DOI Heft:
No. 6 (September, 1893)
DOI Artikel:Some sketches by Claude Monet and Eugène Boudin
DOI Seite / Zitierlink: https://doi.org/10.11588/diglit.17188#0262
Sketches by Claude Monet, &c.
would his initials : ^— " Claude Monet's art (it that perplex the modern seeker after truth. Yet in
runs) is the very anarchy of painting. It tramples these sketches there is little that is old-fashioned,
on the conditions of all the schools. To
pretend that it is beautiful is to outrage
aesthetics, to deny the amazing cleverness
were patent folly.....Science is not
art, nor is ingenuity necessarily beautiful, ffc£\ ~ -ft
and Monet claims the attention on a false Jwjm\//£ sif J$u WR]
issue. The language of spots is expres- K^^Pj^pl - :v;;;' Mh\ \ JB /pffl|j
sive and characteristic, it is not the less \~^=^^0^^^f^^^tB^£^'l • • m ^m3^^[/^WJmgl»f
harsh and grating, and though on another |^^^j^j^^B^^fc._-aL-. .•Sfei^B^^ • l^LlS^^tb -
man's lips it may seem chastened and fg|r ~ 3t§lj?|p^ jfflt *^ =S- ~S^f-
smooth, on Monet's it has no doubt a 5 s4 "^iii~ilr -.................-—---.................
most forbidding twang." From this we ^—_..................—
may see that Monet has not vet con-
. j from a sketch by eugene boudin
quered either English hearts or English
art entirely; yet, on the other hand, to those who and the traditions of the Dutch school of land-
love him he represents the last word of modernity scape are not unduly allowed to hamper the
individuality of the artist's own feeling.
Although he is said to have been in-
"".} fluenced by Corot, Millet, and Rous-
;'■- ■ "' seau, his real masters would seem to
have been Ruysdael, Backhuysen, and
Van De Velde. The facility of his exe-
cution leaves the same pleasant effect of
care on his audience. If not a great
master, he has the qualities of sincerity,
actuality, and a genuine love of Nature.
His perfect individuality, in spite of the
influence of the painters named, still
endows his works with a charm to
moderns; and these unpretentious
sketches may be added to the varied
group that serve, more or less directly,
to illustrate Mr. Hartley's paper, and to
point out the fact that, despite snap-shots
and science, the artist can render the
essentials rapidly and clearly without
in landscape. If, indeed, our English formula of their aid. E. B. S.
beauty excludes him at present, it has pre-
cedents for re-modelling, and
maybe the shifting standard in a
very few years' time will instance * ■
Monet as readily as it now pro-
claims " John Constable " among
its great pioneers of landscape
painting.
M. Eugene Boudin is of quite
another school; it is not easy to
fight over his work, but it deserves
remembering. Born at Honfleur
in 1825, his pictures are in point of
date of an epoch that knew nothing {\'
of impressionism and the qualities from a sketch by eugene boudin
244
from a sketch by eugene boudin
would his initials : ^— " Claude Monet's art (it that perplex the modern seeker after truth. Yet in
runs) is the very anarchy of painting. It tramples these sketches there is little that is old-fashioned,
on the conditions of all the schools. To
pretend that it is beautiful is to outrage
aesthetics, to deny the amazing cleverness
were patent folly.....Science is not
art, nor is ingenuity necessarily beautiful, ffc£\ ~ -ft
and Monet claims the attention on a false Jwjm\//£ sif J$u WR]
issue. The language of spots is expres- K^^Pj^pl - :v;;;' Mh\ \ JB /pffl|j
sive and characteristic, it is not the less \~^=^^0^^^f^^^tB^£^'l • • m ^m3^^[/^WJmgl»f
harsh and grating, and though on another |^^^j^j^^B^^fc._-aL-. .•Sfei^B^^ • l^LlS^^tb -
man's lips it may seem chastened and fg|r ~ 3t§lj?|p^ jfflt *^ =S- ~S^f-
smooth, on Monet's it has no doubt a 5 s4 "^iii~ilr -.................-—---.................
most forbidding twang." From this we ^—_..................—
may see that Monet has not vet con-
. j from a sketch by eugene boudin
quered either English hearts or English
art entirely; yet, on the other hand, to those who and the traditions of the Dutch school of land-
love him he represents the last word of modernity scape are not unduly allowed to hamper the
individuality of the artist's own feeling.
Although he is said to have been in-
"".} fluenced by Corot, Millet, and Rous-
;'■- ■ "' seau, his real masters would seem to
have been Ruysdael, Backhuysen, and
Van De Velde. The facility of his exe-
cution leaves the same pleasant effect of
care on his audience. If not a great
master, he has the qualities of sincerity,
actuality, and a genuine love of Nature.
His perfect individuality, in spite of the
influence of the painters named, still
endows his works with a charm to
moderns; and these unpretentious
sketches may be added to the varied
group that serve, more or less directly,
to illustrate Mr. Hartley's paper, and to
point out the fact that, despite snap-shots
and science, the artist can render the
essentials rapidly and clearly without
in landscape. If, indeed, our English formula of their aid. E. B. S.
beauty excludes him at present, it has pre-
cedents for re-modelling, and
maybe the shifting standard in a
very few years' time will instance * ■
Monet as readily as it now pro-
claims " John Constable " among
its great pioneers of landscape
painting.
M. Eugene Boudin is of quite
another school; it is not easy to
fight over his work, but it deserves
remembering. Born at Honfleur
in 1825, his pictures are in point of
date of an epoch that knew nothing {\'
of impressionism and the qualities from a sketch by eugene boudin
244
from a sketch by eugene boudin