path: root/old/44340.txt

The Project Gutenberg EBook of Gerome, by Albert Keim

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


Title: Gerome

Author: Albert Keim

Editor: M. Henry Roujon

Translator: Frederic Taber Cooper

Release Date: December 3, 2013 [EBook #44340]

Language: English

Character set encoding: ASCII

*** START OF THIS PROJECT GUTENBERG EBOOK GEROME ***




Produced by Sandra Eder, Sharon Joiner, sp1nd and the
Online Distributed Proofreading Team at http://www.pgdp.net









  MASTERPIECES
  IN COLOUR
  EDITED BY - -
  M. HENRY ROUJON


  GEROME

  (1824-1904)




  _IN THE SAME SERIES_

  REYNOLDS
  HOLBEIN
  VELASQUEZ
  BURNE-JONES
  GREUZE
  LE BRUN
  TURNER
  CHARDIN
  BOTTICELLI
  MILLET
  ROMNEY
  RAEBURN
  REMBRANDT
  SARGENT
  BELLINI
  CONSTABLE
  FRA ANGELICO
  MEMLING
  ROSSETTI
  FRAGONARD
  RAPHAEL
  DUeRER
  LEIGHTON
  LAWRENCE
  HOLMAN HUNT
  HOGARTH
  TITIAN
  WATTEAU
  MILLAIS
  MURILLO
  LUINI
  WATTS
  FRANZ HALS
  INGRES
  CARLO DOLCI
  COROT
  GAINSBOROUGH
  DELACROIX
  TINTORETTO
  FRA LIPPO LIPPI
  VAN DYCK
  PUVIS DE CHAVANNES
  DA VINCI
  MEISSONIER
  WHISTLER
  GEROME
  RUBENS
  VERONESE
  BOUCHER
  VAN EYCK
  MANTEGNA


  _IN PREPARATION_

  FROMENTIN
  PERUGINO




[Illustration: PLATE I.--YOUNG GREEKS ENGAGED IN COCK FIGHTING

  PIERRE LAFITTE & CIE, PARIS

(In the Luxembourg Museum, Paris)

This was Gerome's first picture. It was exhibited at the Salon of 1847,
and achieved a brilliant success. Theophile Gautier, who was a critic
hard to please, bestowed upon it some enviable praise. In later years
the artist found much to censure in his early work; but the public,
less severely critical, admired the graceful nudity of the young forms
and the combative ardour of the two adversaries.]




  GEROME

  BY ALBERT KEIM

  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, 1912, BY
  FREDERICK A. STOKES COMPANY

  _Printed in the United States of America_




  CONTENTS


                    Page
  Introduction        11

  Life of Gerome      17

  The Artist's Work   43

  The Art of Gerome   72




  LIST OF ILLUSTRATIONS


  Plates
     I. Young Greeks Engaged in Cock Fighting  Frontispiece
          (In the Luxembourg Museum)

                                                       Page
    II. Reception of the Siamese Ambassadors             14
          (In the Versailles Museum)

   III. Anacreon, with Bacchus and Cupid                 24
          (In the Toulouse Museum)

    IV. Pollice Verso                                    34
          (In a Private Collection, United States)

     V. The Prisoner                                     40
          (In the Nantes Museum)

    VI. The Last Prayer                                  50
          (In a Private Collection, United States)

   VII. The Vendor of Rugs                               60
          (In a Private Collection, United States)

  VIII. The Two Majesties                                70
          (In a Private Collection, United States)




I

INTRODUCTION


Gerome has his allotted place among the illustrious French painters
of the Nineteenth Century. He achieved success, honours, official
recognition; and he deserved them, if not for the compelling
personality of his temperament, at least for his assiduous industry,
his accurate, methodical, and picturesque way of seeing people and
things, and the amazing and fertile variety both of his choice and his
interpretation of subjects.

He was a pupil of Paul Delaroche and seems to have inherited the
latter's adroitness in seizing upon the one salient and emotional
detail in a composition. Like that historian-painter of the _Death of
the Duc de Guise_, Gerome excelled in always giving a dramatic stage
setting to the persons and the events which he knew how to conjure up
with such learned and scrupulous care.

In spite of his versatility, and notwithstanding that many a vast
canvas has demonstrated his ingenious and resourceful talent, he takes
his place beside Meissonier because of the extreme importance that he
attached to accuracy and precise effects.

