i012fp.jpg | bin | 221953 -> 0 bytes | |||
| -rw-r--r-- | old/69533-h/images/i014fp.jpg | bin | 248298 -> 0 bytes | |||
| -rw-r--r-- | old/69533-h/images/i016.jpg | bin | 119375 -> 0 bytes | |||
| -rw-r--r-- | old/69533-h/images/i016fp.jpg | bin | 250720 -> 0 bytes | |||
| -rw-r--r-- | old/69533-h/images/i017fp.jpg | bin | 249303 -> 0 bytes | |||
| -rw-r--r-- | old/69533-h/images/i018fp.jpg | bin | 238360 -> 0 bytes | |||
| -rw-r--r-- | old/69533-h/images/i022fp.jpg | bin | 253712 -> 0 bytes | |||
| -rw-r--r-- | old/69533-h/images/i024fp.jpg | bin | 249354 -> 0 bytes | |||
| -rw-r--r-- | old/69533-h/images/i026fp.jpg | bin | 203430 -> 0 bytes | |||
| -rw-r--r-- | old/69533-h/images/i028-1.jpg | bin | 254715 -> 0 bytes | |||
| -rw-r--r-- | old/69533-h/images/i028-2.jpg | bin | 254657 -> 0 bytes | |||
| -rw-r--r-- | old/69533-h/images/i030.jpg | bin | 142817 -> 0 bytes | |||
| -rw-r--r-- | old/69533-h/images/i031fp.jpg | bin | 187316 -> 0 bytes | |||
| -rw-r--r-- | old/69533-h/images/i032-1.jpg | bin | 247373 -> 0 bytes | |||
| -rw-r--r-- | old/69533-h/images/i032-2.jpg | bin | 255638 -> 0 bytes | |||
| -rw-r--r-- | old/69533-h/images/i034-1.jpg | bin | 252683 -> 0 bytes | |||
| -rw-r--r-- | old/69533-h/images/i034-2.jpg | bin | 244845 -> 0 bytes | |||
| -rw-r--r-- | old/69533-h/images/i036.jpg | bin | 131279 -> 0 bytes | |||
| -rw-r--r-- | old/69533-h/images/i037fp.jpg | bin | 242607 -> 0 bytes | |||
| -rw-r--r-- | old/69533-h/images/i038-1.jpg | bin | 236112 -> 0 bytes | |||
| -rw-r--r-- | old/69533-h/images/i038-2.jpg | bin | 248328 -> 0 bytes | |||
| -rw-r--r-- | old/69533-h/images/i040fp.jpg | bin | 250891 -> 0 bytes | |||
| -rw-r--r-- | old/69533-h/images/i042fp.jpg | bin | 237263 -> 0 bytes | |||
| -rw-r--r-- | old/69533-h/images/i044-1.jpg | bin | 235120 -> 0 bytes | |||
| -rw-r--r-- | old/69533-h/images/i044-2.jpg | bin | 251462 -> 0 bytes | |||
| -rw-r--r-- | old/69533-h/images/i046-1.jpg | bin | 244519 -> 0 bytes | |||
| -rw-r--r-- | old/69533-h/images/i046-2.jpg | bin | 254834 -> 0 bytes | |||
| -rw-r--r-- | old/69533-h/images/i048.jpg | bin | 106284 -> 0 bytes | |||
| -rw-r--r-- | old/69533-h/images/i048fp.jpg | bin | 249850 -> 0 bytes | |||
| -rw-r--r-- | old/69533-h/images/i049fp.jpg | bin | 236564 -> 0 bytes | |||
| -rw-r--r-- | old/69533-h/images/i050-1.jpg | bin | 245425 -> 0 bytes | |||
| -rw-r--r-- | old/69533-h/images/i050-2.jpg | bin | 247992 -> 0 bytes | |||
| -rw-r--r-- | old/69533-h/images/i050-3.jpg | bin | 248834 -> 0 bytes | |||
| -rw-r--r-- | old/69533-h/images/i052-1.jpg | bin | 249198 -> 0 bytes | |||
| -rw-r--r-- | old/69533-h/images/i052-2.jpg | bin | 244704 -> 0 bytes | |||
| -rw-r--r-- | old/69533-h/images/i054-1.jpg | bin | 253154 -> 0 bytes | |||
| -rw-r--r-- | old/69533-h/images/i054-2.jpg | bin | 250974 -> 0 bytes | |||
| -rw-r--r-- | old/69533-h/images/i054-3.jpg | bin | 231817 -> 0 bytes | |||
| -rw-r--r-- | old/69533-h/images/i054-4.jpg | bin | 245021 -> 0 bytes | |||
| -rw-r--r-- | old/69533-h/images/i056.jpg | bin | 148908 -> 0 bytes | |||
| -rw-r--r-- | old/69533-h/images/i056fp.jpg | bin | 253767 -> 0 bytes | |||
| -rw-r--r-- | old/69533-h/images/i057fp.jpg | bin | 248409 -> 0 bytes | |||
| -rw-r--r-- | old/69533-h/images/i058-1.jpg | bin | 242193 -> 0 bytes | |||
| -rw-r--r-- | old/69533-h/images/i058-2.jpg | bin | 225192 -> 0 bytes | |||
| -rw-r--r-- | old/69533-h/images/i058-3.jpg | bin | 253456 -> 0 bytes | |||
| -rw-r--r-- | old/69533-h/images/i060-1.jpg | bin | 237964 -> 0 bytes | |||
| -rw-r--r-- | old/69533-h/images/i060-2.jpg | bin | 242614 -> 0 bytes | |||
| -rw-r--r-- | old/69533-h/images/i060-3.jpg | bin | 255830 -> 0 bytes | |||
| -rw-r--r-- | old/69533-h/images/i062-1.jpg | bin | 248694 -> 0 bytes | |||
| -rw-r--r-- | old/69533-h/images/i062-2.jpg | bin | 254705 -> 0 bytes | |||
| -rw-r--r-- | old/69533-h/images/i062-3.jpg | bin | 242398 -> 0 bytes | |||
| -rw-r--r-- | old/69533-h/images/i064.jpg | bin | 135912 -> 0 bytes | |||
| -rw-r--r-- | old/69533-h/images/i064fp.jpg | bin | 249175 -> 0 bytes | |||
| -rw-r--r-- | old/69533-h/images/i065fp.jpg | bin | 253236 -> 0 bytes | |||
| -rw-r--r-- | old/69533-h/images/i066-1.jpg | bin | 230752 -> 0 bytes | |||
| -rw-r--r-- | old/69533-h/images/i066-2.jpg | bin | 217437 -> 0 bytes | |||
| -rw-r--r-- | old/69533-h/images/i068fp.jpg | bin | 250522 -> 0 bytes | |||
| -rw-r--r-- | old/69533-h/images/i070fp.jpg | bin | 243346 -> 0 bytes | |||
| -rw-r--r-- | old/69533-h/images/i072fp.jpg | bin | 254592 -> 0 bytes | |||
| -rw-r--r-- | old/69533-h/images/i073.jpg | bin | 127840 -> 0 bytes | |||
| -rw-r--r-- | old/69533-h/images/i075fp.jpg | bin | 236176 -> 0 bytes | |||
| -rw-r--r-- | old/69533-h/images/i076.jpg | bin | 246046 -> 0 bytes | |||
| -rw-r--r-- | old/69533-h/images/i077.jpg | bin | 119789 -> 0 bytes | |||
| -rw-r--r-- | old/69533-h/images/i079fp.jpg | bin | 246511 -> 0 bytes | |||
| -rw-r--r-- | old/69533-h/images/i080-1.jpg | bin | 201928 -> 0 bytes | |||
| -rw-r--r-- | old/69533-h/images/i080-2.jpg | bin | 247182 -> 0 bytes | |||
| -rw-r--r-- | old/69533-h/images/i080-3.jpg | bin | 240856 -> 0 bytes | |||
| -rw-r--r-- | old/69533-h/images/i080-4.jpg | bin | 253381 -> 0 bytes | |||
| -rw-r--r-- | old/69533-h/images/i082-1.jpg | bin | 235507 -> 0 bytes | |||
| -rw-r--r-- | old/69533-h/images/i082-2.jpg | bin | 255441 -> 0 bytes | |||
| -rw-r--r-- | old/69533-h/images/i084-1.jpg | bin | 235031 -> 0 bytes | |||
| -rw-r--r-- | old/69533-h/images/i084-2.jpg | bin | 238564 -> 0 bytes | |||
| -rw-r--r-- | old/69533-h/images/i084-3.jpg | bin | 255260 -> 0 bytes | |||
| -rw-r--r-- | old/69533-h/images/i084-4.jpg | bin | 255779 -> 0 bytes | |||
| -rw-r--r-- | old/69533-h/images/i086-1.jpg | bin | 255568 -> 0 bytes | |||
| -rw-r--r-- | old/69533-h/images/i086-2.jpg | bin | 237866 -> 0 bytes | |||
| -rw-r--r-- | old/69533-h/images/i086-3.jpg | bin | 248359 -> 0 bytes | |||
| -rw-r--r-- | old/69533-h/images/i086-4.jpg | bin | 236851 -> 0 bytes | |||
| -rw-r--r-- | old/69533-h/images/i088.jpg | bin | 131696 -> 0 bytes | |||
| -rw-r--r-- | old/69533-h/images/i088fp.jpg | bin | 214107 -> 0 bytes | |||
| -rw-r--r-- | old/69533-h/images/i089fp.jpg | bin | 254093 -> 0 bytes | |||
| -rw-r--r-- | old/69533-h/images/i090-1.jpg | bin | 253830 -> 0 bytes | |||
| -rw-r--r-- | old/69533-h/images/i090-2.jpg | bin | 250543 -> 0 bytes | |||
| -rw-r--r-- | old/69533-h/images/i092-1.jpg | bin | 151127 -> 0 bytes | |||
| -rw-r--r-- | old/69533-h/images/i092-2.jpg | bin | 237997 -> 0 bytes | |||
| -rw-r--r-- | old/69533-h/images/i092-3.jpg | bin | 191985 -> 0 bytes | |||
| -rw-r--r-- | old/69533-h/images/i092-4.jpg | bin | 251485 -> 0 bytes | |||
| -rw-r--r-- | old/69533-h/images/i094-1.jpg | bin | 254166 -> 0 bytes | |||
| -rw-r--r-- | old/69533-h/images/i094-2.jpg | bin | 250311 -> 0 bytes | |||
| -rw-r--r-- | old/69533-h/images/i095fp.jpg | bin | 237178 -> 0 bytes | |||
| -rw-r--r-- | old/69533-h/images/i096.jpg | bin | 233833 -> 0 bytes | |||
| -rw-r--r-- | old/69533-h/images/i098-1.jpg | bin | 249216 -> 0 bytes | |||
| -rw-r--r-- | old/69533-h/images/i098-2.jpg | bin | 245732 -> 0 bytes | |||
| -rw-r--r-- | old/69533-h/images/i100.jpg | bin | 147476 -> 0 bytes | |||
| -rw-r--r-- | old/69533-h/images/i105.jpg | bin | 136080 -> 0 bytes | |||
| -rw-r--r-- | old/69533-h/images/i112.jpg | bin | 115204 -> 0 bytes | |||
| -rw-r--r-- | old/69533-h/images/i119.jpg | bin | 111497 -> 0 bytes | |||
| -rw-r--r-- | old/69533-h/images/publogo.jpg | bin | 71131 -> 0 bytes |
122 files changed, 0 insertions, 7776 deletions
