How to Study Pictures
This historic book may have numerous typos, missing text or index. Purchasers can download a free scanned copy of the original book (without typos) from the publisher. 1906. Not illustrated. Excerpt: ... CHAPTER XXIX CLAUDE MONET HASHlMOTO OAHO 1840- 1834 Impressionist School of France Modern School of Japan W! touched upon Oriental art at the very beginning of our story. Then it was the Byzantine offshoot of it that we were considering, and the efforts of Giotto to liberate painting from the shackles of its traditions. Now, however, it is the art of Japan that claims our attention, and it does so because, as we saw in the previous chapter, it has been a source of some fresh inspiration to Western painting. The latest phase of the latter is represented in Monet, while Gaho is the foremost living artist in Japan. They are both landscape-painters. We have seen that Manet was the founder of the modern impressionism, yet in the minds of the public Monet stands forth as the most conspicuous impressionist; and, as his later pictures are painted not in masses of color but with an infinity of little dabs of paint, the public is apt to suppose that this method of painting is what is meant by impressionism. Now Monet, like Manet, is an impressionist, in that what he strives to render is the effect vividly produced upon the eye by a scene; and, working always out of doors, he goes further than this, in trying to represent the exact effect of a scene at a certain hour of the day. It is the fleeting, transitory mood of nature that he represents. For this reason he was one of the first to be attracted by the Japanese paintings and colored prints which began about the sixties to be brought over in considerable numbers to Paris. For one of the characteristics of the Japanese work is, that it catches the fugitive gesture or movement in the elasticity of its momentary appearance. But the method which Monet uses to render his effects is a totally different matter from his way of s...
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