Outside this group there are still a few isolated painters who are difficult to classify. The very young artists Laprade and Charles Guérin have shown for the last three years, at the exhibition of the _Indépendants_, some works which are the worthy result of Manet's and Renoir's influence. They, too, justify great expectations. The landscapists Paul Vogler and Maxime Maufra, more advanced in years, have made themselves known by some solid series of vigorously presented landscapes. To them must be added M. Henry Moret, M. Albert André and M. Georges d'Espagnet, who equally deserve the success which has commenced to be their share. But there are some older ones. It is only his due, that place should be given to a painter who committed suicide after an unhappy life, and who evinced splendid gifts. Vincent Van Gogh, a Dutchman, who, however, had always worked in France, has left to the world some violent and strange works, in which Impressionism appears to have reached the limits of its audacity. Their value lies in their naïve frankness and in the undauntable determination which tried to fix without trickery the sincerest feelings. Amidst many faulty and clumsy works, Van Gogh has also left some really beautiful canvases. There is a deep affinity between him and Cézanne. A very real affinity exists, too, between Paul Gauguin, who was a friend and to a certain extent the master of Van Gogh, and Cézanne and Renoir. Paul Gauguin's robust talent found its first motives in Breton landscapes, in which the method of colour-spots can be found employed with delicacy and placed at the service of a rather heavy, but very interesting harmony. Then the artist spent a long time in Tahiti, whence he returned with a completely transformed manner. He has brought back from these regions some landscapes with figures treated in intentionally clumsy and almost wild fashion. The figures are outlined in firm strokes and painted in broad, flat tints on canvas which has the texture almost of tapestry. Many of these works are made repulsive by their aspect of multi-coloured, crude and barbarous imagery. Yet one cannot but acknowledge the fundamental qualities, the beautiful values, the ornamental taste, and the impression of primitive animalism. On the whole, Paul Gauguin has a beautiful, artistic temperament which, in its aversion to virtuosoship, has perhaps not sufficiently understood that the fear of formulas, if exaggerated, may lead to other formulas, to a false ignorance which is as dangerous as false knowledge. Gauguin's symbolical intentions, like those of his pupil Emile Bernard, are sincere, but are badly served by minds which do not agree with their technical qualities, and both Gauguin and Emile Bernard are most happily inspired when they are painters pure and simple.