hese foregoing women take their place
definitely as artists within the circle of women painters like Le
Brun, Mary Cassatt, Berthe Morisot, and are in advance of them by
being closer to the true appreciation of esthetics in inventing them
for themselves.

REVALUATIONS IN IMPRESSIONISM

In the consideration of the real factors in the impressionistic
movement, we learn that it is not Monet and the younger crew such as
Moret, Maufra, George d'Espagnat and Guillaumin who give us the real
weight of this esthetic argument. We find Monet going in for
hyper-sentimentalized iridiscences which culminate or seem to
culminate in the "Lily" series until we are forced to say he has let
us out, once and for all, as far as any further interest in the theory
with which he was concerned. We are no longer held by these artificial
and overstrained hues, and we find the younger followers offering
little or nothing to us save an obvious integrity of purpose. These
younger men had apparently miscomprehended idiosyncrasies for ideas
and that, save for a certain cleanness of intention, they were
offering scarcely anything of what is to be found by way of
realization in the pictures of a really great colorist like Renoir.

The two artists who give the true thrill of this phase of the modern
movement are without question Pissarro and Sisley. It is the belief of
these two artists in the appearance of things for themselves, under
the influence of the light problem, which gives them a strength not
always visible at first by reason of a greater simplicity of effect
which dominates all of their pictures. We see in both these men a real
and impressive desire for a more exacting scientific relation as
discovered by intellectual consideration, than is to be found in the
emotional outcry predominating in most of the pictures of Monet. These
do not hold for us in this day as solidly as they were expected to.
There is a kind of superficiality and consequent dissatisfaction in
the conspicuous aspiration toward the first flush, one may call it, of
enthusiasm for impressionistic experience. There comes to one who is
really concerned, the ever increasing desire to turn toward Pissarro
and Sisley and to quietly dispense with many or most of Monet's
pictures, not to speak of a legitimate haste to pass over the
phlegmatic enthusiasms of the younger followers.

One feels that Pissarro must have been a great man among men not so
great. One feels likewis