When does the convergence of color, shape, line, and texture become more than the simple means to record a scene? How do they combine to produce a feeling, or an emotion? At what point does art cross the threshold from picture to idea? These were questions facing the painter 脡mile Bernard (1868-1941) and many of his contemporaries at the end of the 19th century. At least according to one critic, Adolphe Rett茅, writing in the magazine 尝鈥椭谤尘颈迟补驳别, Bernard had provided some answers: 鈥淧aint for us landscapes which are symbols, portraits which are thoughts鈥攊n other words pictures where lines and tones represent an idea; you [Bernard] have what it takes to do that.鈥