is not found in contemporary literature. Eva Weissweiler saw in the play Busch's attempt to prove himself in the novella genre, believing that everything that angered or insulted him, and his accompanying emotional depths, are apparent in the story. The 1895 story The Butterfly (Der Schmetterling) parodies themes and motifs and ridicules the religious optimism of a German romanticism that contradicted Busch's realistic anthropology influenced by Schopenhauer and Charles Darwin. Its prose is more stringent in narrative style when compared to Edwards Dream. Both were not popular amongst readers, because of their unfamiliar style. Painting Busch felt his painting skills could not compete with those of the Dutch masters. He regarded few of his paintings as finished, often stacking them one on top of the other in damp corners of his studio, where they stuck together. If the pile of paintings became too high, he burnt some in his garden. Since only a few remaining paintings are dated, categorizing them is difficult. His doubts regarding his skills are expressed in his choice of materials. His ground was usually chosen carelessly. Sometimes he used uneven cardboard or poorly-prepared spruce-wood boards. One exception is a portrait of Johanna Kessler, on a canvas support measuring by , one of his largest paintings. Most of his works, even landscapes, are small. As Busch used poor grounds and colours, most are heavily darkened and have an almost monochrome effect. Many pictures depict the countryside at Wiedensahl and Lüthorst. They include pollarded willows, cottages in cornfields, cowherds, autumn landscapes, and meadows with streams. A particular feature is the use of red jackets, found in about 280 of 1000 Busch paintings and drawings. The muted or bright red coats are worn usually by a small figure, depicted from behind. The paintings generally represent typical villages. Portraits of the Kesslers, and a series of other portraits depicting Lina Weissenborn in the mid-1870s, are exceptions. A painting of a 10-year-old girl from a Jewish family at Lüthorst portrays her as serious, and having dark, oriental features. The influence of Dutch painters is clearly visible in Busch's work. "Hals diluted and shortened(...) but still Halsian", wrote Paul Klee after visiting a Busch memorial exhibition in 1908. A strong influence on Busch was Adriaen Brouwer, whose themes were farming and inn life, rustic dances, card players, smokers, drunkards, and rowdies. He dismissed the techniques of Impressionism with its strong preoccupation with