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Updated: May 19, 2025
Helen's one aim is to translate tunes into the language of painting, and pictures into the language of music. It's very ingenious, and she says several pretty things in the process, but what's gained, I'd like to know? Oh, it's all rubbish, radically false. If Monet's really Debussy, and Debussy's really Monet, neither gentleman is worth his salt that's my opinion."
He used to raise himself on his elbow at times and look in the ghostly light of morning at Monet's face, white and immobile, the thin and shapely lips parted ever so slightly, and marvel at the bland and childlike faith that was the basis of this almost breathless and inaudible sleep.
If Monet ever suffered seriously from a danger to his art it was success. He was abused in the beginning, but not as severely as Manet. But success perched on Monet's palette. His pictures never seem to suggest any time but high noon, in spirit, at least. And he is never sad. Yet, is there anything sadder under the sun than a soul incapable of sadness?
Monet's production had become a kind of mercerized production, and a kind of spurious radiance invested them, in the end. It remained for Pissarro, Sisley, Cézanne, and Seurat to stabilize the new discovery, and to give it the stamina it was meant to contain, as a scientific idea, scientifically applied.
There had been those stripey, streaky creations of Monet's, which had turned out such trumps; and then the stippled school; and Gauguin. Why, even since the Post-Impressionists there had been one or two painters not to be sneezed at.
Consider Rain, Steam and Speed the Great Western Railway, that vision of a locomotive dashing across a bridge in chromatic chaos. Or the Sea Piece in the James Orrock collection a welter of crosshatchings in variegated hues wherein any school of impressionism from Watteau's Embarkment to Monet's latest manner or the pointillisme of Signac and Seurat may be recognised.
However impressive Manet's picture may be; however brilliant Monet's endeavor to reproduce sunlight may seem; however refined and elegant Degas's delicate selection of pictorial material for broad and masterful generalization, for enduing what he painted with an interest deeper than its surface and underlying its aspect, Courbet has but one rival among realistic painters.
There comes to one who is really concerned, the ever increasing desire to turn toward Pissarro and Sisley and to quietly dispense with many or most of Monet's pictures, not to speak of a legitimate haste to pass over the phlegmatic enthusiasms of the younger followers. One feels that Pissarro must have been a great man among men not so great.
And Pissarro must have been a man to have so impressed all the men young and old of his time. After seeing a great number of Monet's one turns to any simple Pissarro for relief. And then there was also Sisley. But the talk is of Theodore Robinson.
Jack Scott, wearing a paint-stained jacket, came wandering in, appropriated all the Oriental sweetmeats he could lay his hands on, looted the cigarette case, and finally he and Boris disappeared together to visit the Luxembourg Gallery, where a new silver bronze by Rodin and a landscape of Monet's were claiming the exclusive attention of artistic France.
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