File:Fifty years of modern painting, Corot to Sargent (1908) (14587281610).jpg

Identifier: fiftyyearsofmode00phyt (find matches)
Title: Fifty years of modern painting, Corot to Sargent
Year: 1908 (1900s)
Authors: Phythian, John Ernest, 1858-
Subjects: Painting Painting
Publisher: London, G. Richards
Contributing Library: Smithsonian Libraries
Digitizing Sponsor: Smithsonian Libraries

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wrere not always rejected at theSalon as bad art, but as bad morals, and likely to induce badmorals. Such was the fate of Nana. Herr Muther says ofManets Parisian studies, and of this picture in particular: In tender, virginal, light grey tones, never seen before, hedepicted in fourteen pictures exhibited at a dealers theluxury and grace of Paris, the bright days of summer andsoirees flooded with gaslight, the faded features of the fallenmaiden and the refined chic of the woman of the world.There was to be seen Nana, that marvel of audaciousgrace. Laced in a blue silk corset, and otherwise cladmerely in a muslin smock with her feet in pearl-grey stock-ings, the blonde woman stands at the mirror painting herlips, and carelessly replying to the words of a man who iswatching upon the sofa behind. Another writer praisesthe technique of the picture, and says that the subject washarmless enough. The authorities at the Salon rejected thepicture. Quite right, we say, from our average English
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THE IMPRESSIONISTS AND THEIR ALLIES 117 point of view. Yet does any one ever cry for the rejectionat the Royal Academy of portraits of women who are, per-haps, of impeccable conventional morals, yet are mostexpensively dressed and bedecked with jewels, notwithstand-ing the Christian injunction against riches, and insistence ontheir evil power1? Millais was an Englishman, and hepainted the portraits of those who could afford to pay manyhundreds of pounds for the distinction; and he made thereturn he got in money one test, at least, of real success inart. Manet was a Parisian, and he painted Nana, and ABar at the Folies-Bergeres. But Paris did not mean onlythis to him. Boatinj may be taken to represent theParisian holiday-making on the sea, and is as wholesome asany English yachting picture. By the way, M. de laSizeranne, in his criticism of English painting, blames ourartists for often letting the edge of the frame cut offawkwardly the figures in their pictures, and says that theyoften

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