{Modern Art [continued (135)]}{Impressionism [continued]}[Extracts from source text with ms notes][16th May 1991]

[Redbook10:107][19910516:0930kc]{Modern Art [continued (135)]}{Impressionism [continued]}[Extracts from source text with ms notes][16th May 1991]

19910516:(0930c)

[continued]

‘The chief characteristic of Impressionist brushwork until c[irca]1877[ce]* was its flexibility. Pissarro, Sisley, and Renoir adapted their touch to convey natural textures of all sorts – compare, for example, Pissarro’s “Hoar-frost”, 1873[ce], and Sisley’s “The Road to Sevres”, 1873 (both Musée de Jeu de Paume, Paris). Monet’s treatment was equally varied, and in his treatment of reflections in water, in particular, he began to adopt emphatic, separate brushstrokes which create fragmented paint-surfaces quite unlike those of previous French landscape painting, as in his sketches of La Grenouillère of 1869[ce] (for example, that in the Metropolitan Museum, New York} and in “Regatta at Argenteuil” (1872/3[ce]; Musée du Jeu de Paume, Paris).’

**

*16C||64g~|M~1872[ce]

**[ibid (Encyclopaedia of Visual Art 5:}791]

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