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Abbreviation is his watchword; his drawings are a species of shorthand notations made at red-hot tempo, yet catching the soul of a situation. He repeats himself continually, but, as M. Grappe says, is never monotonous. In love with movement, with picturesque massing, and broad simple colour schemes, he naturally gravitated to battle-fields. In Europe society out of doors became his mania.
On returning to the hospital, after having had a good dinner and drank a bottle of wine apiece in the inn of La Grappe in the Rue de Tilly, we learned that we were to go, that same evening, to the barracks of Rosenthal a sort of depot for wounded, near Lutzen, where the roll was called morning and evening, but where, at all other times, we were at liberty to do as we pleased.
Other critical studies are by Camille Mauclair, Roger Marx, Richard Muther, and George Grappe; and recently Elizabeth Luther Cary in a too short but admirably succinct article characterised the Guys method in this fashion: "He defined his forms sharply and delicately, and used within his bounding line the subtlest variation of light and shade.
He had hardly put his feet on Spanish soil than, said the Marquis of Santa Colona, he "looked round, saw some Gypsies lounging there, said something that the Marquis could not understand, and immediately 'that man became une grappe de Gitanos. They hung round his neck, clung to his knees, seized his hands, kissed his feet, so that the Marquis hardly liked to join his comrade again, after such close embraces by so dirty a company."