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Updated: June 30, 2025
The Impressionists in their turn, consider Turner as one of their masters; they have the greatest admiration for this mighty genius, this sumptuous visionary. They have it equally for Bonington, whose technique is inspired by the same observations as their own. They find, finally, in Delacroix the frequent and very apparent application of their ideas.
But if the Impressionists themselves have neglected actively to assist the interesting school of modern illustration, a whole legion of draughtsmen have immediately been inspired by their principles. One of their most original characteristics was the realistic representation of the scenes, the mise en cadre, and it afforded these draughtsmen an opportunity for revolutionising book illustration.
Richardson and Fielding and Sterne in their turn, as great realists and impressionists, proved to the eighteenth century that the novel is as flexible as life itself. And from their days to the days of Henry James the form of the novel has been adapted by European genius to the exact needs, outlook, and attitude to life of each successive generation.
Yet to such depths had art sunk in the nineteenth century, that in the eyes of the rabble the greatest crime of Whistler and the Impressionists was their by no means drastic simplification. And we are not yet clear of the Victorian slough. The spent dip stinks on into the dawn.
How ever appropriate and seemingly unavoidable when I touch upon anything appertaining to the lady, it is most unsuitable to the origin, character, and history of the dog; for the dog was the gift to the child from a man for whom words had anything but an Ollendorffian value, a man almost childlike in the impulsive movements of his untutored genius, the most single-minded of verbal impressionists, using his great gifts of straight feeling and right expression with a fine sincerity and a strong if, perhaps, not fully conscious conviction.
The precursors of the Impressionists, on the other hand, succeeded in painting absolute values, confining themselves to a very limited gamut; for this reason the first landscapes of the school were all gray-green, dull, cloudy. But Monet did not stop there.
They can do etchings that have the brilliancy of epigrams, pastels that are as fascinating as paradoxes, and as for their portraits, whatever the commonplace may say against them, no one can deny that they possess that unique and wonderful charm which belongs to works of pure fiction. But even the Impressionists, earnest and industrious as they are, will not do. I like them.
Impressionists and post-impressionists came down occasionally to stay at Flood for Sir Arthur liked to play Mæcenas and were allowed to deal quite frankly with the pictures, as they wandered round the room at dessert, cigarette in hand, pointing out the absurdities of the Cuyp and the Titian.
He spoke of Mendelssohn as if the composer of Elijah had earned undying shame, of Gounod as if he ought to have been hanged for creating his Faust. His glorification of certain modern impressionists in music depressed Heath, almost as much as his abuse of the dead who had been popular, and who were still appreciated by some thousands, perhaps millions, of nobodies.
We call them extraordinary not alone because of their size, but also because Brangwyn is practically the first among latter-day artists to apply boldly to etching the methods of the impressionists. Etching in its essential nature is an impressionistic art.
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