first motives in Breton landscapes, in which the method of
colour-spots can be found employed with delicacy and placed at the
service of a rather heavy, but very interesting harmony. Then the artist
spent a long time in Tahiti, whence he returned with a completely
transformed manner. He has brought back from these regions some
landscapes with figures treated in intentionally clumsy and almost wild
fashion. The figures are outlined in firm strokes and painted in broad,
flat tints on canvas which has the texture almost of tapestry. Many of
these works are made repulsive by their aspect of multi-coloured, crude
and barbarous imagery. Yet one cannot but acknowledge the fundamental
qualities, the beautiful values, the ornamental taste, and the
impression of primitive animalism. On the whole, Paul Gauguin has a
beautiful, artistic temperament which, in its aversion to virtuosoship,
has perhaps not sufficiently understood that the fear of formulas, if
exaggerated, may lead to other formulas, to a false ignorance which is
as dangerous as false knowledge. Gauguin's symbolical intentions, like
those of his pupil Emile Bernard, are sincere, but are badly served by
minds which do not agree with their technical qualities, and both
Gauguin and Emile Bernard are most happily inspired when they are
painters pure and simple.

Next to Gauguin, among the seniors of the present generation and the
successors of Impressionism, should be placed the landscapist Armand
Guillaumin who, without possessing Sisley's delicate qualities, has
painted some canvases worthy of notice; and we must, finally, terminate
this far too summary enumeration by referring to one of the most gifted
painters of the French School of the day, M. Louis Anquetin. His is a
most varied talent whose power is unquestionable. He made his _debut_
among the Neo-Impressionists and revealed the influence upon him of the
Japanese and of Degas. It may be seen that these two influences
predominate in the whole group. Then M. Anquetin became fascinated by
the breadth and superb freedom of Manet's works, and signed a series of
portraits and sketches, some of which are not far below so great a
master's. They are works which will surprise the critics, when our
contemporary painting will be examined with calm impartiality. After
these works, M. Anquetin gave way to his impetuous nature which led him
to decorative painting, and he became influenced by Rubens, Jordaens,
and the Fontainebl