diff --git a/old/69533-h/69533-h.htm b/old/69533-h/69533-h.htm deleted file mode 100644 index b5c318e..0000000 --- a/old/69533-h/69533-h.htm +++ /dev/null @@ -1,7776 +0,0 @@ -<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" - "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> -<html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> - <head> - <meta http-equiv="Content-Type" content="text/html;charset=UTF-8" /> - <title>Impressionist Painting: Its Genesis and Development, by Wynford Dewhurst—A Project Gutenberg eBook</title> - <link rel="coverpage" href="images/cover.jpg" /> - <style type="text/css"> - body { margin-left: 8%; margin-right: 10%; } - h1 { text-align: center; font-weight: normal; font-size: 1.4em; } - h2 { text-align: center; font-weight: normal; font-size: 1.2em; } - h3 { text-align: center; font-weight: normal; font-size: 1.2em; } - .pageno { right: 1%; font-size: x-small; background-color: inherit; color: silver; - text-indent: 0em; text-align: right; position: absolute; - border: thin solid silver; padding: .1em .2em; font-style: normal; - font-variant: normal; font-weight: normal; text-decoration: none; } - p { text-indent: 0; margin-top: 0.5em; margin-bottom: 0.5em; text-align: justify; } - .fss { font-size: 75%; } - .sc { font-variant: small-caps; } - .small { font-size: small; } - .xsmall { font-size: x-small; } - .lg-container-b { text-align: center; } - @media handheld { .lg-container-b { clear: both; } } - .lg-container-l { text-align: left; } - @media handheld { .lg-container-l { clear: both; } } - .linegroup { display: inline-block; text-align: left; } - @media handheld { .linegroup { display: block; margin-left: 1.5em; } } - .linegroup .group { margin: 1em auto; } - .linegroup .line { text-indent: -3em; padding-left: 3em; } - div.linegroup > :first-child { margin-top: 0; } - .linegroup .in1 { padding-left: 3.5em; } - .linegroup .in3 { padding-left: 4.5em; } - .linegroup .in5 { padding-left: 5.5em; } - .index li {text-indent: -1em; padding-left: 1em; } - .index ul {list-style-type: none; padding-left: 0; } - ul.index {list-style-type: none; padding-left: 0; } - ul.ul_1 {padding-left: 0; margin-left: 2.78%; margin-top: .5em; - margin-bottom: .5em; list-style-type: disc; } - ul.ul_2 {padding-left: 0; margin-left: 6.94%; margin-top: .5em; - margin-bottom: .5em; list-style-type: circle; } - div.pbb { page-break-before: always; } - hr.pb { border: none; border-bottom: thin solid; margin-bottom: 1em; } - @media handheld { hr.pb { display: none; } } - .chapter { clear: both; page-break-before: always; } - .figcenter { clear: both; max-width: 100%; margin: 2em auto; text-align: center; } - div.figcenter p { text-align: center; text-indent: 0; } - .figcenter img { max-width: 100%; height: auto; } - .id001 { width:800px; } - .id003 { width:200px; } - .id004 { width:500px; } - .id005 { width:400px; } - @media handheld { .id001 { margin-left:0%; width:100%; } } - @media handheld { .id003 { margin-left:37%; width:25%; } } - @media handheld { .id004 { margin-left:19%; width:62%; } } - @media handheld { .id005 { margin-left:25%; width:50%; } } - .ic002 { width:100%; } - .ig001 { width:100%; } - .table0 { margin: auto; margin-top: 2em; margin-left: 0%; margin-right: 0%; - width: 100%; } - .nf-center { text-align: center; } - .nf-center-c0 { text-align: left; margin: 0.5em 0; } - .nf-center-c1 { text-align: left; margin: 1em 0; } - img.drop-capi { float: left; margin: 0 0.5em 0 0; position: relative; z-index: 1; } - p.drop-capi0_75 { text-indent: 0; margin-top: 0.5em; margin-bottom: 0.5em; } - p.drop-capi0_75:first-letter { color: transparent; visibility: hidden; - margin-left: -0.75em; } - @media handheld { - img.drop-capi { display: none; visibility: hidden; } - p.drop-capi0_75:first-letter { color: inherit; visibility: visible; - margin-left: 0em; } - } - .c000 { margin-top: 1em; } - .c001 { page-break-before: always; margin-top: 6em; } - .c002 { margin-top: 6em; } - .c003 { margin-top: 2em; } - .c004 { font-size: 3em; } - .c005 { font-size: 2em; } - .c006 { margin-top: 5em; } - .c007 { font-size: 1.5em; } - .c008 { font-size: 0.9em; } - .c009 { font-size: 1.2em; } - .c010 { margin-top: 3em; } - .c011 { page-break-before:auto; margin-top: 4em; } - .c012 { margin-top: 2em; text-indent: 1em; margin-bottom: 0.5em; } - .c013 { text-indent: 1em; margin-top: 0.5em; margin-bottom: 0.5em; } - .c014 { vertical-align: top; text-align: right; padding-right: 1em; } - .c015 { vertical-align: top; text-align: left; text-indent: -1em; - padding-left: 1em; padding-right: 1em; } - .c016 { vertical-align: top; text-align: right; } - .c017 { font-size: 80%; } - .c018 { margin-left: 13.89%; margin-right: 13.89%; margin-top: 2em; - margin-bottom: 0.5em; } - .c019 { margin-left: 13.89%; margin-right: 13.89%; text-indent: 55.56%; - margin-top: 0.5em; margin-bottom: 0.5em; } - .c020 { margin-top: 2em; font-size: 80%; text-indent: 1em; margin-bottom: 0.5em; } - .c021 { font-size: 80%; text-indent: 1em; margin-top: 0.5em; margin-bottom: 0.5em; - } - .c022 { margin-left: 13.89%; margin-right: 13.89%; margin-top: 0.5em; - margin-bottom: 0.5em; } - .c023 { margin-left: 1.39%; margin-top: 1em; font-size: 85%; } - .c024 { margin-top: 1em; margin-bottom: 0.5em; } - .c025 { margin-top: 1em; text-indent: 1em; margin-bottom: 0.5em; } - .c026 { page-break-before: always; margin-top: 2em; } - .c027 { margin-top: 1em; font-size: 80%; text-indent: 1em; margin-bottom: 0.5em; } - .c028 { margin-left: 5.56%; margin-right: 5.56%; margin-top: 1em; font-size: 85%; - text-indent: 1em; margin-bottom: 0.5em; } - .c029 { margin-left: 61.11%; margin-right: 5.56%; font-size: 85%; } - .c030 { margin-left: 5.56%; margin-right: 5.56%; margin-top: 2em; font-size: 85%; - text-indent: 1em; margin-bottom: 0.5em; } - .c031 { margin-left: 5.56%; margin-right: 5.56%; font-size: 85%; text-indent: 1em; - margin-top: 0.5em; margin-bottom: 0.5em; } - .c032 { margin-left: 5.56%; margin-right: 5.56%; text-indent: 55.56%; - font-size: 85%; margin-top: 0.5em; margin-bottom: 0.5em; } - .c033 { margin-left: 5.56%; margin-right: 5.56%; text-indent: 625.00%; - font-size: 85%; margin-top: 0.5em; margin-bottom: 0.5em; } - .c034 { margin-top: 4em; } - .c035 { margin-top: 2em; margin-bottom: 0.5em; } - .c036 { margin-left: 13.89%; margin-top: 0.5em; margin-bottom: 0.5em; } - .c037 { margin-left: 13.89%; text-indent: -13.89%; margin-top: 2em; - margin-bottom: 0.5em; } - .c038 { margin-left: 13.89%; text-indent: 13.89%; margin-top: 0.5em; - margin-bottom: 0.5em; } - .c039 { margin-top: .5em; } - .c040 { margin-top: 0.5em; margin-bottom: 0.5em; } - body {width:80%; margin:auto; } - h1 {font-size: 2.00em; text-align: center; } - h2 {font-size: 1.75em; text-align: left; } - h3 {font-size: 1.25em; text-align: center; } - .lh {line-height: 150% } - .tnbox {background-color:#E3E4FA;border:1px solid silver;padding: 0.5em; - margin:2em 10% 0 10%; } - </style> - </head> - <body> -<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 -whatsoever. You may copy it, give it away or re-use it under the terms -of the Project Gutenberg License included with this eBook or online -at <a href="https://www.gutenberg.org">www.gutenberg.org</a>. If you -are not located in the United States, you will have to check the laws of the -country where you are located before using this eBook. -</div> - -<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'> </td> - <td class='c015'> </td> - <td class='c016'><span class='xsmall'>PAGE</span></td> - </tr> - <tr> - <td class='c014'> </td> - <td class='c015'>DEDICATION</td> - <td class='c016'><a href='#Page_v'>v</a></td> - </tr> - <tr> - <td class='c014'> </td> - <td class='c015'>PREFACE</td> - <td class='c016'><a href='#Page_vii'>vii</a></td> - </tr> - <tr> - <td class='c014'> </td> - <td class='c015'>LIST OF ILLUSTRATIONS</td> - <td