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Updated: June 4, 2025
He does recall in essence at least the quality of pastels in prose, though the art intention is a sturdier one. It is enough that Twachtman did find his relationship to impressionism, and that he did not evolve a system of repetition which marks the failure of all influence.
It is an honour he neither desires nor deserves. The pure doctrine of Impressionism, as formulated by Claude Monet, enjoins "scientific truth" and submission to Nature, whereas Renoir observed one day to an astonished disciple, "Avec la Nature on ne fait rien"; and on being asked where, then, the student should learn his art added, without any apparent sign of shame or sense of sin "Au musée, parbleu!"
The same critic does not hesitate to name Monticelli as one of the great quartet of harmonists, Claude, Turner, Monet being the other three. Taine it was who voiced the philosophy of Impressionism when he announced in his Philosophie de l'Art that the principal personage in a picture is the light in which all things are plunged.
We cannot think of Martin as ever having carried off academic medals during his period. We cannot think of Martin as President of the Academy, which position was occupied by a far inferior artist who was likewise carried away by impressionism, namely Alden Weir.
We do not affirm thereby that impressionism is inherently better than realism, or that subtlety is more to be desired than strength; the psychological novel is not necessarily greater than romance; because of our preference "programme music" is not therefore more significant than "absolute music." The greatness of an artist is established by the greatness of his ideas, adequately expressed.
It is impressionism applied to autobiography, which has always been considered as essentially a subject for photographic treatment. Borrow thought otherwise, with the result that many people decline to believe that his picture is a portrait, because there is a question as to the dates.
He is a temperament impressionable to the sun, air, trees, children, women, men, cattle, landscapes, the ocean. Such swift, vivid notation of the fluid life about him is rare; it would be photographic were it not the personal memoranda of a selecting eye; it would be transitory impressionism were it not for a hand magical in its manipulation of pigments. Brain and brush collaborate with an instantaneity that does not perplex because the result is so convincing. We do not intend to quote that musty flower of rhetoric which was a favourite with our grandfathers. It was the fashion then to say that Nature capitalised took the brush from the hand of the painter, meaning some old duffer who saw varnish instead of clear colour, and painted the picture for him. Sorolla is receptive; he does not attempt to impose upon nature an arbitrary pattern, but he sees nature with his own eyes, modified by the thousand subtle experiences in which he has steeped his brain. He has the tact of omission very well developed. After years of labour he has achieved a personal vision. It is so completely his that to copy it would be to perpetrate a burlesque. He employs ploys the divisional taches of Monet, spots, cross-hatchings, big sabre-like strokes
To find the equal of these faces after having stated their classic descent one would have to turn to the beautiful things by Ingres, and certainly Degas is, with Ingres, the most learned, the most perfect French draughtsman of the nineteenth century. An affirmation of this nature is made to surprise those who judge Impressionism with preconceived ideas.
Here are representative works by Gari Melchers, a famous American who has long lived abroad. Unmistakably these canvases are from a masterly brush; but the coloring is not always good, and the room is somewhat disappointing. Gallery 78-Hassam. By common consent Childe Hassam is considered the greatest American follower of Impressionism.
He was not one of those up-to-date Germans who decry the German way of feeling, and persuade themselves that they admire and love French Impressionism or the artists of the eighteenth century, except when they go farther and are convinced that they understand them better than the French. Christophe was a barbarian, perhaps: but he was frank about it.
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