The true character of the Salon was lost as soon as it spread along the galleries. The Salon should have remained within fixed limits of inflexible proportions, where each distinct specialty could show its masterpieces only. An experience of ten years has shown the excellence of the former institution. Now, instead of a tournament, we have a mob; instead of a noble exhibition, we have a tumultuous bazaar; instead of a choice selection we have a chaotic mass. What is the result? A great artist is swamped. Decamps’ “Turkish Cafe,” “Children at a Fountain,” “Joseph,” and “The Torture,” would have redounded far more to his credit if the four pictures had been exhibited in the great Salon with the hundred good pictures of that year, than his twenty pictures could, among three thousand others, jumbled together in six galleries.
By some strange contradiction, ever since the doors are open to every one there has been much talk of unknown and unrecognized genius. When, twelve years earlier, Ingres’ “Courtesan,” and that of Sigalon, the “Medusa” of Gericault, the “Massacre of Scio” by Delacroix, the “Baptism of Henri IV.” by Eugene Deveria, admitted by celebrated artists accused of jealousy, showed the world, in spite of the denials of criticism, that young and vigorous palettes existed, no such complaint was made. Now, when the veriest dauber of canvas can send in his work, the whole talk is of genius neglected! Where judgment no longer exists, there is no longer anything judged. But whatever artists may be doing now, they will come back in time to the examination and selection which presents their works to the admiration of the crowd for whom they work. Without selection by the Academy there will be no Salon, and without the Salon art may perish.
Ever since the catalogue has grown into a book, many names have appeared in it which still remain in their native obscurity, in spite of the ten or a dozen pictures attached to them. Among these names perhaps the most unknown to fame is that of an artist named Pierre Grassou, coming from Fougeres, and called simply “Fougeres” among his brother-artists, who, at the present moment holds a place, as the saying is, “in the sun,” and who suggested the rather bitter reflections by which this sketch of his life is introduced, — reflections that are applicable to many other individuals of the tribe of artists.
In 1832, Fougeres lived in the rue de Navarin, on the fourth floor of one of those tall, narrow houses which resemble the obelisk of Luxor, and possess an alley, a dark little stairway with dangerous turnings, three windows only on each floor, and, within the building, a courtyard, or, to speak more correctly, a square pit or well. Above the three or four rooms occupied by Grassou of Fougeres was his studio, looking over to Montmartre. This studio was painted in brick-color, for a background; the floor was tinted brown and well frotted; each chair was furnished with a bit of carpet bound round the edges; the sofa, simple enough, was clean as that in the bedroom of some worthy bourgeoise. All these things denoted the tidy ways of a small mind and the thrift of a poor man. A bureau was there, in which to put away the studio implements, a table for breakfast, a sideboard, a secretary; in short, all the articles necessary to a painter, neatly arranged and very clean. The stove participated in this Dutch cleanliness, which was all the more visible because the pure and little changing light from the north flooded with its cold clear beams the vast apartment. Fougeres, being merely a genre painter, does not need the immense machinery and outfit which ruin historical painters; he has never recognized within himself sufficient faculty to attempt high-art, and he therefore clings to easel painting.
At the beginning of the month of December of that year, a season at which the bourgeois of Paris conceive, periodically, the burlesque idea of perpetuating their forms and figures already too bulky in themselves, Pierre Grassou, who had risen early, prepared his palette, and lighted his stove, was eating a roll steeped in milk, and waiting till the frost on his windows had melted sufficiently to let the full light in. The weather was fine and dry. At this moment the artist, who ate his bread with that patient, resigned air that tells so much, heard and recognized the step of a man who had upon his life the influence such men have on the lives of nearly all artists, — the step of Elie Magus, a picture-dealer, a usurer in canvas. The next moment Elie Magus entered and found the painter in the act of beginning his work in the tidy studio.
“How are you, old rascal?” said the painter.
Fougeres had the cross of the Legion of honor, and Elie Magus bought his pictures at two and three hundred francs apiece, so he gave himself the airs of a fine artist.
