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Updated: June 4, 2025
That was the name they gave him, being a gross lot, who could have no appreciation of the man's dignified bearing. And to call him black was the superficial impressionism of the ignorant. Of course, Mr. Bunter, the mate of the Sapphire, was not black. He was no more black than you or I, and certainly as white as any chief mate of a ship in the whole of the Port of London.
Monet's remarkable method of putting his colours upon canvas does not mean impressionism. He is an impressionist but also Monet an artist with a method entirely different from that of any other. He belongs to what in France is called the pointillistes. The word means nothing more nor less than an effort to accomplish the impossible.
It forms a capital example of early impressionism, respectfully recommended to the favourable attention of Mr. J.M. Whistler. The reindeer, however, formed the favourite food and favourite model of the pre-Glacial artists. Perhaps it was a better sitter than the mammoth; certainly it is much more frequently represented on these early prehistoric bas-reliefs.
In the paintings there are traces of French and German training, and especially of Impressionism; but the exhibit shows more true national feeling and more individual independence than any other in the building.
In this versatility some writers believe they have discovered a vague pantheistic conception. Nothing is more questionable, fundamentally, than this interpretation. It is more in harmony with the psychology of these naïve minds to assume simply an extreme state of "impressionism," explicable by the logic of feeling.
Zola, pitching overboard many friends, wrote his famous eulogy of Manet in the Evenement, and the row he raised was so fierce that he was forced to resign as art critic from that journal. The fight then began in earnest. The story is a thrice-told one. It may be read in Théodore Duret's study of Manet and, as regards Cézanne, in the same critic's volume on Impressionism.
As to the engraver Félix Buhot, he was a rather delicate colourist in black and white; his Paris scenes will always be considered charming works. In spite of his Spanish origin, the painter, aquarelliste, and draughtsman Daniel Vierge, should be added to the list of the men connected with Impressionism.
Ever attacked, and poor until the last few years, they enjoyed none of the benefits of publicity and sham glory. It is only quite recently that the admission of the incomplete and badly arranged Caillebotte collection to the Luxembourg Gallery has enabled the public to form a summary idea of Impressionism.
They are good only when the real intention of impressionism has been expressed, when the synthesis of color has actually produced light and air, and an impression of nature is quickened. But the voice from the canvas more frequently cries “nature be hanged—but this is impressionism.”
Another hopeful straw at which the sanguine catch is the admirable power of development possessed by the new inspiration. As a rule, the recognition of a movement as a movement is its death. As soon as the pontiffs discovered Impressionism, some twenty years after its patent manifestation, they academized it.
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