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Updated: June 10, 2025
The canvases of Monet, Renoir and Pissarro have, in consequence of this research, an absolutely original aspect: their shadows are striped with blue, rose-madder and green; nothing is opaque or sooty; a light vibration strikes the eye.
He painted according to some wise and somewhat timid formulas, when Manet's example won him over to Impressionism to which he has remained faithful. M. Pissarro has been enormously productive. His work is composed of landscapes, rustic scenes, and studies of streets and markets.
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.
I could stay with almost any Pissarro or Sisley I have ever seen, as I could always want any Seurat near me, just as I could wish almost any Monet out of sight because I find it submerged with emotional extravagance, too much enthusiasm for his new pet idea. Scientific appreciation had not come with scientific intentions.
Monet and Pissarro in painting snow and frost effects under the sun did not hesitate to put blue tones in the shadows. Sisley was fond of rose tones, Renoir saw violet in the shadows. He enraged his spectators quite as much as did Monet with his purple turkeys. His striking Avant le bain was sold for one hundred and forty francs in 1875.
But in company with less conspicuous though equally unacceptable pieces by such men as Bracquemond, Cazin, Fantin-Latour, Harpignies, Jongkind, J. P. Laurens, Le Gros, Pissarro, Vollon, and Whistler, it was accorded an exhibition, alongside the official Salon, which was called le Salon des refusés.
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.
Ugliness is trivial, the monstrous is terrible; Velasquez knew this when he painted his dwarfs. Pissarro exhibited a group of girls gathering apples in a garden sad greys and violets beautifully harmonised. The figures seem to move as in a dream: we are on the thither side of life, in a world of quiet colour and happy aspiration.
Incapable, certainly, of voluntarily imitating, this excellent and diligent painter has not had the sparks of genius of his friends, but all that can be given to a man through conscientious study, striving after truth and love of art, has been acquired by M. Pissarro. The rest depended on destiny only.
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.
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