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Modern French Masters - The Impressionists (McCall Art Ebook)
Modern French Masters - The Impressionists (McCall Art Ebook)
Modern French Masters - The Impressionists (McCall Art Ebook)
Italy,
and
Illustrations
by
Copyright 1970,
in Italy,
Milan, Italy
Number 79-105945
SBN8415-1000-8
IMFRESSIONISM
France.
It
was
derisively christened
Monet
new
art
called Impression
it
soon
at a
name was an
and
Sunrise
lost its
these artists
The
all
the history of
And
was
light.
really
They
felt
that
no
artist in
succeeded in painting
so they took their easels out of doors, into the fresh air
light.
painted what they saw. They were no longer interested in painting landscapes
in their studios, as artists
cial
manner
of the Academicians.
they invented a
it,
new
colors,
and
to nature
and
society.
They
ettes,
let
beholder blend them. These strokes might be various shades of one color
applied side by side, for intensity and luminosity, or they might be
many
dif-
up
Even shadows
ferent colors, for the Impressionists, in their attempt to depict light, broke
their colors rather in the
way
prism breaks up
a ray of sunlight.
new
and of contemporary life. They painted the sealight and changing cloud forms, quiet village streets,
regattas and horse races, the animation of passers-by on
its brilliant
picnics in the
open
air,
Parisian boulevards, the intent play of children in leafy parks, the gaiety of
dance
halls
and
cafes
and
French
life
was
felicity of
No
Impressionists,
who
are
They worked
together, ate
was
the
first
official art.
had been
Until then the Salon had
artists
ruled the world of French art with despotic and unchallenged power.
was one
of the few places where an artist could exhibit his work. There were some
dealers, but private art galleries as we have them today did not exist. The Salon
also influenced public commissions and museum purchases as well as purchases by individuals.
So refusal by the one authority was an extremely bitter blow to an artist. And
the taste of the Salon was for grandiose, neoclassic subjects, generally with some
moral connotation, painted with an enamel-like finish in subdued colors.
tio It tint
Among
a f (I Jo n ifk hul
the artists
ment
It
of the Impressionist
who were
in this
show
of "radicals"
were
movement because
and atmosphere. Boudin was a sailor's son from the coastal town of
Honfleur, and he and Jongkind frequently painted there together. The area,
where the Seine flows into the English Channel, has been called the birthplace
of light
of Impressionism.
At that time Boudin and Jongkind were almost alone among European artists
in preferring to paint outdoors. Other artists occasionally made preliminary
sketches directly from nature, but then they returned to their studios to paint
the finished picture. Boudin and Jongkind believed,
however and
it
was
revolutionary belief at that time that only by painting the entire canvas in the
open air could they achieve the effects of immediacy, the "impressions" of
shimmering light and constantly changing atmospheric conditions that they
desired.
This belief Boudin instilled in the young Monet, then only seventeen years
old,
who
torn from
my
eyes.
understood.
artist, "It
I
grasped
Much
later, in
his
IVhisiler
The American artist Whistler also exhibited in the Salon des Refuses of 1863.
He was not so much interested in effects of light as in harmonies of neutral
carefully
Impressionists.
you had no
talent!"
He was
to
also sensitive
They
my
friend, as
af-
though
his paintings
more
with sentiment than with full-bodied emotion. Often in his painting he takes a
single color and weaves it into delicate harmonies, as in his Symphony in White
No.
I:
Battersea (Plate
6)
and Nocturne
in
7).
poet, too "and when the rising mist clothes the riverside. .as with a veil, and
the poor buildings lose themselves in the dim sky. and the whole city hangs in
the heavens... then nature, who for once has sung in tune, sings her exquisite
song to the artist alone, her son and master."
The
latter
Many
outrage.
It
aroused
it
and
critics
The
Manet
What shocked
many
Venus or Diana or
nymph
or muse. This
Manet had
literal
intended
to
own, an arrangement
portray reality.
of forms
and
colors that
was not
He composed
when he
painted
famous
(at
the time
everybody knows."
it
And
were not enough, she stared out at the spectator so im^pudently and so provocatively that she seemed to be including him
in her environment of wickedness.
as
if
that
But in this painting, as in the earlier one, the realism with which the subject
is
mean
that
that
terms, almost as
if
it is
to
be interpreted
literally. It is
simply a motif
to the
own
it.
work.
