W.C. Brownell

In fine, the impressionist has his own conventions; no school can escape them, from the very nature of the case and the definition of the term. The conventions of the impressionists, indeed, are particularly salient. Can anyone doubt it who sees an exhibition of their works? In the same number of classic, or romantic, or merely realistic pictures, is there anything quite equalling the monotony that strikes one in a display of canvasses by Claude Monet and his fellows and followers? But the defect of impressionism is not mainly its technical conventionality.

M. Emmanuel Frémiet occupies a place by himself. There have been but two modern sculptors who have shown an equally pronounced genius for representing animals—namely, Barye, of course, and Barye's clever but not great pupil, Cain. The tigress in the Central Park, perhaps the best bronze there (the competition is not exacting), and the best also of the several variations of the theme of which, at one time, the sculptor apparently could not tire, familiarizes Americans with the talent of Cain.