“Business is very bad,” replied Elie. “You artists have such pretensions! You talk of two hundred francs when you haven’t put six sous’ worth of color on a canvas. However, you are a good fellow, I’ll say that. You are steady; and I’ve come to put a good bit of business in your way.”
“Timeo Danaos et dona ferentes,” said Fougeres. “Do you know Latin?”
“No.”
“Well, it means that the Greeks never proposed a good bit of business to the Trojans without getting their fair share of it. In the olden time they used to say, ‘Take my horse.’ Now we say, ‘Take my bear.’ Well, what do you want, Ulysses-Lagingeole-Elie Magus?”
These words will give an idea of the mildness and wit with which Fougeres employed what painters call studio fun.
“Well, I don’t deny that you are to paint me two pictures for nothing.”
“Oh! oh!”
“I’ll leave you to do it, or not; I don’t ask it. But you’re an honest man.”
“Come, out with it!”
“Well, I’m prepared to bring you a father, mother, and only daughter.”
“All for me?”
“Yes — they want their portraits taken. These bourgeois — they are crazy about art — have never dared to enter a studio. The girl has a ‘dot’ of a hundred thousand francs. You can paint all three, — perhaps they’ll turn out family portraits.”
And with that the old Dutch log of wood who passed for a man and who was called Elie Magus, interrupted himself to laugh an uncanny laugh which frightened the painter. He fancied he heard Mephistopheles talking marriage.
“Portraits bring five hundred francs apiece,” went on Elie; “so you can very well afford to paint me three pictures.”
“True for you!” cried Fougeres, gleefully.
“And if you marry the girl, you won’t forget me.”
“Marry! I?” cried Pierre Grassou, — ”I, who have a habit of sleeping alone; and get up at cock-crow, and all my life arranged — ”
“One hundred thousand francs,” said Magus, “and a quiet girl, full of golden tones, as you call ‘em, like a Titian.”
“What class of people are they?”
“Retired merchants; just now in love with art; have a country-house at Ville d’Avray, and ten or twelve thousand francs a year.”
“What business did they do?”
“Bottles.”
“Now don’t say that word; it makes me think of corks and sets my teeth on edge.”
“Am I to bring them?”
“Three portraits — I could put them in the Salon; I might go in for portrait-painting. Well, yes!”
Old Elie descended the staircase to go in search of the Vervelle family. To know to what extend this proposition would act upon the painter, and what effect would be produced upon him by the Sieur and Dame Vervelle, adorned by their only daughter, it is necessary to cast an eye on the anterior life of Pierre Grassou of Fougeres.
When a pupil, Fougeres had studied drawing with Servin, who was thought a great draughtsman in academic circles. After that he went to Schinner’s, to learn the secrets of the powerful and magnificent color which distinguishes that master. Master and scholars were all discreet; at any rate Pierre discovered none of their secrets. From there he went to Sommervieux’ atelier, to acquire that portion of the art of painting which is called composition, but composition was shy and distant to him. Then he tried to snatch from Decamps and Granet the mystery of their interior effects. The two masters were not robbed. Finall
y Fougeres ended his education with Duval-Lecamus. During these studied and these different transformations Fougeres’ habits and ways of life were tranquil and moral to a degree that furnished matter of jesting to the various ateliers where he sojourned; but everywhere he disarmed his comrades by his modesty and by the patience and gentleness of a lamblike nature. The masters, however, had no sympathy for the good lad; masters prefer bright fellows, eccentric spirits, droll or fiery, or else gloomy and deeply reflective, which argue future talent. Everything about Pierre Grassou smacked of mediocrity. His nickname “Fougeres” (that of the painter in the play of “The Eglantine”) was the source of much teasing; but, by force of circumstances, he accepted the name of the town in which he had first seen light.
Grassou of Fougeres resembled his name. Plump and of medium height, he had a dull complexion, brown eyes, black hair, a turned-up nose, rather wide mouth, and long ears. His gentle, passive, and resigned air gave a certain relief to these leading features of a physiognomy that was full of health, but wanting in action. This young man, born to be a virtuous bourgeois, having left his native place and come to Paris to be clerk with a color-merchant (formerly of Mayenne and a distant connection of the Orgemonts) made himself a painter simply by the fact of an obstinacy which constitutes the Breton character. What he suffered, the manner in which he lived during those years of study, God only knows. He suffered as much as great men suffer when they are hounded by poverty and hunted like wild beasts by the pack of commonplace minds and by troops of vanities athirst for vengeance.
