To these painters who have never taken part at the Salons, and are only to be seen at the exhibitions of the Independants (except M. Denis), must be added M. Pierre Bonnard, who has given proof to his charm and fervour in numerous small canvases of Japanese taste; and M. Edouard Vuillard, who is a painter of intimate scenes of rare delicacy.  This artist, who stands apart and produces very little, has signed some interiors of melancholic distinction and of a colouring which revels in low tones.  He has the precision and skill of a master.  There is in him, one might say, a reflection of Chardin’s soul.  Unfortunately his works are confined to a few collections and have not become known to the public.  To the same group belong M. Ranson, who has devoted himself to purely decorative art, tapestry, wall papers and embroideries; M. Georges de Feure, a strange, symbolist water-colour painter, who has become one of the best designers of the New Art in France; M. Felix Vallotton, painter and lithographer, who is somewhat heavy, but gifted with serious qualities.  It is true that M. de Feure is Dutch, M. Vallotton Swiss, and M. Van Rysselberghe Belgian; but they have settled down in France, and are sufficiently closely allied to the Neo-Impressionist movement so that the question of nationality need not prevent us from mentioning them here.  Finally it is impossible not to say a few words about two pupils of Gustave Moreau’s, who have both become noteworthy followers of Impressionism of very personal individuality.  M. Eugene Martel bids fair to be one of the best painters of interiors of his generation.  He has the feeling of mystical life and paints the peasantry with astonishing psychologic power.  His vigorous colouring links him to Monticelli, and his drawing to Degas.  As to M. Simon Bussy who, following Alphonse Legros’s example, is about to make an enviable position for himself in England, he is an artist of pure blood.  His landscapes and his figures have the distinction and rare tone of M. Whistler, besides the characteristic acuteness of Degas.  His harmonies are subtle, his vision novel, and he will certainly develop into an important painter.  Together with Henri le Sidaner and Jacques Blanche, Simon Bussy is decidedly the most personal of that young generation of “Intimists” who seem to have retained the best principles of the Impressionist masters to employ them for the expression of a psychologic ideal which is very different from Realism.

Outside this group there are still a few isolated painters who are difficult to classify.  The very young artists Laprade and Charles Guerin have shown for the last three years, at the exhibition of the Independants, some works which are the worthy result of Manet’s and Renoir’s influence.  They, too, justify great expectations.  The landscapists Paul Vogler and Maxime Maufra, more advanced in years, have made themselves known by some solid series of vigorously presented landscapes.  To them must