It would also be only fitting to consider Henner's work from the particular point of view of landscape painting which occupies so large a place in his pictures; but the circumscribed space of the present study does not permit of this. Henner aged peacefully in the tranquillity of his studio and the harmonious regularity of an existence consecrated to labour and to art. In 1900, at the time of the Universal Exposition, he obtained one of the four grand prizes bestowed by the judges upon the greatest artists. In this life of Henner's, unmarked by any extraordinary event, everything is as limpid and as clear as a woodland spring whose transparent waters flow peacefully, slipping noiselessly under cover of the moss. Until the end, Henner retained his modesty, his natural simplicity, his aversion to notoriety; and when in 1905 he died, there was no dissenting voice in the general praise of his character and his talent. Henner possessed the rare privilege, not of having created a type, but of having left upon contemporary art the imprint of his powerful personality. We are also in debt to him for a return to the dignity of the great classic types, to a beauty of form achieved in accordance with an original and rejuvenated conception. Like Puvis de Chavannes, he has taught us to appreciate the majestic harmony of antique composition, and also, like him, he has given us an example of a richness of colour carried to the culminating point by the simplest of means. Steeped in classicism beneath its brilliant exterior, grounded on a mastery of line-work, underneath the gleaming colours, Henner's art has broken down all opposition, silenced all criticism, and evoked universal admiration because it unites these two masterly qualities which form the basis of imperishable painting: conscientiousness and genius. ------------------------------------------------------------------------ Transcriber's Note: The plates and their captions have been moved to paragraph breaks. Minor printer's errors have been corrected, but variant and irregular spellings have been retained. Page 11: A caption was added for the sake of clarity Page 23: "extraodinary intensity of life" replaced with "extraordinary intensity of life" Page 77: "culte of feminine beauty" replaced with "cult of feminine beauty" End of the Project Gutenberg EBook of Henner, by François Crastre