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-The Project Gutenberg EBook of Fromentin, by Georges Beaume
-
-This eBook is for the use of anyone anywhere at no cost and with
-almost no restrictions whatsoever.  You may copy it, give it away or
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-Title: Fromentin
-
-Author: Georges Beaume
-
-Editor: M. Henry Roujon
-
-Translator: Frederic Taber Cooper
-
-Release Date: May 29, 2013 [EBook #42838]
-
-Language: English
-
-Character set encoding: UTF-8
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-*** START OF THIS PROJECT GUTENBERG EBOOK FROMENTIN ***
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+*** START OF THE PROJECT GUTENBERG EBOOK 42838 ***
 
     MASTERPIECES
     IN COLOUR
@@ -1178,366 +1142,4 @@ may pass before him, as before a star, but without ever effacing him.
 
 End of the Project Gutenberg EBook of Fromentin, by Georges Beaume
 
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+*** END OF THE PROJECT GUTENBERG EBOOK 42838 ***
diff --git a/42838-0.zip b/42838-0.zip
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@@ -1,1543 +0,0 @@
-The Project Gutenberg EBook of Fromentin, by Georges Beaume
-
-This eBook is for the use of anyone anywhere at no cost and with
-almost no restrictions whatsoever.  You may copy it, give it away or
-re-use it under the terms of the Project Gutenberg License included
-with this eBook or online at www.gutenberg.org/license
-
-
-Title: Fromentin
-
-Author: Georges Beaume
-
-Editor: M. Henry Roujon
-
-Translator: Frederic Taber Cooper
-
-Release Date: May 29, 2013 [EBook #42838]
-
-Language: English
-
-Character set encoding: ISO-8859-1
-
-*** START OF THIS PROJECT GUTENBERG EBOOK FROMENTIN ***
-
-
-
-
-Produced by sp1nd, Matthew Wheaton and the Online
-Distributed Proofreading Team at http://www.pgdp.net (This
-file was produced from images generously made available
-by The Internet Archive)
-
-
-
-
-
-
-
-    MASTERPIECES
-    IN COLOUR
-    EDITED BY--
-    M. HENRY ROUJON
-
-    FROMENTIN
-    (1820-1876)
-
-
-    _IN THE SAME SERIES_
-
-    REYNOLDS
-    VELASQUEZ
-    GREUZE
-    TURNER
-    BOTTICELLI
-    ROMNEY
-    REMBRANDT
-    BELLINI
-    FRA ANGELICO
-    ROSSETTI
-    RAPHAEL
-    LEIGHTON
-    HOLMAN HUNT
-    TITIAN
-    MILLAIS
-    LUINI
-    FRANZ HALS
-    CARLO DOLCI
-    GAINSBOROUGH
-    TINTORETTO
-    VAN DYCK
-    DA VINCI
-    WHISTLER
-    RUBENS
-    BOUCHER
-    HOLBEIN
-    BURNE-JONES
-    LE BRUN
-    CHARDIN
-    MILLET
-    RAEBURN
-    SARGENT
-    CONSTABLE
-    MEMLINC
-    FRAGONARD
-    DÜRER
-    LAWRENCE
-    HOGARTH
-    WATTEAU
-    MURILLO
-    WATTS
-    INGRES
-    COROT
-    DELACROIX
-    FRA LIPPO LIPPI
-    PUVIS DE CHAVANNES
-    MEISSONIER
-    GÉRÔME
-    VERONESE
-    VAN EYCK
-    FROMENTIN
-    MANTEGNA
-    PERUGINO
-
-
-    [Illustration: PLATE I.--A HALT
-
-    (Collection of M. Sarlin)
-
-    It is hardly necessary to call attention to the art with which
-    Fromentin has succeeded in arranging his masses of colour so as
-    to secure a harmonious distribution of light. Could anything be
-    more perfectly balanced, in point of composition, than this
-    alluring canvas?]
-
-
-
-
-    FROMENTIN
-
-    BY GEORGES BEAUME
-
-    TRANSLATED FROM THE FRENCH
-    BY FREDERIC TABER COOPER
-
-    ILLUSTRATED WITH EIGHT
-    REPRODUCTIONS IN COLOUR
-
-
-    [Illustration: IN SEMPITERNUM.]
-
-
-    FREDERICK A. STOKES COMPANY
-    NEW YORK--PUBLISHERS
-
-
-    COPYRIGHT, 1913, BY
-    FREDERICK A. STOKES COMPANY
-
-
-    _Printed in the United States of America_
-
-
-
-
-CONTENTS
-
-
-                                  Page
-
-    The First Steps                 11
-
-    The Promised Land               29
-
-    An Evolution                    45
-
-    The Master and His Destiny      58
-
-
-
-
-LIST OF ILLUSTRATIONS
-
-
-    Plate
-
-       I. Halt of Horsemen                  Frontispiece
-             M. Sarlin's Collection
-
-      II. The Arab Encampment                         14
-             Musée du Louvre
-
-     III. Thirst                                      24
-             M. Jacques Normand's Collection
-
-      IV. The Sirocco in the Oasis                    34
-             Musée du Louvre
-
-       V. An Arab Fantasia                            40
-             M. Sarlin's Collection
-
-      VI. Egyptian Women on the Bank of the Nile      50
-             Musée du Louvre
-
-     VII. Hunting with the Falcon                     60
-             Musée du Louvre
-
-    VIII. Halt of Horsemen                            70
-             Musée du Louvre
-
-
-
-
-I.--THE FIRST STEPS
-
-
-Eugène-Samuel-Auguste Fromentin-Dupeux was born at La Rochelle on the
-twenty-fourth of October, 1820. His family was a very old one and held
-in high honour throughout Aunis and Saintonge.
-
-Aunis, one of the ancient provinces of France, glows languidly beneath
-the caresses of a humid sun, enveloped in a thin veil of ocean mists,
-and at times she seems to float in the midst of her waves and her
-sands, beneath a sky bounded by remote and indeterminate horizons,
-vague and immense, like some vast wreckage overgrown with gardens and
-oases. For more than a century, she was downtrodden by the English.
-But if she owes them the pain and humiliation of defeat, they at least
-inspired her with a passion for commercial greatness and a desire for
-wealth. Through her shipowners and bankers, she amassed riches that
-permitted her to devote a goodly share of her days to leisure and
-festivities, for the betterment of her material welfare and the
-embellishment of her mind. Thus in the midst of this industrious
-community, faithful to its duties, jealous of its liberty, there was
-slowly formed a powerful and cultured bourgeois class, eager for all
-forms of intellectual improvement.
-
-Eugène Fromentin's family was, on the father's side, attached by
-ancient roots to the soil of Aunis. His ancestors were nearly all
-of them lawyers and judges, and as far back as they can be traced,
-even to the beginning of the eighteenth century, formed a part of this
-bourgeois class, which, in that region of ardent Protestantism,
-constituted a sort of aristocracy.
-
-    [Illustration: PLATE II.--THE ARAB ENCAMPMENT
-
-    (Musée du Louvre)
-
-    Against the sombre verdure of the oasis, the whiteness of the
-    tent stands out in sharp relief. The Arabs are resting:
-    meanwhile their horses, untethered, roam at will. This
-    essentially simple scene, undoubtedly drawn straight from life,
-    owes its charm to Fromentin's admirable art, and his ability to
-    throw some gleam of light even into his densest masses of
-    shade.]
-
-His father was a physician of great ability, and for thirty-three
-years was director of the Lafond insane asylum, which he had founded
-not far from La Rochelle. He had a reputation for wit, but indecision
-and suspicion stifled the better impulses of his nature. Fromentin's
-mother, whose educational advantages had been slight, had by contrast
-a sensitive and warmhearted disposition. It was she whom the painter
-resembled in all the details of his physical nature and in all the
-qualities of his moral nature, while Charles, his elder brother,
-practical and taciturn, resembled their father, whose vocation he
-followed.
-
-The mentality of Eugène Fromentin developed early. At school, he
-surprised all his instructors by his ability to assimilate knowledge
-and to think things out for himself, and he was loved by them all.
-Later on, he confessed that "his childhood had been very lively,
-almost boisterous." But somewhere during his fifteenth year, a marked
-change took place in him. "I had involuntarily formed the habit," he
-confessed further, "of reserve and silence, a habit that was often to
-my disadvantage, and which was respected quite as much through pity as
-through tolerance. Yet it is to this habit that I owed the chance to
-develop in accordance with my nature; otherwise, I should have grown
-up warped and unfit." And M. Pierre Blanchon, from whose admirably
-documented volume[1] these details are borrowed, adds further: "His
-views upon art and poetry clashed with the bourgeois ideas of his
-environment; the doctor looked upon them as mere nonsense, while his
-mother feared that they would lead him into temptation." As a matter
-of fact, at the very period when he was passing through the moral
-crisis of adolescence, a romantic attachment shook his soul to its
-very depths with the emotions of love.
-
-    [1] Eugène Fromentin, _Lettres de Jeunesse_.
-
-About half a league from town, just before entering the village of
-Saint-Maurice, the Fromentins owned a country place. The country
-roundabout is nothing but a level plain, fertile and bare, stretching
-away to the coast, where the sea, harnessed by Richelieu, loses, among
-its encroaching capes and islands, all its grandeur and poetry. Among
-their country neighbours there happened to be a certain Madame X.,
-left, at the age of forty-three, the widow of a captain in the
-merchant marine. She spent her winters at La Rochelle and her summers
-at Saint-Maurice. She had a daughter, born at Port Louis, in the
-island of Martinique, in 1817, and consequently three years older than
-Eugène Fromentin. Madeleine--let us, from a feeling of pious respect,
-refer to her only by the name she bears in _Dominique_--Madeleine,
-being of Creole blood on her mother's side, had the darkest of hair
-and eyes, combined with a fair and almost colourless complexion. We
-know next to nothing about her. He had conceived for her a violent
-attachment. Brusquely, she was snatched from the heaven in which the
-secret hopes and dreams of his fifteen years had framed her. She
-became the wife of an assistant collector of taxes. Fromentin suffered
-impotently from jealousy, and all the more because his passion was
-sincere and ingenuous. His light-heartedness vanished, together with
-his self-assurance; he mistrusted his own sentiments, he probed and
-analyzed his thoughts. To retire to the comforting privacy of his
-fireside and bury himself in literary work, poetry, critical essays,
-fragments of drama, such was his way of healing his wounds.
-
-Some of these productions of his adolescence reveal him as a student
-well grounded in rhetoric, very serious-minded and painstaking,
-nurtured on the solid substance of the best classics, and possessed of
-an uneasy spirit, in which there had already awakened a taste for
-big, fundamental ideas, together with a goading ambition to achieve,
-through his own unaided efforts, some creative work of beauty.
-Furthermore, these early efforts show a great facility of expression,
-an abundant and substantial eloquence that seeks distinction, not by
-affecting strange mannerisms, but by frankly employing the simplest of
-methods.
-
-Having completed his college course, Fromentin lived for a year
-somewhat at haphazard. His literary efforts became known in La
-Rochelle, and before long won him the esteem of the numerous men of
-letters who, in those days, to us the legendary days of the
-post-chaise and stage-coach, were drawn to a city where the social
-life was so distinctive and so intense. From time to time, he would
-steal out in the evening and furtively slip a manuscript in prose or
-verse into the letter-box of the _Journal de La Rochelle_. The next
-morning the poem or story or critical paragraph would appear, without
-signature, in the columns of the journal. But everyone who read it
-would, without hesitation, mentally sign the name of Fromentin.
-
-He was now beginning to sketch and paint. The morose doctor, his
-father, who was himself an amateur artist of no mean ability,
-initiated him into the rudiments of the craft. The hour had come,
-however, for choosing some serious career for the lad. Charles was in
-Paris, studying medicine. Eugène was piloted in the direction of the
-law. He left La Rochelle in November, 1839, not without some pangs,
-for he was leaving behind him, perhaps forever, the woman whom he had
-worshipped with all his soul; and, sensitive and nervous as he was, he
-experienced a genuine dread of invading unknown territory, the huge
-city of Paris, so far away from his own kindly province, which had
-been so indulgent to his early efforts, so tender to the first dreams
-of his heart. At this time, his figure was slender and well
-proportioned, save that he was somewhat too short in the leg. His head
-was comparatively a trifle large. His pale complexion was at times
-tinged with a faint flush. His long brown hair fell upon his
-shoulders. His cheeks were full, the contour of his face formed a
-fine, elongated oval. His lips, surmounted by a budding moustache,
-were heavy; his forehead high and rounded and very handsome. His nose,
-which in later years filled out and assumed an aquiline form, was at
-that time perfectly straight. His eyes, beneath well-formed eyebrows,
-were brown, and perhaps somewhat too large, but very attractive and
-very gentle, far more so than they were later on; in moments of
-enthusiasm, which in those days were fairly frequent, or when under
-the influence of astonishment or sadness, he would raise them towards
-heaven with an expression of profundity.
-
-In Paris, he lived at first by himself and in seclusion. His aversion
-to vulgarity and extravagances of speech or manners was ridiculed by
-some of his comrades, who nicknamed him "little Monsieur
-Comme-il-faut." He followed the courses in the law school only
-halfheartedly, but was assiduous in his attendance at the lectures of
-Michelet, Quinet, and Sainte-Beuve, in the Sorbonne.
-
-As a connoisseur of the beautiful in human handiwork, Fromentin soon
-learned to love Paris and to appreciate, in her environs, Versailles,
-Saint-Germain, Montmorency, those picturesque landscapes that combine
-the charm of nature with the glorious high-lights of history. Although
-without a teacher, he spent more and more time in sketching the
-changing forms of life, and strove, so far as it lay in him, to retain
-in his drawings the secret tremors of the soul. "These are his first
-stumbling utterances as a landscape painter," wrote M. Louis Gonse in
-his extensive and admirable work, critical as well as biographical, in
-which he has reproduced the earliest known sketch by Fromentin, a
-scene from _Chatterton_, drawn the morning after a performance of De
-Vigny's drama at the Théâtre Française. This pen-and-ink sketch, dated
-April 2, 1841, shows facility, sureness of touch, and a certain
-felicity in composition.
