Manet and the French impressionists: Pissarro--Claude Monet--Sisley--Renoir--Berthe Morisot--Cézanne--Guillaumin . und in the esteem of thefew whose opinion mattered. The number of his adherentsincreased so largely, that the jury which had rejected him wasseverely taken to task. Accordingly, in submitting his works tothe Salon of 1879, he abandoned that circumspection that hadseemed necessary in 1877, and boldly sent in an open-air paint-ing, En bateau, and another, Daiis le serve, which, though notactually painted in the open, was nevertheless executed in a verybright scheme of colour. Both w
Manet and the French impressionists: Pissarro--Claude Monet--Sisley--Renoir--Berthe Morisot--Cézanne--Guillaumin . und in the esteem of thefew whose opinion mattered. The number of his adherentsincreased so largely, that the jury which had rejected him wasseverely taken to task. Accordingly, in submitting his works tothe Salon of 1879, he abandoned that circumspection that hadseemed necessary in 1877, and boldly sent in an open-air paint-ing, En bateau, and another, Daiis le serve, which, though notactually painted in the open, was nevertheless executed in a verybright scheme of colour. Both were accepted. En bateau had been painted in 1874, at the same time asthe Argenteuil, but in a less violent colour-scheme. It containedno passage so daring as the blue water forming the backgroundof the Argenteuil. The principal figure, a young man, was holdingthe rudder of the boat; the white of his jersey harmonised wellwith the bluish-grey water of the river. The picture was com-paratively quiet in tone, and if it won no approval, it at all eventsescaped attack. Dans le serve was found displeasing, like all. THE OPEN AIR 85 Manets other works painted in the same manner, on accountof the variety of tone and the brilliancy of colouring. Twofigures stood out prominently against the green plants of theconservatory; one, a young woman, was reclining on a garden-seat ; the other, a young man, with his elbows on the back of theseat, was talking to her. The scene was full of charm, but asthe background was composed of green plants painted in all theirnatural radiancy of colour, the public found the composition tooshrill, and complained that its eyes were dazzled by it. At this time, in 1879, Manet was at the height of his had arrived at that particular kind of renown which adheredto him throughout the rest of his life. He was one of the mostprominent men in Paris; everybody knew who he was. Buthe was never really understood, either by the world at large orby the smaller wo
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Keywords: ., bookcentury1900, bookdecade1910, booksubjectpainting, bookyear191
