English readers and artists have hardly yet made the acquaintance of Besnard. To continental art-lovers he has long been known as the strongest and most audacious of the young men in the movement, and is thoroughly Impressionist in his ideas and methods. Few living artists have had the good fortune to be so much discussed as M. Besnard. Each Salon brings its chorus of admiration, its storm of disapprobation. The height of the argument was reached a few years ago, when, at the New Salon, the artist exhibited his _Ponies worried by Flies_. A startling piece of colour, it created a strong impression upon those who saw it. At that moment the existence of the violet tints in nature, which had been so beautifully demonstrated by Monet in his series of _Les Cathédrales_ and by Sisley in his charming river studies, was much under discussion in the studios. In some of the works of Monet and Sisley the whole picture is saturated in a glow of violet, which is frequently to be found in nature, particularly in northern France. Those who had not seen this natural effect disbelieved in its existence and charged the artists with painting “de chic.” Those who had seen it and essayed the difficult task of reproducing it upon canvas, loudly proclaimed its truths. Then came the _Ponies worried by Flies_. Besnard had heard of the heated discussion raging round the violet tints, and, having observed the truth of the effect, determined to demonstrate it in paint. Never had been seen in any Salon such a blaze of colour as this. The composition seemed to be but a peg upon which to hang a sermon in technique. Violet, violent in colour, pure hot impasto as shadow, juxtaposed directly to its natural complement of light in the shape of orange and citron colours, brilliantly loud and unadulterated. A sensation was created, and disbelief in the existence of violet tints in nature for ever silenced. M. Besnard has followed this success with many other surprising themes, for it is his pleasure to amaze. He seeks incessantly the new and incongruous. [Illustration: THE QUAY AT VEERE · EMILE CLAUS ] [Illustration: THE BARRIER · EMILE CLAUS ]