the sentiments evoked by the subject, was always subordinated to a
purely pictorial and decorative preoccupation. This has frequently led
the Impressionists to grave errors, which they have, however, generally
avoided by confining themselves to very simple subjects, for which the
daily life supplied the grouping.

[Illustration: RENOIR

PORTRAIT OF MADAME MAITRE]

One of the reforms due to their conception has been the suppression of
the professional model, and the substitution for it of the natural
model, seen in the exercise of his occupation. This is one of the most
useful conquests for the benefit of modern painting. It marks a just
return to nature and simplicity. Nearly all their figures are real
portraits; and in everything that concerns the labourer and the
peasant, they have found the proper style and character, because they
have observed these beings in the true medium of their occupations,
instead of forcing them into a sham pose and painting them in disguise.
The basis of all their pictures has been first of all a series of
landscape and figure studies made in the open air, far from the studio,
and afterwards co-ordinated. One may wish pictorial art to have higher
ambitions; and one may find in the Primitives an example of a curious
mysticism, an expression of the abstract and of dreams. But one should
not underrate the power of naïve and realistic observation, which the
Primitives carried into the execution of their works, subordinating it,
however, to religious expression, and it must also be admitted that the
Realist-Impressionists served at least their conception of art logically
and homogeneously. The criticism which may be levelled against them is
that which Realism itself carries in its train, and we shall see that