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It is sometimes a long business, very long; big drops of sweat come out on Monet's forehead. But I know that he would not give up his place for anything in the world. When Mazy arrived at the hospital, Hourticq, who is no egoist, said to him at once in a low tone: "Yours is a leg too, isn't it? You must try to get Monet to hold it for you."
It is so fascinating, that one cannot but love its very mistakes which make it more human and more accessible. Renoir is the most lyrical, the most musical, the most subtle of the masters of this art. Some of his landscapes are as beautiful as those of Claude Monet. His nudes are as masterly in painting as Manet's, and more supple.
The canvases of Monet, Renoir and Pissarro have, in consequence of this research, an absolutely original aspect: their shadows are striped with blue, rose-madder and green; nothing is opaque or sooty; a light vibration strikes the eye.
After a while Monet detached himself from the rest of the walking throng and fell back with Starratt. He seemed to have an instinctive gift for sensing moods, and Fred was grateful for his silence. They were passing by a two-story concrete building in the Colonial style when Monet touched Fred's arm. "That's the famous Ward Six," Monet explained, softly.
Vast, unique and of the greatest interest is Theodore Riviere's wonderful group in bronze representing a triumphant band of desert soldiers dragging captive the Moroccan pretender, secured in an iron cage. There, too, are splendid paintings by Monet, Meissonier, Detaille, de Neuvilie, and many other French artists approved by time.
It would be a superfluous and thankless task to argue with critics or artists who refuse to acknowledge Manet, Monet, Degas. These men are already classics. Go to the Louvre and judge for yourself. Impressionism has served its purpose; it was too personal in the case of Claude Monet to be successfully practised by every one. Since him many have hopelessly attempted the bending of his bow.
True, that Corot's aim was to render his impression of his subject, no matter whether it was a landscape or a figure; in this aim he differed in no wise from Giotto and Van Eyck; but we are not considering Corot's aims but his means of expression, and his means of expression were the very opposite to those employed by Monet and the school of Monet.
He was Japanese and Spanish, never Watteau, Monticelli, Turner, or Monet. MacColl has pointed out the weakness of the scientific side of impressionism. Its values are strictly æsthetic; attempts to paint on a purely scientific basis have proved both monotonous and ludicrous.
"There has been a prejudice against bringing old days back too clearly to these wretches... But Monet's been playing his music and they seem to like that." It ended by Fred going out with Monet and one of the attendants into the hills and bringing back a beautiful fir tree.
Faxon advanced, attracted by a shimmering Monet, but Rainer laid a hand on his arm. "He bought that last week for a thundering price. But come along I'll show you all this after dinner. Or HE will rather he loves it." "Does he really love things?" Rainer stared, clearly perplexed at the question. "Rather! Flowers and pictures especially! Haven't you noticed the flowers?
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