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His illustrations are those of a great artist admirable in colour, movement and observation; all the great principles of Impressionism are embodied in them. But there are four more illustrators of the first rank: Steinlen, Louis Legrand, Paul Renouard and Auguste Lepère. Steinlen has been enormously productive: he is specially remarkable for his illustrations.
Steinlen has also designed some beautiful posters, pleasing pastels, lithographs of incontestable technical merit, and beautifully eloquent political drawings.
They were aware of Steinlen and Cheret and Mucha and the whole rising young school of French poster workers. Eugene was surprised to hear of these men and these papers. He began to gain confidence in himself to think of himself as somebody.
One of the most memorable drawings of Steinlen depicts the quaint soul of a child of the Latin Quarter: an elderly Bohemian, very much frayed, advances wreathed in the sunshine of his boutonniere and cane. Canes are invariably an accompaniment of learning.
In a great room to the right of the steps of the War Office a number of men in civilian clothes sit in gilded chairs with a strained look of expectancy, as though awaiting some message of fate. They have interesting faces. My fingers itch to make a sketch of them, but only Steinlen could draw these Parisian types who seem to belong to some literary or Bohemian coterie.
But all modern draughtsmen have been taught a lesson by his painting: Renouard, Toulouse-Lautrec and Steinlen have been impressed by it, and the young generation considers Degas as a master. And that is also the unexpressed idea of the academicians, and especially of those who have sufficient talent to be able to appreciate all the science and power of such an art.
That is the case, for instance, with Legrand, with Steinlen, and with Renouard; and it is also the case with the lithographer Odilon Redon, who applies the values of Manet and, in his strange pastels, the harmonies of Degas and Renoir, placing them at the service of dreams and hallucinations and of a symbolism which is absolutely removed from the realism of these painters.
In the full crudity of curve and distinctness of line she might have sat for Steinlen, there was a brownness, too, in the atmosphere. Her face was olive and of perfect proportions; her eyelashes long and black. She gave me a terrified side-glance, and I thought I was looking at the picture of the village flirt in serene flight.
And Black-and-White was a section to be visited in the freshness of the morning, not to be put off, like the dull, shockingly over-crowded little room at the Academy, to the last hurried moments of fatigue a section to devote the day to and then to leave only for the bookstall or bookshop where we could invest the money we had not to spare in the books and magazines and papers illustrated by Carlos Schwabe and Khnopf and Steinlen and Willette and Caran D'Ache and Louis Legrand and Forain and the men whose work in the original we had been studying and laying down the law about for hours.
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