-
-    [Illustration: PLATE III.--THIRST
-
-    (Collection of M. Jacques Normand)
-
-    Fromentin, who was a precise observer as well as a brilliant
-    artist, noted all the picturesque scenes of the desert. How many
-    times he must have witnessed such halts as this beneath the
-    burning African sun, which parches the throat! It is worth while
-    to note the truth of the native's attitude as he greedily drinks
-    the water of the oasis. One should also notice the art with
-    which the painter has grouped his figures and garments in this
-    unfinished work, in such a way as to fling a violent and joyous
-    note across the sombre monotony of the desert.]
-
-Far from relinquishing his literary efforts, Fromentin applied
-himself, from this time onward, with increased ardour, and, throwing
-off the trammels of romanticism, produced poems, critical studies, and
-even a comedy, written in collaboration with his friend, Emile
-Deltrémieux.
-
-From this time onward, Fromentin held firmly to a conviction on which
-all his efforts as painter and author were destined to be based:
-namely, that an artist, instead of imitating the masters, should draw
-his inspiration solely from himself, from his own emotions and
-memories, and that, if he aspires to speak sincerely, in a new and
-original language, he ought to belong to some one country, to reflect
-its image and to repeat its accent. As a matter of fact, he himself
-was not, excepting in appearance, uprooted from his native soil. In
-the depths of his inmost consciousness, there always resounded the
-echo of his province.
-
-But for the time being, while he amused himself in studying the
-reasons for things and administering to himself doses of his own keen
-analysis, he suffered from that curious affliction of dual personality
-which, twenty-five years later, he described in _Dominique_: "That
-cruel gift of being able to look on at one's own life as at a
-performance given by someone else. Sensibility is an admirable gift;
-in the order of creation it may become a rare power, but on one
-condition: namely, that one does not turn it against oneself."
-
-Having taken his licentiate's degree, Fromentin pursued his studies
-for the doctorate. He entered the law office of M. Denormandie. There
-he met, as fellow clerks, the future lawyer, M. Nicolet, and Forcade
-de la Roquette, destined later to become minister. Here Fromentin
-spent his time chiefly in drawing sketches on the desk pads, the
-margins of legal pleadings, and even the panels of the doors. One day
-he descended into the courtyard and covered the coach-house, stable,
-and party-wall with his artistic efforts. He paid long and frequent
-visits to the Louvre. The Italian school left him wellnigh
-indifferent. In the French school he ranked Chardin above all the
-rest. But already his chief enthusiasm was reserved for the Dutch.
-_The Ford_, by Wynauts, with figures by Berchem, and Ruysdaël's
-_Sunstroke_ and _Dyke beaten by the Sea_ fascinated him. At times, he
-conceived a fine passion for Rubens. Rembrandt, however, from first to
-last, was very nearly, if not quite, incomprehensible to him. "He
-reproached Ingres," records M. Louis Gonse, "for being an imitator of
-Raphael; nevertheless, he declared, after seeing one of Ingres'
-sketches, that he was a _sculptor of the first order_. As regards
-music, he knew Mozart and Beethoven only by reputation; he loved
-Bellini, Donizetti, etc., and the entire sensualistic school of
-Rossini."
-
-Apparently Fromentin was now hesitating between two paths, that of the
-fine arts and that of belles-lettres. It is my own deep conviction
-that his choice had already been made. He knew that literature,
-worthily conceived and liberally practised, cannot become a career
-capable of supporting the man who follows it. He saw daily, with his
-wise and prudent judgment, that painting, on the contrary, can
-guarantee bread and fuel to an artist of real talent, respectful of
-his art and loyal in his efforts. Accordingly, he wrote henceforth in
-his leisure hours, and when the mood was on him, economizing his
-strength and hoping only that the art of his written word might
-attract attention and perhaps awaken sympathy.
-
-At last, unable to endure any longer the legal dust of M.
-Denormandie's office, he boldly confided to a friend of the family his
-horror of judicial procedure, and confessed his desire to devote
-himself wholly to painting. This friend, Charles Michel, promptly went
-to La Rochelle, to open negotiations with Dr. Fromentin; and the
-latter, after a vigorous protest, ended by yielding. But, priding
-himself on his knowledge of such matters, he insisted upon choosing
-Eugène's instructor, and selected the painter Rémond, who at that
-time represented the academic school of landscape painting.
-Fortunately for him, Eugène did not remain long in Rémond's studio,
-but left it to enter that of Cabat. A correct and careful artist, and
-one of the best, next to Dupré and Rousseau, Cabat had opened a new
-path for landscape painting--a path in which it would not be very hard
-to discover the influence which this celebrated master of the
-landscape exerted over the earlier manner of his pupil, through his
-sympathetic understanding of his subjects and the grace and
-distinction of his art.
-
-
-
-
-II.--THE PROMISED LAND
-
-
-In the month of March, 1846, Fortune suddenly smiled upon Eugène
-Fromentin. His friend, Charles Labbé, the orientalist-painter, was
-starting to attend his sister's wedding at Blidah. Fromentin, in whom
-an ardent curiosity regarding the lands of sunshine had been awakened
-by an exhibition of aquarelles, brought back from the East by Labbé
-himself, by Delacroix, Decamps, and notably by Marilhat,
-enthusiastically accepted his friend's invitation to accompany him.
-Had he some intuition that a new world of sensations and of colours
-awaited him in Algeria? He set forth, without even notifying his
-family, light of pocketbook, but buoyant with hope and faith. To his
-dazzled eyes, to his soul seething with ambition, it proved to be
-literally the promised land. Within two days after his arrival at
-Blidah, he wrote: "Everything here interests me. The more I study
-nature here, the more convinced I am that, in spite of Marilhat and
-Decamps, the Orient is still waiting to be painted. To speak only of
-the people, those that have been given us in the past are merely
-bourgeois. The real Arabs, clothed in tatters and swarming with
-vermin, with their wretched and mangy donkeys, their ragged,
-sun-ravaged camels, silhouetted darkly against those splendid
-horizons; the stateliness of their attitudes, the antique beauty of
-the draping of all those rags--that is the side which has remained
-unknown.... In short, from the point of view of my work, I have
-nothing to complain of, and at the rate at which I am progressing, I
-can promise you that I shall bring back a fairly interesting
-sketch-book."
-
-He was especially appreciative of Marilhat and Decamps; the absolutely
-new brilliance of their works haunted him constantly, in the midst of
-his own labours. "That talented pair, Marilhat and Decamps, so
-Théophile Gautier writes me, are oddly close neighbours, yet they do
-not trespass on each other's ground; where the one has the advantage
-in fantasy, the other offsets it in character."
-
-Reinstalled in Paris, Fromentin painted with desperate zeal, lacking
-the gift, so he said, of inventing what he had not seen. He forced
-himself to escape from that spirit of imitation which is at once a
-pleasure and a danger, and up to the present he had accomplished
-nothing save to rid himself of those borrowed qualities which he had
-acquired, without succeeding in gaining others which he could call his
-own. He had, however, learned--and this knowledge is an essential
-virtue of every artist--that the real masters have never attempted to
-reproduce any object actually, but only the spirit which animates it
-to the point of rendering it a treasury of life and of beauty; he
-learned, day by day, more thoroughly, that poetry is everywhere, like
-the spark in the flint; that the artist must study technique from the
-masters and truth from nature, but that he can find nowhere, except
-within himself, the innate image of beauty. In 1847, he sent to the
-Salon, which at that time was held in the Louvre, three little
-pictures, which were unanimously accepted: _A Farm in the Outskirts of
-La Rochelle, A Mosque near Algiers, The Gorges of Chiffa_. "The first
-of the pictures," says M. Gonse, "is characteristic of Fromentin's
-earliest manner. Looked at only from the surface, it is heavy and
-pasty. It was a timid work, but in nowise silly or vulgar. _The Gorges
-of Chiffa_ forms the curtain-raiser to Fromentin's Algeria." But
-Fromentin was exercising more and more his power of self-analysis;
-he knew that his paintings were nothing more than a certain
-equilibrium of secondary qualities, approximately correct in design
-and agreeable in colour, but destitute of motive power. He had also
-learned the cause of alteration in certain tones; the colours which he
-had been employing were not susceptible of combination. "He had
-learned that mineral blue and indian yellow, combined with white,
-especially with white of lead, turned black and produced a leaden tone
-... also that paint was less enduring on white canvas than on canvas
-already prepared with a ground colour."
-
-    [Illustration: PLATE IV.--THE SIROCCO IN THE OASIS
-
-    (Musée du Louvre)
-
-    Fromentin was not only a past-master of colour. The _Sirocco_
-    proves, by the prodigious cataclysm that it represents, how
-    supple and varied was this painter's talent. And one must marvel
-    at such evidence of power in the author of so many works of
-    exquisite and lyric charm.]
-
-Algeria had won him once and forever. It was decreed by fate that he
-should understand that African land which offered certain points of
-resemblance with the land of Aunis and of Saintonge. The same flat,
-level stretch, abandoned to the rages of the sun, or lashed by the
-fury of the tempests, or shivering beneath the shadow of clouds; the
-same voice of silence and of solitude to which he had so often
-listened with beating heart in the habitually melancholy fields
-surrounding La Rochelle, he heard again in these desolate reaches of
-the desert, across the burning sands, whose infinite extent is
-rendered almost sad by the excessive ardour of the light of heaven.
-Africa became the second land which he wished to cherish with all his
-heart and which belonged to him: he made it his own by the right of
-his genius, through the works of his brush and the works of his pen.
-From a new journey which he undertook in 1852, a wedding journey,
-radiant with every promise of happiness--since he had just wedded the
-sister of his friend, Dumesnil, who understood him and whom he
-loved--he brought back two volumes, _A Summer in the Sahara_ and _An
-Army in Sahel_. The first of these appeared in the _Revue de Paris_
-and the second in the _Revue des Deux Mondes_. In the world of letters
-these two works produced a great sensation. With what finished and
-majestic simplicity Fromentin painted his white page with colours
-which his poet's eyes had unerringly retained! "The weather is
-magnificent. The heat is augmenting rapidly, but so far its effect
-upon me has been stimulating rather than exhausting. For the past
-eight days not a cloud has appeared on any part of the horizon. The
-sky is an ardent and sterile blue that gives promise of a long period
-of drought. The wind, fixed in the east and almost as hot as the air
-at rest, blows intermittently, morning and evening, but always very
-lightly, and as if only for the purpose of keeping up a gentle swaying
-of the palm trees, similar to that of the Hindoo _panwa_ dance. For a
-long time past, everyone has worn the thinnest of clothing and
-broad-brimmed hats, and no one ventures out of the shade. I cannot,
-however, bring myself to adopt the siesta."
-
-Thus, through two masterpieces, a new writer, of strong and pure
-French stock, suddenly revealed himself. The most distinguished
-novelists and critics of the day, George Sand, Théophile Gautier,
-Sainte-Beuve, sent him their heartiest congratulations and sought his
-friendship. In both of these books, Fromentin showed himself to be not
-only a curious and close observer, but a subtle and trained
-psychologist. He studied not only the outward forms of people and of
-things, he probed the depths as well, the underlying spirit; and
-having found it, he revealed it to others with keen and original
-discernment. What he saw in those tribes and peoples, as new to him as
-they are to us, was not merely the picturesqueness of their attitudes
-and the exuberant brilliance of their land, but the whole predestined
-history of the race from its origins, as revealed in the practice of
-their strange customs and the passionate intensity of their instincts.
-For Fromentin was not one of those who find satisfaction solely in the
-contemplation of beauty. He was above all one of the kind that wants
-to understand the meaning and the cause of beauty, in order to enjoy
-more keenly its possession.
-
-It is interesting to compare with Fromentin the painter, who paints
-best of all with his pen, a poet of the highest rank, who came
-later than he in this same region of Saintonge: Pierre Loti. Roving,
-restless, concerned solely with the misery of his own soul and the
-beauty of the world, Loti carries his dreams with him to the remotest
-shores, and in order to distract his thoughts from life which bores
-him, he has gathered together extraordinary colours, the brilliant
-dust of picturesque ruins, and has created for himself a capricious
-and sensual world, in which nothing, perhaps, is real excepting his
-own melancholy, yet which amuses and enchants him with its prodigious
-fund of poetry. Like Loti, Fromentin also had an eye for rich and
-dazzling hues and knew how to render them with his pen. But being less
-feverish, more self-controlled in heart and mind, he did not write
-merely for the sake of depicting faces and backgrounds; he developed
-his robust and harmonious phrases for the purpose of interpreting, and
-preferably in their most vivid aspects, the dominant impulse of a
-race, the art with which a picture is composed, the design of a
-landscape, the emotion of an hour, or the spirit of an epoch.
-
-    [Illustration: PLATE V.--AN ARAB FANTASIA
-
-    (M. Sarlin's Collection)
-
-    Movement, life, colour, an eddying cloud of brilliant fabrics,
-    beneath the luminous vault of an African sky: such are the
-    ingredients of this magnificent composition, as beautiful and as
-    vigorous as any that the artist ever produced.]
-
-"To Fromentin," writes Gabriel Trarieux, "the function of an adjective
-is to appeal, not to the eye or ear, but to the moral sense. Nature,
-to this psychologist, is not an inert colour, but an inner voice. He
-shows us Africa, and more especially his own heart. Is such
-conscientiousness, such self-revelation, a distinctive mark of the
-native of Charente? For my part, I think it is."
-
-His offerings to the Salon continued uninterruptedly, year after year.
-Only the more famous need be mentioned: _The Moorish Burial_ (1850);
-_The Negro Boatmen_ (1859); _Horsemen returning from a Fantasia_,
-_Couriers from the Land of the Ouled Naïls_ (1861); _The Arab Bivouac
-at Daybreak_, _The Arab Falconer_, _Hunting with the Falcon in
-Algeria, The Quarry_ (1863); _Windstorm in the Plains of Algiers_
-(1864); _Heron Hunting_, _Thieves of the Night_ (1865); _A Tribe on
-the March through the Pasture_ _Lands of Tell, A Pool in an Oasis_
-(1866); _Arabs attacked by a Lioness_ (1868); _Halt of the Muleteers_
-(1869); and his last five pictures, _The Grand Canal_ and _The
-Breakwater_ (1872); _The Ravine_ (1874); _The Nile_ and _View of
-Esneh_ (1876).
