become one of the best designers of the New Art in France; M. Félix
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 Impressionism of very personal
individuality. M. Eugène 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 Guérin
have shown for the last three years, at the exhibition of the
_Indépendants_, 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