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It has always seemed to me that with all the differences inherent in the antagonism of the characters of the two men, the essential features of the art of Rousseau and Turner were the same; pure impressionism based on the most intimate and largest knowledge of the facts of nature, but without direct copying of them rather working from memoranda or memories, for neither ever painted directly from nature; the same conception of the subject as a whole, its rhythmic and harmonic unity as opposed to the fragmentary manner of treatment of most of their contemporaries; the lyric passion in line and tint; the same originality which often became waywardness in the conception of subject in itself; the same revolt from all precedent; and the same passion for subtle gradation and infinite space, air, and light and some of Rousseau's skies were the most vaporous I have ever seen.

At that time impressionism reigned in the Latin Quarter, but its victory over the older schools was still recent; and Carolus-Duran, Bouguereau, and their like were set up against Manet, Monet, and Degas. To appreciate these was still a sign of grace. Whistler was an influence strong with the English and his compatriots, and the discerning collected Japanese prints.

Impressionism, however, is at once out of the running; it has always vigorously repudiated the notion of the standard, and we know, therefore, that no more than appreciation can it choose its material and stand alone. But scientific criticism professes, at least, the true faith M. Brunetiere holds that his own method is the only one by which an impersonal and stable judgment can be rendered.

There has never been an English critic of the first rank, hardly a critic of any rank; and the critical work of England consists either of an academical bandying of a few old canons and shibboleths out of Horace or Aristotle, or else of the merest impressionism, and wordy struggle to convey the sentiment awakened by the thing studied.

Gauguin in an eloquent letter tells of his intercourse with Vincent Van Gogh, who went mad and killed himself, not, however, before attempting the life of his master. Mauclair has said of Van Gogh that he "left to the world some violent and strange works, in which Impressionism appears to have reached the limit of its audacity.

Technically Impressionism has brought a complete renewal of pictorial vision, substituting the beauty of character for the beauty of proportions and finding adequate expression for the ideas and feelings of its time, which constitutes the secret of all beautiful works. It has taken up again a tradition and added to it a contemporary page.

The "Intimists," C. Cottet, Simon, Blanche, Ménard, Bussy, Lobre, Le Sidaner, Wéry, Prinet, and Ernest Laurent, have proved that they have profited by Impressionism, but have proceeded in quite a different direction in trying to translate their real perceptions.

The young artist paints strange impressionism, stranger symbolism, and perhaps a strangest other-ism, before at last he reaches the medium of his individual genius.

Nor must it be forgotten that they were contemporaries of the realistic, anti-romantic literary movement, a movement which gave them nothing but friends. Flaubert and the Goncourts proved that Realism is not the enemy of refined form and of delicate psychology. Impressionism can therefore be defined as a revolution of pictorial technique together with an attempt at expressing modernity.

So it seems then, that if Monet invented the principle of impressionism as applied to painting, Pissarro and Sisley assisted greatly in the creative idea for our lasting use and pleasure by the consideration of the intellect which they applied to it; just as Seurat has given us a far greater realization than either Signac or Cross have offered us in the principle of pointillism.