-
-With the second picture that he exhibited, _The Place of the Breach in
-Constantine_, the talent of the painter was officially recognized by
-the bestowal of a Second Class Medal. Fromentin, nevertheless, knew
-his weaknesses. What distressed him the most was that he still saw
-what was _pretty_, rather than what was _great_; a defect of instinct
-which is particularly conspicuous in _The Moorish Burial_ (1850) and
-_The Gazelle Hunt_ (1859). He strove, by consulting nature
-ceaselessly, to rid himself of this _almost-but-not quite_ tendency,
-of which he could never have been cured by mere studio work. He soon
-began, as a matter of fact, to acquire a truer and broader vision. He
-grasped this singular fact, peculiar to tropical lands: namely, that,
-howsoever discordant the details of a landscape may be, they form a
-sum total that is always simple and easy to transcribe upon a canvas.
-Since he never played false, either with himself or with nature, he
-mirrored back accurately, through the crystal clearness of his mind,
-the form and colour of the objects before him. Looking to-day at such
-pictures as _An Audience before the Caliph_, _The Negro Boatmen_, and
-a host of others, we breathe in, just as we do in reading his books,
-that indefinable odour of the Orient which comes from the smoke of the
-camp fires and the tobacco, from the orange trees and from the persons
-of the natives themselves; we delight our eyes with the venerable
-olive trees of the sacred grove at Blidah, with the plain bounded on
-the north by the long chain of the hills of Sahel, low-lying, gray in
-the morning, ruddy at noon, with just one white spot toward the
-northeast, at Coléah, where there is a vast gap, formed by the
-course of the Mazapan River, through which we get a glimpse of the
-sea.
-
-The entire series of sketches and notes which, from Constantine to
-Biskra, by way of Lambessa, Fromentin collected during his journey
-into the heart of Algeria, he was destined to make use of later on, to
-guard himself from ever falsifying. And if the colours of his
-paintings are often timid, it is precisely for the reason that in the
-seclusion of his studio, remote from Africa, he lacked that pulsation
-of generous light, with which he needed to be enveloped, in order to
-kindle his palette to the required glow.
-
-
-
-
-III.--AN EVOLUTION
-
-
-Eugène Fromentin will be remembered as the painter of Algeria, or at
-least as one of the first who revealed it in such a way as to make it
-beloved. Not the Algeria of the South, lost amid a furnace of sunshine
-and of sand, but the Algeria which is accessible to all, that of the
-Arabs, with peaceful cities set in the midst of ruins, and grateful
-palm groves forgotten, like baskets after a festival, on the border of
-the desert; the Algeria of ceremonious and brilliant fantasias, of
-mosques, of battle-fields still smoking, and of vagabond tribes. It
-may be regretted that he contented himself with seeing the Arab
-exclusively outside his tent, in the open light of sand and sky, and
-that, instead of confining his studies to external phases of life, he
-never ventured to penetrate to his hearthstone, in the intimacy of his
-family life. Yet who would reproach the artist for his scrupulous
-delicacy and discretion?
-
-Jules Claretie was quite right in declaring that Marilhat brought back
-from the Orient landscapes imbued with profound melancholy, Decamps
-scenes distinguished for their dazzling brilliance, Delacroix
-spectacles of majestic grandeur, and that Fromentin in his turn
-discovered in that land of light a personal note which his
-predecessors would have sought in vain, since he carried it within
-himself. The colour scale of Fromentin is a subdued one; his favourite
-shades are the half-tones.
-
-In the presence of that brilliant land, ennobled by centuries of
-history, Fromentin remained, nevertheless, a Parisian of the purest
-stock. His Arabs are all keenly alert, down to the very folds of their
-burnooses. He could not bear to behold ugliness; he transformed it
-through the golden warp of his imagination. Although his pictures lack
-the harsh vibration of the desert and a sense of its far-reaching
-monotony, the desert nevertheless loses nothing of its grandeur;
-because his poet's understanding, more infinite than the expanses of
-the dunes, passed of its own accord beyond the bounds of a horizon
-which, unlike that of the sea, is not void save for the passerby who
-is incapable of emotion and comprehension. Beneath his sober brush,
-the Arabs retain all their strange attractions, which he amply
-indicates by a single dash of light, just as in his books he evokes a
-landscape or an individual by a single word. His eyes took in the
-outward form of things as completely as his mind penetrated the minds
-of others. His unwearied power of observation neglected nothing that
-pertained to light; consequently the accuracy of his paintings,
-comparable to that of historic documents, is attested by every
-traveller.
-
-_The Fantasia_, for example, gives an admirable presentment of the
-open country around Algiers and of one aspect of Arab manners and
-customs. It shows us a numerous cavalcade galloping at headlong speed,
-with clamorous shouts and discharge of guns, across a broad plain
-toward a knoll on which the mounted emir sits in judgment. This
-mingling of motley garments and of horses galloping in all directions
-produces a scene of extraordinary animation and a liveliness of tone
-that contrasts sharply with the bare immensity of the plain and the
-uniformity of the sky.
-
-Suddenly, in 1861, Fromentin's manner was marked by a complete
-evolution. Not that he abandoned the fine and delicate methods
-habitual with him, the methods of a poet seeking to interpret his
-visions and his sentiments through his skill in animated
-composition. Nothing of his originality was sacrificed. His power, on
-the contrary, was increased, because he had learned, in regard to the
-inspiration of his works, how to see reality more truly, and in regard
-to the resources of his art, how to understand better the superior
-methods of his compeers and his masters. But he had seen Corot, and
-his admiration of him increased day by day; it was the influence of
-the painter of _The Farm Wagon_ that induced him to render the value
-of colour tones in accordance with their harmonies rather than their
-contrasts.
-
-    [Illustration: PLATE VI.--EGYPTIAN WOMEN ON THE BANK OF THE NILE
-
-    (Musée du Louvre)
-
-    In this attractive, verdant nook, lighted by a luminous patch of
-    brilliant fabrics, the artist has harmoniously placed a group of
-    women. While some of them, stretched at length beneath the
-    shade, gossip together while they rest, two of their number are
-    standing, and watch the flow of the sacred river, the mysterious
-    Nile, witness of so many things, contemporaneous with so many
-    illustrious civilizations. This picture is a masterpiece of
-    composition and colour.]
-
-Beginning with _The Verge of an Oasis during the Sirocco_, one can see
-how Corot's dexterous and delightful gray came to life again under
-Fromentin's brush. "It was a rare distinction," writes M. Louis Gonse,
-"in that period of ardent romanticism, to have realized instinctively
-the value of gray, its caressing softness, its modest yet insistent
-appeal. Silver gray, amethystine and turquoise gray, these were the
-tones of which Fromentin was soon vaunting the delicate and tender
-charm. I remember an interview which I had with him one morning, in
-his studio, regarding the painter of that unique masterpiece, a
-_Souvenir of Marissal_. Fromentin was in fine good humour and buoyant
-spirits. All that he said to me about Corot, his place in art, his
-daring innovations, his inimitable feeling for light, his exquisite
-sense of the exact tone, was well worth remembering. It was a
-marvellous offhand estimate, the substance of which summed up
-deep-seated convictions. Beneath that flashing, swift-winged flight of
-words, I felt the earnestness of opinions born of long reflection."
-
-From 1861 onward, Fromentin deserted the Sahara in favour of Sahel,
-exchanged the consuming heat of summer for a milder sunshine. "He
-sought," recorded Louis Gonse, "to paint in lighter, fresher colours:
-his instinct counselled him to avoid black as a mortal enemy--that
-black which certain painters deliberately affect, thinking that in
-this way they are imitating the old masters. All those soft grays,
-which are luminous half-tones of white, appeared imperceptibly beneath
-his brush. After having won distinction as a colourist, he became and
-remained to the end a master of tonal harmony in the subtlest sense.
-According to the opinion of Sainte-Beuve, 'he attained his greatest
-effects by combining the simplest methods in a marvellous manner.' And
-since his ambition was of steady growth, his progress in his craft was
-uninterrupted."
-
-Among Fromentin's productions of this period are: _The Shepherds on
-the High Plateaus of Kabylia_, an austere spectacle witnessed on the
-road from Medéah to Boghar; _The Bed of the Oued Mzi_; and the
-charming canvas of _Turkish Houses in Mustapha-in-Algiers_. In 1863,
-he produced _The Arab Bivouac at Daybreak_, which, by its presentment
-of salient details and its sympathetic understanding of the slightest
-gesture, sets before us the impressive melancholy of the nomad life;
-he produced further _The_ _Arab Falconer_, one of the most brilliant
-of his smaller works; and lastly, _Hunting with the Falcon in
-Algeria_, which many of his admirers regard as his masterpiece, and
-which, at all events, is his most famous painting. It may now be seen
-in the collection in the Louvre.
-
-Fromentin repeatedly duplicated, in crayon, in aquarelle, and in oil,
-this scene which represents two Arab chiefs hunting, accompanied by
-their attendants. The horseman in the middle of the picture, an old
-man holding a falcon, resembles, on his motionless horse, an
-equestrian statue. The second horseman, the one in the foreground, is
-undoubtedly his son; he is as attractive as a pretty girl and young
-like the horse he rides, a white horse, of a beautiful, silvery white,
-the lower part of the legs shading off into an exquisite rose tint.
-The rider is clad in blue, white, and gray, while a saddle of
-turquoise blue, enriched with trimmings of glazed vermillion, adorns
-the courser, which is distinguished by a luxuriant mane, an ample,
-flowing tail tinged with ochre and amber, and a black eye, profound
-and full of life. Two Arabs, kneeling in the pathway, have taken
-possession of a hare which the falcons have just killed. The whole
-effect is that of extreme distinction, marred perhaps by too much
-embellishment.
-
-In 1870, Fromentin found his way to Venice. At the first rumours of
-war, however, he returned precipitately to France, to join his wife
-and daughter in Paris and take them to Saint-Maurice, his beloved
-village adjacent to La Rochelle. From Venice, he brought back _The
-Grand Canal_ and _The Breakwater_, two canvases somewhat leaden in
-tone, which some critics class in the number of Fromentin's blunders.
-The reason may be that they failed to recognize in them the Venice of
-their dreams, the Venice of tradition, flamboyant and enchanted. But
-there is another, a tranquillized Venice, which at times allows her
-fireworks to burn out. Fromentin was not a romantic painter; it was in
-their hours of repose that he beheld the Grand Canal, the Breakwater,
-the houses leaning over the water's brink; and he expressed what he
-really saw in the midst of a silence that contains a special poetry as
-well as truth. Fromentin exhibited for the last time in the Salon of
-1876--two canvases brought back from Egypt, _The Nile_ and _A Souvenir
-of Esneh_, canvases distinguished for their "cold, dull colouring,
-ranging through a neutral scale of violet lights."
-
-The masterpiece of Fromentin, the picture in which his qualities of
-composition, drawing, and colour are most clearly revealed, is, in the
-opinion of all artists--who are alone capable of simultaneously
-appreciating the art and the craftsmanship of a painting--_Crossing
-the Ford_. This picture is now in the possession of Mme. Isaac
-Péreire. Across a canvas measuring little more than two yards, a group
-of horsemen are journeying through a waste of sand, stretching away in
-long, pallid dunes, broken here and there by clumps of sombre growth;
-a swarm of women surrounds them, as light of foot as bees upon the
-wing. A stream, bordered on the right by tamarinds with sharp, narrow
-leafage, displays its slender, mirror-like surface. Some of the horses
-are reserved for the chiefs, while others are laden with burdens of
-clothing and provisions. The sky, partly clear and partly overcast,
-occupies the greater portion of the canvas: in the far distance, the
-swelling curve of the horizon conveys a strong impression of infinity
-and solitude. The central figures are drawn upon a scale hardly
-exceeding eight inches in height. The horses, fired with that generous
-pride which this painter always attributes to them, seem to know their
-way even better than their riders. They proceed without haste,
-enjoying the gentle breeze stirring fitfully across the vast expanse,
-and the time of day, which is growing late. The colour scheme of the
-picture is bold and conveys an exquisite savour of gold and gray,
-flickering flames vanishing behind the leafage, as well as along the
-horizon, as the dusk shuts down. In this picture, Fromentin has
-produced, with the simplest and most adaptable resources of his
-palette, a work in which, underneath all the surface charm, the
-melancholy which abides in the heart of man, and above all in the
-heart of the Arab, blends harmoniously with the beauty of the world.
-
-
-
-
-IV.--THE MASTER: HIS PERSONALITY AND HIS DESTINY
-
-
-One of the masters of to-day, of a generous and impulsive nature, who
-does not wish to be quoted by name, but whose works may be admired in
-the Luxembourg, consented to give me some information regarding
-Fromentin, whose pupil he once was. I should like, as a conclusion to
-this study, to be able to transcribe literally what he told; but at
-least I shall draw a pious inspiration from his words.
-
-Fromentin laid on his colours very thickly. His solid grounds were
-always most carefully prepared and his composition calculated in
-advance down to the smallest detail. At the start, he came under
-the influence of Decamps, Marilhat, and more especially Delacroix, and
-in consequence neglected line work, devoting himself solely to the
-distribution of colours. Delacroix and the romantic school of his time
-did not interpret Algeria well, because they failed to see it well.
-They saw it through the black holes of windows, in all the violence of
-its whites and reds, in the picturesqueness of its costumes and the
-long stretches of its dusty streets. But Fromentin had visited Italy,
-and during his excursions across this museum of diverse aspects he
-made a special study of the effects of sunshine upon the handiwork of
-man. It was while still saturated with the brilliance and with the art
-treasures of Italy that he first saw the land of Africa, or rather
-that he first conceived the desire to learn to know its secrets.