[Illustration: PLATE II.--RECEPTION OF THE SIAMESE AMBASSADORS

  PIERRE LAFITTE & CIE, PARIS

(In the Museum at Versailles)

This picture possesses a curious interest because it shows in what a
picturesque manner Gerome could execute a painting officially ordered.
He received the commission in 1865, through the Imperial Household. He
has rendered with much felicity all the pompous and highly coloured
aspect of the scene, very effective in the sumptuous setting of the
Salle des Fetes at Fontainebleau.]

Although it is some years since he passed away, Gerome has left behind
him living memories among his friends and pupils, many of whom
have in their turn become masters. Both as man and as artist he was
and still continues to be profoundly regretted, independently of all
divergences of opinion, method, and temperament.

A master of oriental lore, a curious and subtle antiquarian, a
chronicler of ancient and modern life, rigorous at times, but more
often distinguished for his charm and delicacy,--such is Gerome as he
has revealed himself to us through the medium of his abundant works.

Whether he paints us the men of the Desert and the almas of Egypt,
or shows us the gladiators of the Circus, the death of Caesar, the
leisure hours of Frederick II, the dreams of a Bonaparte, or takes us
to the _Winter Duel in the Bois de Boulogne after the Masked Ball_, a
picture that achieved much popularity, Gerome never fails to catch and
hold attention by startling contrasts of colour combined with a fine
accuracy of line work.

But what matter the means through which an effect is sought if they
prove successful both in the general impression produced by the work as
a whole and in the charm of the separate details,--in other words, if
the result justifies the effort?

Effort, in Gerome's case, meant literally a valiant and noble
persistence. He was ceaselessly in search of something new. In spite
of assured fame, he never repainted the same subject. During the
later years of his life, his ambition was to be at the same time an
illustrious painter and a sculptor of recognized merit; and in this
he succeeded. His attempt to revive, after a fashion of his own, the
precious lost art of antique sculpture, although greeted with a wide
divergence of opinions, remains a noteworthy achievement.

On the eve of his eightieth year and abrupt decease, Gerome still
laboured with the ardour and the splendid faith of youth. He sets an
encouraging example, as fine and as stimulating as the best of his
splendid pictures.




THE LIFE OF GEROME


Jean-Leon Gerome was born at Vesoul on May 11, 1824. Throughout his
life he retained a slight trace of the Franche-Compte accent, which
gave a keener relish to his witty anecdotes and piquant retorts.

He belonged to a family holding an honoured place among the
bourgeoisie. His excellent biographer, M. Moreau-Vauthier, relates that
his grandfather was on the point of taking orders when the Revolution
broke out. His father was a watchmaker and goldsmith at Vesoul. As a
child, he himself was in delicate health.

Nevertheless, he proved himself a good student at the college in the
city of his birth. While there he studied both Greek and Latin. His
instructor in drawing, Cariage, having noticed his early efforts, gave
him much good advice and encouragement.

At the age of fourteen, he copied a picture by Decamps, which had found
its way to Vesoul from Paris. The story goes that his father forthwith
favoured the idea that he should take up the vocation of an artist.
There is no use in exaggerating. As a matter of fact, his family
dreaded the hardships of so hazardous a career. But, upon receiving his
bachelor's degree at the age of sixteen, a degree which at that epoch
was by no means common, he obtained permission to go to the capital and
pursue his studies under the auspices of Paul Delaroche, to whom he was
provided with a letter of introduction.

It is pleasant to picture the young man setting forth alone by
_diligence_ and applying himself bravely to the task of acquiring
talent and renown.

He was most faithful in his attendance at the studio of Delaroche, who,
being the son-in-law of Horace Vernet, possessed at that time not only
a wide reputation as professor, but also an enormous influence both at
the Ecole des Beaux-Arts and at the court of Louis-Philippe.

Delaroche, who has aptly been called the Casimir Delavigne of
painting, a romanticist who stopped short of being a revolutionary,
parted company with the cold traditionalists of the older school in the
profound importance that he attached to accuracy and to the truth and
interest of movement.

Gerome was destined to draw his inspiration from analogous principles.
While interesting himself profoundly in costumes, in surroundings, in
local colour, he always avoided excess and maintained an almost classic
restraint even in the most modern of his fantasies.

