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Updated: June 11, 2025
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.
For myself I am out of touch with Monet as a creator and I find myself extracting far more satisfaction and belief from Pissarro and Sisley, who deal with the problem of nature plus idea, with a much greater degree of let me even say sincerity, by reason of one fact and perhaps the most important one: they were not dramatizing the idea in hand.
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.
There comes to one who is really concerned, the ever increasing desire to turn toward Pissarro and Sisley and to quietly dispense with many or most of Monet's pictures, not to speak of a legitimate haste to pass over the phlegmatic enthusiasms of the younger followers. One feels that Pissarro must have been a great man among men not so great.
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.
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