That is, given the last word in the painting of character by great men in a _solid_ way, the logical attempts of new men or lesser men will be the indication of character in a lighter and more superficial way. The penetrating _observation_ of the older men gives way to the keen and playful _fancies_ of the younger. The same sitter yields with the former a powerful portrait, with the latter a fascinating picture which may be quite as _revealing_ both as a likeness and as a characterization. C. _Substantial_ Impressionism is not so easy to define and differentiate. It is far from _superficial_ but has much in common with _realistic_. It is easiest to simply say it is the Impressionism of Cézanne and those who have read what has already been said about Cézanne will understand. Cézanne was not content to paint either the _surface_ or the _characteristics_ of things or people; he sought to go _deeper_, to get at the very _substance_ and to place on canvas their elemental qualities. As a natural result the longer he painted the _less_ interesting his pictures became _superficially_, but the _greater_ their interest _fundamentally_. While Monet became more and more a _popular_ painter, a painter for the dealer and the buyer, Cézanne became more and more a _painter’s painter_, doing things that only the technically skilled could rightly appreciate. Interested solely in the profoundest problems of his art and painting only for those who had a very great knowledge of art, he attracted comparatively few followers; the path he followed promised little in the way of immediate fame and rewards. Still during his last years he had his ardent admirers and after his death his simple, strong _constructive_, _elemental_ pictures began to be widely appreciated. They make no pretense to the superficial charm of color or composition that attracts the average observer, but they _fascinate_ every man who studies things long enough to even partially understand what the artist was so earnestly trying to do. _Substantial_ or Cézanne Impressionism led naturally to the Virile-Impressionism of today, a way of seeing and painting things that is a compound of the Impressionism of Manet with that of Cézanne. There is a great and glorious future for Virile-Impressionism. Some of the greatest portraits and pictures in the world will be painted with the penetrating vision of a Cézanne, modified by the clear, cool observation of a Manet. The logical reaction from carrying observation of nature to the extent Cézanne carried it is painting of the substance of things _creatively_, _theoretically_, as in _Cubism_. Cézanne carried the use of planes _imitatively_ so far that it was but a step to their use _arbitrarily and scientifically_.