By N. Y.) Metropolitan Museum of Art (New York
Booklet by way of Metropolitan Museum of artwork (New York, N. Y.)
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Extra info for A Guide to the Wrightsman Galleries at the Metropolitan Museum of Art/E0720P
Qiiai de Seine. 1874. Oil on canvas, 15X17%". * 42 Armand Guillaumin. Tavern at Bercy on the Seine. 1873. Oil 21% x 25 6 on canvas, ARMAND GL'ILLAUMI N 8 ". Collection does not much care for Baudelaire and Armand Guillaumin was At painter. first for many years a shop assistant, he then the Orleans railroad company, and a Sunday worked for later for the Paris municipality in the Department of Bridges and Roads. All of his free time double panions, de la was devoted to painting. 91, ) to sharp features, The Louvre, he claims to be one of the Impressionists, and links himself to Claude Monet, who of the fifty, he returns to the scenes of his dreams — the red rocks of Aguay, the country around Crozant.
Like Monet and Sisley, subject to the chronological stages of light (an exception being his cottony landscapes, which caused Degas to call their author "a cat playing with balls of yarn"), Renoir himself provides the occasion for his own painting. He invites us to an untold feast for the eyes, which he himself supplies. His emblem could be the rose, which so often comes to Pierre-Auguste Renoir. Portrait of Jeanne Samary. 1877. Oil on canvas, 18i/8 mind when one speaks of him, the red rose of Aph- rodite, and the x 17^"- blossoming rose, the rose as generatrix.
His fresh, quick brushstrokes, with touches of lapis lazuli, of acid green, Englishman born in Paris, he could not become a where, de- French national, the most delicate mobility of the vibration of light. Photograph of Sisley thirty-five. c. 1870-75. age of Collection Durand-Ruel, Paris above right: Alfred Sisley. c. the of tones sometimes almost indistinct yet resonant, catch fields. His all was the most scorned and ignored, the one whose work aroused the was retired. without outward incident.