And
dark, he painted in
flat
critical
you're the
first
came
to the
and abuse
Its effects,
it, still it
signifi-
It
made
a definite
artists of the
In the
art
avant-garde.
same
year, 1863,
Manet had
in
his first
one-man show
the Tuileries
in Paris.
Gardens (Plate
came
One of the
10).
Here his
of a prosperous family
and moved with ease and pleasure in the elegant world of fashion. His appearance and social position were in marked contrast to the public conception of
him as an unwashed revolutionary. Baudelaire had said, "Give us a modern
painter who can show how great and poetic we are in our frock coats and our
picture as apparently inoffensive as this one so enraged one of the viewers that
he
tried to slash
it
Paradoxically, although
whom
they
be over-
come. At the time of the Salon des Refuses, Manet was still painting only in his
studio. He refused to paint even landscapes out of doors.
In his controversial Le Dejeuner sur I'Herbe he uses
flat
planes of
without
light,
any convincing source for this light, something an out-of-door painter would
not have done.
But after his contact with the Impressionists, especially Monet, he underwent
a change of heart. He was not too proud to learn from his young friends and
became,
like
and the
life.
air
and
of the enchanting
lighter,
more spontaneous.
beliefs.
He
refused to exhibit with them, and continued to feel that the Salon represented
However
between
may have
an interesting contrast
is
The masterpiece of his last years is A Bar at the Folies-Bergere (Plate 48). It is a
beautifully composed painting and a fascinating medley of lights and forms and
textures, completely plausible in its design
The barmaid's
reflection
she
is
is
detached
waiting
is
as
an
at
an
over-
is,
It
was
to create a brilliant,
beneath
its
appearance of
is a
world in
whose laws do not always coincide with the laws of the real world. It is a
prime example of what Degas meant when he said, with his customary elegant
itself,
wit,
"A painting
much
is
an
artificial
work
and
requires as
it
With
this painting
Manet
twenty years of
own words,
"It
comes too
late to
compensate
for
failure."
Degas, like his friend Manet, was born into an aristocratic and worldly environ-
ment.
we
are
dirty,
We are clean,
common."
At the age of twenty he gave up the study of law and entered the School of
Fine Arts, and the following year he went to Italy to study the Italian painters
he had learned to admire during long hours in the Louvre. While in Florence he
painted his aunt, the Baroness
Bellelli,
(Plate 11).
Already he
shows here his tendency for that strong but rather curious composition that
may have been his most original contribution to Impressionism, and his feeling
for character in the posing of the figures. The naturalness of the setting, the
parlor in the Bellelli home, also heightens this feeling for character.
Shortly after his return to Paris he made the acquaintance of Manet, and a
firm but turbulent friendship began. Their work had much in common, but
differed principally in that Degas gave chief importance to line, while Manet
expressed form through color. Both became supreme illustrators of the Paris of
their time.
and he had an
He
extra-
frequently
He
and After
the
he said, "to peek through the keyhole." His subjects frequently give the impression of having been caught off guard, but his elegance of style prevents
their ever appearing as ugly.
did not care for the spontaneous effect that was their aim, but
He
entirely.
is
nothing
less
spontaneous than
my
art."
He made
preliminary sketches directly from the subject, but composed his paintings in
his studio with the greatest care.
Many
of his subjects
left
of the singer,
diagonal
diagonal to
is
second
by her other arm and shoulder and the two larger lights,
these diagonals makes her face the primary focal point.
established
is
lights, creating a
Much
due to the influence of JapaThe vantage point from which he views his subject is frequently
nese prints.
unconventional, as
composition
his perspective.
is
like the
Japanese printmaker, he
to
And
is
be cut
my funeral.
off
to
a friend,
draw.'"
