ts,
landscapes with figures, seascapes, interiors and still-life, and in all
this he evinces faculties of the first order. He is a lover of light and
understands how to make it vibrate over flesh and fabrics. He is an
artist who has the sense of style. He has signed a certain number of
portraits, whose beautiful carriage and serious psychology would suffice
to make him be considered as the most significant of the
Neo-Impressionists. It is really in him that one has to see the young
and worthy heir of Monet, of Sisley, and of Degas, and that is why we
have insisted on adding here to the works of these masters the
reproduction of one of his. M. Van Rysselberghe is also a very delicate
etcher who has signed some fine works in this method, and his seascapes,
whether they revel in the pale greys of the German Ocean or in the warm
sapphire and gold harmonies of the Mediterranean, count among the finest
of the time; they are windows opened upon joyous brightness.

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 Impressio