class='c016'><a href='#Page_xi'>xi</a></td> - </tr> - <tr> - <td class='c014'> </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'> </td> - <td class='c016'> </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'> </td> - <td class='c015'>APPENDIX</td> - <td class='c016'><a href='#Page_107'>107</a></td> - </tr> - <tr> - <td class='c014'> </td> - <td class='c015'>BIBLIOGRAPHY</td> - <td class='c016'><a href='#Page_113'>113</a></td> - </tr> - <tr> - <td class='c014'> </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 & 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 & 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 & 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 & 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, &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 & 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 & 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, &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, &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, - &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, &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, &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, &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 & Co.</span></div> - <div>London & Edinburgh</div> - </div> -</div> - -<div class='pbb'> - <hr class='pb c034' /> -</div> -<p class='c040'> </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'> </p> - -<div style='display:block; margin-top:4em'>*** END OF THE PROJECT GUTENBERG EBOOK IMPRESSIONIST PAINTING: ITS GENESIS AND DEVELOPMENT ***</div> -<div style='text-align:left'> - -<div style='display:block; margin:1em 0'> -Updated editions will replace the previous one—the old editions will -be renamed. -</div> - -<div style='display:block; margin:1em 0'> -Creating the works from print editions not protected by U.S. copyright -law means that no one owns a United States copyright in these works, -so the Foundation (and you!) can copy and distribute it in the United -States without permission and without paying copyright -royalties. Special rules, set forth in the General Terms of Use part -of this license, apply to copying and distributing Project -Gutenberg™ electronic works to protect the PROJECT GUTENBERG™ -concept and trademark. Project Gutenberg is a registered trademark, -and may not be used if you charge for an eBook, except by following -the terms of the trademark license, including paying royalties for use -of the Project Gutenberg trademark. If you do not charge anything for -copies of this eBook, complying with the trademark license is very -easy. You may use this eBook for nearly any purpose such as creation -of derivative works, reports, performances and research. Project -Gutenberg eBooks may be modified and printed and given away—you may -do practically ANYTHING in the United States with eBooks not protected -by U.S. copyright law. Redistribution is subject to the trademark -license, especially commercial redistribution. -</div> - -<div style='margin-top:1em; font-size:1.1em; text-align:center'>START: FULL LICENSE</div> -<div style='text-align:center;font-size:0.9em'>THE FULL PROJECT GUTENBERG LICENSE</div> -<div style='text-align:center;font-size:0.9em'>PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK</div> - -<div style='display:block; margin:1em 0'> -To protect the Project Gutenberg™ mission of promoting the free -distribution of electronic works, by using or distributing this work -(or any other work associated in any way with the phrase “Project -Gutenberg”), you agree to comply with all the terms of the Full -Project Gutenberg™ License available with this file or online at -www.gutenberg.org/license. -</div> - -<div style='display:block; font-size:1.1em; margin:1em 0; font-weight:bold'> -Section 1. General Terms of Use and Redistributing Project Gutenberg™ electronic works -</div> - -<div style='display:block; margin:1em 0'> -1.A. By reading or using any part of this Project Gutenberg™ -electronic work, you indicate that you have read, understand, agree to -and accept all the terms of this license and intellectual property -(trademark/copyright) agreement. If you do not agree to abide by all -the terms of this agreement, you must cease using and return or -destroy all copies of Project Gutenberg™ electronic works in your -possession. If you paid a fee for obtaining a copy of or access to a -Project Gutenberg™ electronic work and you do not agree to be bound -by the terms of this agreement, you may obtain a refund from the person -or entity to whom you paid the fee as set forth in paragraph 1.E.8. -</div> - -<div style='display:block; margin:1em 0'> -1.B. “Project Gutenberg” is a registered trademark. It may only be -used on or associated in any way with an electronic work by people who -agree to be bound by the terms of this agreement. There are a few -things that you can do with most Project Gutenberg™ electronic works -even without complying with the full terms of this agreement. See -paragraph 1.C below. There are a lot of things you can do with Project -Gutenberg™ electronic works if you follow the terms of this -agreement and help preserve free future access to Project Gutenberg™ -electronic works. See paragraph 1.E below. -</div> - -<div style='display:block; margin:1em 0'> -1.C. The Project Gutenberg Literary Archive Foundation (“the -Foundation” or PGLAF), owns a compilation copyright in the collection -of Project Gutenberg™ electronic works. Nearly all the individual -works in the collection are in the public domain in the United -States. If an individual work is unprotected by copyright law in the -United States and you are located in the United States, we do not -claim a right to prevent you from copying, distributing, performing, -displaying or creating derivative works based on the work as long as -all references to Project Gutenberg are removed. Of course, we hope -that you will support the Project Gutenberg™ mission of promoting -free access to electronic works by freely sharing Project Gutenberg™ -works in compliance with the terms of this agreement for keeping the -Project Gutenberg™ name associated with the work. You can easily -comply with the terms of this agreement by keeping this work in the -same format with its attached full Project Gutenberg™ License when -you share it without charge with others. -</div> - -<div style='display:block; margin:1em 0'> -1.D. The copyright laws of the place where you are located also govern -what you can do with this work. Copyright laws in most countries are -in a constant state of change. If you are outside the United States, -check the laws of your country in addition to the terms of this -agreement before downloading, copying, displaying, performing, -distributing or creating derivative works based on this work or any -other Project Gutenberg™ work. The Foundation makes no -representations concerning the copyright status of any work in any -country other than the United States. -</div> - -<div style='display:block; margin:1em 0'> -1.E. Unless you have removed all references to Project Gutenberg: -</div> - -<div style='display:block; margin:1em 0'> -1.E.1. The following sentence, with active links to, or other -immediate access to, the full Project Gutenberg™ License must appear -prominently whenever any copy of a Project Gutenberg™ work (any work -on which the phrase “Project Gutenberg” appears, or with which the -phrase “Project Gutenberg” is associated) is accessed, displayed, -performed, viewed, copied or distributed: -</div> - -<blockquote> - <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 - whatsoever. You may copy