[4] “Manet and the French Impressionists,” by Theodore Duret, Introduction.
[5] Testimony of Whistler in suit of “Whistler v. Ruskin.”
[6] How little the world cared for Millet when he lived is a matter of history. He painted his greatest pictures in a room without a fire, in straw shoes, and with a horse blanket on his shoulders, and often he and his wife went without food. “All his efforts to exhibit in Paris were in vain. Even in 1859, ‘Death and the Woodcutter’ was rejected by the Salon. The public laughed, being accustomed to peasants in comic opera, and, at best, his pictures were honored by a caricature in a humorous paper.” His pictures brought from fifty to sixty dollars.
[7] “History of Modern Painting,” Richard Muther, Vol. II, pp. 487-8.
[8] “The New Movement in Art from a Philosophical Standpoint,” by Theo. LeFitz Simons.
[9] See “Manet and the French Impressionists,” by Duret, p. 112 et seq., and a readable article, “The Master Impressionists,” by C. L. Borgmeyer, in “Fine Arts Journal” for March, 1913.
[10] April 25, 1874.
[11] “Library Gazette,” May 14, 1842, p. 331.
[12] “Athenaeum,” May 14, 1842, p. 433.
[13] “Revolution in Art,” by Frank Rutter, p. 17, 18.