Delaroche's pupils were a lively set. Gerome found life pleasant in the
studio where Cham amused himself by passing himself off upon strangers
as "the patron," and where his comrades were such men as Alfred Arago,
Hebert, Hamon, Jalabert, Landelle, Picou, and Yvon.

He won their regard by his flow of spirits and his caustic humour.
At this period he supported himself by copying paintings and making
drawings for the newspapers; but, although a small monthly income
of a hundred francs assured him comparative security, he was uneasy.
Although only eighteen, the young man was impatient to show what he
could do. He was seeking his path.

He took his first step towards finding it when he accompanied his
teacher to Italy after the latter had closed his studio. He remained
there for an entire year.

Upon his return, he studied for a time under Gleyre, after which he
worked for some months on Delaroche's _Bonaparte Crossing the Alps_.

In 1847, Gerome made his debut at the Salon with a veritable
master-stroke. At an exposition where Delacroix's _Shipwrecked Bark_
and Couture's _Roman Orgy_ monopolized the public gaze, the young
artist attracted keen attention by his _Young Greeks Engaged in Cock
Fighting_. Theophile Gautier enthusiastically proclaimed the merits of
this work, which brought Gerome much valued praise and some influential
supporters.

We shall revert again to this significant canvas, which since 1874 has
hung in the Luxembourg Museum, and with which the artist, when he later
attained full mastery of his art, found all manner of fault.

The first meeting between this painter of twenty-three, upon whom
renown had just begun to smile, and Gautier, magnanimous prince of
criticism and poetry, took place under circumstances that deserve to be
recorded.

Gerome was betaking himself to the offices of the _Artiste_, at that
time presided over by Arsene Houssaye; in his hand he held a line
drawing of his own recent idyll of classic times. On the staircase he
encountered Gautier who had paused there, and who began to talk to
him in glowing terms of the Salon and especially of a painting by a
newcomer, named Gerome.

"But that is I, myself!" cried the young man with keen emotion, and he
showed his drawing to the author of _Enamels and Cameos_.

Continuing to draw his inspiration from antiquity, he set to work with
a stouter heart, in a studio on the Rue de Fleurus, which he shared
with Hamon and Picou, associating with artists and with musicians such
as Lalo and Membree.

His labours were twice interrupted: first, by an attack of typhoid
fever, through which his mother came to nurse him; and secondly, by the
Revolution of 1848 when, in compliance with the expressed desire of his
comrades, he was appointed adjutant major of the National Guards.

It was about this same period that he received a first class medal and
found himself well advanced upon the road to fame.

"I have always had the nomadic instinct," Gerome used to declare, and
complacently questioned whether he did not have a strain of gypsy blood
among his ancestors. In his notes and souvenirs, which he entrusted to
his relative and friend, the painter Timbal, he confesses, along with
his various artistic scruples, his passionate love of travel.

[Illustration: PLATE III.--ANACREON WITH BACCHUS AND CUPID

  PIERRE LAFITTE & CIE, PARIS

(In the Museum at Toulouse)

Gerome had a magic brush that permitted him to undertake all types of
painting with the same facility. This is how he so often happened to
treat subjects taken from antiquity and was able to render them in all
their classic beauty. It is not without interest to compare him, in
this style of painting, with Nicholas Poussin, whom he admired, and
with Puvis de Chavannes, whose method he execrated.]

He was haunted by a longing to visit Greece, and more especially the
Orient, with its marvellous skies, its resplendent colours, its
barbaric and motley races of men.

In 1853, in the company of a number of friends, he traversed Germany
and Hungary, planning a lengthy visit to Constantinople. Owing to the
war, he was forced to cut short his trip at Galatz. But he brought back
a collection of energetic and striking sketches of Russian soldiers,
which later served good purpose in his _Recreation in Camp, Souvenir
of Moldavia_. And in like manner, in all his distant journeyings,
he invariably showed the same eagerness to seize and transcribe his
original documents, content to let them speak for themselves, without
his having to distort them to fit the special purpose that he had in
view.

This painting found a place in the exposition of 1855, together with
_The Age of Augustus_, a notable achievement in which Gerome revealed
the measure, if not of his true personality, at least of his lofty
conscience and his integrity as an artist enamoured of accuracy and
truth, even in the imaginary element inseparable from this type of
allegorical apotheosis. Notwithstanding a few dissenting opinions,
these two works were judged at their true value, and Gerome received
the cross of the Legion of Honour.

