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Updated: June 10, 2025
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.
But the study of light upon the figure has been the special preoccupation of Manet, Renoir, and Pissarro, and, after the Impressionists, of the great lyricist, Albert Besnard, who has concentrated the Impressionist qualities by placing them at the service of a very personal conception of symbolistic art.
His harvest and market scenes are luminous and alive. The figures in these recall those of Millet. They bear witness to high qualities of sincere observation, and are the work of a man profoundly enamoured of rustic life. M. Pissarro excels in grouping the figures, in correctly catching their attitudes and in rendering the medley of a crowd in the sun.
There is no character more worthy of respect and no effort more meritorious than his, and there can be no better proof of his disinterestedness and his modesty, than the fact that, although he has thirty years of work behind him, an honoured name and white hair, M. Pissarro did not hesitate to adopt, quite frankly, the technique of the young Pointillist painters, his juniors, because it appeared to him better than his own.
The "test of endurance" in the impressionistic movement is borne out; the strength of realization is to be found in Pissarro and Sisley and not in the vapid niceties of Monet, whose work became thinner and thinner by habitual repetitive painting, and by a possible false sense of security in his argument.
Gradually the grouping of the Impressionists took place. Claude Monet is really the first initiator: in a parallel line with his ideas and his works Manet passed into the second period of his artistic life, and with him Renoir, Degas and Pissarro.
Lately, in London, we have been looking at the works of Pissarro, and I could wish that Marquet would look at them, too. Like him, Pissarro was a painter of streets and landscapes who returned again and again to the same motif. In the course of a long life he must, I should think, have painted the Quai Voltaire, the Quai des Grands Augustins, and the Quai St.
He became more interested. His visits to the country where Pissarro painted and Flaubert wrote revealed other possibilities besides those purely artistic ones in which this amateur of fine shades and sensations delighted.
Manet, Degas, Monet and Renoir will present themselves as a glorious quartet of masters, in the history of painting. We must now speak of some personalities who have grown up by their side and who, without being great, offer nevertheless a rich and beautiful series of works. Of these personalities the most considerable is certainly that of M. Camille Pissarro.
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