FRENCH PAINTING

AT THE TIME OF THE

IMPRESSIONISTS

BY RAYMOND COGNIAT

HYPERION
 I9-50

ONE HUNDRED AND ONE

COLOR PLATES
FRENCH PAINTING
AT THE TIME OF
THE IMPRESSIONISTS
by Raymond Cooniat.

This a new, and more elaborate,

is
edition a Hyperion Press book
of
which first appeared in 1943. That
book was so deservedly popular that
the first printing was sold even before
publication. The book was not
reprinted owing to wartime restric-
tions. Much enhanced by the addi-
tion of new pictures from European
collections, this famous book now
becomes the greatest collection of
French Impressionist art available.
No pains have been spared.. In fact,
to make it one of the outstanding
works ever Issued by the Hyperion
Press. Every one of the hundred plates
is magnificently printed In gorgeous
color. In addition there is a helpful
interpretive and critical text by Ray-
mond Cogniat, together with biogra-
phical sketches of each of the artist
represented. Mr. Cogniat is chief
editor of Beaux Arts, the oldest art
review of France, and president of the
French Art Critics.
Here are the exciting works of
such artists as Jongkind, Latour,
Badlle. Corot, Daumler, Manet» Pis-
sarro, Monticelli, Guillaumin, Monet,
Redon, Cassatt. Boudln, Degas,
Renoir, Morisot, Slsley. Toulouse-Lau-
trec, Seurat, Van Gogh, Gauguin,
Bonnard and Vuillard. The feeling
of the whole period Is admirably
captured In this kaleidoscope of art,
as well as the individual quality of
each artist. To see these works to-
gether leaves an unforgettable impres-
sion of poetry, animation, vigour and
freshness of inspiration. Art lovers
will readily understand why the
paintings of the Impressionists are
stillthe most popular canvases on
the art market today.

ONE HUNDRED AND ONE

COLOR PLATES

Published by
THE HYPERION PRESS
NEW YORK PARIS LONDON
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THE IMPRESSIONISTS
 FRENCH PAINTING
AT THE TIME OF

THE IMPRESSIONISTS
BY

RAYMOND COGNIAT
Translated from the French by

LUCY NORTON

JHE HILLA VON RBBAY FOUNDATION

77 MORNINOSIDE DRIVK
0REENS FARMS. CONNfiCnCVr 0«4|«

Published by

THE HYPERION PRESS

NEW YORK • PARIS • LONDON
Distributed bv

THE MACMILLAN COMPANY

NEW YORK
THIS VOLUME, EDITED BY
ANDRE GLOECKNEK, WAS FIRST
PUBLISHED IN NINETEEN
HUNDRED AND FIFTY-ONE BY
THE HYPERION PRESS. PARIS.
PRINTING OF THE TEXT AND
COLOR PLATES, AND BINDING
BY IMPRIMERIE CRETE,
CORBEIL. FRANCE
 CONTENTS
HISTORY OF IMPRESSIONISM Pages.

Prelude 9
Heroic days ^^
Success. The group is scattered 43

The successors :

Seurat, Gauguin, Van Gogh, Lautrec, Bonnard,

Vuillard.

IMPRESSIONISM : ITS SOCIAL SIGNIFICANCE 7°

the
Freedom of the individual and Society versus
individual. -
The period of techniques. A -
in the significance and aim of the
work
change
of art.

IMPRESSIONISM : ITS .ESTHETIC SIGNIFICANCE 95

and new mode of expression.

—
A new vision a

Comparison with the past impossible. -

Inde-
of the
pendence of works of art and abolition
after reality, scien-
subject. -Justification: search
tific justification, tradition
rediscovered.

HISTORY OF THE IMPRESSIONISTS

Pages Pages

Morisot 140
Corot. . . 129
Daumier . 130 Renoir H^
Bazille 142
Jongkind.
Boudin. . 131 Cassatt H3
Pissarro . 131 Gauguin .... i44

Manet . . 132 Van Gogh ... H^

Degas . . 134 Seurat H^
Cezanne 13^^ Lautrec H9
138 Bonnard .... 150
Sisley •

Vuillard 15^
Monet . . 139

153
BIBLIOGRAPHY
 ^
V

Printed in France.

All rights reserved. HYPERION, Paris.

 HENRI FANTIN-LATOUR
THE STUDIO AT THE BATIGNOLLES
Paris, Louvre

HISTORY OF IMPRESSIONISM
PRELUDE
life-history of an idea, or of a
movement, begins and ends
THE wherever the historian decides, for both its prelude and
event itself and cannot
outcome are part and parcel of the
making an arbitrary decision. Nothing
be separated from it without
either begins or ends. What is born must still have been con-
survives in its influences.
what appears to die still
ceived-
 . . "

LIST OF ILLUSTRATIONS
MONET, Claude.
BAZILLE. Jean-Frederic.
P^g^
page 14 Spring at Giverny ^l
Family Gathering Regatta at Argenteuil "3
BONNARD, Pierre. ' L'Hotel de la Plage — 05
Women in the darden 7°
The Luncli P=^g^ ^^5
^4
The Riviera "^^^ Tulips from Holland

BOUDIN. Eugene. MORISOT, Berthe.

Sea Port P'^g^ ^3 In the Dining Room P^g^ 41

CASSATT. Mary.
The Cherry Tree — 44

After the Hath V^S^ 74 PISSARRO. Camille.

Peasant Woman P^g^ 5°

C£ZANNE. Paul.
page Girl with a Wand
— 52
Madame Cezanne
Portriiit of
. . 64
53
Madame Cezanne in the Green- ^ The Cowherd — 54
house
—
The Orchard
— 50
Three Bathers ;
•

—
7^ The
The
Glade at Pontoise
Red Roofs
— °-^
The Village of Cergv near Pontoise. 73
-" 75
Still-Life
The Barns " /"
RENOIR. Auguste.
••• ^2
COROT. Jean-Baptiste.
Bathers
At the ' Moulin de Galette —
P^g*^
3°
Agostina P^S^ The Duck Pond
la .

— jO
The Tree ~ ^^l
^^ Bather, seated _^
4^
Odalisque .
DAUMIER. Honore.
The Washerwomen "9
The Reader P^g*^
^o
Garden at Cagnes
—
The Print Collector — 21
Oranges and Lemons —
7^
77
Dancing in the Town — ^2
DEGAS, Edgar. " Le Bal a Bougival " "^3
page 28
Achille De Gas in Cadet's Uniform, — Le Ravin de la Femme Sau-
After the Bath -.- • - •

~ 3©
vage "
^
~ gg
Portrait of Mademoiselle Dobigny. 35
Dancing Girl Thanking her Au- ^ ^
Chrysanthemums
Vase of Roses
^ ^"
^,7
dience By the Seashore
^
37
Blue
Dancing Girls in
the Wmgs — 42 Portrait of Lucie Berard
—
I^
Dancing Girls
Woman
in
with Chrvsanthemums
— 47
Gabriclle with a Rose
—
9^

After the Bath

.

— 49
Portrait of Sisley
Luncheon
92
93
Rowers at

FANTIN-LATOUR. Henri. In the Meadow ~ 95

at the Batignolles. .. page 9

The Studio SEURAT. Georges.

GAUGUIN, Paul. Study for " the Channel of Gra-

page gb velines" P^g^ ^°°
Mount Calvary, Brittany
Little Breton with a Goose — .97
• Ferme au Pouldu " 9' SIGN AC. Paul.
" page loi
near the Le Chateau des Papes
Landscape
Alyscamps
at Aries,
^ 99
Self-Portrait in Caricature .. — 102 SISLEY, Alfred.
page
Women on the the Seine 24
Two
Beach
Tahitian
- The Banks of
Floods at Port-Marly • -
— 57
Otahi Alone
:
" J^4
^°l The Road to the Skirt of the
—
^°7 Woods 59
la Orana Maria
Parari " The Village of Voisins .........
— 00
" Aita
vanese Woman
Annah, the Ja-
^ ^°"
Moret. The Banks of the Loing..
— »o

GUILLAUMIN, Armand. TOULOUSE-LAUTREC. Henri de.

^^ -..••
Landscape P^g^ The Dog-Cart
Countess A. de Toulouse-Lautrec.
—
P^g^^
n?
]f^
JONGKIND, Johann-Barthold.
The Inmate of the Brothel
— 119
The Village of Overschie, Holland,
page 12
Miss May Belfort
— ^^o

MANET, fidouard.
The Laundress
Interior with Two Women — ^^^
^^'^
La Belle Andalouse
" page u ^23
"
Maxime Dethomas
Ballet Espagnol J5
""
The Balcony
— ;7 VAN GOGH. Vincent.
Portrait of Emile Zola 1° " L'Arlesienne " P^^
The Old Musician — ^3
Portrait of a Boy
^^9
"°
" Le Bon Bock " " ^° Self-Portrait
—
Portrait of Monsieur and Madame
The Starry Night
— tt

Auguste Manet
—
^7
Night Cafe
- ^J^
^^3
Portrait of Lina Campineanu 29
" Le Dejeuner sur I'herbe " — 33
Self-Portrait
Roulin the Postman
— :^;J
^^3
Olympia __ ^3
Argcnteuil :
" '

X V
" '
'

7^ VUILLARD, fidouard.
Portrait of a Woman m a uaraen. 4D P^^e 128
Nude Study of a Blonde — 5^
Reading
 EDOUARD MANET
LA BELLE ANDALOUSE
New York, Private Collection

i I
 Impressionism, whatever significance
we give to the word, was
all ostensibly sudden
revolutions,
no exception to this rule. Like
departure.
it was quite as
much an inevitable result as a point of
against
Was it
movement, the assertion of the individual
a liberating
the trammels of academic
rule? Was it the triumph of landscape
literary subjects that had predomm-
over the historical, religious and
Was an expansion ot realism in painting
ated for centuries past?
it

trend in literature? How-

to match the development of the same
questions, the ideas themselves
ever we choose to answer such
and although 1874 is the oth-
had been in the air for many years,
because the move-
cial dategiven for the birth of Impressionism,
and received its name m
ment held its first collective exhibition
that it was a freak of spontaneous
that year we must not imagine
generation, or antecedents, which were exceedingly
neglect its

important and occasionally stormy.

alone, if we con-
For example, to take the technical question
place given to landscape, and
sider the paramount, even exclusive,
stress the invention of the light key,
which was directly inspired by
nature, we must not ignore its early beginnings with Valenciennes,
in the eighteenth century. This
Hubert Robert, and Fragonard,
period marks the end of what is generally considered to be a

classical era, but it was, in fact, as romantic as the nineteenth

the
surface elegance and triviality contained
all
century, and its
century had already
seeds of the coming storm. The eighteenth
revived a taste for clear colours and sunlight which
paved the way for
his poetic execution.
the shimmering light in Monet's pictures and
without going back as far as the previous century,
it is
But,
Theodore
obvious that the Barbizon painters: Daubigny, Harpignies,
Impressionism.
Rousseau, and later, Corot, opened the door to
did
Enghsh painters such as Constable, Bonington and Turner,
and
more than herald its coming, they served as models of style
technique. As for Boudin and Jongkind, they are generally
older,
ranked as Impressionist painters, even though considerably
because their art and conception of nature is so clearly
Impres-
sionistic that they cannot be separated from the movement.
Finally,
of
it isonly logical to add the name of Constanfin Guys to those
the last two painters, although this is not usually done,
and also

10
 eug£ne boudin
SEA PORT
Paris, Private Collection

criticism and the public were bored and ironical. It was, however,
a sign of independance, a revolt against the Institut.
first
But
the Institut was all the more unwilling to abdicate its authority
and during the years which followed continued to display the
same uncompromising attitude, the same lack of understanding
towards this most daring form of art.

I^ 1855, the jury of the International Exhibition rejected

Courbet's pictures, ''Un Enterrement a Ornans'' and **L'Atelier du
Peintre," whereupon Courbet, indignant at this sign of hostility,
decided to hold a private show of his work apart from the official
exhibition. He accordingly had a gallery prepared and on June 28,
at 7Avenue Montaigne, he showed a collection of forty pictures
under the title "Le Realisme." It aroused the most violent contro-
versy. But officialdom remained unyielding.

13
t. ^:^^?^-

JOHANN-BARTHOLD JONGKIND
THE VILLAGE OF OVERSCHIE, HOLLAND
Paris, Louvre

only because he excelled in capturing

the name of Daumier, if

facial expressions most expressive moment.

at the

Just as shadows of Impressionist subjects

and philosophy can
be seen many years before the official birth of the
movement, so
find early symptoms of its claims to freedom of
expression and
we
its rejecuon of academic rule. A few dates will show the in-
evitable course of events:
1848. The Revolution produced its counterpart among
artists in the setting Salon without a jury, an early
up of the first

version of the Salon des Independants. It was an idea that

aroused a good deal of enthusiasm, but the resuUs provoked bitter

12
 £D0UARD iMANET
"BALLET ESPAGNOL-
Washington, U. C. The PhilUps Memorial Gallery

to compose with the full, broad

without false shadows, the first

light of day.
opened one-
he repeated Courbet's example and
a
In 1867
International Exhibition,
man exhibhion by the entrance to the
Industrie where the Salon was being
and opposite the Palais de 1'

show how acts of pro-

summary will serve to
'This short
growing momentum becon^ng
test followed one another with
finally developing into a
habit. The
gradually less uncommon and
the Institut, the
fir^e was approaching
when the battle against
styles was to become
chronic and no
ZdiTs and out-moded
Its success goes to prove
bnge hmited to such brief skirmishes.
 jean-fr£d£ric: bazille
family gathering
Paris, Louvre

displayed such flagrant injus-

In 1863 the jury of the Salon
intervened. Realizing that many
tice that the Emperor, himself,
talented artistswere among those rejected and that it wasa mistake
their works in public, he ordered
to try to prevent their showing

a Salon des Refuses to be

held in the Palais de 1' Industrie
Here, Manet's picture
where the official Salon was taking place.
which was to be
"Le Dejeuner sur I'herbe" created a scandal,
in 1865, this time m the
repeated when "Olympia" was shown
and
Salon itself. Moreover, Manet was only one of the targets
public dis-
personalities against whom official opposition and
He was the first artist to risk an act of
approval were directed.
who dared to paint in clear tresh colours.
open revolt, the first

14
£D0UARD MANET
THE BALCONY
Paris, Louvre

17
 JEAN-BAPTISTE COROT
AGOSTINA
Washington, D. C, Collection Chester Dale (loan), National Gallery of Art

i6
that the public were fundamentally in sympathy with the mood of
the artists, even though they were still unwilling to accept their
work.
Moreover, the young artists who found themselves in agree-
ment with the new however daring and emancipated, did
ideas,
not long remain isolated. They formed a group round Edouard
Manet, an older man and the most savagely criticized. He became
the main target for attack and the object of bitter hostility, but
within a few years he had gathered a large circle of enthusiastic
admirers. Four young men, Monet, Sisley, Bazille and Renoir,
who had been fellow-students in 1862 in the art school run by
Marc-Gabriel Gleyre, practised Manet's personal handling of oil
paint, which is known in the studios as ''peinture claire." Pissarro,
himself, gladly accepted his ideas. Cezanne, lately come to Paris,

was interested in his daring experiments, and his friend Zola gave
him public encouragement.
From 1866 onwards, this group of young artists fell into the
habit of joining Manet every Friday evening, in the Cafe Guerbois,
9, Avenue de Clichy. The historian, Theodore Duret, who should
often be consulted when writing on the Impressionists, has given
the following description of the atmosphere and personalities at

these meetings:
" The original group formed around Manet by the painters
who had adopted his theories soon expanded to include many
other artists and For instance, Fantin-Latour, a painter
writers.

who retained his personal style, often went there, as did Guillemet,
the painter of naturalistic landscape, Desboutin and Belot, the en-
gravers; Edmond Duranty, novelist and critic of the Realist move-
ment, Zacharie Astruc, the sculptor and poet, Emile Zola, Degas,
Stevens and the novelist Cladel were often to be seen in the Cafe
Puerbois, of which Babou and Burty were habitues. These men,
kernel of
with the painters who centred round Manet, formed the
better known other friends
the group, but as the meetings became
evenings, the
and acquaintances joined them until, on certain
Cafe Guerbois was filled with a whole crowd of artists and
writers.''
Thus, little by litde, a state of war became apparent. Troops

19
 £D0UARD MANET
PORTRAIT OF fiMlLE ZOLA
Paris, Louvre ^

i8
 honor£ daumier
the print collector
Paris, Longa Collection

a spark was needed to set alight the

a permanent reality. Only
inevitable conflagration.

21
 HONOR £ DAUMIER
THE READER
Paris, Paul Rosenberg Collection

were lined up, skirmishes took place more and more frequently,
insults were hurled, risks were consolidated, until they had become

20
o
•a

'A

rt
3

c
o
c

2
<

<
D
O
Q
 In addition to and artistic conditions,
these social, political,
other purely material events may have had an effect on the
birth of

Impressionism, and especially the invention of colour in tubes at

the beginning of the nineteenth century. Before this invention,
artists who wished to work in the open air
had to carry heavy
equipment about with them, whereas Monet and Sisley, for
example, could go to their subjects not unduly laden and with an
abundant choice of colours that allowed them to work straight

from their models.

HEROIC DAYS

war of 1870 suspended operations for a time; the

THE Salon was not held in 1871 and the artists were scatte-
red, but they were not prevented from working, nor
from
becoming increasingly certain of the goal at which they aimed.
As soon as peace was declared, they once more met together
in

Paris to exchange ideas and aspirations. They eventually decided

to organize a group exhibition as the official
Salons were closed to

them. And so the movement was estabhshed. The project was

launched with the help of Nadar, the photographer, poet
finally

and painter, who took a great interest in the group and leased
them part of a set of studios on the first floor of 35, Boulevard
des Capucines.
Without realizing the scandal that was to follow, they accord-
ingly announced that the first exhibition of the "Societe
anonyme
des Artistes, Peintres, Sculpteurs et Graveurs" would
open on
A pril 15,1 874. The exhibition was a considerable success from the
start; but it was a success of notoriety, based on insults, ridicule

and jeers, all the wit of the Paris boulevards being directed against it.
What were these young artists thinking of in a well-ordered society,
with a middle-class public convinced of its infallible good taste
—these young men who turned their backs upon the old traditions
and opened their windows on the countryside; who believed in
the charm of nature, as she really is; who dared to look at the sun

22
 JEAN-BAPTISTE COROT
THE TREE
Paris, Renan Collection

forgotten names, made agroup of thirty exhibitors, who had no

desire to cause a scandal, but simply wished to show their
works in public. was the obtuseness, the almost universal lack
It
received that turned them
of understanding, with which they were
into rebels in spite of themselves.
Secondly, itwas in this same year that the movement first
Leroy,
received its name, from the heading of an article by M. Louis

25
 ALFRED SISLEY
THE BANKS OF THE SEINE
Paris, Louvre

and see the sunlight, and refused to shut themselves up in dusty

studios copying the safe, traditional, medal- winning styles?
The year 1874 doubly marked the birth of Impressionism.
To begin with, it saw the first public exhibition of pictures
by the young friends of Manet, together with other painters such as
Degas, Bracquemont, de Nittis, Brandon, Boudin, Cals, Gustave
Collin, Latouche, Lepine and Rouart, artists who subscribed to
their longing for independence, but were generally considered
less audacious. These, with a few other less well-known, or now

24
 £D0UARD MANET
M.\NET
PORTRAIT OF MONSIEUR AND \UDAME AUGUSTE
Paris, Rouart Collection

to laugh
others by enemies-people must have something
first
afterwards, the artists
at-and later by friends, until a few years
in the title, adopted it as a
themselves, seeing nothing disparaging
movement.
convenient way of distinguishing their

27
 £D0UARD MANET
LE BON BOCK
Philadelphia, Carroll Tyson Collection

"Le Charivari". The title of one of Monet s

which appeared in
" Impression, Soleil levant," had given this journahst a
pictures,
so incongrous an epithet,
pretext for ridiculing, as he supposed,
cover the whole
and he coined the word "Impressionism" to
daubs. The name was taken up by
collection of meaningless

26
 £D0UARD MANET
PORTRAIT or i.iNA c:amimni:anu
Nelson
Kansas Ciiy. William Rockhill
Gallery of An

Left: EDGAR DEGAS

IN CADET'S UNIFORM
ACHILLE DEGAS
Gallery of Art
Washington, D. C. National
(loan)
Collection Chester Dale

29
\
 The birth of Impressionism did not pass unnoticed. The
pubHc attended the exhibition in considerable numbers, but more
in a spirit of mockery than of admiration for, from the start, the
press had been unanimous in pouring ridicule and even insults
upon the pictures. So much was written about it that everyone
wished to see the disgraceful show for himself, to discover how
far these bogus painters had dared to go in their bare-faced

attempt to hoodwink the public.

In the following year the scandal was even greater,
when the
but a
same artists decided to hold, not this time an exhibition,
sale at the Hotel Drouot. This took place on March 24, 1875, and
seventy pictures plus
brought in a sum of 10,346 francs for
public.
renewed insults from the press and fresh jeers from the
of increasing hostility, the artists
were not discou-
But in spite
in the following year at
raged; they held yet another exhibition
Durand-Ruel's gallery, n, Rue Le Peletier.
dealer in modern pictures
Paul Durand-Ruel was the son of a
for several years
who had been established in Pans since 1830; known
interest in the group and had
past he had been taking an
refugees
and Pissarro, perhaps also Sisley, when they were
Monet
m London during the war. He had sufficient f-th in the young
allow them to ho d their
second
artists to buy their work
and to

his gallery. Here, ^/«ll-^-\

exhibition in
nineteen exhibitors was °
shown: twenty-four Det
b>Uegas VTb
Pictures by
Monet, eighteen by Berthe^n-
LTen by Renoir, eighteen by Guirkumin
Sisley and two by BaziUe.
by Pissarro, eight by
tlJrteen hi
absent, and Caillebotte appeared for the
and Cezanne were
comment was even more violent than before, but at
i^t Press
certain amount of sympathetic criticism.
the same tL, there
was a

Burty, Duranty and Armand Sylvestre published coui -

Phi "ppe which to
igent articles supporting the young artists,
. ous ana
geous and intel g 1
appearing in
^^^^^^^
Le
some extent -ade ^^ ° 1878),
^,,,,,,,ds (in

31
 AFTER THE BATH New York, Durand-Rucl Collection
EDGAR DEGAS

30
H
W
<
2, 3

PS P^
< S

z
< 3 -"
IS . 3
'V

s - -^

-> X
c *j -/

'4,

W
—
w
Q
W
 EDGAR DEGAS
PORTRAIT OF MADEMOISELLE DOBIGNY
Hamburg, Kunsthalle

and were constantly called to the rescue, for they were unfortun-
Caillebotte and Dr. de Bellio were among the
most
ately, very few.
generous, and any list of early admirers must include the singer

Faure, whose portrait Manet painted,

Henri Rouart, Dr. Cachet,

35
 officially adopted the title
which
was then that the Impressionists
mockery, but which really
had been given them in a spirit of
describes them exceedingly well.
At the same time, they decided
to invite
to restrict their group to
the original members and not

other artists to join them.

These eighteen painters showed two hundred and forty-one
floor of a building under recon-
canvases in rooms on the first

At this time, too their friend,

strucuon in the Rue Le Peletier.
a paper called L Impres-
Georges Riviere, produced and edited
sionniste, Journal d'Art," in which
he defended the movement and
larger journals and reviews. A
few
answered the attacks in the
the Impressionist^ held
weeks after this exhibition, on May 28,
It was as great a failure
as
a second sale in the Hotel Drouot.
canvases
the first, bringing in a total of 7,610 francs for forty-five
CaiUebotte.
by Pissarro, Sisley, Renoir and
but also one of heroic
This was a period of extreme poverty,
for this handful of artists
were so sure of the
stubbornness,
continued their
they
value of the work they were doing that

efforts in spite of all the abuse

hurled at them, thus surely proving
greatest
their disinterestedness. This, too, was the period of the
self-evident, that nowadays,
we
masterpieces, masterpieces so
possibly have provoked such
cannot understand how they could
comments. How could the
prejudiced and even absurd press
Renoir, who painted "La Loge," or
"Le Moulin de la the Galette
the Cezanne, of "La Maison
du Pendu," or the "Portrait de
or the Pissarro of Pontoise
M. Choquet," the Sisley of Louveciennes,
have aroused so much hostility? r , .
•

poverty, for their small band of admi-

It was indeed extreme

rers was beginning to weaken.

Durand-Ruel already owned a
and had to cut down his purchases.
large stock of their paintings
in some
As a matter of he was in a difficult position and
fact,
who still remamed
danger of bankruptcy. The few collectors
pictures to be able to buy many
faithful also possessed too many
had been persuaded into
more, whilst others, the waverers, who
interest, now allowed
themselves to be
taking a half-hearted
their support.
swayed by the press and withdrew
believed in the Impressionists
A small handful, however, still

34
 EDGAR DEGAS
DANCING GIRLS IN BLUE
Paris, Dr. Albert Charpentier Collection

buy the pictures he admired out of his meagre salary

himself to

—for example, Renoir's "Le Moulin de la Galette."

Finally, was always Murer, who owned a pastry-
there
Voltaire, where Renoir and
cook's business on the Boulevard
to time, to share the family
his friends could go from time
for a painting.
dinner and obtain a few francs in exchange

37
 EDGAR DEGAS
DANCING GIRL THANKING HER AUDIENCE
Paris, Louvre

the genius of Cezanne

Count Arnaud Doria, who recognized
interest in the young pauiters
and Antonin Personnaz, who took an
a very hmited pubhc and
from 1875 onwards. This group made
artists who had to depend
provided pitifully small means for the
on h for their livelihood.
remamed the tollowmg
In really desperate situations there
still

expedients:
Tanguy, who sold artists' materials in the
Rue Navarm, m
in exchange tor tubes
Montmartre, would sometimes take a picture
of colour, canvases and brushes.
stinted
The ever-faithful Choquet, a minor civil-servant,

36
 EDOUARD MANET
ARGEXTELIL
Tournai, Museum of Fine Arts

buy his picture, was almost a matter of charity;

here I had to it

family, poor fellow!..." Renoir was

he's got such a big

39
 AUGUSTE RENOIR
AT THE -MOULIN DE LA GALETTE"
Paris, Louvre

In his book on Pissarro, Tabarant quotes a very informative

description by Murer:
'*At that time, was Hving on the Boulevard Vohaire, in a
I

shop which the Impressionists had decorated. Renoir painted the %

frieze with delicate garlands of flowers. Pissarro, with a few

strokes of his brush, covered the panels with landscapes of

Pontoise. Monet, always hunting odd shilling, used merely
for the

to look in occasionally to see how things were progressing. For

the past two years, I and my friends had been in the habit of
meeting every Wednesday evening for a family dinner presided
over by my sister. On had not
this particular evening, Pissarro

put in an appearance, and Renoir told us over dessert how, all

day long, he had been tearing about with a picture under his arm,
trying to find a purchaser. Everywhere he went, people had
turned him away, saying: "You are just too late, Pissarro has been

38
4»
 AUGUSTE RENOIR
THE DUCK POND
New York, Private Collection Right: BERTHE MORISOT
IN THE DINING ROOM
Collection
Washington, D. C, Chester Dale
(loan), National Gallery of Art

picture, bu, th,s Poor

sufficiently vexed at not having sold his
" house he wen, to, made hmt
el ow' repeated a, every
exclatmed .n h,s affabe
exasperated. "And so." he
SLrTy
nose w,th h.s
rubbing the t,p ot h,s
oU's votce nervously
a bachelor
characensttc gesture, "]us, because I'm
forefinger^a
they'll let me die of
starvatton.My
and haven't got a family,
but you never hear
portion is JUS, as desperate as P.ssarro's.

Impressionists' first
followed the
^"'°ThuT\n'Th?;::rf'that
the very
exhtbitton the situation was far from br.Uiant. for
then more
violence of the attacks had driven away many of
nevertheless, the battle may have acted
doubnul supporters. But

40
It had already produced a number of as yet unrecognised
masterpieces; it was an undeniable success.
Anecdotes of the
daily lives and difficulties of the Impressionists were already
being collected and written down, and out of them was gradually
forming a Golden Legend of modern art which was soon to
make History.

SUCCESS, THE GROUP IS SCATTERED

DURING was still obscure, but

the year 1880 the situation
things looked a little more hopeful and one or two minor
events might have been interpreted as good omens, or at
least are so looked upon to-day. There were the beginnings of
success, and also signs that the group was breaking up. Not that
the enemy was yielding; the fourth exhibition, which took place
in 1879, at 28 Avenue de TOpera, provoked the same amount of
ridicule, but more visitors attended than before, and it is reasonable
to wonder whether they all came merely to be shocked, or whether
an increasing number of them may not have been anonymous
admirers. However that may be, after all expenses had been
paid, the gate-money brought in a profit of 400 francs to each

exhibitor— by no means a bad total.

It is true, however, that a second sale at the Hotel Drouot,

on May 28, produced a total of only 7,600 francs for forty-five

canvases— approximately 170 francs a picture, a very low average
compared with prices current at that time.

Other exhibition were less disappointing; the

results of the
on the pretext «
critics seem to have taken a more reasonable line,
that the artists had somewhat modified their
technique. The
middle-class
Impressionists were beginning to be received in
drawing-rooms, especially Renoir, a great favourite with the family
who also gave Monet a good deal
of Charpentier, the publisher,
of help and encouragement.
seem have become slightly less rigid, tor pein-
Even juries to
seep into the official exhibitions-but
ture Claire was beginning to

I
43
 ii
'^'^ '
mk^JLiiLL-M. iJ^i -'^'aV

EDGAR DEGAS
DANCING GIRLS IN THE WINGS
New York, Mrs. Edward Jonas Collection

as a stimulus to the artists themselves, since not one member of

the original group recanted in order to escape from the critics and
make himself more acceptable to the public.
The resolution and courage of this nucleus brought a change
of fortune sooner than could reasonably have been expected and,
in spite of its uncertain future. Impressionism was intensely
alive.

42
 EDOUARD MANET
PORTRAIT OF A WOMAN IN A GARDEN
Paris, Rouart Collection

were kept at a
only in its second generation. The originators still

However, at the Salon of 1 88 1 Manet received

prudent distance. ,

45
 I

THE CHERRY TREE Paris, Rouart Collection

BERTHE MORISOT

44
 Rochefort, which placed
a medal for his portrait of Henri de
year, thanks to his
him beyond competition, and in the following
Proust, Minister ot Fine Arts m
old friend and admirer, Antonin
the Gambetta Administration, he
was decorated with the Legion of
Honour. m ,

managed break down official opposition,

Renoir, too, had to
portraits of "Jeanne Samary"
and was admhted to the Salon with his
and "Madame Charpentier et ses enfants."
He had a similar
success in the following year, when
even Monet was allowed to

enter the sacred precincts. Both these painters now began to

reluctant to show their work
break away from the group and were
in its collective exhibitions,
thereby taking up the same attitude as
Manet, who had abstained from the start.