At this time he was scarcely more than thirty years old. A most
brilliant career henceforth lay open before him.

Gerome remains, beyond question, the unrivalled painter of Egypt, whose
aspects, enchanting and sinister alike, he has reproduced in a series
of pictures of finished workmanship and vibrant colouring.

It was in 1856 that, together with a few friends, among others
Bartholdi, then twenty-two years old, he undertook his long tour
through Egypt. To-day, one can go to Cairo or up the Nile as casually
as to Nice or Italy and with almost as little trouble. In those days
it was not a question of a simple excursion, of which any and every
amateur tourist would be capable, but of a veritable expedition.

Unforeseen adventures appealed to Gerome, for he was brave, energetic,
and eager for new sensations. M. Frederic Masson, the eminent
historian, who was one of his companions through the desert, has since
shown him to us, in a series of graphic recollections, as perpetually
on his feet, indefatigable, ready to endure any and every vicissitude
for the sake of sketching a site or a silhouette.

His stay in Egypt was for Gerome a period of enchantment. He has
left, in regard to it, some hasty but expressive notes. He passed
four months on the Nile, well filled months, consecrated to fishing,
hunting, and painting, all the way from Diametta to Philae. He remained
the four succeeding months at Cairo, in an old dwelling that Suliman
Pasha rented to the young Frenchmen. "Happy epoch!" wrote the painter,
"Care-free, full of hope, and with the future before us. The sky was
blue."

He returned to Paris with an ample harvest of sketches, a supply of
curious, novel, and striking themes to work up. M. Moreau-Vauthier
shows him to us at that period of his existence, full of unflagging
energy and pleasant enthusiasm, in the company of Brion, Lambert,
Schutzenberger, and Toulmouche,--not to forget his monkey Jacques, who
took his place at the family table arrayed in coat and white cravat,
but would slink away and hide himself in shame when, as a punishment
for some misdeed, they decked him out as a ragpicker.

What jolly parties were held in that "Tea Chest," in which Gerome then
had his studio, Rue de Notre-Dame-des-Champs! It was the scene of
many a festival, entertainment, and joyous puppet show, attended by
spectators such as Rachel (whose portrait Gerome painted in 1861), her
sister, George Sand, Baudry, Cabanel, Hebert, and others.

This was, nevertheless, an epoch of prolific work and constant
research. Gerome passed ceaselessly from one type of painting to
another; one might say that he rested from his exotic landscapes by
evoking, with an ever new lavishness of detail, curious or affecting
scenes from Greek and Roman antiquity.

Thus rewards and successes multiplied, and he experienced all the joys
of triumph. Already honorary member of the Academy of Besancon, he was
appointed professor at the Ecole des Beaux-Arts in 1863, and in 1865,
member of the Institut, where he succeeded Heim.

Meanwhile he fought a duel with revolvers and was gravely wounded. His
mother hastened once again to his bedside and saved his life a second
time. Since the ball had passed through his right arm, complications
affecting his hand were feared. The artist declared that if necessary
he would learn to paint with his left. No sooner was he cured than off
he started again, bound for Egypt, whence he passed to Arabia and, more
venturesome than ever, continued on his way, as one of his biographers
phrased it, "making sketches clear to the summit of Mt. Sinai."

He was destined to make still other journeys, notably that of 1868
in company of Messrs. Bonnet, Frederic Masson, and Lenoir; and his
companions paid tribute to his unfailing spirits and his powers of
endurance. But at the age of forty he married. The bride was Mlle.
Goupil, daughter of the well-known picture dealer.

He was a thorough man of the world and a favoured guest of the Duc
d'Aumale, who appreciated his ready wit and bought his _After the
Masquerade_ for the sum of 20,000 francs. In 1865 he received from the
Beaux-Arts and the Imperial Household an order for _The Reception of
the Siamese Ambassadors at Fontainebleau_.

Gerome was also numbered among Compiegne's habitual visitors, along
with Berlioz, Gustave Dore, Guillaume, Merimee, Viollet-le-Duc, and
others. M. Moreau-Vauthier, who with pious zeal has collected the
more interesting anecdotes of his life, relates that he had a special
gift for organizing charades: he was scene setter and costumer. At
Fontainebleau, he took the Empress out alone in a row-boat.

