It was while Manet was painting _things_ as they are, and Monet was painting _light_ as it is, that Whistler was painting both things and light but with an entirely different object in view, namely, the production of _color harmonies_ superior to either thing-effects or light-effects. To the following résumé it is obvious another paragraph must be added to bring the record down to date. * * * * * Painting in France in the nineteenth century followed a course parallel with that of the intellectual life of the country, it adapted itself to the various changes in modes of thought, it took upon itself a succession of forms corresponding to those which were evolved in literature. At the beginning of the century, under the Empire, painting was classical. It was primarily engaged in rendering scenes borrowed from the antique world of Greece and Rome, subjects derived from fable and mythology. Historical painting formed the essence of high art. It was based upon the nude, treated according to the classical model. Two masters--David and Ingress--were its loftiest expression. After them classical art was continued in an enfeebled condition by painters of only secondary importance. The new spirit of romanticism, however, which had arisen in literature, also made its appearance in painting. Delacroix was the master in whom it found its most complete expression. The tones of classical art, sober, restrained, and often cold, gave place in his work to warm and brilliant coloration. For the nicely balanced scenes of classical antiquity, he substituted compositions tumultuous with movement. Romanticism developed freedom of action and expressiveness of pose to their utmost limits. Painting was then conquered by realism, which had also invaded literature. Courbet was its great initiator. He painted the life he saw around him in a direct, robust manner. He also painted landscape with a truthfulness that was informed by a powerful emotion. At the same time, Rousseau and Corot had also brought landscape painting into close touch with nature. They had rediscovered its soul and its charm. Finally, crowning, as it were, the work of their predecessors, came Manet and the Impressionists.[4] [Illustration: ROUSSEAU Portrait of Self] [Illustration: ROUSSEAU Landscape] Turner was the forerunner of Impressionism, the father of attempts to paint brilliant _light_ effects, Whistler was the forerunner of Post-Impressionism, the father of attempts to paint _line and color_ compositions. Turner did not carry his theories to the scientific extremes of the Impressionists and Neo-Impressionists; Whistler did not carry his attempts to the abstract extremes of the Compositionalists and the Cubists; but in their work are found the seeds of all there is in Impressionism and Post-Impressionism.