ich he has designed for Aristide Bruant's
volume of songs, _Dans la rue_, are masterpieces of their kind. They
contain treasures of bitter observation, quaintness and knowledge. The
soul of the lower classes is shown in them with intense truth, bitter
revolt and comprehensive philosophy. Steinlen has also designed some
beautiful posters, pleasing pastels, lithographs of incontestable
technical merit, and beautifully eloquent political drawings. It cannot
be said that he is an Impressionist in the strict sense of the word; he
applied his colour in flat tints, more like an engraver than a painter;
but in him too can be felt the stamp of Degas, and he is one of those
who best demonstrate that, without Impressionism, they could not have
been what they are.

The same may be said of Louis Legrand, a pupil of Felicien Rops, an
admirably skilful etcher, a draughtsman of keen vision, and a painter of
curious character, who has in many ways forestalled the artists of
to-day. Louis Legrand also shows to what extent the example of Manet and
Degas has revolutionised the art of illustration, in freeing the
painters from obsolete laws, and guiding them towards truth and frank
psychological study. Legrand is full of them, without resembling them.
We must not forget that, besides the technical innovation (division of
tones, study of complementary colours), Impressionism has brought us
novelty of composition, realism of character and great liberty in the
choice of subjects. From this point of view Rops himself, in spite of
his symbolist tendencies, could not be classed with any other group, if
it were not that any kind of classification in art is useless and
inaccurate. However that may be, Louis Legrand has signed some volumes
resplendent with the most seductive qualities.

Paul Renouard has devoted himself to newspaper illustration, but with
what surprising prodigality of spirit and knowledge! The readers of the
"Graphic" will know. This masterly virtuoso of the pencil might give
drawing-lessons to many members of the Institute! The feeling for the
life of crowds, psychology of types, spirited and rapid notation,
astonishing ease in overcoming difficulties--these are his undeniable
gifts. And again we must recognise in Renouard the example of Degas and
Manet. His exceptional fecundity only helps to give more authority to
his pencil. Renouard's drawings at the Exhibition of 1900 were, perhaps,
more beautiful than the rest of his work.