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Updated: June 10, 2025
There is a reason why he must have respected Pissarro, far more than he did at any time such men as Gaugin, the "flea on his back" as he so vividly and perhaps justly named him. There was far more hope for a possible great art to come out of Van Gogh, who, in his brief seven years had experimented with every aspect of impressionism that had then been divulged.
He associated daily with Manet, Monet, Pissarro, Whistler, Duranty, Fantin-Latour, and the crowd that first went to the Café Guerbois in the Batignolles hence the derisive nickname, "The Batignolles School"; later to the Nouvelle Athènes, finally to the Café de la Rochefoucauld.
Cézanne is the Christopher Columbus of a new continent of form. In 1839 he was born at Aix-en-Provence, and for forty years he painted patiently in the manner of his master Pissarro. To the eyes of the world he appeared, so far as he appeared at all, a respectable, minor Impressionist, an admirer of Manet, a friend, if not a protégé, of Zola, a loyal, negligible disciple.
In the pictures of Sisley there is the charm of the fact for itself, the delight of the problem of placing the object in relation to the luminous atmosphere which covers it. Men like Pissarro and Sisley were not forgetting Courbet and his admirable knowledge of reality.
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.
With Pissarro and Sisley there appeared the true separation of tone, making itself felt most intelligently in the work of these men from whom the real separatists Seurat, Signac, and Cross were to realize their principle of pointilism, of which principle Seurat was to prove himself the most satisfactory creative exponent.
No other group will be referred to so often in connection with the American galleries. On wall B is a typically joyous canvas by Gaston La Touche, who carries Impressionism into figure work. On walls C and D are other examples of the Impressionist School, by Pissarro and Renoir and the English Sisley. On wall C is a portrait by Eugene Carriere.
Then the Turners and Constables came to France, and they begot Troyon, and Troyon begot Millet, Courbet, Corot, and Rousseau, and these in turn begot Degas, Pissarro, Madame Morizot, and Guillaumin. Degas is a pupil of Ingres, but he applies the marvellous acuteness of drawing he learned from his master to delineating the humblest aspects of modern life.
This great painter, one of those who did most honour to the French soul, had the genius to create by himself an Impressionism of his own which will always remain his own, after having given evidence of gifts of the first order in the tradition handed down by the masters of the real and the good. He cannot be confused either with Monet, or with Pissarro and Renoir.
All these extraneous and one might even say irrelevant attempts toward speedy arrivism are set aside in the presence of the almost solemn severity of minds like Pissarro and Sisley, and of Cézanne, who extracted for himself all that was valuable in the passing idea of impressionism. The picture which lasts is never the entirely idiosyncratic one.
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