DOI issue:
No. 124 (July, 1903)
DOI article:Dewhurst, Wynford: Impressionist painting: Its genesis and development, [2]
DOI Page / Citation link:https://doi.org/10.11588/diglit.19879#0112
Impressionist Painting
they have studied the works of the great English- the parks, streets, and fields of London and
men mentioned in Pissarro's letter. How indelibly suburbia, is well known to their friends, and is
they were impressed, as had been their countryman readily noted in its effect upon their style then
Delacroix thirty-five years before them, by the and subsequently. With what red-hot enthusiasm
same pictures; * how they marvelled at finding they absorbed and adopted the technique of
already in existence practical certitude in matters Turner, Constable, and Watts is to be seen in
of technique which they had but vaguely suspected Monet's haystacks, etc.; in Pissarro's street scenes ;
and discussed at the Cafe Guerbois. How all this its recoil in Sisley's landscapes; and in the strong
must have brightened their existence and dulled luminous work of Guillaumin, d'Espagnat, Vuillard,
the keen edge of the misery of exile. How they Maufra, and the rest of the moderns. It completely
worked and copied in our museums and art revolutionised their style and ideals, and their
galleries—public and private, by the riverside, in resultant practice was totally at variance with the
_ dull gray and russet brown manner pre-1870.
*" Delacroix recommit hautement avoir subi l'influence du maitre Readers will imigine with what joy these men
anglais Constable/' In his published journal the artist himself records resumed WQrk ; their Qwn country the calamitOUS
— Constable et lurner sont de veritables reiormateurs. At the balon J '
of 1824 the picture of Constable caused him to completely repaint his ' War-Cloild bloWIl OVer, and the reconstruction both of
laree canvas, Scene du Massacre de Scio, in the same exhibition. In .v ■ j r -t • , r r , v «-ni
□ -1 , 1 . . . +, J . , Tnn,nn n„rnncpl , their country and of their art before them. Their
1825 so stimulated was his curiosity that he visited .London purposely to J
study our artists' work, and returned to Paris full of admiration and minds Were full of the ne\V and WOnderflll dis-
astonishment:—"ii revient 6merveill6 de la splendeur par lui insoup- . j • t-> i j r • r
Connie de Turner, de Wilkie, de Lawrence, de Constable, et met COVeneS made in England, of & preClOUS Cargo of
immediatement a profit leur enseignement."^ Again he chronicles in accumulated inspiration, and of the prescience that
his journal how he noticed that Constable, instead of painting in the , . . . , .....
usual flat tones, composed his pictures of innumerable quantities of little theY WOUld Carry the new ideas Still further With
touches of different colours juxtaposed, which at a certain distance recom- practice, and that the seed would fructify a hundred-
posed in a more powerful and more atmospheric natural effect, and that ....
this new method was very much superior to the old-fashioned one. fold. Their imagination longed to express all this
; place du THEATRE FRANCAIS " by CAMILLE PISSARRO
95
they have studied the works of the great English- the parks, streets, and fields of London and
men mentioned in Pissarro's letter. How indelibly suburbia, is well known to their friends, and is
they were impressed, as had been their countryman readily noted in its effect upon their style then
Delacroix thirty-five years before them, by the and subsequently. With what red-hot enthusiasm
same pictures; * how they marvelled at finding they absorbed and adopted the technique of
already in existence practical certitude in matters Turner, Constable, and Watts is to be seen in
of technique which they had but vaguely suspected Monet's haystacks, etc.; in Pissarro's street scenes ;
and discussed at the Cafe Guerbois. How all this its recoil in Sisley's landscapes; and in the strong
must have brightened their existence and dulled luminous work of Guillaumin, d'Espagnat, Vuillard,
the keen edge of the misery of exile. How they Maufra, and the rest of the moderns. It completely
worked and copied in our museums and art revolutionised their style and ideals, and their
galleries—public and private, by the riverside, in resultant practice was totally at variance with the
_ dull gray and russet brown manner pre-1870.
*" Delacroix recommit hautement avoir subi l'influence du maitre Readers will imigine with what joy these men
anglais Constable/' In his published journal the artist himself records resumed WQrk ; their Qwn country the calamitOUS
— Constable et lurner sont de veritables reiormateurs. At the balon J '
of 1824 the picture of Constable caused him to completely repaint his ' War-Cloild bloWIl OVer, and the reconstruction both of
laree canvas, Scene du Massacre de Scio, in the same exhibition. In .v ■ j r -t • , r r , v «-ni
□ -1 , 1 . . . +, J . , Tnn,nn n„rnncpl , their country and of their art before them. Their
1825 so stimulated was his curiosity that he visited .London purposely to J
study our artists' work, and returned to Paris full of admiration and minds Were full of the ne\V and WOnderflll dis-
astonishment:—"ii revient 6merveill6 de la splendeur par lui insoup- . j • t-> i j r • r
Connie de Turner, de Wilkie, de Lawrence, de Constable, et met COVeneS made in England, of & preClOUS Cargo of
immediatement a profit leur enseignement."^ Again he chronicles in accumulated inspiration, and of the prescience that
his journal how he noticed that Constable, instead of painting in the , . . . , .....
usual flat tones, composed his pictures of innumerable quantities of little theY WOUld Carry the new ideas Still further With
touches of different colours juxtaposed, which at a certain distance recom- practice, and that the seed would fructify a hundred-
posed in a more powerful and more atmospheric natural effect, and that ....
this new method was very much superior to the old-fashioned one. fold. Their imagination longed to express all this
; place du THEATRE FRANCAIS " by CAMILLE PISSARRO
95