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M. Renoir's second manner is more directly related to the Impressionist methods: it is that of his landscapes, his flowers and his portraits. Here one can feel his relationship with Manet and with Claude Monet. These pictures are hatchings of colours accumulated to render less the objects than their transparency across the atmosphere. The portraits are frankly presented and broadly executed. The artist occupies himself in the first place with getting correct values and an exact suggestion of depth. He understands the illogicality of a false perfection which is as interested in a trinket as in an eye, and he knows how to proportion the interest of the picture which should guide the beholder's look to the essential point, though every part should be correctly executed. He knows how to interpret nature in a certain sense; how to stop in time; how to suggest by leaving a part apparently unfinished; how to indicate, behind a figure, the sea or some landscape with just a few broad touches which suffice to suggest it without usurping the principal part. It is now, that Renoir paints his greatest works, the Déjeûner des Canotiers, the Bal au Moulin de la Galette, the Box, the Terrace, the First Step, the Sleeping Woman with a Cat, and his most beautiful landscapes; but his nature is too capricious to be satisfied with a single technique. There are some landscapes that are reminiscent of Corot or of Anton Mauve; the Woman with the broken neck is related to Manet; the portrait of Sisley invents pointillism fifteen years before the pointillists; La Pensée, this masterpiece, evokes Hoppner. But in everything reappears the invincible French instinct: the Jeune Fille au panier is a Greuze painted by an Impressionist; the delightful Jeune Fille
"You may go now," said Angelique. "Here is money for you. Give this piece of gold to La Corriveau as an earnest that I want her. The canotiers of the St. Lawrence will also require double fare for bringing La Corriveau over the ferry." "No, they rarely venture to charge her anything at all, my Lady," replied Fanchon; "to be sure it is not for love, but they are afraid of her.
The canotiers with rapid strokes of the paddle passed the high cliffs and guarded walls, and made for the quay of the Friponne, De Pean forcing silence upon his companions as they passed the Sault au Matelot, where a crowd of idle boatmen hailed them with volleys of raillery, which only ceased when the canoe was near enough for them to see whom it contained. They were instantly silent.
The straw hats are changed into gold, the blue jackets are sapphires, and out of a still exact realism is born a poem of light. The Déjeûner des Canotiers is a subject which has been painted a hundred times, either for the purpose of studying popular types, or of painting white table-cloths amidst sunny foliage.
He got ready for departure, and with a drunken rush and a broken song the four gallants, with unwashed faces and disordered clothes, staggered into their canoe and with a shout bade the boatmen start. The hardy canotiers were ready for departure.
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