. Fifty years of modern painting, Corot to Sargent . THE IMPRESSIONISTS AND THEIR ALLIES 83 and their variety and irregularity, and the frequent fitful-ness of the sunshine, provide the artist with a wealth ofsubject compared with which the cold, formal beauty ofParis, in its clearer atmosphere, is poverty itself. So theFrench painters returned to their own country with moresensitive vision than they had previously enjoyed. Like Pissarro, Monet had a chequered experience at theSalon. He first exhibited there in 1865. Manet, who sawthe two marine subjects that were his contribution, sug-gested
. Fifty years of modern painting, Corot to Sargent . THE IMPRESSIONISTS AND THEIR ALLIES 83 and their variety and irregularity, and the frequent fitful-ness of the sunshine, provide the artist with a wealth ofsubject compared with which the cold, formal beauty ofParis, in its clearer atmosphere, is poverty itself. So theFrench painters returned to their own country with moresensitive vision than they had previously enjoyed. Like Pissarro, Monet had a chequered experience at theSalon. He first exhibited there in 1865. Manet, who sawthe two marine subjects that were his contribution, sug-gested that the similarity of name enabled Monet to profit byhis reputation. Then came alternations of acceptance andrejection, followed, as his individuality of style developed,by certainty of rejection. After 1880 he did not again sendto the Salon. In France as in England—everywhere, in-deed—art, like religion, has its Protestants, its Noncon-formists, and, but for them, would perhaps not wholly die,but at the best would linger on, like one who in h
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