be added M. Henry Moret, M. Albert Andre and M. Georges d’Espagnet, who equally deserve the success which has commenced to be their share.  But there are some older ones.  It is only his due, that place should be given to a painter who committed suicide after an unhappy life, and who evinced splendid gifts.  Vincent Van Gogh, a Dutchman, who, however, had always worked in France, has left to the world some violent and strange works, in which Impressionism appears to have reached the limits of its audacity.  Their value lies in their naive frankness and in the undauntable determination which tried to fix without trickery the sincerest feelings.  Amidst many faulty and clumsy works, Van Gogh has also left some really beautiful canvases.  There is a deep affinity between him and Cezanne.  A very real affinity exists, too, between Paul Gauguin, who was a friend and to a certain extent the master of Van Gogh, and Cezanne and Renoir.  Paul Gauguin’s robust talent found its first motives in Breton landscapes, in which the method of colour-spots can be found employed with delicacy and placed at the service of a rather heavy, but very interesting harmony.  Then the artist spent a long time in Tahiti, whence he returned with a completely transformed manner.  He has brought back from these regions some landscapes with figures treated in intentionally clumsy and almost wild fashion.  The figures are outlined in firm strokes and painted in broad, flat tints on canvas which has the texture almost of tapestry.  Many of these works are made repulsive by their aspect of multi-coloured, crude and barbarous imagery.  Yet one cannot but acknowledge the fundamental qualities, the beautiful values, the ornamental taste, and the impression of primitive animalism.  On the whole, Paul Gauguin has a beautiful, artistic temperament which, in its aversion to virtuosoship, has perhaps not sufficiently understood that the fear of formulas, if exaggerated, may lead to other formulas, to a false ignorance which is as dangerous as false knowledge.  Gauguin’s symbolical intentions, like those of his pupil Emile Bernard, are sincere, but are badly served by minds which do not agree with their technical qualities, and both Gauguin and Emile Bernard are most happily inspired when they are painters pure and simple.

Next to Gauguin, among the seniors of the present generation and the successors of Impressionism, should be placed the landscapist Armand Guillaumin who, without possessing Sisley’s delicate qualities, has painted some canvases worthy of notice; and we must, finally, terminate this far too summary enumeration by referring to one of the most gifted painters of the French School of the day, M. Louis Anquetin.  His is a most varied talent whose power is unquestionable.  He made his debut among the Neo-Impressionists and revealed the influence upon him of the Japanese and of Degas.  It may be seen that these two influences predominate in the whole group.  Then M. Anquetin