It has been often said that in art women cannot create: they can only assimilate and reproduce. In one sense this is true both of Berthe Morisot and Mary Cassatt, the two principal figures in this tiny feminine group. The first was profoundly influenced by her brother-in-law Manet, the second by her teacher Degas. Marie Bracquemond and Eva Gonzalès married husbands in the practice of their art. But these women introduced into the stern methods of the early Impressionists a feminine gaiety and charm which were reflected upon the canvases of their “confrères,” and produced a certain change of attitude. There was little light-heartedness in the work of Manet before these women-painters joined the group, and it is not altogether improbable that some of the change is due to their example. In any body of men feminine influence always makes for the good, and these women, of strong but charming personality, must (it is idle to write any less emphatic word) have had a strong influence upon the whole group. Their industry was great, for they exhibited almost without intermission from 1874 to 1886. At times their talent touches genius, and for future historians they will prove an interesting study. Modernity is the note of Impressionism, and that movement was the very first artistic revolt in which women took a prominent part. [Illustration] ------------------------------------------------------------------------ [Illustration: THE LAST RAYS · EMILE CLAUS ] CHAPTER X · “LA PEINTURE CLAIRE”: CLAUS, LE SIDANER, BESNARD, DIDIER-POUGET “TOUT HOMME QUI NE RESSEMBLE PAS AUX AUTRES, DEVIENT PAR LA MÊME UN OBJET DE DÉFIANCE. DÈS QUE LA FOULE NE COMPREND PLUS, ELLE RIT. IL FAUT TOUTE UNE ÉDUCATION POUR FAIRE ACCEPTER LE GÉNIE” _ZOLA_