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The study of light _per se_ as Leon Dabo says,
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Mona Lisa of Leonardo da Vinci and before his less famous, but almost equally fascinating woman of the Liechtenstein Gallery, we do not marvel merely at the lifelike representation, which seems to actually vibrate; but at something evasive and unfathomable that we find difficult to express in words. We experience something similar when we contemplate Whistler's
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Mother or some portraits of modern masters like Blanche, Lavery, enigmatic Khnopff, or the grey men and women of Carriere, who rise so softly and mistily out of the background. Although they have not attained the mastership of the former in the representation of the living, breathing people, there is the same mysterious mood in their paintings. They seem to quiver with something that is essentially modern, and cannot emanate alone from the charm of momentary expression which is one of their main attractions. The modern figures have a less corporeal effect than those of the Renaissance; they resemble apparitions which have suddenly taken shape in the greyness of life only to dissolve again into shadows. This is more than a technical change, it is a new way of thinking. We concede a new attribute to these painters and call their achievements the
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of painting. Robert Henri's
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Young Woman in Black