the new processes and trends of engraving, particularly in color, and Henri Rivière worked from this date on "The Thirty Six Views of the Eiffel Tower", from 1888 to 1902. In 1891, Valloton renewed the art of engraving on wood, with Gauguin or Émile Bernard while Toulouse Lautrec revolutionized the art of the poster. Friend of the Impressionists In 1874 Bracquemond participated in the first exhibition of impressionist painters in the workshops of Nadar, Boulevard des Capucines, of artists that would be called the Impressionists. The inauguration took place on 15 April 1874 and enjoyed a scandalous success. He presented a portrait, a frame of etchings including the portraits of Auguste Comte, Charles Baudelaire and Théophile Gautier, but also etchings after Turner, Ingres, Manet, and original etchings: Les Saules (The Willows), Le Mur (The Wall). He exhibited again with his friends in 1879. Ceramicist In 1856, Bracquemond discovered a collection of Manga engravings by the Japanese Hokusai, typical of the pictorial genre known in Japan as Kachô-ga, depicting flowers and birds with insects, crustaceans and fishes, in the workshop of his printer Auguste Delâtre, after having been used to fix a consignment of porcelain. He was seduced by this theme that made him the initiator of the vogue of Japonisme in France which seized the decorative arts during the second half of the 19th century. In 1860, he returned first to the workshop of the ceramist Théodore Deck, then to the earthenware merchant in Paris. The latter commissioned him the motifs for a table service, for a project destined for the Universal Exhibition of 1867 . Bracquemond then proposed a model which appropriated the themes of the Kachô-ga, drawn and engraved by himself. For the first time a European artist directly copied a Japanese artist, reproducing the animal figures of the Hokusai Manga. In 1867, Bracquemond was also one of the nine members of the "Société du Jing-lar" with Henri Fantin-Latour, Carolus Duran and the ceramist Marc-Louis Solon, who met monthly in Sèvres for a Japanese dinner, to which this service would have been destined. Eugène Rousseau was convinced and ordered two hundred pieces to be manufactured in Creil-Montereau faience. Bracquemond made the etchings and the engraved planks used by the manufacture. The proofs were cut and put on the clay to receive the decoration. In the oven, the heat made the paper disappear, leaving only the imprint of the