In June 1880, Manet held a one-man

show in the gallery of
Boulevard des Italiens.
Charpentier's paper, "La Vie Moderne," 7
he announced his
On this occasion, he gave an interview in which
disciples: "I am an Impressionist..., he
detachment from his old
" but I scarcely ever see my old colleagues... The little
said
church has become a school with its doors open to every bungler

who comes along." u- • j

an accurate account of this period, in his
Germain Bazin gives
book on Impressionism: "About 1880 the position ot the ex-
Manet established,
follows:
ponents of peinture claire was as
accepted, Monet beginning
Renoir becoming fashionable. Degas
to be recognized. The scandal over Cezanne had been forgotten,
There
to the country in complete
silence.
the painter having retired
there had to be scape-
remained Sisley and Pissarro and, since
reason,
two continued for many years, and
against all
goats, these
to be jeered at and neglected by the public."
in April 1880, at
The fifth Impressionist exhibition took place,
It is chiefly memorable
for the marked
S Rue des Pyramides.
as if Providence wished
abstention of Renoir, Monet and Sisley and,
the appearance of a new exhib-
to compensate for their absence, by
Old members were deserting, new
men
itor Paul Gauguin.
occurred among the
took their place, and the same general-post
movement. At the very moment when
new
supporters of the
their faith in the group,
writers and critics were publicly declaring

46
 EDGAR DEGAS
AFTER THE HATH
Paris, Ambroise \'ollatiJ Ciolk-clion

of its defen-
Emile Zola, one of the earliest and most enthusiastic
ders, announced his desertion. His attitude had been disquieting
for some time past, but his silence
had left room for speculation;
and declared
now however, he suddenly came out into the open
already begun to
that 'he was disillusioned. In 1879, he had

49
 AUGUSTF RRNOIR BATHKK. SI.AIKI) I'aris I.oiivrc

48
 £D0UARD MANET
NUDE STUDY OF A BLONDE
Paris, Louvre

and did not

speak of the Impressionists as "too easily satisfied,"
by hasty
even spare Manet, who seemed to him to be "exhausted
"
production and content with the 'near enough.'
the painters
In 1880, he went even further, saying that none
of

SI
 CAMILLE PISSARRO
PEASANT WOMAN
Washington, D. C, Chester Dale Collection (loan), National Galleiy of Art

50
 CAMILLE PISSARRO
THE COWHERD
Paris, Lou%Te

a time
This was a rash statement, and difficuh to understand, at
when so many authentic masterpieces were being produced.
can only conclude that Zola himself
had never understood
We
the movement and that his
defence of it was more a matter of

principle than of conviction.

sixth exhibition the Impressionists
once agam leased
For their
Capucines, where the
Nadar's set of studios, at 35 Boulevard des
The group was noticeably begin-
first exhibition had been held.
However, thanks to the efforts of Durand-
ning to break up.

53
 CAMILLE PISSARRO
GIRL WITH A WAND
Paris, Louvre

had been able new art-form powerfully and finally....

to '^realize the

They are all prophets. . The man of genius has yet to

. .

be born.... They are inferior to the work they try to accomplish

and stutter and hesitate in a vain attempt to find the right word."

52
not wholly pleasing to the others; perhaps those who now feh
themselves to be on the threshold of prosperity were embarrassed
or unwilling tocompete with their less fortunate colleagues.
However that may be, from this time onwards many of them
clearly took an independent line. we are to understand
But, if

the possibly somewhat selfish caution of the men who now saw
a hope of escape — albeit a faint one — we must realize how much
they had suffered during those early years of poverty and strife.

Moreover, the situation was only slightly improved and there were
many difficult years ahead; even so the future did not look
quite so threatening— or, at any rate, not for some of them.
In these circumstances, the exhibitions that followed no longer
form part of the history of Impressionism, properly so-called, or
at least,they have no special significance from that point of view.
During the next year, 1883, Durand-Ruel held a series of one-man
exhibitions by Boudin, Monet, Renoir, Pissarro and Sisley.^ In
the Ecole
1884, a "Manet Memorial Exhibifion" took place at
des Beaux-Arts and later in the year, Monet and Renoir showed
pictures in more general exhibitions at the Georges Petit Gallery
and the gallery of "La Vie Moderne." The last Impressionist
1886, in rooms above the restaurant. La
exhibition was held in
Rue under original title "Societe
Maison Doree in the Lafitte, its

Artistes, Peintres, Sculpteurs, Graveurs." Monet,

anonyme des
Renoir, Sisley and Caillebotte abstained, but
Odilon Redon, Signac
worth noting.
and Seurat were exhibitors. The last two names are
was over;
Considered purely as a school, the day of Impressionism
seen; for other artists to
the time had come for its results to be
and react against them.
accept and expand its doctrines, or to reject
were not
Meanwhile the Institut and the other official bodies
entirely vanquished. Their resistance was to last a long time, and
became remarkably fierce. The first
on two notable occasions it

"Olympia" to
of Manet's picture
incident occurred over the gift

1890, when Claude Monet, who

had opened a
the Louvre in
nation,
subscription to buy this major work and present it to the
met with official which, if not actually violent,
opposition
certainly showed a marked lack of enthusiasm. The authorities
half-refusal on this occasion by dis-
were able to justify their

55
 CAMILLE PISSARRO
THE ORCHARD
Paris, Louvre

Ruel, they were all reunited the following year —with the exception
of Degas — in an exhibition which took place at 251 Rue Saint-
Honore. But the long and delicate manoeuvres required to bring
about this reunion show how ephemeral it was and how divided,
even antagonistic, the old allies had become. It was a price that

had to be paid for the assertion of their different personalities, just

as their earlier unity had been necessary to make the movement a
coherent body, part of a great tide sweeping through an entire
generation. Perhaps the budding success of some members was

54
 ALFRED SISLEV
FLOODS AT PORT-MARLY
Paris, Louvre

sionists. When he was asked for a subscription he repHed with

the following letter:

"My dear Monet, I amexceedingly sorry... but it is one of

not even for the
my strongest principles never to buy paintings,
to raise
Louvre. Ican understand collectors banding together
canvases by him; but, as a
the prices of a painter when they own
to do with such matters."
writer, I am determined to have nothing
promoters ot such
Fortunately not everyone suspected the
intentions, and the subscription list
contained a variety of
evil
Impressionists
distinguished names in other words, not only the
Rouart, CaiUebotte,
and their friends and supporters, men like
Huysmans, but
Roger Marx, Geoflfroy, Mallarme, Mirbeau and

57
 CAMILLE PISSARRO
THE GLADE AT PONTOISE
New York. Private Collection

covering a pretext in the regulations governing the admission

of pictures to the national collections.
Emile Zola once again took the opportunity to demonstrate
his indifference, not to say unfriendliness, towards the Impres-

56
 VWTK t-f—f-r

^ \

•m%)t,

t
;

4
m>.

hf

ALFRED SISLRV
THE ROAD TO THE SKIRT OF THE WOODS
Paris, Louvre

THE RESULTS OF IMPRESSIONISM

end with these
does
THE history
successes.
of Impressionism not
We must also discuss its resuhs and the move-
ments that developed out of it, beginning with Neo-
Impressionism, which set out to reduce its spontaneous inventions
to a formula, by means of a system worked out by Seurat. Where-
as for Monet and Sisley the procedure known as broken colour

59
also those who preferred a and academic art,
more restrained,
Gervex, Lher-
such as Duez, Rops, Jean Berand, Jules Cheret,
mitte, Boldini, Helleu, Roll, Flameng, Cazin, Jacques-Emile
Blanche, Puvis de Chavannes, Carolus Duran, Albert Besnard and
many others. In the end, "Olympia" was accepted, but only
for the Luxembourg, and with many cautious reservations. It

transferred to
required Clemenceau's active intervention to have it

the Louvre two years later.

When the second incident occurred— over Caillebotte's bequest-

was far more violent
several years later, in 1894, the opposition
and more widespread. Caillebotte had been a tireless supporter
the exhib-
of Impressionism since 1874; he had shown in most of
itions and had bought many of his friends' canvases
during the
difficult years. His collection contained sixty-five pictures by
Manet, Monet, Cezanne, Renoir, Degas, Sisley, Pissarro, Caille-
botte and Millet. When he died on 21 February 1894, it was
learned he had bequeathed the entire collection, to the
that
Luxembourg, appointing Renoir as his executor. This piece
of eenerositv the authorities found highly embarrassing, since
they

were divided between a desire to accept the whole of the magnit-

and a dread of official repercussions. Finally, a
icient collection
compromise was reached with the executor, the Beaux-Arts
accepting only forty of the sixty-five canvases and rejecting one
by Manet, eight by Monet, two by Renoir, three by
Sisley and eleven by Pissarro. However, this precautionary
measure proved useless; at all events, it had no eflfect in calming the
enemy's rage. Professors of the Ecole des Beaux-Arts threatened
to resign; Gerome entered furious protests with the Conseil des
Musees; there was an appeal to the Senate. Everything was
attempted, but the collection remained in the Luxembourg,
although sadly reduced, and was transferred to the Louvre in 1928.
This was the last serious skirmish, for once Impressionism
was admitted to had received official
the national collections it

sancfion. In the following years, during which success piled

upon success until it reached the most glorious and undisputed
triumph, there were no further incidents to add to the history of
Impressionism.

58
 CAMILLE PISSARRO
THE RED ROOFS
Paris, Louvre

How strange that 1886 should be the official date given

Neo-Impressionism, the very year when
the
for the birth of
group, who had been fighting public opinion since
Impressionist
It was an end and a
beginning^
1874 held Its last exhibition!
continued on a wider field
From this time onwards the battle
all the advantages
of new-won free-
and was transferred, with

61
 ALFRED SISLEY
THE VILLAGE OF N'OISINS
Paris, Louvre

was simply a way

making colours vibrate and suggesting the
of
movement of sunlight, the actual method of its application being
left to the artist's personal feeling, Seurat with the help, of
scientificbooks— rather elementary ones, it is true— tried to esta-
blish a rigid system which would give Impressionism a scientific
basis. He based his theory on the works of the physicists
Chevreul, Edouard Rood and Helmholtz, and on the system of
Charles Henry, the scientist-aesthete.

60
 dg^vvWvOC . -
,

CLAUDE MONET
REGATTA AT ARGENTEUIL
Paris, Lou vie

and all the other independent exhibitions of protest that had

become more and more frequent during the later years.
Thus, one by one, every ''Bastille'' fell before the triumph
of Impressionism, and where it could not completely overthrow
its enemies it succeeded, in spite of them, in building its own fort-

resses and establishing its doctrines. Rejection by the Salon led

directly to the setting up of the Salon des Independants. Because
of the stubborn devotion which had brought victory in the teeth
of public indignation, young men began to lose their fear of crea-
ting a and even to believe that shocking the public
scandal,
might be quite a good thing in itself. Liberation from outworn
conventions caused newcomers to dream of new and more
complete freedoms.
The Institut,the Ecole des Beaux-Arts and the Salon were
the last strongholds to fall. We
have seen how their conquest led
to the setting up of a Salon des Independants and, later, to a

63
 CLAUDE MONET
SPRING AT GIVERPsTV
New ^'ork, Private Gullection

dom, to the Salon des Independants. This Salon was first held
in 1884, under the title ''Groupe des Independants." It became a
regular institution after 1886, in the direct line of succession to the
first Salon without a jury of 1848, the Salon des Refuses of 1863,

62
 CLAUDE MONET
L'HOTEL DE LA PLAGE
Private Collection

65
 PAUr. CEZANiNK
I'ORTRAir OF MADAME CKZAXMi
New York, Walter P. Chrysler Jr. Collection

The Macmilinn Compiiny. Ihe distributors in the Uniled Stiilos for the Hyperion Press of Kaymond Cogniai's fri nch
PAINTING Ai THE TIME OF THt iMPHLSsjoNisi s, has just teamed of the error niLnle by the Hyperion Press in their caption
under the illustration on page 64 which reads: "Paul Cezanne Portrait of Madame Cezanne New York. WaUer P. Chrysler
Jr. Collection."
The Macmilkin Company has been informed that this portrait of Madame Cezanne by Paul C6zanne was in the
Lizzie P. Bliss-Museum of Modern An Collectum ftoni 1922 lo 1944, al which lime the portrait was acquired by Louis
E. Slern. New York, and thai therefore the caption under this picture should read:

PAUL CEZANNE PORTRAIT OF MADAME CEZANNE NEW YORK. LOUIS E. STERN

The Macmillan Company regrels this error on the part of the publisher, Hyperion Press, and will require the pub-
lisher change the caption if The Macmillan
to Company continues as the disinbutor of a further printing of frinch
PAINTING AT THE TIMt OF IHE IMPRliSSIONISTS.

64
These plagiarisms, often skilfully composed, if somewhat jejune,
provoked Degas' remark: "They stab us in the back, but they
take care to go through our pockets." For, now that Renoir,
Monet, Cezanne and Seurat no longer made any effort to have their
work accepted by the official juries, many of their milder disciples
(acknowledged or otherwise) found admission less difficuh. Albert
Besnard, Gervex, Carolus Duran, Henri Martin, Roll, Le Sidaner,
to name only a few and the best of them, were making successful
careers, glad to be considered exceedingly daring whh this second-
hand form of modernism. Their success is one of the clearest
signs of the victory of Impressionism.
Another, and equally obvious sign was shortly to appear,
coming, not this time from the moderates, but from the livelier

elements in the movement. This was the reaction against Impres-

sionism from young artists who refused to be bound by the rigorous
systematization of its doctrines, which Seurat and his friends had
pushed to extremes. This rejection was, in itself, a tribute.
About the year 1890, Symbolism began to appear as a serious
rival and successor to Impressionism. Just as Symbolist poetry

was a reaction against the forms of the naturalistic and realistic

novel, so, in painting, Gauguin was influenced by the cloisonne
style invented by Emile Bernard, and the possibilities of painting
with flat-colour spaces and strong outlines, after the manner of the
enamel workers. Before he left for Tahiti, he had worked out a
even
theory of esthetics in complete contrast to Impressionism,
painter
though he had begun his career by being an Impressionist
and had shown in the later exhibitions, where Huysmans
had

praised his work.

This reaction, however, never became a
revoh. On the
contrary, Symbolism was a logical
development of Impressionism,
word that could
and neither Gauguin nor Van Gogh ever said a

repudiation of their elders. It is only now,

be construed as a
see the results in proper
perspective, that we can under-
when we
various movements that appeared
stand the full significance of the
century.
during the last years of the nineteenth
'Their determination be objective was to lead to the most
to
The Impres-
uncompromising subjectiveness twenty years
later.

67
 PAUL C£ZANNE
MADAME C£ZANNE IN THE GREENHOUSE
New York Stephen C. Clark Collection

66
 AUGUSTE RENOIR
THE WA.SHERW0MI::N
Private Collection

iation of it. The group became known as *'The Nabis,"

and two of its most outstanding members were Bonnard and Vuil-
lard. There is no doubt that, in their subjects and technique and
in the general effect of their painting, they were much closer to the

Impressionists, with their sensitive harmonies, subtle observation,

and delight in the daily life around them, than to the ruthlessness of
Gauguin or Van Gogh. And so, out of and around Impressionism,
a whole network of new movements developed, preparing the way
for the very varied art-forms of the future. Such new groups,
through their openly acknowledged common origin, succeeded in
reconciling the most divergent conceptions, and made of our
contemporary art an example of the fundamental unity of contrasts.

69
L^

AUGUSTE RENOIR
ODALISQUE
Private Collection

sionists, who were hailed at the beginning as exponents of Realism

came to be venerated as the forerunners of Symbolism/*
The paradox was emphasized when Cubism and
further
Fauvism, the two great movements of modern painting, appeared
during the first ten years of the twentieth century. Although the
exponents of these movements, based the one on Seurat and the
other on Van Gogh, and believed that they were disowning Impres-
sionism, they were, in fact, its heirs in direct line of succession.
By one of those strange reversals of influence, of which we
find so many examples in history, Gauguin was to inspire yet

another group of young whose development was,

artists, this time,

a logical and visible outcome of Impressionism and not a repud-

68
 AUGUSTE RENOIR
GARDEN AT CAGNES
Private Collection

ality. Seen from this angle, Impressionism was a continuation ot

earlier movements, but it emphasized their character and structure
—as it were a reflection of the social evolution.

From the sequence of events that led to ultimate victory in

the life- history of the Impressionist movement,
we see that the
need to form a group in order to protect the individual was felt at

the very time same need became apparent in social

when the

history, as the battle for trade-unionism

increased. Monet and
and to
Courbet had organized one-man shows as an act of protest
exhib-
compel recognition. The Impressionists had to use group
itions to achieve the same result.
Only when the victory was
nearly w^on did they take back their
independence and pursue

their separate careers. Their social origins (they nearly all came

71
 IMPRESSIONISM,
ITS SOCIAL SIGNIFICANCE

NINETEENTH-CENTURY Impressionism which developed at

an event
the end of a war should not be considered merely as
however important. It was also a
in the history of art,
at that time. If we restrict the
symptom of the state of society
aesthetic purpose, we surely limit its
function of art solelv to its

significance, for inasmuch as art is man's supreme achievement,

capable of epitomizing him more com-
his noblest language, it is

pletely than any other form of human

expression. We have just

witnessed the development of Impressionism. A

extent of the

great pioneering success of this kind,

an invasion that broke down

older conventions, must inevitably have

been the counterpart of
in the
social upheavals equally momemous, and of a revolution
ideas that had been held hitherto in the
realm of feeling and self-
expression.
The entire nineteenth century was a vast movement towards
led to "every man for
the right to individual freedom; a right that
himself" and finally developed into "go as you please," corres-
material
ponding to Guizot's policy of "get rich quick", on the
plane. The freedom which the Romantics achieved can be seen in

subjects as much as in their choice of a medium. Artists no

their
public, but
longer worked to satisfy the demands of a particular
simply to give expression to their own feelings. The artist ceased
to servant of his epoch and his public: it was now the public's
be the
turn to follow and to attempt to understand the artist, who
made
no eflfort to sum up their aspirations, preferring instead to confide
to them a secret of his personality.

The Social-Realist Movement that followed Romanticism was

thought to be reactionary because it endowed art with a social
purpose and strove to make it serve political causes. Actually, it
was a confirmation of the new position, a fresh assertion of the
individual as guide, judge, witness and, generally speaking,
opponent of society as was then constituted. The artist demand-
it

ed a larger field of action and a wider expansion of his person-

70
 PAUL CfiZANNE
THE VILLAGE OF CERGY NEAR PONTOISE
Paris, Private collection.

like the Dreyfus case compelled every man to take sides and
reveal his real feelings. We find Degas, for instance, whose
judgements were generally considered to be harsh but scrupul-
ously fair, saying of Pissarro: ^'Impressionism obviously had to
have Jew," and when someone reminded him that he used to
its

admire certain pictures by this painter, he answered: 'Tes, yes,

that was before it happened," thereby displaying a most
unworthy prejudice. Even more surprising, is the text of a letter
written by Renoir in 1882, which Germain Bazin
quotes: '*Ex-

hibiting with Pissarro, Gauguin and Guillaumin

would be like
exhibiting with a group of socialists... To stay with the Jew
Pissarro would be revolution."
Clearly no one could deny the influence of social
and political
happenings inthe history of Impressionism. have seen that We
in the group belonged to the middle-classes,
most of the painters
rejected their art. And yet this art was in
who indignantly
the aspirations of middle-class
people at that time.
harmony with

73
 PAUL CfiZANNE
THREE BATHERS
Paris, Petit Palais

of middle-class families) impelled them to reject the group as

soon as was no longer necessary.

it

In any case, their rebellion was caused far more by the

nature of the circumstances than by the nature of the artists
involved. It was inevitable unless they were willing to recant.

But the fact that the majority of them, for many years, made
repeated attempts to exhibit in the official Salon proves that they
would have preferred to follow the normal channels. When they
had uhimately overcome public lack of understanding by persisting
in their revolutionary attitude, they once more withdrew into
isolation, the ivory tower of individualism. What caused the group

to break up in 1880 was probably not so much their

divergent
views on artistic questions as the diflferent temperaments of the
artists and, more especially, the fact that their union was no longer

necessary.
The clash of their different personalities, their unwillingness
to conform to thinking in a group, became obvious when an event

72
 C

>
u

\l H
H
% <
tn
1

00
<
O
» >•
c4

V,
<
»1
 AUGUSTE RENOIR
ORANGES AND LEMONS
Private Collection

It reflected their demand for freedom, their enjoyment of the

spectacle of
everyday pleasures of family life and the familiar
justification than
nature, and, like them, it felt no need of other
in the contemplation of
this tranquil satisfaction and realism
themselves and of their own environment.
of Renoir,
It is interesting to realize that, with the exception

almost all the Impressionists came from comfortable middle-class

sort of people to yearn for a life of
families and were not the
By nature they were more inclined to contorm and to
adventure.
other words, academic rule. Their
accept official infallibility-in
the more courageous. It was a proof
revolt was therefore all

of great integrity, for they

did not persist in it out of a love of
towards a romantic, picturesque
eccentricity or from anv leaning
because of their artistic convic-
form of pseudo-poetry, but solely
their
and their almost physical need to remain true to
tions
ideas. ^ j *u^ • • •

the Impressionists during the

Freedom was the chief aim of

77
 PAUL C£ZANNE THE barns Private Collection

76
not these victories, in their own sphere, correspond to the other
freedoms won at this period?
when Impressionism demanded its rights and
Nevertheless,
Hberty of action it forgot some of its obhgations, a forgetfulness
that was the logical result of the rights it had gained. By giving
every artist the chance to do as he pleased, that is to say to create

according to his own free will, without attempting to satisfy the

demands of society or to serve it, it also gave society the right to
let the artist exist under impossible conditions and, ultimately,

to die of starvation.

The Impressionists won their victory because they were

prepared to accept extreme poverty for many years; and here,
their example has unhappily been followed to a very large extent.
Never has society more steadily encouraged destitution among
intellectuals, especially among artists, and ignored their most
elementary needs. Never has individualism progressed so far,

and never have the needs of the individual been so much mis-
understood. This paradox may not have begun with Impression-
of
ism, but Impressionism gave a precise example and illustration
it and, from that time onwards, it ceased to be extraordinary.
However, by making its own martyrs, society is assured of
It places them in a situation where
the weaker
their quality.
elements go under and the greatest are forced to the limit of
their

powers. Think what might have happened if Cezanne and

Renoir had been less confirmed in their determination,
less

Salon without
completely rejected; if they had been admitted to the
too much difficulty, made members of the
Academie des Beaux-
and insulted.
Arts and treated as friends, instead of being abused
Might they not have come to terms with officialdom, instead of
and making a reality of their visions
persisting in their isolation
glorious
and experiments? Then we should have
lost that

past which makes

uncompromisingness, that clean break with the
art, not only in
Impressionism the origin of all contemporary
France, but all over the world.
always been misunder-
easy to pretend that artists have
It IS

stood, have never had an easy start,

and have always had to struggle
thinking and seeing. Before
to their personal way of
establish

79
 CLAUDE MONET
WOMEN IN THE GARDEN
Paris, Private Collection

years of struggle; the idea of freedom held them together and

stirred their enthusiasm. After their victory it became the artist's
right. Freedom to choose his own subjects, freedom to choose
his technique, freedom to exhibit where and what he pleased do —
78
 ARMAND GUILLAUMIN
la\dsc:apk
Private Collection

The changes brought about by Impressionism were much more

fundamental than other revokitions. They went to the very root
than the
of the problems and produced results more far-reaching
esthetic and technical questions which they were supposed
to solve.

Impressionism was a new way of looking at things, a new approach

similar
to every question, in a society that was itself preparing
changes in structure and fundamental truths. The whole
idea of

the function of a work of art was changed.

For centuries past,

8i
 ALFRED SISLEV
MORET. THE BANKS OF THE LOING
Paris, Louvre

has
Impressionism, the struggle was that which every creator
to

make for his creations until the value of his

work is recognized,

and the have received official recognition fairly early.

greatest artists
think
To take only the nineteenth century before Impressionism,
of the position given by the State to great artists, to men like

David, Ingres, Chasseriau and Delacroix, who, in their time,

also brought a new vision and might have been
considered equally

revolutionary.

80
 AUGUSTE RENOIR
LE BAL A BOUGIVAL
Boston, Museum of Fine Arts

83
 AUGUSTE RENOIR
DANCING IN THE TOWN
Durand-Ruel Collection

82
 AUGUSTE RENOIR
LE RAVIN DE LA FEMME SAUVAGE
Paris. Louvre

--;
express
T
technique.
'r;Ze:^^::
P
it. i

Ihe subject, in uii

^r: ;:^=n:a
^^^^^ ^^^ j.^,^ ^^^^^
,o,,ety, no
cQcietv itself was

Others.
85
 CLAUDE MONET
TULIPS FROM HOLLAND
Paris, Louvre

an idea
the object of a picture was thought be the glorification of
During the Middle Ages painting was
entirely
or of an individual.
the Renaissance to portraits of
famous
devoted to religion, after
mythology. In such pictures
people or to scenes from history or
the source of the artist's inspira-
the subject itself must always be
means of sublimating reality. Until the time of Impression-
tion, a
ism, every work of art had a meaning and an aim apart from the
nature of the work itself.
was the artist s personal
After Impressionism, what counted

84
 VASE OF ROSES Palis, Louvre
AUGUSTE RENOIR

«7
 :<L.ia.'3*

AUGUSTE RENOIR
CHRVSANIHEMUMS
Durand-Ruel Collection

conscious were the Impressionists of these

changes tak-
How
towards which they
ing place in the world around them, and
were working? They were too much part of events to be able
to see them in perspective. They lived their own drama too

was being paralleled in a new

intensely to stop to think that it

social structure; thus understandable that, because of the great

it is

complexity of social problems, many men of that time, and

especially
of the nation. In-
the artists, held themselves apart from the life
cidentally, the behaviour of the Impressionists
during the war of

1870 most illuminating.

is

These men had lived through many different forms of govern-

ment and several revolutions, they had seen the instability of

86
thrones and the fickleness of the will of the people. Manet and
Degas had been and fourteen years old, respectively, during
sixteen
the Revolution of 1848; they were old enough to be aware of events
and to reason from what they heard and saw; Cezanne, Sisley, Monet,
Renoir and Baziile were still children of between nine and seven
years old. The short-lived Republic and the Empire that fol-
lowed the monarchy probably did not mean much to their childish
minds, and so, when the war of 1870 broke out, they were ill-
prepared to feel a citizen's responsibility for what was happening.
Monet fled before the invasion and joined Pissarro in London;
Sisley, an Englishman by birth, also made a long stay in England;
Renoir enlisted in the cavalry, but happily a long training in

Bordeaux prevented his being sent to the front; Cezanne retired

to Estaque when he received his calling-up notice at Aix. Bazille,

with a commission in the Zouaves, was the only one to be killed

in the fighting, although Manet and Degas, the two eldest,
both

saw service with the National Guard.

Nobody criticized the Impressionists for their passive attitude

in the events of 1870, but very unUkely that public opinion

it is

would have taken the same view in 1914. In other words, the
responsibility to the
sense of patriotism and of the individual's
In
community increased considerably during these forty years.
1870 it stood for so little that, after a defeat that entailed a serious

in morale and wealth for their country, a group of young

loss
painters could create the gayest, sunniest,
most serene style of
It was an excellent symptom,
painting the world has ever seen.
emphasized the young men's
a sign of brilliant heahh, but it also
detachment from the end of an epoch.
championship of the
To sum up: by its egotistical attitude, its
responsible for the crea-
individual, the nineteenth century was
tion of powerful means of
production in industry and of a whole
action, these novel
new repertory of forms in art. By individual
these vast new resources,
methods of expression and ownership,
man, were placed at the service
which are the attributes of modern
of the community.
may seem astonishing that an art
In such circumstances it

which so exactly corresponded to its

like that of the Impressionists,
 AUGUSTE RENOIR
BY THE SEASHORE
New York, Metropolitan Museum oi' An

88
 AUGUSTE RENOIR
GABRIELLE WITH A ROSE
Paris, Louvre

91
 AUGUSTE RENOIR
PORTRAIT OF LUCIE b£RARD
Paris, Maurice Berard Colleclion

90
 AUGUSTE RENOIR
PORTRAIT OF SISLEY
Paris, Ch. Pomarrt Collection

9^
 AUGUSTE RENOIR
IN THK MEADOW
New \*ork, The Lcwisohn Collection

IMPRESSIONISM
ITS ^ESTHETIC SIGNIFICANCE
though Impressionism may be as a symptom
of
VALUABLE combines all the charac-
the state of society, because it
teristics of a transitional period
between two epochs, it is far
clearly manifests both the
more significant ^sthetically, because it

of another.
end of one period and the beginning

95
 better supported and understood. The truth
environment was not
of practical
IS that in a community directed towards the reahzation
appears to be an
ambitions with calculable material returns, art
difficul
yield and with a value
unnecessary adjunct, of uncertain
Art is a luxury with a sentimental
to measure in precise terms.
this way. Impressionism
did not rnake
value But looked at in
emotions, at least not superficially,
and the
sufficient appeal to the
that expressed the needs ot
public felt better pleased with works
literary pictures,
the soul" more clearlv- Hence the success of
groups
meaning can be seen at once: the touching
little
where the
the
heroically firing their last shots,
of choirboys, the soldiers
last love-letter
young women weeping over their first or
purity of Impressionism and its demands made it less
The
began to be accepted by the
agreeable and less approachable. It

hand measuring its value,

public as soon as a means came to for

of Impressionist pictures showed

a
as soon, in fact, as the price
francs and
definite increase. picture bought for a few hundred
A
thousand, and then becoming
shortly afterwards sold for several
proved some-
more and more expensive, was a testimonial which
thing—it talked sense.
consider-
Works of art were thus set free from sentimental
values, which deserved to
ations and raised to the level of practical
amount of sentimental
be taken seriously, even although a certain
discussion took place to disguise commercial
reasons.
painting has
This commercial value set on Impressionist
benefitted all the new styles. With so many pseudo art-lovers

afraid of missing the appearance of a

new genius (and the picture
likely to make a good investment) any movement running counter
been sure of finding a receptive public.
to previous trends has
The world of freedom is open to all.
Therefore, we owe to the steadfastness of the Impressionists,
who supported and encouraged them, the
and to the few art-lovers
astonishing variety, abundance and inventiveness of
contemporary
art.