-Fromentin never put upon his canvases the Africa of the desert, in
-which there is nothing but the white of the burnoose and the gray of
-the dune, but Algeria the Fair, Algeria already civilized. He was
-enraptured by the sight of it and by the penetrating conception, full
-of eager curiosity, which he had already formed of it. For Fromentin
-does not command by the audacity of his colours; he commands by the
-charm of his apportionment of light and shadow, and by the precision
-of a style which seeks, irrespective of form, to show us the soul of
-people and of things. He sees with the eyes of a poet, he expresses
-himself in the manner of a philosopher, he forces us to reflect. He
-detests all that is vulgar, superfluous, and extravagant. All that
-pertains to reality has for him a significance, of which he seeks the
-cause, and for which he frequently discovers a definitive expression.
-
-    [Illustration: PLATE VII.--HUNTING WITH THE FALCON
-
-    (Musée du Louvre)
-
-    Falconry is an episode of African life which peculiarly
-    attracted Fromentin. He has treated it in a number of different
-    pictures, all equally remarkable. The collection in the Louvre
-    possesses two: the one which we give here is distinguished by
-    the cleverness of its composition, the way in which its
-    component parts are distributed throughout the prospective, in
-    accordance with the desired effect, thus lighting up the gray
-    immensity with joyous and violent tints.]
-
-Through his habit of studying the inner workings of the mind of man,
-he reached a point, toward the end of his life, when he ceased to
-compose, even in painting, any works other than those of a man of
-letters. The keenest intellectual alertness was always ceaselessly
-pulsating within him. Furthermore, he made a sort of religious cult
-of life in all its forms, even the most humble, and imbued them with
-an ennobling charm. And for the purpose of understanding the
-psychology of a race which enwraps itself jealously in a pride of
-attitude, the works of Fromentin offer testimony that bears the stamp
-of rare sincerity and clear-sighted sympathy. His mind never wastes
-time over the eccentricities of a tribe or a people, but bends its
-whole effort to gathering up, through a choice of typical details, the
-general idea, the embodiment of a human group.
-
-Fromentin knew, better than anyone else, how great his lack was of
-elementary training in painting. He knew that no natural gift can
-replace those initial steps in craftsmanship in any and all forms of
-production, and that works which are truly beautiful and worthy of
-being held in honour through the centuries obtain their right to live
-solely from having obeyed the laws of order and of clearness. These
-laws, as related to pictorial art, are taught in the studio and the
-school. A naturally gifted artist may undoubtedly evolve, out of his
-own personal inspiration, an amusing or interesting work; but that
-work, if not constructed according to the syntactic rules peculiar to
-his art, will have merely an ephemeral charm, like the costly baubles
-of a passing fashion. What proves the necessity of rules of technique
-is that the masters themselves have not been contented with the
-possession of genius or talent alone. They have learned their craft
-down to its profoundest secrets; and the greatest of these masters are
-the ones who have succeeded best in practising the methods transmitted
-by past experience, and have even in their turn discovered new laws.
-
-How many times, with touching modesty, Fromentin deplored his total
-lack of the essential studies of apprenticeship! Beneath the colour of
-forms and objects, he grasped the course and movement of life. But his
-restless hands did not succeed completely, to his own satisfaction, in
-transferring them to his canvas. Nevertheless, his pictures, because
-imbued with an emotion, the contagion of which was communicated to
-their colours, far from resembling, as so many others do, a sort of
-clever and inert photograph, are evocations, and often magnificent
-ones, of some historic hour, of the destiny of a race, or the soul of
-a landscape.
-
-Under the influence of the romantic school, as I have already said,
-Fromentin's brush sought at first chiefly to dazzle. But one day he
-awoke to a comprehension of Corot. The inward emotion which he
-underwent affected him like the discovery of a new light. A
-transformation followed rapidly, not in his ability to feel, but in
-his fashion of reproducing what he felt. Yielding joyfully to the
-authority of Corot, he began to make use of gray, and before long it
-became his dominant tone. Like a frail cloud interspersed with
-invisible rays of red and azure, enveloping the atmosphere of his
-scenes and characters, and blending into his minutely wrought skies,
-this gray of his, which borrowed something of its hue from each of the
-primary colours, pleased him by the very discreetness of its
-opulence. Discreetness is one of the hallmarks of refinement; and
-Fromentin was nothing, if not refined, in his manners, his thoughts,
-and his speech. "Just as his painting was never heavy and his writing
-never dull," says Emile Montégut, "his physical build was slender,
-graceful, delicate; yet his slenderness was in no way weakness, nor
-his delicacy affectation. No objectionable professional mannerism
-proclaimed the craft he practised; still less did he ape the manners
-of the man of fashion, in order to hide the fact that he was a man of
-toil. With all his frankness, he had the good taste to refrain from
-betraying his intimate personality to the world at large."
-
-It was precisely this use which he made of gray that enabled him, by
-its play of half-tones, to explore the mystery of souls. And quite
-unconsciously he revealed his own, a noble soul, enamoured of all that
-is great and eternal in civilization and in life. When face to face
-with an actual scene, he frequently gave up the attempt to transfer
-it with his brush. It was not until much later, after long reflection
-over the material conditions of a scene whose beauty had delighted his
-eye, that he was ready to begin work.
-
-Consequently there are other artists who have more accurately rendered
-the colour of this African land: there are, for instance, Guillaumet
-and Regnault. With a somewhat austere, yet precise, touch, after the
-fashion of an extremely well-informed commentator rather than a deeply
-moved poet, Guillaumet shows us, in all their picturesque
-authenticity, the history and architecture of buildings ravaged by the
-sun, and outlined against them the stately silhouettes of Arabs to
-whom silence appears to be a sort of religious rite. Yet the sublime
-poetry of the desert has also touched his painter's heart in _The
-Evening Meal_, now in the collection in the Luxembourg; the thin blue
-smoke, melting away into the calm atmosphere, is typical of the
-immobility of the Sahara, the sullen oppressiveness of daytime amid
-the sands. Henri Regnault, in works that are scarcely more than
-sketches and have never been exhibited, transcribed, with all the
-ardour of his age, during too brief a sojourn in Morocco, the symphony
-of divine colours which exhales from the soil of Africa and from its
-sky, that burns like living coals.
-
-Fromentin did not always dare to undertake to paint his own
-conceptions. His timidity is betrayed by the very modesty of his
-canvases, which scarcely exceed two yards. Nevertheless, the painter
-whom he loved the most was Rubens: Rubens, the prodigal dispenser of
-light, who poured his inexhaustible and gorgeous imaginings, like the
-waters of a mighty river, over canvases without number.
-
-Fromentin did not find it easy to give forth the treasures of his
-brain, excepting through the medium of writing. He delighted in
-sumptuousness, and he found it in Rubens, whom he eulogized, in his
-_Masters of Yesterday_, in a truly lyric strain. He did not understand
-Rembrandt and despaired of ever understanding him. He studied him
-constantly, with a sort of impatience, striving to glimpse, through
-his veils of half-shadows, the spirit of a genius who was too alien in
-nature, country, and race.
-
-    [Illustration: PLATE VIII.--A HALT AT AN OASIS
-
-    (Musée du Louvre)
-
-    The weary caravan has halted, tempted by the verdure of the
-    oasis. Faithful to his manner, Fromentin has taken advantage of
-    this picturesque scene to throw a harmony of colour and light
-    over the men and their surroundings. In all its simplicity, this
-    picture is one of its author's happiest efforts, because of the
-    impression of life which emanates from this group, relatively so
-    few in number.]
-
-Among Fromentin's pupils was Cormon, an intractable pupil with a
-marked individuality; yet while he ignored his professional authority,
-he always proclaimed him, and with real feeling, the most intelligent
-of masters and the most loyal of men. Fromentin did not exactly
-conduct a regular art-school. He had gathered around him seven or
-eight young artists, in whom he foresaw a prosperous future: Gervex,
-extremely brilliant, Thirion, the most temperamental of them all,
-Lhermitte and Humbert, who was the master's favourite. Fromentin saw
-in Humbert a second self, more fortunate in having a chance to learn
-at the outset the indispensable rules of his craft, and therefore
-capable later on of achieving works which he himself could never carry
-out. Without effort, he won the adoration of his pupils. With an
-eloquence which came from his heart quite as much as from his brain,
-he preached to them the doctrine of sincere labour, of disinterested
-ideals, and of reverence for the past because it has produced the
-present. He had a combative spirit. He never hesitated to express his
-opinion about works or about men, since the nobility of his character
-forbade that he should be suspected of maliciousness or envy. Certain
-works of his time, that are still discussed and that our own age has
-consecrated, were displeasing to him: Millet's, for example. He
-professed a profound esteem for the man, but he did not admit the
-technical value of the artist nor the importance of his ideas.
-
-For a long time Fromentin's rank as a painter was disputed. He
-proceeded peaceably on his way toward fortune and glory. His literary
-successes confirmed and enhanced his triumphs as a painter. Through
-his books his pictures became known and admired by the general public.
-In 1859, he obtained a First Class Medal and the Cross of the Legion
-of Honor. The emperor, Napoleon III., invited him to Compiègne. In
-1869, his election as Officer of the Legion of Honor followed upon his
-exhibition of the _Fantasia in Algeria_ and _The Halt of the
-Muleteers_. In 1868, he exhibited a very strange and disconcerting
-picture: _Male and Female Centaurs practising at Archery_. He wished
-to show by means of this work, which evoked much comment and
-criticism, that "the equestrian statue is the last word in human
-statuary." "Mingle," he wrote, "man and horse, give to the rest of the
-body the combined attributes of alertness and vigour, and you have a
-being which is supremely strong, thinking and acting, brave and swift,
-free, and yet docile." Fromentin's aristocratic instincts extended
-from men to things, and even to animals. It was he who in a certain
-sense discovered the horse, the Arab horse, fine and free, poet of the
-desert and the sun quite as much as his master. When Fromentin shows
-him to us with his long silvery tail and his mane quivering like
-waves, one would say that in the swift flight of his course the
-artist had lent him wings. "Nevertheless," writes one critic, "in
-spite of his intimate acquaintance with the form and the varied coat
-of the Arab horse, it is perhaps in the little inaccuracies of his
-drawing of this animal that Fromentin betrays most obviously the
-defectiveness of his early studies."
-
-What a pity, let us say once again, that he lacked the time to
-acquire, while still young, that power and technique in painting which
-he possessed in literature! Each one of his volumes evoked an outburst
-of admiration and sympathy. He wrote only when he had something
-definite to say. His novel, _Dominique_, fired with the spirit of
-youth, burning with love and sorrow, was, from the date of its
-publication, in 1862, in the _Revue des Deux Mondes_, hailed as a
-masterpiece.
-
-Not everywhere, however. The poets alone, the born writers, those in
-whom the habit of psychology and criticism had not extinguished that
-personal flame which burns within the heart, Sainte-Beuve, for
-example, and George Sand, recognized it as a work of genius. It was
-much discussed and even disparaged, by professional writers and
-critics, even in the _Revue des Deux Mondes_ itself. Emile Montégut,
-who combined absolute frankness with a wide range of knowledge and
-keen understanding, while not disputing the literary value of
-_Dominique_, did not hesitate to affirm that the book was not a novel,
-but a series of faultily composed scenes and descriptions,
-confessions, and memories.
-
-At first, and for some time afterward, the public seemed to ratify
-this opinion. The volume, issued by Hachette, was bought only at rare
-intervals and out of curiosity. Later, after this initial failure, it
-took a fresh start, and to-day is a recognized classic. For, while it
-is true that this prose poem is lacking in intrigue and that its
-characters are somewhat overwhelmed by the floods of light from its
-stage-settings, it diffuses such a redolence of the soil teeming with
-life, such a fragrance of warm and pure tenderness, that every
-sensitive and ardent soul delights to yield itself to the harmonious
-flow of its words and colours.
-
-_The Masters of Yesterday_ has become a breviary for painters who are
-studying the Flemish and Dutch schools. "The Fromentin revealed in
-_The Masters of Yesterday_" asserts Emile Montégut, "is a second
-Taine, minus the defects for which the latter is reproached, and minus
-that sort of harshness which comes from the exclusive use of crude
-colours and a disdain of half-tones. There is also this further
-difference between them: that Taine puts his battalions of ideas and
-facts through their manoeuvres with the imperiousness of a
-general-in-chief commanding an action, while Fromentin assembles and
-reviews his own with the ease of an orchestra leader directing the
-instruments under his orders by the simple gesture of his bow.... Just
-one word is applicable, in point of strict definition, to the
-temperament and talent of Fromentin: that word is _perfection_. He
-strove for it all his life. He deserves to be called the _classic_ of
-that type of picturesque literature, whose ambition, at the outset,
-looked toward a very different goal from that of gaining this title,
-and whose enterprises and audacities the classic school of art could
-not, as a matter of fact, have beheld without alarm." This book is,
-without doubt, Fromentin's best. For, while the majority of art
-critics are merely amateurs posing as craftsmen and judges, he knew
-quite well whereof he spoke. While he understood as well as the
-others, and even better, an author's purpose, he could also see of
-what material and by what means the work of this same artist was
-composed. He was not a dilettante, endowed with a greater or less
-amount of taste, but a fellow craftsman, who knew how to mix his own
-colours and to analyze the palette of another.
-
-His literary works entitled him to a seat in the Académie Française
-considerably sooner than he could have dreamed of the Académie des
-Beaux-Arts.
-
-As a matter of fact, in 1874, he offered himself, at the urgent
-entreaty of his friends, as a candidate for the Académie Française,
-quite suddenly and when it was already too late to bring any influence
-to bear, while solemn pledges had already been secured by his
-competitors. In spite of this, the weight of his name secured him
-thirteen or fourteen votes.
-
-He was preparing a volume of critical studies on the French school and
-planning another on the Italian school, when death abruptly cut him
-short, at the age of fifty-five, in the midst of a steady ascension
-into the light of fame. It was a misfortune for France. In the beauty
-of his character, as lofty as that of his genius, he offered an
-example of the most precious qualities of man and artist: uprightness,
-charity, good taste in what he admired, and sincerity in what he tried
-to do. The name of Eugène Fromentin grows greater day by day; clouds
-may pass before him, as before a star, but without ever effacing him.
