Impressionist painting: its genesis and development — John Shaqi
Impressionist painting: its genesis and developmentDewhurst, Wynford
History
Impressionist painting: its genesis and development
Dewhurst, Wynford
Artists -- Portraits; Impressionism (Art)
“If,” replied the father, “the boy is not inclined towards the ‘Palais,’
let him follow your example and become a soldier; but go in for
painting—never!”
A studio-stool tempted the boy far more than a probable seat on the
Bench. If he had to waste time, it should not be in the Salle des Pas
Perdus.
His parents sent him, towards the close of his school-days, upon a
voyage to Rio de Janeiro, hoping that travel might distract his mind
from thoughts of an artistic life. It is said that they contemplated a
naval career. Charles Méryon, it may be remembered, made the voyage
round the world in a French corvette before he took up the etcher’s
needle. Like Méryon, Manet improved his draughtsmanship, although a
sailor. He sketched incessantly. One day the captain asked him to get
out his paints and touch up a cargo of Dutch cheeses, which had become
discoloured by the sea. “Conscientiously, with a brush,” says Manet, “I
freshened up these _têtes de mort_, which reappeared in their beautiful
tints of violet and red. It was my first piece of painting.”
His voyage in the _Guadeloupe_ ended, he returned home with unaltered
determination. After some protest his father relented, and in 1850 Manet
entered the studio of Thomas Couture.
[Illustration:
THE GARDEN · EDOUARD MANET
]
Couture occupied a leading position in that group sometimes called the
“juste milieu.” Between the Romanticists and the Classicalists his
preferences perhaps were for the latter. Of extreme irritability in
temper, with a deep contempt for those in authority, he combined a keen
desire for success both popular and financial. His picture, _The Romans
of the Decadence_, in the Salon of 1847, brought both, and for a few
years he remained one of the most celebrated artists in France. Then he
criticised Delaroche, with the usual result when one painter puts
another right: he offended King Louis-Philippe, he insulted the Emperor
Napoleon III. Kings must be taken at their own valuation, if one wishes
to enjoy their good graces. It was not surprising that Couture
ultimately became a disappointed and forgotten man.
Public-domain text, read in full here on John Shaqi.
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