Surrounded by devoted friends, such as Augier, Charles Blanc, Dumas,
Clery, his brother-in-law, Fremiet, Gerome continued his laborious and
tranquil life in his vast atelier on the Boulevard de Clichy.

His days were passed in drawing and painting in his canvases. Towards
the end of the afternoon he would mount his horse and take a turn
in the Bois. He exhibited annually up to the year of the war. After
that, he lived in a sort of retirement until 1874, when, after a trip
to Algeria with G. Boulanger and Poilpot, he won a medal of honour.
_A Collaboration_, _Rex Tibicen_ (The King Flutist), and _His Gray
Eminence_, exhibited simultaneously, revealed him in full possession of
his ingenious and many-sided art.

New and resounding triumphs awaited him at the Exposition Universelle
of 1878, where he first revealed himself as a sculptor. As a matter
of fact, he had for a long time amused himself at modelling in clay.
He used to go to Fremiet's studio to do his modelling, and Fremiet,
by way of exchange, would come to paint in his. His two groups,
_Gladiators_ and _Anacreon, Bacchus and Cupid_, won him a second class
medal to take its place beside the medal of honour he had previously
received for his paintings. That same year, at the age of fifty-four,
he was raised to the rank of Commander. Cham expressed the joy of all
his friends by writing to him wittily: "I follow the example of your
ribbon, I fall upon your neck."

He was yet to gain still further honours: a first class medal as
sculptor, in 1881; to be declared _Hors Concours_ (Not entered for
Competition) at the Expositions of 1889 and 1900; and to be named Grand
Officer of the Legion of Honour.

From 1880 onward, excepting for a few flying visits to Spain and
Italy, Gerome lived at his hotel in Paris, where he kept up a rather
lavish establishment, including horses and dogs, up to the time of the
successive deaths of his father and his son. It was the latter for
whose tomb he carved a touching figure of _Grief_.

[Illustration: PLATE IV.--POLLICE VERSO

  PIERRE LAFITTE & CIE, PARIS

(In a Private Collection, United States)

The scenes from Roman antiquity repeatedly appealed to Gerome's talent,
notably in the case of the Games of the Circus, the dramatic value and
brilliant colour of which he fully appreciated. In _Pollice Verso_, he
shows us the victorious gladiator, who, in order to know whether or not
he is to despatch his adversary, turns a questioning glance towards the
Vestals, who invert their thumbs, decreeing death for the vanquished
and gasping opponent.]

His studio at Bougival held him for many a long day, while the season
lasted. While there, he worked with extraordinary assiduity, barely
giving himself time enough to appear among his guests and hastily
swallow a few mouthfuls of the mid-day meal. He owned at one time
another country house at Coulevon, near Vesoul, but this he sold to
one of his former pupils, Muenier. He remained none the less the chief
pride of his native town, where, even during the artist's life, there
was a street bearing the name of Gerome.

His favourite summering place, however, was in the heart of Normandy
at Saint-Martin, near to Pont-Leveque, where he possessed a delightful
property.

"He is a charming man, of rare integrity and fascination. Very simple,
too, like all men of real power, who need not exert themselves in
order to prove their strength." It is after this fashion that M. Jules
Claretie sums him up in his exquisite study of _Contemporary Painters
and Sculptors_. M. Frederic Masson, his faithful friend, has drawn
the following excellent portrait of Gerome: "A head firmly set upon a
long neck, features vigorously modelled in acute angles, sunken cheeks,
complexion bronzed, eyes brilliant and strangely black, moustache
obstinate and bristling, hair almost kinky, and sprouting in massive
clumps, ... a straight nose set in a lean face, ... figure exceedingly
slender and flexible, waist medium, but well modelled."

Such he appears in his painting of himself as a sculptor in his studio,
absorbed, in his alert and perennially youthful old age, by his new
task of making polychrome statues. M. Aime Morot, his son-in-law, has
shown him to us in his intimate life, simple, natural, and at one and
the same time alert and caustic. We find him also thoroughly alive in
the fine bust by Carpeaux and in the medal by Chaplain, now in the
Luxembourg.

M. Dagnan-Bouveret saw him under another aspect. In the portrait he
has given us, we have the master authoritatively proclaiming his
convictions. This distinguished artist, by the way, was formerly a
pupil of Gerome's. One day when he was complimenting the latter upon
his method of teaching, Gerome replied, in his loud, assertive voice:
"When I undertake to do a thing, I do it to the very end. I am a man
with a sense of duty."

