International studio (21.1903/1904(1904))

One difference between a savage and a civilised
artist would appear to be that the former works
with a child like simplicity, his endeavour being
to express some definite idea existing in his
mind. Comparison between the art of a savage
race and our own endeavours is hardly possible,
or necessary ; but it must be admitted that there
is much to be admired in the work of the Papuans
of British New Guinea.
HE ETCHINGS OF CAMILLE
PISSARRO. BY COUNT DE
SOISSONS.
WHAT can I say of CamiHe Pissarro that
has not already been said and re-
peated hundreds of times ? The
pubhc should already know the ideal of
that art of which Camille Pissarro, its
oldest legislator, holds the tablets of the
law—an ofBce first bestowed on him
through a half-jesting exclamation of
the students of " the school" : SaAV a
ylAiÄR? / which exclamation is now
echoed with profound respect by all
who understand true art. Today,
Claude Monet, Sisley, Renoir, Paul
Cezanne, Guillaumin, Degas, Boudin,
and CamiHe Pissarro, are not only held
in high esteem, but high prices are
paid for their pictures.
It was not always thus, and it is
amusing as well as instructive to read
in serious art publications the criticism
on the first exhibition of impressionists
held in Paris in 1874. One leading
art journal, whose contributions were
signed by well-known writers, was bold,
or räther stupid enough to call their

pictures
and the critic said he would
not even give the names of the
painters, as it would be beneath his
dignity to advertise those proud
daubers.
The second exhibition of im-
pressionists, in 1876, organised by
Durand Ruel, who was discerning
enough torecognise the fine qualities
of the so-called <r7VM*M, was greeted
thus: " The insanity of their
might have been regarded as a pistol
fired with the object of attracting
attention had subsequent pictures
shown any progress, any masterly qualities, no
matter how slight. But no; there was nothing,
absolutely nothing in them. These men are simply
a vain, half-crazy band who hope to make people
believe they have talent, whereas it is clear that
their works are merely experiments, devoid of
Creative thought, of all knowledge of composition,
of the least vestige of drawing. They have not
the smallest notion of perspective, nor of anatomy,
nor have they any talent with the brush."
Such criticism was written and published in
France—nay more, in Paris ! It is true that, in
1878, such men as Theodore Duret, Philippe
Burty and Castagnary raised their voices in
defence of the impressionistic movement, but


"PLACE DE LA REPUBLIQUE Ä ROUEN: BY CAMILLE PISSARO
EFFET DE PLUIE"


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