Manet and the French impressionists: Pissarro--Claude Monet--Sisley--Renoir--Berthe Morisot--Cézanne--Guillaumin . on a bed, and near her a dwarfplaying a guitar. He repeated the attempt in 1864, sendinganother romantic picture, which this time was accepted. Thesubject was Victor Hugos heroine, Esmeralda, dancing at nightin the Place de Greve, with the towers of Notre-Dame in thebackground. Renoir destroyed these first two pictures whenhe afterwards began to paint in a more naturalistic happy change took place in 1865, when he sent to the Salontwo canvases, painted directly from l
Manet and the French impressionists: Pissarro--Claude Monet--Sisley--Renoir--Berthe Morisot--Cézanne--Guillaumin . on a bed, and near her a dwarfplaying a guitar. He repeated the attempt in 1864, sendinganother romantic picture, which this time was accepted. Thesubject was Victor Hugos heroine, Esmeralda, dancing at nightin the Place de Greve, with the towers of Notre-Dame in thebackground. Renoir destroyed these first two pictures whenhe afterwards began to paint in a more naturalistic happy change took place in 1865, when he sent to the Salontwo canvases, painted directly from life, both of which wereaccepted—Le Portrait de Mine. W. S. and Une Soiree $ete. Renoir was not represented in the Salons of 1866 and 1867—probably he sent pictures which were rejected. To the Salon of1868 he sent a picture which was accepted—Lise, the portraitof a girl, full length and of life size, in a white dress, with asunshade in her hand. This work marks a great step in ad-vance. It was painted in the open air in the forest of Fon-tainebleau. Reflections and splashes of light striking through the. BAKJNEUSE RENOIR 161 foliage of the trees play upon the figure of the girl, upon theground round about her, and upon the trunk of a tree essentials of open-air painting are here firmly established,but at the same time certain features are revealed which aretraceable to Courbet, the master who then influenced all the youngartists who were inclined towards the direct observation of Salon of 1869 accepted Renoirs picture En cte, in which hehad used the same model as in the Lise of the preceding painted her half-length, with bare arms, her hands crossedon her knees, and her hair falling down over her shoulders. Thispicture had also been painted in the open air, and behind thegirls figure appeared bright green foliage, shot through withthe rays of the sun. It was a further advance in the directionof open-air painting, full-coloured and luminous. I
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Keywords: ., bookcentury1900, bookdecade1910, booksubjectpainting, bookyear191
