ases which have a solid, classic quality. Later the artist adopted
the method of the dissociation of tones, from which he obtained some
happy effects. His harvest and market scenes are luminous and alive. The
figures in these recall those of Millet. They bear witness to high
qualities of sincere observation, and are the work of a man profoundly
enamoured of rustic life. M. Pissarro excels in grouping the figures, in
correctly catching their attitudes and in rendering the medley of a
crowd in the sun. Certain fans in particular will always remain
delightful caprices of fresh colour, but it would be vain to look in
this attractive, animated and clear painting for the psychologic gifts,
the profound feeling for grand silhouettes, and the intuition of the
worn and gloomy soul of the men of the soil, which have made Millet's
noble glory. At the time when, about 1885, the neo-Impressionists whom
we shall study later on invented the Pointillist method, M. Pissarro
tried it and applied it judiciously, with the patient, serious and
slightly anxious talent, by which he is distinguished. Recently, in a
series of pictures representing views of Paris (the boulevards and the
Avenue de l'Opera) M. Pissarro has shewn rare vision and skill and has
perhaps signed his most beautiful and personal paintings. The
perspective, the lighting, the tones of the houses and of the crowds,
the reflections of rain or sunshine are intensely true; they make one
feel the atmosphere, the charm and the soul of Paris. One can say of
Pissarro that he lacks none of the gifts of his profession. He is a
learned, fruitful and upright artist. But he has lacked originality; he
always recalls those whom he admires and whose ideas he applies boldly
and tastefully. It is probable that his conscientious nature has
contributed not little towards keeping him in the second rank.
Incapable, certainly, of voluntarily imitating, this excellent and
diligent painter has not had the sparks of genius of his friends, but
all that can be given to a man through conscientious study, striving
after truth and love of art, has been acquired by M. Pissarro. The rest
depended on destiny only. There is no character more worthy of respect
and no effort more meritorious than his, and there can be no better
proof of his disinterestedness and his modesty, than the fact that,
although he has thirty years of work behind him, an honoured name and
white hair, M. Pissarro did not hesitate to adopt