Maxime Maufra is an adversary fighting this group of reactionaries, and perhaps his successful example may bring some of these erring ones back to the fold.

In the “Echo de Paris” M. Octave Mirbeau published a short criticism, which voiced the general opinion of Maufra’s talent. “Yesterday,” writes Mirbeau, “I entered the galleries of de Boutheville, where are exhibited about sixty works by Maufra. I was immediately conquered, for I found myself in the presence of an artist in full control of himself, who, after the necessary indecisions, the usual educational troubles, has realised that style is the most important thing—in fact, the joy of art.”

A few of the paintings were sold, enough to cover the expenses of the exhibition.

A better luck awaited Maufra. M. Durand-Ruel casually glanced into the rooms before the close of the modest collection.

For years he experimented endeavouring to produce a medium best suited to his temperament. In the solid paint crayons we have an addition to the working tools of the artist which is of notable importance. This is not his only gift to France, for it is he who practically resuscitated the beautiful but dying art of etching in colours. In this work he was ably seconded by Miss Mary Cassatt.