The first motive of importance which Liebermann found in the Low Countries resulted in the picture _Women preserving Vegetables_, completed at Weimar in 1873, and exhibited at the Salon of the same year. The subject represents a group of women in a dimly lit barn busily engaged in preserving cabbages and other vegetables. The canvas, although a great advance upon its predecessors, was ungraciously received in Germany. So little appreciation did Liebermann receive that he definitely removed to Paris, where he knew a welcome awaited him. In “la ville lumière” he worked in the schools and museums, studied Troyon, Daubigny, and Millet, whilst the influence of Manet, Monet, and the other Impressionists, was an important factor in the development of his art. [Illustration: ASYLUM FOR OLD MEN, AMSTERDAM · MAX LIEBERMANN ] [Illustration: WOMAN WITH GOATS · MAX LIEBERMANN ] So strong was his admiration for Millet that he went down to Barbizon, where he arrived shortly before the death of that great artist. Under the influence of Millet he painted _Labourers in the Turnip Field_, and _Brother and Sister_, which appeared in the Paris Salon of 1876. He now reached the turning-point of his career, for he had made up his mind that at all costs he must perfect his own individual style. A great unrest, useless to battle against, disorganised his movements. He travelled through Belgium, Holland, Germany, and Italy, studying and searching for the inspiration which should place him in the right path. During these travels he met at Venice Lenbach, the portrait-painter, who told him to study in Munich. Tired of wandering he acted upon the suggestion, and passed six years in the Bavarian capital. For a period his art assumed a religious character, and he painted many biblical compositions. These works were coldly received, and in Munich they were strongly and adversely criticised. The clergy objected to them as profane, and a debate on the subject followed in the Bavarian Assembly. The life of the artist becoming exceedingly uncomfortable, Liebermann settled in Amsterdam, where he found a freer artistic atmosphere more congenial to his temperament. Disdaining the critical capacity of his native city, Liebermann forwarded all his finest works to Paris, and in the Salon of 1881 exhibited _An Asylum for Old Men_, which gained a medal in the third class, the first honour awarded to German art since the war. Having received the official imprimatur of Paris, his countrymen began to realise that an artist had grown up amongst them they could no longer afford to neglect. Liebermann’s works found purchasers throughout the Continent, and his future was assured. He was elected a member of the “Cercle des Quinze,” of which Alfred Stevens and Bastien-Lepage were prominent supporters, and he exhibited annually at the Salon Petit and other French collections. Since 1884 he has divided his time between Berlin and the little village of Zandvoort, near