IF there were more organised groups of painters working on definite lines such as the Camden Town group, much of the chaotic condition of modern art in England would be obviated. The value of an organised body of workers in any department of human activity is easily apparent. Yet in art any attempt at definite arrangement of the work of artists with similar aims is a rare one. The band of French Impressionists could never have had its immense influence on the moulding of modern artistic thought were it not for the fact that it existed as a complete phalanx, holding itself aloof from academic and alien circles which would have easily absorbed it, and in which its members would have appeared as isolated and individual factors overwhelmed by the vaster body of academic and officially restricted art. Most modern exhibitions present an incoherent mixture of pictures with no intrinsic relationship of either purpose or idea. In such a medley the educative influence of an individual work of art is destroyed by works of opposite intention, which in their turn are rendered ineffective by other pictures.
How to cite
James Bolivar Manson, ‘London Impressionists’, in The Outlook, 14 December, 1912, pp.794–5, in Helena Bonett, Ysanne Holt, Jennifer Mundy (eds.), The Camden Town Group in Context, Tate Research Publication, May 2012, https://www.tate.org.uk/art/research-publications/camden-town-group/james-bolivar-manson-london-impressionists-r1104218, accessed 17 June 2019.