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Updated: May 8, 2025
All his peasant women are potentially Jeannes d'Arc "Les Foins," "Tired," "Petite Fauvette," for example. The "note" is still more evident in the "London Bootblack" and the "London Flower-girl," in which the outcast "East End" spiritlessness of the British capital is caught and fixed with a Zola-like veracity and vigor. Such a phase as this is not so much pictorial or poetic, as psychological.
He, it may be added, calls yellow yellow, and he never paints a policeman like a poet. In a word, a man of robust, normal vision, a realist and an artist. False realism with its hectic, Zola-like romanticism is distasteful to Zorn.
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