A number of excellent _genre_ painters have been claimed by the impressionists as belonging to their brotherhood. There is little to warrant the claim, except the adoption to some extent of the modern ideas of illumination and flat painting. Dagnan-Bouveret (1852-) is one of these men, a good draughtsman, and a finished clean painter who by his recent use of high color finds himself occasionally looked upon as an impressionist. As a matter of fact he is one of the most conservative of the moderns--a man of feeling and imagination, and a fine technician. Fantin-Latour (1836-1904) is half romantic, half allegorical in subject, and in treatment oftentimes designedly vague and shadowy, more suggestive than realistic. Duez (1843-) and Gervex (1848-) are perhaps nearer to impressionism in their works than the others, but they are not at all advance advocates of this latest phase of art. In addition there are Cottet and Henri Martin. [Illustration: FIG. 68.--MEISSONIER. NAPOLEON IN 1814.] THE IMPRESSIONISTS: The name is a misnomer. Every painter is an impressionist in so far as he records his impressions, and all art is impressionistic. What Manet (1833-1883), the leader of the original movement, meant to say was that nature should not be painted as it actually is, but as it "impresses" the painter. He and his few followers tried to change the name to Independents, but the original name has clung to them and been mistakenly fastened to a present band of landscape painters who are seeking effects of light and air and should be called luminists if it is necessary for them to be named at all. Manet was extravagant in method and disposed toward low life for a subject, which has always militated against his popularity; but he was a very important man for his technical discoveries regarding the relations of light and shadow, the flat appearance of nature, the exact value of color tones. Some of his works, like The Boy with a Sword and The Toreador Dead, are excellent pieces of painting. The higher imaginative qualities of art Manet made no great effort at attaining. Degas stands quite by himself, strong in effects of motion, especially with race-horses, fine in color, and a delightful brushman in such subjects as ballet-girls and scenes from the theatre. Besnard is one of the best of the present men. He deals with the figure, and is usually concerned with the problem of harmonizing color under conflicting lights, such as twilight and lamplight. Beraud and Raffaelli are exceedingly clever in street scenes and character pieces; Pissarro[16] handles the peasantry in high color; Brown (1829-1890), the race-horse, and Renoir, the middle class of social life. Caillebotte, Roll, Forain, and Miss Cassatt, an American, are also classed with the impressionists. [Footnote 16: Died, 1903.]