it, give it away or re-use it under the terms - of the Project Gutenberg License included with this eBook or online - at <a href="https://www.gutenberg.org">www.gutenberg.org</a>. If you - are not located in the United States, you will have to check the laws - of the country where you are located before using this eBook. - </div> -</blockquote> - -<div style='display:block; margin:1em 0'> -1.E.2. If an individual Project Gutenberg™ electronic work is -derived from texts not protected by U.S. copyright law (does not -contain a notice indicating that it is posted with permission of the -copyright holder), the work can be copied and distributed to anyone in -the United States without paying any fees or charges. If you are -redistributing or providing access to a work with the phrase “Project -Gutenberg” associated with or appearing on the work, you must comply -either with the requirements of paragraphs 1.E.1 through 1.E.7 or -obtain permission for the use of the work and the Project Gutenberg™ -trademark as set forth in paragraphs 1.E.8 or 1.E.9. -</div> - -<div style='display:block; margin:1em 0'> -1.E.3. If an individual Project Gutenberg™ electronic work is posted -with the permission of the copyright holder, your use and distribution -must comply with both paragraphs 1.E.1 through 1.E.7 and any -additional terms imposed by the copyright holder. Additional terms -will be linked to the Project Gutenberg™ License for all works -posted with the permission of the copyright holder found at the -beginning of this work. -</div> - -<div style='display:block; margin:1em 0'> -1.E.4. Do not unlink or detach or remove the full Project Gutenberg™ -License terms from this work, or any files containing a part of this -work or any other work associated with Project Gutenberg™. -</div> - -<div style='display:block; margin:1em 0'> -1.E.5. Do not copy, display, perform, distribute or redistribute this -electronic work, or any part of this electronic work, without -prominently displaying the sentence set forth in paragraph 1.E.1 with -active links or immediate access to the full terms of the Project -Gutenberg™ License. -</div> - -<div style='display:block; margin:1em 0'> -1.E.6. You may convert to and distribute this work in any binary, -compressed, marked up, nonproprietary or proprietary form, including -any word processing or hypertext form. However, if you provide access -to or distribute copies of a Project Gutenberg™ work in a format -other than “Plain Vanilla ASCII” or other format used in the official -version posted on the official Project Gutenberg™ website -(www.gutenberg.org), you must, at no additional cost, fee or expense -to the user, provide a copy, a means of exporting a copy, or a means -of obtaining a copy upon request, of the work in its original “Plain -Vanilla ASCII” or other form. Any alternate format must include the -full Project Gutenberg™ License as specified in paragraph 1.E.1. -</div> - -<div style='display:block; margin:1em 0'> -1.E.7. Do not charge a fee for access to, viewing, displaying, -performing, copying or distributing any Project Gutenberg™ works -unless you comply with paragraph 1.E.8 or 1.E.9. -</div> - -<div style='display:block; margin:1em 0'> -1.E.8. You may charge a reasonable fee for copies of or providing -access to or distributing Project Gutenberg™ electronic works -provided that: -</div> - -<div style='margin-left:0.7em;'> - <div style='text-indent:-0.7em'> - • You pay a royalty fee of 20% of the gross profits you derive from - the use of Project Gutenberg™ works calculated using the method - you already use to calculate your applicable taxes. The fee is owed - to the owner of the Project Gutenberg™ trademark, but he has - agreed to donate royalties under this paragraph to the Project - Gutenberg Literary Archive Foundation. Royalty payments must be paid - within 60 days following each date on which you prepare (or are - legally required to prepare) your periodic tax returns. Royalty - payments should be clearly marked as such and sent to the Project - Gutenberg Literary Archive Foundation at the address specified in - Section 4, “Information about donations to the Project Gutenberg - Literary Archive Foundation.” - </div> - - <div style='text-indent:-0.7em'> - • You provide a full refund of any money paid by a user who notifies - you in writing (or by e-mail) within 30 days of receipt that s/he - does not agree to the terms of the full Project Gutenberg™ - License. You must require such a user to return or destroy all - copies of the works possessed in a physical medium and discontinue - all use of and all access to other copies of Project Gutenberg™ - works. - </div> - - <div style='text-indent:-0.7em'> - • You provide, in accordance with paragraph 1.F.3, a full refund of - any money paid for a work or a replacement copy, if a defect in the - electronic work is discovered and reported to you within 90 days of - receipt of the work. - </div> - - <div style='text-indent:-0.7em'> - • You comply with all other terms of this agreement for free - distribution of Project Gutenberg™ works. - </div> -</div> - -<div style='display:block; margin:1em 0'> -1.E.9. If you wish to charge a fee or distribute a Project -Gutenberg™ electronic work or group of works on different terms than -are set forth in this agreement, you must obtain permission in writing -from the Project Gutenberg Literary Archive Foundation, the manager of -the Project Gutenberg™ trademark. Contact the Foundation as set -forth in Section 3 below. -</div> - -<div style='display:block; margin:1em 0'> -1.F. -</div> - -<div style='display:block; margin:1em 0'> -1.F.1. Project Gutenberg volunteers and employees expend considerable -effort to identify, do copyright research on, transcribe and proofread -works not protected by U.S. copyright law in creating the Project -Gutenberg™ collection. Despite these efforts, Project Gutenberg™ -electronic works, and the medium on which they may be stored, may -contain “Defects,” such as, but not limited to, incomplete, inaccurate -or corrupt data, transcription errors, a copyright or other -intellectual property infringement, a defective or damaged disk or -other medium, a computer virus, or computer codes that damage or -cannot be read by your equipment. -</div> - -<div style='display:block; margin:1em 0'> -1.F.2. LIMITED WARRANTY, DISCLAIMER OF DAMAGES - Except for the “Right -of Replacement or Refund” described in paragraph 1.F.3, the Project -Gutenberg Literary Archive Foundation, the owner of the Project -Gutenberg™ trademark, and any other party distributing a Project -Gutenberg™ electronic work under this agreement, disclaim all -liability to you for damages, costs and expenses, including legal -fees. YOU AGREE THAT YOU HAVE NO REMEDIES FOR NEGLIGENCE, STRICT -LIABILITY, BREACH OF WARRANTY OR BREACH OF CONTRACT EXCEPT THOSE -PROVIDED IN PARAGRAPH 1.F.3. YOU AGREE THAT THE FOUNDATION, THE -TRADEMARK OWNER, AND ANY DISTRIBUTOR UNDER THIS AGREEMENT WILL NOT BE -LIABLE TO YOU FOR ACTUAL, DIRECT, INDIRECT, CONSEQUENTIAL, PUNITIVE OR -INCIDENTAL DAMAGES EVEN IF YOU GIVE NOTICE OF THE POSSIBILITY OF SUCH -DAMAGE. -</div> - -<div style='display:block; margin:1em 0'> -1.F.3. LIMITED RIGHT OF REPLACEMENT OR REFUND - If you discover a -defect in this electronic work within 90 days of receiving it, you can -receive a refund of the money (if any) you paid for it by sending a -written explanation to the person you received the work from. If you -received the work on a physical medium, you must return the medium -with your written explanation. The person or entity that provided you -with the defective work may elect to provide a