One can do such lovely things with so little. Subjects that are too beautiful end by appearing theatrical – take Switzerland, for example. Think of a… - Camille Pissarro

I saw Guillaumin. We went to look at my two latest paintings which were bought by Durand. All he said was 'there's no firmness in the foreground'. It was evening, we were seeing the paintings by gas-light, which neutralized the orange tones. As Seurat says, what they [the Impressionists]] look for is thick impasto; but at Clauzet's I saw a Guillaumin, also in the evening, and it looked made of tar, so much shellac was used at the base of this painting, which in my view is really old stuff; it must be admitted that he made an effort to tighten the design but then the harmonies are insignificant and lack logic - there is no drawing, there is a flurry of colors, but no modeling; it is one step from [w: Jules Dupré|Jules Dupreé]] - modernized.

I don't know what to write Feneon about the theory of 'passages'. I will write him what seems to me to be the truth of the matter, that I am at this moment looking for some substitute for the dot [which was the 'heart of [w:Neo-Impressionism|Neo-Impressionist]] painting]; so far I have not found what I want, the actual execution does not seem to me to be rapid enough and does not follow sensation with enough inevitability, but it would be best not to speak of this. The fact is I would be hard put to express my meaning clearly, although I am completely aware of what I lack.

The day after your departure I started a new painting at Le Cours-la-Reine, in the afternoon in a glow of sun, and another in the morning by the water below St. Paul's Church. These two canvases are fairly well advanced, but I still need one session in fine weather without too much mist to give them a little firmness. Until now I have not been able to find the effect I want, I have even been forced to change the effect a bit, which is always dangerous. I have also an effect of fog.. .Until now I have not been able to find the effect I want, I have even been forced to change the effect a bit, which is always dangerous. I have also an effect of fog, another, same effect, from my window, the same motif in the rain, several sketches in oils, done on the quays near the boats; the next day it was impossible to go on, everything was confused, the motifs no longer existed ; one has to realize them in a single session.