94
 PAUL GAUGUIN
LITTLE BRETON WITH A GOOSE
Paul Rosenberg Collection

an
linking the past with the future.
At one end we might put
training and mchnation
artistUke Degas, a classical painter by
in his most danng pictures,
remaining the pupil of Ingres even

97
 PAUL GAUGUIN
MOUNT C.\L\-ARY. BRITIANY
Brussels, Royal Museum

One might draw up a list of the Impressionists to show this

of each ot
facing both ways, emphasizing the prevaiHng tendency
the various artists, and showing how, together, they
form a cham

q6
 PAUL GAUGUIN
LANDSCAPE AT ARLES. NEAR THE ALYSCAMPS
Paris. Louvre

simplv a normal occurrence, and that styles wh.ch

new art-forms is
first appear become
class.ca
seem most outrageous when they he
accustomed to them.
when people have had tune to grow
1

99
 ^rV""^

PALL GAUGUIN
-FERME AU POULDU-
New York, Private Collection

past, deferrhig to his subject

linked with the great masters of the
portrait painter
when the subject required it, a conscientious
to the keen draughtsman
model and a
mindful of the likeness
interested in the smallest detail. At the other end comes Cezanne,

who marks the cleavage and has therefore been claimed by

every

of modern art since the year 1900.

Cezanne,
new movement
Impressionism,
who, beginning from the flashing spontaneity of
Masters" by
sought to create an art "as solid as the art of the Old
attempting an impossible synthesis of the ephemeral,
and the
permanent in the hope of becoming classical, and thus paved
the extreme revolutions that followed one another
the way for

during the next half century.

The remaining Impressionists come somewhere between
aspirations
these two extremes and form a collection of various
and temperaments, very different from each other in form and spirit,
but infinitely less contradictory than the two above-mentioned
artists. Since the time of Impressionism, people have constantly
maintained that the public's steady refusal to accept the various

98
 PAUL SIGNAC
LE CHATEAU DES PAPES
Paris, Musec d'Art modernc

medium had been used, even though they were painted with
the past.
brushes and colours upon canvases, as in
We had a demonstration of this a few years ago, although
it

five galleries in the Louvre

was never admitted, when four or
masterpieces,
were opened at end of the war to show a few
the
being got ready. Rembrandt
while the rest of the museum was
side, but, when they tried
to
and Delacroix could be hung side by
la Galette," or "L
Inondation,
include Renoir's "Le Moulin de
contrast was so
among a collection of old masters, the
by Sisley,

lOI
 -'- •

GKORGES SEURAT
GRAVELiNES'
STUDY FOR "THE CHANNEL OF
Private Collection

wdl therefore m course

n.ost audacous contemporary works
in museums alongside
works of classica^
of time take their places
violent contrast or shocking
anybody s
art, without creating a

''
'This assertion has not yet been proved; indeed, I am rather
it is wrong and
that the problem of modern
mclined to think that
be solved. It is
art in its relation to the public still remains to
accustomed to styles that at first
seemed
true that we do become
it
revolutionary, and that in time
they lose their aggressiveness^
ceased to shock us, they can be
shown
is true that once they have
and enjoyment
m museums and national collections for comparison
a quarrel; but it is not
true that they can
and without provoking
the painting of earlier centuries
be shown with impunity alongside
that they are either more or less good, but
This does not mean
direction
simplv that they set our minds running in a different
different
and fulfil a diflferent purpose; you might almost say that a

IOC
unbearable that the idea had to be given up and a special gallery-

reserved for the Impressionists. Does this mean that Renoir or

Sisley are not great painters? Far be it from me to suggest such
a thing; but Impressionism is the
beginning of a new era in our
civilization and constantly shows signs of rejecting and contra-

dicting the past.eminently sensible to devote a special

It is

museum to it, as the beginning of contemporary art.

There was not a complete cleavage in every case, and
it is

as time went
noteworthy that the break became more evident
the marks of a transitional
on, for many Impressionists bear
novel in
period. Degas, for instance, in spite of being so
scrupulous concern for
many ways, is linked with the past by his
into the traditional sequence
accurate drawing; Renoir can be fitted
Delacroix; Cezanne's austere researches
of Rubens, Fragonard and
Manet, Velasquez and Goya are
are an echo of El Greco, and
unquestionably bound together. By choosing particular works
another it is possible to make
striking and accurate
by one artist or
Impressionism remains, fund-
comparisons, but none the less.
amentally, a contradiction of the
past.
r
of view of art bound
.
i i

old-fashioned point
Looked at from the
matter, contemporary painting
would
up with the idea of subject
It is some-
completely meaningless
leave us unsatisfied and be
we require.This becomes perfectly clear when
thing else that
the forerunners of
Impressionism in the nine-
we hark back to
Daubigny and Theodore Rousseau,
artists like
Teenth centurv, to feei-
'
Both were masters of their art and painters of real
for instance. because
they had not the standing of the Impressionists,
ng but representing an
paintmg simply as a question of
the; thought of

p.cture was its subjec Only one or ,wo »r.,s s

ourpoe of every foreseen
art. seem to have
Zrfulh awaJeof the secrets of .heir

A gauche : PAUL GAUGUIN

SELF-PORTR-MT IN CARICATURE
Gallery of Art
Washington. D. C. National
Chester Dale Coll. (Loan)

»03
Ot*^^-

PAL L GAUGUIN
OT.\HI; ALONE
Private Collection

for instance, was less interested in haystacks and

model. Monet,
London bridges than in the way the light played upon such subjects,

the impressions they gave him, and the

harmonies and variations
was less
of colour which he could compose with them. Degas, too,
than in the accidental
interested in his dancing girls and singers
fascinating patterns they made
effects of theatre lighting, and the
with their gestures.
picture as an object
Thus, from insistence on considering the
of expressing the subject, we
in itself and not merely as a means
of to-day, which is
come stage by stage, to the abstract painting
in so many ways it appears
an outcome of Impressionism, although
contradictory.
For a long time before it occurred,
many books and move-
new conception of art,
ments had been preparing the way for the
in his brilliant and
informative
as Louis Hautecoeur clearly shows
published some years
book "Litterature et Peinture en France,"
on art, he cites the theory
ago. Writing on the evolution of ideas

105
 PAUL GAUGUIN
TWO TAHITIANWOMEN ON THK BKACH
Paris, Louvre

show that they

future and have published writings which
to
problems that confront artists to-day,
were engrossed with the same
to do with reproducing
or imitating the
and which have nothing
artists, however, did not
cease to reproduce
actual model. Such
preoccupations
the reality; they were
content to merge their own
After Impres-
in it make the subject richer in meaning.
so as to
sionism, the actual subject
became no more than a pretext, at least
for the time being, until
someone thought of abolishing it entirely
point; he gave the same kind
of
Cezanne is verv much a case in
his
or the portrait of
a dish of fruit,
eare to painting a landscape,
mother. . ,

his particular temperament,

Each Impressionist, according to
towards his subject, with the pos-
displayed the same indifference
sible exception of Renoir,
who said that, as far as he was
soon as he began to desire the
concerned, a nude was finished as

104
 la.- Jouffroy,
produced
which Cousm, and
of ",r, for arfs sake," Jounroy
nineteenth century.
.,rl„ ,. the beeinnins of the

L "The hthe^fdefinfttcn of
rlnvisible, by nreans of outward
art ts that art is
-^
"s, e s.gn^.
the expression o
Th
appearance of "P^^^'^'™'^"'
same ideas, heralding the Gam«r
passage from Jheophtle
;

stated tn the following

more clearly
\_,- u A rXf.,- "It is not the purpose
- of art to reproduce

aSSr:-:ri;^td::a:^^E
ms,.s may^aw., and
p,deas *e .^,ch the s^ of world

ten
revolut.on that too. place
r/thtleSn peSX"«-he
'""Moreover, even the word Impresstonism, wh-h/PP-^f ^^^^^

conA^ed hen.
noLportance to-day ,f events had
not
It be of
are easy to find m
When you know the future, propheces
"'"''
chapter, however, we saw that the development of
In the las.
gener^al end of
corresponded too closely with the
Impressionism mmg
to chance or fashion.
By cla
social history to be attributable
aulomaticaUy released
h „gh, Lert his individuality the artist
to
considerations. Art thereby
obedience to outside
his work from
which had never hitherto possessed, and which
g nld a freedom
it

manifestation of the new

independence granted to Ac ar, s,^
Zs a mark the moment when the
So clearly did Impressionism
his art was confirmed
and accep ed
artist's new towards
attitude
the year 1890, Maurice Dimier was able to give the
that, about
definition of painting which,
by being constantly quoted
following
known as to be almost banal. "Remember that a
has become so well
a nude woman, or some
picture is only secondarily a war-horse,

A droite: PAUL GAUGUIN

lA ORANA MARIA
New York, The Lewisohn Collection

106
 VINCENT VAN GOGH
L'ARLfiSIENNE
The Lewisohn Collection
New ^'o^k.

whole creed of modern and repudiates

art,
question; it is the
at any rate, gives it secondary importance
m the
the subject or,
mind of the artist. We may see how violent the revolution had
above definition was made by a
reli-
been when we realize that the
earlier centuries would
have n^amtained
gious painter, one who m
that a picture is a nativity or a
with equal trenchancy and sincerity

109
 PAUL GAUGUIN
"AH A PARARl": ANNAH. THE JAVANESE WOMAN
Private Collection

historical event; primarily it is a flat surface covered with colours

arranged in a particular order." This definition sums up the entire

io8

i:
 VINCENT \'AN GOGH
VINCENT VAN GOGH Right :

SELF-PORTRAIT
PORTRAIT OF A BOV
Collection Washington, U. C. National Gallery of Art Chester Dale Coll. (loan)
Devon, Rodolphe M. de Schau^nsee

no
 VINCENT VAN GOGH
NIGHT CAFf,
New York, Stephen C. Clark Collection

uct a 1 mc of
themselves, to use their intellects to const
to explain
their painter's instinct
was defence
defensive argument even when
the conflicting arguments
enough. This is surely an example of
mentioned above. .
,
•

summarised ""1« '';

These basic arguments can be ^^^^
o
reah.y, --ch after
knowledg and red.
headings: search after
very of .radihon. Esthetic revoluhons have "- "^ ^;;~
to ga.n greater
accuracy
name of reality, in an attempt
in the
 VINCENT VAN GOGH
THE STARRY NIGHT
New York, Museum of Modem Art

harmony. Who
crucifixion before can be considered as a plastic
it
as being,
did not think of his picture
can imagine that Lebrun
portrait of Louis XIV?
first and foremost, a
stage of
Modern which
art, has been revohitionary at every
self-justification; as though
to feel a need for
its development seems

wanted reassurance and wished to give the public confidence.

it

are multiplied m defence, including many tha are

its
Arguments
of the
obviously contradictory, although they may tulfil the needs
self-justification is a most curious
moment. This desire for
Every movement during the last hundred years has
symptom.
almost emotional reaction by men
been a purely instinctive,
intellect in the work they were
whose talent counted for more than
all, such artists seem
to have felt a need
doing- yet all, or almost

I 12
VINCENT VAN GOGH
ROULIX THE PO.ST\L\N
Boston. Museum of Fine Arts

115
 VINCENT VAN GOGH
SELF-PORTRAIT
Amsterdam. V. W. Van Gogh Collection

new form of expression becomes out-moded

greater truth, but each
with the passage of time and as
one truth recedes into the past,
inevitably comes to take its place. The Romantics de-
another
yet when |Gencault reacted
clared that thev needed realism,
fresh aspect of life for "Le Radeau de
David by choosing a
against
romantic art,
a realistic gesture against
laMeduse," he was making
later, when he thought to
achieve
iust as Courbet did, a few years
socialistic art by painting"Les Casseurs de Pierres," or Manet,
realistic "Le Dejeuner sur I'Herbe.
with his defiantly

114
 HENRI DE TOULOUSE-LAUTREC
COUNTESS A. DE TOULOUSK-LAUTREC
AlbiMuseum

upon their side. We

effort to get science
and Ihey make every
s^
seen thit the Impress.onists and Neo^mpress.on
have I?eady d dcd
Chevreul, Rood and Helmholtz to ju ,

appealed ,0
later h
juxtaposed spots of colour just as som years
tones and
colour and
Cubists invoked the theory of pure
Fauves and the
117
 HENRI DE TOULOUSE-LAUTREC
THE dog-c:art
Albi Museum

of reahsm. In place
TheImpressionists brought a new form
reahtv of an object or of a fragment of hfe, they substituted
of the
that of the moment (the
atmosphere and light, reflections, or the
sensations-in other words,
shimmer of heat) and the reahty of their
This was something far more subtle and
tar
their impressions.
may have suggested the
more intellectual. No doubt photography
the passing moment, but the Impres-
idea of capturing and fixing
sionist's instantaneous pictures
were not merely of movements or
and
gestures, but of something much more intangible, the weather
what, but for
the light. Their form of realism meant the fixing of
them, would have remained ephemeral.
in this mechanized century of reason
and scientific progress,
truths and on facts
however, we have to depend on mathematical
that have been scientifically
proved in order to beheve. Artists
avoiding the cult of reason,
have no more chance than others of

ii6
HENRI DE TOULOUSE-LAUTREC
THE 1N\UTE or THE BROTHEL
Albi Museum

lU)
 and the painters ofthenineteen-
newly discovered fourth dimension,
and the subconscious. But
these
twenties, the doctrines of Freud,
the theories buih up around
them
ideas were mere pretexts, and
scientist smile; what they
show is
elementary enough to make any
to give an illusion
that ar
explain after the event,
an attempt to
esthetic discoveries
is abreast of the
current theories, and new
such
line with scientific progress. But art and science need no
„,
with one another in order
to
childish attempts to connect them
whether their supporters like it or
leave their mark upon a period;
course.
not they always follow a parallel
'

influence which photography had on Impression-

The great
proportion to the way in which it
set
ism was probably in exact
photographic
limit to Realism. Indeed, the nineteenth century
a
reconstructing famous pictures with living people
experiment of
than realistic-
showed that hterarv-painting is more
lifelike

photography, thus proving that a

work of art contains certain
of the artist-in addition
intellectual qualities-the contribution
of the camera. These are me
to the mechanical reproduction
the qualities of one work of
art difler
vital elements that make
from those of anotier. . , •

principle, it was in-

Once they had clearlv established this
evitable that creative artists should
be tempted to concentrate on
the point of isolating them and
these particular qualities, even to
preserving nothing else. This is the direction in which contempor-
Impressionism pointed the way. he
ary art has evolved, and
1

critics were not deceived. Thev had realized what was happening
shown in the exhibition
from the start, for, out of all the canvases
seized upon as a title and
of 1874, the one they immediately
"Impression;"
symbol of the movem'ent was Monet's landscape,
the emotional rather than to the
a name that gives preference to
desire to express his
material aspect, and shows the painter's
personality rather than to please the beholder.
To sum up. From Impressionism contained
the beginning,
to-day
all the seeds of the contemporary abstract art which,
parentage, just as abstract art would itself
indignantly disowns its

be disowned, if the Impressionists were still alive.

the endeavour of modern artists and
Even more significant is

118
 HENRI DE TOULOUSE-LAUTREC
THK LAUNDRESS
Mme Dortu Collection

in science, they arc

concerned only
find justifications
and a desire
aesire to
lo j
does not
1 o suci questions
introduce such q
with present-day problems.
revolutionary value of new art-forms, but.
in any way diminish the
121
 HENRI DE TOULOUSE-LAUTREC
MISS MW BELl-ORT
Bernheim-Jeune Collection

produce ances-
their supporters to prove a link with tradition and to
tors in earUer centuries.
When artists show a regard for reahsm,

120

If
 HENRI IM-
TOri.Ol'SK-l.AlTKI-C
\L\XIM1- DinHOMAS
National Gallery of A.I
Washington, D. C.

12.^
 HENRI DE TOULOUSE-LAUTREC
INTERIOR WITH TWO WOMEN
New York, Private Collection

discover antecedents,
on the other hand, when they feel a need to
to have
we see them struggling to keep in touch with the past and
Is this a
each new audacity accepted as a link with
tradition.
a solitary defence tor a
sign of timidity, a fear of having to put up

122
 PIERRE BONNARD
THE LUNCH
Paris, Petit Palais

and trad.t.onal
between cl.ss.ca
place in .he nineteenth centnry,
the desire for ind.vdual
reedom on
Weas on the one hand and
h,s art, a
of the artist's integrity towards
he other It was a test

endeavour to gain a clear understanding

of " --« J-nd
gr a
Lnstructton, and an aspiration
towards a purer fo"-
w,th art
""^'^
conventions that had no concern
freed from imposed

contempo.ry art ».ich

^"^Imprsroms^ (^a here include .

Has evoLd out "^'o --;°

^c :di:irwhrch";rrn
the cult ot me in
coming at a time when maximum
Renaissance, had reached
in fashion since the

125

\
 invention against the hostility of the
whole of past history?
new
Is it a trick to make the artist
acceptable to the public; or can it be

that, by successive stages, the artist

has really come to believe that
from the art of other
contemporary art is not so very different
centuries? .

Impressionism the artist

We must accept it as a fact that after
way than here-to-fore.
began to observe and to paint in a different

This was still only a however abrupt the cleavage,

first step and,

the resuhs are not yet clearly visible.

But there is no going back.
travesty, academic
Impressionism has destroyed classical art and its
years to come. In doing so, it accepted the
rule at least for many
true nature, and its stubborn attitude was
consequences of its

unquestionably logical. The Impressionists consented to their art s

becoming the centre of a controversy forced upon them from out-

affairs; as I have
side, but not because they liked this state of
a long time to show
already pointed out, many of them tried for
although they made no artistic com-
in the official exhibitions,
promises to officialdom, and no change in their style of painting.

who came after the Impressionists, a provoc-

For the artists

been generally accepted. It has even become

ative attitude has
deliberate and often desirable. It seems to be almost indispensable

starting point, to test— although rather

superficially— an artist's
as a
individuality by the amount of scandal he creates.

CONCLUSION

OOKED from any angle, it is no exaggeration to say that

at

L
say,
Impressionism was the most important event in the history
of art during the nineteenth century— I am almost
since the Renaissance.
tempted to
It was not merely an event of local

importance, the birth of a new school of painting, for instance,

whose forms belonged to France, alone. It was part of a great tide
of ideas which had their counterpart in many
' different countries,

and its standing is explained by the way in which it corresponded

to the general politicaland ideological aspirations of the period.
It was the outward and visible sign of the conflict which took

124
mists; but for these artists such procedures were simply a question

of technique and of their personal feeling. With the I mpressionists,

on the other hand, these methods were a proclamation of their
faith and, even though they may not themselves have realized

it, a reaction against the traditions of the past. They marked

the beginning of similar discoveries of technique and modes
of expression, which gradually developed into a total rejection of
all that had gone before. How could they avoid meeting censure
and disapproval under such conditions? But the general hostility

had at least one good effect, it held movement

the together;

without it they would soon have drifted apart, as we saw that they

did as soon as success began to come their way.

Some time ago, the public was apt to stick the label "Impres-
sionist" on any painter with a relatively new vision, on any artist,
in short, whose work disturbed them. But this was being alto-
proper
gether too free, and stretched the school beyond its
bounds. Latterly the same honour has descended to Cubism.
To-day many writers would like to separate such artists as
movement.
Renoir, Cezanne, and Degas from the Impressionist
opposite direction, firstly
This, however, goes rather too far in the

because the concerned formed part of the original ImiM-es-

artists

sionist group and did not break away

during the difficult years,
many contrastmg
and secondly because, although they show
characteristics, they have enough in
common to be classed as a
school in the true sense of the word.
When we have an opportu-
seeing them together, in the Musee
du Jeu de Paume tor
nity of
instance, or in the Biennale Exhibition
in Venice 1948, we get m
harmony, that proves the
anhnpression of an ensemble, a general
of the very vaned talents
fundamental unity of the group, in spite
that go to compose it. This unity is created by the Impressionists
of
of the subject, by their sense
great integrity in the treatment
nature, by their desire to keep
as
being on intimate terms with
whilst seeing with a new vision, free
close as possible to reality,
by acknowledged
and imposed conventions, and
their
of all bias
nreference for light, clear colours.
Perhaps .here may „..
'a. all eveL, here are .he fact.
perhaps .here were no
have been a.r Impressionis. rrrovemen.,
 PIERRE BONNARD
THE RU'IERA
Washington, D. C The Phillips Memorial Gallery

was being prepared to

development, and whilst a new language
More than any other
suit the needs of a new
kind of society.
agam will artists
movement it was an end and a beginning. Never
Impressionism; just as after
paint in the wav they painted before
Tintoretto andRubens nobody painted as they had done m the

world whh a new vision,

Middle Ages. Everybody is seeing the
even those who have not yet realized this fact.

You may argue Impressionism created nothing and that

that
for you can see free
even its discoveries had been used elsewhere,
his opalescent
brush-work in Constable, and Turner, too, had

126
 HISTORY OF THE IMPRESSIONISTS
Movement we must now proceed to gtve some a.coun
Impressionist
After this short history of the
who made it. their failures and successes, their hopes and ;
of the indiv^duals J
the following collection of
portraits the artists are arranged rn
'''-f/"'";'""
chronological order. '
;
''"-^ " '

theories or dea. and u.thout

^
for runners Movement, the painters who. rmthout preconceived
of the
much foresight that U .s now unpossM
ihsupZofa group prepared the way for their juniors unth so
When their works are hung Reside «'-; "j
I sTr^lL! from the Movement Uself.
.n -f-^
sees very little difference e^ther
in tie group, the unbiased observer l'fl^,'^'^"^^J'^^
atmospher.
same direct observation of nature, the same desire to record h. "^ ^^d
show the L
so hard to
the light key. Herein lay the real revolutwn whtch u'cfmd
the same love for painting in
accept as only obvious and
. r >17J Ttlas in fact become incomprehensible because we

Jean-Baptiste COROT
Paris. July i6, 1797
Born in
Died at Ville-d-Avray, February 22, 1875-

the quiet observation

which he brought to his
Impressionism, as we Iwve already seen these are persona
studies of the human body,
was the result of a whole series of ideas and which were afterwards shared
characteristics
experiments, some deliberate, others uncoii-
may detected in by the Impressionist painters.
scious, whose beginnings
be well as by tem-
long before the By birth and upbringing as for that <imet
the work of many artists
perament Corot seemed cut out
birth of the Impressionist Move- such markecl coutras
official neacdul art which is in
ffiheardourof the Romantics He came o
aU the
"Tt would take too long to write about a family of small
shopkeepers who had accu
painters who prepared the
way for Impre - able to make h.m
tneir of all
mutated enough capital to be rom
=innJ<=m or even to eive a list
allowfnce,':ulhcient to keep luni
Daum.er, T^maU w
names but two artists, Corot and pvtreme Doverty. He was able
to worK,
mentioned in this connection success to come
are noi often
shall place their
taveUn Italy and to wait for
unsuccess-
and for that very reason we biographies course, tried
o him His^father, of
names at the head of these uUy to dissuade him from becoming a pamte,
if not in tech- oDsii-
iTsptrit and subject matter, u ^ ,.-;fh seren tv Corot could be
nil lii^
clearly foreshadows
niaue the work of Corot to
^m^pressionilm. His closeness to nature
paint the atmo T no better proof of his persistence
instance and his desire to ThPrP is
which caused him
sphere the artistic integrity conventions
academic
to free liimself from
style simply be-
and to develop an original
the exact imag
cause he beUev'ed in.recSrding
discovery of he po^ej-
of a countryside, his as well.
the face of a landscape.
of light to transfigure

129
 tDOUARD VUILLARD
READING
Paris, Private Collection

or Impressionist paintings, but everythmg has

Impressionists
though the movement existed. Even to-day
the
come about as

critics are not all converted by

its success. Some still seem to
believe that Impressionism was the
beginning of a period of deca-

dence, whereas, it was, in fact, the prelude to a great renaissance.

128
 EUGfeNE BOUDIN
Bom Honfieur, July ij, 1824.
at
Died at Deauville, Atigust 8, i8gS.

modest way he always considered them to be

took rather more than seventy years
for
It
cycle of his life his superiors. In 1895 he made journeys to
Boudin to complete the
might the French Riviera and to Venice for the
and return to his beginnings, one
names Honfleur and benefit of his health (he was now becoming
almost say that the
and that an old man), but these visits did not alter the
Deauville were description enough
were mere character of his work.
aU the other events of his life Boudin even more closely related to the
Surely his failures and is
corroborative detail. He chose the
with diflerent Impressionists than Jongkind.
successes, his chance contacts subject for his pictures. He,
meant much same kind of
people and places can hardly have loved to paint the rainbow colours in
never his native too,
to him since, even had he
left
reflections, and obtained similar
quiet har-
Normandy, he would stiU have known the
mspired him, painted monies in grouping the figures in his sea-
views which continually Moreover, whatever critics may
same quiet side pictures.
the same skies, and loved the spite of his
that hrst attracted hun say to the contrary, and perhaps in
harmonies of colour silhouette in Boudin s
own intentions, each
when he was a child on the Channel
coast.

The rest of his Ufe is a matter for history

— pictures is less important regarded
colour
as
in a
a human
general
figure than as a patch of
like the charming anecdote
of how MiUet on a
stopped to admire harmony. We should also remember that
visit to Le Havre in 1845.
(Bou- Uke many Impressionist painters, especially
some pictures which a young bookseller Monet and Sisley. he Uked to paint landscapes
had displayed in the window of his
hghtened
din)
chance meeting was animated by a stretch of water, which
shop. But, if such a made the atmo-
up his the effect of the picture and
enough to persuade Boudin to give sphere shimmering and transparent.
But Bou-
painting as a career, it
business and to take to flavour absent from
looking for any din's work has a hterary
meant that he was abready bring his
the Impressionists. He loved to
excuse to take action. ^ ^ u a and to give them an active
tinv figures to life
He Normandy, went to Pans, travelled
left the scene. Herein he seems
France returned to part to play in
in Belgium and Northern more of an observer or commentator ot his
Honfleur. was
Le Havre, Caen, Rouen and period, after the manner of
Saint-Aubin.
Council of Le
given a grant by the Municipal Canaletto. or Constantin Guys.
But at the
Baudelaire and later
Havre met Courbet and same time, the subject matter of
his pictures
hard times,
Monet'and Jongkind, went through was not his chief concern, for he obviously pre-
Impressionist Exhibition quah-
showed in the First more ferred to lay the emphasis on pictorial
graduaUy became
of 1874, and then
^e found himself
successful until, in 1874. Boudin properly belongs
firmly established as a painter, ^e g^M In this respect
movement. He forms an essen-
m the Inter- to the new
medal which he was awarded the chain of tradition, for Jongkind,
tial link in
of 1889 shows that he was a decisive
national Exhibition who was some years older, exerted acted as
his young
more generally acceptable than influence over him and he. m
his turn,
the Impressionists. He
had a strorig
tends an inspiration to Monet.
although in his
influence over them, however,

Camille-Jacob PISSARRO
lo. 1830.
Born at St. Thomas (Danish West Indus). July
Died in Paris, November 13. 1903-

son was showing far

more enthusiasm for
French Jew who drawing up accounts
Pissarro was the son of a drawing sketches than for
business at St. Thomas may have made a
owned an ironmongery and wrote to complain, he
West where CamiUe
Indies, the boy's pencUs.
in the Danish His nubhc gesture of confiscating
years old. and encou-
Uved untU lie was twelve tune for Cut he^certainly gave him
advice
that it was
ather then decided
receive a sound business
^^eJo'mr^'Iia^e had h|s masters ad^ce
his son and heir to
he was accordingly sent to a
education and
<;rhool at Passy, near
Pans, kept by a cerrain i:;-:^:i'it^h^:rt''i^S:^'^
great reputation in attending to
M Savary who enjoyed a an excel Tainting the port than
ti;;Se
those days M Savary was probably
.
thp ironmongery. However, he stucK it lor
seems to have paid resist
ent school-aster, bu(
he
five vea« until
he could no longer
the wishes of parents then ran away to
very Uttle attention to his Ws painter's instinct, and
father discovered that
te, when Pissarro's

131
 HONORfi DAUMIER
Born at Marseilles. February 26, 1S08.
Died at Valmondois, February 11, 1879.

technique, by
to say that Daumier, he foreshadowed it by his free
It would be untrue touch which expresses the
much influence over the that impetuous
as a painter, exercised even more than the
artist's personal feeling
Impressionists. It was as a draughtsman that
subject which he represents.
he was chiefly famous and only comparatively
painter Unhappily, Daumier left only a few por-
recently have his great quahties as a
exhibition of his traits Of humble parentage, he was forced
been recognized. The first early age. In
did not to earn his bread from a very
paintings (organized by his friends)
found
lithography he believed that he had
a
take place until 1878, a few months before
love of
painting means of Uving which would suit his
he died; but the very fact that his_ would allow him to
so long makes it easier for us art and, at the same, tune
was ignored for painter,
foresaw the Move- devote his spare time to becoming a
to perceive how clearly he trade were
but unhappily, the demands of his
ment which was being prepared, and the find the money
such that he never was able to
extent to which his soUtary efforts heralded vocation.
or the leisure needed to follow his
coming.
Only the generosity of Corot, who offered
its
SpirituallyDaumier was a forerunner ot
Impressionism^ by his love of expressing the him a house at Valmondois in his old age.
prevented him ending his days in actual destit-
scenes of everyday hfe and by his desire to fix
In the form of his art ution.
the passing moment.

Johan-Bakthold JONGKIND
Over-Yssel, Holland, June iSig.
at Latrop, a village in the Province of
3,
Born
Died at Grenoble, February 9, i8gi.