-
-
-
-
-
-End of the Project Gutenberg EBook of Fromentin, by Georges Beaume
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 </head>
 
 <body>
-
-
-<pre>
-
-The Project Gutenberg EBook of Fromentin, by Georges Beaume
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-This eBook is for the use of anyone anywhere at no cost and with
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-Title: Fromentin
-
-Author: Georges Beaume
-
-Editor: M. Henry Roujon
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-Translator: Frederic Taber Cooper
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-Release Date: May 29, 2013 [EBook #42838]
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+<div>*** START OF THE PROJECT GUTENBERG EBOOK 42838 ***</div>
 
 <div class="figcenter">
 <img src="images/cover.jpg" width="400" height="571" alt="" />
@@ -1482,387 +1440,6 @@ charity, good taste in what he admired, and sincerity in what he tried
 to do. The name of Eug&egrave;ne Fromentin grows greater day by day; clouds
 may pass before him, as before a star, but without ever effacing him.</p>
 
-
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-
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-<pre>
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+<div>*** END OF THE PROJECT GUTENBERG EBOOK 42838 ***</div>
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-The Project Gutenberg EBook of Fromentin, by Georges Beaume
-
-This eBook is for the use of anyone anywhere at no cost and with
-almost no restrictions whatsoever.  You may copy it, give it away or
-re-use it under the terms of the Project Gutenberg License included
-with this eBook or online at www.gutenberg.org/license
-
-
-Title: Fromentin
-
-Author: Georges Beaume
-
-Editor: M. Henry Roujon
-
-Translator: Frederic Taber Cooper
-
-Release Date: May 29, 2013 [EBook #42838]
-
-Language: English
-
-Character set encoding: ASCII
-
-*** START OF THIS PROJECT GUTENBERG EBOOK FROMENTIN ***
-
-
-
-
-Produced by sp1nd, Matthew Wheaton and the Online
-Distributed Proofreading Team at http://www.pgdp.net (This
-file was produced from images generously made available
-by The Internet Archive)
-
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-
-
-
-
-
-    MASTERPIECES
-    IN COLOUR
-    EDITED BY--
-    M. HENRY ROUJON
-
-    FROMENTIN
-    (1820-1876)
-
-
-    _IN THE SAME SERIES_
-
-    REYNOLDS
-    VELASQUEZ
-    GREUZE
-    TURNER
-    BOTTICELLI
-    ROMNEY
-    REMBRANDT
-    BELLINI
-    FRA ANGELICO
-    ROSSETTI
-    RAPHAEL
-    LEIGHTON
-    HOLMAN HUNT
-    TITIAN
-    MILLAIS
-    LUINI
-    FRANZ HALS
-    CARLO DOLCI
-    GAINSBOROUGH
-    TINTORETTO
-    VAN DYCK
-    DA VINCI
-    WHISTLER
-    RUBENS
-    BOUCHER
-    HOLBEIN
-    BURNE-JONES
-    LE BRUN
-    CHARDIN
-    MILLET
-    RAEBURN
-    SARGENT
-    CONSTABLE
-    MEMLINC
-    FRAGONARD
-    DUeRER
-    LAWRENCE
-    HOGARTH
-    WATTEAU
-    MURILLO
-    WATTS
-    INGRES
-    COROT
-    DELACROIX
-    FRA LIPPO LIPPI
-    PUVIS DE CHAVANNES
-    MEISSONIER
-    GEROME
-    VERONESE
-    VAN EYCK
-    FROMENTIN
-    MANTEGNA
-    PERUGINO
-
-
-    [Illustration: PLATE I.--A HALT
-
-    (Collection of M. Sarlin)
-
-    It is hardly necessary to call attention to the art with which
-    Fromentin has succeeded in arranging his masses of colour so as
-    to secure a harmonious distribution of light. Could anything be
-    more perfectly balanced, in point of composition, than this
-    alluring canvas?]
-
-
-
-
-    FROMENTIN
-
-    BY GEORGES BEAUME
-
-    TRANSLATED FROM THE FRENCH
-    BY FREDERIC TABER COOPER
-
-    ILLUSTRATED WITH EIGHT
-    REPRODUCTIONS IN COLOUR
-
-
-    [Illustration: IN SEMPITERNUM.]
-
-
-    FREDERICK A. STOKES COMPANY
-    NEW YORK--PUBLISHERS
-
-
-    COPYRIGHT, 1913, BY
-    FREDERICK A. STOKES COMPANY
-
-
-    _Printed in the United States of America_
-
-
-
-
-CONTENTS
-
-
-                                  Page
-
-    The First Steps                 11
-
-    The Promised Land               29
-
-    An Evolution                    45
-
-    The Master and His Destiny      58
-
-
-
-
-LIST OF ILLUSTRATIONS
-
-
-    Plate
-
-       I. Halt of Horsemen                  Frontispiece
-             M. Sarlin's Collection
-
-      II. The Arab Encampment                         14
-             Musee du Louvre
-
-     III. Thirst                                      24
-             M. Jacques Normand's Collection
-
-      IV. The Sirocco in the Oasis                    34
-             Musee du Louvre
-
-       V. An Arab Fantasia                            40
-             M. Sarlin's Collection
-
-      VI. Egyptian Women on the Bank of the Nile      50
-             Musee du Louvre
-
-     VII. Hunting with the Falcon                     60
-             Musee du Louvre
-
-    VIII. Halt of Horsemen                            70
-             Musee du Louvre
-
-
-
-
-I.--THE FIRST STEPS
-
-
-Eugene-Samuel-Auguste Fromentin-Dupeux was born at La Rochelle on the
-twenty-fourth of October, 1820. His family was a very old one and held
-in high honour throughout Aunis and Saintonge.
-
-Aunis, one of the ancient provinces of France, glows languidly beneath
-the caresses of a humid sun, enveloped in a thin veil of ocean mists,
-and at times she seems to float in the midst of her waves and her
-sands, beneath a sky bounded by remote and indeterminate horizons,
-vague and immense, like some vast wreckage overgrown with gardens and
-oases. For more than a century, she was downtrodden by the English.
-But if she owes them the pain and humiliation of defeat, they at least
-inspired her with a passion for commercial greatness and a desire for
-wealth. Through her shipowners and bankers, she amassed riches that
-permitted her to devote a goodly share of her days to leisure and
-festivities, for the betterment of her material welfare and the
-embellishment of her mind. Thus in the midst of this industrious
-community, faithful to its duties, jealous of its liberty, there was
-slowly formed a powerful and cultured bourgeois class, eager for all
-forms of intellectual improvement.
-
-Eugene Fromentin's family was, on the father's side, attached by
-ancient roots to the soil of Aunis. His ancestors were nearly all
-of them lawyers and judges, and as far back as they can be traced,
-even to the beginning of the eighteenth century, formed a part of this
-bourgeois class, which, in that region of ardent Protestantism,
-constituted a sort of aristocracy.
-
-    [Illustration: PLATE II.--THE ARAB ENCAMPMENT
-
-    (Musee du Louvre)
-
-    Against the sombre verdure of the oasis, the whiteness of the
-    tent stands out in sharp relief. The Arabs are resting:
-    meanwhile their horses, untethered, roam at will. This
-    essentially simple scene, undoubtedly drawn straight from life,
-    owes its charm to Fromentin's admirable art, and his ability to
-    throw some gleam of light even into his densest masses of
-    shade.]
-
-His father was a physician of great ability, and for thirty-three
-years was director of the Lafond insane asylum, which he had founded
-not far from La Rochelle. He had a reputation for wit, but indecision
-and suspicion stifled the better impulses of his nature. Fromentin's
-mother, whose educational advantages had been slight, had by contrast
-a sensitive and warmhearted disposition. It was she whom the painter
-resembled in all the details of his physical nature and in all the
-qualities of his moral nature, while Charles, his elder brother,
-practical and taciturn, resembled their father, whose vocation he
-followed.
-
-The mentality of Eugene Fromentin developed early. At school, he
-surprised all his instructors by his ability to assimilate knowledge
-and to think things out for himself, and he was loved by them all.
-Later on, he confessed that "his childhood had been very lively,
-almost boisterous." But somewhere during his fifteenth year, a marked
-change took place in him. "I had involuntarily formed the habit," he
-confessed further, "of reserve and silence, a habit that was often to
-my disadvantage, and which was respected quite as much through pity as
-through tolerance. Yet it is to this habit that I owed the chance to
-develop in accordance with my nature; otherwise, I should have grown
-up warped and unfit." And M. Pierre Blanchon, from whose admirably
-documented volume[1] these details are borrowed, adds further: "His
-views upon art and poetry clashed with the bourgeois ideas of his
-environment; the doctor looked upon them as mere nonsense, while his
-mother feared that they would lead him into temptation." As a matter
-of fact, at the very period when he was passing through the moral
-crisis of adolescence, a romantic attachment shook his soul to its
-very depths with the emotions of love.
-
-    [1] Eugene Fromentin, _Lettres de Jeunesse_.
-
-About half a league from town, just before entering the village of
-Saint-Maurice, the Fromentins owned a country place. The country
-roundabout is nothing but a level plain, fertile and bare, stretching
-away to the coast, where the sea, harnessed by Richelieu, loses, among
-its encroaching capes and islands, all its grandeur and poetry. Among
-their country neighbours there happened to be a certain Madame X.,
-left, at the age of forty-three, the widow of a captain in the
-merchant marine. She spent her winters at La Rochelle and her summers
-at Saint-Maurice. She had a daughter, born at Port Louis, in the
-island of Martinique, in 1817, and consequently three years older than
-Eugene Fromentin. Madeleine--let us, from a feeling of pious respect,
-refer to her only by the name she bears in _Dominique_--Madeleine,
-being of Creole blood on her mother's side, had the darkest of hair
-and eyes, combined with a fair and almost colourless complexion. We
-know next to nothing about her. He had conceived for her a violent
-attachment. Brusquely, she was snatched from the heaven in which the
-secret hopes and dreams of his fifteen years had framed her. She
-became the wife of an assistant collector of taxes. Fromentin suffered
-impotently from jealousy, and all the more because his passion was
-sincere and ingenuous. His light-heartedness vanished, together with
-his self-assurance; he mistrusted his own sentiments, he probed and
-analyzed his thoughts. To retire to the comforting privacy of his
-fireside and bury himself in literary work, poetry, critical essays,
-fragments of drama, such was his way of healing his wounds.
-
-Some of these productions of his adolescence reveal him as a student
-well grounded in rhetoric, very serious-minded and painstaking,
-nurtured on the solid substance of the best classics, and possessed of
-an uneasy spirit, in which there had already awakened a taste for
-big, fundamental ideas, together with a goading ambition to achieve,
-through his own unaided efforts, some creative work of beauty.
-Furthermore, these early efforts show a great facility of expression,
-an abundant and substantial eloquence that seeks distinction, not by
-affecting strange mannerisms, but by frankly employing the simplest of
-methods.
-
-Having completed his college course, Fromentin lived for a year
-somewhat at haphazard. His literary efforts became known in La
-Rochelle, and before long won him the esteem of the numerous men of
-letters who, in those days, to us the legendary days of the
-post-chaise and stage-coach, were drawn to a city where the social
-life was so distinctive and so intense. From time to time, he would
-steal out in the evening and furtively slip a manuscript in prose or
-verse into the letter-box of the _Journal de La Rochelle_. The next
-morning the poem or story or critical paragraph would appear, without
-signature, in the columns of the journal. But everyone who read it
-would, without hesitation, mentally sign the name of Fromentin.
-
-He was now beginning to sketch and paint. The morose doctor, his
-father, who was himself an amateur artist of no mean ability,
-initiated him into the rudiments of the craft. The hour had come,
-however, for choosing some serious career for the lad. Charles was in
-Paris, studying medicine. Eugene was piloted in the direction of the
-law. He left La Rochelle in November, 1839, not without some pangs,
-for he was leaving behind him, perhaps forever, the woman whom he had
-worshipped with all his soul; and, sensitive and nervous as he was, he
-experienced a genuine dread of invading unknown territory, the huge
-city of Paris, so far away from his own kindly province, which had
-been so indulgent to his early efforts, so tender to the first dreams
-of his heart. At this time, his figure was slender and well
-proportioned, save that he was somewhat too short in the leg. His head
-was comparatively a trifle large. His pale complexion was at times
-tinged with a faint flush. His long brown hair fell upon his
-shoulders. His cheeks were full, the contour of his face formed a
-fine, elongated oval. His lips, surmounted by a budding moustache,
-were heavy; his forehead high and rounded and very handsome. His nose,
-which in later years filled out and assumed an aquiline form, was at
-that time perfectly straight. His eyes, beneath well-formed eyebrows,
-were brown, and perhaps somewhat too large, but very attractive and
-very gentle, far more so than they were later on; in moments of
-enthusiasm, which in those days were fairly frequent, or when under
-the influence of astonishment or sadness, he would raise them towards
-heaven with an expression of profundity.
-
-In Paris, he lived at first by himself and in seclusion. His aversion
-to vulgarity and extravagances of speech or manners was ridiculed by
-some of his comrades, who nicknamed him "little Monsieur
-Comme-il-faut." He followed the courses in the law school only
-halfheartedly, but was assiduous in his attendance at the lectures of
-Michelet, Quinet, and Sainte-Beuve, in the Sorbonne.
-
-As a connoisseur of the beautiful in human handiwork, Fromentin soon
-learned to love Paris and to appreciate, in her environs, Versailles,
-Saint-Germain, Montmorency, those picturesque landscapes that combine
-the charm of nature with the glorious high-lights of history. Although
-without a teacher, he spent more and more time in sketching the
-changing forms of life, and strove, so far as it lay in him, to retain
-in his drawings the secret tremors of the soul. "These are his first
-stumbling utterances as a landscape painter," wrote M. Louis Gonse in
-his extensive and admirable work, critical as well as biographical, in
-which he has reproduced the earliest known sketch by Fromentin, a
-scene from _Chatterton_, drawn the morning after a performance of De
-Vigny's drama at the Theatre Francaise. This pen-and-ink sketch, dated
-April 2, 1841, shows facility, sureness of touch, and a certain
-felicity in composition.
