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Updated: April 30, 2025
This insistence, this conviction that a work should not be good on the whole, but as a whole, is, no doubt, in part a reaction from the rather too easy virtue of some of the Impressionists, who were content to cover their canvases with charming forms and colours, not caring overmuch whether or how they were co-ordinated.
These pictures are almost primitive, and they are loved by the young Impressionists because of their exclusion of all "cleverness." A charm of rude simplicity and sincerity can be found in these works in which Cézanne employs only just the means which are indispensable for his end.
After Haarlem and Frans Hals you may realise that Manet and Sargent had predecessors; after a visit to The Hague the View of Delft may teach you that Vermeer was an Impressionist long before the French Impressionists; also that he painted clear light as it never before was painted, nor since. As for Rembrandt, the last word will never be said.
The æsthetes had a doctrine; the Impressionists had a method and a technic. The Post-Impressionists had nothing, and were driven to the attempt at pure self-expression to the exaltation of the great god Whim. They had no training, they recognized no traditions, they spoke to no public.
American by birth, she became French through her assiduous participation in the exhibitions of the Impressionists. She is one of the very few painters whom Degas has advised, with Forain and M. Ernest Rouart. She is a pastellist of note, and some of her pastels are as good as Manet's and Degas's, so far as broad execution and brilliancy and delicacy of tones are concerned.
He had parted with the Impressionists and sought for a new æsthetik of art; to achieve this he broke away not only from tradition, even the tradition of the Impressionists, but from Europe and its civilisation. To this half-savage temperament devoured by the nostalgia of the tropics the pictures of his contemporaries bore the fatal stamp of the obvious, of the thrice done and used up.
But it is befitting to terminate this all too short study by explaining that the most lyrical of the Impressionists has also been the theorist par excellence. His work connects easel painting with mural painting.
Every line is strong and effective: the modelling, the poise of the figure and the breadth of the shadows in dry point, are masterly. The Salon articles, five in number, are from the pen of M. Ph. Burty, the most radical, incisive and original writer on the staff champion of the Impressionists, bitter enemy of the Academics and warm admirer of any fresh, sincere and individual talent.
Only a few years ago, after a tribute to Whistler, he wrote of Manet in the introduction to his volume on Impressionism, and while no one may deny his estimate, yet through zeal for the name of his dead friend he attributed to him the discoveries of the impressionists.
This artist signed her pictures with her maiden name, being too modest to use that which she felt belonged only to Édouard Manet, in the world of art. A great interest was, however, aroused in the private galleries, where the works of the early impressionists were seen, by the pictures of Berthe Morisot.
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