replacement copy in -lieu of a refund. If you received the work electronically, the person -or entity providing it to you may choose to give you a second -opportunity to receive the work electronically in lieu of a refund. If -the second copy is also defective, you may demand a refund in writing -without further opportunities to fix the problem. -</div> - -<div style='display:block; margin:1em 0'> -1.F.4. Except for the limited right of replacement or refund set forth -in paragraph 1.F.3, this work is provided to you ‘AS-IS’, WITH NO -OTHER WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT -LIMITED TO WARRANTIES OF MERCHANTABILITY OR FITNESS FOR ANY PURPOSE. -</div> - -<div style='display:block; margin:1em 0'> -1.F.5. Some states do not allow disclaimers of certain implied -warranties or the exclusion or limitation of certain types of -damages. If any disclaimer or limitation set forth in this agreement -violates the law of the state applicable to this agreement, the -agreement shall be interpreted to make the maximum disclaimer or -limitation permitted by the applicable state law. The invalidity or -unenforceability of any provision of this agreement shall not void the -remaining provisions. -</div> - -<div style='display:block; margin:1em 0'> -1.F.6. INDEMNITY - You agree to indemnify and hold the Foundation, the -trademark owner, any agent or employee of the Foundation, anyone -providing copies of Project Gutenberg™ electronic works in -accordance with this agreement, and any volunteers associated with the -production, promotion and distribution of Project Gutenberg™ -electronic works, harmless from all liability, costs and expenses, -including legal fees, that arise directly or indirectly from any of -the following which you do or cause to occur: (a) distribution of this -or any Project Gutenberg™ work, (b) alteration, modification, or -additions or deletions to any Project Gutenberg™ work, and (c) any -Defect you cause. -</div> - -<div style='display:block; font-size:1.1em; margin:1em 0; font-weight:bold'> -Section 2. Information about the Mission of Project Gutenberg™ -</div> - -<div style='display:block; margin:1em 0'> -Project Gutenberg™ is synonymous with the free distribution of -electronic works in formats readable by the widest variety of -computers including obsolete, old, middle-aged and new computers. It -exists because of the efforts of hundreds of volunteers and donations -from people in all walks of life. -</div> - -<div style='display:block; margin:1em 0'> -Volunteers and financial support to provide volunteers with the -assistance they need are critical to reaching Project Gutenberg™’s -goals and ensuring that the Project Gutenberg™ collection will -remain freely available for generations to come. In 2001, the Project -Gutenberg Literary Archive Foundation was created to provide a secure -and permanent future for Project Gutenberg™ and future -generations. To learn more about the Project Gutenberg Literary -Archive Foundation and how your efforts and donations can help, see -Sections 3 and 4 and the Foundation information page at www.gutenberg.org. -</div> - -<div style='display:block; font-size:1.1em; margin:1em 0; font-weight:bold'> -Section 3. Information about the Project Gutenberg Literary Archive Foundation -</div> - -<div style='display:block; margin:1em 0'> -The Project Gutenberg Literary Archive Foundation is a non-profit -501(c)(3) educational corporation organized under the laws of the -state of Mississippi and granted tax exempt status by the Internal -Revenue Service. The Foundation’s EIN or federal tax identification -number is 64-6221541. Contributions to the Project Gutenberg Literary -Archive Foundation are tax deductible to the full extent permitted by -U.S. federal laws and your state’s laws. -</div> - -<div style='display:block; margin:1em 0'> -The Foundation’s business office is located at 809 North 1500 West, -Salt Lake City, UT 84116, (801) 596-1887. Email contact links and up -to date contact information can be found at the Foundation’s website -and official page at www.gutenberg.org/contact -</div> - -<div style='display:block; font-size:1.1em; margin:1em 0; font-weight:bold'> -Section 4. Information about Donations to the Project Gutenberg Literary Archive Foundation -</div> - -<div style='display:block; margin:1em 0'> -Project Gutenberg™ depends upon and cannot survive without widespread -public support and donations to carry out its mission of -increasing the number of public domain and licensed works that can be -freely distributed in machine-readable form accessible by the widest -array of equipment including outdated equipment. Many small donations -($1 to $5,000) are particularly important to maintaining tax exempt -status with the IRS. -</div> - -<div style='display:block; margin:1em 0'> -The Foundation is committed to complying with the laws regulating -charities and charitable donations in all 50 states of the United -States. Compliance requirements are not uniform and it takes a -considerable effort, much paperwork and many fees to meet and keep up -with these requirements. We do not solicit donations in locations -where we have not received written confirmation of compliance. To SEND -DONATIONS or determine the status of compliance for any particular state -visit <a href="https://www.gutenberg.org/donate/">www.gutenberg.org/donate</a>. -</div> - -<div style='display:block; margin:1em 0'> -While we cannot and do not solicit contributions from states where we -have not met the solicitation requirements, we know of no prohibition -against accepting unsolicited donations from donors in such states who -approach us with offers to donate. -</div> - -<div style='display:block; margin:1em 0'> -International donations are gratefully accepted, but we cannot make -any statements concerning tax treatment of donations received from -outside the United States. U.S. laws alone swamp our small staff. -</div> - -<div style='display:block; margin:1em 0'> -Please check the Project Gutenberg web pages for current donation -methods and addresses. Donations are accepted in a number of other -ways including checks, online payments and credit card donations. To -donate, please visit: www.gutenberg.org/donate -</div> - -<div style='display:block; font-size:1.1em; margin:1em 0; font-weight:bold'> -Section 5. General Information About Project Gutenberg™ electronic works -</div> - -<div style='display:block; margin:1em 0'> -Professor Michael S. Hart was the originator of the Project -Gutenberg™ concept of a library of electronic works that could be -freely shared with anyone. For forty years, he produced and -distributed Project Gutenberg™ eBooks with only a loose network of -volunteer support. -</div> - -<div style='display:block; margin:1em 0'> -Project Gutenberg™ eBooks are often created from several printed -editions, all of which are confirmed as not protected by copyright in -the U.S. unless a copyright notice is included. Thus, we do not -necessarily keep eBooks in compliance with any particular paper -edition. -</div> - -<div style='display:block; margin:1em 0'> -Most people start at our website which has the main PG search -facility: <a href="https://www.gutenberg.org">www.gutenberg.org</a>. -</div> - -<div style='display:block; margin:1em 0'> -This website includes information about Project Gutenberg™, -including how to make donations to the Project Gutenberg Literary -Archive Foundation, how to help produce our new eBooks, and how to -subscribe to our email newsletter to hear about new eBooks. -</div> - -</div> - </body> - <!