In the context of The Fourth Estate (painting), explain the 1898–1901: Il Quarto Stato of the History.
Dissatisfied with the technical artistic effect of Fiumana but also in light of the brutal Bava Beccaris massacre in Milan, Pellizza decided in 1898 to make the work for a third time on "the greatest manifesto that the Italian proletariat could boast between the 19th and 20th century.": 44  His objectives were to render the crowd more tumultuous and impetuous, forming "a wedge towards the observer", and to perfect the chromatic values.: 42 For these reasons, he made a smaller work, Il Cammino dei Lavoratori ("The Path of the Workers"), in 1898. In this preparatory drawing, he gave greater relief to the gestures of the workers, enriching their realism. For example, the woman worker in the front now gestures with her left hand, whereas in Fiumana she held her baby in both arms. The figures in the background express uncertainty or seem to be talking amongst themselves.: 150,152  The first row of workers are delineated with greater plasticity, "while embedding, like a river, the final part of the array, under a sky articulated with serene spaces and turbulent clouds.": 409 This dynamism was also translated in work's palette, which returned to a cold range of colors that included rosy ochres, arranged with small brushstrokes of little lines and points.: 380  This is the post-Impressionist technique of divisionism, which tried to take a more scientific approach to color and became a national Italian art style.The technical picture is explained by Pellizza in a letter of May 18, 1898, sent to his friend Mucchi:The theory of contrasts helps me, that the complements and the division of color depend on the purpose that I set for myself in my works. All the science regarding light and colors arouse in me a particular interest: with it, I can understand what I make. [...] For this aim, I make my attempts presently; and, in the hope of reaching better results, I make preliminary studies to better determine in my mind what I wish to do. Then I draw cartoons of gesso on canvas. On this, I apply the prepared color, and therefore I look to finish each detail of the painting from life. And for the result, its production will not be in all the points, nor all the lines, nor all the impasto, and not even all that is smooth or all that is rough; but as varied as are the various appearances of the objects in nature and the joining of forms with the colors in "a speaking harmony" (this being the supreme goal), an idea in the mind or a feeling in the heart.: 211 
With Il Camino dei Lavoratori, Pellizza's social aim for the picture changed, as he adopted Italian socialist proletarian culture. The depiction was no longer of a "human river," but of "men of labor" who struggled for universal rights as part of the class struggle. Also, unlike in previous versions, the figures of Il Cammino dei Lavoratori are individuated and identifiable.: 144  The workers' step toward the observer is not violent; it is slow, with a calmness that gives a sense of invincibility. This sense of inevitability matches Pellizza's belief in the gradual transformation of Italy into a socialist society.: 148 The drafting of Il Cammino dei Lavoratori took three years. Pellizza was able to finish painting in 1901, and when the work was complete he decided to give it a new title—Il Quarto Stato: 188-89,193-94 —to refer to the Fourth Estate, the working class. This decision is attributed to Pellizza's discussion with a friend, Arzano, about their reading of Storia della rivoluzione francese by Jean Jaurès, which stated the third estate comprised both the bourgeois and the proletariat.: 16
post-Impressionist Milan proletariat Fourth Estate 20th century impasto Jean Jaurès working class Bava Beccaris massacre proletarian divisionism the working class