Monet was
broken
its
a grocer's
ideas.
when Boudin
off
art.
is
shadow
placed side by
other: a blue-violet
He
learned
sets off a
side give
On
one of their excursions Jongkind painted two pictures of the same subject, a cathedral, from the same position but at different times of day, one in the
cold light of morning and the other in the warm, evening light. This was the
seed from which, thirty years later, grew Monet's series of paintings of the
fa(;ade of
Rouen Cathedral
same
day, of the
Thames
in
later,
pond
at
Giverny
(Plate 58), in
which he approaches
abstraction.
all
the
Monet fled
and saw no reason why he should give his
He was
a socialist
Upon
Emperor.
far
from
Paris.
he
England.
life for
the
He
settled at Argenteuil,
to
painted his
first truly
and
31).
were
brighter than before and he discovered that their brilliance could be increased
if
A stroke of
they are mixed by the eye rather than by the brush or palette knife.
Although
if
this period
was
to the canvas.
It is
much more
it
was
also a
over his wife's illness and his complete lack of funds, Monet attempted suicide.
was done
and
spirited
made
itself
apparent in
he
said.
The idea
of holding a
group show was one that Monet and his friends had
it.
up the first
and Degas helped en-
set
Impressionist Exhibition.
The
ridicule inspired
by the show
is
now
were "so raw that they hurt their eyes," and that the distortions of form
were comical if not offensive. Any hope the exhibitors had entertained of selling
their pictures was soon abandoned.
Undaunted, the Impressionists tried again two years later and were received
colors
with a
even worse than that which had greeted their earlier show.
overwhelming the district/' one critic wrote. "There has just
critical tirade
"A new
disaster
is
opened an exhibition
a
woman
make Monsieur
met there
among them
and
that sky
is
woman's
decomposition, with green and
not the color of fresh butter. Try to explain to Monsieur Renoir that a
torso
is
was
soul
arrested
who,
after
by."
itenoir
In spite of
what
critical diatribe
to believe,
to
them
this
didn't
wouldn't
life
double pleasure
Early in their
it
is
and
19).
Then
his
own
used
and
It
who
characteristically
32).
He
life
of
"an adolescent
intellectual.
10
is
theorizing about
art.
"Don't ask
me whether painting
ought
to
be subjective or
don't give a
Pissart'o
and the one who, next to Monet, most consistently followed its doctrines was Pissarro. He was also the most influential in
that he was guide and teacher to Cezanne, Van Gogh and Gauguin; their debt
to him is enormous. He was a generous, steadfast, sober man, the patriarch of
the movement, to whom Zola wrote: "You must realize that you won't please
anyone. .Then why the devil do you have the errant effrontery to paint solidly
The
and
to
whom
Sir:
you
are a painter
like."
This "humble and colossal" man, as Cezanne called him, was by political
in him.
all
his
work!"
Unlike his Impressionist friends he was accepted by the
show
only
who
artist
official
to cut
in seven exhibits
exhibited at
all
Salon more
shows
He was
the
as well as the
The Franco-Prussian War brought financial ruin to Pissarro 's father and threw
Pissarro completely on his own resources as a painter. In the German invasion
11
of 1870 his
fifteen years,
who
Cezanne,
almost
said of him,
closest to nature."
fled to
man
all
to France, to Pontoise.
"He was
the one
among
the painters
to
it
He
with poetry.
who came
hold
field, a large,
it
subject, a
painted in
shows him
battered felt hat on
his easel
of
work
of the war.
weather and in
all
all
as an old
his head,
He
is
Sisley
The work
water.
Seine
He had
He painted the
when he lived
river
at
He was
a land-
Loing
when he
with
Thames and
the
Severn.
Sisley's father
was
did not paint for a living, but simply as an amateur with a passionate desire to
paint. After the war,
who was
was
to
a pathetic one.
He was
art,
and
buy
his paintings for very modest sums. He felt confident that recognition would
soon come to him and the paintings would increase in value to the point where
his friends would realize a considerable profit. All he wanted was peace of
mind so that he could continue to work.
