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At the Exhibition of 1900, in the two rooms reserved for the works of this school, there were to be seen a dozen of Sisley's canvases.
An unceasing production, and an almost unvarying degree of excellence, has placed Monet at the head of the school; his pictures command high prices, and nothing goes now with the erudite American but Monet's landscapes. But does Monet merit this excessive patronage, and if so, what are the qualities in his work that make it superior to Sisley's and Pissaro's?
Next to Gauguin, among the seniors of the present generation and the successors of Impressionism, should be placed the landscapist Armand Guillaumin who, without possessing Sisley's delicate qualities, has painted some canvases worthy of notice; and we must, finally, terminate this far too summary enumeration by referring to one of the most gifted painters of the French School of the day, M. Louis Anquetin.
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