The French Impressionists (1860-1900).

by Camille Mauclair.

AUTHOR'S NOTE

It should be stated here that, with the exception of one reproduction after the Neo-Impressionist Van Rysselberghe, the other forty-nine engravings ill.u.s.trating this volume I owe to the courtesy of M.

Durand-Ruel, from the first the friend of the Impressionist painters, and later the most important collector of their works, a friend who has been good enough to place at our disposal the photographs from which our ill.u.s.trations have been reproduced. Chosen from a considerable collection which has been formed for thirty years past, these photographs, none of which are for sale, form a veritable and unique museum of doc.u.ments on Impressionist art, which is made even more valuable through the dispersal of the princ.i.p.al masterpieces of this art among the private collections of Europe and America. We render our thanks to M. Durand-Ruel no less in the name of the public interested in art, than in our own.

I

THE PRECURSORS OF IMPRESSIONISM--THE BEGINNING OF THIS MOVEMENT AND THE ORIGIN OF ITS NAME

It will be beyond the scope of this volume to give a complete history of French Impressionism, and to include all the attractive details to which it might lead, as regards the movement itself and the very curious epoch during which its evolution has taken place. The proportions of this book confine its aim to the clearest possible summing up for the British reader of the ideas, the personalities and the works of a considerable group of artists who, for various reasons, have remained but little known and who have only too frequently been gravely misjudged. These reasons are very obvious: first, the Impressionists have been unable to make a show at the Salons, partly because the jury refused them admission, partly because they held aloof of their own free will. They have, with very rare exceptions, exhibited at special minor galleries, where they become known to a very restricted public. Ever attacked, and poor until the last few years, they enjoyed none of the benefits of publicity and sham glory. It is only quite recently that the admission of the incomplete and badly arranged Caillebotte collection to the Luxembourg Gallery has enabled the public to form a summary idea of Impressionism. To conclude the enumeration of the obstacles, it must be added that there are hardly any photographs of Impressionist works in the market. As it is, photography is but a poor translation of these canvases devoted to the study of the play of light; but even this very feeble means of distribution has been withheld from them! Exhibited at some galleries, gathered princ.i.p.ally by Durand-Ruel, sold directly to art-lovers--foreigners mostly--these large series of works have practically remained unknown to the French public. All the public heard was the reproaches and sarcastic comments of the opponents, and they never became aware that in the midst of modern life the greatest, the richest movement was in progress, which the French school had known since the days of Romanticism. Impressionism has been made known to them princ.i.p.ally by the controversies and by the fruitful consequences of this movement for the ill.u.s.tration and study of contemporary life.

[Ill.u.s.tration: MANET

REST]

I do not profess to give here a detailed and complete history of Impressionism, for which several volumes like the present one would be required. I shall only try to compile an _ensemble_ of concise and very precise notions and statements bearing upon this vast subject. It will be my special object to try and prove that Impressionism is neither an isolated manifestation, nor a violent denial of the French traditions, but nothing more or less than a logical return to the very spirit of these traditions, contrary to the theories upheld by its detractors. It is for this reason that I have made use of the first chapter to say a few words on the precursors of this movement.

No art manifestation is really isolated. However new it may seem, it is always based upon the previous epochs. The true masters do not give lessons, because art cannot be taught, but they set the example. To admire them does not mean to imitate them: it means the recognition in them of the principles of originality and the comprehension of their source, so that this eternal source may be called to life in oneself, this source which springs from a sincere and sympathetic vision of the aspects of life. The Impressionists have not escaped this beautiful law.

I shall speak of them impartially, without excessive enthusiasm; and it will be my special endeavour to demonstrate in each of them the cult of a predecessor, for there have been few artistic movements where the love for, and one might say the hereditary link with, the preceding masters has been more tenacious.

The Academy has struggled violently against Impressionism, accusing it of madness, of systematic negation of the "laws of beauty," which it pretended to defend and of which it claimed to be the official priest.

