CLAUDE MONET
AN INTERIOR, AFTER DINNER
V
CLAUDE MONET: HIS WORK, HIS INFLUENCE
With Claude Monet we enter upon Impressionism in its most significant technical expression, and touch upon the principal points referred to in the second chapter of this book.
Claude Monet, the artistic descendant of Claude Lorrain, Turner, and Monticelli, has had the merit and the originality of opening a new road to landscape painting by deducing scientific statements from the study of the laws of light. His work is a magnificent verification of the optical discoveries made by Helmholtz and Chevreul. It is born spontaneously from the artist's vision, and happens to be a rigorous demonstration of principles which the painter has probably never cared to know. Through the power of his faculties the artist has happened to join hands with the scientist. His work supplies not only the very basis of the Impressionist movement proper, but of all that has followed it and will follow it in the study of the so-called chromatic laws. It will serve to give, so to say, a mathematic necessity to the happy finds met by the artists hitherto, and it will also serve to endow decorative art and mural painting with a process, the applications of which are manyfold and splendid.
I have already summed up the ideas which follow from Claude Monet's painting more clearly even than from Manet's. Suppression of local colour, study of reflections by means of complementary colours and division of tones by the process of touches of pure, juxtaposed colours—these are the essential principles of chromatism (for this word should be used instead of the very vague term "Impressionism"). Claude Monet has applied them systematically, especially in landscape painting.
There are a few portraits of his, which show that he might have made an excellent figure painter, if landscape had not absorbed him entirely. One of these portraits, a large full-length of a lady with a fur-lined jacket and a satin dress with green and black stripes, would in itself be sufficient to save from oblivion the man who has painted it. But the study of light upon the figure has been the special preoccupation of Manet, Renoir, and Pissarro, and, after the Impressionists, of the great lyricist, Albert Besnard, who has concentrated the Impressionist qualities by placing them at the service of a very personal conception of symbolistic art. Monet commenced with trying to find his way by painting figures, then landscapes and principally sea pictures and boats in harbours, with a somewhat sombre robustness and very broad and solid draughtsmanship. His first luminous studies date back to about 1885. Obedient to the same ideas as Degas he had to avoid the Salons and only show his pictures gradually in private galleries. For years he remained unknown. It is only giving M. Durand-Ruel his due, to state that he was one of the first to anticipate the Impressionist school and to buy the first works of these painters, who were treated as madmen and charlatans. He has become great with them, and has made his fortune and theirs through having had confidence in them, and no fortune has been better deserved. Thirty years ago nobody would have bought pictures by Degas or Monet, which are sold to-day for a thousand pounds. This detail is only mentioned to show the evolution of Impressionism as regards public opinion.