-
-    [Illustration: PLATE III.--THIRST
-
-    (Collection of M. Jacques Normand)
-
-    Fromentin, who was a precise observer as well as a brilliant
-    artist, noted all the picturesque scenes of the desert. How many
-    times he must have witnessed such halts as this beneath the
-    burning African sun, which parches the throat! It is worth while
-    to note the truth of the native's attitude as he greedily drinks
-    the water of the oasis. One should also notice the art with
-    which the painter has grouped his figures and garments in this
-    unfinished work, in such a way as to fling a violent and joyous
-    note across the sombre monotony of the desert.]
-
-Far from relinquishing his literary efforts, Fromentin applied
-himself, from this time onward, with increased ardour, and, throwing
-off the trammels of romanticism, produced poems, critical studies, and
-even a comedy, written in collaboration with his friend, Emile
-Deltremieux.
-
-From this time onward, Fromentin held firmly to a conviction on which
-all his efforts as painter and author were destined to be based:
-namely, that an artist, instead of imitating the masters, should draw
-his inspiration solely from himself, from his own emotions and
-memories, and that, if he aspires to speak sincerely, in a new and
-original language, he ought to belong to some one country, to reflect
-its image and to repeat its accent. As a matter of fact, he himself
-was not, excepting in appearance, uprooted from his native soil. In
-the depths of his inmost consciousness, there always resounded the
-echo of his province.
-
-But for the time being, while he amused himself in studying the
-reasons for things and administering to himself doses of his own keen
-analysis, he suffered from that curious affliction of dual personality
-which, twenty-five years later, he described in _Dominique_: "That
-cruel gift of being able to look on at one's own life as at a
-performance given by someone else. Sensibility is an admirable gift;
-in the order of creation it may become a rare power, but on one
-condition: namely, that one does not turn it against oneself."
-
-Having taken his licentiate's degree, Fromentin pursued his studies
-for the doctorate. He entered the law office of M. Denormandie. There
-he met, as fellow clerks, the future lawyer, M. Nicolet, and Forcade
-de la Roquette, destined later to become minister. Here Fromentin
-spent his time chiefly in drawing sketches on the desk pads, the
-margins of legal pleadings, and even the panels of the doors. One day
-he descended into the courtyard and covered the coach-house, stable,
-and party-wall with his artistic efforts. He paid long and frequent
-visits to the Louvre. The Italian school left him wellnigh
-indifferent. In the French school he ranked Chardin above all the
-rest. But already his chief enthusiasm was reserved for the Dutch.
-_The Ford_, by Wynauts, with figures by Berchem, and Ruysdael's
-_Sunstroke_ and _Dyke beaten by the Sea_ fascinated him. At times, he
-conceived a fine passion for Rubens. Rembrandt, however, from first to
-last, was very nearly, if not quite, incomprehensible to him. "He
-reproached Ingres," records M. Louis Gonse, "for being an imitator of
-Raphael; nevertheless, he declared, after seeing one of Ingres'
-sketches, that he was a _sculptor of the first order_. As regards
-music, he knew Mozart and Beethoven only by reputation; he loved
-Bellini, Donizetti, etc., and the entire sensualistic school of
-Rossini."
-
-Apparently Fromentin was now hesitating between two paths, that of the
-fine arts and that of belles-lettres. It is my own deep conviction
-that his choice had already been made. He knew that literature,
-worthily conceived and liberally practised, cannot become a career
-capable of supporting the man who follows it. He saw daily, with his
-wise and prudent judgment, that painting, on the contrary, can
-guarantee bread and fuel to an artist of real talent, respectful of
-his art and loyal in his efforts. Accordingly, he wrote henceforth in
-his leisure hours, and when the mood was on him, economizing his
-strength and hoping only that the art of his written word might
-attract attention and perhaps awaken sympathy.
-
-At last, unable to endure any longer the legal dust of M.
-Denormandie's office, he boldly confided to a friend of the family his
-horror of judicial procedure, and confessed his desire to devote
-himself wholly to painting. This friend, Charles Michel, promptly went
-to La Rochelle, to open negotiations with Dr. Fromentin; and the
-latter, after a vigorous protest, ended by yielding. But, priding
-himself on his knowledge of such matters, he insisted upon choosing
-Eugene's instructor, and selected the painter Remond, who at that
-time represented the academic school of landscape painting.
-Fortunately for him, Eugene did not remain long in Remond's studio,
-but left it to enter that of Cabat. A correct and careful artist, and
-one of the best, next to Dupre and Rousseau, Cabat had opened a new
-path for landscape painting--a path in which it would not be very hard
-to discover the influence which this celebrated master of the
-landscape exerted over the earlier manner of his pupil, through his
-sympathetic understanding of his subjects and the grace and
-distinction of his art.
-
-
-
-
-II.--THE PROMISED LAND
-
-
-In the month of March, 1846, Fortune suddenly smiled upon Eugene
-Fromentin. His friend, Charles Labbe, the orientalist-painter, was
-starting to attend his sister's wedding at Blidah. Fromentin, in whom
-an ardent curiosity regarding the lands of sunshine had been awakened
-by an exhibition of aquarelles, brought back from the East by Labbe
-himself, by Delacroix, Decamps, and notably by Marilhat,
-enthusiastically accepted his friend's invitation to accompany him.
-Had he some intuition that a new world of sensations and of colours
-awaited him in Algeria? He set forth, without even notifying his
-family, light of pocketbook, but buoyant with hope and faith. To his
-dazzled eyes, to his soul seething with ambition, it proved to be
-literally the promised land. Within two days after his arrival at
-Blidah, he wrote: "Everything here interests me. The more I study
-nature here, the more convinced I am that, in spite of Marilhat and
-Decamps, the Orient is still waiting to be painted. To speak only of
-the people, those that have been given us in the past are merely
-bourgeois. The real Arabs, clothed in tatters and swarming with
-vermin, with their wretched and mangy donkeys, their ragged,
-sun-ravaged camels, silhouetted darkly against those splendid
-horizons; the stateliness of their attitudes, the antique beauty of
-the draping of all those rags--that is the side which has remained
-unknown.... In short, from the point of view of my work, I have
-nothing to complain of, and at the rate at which I am progressing, I
-can promise you that I shall bring back a fairly interesting
-sketch-book."
-
-He was especially appreciative of Marilhat and Decamps; the absolutely
-new brilliance of their works haunted him constantly, in the midst of
-his own labours. "That talented pair, Marilhat and Decamps, so
-Theophile Gautier writes me, are oddly close neighbours, yet they do
-not trespass on each other's ground; where the one has the advantage
-in fantasy, the other offsets it in character."
-
-Reinstalled in Paris, Fromentin painted with desperate zeal, lacking
-the gift, so he said, of inventing what he had not seen. He forced
-himself to escape from that spirit of imitation which is at once a
-pleasure and a danger, and up to the present he had accomplished
-nothing save to rid himself of those borrowed qualities which he had
-acquired, without succeeding in gaining others which he could call his
-own. He had, however, learned--and this knowledge is an essential
-virtue of every artist--that the real masters have never attempted to
-reproduce any object actually, but only the spirit which animates it
-to the point of rendering it a treasury of life and of beauty; he
-learned, day by day, more thoroughly, that poetry is everywhere, like
-the spark in the flint; that the artist must study technique from the
-masters and truth from nature, but that he can find nowhere, except
-within himself, the innate image of beauty. In 1847, he sent to the
-Salon, which at that time was held in the Louvre, three little
-pictures, which were unanimously accepted: _A Farm in the Outskirts of
-La Rochelle, A Mosque near Algiers, The Gorges of Chiffa_. "The first
-of the pictures," says M. Gonse, "is characteristic of Fromentin's
-earliest manner. Looked at only from the surface, it is heavy and
-pasty. It was a timid work, but in nowise silly or vulgar. _The Gorges
-of Chiffa_ forms the curtain-raiser to Fromentin's Algeria." But
-Fromentin was exercising more and more his power of self-analysis;
-he knew that his paintings were nothing more than a certain
-equilibrium of secondary qualities, approximately correct in design
-and agreeable in colour, but destitute of motive power. He had also
-learned the cause of alteration in certain tones; the colours which he
-had been employing were not susceptible of combination. "He had
-learned that mineral blue and indian yellow, combined with white,
-especially with white of lead, turned black and produced a leaden tone
-... also that paint was less enduring on white canvas than on canvas
-already prepared with a ground colour."
-
-    [Illustration: PLATE IV.--THE SIROCCO IN THE OASIS
-
-    (Musee du Louvre)
-
-    Fromentin was not only a past-master of colour. The _Sirocco_
-    proves, by the prodigious cataclysm that it represents, how
-    supple and varied was this painter's talent. And one must marvel
-    at such evidence of power in the author of so many works of
-    exquisite and lyric charm.]
-
-Algeria had won him once and forever. It was decreed by fate that he
-should understand that African land which offered certain points of
-resemblance with the land of Aunis and of Saintonge. The same flat,
-level stretch, abandoned to the rages of the sun, or lashed by the
-fury of the tempests, or shivering beneath the shadow of clouds; the
-same voice of silence and of solitude to which he had so often
-listened with beating heart in the habitually melancholy fields
-surrounding La Rochelle, he heard again in these desolate reaches of
-the desert, across the burning sands, whose infinite extent is
-rendered almost sad by the excessive ardour of the light of heaven.
-Africa became the second land which he wished to cherish with all his
-heart and which belonged to him: he made it his own by the right of
-his genius, through the works of his brush and the works of his pen.
-From a new journey which he undertook in 1852, a wedding journey,
-radiant with every promise of happiness--since he had just wedded the
-sister of his friend, Dumesnil, who understood him and whom he
-loved--he brought back two volumes, _A Summer in the Sahara_ and _An
-Army in Sahel_. The first of these appeared in the _Revue de Paris_
-and the second in the _Revue des Deux Mondes_. In the world of letters
-these two works produced a great sensation. With what finished and
-majestic simplicity Fromentin painted his white page with colours
-which his poet's eyes had unerringly retained! "The weather is
-magnificent. The heat is augmenting rapidly, but so far its effect
-upon me has been stimulating rather than exhausting. For the past
-eight days not a cloud has appeared on any part of the horizon. The
-sky is an ardent and sterile blue that gives promise of a long period
-of drought. The wind, fixed in the east and almost as hot as the air
-at rest, blows intermittently, morning and evening, but always very
-lightly, and as if only for the purpose of keeping up a gentle swaying
-of the palm trees, similar to that of the Hindoo _panwa_ dance. For a
-long time past, everyone has worn the thinnest of clothing and
-broad-brimmed hats, and no one ventures out of the shade. I cannot,
-however, bring myself to adopt the siesta."
-
-Thus, through two masterpieces, a new writer, of strong and pure
-French stock, suddenly revealed himself. The most distinguished
-novelists and critics of the day, George Sand, Theophile Gautier,
-Sainte-Beuve, sent him their heartiest congratulations and sought his
-friendship. In both of these books, Fromentin showed himself to be not
-only a curious and close observer, but a subtle and trained
-psychologist. He studied not only the outward forms of people and of
-things, he probed the depths as well, the underlying spirit; and
-having found it, he revealed it to others with keen and original
-discernment. What he saw in those tribes and peoples, as new to him as
-they are to us, was not merely the picturesqueness of their attitudes
-and the exuberant brilliance of their land, but the whole predestined
-history of the race from its origins, as revealed in the practice of
-their strange customs and the passionate intensity of their instincts.
-For Fromentin was not one of those who find satisfaction solely in the
-contemplation of beauty. He was above all one of the kind that wants
-to understand the meaning and the cause of beauty, in order to enjoy
-more keenly its possession.
-
-It is interesting to compare with Fromentin the painter, who paints
-best of all with his pen, a poet of the highest rank, who came
-later than he in this same region of Saintonge: Pierre Loti. Roving,
-restless, concerned solely with the misery of his own soul and the
-beauty of the world, Loti carries his dreams with him to the remotest
-shores, and in order to distract his thoughts from life which bores
-him, he has gathered together extraordinary colours, the brilliant
-dust of picturesque ruins, and has created for himself a capricious
-and sensual world, in which nothing, perhaps, is real excepting his
-own melancholy, yet which amuses and enchants him with its prodigious
-fund of poetry. Like Loti, Fromentin also had an eye for rich and
-dazzling hues and knew how to render them with his pen. But being less
-feverish, more self-controlled in heart and mind, he did not write
-merely for the sake of depicting faces and backgrounds; he developed
-his robust and harmonious phrases for the purpose of interpreting, and
-preferably in their most vivid aspects, the dominant impulse of a
-race, the art with which a picture is composed, the design of a
-landscape, the emotion of an hour, or the spirit of an epoch.
-
-    [Illustration: PLATE V.--AN ARAB FANTASIA
-
-    (M. Sarlin's Collection)
-
-    Movement, life, colour, an eddying cloud of brilliant fabrics,
-    beneath the luminous vault of an African sky: such are the
-    ingredients of this magnificent composition, as beautiful and as
-    vigorous as any that the artist ever produced.]
-
-"To Fromentin," writes Gabriel Trarieux, "the function of an adjective
-is to appeal, not to the eye or ear, but to the moral sense. Nature,
-to this psychologist, is not an inert colour, but an inner voice. He
-shows us Africa, and more especially his own heart. Is such
-conscientiousness, such self-revelation, a distinctive mark of the
-native of Charente? For my part, I think it is."
-
-His offerings to the Salon continued uninterruptedly, year after year.
-Only the more famous need be mentioned: _The Moorish Burial_ (1850);
-_The Negro Boatmen_ (1859); _Horsemen returning from a Fantasia_,
-_Couriers from the Land of the Ouled Nails_ (1861); _The Arab Bivouac
-at Daybreak_, _The Arab Falconer_, _Hunting with the Falcon in
-Algeria, The Quarry_ (1863); _Windstorm in the Plains of Algiers_
-(1864); _Heron Hunting_, _Thieves of the Night_ (1865); _A Tribe on
-the March through the Pasture_ _Lands of Tell, A Pool in an Oasis_
-(1866); _Arabs attacked by a Lioness_ (1868); _Halt of the Muleteers_
-(1869); and his last five pictures, _The Grand Canal_ and _The
-Breakwater_ (1872); _The Ravine_ (1874); _The Nile_ and _View of
-Esneh_ (1876).
