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Why stop at all, unless the neighbours protest that we are interfering with their complementaries?" The schools headed by Signac and Anquetin comprise numerous disciples and adherents. They do not exhibit in the Salon or in the Champ de Mars; but that is because they disdain to do so.
The first of this new generation was Seurat, Seurat begot Signac, Signac begot Anquetin, and Anquetin has begotten quite a galaxy of lesser lights, of whom I shall not speak in this article of whom it is not probable that I shall ever speak.
Gauguin uttered the paradox, "Nothing so resembles a daub as a masterpiece," and the novelist Elémir Bourges cried, "This is the painting of a vintager!" Alfred Stevens roared in the presence of the Cézannes, Anquetin admired; but, as Bernard adds, Jacques Blanche bought. So did Durand-Ruel, who has informed me that a fine Cézanne to-day is a difficult fish to hook.
Then M. Anquetin became fascinated by the breadth and superb freedom of Manet's works, and signed a series of portraits and sketches, some of which are not far below so great a master's. They are works which will surprise the critics, when our contemporary painting will be examined with calm impartiality.
Next to Gauguin, among the seniors of the present generation and the successors of Impressionism, should be placed the landscapist Armand Guillaumin who, without possessing Sisley's delicate qualities, has painted some canvases worthy of notice; and we must, finally, terminate this far too summary enumeration by referring to one of the most gifted painters of the French School of the day, M. Louis Anquetin.
After these works, M. Anquetin gave way to his impetuous nature which led him to decorative painting, and he became influenced by Rubens, Jordaens, and the Fontainebleau School. He painted theatre curtains and mythological scenes, in which he gave free rein to his sensual imagination.
In spite of some admirable qualities, it seems as though the artist had strayed from his true path in painting these brilliant, but somewhat declamatory works, and he has since returned to a more modern and more direct painting. In all his changed conditions Anquetin has shown a considerable talent, pleasing in its fine vigour, impetuosity, brilliancy and sincerity.
He who walks out of a brilliantly lighted saloon that is to say, he who walks out of yellow sees the other two primary colours, red and blue; in other words, he sees violet. Therefore Anquetin paints the street, and everything in it, violet boots, trousers, hats, coats, lamp-posts, paving-stones, and the tail of the cat disappearing under the porte cochere.
Van Rhysselberge, one of the few painters to-day who practise pointillisme, or the system of dots, is a gifted artist; so is Anquetin. Miss Cassatt possesses a distinguished talent. As a school impressionism has run down to a thin rill in a waste of sand.