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Indeed, you're a neo-impressionist, a get-busy-and-do-it-now master of art.... But she's a mighty nice girl, isn't she?" "Meaning Miss Manning?" said Trenholme coldly. "No. Eliza." "Sorry. I misunderstood." "'Cré nom! You've got it bad." "Got what bad?" "The matrimonial measles. You're sickening for them now.
A neo-impressionist oil-sketch over the mantelpiece, with blue trees and red fields and a girl whose face was a featureless blob, imperiously monopolized the attention of the beholder, warning him, whoever he might be, that the inescapable revolutionary future was now at hand.
We shall study in the next chapter his Neo-Impressionist comrades, and we shall now speak of some illustrators more advanced in years than he. The oldest in date is the engraver Henri Guérard, who died three years ago. He had married Eva Gonzalès and was a friend of Manet's, many of whose works have been engraved by him.
At his best, however, he is a very great impressionist a neo-impressionist, or expressionist if you like but I should say an impressionist much influenced and much to the good, as was Gauguin, by acquaintance with Cézanne in his last and most instructive phase.
The usual crowd of charlatans, camp-followers, hangers-on may be found loudly praising their own wares in this Neo-Impressionist school if school it be but it is only fair to judge the most serious and gifted painters and sculptors of the day. Already there are signs that the extremists, contortionists, hysterical humbugs, Zonists, Futurists, and fakers generally are disappearing.
Professor Clausen is a temperate critic, MacColl a brilliant, revolutionary one. The critical temper in either man is not dogmatic. Seurat, the French Neo-Impressionist, has defended his theories; indeed, the number of talented Frenchmen who paint well and write with style as well as substance is amazing.
He submitted himself to various influences; he imitated the Impressionists, became a Neo-Impressionist of the most extravagant sort; went sketching with Cézanne and Van Gogh, that unfortunate Dutchman, and finally announced to his friends and family that "henceforward I shall paint every day."
It is true that M. de Feure is Dutch, M. Vallotton Swiss, and M. Van Rysselberghe Belgian; but they have settled down in France, and are sufficiently closely allied to the Neo-Impressionist movement so that the question of nationality need not prevent us from mentioning them here.
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