acy of tones are concerned. Ten years ago Miss Cassatt
exhibited a series of ten etchings in colour, representing scenes of
mothers and children at their toilet. At that time this _genre_ was
almost abandoned, and Miss Cassatt caused astonishment by her boldness
which faced the most serious difficulties. One can relish in this
artist's pictures, besides the great qualities of solid draughtsmanship,
correct values, and skilful interpretation of flesh and stuffs, a
profound sentiment of infantile life, childish gestures, clear and
unconscious looks, and the loving expression of the mothers. Miss
Cassatt is the painter and psychologist of babies and young mothers whom
she likes to depict in the freshness of an orchard, or against
backgrounds of the flowered hangings of dressing-rooms, amidst bright
linen, tubs, and china, in smiling intimacy. To these two remarkable
women another has to be added, Eva Gonzales, the favourite pupil of
Manet who has painted a fine portrait of her. Eva Gonzales became the
wife of the excellent engraver Henri Guerard, and died prematurely, not,
however, before one was able to admire her talent as an exquisitely
delicate pastellist. Having first been a pupil of Chaplin, she soon came
to forget the tricks of technique in order to acquire under Manet's
guidance the qualities of clearness and the strength of the great
painter of _Argenteuil_; and she would certainly have taken one of the
first places in modern art, had not her career been cut short by death.
A small pastel at the Luxembourg Gallery proves her convincing qualities
as a colourist.

[Illustration: MARY CASSATT

GETTING UP BABY]

[Illustration: MARY CASSATT

WOMEN AND CHILD]

Gustave Caillebotte was a friend of the Impressionists from the very
first hour. He was rich, fond of art, and himself a painter of great
merit who modestly kept hidden behind his comrades. His picture _Les
raboteurs de parquets_ made him formerly the butt of derision. To-day
his work, at the Luxembourg Gallery seems hardly a fit pretext for so
much controversy, but at that time much was considered as madness,
that to our eyes appears quite natural. This picture is a study of
oblique perspective and its curious _ensemble_ of rising lines sufficed
to provoke astonishment. The work is, moreover, grey and discreet in
colour and has some qualities of fine light, but is on the whole not
very interesting. Recently an exhibition of works by Caillebotte has
made it