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Updated: June 4, 2025
It is well to study one wall, A perhaps, and then to go to the Redfield and Hassam rooms, and then to the group of Monets, to see the various ways in which Impressionism has spread. Gallery 26-Whistler.
He must appreciate the differences in the creeds of workers in color and not apply the formulas of impressionism to works in tone. He must not emphasize the importance of drawing in the work which clearly speaks of color and by its technique ignores all else; nor expect the miracle of luscious, translucent color in a work demanding the minute drawing of detail.
"Well, it's beautiful, sir," remarked Bullen cordially; "painted like the life, you may say. But isn't it just a little smudgy, sir?" "That's the beauty of it, Bullen. It's impressionism, you Philistine! a sort of modified impressionism, you know, to suit the hangers. 'Gad, Bullen, you ought to be a hanger yourself!
But the most important distinction, for the student of contemporary tendencies, is that which concerns the term "Impressionism." This name in its original and technical sense applied to the works of the men who, instead of mixing shades, placed different colors side by side on their canvases to give the effect of the right shade at a distance.
This manifesto reflects in its own way the spirit of Debussy and his untrammelled musical impressionism; and though it shows a good deal of naïveté and some intolerance, there was in it a strength of youthful enthusiasm that accorded with the great hopes of the time, and foretold glorious days to come and a splendid harvest of music.
It must, however, be recognised that Boudin is nearer to Impressionism than to any other grouping of artists, and he must be considered as a small master of pure French lineage. Finally, if a question of nationality prevents me from enlarging upon the subject of the rank of precursor which must be accorded to the great Dutch landscapist Jongkind, I must at least mention his name.
Impressionism is an art which does not give much scope to intellectuality, an art whose followers admit scarcely anything but immediate vision, rejecting philosophy and symbols and occupying themselves only with the consideration of light, picturesqueness, keen and clever observation, and antipathy to abstraction, as the innate qualities of French art.
Later he modified his own paint to show his sympathy with the new school. Monet went to Watteau, Constable, Monticelli for his ideas, and in London, about 1870, he studied Turner with an interest that finally bordered on worship. And why not? In Turner, at the National Gallery, you may find the principles of impressionism carried to extravagant lengths, and years before Monet.
If he had gone to Paris instead of to Japan, we should have missed the impressionism of his Japanese tales, yet he might have found the artistic solace his aching heart desired. There his style would have been better grounded; there he would have found solid weapons fashioned for his ethnical, archæological, and æsthetical excursions.
At Aix he tried to pass for a respectable rentier; he found no difficulty in being silly, but he could not achieve the necessary commonplaceness. He could not be vulgar. He was always an artist. Instead of telling us so much about Zola and tutti quanti M. Vollard might have told us more about Cézanne's artistic development. What, for instance, is the history of his relations with Impressionism?
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