DOI Heft:
Nr. 121 (April 1903)
DOI Artikel:Dewhurst, Wynford: Impressionist painting: its genesis and development, [1]
DOI Seite / Zitierlink:https://doi.org/10.11588/diglit.19878#0179
Impressionist Painting
chef of all those half-dozen little masters of a tran-
sitional period in French art, 1830 to 1870.* He
was born in 1824 and died in 1898, leaving not
only a magnificent record of work accomplished,
but the fine example of a noble life's devotion to
a beautiful idea.
Corot was wont to tell people that no painter
had ever known how to paint such skies as Boudin.
" Boudin est le roi des dels," said he. And Roger
Marx, critic of clearest perception, has somewhere
written : " II suffirait a sa gloire d'avoir dessille les
yeux de toute une generation, et d'avoir initie a.
l'art Claude Monet, le maitre glorieux de notre
ecole contemporaine de paysage." Yes, Boudin
was the master to whom Monet owes much, yet
pupils of originality do not develop on parallel
lines with their teachers, and Monet was no
exception. After 1870 he flew off at a tangent
and was eleve de Boudin no longer.
It was from Millet that Boudin received his first
» See " Eugene Boudin, sa vie et son osuvre," par Gustave Cahen.
(Paris: E. Floury.)
notions in painting. Boudin's father, a retired
old sea-dog, kept a stationer's shop at Honfleur.
Here came Millet, then painting portraits at
30 frs. a head—seamen and their sweethearts
principally—to have these portraits mounted or
framed. In the window of this shop the younger
Boudin exhibited some little pastel sketches, hence
followed a friendship very advantageous to the
shopkeeper's son. Troyon, who was likewise in
semi-forced sojourn at Honfleur, terribly poor and
painting lovely little landscapes, sea pieces, and
figure subjects at a pound apiece, also helped the boy.
Yet it was to a hard and life-long struggle for the
right to live that they helped him, in spite of the
fact that for forty years he produced undoubted
masterpieces of painting.
Hard by Honfleur lies the little village of Saint
Simeon, and here in the thatched farmhouse
" Auberge," kept by la mere Tourtain, which may,
in a sense, be called the cradle of French Impres-
sionism, Boudin passed much of his time. Many
celebrated men have been wont to congregate there
167
chef of all those half-dozen little masters of a tran-
sitional period in French art, 1830 to 1870.* He
was born in 1824 and died in 1898, leaving not
only a magnificent record of work accomplished,
but the fine example of a noble life's devotion to
a beautiful idea.
Corot was wont to tell people that no painter
had ever known how to paint such skies as Boudin.
" Boudin est le roi des dels," said he. And Roger
Marx, critic of clearest perception, has somewhere
written : " II suffirait a sa gloire d'avoir dessille les
yeux de toute une generation, et d'avoir initie a.
l'art Claude Monet, le maitre glorieux de notre
ecole contemporaine de paysage." Yes, Boudin
was the master to whom Monet owes much, yet
pupils of originality do not develop on parallel
lines with their teachers, and Monet was no
exception. After 1870 he flew off at a tangent
and was eleve de Boudin no longer.
It was from Millet that Boudin received his first
» See " Eugene Boudin, sa vie et son osuvre," par Gustave Cahen.
(Paris: E. Floury.)
notions in painting. Boudin's father, a retired
old sea-dog, kept a stationer's shop at Honfleur.
Here came Millet, then painting portraits at
30 frs. a head—seamen and their sweethearts
principally—to have these portraits mounted or
framed. In the window of this shop the younger
Boudin exhibited some little pastel sketches, hence
followed a friendship very advantageous to the
shopkeeper's son. Troyon, who was likewise in
semi-forced sojourn at Honfleur, terribly poor and
painting lovely little landscapes, sea pieces, and
figure subjects at a pound apiece, also helped the boy.
Yet it was to a hard and life-long struggle for the
right to live that they helped him, in spite of the
fact that for forty years he produced undoubted
masterpieces of painting.
Hard by Honfleur lies the little village of Saint
Simeon, and here in the thatched farmhouse
" Auberge," kept by la mere Tourtain, which may,
in a sense, be called the cradle of French Impres-
sionism, Boudin passed much of his time. Many
celebrated men have been wont to congregate there
167