Eugene Boudin and Berthe Morisot
have derived special benefit from them, and they are valuable lessons
for many young painters of the present day.

[Illustration: JONGKIND

IN HOLLAND]

[Illustration: JONGKIND

VIEW OF THE HAGUE]

We do not pretend to have mentioned in this chapter all the painters
directly connected with the first Impressionist movement. We have
confined ourselves to enumerating the most important only, and each of
them would deserve a complete essay. But our object will have been
achieved, if we have inspired art-lovers with just esteem for this brave
phalanx of artists who have proved better than any aesthetic
commentaries the vitality, the originality, and the logic of Manet's
theories, the great importance of the notions introduced by him into
painting, and who have, on the other hand, clearly demonstrated the
uselessness of official teaching. Far from the traditions and methods of
the School, the best of their knowledge and of their talent is due to
their profound and sincere contemplation of nature and to their freedom
of spirit. And for that reason they will have a permanent place in the
evolution of their art.

VIII

THE MODERN ILLUSTRATORS CONNECTED WITH IMPRESSIONISM: RAFFAELLI,
TOULOUSE-LAUTREC, FORAIN, CHERET, ETC.

Not the least important result of Impressionism has been the veritable
revolution effected by it in the art of illustration. It was only
natural that its principles should have led to it. The substitution of
the beauty of character for the beauty of proportion was bound to move
the artists to regard illustration in a new light; and as pictorial
Impressionism was born of the same movement of ideas which created the
naturalist novel and the impressionist literature of Flaubert, Zola and
the Goncourts, and moreover as these men were united by close relations
and a common defence, Edouard Manet's modern ideas soon took up the
commentary of the books dealing with modern life and the description of
actual spectacles.

The Impressionists themselves have not contributed towards illustration.
Their work has consisted in raising to the style of grand painting
subjects, that seemed at the best only worthy of the proportion of
vignettes, in opposition to the subjects qualified as "noble" by the
School. The series of works by Manet and Degas may be considered as
admirable illustrations to the novels by Zola and the Goncourts. It is a
parallel research in modern psycholog