The sun., 1910-08-14
SEEN IN The WORLD OF ART
CAMILLA PISSARROS MORN ~
INCRE tSING gOt.I
His PsIniinEs t!s'nE Up In Price as They
Are nrtieT Appreciated Csuntry
iISe and Biis sf Parts On canvas
Phases sf the Norman Painters Art.

sArro is not confined 10 France Not :.
many years ago one could snap up a Pis
sarro without fracturing the hank az
count. hut now u cn~ts to own a fin.
example. The fact thai Pissarro Tough
under the rigs ~ Monet for a time ha'
hafnper~d his value In the eyes Of IN.
general public. The connoissrurs Away
admired and bought him "a ls curious
to note tho changes in the order 81 tLs
roll call Of Impressionism. For years II
ran thus Manst. Monet. Renoir. Pis.arro
Sisley and az the very bottom stood Pau
/ C~Eanne Now MAnet is In a cIs~s 10y him
self. and Claude Monet heads the list OF
lAndscapists. CSzAnne the figure painters
indeed for tho younger generation ~ is
CeTanne first in every genre and the rest
nov here To PiEsarro's and Sisley's rlay
be added the names ~ Maufra and Moret
Around Claude Monet are grouped
some remarkable painters writes VI
MAuclar Camille PissArro was the
most important. the most versatile and
the most productive We owe To him a
great number Of Landscapes of rustic
scenes and quite recently a series Of Paris
studies in which his talent has reached
its apogee with a force that is astonish-
ishing in one Of his vast age Pissarro
began his first landscapes under the dis
tinct influence Of Corot They are peace
ful harvest scenes and views ~ plains
Ea;hed in blond light Then. IN his mar
kets. his farms. his studies II peasant
women. he Was influenced for n long time
by Nlillet His work has great charm
and reveals a soul sincerely fond Of the
country, OF French orchards OF the all
houettes Of humble people IL has a
rustic odor and belongs Ia an experienced
and conscientious artist Perhaps Pts
sarro has suffered from heing unable to
escape the influence ~ others. his modest
spirit carries him away too easily to
initiate what he admir,.s and II IL FOR this
reason that he must 10 relegat-d to the
rank Of the eNccllent artist IL the second
order One can Say " PiSsarrn
that he lacks none of the gifts of his pro-
f"ssion He is a learned. fruitful and up
right artist But he has lacked originality:
he always recalls those whom he admircs
and whose ideas he applies boldly and
'Istef,Illy Naturally Mauclalr wrote
the aiov~ during the lifetime OF the artist
Chorn iSSo 81 French Israsht. family
died ion3I Will. Mauclair can hardly
h- accused Of a lack of sympathy for the
Impre~slonIstic school. Ne do not agree
with him altogether in his estimate ~
Plssarro. rather subscribing to the Iudg-
rnent of the late Prof Muther. who said
that the merit of Camille PisSArro - To
have once more set the painting Of peas
ants Weakened by Breton. upon the virile
lines Of Mli-t and 10 have supplemented
them IN those places where Millet was
technically indulg.n;
When the Imprcs-Ionlst movement he-
gan Pissarro had already a past ne Vas
tn" recognized Landscape painter ~ the
Norman plains. the straightforward ob-
server ~ T"asaut' the sinpic painter ~
the vegetable gardens stretching round
n asant dwellings Snc,' Nillet No. artist
hHd PLACED hins"if m closer aiIonship
to 'he life of the earth and Of cultivated
natur' Though dHhcrt. RUaiyst Pis-
sarro had not the epic feeling nor IN.
religious mysticism ~ Milct hut like
Niillet b" was a rustic IN spirit. like him a
Norman, from the land 81 vln-va rds. Of
large farmyards. green mcGdows soft
avenues ~ poplars and wide horizons rcd.
tened by the sun He was healthy ten.
der and intimate in feeling. rcJniced IN
pus undulAuon of fields and hc could
give striking Impression of a region
IN Its workaday character Celebrated
m the press a the legitimate DESCENDANT
q Nillct h might hav" Cunt.nted himself
With has regular suCc"-sss He hai. "
i-cd arrived az an age when men usually
IuIt experimenting and reap what IN
1av" Sown IN their youth at an az. when /.
many conpuernrs occupy themselves with 7
IA" mechanical reproduction of their own /.
SorSs Nevertheless IA, lmpr"-si onis'ic (
n pv"mc nj became fpT PlsSa-ro the start /
nC point nt new way
lie med at fr'-sher intensar and more
transparent light. al a more cogcn, or-
er vatIon - phenomena a. a moro exact
nllysis ~ IN" "ncompassing a'mosphe
ie celebrated the eternal mmutAhl.
ght m which the world ~ hathsd lie
owed II specially during clear afternoons.
'hen II plays over bright green mraduws
ringed 10y tail trees Or al the foot ~ low
ills He has sought IL On the Slopes
cruss which IL rippl-s de!icioIsly, on IN.
la'ns. from which II rIses like a H. ght vel
( gauze He studied 'he play ~ light
pom the bronzed skin - laborrrs. on the
oats 81 animals. on tho foliage and fruit
Z trees He characterized the seasons
he hour Of the day. the moment with
hes consCientIouSne- ~ peasant noting
he direction ~ the wind and tho position
the sun Tn" cold. chilly humnr 81
lItumn afternoons. the vivid clarity ~
parking wIntry skies. the bloom and =
ghtness of spring morning.. 'he op-
re-sive hrooding 81 summer. the lux.
riAnce or the aridity ~ tho .arth. tho :
oung vigor Of foliage or the fading of 7
a'ure robh"d Of her adprnuen, all I
lc-s Pissarro painted with lar g.n.-z
Iainne-~ and simplicity he strays over q
10 Acids. watching the shepherd driving =
NJ his hock. the wain- rumbling along the I
neven roads. the quiet rhythmiCa move :
ent u the ginanrr- the graceful sait ~ '
ls women who nav. b--n reaping and
Nv return hom" ia the evening with a ,
Ike AcruSS their shoulders: he stations
mS.'lf at the entrance 81 a village where a
!" apple pickers are al work and the o
omen mindnR geese stand by their
Iar ~. he notes the whole lf,. - pea.anta r
nd gives trIcr and more direct int.lh- g
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