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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.
One cannot love the parti pris of these works, but one cannot deny M. Denis a great charm of naivete, an intense feeling for decorative arrangements and colouring of a certain originality. He is almost a French pre-Raphaelite, and his profound catholic faith inspires him nobly. M. Théo Van Rysselberghe continues to employ the Pointillist method.
At the time when, about 1885, the neo-Impressionists whom we shall study later on invented the Pointillist method, M. Pissarro tried it and applied it judiciously, with the patient, serious and slightly anxious talent, by which he is distinguished.
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