DOI Heft:
No. 124 (July, 1903)
DOI Artikel:Dewhurst, Wynford: Impressionist painting: Its genesis and development, [2]
DOI Seite / Zitierlink:https://doi.org/10.11588/diglit.19879#0119
Impressionist Painting
poverty ■ for art, the birth of a new and lovely we are all impressionists, voluntarily or involun-
convention. tarily. It is in the air, and one cannot escape its
Yet things moved on slowly. Confident in their inoculating influence. It may, I think, with safety
talent, yet fearful of -its reception, the painters or- be affirmed that 90 per cent, of the students who
ganised a small collective exhibition of their work adopt landscape painting professionally, are in-
in 1874, at Nadar's Galleries, in Paris, an event now stilled with admiration for, and are daily propaga-
become historic. It will be interesting to note the ting impressionist ideals and methods, for it is the
names of a few of the exhibitors—Boudin, Bracque- art of to day and to-morrow.
mond, Cals, Cezanne, Colin, Degas, Guillaumin, Since the great triumph of impressionist art has
La Touche, Lepine, Monet, Berthe Morisot, Pissarro, been in the landscape branch of it, landscape should
Renoir, Sisley, and Rouart. Both press and public have first title to consideration. For that reason
attacked the pictures and their devoted painters in the work of Manet, impressionist as he was and
a spirit of almost diabolical virulence. They were perhaps leader of the movement pre '70, will
lampooned in idiotic cartoons, were branded as interest us less than that of Monet his friend, who
idiots and traitors, disloyal to their country's has almost entirely devoted his energies to land-
traditions, trucklers to the foreigner, and unworthy scape painting proper. Manet's laurels were gained
of respect. with portraits and genre pictures before the London
Impressionists' pictures are now housed in the visit of his colleague, and weighty tomes, booklets
public art-galleries of many nations. The press and magazine articles by the score have grown up
and public miss no opportunity of repairing to the round about his name and art.
survivors of the original group of persecuted ones Edgar Degas is also one of the innovators who
the cruel injuries which are now seen to have been has lived to see the great revulsion in popular
so unmerited, yet so nobly borne. In these days taste. He is allied to the modern development
"bateaux de peche"
102
(By permission of M. Durand-Ruel)
by claude monet
poverty ■ for art, the birth of a new and lovely we are all impressionists, voluntarily or involun-
convention. tarily. It is in the air, and one cannot escape its
Yet things moved on slowly. Confident in their inoculating influence. It may, I think, with safety
talent, yet fearful of -its reception, the painters or- be affirmed that 90 per cent, of the students who
ganised a small collective exhibition of their work adopt landscape painting professionally, are in-
in 1874, at Nadar's Galleries, in Paris, an event now stilled with admiration for, and are daily propaga-
become historic. It will be interesting to note the ting impressionist ideals and methods, for it is the
names of a few of the exhibitors—Boudin, Bracque- art of to day and to-morrow.
mond, Cals, Cezanne, Colin, Degas, Guillaumin, Since the great triumph of impressionist art has
La Touche, Lepine, Monet, Berthe Morisot, Pissarro, been in the landscape branch of it, landscape should
Renoir, Sisley, and Rouart. Both press and public have first title to consideration. For that reason
attacked the pictures and their devoted painters in the work of Manet, impressionist as he was and
a spirit of almost diabolical virulence. They were perhaps leader of the movement pre '70, will
lampooned in idiotic cartoons, were branded as interest us less than that of Monet his friend, who
idiots and traitors, disloyal to their country's has almost entirely devoted his energies to land-
traditions, trucklers to the foreigner, and unworthy scape painting proper. Manet's laurels were gained
of respect. with portraits and genre pictures before the London
Impressionists' pictures are now housed in the visit of his colleague, and weighty tomes, booklets
public art-galleries of many nations. The press and magazine articles by the score have grown up
and public miss no opportunity of repairing to the round about his name and art.
survivors of the original group of persecuted ones Edgar Degas is also one of the innovators who
the cruel injuries which are now seen to have been has lived to see the great revulsion in popular
so unmerited, yet so nobly borne. In these days taste. He is allied to the modern development
"bateaux de peche"
102
(By permission of M. Durand-Ruel)
by claude monet