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It will serve to give, so to say, a mathematic necessity to the happy finds met by the artists hitherto, and it will also serve to endow decorative art and mural painting with a process, the applications of which are manyfold and splendid. I have already summed up the ideas which follow from Claude Monet's painting more clearly even than from Manet's.
"Looks just like a place up in Somesbury where I was born same old pasture. What's the price?" "It isn't for sale," answered Jack, in a decided tone. "Not for sale?" "No." "Well, I rather like it," and he bent down closer, "and, if you can fix a figure, I might " "I can't fix a figure, for it isn't for sale. I didn't paint it it's one of Monet's." "Belongs to you don't it?" "Yes belongs to me."
They are all jealous persons who envy Monet's position and would like to show that they too know how to hold Hourticq's leg properly. But it is not my business to show favour to the ambitious. As soon as Hourticq is brought in, I call Monet. If Monet is engaged, well, I wait. He comes, lays hold of the leg, and Hourticq ceases to lament.
With the equally inevitable answer: "Not a thing in the world!" Some one was shaking him. He gave a quick gasp that ended in a groan as he opened his eyes. Monet was bending over him. "You've been asleep," his companion said. "Come, it's time to go in... The bell for supper has rung... And you were dreaming, too ... I knew that because you smiled!" Fred Starratt grasped Monet's hand fervently.
After thirty minutes, he says why thirty instead of forty or twenty, I do not know; these mysteries are Eleusinian to the mere amateur the light changes; he must stop and return the next day at the same hour. The result is immensely real, and in Monet's hands immensely varied.
Not so vain, so irritable as either Manet or Whistler, Monet's nerves have never prompted him to extravagances. Backbiters declare that Monet is suffering from an optical degeneration poor, overworked word! Monet sees better, sees more keenly than his fellow-men. What a misfortune! Ibsen and Wagner suffered, too, from superior brains.
Monet's pictures look just as that explanation of them sounds! The same writer says that Monet was greater than Corot because he was more sensitive to colour; but if Monet had been as sensitive to colour as Corot, he could not have lived and looked at his own pictures.
"We'll write Ginger," Fred decided at once. It had seemed quite a matter of course until he sat down with pen in hand and then he had a feeling that this last demand was excessive. He fancied she would achieve it someway, and he was not mistaken. The violin came and, everything considered, it was not a bad one. Monet's joy was pathetic. Fred wrote back their thanks.
Not with half-tints in which colour disappears are Monet and his school concerned, but with the brilliant vibration of colour in the full light, with open spaces where the light is reflected back and forward, and nature is but a prism filled with dazzling and iridescent tints. I remember once writing about one of Monet's innumerable snow effects: "This picture is in his most radiant manner.
It is more technical than personal, and while it was lucky to have such an exponent as Claude Monet, there is every reason to believe that Monet's impressionism is largely the result of a peculiar penetrating vision. He has been imitated, and Maufra and Moret are carrying on his tradition yet there is but one Monet.
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