-
-With the second picture that he exhibited, _The Place of the Breach in
-Constantine_, the talent of the painter was officially recognized by
-the bestowal of a Second Class Medal. Fromentin, nevertheless, knew
-his weaknesses. What distressed him the most was that he still saw
-what was _pretty_, rather than what was _great_; a defect of instinct
-which is particularly conspicuous in _The Moorish Burial_ (1850) and
-_The Gazelle Hunt_ (1859). He strove, by consulting nature
-ceaselessly, to rid himself of this _almost-but-not quite_ tendency,
-of which he could never have been cured by mere studio work. He soon
-began, as a matter of fact, to acquire a truer and broader vision. He
-grasped this singular fact, peculiar to tropical lands: namely, that,
-howsoever discordant the details of a landscape may be, they form a
-sum total that is always simple and easy to transcribe upon a canvas.
-Since he never played false, either with himself or with nature, he
-mirrored back accurately, through the crystal clearness of his mind,
-the form and colour of the objects before him. Looking to-day at such
-pictures as _An Audience before the Caliph_, _The Negro Boatmen_, and
-a host of others, we breathe in, just as we do in reading his books,
-that indefinable odour of the Orient which comes from the smoke of the
-camp fires and the tobacco, from the orange trees and from the persons
-of the natives themselves; we delight our eyes with the venerable
-olive trees of the sacred grove at Blidah, with the plain bounded on
-the north by the long chain of the hills of Sahel, low-lying, gray in
-the morning, ruddy at noon, with just one white spot toward the
-northeast, at Coleah, where there is a vast gap, formed by the
-course of the Mazapan River, through which we get a glimpse of the
-sea.
-
-The entire series of sketches and notes which, from Constantine to
-Biskra, by way of Lambessa, Fromentin collected during his journey
-into the heart of Algeria, he was destined to make use of later on, to
-guard himself from ever falsifying. And if the colours of his
-paintings are often timid, it is precisely for the reason that in the
-seclusion of his studio, remote from Africa, he lacked that pulsation
-of generous light, with which he needed to be enveloped, in order to
-kindle his palette to the required glow.
-
-
-
-
-III.--AN EVOLUTION
-
-
-Eugene Fromentin will be remembered as the painter of Algeria, or at
-least as one of the first who revealed it in such a way as to make it
-beloved. Not the Algeria of the South, lost amid a furnace of sunshine
-and of sand, but the Algeria which is accessible to all, that of the
-Arabs, with peaceful cities set in the midst of ruins, and grateful
-palm groves forgotten, like baskets after a festival, on the border of
-the desert; the Algeria of ceremonious and brilliant fantasias, of
-mosques, of battle-fields still smoking, and of vagabond tribes. It
-may be regretted that he contented himself with seeing the Arab
-exclusively outside his tent, in the open light of sand and sky, and
-that, instead of confining his studies to external phases of life, he
-never ventured to penetrate to his hearthstone, in the intimacy of his
-family life. Yet who would reproach the artist for his scrupulous
-delicacy and discretion?
-
-Jules Claretie was quite right in declaring that Marilhat brought back
-from the Orient landscapes imbued with profound melancholy, Decamps
-scenes distinguished for their dazzling brilliance, Delacroix
-spectacles of majestic grandeur, and that Fromentin in his turn
-discovered in that land of light a personal note which his
-predecessors would have sought in vain, since he carried it within
-himself. The colour scale of Fromentin is a subdued one; his favourite
-shades are the half-tones.
-
-In the presence of that brilliant land, ennobled by centuries of
-history, Fromentin remained, nevertheless, a Parisian of the purest
-stock. His Arabs are all keenly alert, down to the very folds of their
-burnooses. He could not bear to behold ugliness; he transformed it
-through the golden warp of his imagination. Although his pictures lack
-the harsh vibration of the desert and a sense of its far-reaching
-monotony, the desert nevertheless loses nothing of its grandeur;
-because his poet's understanding, more infinite than the expanses of
-the dunes, passed of its own accord beyond the bounds of a horizon
-which, unlike that of the sea, is not void save for the passerby who
-is incapable of emotion and comprehension. Beneath his sober brush,
-the Arabs retain all their strange attractions, which he amply
-indicates by a single dash of light, just as in his books he evokes a
-landscape or an individual by a single word. His eyes took in the
-outward form of things as completely as his mind penetrated the minds
-of others. His unwearied power of observation neglected nothing that
-pertained to light; consequently the accuracy of his paintings,
-comparable to that of historic documents, is attested by every
-traveller.
-
-_The Fantasia_, for example, gives an admirable presentment of the
-open country around Algiers and of one aspect of Arab manners and
-customs. It shows us a numerous cavalcade galloping at headlong speed,
-with clamorous shouts and discharge of guns, across a broad plain
-toward a knoll on which the mounted emir sits in judgment. This
-mingling of motley garments and of horses galloping in all directions
-produces a scene of extraordinary animation and a liveliness of tone
-that contrasts sharply with the bare immensity of the plain and the
-uniformity of the sky.
-
-Suddenly, in 1861, Fromentin's manner was marked by a complete
-evolution. Not that he abandoned the fine and delicate methods
-habitual with him, the methods of a poet seeking to interpret his
-visions and his sentiments through his skill in animated
-composition. Nothing of his originality was sacrificed. His power, on
-the contrary, was increased, because he had learned, in regard to the
-inspiration of his works, how to see reality more truly, and in regard
-to the resources of his art, how to understand better the superior
-methods of his compeers and his masters. But he had seen Corot, and
-his admiration of him increased day by day; it was the influence of
-the painter of _The Farm Wagon_ that induced him to render the value
-of colour tones in accordance with their harmonies rather than their
-contrasts.
-
-    [Illustration: PLATE VI.--EGYPTIAN WOMEN ON THE BANK OF THE NILE
-
-    (Musee du Louvre)
-
-    In this attractive, verdant nook, lighted by a luminous patch of
-    brilliant fabrics, the artist has harmoniously placed a group of
-    women. While some of them, stretched at length beneath the
-    shade, gossip together while they rest, two of their number are
-    standing, and watch the flow of the sacred river, the mysterious
-    Nile, witness of so many things, contemporaneous with so many
-    illustrious civilizations. This picture is a masterpiece of
-    composition and colour.]
-
-Beginning with _The Verge of an Oasis during the Sirocco_, one can see
-how Corot's dexterous and delightful gray came to life again under
-Fromentin's brush. "It was a rare distinction," writes M. Louis Gonse,
-"in that period of ardent romanticism, to have realized instinctively
-the value of gray, its caressing softness, its modest yet insistent
-appeal. Silver gray, amethystine and turquoise gray, these were the
-tones of which Fromentin was soon vaunting the delicate and tender
-charm. I remember an interview which I had with him one morning, in
-his studio, regarding the painter of that unique masterpiece, a
-_Souvenir of Marissal_. Fromentin was in fine good humour and buoyant
-spirits. All that he said to me about Corot, his place in art, his
-daring innovations, his inimitable feeling for light, his exquisite
-sense of the exact tone, was well worth remembering. It was a
-marvellous offhand estimate, the substance of which summed up
-deep-seated convictions. Beneath that flashing, swift-winged flight of
-words, I felt the earnestness of opinions born of long reflection."
-
-From 1861 onward, Fromentin deserted the Sahara in favour of Sahel,
-exchanged the consuming heat of summer for a milder sunshine. "He
-sought," recorded Louis Gonse, "to paint in lighter, fresher colours:
-his instinct counselled him to avoid black as a mortal enemy--that
-black which certain painters deliberately affect, thinking that in
-this way they are imitating the old masters. All those soft grays,
-which are luminous half-tones of white, appeared imperceptibly beneath
-his brush. After having won distinction as a colourist, he became and
-remained to the end a master of tonal harmony in the subtlest sense.
-According to the opinion of Sainte-Beuve, 'he attained his greatest
-effects by combining the simplest methods in a marvellous manner.' And
-since his ambition was of steady growth, his progress in his craft was
-uninterrupted."
-
-Among Fromentin's productions of this period are: _The Shepherds on
-the High Plateaus of Kabylia_, an austere spectacle witnessed on the
-road from Medeah to Boghar; _The Bed of the Oued Mzi_; and the
-charming canvas of _Turkish Houses in Mustapha-in-Algiers_. In 1863,
-he produced _The Arab Bivouac at Daybreak_, which, by its presentment
-of salient details and its sympathetic understanding of the slightest
-gesture, sets before us the impressive melancholy of the nomad life;
-he produced further _The_ _Arab Falconer_, one of the most brilliant
-of his smaller works; and lastly, _Hunting with the Falcon in
-Algeria_, which many of his admirers regard as his masterpiece, and
-which, at all events, is his most famous painting. It may now be seen
-in the collection in the Louvre.
-
-Fromentin repeatedly duplicated, in crayon, in aquarelle, and in oil,
-this scene which represents two Arab chiefs hunting, accompanied by
-their attendants. The horseman in the middle of the picture, an old
-man holding a falcon, resembles, on his motionless horse, an
-equestrian statue. The second horseman, the one in the foreground, is
-undoubtedly his son; he is as attractive as a pretty girl and young
-like the horse he rides, a white horse, of a beautiful, silvery white,
-the lower part of the legs shading off into an exquisite rose tint.
-The rider is clad in blue, white, and gray, while a saddle of
-turquoise blue, enriched with trimmings of glazed vermillion, adorns
-the courser, which is distinguished by a luxuriant mane, an ample,
-flowing tail tinged with ochre and amber, and a black eye, profound
-and full of life. Two Arabs, kneeling in the pathway, have taken
-possession of a hare which the falcons have just killed. The whole
-effect is that of extreme distinction, marred perhaps by too much
-embellishment.
-
-In 1870, Fromentin found his way to Venice. At the first rumours of
-war, however, he returned precipitately to France, to join his wife
-and daughter in Paris and take them to Saint-Maurice, his beloved
-village adjacent to La Rochelle. From Venice, he brought back _The
-Grand Canal_ and _The Breakwater_, two canvases somewhat leaden in
-tone, which some critics class in the number of Fromentin's blunders.
-The reason may be that they failed to recognize in them the Venice of
-their dreams, the Venice of tradition, flamboyant and enchanted. But
-there is another, a tranquillized Venice, which at times allows her
-fireworks to burn out. Fromentin was not a romantic painter; it was in
-their hours of repose that he beheld the Grand Canal, the Breakwater,
-the houses leaning over the water's brink; and he expressed what he
-really saw in the midst of a silence that contains a special poetry as
-well as truth. Fromentin exhibited for the last time in the Salon of
-1876--two canvases brought back from Egypt, _The Nile_ and _A Souvenir
-of Esneh_, canvases distinguished for their "cold, dull colouring,
-ranging through a neutral scale of violet lights."
-
-The masterpiece of Fromentin, the picture in which his qualities of
-composition, drawing, and colour are most clearly revealed, is, in the
-opinion of all artists--who are alone capable of simultaneously
-appreciating the art and the craftsmanship of a painting--_Crossing
-the Ford_. This picture is now in the possession of Mme. Isaac
-Pereire. Across a canvas measuring little more than two yards, a group
-of horsemen are journeying through a waste of sand, stretching away in
-long, pallid dunes, broken here and there by clumps of sombre growth;
-a swarm of women surrounds them, as light of foot as bees upon the
-wing. A stream, bordered on the right by tamarinds with sharp, narrow
-leafage, displays its slender, mirror-like surface. Some of the horses
-are reserved for the chiefs, while others are laden with burdens of
-clothing and provisions. The sky, partly clear and partly overcast,
-occupies the greater portion of the canvas: in the far distance, the
-swelling curve of the horizon conveys a strong impression of infinity
-and solitude. The central figures are drawn upon a scale hardly
-exceeding eight inches in height. The horses, fired with that generous
-pride which this painter always attributes to them, seem to know their
-way even better than their riders. They proceed without haste,
-enjoying the gentle breeze stirring fitfully across the vast expanse,
-and the time of day, which is growing late. The colour scheme of the
-picture is bold and conveys an exquisite savour of gold and gray,
-flickering flames vanishing behind the leafage, as well as along the
-horizon, as the dusk shuts down. In this picture, Fromentin has
-produced, with the simplest and most adaptable resources of his
-palette, a work in which, underneath all the surface charm, the
-melancholy which abides in the heart of man, and above all in the
-heart of the Arab, blends harmoniously with the beauty of the world.
-
-
-
-
-IV.--THE MASTER: HIS PERSONALITY AND HIS DESTINY
-
-
-One of the masters of to-day, of a generous and impulsive nature, who
-does not wish to be quoted by name, but whose works may be admired in
-the Luxembourg, consented to give me some information regarding
-Fromentin, whose pupil he once was. I should like, as a conclusion to
-this study, to be able to transcribe literally what he told; but at
-least I shall draw a pious inspiration from his words.
-
-Fromentin laid on his colours very thickly. His solid grounds were
-always most carefully prepared and his composition calculated in
-advance down to the smallest detail. At the start, he came under
-the influence of Decamps, Marilhat, and more especially Delacroix, and
-in consequence neglected line work, devoting himself solely to the
-distribution of colours. Delacroix and the romantic school of his time
-did not interpret Algeria well, because they failed to see it well.
-They saw it through the black holes of windows, in all the violence of
-its whites and reds, in the picturesqueness of its costumes and the
-long stretches of its dusty streets. But Fromentin had visited Italy,
-and during his excursions across this museum of diverse aspects he
-made a special study of the effects of sunshine upon the handiwork of
-man. It was while still saturated with the brilliance and with the art
-treasures of Italy that he first saw the land of Africa, or rather
-that he first conceived the desire to learn to know its secrets.