As professor at the Ecole des Beaux-Arts he continued to fulfil his
duty for a period of forty years. While conducting his classes he
showed himself grave and stern, even sardonic when so inclined. In
front of a canvas too thickly coated, he would exclaim: "The paint shop
man will be pleased"; or perhaps he would move around to get a side
view and then play upon his words, saying: "How that picture stands
out!"

He had a good many foreigners in his studio, Spaniards such as La
Gandara, Americans like Bridgman and Harrison, and Russians such as
the celebrated and courageous Verestschagen who, according to M. Leon
Coutil, declared, in speaking of Gerome, "Next to my dear Skobelof, he
is the most resolute man that I have ever met."

Gerome was frank and unreserved in his opinions. Having become, so to
speak, the official representative of French painting, he was exposed
to repeated attacks. He did not hesitate to flout unmercifully and to
pursue with a veritable hatred such artists as had adopted formulas
opposed to his own,--and among them some of the biggest and the ones
least open to discussion. M. Besnard, who was not a pupil of his,
nevertheless owed him his Prix de Rome.

Many were the circumstances under which he showed his energetic
firmness; for example, when the Prince de la Moskowa wished to fix a
quarrel on him and prevent him from exhibiting _The Death of Mareschal
Ney_, he evoked this noble declaration from Gerome: "The painter has
his rights as much as the historian."

[Illustration: PLATE V.--THE PRISONER

  PIERRE LAFITTE & CIE, PARIS

(In the Museum of Nantes)

Gerome had travelled extensively in the East, for he loved its vigorous
colouring and picturesque customs. Here is a scene glimpsed from the
banks of the Nile, and he has transcribed it in this superb picture,
vibrant with colour and harmonious in composition.]

And when a prominent politician criticised the official curriculum
without proposing anything to take its place, it was, according to
M. Moreau-Vauthier, again Gerome who replied: "Gentlemen, it is
easier to be an incendiary than a fireman!"

This firmness, however, did not prevent him, so this same biographer
points out, from being sensitive to such a degree that he could
not bear to watch a cat of Fremiet's preparing to devour a nest of
sparrows. He used to bring champagne and dainty viands as presents to
his pupils. His humour, so M. Moreau-Vauthier goes on to say, served
as a mask to hide his sentiment. Poilpot, to whom Gerome was destined
later to give useful counsels for his panorama of Reischoffen, was
working prior to 1870 in his studio. One day he went to show him some
drawings. His master, having looked him over, inquired: "So, then, you
have no shirt?" "No, patron," he replied, "I never wear any." The next
day, Poilpot received a commission for a copy of an official portrait
of Napoleon III, together with an advance payment of 600 francs. This
pretty anecdote does as much honour to the pride of the one as to the
delicacy of the other.

Gerome sincerely loved the youth, the fantasy, the gaiety of France,
and more especially of Paris. One perceives it in reading the sparkling
preface which he wrote for M. Miguel Zamacois' _Articles of Paris_,
blithely illustrated by M. Guillaume. He was not too proud to appear at
costume balls, nor to continue to take an interest in them even after
he had ceased to attend them. He once put his name to a picturesque
sign for a doll shop in the "Old Paris" exhibit at the Exposition. For
an advertisement contest he painted a dog wearing a monocle, with this
amusing inscription and play on words, "_O pti cien_" (_0 petit chien_,
i.e., O little dog). He amused himself by sending to a toy competition,
organized by the prefect of police, a little Pompeiian saleswoman
holding a basket of various toys, and a diminutive police officer
brandishing a white club.

Gerome had always wished for a sudden and brusque death, "without
physic and without night-cap." He was spared both physical and moral
decline. At the age of seventy-nine he climbed the stairs, four steps
at a time, and sprang upon moving omnibuses running. He died suddenly
of a cerebral congestion, on his return from a dinner which he had
attended together with his colleagues of the Institut, January 10, 1904.




THE ARTIST'S WORK


It is difficult to enumerate in detail all the works of Gerome, whose
originality and energy were inexhaustible. Only a short time before his
death he declared that with the help of the sketches contained in his
cupboards he had material enough to keep him busy for twenty-five years
longer.

