[6] How little the world cared for Millet when he lived is a matter of history. He painted his greatest pictures in a room without a fire, in straw shoes, and with a horse blanket on his shoulders, and often he and his wife went without food. “All his efforts to exhibit in Paris were in vain. Even in 1859, ‘Death and the Woodcutter’ was rejected by the Salon. The public laughed, being accustomed to peasants in comic opera, and, at best, his pictures were honored by a caricature in a humorous paper.” His pictures brought from fifty to sixty dollars. [7] “History of Modern Painting,” Richard Muther, Vol. II, pp. 487-8. [8] “The New Movement in Art from a Philosophical Standpoint,” by Theo. LeFitz Simons. [9] See “Manet and the French Impressionists,” by Duret, p. 112 _et seq._, and a readable article, “The Master Impressionists,” by C. L. Borgmeyer, in “Fine Arts Journal” for March, 1913. [10] April 25, 1874. [11] “Library Gazette,” May 14, 1842, p. 331. [12] “Athenaeum,” May 14, 1842, p. 433. [13] “Revolution in Art,” by Frank Rutter, p. 17, 18. [14] The interest expressed in much impressionist painting is only an interest of curiosity. The painter represents facts that he has only just noticed. He is like a clever journalist who makes an article out of his first observations of a new country. But the aim of the Post-Impressionist is to substitute the deeper and more lasting emotional interest for the interest of curiosity. Like the great Chinese artists, they have tried to know thoroughly what they paint before they begin to paint it, and out of the fulness of their knowledge to choose only what has an emotional interest for them. Their representations have the brevity and concentrated force of the poet’s descriptions. He does not go out into the country with a note-book and then versify all that he has observed. His descriptions are often empty of fact, just because he only tells us what is of emotional interest to himself and relevant to the subject of his poem; and they are justified, not by the information they convey, but by the emotion they communicate through the rhythm of sound and words. The Post-Impressionists try to represent as the poet describes. They try to give every picture an emotional subject-matter and to make all representation relevant to it. “The Post-Impressionists,” by A. Chilton-Brock, “Burlington Magazine,” January, 1911. [15] “The Post-Impressionists,” by A. Chilton-Brock, “Burlington Magazine,” January, 1911. [16] In another book, “The New Competition,” the writer has attempted this in relation to business and economics. [17] “Souvenirs Sur Paul Cézanne,” by Emile Bernard, 1912. [18] “Das Neue Bild,” Otto Fischer, 11-12. Several of the half-tone reproductions which we use are from this work on Munich art. [19] “The Post-Impressionists,” by A. Chilton-Brock, “Burlington Magazine,” January, 1911. [20] “Revolution in Art,” by Frank Rutter, p. 27.