Claude Monet (1840-1926) _Rouen Cathedral, West Façade, Sunlight_ _Chester Dale Collection_ The hot sun of early afternoon blazes down upon the lacy stone façade of Rouen Cathedral. Painted in 1894, twenty years after the first Impressionist exhibition, this picture reveals Monet’s ultimate achievement in capturing sunlight with broken color. The myriad glowing spots of color almost dissolve the cathedral’s form. Small, separate touches of paint, prismatic in their brilliance, complement each other to dazzle the eye and suggest the shimmer of actual light. Monet painted an extensive series of pictures showing different effects of light playing across the elaborate Gothic tracery of Rouen Cathedral. He said that often he could paint on each picture for only two or three minutes at a time; after that, the light would have changed and, for him, the subject would become quite different. Monet created a new kind of pictorial unity. It did not depend upon lines or patterns, but upon the unity of a single visual sensation, an impression. He gave up such traditional aims as balancing his composition or expressing emotions about his subjects. Instead he painted vivid optical sensations. Through long experience he had discovered what effects of light might be achieved by juxtaposing certain bright, pure colors which interplay, one against another, to simulate the visual experience of light. As Cézanne said, “Monet was only an eye, but what an eye!” [Illustration: Canvas. 39½ × 26 inches Dated 1894] Berthe Morisot (1841-1895) _In the Dining Room_ _Chester Dale Collection_ Characteristically feminine in her choice of subject and delicacy of coloring, Berthe Morisot has painted an interior of the house at Bougival, near Paris, where she spent her summers in the 1880’s. Probably it is her housemaid, busy in the dining room, who stands between the open cupboard and the table. A playful little dog adds a touch of animation to the domestic scene. During the middle of her career, Berthe Morisot was strongly influenced by Impressionism. In this picture particular details of the furniture, of the girl’s costume, or even of her face, held interest for the painter only in so far as they reflected light in different ways. Much as it does in Monet’s art, light seems to fill the scene and blur the edges of the forms. Yet, as in Manet’s pictures, the colors here have not the daring brilliance of the spectrum hues Monet used. Berthe Morisot has sustained a refined color harmony of delicate warm and cool hues in the blue-grays and creamy highlights. Her composition, too, shows her allegiance to Manet rather than to Monet; the forms are broadly seen in silhouette so that light and shadow do not impinge upon them enough to destroy their character as elements in the design.