in. He worked to the
last, worked as he had worked his life long, untiringly. Morice gives
a "succinct biography" at the close of his study. From it we learn
that Eugene Carriere was born January 29, 1849, at Gournay
(Seine-Inferieure); that he made his first steps in art at the
Strasbourg Academy; in 1869 he entered the Beaux-Arts, in Cabanel's
class. Penniless, he earned a precarious existence in designing
industrial objects. In 1870 he was made prisoner by the Prussians,
with the garrison of Neuf-Brisach, and taken to Dresden, where he was
confined in prison. After peace had been declared he resumed his
studies at the Beaux-Arts. In 1877 he married--an important event in
his art; thenceforward Madame Carriere and the children born to them
were his continual models, both by preference and also by force of
circumstances--he was too poor in the beginning to hire professional
models. He spent six months in London, which may or may not account
for his brumous colour; and in 1879, when he was thirty years old, he
exposed in the Salon of that year his Young Mother, the first of a
long series of Maternities. He was violently attacked by the critics,
and as violently defended. During the same year he attempted to win
the "prix de Rome" and gained honours for his sketch. Luckily he did
not attain this prize; and, still more luck, he left the school.

In 1884 he received an honourable mention for a child's portrait; in
1885 a medal for his Sick Child, bought by the State; in 1886 Le
Premier voile was bought by the State and he was proposed for a medal
of honour and--singular dream of Frenchmen--he was decorated in 1889.
He died March 27, 1906. Not a long, but a full life, a happy one, and
at the last, glory--"_le soleil des morts_," as Balzac said--and a
competence for his dear ones. And it is to the honour of such writers
as Roger Marx, Anatole France, Hamel, Morice, Mauclair, Verhaeren,
Geffroy, that they recognised the genius of Carriere from the
beginning. In 1904 Carriere was made honorary president of the Autumn
Salon and was the chief guest of these young painters, who really
adored Paul Cezanne, and not the painter of an illusive psychology. I
wrote at that time: "Carriere, whose delicately clouded portraits, so
intimate in their revelation of the souls of his sitters, was not seen
at his best. He offered a large decorative panel for the Mairie of the
Thirteenth Arrondissement, entitled Les Fiances, a sad-looking
betro