Mme Fesser miraculously succeeded in per-

Jongkind's hfe makes sad reading. It is
suading him to give up his bad habits, and
the story of a man torn between vice and
work, the ruination of an artist who contin- there followed years of hard work and growing
They went to Normandy and then
ually succumbed to a hfe of drink and debau- success.

chery and could yet produce fresh, lucid work more frequently to the Dauphine, especially
with an exceedingly pure feeling for nature. after 1873, and sometimes as far as Provence
Although his life was chaotic and his lapses and Brittany. In 1878 he settled down to
five permanently with the Fesser family
in
continual, Jongkind had many devoted friends
Cote-Saint-Andre, a village that hes between
who did their utmost to reclaim him, so that
he might be able to continue his work, which Lyons and Grenoble, and there he remained
Isabey, until the last years of his hfe. Unhappily,
despite its inequahties was very fine.
in particular, was fond of him for many years
at the last, he again took to drink and died a
and helped him on many occasions. It was he few days after being admitted^to the^ lunatic
who, in 1846, invited Jongkind to come to Paris, asylum at Grenoble.
where he introduced him to dealers and Jongkind is one of the most obvious fore-

collectors. It was again Isabey who took him runners of the Impressionist Movement. He
to Normandy for the first time and showed him not only took his inspiration directly from
the Channel coast, but eventually even nature and interpreted his impressions spon-
Isabey's patience became exhausted. Another taneously, but, just as Monet and Sisley were
painter, named Sano, then took him up and to do later, he recorded the atmosphere and
was his faithful friend for many years. the weather as much as the landscape itself,
Jongkind returned to Holland, but his life and had a light and vibrant handling which
Wherever he went he fell always appears Hke improvisation. These
did not improve.
water-
into the same temptations of women and quahties are most noticeable in his

alcohol. In i860 he was brought back to colours, in oil-paintings his touch was heavier
Paris by the painter Cals, who was sent to and he was not always so successful. The
fetch him by a group of friends. When fact is that many of his oil-paintings (the
he arrived in Paris they put him in the charge long series of moonlight scenes, for example)
of their dealer, Martin, who was asked to look were simply pot-boilers executed to suit his
after him and to cure him, if possible. And patrons' taste, whereas in water-colour he
in fact the situation did improve for a time. worked for his own pleasure to record a
Martin introduced him to a certain M"»e Fesser, delightful landscape or, more especially, to note
a Dutch woman who taught drawing. She some effect of colour or play of light. In
developed a great influence over him and he [such works, his handling was exceedingly fight
was soon thankful to go and live with her. land free and he retained all his spontaneity.

130
came of a well-to-do family of the upper middle general outcry of indignation, caused not only
class. His father was principal private secre- by the supposed indecency of the subject,
tary to the Keeper of the Seals and later a but by the technique, which was^ a revolt
judge of appeal, his mother was the daughter against all the old conventions and disregarded
of one of Napoleon's diplomatic agents. \Vith the idea of the beautiful generally accepted
such a heritage it was only natural that at that time.
Manet's parents should expect him to take up From now onwards, Manet became the
the law and when, at the age of sixteen, he recognized champion of a group of young and
announced that he wished to become a pro- audacious artists. Baudelaire and Zola, the
fessional painter, he met with a categorical writers of the Realist and Naturalist move-
refusal. Prevented from following his chosen ments, and the force of public opinion apiioint-
career and determined not to adopt the one ed him head of the new school, probably
that had been chosen for him, Manet decided against his will, and even although he declin-
to go to sea and, with his parents' consent, ed to show in exhibitions or to allow
its

signed on as apprentice in a ship of the Mer- his name to appear on its posters; for Manet,
chant Navy bound for Rio de Janeiro. When who is rightly considered the originator and
first painter of the Impressionist
movement,
he returned in 1849, his ideas still un-
from the Impressionist
changed after this experience of a foreign rigidly abstained all

country, his family agreed to allow him to Exhibitions, even including the first. He
become a pupil of Thomas Couture, a solemn had too much regard for official sanction,
and exceedingly academic painter. Almost and continvied to submit his pictures to the
immediately, it became apparent that master Salon juries in spite of repeated rejections.
It was, in fact, not until 1881
that he re-
and pupil were at loggerheads, although neither
ceived the second medal, which placed him
could be blamed, since two such different tem-
beyond competition. A few months later, on
peraments were bound to be antagonistic.
witli the
Manet, who had shown so much strength of January 21. 1882, he was decorated
character and determination in opposing his Legion of Honour and. altliough he was not
family, was hardly likely to be submissive to a by any means generally aj)proved of, much
painter who set out to teach a so-called tradi- had happened in the intervening years to
tional form of painting, ahnost exclusively appease the outraged feelings aroused by
devoted to reviving a conventional antique Le Dejeuner sur I'Herhc. and even more by
It might seem the very summit of
art Olympia, inthe Salon of 1865.
style.
date even It is understandable that
Manet should
to academic painters, but was out of
official approval.
in those days. He was still a very young have set a high value on
well-
man and had not yet decided on his own As we have seen, he came from a class
given
method of procedure, but he already knew that known for its moderation and not at all

he needed a more vital form of

expression. to revolt He himself was only driven to
ideas
However he showed considerable patience, rebelbecause he felt convinced that his
opponents were
and it was only after several years— probably were sound and that his
behaving unjustly. He would have preferred
not until 1856— that he finally broke with
than to isolate him-
Thomas Couture. to win them over rather
environment where he
self from the social
New influences now became apparent in his In fact, he really needed
and naturally belonged.
work due to visits to HoUand, Germany official approval in order to be certain
Italy and to diligent study at the
Louvre In to feel
Venetian of the justice of his cause.
addition to Frans Hals and the how novel and arres-
Velasquez and We should remember
painters of the Renaissance, have seemed amidst
pictures must
Goya had already left a deep mark later,
on his ting his
period, if we are to understand
It was not until several years the art of the
style or how much
he actually went to he public's horrified reacrion,
in 1865 to be exact, that increased wlien he
collection in the Louvre Couture's indignation was
Spain, but the Spanish the world a fulty-
impressed him profoundly and a picture by saw his pupil Appear before in his
more confirmed
him Spanish musician was remarked fledeed artist, still
revolutionary attitude. We
of a must bear in
to which he was
in 1861 at the first Salon compositions
admitted. He found his model among a mbd the great number of
which
smgers who worked out fndoors in f^diolightrng
troupe of Spanish dancers and glory of the Salon, and
for other subjects had hitherto been the
llso served as models banned pure colour and
^nd, notably for ?he doctrines that
such as Le Ballet Espagnol picture by a conven
Lola de Vfnce oi obtained unity in the
the celebrated picture lighting, that jeducea
Lola de Valence tional scheme of
which Baudelaire wrote: "In and brought the whole
effect to
a black and contrasts
we catch the sudden sparkle of 'general harmony. Finally, we must remem-
rose-pink jewel." acceptable subjects,
berX limited choice of
in 1863, the restr cted the nude
The great scandal exploded and the sTcred law that themes, and
was held. Manet. mythological
vear when the next Salon ?o a legorical or
the Jury of the to find
Kebeen turned down by
uled Timpossible for a true artist
m
the present
oSsaTon, sent his picture I. Z)^^^^^^^^^ anything pamting
worth
I'Herbe {then entxHed Le
Bam) to the SALON
day.
DES REFUSES. Immediately there was a

133
Venezuela with Fritz Melbye a Danish
proof of
,--^3t:^Xf^""^^e^r
such clear
artist friend. Faced with
accepted
^-;y|.s before.
M. Pissarro .^^^^^^
h son" determination
lum back to Pans to :rovefand towards the year 1890,
although
his vocation and sent he m
a
working under his sales were bringing
develop his talent by still°Ir from rich,
French Masters. This occurred
mi
855. he
smaU but
smau regular income.
""i leg
But by this time

year of the famous

INTERNATIONAl. FXHIB ^^^ j^jg
^j^
He could
[tION where
seeing
Pissarro
a collection
had an OPP" ""''y ;«*
of works by
Delacroix S" verrgiv nfhim
no longer piint out
'tro'uble.
of doors especially m
he conceived a season of the year he feU
M^ef. and Corot, for whom to Corot s w°n e? and at this
He then wen rooms in Pans so that
great admiration.
by 11m Later Xtl e habit of taking
from the windows
ttudio and was kindly received of the could paint street scenes
he cum
lie
the catalogue 1^
beean a series of bird s-eye
his name appeared in
more frequently
Salon as •pupil of Corof or,
the brother of boulevards and
as pupil of Anton Melbye,"
who Avenue de I'Opera, the
In 1857 he met Mone to the swarmmg
his fnend Fritz. embankments, bringing
,

atmosphere of Pans the

was then seventeen years old. P-f "^^^^^.t streets and the stale
for the first time in the
Salon of 1859 and was with which he had
subsequent year same poetry and vitality
reiected then and in each of peasants and landscape^
the Salon re^rded his studies
uTto and including 1863 when that At the same time he never
ceased to paint
des Refuses took place.
In the years Eragny. where he had
accepted fhe countryside around
Salon again his large famUy and
followed the official aken a house to shelter
him which were strongly influenced which he more than
Sctures by
personahty as an he domestic happiness
Pissarro had
by Corot, but by 1866 his most others, so richly deserved.
he was making a less for fame than or
anist had developed and mtle ambition, he cared
family hfe. Everything
we know about him
^ts^rr^w^ ll^i^at Louveciennes at the teUs of his great generosity
and kmdness, and
outbreak of the war^f 1870.
He abandoned with various socialist move-
the Germans he svmpathized
his house and pictures
when to the mos
jom Claude ments and openly subscribed
advanced on Pa^is and went to Xnced. even anarchist ideas, simply out
Monet in London, where he met te dealer humanity.
the chief of his eenuine love for
Durand-Ruel who later became It may have been his generous nature his
support of the Impressionists. as well as
sad one. Ihe need to understand everything,
His return to France was a ana his great humility, that
made him curious to
was looted
old house at Louveciennes try every new technique.
He has been criti-
as weU as
uninhabitable, and all his pictures cized for changing his style many
times during
with him for safe
those which Monet had left the course of his career and
of. basing his
certainl>
keeping, had disappeared-ahnost work on that of other artists. It is true that
over
Pissarro had to begin all ot Corot,
destroyed.
of his pas his early pictures are imitations
again. Perhaps the destruction Impressionists, he be-
make innovations, but and that, like the other
work left him freer to enthusiast for pamtmg
he had a hard time came a whole-hearted
buyers were scarce and in a light key. It is true that between
ibbb
to make both ends meet. As the years passed, divisiomst system
family and the develop- and 1888 he adopted Seurat's
his steadily increasing to im-
personality made hfe even and then forsook it, reverting finally
ment of his artistic But these different stages were
diminished in pro- pressionism.
more difficult. His sales
a lack of personality;
more original, not a sign of weakness or
portion as his work became contribution showed talent
reduced to a state of near in every case, his
until finally he was technique.
and a complete mastery of the
destitution which lasted for many years.
was interested in every
letters describing his hand-
The fact is that he
He has left several
have technique, in every possibiUty of an art which,
to-mouth existence at this period;^' I always have something new
Petit, tor he knew, would
iust taken a small panel round
to
In the same way. he experi-
but they asked to teach him.
which he owes me iifty francs, mented in the use of gouache and pastel,
ana
me to call again. Mr, Petit is on his honey- learned to express himself in etching on
copper
for this
moon! What am 1 to do? I long these
the desert and in lithography and in each of
drop of water like a man lost in processus he produced work
ol
advance this sum to me? different
Could you possibly
need of at Pontoise. exceptional quality.
They are badly in it

Edouard MANET
Bom in Paris, January 23, 1832.
Died in Paris. April 30, 1883.

him into revolutionary painter It took

There was nothing in Manefs temperament, a
ne
the pressure of outside events to do that,
upbringing, or environment likely to turn

M2
 It is this series, in particular.^ that is
distinguished, are the work of a faithful student toilet.

and even his original paintings bear the mark supposed to show most plainly Degas' hatred
of the Ecole des Beaux-Arts. No touch of real of women. Now it is certainly true that Degas
life animates these meticulously arranged did not much enjoy the society of his fellow
compositions. All of which explains something men, and many bitter, witty remarks are
which he wTote many years later: "If you want quoted of him, "but this docs not mean that
to learn the craft of a painter, you must copy he set out to express such feelings in liis paint-
It would be more correct to sec him as
pictures by the Old Masters and copy them ing.

again and again. It is only when you have an artist, whose whole attention was concen-
proved yourself a good copyist that you may trated on recording the truth and expressing in
his figures the utmost possible life by repro-
reasonably be allowed to paint even a radish
from life." ducing their homely everyday gestures as no
one had ever perceived them before. But
In the same way, although Degas' history valued
in order to express this truth which he
pictures show great talent they are remark- never attempted to idealize
so highly. Degas
ably frigid. He was clearly uninspired, if In any case, he was too churHsh
his models.
not bored, by the subjects which he illustrated. and plain-spoken to wish to do so.
It was during this period, and in the
years that
became converted Degas surely one of the last painters we
is
followed, that he gradually
should expect to find in the ranks of the Impres-
to the Reahst Movement and painted his first
character
At the same sionist Movement, for nothing in his
pictures of contemporary life.
This
the falseness of inclined him to revolution or adventure.
time, he seems to have realized
but far more
taught at the Ecole des might also be said of Manet, it is
some of the theories works
true of Degas, and the proof lies in the
Beaux-Arts, and the restricted scope of aca- than in their tem-
which they produced rather
demic art, for, without any transitional period, Manet realized, as
doctrmes. peraments or behaviour.
he abruptly rejected all the official
of mind at this time has been well soon as he began to study under Couture,
His state for
"Degas that the official doctrines were impossible
described bv M. Francois Fosca. personal han-
determination to reject academic art, he him He was able to invent a
what dling to express his zesthetic,
which was a
after
wrote "and his persistent search academic art, and it was
new and hitherto unattempted, was kind of challenge to
was nor caprice that the Im-
to an end. He needed to nd neither by chance
simply a means technique from him,
convention, triteness, pressionists took their
himself of every trace of
that nothing niight and developed his ideas. Degas, oi^ the
or the commonplace so slightest
out record the other hand, never expressed the
impede his vision when he set to
There is no
artist to carry the criticism of his early training.
truth Degas was the first
rebellion eariy compositions;
in his
not true to its logical sign of
eUmination of what is submitted
very close to on the contrary, he seems to have
conclusion, and his attitude is canons of ofiicial art,
or physiologist. He willingly to the accepted
that of the zoologist the Impres-
were a and although he took part in
though he
recorded a human gesture as
not accept the
sionist Exhibitions he did
doctor illustrating a surgical case. of the other painters in
\vith mode of expression
Degas' return from America coincided It was a long while before he used
for Impressionism
the eroup
the beginning of the struggle "broken colour"-that is to say the application
provided the answer to different tints,
which immediately of pigment in small strokes of
years that /oUowed
some of his problems; the
he^id not subscribe to the technique of />nn-
and strengthen his
only served to confirm
ture Claire: he did not
record daylight and
to resist
personal identity. His detemiination atmosphere; he disliked painting
figures out-
justified his takmg part in the with effects of sun-
official rule of-doors, and landscapes
pamters. through
group exhibitions of the Impressionist lisht and the movement
of water seen
reaction
but he joined the Movement
out of
tr^ees made appeal to him. Degas
little
than from any find new subjects
against academic art rather form of realism, his need to
similarity in artistic feeling. art into touch with contem-
andto bring his
found fulfilment in m^oor
scenes^
At he was
first attracted by the race-course porary life
majority of his out-of- palete after he
subjects that form the Although he used a lighter
^e was seued the Impressionists, he
retained
door paintings, but very soon
still
joined
another world- and more espe-
and held by the fascination of
When the average
Ces of his student-years,
scrupulously accurate
?he world of the theatre. c ally that care for
he immediately the admiration he
person hears the name of Degas dralving which recalls
their tu-tupac- continued to feel for Ingres.
thinks of dancing girls in
la barre, tying up their is that he
ising their points at angle, Another characteristic of Degas
seen from an unusual to the human figure
shof-strings or.
upon the s tage^ gave far more importance In
their evolutions Impressionists.
pedorming and their than any of the other pnncipa
oddly foreshortened not, it was the
fhe boches act more often than
r
faces Ut with strange
reflections m
the glare
themrof his pictures. He was a misanthropist
also a penod and he
oHhe foot-Ughts. But there was at work and whT could not do without people
painted laundresses which he painted
when fias Tandscapes and interior scenes
Sners their customers and. finaUy backgrounds needed for
Nvith were reaUy only the
rhaTlast great series of nude women at their

135
 even when he used small.
the he never discarded,
Manet had ignored these doctrines from
start, or rather, he had shown utter
contempt
Ta'queSf B^^^^^^^^ -s
right when he
for them. He was the fightmg champion /ih^i to
iudee by Manet's influence over
colours, and it vvas he should be ranked
of painting in clear, light
Impressionists (who the a tt^^ of Xlene/ation Tissot.
that the Whistler, Stevens
his authority h Ja nters liL
he) ^vere to quote, with Gervex
were slightly younger than Fantin, and. even, he suggested,
to abolish with the Impression-
when later on they went so far as the and RoU, rather than
avoiding a judgment,
conventional shadows, entirely fis But this would be too harsh
use of black and painting, mfull daylight,
mless we also remember
that the Impression-
colours, the scenes of everyda> the debt that
with pure Tstrthemselves. acknowledged
contemporary life. thev owed to Manet.
when he .
, ,
more to
.

Manet, however, made no mistake All modernpainting, indeed, owes

hold himself a little apart
from the admit. No artist
decided to
attitude was him than people generally
Impressionist Movement, for his
he has ever been more
successful m
preserving
somewhat different. Although picture those qualities
always n a highly-finished
showed the way to young associates and
his spontaneity, that frankness
his pictures, of freshness and
although, thanks to him and to of expression which give so much charm to a
Impressionists were able to free
paintmg
artist has better shown the
error
the
he continued sketch No
from the tyranny of the dark key. of the academic practice of trying toynake the
express his per-
to fight single-handed and of hght and shadow.
to
became comple- obiect sohd with effects
sonal esthetic, and he never He demonstrated the possibilities of paintmg
of Impression-
tely absorbed by the theories in clear-colour values
which take their place
Nevertheless, Manet did paint
many the sham reahstic
ism
especially under the in space He destroyed
Impressionist pictures, which still deceived some people, and
with whom he spent some style
influence of Monet, franker vision.
offered instead a bolder,
time in Argenteuil. He returned from this say of Manet, as of so many
It is not true to
with a lighter palette and new
harmonies, the forerun-
visit
other artists, that he was one of
up the use of black, always
but never gave ners of Impressionism. He was its fighting
one which he
one of his favourite colours, and champion; he received the
attacks and
first
Moreover
used with extraordinary skill. won the first \dctories against the ranks
of
vibrant
although his touch was so clear and official art. He invented Impressionism betore
from the separate brush
it was very different
either the word or the movement came into
strokes of the Impressionists. He even showed of all the
of flat colour— being but nevertheless, in spite
a liking for painting in areas revolutions for which he was
responsible, he
Impressionism— which
the very antithesis of the subject,
continued to attach importance to
gave Daumier's remark about Le Fifre,
rise to the fashionable,
the figures iust as in private hfe he clung to
that the painting "reminds one of miheu in which he was brought up.
tendency which sophisticated
on playing cards." It was a

Edgar DEGAS
Born in Paris, June ig, 1834.
Died in Paris, September 26, igiy.

the 1 6th century painters increased

when he
Degas came French banking family,
of a rich. and
century. His went to Italy, where he met Bonnat
typical of the mid-nineteenth
business in Paris Gustave Moreau.
father, who had a successful .

After his return to Paris he showed in

the
and Naples, made no objection to his son's
annual Salons, untU the war of 1870 left him
becoming a professional artist, and so there
neither time nor peace of mind for painting.
were no family quarrels or difficulties when
Edgar entered the Ecole des Beaux-Arts, where He served in the artillery of the National
Guard, in the company commanded by Henn
he worked under a certain Louis Lamothe, a
pupil and keen admirer of Ingres. This, Rouart who became and remained his intimate
however, was not the origin of Degas' devotion friend. As soon as the war was over he
It is said that, when he was a boy, resumed his proper work.
to Ingres.
Shortly afterwards, he went on a visit to
he constantly studied drawings by that master
which hung in the drawing room of an old America,'' where, amongst other works, he
friend of his family, M™^ Vilpin^on. painted the picture entitled, Le Bureau de
Degas continued as a pupil at the Beaux- Coton d la Nouvelle-Orleans (1873), which is
Arts until he was nearly thirty years old, now in the Mus^e de Pau. This is the finest
although he found that he gained more by example of his work at this period and shows
copying the Old-Master drawings in the Louvre that he was already beginning to be interested
in scenes of contemporary life.
than from classes and lectures. His admiration
at this period ranged from Lawrence to Holbein
Until this time, his copies of pictures and
by way of Ghiriandaio, and his enthusiasm for drawings by the Old Masters, although very

134
 last pictures,he was taking advantage of the
old This was further increased
hostility.
quality of vibrancy that results from separate
by the Cezanne Exhibition which VoUard touches, another of the contributions of
the
organised in the Rue Lafitte in
1895— an
Impressionists, although Jie employed the
exhibition that proved a revelation to many from
method to reach an entirely different end
of the younger painters.
abuse theirs.
This fresh set-back and renewed
back into soUtude and retire- But Cezanne was not simply a borrower from
drove Cezanne
Impressionism; he also gave it something very
ment for a further period of ten years. In an in-
admirers, he did important, namely: a permanence and
spite of a growing circle of have lacked without
until the famous exhibitions fluence which it might well
not appear again
and the Salon des his contribution. We should never forget
in the Salon d'Automne "I have tried to
that he said most cxphcitly:
Independents of 1904 and 1905. into something as solid
even make Impressionism
But success came too late for him, and and lasting as the art of the Old Masters.
could not
the appreciation of younger
artists objec-
retirement This meant no doubt that he had other
persuade him to come out of tives and different ambitions
from those ol

In the foUowing year, when he

was painting at meant extend-
contemporary art, or rather, it
was caught
some distance from his home he int:the ideas then current iUong
lines which
through, he fell lU of
in a storm of rain; wet other artists had not anticipated; but it also
rheumatic fever, and died on October 22, 1906.
possibilities of continuing
to the
meant that he saw the
Where does Cezanne stand in relation sensations that had
actua^
bevond those transitory
Movement? In the of Impressionism.
Impressionist
events he played only a small part.
group
^he sent
exhibitions
inspired the beginnings
Of all the painters of the
Impressionist group
fruitful and
pictures to very few of the it was Cezanne who proved most
entirely. Impres- Whcr.as the
and, even had he abstained inspiring to the coming artists.
exactly what it Monet Renoir,
sionism would have remamed other Impressionists, such as
have mfluenced during their lite-
was Moreover, he seems to
and Degas, were successful
Impressionist f^^ters for enjoyed an m tcr-
none of the great times and in their old age
Degas, Sisley nor Pis- no descendants.
neither Renoir, Manet. national reputation but left
art. From the start Cezanne has provided the excuse
for each suc-
sarro owe anything to his
a solitary ^vorker on the fringe audacity of new generations
of artists.
he was always cessive
of the Impressionist
group and his attitude aTi of which shows how inlinitely rich in
contradiction to has formed
his art, since it
was in many ways a direct possibiUties was
Cezanne was never ^vlUlng contradictory theories^
their doctrines. the ba is for the most
with the spontaneous is referred
o stamp his pictures EvenTn our own time, everything for
record the ephe^ of colour
characte? of sk^etches, nor to back to Cezanne. Devotees
What he was take him as the starting-poin
for
meral effects of the moment. permanent cha- instance emphasis
Attempting to reveal was the
unchanging form
FaS. just as those
constructions
who put their
claim him as the origin-
ractS o the scene itself, its on spatial
reality, and not
and colours, its fundamental scene beneath
ator of Cubism. . ,. .
Reahst. whose
i

the
?he accidental appearance Perhaps one day the modern
of
of hght. in the future, may
also quote
the transitory effects art may^^^^^ momen
cannot be para^^^^ he not say. "A
Cezanne h Example, for did
Nevertheless,
from the Impressionist
Sressionis'm
taken a
Movement, for

his art would P-ba^^^^^^^

different course.
f
without

To understand tms
technique before he
S
passes in the history
Ft

this
of
its reality and
the workl!
to forget all else!
moment
you must become the very plate
photographic
To paint
o do
itself
give
ve must remember his be the sensitive
and for^^^^
^amT" Paris and grew intimate wUhP^^^^^^^^^^^^ ^l^e image of -bat^you see
what he usea lu
Tt k not merely a question of "incere, nor too
r^l his dumsy (couillarde) manner when r?oo aSe' nopaint what to'o
before you. is
^.Mnl to nitoe- as
^"^ZT^S^y?^ bave expressed it

in he
contrasts of colour
tapasto and violent
o^ P^*
faces where large
areas „\^^^ 3^^^
]r' iot b t^"^^'^^

fess
'r^' trnaTS^te^b^a^kes^a^nd
to use small
separate ui
tn richness
discovered
heavy impasto, and .^

of local colour
^"^ the absence o
Never '"
nature.
^f .'^fJ^^.^.^Ys', when
 Fmally.
Impressionists^
that of the other
his figures. Degas not only painted a nuni- his original and
deliberatelyplanned composi-
famous senes of the snnple. appa-
ber of portraits, but his most dons are exceedingly unlike
ballet-
pictures, women ironing,
miUmers, encountered scenes which
series o rently accidentaUy
and especiaUy the great set out to record.
girls
their the rest of the group
take the human figure as differences Degas must
nudes, all Yet in spite of these
In this last senes Degas
was no Impressionist Group
subiect.
conventiona be included in the
it so, and
content merely to represent
art fi?stbecause he. himself wished
his break with academic stands at one extremity
nudes, and here secondly because he
is obvious. He recorded
the female body in- m and shows its link with the
(women at their of the Movement
timate, characteristic attitudes past His art contains many traces of the
tSlet. for instance), and
recorded it withbruta he remained faithful
charm of colour old tradition to which
realism aUevdated by the his changes. At the other
capable. throughout all ^

and d^a^ving of which his art was Movement stands Cezanne

Degas extreme of the
We should also note that the light in
the future, and from whom
a highly artificia who faced towards our contem-
pictures is often produced in
all theories and doctrines of
the
(theatre lighting, for instance)
and tha^
way from porary art have sprung.
here again, his attitude was different

PAUL CfiZANNE
1839-
Born at Aix-en-Provence, January 19, 190O.
October 22.
Died at Aix-en-Provence,

however autumn of i860 he finaUy

for in the
Paul Cezanne'sfather ran a successful could only be happy as a
decided that he
business as a hatter until 1847, when he became went back to Pans, where he
He did not painter and
an equaUv successful banker. Academic Smsse Guillau-
pamting reioined Zola, the
approve of liis son's wish to take up min and Pissarro. and before long
had become
give him more
as a career and did his best to friendly with Bazille. Renoir,
Sisley and Monet
reasonable ideas. Accordingly,
when Cezanne disciples of Manet and
all of them ardent
had obtained his baccalaureat 1859. witlim exponents of his technique "pemture
claire.
the mention "assez bien," he
prepared to
Cezanne did occasionaUy sit with
them m
obey his father's wishes and settled
down to
never went there
But his good the Cafe Guerbois, but he
studv law in Aix-en-Provence. regularly. He probably disliked public argu-
supported
resolutions did not last long and, the
ment and although just as enthusiastic as
by his mother, his sister, and some of their need to clothe ideas
father to rest he did not feel their
fnends. he finally persuaded his words, preferring to work out his own
he and his sister in
In 1861. therefore, such mo-
give in.
Paris where they rejoin- thought in private meditation. At
Marie went to five in by uncertainties
friend Zola, who had pre- ments he was less troubled
ed his old school the group
and had been writing to him than in the pubhc discussions of
ceded him there were called for.
urging him to obtain an when decisive statements
for the past year, Ufe for the next
Moreover, his unsettled
adequate allowance from his family: "A
room his
he was still feehng
twenty francs a month; luncheon few years shows that
will cost you Paris and partly
which way He lived partly in
and dinner, ten and twenty-two sous, Auvers-sur-Oise
francs a in the suburbs at Pontoise,
makes two francs a day or sixty more often he returned to his
the room (1872-1873), but
month. Add the twenty francs for semi-solitude that
Then native Provence and to the
and it comes to eightv francs a month. suited his temperament. When the war
an art-school, best
you will have to pay the fees of L'Estaque
cheapest and of 1870 broke out he retired to
the Academic Suisse is one of the painted a number of landscapes.
In addition I have where he
costs, I think, ten francs. paint-
canvases, brushes This was the period of his first open-air
allowed ten francs for your which he sent to the First Impres-
ings, some of
and colours, which makes a hundred francs took place
sionist Exhibition— the one which
altogether. This leaves you with twenty-five The canvases
laundry, light and other small in Nadar's gaUeries in 1874.
francs for
included La Maison du Pendu, Paysage
d
items, such as your tobacco, amusements,
Auvers and Une Nouvelle Olympia, and they
etc...''
was not a very lavish allowance but just
It
came in for a good share of the general abuse.
In 1877 he showed at the Third Impression-
enough to secure his independence. He pro- same lack
down ist Exhibition, but met with the
ceeded to follow Zola's advice, even to
exhibiting for
Academic Suisse, where he met of success and abstained from
joining the for nearly
Guillaumin and. through him, Pissarro. But many years afterwards. In fact,
the atmosphere of Paris did not suit his
twenty years, he held aloof from the struggle,
quietly working in the country. In Paris
southern temperament and. much discouraged, CaiUebottes
he was abnost forgotten until
he returned to Aix to take up work in his
father's bank. He did not remain there long, bequest to the Luxembourg stirred up the

136
 Claude MONET
Born in Paris, November 14, 1840.
Died at Giverny, December 5, 1^26.

Claude Monet was perhaps the most purely

Impressionist painter in the group of Im-
pressionists, for his entire contribution was /*t-f OlP^ 1/ tt\.l Ul^ ,
Vi ...mMi-.. ....WW . «...

devoted to imitating the passing effects of exceedingly interesting sketch— the picture
sunlight and the reflections upon water.^ The itself he destroyed after Courbet had criticized it

human figure very rarely appears in his pic- adversely. Then came La Dame i\ larobeycrte,
tures. He began his career by exhibiting which received many favourable notices in the
caricatures for sale in the window of a book- Salon of 1886, Les Fcmmes an jardin, and Le
shop in Le Havre, where they were noticed by Dejeuner dans un intericur. These, together
Boudin who, twelve years earlier, had been a with one or two portraits which he executed
bookseller in the same town. It was Boudin at different periods, represent the entire range
who first introduced the young man to land- of his figure paintings.
him paint outdoor This does not mean that he was either insen-
scape painting by taking to
subjects on the spot, and in 1856 they had an sitive or uninterested, he probably felt more at

exhibition together in Rouen. In the follow- ease with neutral themes such as landscape.
ing year Monet went to Paris and studied at In portrait painting, especially where a con-
scientious artist is concerned— and like all
the Academic Suisse, where he met Pissarro.
Monet's family were also middle-class people, the Impressionists, Monet was exceedingly
conscientious— there are psychological as well
his father being a grocer. They did not at all
as purely pictorial problems to be dealt with.
welcome the idea of his becoming a painter and
even offered to pay for a substitute to take up They can be disregarded but it is like cheating
his military service if he would consent to
to do so, and for the Impressionists, the
pictorial problem was so important in itself
abandon his career, but he preferred to stick
that they felt unwilling to complicate it still
to painting and enhsted in a regiment stationed
It was hard enough for thorn to imd
in Algeria. After two years, however, army further.
the family their proper means of expression, and harder
life began to affect his health,
still to persuade the public to
accept it, without
capitulated, and Monet left his regiment to
became a student in making the situation any more difficult.
return to Paris, where he human ligure
academic artist, Marc-Gabriel You may argue that the is
the studio of an work of certain Impres-
Here he met and made friends with promment in the
Gleyre. Degas, Renoir, and
and sionists, for example
three other students: Renoir, Bazille,
attend the Cezanne. But these three artists are preci-
Sisley. He also continued to from
draw from the figure, and sely those whose technique is furthest
Academie Suisse to
Impressionism, properly so-caUed. Many cri-
met Cezanne, who had been a student there for them from the
Degas, the tics have wished to exclude
the past year. Thus, except for ground that their painting
Movement on the
whole of the group later to be knowTi as the bound to it by only the thin-
Ihe and esthetic is
Impressionists were coUected together^
and fuU ot nest convention.
artists were all young, eager
,, . » t ^x

reahze However that may be, Monet henceforth

enthusiasm. AU were determmed to
painting
yet they were devoted himself ahnost entirely to
their ideal as painters, but as showing a
adopt. Above landscape, and especiaUy scenes
uncertain what procedure to For several years he found
m ten years stretch of water.
all they had no suspicion
that
in a an inexhaustible supply of subjects the m
principal figures
time they would be the Channel ports, by the banks o the Seme, and
leaders of a revolution
first-class scandal, the and Venice. These
later in England, Holland,
which none of them appear to have
desired,
pictures are young and vital. They arc sen-
had already begun to
even although they sitive records of the charm of the different
art was not what they ye they
realize that official seasons, full of gaiety and luminosity
haired that las ed
needed. ^ ,, ^^j
impressed
.
roused a storm of protest and
In 1863, Monet was profoundly for many years and
which condemned to a lite
canvases by whose only wish was
bv an exhibition of fourteen of Dovertv a group of men
the Bou-
Manet at Martinet's gallery, on ?o portray the effects
of light in nature.
the first sign
levard des ItaHens. It was However, after years of stubborn endeavour,
of what was to come, and
another sign, perhaps, converted and towards
the unbelievers were
was the expedition which he made
with Bazille. to perceive a
1880 Claude Monet was able
Sisley and Renoir in the
spnng of the same His difficulties gradua^^^
uTin the attacks.
year to paint landscape scenes m
the forest ot
diminished, he became ^o-P^^/^^^^bly off then
of his long hfe he
Fontainebleau. . ,.,r „+ f^
,
to +hp
the almost rich, and at the end
The picture which Monet sent
first
the years found himself famous.
and en)oy his^ ame in
_

1865, in
Salon was accepted in But he was not allowed to
that followed other works
by him were admit- Sisley ^ho died too
tranquiUity for, unhke
difficulty as his mdm^ triumph. Monet died
ed, but with increasing
At this penod young to witness his own
duahty became more definite.

