Surely, it would be false to exclude ideologist painting which has produced wonders, and not less iniquitous to reproach Impressionism with not having taken any interest in it! One has to avoid the kind of criticism which consists in reproaching one movement with not having had the qualities of the others whilst maintaining its own, and we have abandoned the idea of Beauty divided into a certain number of clauses and programmes, towards the sum total of which the efforts of the eclectic candidates are directed. M. Renoir is probably the most representative figure of a movement where he seems to have united all the qualities of his friends. To criticise him means to criticise Impressionism itself. Having spent half of its strength in proving to its adversaries that they were wrong, and the other half in inventing technical methods, it is not surprising to find that Impressionism has been wanting in intellectual depth and has left to its successors the care of realising works of great thought. But it has brought us a sunny smile, a breath of pure air. It is so fascinating, that one cannot but love its very mistakes which make it more human and more accessible. Renoir is the most lyrical, the most musical, the most subtle of the masters of this art. Some of his landscapes are as beautiful as those of Claude Monet. His nudes are as masterly in painting as Manet's, and more supple. Not having attained the scientific drawing which one finds in Degas's, they have a grace and a brilliancy which Degas's nudes have never known. If his rare portraits of men are inferior to those of his rivals, his women's portraits have a frequently superior distinction. His great modern compositions are equal to the most beautiful works by Manet and Degas. His inequalities are also more striking than theirs. Being a fantastic, nervous improvisator he is more exposed to radical mistakes. But he is a profoundly sincere and conscientious artist. [Illustration: RENOIR ON THE TERRACE] The race speaks in him. It is inexplicable that he should not have met with startling success, since he is voluptuous, bright, happy and learned without heaviness. One has to attribute his relative isolation to the violence of the controversies, and particularly to the dignity of a poet gently disdainful of public opinion and paying attention solely to painting, his great and only love. Manet has been a fighter whose works have created scandal. Renoir has neither shown, nor hidden himself: he has painted according to his dream, spreading his works, without mixing up his name or his personality with the tumult that raged around his friends. And now, for that very reason, his work appears fresher and younger, more primitive and candid, more intoxicated with flowers, flesh and sunlight. VII THE SECONDARY PAINTERS OF IMPRESSIONISM--CAMILLE PISSARRO, ALFRED SISLEY, PAUL CÉZANNE, BERTHE MORISOT, MISS MARY CASSATT, EVA GONZALÈS, GUSTAVE CAILLEBOTTE, BAZILLE, ALBERT LEBOURG, EUGÈNE BOUDIN.