Instead of attempting to draw up a chronological list of his paintings,
which would be only approximately correct, even if limited to the more
important, it is more profitable to study this conscientious artist
under his principal aspects.

Although he made some talented attempts, Gerome neither was nor wished
to be a portrait painter, any more than a painter of modern life. He
had, however, as has been pointed out, all the necessary qualities
for this type which demands so much precision and assurance. In _The
Emperor Napoleon III Receiving the Siamese Ambassadors at the Palace
of Fontainebleau_, now in the museum at Versailles, there are eighty
portraits. The artist has represented himself, side by side with
Meissonier, and the story is told that a certain general accorded him a
sitting of only ten minutes.

Besides the large and somewhat sombre portrait of Rachel, which adorns
the Stairway of Artists at the Comedie-Francaise, and which was painted
from existing likenesses and from memory, there is scarcely anything
else to cite than the portrait of his brother while a student in
the Polytechnic School, a _Head of a Woman_ (1853, at the museum of
Nantes), those of M. Leblond, at Vesoul, mentioned by M. Guillaumin,
of M. A. T. (1864), of Clery, the great lawyer, and of Charles
Garnier, the celebrated architect of the Opera.

As a sculptor, Gerome has left some admirable busts, among others those
of Mme. Sarah Bernhardt, bequeathed to the National Museum, of _General
Cambriels_, of _Henri Lavoix_, the _Monument of Paul Baudry_ destined
for La Roche-sur-Yon, and, most important of all, the _Equestrian
Statue of the Duc d'Aumale_, which is now to be seen at Chantilly, and
the model for which is at the museum of Besancon.

Gerome had a sincere and profound love for antiquity; with him it was
not the enjoyment of a contemplative mind, a tranquil amateur art, but
that of an historian, an archaeologist coupled with the instinct of a
dramatist, a psychologue, let us say, who is eager to discover, in any
scene whatever, in the graceful or violent gestures of such and such
personages of bygone days, some general application. He was certainly
most anxious to suggest interesting or amusing parallels to modern
life, for, in spite of the dissimilarity of the settings, the tinsels,
the decorations, over which the artist laboured with an almost devout
care of minute detail, human nature to-day is always more or less close
to the human nature of Greece or Rome.

"Exhibit that picture, it will bring you honour," said Paul Delaroche
to his pupil, who had shown him, with much misgiving, the _Young Greeks
Occupied in Cock Fighting_. "It shows originality and style." And
that was his first success (1847). The grace of the young figures won
much admiration. Planche praised the harmony of the composition as a
whole. As to Theophile Gautier, he showed himself, as we have already
said, highly enthusiastic; he declared that the features of the boy
were drawn with extreme subtlety. "As to the cocks," he added, "they
are true prodigies of drawing, animation, and colour; neither Snyders,
nor Woenic, nor Oudry, nor Desportes, nor Rousseau, nor any of the
known animal painters have attained, after twenty years of labour,
the perfection which M. Gerome has reached at the first attempt." Let
us note immediately that Gerome was, as a matter of fact, a very great
painter of animals. His dogs, his horses, and his lions are the work of
a masterly observer.

Closely following upon the _Cock Fight_, we must recall _Anacreon
with Bacchus and Cupid_ (1848, Toulouse Museum) which Gerome himself
characterized as a "lifeless picture," and which nevertheless earned
him a second class medal. Later on he was destined to treat this same
subject in marble (Salon of 1881). The polished and somewhat affected
grace of _Anacreon_ must have especially pleased the painter, because
in 1889 he produced a whole series of compositions of delicious
daintiness, entitled _Cupid Tipsy_. On the same order of ideas, mention
must be made of _Bacchus and Cupid Intoxicated_ (1850, Bordeaux
Museum), and in addition to these, under the head of what may be
called his Hellenic canvases,--in which he succeeded in conjuring up
with magic skill the splendours and graces of that immortal mother of
letters and arts, Greece beloved by the gods,--the following pictures,
_The Idyll_ (1853), full of charm and solid erudition; _The Greek
Interior_ (1856), of sure and penetrating art; _King Candaules_ (1859),
in which the sumptuous beauty of Nyssia illumines the bed-chamber of a
Heraclid, 700 years B.C., and in which the interest of the picturesque
anecdote is enhanced by the artist's marvellous documentary knowledge.