In their time of want, both Sisley and Renoir were befriended by a kindly
pastry cook named Murer, who was a great lover of art. They would eat in the
Uttle restaurant at the back of Murer's shop, and when their dinner tabs added
up to fifty francs or so, Murer would be pleased to accept a painting in exchange
and would hang it on the wall of the shop. Eventually the profits from the shop
12
letters
on record
in
which he asks
his friends to
permitted him to retire and take up painting himself. "In this cursed trade/' he
said, "if pastry is only a week old it must be sold cheap. You are cleverer than
that,
you
artists.
You deal
in
indefinitely,
with keeping."
There are few more poignant proofs of the truth that an artist is appreciated
only after his death than the records of Paris auctions of Sisley's work. In 1865,
at an auction of Impressionist canvases, his pictures brought an average of
100 francs apiece (about $5.00). Three
months
after his
times as much, 4,100 francs apiece (about $200). And a year later one of the
three painting he did of the flood at Marly, which are considered his masterpieces (Plate 38), brought at auction 43,000 francs (about $2,000).
and accomplished
One
of these
was
original quartet of
artists in the
as artists, but
Bazille.
young
Impressionist group
who were
With Monet,
who were
able
Sisley,
of the
either he or the
He
movement had
t'nillebotte
Caillebotte
first collectors
of professional stature
of Impressionist work.
and one
of the very
ings by Manet, Degas, Pissarro, Sisley, Renoir, Monet, and Cezanne to the
French government, which was embarrassed by the bequest and in the end
accepted only three-fifths of
it.
3torisof
Two women
members
good friend as
well as sister-in-law of Manet, and posed for him many times (Plate 24). Her
paintings are usually feminine in subject, but done in a style so vigorous and
sure that it seems almost masculine. She believed that true realism was impossible, that every artist of necessity puts something of himself into his subject.
A friend said of her: "The interesting thing about Berthe Morisot was that
a
13
own
life.
As
a girl, wife
existence closely
one of
struggle against the pitiless obliteration of time. "I have often thought," she
said, "that immortality could
Cassntt
As Morisot was the friend of Manet and admirer of his work, so Mary Cassatt
was the friend and admirer of Degas. A young American from Philadelphia, of
firm conviction and independent mind, and determined to be an artist, she
arrived in Paris in 1874 after six years of independent study in the
museums
of
Italy,
lines,
Academicians and was immediately drawn to the ImpressionIn the window of a picture dealer she saw a pastel drawing by Degas and
knew
was
instantly that
it
"and an
"We have
fii/lucHfc of tnipressianistn
is
most impor-
the emancipation of the artist from dull, dark colors to pure, bright ones
comparison
much
Manet
many
is a
new economy
14
detail.
to
sought
to
impression,
all
unnecessary
detail.
And
our
own
because
do
am painting
is
is
my
to
interesting as a painting.
what
new attitude
have chosen
it is
to
paint
alive,
and
15
PLATES
PLATE
at Evcuitig (43.5 X
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23
24
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in
Girl,
c.
1872-75,
DC.
25
PLATE
26
cm)
Paris,
Louvre
PLATE
Morbilli (132 x 91
cm) Boston,
Museum
27
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PLATE 14
32
Edouard Manet
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PLATE 15
Edouard Manet
cm)
Paris,
Louvre
33
rtATE 16
34
Claude Monst
cm)
New York,
Metropolitan
Museum
of Art
PLATE 17
cm)
Paris,
Louvre
35
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PLATE 24
42
Edouard Manet
Berthe Morisot Holding a Bunch of Violets, 1872 (55 x 38 cm) Paris, Ernest Rouart Collection
PLATE 25
Edouard Manet On
cm)
Paris,
Louvre
43
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PLATE 28
46
Pierre Auguste Renoir Madame Monet Reading "Le Figaro," 1874 (53 x 71 cm)
Lisbon, Gulbenkian Foundation (Photo: Giraudon, Paris)
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PLATE 29
Pierre Auguste Renoir The Sxving, 1876 (92 x 73 cm) Paris, Louvre
47
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PLATE 32
50
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la
cm)
Paris,
Louvre
PLATE 33
First
Sortie),
51
PLATE 34
52
Pierre Auguste F?enoir The Loge, 1874 (80 x 63.5 cm) London, Courtauld Institute
I
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PLATE 35
Fund
Madame
(Gift
Inc.)