139
 to foim a per-
so that together they joined
and his certainty that he had the
obiectives, The endeavour was
fectly dovetailed whole.
power eventuaUy to attain them, impossible impossibly
none the less lofty for being so
though they seemed. It meant creatmg difficult.
subject
out of nothing each separate part of the

Alfred SISLEY
Born in Paris, October 30, 1839.
Died at Moret, January 29. i8gg.

w'ere
not seU many pictures^.and his prices
Little has been written about Sisley. Ihere exceeded
tell about his uneventful
very moderate even when they
is really very little to level below
and material difficulties a hundred francs a picture, a
His spiritual struggled not to fall.
which, for many years, he
life.
were unromantic, he never wrote down his
Immediately after his death the price of his
theories about art, he never travelled, except
pictures began to rise abruptly and three
for a few short visits to England in 1870, 1874,
the benefit
months later, at a sale held for
and 1897, and to Normandy, in 1894. 1 he canvases
was spent quietly amid the of his two children, twenty-seven
whole of his life
12,000 francs. During the
fetched a total of
landscapes of the Ile-de-France, in the rural exhibitions of his works were held
Louve- same year
suburbs of Paris, at Meudon. St. Cloud,
m Moret by Durand-Ruel in New York, and in Bernheim
ciennes, Bougival. Marly, and later,
which
at Veneux, jeune's gallery in Paris, while at a sale
and the surrounding countryside, on March 6 the following year,
took place
St. Mammes and Les Sablons. Ulnondation a Marly
the picture entitled
Another reason why little has been wntten
reached a sum of 43,000 francs— an astrono-
about him is that Sisley was unsuccessful.
forget mical figure in those days. But Sisley him-
People have been only too ready to pover-
talent which, nevertheless, self who had lived through years of
that quiet sensitive making
ty with great courage and without
made an important contribution to Impres-
the least concession to pubhc taste, never
sionism. In the beginning, his career was
had the satisfaction of \vitnessing his own
made altogether too easy for an artist. His
father, a rich Enghshman estabhshed m success. ,

allowed his It is hard to imagine any reason for Sisley s

Paris with > profitable business,opposition or ill-luck. As early as 1880, the other Impres-
son to study painting without
he met sionist painters, with the exception of Cezanne,
money difaculties and thus, although
had been able to see a change in pubhc opinion
Monet, Bazille and Renoir at the art school
and from that time onwards their pictures
run by Marc-Gabriel Gleyre, where he was a favour. Why was Sisley
with steadily rose in
pupil, and soon became very friendly
him as something neglected? He should have been one of the
them, they always regarded who preferred a less
apparently first to appeal to those
of an amateur, because of his work is extremely
and death uncompromising art, for his
secure background. When the ruin
him quiet and sensitive and he had not the
of his father, during the war of 1870,
left

dependent on his own efforts. Sisley sUghtest wish to be provocative. What is so

entirely
astonishing is not only that he did not find
found it even harder than the other Impres-
already a circle of admirers during his hfetime, but
sionists to earn a living, especially as he
and family to provide for. that he should ever have been considered unac-
had a wife
ceptable.
During the years which followed, Sisley
the other Impres-
difficulties as Like Monet and Pissarro, and perhaps even
had the same
sionist painters. Like them, he was jeered more than they, Sisley remained a pure Impres-
at and insulted in the Press, like
them he sionist. He never tired of the ever-changing
poetry of the landscapes of the Ile-de-France.
saw collectors fight shy of his work, and like
the woods and rainbow-coloured skies, and
them he was supported by a few loyal but
impecunious friends; Murer, the pastry-cook, the charming but never quaint streets of
picture in the little suburban towns near Paris, all of
for instance, would often take a
exchange for food and gave him generous credit which he expressed with great dehcacy and
cremerie. But Sisley's period variety. His art recalls something of the
for meals in his
sensitive feeling of Corot, an artist whom he
of extreme poverty lasted longer than that
of
Indeed, he never had deeply admired, for he shared with him that
the rest of the group.
the consolation of seeing a complete change in clos3 communion with nature which \yas ex-
pressed in so many different ways, during the
pubhc opinion, for, when he died in 1899,
nineteenth century, by so many different
his fine talent was only just beginning to be
recognised. The Salon des Beaux-Arts had and which forms a common bond
artists,

shown a group of seven or eight canvases between them, even when they appear most
by him every year since 1894, but he did unlike.

138
ters and musicians in their house. Their only to a hundred, or a hundred and fifty
guests included Corot, Alfred Stevens, Carolus francs a picture and the highest price of all,
Duran, and Rossini. After 1865, Manet, whom for an Interior by Berthe Morisot, was four
Berthe had met when she was copying in the hundred and eighty francs !

Louvre, became one of their most intimate Howe\'er, her mind was made up. She
friends; for the two families were drawn to felt that she had chosen the course which best
each other by many ties of education and social suited her temperament, and from that time
environment. Incidentally, Manet painted onwards she ceased to send her work to the
her portrait several times in oils (notably Le official Salons and took part in all the Impres-
Balcon, in 1868, and Le Repos) as well as in sionist exhibitions. She has every right to
various lithographs and an etching. stand beside Monet, Renoir, Pissarro, Sisley,
For many years Berthe Morisot's work bore and the other Impressionists. In 1874, she
the imprint of the lessons which Corot had married Eugene Manet, the brother of the
given her, but she gradually freed herself from painter. She continued her career and the
his influence and her connection with Manet future showed her decision to be a right one.
became more and more obvious. Finally, Seen in retrospect Berthe Morisot appears
she showed twelve paintings in the First one of the most brilliant exponents of Impres-
Impressionist Exhibition, which was held in sionism, and one to whose work the term can
Nadar's studios in 1874. In the great scandal most suitably be applied. It has the qualities
which followed, Berthe received one or two of freshness and spontaneity, the sense of a
favourable notices and in the next year, fragment of life fixed at the precise moment
when, with Monet, Renoir and Sisley, she sent when it r^ppoars most ephemeral.
some pictures to an auction sale which took The whole story of her virtuous life and passio-
place at the Hotel Drouot on 24 March 1875, nate devotion to art goes to prove that poverty
it was once again her canvases which fetched and unconventionality are not always neces-
the highest prices. Admittedly it was a poor sary, and that fine works of art can be realized
record since the average price amounted
.
amid order and serenity.

AUGUSTE RENOIR
Born at Limoges, February 25, 184.1.
Died at Cagnes, December .7, rgig.

Renoir, unlike most of the other Impressio- having learned, invented their personal contri-
nist painters came of humble parentage, his butions. For advice and teaciiing. they went
father being a jobbing-tailor in Limoges who to their elders, to Diaz, whom they met in the

came to live in Paris shortly after Pierre- forest of Fontainebleau, to Daubigny and
Auguste was born. The boy showed a talent Corot, and even, a few years later, to Manet
for drawing when he was still very young and who, although only slightly older, was already
as soon as he left the elementary school, he becoming well known. Moreover, Manot
was apprenticed as a painter's assistant to a was fighting his uphill battle and being attack-
china manufactory in the Rue du Temple. ed by the critics. He already stood out as
Here he was taught to decorate plates with an innovator and a leader, by the invention
hispersonal handling: the techni<]Uv' of
small bunches of flowers and sometimes with of
"peinture claire."
more complicated designs. But before long it
appeared that the growing taste for cheap The Salon juries sometimes accepted, some-
machine decoration was killing this trade, and times rejected the works of the young painters.
young Renoir took to painting fans and to other They were rather undecided how to react to-
wards these artists who broke every rule and
odd jobs. Amongst these he painted blinds for were
rejected every convention, and yet
the missions, that is to say, devotional pictures
obviously a force to be reckoned with.
on strips of Hnen, which the missionaries took
During the war of 1870 the group was scat-
with them to hang in their improvised churches. unaffected
tered, but personal friendships were
He was so quick and^skilful that he was able to allowed they forgathered
and as soon as events
save money, and as soon as he felt rich enough
once more in Paris, with more expenence
he gave up this work and began to study
In 1862 he entered the and even more convinced of the rightness of
painting in earnest.
It was time to make a
public
where their ideas.
art school run by Marc-Gabriel Gleyre, and accordingly they decided
demonstration,
he met Monet and Bazille, and became fnendly group exhibition of 1874, at
both to hold the first
with Pissarro and Cozanne who were He
Academic Suisse. The die which Renoir showed several canvases.
studying at the attacked but, at
events took was one of the most fiercely
was now cast, and thereafter
members of the
What was mevitable the same time, one of the first
theirinevitable course. About
group to see the beginnings of success.
were years of struggle and poverty. But
for
Georges Charpentier, the pubhsher.
these young men, who had everythmg to 187s
at the
to create, they were bought one of his pictures at a sale
learn and everything the followmg year Renoir
discovery, as Hotel Drouot and in
years of hope of and of thrilHng Charpentier
pamtcr. and began a series of portraits of the
they first studied the art of the

141
 trate that because of the effect of the atmo-
too late. He lived to see Impressionism the
victim of fresh attacks, not tliis time from the sphere there is no such thing as absolute colour
in nature, that the appearance of each object
protectors of academic art, but from new-
constantly changing, and that the art of the
comers who used the freedom won for them by is

Impressionism to react against it and to try painter lies in seizing the passing moment and
other roads leading to fresh audacities and new
hxing it in a more permanent image. His
ideas.
experiment was completely successful; even
without Impressionism would have been
It would be underestimating Monet to think it

fully justified. But in addition, these pictures

of him simply as a sincere and sensitive inter-
He was more fonn successions of harmonies of magical
preter of landscape scenes.
than that. There is a train of thought, a colour that recall some of the most successful
thread of real and most characteristic poetry variations on a theme in music.
running through his work, and it is to no happy Another series is Les Nyvipke'as (the
water-lilies), culminating in the fine set of
accident, as he himself pointed out, that we
owe the various series recording the changing decorative panels which Claude Monet offered
effects of light on the same subject at different to the nation shortly before his death, and which
seasons and at different hours of the same day. were placed a few years later in the Musee de
Among the best known of these series are some rOrangerie at the Tuileries. In these panels,
haystacks in a held, a group of poplars by the the subject, Nympheas surl'cau, is no more than
river Epte, and Rouen Cathedral. Art lovers a pretext on which Monet based a harmony
who have had an opportunity of seeing a collec- of colour so subtle that he was able to suppress
all forms, leaving only an atmosphere, as
tion of several such pictures by Monet will have
realized the extraordinary charm and interest impalpable as a mirage, or a vision of fairy-
of comparing them. Monet wished to demons- land .

Berthe morisot
Born at Botirges, January 14, 1S41.
Died, A f arch 2, iSg^.

Berthe Morisot one of those favoured

is At this time, M. and M^e Morisot made the
artists who received the right kind of encoura- acquaintance of a painter by the name of
gement from their own famihes at the very Guichard, an artist of genuine taste and
start of their careers. There are not many feeling, although his own work was far from
stories to be told about her life. It provides first-class. He realized at once that in Edna
poor material for a biographer but, none the and Berthe he was deahng with exceptional
less, was rich in feeling rightly expressed; it was artistic temperaments and warned the pa-
also a fine because it showed a woman who
life, rents of the danger of allowing their children
knew exactly what she wanted to do and how to begin a career which they would find com-
to do it, and who developed her genuine artis- pletely absorbing, and which might cause them
tic talent completely and unpretentiously. to be disapproved of in good society, for in
Berthe Morisot was born at Bourges, where those day an artist's life was still considered
her father had lately been appointed Prefect improper. M. and M"i« Morisot, however,
of the Departement du Cher, but in conse- were too intelligent to put obstacles in the
quence of M. Morisot's official duties and his way of their daughters' vocation and even
changes of office, the family moved about a encouraged them.
good deal and Berthe spent her childhood in The lessons which Guichard gave them
many different parts of France. After leaving were in every way excellent and inteUigent.
the Cher they moved to the Haute-Vienne, He took them to Museums and picture galle-
thence to Paris, the Calvados, and the Ille-et- ries, where he expounded to them the works

Vilaine, before finally setthng in Paris in 1852. of the Old Masters, and he was capable of
Berthe was then eleven years old, her reahzing the moment when they began to
two sisters, Edna and Yves, fourteen and outgrow his teaching. At this point he hand-
twelve and a half, respectively and, in accor- ed them over to Corot (probably in i860).
dance with their father's wishes, Mn^e Morisot In Corofs studio the two girls made rapid
began to look out for a drawing master for her progress. They spent their summers in the
three little daughters. The choice fell at first country, at Chou, in Beuzeval, where they had
on a certain M. Chocarne, a dreary teacher, an opportunity to paint one of the most beau-
whose stereotyped methods might easily have tiful districts in France. Oudinot and Riese-
destroyed the vitality of a less resolute ner gave them advice and encouragement.
talent. His bleak and boring lessons were In 1865, the Salon accepted two canvases
almost guaranteed to set his pupils against by Berthe Morisot, both of which received
art, and before many months had passed, the favourable notice, and with each new work
little girls were asking to be allowed to give she continued to develop and confirm her
them up. personality. Her parents entertained pain-

T40
the ablest artist in the group, and his friends in 1867 he bought Monet's picture, Les Fcmmes
should have been good judges, for they included au jardin, for the large sum of two thousand,
five hundred francs, paying for it by instal-
Renoir, Monet and Sisley. But the war of 1 870
broke out and Bazille enlisted in the Zouaves ments of fifty or sixty francs a month, as he
and was killed in action, while many of the could best aftord. He shared his studio with
others fled from Paris and even from France Monet and Renoir and often made excursions
itself. None of the promise of his great talent with one or other of them to paint in the open
could be fultilled. Impressionism lost one air. He also posed for Monet's painting, Le
the public, unappre- Dejeuner sur llierbe; he is the young man lying
of its finest painters and
ciative through ignorance, neglected his work on the grass in the foreground of the picture.
and forgot his name. Yet the small number In short, he was a very good fellow and always
of pictures he left behind are proof of his
ready to be of use when lielp was needed.
It has already been said that Bazille showed
talent and of the sound judgment of his
greater mastery than the other Impressionists
friends, for they display quaUties which set
level with, if not above, his fellow at this early stage. He had not, of course,
him on a
entirely shaken himself free from academic
Impressionists at the same period.
conventions, but he had learned a great deal
Bazille's father, an independent gentleman,
hving in Montpellier, would have preferred his
by working out-of-doors. This was before
the Impressionists had discovered
broken
son to be a doctor rather than a painter, and small separate touches to
colour, or the use of
so it came about that, after learning medicme and movement of sun-
came to suggest the vivacity
for three years in Montpellier, he that he
intention of studying light, but Bazille's landscapes prove
Paris with the probable record the atmosphrre.
It was not was already striving to
medicine and art simultaneously.
long before he decided to devote himself He had freed himself from conventional me-
In 1864 he failed in his examin- thods of lighting artificially arranged in the
entirely to art.
and studio. His work was full of genuine artistic
ations but to offset this failure he met He showed very clearly
Claude Monet, Renoir and feeling and vitality.
made friends with was to develop
fnends the way in which the movement
Sisley at Gleyre's studio. The four
much of an age. they were all eager a few years later.
weve very
and To the end of their lives, his old comrades
courageous and confident of the future, remembrance.
held Bazille in affectionate
indeed they needed a great deal of courage
to
continued admiration for
them had any Their wann and
carry out their ideas. None of scntimenta
him was not simply a feeling of
money except BaziUe. who was stiU receiving a regret for their own lost youth;
it was based
It was
small" allowance from his father. his real value
he managed to make on a considered appreciation of
not a large amount, but which his
as an artist and of the great
loss
came to the
it eo a very long way
and often
poorer For mstance, death meant to French art.
help ofhis stm friends.

Mary CASS ATT

Bom at Pittsburg, United States, 1845.
Died at Mesnil-Beaulresne (Oise), June 14, 1927-

picture by her
and in Antwerp. In 1870, a
When Mary Cassatt arrived in Pans shortly Salon and in 18 74 she
of 1870 she was accepted by the
before the outbreak of the war exhibited there her portrait. La Jeune Ftlle
most foreigners to
was better prepared than French aux cheveux roux, about which Degas remark-
trends of
understand the current ed "Here is
• someone who feels as 1 do.
already fami-
thought and art, because she was Shortly afterwards she had
an opportunity
Her father although
liar vvith French culture.
of meeting Degas who
gave her advice about
had inherited a strong friendly with her
he lived in Pennsylvania, her work^ Degas remained
ancestors, a French made her an
love of France from his slveral year!; he seems to
have
America dunng for
dislike for his fe low-
family who had emigrated to exception to his general
was barely five
the 17th century. When she creatures It was at his suggestion
that she
taken on a visit Salons
years old. Mar/ had been ceased to send her pictures
to tfie official

to France by her mother, an exceedingly Impressionists whose ideas

and joined the
cultivated lady, who spoke French perfect-
she f uUy shared. She exhibited m the Fourth
Exhibition of i879-
Tmoressionist . . ,

return to France seems

to Impressionists
^^Mary Cassatfs her at Mary Cassatt, Hke the other
disappointment to freed from academic
have been rather a
lessons from thought that art should be
revert to a
first She soon gave up taking
period as a rule She believed that it must of
after a short express mpress.ons
lense of real life and
contemporary artists,
ChapUn, prefemng to emotions. Wha
pupil h? the studio of
masterpieces nature and simple human
the great her ideas to her
study directly from k more she not only appliedaccording to her
Collections. She discovered developed them
in the National woTk and
Correggio in Parma, and
Rubens in the Prado

143
 of freshness and vitality. He too. with ge-
family. He was soon on intimate terms with
nuine artistic feeling, expressed the familiar
them and was frequently invited to receptions
By this means he entered a poetry of everyday hfe.
at their house.
and cultivated circle where he found During the period between 1865 and 1875,
wealthy
useful patrons and supporters, without having
when his art was developing, he painted many
Such well-paid purely Impressionist pictures. We need not
to make artistic concessions. anecdote
hesitate to believe the following
commissions did not mean wealth, or even friend of the group,
pover- told by Georges Riviere, a
security, but Renoir's years of extreme the Impressionists
circumstances were now which shows how closely
ty were over and his "The
for instance, of collaborated in producing their pictures.
far less precarious than those, "worked so
future Impressionists," he writes,
Sisley or Pissarro. and 1870
closely together that between 1863
In 1881 Renoir made two important jour- a canvas by
it was often hard to distinguish
neys. In March he went to Algeria and in the Bazille, or even,
Monet from one by Renoir or
autumn travelled in Italy, a visit which had a
profound influence on his work for several on some occasions, from one by Cezanne.
During the following year In after years they themselves were not always
years to come.
visiting Cezanne in Provence, he returned able to recognize their own works of this
after with
Algeria to recover from an attack of pneu- eariy period, and this actually occurred
to Renoir and
monia. From tlien onwards he began to one unsigned painting which both
Monet beUeved to be theirs. After vainly
spend more and more of his time in the South
there alto- struggling to remember one of them agreed
of France, until he finally settled
gether. It was not only because he loved to put his name to it (i)."
Between 1882 and 1883, that is after his
that part of the country, where nature is as cheer- his technique
but also visit to Italy, Renoir altered
ful and sensual as he was himself, by
He was already considerably. Perhaps he was influenced
because his health required it. tour, perhaps
symptoms of the all that he 'had seen during his
beginning to feel the first

arthritis which eventually crippled him so he had suddenly adopted a new creative atti-
end of his he was forced tude. However'that may be, he concentrated
cruelly that, at the life,

to work from a wheeled chair, with a

brush more on the linear structure of his pictures and
strapped to the deformed fingers of his right modified his personal light, broken touch.
hand. But although his health grew steadily Instead of melting forms encircled with light,
worse Renoir never lost his cheerful optimism Renoir now composed with dehberately consid-
and cordialitv, or his genuine kindness towards ered contours and broader surfaces of paint.
others. His' whole art seems based on a This is what is known as his Ingres period^
It lasted only a few years, however,
which
sense of serenity, and bursting with health passing
and with the joy of Hfe. None of the difficul- shows that it may be regarded as a
the long phase. Later Renoir reverted to the sensual,
ties which he encountered during
years of struggle and physical suffering were spontaneous art that was natural to him, but
able to defeat his quiet courage. by this time his personality was fully
Nowadays, some maintain that
critics developed. From now onwards his entire
Renoir does not properiy belong to the Im- work was devoted to expressing the joy of life,
the human to a hymn of praise, sung in terms of a
strange
pressionist Movement because
important role in^ his contemporary mythology. Sometimes he
figure plays a more
because technique actually gave to his nude models the names
work than landscape, and his
of ancient goddesses, but they are not
des-
is very different from that used
by Monet or
that his art cendents from some remote Olympus, they
Sisley. Such critics pretend
reflects a different outlook and that it leads seem more like the familiar divinities who
to other conclusions. danced their pagan dances to the piping of
Although it may be true that Renoir pre- Pan. More often and more suitably Renoir
ferred to paint the faces of human beings
and called his canvases Baigneuse, or simply
that women were his favourite models, he Gahrielle, from the name of the servant who
was none the less interested in recording the acted as his model. This seems a far better
face of nature, and his contribution to land- way the instinctive humanity
of describing
scape painting was a very distinguished and of 'hiswork which, without appearing to be
a very personal one. Moreover, when he ambitious reached the highest peak of art.
painted people he studied them in the same
way that his friends studied landscape scenes. (i) From an article entitled "Les Nymph^as de Claude
He. too, strove to grasp the reality of the Monet et les Recherches collectives des Impressionmstes.

and to retain in his work the maximum published in the review L'Art vivanl, page 427.
subject

FRfiDERiC BAZILLE
Bom at Montpellier, October 6, 1841.
Died at Beaune-la-Rolande, November 28, iSyo.

an element By common consent of his friends he was

The life-storv of Bazille provides
the most gifted, the most hard-workmg and
of bitter iron/Tn the history of Impressionism.

142
the Impressionist Movement
to the original ting to live in Normandy and in Denmark,
members: we must also mention the disciples he returned to Paris and tried to settle down
even although some of them became its first in Brittany, where he hoped to be able to
opponents. In any case, Gauguin at no time live within his means. But in 1887 he was
denied his admiration for Impressionism or off again, first to Martinique, then back to
the debt he owed to it. During his early Paris in the following year, and a^ain to Brit-
period, his art was mainly influenced by the tany, where he collected a small circle of
Impressionists and he exhibited in the group followers. Finally he went to join \'an Gogh
exhibitions after 1880, the year of the fifth at Aries, a visit" which culminated in Van
exhibition wliich took place in the Rue des Gogh's attack of madness.
Pyramides. Huysmans wrote as follows of In 1 891 Gauguin made an expedition to
his contribution in the year 1881: "No other Tahiti, ho returned to Paris in 1893, and made
contemporary painter of the nude has sound- one more attempt to live permanently in
ed so strong a note of reahty... Here is Brittany. But fate was against him. In 1895
skin reddened by blood and quivering with he was again cstabHshed in Tahiti, where his
nerves. What truth is expressed in every extreme poverty was made unendurable by
part of the body, the sagging of the rather illness. He made one desperate appeal for
ample stomach, the WTinkles below the droop- help to his old friends in France, but with
ing breasts with their dark outhnes, the little result. The rest of his life was a long
boniness of the knee-joints, and the way in struggle against great poverty and pain until
his lonely death on his desert island.
He
which the bent wrist contrasts with the
was found dead in his "Pleasure House," as he
draperies!"
called it, where he had vainly hoped to find
From the above quotation, we see that
Gauguin, too, was considered to be a Reahst peace at last and which he had ornamented
painter, one of those artists who rejected with sculptures and carvings of strange bar-
baric beauty.
academic art and went to nature itself to
f^nd a more truthful style. No one could Although Gauguin was mainly influenced
at the beginning of Ins
guess that before long he would disappomt by Impressionism
away as soon as he had
such eloquent admirers as Huysmans by career he broke
his
renouncing this kind of reaUty. To discover acquired sufficient mastery to invent
opposite side of own harmonies and technique. In works of
a different truth he fled to the
went to seek a magic his early period notice the methods of the
we
the worid, or rather he
dreams. Why did Impressionists, small separate brush-strokes,
more in harmony with his
separation of tone, pure colour, and the
aboli-
this irresistible urge for distant lands^
he feel
sometimes, even, the
Was perhaps an inherited instinct? On his tion of black shadows,
shadows whatsoever. He ar-
it
family
mother's side he was descended from a omission of all
personal style by carrying these
of rich Spaniards, who had long since emigra- rived at his
utmost limits, but in so doing
ted to Peru, where one of his great-uncles had methods to their
when they
been \aceroy. was forced to discard some of them
ultimately to
clashed with what he hoped
Gauguin was three years old when
his
Peru and seven when he achieve.
family took him to and
He was old enough to have memo- Gauguin was a great admirer of Cc^zannc
returned. Like
was influenced by him for many
years
people, made stiU
ries of the country and its of Impres-
them as Cezanne, he asked something more
more glamorous because he had seen
this magic was al- sionism than a record of ephemeral sensa-
a young child. Perhaps
to ship as an To grasp the moment as it flu's, and
ready at work when he decided
tions
of light or a gesture
at the age fix a transitory movement
apprentice in the merchant marine him. Like Cezanne who
three years later. was not enough for
of seventeen and when, make somethmg as solid and
wanted to
he entered the navy. Old Masters G- u
of the sea. He lasting as the art of the ,

Bv 1871 he had had enough found em- guin preferred to strive after
a fundaincntal
was given indefinite leave and than lay ins emphasis on
ployment in a stockbroking business m Pans^ reality rather to
In figure pam mgs
Danish girl from details, however alluring.
Two he married a the
years later
family. He was he always seemed to he seeking to record
a middle-class. Lutheran and colour and
considerable income and physical form in symbolic line
already making a actual people them-
several children. Lt merely to imitat.- the
was soon the father of understand tha
selves It is not hard to
appearance ot calm, hterary and
Despite the deceptive for a short time he
dallied with
bre^ving up for this appa^ movements and used such terms
a trlic future was ^thetic
Gauguin had been describe his
rentlf ordinary family.
in the habit of painting
on Sundays and often ^ Synthetist and Symbolist to

at the Academic
work. ,. ,, „,.

went to draw from the model realistic

.

than (.au-
art became more Nothinf? could be less
Little by httle yet he had to take
rolarossi gufn's conception, and
aS ng until in 1883. he
foose from his present
decided to break
life-it already seemed Realism or what then
taking point.
passed for it as his
had to hnd inspi-
Clearly, he
hke the P^^^ to him.
He threw up his ]ob he was to create an
ration at'^ the source if
himself entirely to paintmg. was not intellectua),
!n orde? t^devote ordered harmony that
attemp-
He was now extremely poor. After

14s
 mothers and children. Where many of the
personal feeUng, but she was most active
in
painters strove to the
seize
Impressionist Impressionist
spreading a love of French ray of sunshine or the
ephemeral effect of a
painting in the United States. It was largely she excel-
of running water,
became so much flash and sparkle
owing to her efforts that it
less transitory image
led in recording the no
esteemed in America. gesture.
a pamter ot of a maternal
Mary Cassatt is above all

