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Updated: July 6, 2025
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.
One cannot but be astonished at this mixture of "Japanism," savagism and eighteenth century taste, which constitutes inimitably the nude of Renoir.
The influence was at first an unhappy one. During three or four years, unable, it seems, to match the new conception of form with his intensely personal reaction, Renoir produced a certain number of unconvincing and uncharacteristic pictures (e.g., the dance series, Dance
Eugène Manet has certainly been one of the most beautiful types of French women of the end of the nineteenth century. She has also felt the influence of Corot, of Manet and of Renoir. All her work is bathed in brightness, in azure, in sunlight; it is a woman's work, but it has a strength, a freedom of touch and an originality, which one would hardly have expected.
The masters who have thus fallen under the ban of official displeasure are Manet, Monet, Pissarro, Renoir, Sisley, and Cézanne the latter represented by two of the most veracious fruit-pieces I ever saw. The Monets are of rare quality. The nation that produced such world masters as Albrecht Dürer, Hans Holbein, Lucas Cranach, and the German Primitives has seemingly lost its lien in sound art.
By good fortune George had seen a Renoir or two in Paris under the guidance of Mr. Enwright. They stared at the portrait together. "It's awfully distinguished," he decided, employing a useful adjective which he had borrowed from Mr. Enwright. "Isn't it!" she said, turning her wondrous complexion towards him, and admiring his adjective. "I have a Boldini too."
Horizontal lines convey a feeling of repose, of quiet, as in the wall-paintings of Puvis de Chavannes; vertical lines, of solemnity, dignity, aspiration, as in so much of the work of Boecklin; crooked lines of conflict and activity, as in the woodcuts of Durer; while curved lines have always been recognized as soft and voluptuous and tender, as in Correggio and Renoir.
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.
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.
M. Renoir is probably the most representative figure of a movement where he seems to have united all the qualities of his friends. To criticise him means to criticise Impressionism itself.
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