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90 Few, if any, can approach him in technical dexterity, few can express so much in so few lines. Moreover, to his technical mastery is added a searching power of criticism which gives to his work a further, and a most important, interest. In his desire to depict the truth, the whole truth, and nothing but the truth, he (no doubt unconsciously) becomes a moralist. He depicts life from no sentimental point of view; he can be realistic without seeming to appreciate the tragedy which is of the very essence of realism, so that on seeing one of his illustrations of modern life, one receives, apart from technical delight, a distinctly literary impression. Of his posters, perhaps the earliest is one unsigned and without lettering, representing an illuminated garden, in which a woman is depicted in the midst of an explosion of fireworks. Subsequent to this comes a bill to advertise one of the novels of Dubut de Laforest, which bears the artist's signature. The design which announces Forain's political drawings for the "Figaro" is of slight importance, as it was not originally intended for a poster. In spite of this it is by no means easy to meet with. Of greater interest is the "Exposition des Arts de la Femme." It was, however, only when Forain received a commission to produce an illustrated advertisement for a cycle show that he achieved a really memorable poster, a poster of real charm and rare