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Updated: May 27, 2025
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.
Mauclair does not hesitate to put Daumier among the great painters of the past century on the score of his small canvases. "They contain all his gifts of bitter and profound observation, all the mastery of his drawings, to which they add the attractions of rich and intense colour," declares Mauclair. Doubtless he was affected by the influence of Henri Monnier, but Daumier really comes from no one.
It must be remembered that he spent some time copying, at Madrid, Velasquez and Goya, and as Camille Mauclair enthusiastically declares, these copies are literal "identifications." In the history of the arts there are cases such as Fortuny's, of Mozart, Chopin, Raphael, and some others, whose precocity and prodigious powers of production astonished their contemporaries.
L'Indifférent, that young man in the Louvre who treads the earth with such light disdain, with such an airy expression of sweetness and ennui, that picture, Mauclair remarks, is the soul of Watteau. And, perhaps, spills his secret. Mauclair does not like the coupling of Watteau's name with those of Boucher, Pater, Lancret, De Troy, Coypel, or Vanloo.
On the purely pictorial side he is, to quote M. Mauclair, "an absolutely surprising painter of hands and glances." In the sad and anxious rectitude of his attire the artistic interest in modern man is concentrated upon his head and hands; and upon these salient points Carrière focussed his art. Peaceful or disquieted, his men and women belong to our century.
Camille Mauclair, an enthusiastic admirer of this school of art, says: "Berthe Morizot will remain the most fascinating figure of Impressionism the one who has stated most precisely the femininity of this luminous and iridescent art." A great-granddaughter of Fragonard, she seems to have inherited his talent; Corot and Renoir forcibly appealed to her.
But the stage-manager, holding his chin in the hollow of his right hand, which is the attitude of profound thought, said: "It is not the first time that Mauclair has fallen asleep in the theater. I remember finding him, one evening, snoring in his little recess, with his snuff-box beside him." "Is that long ago?" asked M. Mifroid, carefully wiping his eye-glasses.
He offended the eyes of 1875, no doubt, but there was in him during his first period much of Boucher; his female nudes are, as Camille Mauclair writes, of the eighteenth century; his technique is Boucher-like: "fat and sleek paint of soft brilliancy laid on with the palette-knife with precise strokes around the principal values; pink and ivory tints relieved by strong blues similar to those of enamels; the light distributed everywhere and almost excluding the opposition of the shadows; vivacious attitudes and decorative convention."
He makes it express emotions that are never found save in music or in psychological and lyric literature."<1> <1> C. Mauclair, "The Decorative Sculpture of August Rodin," International Monthly, vol iii.
It remained, however, for Camille Mauclair, a Parisian critic in sympathy with the arts of design, literature, and music, to place Monticelli in his proper niche. This Mauclair has done with critical tact. There is magic and high lyric poetry in his art."
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