himself known by an immense series of drawings for the illustrated
papers, drawings as remarkable in themselves as they are, through their
legends, bitterly sarcastic in spirit. These drawings form a synthesis
of the defects of the _bourgeoisie_, which is at the same time amusing
and grave. They also concern, though less happily, the political world,
in which the artist, a little intoxicated with his success, has thought
himself able to exercise an influence by scoffing at the parliamentary
régime. Forain's drawing has a nervous character which does, however,
not weaken its science: every stroke reveals something and has an
astonishing power. In his less known painting can be traced still more
clearly the style and influence of his master Degas. They are generally
incidents behind the scenes and at night restaurants, where caricatured
types are painted with great force. But they are insistently
exaggerated, they have not the restraint, the ironical and discreet
plausibility, which give so much flavour, so much value to Degas's
studies. Nevertheless, Forain's pictures are very significant and are of
real interest. He is decidedly the most interesting newspaper
illustrator of his whole generation, the one whose ephemeral art most
closely approaches grand painting, and one of those who have most
contributed towards the transformation of illustration for the
contemporary press.

Jules Chéret has made for himself an important and splendid position in
contemporary art. He commenced as a lithographic workman and lived for a
long time in London. About 1870 Chéret designed his first posters in
black, white and red; these were at the time the only colours used. By
and by he perfected this art and found the means of adding other tones
and of drawing them on the lithographic stone. He returned to France,
started a small studio, and gradually carried poster art to the
admirable point at which it has arrived. At the same time Chéret drew