ay starve, but genius once recognised, the apotheosis is
logically bound to follow. No fear of halls of fame with a French Poe
absent.

Eugene Carriere was more fortunate than his two famous predecessors.
He toiled and suffered hardship, but before his death he was
officially acknowledged though never altogether approved by the Salon
in which he exhibited; approved or understood. He fought under no
banner. He was not an impressionist. He was not a realist. Certainly
he could be claimed by neither the classics nor romantics. A
"solitary" they agreed to call him; but his is not the hermetic art of
such a solitary as Gustave Moreau. Carriere, on the contrary, was a
man of marked social impulses, and when in 1889 he received the Legion
of Honour, he was enabled to mingle with his equals--he had been
almost unknown until then. He was the most progressive spirit among
his brethren. Nowadays he is classed as an Intimist, in which category
and with such men as Simon Bussy, Menard, Henri le Sidaner, Emile
Wery, Charles Cottet, Lucien Simon, Edouard Vuillard, the Griveaus,
Lomont, Lobre, and others, he is still their master, still the
possessor of a highly individualised style, and in portraiture the
successor to such diverse painters as Prudhon, Ricard, and Whistler.

Gabriel Seailles has written a study, Eugene Carriere, l'Homme et
l'Artiste, and Charles Morice has published another, Eugene Carriere.
The latter deals with the personality and ideas of one of the most
original thinkers among modern French painters. We have spoken of the
acerbity of Degas, of his wit, so often borrowed by Whistler and
Manet; we have read Eugene Fromentin's delightful, stimulating studies
of the old masters, but we doubt if Fromentin was as profound a
thinker as Carriere. Degas is not, though he deals in a more acid and
dangerous form of aphorism. It is one of the charms of the eulogy of
M. Morice to find embalmed therein so many phrases and speeches of the
dead painter. He was both poet and philosopher, let us call him a
seer, for his work fully bears out this appellation. A grand
visionary, he well deserves Jean Dolent's description of his pictures
as "realities having the magic of a dream."

Carriere's career was in no wise extraordinary. He fled to no exotic
climes as did Paul Gauguin. His only tragedy was the manner of his
death. For three years previous he suffered the agonies of a cancer.
His bravery was admirable. No one heard him compla