The newest movements (_C. C. C._ +) are usually either too bitterly denounced or too widely praised, their true relationship is not perceived; all sense of perspective is lost in the immediate presence of the startling. There are no hard and fast lines dividing any of these currents and movements. When and where they begin no one can say; when and where they end no one can tell. * * * * * Impressionism is identified with Monet more than any other painter, because all his life long he has been the steadfast and consistent exponent of extreme theories regarding the painting of light effects. But Impressionism, even the painting of light effects, had its beginning long before Monet; with the beginning of painting itself, the germs were there. Likewise the germs of every other movement, however extravagant and superficial, could probably be found in the work of some man or men in another age and country. What happens is that a combination of favoring conditions at a given time concentrates human efforts and human attention upon a particular mode, technic, or theory and brings it to the fore. The names of Turner, Manet, Whistler, have been cited as illustrations of geniuses so comprehensive they link several movements, several decades, together. To these should be added the name of Degas in painting and that of Rodin in sculpture. These men have done things far ahead of their own times, they have done things their own times not only did not understand, but ridiculed and decried. It was only a few years ago that Paris--yes, _Paris_--rejected Rodin’s Balzac, by many considered the greatest of his works. These men illustrate what we mean when we say that every period in art contains within itself the seeds of its dissolution and the germs of its succession. A movement may seem so dominating, so strong, so true, that people exclaim, “It is the final word, it will last forever,” but at the very moment somewhere, in obscurity, there will be men doing things that are diametrically opposed to the prevailing current, things that are destined to be the masterpieces of a new development. * * * * * Cézanne exhibited with the Impressionists in 1874 and was counted one of them; yet in a profound sense he was the first of the Post-Impressionists. While he was classed with the Impressionists he had little in common with them, practically nothing in common with Monet. All his life Monet has been busy with the _surface_ of things; all his life Cézanne was busy with the _substance_ of things. When Monet paints a landscape he paints the grass and the flowers and the trees one sees bathed in sunlight; when Cézanne painted a landscape it was an elemental presentment of nature herself. Cézanne was born in Aix in 1839 and died in the same place in 1905.