The French Impressionists (1860-1900)Mauclair, Camille
Philosophy
The French Impressionists (1860-1900)
Mauclair, Camille
Impressionism (Art); Painters -- France; Painting -- France -- History
painting, and if it had only depended upon them, there can be no doubt
that Manet and his friends would have died in total obscurity, not only
banished from the Salons and museums, but also treated as madmen and
robbed of the possibility of living by their work.
The Caillebotte collection was installed under conditions which the
ill-will of the administrators made at least as deplorable as possible.
The works were crowded into a small, badly lighted room, where it is
absolutely impossible to see them from the distance required by the
method of the division of tones, and the meanness of the opposition was
such that, the pictures having been bequeathed without frames, the
keeper was obliged to have recourse to the reserves of the Louvre,
because he was refused the necessary credit for purchasing them. The
collection is however beautiful and interesting. It does not represent
Impressionism in all its brilliancy, since the works by which it is
composed had been bought by Caillebotte at a time, when his friends were
still far from having arrived at the full blossoming of their qualities.
But some very fine things can at least be found there. Renoir is
marvellously represented by the _Moulin de la Galette_, which is one of
his masterpieces. Degas figures with seven beautiful pastels, Monet with
some landscapes grand in style; Sisley and Pissarro appear scarcely to
their advantage, and finally it is to be regretted, that Manet is only
represented by a study in black in his first manner, the _Balcony_,
which does not count among his best pictures, and the famous _Olympia_
whose importance is more historical than intrinsic. The gallery has
separately acquired a _Young Girl in Ball Dress_ by Berthe Morisot,
which is a delicate marvel of grace and freshness. And in the place of
honour of the gallery is to be seen Fantin-Latour's great picture
_Hommage à Manet_, in which the painter, seated before his easel, is
surrounded by his friends; and this canvas may well be considered the
emblem of the slow triumph of Impressionism, and of the amends for a
great injustice.
Public-domain text, read in full here on John Shaqi.
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