o other precise value.
We remember that Giorgione perished likewise with an uncertain product
to his credit, as to numbers, but he did leave his immemorial
impression. So it is with John H. Twachtman. He leaves his indelible
influence among Americans as a fine artist, and he may be said to be
among the few artists who, having taken up the impressionistic
principle, found a way to express his personal ideas with a true
degree of personal force. He is a beautifully sincere product and that
is going far. Those pictures I have seen contain no taint of the
market or clamoring for praise even. They were done because their
author had an unobtrusive yet very aristocratic word to say, and the
word was spoken with authority. John H. Twachtman must be counted as
one of the genuine American artists, as well as among the most genuine
artists of the world. If his pictures do not torment one with
problematic intellectualism, they do hold one with their inherent
refinement of taste and a degree of aristocratic approach which his
true intelligence implies.

With the work of Theodore Robinson, there comes a wide divergence of
feeling that is perhaps a greater comprehension of the principles of
impressionism as applied to the realities involved in the academic
principle. One is reminded of Bastien Le Page and Leon L'Hermitte, in
the paintings of Robinson, as to their type of subject and the
conception of them also. That he lived not far from Giverney is
likewise evident. Being of New England yankee extraction, a Vermonter
I believe, he must have essayed always a sense of economy in emotion.
No one could have gone so far as the then incredible Monet, whose
pictures wear us to indifference with vapid and unprofitable
thinking. What Monet did was to encourage a new type of audacity and a
brand-new type in truth, when no one had up to then attempted to see
nature as prismatical under the direct influence of the solar rays.
All this has since been worked out with greater exactitude by the
later theorists in modernism.

While Van Gogh was slowly perishing of a mad ecstasy for light,
covering up a natural Dutch realism with fierce attempts at prismatic
relationship, always with the rhythms in a state of ecstatic
ascendency; and Seurat had come upon the more satisfying pointillism
as developed by himself; somewhere in amid all these extravagances men
like Robinson were trying to combine orthodoxy of heritage and
radicalist conversion with the