Photo by Fredk. Hollyer
TIME, DEATH, AND JUDGMENT · G. F. WATTS
Edouard Manet occupies a position alone. His work can be separated into two periods, divided by the year 1870. His earlier work deeply influenced Claude Monet, who was a prominent member of the group which gathered round Manet at the Café Guerbois. After 1870 the position was slightly changed, for, although he retained the nominal leadership of the group which was now known under the title of Impressionists, Manet was influenced by the technique of Claude Monet. The question has yet to be decided whether Manet or Monet was the founder of the new school. Monsieur Camille Mauclair declares for the latter, stating that Manet’s pre-eminence was due to the attention he attracted by his excessive realism, and that Claude Monet was the true initiator. It may be admitted that Impressionism, as the phrase is now understood, did not really gather force until 1867. Claude Monet was greatly attracted by Manet’s work as early as 1863, and upon these new methods he seems to have based his own, widened though after his visit to London with Pissarro in 1870.
During his lifetime Manet was the recognised head, and around him was formed the famous circle of the Café Guerbois, which became known as the School of Batignolles. This included Monet, Pissarro, Sisley, Cézanne, Renoir, and Degas. If there is one man greater than the others it is Claude Monet. Only during comparatively recent years have his originality and strength been generally recognised. He now occupies the position held by Manet, although he cannot be said to be Manet’s successor. Manet painted the figure, seldom attempting landscape, a genre which is primarily Monet’s. Claude Monet is doubly indebted to English art. Profoundly moved by Turner, whose works he studied at first hand in England, he also traces an artistic descent through Jongkind and Boudin from Corot, who caught the methods of Constable and Bonington.
Jongkind and Boudin are two little masters not to be forgotten. Not altogether Impressionists themselves, they were in close affinity to the school upon which they had much influence. Men of uncommon character and earnestness of purpose, their art was sincere. In themselves they were interesting, for, richly endowed with natural talents, they were for the most part poor beyond belief in material wealth. Inspired by a genuine love for Nature in all her aspects they never reached the high technique of their English predecessors, and were far surpassed by Claude Monet and his group. Forerunners in the evolution of the school of “plein air” painting, a reference is necessary to them in order to follow the development of the school as a whole.
For the first time in the history of art women have taken an active part in founding a new school. Madame Berthe Morisot, Miss Mary Cassatt, and Madame Eva Gonzalès must be included amongst the early Impressionists.
Various movements based upon the Impressionistic idea have taken place in France and on the Continent generally. There are the Pointillistes for instance, and the Neo-Impressionists. Amongst foreign artists Whistler must be mentioned; a student at Gleyre’s he attended at the Café Guerbois, and embraced many of Manet’s ideas.
The history of the early battles over Impressionism centres for the most part round one personality. In following the story of the failures and successes of Edouard Manet we follow the gradual rise of the entire school, for no man fought more bravely in defence of its principles.
