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Updated: May 23, 2025
His genre tableaux are personal enough, though in the most commonplace themes, such as Déjeuner and The Box both have been exhibited in New York the luminous envelope, the gorgeous riot of opposed tones, the delicious dissonances literally transfigure the themes. In his second manner his affinities to Claude Monet and impressionism are more marked.
"Classical Latin, with the exception of Tacitus, is cold-blooded and self-satisfied. There is no agitation, no fever; to me it is utterly without interest." To the books and manuscripts the pictures on the walls afforded an abrupt contrast. No. 1. "A Japanese Girl," by Monet. A poppy in the pale green walls; a wonderful macaw! Why does it not speak in strange dialect?
I like neither fox-hunting, marriage, Robert Louis Stevenson's stories, nor Sir Frederick Leighton's pictures; I prefer monkish Latin to Virgil, and I adore Degas, Monet, Manet, and Renoir, and since this is so, and alas, I am afraid irrevocably so, do you not think that I should do well to keep outside a world in which I should be the only wrong and vicious being?
William II of Germany in 1899 wished to examine with his own eyes, trained by the black, muddy painting of Germany, the canvases of Monet, Pissarro, Sisley, Cézanne, and Manet, acquired by Director Tschudi for the Berlin National Gallery. He saw them all except the Cézanne. Herr Tschudi feared that the Parisian fat would be in the imperial fire if the Cézanne picture appeared. So he hid it.
Steer's picture is merely an instance of a general tendency which for the last twenty years has widened the gulf between modern and ancient painting. It was Manet who first suggested la peinture claire, and his suggestion has been developed by Roll, Monet, and others, until oil-painting has become little more than a sheet of white paper slightly tinted.
That was the theory: and if the end of art were representation it would be sound enough. Some of them, to be sure, turned out polychromatic charts of desolating dullness Monet towards the end, for instance. The Neo-Impressionists Seurat, Signac, and Cross have produced little else. And any Impressionist, under the influence of Monet and Watteau, was capable of making a poor, soft, formless thing.
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.
Remember Monet, who could not get anyone to buy his pictures for a hundred francs. What are they worth now?" "True. But there were a hundred as good painters as Monet who couldn't sell their pictures at that time, and their pictures are worth nothing still. How can one tell? Is merit enough to bring success?
In the consideration of the real factors in the impressionistic movement, we learn that it is not Monet and the younger crew such as Moret, Maufra, George d'Espagnat and Guillaumin who give us the real weight of this esthetic argument.
Black bitterness it was, for his long-laid scheme of revenge had toppled, crashing on the top of him, and Charles Wilbraham, eyeing the ruins, hatefully and superciliously smiled, for ever and always in the right.... He woke with a start, hastily ate a meringue, called for his bill, and looked at his watch. It was nearly six o'clock. In half an hour the steamer would start for Monet.
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