The Academy has shown itself hostile to a degree in this quarrel. It has excluded the Impressionists from the Salons, from awards, from official purchases. Only quite recently the acceptance of the Caillebotte bequest to the Luxembourg Gallery gave rise to a storm of indignation among the official painters. I shall, in the course of this book, enter upon the value of these attacks. Meanwhile I can only say how regrettable this obstinacy appears to me and will appear to every free spirit. It is unworthy even of an ardent conviction to condemn a whole group of artists _en bloc_ as fools, enemies of beauty, or as tricksters anxious to degrade the art of their nation, when these artists worked during forty years towards the same goal, without getting any reward for their effort, but poverty and derision. It is now about ten years since Impressionism has taken root, since its followers can sell their canvases, and since they are admired and praised by a solid and ever-growing section of the public. The hour has therefore arrived, calmly to consider a movement which has imposed itself upon the history of French art from 1860 to 1900 with extreme energy, to leave dithyrambics as well as polemics, and to speak of it with a view to exactness. The Academy, in continuing the propagation of an ideal of beauty fixed by canons derived from Greek, Latin and Renaissance art, and neglecting the Gothic, the Primitives and the Realists, looks upon itself as the guardian of the national tradition, because it exercises an hierarchic authority over the _Ecole de Rome_, the _Salons_, and the _Ecole des Beaux Arts_. All the same, its ideals are of very mixed origin and very little French. Its principles are the same by which the academic art of nearly all the official schools of Europe is governed.

This mythological and allegorical art, guided by dogmas and formulas which are imposed upon all pupils regardless of their temperament, is far more international than national. To an impartial critic this statement will show in an even more curious light the excommunication jealously issued by the academic painters against French artists, who, far from revolting in an absurd spirit of _parti-pris_ against the genius of their race, are perhaps more sincerely attached to it than their persecutors. Why should a group of men deliberately choose to paint mad, illogical, bad pictures, and reap a harvest of public derision, poverty and sterility? It would be uncritical to believe merely in a general mystification which makes its authors the worst sufferers. Simple common sense will find in these men a conviction, a sincerity, a sustained effort, and this alone should, in the name of the sacred solidarity of those who by various means try to express their love of the beautiful, suppress the annoying accusations hurled too light-heartedly against Manet and his friends.

[Ill.u.s.tration: MANET

IN THE SQUARE]

I shall define later on the ideas of the Impressionists on technique, composition and style in painting. Meanwhile it will be necessary to indicate their princ.i.p.al precursors.

Their movement may be styled thus: a reaction against the Greco-Latin spirit and the scholastic organisation of painting after the second Renaissance and the Italo-French school of Fontainebleau, by the century of Louis XIV., the school of Rome, and the consular and imperial taste.

In this sense Impressionism is a protest a.n.a.logous to that of Romanticism, exclaiming, to quote the old verse: "_Qui nous delivrera des Grecs et des Romains?_"[1] From this point of view Impressionism has also great affinities with the ideas of the English Pre-Raphaelites, who stepped across the second and even the first Renaissance back to the Primitives.

[Footnote 1: Who will deliver us from the Greeks and the Romans.]

This reaction is superimposed by another: the reaction of Impressionism, not only against cla.s.sic subjects, but against the black painting of the degenerate Romanticists. And these two reactions are counterbalanced by a return to the French ideal, to the realistic and characteristic tradition which commences with Jean Foucquet and Clouet, and is continued by Chardin, Claude Lorrain, Poussin, Watteau, La Tour, Fragonard, and the admirable engravers of the eighteenth century down to the final triumph of the allegorical taste of the Roman revolution. Here can be found a whole chain of truly national artists who have either been misjudged, like Chardin, or considered as "small masters" and excluded from the first rank for the benefit of the pompous Allegorists descended from the Italian school.

Impressionism being beyond all a technical reaction, its predecessors should first be looked for from this material point of view. Watteau is the most striking of all. _L'Embarquement pour Cythere_ is, in its technique, an Impressionist canvas. It embodies the most significant of all the principles exposed by Claude Monet: the division of tones by juxtaposed touches of colour which, at a certain distance, produce upon the eye of the beholder the effect of the actual colouring of the things painted, with a variety, a freshness and a delicacy of a.n.a.lysis un.o.btainable by a single tone prepared and mixed upon the palette.

[Ill.u.s.tration: MANET

YOUNG MAN IN COSTUME OF MAJO]

Claude Lorrain, and after him Carle Vernet, are claimed by the Impressionists as precursors from the point of view of decorative landscape arrangement, and particularly of the predominance of light in which all objects are bathed. Ruysdael and Poussin are, in their eyes, for the same reasons precursors, especially Ruysdael, who observed so frankly the blue colouring of the horizon and the influence of blue upon the landscape. It is known that Turner worshipped Claude for the very same reasons. The Impressionists in their turn, consider Turner as one of their masters; they have the greatest admiration for this mighty genius, this sumptuous visionary. They have it equally for Bonington, whose technique is inspired by the same observations as their own. They find, finally, in Delacroix the frequent and very apparent application of their ideas. Notably in the famous _Entry of the Crusaders into Constantinople_, the fair woman kneeling in the foreground is painted in accordance with the principles of the division of tones: the nude back is furrowed with blue, green and yellow touches, the juxtaposition of which produces, at a certain distance, an admirable flesh-tone.

