Manet and the French impressionists: Pissarro--Claude Monet--Sisley--Renoir--Berthe Morisot--Cézanne--Guillaumin . h a pile of easels,palettes, brushes, lying on the floor—in short, all the paraphernaliaof a studio; and there all by itself was Claude Monets Canal aSaardam. I turned it over on its back. There was no name onthe label. I made inquiries, and found that I had stumbled acrossthe scourings of Daubignys studio, which were being offeredanonymously as things of which the ownership was better con-cealed. It was among these that Daubignys heirs had putMonets picture, because in their opin
Manet and the French impressionists: Pissarro--Claude Monet--Sisley--Renoir--Berthe Morisot--Cézanne--Guillaumin . h a pile of easels,palettes, brushes, lying on the floor—in short, all the paraphernaliaof a studio; and there all by itself was Claude Monets Canal aSaardam. I turned it over on its back. There was no name onthe label. I made inquiries, and found that I had stumbled acrossthe scourings of Daubignys studio, which were being offeredanonymously as things of which the ownership was better con-cealed. It was among these that Daubignys heirs had putMonets picture, because in their opinion it would have disgracedthe official sale of his effects. I obtained it for eighty in 1894 circumstances led me to sell my collection, secured the Canal a Saardam for the sum of 5500francs. He resold it to M. Decap, who, when he was putting apart of his collection up to auction in 1901, withdrew it at 30,000francs. If the picture does not find a resting-place in one of thepublic galleries, it will be interesting to see to what price it willrise in future sales. ~m ?^t\W<mmh. CLAUDE MONET 149 Monets sudden leap into public favour dates from the exhibitionof fifty-six of his works in 1881 in the Boulevard de la was visited by large numbers of people, who came this time notto laugh but to admire. With the lapse of years a new generationhad arisen who had become familiar with Monets work. It nolonger inspired them with that sensation of astonishment anddisgust which the previous generation, who had been taken un-awares as it were, had experienced. In 1889, twenty-eight yearsafter Monets first Salon and fifteen after the first Impressionistexhibition, the change which had taken place in his favour receiveda striking recognition. In that year he held an exhibition, in con-junction with Rodin, in which 145 canvases, selected from thewhole of his work, were on view. It was a decisive test. A glanceat the catalogue containing the names of
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Keywords: ., bookcentury1900, bookdecade1910, booksubjectpainting, bookyear191
