Brangwyn is an impressionist in the best sense of the word, a perfect representative of what Impressionism contains that is justifiable. He does not stop over trivialities and accessories. He sees only the essential in phenomena, but this he sees with infallible certainty and intensity. A feature which marks exhaustively the direction, purpose, and force of a movement; a spot of colour that challenges and fixes the eye, as a sudden stroke of a bell does the ear—these are the optical elements which he grasps, and with delightful simplicity, weight, and carelessness, and, as it were, in student fashion, throws on the canvas “straight from the wrist.” The spectator finds once more in the picture exactly the component parts of the phenomenon which in the actual thing would alone excite and fix his attention, and, corresponding to his psychological habit, he supplements the indications of the painting by pictures from his own memory, till it becomes a perfect copy of the real thing, which then includes also all the subsidiary matters either merely hinted at, or quite passed over by the painter. Brangwyn is one of those rare gifted _virtuosi_ who does not need to draw. The line does not subsist for him, just as it does not subsist in nature. He models with light and colour. He puts spots irregularly near one another, little and big, long and short, angular and round, bright and dark, white and coloured; and from these spots, from this mosaic of correctly-felt effects of light, he builds up the phenomenon in space with incomparably genuine and intense corporeality. Our judgment adds the lines which the painter has never drawn, as it does when looking at the actual thing. We have here the optical elements themselves, which are perceived by the retina of the eye as mere gradations of light, but are apprehended and interpreted by the higher centres as coloured and plastic phenomena. Such a way of painting demands infallible certainty of sight and trustworthy obedience of the hand, else it leads to bankruptcy in art. Paul Cézanne.—He was one of the protagonists and pioneers of Naturalism. He was with Claude Monet, Caillebotte, and the other Impressionists an interesting subverter; with Zola he was for a moment a victor, and is now vanquished, although, probably, he will not admit it. A barefooted Masaniello, whom a successful revolution of the rabble carries to the top and lodges in the king’s palace, but who has very soon to exchange his purple mantle for his hereditary rags. Fortunately, the lot of overthrown art-revolutionaries is not so horrible as Masaniello’s; they do not end under the executioner’s hand.