As soon as he thought himself able to fly on his own wings, Fougeres took a studio in the upper part of the rue des Martyrs, where he began to delve his way. He made his first appearance in 1819. The first picture he presented to the jury of the Exhibition at the Louvre represented a village wedding rather laboriously copied from Greuze’s picture. It was rejected. When Fougeres heard of the fatal decision, he did not fall into one of those fits of epileptic self-love to which strong natures give themselves up, and which sometimes end in challenges sent to the director or the secretary of the Museum, or even by threats of assassination. Fougeres quietly fetched his canvas, wrapped it in a handkerchief, and brought it home, vowing in his heart that he would still make himself a great painter. He placed his picture on the easel, and went to one of his former masters, a man of immense talent, — to Schinner, a kind and patient artist, whose triumph at that year’s Salon was complete. Fougeres asked him to come and criticise the rejected work. The great painter left everything and went at once. When poor Fougeres had placed the work before him Schinner, after a glance, pressed Fougeres’ hand.
“You are a fine fellow,” he said; “you’ve a heart of gold, and I must not deceive you. Listen; you are fulfilling all the promises you made in the studios. When you find such things as that at the tip of your brush, my good Fougeres, you had better leave colors with Brullon, and not take the canvas of others. Go home early, put on your cotton night-cap, and be in bed by nine o’clock. The next morning early go to some government office, ask for a place, and give up art.”
“My dear friend,” said Fougeres, “my picture is already condemned; it is not a verdict that I want of you, but the cause of that verdict.”
“Well — you paint gray and sombre; you see nature being a crape veil; your drawing is heavy, pasty; your composition is a medley of Greuze, who only redeemed his defects by the qualities which you lack.”
While detailing these faults of the picture Schinner saw on Fougeres’ face so deep an expression of sadness that he carried him off to dinner and tried to console him. The next morning at seven o’clock Fougeres was at his easel working over the rejected picture; he warmed the colors; he made the corrections suggested by Schinner, he touched up his figures. Then, disgusted with such patching, he carried the picture to Elie Magus. Elie Magus, a sort of Dutch-Flemish-Belgian, had three reasons for being what he became, — rich and avaricious. Coming last from Bordeaux, he was just starting in Paris, selling old pictures and living on the boulevard Bonne-Nouvelle. Fougeres, who relied on his palette to go to the baker’s, bravely ate bread and nuts, or bread and milk, or bread and cherries, or bread and cheese, according to the seasons. Elie Magus, to whom Pierre offered his first picture, eyed it for some time and then gave him fifteen francs.
“With fifteen francs a year coming in, and a thousand francs for expenses,” said Fougeres, smiling, “a man will go fast and far.”
Elie Magus made a gesture; he bit his thumbs, thinking that he might have had that picture for five francs.
For several days Pierre walked down from the rue des Martyrs and stationed himself at the corner of the boulevard opposite to Elie’s shop, whence his eye could rest upon his picture, which did not obtain any notice from the eyes of the passers along the street. At the end of a week the picture disappeared; Fougeres walked slowly up and approached the dealer’s shop in a lounging manner. The Jew was at his door.
“Well, I see you have sold my picture.”
“No, here it is,” said Magus; “I’ve framed it, to show it to some one who fancies he knows about painting.”
Fougeres had not the heart to return to the boulevard. He set about another picture, and spent two months upon it, — eating mouse’s meals and working like a galley-slave.
One evening he went to the boulevard, his feet leading him fatefully to the dealer’s shop. His picture was not to be seen.
“I’ve sold your picture,” said Elie Magus, seeing him.
“For how much?”
“I got back what I gave and a small interest. Make me some Flemish interiors, a lesson of anatomy, landscapes, and such like, and I’ll buy them of you,” said Elie.
