. International Studio an Illustrated Magazine of Fine and Applied Art. tined, right up to 1883, to be engaged indesperate conflict with circumstances on behalf ofhis art. He was the butt of all sorts of jokes,to which he paid no attention, suffered pri-vations which he scornfully endured, antagonismswhich never checked him for a in hisstride. Everything that might serve to embitter aman fell to his lot—without embittering him. Foryears he found the utmost difficulty in selling hispaintings even for the ridiculous sum of a hundredfrancs. Little cared he. With complete confi-dence in hi
. International Studio an Illustrated Magazine of Fine and Applied Art. tined, right up to 1883, to be engaged indesperate conflict with circumstances on behalf ofhis art. He was the butt of all sorts of jokes,to which he paid no attention, suffered pri-vations which he scornfully endured, antagonismswhich never checked him for a in hisstride. Everything that might serve to embitter aman fell to his lot—without embittering him. Foryears he found the utmost difficulty in selling hispaintings even for the ridiculous sum of a hundredfrancs. Little cared he. With complete confi-dence in himself he refused to make the smallestconcession to public taste. This was the periodof his closest intimacy with Sisley and latter has often told me how, when the little X *,,*« .?;^;.^\>^ • ?V - - ^k^ -;j^^ ??P^ i -^Slk^ ki ^lij^jl^l Iv \ IflRlvlBSfi^fii >?-. .?.-%.,. , M^^^m, mf^s»mk % m ^, vTJ^^ ^^k. ml IL 111 ^TPF ? ^V m\ H -i I \ 1 1 I I ^ ?Ji^ * IFpi JUAN-LES-IINS90 (By permission 0/ Messrs. Ditraiid-Kiiel) BY CLAUDE MONKT. Claude Monet group was in direst difficulties, Sisley representedgood humour, and Claude Monet always repre-sented confidence in the future. Now, not only would Monet never make con-cessions—seeing that he was engaged in experi-ments which absolutely debarred them—but hemade his case still worse with the public by twofresh excursions which brought him to his finalstage. Just as the paintings of Manet had im-pelled him to seek absolute simplicity in drawingand modelling, so the Japanese prints over whichhe had waxed enthusiastic during his visit toHolland in 1870, made him paint henceforth innone but the brightest, clearest harmonies, andcaused him to strive to make his palette of thelightest possible description. The third etape of Monet, after all these syn-thetical researches, was for a change in the direc-tion of analysis. Having mastered draughtsmanshipin its strongest and most concise form, andcaptured colour so far as t
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