THE FIRST SUCCESSORS

splendid appetite
leave the original members sense of physical pleasure, a
At this point we with them into their
Gaugum. for Ufe which continued
of the Impressionist Group, for wdth their infirmities.
Seurat and Lautrcc, we meet a old age and in spite of
Van Gogh, With the newcomers we are on the threshold
new series artists. These men did not
of
collaborate of a far more tragic world. To many of them
create Impressionism; they did not
their hves were a burden. They were victmis
in working out its doctrines, nor in developing pursued cause and effect to the
of an age which
them, and although they took an occasional treasured personal dramas.
bitter end and
part in the struggle, it was a very minor
part.
greedily over the spectacle
direct, The world pored
But they did receive its doctrines required from
of the Uves of these men. and
without intermediaries, at a time when Impres- maximum of self-expression, as
them the
sionism was stiU a living style and not half- feed curiosity upon
They though it wished to its
sterilized by other peoples theories.
young their secrets. For the cult of the individual
were like the precocious children of very far ^ as that. The craving to
had gone as
parents. resulted
explore, or to confide personal secrets
You might imagine that life would have marvellous series of unhappy poets and
in that
been made easier for these artists because their Hke sombre fiowers, their
painters, geniuses
elders had cleared the ground, and that all
greatness hung about with weeds; Gau-
they had to do was to follow and to take advan-
pitiful
guin, for example, in his self-created misery,
tage of the freedom which the Impressionists island
fleeing to the Antipodes and turning his
had won. But this would be to misunderstand police
paradise into a very heU of officials,
both the artists and the public.
and eczema; Van Gogh, with his mystical
The first concern of these artists was to
madness and his reehng suns; Lautrec, adoring
evolve a manner of expression personal to
themselves, and not one handed downfrom
and longing for the joy of movement, dragging
his hideous gnomelike body and his
un-
predecessors, however great. The public, on
rule to appeased desires through his tinsel world.
the other hand, make it an invariable
and not to change With the last group of artists who appeared
be faithful in their affections more
they at the end of the century, we return once
their way of thinking, and the admiration These men
Renoir, Monet and to a world of sanity and cahn.
were beginning to feel for
were gentler than the creators of Impres-
Degas, seemed sufficient to satisfy any mild
sionism; they lived in a quieter atmosphere.
craving for novelty. For most of the new-
comers, therefore, there were the same difft-
Bonnard and Vuillard had not the brilliance,
nor the sonority of Monet and Renoir. In the
culties to contend with and the same
general
general chorus their voices were subdued,
lack of understanding, or, simply, indifference.
but their harmonies were so true and their
But although, as far as material difficulties
chords so full of sweetness that they could not
were concerned, the situation was much
pass unnoticed. To their names we must add
the same for the newcomers as it had been
moral those of Serusier and Maurice Denis, artists
for the creators of Impressionism, the
atmosphere belonging to this same group. Their painting
situation and the psychological
were very different. and ideas were exceedingly important, but
struggle of Renoir, Monet and Pissarro,
The they were realized in a form very different from
Impressionism. The reader will excuse this
although often hard and discouraging, was
fought by healthy, ardent young men. At bare mention of their names, since it is all
that space allows.
every stage their work was dominated by a

Paul GAUGUIN
Born in Paris, June 7,1848.
Died at Atoiiana, Dominica (Antilles), May 8, 1903.

work he produced when he was in Tahiti and

To include Gauguin among the Impres-
the Marquesas Islands. But, as we have
sionists would seem paradoxical if we were to
already seen, we cannot limit the history of
consider only his most important period, the

144
ted pictures of Provence; and, finally, in those and the other was inwardly simmering. In
last canvases of Auvers-sur-Oise, when the one way or another a storm was brewing up
quiet landscapes of the Ile-de-France inspired between us."
his most violent colour harmonies. Little by little Van Gogh became more
It was in Provence that he finally found neurotic. Gauguin sometimes woke to find
himself but, unhappily, this revelation and the him standing beside his bed, but when he
subsequent development of his art were also said: "What do you want, Vincent?", he would
the beginning of the end for him, for they silently return to bed and fall into a heavy
coincided with that first attack of madness, sleep. Finally the crisis occurred. Gau-
which proved the hopelessness of his mental guin had been painting a portrait of Van Gogh
conflict. Gauguin, who narrowly escaped — but let us allow him to tell the story in his
being a victim, has left us an account of the own words: "When the portrait was finished,
incident. he said to me: 'You have got me exactly, but
it is myself gone mad.' In the evening we
In his longing to discover a landscape that
would satisfy his neurotic, all-devouring pas- went to a caft- and he had a small absinthe.
Van Gogh believed that if he went to Suddenly he huried the glass and its contents
sion,
at my head, dodged, and, taking him by
Africa he would find a country to match his I

state of mental excitement. He therefore left the arm, left the cafe and crossed the Place
Paris and on his way south stopped at Aries, Victor-Hugo. A few minutes later, Vincent
where the tragic drama of his fife was enac- was in bed and had fallen into a deep sleep
ted.
from which he did not wake until the next
morning. When he woke up he said to me:
When he arrived in Aries on 21 February
'My dear Gauguin, I have a vague notion that
1888 it was still the end of winter; nature had 'I forgive you
I insulted you. last night.'
not yet come alive. But before long spring there might be a repetition
gladly,' I said, 'but
turned into the dazzling, fiery heat of summer scene, and you were to strike
of yesterday's if
and Van Gogh, the Northerner, believed that control of myself and strangle
me, I might lose
he was already in Africa. He rented a small Won't you let me write to your brother
you.
house, as he could not afford to five in hotels, Good God,
to tell him that I am leaving?'
and painted it bright yellow, because, he said,
what a day!"
he wished it to be "the home of fight." had swallowed
^
"In the evening, as soon as I
He spent almost the entire day in the my dinner I felt that I wanted to go out for a
country, painting unceasingly. His whole
little while and smell the
flowering laurels.
appearance, his strange silences and the wild whole of the Place
I had crossed nearly the
expression of his eyes made him an unattrac-
alarmed the Victor-Hugo when I heard behind me that
tive neighbour and occasionally jerky step which I knew so weU^^
I
housekeeper, for quick,
to him. His
turned round at the exact moment when
people nearest Vin-
admitted to M. Borel that she was open
instance,
could cent was about to spring at me with an
often panic-stricken and that "she I think that there must
the same house razor in his hand.
hardly bring herself to stay in
power in my look at that
have been great
with
with this man whose mad eyes filled her moment, for he stopped and ran back to
the
one of
house with his head down. I went
terror." into
Van Gogh,himself, was hoping to persuade when had asked
the hotels hkc a flash and
I
the painters of the new to bed imme-
the time I took a room and went
some of his friends,
movement, to "come to Aries and establish diately I was so much upset
that I could
there an Atelier du Midi, and he
had several neariy three o'clock, and
not get to sleep until
times written to Gauguin tellmg
him of the about half-past seven.
come. At this woke rather late, at
scheme and urging him to saw a crowd of
unsettled and "When I got to the Place I

time Gauguin, too, was feehng people. There were policemen by our
house
between extreme
was engaged in a struggle and a man in a bowler hat, who was the police
poverty and the demands of his genius. He happened^
and was superintendent. This is what had
had lately returned from Martinique straight back to the house
Van Gogh had gone
was the
beginning to realize that Brittany and. then and there, had
cut his ear off fla
for him. but he was detained have spent a good
wrong countryside
of his fnends with his head. He must
there by the eagerness of some deal of time trying to stop
the blood, for the
a vague
and pupils and also, perhaps by Moving day a number of wet the towels were
Aries, he would tvvo lower
forboding that, if he went to found spread out on the tables in
Finally, how- which led
find "something abnormal." rooms, and on the little
staircase
letters overcame his
ever, Van Gogh's pressing up to the bedroom."
state to go out
hesitation.
happy enough
,
,
"As soon as he was in a fit

At the two friends were bandages and a beret pulled

first
soon appeared ^vith his head in
in their reunion, but
small rifts a house where,
^^miration It was down to one side, he went to
to spoil their mutual fellow-countryman he had struck
'before 1 for lack of a
some weeks" Nvrote Gaugum. chann of up an acquaintanceship,
and handed the ser-
the harsh his ear whc^i
?Sy b^an to appreciate
country. Never- vL? an envelope containing
/Here he said
Aries and the su^ounding especially he had carefully washed.
we both worked steadily,, from me. Then he \\ent
fheless
volcano is a souvenir
'this
Vincent But one of us was an active

147
 daring combin-
no intermediary influences, and was ready his rich harmonies and
had glimpses of rare
This was an ationsof colour had shown
inspired directly from life itself. certain paintings
transitionary stage. It meant a creative power. especiaUy in
inevitable Provence; but after 1890
system which proved of Brittany and
long apprenticeship in a the everyday
excellent training for him, for it taught such audacities became a habit,
an painter who has found his per-
language of a
him to analyse his vision, to discard past and at once proceeds to use
to renounce compromise and sonal vocabulary
influences and mastery. This is so true
it with astonishing
short cuts. the years to come he produced
that although in
As soon as he began to realize what he was
magnificent compositions, genuine master-
trying to achieve, Gauguin saw that one
of
pieces he never surpassed a
canvas like Les
the methods he must discard was the pro-
is now m
deux fahitiennes sur la plage, which
cedure known as "broken colour," the separa- In after years he may perhaps
pigment with the Louvre.
tion of tone by applying the further
brush-strokes. This pro- have succeeded in developing still
small juxtaposed his style, but
Impressionists used to make the purity and austerity of
cedure the freedom and
move and Uve, in other words, to paint he was never to show greater
hght
the atmosphere, the most unstable element
in
In his solitude Gauguin created a
world of
nature. Gauguin was preoccupied with pro-
astonishing splendour and of barbaric luxury,
blems of this kind during his first visits to but has this
a world that may appear simple,
Brittany, where he met Emile Bernard and because is created by the
quality of richness it
under his influence began to surround the His art owed no debt
people and objects in his pictures with frank
hand of a great artist.

areas to the exotic nature of his surroundings.

He
outlines and to apply the paint in large because in that primitive
painted with hved in the Antilles
of flat colour. He sometimes
manner of Cezanne. environment he was able to escape from con-
diagonal strokes after the
ventions and to develop his persona! feehng
By 1890-1891 he had developed a personal without constraint. In other words, Gau-
style quite different from that of his forerun- that surpassed his
guin discovered a style
ners. He now used a strong line which rigor- and that is something of
ously defined and enclosed each colour area
own personality,
greater importance than the romantic
and gave no scope for the hazy, shimmering far

effects which the Impressionists loved. Al- drama of his life-story.

Vincent VAN GOGH

Born at Grooi-Zundert, Holland, March 30, 1853.
Died at Auvers-sur-Oise, July 29, i8go.

The names of Gauguin and Van Gogh are one can well imagine the possibiUty of other
artists using Gauguin's teachings to develop
often coupled together because the lives of
both men were equally tragic. Both were soU- their own ideas without directly imitating
tary, and would have been so in any circum- him, for he created a new plastic world, a
stances, and disaster seems to have dogged whole new system of pictorial architecture.
their footsteps at every turn of their Hves. Such a school has not eventuated because the
But despite appearances there were more dif- times have been unfavourable, but it may
ferences than similarities in the characters still appear.
of the two artists. Gauguin was a fighter, may be argued that Fauvism evolved
It

he stood up against fate and refused to accept from Van Gogh because, for a time, Derain
his repeated failures; even when most discou- and Vlaminck used a touch somewhat similar
raged after each successive blow, he managed to his, but they were simply making use of a
to pull himself together and to regain his self- technical procedure that was a very secondary
confidence. Van Gogh, on the contrary, was matter with Van Gogh himself, whose genius
like a terrified bird beating itself against the lay far less in the creation of a novel means of
bars of cage; he seems to have reahsed that
its expression, than in what he expressed and
he was fighting a losing battle and at times the passion with which he expressed it. Thus
lost all control, clinging only to his faith as a liis art ended with itself.

drowning man clings to a raft. Compared At every stage of his life Van Gogh, gives
with his briUiant. flickering brain, Gauguin the impression of lacking all restraint; in
appears a model of stability. Van Gogh those gloomy paintings of Holland, when he
surrendered completely to the excitement of was still under the influence of his bitter
his stupendous art, he went to the extreme experiences as a lay-preacher amongst^ the
limit of his powers, but in the process so miners of the Borinage; in those Parisian
destroyed himself that he left no message for landscapes, when, day by day, his palette
posterity. He had imitators, no doubt, but lightened as he grew to know the French
no doctrine or school could be based on his Impressionists, and life, at all events for the
purely inspirational art. On the other hand, moment, seemed less unendurable; in his exci-

146
work that drove him to paint all day long and Matisse and Braciue became interested; but not
often far into the night, for months, and even for many remained faithful, and only a very few
years on end, as he did when he was working of the early circle of Seurat's associates accep-
on that marvellous composition Un Dimanche ted the system in its entirety. Amongt these,
a la Grande Jalte. were Paul Signac and Henry-Edmond Cross
Seurat entered the Salon in 1883 with a artists whose talent is undisputed.
portrait of Aman-Jean, and showed his first Tliv great qualitv that Seurat possessed,
important composition at the first SALON the hope which he "did not live to fulfil, the
promise which we discern in works
that
DES INDEPENDENTS in 1884. This was La his is

Baignadc. which had just been rejected by the of at last achieving a harmony between
the

jury of the official Salon. When Un Dimanche warmth and gaiety and luminosity of colour,
d la finally shown in the
Grande Jatte was on the one hand, and the stability that is only
EIGHTH (AND LAST) IMPRESSIONIST EX- to be found in an architectiually ordered
HIBITION of 1886, his friend and associate composition, on fhe other. An ordering very
Signac wrote as follows: Then there different from the spontaneous outbursts of
Paul
appeared for tht- first time pictures painted the Impressionists, which became exuberantly
obvious in the hands of the Fauves. Seurat
in pure colours unmixed in any way, blending
into a systematically balanced haromny which might have been able to strike a balance that
formed the basis of Neo-Imprcssionism. has never yet been reached, since the contrary
This new DIVISIONIST technique was suftr- streams of Fauvism and Cubism served to
accentuate the contrast between the two
ciently attractive to win a number of
converts.
Van Gogh conceptions. But events had to take then-
Pissarro adopted it for many years,
also used it, and later other painters such as course.

Henri de TOULOUSE-LAUTREC
Bom at Albi, November 24, 1864.
Died at the Chateau de Malromc, September 9. 1901.

handicap. He therefore threw himself with

Gauguin, Van Gogh, and Lautrec form a eagerness into an artificial world,
element of desperate
trilogy of suffering, the inevitable wished to hide himself away
Impressionism, which as though he
pathos in the drama of
do nothing to alleviate from nature.
the Movement could
^ , , .

responsible tor When he was at the height of Ins powers.

even although it was partly Lautrec's finest canvases were
inspired by
their tragedy. .
unnatural scenes, —
the theatre, for instance
Toulouse-Lautrec bore an illustrious name.
with ballet girls and actresses ht up
in the
Counts
He was descended from the famous sportsmen, flare of the footlights. As though in contrast to
great feudal lords, great
of Toulouse,
inter- his own deformity he concentrated his atten-
who ruled over Albi and frequently and tion on life in its most animated form. 1 He
France
married with the roval families of subjects he loved to paint
were dancers,
such an ancestry
other princely houses. With acrobats and horses.
was naturally of
Henri de Toulouse-Lautrec
It is hard to realize the
agony that hfe must
temperament. He
a violent and domineering have been to him, especially
as his cuttmg
to com-
was born for romantic adventures, irony sometimes brought
hun against i^eople
mand the and control events, yet
lives of others on his deformity. In
his own hfe who had no mercy
aU he could achieve was to burn boy his work on Toulouse-Lautrec, P. de Lappa-
out in utter despair. He was a delicate bitter anecdote.
rent repeats the following
was crippled before
with a feeble body that he had been par-
'•One night at Maxim's, whrre
fourteen, but he had rather too much
he reached the age of ticularly^cintiUating, indeed
neighbours, whom he had
feudal ancestors.
the proud spirit of his so to please his
wath a disastrous accident sketches, he got
In 1878 he met wcakmg vHrtimized in witty, brilliant
when he slipped on a polished floor charcoal behind urn
the following year
^ptoTo leaving a stub of
The bone of^one thigh; in on thf able, lautrec,
when he was. setting
he stumbled into a ditch
and broke the other^ proportion, for his head
looked reasonably in
arrested the growth of but standing he
This second accident and torso were of normal size,
into a grotesque dwarf because of
his egs and turned him when sitting
impossible for him fooked shorter than neighbours
Yet had not fate made it One of his
to\ead an active hfe. he
might never ha^^
enthusiasm
his deformed legs.
^erefore. picked'up the short c.id of ci™
You v.
mven himself to art with so much hunting and and called out to him; 'Comeback, Sir.

f he co"ave spent
his time in stick.
forgotten your walking ,.-^^, ^o
not havj shut and breeding to
other country pursuits he would Lautrec had the courage
In.t m reality his
hlmsdTawa^i? ^-^-^ laueh at his misfortune.
whpn he became a man. "f
After his "cldet
^fhi: acciutuis constan remind
hole Hfe must have been
a
pleasure
any one has the right
Th'^countr^^eased to give him of his deformity.
Surely no
too much of his physical
It reminded him

149
 record. He stayed at St. Rcmy until the
back to the house got into bed and went
to
beginning of 1890. when his brother who had
sleep
a house at Auvers. not far
from Pans, sent for
Inevitably, poor Van Gogh had to be sent him to hve nearby. This
attacks of mad- him and allowed
to an asylum, where violent period of his hfe of suffering
dunng was the iinal
ness alternated with periods of lucidity, the drama was
mental state during which the last act of
which the realization of his an end to the
endurable for him. He was played out, and Van Gogh put
made life still loss
life he could no longer
endure Going out
first admitted into the asylum
of St. Remy,
himself, the bullet
freedom for fear into the country he shot
and was given very little He staggered back to
to break lodging in the groin.
that he might take advantage of it down on his bed.
Van Gogh thought his hotel, where he lay
out in some way. But poor death dehvered him
and there was hardly smoking his pipe, until
of nothing but painting
asylum garden that he did not from all his torments.
a corner of the

GEORGES SEURAT
Bom in Paris, December 2,1854.
Died in Paris, March 2g, tSqi.

nis pictures for the SALON DES INDEPEN-

Although the story of Seurat's life is a tra- his great promise, and
DANTS, destroyed
gic one, it is not the stuff of which
great liter- ^

of his friends
made, there was nothing Seurat was dead before most
ary drama is for
about the events themselves. were even aware that he had been ill.
especially tragic middle-class
young, Seurat's parents were quiet
Seurat's tragedy is that he died too did not appear to be
time develop his theories or people and he himself
before he had to
movement, especially not
cut out to lead a
complete his researches, and whilst he was time, created so vast a
his technique. one which, in its
still only beginning to master himself up as a leader:
shown enough scandal. He did not set
Nevertheless, he had already
behef that, had it was the honest application of his theories
of his quality to justify the
and incessant study that finally made
him
lived, he would have played a leading
he uncompromising in his attitude towards
so
part in the evolution of contemporary
art.
book on Seurat. art He began his career by being admitted
Jacques de Laprade, in his
Aman-Jean to the Ecole
with his friend
lustly compares his death wdth the
irrepar-
Beaux-Arts, where he studied under
at the beginning of the des
able loss of Gericault. of Ingres, from whom
Romantic period, and of La Fresnaye. ourm M Lehmann, a pupil
and the
Each of these artists might have he acquired a knowledge of drawing
own day. the vital
influence on the subse- harsh discipline of Ingres' theory of
had an appreciable
m importance of the contour. Later, he left
quent course of French art, for all three, dihgently m
the school, but continued to work
the work which they had time to accomphsh. Beaux-
the museums and in the library of the
showed unmistakable promise of finding solu-
Arts. At this time he became deeply inter-
tions to the problems that were preoccupying
ested in Delacroix and in the ideas about
the painters of that time.
the relationship of colour, which are ex-
Seurat's ideas and the pictures he was
pressed in his pictures and writings.
able to reahze won him a great reputation
amongst the painters of his own generation He discovered Impressionism a few years
afterwards, and the system which he worked
in the space of a few years— a fact which John
Rewald recalls with two characteristic quot- out was an attempt to reconcile the inventions
ations. The first is from a letter by Van Gogh and theories of the Impressionists with current
scientific discoveries. Here, again, he did
to his brother: "There is no doubt whatever, but rather to
not set out to head a revolution,
he wrote, "that Seurat is the leader..." The so unjustly
justify the art that had been
second is from Emile Verhaeren's book Seiisa-
attacked, to produce proofs and formulate
iions: "All his friends, whether or not they
were painters, felt that he was the real power methods of painting, to lay down exact rules,
He was the most assiduous and in short, to create order. When, for example,
in the group...
was his picture. La Grande Jafte,
determined worker, the greatest explorer and he praised for
pioneer of them all. In character and manners he wTote: "They pretend to see poetry in my
he was exceedingly reserved, he observed and work; they are wrong, I simply apply my
meditated wherever he went, he was an ardent system, that is all." This remark serves to
synthesist constantly making wTitten notes show how level-headed he was by nature, how
and sketches of his observations in order to logical, and how far removed from any desire

discover the principles underlying them, and to shock the public.

careful to record the smallest fact that could This does not mean that Seurat was neces-
support his system." sarily an unemotional painter, for we see
In the space of three days, a septic symptoms of intense feeUng in his desperate
quinzy, which he contracted when hanging eagerness to produce. He had a passion for

148
first became aware of himself and discover- ierene and peaceful worid, during the most
restless and brutal epoch of French art. Bvit
ed his personal manner of expression. "Indeed that this
about so distinct Bonnard's individuality
I do," he answered, "it was somewhere
is

year when I was spending a holiday opposition to the prevailing trends does not
the 1895,
prevent his ranking with the greatest artists of
at a place my father owned in the Daiiphine.
One day, we were talking of colour and '^har- our time.
monies, the relationships of lines and tones and Only a few years ago, at an age when
the balance of a composition; and all these most great masters are content to develop
earlier discoveries and unwilling to embark
words and theories which made the basis of our
conversation lost their abstract meaning and on new adventures, Bonnard astonished his
admirers bv adopting a new and more inde-
became concrete things for me. I then sud-
pendent manner than he had used hitherto.
denly reahzed what it was that I had been
His sensitive grisailles, those mysterious, shim-
seeking, and how I should try to attain it."
Throughout its different stages, Bonnard's mering landscapes in which the figures of
nude women shine softly tlirough the dusk,
art never took on an intellectual character,
was always exceedingly conscious and suddenly ceased to satisfy him. His palette
yet it
of his innovations give the
None became dazzlingly brilUant and his canvases
deliberate.
being improvised. He assimi- took on fresh luminosity, full of blazing
appearance of He
thought out whatever influences he sunlight and intense contrasts of shadow.
lated and reds and
and when he made use of them painted still-hfe pictures in flaming
came under,
orange. Above all. he showed in-
they became a part of his own work. Lookmg brilliant
the
we are reminded of the Im- creasingly his determination to retain
at his pictures, surface and to
and value of the canvas as a flat
pressionists by his use of broken colour perspective. Instead
disregard mathematical
vibrant tones. We see the influence of Japa- spread evenly
and he offers us an effect of iridescence
nese prints in some of his compositions This method some-
on the whole picture.
subdued colour harmonies. We can trace
work
rather hard to
times makes his
Degas and Toulouse-Lautrec in certain angles understand, it though
is as he were asking a
of vision and in the importance
he gives to order that
little extra effort from beholders in
foregrounds. But such reminders never
seem
pleasure in discovery may be all the
Bonnard appre- their
like plagiarism, for, although
he was
ciated the true nature of various styles, Bonnard combines great audacity
them. Thanks ^The^art of
never content merely to copy harmonies
pass through with great restraint. His richest
to this quality he was able to sensitive, sub-
being affected eo side by side with effects of
the inter-war period without not the least
dued colour, and this quaUty is
current aesthetic movements. He
was
by
nor by of his contributions. He offers us a_ new
not attracted by Cubism, Surrealism, personal interpretation of the
Impressionist
aU forms of inte -
Abstract Art. He avoided Movement which is probably the last reflection
viol-
lectuahsm and especially all displays of the ultimate achievement,
of that magnihcent
ence. f „
,, . .

of a outburst.
Paradoxically, he offers us the vision

fiDOUARD VUILLARD
Cuiseaux (Saone-et-Loire).
November 24. j868.
Born at
Died at La Baule, June 21, 1940-

Impressionism. VuUlard was

not long under
pro-
Edouard Vuillard does not His was not the
The Ufe of the influence of Gaugum.
is a
vide many picturesque
anecdotes. It
or to acccP je^iyj
point of view. nature to enjoy a struggle, duuq
poor life from a biographer's rrnde doctrines from others.
He had to
about it is the himself alone to
The most illuminating thing Ws art up slowly and for
which he was swept along by
circum-
o^vn decisions and abide
by them
way in
acquaint- come to his
stances amid a group of friends
and
that_ he was a war which
ances, as though fate reahzed %t^wafb^°:^^Tthf e^eTfa
wshed to make nis and the setting
diffident charactej and A A 7n the defeat of France
and died during a
course inevitable.'
at r„„^«r
Condor- uo of he Thtd Republic Republic was over-
began when he was a schoolboy
It defeat in which the
se^cond oeieau
secona
the same class as expression
cet, where- he was put into'
Roussel and became in the spirit of
the French
Maurice Denis and K.-X, *'fTthat"sbL
The thjee met again,
friends with them.
of the Acade-
shortly afterxvards as students
with Bonnard Ibels
mie Julian, together from the to be
Vallotton and Serusier, and it was thdr way of life and very existence seeni
wish
gospel according to had no
latter that they received the hreatened. Vuillard, however,
and if
Gauguin, who was then at Pont-AvenJou"d.ng social significance
to g?ve his
painting
his reaction against
his school and preparing

151
 those victims
candle at amid the rough fellowship o
to reproach him if he burned his moral or physical abnormali y.
Toulouse-
of
both ends and shortened his life by
drinking portraits of
ludge Lautrec made some wonderful
to excess! What right has anyone to
these chance associates,
sad mhabitants^ of
him, when his own father did not? A
friend pi lable.in
appear so
behaving abomin- this underworld, who
once said to him: "Henri is daylight and so briUiant under the limelight
places.
ably he goes to the most disreputable of Montmartre. He found an endless variety
dragging your
You ought to interfere, he is
of subjects at the
Moulin-Rouge and in the
"Our name!" said the
name in the mud." cabarets and brothels, but he
never treated
grateful that he does
Count, "we ought to be such themes sordidly, nor with even the
not curse us for having made him
what he is. On the contrary.
without shudder- slightest trace of vulgarity.
We cannot imagine his life
reason there is a kind of purity in his pitiless observ-
understand the
ing and as we begin to
ation His work displays the keen
percep-
sometimes cruel perception of the
for' the drawing of the finest Japanese
being amazed tion and exact
artist's vision, we cannot help also recalls the art of Degas
more prints, and it
that there was not more bitterness, influences that niost
He sought for these were the two
viciousness. even, in his work. him although they never caused him
less out ot affected
refuge with pariahs because he felt
of Pans, to lose his individuaUty.
place in the so-called gay underworld

Pierre BONNARD
Bom at Fontenay-aux-Roses. October 30, iS6y.
Died at Canet, January 23, 194?

was not so much as the hfe of

art itself
When Pierre Bonnard died so much else died allow scope
of an the artist, because it seemed to
with him that it seemed hke the end to be master
particular manner of for imagination, the opportunity
epoch, the end of a Of course I had enjoyed
which he was the of one's own hfe.
feeling and observation, of
drawing and painting for a long while, but it
last, quiet, sensitive witness.
was not an overmastering passion, though
1

artists who came after Bonnard

expres-
The
wanted, at all costs, to break away from my
sed their art with violence and hostility.
It
and a challenge. But Bon- monotonous existence. I had been educated
was a revelation going into
even for the law. and was supposed to be
nard's art is aU silence and meditation, department, \\hen I
audacious works, and if this shy the Wills and Probate
in his most my put me
failed in my examinations
father
artist takes his rightful place amongst the
but I only
certainly against his into the Pubhc Prosecutor's office,
revolutionaries it is
stayed there for a short time."
natural incHnations.
Bonnard gained nothing by his two bnet
Bonnard was not cut out to play.the ambi- and the
He was periods at the Ecole des Beaux-Arts
tious role which so many seek after. Decoratifs. His initiation
in the Ecole des Arts
the son of a civil servant, an official
became a
never really dates from the time when he
Ministere de la Guerre, who certainly
where he
son's developing student at the Academic Julian,
contemplated the idea of his and met Maurice Denis.
artist. Was it perhaps discovered Gauguin
into a professional But even there he
inherited his love of Serusier and Ranson.
from him that Bonnard he had any intention of
villas, and would not admit that
little gardens round surburban
being provocative, and, when I spoke to him
family gatherings, and the peaceful round of
about his reaction against Impressionism, he
everyday hfe in quiet, affectionate, unpret-
"But not at at least, not as I see it.
entious homes? Sometimes, it is true, Bon- said: all,

swarming streets remember quite well that I knew scarcely

nard felt moved to record the I
looked at anything about Impressionism at that time.
of Paris but more often than not he
through a window, as though he still Gauguin's work was a revelation to us in
them against
itself, not because it was a reaction
wished to n-main witlidrawn behind his wall when we
and meditation. And yet this
silence
something else. And in any case,
of Impression-
did shortly afterwards discover
work, which he accomplished regardless of
fashion of the general trend of art, represents ism, it came as a new inspiration, a feeling
of liberation and discovery, for Gauguin is
the effort of a powerful will, which showed
defiance. classical, almost traditional, and Im-
in fact
itself in quiet persistence instead of
vocation which pressionism set us free."
I once asked him about the
he must have felt from the very beginning of Bonnard was whole-hearted in his self-
effacing devotion to his forerunners. Yet
his career; he answered very humbly,
but
for all his apparent meekness, he knew exactly
almost as though he were making excuses for
himself: "I do not know if vocation is the what he wanted to do, and here I should hke to
right word, where I am concerned. At the quote once more from this conversation of
beginning I did not really know that I wanted twenty years ago. I had asked him if he
to be a painter. I think what attracted me could remember the precise moment when he

150
 IMPRESSIONISM GENERAL WORKS

DURANTY {Louis-fimile-£douard). — R^alisme ;

MELLERIO (Andr^). — L'Exposition dc 1900 et
Paris, 1856-1857, in-folio. I'Art impressionniste ; Paris, H. Floury, 1900.

