journal record her visits to the dying painter. Dying of tuberculosis at the age of 25, Bashkirtseff lived just long enough to emerge as an intellectual in Paris in the 1880s. She wrote several articles for Hubertine Auclert's feminist newspaper La Citoyenne in 1881 under the nom de plume "Pauline Orrel." One of her most-quoted sayings is "Let us love dogs, let us love only dogs! Men and cats are unworthy creatures." Bashkirtseff died in Paris in 1884, and she is buried in Cimetière de Passy, Paris. Her great friend Prince Bojidar Karageorgevitch was present at her deathbed. Her monument is a full-sized artist's studio that has been declared a historic monument by the government of France. Marie Bashkirtseff was included in the 2018 exhibit Women in Paris 1850-1900. The diary From approximately the age of 13, Bashkirtseff kept a journal, and it is probably for this that she is most famous today. It has been called "a strikingly modern psychological self-portrait of a young, gifted mind," and her urgent prose, which occasionally breaks out into dialogue, remains extremely readable. She was multilingual and despite her self-involvement, was a keen observer with an acute ear for hypocrisy, so that her journal also offers a near-novelistic account of the late nineteenth century European bourgeoisie. A consistent theme throughout her journal is her deep desire to achieve fame, inflected by her increasing fear that her intermittent illnesses might turn out to be tuberculosis. In a prefatory section written toward the end of her life, in which she recounts her family history, she writes, "If I do not die young I hope to live as great artist; but if I die young, I intend to have my journal, which cannot fail to be interesting, published." Similarly: "When I am dead, my life, which appears to me a remarkable one, will be read. (The only thing wanting is that it should have been different)." In effect, the first half of Bashkirtseff's journal is a coming-of-age story while the second is an account of heroic suffering. Bashkirtseff's journal was first published in 1887, and was only the second diary by a woman published in France to that date. It was an immediate success, not least because its cosmopolitan confessional style was a marked departure from the contemplative, mystical diaries of the writer Eugénie de Guérin that had been published in 1862. An English translation appeared