His paintings of the intimate life of the family, the circle round the fireside or the little gatherings in the common room during a winter evening, have a quiet charm which his contemporaries rarely attain. Such groups, it may be said, find little favour from those who issue commissions for family heirlooms, and Carrière has no chance of becoming a fashionable painter of human mediocrity. One remembers though that Mr. Sargent has proved recently that even with mediocrity a genius can do a great deal. Carrière, however, is never likely to wish to rival Bonnat or Carolus-Duran. His scenes are not so much represented as suggested. His drawing is a reproduction of the play of light upon the different planes of the subject, the whole picture becoming a symphonic development of light. His brush manipulates colour much as a sculptor manipulates clay, and the results are real Impressions. [Illustration: AUGUSTE POINTELIN ] [Illustration: THE FAMILY · EUGÈNE CARRIÈRE ] Eugène Carrière has been inspired by no particular school, and has no special theories to regulate his methods. Yet, in spite of himself, a group, animated by his ideals, has gathered and formulated rules. This group and its system will have but a short duration, for an art so personal and distinguished as is that of Carrière cannot in any possible way be transmitted to pupils or followers. Carrière occupies in painting much the same position as his friend Rodin occupies in sculpture. Such art is not to be copied, much as it may be admired. If there could be any analogy in literature one would cite Edgar Allan Poe. The poet of the shadows has had an enormous influence upon French art and literature, and Carrière has undoubtedly come under his strange spell. [Illustration: MOTHERHOOD · EUGÈNE CARRIÈRE ]