DOI issue:
No. 284 (November 1916)
DOI article:Manson, James Bolivar: Some notes on the paintings of Lucien Pissarro
DOI Page / Citation link:https://doi.org/10.11588/diglit.24575#0066
The Paintings of Lticien Pissarro
The criticism has been made, in connection work would involve, inevitably, an examination
with Impressionist painting, that a transcript of of the principles of Impressionism and some
Nature, however true it may be, does not satisfy notice of the practice of them in England—
the claims of Art, but such a criticism seems to a movement which owes so much to Pissarro's
be based on a misconception of the nature of Art; influence and example. Impressionism, were it
for a work of art may be a transcript of Nature in only in the direction of colour, has permeated the
the sense that the painter has found all he wants more vital part of modern art expression. Even
in a natural scene as it stands. The quality of his those sections which cannot be said to be essen-
painting, as a work of art, depends on what the tially Impressionist in character owe much to its
painter has got out of his subject and what he has influence, particularly in regard to the artist's
given to it; in short, the essence of the thing is relations to Nature.
the feeling displayed in the artist's work. The To the general public and to the picture-mongers
failure of a picture to be a work of art is not due of Burlington House the name of Pissarro is
to its subject, whether that be a transcript of naturally not familiar, and would be anathema if
Nature or the most ingenious arrangement of it: it were. Official art is a contradiction in terms,
it is due to lack of feeling or inability to express and Pissarro has avoided rather than sought
feeling. Pissarro's paintings are not only works of popularity, for popularity has nothing to do with
art but intimate personal documents which form Art except as a measure of its badness. A lack
a sort of autobiography in paint; for always they of appreciation of Pissarro's work exists, it is
represent states of feeling, however much they, true, among some people of notable taste and
for a multitude of reasons, may vary. intelligence ; this, however, is not a remarkable
A complete appreciation of Lucien Pissarro's phenomenon in the history of Art. It is due
THE HAYSTACK, FISHPOND, DORSET" BY LUCIEN PISSARRO
58
The criticism has been made, in connection work would involve, inevitably, an examination
with Impressionist painting, that a transcript of of the principles of Impressionism and some
Nature, however true it may be, does not satisfy notice of the practice of them in England—
the claims of Art, but such a criticism seems to a movement which owes so much to Pissarro's
be based on a misconception of the nature of Art; influence and example. Impressionism, were it
for a work of art may be a transcript of Nature in only in the direction of colour, has permeated the
the sense that the painter has found all he wants more vital part of modern art expression. Even
in a natural scene as it stands. The quality of his those sections which cannot be said to be essen-
painting, as a work of art, depends on what the tially Impressionist in character owe much to its
painter has got out of his subject and what he has influence, particularly in regard to the artist's
given to it; in short, the essence of the thing is relations to Nature.
the feeling displayed in the artist's work. The To the general public and to the picture-mongers
failure of a picture to be a work of art is not due of Burlington House the name of Pissarro is
to its subject, whether that be a transcript of naturally not familiar, and would be anathema if
Nature or the most ingenious arrangement of it: it were. Official art is a contradiction in terms,
it is due to lack of feeling or inability to express and Pissarro has avoided rather than sought
feeling. Pissarro's paintings are not only works of popularity, for popularity has nothing to do with
art but intimate personal documents which form Art except as a measure of its badness. A lack
a sort of autobiography in paint; for always they of appreciation of Pissarro's work exists, it is
represent states of feeling, however much they, true, among some people of notable taste and
for a multitude of reasons, may vary. intelligence ; this, however, is not a remarkable
A complete appreciation of Lucien Pissarro's phenomenon in the history of Art. It is due
THE HAYSTACK, FISHPOND, DORSET" BY LUCIEN PISSARRO
58