The sun., 1910-08-14

ing application In the case OF Pieaarro
even II hs does bslonE % the secondary
grade 81 PAINTERS he founi himself b.
good company, The top notchers ars
few, and when the art ista ~ the last ON.
tury are critically sIft-d IN. numb-T oi
/ good second rate men will be found "a
/ be large WHY not Little pictures
too. have their des,inies PissArro Is
among the Littls Masters. We do not
/ find that h. lacks personality lie strives
for the imp.rronAl. yet hia technical
style II unni-takAhle lou can pick
a Piszarro IN an army Of rAnvases A.
Mauclair said. They his picturesl
b-Ar witness to high qualities of sincere
observation and are the work ~ man
profoundly enamoured n rustic life - lie
eAcels in grouping the figures. IN correctly
catching their attitudes and In rendering
the medley of crowd in the sun. Ger
tain fans. h. particular, will always remain
delightful uAprices Of fresh color. but IL
would be vain TO look in this attractive.
animated and clear painting for the
Psychologist gifts. the profound feeling
for grand silhousttes and the intuition
Of the worn and gloomy soul Of the man
Of the soil which have made the glory Of
Millet
At the time whom. about 1885, the neo-
impressionists invented the Pointillist
method Pissarro tried It and applied IL
judlciously, with the patient. serious and
slightly anxious talent by which he
is distinguished In a series OF Paris
views tthe boulevards and Avenue
de fOperal he has shown rare vision and
skill and therein has signed his most
beautiful and personal paintings. The
perspective. the lighting. the tones Of tho
houses and Of the crowds. tho reflections
OF rain or sunshine are intensely true
they mako one feel tho charm and soul Of
Paris. adds VI MauolaIr. and let us add
that an artist who can do that is not to be
lightly passed by as second rate And
there il the Rouen series; the Rue de
/ l'Epicerie. the celebrated Bolldieu Bridge
and many other evocations OF the pic
tureSIue spot where FlAubert once lived
and Maupassant
As long as any advance beyond
Rousseau and Corot seemed impossible.
wrote Muther pictures OF talent but
only moderate importance had increased
in number in the province Of landscape
The landscape painters who Immediately
followed the great pioneers loved nature
ON account of her comparative GOODNESS
IN summer, upon sites where the classic
artists of Fontainebleau dreamed and
painted thoy built comfortable villas and
settled down with the sentiments Of a
bourgeois householder The country was
parcelled out and each one took his share
and painted u. though without arousing
any novel sensations ImpressionisIn |
gave landscape painting which showed
signs of being split INTO sperialtieS -
once more a firm basis a charming field !
of study To communicate impressions
without any Of the studio cookery
nf the palette just as they strike us sud !
denly. to preserve the vividness and |
cogency Of the first imprint Of nature |
upon IN" mind was the great problem |
which impressionism placed before the !
landscape painters The artists Of Fon- !
taInebeau painted neither the rawness
and rigidity of winter nor the sultry /
atmosphere and scorching heat OF !
summer: they painted dgnihed and ex-
Iuisite works
The inurc--ipni-ts did not approach |
i1"ir themes as poets. bat as nRturalists !
In their hands landscape. which ia Cornt. q
'AilFAf A'taft tN'liHrfhls EflN ana .
IOngkind ~ an occasional poem. becomes
4 likeness ~ region under special in
ruenc"s II light With more delicate
nerves and a sensibility almost greater.
hey allowed nature TO work upon them
and perceived ia tho symphonies of every
hour harmunIes never before heard
transparent shadows the vibrations Of
atoms 10 light decomposing contours.
hat tremor OF the atmosphere which il
he breath Il landscape Hero England
vas not without Its influence As Corot
md Rousseau received an impulse from
Unstable and Bennington in 1880. Monet
md Sisley returned from London with
heir ewes dazzled by the light Of Turner
aid hold upon. a. was Turner by the
miracles - the universe. by the golden
il." which trcmble- IN a sunbeam they
ucc""d~d IN painting light despite the
effectiveness Of chemical Combinations
In conclusion le' us admit that the
PRACTICAL encouragement and sympathy
4 VI purand Ruel. who made possible
he successful accouchement Of the i'm
r--slJnlstic school. cannot be too much
rai-ei he was literally the shepherd
( n" hrCk