DESNOYERS (Femand). — Le Salon des Refuses. in-80.

La Peinture en 1863 ; Paris, 1863, in-80. SCHMIDT (K.-E.). — Franzosische Malerei des

DURET (Theodore). — Le Peintre fran9ais en 1867 ;

XIX. Jahrhundert
in-4*'. fig-
; Leipzig, A. Secmann, 1903,

Paris, E. Dentu.

Livrets des Salons, 1861, 1868, 1870 ; Paris, in-80.

FIERENS-GEVAERT. — Nouveaux Essais sur
lArt contemporain Paris, Alca, 1903, in-i6.
— La Nouvelle
;

DURANTY. Peinture. A propos du

—
MEIER-GR.£FE (J.). Der Moderne Impressio-
groupe d'artistes qui expose dans les Galeries
nismus ;
Berlin, 2® 6d., 1904.
Durand-Ruel Paris, Dentu, 1876, in-80, 38 p.

DURET (Theodore).
;

— Les Peintres impression-

MAUCLAIR L'Impressionnismc. Son
(Camillc). —
histoire, son esth6tique, scs maitres Paris, ;

nistes ; Paris, H. Heymann et J. Perois, 1878.

Librairie de I'Art ancien ct moderne, 1904. in-80.
DURANTY (Louis-£mile-£douard). — Le Pays des MARCEL (Henry). —
La Peinture frani^aise au
arts... Paris, Charpentier, in-80, 1881.
Paris, A. Picard, 1905. in-80,
;
xix^ siecle fig.

DURET (Theodore). —
Critique d'avant-garde
MOORE (G.). —
;

Renaissance of the Impressionist

Paris, Charpentier, 1885, in-80.
painters Dublin, Maunsel. 1906.
BERALDI (H.). — Les Graveurs du xix*" siecle ;

FONTAINAS.
;

— Histoire de la peinture fran^aise

Paris, L. Conquet, 1885-1892. en 12 volumes,
au XIX® siecle ; Paris, Mercurc de France, 1906,
in-80, pi
m -So
FEN^ON. —
Les Impressionnistes en 1886 ; Paris,
DURET (Theodore). — History des peintres impres-
publication de la Vogue, 1886. Floury, 1906, in-40
sionnistes... Paris, H.
—
;

HUYSMANS (J.-K.).
Stock, 1889, in-80.
Certains ; Paris, Tresse et
MUTHER (R.). — Histoire of Modem Painting ;

London. Dent. 1907. 4 volumes.

FOURCAUD (Louis de). —
L'£volution de la Pein-
GUIFFREY (Jean) et MARCEL (Pierre). — Inven-
ture en France au xix« siecle Paris, 1890, in-S^. ;
taire g^n^ral des dessins du Mus^e du Louvre
GONCOURT (Journal des). — Paris, Charpentier, et du Musec de Versailles ; Paris, 1907-1921,

in-80. 1891. 9 volumes, in-40 (vol. IX, 1921).

CASTAGNARY. —
Salons de 1857 ^ 1879 ;
Paris, HUYSMANS (J.-K.). — L'Art moderne ;
Paris,

Plon. 1908, in-80.

Charpentier, 1892, 2 volumes, in-12.

LECOMTE (Georges). —
L'Art impressionniste BLANCHE (Jacques-£mile). — Essais et Portraits ;

Paris, Dorbon ain6, 1912, in-80.

d'apres la collection priv^e de M. Durand-Ruel.
Illustrations de A.-M. Lanzet Paris, Chamerot ;
DENIS (Maurice). — Theories ; Paris, Biblioth6que
et Renouard, 1892, in-40, pi. de rOccident, 1912.
MOORE (Georges). — Modem Painting ;
London,
DURET (Theodore). Manet and the French —
W. Scott, 1893, in-80. Impressionists Pissarro, Claude Monet, Sisley.
:

GEFFROY — Histoire de I'lmpression-

(Gustave). Renoir, Berthe Morisot, Cezanne, Guillaumin.
nisme. La Vie artistique, 3^ serie ;
Paris. Translated by J.-E. Crawford Flctch, M. A. ;

BENEDITE (Leonce). — La Peinture au xix«

Philadelphie, 1912, in-40.
siecle
—
;

Paris, 1900, in-40. MOORE (Georges). Impressions and opinions ;

BRICON — Psychologic
(E.). Les Maitres de d'art.
London. T. Werner Laurie, 1913. in-i6.
ia du xixe
fin 1900, siecle ; Paris. in-i6. JAMOT (Paul). —
La Collection Camondo au Mas6e
DURET (Theodore). — Les Maitres impression- du Louvre ; Paris, Gazette des Beaux-Arts,
juillet 1914.
nistes ; Paris. 1900, in-40.

153
 pictures and
centered round the figures in his
we see as a recorder of his period he was
him His works
he found enfolds them with warm affection.
so unconsciously, simply because family album, in which
to his temperament are Uke the pages of the
subjects best suited the same familiar
the we constantly come across
within his own environment. In any case, mother, first and fore-
not the least figures, that of his
general effect of his work is in
table laid ready for a
He did not record most He shows us his
like ahistorical panorama. from his window over the
one meal and the view
events or go in for hterary painting, but no Place Vmtimille,
middle- Paris streets, especially the
has represented the hves of French overlooked for many years and never
lamp-ht which he
class people better than he, pleasant painting. It was not a beauti-
windows, erew tired of
evenings, women sewing by open nor one likely to appeal to the
multi- ful view,
quiet, comfortable living-rooms and soft, it with
imagination, but Vuillard interpreted
coloured carpets, those warm interiors into
rather countn-
through mus- a sensitivity that revealed its
which sunlight softly penetrates charm.
fied
lin curtains. ^i. * ^r -i
He occasionally left the town and went
We
must not, however, conclude that VuU- Pans and
literary painter. The feeUng in into the country districts around
lard was a subjects did not
expressed far less by the subject even to the coast. But such
his pictures is landscape with
technique which he used. alter his style, and he treated
matter than by the that he brought to
pigment the same quiet observation
His personal method of applying the
very different interior scenes.
in separate brush-strokes, is
that this absorption with
One might imagine
from the procedure used by the Impressio- around him would have
the humdrum life
nists and allows for much more variety. By capabilities, but this would
the vivacity limited VuiUard's
its means he was able to suggest an art that was humble
be to underestimate
and movement of the atmosphere without wished to be so and not from
colours. His only because he it
stressing the contrasts of local In he painted several
does not any lack of power. fact,
pictures shimmer with hght. but this
among
tiny details with large decorative compositions that are
prevent his drawing even specimens of contem-
the most interesting
scrupulous precision— the pattern of the wall
porary art. The magnificent panels that used
paper, for instance, or the moulding on a
piece
to be in the old Vaquez collection (now
in the
Even the materials he used were
of furniture. Paris) and the panels
that matt surface, Musee d'Art Moderne, in
characteristic, especially
in the foyer of the Comedie des Champs-
which he generally obtained by mixing his
create Elysees are fine examples of his art. They
colours with glue, and which helps to
and intimacy m his show that, whilst retaining all his qualities of
the sense of stillness
vivacity and iridescence, Vuillard never forgot
pictures. he
the plastic demands of the wall on which
.
, ,

At the same time, Vuillard's sympathy with He has managed to give

was painting.
inanimate objects and his intimate understan-
lightness and animation without losing the
ding of a world of hfeless matter does not
character of the flat, solid surface. The com-
mean that he dishked his fellow men. In
who position seems at first sight haphazard, as
contrast to many of his contemporaries spontaneity
used in all Vuillard's works, but such
ignored the human figure or, at most, it
based on a
he pro- is not just a lucky accident. It is
as an adjunct to their compositions, how give each person and
real knowledge of to
bably never painted a picture that did not
object proper place in the composition, and
its
contain a human being, not merely a sugges-
His no more than in so-called Abstract Art does it
tion of one, but an actual presence. and construction.
gesture. It ignore the demands of design
tenderness is not simply a is

^52
SELECTED WORKS ON EACH ARTIST
COROT DAUiMIER
Exposition de I'ceuvre de Corot k I'llcole Nationale Exposition Daumier organisee par le Syndicat de la
des Beaux-Arts Paris, Imprimerie Jules Juteau
; Presse artistique, au Palais de I'ficole des Beaux-
et fils, 1875, in-i2. Arts, 1901, catalogue, in-8°.

DUMESNIL (Henri). — Corot, Souvenirs intimes :

FONTAINAS (Andre). — La Peinture dc Daumier ;

Paris. C. Rapilly, 1885. Paris, Edition G. Cr^s, 1923, in-4° (Ars Graphica).
MOREAU-NELATON (£tienne). — Histoire de
KLOSSOVSKI (Erich). — Honoro Daumier ;
Munich,
Corot et de ses oeuvres ; Paris, 1905, in-4°.
1923, in-40.
ROBAUT (Alfred). — L'CEuvre dc Corot.... cata-
REY (Robert). —
Daumier; Paris Stock, 1923
logue raisonn^ et illustre Paris, H. Flour}-,
(Collection les Contemporains).
;

1905, 5 volumes, in-40.

Premier supplement par DIETERLE (Jean) et BAUDELAIRE (Charles). — Les Dessins de Daumier;
Paris, Cres, 1924, in-40.
SCHCELLER (Andre) ; Paris. Arts et Metiers
graphiques, 1948. in-40. Honore Daumier, 50 reproductions de Lion Marotte
LHOTE (Andr^). —
Corot Paris, Librairie Stock. ;
avec un catalogue de Charles Martinc Paris.
in-fol.
:

(Collection « Lcs Contemporains »). Hellcu et Scrgent, 1924.

1923
LAFFARGUE (Marc). — Corot ; Paris, Rieder, SADLEIR (Michael). —
Daumier the man and the
1925. in-8°. artist ; London. Halton and Truscott Smith, 1924
LARGUIER (L60). — Le Pere Corot Paris, Firmin- in-40.

—
;

Didot et C'e, 1931, in-80. ALEXANDRE (Ars6ne). Daumier Paris, Rieder, ;

Estampes et dessins de Corot, Exposition organisee

1928, in-80 (Maitres de I'Art Modcrne).
avec le concours du Mus^e du Louvre, Biblio- Cent vingt Lithographies de Daumier, par Jean
theque nationale, 1931 Catalogue, Edition des ;
Laran Paris, les Beaux-Arts, 1929. in-fol.
;

Bibliotheques nationales de France, in-8°.

et Physiologies, 81 gravures sur bois.
FAURE (£lie). — Corot Paris, G. Cres et C'«
;
Physionomies
d'apr^s Daumier... Preface et catalogue de
(Collection les Maitres d'autrefois), 1931.
I'ceuvre grav6 sur bois de Daumier, par L.
RENfi-JEAN. — Corot ; Paris, Cres, 1931, in-12. Dimier ; Paris, Noury, 1930, in-40.

Kunsthaus Zurich, Camiile Corot, 16 aoiit-7 octobre ESCHOLIER (Raymond). — Daumier... ;

Paris,
1934, in-80. Fiour>', 1930, in-40.
GAILLOT (fidouard). —
La Vie secrfete de Jean-
FUCHS (Eduard). —
Der Maler Daumier, 2. durch
Baptiste-Camille Corot, peintre, graveur, sculp- Nachtrag vermehrte
eincm umfaugreichcn
teur Paris, E.-H. Guittard, 1934. in-S"-
;
Auflage... Munich. A. Langen, 1930, m-40.
;

Exposition Corot, Mus^e de I'Orangerie. 1936.

photo-
Preface par Paul Jamot ;
Angers. Editions Trente-six Bustcs de Daumier rcproduits en
typie grandeur nature Paris, Le Garrec, 1932,
« Art et Tourisme », in-S^.
;

m-40.
Exposition Corot i Lyon, du 24 mai au 28 juin 1936.
Preface de Paul Jamot au Mus6e de Lyon. ; FOSCA (Francois). — Daumier ;
Paris, Plon, 1933.

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Mus6e
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Num6ro special de « L'Amour de I'Art », sur Corot de I'Orangerie, 1934 ;

fevrier 1936, Edition I'Art et les Artistes, par Exposition Daumier. lithographies sur
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Camiile Mauclair, 1934. i la Bibliotheque nationale. 1934
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RAZONNOVSKAYA (S.). — Corot dans les Musses Editions des Bibliotheques nationales de France.

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MAUCLAIR (CamiUe). ;

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155
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Paris, Emile Paul, Degas. Manet et Monet.
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9ais sous la Troisifeme Rcpublique

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KLINGSOR — La Peinture fran^aise depuis

(T.).
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vingt ans Rieder, 1921,

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Musses natio- merie Duranton, 1932. in-i6.

lection Isaac de Camondo Paris,
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moderne Paris, Rouart et Watelin, 1922.

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MAUCLAIR (CamiUe). — Les Maitres de I'lmpres- Plon. 1934, in-40.

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VOLLARD (Ambroise). Souvenirs d'un marchand —

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TABARANT (A.). Le Cinquantenaire dc ITmpres- Albin Michel, in-8o.
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FRANCASTEL (Pierre). L'Impressionnisme. Les' —

Paris, mai 1924. de la peinture moderne. de Monet k
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Paris, Stock, 1925, in-i8.
UHDE (Wilhelm). — Les Impressionnistes Phaidon,
FRY (R.). — Transformations ; Londres, 1926.
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ATHER (F.-J.). — Modem Painting ;

New- York. KLEIN — Modem Masters New- York. 1938.
(J.).
;

1927.
— HUYGHE (Ren6). — L'Impressionnisme pens6e et la
WALDMANN Die Kunst des Realismus
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und des Impressionismus im xix. Jahrhundert;

Berlin, Propylaen Verlag, 1927.
VENTURI (LioneUo). — Les Archives de I'lmpres-
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STIX (Alfred). — Von Ingres bis Cezanne. 32 Hand- ;

Modern French Painters —

zeichnungen franzosischer Meister des xix. Jah- WILENSKI (R.-H.). ;

ninderts. Aus der Albertina. Wien, 1927, Anton

New-York, 1940 (new edition 1947).
SchroU, in-80. JEWELL (Edward- Alden). French Impressionists —
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School (Second Edition) London, rion, 1944.

Foreign ;

1928, in-80. R,\GGHIANTI (C.-L.). — Impressionismo ; Turin,

Mus6e d'Art moderne de Moscou. — Catalogue 1944.

iUustr^ ; Moscou, 1928, in-i6. DORIVAL (B.). —
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xix*^ siecle ; Paris, A. Colin, 1928, 'm-S°. REWALD (John). —The History of Impressionism ;

FOCILLON (Henri). — La Peinture aux xix^ et New-York. Hyperion. 1946.

xx« siecles. Du R^alisme i nos jours. Paris, BAZIN (Germain). — L'fipoque impressionniste ;

Laurens, 1928. Paris. Editions Pierre Tisne. 1947.

BASLER et KUNSTLER. — La Peinture indepen- PALLUCCHINI (Rudolpho). — Gli Impressionisti,
dante en France ; Paris, Cres. 1929, 'm-S°. aUa xxiva. Biennale di Venezia. Introduczione
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York, 1929. Venezia, 1948.

SCHNEIDER (Rene). —
L'Art fran^ais aux xix^ et Histoire de la peinture moderne de Baudelaire k
xx<^ siecles. Du Realisme k notre temps. Paris, Bonnard, texte de Raynal Geneve, Albert
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Laurens, 1930, in-80. Skira. 1949.

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PELS (Florent). —
Manet, notice par
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Florent Fels Paris, librairie de France, 1928, d'apres Degas ; Paris, s. d.. 1889, Boussod,
;

in-40 {Les Albums d'Art Druet, n^ XIV). Valadon et C'e. gr. fol.

FLAMENT (Albert). — La vie de Manet ; Paris. DEGAS. — Vingt dessins, 1861-1896 Paris, Goupil ;

et C®. J. Boussod, Manzi, Joyant et €•», gr. fol..

Plon. 1928.
MANET (fidouard). — Lettres de jeunesse, 1848-
1898.
LIEBERMANN (Max). — Degas BerUn. Bruno
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1849, ;

Cassirer, 1902, in-80, N. E. en 1912.

in-4<>.

LEGER (Charies). — Manet ; Paris, Cr^s, 1931, in-12 LEMOISNE (P.-A.). —

Degas. L'Art de notre temps ;
(Collection « Les Artistes nouveaux ").
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REY (Robert). — Choix de soixante-quatre dessins

in-80.

DEGAS. ~
Quatre-vingt-dix-huit Reproductions
d'£douard Manet ; Paris, Braun et C*®. 1932.
sign^es par Degas, peintures, pastels, dessins
in-4'' (Dessins et peintures de maStre du xix"
et estampes. Galerie A. Vollard, 6, me Laffite ;

siecle k nos jours, 2^ s^rie, 3® volume).

Paris, 1914. et Paris, Bemheim Jeune et 0°, idi-
VALERY (Paul). — Triomphe de Manet, suivi de teurs, 25, place de la Madeleine, 1918.
tante Berthe Paris, Editions des Musses
;
Catalogue de tableaux modernes et anciens. aqua-
nationaux, 1932, in-80. composant la collection
reUes, pastels et dessins,
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collaboration de BATAILLE (Marie-Louise).
— Galerie Georges-Petit, les 26 et 27 mars 1918 ;

Manet Paris, les Beaux-Arts, 1932, 2 volumes,

; Paris, 1918, in-S".
in-4° (L'Art fran^ais). Catalogue des tableaux, pastels et dessins, par
TABARANT (A.). —
Manet, Histoire catalogra- Edgar Degas provenant de son atelier dont
et
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Georges Petit, les 6, 7, 8 mai 1918 Paris, 1918.
COLIN — Manet Pierre Floury, 1937.
(Pierre). ;
in-80.
;

REY (Robert). — Manet Hyperion. 1938. ; Paris,

Catalogue des estampes anciennes et modernes.
GUfiRIN (Marcel). — L'ffiuvre grav^e de Manet Edgar Degas, dont
composant la collection la
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Paris. Floury, 1944, in-40 (Preface de Moreau- vente aura lieu k Paris, k I'Hdtel Drouot. les
6 et 7 novembre 1918 Paris, 1918, in-80.;
Nelaton).
par ses amis Geneva, Catalogue des eaux-fortes, vernis mous. aqua-
Manet raconte par lui-m6me et ;

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Pierre Cailler, 1945.
Degas et provenant de son ateher dont la vente
FLORISOONE (Michel). — Manet ;
Monaco, les
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TABARANT — Manet (Euvres

(A.). et ses ;
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deuxieme vente aura lieu i Paris, Galerie Georges-
MATHEY (Francois). — Olympia 1948. ;
Paris,
Petit, les II. 12 et 13 d^cembre 1918
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BEX (Maurice). — Manet Pierre Tisn^, 1948. ; Paris, 1918, in-80.

MATHEY (Francois). — Manet du ;

Paris, £;ditions Catalogue des tableaux, pastels et dessins, par Edgar
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si^me vente aura lieu k Paris. Galerie Georges-
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Paris.
Petit, les 7, 8, 9 avril 1919 Paris, 1919, in-80. ;

s. d., in-i6°.
Catalogue des tableaux, pastels et dessins, par
Edgar
GUIFFREY — Lettres
(Jean). de £douard
illustrees
Degas et provenant de son atelier dont la qua-
Le d., in-80 (Introduc-
Manet ; Paris, Garrec, s.
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HOURTICQ (Louis). — Manet. Notices par Jean LAFOND (Paul). —

Degas Paris, H. Floury.;
1918-
Laran et Georges Le Bas ; Paris, s. d. (1912},
1919. 2 volumes, in-40.
in-12.
DELTEIL (Loys). — Degas. Le peintre-graveur
HOURTICQ (Louis). — Manet ;
Paris, Librairie iUustr6. volume IX ; Paris, chez I'autcur, 1919.
centrale des Beaux-Arts, s. d.. in-S^ (L Art de in-40.
notre temps). MEIER-GR^FE (Julius). —
Degas. Ein Beitrag
MORTIMER (Raymond). — :£douard Manet, Un zur Entwicklungsgeschichte der modemen
Male-

Bar aux Folies-Bergere ;

London, Percy. Lund, rei ;Munich, R. Piper u. Co, in-40, 1920.

Humphries et C>«, s. d., in-80.

HERTZ — Art Esth6tique. Degas
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The Gallery book n^ 3 (with an introduction by F. Alcan, 1920, in-S**.

Raymond Mortimer). FOSCA (Francois). — Degas; Paris, Socidtfi des

ROSENTHAL (L.). — Manet aquafortiste et Htho- Trente. Albert Messein, 1921, m-8'>.

graphe ;
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WALDEMAR (George). —
et la carence du Manet duits en fac-simil6, 2 series de i i 50
100 Paris, Demotte. gr. fol., 1922 et 1923.
des Quatre-Chemms, k ;
Paris, Editions
spirituel
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;

MEIER-GR^FE (Julius). — Degas ;

E. Benn. Ld.,
editeurs, London. 1923.
MANET. Collection « Les Miniatures ^ Hyperion.

157
 de Mo>e Ve C. Pissarro.
Catalogue de la coUection
ses amis; Geneva, ]um 1921. galeae
Daumier racont^ par lui-mfime et
Exposition du 20 mai au 20
par Gustave Geoffroy
Pierre Cailler. 1945- NunS et Figuet. Preface ;

de Provence, Paris, 1921, in-80.

Num6ro special do la Revue Arts et Livres CamiUe Pissano - Pans,
Marseille, mai 1948. LECOMTE (Georges).
m-40.
;

Editions Bemheim-Jeune. 1922,

GAUTHIER (MaximUien). — Daumier ;
Pans,
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Braun (Collection les Maitres). TABARANT (A.). ;

in-So.

ROGER-MARX (Claude). - Camille Pissarro

Paris. ;

(Collection « LesGraveurs
JONGKIND N. R. F., 1929. in-i6
fran^ais nouveaux »).

du 20 jum au Catalogue de I'Exposition

du centenaire de la nais-
Exposition d'aquareUes de Jongkind Mus6e de I'Orangene.
PrMace de sance de Camille Pissarro,
4 juiUet 1914. Bemheim Jeune.
f^vrier, mars 1930. in-4°-
G. Jean-Aubry.
MOREAU-NELATON (fitienne). - Jongkindracont^ KUNSTLER (Charies). - Camille Pissarro ,
Pans.
Ci^. 1930 (Collection les Artistes
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- Jongkind Paris Rieder, mi nouveaux).

COLIN (Paul).
(CoUection « Maitres de I'Art
;

Modeme »). REWALD (J.).

— Camille Pissarro au Mus4e du
Paris. i939-
ROGER-MARX (Claude). — Jongkind ;
Paris. Cres, Louvre ;

PISSARRO (Ludovic Rodo).

1932, in-i2 stet. VENTURI (LioneUo) et

Stein, du 16 au
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ceuvre Pans, ;

ExDosition Jongkind, Galerie Guy volumes, m-4°-

^ 30 noveiibre 1936 (Preface Claude Roger Marx). Paul Rosenberg, 1939- 2

RFWALD (I). — Letters to his son Lucien New ;

Exposition Jonkgind. Mus^e ^r^^^J^l^phlc^^^^^^ York, 1943 (477 lettres entre 1883 et 1903).
Prmce de
du 3 juillet au 5 septembre 1948. Edition fran9aise en preparation.
Claude Roger-Marx. in-i6.
8 octobre REWALD (John). Pissanro — ;
Paris, Braun
Exposition Jongkind, Mus^e d'Amsterdam. (Collection des Maitres).
au 15 novembrc 1948.
rOrangerie. Jongkind
Exposition Jongkind. Mus^e de
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Jongkind ;
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ZOLA (£mile). —
£douard Manet, ^tude biogra-

phique et critique Paris, 1867, in-80.

;

BOUDIN BAZIRE (Edmond). — Manet ;

Paris, Quantin, 1884,

m-Ro
CAHEN (Gustave). —
Boudin, sa vie et son ceuvre. GONSE (Louis). — Manet ;
Paris. 1884, in-80.

preface d'Arsene Alexandre Pans, Floury, ;

1900.
DURET (Theodore). —
Histoire d'fidouard Manet et
AUBRY (Jean). —
Eugene Boudin, D'apres des de son ceuvre avec un catalogue des
pemtures et
documents inedits Paris, les Editions Bernheim
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H. Floury, 1902, in-40.

Jeune, 1922. TSCHUDI (Hugo von). — £douard Manet ;

Berlin,

ROGER MARX (Claude). ~ Boudin; Paris, Cr^s, 1902, in-80.

1927. MEIER-GR^FE (J.).
— Manet und sein Kreis;

Important Exhibition of selected pictures by Eugfene Berlin, 1903, in-i6.

Boudin. Octobre 25, November 17, 1934 '

MOREAU-NELATON (fitienne). Manet, — graveur

London, the PeUcan-Press, s. d. Paris, 1906, in-80.
et lithographe ;

RUTH (L.-Benjamin). — Eugene Boudin ;

New-York,
DURET (Theodore). —
Manet. Notice sur les trente-
Raymond et Raymond, 1937- Pans,
cinq tableaux de la collection Pellenn ;

Les Decorations d'Eugene Boudin pour le chateau 1910, album, in-4°.

de Bourdainville. (Eugene Boudin Tiepolo nor-
mand par A. Villebceuf), exposition du 22 avril au ALEXANDRE (Arsene). —
La Collection Henri
Paris, Mourlot. Rouart Paris. 191 2. grand in-80.
3 mai 1941. Galerie de l'£lys6e
;
;

in-i6. MEIER-GRiEFE (J.).

— :£douard Manet ;
Munich,

Eugene Boudin. catalogue des tableaux, 1912.

Atelier
pastels, aquarelles et dessins dont la vente aura PROUST (Antonin). —
fedouard Manet, souvenirs
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1913, in-8°.

PISSARRO DURET (Theodore). —

Histoire d'fidouard Manet et
et
de son oeuvre avec un catalogue des peintures
des pastels. Nouvelle Edition Paris, Bernheim ;

Catalogue de tableaux, aquarelles, pastels, dessins et Jeune, 1919, in-40.

gravures, provenant de son atelier et dont la vente
aura lieu k I'Hotel Drouot, salle. 11, le lundi 25 WALDMANN (£mil). fidouard — Manet; Berlin,

juin 1906. Paul Cassirer, 1923, in-80.

MORICE (Charles). — A. Meissin, Paris,

Pissarro ; BLANCHE (Jacques-£mile). — Manet ; Paris, Rieder,

1914, in-i6 (Quelques Maitres modemes...). 1924. in-80.

156
BURGER (Fritz). — Cezanne und Hodler : Einfiihrung JEWEL — New- York, 1944.
(E.-A.).
in die Probleme der Malerei der Gegenvart
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;
AUZAS (P.-M.). — Paris, 1945.
KLINGSOR — Cezanne
(L.). F. Riederet O^, ; Paris.
LORAN — Cezanne, sa composition
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Angeles. 1946.
1923, in-80.

RIVI6RE (Georges). — Le Maitre Paul C6zanne CASSOU (Jean). —

Les Baigneuscs ; Paris, Editions
;
des Quatre-Chemins, 1947.
H. Floury. 1923,
Paris, in-S".

BERNARD (£mile). — Souvenirs sur Paul Cezanne. LARGUIER (L^o). — Cezanne ou la luttc avec
I'ange de la peinture ; Paris, JuiUiard, 1947,
Une Conversation avec Cezanne. La M6thode in-80.
de Cezanne Paris, Michel, 1925, in-S".
;

LARGUIER (L^o). —
Le Dimanche avec Paul
A Loan Exhibition of Ci-^zannc, March 27-April 26,
1947. At Wiidenstein. New-York.
Cezanne ; Paris, Tfidition, 1925, in-S^.

FAURE (£lie). — Paul Cf^zanne ; Paris, Crcs, 1926,

DORIVAL (Bernard). — Cdzanne ; Paris. Tisn6.

in-4'*.
1948. in-40.

FRY (R.). — Cezanne, a study of his development ;

LHOTE (A.). — Lausanne, 1949.
London, 1927. BERNARD (Emile). — Souvenirs sur Paul Cezanne .

PFISTER (Kurt). —Cezanne, Gestalt.Werk.Mythos: Paris. Editions de la Pens^e latino, s. d.. in-12;

Potsdam, Kiepenhener, 1927, in-4°. COGNIAT (Raymond). — Cezanne ; Paris, Editions

Loan Exhibition by Paul Cezanne

of Paintings P. Tisn^. 1939. in-80.
(1839-1906). Paul Rosenberg and Co., Galeries COQUIOT (Gustave). — Paul C(:'zanne ; Paris.
Wiidenstein, New-York, Janvier 1928. Cata- P. Ollendorff, s. d.. in-i8.
logue in-8°.
GASQUET (Joachim). Cezanne; — Berlin, Bruno
GASQUET (J.). — Cezanne (les Albums d'Art Druet),
24 phototypies notice de ;
J. Gasquet ;
Paris,
Cassirer Verlag, 1930, in-4''. Librairio de France, in-4".
D'ORS (Eugenio). — xix® sieclc : Paul Cezanne ;

MARCK (Gcrstle). — Paul Cezanne ; London.

Paris, Editions des Chroniques du jour. 1930,
Jonathan Cape, s. d.. in^**.
in-40.

HUYGHE (Ren6). Cezanne ~ ; Paris, :£ditions La Renaissance, num^ro spi^cial (5. mai-juin 1936),
i I'occasion de I'exposition Cezanne A I'Orangc-
d'Histoire et d'Art, 1930, 23 x 18.
rie Paris, Imprimerie F. Dcshayes. s. d., in-8o.
GRABER (Hans). — Paul
Cezanne Briefe Erinne-
Exposition
;

Paul Cezanne, Mus^e de Lyon. Palais

rungen. Ubertragen und herausgegeben Basel. ;

Saint-Pierre, 1939. Centenaire de Paul Cezanne.