53
PLATE 36
54
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PLATE 37
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PLATE 42
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PLATE 43
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PLATE 47
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PLATE 48
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PLATE 54
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PLATE 55
Pierre Auguste Renoir Blond Bather, 1881 (80 x 63 cm) Turin, Private Collection
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78
Edgar Degas
Feet,
c.
THE ARTINTN
In 1859
rich
he met Courbet,
who had
him
he made
to
decided in-
BouDiN
^.
>
"^m^*
GUSTAVE CAILLEBOTTE
1848. Studied with Bonnat at the
School of Fine Arts, then, discouraged, retired to
Argenteuil to live and was employed as a boat
builder. Here in 1874 he met Monet. Joined the
Impressionist group and became very helpful to
them, buying their works and aiding in the organization of their exhibitions. Took part in almost
Born in Paris in
Bazille Self-For trait, Paris, Louvre (Cabinet des
dessins)
EUGENE BOUDIN
Born
at
at first in a
by
Millet,
to painting.
all
group shows.
wealthy bachelor, loyal and generous, pos-
their
made
friends'
Paris.
On
his return to Le
variety,
all its
freshness."
a will
it
leaving his
would be placed
81
and
MARY CASSATT
Daughter of a rich banker, she was born in Pittsburgh in 1845. In 1868 she went to Europe and
traveled in France, Italy, Spain, and Holland,
studying the works of the old masters, especially
Rubens, Velasquez, and Correggio. In 1877 she
met Degas, who had already seen her works in
by him
pressionist group
and
to exhibit
after a brief
In 1858 he visited
Rome,
and Florence,
where he was again the guest of his uncle and
began the painting The Bellelli Family. From 1860
to 1868, under the influence of Ingres and the
Italian masters, he painted historical and mythoSignorelli's frescoes), Perugia, Assisi
logical subjects.
ing with
Around
of artists
who
show in
1874.
work
in sculpture,
model-
weaken. In 1886,
at the
nudes
in pastel.
to Italy, Spain,
Degas
(1891) Paris,
Bibliotheque
knowledge
of the Impressionists in America, influencing her family and friends to buy their
works.
In her last years
blind.
Beaufresne.
82
He made
showed
several
a series of
more
visits
Fan tin-Latour
Homage
to
Delacroix
(detail) Paris,
Louvre
Fantin-Latour,
Champleury, Baudelaire;
standing,
right:
left to
Alphonse Le-
Whistler,
Manet, Bracquegros,
mond, A. de
most complete
isolation.
He died
in Paris,
Septem-
by the Salon
ARMAND GUILLAUMIN
Born in Paris, 1841. A great friend of Pissarro and
Cezanne, he took part in the Salon des Refuses
HENRI FANTIN-LATOUR
Born
Balle)
of 1859,
but
still
he participated in
all
the Impressionist
and
1879. In 1886 he
York show organized by
Durand-Ruel and in the Independent Show with
Seurat and Signac.
exhibited in the
of 1876
New
were exhibited in
where they were
he exhibited Homage to Truth. In these two pictures he portrays himself and a group of friends,
including Manet, Whistler, Bracquemond, and
Duranty. In A Studio in the BatignoUes Quarter, exhibited in 1870, he portrays the friends who frequented the Cafe Guerbois, including Manet,
Renoir, Monet, Zola and Bazille.
In 1874
to participate
GuiLLAUMiN
Gogh
Self-Portrait
(c.
Collection
83
Tintoretto,
influence is apparent in Concert in the TuiGardens and in The Absinthe Drinker, which
were offered to the Salon of 1857 and rejected. Due
whose
/^^'
leries
J f.ytk>vU^
li **^i'i
Manet
Self-Portrait
Mrs. John
Douarnenez
at
(1851)
vre
Paris,
Lou-
(Cabinet des
dessins)
In 1891
was
he
won
he became
infat-
L.
