. International studio. of Manet, expert in definitionsof bitter satire, and the judgments of Degas,delivered in a form that was light yet critics, Paul Mantz, Albert Wolff and Huys-mans, were there, also George Moore, when inParis, and the artists, Toulouse-Lautrec and LouisLegrand, both of whose work has something incommon with one and another side of Forains. Forain was received but once in the Salon olthose days. In the exhibits of the Independentshis name appears in that of 1879, held at 28Avenue de IOpera, with the names of Degas,Mary Cassatt, Monet, Pissarro, the Bracque-
. International studio. of Manet, expert in definitionsof bitter satire, and the judgments of Degas,delivered in a form that was light yet critics, Paul Mantz, Albert Wolff and Huys-mans, were there, also George Moore, when inParis, and the artists, Toulouse-Lautrec and LouisLegrand, both of whose work has something incommon with one and another side of Forains. Forain was received but once in the Salon olthose days. In the exhibits of the Independentshis name appears in that of 1879, held at 28Avenue de IOpera, with the names of Degas,Mary Cassatt, Monet, Pissarro, the Bracque-monds. In 1880 he was with the same group,with the exception of Monet and two others, at10 rue des Pyramides, to which were addedGauguin, Guillaumin, Berthe Morisot, in 1881 he took part in the sixth expositionof the Independents at Nadars, 35 boulevard desCapucines. In the seventh, 1882 show, he didnot appear; and from this time on the group thathad been so compact began to disperse. When forty-two MARCH. THE TRIBl X \ IBY FORMS their last show was given in1886, Forains work was notincluded. In 1890 the first exhibit of a collectionof his drawings was held in the gallery Bousod-Valadon, boulevard Montmartre, presided overby the brother of Vincent Van Gogh. When Forain exhibited with the group in1870, Huysmans compared him with the artistsof the official Salon and was the first probably todiscern Forains contribution to the representa-tion of Parisian life. He pronounced, There ismore elegance, more modernity, in the slightestsketch of a woman by Forain than in all the-canvases of Bouveret and the other manufac-turers of the falsely modern. He said further ofForains water-colors that they were little marvelsof elegant Parisian reality. In 1880 Huysmanscelebrated Forain as a curious painter of certaincorners of contemporary life, and declared, whileattributing to him the sense of soirees mondaines—the gesture of the fashionable and correct at theirpleasures—tha
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