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Updated: April 30, 2025
Manet is a classic. His genuine power technically speaking lies in the broad, sabre-like strokes of his brush and not in the niggling taches of the impressionists of which the reuctio ad absurdum is pointillisme. He lays on his pigments in sweeping slashes and his divisions are large.
I have for purely personal reasons chosen the two painters who formulate for me the conviction that there have been and are but two consistently convincing American impressionists. These gentlemen are John H. Twachtman and Theodore Robinson.
We could but utter coarse gibes and exclaim, "What could have induced him to paint such things? surely he must have seen that it was absurd. I wonder if the Impressionists are in earnest or if it is only une blague qu'on nous fait?" Then we stood and screamed at Monet, that most exquisite painter of blonde light.
To admire them does not mean to imitate them: it means the recognition in them of the principles of originality and the comprehension of their source, so that this eternal source may be called to life in oneself, this source which springs from a sincere and sympathetic vision of the aspects of life. The Impressionists have not escaped this beautiful law.
Give him a brilliant virtuoso theme and he could handle it with some of the sweep and splendour of the early Carolus Duran or the brutal elegance of the later Boldini. But Madame Mineur was a pastoral. She did not express nervous gesture. She was seldom dynamic. To "do" her in dots like the pointillistes or in touches after the manner of the earlier impressionists would be ridiculous.
Without a word the two walked on. The first to speak after the silence was the man. He pointed out a curious effect of the light, and reminded her who had painted it best 'Corot could do these things! and he flung a stone in passing at the New Impressionists. At the Lodge Gate they found Lady John with Filey and Hermione. 'We thought if we walked this way we might meet Jean and her bodyguard.
And now for the milk in the cocoanut. We fight, concludes the manifesto: 1st: Against the bituminous tints by which it is attempted to obtain the patina of tone upon modern pictures. The Impressionists forty years ago attacked bituminous painting and finally drove it out; now it is coming back as a novelty. There are thirty-four pictures in the show, the catalogue of which is a curiosity.
I sometimes think that Vignon, a seemingly obscure associate of the impressionists, with a similar impassioned feeling of realism, outdid him and approached closer to the principles as understood by Pissarro: probably better by a great deal than Monet himself, who is accredited with the honor of setting the theme moving in a modern line of that day.
Having married Eugène Manet, the brother of the great painter, she exhibited at various private galleries, where the works of the first Impressionists were to be seen, and became as famous for her talent as for her beauty. When Manet died, she took charge of his memory and of his work, and she helped with all her energetic intelligence to procure them their just and final estimation. Mme.
This master of the fine art was a personage and nothing more; but, as I have said, there was an infinite diversity of temperament amongst the masters of the fine art I have known. Some were great impressionists. They impressed upon you the fear of God and Immensity or, in other words, the fear of being drowned with every circumstance of terrific grandeur.
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