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The first important picture of the impressionistic school a heavy spring rain in a grove of silver poplars by Winthrop had been shown in the window of this firm, fascinating Eugene with its technique. He had encountered here collections of Aubrey Beardsley's decadent drawings, of Helleu's silverpoints, of Rodin's astonishing sculptures and Thaulow's solid Scandinavian eclecticism.
We admire Meryon and Helleu's drypoints, Bracquemond, Jacquemart; Félix Buhot has a following; Lalanne and Daubigny too; but in comparison with the demand for Rembrandt, Whistler, Seymour Haden, or Zorn the Paris men are not in the lead. There is Rops, for example, whose etchings may be compared to Meryon's; yet who except a few amateurs seeks Rops?
Rodin's works his name at least and photographs of his masterpieces are familiar to tens of thousands of Americans belonging to classes which in England never heard of him. Helleu's drawings were almost a commonplace of American illustrated literature six years before one educated Englishman in a hundred knew his name. Zörn's etchings are almost as well known in the United States as Whistler's.
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