nism of very personal
individuality. M. Eugene Martel bids fair to be one of the best painters
of interiors of his generation. He has the feeling of mystical life and
paints the peasantry with astonishing psychologic power. His vigorous
colouring links him to Monticelli, and his drawing to Degas. As to M.
Simon Bussy who, following Alphonse Legros's example, is about to make
an enviable position for himself in England, he is an artist of pure
blood. His landscapes and his figures have the distinction and rare tone
of M. Whistler, besides the characteristic acuteness of Degas. His
harmonies are subtle, his vision novel, and he will certainly develop
into an important painter. Together with Henri le Sidaner and Jacques
Blanche, Simon Bussy is decidedly the most personal of that young
generation of "Intimists" who seem to have retained the best principles
of the Impressionist masters to employ them for the expression of a
psychologic ideal which is very different from Realism.

Outside this group there are still a few isolated painters who are
difficult to classify. The very young artists Laprade and Charles Guerin
have shown for the last three years, at the exhibition of the
_Independants_, some works which are the worthy result of Manet's and
Renoir's influence. They, too, justify great expectations. The
landscapists Paul Vogler and Maxime Maufra, more advanced in years, have
made themselves known by some solid series of vigorously presented
landscapes. To them must 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