-- created with ppgen.py 3.57c on 2022-12-13 19:30:57 GMT --> -</html> diff --git a/old/69533-h/images/cover.jpg b/old/69533-h/images/cover.jpg Binary files differdeleted file mode 100644 index 616d725..0000000 --- a/old/69533-h/images/cover.jpg +++ /dev/null diff --git a/old/69533-h/images/di-a.jpg b/old/69533-h/images/di-a.jpg Binary files differdeleted file mode 100644 index 7552415..0000000 --- a/old/69533-h/images/di-a.jpg +++ /dev/null diff --git a/old/69533-h/images/di-c.jpg b/old/69533-h/images/di-c.jpg Binary files differdeleted file mode 100644 index 9907aa6..0000000 --- a/old/69533-h/images/di-c.jpg +++ /dev/null diff --git a/old/69533-h/images/di-e.jpg b/old/69533-h/images/di-e.jpg Binary files differdeleted file mode 100644 index e9e83d1..0000000 --- a/old/69533-h/images/di-e.jpg +++ /dev/null diff --git a/old/69533-h/images/di-f.jpg b/old/69533-h/images/di-f.jpg Binary files differdeleted file mode 100644 index 1fa216b..0000000 --- a/old/69533-h/images/di-f.jpg +++ /dev/null diff --git a/old/69533-h/images/di-g.jpg b/old/69533-h/images/di-g.jpg Binary files differdeleted file mode 100644 index 4441d88..0000000 --- a/old/69533-h/images/di-g.jpg +++ /dev/null diff --git a/old/69533-h/images/di-i.jpg b/old/69533-h/images/di-i.jpg Binary files differdeleted file mode 100644 index 527fe67..0000000 --- a/old/69533-h/images/di-i.jpg +++ /dev/null diff --git a/old/69533-h/images/di-j.jpg b/old/69533-h/images/di-j.jpg Binary files differdeleted file mode 100644 index 6943382..0000000 --- a/old/69533-h/images/di-j.jpg +++ /dev/null diff --git a/old/69533-h/images/di-m.jpg b/old/69533-h/images/di-m.jpg Binary files differdeleted file mode 100644 index 9446242..0000000 --- a/old/69533-h/images/di-m.jpg +++ /dev/null diff --git a/old/69533-h/images/di-t.jpg b/old/69533-h/images/di-t.jpg Binary files differdeleted file mode 100644 index c6ecc7b..0000000 --- a/old/69533-h/images/di-t.jpg +++ /dev/null diff --git a/old/69533-h/images/frontis.jpg b/old/69533-h/images/frontis.jpg Binary files differdeleted file mode 100644 index 412a212..0000000 --- a/old/69533-h/images/frontis.jpg +++ /dev/null diff --git a/old/69533-h/images/i001fp.jpg b/old/69533-h/images/i001fp.jpg Binary files differdeleted file mode 100644 index e73064f..0000000 --- a/old/69533-h/images/i001fp.jpg +++ /dev/null diff --git a/old/69533-h/images/i002-1.jpg b/old/69533-h/images/i002-1.jpg Binary files differdeleted file mode 100644 index 207d3fc..0000000 --- a/old/69533-h/images/i002-1.jpg +++ /dev/null diff --git a/old/69533-h/images/i002-2.jpg b/old/69533-h/images/i002-2.jpg Binary files differdeleted file mode 100644 index 104db81..0000000 --- a/old/69533-h/images/i002-2.jpg +++ /dev/null diff --git a/old/69533-h/images/i004-1.jpg b/old/69533-h/images/i004-1.jpg Binary files differdeleted file mode 100644 index c7447ff..0000000 --- a/old/69533-h/images/i004-1.jpg +++ /dev/null diff --git a/old/69533-h/images/i004-2.jpg b/old/69533-h/images/i004-2.jpg Binary files differdeleted file mode 100644 index ede7828..0000000 --- a/old/69533-h/images/i004-2.jpg +++ /dev/null diff --git a/old/69533-h/images/i004-3.jpg b/old/69533-h/images/i004-3.jpg Binary files differdeleted file mode 100644 index 3cfb83d..0000000 --- a/old/69533-h/images/i004-3.jpg +++ /dev/null diff --git a/old/69533-h/images/i006-1.jpg b/old/69533-h/images/i006-1.jpg Binary files differdeleted file mode 100644 index f33f7f0..0000000 --- a/old/69533-h/images/i006-1.jpg +++ /dev/null diff --git a/old/69533-h/images/i006-2.jpg b/old/69533-h/images/i006-2.jpg Binary files differdeleted file mode 100644 index fc4d397..0000000 --- a/old/69533-h/images/i006-2.jpg +++ /dev/null diff --git a/old/69533-h/images/i008.jpg b/old/69533-h/images/i008.jpg Binary files differdeleted file mode 100644 index 20bc995..0000000 --- a/old/69533-h/images/i008.jpg +++ /dev/null diff --git a/old/69533-h/images/i008fp.jpg b/old/69533-h/images/i008fp.jpg Binary files differdeleted file mode 100644 index 5c2f5ff..0000000 --- a/old/69533-h/images/i008fp.jpg +++ /dev/null diff --git a/old/69533-h/images/i009fp.jpg b/old/69533-h/images/i009fp.jpg Binary files differdeleted file mode 100644 index 5224170..0000000 --- a/old/69533-h/images/i009fp.jpg +++ /dev/null diff --git a/old/69533-h/images/i010fp.jpg b/old/69533-h/images/i010fp.jpg Binary files differdeleted file mode 100644 index ce5e25b..0000000 --- a/old/69533-h/images/i010fp.jpg +++ /dev/null diff --git a/old/69533-h/images/i012fp.jpg b/old/69533-h/images/i012fp.jpg Binary files differdeleted file mode 100644 index 842d30d..0000000 --- a/old/69533-h/images/i012fp.jpg +++ /dev/null diff --git a/old/69533-h/images/i014fp.jpg b/old/69533-h/images/i014fp.jpg Binary files differdeleted file mode 100644 index 7496f9b..0000000 --- a/old/69533-h/images/i014fp.jpg +++ /dev/null diff --git a/old/69533-h/images/i016.jpg b/old/69533-h/images/i016.jpg Binary files differdeleted file mode 100644 index 81b8626..0000000 --- a/old/69533-h/images/i016.jpg +++ /dev/null diff --git a/old/69533-h/images/i016fp.jpg b/old/69533-h/images/i016fp.jpg Binary files differdeleted file mode 100644 index 2addef8..0000000 --- a/old/69533-h/images/i016fp.jpg +++ /dev/null diff --git a/old/69533-h/images/i017fp.jpg b/old/69533-h/images/i017fp.jpg Binary files differdeleted file mode 100644 index e4b49b3..0000000 --- a/old/69533-h/images/i017fp.jpg +++ /dev/null diff --git a/old/69533-h/images/i018fp.jpg b/old/69533-h/images/i018fp.jpg Binary files differdeleted file mode 100644 index 18fee7a..0000000 --- a/old/69533-h/images/i018fp.jpg +++ /dev/null diff --git a/old/69533-h/images/i022fp.jpg b/old/69533-h/images/i022fp.jpg Binary files differdeleted file mode 100644 index aae739f..0000000 --- a/old/69533-h/images/i022fp.jpg +++ /dev/null diff --git a/old/69533-h/images/i024fp.jpg b/old/69533-h/images/i024fp.jpg Binary files differdeleted file mode 100644 index 81c1e39..0000000 --- a/old/69533-h/images/i024fp.jpg +++ /dev/null diff --git a/old/69533-h/images/i026fp.jpg b/old/69533-h/images/i026fp.jpg Binary files differdeleted file mode 100644 index e2c735e..0000000 --- a/old/69533-h/images/i026fp.jpg +++ /dev/null diff --git a/old/69533-h/images/i028-1.jpg b/old/69533-h/images/i028-1.jpg Binary files differdeleted file mode 100644 index df4d6b9..0000000 --- a/old/69533-h/images/i028-1.jpg +++ /dev/null diff --git a/old/69533-h/images/i028-2.jpg b/old/69533-h/images/i028-2.jpg Binary files differdeleted file mode 100644 index b2306c7..0000000 --- a/old/69533-h/images/i028-2.jpg +++ /dev/null diff --git a/old/69533-h/images/i030.jpg b/old/69533-h/images/i030.jpg Binary files differdeleted file mode 100644 index 8f080c0..0000000 --- a/old/69533-h/images/i030.jpg +++ /dev/null diff --git a/old/69533-h/images/i031fp.jpg b/old/69533-h/images/i031fp.jpg Binary files differdeleted file mode 100644 index bc9fcd8..0000000 --- a/old/69533-h/images/i031fp.jpg +++ /dev/null diff --git a/old/69533-h/images/i032-1.jpg b/old/69533-h/images/i032-1.jpg Binary files differdeleted file mode 100644 index a8d592b..0000000 --- a/old/69533-h/images/i032-1.jpg +++ /dev/null diff --git a/old/69533-h/images/i032-2.jpg b/old/69533-h/images/i032-2.jpg Binary files differdeleted file mode 100644 index 77f6060..0000000 --- a/old/69533-h/images/i032-2.jpg +++ /dev/null diff --git a/old/69533-h/images/i034-1.jpg b/old/69533-h/images/i034-1.jpg Binary files differdeleted file mode 100644 index f86008c..0000000 --- a/old/69533-h/images/i034-1.jpg +++ /dev/null diff --git a/old/69533-h/images/i034-2.jpg b/old/69533-h/images/i034-2.jpg Binary files differdeleted file mode 100644 index 55db83c..0000000 --- a/old/69533-h/images/i034-2.jpg +++ /dev/null diff --git a/old/69533-h/images/i036.jpg b/old/69533-h/images/i036.jpg Binary files differdeleted