(c.
1875)
New
Loeb Collection
and
himself entirely to
painting. However, he was no longer in touch
finally able to dedicate
JOHAN-BARTHOLD JONGKIND
Landscapist and precursor, like Boudin, of Impressionism. Born 1819 in Latrop, Holland. In
1845 he became a pupil of Isabey and the next
year followed him to Paris.
An alcoholic, afflicted with a persecution mania,
and deeply in debt, Jongkind led a dissipated life
in the French capital until 1853, when he returned
to Holland.
Died
at
Cote-St.-Andre in 1891.
EDOUARD MANET
Born in
Paris,
cultivated
parents.
where he met Antonin Proust, who was his lifelong friend and left much affectionate and exact
testimony about him. Manet enjoyed drawing,
visited museums and exhibits. After a period as a
sailor on a transport ship he returned to Paris and
took up painting under the guidance of Thomas
Couture, an artist of the Academy who was famous
at that time.
84
of 1866.
The younger
but,
the
of
Honor.
CLAUDE MONET
Born in Paris, November 14, 1840. At five he moved
with his family to Le Havre, where later he studied
drawing, showing a great talent for caricature.
whom he
met
of
Boudin, his
in 1858,
first real
he learned
to prefer
painting.
In 1859 he went to Paris and studied at the Swiss
Academy, where he met Pissarro. More important
for his future artistic development, however, were
the discussions at the Brasserie des Martyrs and
his acquaintance with the works of Delacroix.
After two years of military service in Algeria he
returned in 1862 to Le Havre, where he spent the
summer painting with Boudin and Jongkind. On
where
the Salon.
Renoir
Show, of which
he was one of the organizers, he exhibited his
canvas Impression Surjrise, which gave the group
its name. These shows were repeated in 1876 and
1877, from 1879 through 1882, and in 1886. Monet
Portrait of
Monet
(1875) Paris,
Louvre
Monet Two
Fishermen,
Cambridge,
Fogg Art
^'
,^\ -^^^
85
and public. He finally achieved success and recognition and spent his last years painting at Giverny,
w^here he died on December 5, 1926.
BERTHE MORISOT
Born at Bourges in 1841, of a bourgeois family, she
began at eighteen, with her sister, to copy pictures in the Louvre.
Attracted
Ville-d'Avray.
The Balcony.
the Gate at Lorient, a work of
delicate freshness admired by Manet, was exhibited at the Salon of 1870, but in 1876 she renounced
the Salon, joined the Impressionist group and
took part in their exhibit. The same year she married Manet's brother, Eugene, and a few years
for his painting
later
had
a daughter.
PissARRO
Self-Portrait (1903)
(1860)
MoRisoT
Self-Portrait
(1885-86)
Mme.
lection
86
mdoors
to relate
her domestic
life:
her pictures were exhibited at almost all the Impressionist shows. Renoir, Degas, Manet, and the
writer Mallarme often met at her home. She was
left a widow in 1892 and died in Paris in 1895.
CAMILLE PISSARRO
Born
Was
ventional education.
worked
Upon
his return
home he
and began
to
first at
Academy, where he met Monet and Cezanne. Decisive for him in this period was his acquaintance
with Courbet, who introduced him to the group
of "realists" and led him away from Corot's influence.
and
hard.
show
and returned
work
November
13, 1903.
silks.
He
enrolled
In 1863 he
Barbizon School,
and
who
taught
him
a love of nature
of color.
shows
the
In 1881
Renoir Heads
Renoir
of
Women,
Self-Portrait
(c.
Paris,
87
ALFRED SISLEY
Born in Paris, October 30, 1839, of English parents.
At eighteen he was sent to London to prepare for
a business career. But he had already shown an
interest in art and in 1862, on his return to Paris,
he obtained his family's permission to dedicate
himself completely to painting. He enrolled at
the School of Fine Arts, at Gleyre's studio, where
he became friendly with Monet and Renoir. In-
to paint
out of doors.
When
From 1890
Sisley
showed
at the
annual exposi-
He
died in 1899
at
Renoir Alfred
Sisley
and His
Museum
Sisley
Church
^.
