Manet and the French impressionists: Pissarro--Claude Monet--Sisley--Renoir--Berthe Morisot--Cézanne--Guillaumin . herto had not attracted Englishartists. True, it was an Englishman, Constable, who was oneof the first to realise the value of working directly from naturein landscape painting. His works, when exhibited in Paris atthe Salon of 1824, had exercised a profound influence on theartists of that time, who were delighted with their freedom andsincerity. After that, the French landscape painters began topaint directly from nature. This method was gradually ex-tended until it reached its c
Manet and the French impressionists: Pissarro--Claude Monet--Sisley--Renoir--Berthe Morisot--Cézanne--Guillaumin . herto had not attracted Englishartists. True, it was an Englishman, Constable, who was oneof the first to realise the value of working directly from naturein landscape painting. His works, when exhibited in Paris atthe Salon of 1824, had exercised a profound influence on theartists of that time, who were delighted with their freedom andsincerity. After that, the French landscape painters began topaint directly from nature. This method was gradually ex-tended until it reached its complete development with Manetand the Impressionists. But while Constable was understood in France, he had,during his lifetime, the support of only a small number ofartists and connoisseurs in England, and died without havingfounded a school. English painters pursued a course quitedifferent from his. The dominating influence was that ofTurner and the Pre-Raphaelites. It has been erroneouslyattempted to establish a relationship between Turner and theFrench Impressionists; they differed greatly in their methods. LES PARAPLUIES RENOIK IN 1909 205 and code of aesthetics. As for the Pre-Raphaelites, their artwas at the opposite pole to the French realism, which reachedits culmination in Manet and the Impressionists. The Pre-Raphaelites stayed themselves upon literature ; their gaze wasdirected less towards the external world of nature than towardsthe inner world of the imagination. One looks in vain, therefore, in English collections andgalleries for the numerous examples of the work of Manet andthe Impressionists which are to be found in Germany and theUnited States. There is one exception, however. A completecollection of modern painting has been formed by a man pos-sessed of that ardour of conviction which is able to performprodigies. This gallery, however, is to be found not in Eng-land, but on the other side of St. Georges Channel. Sir Hugh Lane has succeeded in securing the c
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Keywords: ., bookcentury1900, bookdecade1910, booksubjectpainting, bookyear191
