Manet and the French impressionists: Pissarro--Claude Monet--Sisley--Renoir--Berthe Morisot--Cézanne--Guillaumin . xpressing the smiling mood of nature. There is aseductive charm in his work. In the feeling which pervades it, itapproaches that of Corot. Sisley was sensitive to the enchantmentof nature. He was diligent in seeking, preferably in landscape,those kindly and intimate motives most in accord with the sensa-tions which he felt and wished to express. Hence he is thelandscapist among the Impressionists most preferred by those ofsensitive perceptions who, in works of art, look for an emo
Manet and the French impressionists: Pissarro--Claude Monet--Sisley--Renoir--Berthe Morisot--Cézanne--Guillaumin . xpressing the smiling mood of nature. There is aseductive charm in his work. In the feeling which pervades it, itapproaches that of Corot. Sisley was sensitive to the enchantmentof nature. He was diligent in seeking, preferably in landscape,those kindly and intimate motives most in accord with the sensa-tions which he felt and wished to express. Hence he is thelandscapist among the Impressionists most preferred by those ofsensitive perceptions who, in works of art, look for an emotioncorresponding with their own temperament. He painted especiallyrivers with their transparent waters and leafy banks, the countrygay with spring flowers or bathed in summer sunshine. His work,moreover, is very various ; it embraces views of towns and villages,and again snow effects, in which he showed great mastery. Heexhibited at the Salon for the last time in 1870, and then with theImpressionists in 1874, 1876, and 1877. His originality wasprincipally shown in a novel and unexpected coloration, which was. SISLEY 153 generally condemned. He was accused of painting in an artificiallilac-coloured tone. Nowadays everybody is accustomed to seelandscape painters employing the boldest tones in their renderingof effects of light; Sisleys colour scheme, therefore, seems abso-lutely calm and perfectly correct. But when it was first seen itwas judged to be false. At that time the public was not even yetreconciled to the still greyer tonalty of Corot, of Courbet, and ofJongkind. Sisleys works, which, together with those of his friendsthe Impressionists, displayed the variation of colour which the playof light and the change of seasons, of days and of hours of the day,give to natural scenes, proved disconcerting to those who lookedat his pictures. In particular, he rendered effects of bright sun-light by means of a rose-tinted lilac hue ; to-day this effect appearsexceedingly felicito
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Keywords: ., bookcentury1900, bookdecade1910, booksubjectpainting, bookyear191
