Studio: international art (30.1904)

The Etchings of Camille Pissarro

pictures croutes outrecuidantes,
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 to recognise the fine qualities
of the so-called croutes, was greeted
thus: " The insanity of their debut
turtle-shell dance mask. drawn by c. pr.-etoricjs might have been regarded as a pistol

fired with the object of attracting
attention had subsequent pictures
One difference between a savage and a civilised shown any progress, any masterly qualities, no
artist would appear to be that the former works matter how slight. But no; there was nothing,
with a childlike simplicity, his endeavour being absolutely nothing in them. These men are simply
to express some definite idea existing in his a vain, half-crazy band who hope to make people
mind. Comparison between the art of a savage believe they have talent, whereas it is clear that
race and our own endeavours is hardly possible, their works are merely experiments, devoid of
or necessary ; but it must be admitted that there creative thought, of all knowledge of composition,
is much to be admired in the work of the Papuans of the least vestige of drawing. They have not
of British New Guinea. the smallest notion of perspective, nor of anatomy,

nor have they any talent with the brush."

THE ETCHINGS OF CAMILLE Such criticism was written and published in
PISSARRO. BY COUNT DE France—nay more, in Paris! It is true that, in
SOISSONS 1878, such men as Theodore Buret, Philippe

Burty and Castagnary raised their voices in
What can I say of Camille Pissarro that defence of the impressionistic movement, but
has not already been said and re-
ar^

signed by well-known writers, was bold, "place de la republique a rouen : by camille pissaro

or rather stupid enough to call their effet de pluie"

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