Painting

The work of Auguste Renoir extends without interruption over a period of forty years. It appears to sum up the ideas and methods of Impressionist art so completely that, should it alone be saved from a general destruction, it would suffice to bear witness to this entire art movement. It has unfolded itself from 1865 to our days with a happy magnificence, and it allows us to distinguish several periods, in the technique at least, since the variety of its subjects is infinite. Like Manet, and like all truly great and powerful painters, M.

Manet, Degas, Monet and Renoir will present themselves as a glorious quartet of masters, in the history of painting. We must now speak of some personalities who have grown up by their side and who, without being great, offer nevertheless a rich and beautiful series of works.

Not the least important result of Impressionism has been the veritable revolution effected by it in the art of illustration. It was only natural that its principles should have led to it.

The beginnings of the movement designated under the name of Neo-Impressionism can be traced back to about 1880. The movement is a direct offshoot of the first Impressionism, originated by a group of young painters who admired it and thought of pushing further still its chromatic principles. The flourishing of Impressionism coincided, as a matter of fact, with certain scientific labours concerning optics. Helmholtz had just published his works on the perception of colours and sounds by means of waves.

• Assisi.
  
  • S. Francesco, Lower Church, Over Tomb of Saint. Frescoes: Allegories of Poverty, Chastity, and Obedience, and Triumph of St. Francis. (The Francis between the two Angels in the “Obedience” and nearly all of the “Triumph” were executed by another hand, probably C.)
    
    • R. Transept.
      

Well, it was of the power to stimulate the tactile consciousness—of the essential, as I have ventured to call it, in the art of painting—that Giotto was supreme master. This is his everlasting claim to greatness, and it is this which will make him a source of highest æsthetic delight for a period at least as long as decipherable traces of his handiwork remain on mouldering panel or crumbling wall.

• Berlin.
  
  • Von Kaufmann Collection. Head of female Saint.
• Florence.
  
  • Bargello. 139. Angel playing Viol.
  • Or San Michele. Tabernacle. Finished 1359.

• Agram (Croatia).
  
  • Strossmayer Collection: Albertinelli, Fra Angelico, Bugiardini, Cosimo Rosselli.
• Aix-en-Provence.
  
  • Musée: Alunno di Domenico.
• Altenburg.
  
  • Lindenau Museum: Amico di Sandro, Fra Angelico, Lorenzo Monaco, Mainardi, Pesellino, Pier Francesco Fiorentino, Sellajo.
• Amsterdam.
  
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