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Updated: May 24, 2025
It was significant enough when he once said to Renoir, that it took him twenty years to find out that painting was not sculpture. Those earlier and heavy impasto studies of his are the evidence of this worthy deduction. It was significant, too, when he said that Gaugin was but "a flea on his back," and that "he does nothing but paint Chinese images."
"I'd taken Bengy Wade's opinion without a moment's hesitation on the length of a fox terrier's tail, but a fan " "He wants to be considered artistic," pleaded Miriam. "And the last touch about St. Francis, wasn't that a trifle overdone? Somewhat too thickly laid on? What used to be called by painters in a pre-impressionistic age too great impasto. I am afraid that you are a little deteriorating."
The use of the palette knife renders these strokes as smooth as marble, the shadows have disappeared. The material brought together renders the tone more beautiful. Marble has never an ugly tone." "One may use impasto, but not everywhere. Your brush should be handled with reference to the character of what you are copying ... do not forget that an apple is smooth.
Many of the early pictures have a joyousness of frank workmanship, a directness of attack and a simplicity of arrangement that appeal to the world at large more freely than the subtler blonde harmonies of the later years. The Profil de Femme in which M. Lambotte discerns the influence of Rembrandt, is more suggestive to the present writer of familiarity with Courbet's bold, heavy impasto and sharp transitions from light to shadow. The Réverie of the preceding year has also its suggestions of Courbet, in spite of the delicately painted flowers in the Japanese vase; but in the pictures of the next few years, the robust freshness of the painter's Flemish vision finds expression in color-schemes that resemble nothing so much as the gardens of Belgium in springtime, filled with hardy blossoms and tended by skillful hands; La Consolation of 1857, for example, in which the two black-robed women form the heavy note of dead color against which are relieved the pink and white of their companion's gown, the pale yellow of the wall, the blue of the floor and the low, softly brilliant tones of the beautiful tapestry curtain. Another painting of about the same time has almost the charm of Fantin-Latour's early renderings of serious women bending over their books or their sewing. In La Liseuse the girl's face is absorbed and thoughtful, the color harmony is quiet, the white dress, the dull red of the chair, the blue and yellow and green wools on the table, forming a pattern of closely related tones as various in its unity as the motley border of an old-fashioned dooryard. In other examples we have reminiscences of that time of excitement and esthetic riot when the silks and porcelains and enamels of the Far East came into the Paris of artists and artisans and formed at once a part of the baggage of the Parisian atelier. L'Inde
About a hundred pictures in oil and some fifty water-colors have been put on the list of his works. Mr. Theodore Child found his execution heavy, uniform, of equal strength all over, and of a monotonous impasto which destroys all aerial perspective.
He had an honest, solid, vigorous impasto, which he strongly insisted on in his instructions a method which was like the great masters of the Venetian school. This method was modified in his practice by his studies under West in England, and by his intimacy with Allston, for whose genius he had a great reverence, and by whose way of painting he was strongly influenced.
Working as he did under widely varying conditions, his paintings are dissimilar, not only in merit but in method of execution; even his portraits vary from thin, free handling to solid impasto.
The mass of the silhouette, unbroken as in an Egyptian statue, but with tremulous contours suggesting the fluttering of life in the dimly defined body, is sufficiently considered and distinguished; but it is the modeling of the face that holds the attention, a mere blur of tone, yet with all the planes understood and with a certain material richness of impasto that contributes to the look of solid flesh, the dark of the eyebrows making the only pronounced accent a face that becomes more and more vital as you look at it, with that indestructible vitality of which, among the Frenchmen, Carrière was master.
"The Lily" has the passionate lyricism of Chaminade, and "Sweet Wind that Blows" is a fine frenzy. The "Nocturne" is dainty and has its one good climax. "Before the Dawn" has some of Chadwick's best work; it is especially marked by a daring harmonic you might say impasto. In the case of the cantata, "The Lily Nymph," Chadwick's art was quite futilized by the superb inanities of the book he used.
His touch is of great delicacy; his impasto admirable. GERARD TERBURG, born at Zwol 1608, died 1681, learned painting under his father, and when still young visited Germany and Italy, painting numerous portraits on a small scale, and occasionally the size of life.
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