-Fromentin never put upon his canvases the Africa of the desert, in
-which there is nothing but the white of the burnoose and the gray of
-the dune, but Algeria the Fair, Algeria already civilized. He was
-enraptured by the sight of it and by the penetrating conception, full
-of eager curiosity, which he had already formed of it. For Fromentin
-does not command by the audacity of his colours; he commands by the
-charm of his apportionment of light and shadow, and by the precision
-of a style which seeks, irrespective of form, to show us the soul of
-people and of things. He sees with the eyes of a poet, he expresses
-himself in the manner of a philosopher, he forces us to reflect. He
-detests all that is vulgar, superfluous, and extravagant. All that
-pertains to reality has for him a significance, of which he seeks the
-cause, and for which he frequently discovers a definitive expression.
-
-    [Illustration: PLATE VII.--HUNTING WITH THE FALCON
-
-    (Musee du Louvre)
-
-    Falconry is an episode of African life which peculiarly
-    attracted Fromentin. He has treated it in a number of different
-    pictures, all equally remarkable. The collection in the Louvre
-    possesses two: the one which we give here is distinguished by
-    the cleverness of its composition, the way in which its
-    component parts are distributed throughout the prospective, in
-    accordance with the desired effect, thus lighting up the gray
-    immensity with joyous and violent tints.]
-
-Through his habit of studying the inner workings of the mind of man,
-he reached a point, toward the end of his life, when he ceased to
-compose, even in painting, any works other than those of a man of
-letters. The keenest intellectual alertness was always ceaselessly
-pulsating within him. Furthermore, he made a sort of religious cult
-of life in all its forms, even the most humble, and imbued them with
-an ennobling charm. And for the purpose of understanding the
-psychology of a race which enwraps itself jealously in a pride of
-attitude, the works of Fromentin offer testimony that bears the stamp
-of rare sincerity and clear-sighted sympathy. His mind never wastes
-time over the eccentricities of a tribe or a people, but bends its
-whole effort to gathering up, through a choice of typical details, the
-general idea, the embodiment of a human group.
-
-Fromentin knew, better than anyone else, how great his lack was of
-elementary training in painting. He knew that no natural gift can
-replace those initial steps in craftsmanship in any and all forms of
-production, and that works which are truly beautiful and worthy of
-being held in honour through the centuries obtain their right to live
-solely from having obeyed the laws of order and of clearness. These
-laws, as related to pictorial art, are taught in the studio and the
-school. A naturally gifted artist may undoubtedly evolve, out of his
-own personal inspiration, an amusing or interesting work; but that
-work, if not constructed according to the syntactic rules peculiar to
-his art, will have merely an ephemeral charm, like the costly baubles
-of a passing fashion. What proves the necessity of rules of technique
-is that the masters themselves have not been contented with the
-possession of genius or talent alone. They have learned their craft
-down to its profoundest secrets; and the greatest of these masters are
-the ones who have succeeded best in practising the methods transmitted
-by past experience, and have even in their turn discovered new laws.
-
-How many times, with touching modesty, Fromentin deplored his total
-lack of the essential studies of apprenticeship! Beneath the colour of
-forms and objects, he grasped the course and movement of life. But his
-restless hands did not succeed completely, to his own satisfaction, in
-transferring them to his canvas. Nevertheless, his pictures, because
-imbued with an emotion, the contagion of which was communicated to
-their colours, far from resembling, as so many others do, a sort of
-clever and inert photograph, are evocations, and often magnificent
-ones, of some historic hour, of the destiny of a race, or the soul of
-a landscape.
-
-Under the influence of the romantic school, as I have already said,
-Fromentin's brush sought at first chiefly to dazzle. But one day he
-awoke to a comprehension of Corot. The inward emotion which he
-underwent affected him like the discovery of a new light. A
-transformation followed rapidly, not in his ability to feel, but in
-his fashion of reproducing what he felt. Yielding joyfully to the
-authority of Corot, he began to make use of gray, and before long it
-became his dominant tone. Like a frail cloud interspersed with
-invisible rays of red and azure, enveloping the atmosphere of his
-scenes and characters, and blending into his minutely wrought skies,
-this gray of his, which borrowed something of its hue from each of the
-primary colours, pleased him by the very discreetness of its
-opulence. Discreetness is one of the hallmarks of refinement; and
-Fromentin was nothing, if not refined, in his manners, his thoughts,
-and his speech. "Just as his painting was never heavy and his writing
-never dull," says Emile Montegut, "his physical build was slender,
-graceful, delicate; yet his slenderness was in no way weakness, nor
-his delicacy affectation. No objectionable professional mannerism
-proclaimed the craft he practised; still less did he ape the manners
-of the man of fashion, in order to hide the fact that he was a man of
-toil. With all his frankness, he had the good taste to refrain from
-betraying his intimate personality to the world at large."
-
-It was precisely this use which he made of gray that enabled him, by
-its play of half-tones, to explore the mystery of souls. And quite
-unconsciously he revealed his own, a noble soul, enamoured of all that
-is great and eternal in civilization and in life. When face to face
-with an actual scene, he frequently gave up the attempt to transfer
-it with his brush. It was not until much later, after long reflection
-over the material conditions of a scene whose beauty had delighted his
-eye, that he was ready to begin work.
-
-Consequently there are other artists who have more accurately rendered
-the colour of this African land: there are, for instance, Guillaumet
-and Regnault. With a somewhat austere, yet precise, touch, after the
-fashion of an extremely well-informed commentator rather than a deeply
-moved poet, Guillaumet shows us, in all their picturesque
-authenticity, the history and architecture of buildings ravaged by the
-sun, and outlined against them the stately silhouettes of Arabs to
-whom silence appears to be a sort of religious rite. Yet the sublime
-poetry of the desert has also touched his painter's heart in _The
-Evening Meal_, now in the collection in the Luxembourg; the thin blue
-smoke, melting away into the calm atmosphere, is typical of the
-immobility of the Sahara, the sullen oppressiveness of daytime amid
-the sands. Henri Regnault, in works that are scarcely more than
-sketches and have never been exhibited, transcribed, with all the
-ardour of his age, during too brief a sojourn in Morocco, the symphony
-of divine colours which exhales from the soil of Africa and from its
-sky, that burns like living coals.
-
-Fromentin did not always dare to undertake to paint his own
-conceptions. His timidity is betrayed by the very modesty of his
-canvases, which scarcely exceed two yards. Nevertheless, the painter
-whom he loved the most was Rubens: Rubens, the prodigal dispenser of
-light, who poured his inexhaustible and gorgeous imaginings, like the
-waters of a mighty river, over canvases without number.
-
-Fromentin did not find it easy to give forth the treasures of his
-brain, excepting through the medium of writing. He delighted in
-sumptuousness, and he found it in Rubens, whom he eulogized, in his
-_Masters of Yesterday_, in a truly lyric strain. He did not understand
-Rembrandt and despaired of ever understanding him. He studied him
-constantly, with a sort of impatience, striving to glimpse, through
-his veils of half-shadows, the spirit of a genius who was too alien in
-nature, country, and race.
-
-    [Illustration: PLATE VIII.--A HALT AT AN OASIS
-
-    (Musee du Louvre)
-
-    The weary caravan has halted, tempted by the verdure of the
-    oasis. Faithful to his manner, Fromentin has taken advantage of
-    this picturesque scene to throw a harmony of colour and light
-    over the men and their surroundings. In all its simplicity, this
-    picture is one of its author's happiest efforts, because of the
-    impression of life which emanates from this group, relatively so
-    few in number.]
-
-Among Fromentin's pupils was Cormon, an intractable pupil with a
-marked individuality; yet while he ignored his professional authority,
-he always proclaimed him, and with real feeling, the most intelligent
-of masters and the most loyal of men. Fromentin did not exactly
-conduct a regular art-school. He had gathered around him seven or
-eight young artists, in whom he foresaw a prosperous future: Gervex,
-extremely brilliant, Thirion, the most temperamental of them all,
-Lhermitte and Humbert, who was the master's favourite. Fromentin saw
-in Humbert a second self, more fortunate in having a chance to learn
-at the outset the indispensable rules of his craft, and therefore
-capable later on of achieving works which he himself could never carry
-out. Without effort, he won the adoration of his pupils. With an
-eloquence which came from his heart quite as much as from his brain,
-he preached to them the doctrine of sincere labour, of disinterested
-ideals, and of reverence for the past because it has produced the
-present. He had a combative spirit. He never hesitated to express his
-opinion about works or about men, since the nobility of his character
-forbade that he should be suspected of maliciousness or envy. Certain
-works of his time, that are still discussed and that our own age has
-consecrated, were displeasing to him: Millet's, for example. He
-professed a profound esteem for the man, but he did not admit the
-technical value of the artist nor the importance of his ideas.
-
-For a long time Fromentin's rank as a painter was disputed. He
-proceeded peaceably on his way toward fortune and glory. His literary
-successes confirmed and enhanced his triumphs as a painter. Through
-his books his pictures became known and admired by the general public.
-In 1859, he obtained a First Class Medal and the Cross of the Legion
-of Honor. The emperor, Napoleon III., invited him to Compiegne. In
-1869, his election as Officer of the Legion of Honor followed upon his
-exhibition of the _Fantasia in Algeria_ and _The Halt of the
-Muleteers_. In 1868, he exhibited a very strange and disconcerting
-picture: _Male and Female Centaurs practising at Archery_. He wished
-to show by means of this work, which evoked much comment and
-criticism, that "the equestrian statue is the last word in human
-statuary." "Mingle," he wrote, "man and horse, give to the rest of the
-body the combined attributes of alertness and vigour, and you have a
-being which is supremely strong, thinking and acting, brave and swift,
-free, and yet docile." Fromentin's aristocratic instincts extended
-from men to things, and even to animals. It was he who in a certain
-sense discovered the horse, the Arab horse, fine and free, poet of the
-desert and the sun quite as much as his master. When Fromentin shows
-him to us with his long silvery tail and his mane quivering like
-waves, one would say that in the swift flight of his course the
-artist had lent him wings. "Nevertheless," writes one critic, "in
-spite of his intimate acquaintance with the form and the varied coat
-of the Arab horse, it is perhaps in the little inaccuracies of his
-drawing of this animal that Fromentin betrays most obviously the
-defectiveness of his early studies."
-
-What a pity, let us say once again, that he lacked the time to
-acquire, while still young, that power and technique in painting which
-he possessed in literature! Each one of his volumes evoked an outburst
-of admiration and sympathy. He wrote only when he had something
-definite to say. His novel, _Dominique_, fired with the spirit of
-youth, burning with love and sorrow, was, from the date of its
-publication, in 1862, in the _Revue des Deux Mondes_, hailed as a
-masterpiece.
-
-Not everywhere, however. The poets alone, the born writers, those in
-whom the habit of psychology and criticism had not extinguished that
-personal flame which burns within the heart, Sainte-Beuve, for
-example, and George Sand, recognized it as a work of genius. It was
-much discussed and even disparaged, by professional writers and
-critics, even in the _Revue des Deux Mondes_ itself. Emile Montegut,
-who combined absolute frankness with a wide range of knowledge and
-keen understanding, while not disputing the literary value of
-_Dominique_, did not hesitate to affirm that the book was not a novel,
-but a series of faultily composed scenes and descriptions,
-confessions, and memories.
-
-At first, and for some time afterward, the public seemed to ratify
-this opinion. The volume, issued by Hachette, was bought only at rare
-intervals and out of curiosity. Later, after this initial failure, it
-took a fresh start, and to-day is a recognized classic. For, while it
-is true that this prose poem is lacking in intrigue and that its
-characters are somewhat overwhelmed by the floods of light from its
-stage-settings, it diffuses such a redolence of the soil teeming with
-life, such a fragrance of warm and pure tenderness, that every
-sensitive and ardent soul delights to yield itself to the harmonious
-flow of its words and colours.
-
-_The Masters of Yesterday_ has become a breviary for painters who are
-studying the Flemish and Dutch schools. "The Fromentin revealed in
-_The Masters of Yesterday_" asserts Emile Montegut, "is a second
-Taine, minus the defects for which the latter is reproached, and minus
-that sort of harshness which comes from the exclusive use of crude
-colours and a disdain of half-tones. There is also this further
-difference between them: that Taine puts his battalions of ideas and
-facts through their manoeuvres with the imperiousness of a
-general-in-chief commanding an action, while Fromentin assembles and
-reviews his own with the ease of an orchestra leader directing the
-instruments under his orders by the simple gesture of his bow.... Just
-one word is applicable, in point of strict definition, to the
-temperament and talent of Fromentin: that word is _perfection_. He
-strove for it all his life. He deserves to be called the _classic_ of
-that type of picturesque literature, whose ambition, at the outset,
-looked toward a very different goal from that of gaining this title,
-and whose enterprises and audacities the classic school of art could
-not, as a matter of fact, have beheld without alarm." This book is,
-without doubt, Fromentin's best. For, while the majority of art
-critics are merely amateurs posing as craftsmen and judges, he knew
-quite well whereof he spoke. While he understood as well as the
-others, and even better, an author's purpose, he could also see of
-what material and by what means the work of this same artist was
-composed. He was not a dilettante, endowed with a greater or less
-amount of taste, but a fellow craftsman, who knew how to mix his own
-colours and to analyze the palette of another.
-
-His literary works entitled him to a seat in the Academie Francaise
-considerably sooner than he could have dreamed of the Academie des
-Beaux-Arts.
-
-As a matter of fact, in 1874, he offered himself, at the urgent
-entreaty of his friends, as a candidate for the Academie Francaise,
-quite suddenly and when it was already too late to bring any influence
-to bear, while solemn pledges had already been secured by his
-competitors. In spite of this, the weight of his name secured him
-thirteen or fourteen votes.
-
-He was preparing a volume of critical studies on the French school and
-planning another on the Italian school, when death abruptly cut him
-short, at the age of fifty-five, in the midst of a steady ascension
-into the light of fame. It was a misfortune for France. In the beauty
-of his character, as lofty as that of his genius, he offered an
-example of the most precious qualities of man and artist: uprightness,
-charity, good taste in what he admired, and sincerity in what he tried
-to do. The name of Eugene Fromentin grows greater day by day; clouds
-may pass before him, as before a star, but without ever effacing him.
-
-
-
-
-
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