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Updated: June 4, 2025
Gallery 61-Recent French Influence. On wall A is an uneven collection by Monet, the greatest apostle of Impressionism.
A work of art is the statement of the artist's insight into nature, moulded and suffused by the emotion attending his perception. Of the object, he uses that aspect and that degree of truth which serve him for the expression of his feeling toward it. What is called "realism" is one order of truth, one way of seeing. "Impressionism" is another order of truth. "Idealism" is still another.
Some men's ball programmes are studies in impressionism, Percy's seemed to me to be a study in madness. It was covered with hieroglyphics, but what they meant, or what they did there anyhow, it was absurd to suppose that I could tell, I never put them there! Proverbially, the man's a champion hasher. 'I regret, my dear Percy, that I am not an expert in cuneiform writing.
Mauclair mentions "the most animated water-colour drawings of Guys, his curious vision of nervous elegance and expressive skill," and names it the impressionism of 1845, while Dr. Muther christened him the Verlaine of the crayon because, like Verlaine, he spent his life between the almshouse and a hospital, so said the German critic.
No other group will be referred to so often in connection with the American galleries. On wall B is a typically joyous canvas by Gaston La Touche, who carries Impressionism into figure work. On walls C and D are other examples of the Impressionist School, by Pissarro and Renoir and the English Sisley. On wall C is a portrait by Eugene Carriere.
His impulse is as genuine and spontaneous as if the substance upon which it is exercised were not the acme of the exotic, and already arranged with the most elaborate conventionality. Nothing indeed could be more opposed to the elementary crudity of impressionism than his distinction and refinement, which may be said to be carried to a really fin de siècle degree.
The subjects, Cecily had been informed, were natural scenery; the style, impressionist. Impressionism was no novel term to Cecily, and in Paris she had had her attention intelligently directed to good work in that kind; she knew, of course, that, like every other style, it must be judged with reference to its success in achieving the end proposed. But the first glance at the first of Mr.
I wonder if anyone, small or grown up, can understand this: "It was indeed a higher kind of impressionism that Monet originated, one that reveals a vivid rendering, not of the natural and concrete facts, but of their influence upon the spirit when they are wrapped in the infinite diversities of that impalpable, immaterial, universal medium which we call light, when the concrete loses itself in the abstract, and what is of time and matter impinges on the eternal and the universal."
Certainly this was a weakness in Impressionism though by no means in all the Impressionist masters for it is certain that the profoundest emotions are provoked by significant combinations of significant forms. Also, it seems certain that only in these organised combinations can the artist express himself completely.
He had found the thing which the modern people call Impressionism, which is another name for that final scepticism which can find no floor to the universe. As a man in an evil dream strains himself to scream and wake, Syme strove with a sudden effort to fling off this last and worst of his fancies.
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