A complete change in Monet’s art dates from this visit to London. Before him French landscape has been described as being in a minor “key”; in attacking the problem of painting sunlight by keying his shadows up in value, instead of darkening them to contrast violently with the lights, he raised his art into the “major”; so doing he pro- duced the illusion, for it is nothing more, of a truer presentation of sunlight. His compromise with reality is infinitely more vivid and therefore impresses us as being truer than that of his predecessors. He, rather than Manet, therefore, was the founder of this school. The first exhibition of this School, which was nicknamed “Im- pre8sioniste,” was held in Paris in 1874; by 1888 it was a recognized power in the art world and gradually revolutionized the whole of French landscape painting, which in turn reacted on that of the entire Western World. The picture selected for our cover illustration is a view of some Dutch city with a tree-bowered canal in the foreground; the towered building which arises in the centre beyond a drawbridge is probably the town hall. It is painted in the artist’s familiar pointiUiste manner, not so high in key as many of his later works, but deliciously pearly, although the mellowed Dutch brick of the houses are given their true value.
The purchases from the Cassatt Collection mentioned above com- prise eight pictures and are the most important addition to the Wilstach Collection made in recent years. The purchase included three paintings by Claude Monet, two by Camille Pissaro, and one each by Eduard Manet and by Auguste Renoir, as well as a small pastel by Degas.