:/
Budapest,
Arts
88
at
Moret,
Museum
of Fine
Academy
intolerant of discipline, he
to Europe, determined
devote himself to painting. At Paris he attended
Gleyre's courses at the Academy and visited the
Realist Show of Courbet, which profoundly influenced his painting. Courbet himself was struck
to
by
Bonvin
was
able to
in 1859,
and from
Courbet for
advice. He moved to London in 1859 and through
his friends Rossetti and Swinburne came in contact with the Pre-Raphaelite movement. In 1863 he
exhibited at the Salon des Refuses and in 1865
painted at Trouville with Courbet. But he decided
to abandon Courbet's type of naturalism and look
for other
means
1903.
Whistler
Whistler
Self-
Pertrait
1890)
(c.
Washington, D.C.,
Freer
Gallery
Art
89
of
List of Illustrations
Page 19
at Evening, Otterlo,
Rijksmuseum
Kroller-Miiller
20
21
22
23
24
White No.
I:
Louvre
The White
Girl, 1862,
Whittemore Collection
Blue and Gold: The Old Bridge at Battersea,
26
Edouard Manet The Picnic (Le Dejeuner sur I'Herbe), 1862-63, Paris, Louvre
Edgar Degas The Duke and Duchess Morbilli, Boston, Museum of Fine Arts (Gift
27
in
R. Treat Paine)
28
29
30
31
32
Edouard Manet Concert in the Tuileries Gardens, 1862, London, National Gallery
Edgar Degas The Bellelli Family, 1859-60, Paris, Louvre
Edouard Manet Olympia, 1863, Paris, Louvre
Edgar Degas Portrait of Hortense Valpingon, 1869, Minneapolis, Institute of Arts
Edouard Manet Execution of the Emperor Maximilian, 1867, Mannheim,
Stadtische Kunsthalle
33
34
35
36
37
38
39
40
41
Claude Monet The Picnic (Le Dejeuner sur I'Herbe) (detail) 1865, Paris, Louvre
Claude Monet La Grenouillere, 1869, New York, Metropolitan Museum of Art,
Havemeyer Collection
Pierre Auguste Renoir La Grenouillere, 1869, Stockholm National Museum
Alfred Sisley The Saint-Martin Canal, 1870, Paris, Louvre
Camille Pissarro Entrance to the Village of Voisins, 1872, Paris, Louvre
Alfred Sisley Snow at Louveciennes, c. 1874, London, Courtauld Institute
Camille Pissarro Pontoise, The Road to Gisors in Winter, 1873, Boston, Museum
of Fine Arts
42
Edouard Manet
45
46
!'
=^i;
90
of
First
Sortie), 1876,
London,
Tate Gallery
54
Edgar Degas
Cafe Concert at
les
Ambassadeurs
(detail) 1876-77,
Lyons, Musee
des Beaux-Arts
55
56
57
58
Claude Monet Rue Montargueil with Flags, 1878, Rouen, Musee des Beaux-Arts
Alfred Sisley Flood at Pont-Marly, 1876, Paris, Louvre
Camille Pissarro The Hermitage at Pontoise, 1878, Basel, Kunstmuseum
Edgar Degas The Rehearsal, 1877, Glasgow Art Gallery and Museum, Sir William
Burrell Collection
59
Edgar Degas Rehearsal on the Stage, 1878-79, New York, Metropolitan Museum of
Havemeyer Collection
Berthe Morisot Young Woman Sewing in a Garden, 1881, Pau, Musee des Beaux-Arts
Berthe Morisot The Little Girl from Nice, c. 1888-89, Lyons, Musee des Beaux- Arts
Mary Cassatt The Sisters, c. 1885, Glasgow Art Gallery and Museum, Sir William
Art,
60
61
62
Burrell Collection
63
64
65
66
67
68
69
70
71
72
73
74
75
76
77
78
91
by A.D.A.G.P.,
by S.P.A.D.E.M., Paris, 1967, for the works of Claude Monet, Edgar Degas, Pierre Augusta Renoi