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With an irony free from bitterness he has noted the clumsy gestures of the labourer in his Sunday garb and the grotesque silhouettes of the small townsmen, and has compiled a gallery of very real sociologic interest. M. Raffaëlli has also exhibited Parisian landscapes in which appear great qualities of light.
Of these four men the first in date is M.J.F. Raffaëlli, who introduced himself about 1875 with some remarkable and intensely picturesque illustrations in colours in various magazines.
But, apart from the book, the entire pictorial work of M. Raffaëlli is a humorous and psychological illustration of the present time. He has painted with unique truth and spirit the working men's types and the small bourgeois, the poor, the hospital patients and the roamers of the outskirts of Paris.
If the name "Impressionist" meant, as has been wrongly believed, an artist who confines himself to giving the impression of what he sees, then M. Raffaëlli would be the real Impressionist. He suggests more than he paints. He employs a curious technique: he often leaves a sky completely bare, throwing on to the white of the canvas a few colour notes which suffice to give the illusion.
Raffaelli went there and so did Renoir; but the former was impartially impressionistic; the latter, ever ravished by a stray shaft of sunshine flecking the faces of the dancers, set it all down in charming tints. Not so Toulouse-Lautrec. Combined with a chronic pessimism, he exhibited a divination of character that, if he had lived and worked hard, might have placed him not far below Degas.
The exile and the wanderings of Dante began after the year 1300. He was befriended by Guido da Polenta in Ravenna, by Uguccione della Faggiola in Lucca, by Malaspina in the Lunigiana, by Can Grande della Scala in Verona, by Bosone de' Raffaelli in Gubbio, by the Patriarch Pagano della Torre in Udine.
Cazin, Guillemet, Gyp, Maufra, Monet, Luce, Pissarro, Rochegrosse, Sisley, Vauthier, Carrier-Belleuse, Berthe Morisot, Renoir, Jongkind, Raffaelli, *Helleu, Rodin, and many others participated in this noble charity, which brought the widow ten thousand francs. She soon died. Van Gogh painted a portrait of Tanguy about 1886. It is said to belong to Rodin.
A temporary peace on terms which granted all they asked was finally arranged through the Emperor's intervention. But the two elected chiefs, and a third patriot, Raffaelli, having been taken prisoners by the Genoese, were ungenerously kept in confinement, and released only at the command of Charles.
Fanny Price was a peremptory guide, she would not let him look at the things he wished, and attempted to force his admiration for all she admired. She was desperately in earnest with her study of art, and when Philip, passing in the Long Gallery a window that looked out on the Tuileries, gay, sunny, and urbane, like a picture by Raffaelli, exclaimed: "I say, how jolly!
The last is a remarkable illustrator, who "vulgarised" the austere methods of his master for popular Parisian consumption. That Renoir, Raffaelli, and Toulouse-Lautrec owe much to Degas is the secret of Polichinello.
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