Art History
"The French Impressionists"
By CAMILLE MAUCLAIR
CONTENTS
I. The Precursors of Impressionism
II. The Theory of The Impressionists Style
III. Edouard Manet: His Work, His Influence
IV. Edgar Degas: His Work, His Influence
V. Claude Monet: His Work, His Influence
VI. Auguste Renoir: His Work, His Influence
VII. The Secondary Artists of Impressionism
VIII. The Modern Illustrators Connected With Impressionism
V Claude Monet: His Work, His Influence
This has not prevented him from understanding better than anybody the wildness, the grand austereness of the rocks of Belle-Isle en mer, to express it in pictures in which one really feels the wind, the spray, and the roaring of the heavy waters breaking against the impassibility of the granite rocks. His recent series of Water-lilies expressed all the melancholic and fresh charm of quiet basins, of sweet bits of water blocked by rushes and calyxes. He has painted underwoods in the autumn, where the most subtle shades of bronze and gold are at play, chrysanthemums, pheasants, roofs at twilight, dazzling sunflowers, gardens, tulip-fields in Holland, bouquets, effects of snow and hoar frost of exquisite softness, and sailing boats passing in the sun. He has painted some views of the banks of the Seine which are quite wonderful in their power of conjuring up these scenes, and over all this has roved his splendid vision of a great, amorous and radiant colourist.
The Cathedrals are even more of a tour de force of his talent. They consist of seventeen studies of Rouen Cathedral, the towers of which fill the whole of the picture, leaving barely a little space, a little corner of the square, at the foot of the enormous stone-shafts which mount to the very top of the picture. Here he has no proper means to express the play of the reflections, no changeful waters or foliage: the grey stone, worn by time and blackened by centuries, is for seventeen times the monochrome, the thankless theme upon which the painter is about to exercise his vision. But Monet finds means of making the most dazzling atmospheric harmonies sparkle upon this stone. Pale and rosy at sunrise, purple at midday, glowing in the evening under the rays of the setting sun, standing out from the crimson and gold, scarcely visible in the mist, the colossal edifice impresses itself upon the eye, reconstructed with its thousand details of architectural chiselling, drawn without minuteness but with superb decision, and these pictures approach the composite, bold and rich tone of Oriental carpets.
CLAUDE MONET - POPLARS ON THE EPTE IN AUTUMN
Monet excels also in suggesting the drawing of light, if I may venture to use this expression. He makes us understand the movement of the vibrations of heat, the movement of the luminous waves; he also understands how to paint the sensation of strong wind. "Before one of Manet's pictures," said Mme. Morisot, "I always know which way to incline my umbrella." Monet is also an incomparable painter of water. Pond, river, or sea—he knows how to differentiate their colouring, their consistency, and their currents, and he transfixes a moment of their fleeting life. He is intuitive to an exceptional degree in the intimate composition of matter, water, earth, stone or air, and this intuition serves him in place of intellectuality in his art. He is a painter par excellence, a man born for painting, and this power of penetrating the secrets of matter and of light helps him to attain a kind of grand, unconsciously lyrical poetry. He transposes the immediate truth of our vision and elevates it to decorative grandeur. If Manet is the realist-romanticist of Impressionism, if Degas is its psychologist, Claude Monet is its lyrical pantheist.
His work is immense. He produces with astonishing rapidity, and he has yet another characteristic of the great painters: that of having put his hand to every kind of subject. His recent studies of the Thames are, at the decline of his energetic maturity, as beautiful and as spontaneous as the Hay-ricks of seventeen years back. They are thrillingly truthful visions of fairy mists, where showers of silver and gold sparkle through rosy vapours; and at the same time Monet combines in this series the dream-landscapes of Turner with Monticelli's accumulation of precious stones. Thus interpreted by this intense faculty of synthesis, nature, simplified in detail and contemplated in its grand lines, becomes truly a living dream.
Since the Hay-ricks one can say that the work of Claude Monet is glorious. It has been made sacred to the admiring love of the connoisseurs on the day when Monet joined Rodin in an exhibition which is famous in the annals of modern art. Yet no official distinction has intervened to recognise one of the greatest painters of the nineteenth century. The influence of Monet has been enormous all over Europe and America. The process of colour spots (let us adhere to this rudimentary name which has become current) has been adopted by a whole crowd of painters. I shall have to say a few words about it at the end of this book. But it is befitting to terminate this all too short study by explaining that the most lyrical of the Impressionists has also been the theorist par excellence. His work connects easel painting with mural painting. No Minister of Fine Arts has been found, who would surmount the systematic opposition of the official painters, and give Manet a commission for grand mural compositions, for which his method is admirably suited. It has taken long years before such works were entrusted to Besnard, who, with Puvis de Chavannes, has given Paris her most beautiful modern decorations, but Besnard's work is the direct outcome of Claude Monet's harmonies.
The principle of the division of tones and of the study of complementary colours has been full of revelations, and one of the most fruitful theories. It has probably been the principle which will designate most clearly the originality of the painting of the future. To have invented it, is enough to secure permanent glory for a man. And without wishing to put again the question of the antagonism of realism and idealism, one may well say that a painter who invents a method and shows such power, is highly intellectual and gifted with a pictorial intelligence. Whatever the subjects he treats, he creates an aesthetic emotion equivalent, if not similar, to those engendered by the most complex symbolism. In his ardent love of nature Monet has found his greatness; he suggests the secrets by stating the evident facts. That is the law common to all the arts.
Claude Monet - THE BRIDGE AT ARGENTEUIL