And now I must speak at some length of a painter who, together with the luminous and sparkling landscapist Felix Ziem, was the most direct initiator of Impressionist technique. Monticelli is one of those singular men of genius who are not connected with any school, and whose work is an inexhaustible source of applications. He lived at Ma.r.s.eilles, where he was born, made a short appearance at the Salons, and then returned to his native town, where he died poor, ignored, paralysed and mad. In order to live he sold his small pictures at the cafes, where they fetched ten or twenty francs at the most. To-day they sell for considerable prices, although the government has not yet acquired any work by Monticelli for the public galleries. The mysterious power alone of these paintings secures him a fame which is, alas! posthumous. Many Monticellis have been sold by dealers as Diaz's; now they are more eagerly looked for than Diaz, and collectors have made fortunes with these small canvases bought formerly, to use a colloquial expression which is here only too literally true, "for a piece of bread."

Monticelli painted landscapes, romantic scenes, "fetes galantes" in the spirit of Watteau, and still-life pictures: one could not imagine a more inspired sense of colour than shown by these works which seem to be painted with crushed jewels, with powerful harmony, and beyond all with an unheard-of delicacy in the perception of fine shades. There are tones which n.o.body had ever invented yet, a richness, a profusion, a subtlety which almost vie with the resources of music. The fairyland atmosphere of these works surrounds a very firm design of charming style, but, to use the words of the artist himself, "in these canvases the objects are the decoration, the touches are the scales, and the light is the tenor."

Monticelli has created for himself an entirely personal technique which can only be compared with that of Turner; he painted with a brush so full, fat and rich, that some of the details are often truly modelled in relief, in a substance as precious as enamels, jewels, ceramics--a substance which is a delight in itself. Every picture by Monticelli provokes astonishment; constructed upon one colour as upon a musical theme, it rises to intensities which one would have thought impossible.

His pictures are magnificent bouquets, bursts of joy and colour, where nothing is ever crude, and where everything is ruled by a supreme sense of harmony.

[Ill.u.s.tration: MANET

THE READER]

Claude Lorrain, Watteau, Turner and Monticelli const.i.tute really the descent of a landscapist like Claude Monet. In all matters concerning technique, they form the direct chain of Impressionism. As regards design, subject, realism, the study of modern life, the conception of beauty and the portrait, the Impressionist movement is based upon the old French masters, princ.i.p.ally upon Chardin, Watteau, Latour, Largilliere, Fragonard, Debucourt, Saint-Aubin, Moreau, and Eisen. It has resolutely held aloof from mythology, academic allegory, historical painting, and from the neo-Greek elements of Cla.s.sicism as well as from the German and Spanish elements of Romanticism. This reactionary movement is therefore entirely French, and surely if it deserves reproach, the one least deserved is that levelled upon it by the official painters: disobedience to the national spirit. Impressionism is an art which does not give much scope to intellectuality, an art whose followers admit scarcely anything but immediate vision, rejecting philosophy and symbols and occupying themselves only with the consideration of light, picturesqueness, keen and clever observation, and antipathy to abstraction, as the innate qualities of French art. We shall see later on, when considering separately its princ.i.p.al masters, that each of them has based his art upon some masters of pure French blood.

Impressionism has, then, hitherto been very badly judged. It is contained in two chief points: search after a new technique, and expression of modern reality. Its birth has not been a spontaneous phenomenon. Manet, who, by his spirit and by the chance of his friendships, grouped around him the princ.i.p.al members, commenced by being cla.s.sed in the ranks of the Realists of the second Romanticism by the side of Courbet; and during the whole first period of his work he only endeavoured to describe contemporary scenes, at a time when the laws of the new technique were already dawning upon Claude Monet.

Gradually the grouping of the Impressionists took place. Claude Monet is really the first initiator: in a parallel line with his ideas and his works Manet pa.s.sed into the second period of his artistic life, and with him Renoir, Degas and p.i.s.sarro. But Manet had already during his first period been the topic of far-echoing polemics, caused by his realism and by the marked influence of the Spaniards and of Hals upon his style; his temperament, too, was that of the head of a school; and for these reasons legend has attached to his name the t.i.tle of head of the Impressionist school, but this legend is incorrect.