Fougeres would fain have taken old Magus in his arms; he regarded him as a father. He went home with joy in his heart; the great painter Schinner was mistaken after all! In that immense city of Paris there were some hearts that beat in unison with Pierre’s; his talent was understood and appreciated. The poor fellow of twenty-seven had the innocence of a lad of sixteen. Another man, one of those distrustful, surly artists, would have noticed the diabolical look on Elie’s face and seen the twitching of the hairs of his beard, the irony of his moustache, and the movement of his shoulders which betrayed the satisfaction of Walter Scott’s Jew in swindling a Christian.
Fougeres marched along the boulevard in a state of joy which gave to his honest face an expression of pride. He was like a schoolboy protecting a woman. He met Joseph Bridau, one of his comrades, and one of those eccentric geniuses destined to fame and sorrow. Joseph Bridau, who had, to use his own expression, a few sous in his pocket, took Fougeres to the Opera. But Fougeres didn’t see the ballet, didn’t hear the music; he was imagining pictures, he was painting. He left Joseph in the middle of the evening, and ran home to make sketches by lamp-light. He invented thirty pictures, all reminiscence, and felt himself a man of genius. The next day he bought colors, and canvases of various dimensions; he piled up bread and cheese on his table, he filled a water-pot with water, he laid in a provision of wood for his stove; then, to use a studio expression, he dug at his pictures. He hired several models and Magus lent him stuffs.
After two months’ seclusion the Breton had finished four pictures. Again he asked counsel of Schinner, this time adding Bridau to the invitation. The two painters saw in three of these pictures a servile imitation of Dutch landscapes and interiors by Metzu, in the fourth a copy of Rembrandt’s “Lesson of Anatomy.”
“Still imitating!” said Schinner. “Ah! Fougeres can’t manage to be original.”
“You ought to do something else than painting,” said Bridau.
“What?” asked Fougeres.
“Fling yourself into literature.”
Fougeres lowered his head like a sheep when it rains. Then he asked and obtained certain useful advice, and retouched his pictures before taking them to Elie Magus. Elie paid him twenty-five francs apiece. At that price of course Fougeres earned nothing; neither did he l
ose, thanks to his sober living. He made a few excursions to the boulevard to see what became of his pictures, and there he underwent a singular hallucination. His neat, clean paintings, hard as tin and shiny as porcelain, were covered with a sort of mist; they looked like old daubs. Magus was out, and Pierre could obtain no information on this phenomenon. He fancied something was wrong with his eyes.
The painter went back to his studio and made more pictures. After seven years of continued toil Fougeres managed to compose and execute quite passable work. He did as well as any artist of the second class. Elie bought and sold all the paintings of the poor Breton, who earned laboriously about two thousand francs a year while he spent but twelve hundred.
At the Exhibition of 1829, Leon de Lora, Schinner, and Bridau, who all three occupied a great position and were, in fact, at the head of the art movement, were filled with pity for the perseverance and the poverty of their old friend; and they caused to be admitted into the grand salon of the Exhibition, a picture by Fougeres. This picture, powerful in interest but derived from Vigneron as to sentiment and from Dubufe’s first manner as to execution, represented a young man in prison, whose hair was being cut around the nape of the neck. On one side was a priest, on the other two women, one old, one young, in tears. A sheriff’s clerk was reading aloud a document. On a wretched table was a meal, untouched. The light came in through the bars of a window near the ceiling. It was a picture fit to make the bourgeois shudder, and the bourgeois shuddered. Fougeres had simply been inspired by the masterpiece of Gerard Douw; he had turned the group of the “Dropsical Woman” toward the window, instead of presenting it full front. The condemned man was substituted for the dying woman — same pallor, same glance, same appeal to God. Instead of the Dutch doctor, he had painted the cold, official figure of the sheriff’s clerk attired in black; but he had added an old woman to the young one of Gerard Douw. The cruelly simple and good-humored face of the executioner completed and dominated the group. This plagiarism, very cleverly disguised, was not discovered. The catalogue contained the following: —
Works of Honore De Balzac Page 676