file mode 100644 index c750ba6..0000000 --- a/old/69533-h/images/i036.jpg +++ /dev/null diff --git a/old/69533-h/images/i037fp.jpg b/old/69533-h/images/i037fp.jpg Binary files differdeleted file mode 100644 index 51d2752..0000000 --- a/old/69533-h/images/i037fp.jpg +++ /dev/null diff --git a/old/69533-h/images/i038-1.jpg b/old/69533-h/images/i038-1.jpg Binary files differdeleted file mode 100644 index 6bb9ee1..0000000 --- a/old/69533-h/images/i038-1.jpg +++ /dev/null diff --git a/old/69533-h/images/i038-2.jpg b/old/69533-h/images/i038-2.jpg Binary files differdeleted file mode 100644 index 938d0a7..0000000 --- a/old/69533-h/images/i038-2.jpg +++ /dev/null diff --git a/old/69533-h/images/i040fp.jpg b/old/69533-h/images/i040fp.jpg Binary files differdeleted file mode 100644 index 81e6307..0000000 --- a/old/69533-h/images/i040fp.jpg +++ /dev/null diff --git a/old/69533-h/images/i042fp.jpg b/old/69533-h/images/i042fp.jpg Binary files differdeleted file mode 100644 index 4401f64..0000000 --- a/old/69533-h/images/i042fp.jpg +++ /dev/null diff --git a/old/69533-h/images/i044-1.jpg b/old/69533-h/images/i044-1.jpg Binary files differdeleted file mode 100644 index d2e6c73..0000000 --- a/old/69533-h/images/i044-1.jpg +++ /dev/null diff --git a/old/69533-h/images/i044-2.jpg b/old/69533-h/images/i044-2.jpg Binary files differdeleted file mode 100644 index 9e627d9..0000000 --- a/old/69533-h/images/i044-2.jpg +++ /dev/null diff --git a/old/69533-h/images/i046-1.jpg b/old/69533-h/images/i046-1.jpg Binary files differdeleted file mode 100644 index 035cf10..0000000 --- a/old/69533-h/images/i046-1.jpg +++ /dev/null diff --git a/old/69533-h/images/i046-2.jpg b/old/69533-h/images/i046-2.jpg Binary files differdeleted file mode 100644 index 40f0f33..0000000 --- a/old/69533-h/images/i046-2.jpg +++ /dev/null diff --git a/old/69533-h/images/i048.jpg b/old/69533-h/images/i048.jpg Binary files differdeleted file mode 100644 index 34e88e1..0000000 --- a/old/69533-h/images/i048.jpg +++ /dev/null diff --git a/old/69533-h/images/i048fp.jpg b/old/69533-h/images/i048fp.jpg Binary files differdeleted file mode 100644 index f3bb70f..0000000 --- a/old/69533-h/images/i048fp.jpg +++ /dev/null diff --git a/old/69533-h/images/i049fp.jpg b/old/69533-h/images/i049fp.jpg Binary files differdeleted file mode 100644 index e7058a0..0000000 --- a/old/69533-h/images/i049fp.jpg +++ /dev/null diff --git a/old/69533-h/images/i050-1.jpg b/old/69533-h/images/i050-1.jpg Binary files differdeleted file mode 100644 index 7fc4110..0000000 --- a/old/69533-h/images/i050-1.jpg +++ /dev/null diff --git a/old/69533-h/images/i050-2.jpg b/old/69533-h/images/i050-2.jpg Binary files differdeleted file mode 100644 index bfaf5fa..0000000 --- a/old/69533-h/images/i050-2.jpg +++ /dev/null diff --git a/old/69533-h/images/i050-3.jpg b/old/69533-h/images/i050-3.jpg Binary files differdeleted file mode 100644 index 4891413..0000000 --- a/old/69533-h/images/i050-3.jpg +++ /dev/null diff --git a/old/69533-h/images/i052-1.jpg b/old/69533-h/images/i052-1.jpg Binary files differdeleted file mode 100644 index 299fc29..0000000 --- a/old/69533-h/images/i052-1.jpg +++ /dev/null diff --git a/old/69533-h/images/i052-2.jpg b/old/69533-h/images/i052-2.jpg Binary files differdeleted file mode 100644 index ee7d941..0000000 --- a/old/69533-h/images/i052-2.jpg +++ /dev/null diff --git a/old/69533-h/images/i054-1.jpg b/old/69533-h/images/i054-1.jpg Binary files differdeleted file mode 100644 index dfc85f7..0000000 --- a/old/69533-h/images/i054-1.jpg +++ /dev/null diff --git a/old/69533-h/images/i054-2.jpg b/old/69533-h/images/i054-2.jpg Binary files differdeleted file mode 100644 index 22d63e2..0000000 --- a/old/69533-h/images/i054-2.jpg +++ /dev/null diff --git a/old/69533-h/images/i054-3.jpg b/old/69533-h/images/i054-3.jpg Binary files differdeleted file mode 100644 index d3e8a16..0000000 --- a/old/69533-h/images/i054-3.jpg +++ /dev/null diff --git a/old/69533-h/images/i054-4.jpg b/old/69533-h/images/i054-4.jpg Binary files differdeleted file mode 100644 index f653992..0000000 --- a/old/69533-h/images/i054-4.jpg +++ /dev/null diff --git a/old/69533-h/images/i056.jpg b/old/69533-h/images/i056.jpg Binary files differdeleted file mode 100644 index 55178fb..0000000 --- a/old/69533-h/images/i056.jpg +++ /dev/null diff --git a/old/69533-h/images/i056fp.jpg b/old/69533-h/images/i056fp.jpg Binary files differdeleted file mode 100644 index 63fb09b..0000000 --- a/old/69533-h/images/i056fp.jpg +++ /dev/null diff --git a/old/69533-h/images/i057fp.jpg b/old/69533-h/images/i057fp.jpg Binary files differdeleted file mode 100644 index de8c47f..0000000 --- a/old/69533-h/images/i057fp.jpg +++ /dev/null diff --git a/old/69533-h/images/i058-1.jpg b/old/69533-h/images/i058-1.jpg Binary files differdeleted file mode 100644 index 45602ef..0000000 --- a/old/69533-h/images/i058-1.jpg +++ /dev/null diff --git a/old/69533-h/images/i058-2.jpg b/old/69533-h/images/i058-2.jpg Binary files differdeleted file mode 100644 index 9b3cca4..0000000 --- a/old/69533-h/images/i058-2.jpg +++ /dev/null diff --git a/old/69533-h/images/i058-3.jpg b/old/69533-h/images/i058-3.jpg Binary files differdeleted file mode 100644 index 84bbdd2..0000000 --- a/old/69533-h/images/i058-3.jpg +++ /dev/null diff --git a/old/69533-h/images/i060-1.jpg b/old/69533-h/images/i060-1.jpg Binary files differdeleted file mode 100644 index ab7060e..0000000 --- a/old/69533-h/images/i060-1.jpg +++ /dev/null diff --git a/old/69533-h/images/i060-2.jpg b/old/69533-h/images/i060-2.jpg Binary files differdeleted file mode 100644 index 4cb6d58..0000000 --- a/old/69533-h/images/i060-2.jpg +++ /dev/null diff --git a/old/69533-h/images/i060-3.jpg b/old/69533-h/images/i060-3.jpg Binary files differdeleted file mode 100644 index 276af16..0000000 --- a/old/69533-h/images/i060-3.jpg +++ /dev/null diff --git a/old/69533-h/images/i062-1.jpg b/old/69533-h/images/i062-1.jpg Binary files differdeleted file mode 100644 index 6cfe716..0000000 --- a/old/69533-h/images/i062-1.jpg +++ /dev/null diff --git a/old/69533-h/images/i062-2.jpg b/old/69533-h/images/i062-2.jpg Binary files differdeleted file mode 100644 index 3ee0606..0000000 --- a/old/69533-h/images/i062-2.jpg +++ /dev/null diff --git a/old/69533-h/images/i062-3.jpg b/old/69533-h/images/i062-3.jpg Binary files differdeleted file mode 100644 index 5a0a8e8..0000000 --- a/old/69533-h/images/i062-3.jpg +++ /dev/null diff --git a/old/69533-h/images/i064.jpg b/old/69533-h/images/i064.jpg Binary files differdeleted file mode 100644 index b1e8dac..0000000 --- a/old/69533-h/images/i064.jpg +++ /dev/null diff --git a/old/69533-h/images/i064fp.jpg b/old/69533-h/images/i064fp.jpg Binary files differdeleted file mode 100644 index 0e07138..0000000 --- a/old/69533-h/images/i064fp.jpg +++ /dev/null diff --git a/old/69533-h/images/i065fp.jpg b/old/69533-h/images/i065fp.jpg Binary files differdeleted file mode 100644 index 06785ef..0000000 --- a/old/69533-h/images/i065fp.jpg +++ /dev/null diff --git a/old/69533-h/images/i066-1.jpg b/old/69533-h/images/i066-1.jpg Binary files differdeleted file mode 100644 index e594353..0000000 --- a/old/69533-h/images/i066-1.jpg +++ /dev/null diff --git a/old/69533-h/images/i066-2.jpg b/old/69533-h/images/i066-2.jpg Binary files differdeleted file mode 100644 index 6f9901c..0000000 --- a/old/69533-h/images/i066-2.jpg +++ /dev/null diff --git a/old/69533-h/images/i068fp.jpg b/old/69533-h/images/i068fp.jpg Binary files differdeleted file mode 100644 index d22457b..0000000 --- a/old/69533-h/images/i068fp.jpg +++ /dev/null diff --git a/old/69533-h/images/i070fp.jpg b/old/69533-h/images/i070fp.jpg Binary files differdeleted file mode 100644 index 