Benno Schwabe et O^, 1932, in-80. Lyon, M. Audin,
Avant-propos de Joseph Billict
RIVI£RE (Georges). — Cezanne ; Paris, Floury, s. d., in-i6.
;

1933, in-80. and

Homage to Paul Cezanne, July 1939- Wiidenstein
FAURE (£lie). — Cezanne ; Paris, Braun (collection
Co... London (Foreword by G. Wiidenstein,
des Maitres). 1936, 16 x 12. Biographic by John Rewald). London. J. Miles
HUYGHE (Ren^), REWALD (John). — Cezanne. and Co, s. d.. in-80.
Num^ro special de L'Amour de Art " mai 1936.
« 1' ;
Cezanne collection Miniatures. Hyperion.
—
;

LARGUIER (Leo). Paul C^anne ou le drame de

la Peinture ; Paris, Denoel et Steele. 1936,
23 X 17 SISLEY
RAYNAL (Maurice). —
Cezanne. Initiation 4 I'Art
moderne Paris, Editions de Cluny, 1936, 19 X 14. Alfred Sisley, Galcrie Georges Petit,
;
Exposition
REWALD (John). — Cezanne et Zola ;
Paris. Edi- f^vrier 1897. Preface par L. Roger-Mil6s ;
Pans,

tions Sedrowski. 1936. 25 x I7- 1897, in-12.

VENTURI (Lionello). —
Cezanne, son art. son Exposition d'une cinquantaine d'oeuvres
de Sisley
particulii^rcs,
oeuvre ; Paris, Paul Rosenberg, 1936, 30 X 23. faisant toutes partie de collections
Rosenberg, novembre 1904 Pans.
Galerie ;

Exposition Paul Cezanne, Musee de I'Orangerie,

1904, in-80.
et^ 1936. Avant-propos de J.-E. Blanche, de
rinstitut. Preface de Paul Jamot, de I'lnstitut, GEFFROY (Gustave). Sisley —
Paris. 1923. in-8°. ;

d'aujourd'hui, publics sous la

18 X 13. (Les Cahiers

REWALD (John). —
Paul Cezanne. Correspondance direction de Georges Besson).

recueUlie, annot^e et pr^facee par John Rewald ;

DE MONTCORIN (E.-D.). - Moret i travcrs
Moret, 1932.
Paris, Bernard Grasset, 1937. 21 X 14. I'Histoire. Notice sur Sisley ;

CHAPPUIS (Adrien). — Dessins de Paul Cezanne ;

La Grande Epoque de Sisley. A

Collection of his
Edition des Chroniques du jour, 1938. from the years 1870 to 1884. May
Paris, Paintings
lotth and Sons.
38 X 28. 2oth-June 19th. 1937- Arthur
NOVOTNY (Fritz). —
Cezanne und das Ende der in-4".

Wissentschaftlichen Perspective Vienna, Anton ;

FRANCASTEL (P.)- - Mo"^^, Sisley. Pissarro

Schroll. 1938, 26 X 18. Geneva. 1949.

REWALD (John). —
Cezanne, sa vie, son ceuvre,
GEFFROY (Ciustave). - Sisley ;
Paris. Cr^s, s. d..

son amiti6 pour Zola Paris. A. Michel, 1939.;

in-80.
in-80.
— Paris, BESSON (Georges). - Sisley ; Paris. Braun (coUec-
RILKE (R.-M.). Lettres sur Cezanne ;

tion les Maitres).

traduction 1944-

159
COQUIOT (Gustave). — Degas ; Paris, Ollendorff, DEGAS, peintre du mouvement. Exposition de

1924, in-So. peintures, pastels et dessins. Galerie Andre

Weil. 9 juin 1939. Preface du catalogue par
JAMOT (Paul). — Degas ; Paris, liditions de la
Claude-Roger Marx.
Gazette des Beaux-Arts, 1924, in-40.

VOLLARD (Ambroisc). Degas (1834-1917) — DEGAS. — Catalogue de I'Exposition de peintures,

:

pastels, dessins et sculptures de la Galerie

Paris, Ics liditions G. Cr6s et C'e, 1924, in-S"*.
A.-D. Mouradian et A. Vallotton, Paris, 1938,
Exposition Degas an profit de la Ligue Franco- grand in-S".
Anglo-Am^ricaine centre le cancer. Peintures,
pastels et dessins, sculptures, eaux-fortes, litho-
JAMOT — Degas Skira, 1939.
(Paul). ;

graphies et monotypes. Ouverte du 12 avril au GRAVER (Hans). — Degas... Basel, B. Schwabe, ;

2 mai 1924. Introduction de Daniel Hal^vy. 1940, in-80.

Catalogue de Marcel Gu6rin Paris, liditions ;
REBATET (Marguerite). — Degas k Paris Biblio- ;

des Galeries Georges Petit, 1924, in-8°. theque fran^aise des Arts, 1944, in-80.
DEGAS. —
Vingt-quatre Phototj-pies. Notice de
DEGAS. —Huit sonnets d'Edgar Degas, preface
Francois Fosca. Les Albums d'Art Druet, n" 6
de Jean Nepveu-Degas Paris, La Jeune Parquc,
;

Paris, Librairies de France, 1927.

1946. in-40.
MANSON (J.-B.). —
The Life and Work of Edgar
ROUART (Denis). — Degas i la recherche de sa
Degas ; London. Geoffrey-Holme, 1927, in-4°.
technique Paris,
;
Floury. 1946.
Succession de M. Edgar Degas. Croquis et Im-
pressions (monotypes) par Edgar Degas pour« Les LEMOISNE (P.-A.). —
Degas et son ceuvrc Paris, ;

Petites Cardinal" », par Ludovic Hal^vy. Vente Arts et Metiers graphiques, 1946, 3 volumes et
A Paris, Hotel Drouot, salle n" i. 17 mars 192S ;
une table, in-40.
Paris, in-80. LASSAIGNE (Jacques). — Degas ; Paris, Hyperion,
GUftRIN (Marcel). —
Dix-neuf portraits de Degas 1947, in-folio.
par hii-meme. Preface de P.-A. Lemoine chez ;
DEGAS. —Monotypes. Preface Denis Rouart ;

Marcel Gu6rin, 1931, Paris, in-40. Quatre-Chemins £ditard, 1948, in-fol.

Lcttres de Degas recueillies et annot^es par Marce)
Gu6rin et pr^c^dees d'une preface de Daniel
LEYMARIE (Jean). — Les Dessins de Degas ;

Femand Hazan, 1948, in-12.

Hal^vy Paris, Bernard Grasset, 1931, in-S".
;

Exposition Degas, portraitiste, sculpteur. Preface

BOREL (Pierre). —
Les Sculptures in6dites de
Degas Geneva, Pierre Cailler, 1949. in-80.
de Paul Jamot, catalogue de Charles Sterling ;

et de Paul Vitry. Mus6e de I'Orangerie, 1931 ; DEGAS. —

Album de dessins. PrMace de Daniel
Paris, 1931, in-i6. Halcvy Les Quatre-Chemins, juin 1949. in-folio.
;

A Loan Exhibition of Paintings and Pastels by ANDR£ (Albert). — Degas ; Paris. Braun et C*e,
H. G. E. Degas... Fogg Art Museum, s. d. (1931)- in-folio (collection Galerie d'Estampes).
Catalogue des tableaux, aquarelles, pastels, dessins,
estampes, monotypes, par Edgar Degas. Collec-
DEGAS. — Paris, Hyperion (collection « Les Minia-
tures »).
tion de M"^ J. F6vre. niece du peintre. Vente
;\ la Galeric Charpentier, 12 juin 1934 Paris, ;
REWALD (John). — Degas ; Paris, Braun (collec-

1934. in-80. tion des Maitres d'aujourd'hui).

DEGAS. — Notice d'Albert Andr^ ; Paris. Editions ROUART (Denis). — Degas, dessins ; Paris, Braun
Braun. s. d. (1934), in-folio. et C»«, in-folio.

RIVI£RE (Georges). —
M. Degas (bourgeois de ROUART (Denis). — Degas ; Paris, Braun, in-S"
Paris) ;
Paris, Floury, 1935. in-8°. (collection « Palettes »).

Succession de M. Edgar Degas. Sept croquis et

impressions monotypes par Edgar Degas, ex6-
cut6s en partie pour I'illustration de I'ouvrage PAUL CEZANNE
« les Petites Cardinals, par Ludovic Halcvy, Vente

k I'Hotel Drouot, salle 12, mardi 25 juin 1935 ;

MORICE (Charles). — Paul Cezanne. Quelques
Paris, in-S". Maitres modemes... ; Paris, 1910, in-i6.

Exposition Degas. Peintures, pastels, dessins, gra- VOLLARD (Ambroise). Paul Cezanne — ; Paris,
vures, sculptures. Pennsylvania Museum of Art. Galerie A. Vollard, 1914, in-40.
Catalogue, par Henry P. Mcllhenny, preface
Exposition Cezanne, dccembre 1920, chez Bemheim
de Paul J. Sachs, introduction de Miss Agnes
Jeune et C'^ ; Paris, 1920, in-12 (preface Octave
Mongan ; Philadelphia, 1936, in-80.
Mirbeau).
GRAPPE (Georges). — Degas ; Paris, Plon, s. d.
MEIER-GR^FE (Julius). — Cezanne und sein
(1936), in-80.
Kreis ein Beitrag zur Entwicklungsgeschichte
VAL£RY —
Degas. Danse, dessin. Illus-
(Paul). Munich, 1920, in-S^.
;

tration d'Edgar Degas Paris, Ambroise Vol- ;

lard, in-40, 1936. Exposition Cezanne, Cezannes Werke in deutschen

^ Privatbesitz, Gemalde, Aquarelle, Zeichnungen,
Exposition Degas. Peintures, pastels, dessins, aqua- November-Dezember, 1921, bei Paul Cassirer ;

relles, monotypes, gravures, sculptures. A I'Oran- Berlin. 1921, in-80.

gerie des Tuileries, mars-avril 1937. Preface de
Paul Jamot. catalogue par Jacqueline Bouchot- GASQUET (Joachim). Cezanne — ; Paris, Editions
Saupique et Marie Delaroche-Vemet, in-i6. Bernheim Jeune, 1921, in-4°.
MAUCLAIR (Camille). — Degas ; Paris, Editions WEDDERKOP (Hans von). — Paul Cezanne ;

Hj'p^rion. 1937. in-folio. Leipzig, Klinkhardt. Biermann, 1922. in-S^.

158
 BAZILLE MAUGHAM (W.-S.). — The Moon and six pence,
London, 1929.
POULAIN (Gaston). — BaziUe et ses amis ; Paris,
ALEXANDRE (Ars^ne). — Paul Gauguin. Sa Vie et
La Renaissance du livre, 1932, in-8°.
le sens de son ceuvre ; Paris, Bemheim Jeune,
Exposition juin 1935 i TAssociation des ^tudiants 1930, in-40.
protestants. Preface de Gaston Poulain, 28 x 22,
s. p.
GAUGUIN (Paul). ~
Lettres de Paul Gauguin i
Georges Daniel de Monfreid. Prcced^es d'un
SARRAUTE (M.). — Paris 1948 (Th^se ;\ ificole du hommagc par Victor Segalen. Plon, 1930. in-S**.
Louvre).
KUNSTLER (Charles). — Anciens et Modernes,
Exposition Bazille, organis^e au Profit du Mus^e dc Gauguin ; Paris, Floury, 1934, in-80.
Montpellier, juin-juillet 1950, Wildenstein Paris ;
Exposition Paul Gauguin. Paul Gauguin March 20 to
s. d.
April 18, 1936 Wildenstein, New York (fore-
;

word by H. Focillon), grand in-8°.

CASSATT
GAUGUIN (£mile). —
Gauguin's intimate Journals
VALERIO (£dith). — Mary Cassatt ; Paris, Editions translated by Van Vyck Brooks, preface by
Cr^s, 1930 Les Artistes nouveaux. Emil Gauguin New-York, Crown, 1936, 24 X 18.
;

Exposition Mary Cassatt, for the Benefit of the GAUGUIN (Pola). — Paul Gauguin mon p6re.
Goddard Neighborhood Center, October 1929. Editions de France, 1938, in-8°.
December 6, 1937 Wildenstein, Now- York.
;
HAUTECCEUR. — Gauguin. Collection Les Tr^sors de
SEGARD (Achille). — Un Peintre des enfants des et la Peinture Fran^aise, 1938, Skira, in-folio.

m^res, Mary Cassatt

litteraires et artistiques,
; Paris, Soci^t6 d'£ditions
s. d., in-80.
REWALD (John). — Gauguin ; Paris, aux Editions
Hyperion, 1938, 33 x 25.

HAMON (Rene). — Gauguin Ic solitaire du Pacifique.

GAUGUIN Vigot fr^res Edition 1939, in-S^.

MALINGUE (Maurice). —
Gauguin Paris, les
GAUGUIN (Paul) et MORICE (Charles). — Noa-Noa. Documents d'art, Monaco, 1943, in-4*>.
;

]£dition La Plume, 1901, in-S".

REWALD (John). — A. Vollard and A. Fontainas
DENIS (Maurice). —
Theories, 1890-1910. Du San Francisco, 1943.
;

Symbolisme et de Gauguin vers un nouvel ordre

classique, 2^ edition Paris, Bibliotheque de
;
GAUGUIN (Paul). —
Lettres de Gauguin i sa femme
et k ses amis. Preface de Malingue Grasset, 1946, ;
rOccident, 1912, in-S^.
MORICE (Charies). — Paul Gauguin ; Paris, Floury,
in-80.

WITT(A.de). — Vita e arte di Gauguin ; Milan, 1946.

1919, in-4'>.

— Gauguin et le groupe de Pont- COGNIAT (Raymond). — Gauguin ; Paris, Tisn6,

CHASSE (Charies).
Aven. Documents in^dits ;
Paris, Floury, 1921, 1947, in-80.
in-80. MALINGUE (Maurice). —
Gauguin le peintre et son
GAUGUIN (Paul). — Lettres de Gauguin k Andr6 ceuvre. Avant-propos de Pola Gauguin les ;

Fontainas. Librairie de France, 1921, in-i6. Presses de la Cit^, Paris 1938, in-40.

GAUGUIN (Paul). — Avant Apr^s Cr^s, et ;

Paris, REN£-JEAN. — Gauguin. Collection » Palettes

in-8°. Braun, 1948.

1923,
REY (Robert). — Gauguin Rieder, 1923, ; Paris, PERRUCHOT (Henri). —
Gauguin. Sa Vie ardente
in-80 (Maitres de moderne). I'art et miserable. Editions Le Sillage, 1948, in-80.

WIESE — Paul Gauguin (Junge Kunst n^

(£rich). 36) EDGAR (Frank). —Gauguin ;
Paris, Fernand Hazan
Leipzig, Klinkhardt, Biermann, 1923, m-80. editeur, 1949, in-i6.

CHADOURNE (Marc) GUIERRE (Maurice). —

et
Exposition du Centenaire de Gauguin. Orangeric des
Marehurehu entre le jour et la nuit, croyances, Tuileries, Catalogue par Jean Leymanc...
pre-
Idgendes, coutumes et textes po^iques des Mans cede de Gauguin cr^ateur de la peinture moderne,
d'O Tahiti, avec 14 illustrations de Gauginn ;
par Ren6 Huyghe... Paris, Editions des Musses
;

Paris, Librairie de France, 1925, in-S^. nationaux, 1949, in-i6.

GAUGUIN (Paul). — Noa-Noa. :£dition definitive ;

TARALON (Jean). — Gauguin. Editions du Ch6ne.

Paris, Cr^s, 1929, in-80.
1949, in-folio.
ROTONCHAMP (J. de). — Paul Gauguin, 1848-1903;
— Gauguin Paris, Braun,
Paris, Cres, 1925, in-80.
COGNIAT (Raymond). ;

d., in-i6 (Collection des

Maitres).
GAUGUIN (Paul). — Noa-Noa. Reproductions fac-
s.

— Arte y vida de Pablo

simile, 1926. COSSIO DEL POMAR (J.)-
Madrid Mayor,
DORSENNE (Jean). — La Vie sentimentale de m-8o
Paul Gauguin (Escuela sintetisa)
in-40.
; 4,

Gauguin ;Paris, I'Artisan du Livre, 1927,

(Cahiers de la Quinzaine). A Loan Exhibition of Paul Gauguin. April. 3, M-^V 4.
New- York, pnnted at the
GU£RIN ~
(Marcel). L'(Euvre grav^e de Gauguin ; 1946, at Wildenstein
Gallery-Press, s. d., grand in-80.
Paris, Floury, 1927, 2 volumes, m-40.

GIRIEUD — Les Albums d'Art Druet, 1928.

(Pierre).
XII, Exposition la Vie ardente dc Paul Gauguin.
W. Preface d Henri
Catalogue
Foci Ion.
Librairie de France, introduction G.
Paul Gauguin ; Paris.
Cogmat Pans, Wil-
Biographic par Raymond
BARTH (Wilhelm). — Paul Gauguin Benno Schwabe
;

;
denstein, 1936.
et Co, Basel, 1929, in-40.

161
 RENOIR
MONET
Exposition Claude Monet i Rodin, Prefaces de MEIER-GR^FE
Version fran^aise de A. S.
(Julius)^
J^^PJ'*.%.H'rK
Maillet Pans. H. T
Mirbeau (Octave) et Geffrey (Gustave) Pans,
:
;

Floury, 1912, in-S^.

1889, in-80.
ALEXANDRE (Ars^ne). — Claude Monet ;
Paris. MIRBEAU (Octave). —
Renoir Preface d'Octave
in-folio. Mirbeau Paris. Bemheim Jeune, 1913. m-folio, pi.
Bemheim Jeunc, 1921, ;

Exposition Claude Monet, Janvier 1921 ;

Paris, VOLLARD (Ambroise). —
Renoir. r^Mition avec
quelques variantes du texte pubhe en 1919,
in-12
Bemheim, 1921, in-12.

GEFFROY (Gustave). — Claude Monet : sa vie son

(Paris, Cr^s, 1920).
— Renoir et ses amis Paris,
temps, son oeuvre ; Paris, G. Cr^s, 1922, m-S". RIVlfiRE (Georges). ;

ELDER — Chez Claude Monet k Givemy

(Marc). ;
Floury, 1921, in-S^.
— Pieae-Auguste Renoir Paris,
Bemheim Jeune, 1924.
Paris, BASLER (Andr^).
(Les
;

1923, in-12.
MAU CLAIR (Camille). — Claude Monet 1924 Paris, NouveUe Revue fran9aise
collection publifee
Peintres fran^ais nouveaux,
;

Rieder, in-80.
sous la direction de Roger Allard).
EELS — Claude Monet 24 photographies,
(Florent). :
— Renoir Paris. F. Rieder, 1923.
notice de Florent dc
Fels ; Paris, Librame FOSCA (Francois). ;

in-80.
France, 1927, in-40.
FOSCA (Francois). — Claude Monet ; Paris, I'Artisan R^GNIER (Henri de). —
Renoir, peintre du nu.
preface d'Henri de R^gnier Pans. Bemheim. ;

du LivTC, 1927, in-80.

Austellung, 1923, in-40.
Exposition Claude Monet (1840-1926)
Berlin, f6vrier-mars 1928, Catalogue, m-S^.
;

DURET (Theodore). Renoir;— Paris. Bemheim

WERTH — Claude Monet Paris, Cr^s, 1928,

(Leon). ;
Jeune. 1924, in-40.
— Renoir Leipzig.
in-80. MEIER-GR^FE (Julius). ;

CL^MENCEAU — Claude Monet NympWas les Kleinkhardt, Biermann, 1928, in-40.

(G.) .

(Nobles Vies, Grandes (Euvrcs)

,

;
Pans, Plon,
ANDR^ (Albert) et ELDER (Marc). 1' Atelier de —
1929, in-80. Renoir; Paris, Bemheim Jeune. 1931, 2 volumes,-

FELS (Florent). — La Vie de Claude Monet ;

Paris, in-4°.

N. R. F., Gallimard, 1929. in-80.

ANDRfi (Albert). — Renoir Paris, Cres,
;
in-40 s. d.,

L^GER (Charles). — Claude Monet G. Cr^s ;

et C'«,
ROGER-MARX (Claude). — Anciens Modemes et :

1929 (Collection les Artistes). Renoir ; Paris, Floury, 1933, in-8''-

Exposition retrospective Claude Monet au Mus^e

Jamot, m-12.
de
FLORISOONE (Michel). — Renoir; Paris, Hype-
I'Orangerie. 1931. PrHace Paul
rion. 1937, in-40.
GRAPPE (Georges). — Monet ;
Paris, Plon, 1941.
BfiRARD (Maurice). — Renoir k Wargemont ;
Paris,
in-80.
Larose. Edition 1938, 28 X 18.

MALINGUE (Maurice). —
Claude Monet Paris, les ;

BESSON (George). — Renoir Paris. Cr^s, ;

s. d.,
Documents d'Art, Monaco, 1943, in-40. Les Artistes nouveaux).
in-80, (collection «

MAUCLAIR (Camille). — Claude Monet et I'lmpres-

— Renoir Paris A. Skira, 1939.
sionnisme... ; Paris, Jean Renard, 1943. in-8°- BAZIN (Germain). ;

in-4°. (Les Tr^sors de la peinture fran^aise).

of Paintings by Claude Monet.
\ Loan Exhibition
April II, May 12 1945 at Wildenstem ;
New DRUCKER (Michel). — Renoir, preface de Germain
York, Gallery-Press, s. d., in-80. Bazin Paris Tisn^, 1944, in-4° (collection Pro-
;

meth^e, publi^e sous la direction de Ren^ Huyghe

BE5S0N (G.). — Monet ;
Paris, Braun et C>e
et par Germain Bazin).
des Maitres).
(Collection
FROST (Rosamund). — Renoir, traduit de I'anglais
par Marc Loge, 44 illustrations Paris, Hype-
BERTHE MORISOT rion, 1944.
;

Exposition Berthe Morisot (M^e Eugene

Mallarm^, mars
Manet).
1896, chez HEASAERTS (Paul). — Renoir, sculpteur. S. L.
Preface par Stephane
Editions Hermes, 1947.
Durand-Ruel Paris, 1896, in-S".
;

Exposition de cent oeuvres de Berthe Morisot,

du JOURDAIN (Francis). — Le Moulin delaGalette;
novembre Bemheim Jeune. Paris, Braun et C»«, 1947-
7 au 22 1919 ;

FOURREAU (Armand). —
Berthe Morisot Paris, ; ZAHAR (Marcel). — Renoir ; Paris, Editions Aimery
Rieder, 1925, in-S" (collection Les Maitres de Somogy, s. d., in-i6, 1948.
F.
I'Art modeme). Renoir, 16 aquarelles et sanguines accompagn^es dc
Exposition Berthe Morisot, au profit des amis
du souvenirs sur mon pere par Claude Renoir ;

Luxembourg, du 6 au 24 mai 1929. Chez Bem- (Paris, Quatre-Chcmins. fiditart, 1948).

heim Jeune. BOUDOT (Jeanne). — Renoir, ses amis, ses modules ;

Exposition Berthe Morisot, au Musee de I'Orangerie. Paris, Editions litt^raires de France, 1949,
Ete 1941. PrMace de Paul Val^ry Pans. ;
in-80.
Aulard, 1941. in-i6.
— Berthe Morisot. LEYMARIE (Jean). — Les Pastels, dessins et aqua-
ANGOULEVENT (Monique). relles de Renoir ; Paris, Femand Hazan, 1949,
preface de Robert Rey ;
Paris Morance s. d.,
in-i6.
in-80.

ROUART (Denis). —Berthe Morisot. :£dition Braun ;

CASSOU (Jean). — Renoir, peintures, 1868-1895.
in-7°, Paris Editions du Ch^ne, 1950.
Paris, s. d., in-i6.

160
REWALD (John). — Seurat... ; Paris, Braun, 1950, BONNARD
in- 1 6.

REWALD (John). — Seurat ; Paris. Albin Michel FOSCA (Francois). — Bonnard ; Geneva, Librairie
in-80. Kundig, 1919, in-80.

SEURAT. — Albums d'Art Druet, n^ ro ; Paris. WERTH (L^on). — Bonnard ; Paris, Cr^s, 1919, in-40.
Librairic dc France. ROGER-MARX (Claude). — Bonnard ; Paris.
N. R. F., 1925, iu-i2.
TOULOUSE-LAUTREC TERRASSE (Charles). — Bonnard ; Paris, Floury,
1927, in-40.
ESSWEIN (H.). — Modem Illustratoren. H. de Tou-
FONTAINAS — Bonnard
louse-Lautrec ; Munich, 1904.
(A.). ; Paris. 1928 (Album
Druet).
LA FAROE (John) et JACCACI (August f.). — BESSON (Georges). — Bonnard
Noteworthy Paintings in American private ; Paris, Braun,
New-York, 1907, in-fol. 1934. in-i6.
collections ;

COQUIOT — H. de Toulouse-Lautrec
(Gustave). ;
Exhibition of Paintings by Bonnard. March ist to
24th 1934 Wildcnstein, New- York
; Paris,
Paris, A. Blaizot,
1913, in-40. ;

Imprimerie de Vaugirard, 1934, in-80.

DURET (Theodore). — Lautrec Bemheim ; Paris,
LAPRADE (Jacques dc). — Bonnard Paris,
Jeune, 1920, in-80.
; 1944.
LHOTE (Andr^). — Bonnard, 1939-1943
COQUIOT (Gustave). — Lautrec ou quinze ans de Editions du Ch^ne, 1944.
; Paris,

mceurs parisiennes, 1885-1890 Paris, Delen-

dorff, 1921, in-8°.
;

COURTHION (Pierre). — Bonnard ; Lausanne,

JOYANT (M.). — Henri de Toulouse-Lautrec

1945.

Paris, Floury, 1926, in-40 (2^ volume, 1927). WERTH (L^on). NATANSON
(Thad^c). GISCHIA

LAPPARENT (Paul de). Toulouse-Lautrec; — (L^on), DIEHL (Gaston). Pierre Bonnard, —

1945. Les Publications techniques et artistiques.
Paris, Rieder, 1927, in-S" (collection « Les Maitres
de I'art moderne »).
Coulcurs de Bonnard (Verve 1947, vol. V, n^ 17-18).

FOSCA Toulouse-Lautrec
(Francois) . — ; Paris, Exposition Bonnard au Musee dc I'Orangerie des
TuUeries, octobre-novcmbre 1947 lidition des
1928, Les Albums d'art Druet. ;

Musses nationaux, in-i6.

GOTTLAND (Jedlicha). Henri de Toulouse-— —
Lautrec ; Berlin, B. Cassirer, 1928, in-40. BEER (Fran<;ois- Joachim). Pierre Bonnard, suivi
d'un texte de Louis Gillet. Preface par Raymond
MAC ORLAN (Pierre). — Toulouse-Lautrec, peintre Cogniat Marseille, Editions fran?aise d'art,
;

de lumi^re froide
la ; Paris, Floury, Editions
1947, in-40.
Floury.
Exposition Bonnard, Kunsthaus, Zurich,
SCHAUB-KOCH Psychanalyse d'un
(fimile). — juin-juilJet
Pierre
1949.
peintre moderne, Henri dc Toulouse-Lautrec ;

Edition Litteraire Internationale, 1935, in-80.

Exposition Bonnard, chez Bemheim Jeune ; Paris.

LASSAIGNE (Jacques). — Toulouse-Lautrec ;

Paris, FOSCA (Francois). — Bonnard ; Paris. Crfes. in-80,

Nouvelle Edition, s. d.
Editions Hyperion, 1939, in-40.
1946, Hyperion. Num^ro special du « Point », no 24 textes de Maurice ;

TOURETTE (G. de la). Toulouse-Lautrec Paris, — ;

Denis, Georges Besson et Terrasse.

Skira, 1939 (collection Les Tresors de laPeinture

contemporaine).
VUILLARD
JULIEN — Les Dessins de Lautrec
(E.). ;
Monaco,
1942. Catalogue des tableaux composant la collection
ROTZLER (W.). — Affiches de Lautrec ;
Paris, 1946. Maurice Gangnat... Tableaux par E. Vuiilard.
DELAROCHE-VERNET-HENRAUX (H.). — Vente 24-25 juin 1925 Paris, 1925, m-40. ;

Henri de Toulouse-Lautrec ; Pans, Editions des MARGUERY (Henry). — Les Lithographies de

Quatre-Chemins, 1948. Vuiilard ; Paris, L'Amateur d'Estampes, 1935,
ROGER-MARX (Claude). —
Les Lithographies de m -80

Toulouse-Lautrec Paris, Femand Kazan, 6dit.,

; Exposition E. Vuiilard i I'Orangerie des Tuilerics.
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Henri dc Toulouse-Lautrec ;
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s. d., in-80. London. Lund Humphries, in-80.

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DONOS (Ch.). — De Toulouse-Lautrec ;
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et le gofit du bonheur;
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Librairie Vanier, s. d.,
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^sculape, 1928, in-40. Femand
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Floury, 1928.
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1950.
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S. A., 1932, in-40.

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(VV.). ;
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Miniatures
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periode in het Werk van Vincent Van Gogh ;

SALMON (Andr^). — Seurat ;
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Autwerpen de Sikkel, 1937, in-40.
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Li^ge, 1938, Bruxelles, 1945.

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HUYGHE (Ren^). — Van Gogh (dessms) ;

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NIGG (W.). — Vincent Van Gogh Bern, 1942. ;

Seurat and his Contemporaries... Juanuary ;
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February 27, 1937 Wildenstein and ;
C°,

Milano, Iiditions Ulrico Hoepli, 1944, in-i6. London. in-8°.

PI^RARD (L.). BEER (D' J.). LEROY (D^ E.). — LAPRADE — Georges Seurat
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Les Documents d'art, 1946. in-40. Seurat ; New- York, Curt Valentin, 1947, in-40.

SALESLE (Jacques). — Van Gogh ; Le Courrier LHOTE (Andr6). — Seurat ; Paris. Editions Braun
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Imprimerie de Vaugirard, 1934, in-80.

DURET (Theodore). — Lautrec Bemheim ; Paris,
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Jeune, 1920, in-S^. ;

COQUIOT (Gustave). — Lautrec ou quinze ans de LHOTE (Andre). — Bonnard, 1939-1943 Paris, ;

Editions du Chenc, 1944.

mceurs parisiennes, 1885-1890 Paris, Delen-
dorff, 1921, in-80.
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COURTHION (Pierre). — Bonnard ; Lausanne,

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(L^on), DIEHL
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Musses nationaux, in-i6.
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1946, Hyperion. Num^ro special du « Point », n"^ 24 textes de Maurice ;

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Henri de Toulouse-Lautrec
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LibrairieVanier, s. d., 'm-S° (collection « Les

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JOURDAIN (Francis). — Toulouse-Lautrec ; Paris, CHASTEL (Andr6). — Vuillard, Peintures 1890-

Braun (collection Les Maitres). 1930 ; Paris, Editions du Chfine.

163
8951-12-50 — IMP. CRfiTfi. CORBEIL
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