To conclude, the very name "Impressionism" is due to Claude Monet. There has been much serious arguing upon this famous word which has given rise to all sorts of definitions and conclusions. In reality this is its curious origin which is little known, even in criticism. Ever since 1860 the works of Manet and of his friends caused such a stir, that they were rejected _en bloc_ by the Salon jury of 1863. The emperor, inspired by a praiseworthy, liberal thought, demanded that these innovators should at least have the right to exhibit together in a special room which was called the _Salon des Refuses_. The public crowded there to have a good laugh. One of the pictures which caused most derision was a sunset by Claude Monet, ent.i.tled _Impressions_. From this moment the painters who adopted more or less the same manner were called _Impressionists_. The word remained in use, and Manet and his friends thought it a matter of indifference whether this label was attached to them, or another. At this despised Salon were to be found the names of Manet, Monet, Whistler, Bracquemont, Jongkind, Fantin-Latour, Renoir, Legros, and many others who have since risen to fame. Universal ridicule only fortified the friendships and resolutions of this group of men, and from that time dates the definite foundation of the Impressionist school. For thirty years it continued to produce without interruption an enormous quant.i.ty of works under an accidental and inexact denomination; to obey the creative instinct, without any other dogma than the pa.s.sionate observation of nature, without any other a.s.sistance than individual sympathies, in the face of the disciplinary teaching of the official school.

[Ill.u.s.tration: DEGAS

THE DANCER AT THE PHOTOGRAPHER'S]

II

THE THEORY OF THE IMPRESSIONISTS--THE DIVISION OF TONES, COMPLEMENTARY COLOURS, THE STUDY OF ATMOSPHERE--THE IDEAS OF THE IMPRESSIONISTS ON SUBJECT-PICTURES, ON THE BEAUTY OF CHARACTER, ON MODERNITY, AND ON STYLE

It should be stated from the outset that there is nothing dogmatic about this explanation of the Impressionist theories, and that it is not the result of a preconceived plan. In art a system is not improvised. A theory is slowly evolved, nearly always unknown to the author, from the discoveries of his sincere instinct, and this theory can only be formulated after years by criticism facing the works. Monet and Manet have worked for a long time without ever thinking that theories would be built upon their paintings. Yet a certain number of considerations will strike the close observer, and I will put these considerations before the reader, after reminding him that spontaneity and feeling are the essentials of all art.

[Ill.u.s.tration: DEGAS

CARRIAGES AT THE RACES]

The Impressionist ideas may be summed up in the following manner:--

In nature no colour exists by itself. The colouring of the objects is a pure illusion: the only creative source of colour is the sunlight which envelopes all things, and reveals them, according to the hours, with infinite modifications. The mystery of matter escapes us; we do not know the exact moment when reality separates itself from unreality. All we know is, that our vision has formed the habit of discerning in the universe two notions: form and colour; but these two notions are inseparable. Only artificially can we distinguish between outline and colour: in nature the distinction does not exist. Light reveals the forms, and, playing upon the different states of matter, the substance of leaves, the grain of stones, the fluidity of air in deep layers, gives them dissimilar colouring. If the light disappears, forms and colours vanish together. We only see colours; everything has a colour, and it is by the perception of the different colour surfaces striking our eyes, that we conceive the forms, _i.e._ the outlines of these colours.

The idea of distance, of perspective, of volume is given us by darker or lighter colours: this idea is what is called in painting the sense of values. A value is the degree of dark or light intensity, which permits our eyes to comprehend that one object is further or nearer than another. And as painting is not and cannot be the _imitation_ of nature, but merely her artificial interpretation, since it only has at its disposal two out of three dimensions, the values are the only means that remain for expressing depth on a flat surface.

Colour is therefore the procreatrix of design. Or, colour being simply the irradiation of light, it follows that all colour is composed of the same elements as sunlight, namely the seven tones of the spectrum. It is known, that these seven tones appear different owing to the unequal speed of the waves of light. The tones of nature appear to us therefore different, like those of the spectrum, and for the same reason. The colours vary with the intensity of light. There is no colour peculiar to any object, but only more or less rapid vibration of light upon its surface. The speed depends, as is demonstrated by optics, on the degree of the inclination of the rays which, according to their vertical or oblique direction, give different light and colour.

The colours of the spectrum are thus recomposed in everything we see. It is their relative proportion which makes new tones out of the seven spectral tones. This leads immediately to some practical conclusions, the first of which is, that what has formerly been called _local colour_ is an error: a leaf is not green, a tree-trunk is not brown, and, according to the time of day, _i.e._ according to the greater or smaller inclination of the rays (scientifically called the angle of incidence), the green of the leaf and the brown of the tree are modified. What has to be studied therefore in these objects, if one wishes to recall their colour to the beholder of a picture, is the composition of the atmosphere which separates them from the eye. This atmosphere is the real subject of the picture, and whatever is represented upon it only exists through its medium.

[Ill.u.s.tration: DEGAS