719e7f4..0000000 --- a/old/69533-h/images/i070fp.jpg +++ /dev/null diff --git a/old/69533-h/images/i072fp.jpg b/old/69533-h/images/i072fp.jpg Binary files differdeleted file mode 100644 index 58b8a63..0000000 --- a/old/69533-h/images/i072fp.jpg +++ /dev/null diff --git a/old/69533-h/images/i073.jpg b/old/69533-h/images/i073.jpg Binary files differdeleted file mode 100644 index 81b22e6..0000000 --- a/old/69533-h/images/i073.jpg +++ /dev/null diff --git a/old/69533-h/images/i075fp.jpg b/old/69533-h/images/i075fp.jpg Binary files differdeleted file mode 100644 index 40fea27..0000000 --- a/old/69533-h/images/i075fp.jpg +++ /dev/null diff --git a/old/69533-h/images/i076.jpg b/old/69533-h/images/i076.jpg Binary files differdeleted file mode 100644 index 4cebcc7..0000000 --- a/old/69533-h/images/i076.jpg +++ /dev/null diff --git a/old/69533-h/images/i077.jpg b/old/69533-h/images/i077.jpg Binary files differdeleted file mode 100644 index 0cc6cff..0000000 --- a/old/69533-h/images/i077.jpg +++ /dev/null diff --git a/old/69533-h/images/i079fp.jpg b/old/69533-h/images/i079fp.jpg Binary files differdeleted file mode 100644 index 92ba7bc..0000000 --- a/old/69533-h/images/i079fp.jpg +++ /dev/null diff --git a/old/69533-h/images/i080-1.jpg b/old/69533-h/images/i080-1.jpg Binary files differdeleted file mode 100644 index bb454db..0000000 --- a/old/69533-h/images/i080-1.jpg +++ /dev/null diff --git a/old/69533-h/images/i080-2.jpg b/old/69533-h/images/i080-2.jpg Binary files differdeleted file mode 100644 index f187231..0000000 --- a/old/69533-h/images/i080-2.jpg +++ /dev/null diff --git a/old/69533-h/images/i080-3.jpg b/old/69533-h/images/i080-3.jpg Binary files differdeleted file mode 100644 index 78b0998..0000000 --- a/old/69533-h/images/i080-3.jpg +++ /dev/null diff --git a/old/69533-h/images/i080-4.jpg b/old/69533-h/images/i080-4.jpg Binary files differdeleted file mode 100644 index 6f75f50..0000000 --- a/old/69533-h/images/i080-4.jpg +++ /dev/null diff --git a/old/69533-h/images/i082-1.jpg b/old/69533-h/images/i082-1.jpg Binary files differdeleted file mode 100644 index f1ee318..0000000 --- a/old/69533-h/images/i082-1.jpg +++ /dev/null diff --git a/old/69533-h/images/i082-2.jpg b/old/69533-h/images/i082-2.jpg Binary files differdeleted file mode 100644 index 02f3357..0000000 --- a/old/69533-h/images/i082-2.jpg +++ /dev/null diff --git a/old/69533-h/images/i084-1.jpg b/old/69533-h/images/i084-1.jpg Binary files differdeleted file mode 100644 index c710275..0000000 --- a/old/69533-h/images/i084-1.jpg +++ /dev/null diff --git a/old/69533-h/images/i084-2.jpg b/old/69533-h/images/i084-2.jpg Binary files differdeleted file mode 100644 index b350c55..0000000 --- a/old/69533-h/images/i084-2.jpg +++ /dev/null diff --git a/old/69533-h/images/i084-3.jpg b/old/69533-h/images/i084-3.jpg Binary files differdeleted file mode 100644 index 5a0a0ff..0000000 --- a/old/69533-h/images/i084-3.jpg +++ /dev/null diff --git a/old/69533-h/images/i084-4.jpg b/old/69533-h/images/i084-4.jpg Binary files differdeleted file mode 100644 index 6089766..0000000 --- a/old/69533-h/images/i084-4.jpg +++ /dev/null diff --git a/old/69533-h/images/i086-1.jpg b/old/69533-h/images/i086-1.jpg Binary files differdeleted file mode 100644 index 83030f9..0000000 --- a/old/69533-h/images/i086-1.jpg +++ /dev/null diff --git a/old/69533-h/images/i086-2.jpg b/old/69533-h/images/i086-2.jpg Binary files differdeleted file mode 100644 index 06603dc..0000000 --- a/old/69533-h/images/i086-2.jpg +++ /dev/null diff --git a/old/69533-h/images/i086-3.jpg b/old/69533-h/images/i086-3.jpg Binary files differdeleted file mode 100644 index 2c5d5e2..0000000 --- a/old/69533-h/images/i086-3.jpg +++ /dev/null diff --git a/old/69533-h/images/i086-4.jpg b/old/69533-h/images/i086-4.jpg Binary files differdeleted file mode 100644 index c02ef42..0000000 --- a/old/69533-h/images/i086-4.jpg +++ /dev/null diff --git a/old/69533-h/images/i088.jpg b/old/69533-h/images/i088.jpg Binary files differdeleted file mode 100644 index 4470d01..0000000 --- a/old/69533-h/images/i088.jpg +++ /dev/null diff --git a/old/69533-h/images/i088fp.jpg b/old/69533-h/images/i088fp.jpg Binary files differdeleted file mode 100644 index a0592df..0000000 --- a/old/69533-h/images/i088fp.jpg +++ /dev/null diff --git a/old/69533-h/images/i089fp.jpg b/old/69533-h/images/i089fp.jpg Binary files differdeleted file mode 100644 index c48d385..0000000 --- a/old/69533-h/images/i089fp.jpg +++ /dev/null diff --git a/old/69533-h/images/i090-1.jpg b/old/69533-h/images/i090-1.jpg Binary files differdeleted file mode 100644 index 9b6fb33..0000000 --- a/old/69533-h/images/i090-1.jpg +++ /dev/null diff --git a/old/69533-h/images/i090-2.jpg b/old/69533-h/images/i090-2.jpg Binary files differdeleted file mode 100644 index da635e0..0000000 --- a/old/69533-h/images/i090-2.jpg +++ /dev/null diff --git a/old/69533-h/images/i092-1.jpg b/old/69533-h/images/i092-1.jpg Binary files differdeleted file mode 100644 index d5e53cd..0000000 --- a/old/69533-h/images/i092-1.jpg +++ /dev/null diff --git a/old/69533-h/images/i092-2.jpg b/old/69533-h/images/i092-2.jpg Binary files differdeleted file mode 100644 index 42bca59..0000000 --- a/old/69533-h/images/i092-2.jpg +++ /dev/null diff --git a/old/69533-h/images/i092-3.jpg b/old/69533-h/images/i092-3.jpg Binary files differdeleted file mode 100644 index b1356d8..0000000 --- a/old/69533-h/images/i092-3.jpg +++ /dev/null diff --git a/old/69533-h/images/i092-4.jpg b/old/69533-h/images/i092-4.jpg Binary files differdeleted file mode 100644 index c6e5011..0000000 --- a/old/69533-h/images/i092-4.jpg +++ /dev/null diff --git a/old/69533-h/images/i094-1.jpg b/old/69533-h/images/i094-1.jpg Binary files differdeleted file mode 100644 index eca6bcb..0000000 --- a/old/69533-h/images/i094-1.jpg +++ /dev/null diff --git a/old/69533-h/images/i094-2.jpg b/old/69533-h/images/i094-2.jpg Binary files differdeleted file mode 100644 index 1f2f951..0000000 --- a/old/69533-h/images/i094-2.jpg +++ /dev/null diff --git a/old/69533-h/images/i095fp.jpg b/old/69533-h/images/i095fp.jpg Binary files differdeleted file mode 100644 index 968f5f7..0000000 --- a/old/69533-h/images/i095fp.jpg +++ /dev/null diff --git a/old/69533-h/images/i096.jpg b/old/69533-h/images/i096.jpg Binary files differdeleted file mode 100644 index 0086075..0000000 --- a/old/69533-h/images/i096.jpg +++ /dev/null diff --git a/old/69533-h/images/i098-1.jpg b/old/69533-h/images/i098-1.jpg Binary files differdeleted file mode 100644 index a0ca588..0000000 --- a/old/69533-h/images/i098-1.jpg +++ /dev/null diff --git a/old/69533-h/images/i098-2.jpg b/old/69533-h/images/i098-2.jpg Binary files differdeleted file mode 100644 index 5c9a6cf..0000000 --- a/old/69533-h/images/i098-2.jpg +++ /dev/null diff --git a/old/69533-h/images/i100.jpg b/old/69533-h/images/i100.jpg Binary files differdeleted file mode 100644 index 551144b..0000000 --- a/old/69533-h/images/i100.jpg +++ /dev/null diff --git a/old/69533-h/images/i105.jpg b/old/69533-h/images/i105.jpg Binary files differdeleted file mode 100644 index 9534c08..0000000 --- a/old/69533-h/images/i105.jpg +++ /dev/null diff --git a/old/69533-h/images/i112.jpg b/old/69533-h/images/i112.jpg Binary files differdeleted file mode 100644 index 24aa3d5..0000000 --- a/old/69533-h/images/i112.jpg +++ /dev/null diff --git a/old/69533-h/images/i119.jpg b/old/69533-h/images/i119.jpg Binary files differdeleted file mode 100644 index 64f4694..0000000 --- a/old/69533-h/images/i119.jpg +++ /dev/null diff --git a/old/69533-h/images/publogo.jpg b/old/69533-h/images/publogo.jpg Binary files differdeleted file mode 100644 index 1cc52d0..0000000 --- a/old/69533-h/images/publogo.jpg +++ /dev/null |
