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Updated: June 11, 2025
William II of Germany in 1899 wished to examine with his own eyes, trained by the black, muddy painting of Germany, the canvases of Monet, Pissarro, Sisley, Cézanne, and Manet, acquired by Director Tschudi for the Berlin National Gallery. He saw them all except the Cézanne. Herr Tschudi feared that the Parisian fat would be in the imperial fire if the Cézanne picture appeared. So he hid it.
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.
Sisley Jordan, later wife of William Farrar, came in the Swan, 1610. By the time the second contingent of women had arrived, America's first industry, glass making, had been established and the colonists had built some twenty houses, providing also for themselves a well of "excellent sweet water" within the fort. The conditions of living were somewhat improved.
Sisley is less decorative, less on the surface, and though he follows Monet in his pursuit of colour, nature is, perhaps, on account of his English origin, something more to him than a brilliant appearance. It has of course happened to Monet to set his easel before the suburban aspect that Sisley loves, but he has always treated it rather in the decorative than in the meditative spirit.
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.
His "impressionistic" painting, so called, did not date until later; before that he had fought for his own independence, and his method was different from that of Monet, Pissarro, Sisley, Cézanne and the rest. Nevertheless, because of his notoriety fame is hardly the word he may be fairly called the leader of the school.
I could stay with almost any Pissarro or Sisley I have ever seen, as I could always want any Seurat near me, just as I could wish almost any Monet out of sight because I find it submerged with emotional extravagance, too much enthusiasm for his new pet idea. Scientific appreciation had not come with scientific intentions.
I have a pamphlet by Médéric Dufour, entitled Etude sur l'Æthétique de Jules Laforgue: une Philosophie de l'Impressionisme, which is interesting, though far from conclusive, being an attack on the determinism of Taine, and a defence of Monet, Pissarro, and Sisley. But then we only formulate our preferences into laws.
He has never been touched by the humility of a lane's end, and the sentiment of the humble life that collects there has never appeared on his canvas. Yet Sisley, being more in sympathy with such nature, has often been able to produce a superior though much less pretentious picture than the ordinary stereotyped Monet.
Auguste did so well, displayed such energy and taste, that he soon fell to decorating blinds, and saved, in the course of four years, enough money to enable him to enter the atelier of Gleyre. There he met Sisley, Bazille afterward shot in the Franco-Prussian war and Claude Monet. They became friends and later allies in the conflict with the Parisian picture public.
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