In the same group must be mentioned _Phryne before the Tribunal_ (1861,
reexhibited in 1867), of charming subtlety, but with a little too much
emphasis, perhaps, on the irony of its psychology; and, of course,
_Socrates Seeking Alcibiades at the House of Aspasia_, analogous in
inspiration, and, as it happens, belonging to the same year; and lastly
_Daphnis and Chloe_ (1898).

[Illustration: PLATE VI.--THE LAST PRAYER

  PIERRE LAFITTE & CIE, PARIS

(In a Private Collection, United States)

The amphitheatre is filled to overflowing with the crowd that has
gathered to witness the martyrdom of the Christians. Around the vast
circle, unhappy victims agonize upon the cross. In one corner of the
arena, a group of men and women, condemned to die, confess their new
faith in an ardent prayer, while from the opened subterraneous passage
the ravenous beasts are advancing upon their human prey.]

Italy also, with all her memories, furnished Gerome with scenes of
striking contrast, evoked from the vanished past, spectacles at once
sumptuous and barbaric. He caught this atmosphere with rare
felicity. _Paestum_ (1851) commands attention because of its group of
buffaloes, which the Goncourts praised for "their ponderous weight of
head, the solidity of their huge bulk, the grouping of their attitudes,
the shagginess of their coats, the prevailing sense of grateful
coolness."

It is necessary to assign a place apart, in this series, for the
_Augustan Age, Birth of Christ_ (1855, Amiens Museum). In his own
private opinion, confided to his cousin Timbal, Gerome held that
this enormous composition, measuring ten metres in length by seven
in height, lacked inventiveness and originality. It is true that the
artist's personality is not clearly revealed in this picture, which
is a sort of vast commentary on a phrase by Bossuet, and indisputably
draws its inspiration from the _Apotheosis of Homer_ by Ingres.
Nevertheless, no one can dispute its noble qualities, and to borrow a
phrase from Theophile Gautier, its "high philosophic significance."
Beside Augustus Caesar deified appears Rome, in the form of a woman,
helmeted, armed with a buckler, and clad in a red chlamys; then
Tiberius, standing on the right, then statesmen and poets, Caesar,
Cleopatra, Anthony, Brutus, and Cassius grouped together; lastly the
throng of all nations on their knees, admirably rendered. In the
centre, relatively unimportant in this immense assemblage, are the
Virgin Mary, the Infant Jesus, and St. Joseph, treated in a curious
fashion, modelled on the manner of Giotto. "It is the chief ornament of
the Amiens Museum," Gerome would say jestingly; for he had largely lost
respect for this prolonged and important effort which represented two
years' work of a serious and diligent student of history.

The two flawless masterpieces of Gerome, the eloquent interpreter of
ancient Rome, are unquestionably his _Ave Caesar, Morituri te Salutant_
(1859), purchased by Mathews, in which, in the presence of a bloated,
overfed Vitellius, sitting pacifically in his imperial box, not far
from the white Vestals, crowned with verbena, gladiators are fighting
and dying in the circus, and _Pollice Verso_ (1874) in which these same
gladiators are represented, no longer as Roman soldiers, but in the
exact costume that they wear at the moment when the Emperor and the
crowd, ravenous for carnage, turn down their thumbs as signal for the
death stroke. This work, published by Goupil, did not appear at the
Salon. We must cite further _Gaius Maximus_, the _Chariot Race_, which
aroused legitimate enthusiasm in America; The _Wild Beasts Entering
the Arena_ (1902) and we must not forget that Gerome also expended his
energy as a sculptor upon these same attractive gladiatorial figures.

Striking and pathetic contrast is also earnestly striven for and
strongly rendered in _The Death of Caesar_ (1859, 1867). One almost
needs to be an incomparable "stage manager" in order to show the
body of Caesar after this fashion, in the foreground, in the chamber
deserted by the Senators; one Conscript Father, as a touch of satire,
has fallen asleep. The effect is powerful, even though it has been
sought for with too obvious care. Undoubtedly Nadar had the laugh on
his side when he compared the body of Caesar to a bundle of linen and
called the picture "The Day of the Washerwoman." Gerome appreciated
the humour of this pleasantry. It is equally true that Baudelaire
applauded the picture, exclaiming: "Certainly this time M. Gerome's
imagination has outdone itself; it passed through a fortunate crisis
when it conceived of Caesar alone, stretched upon the ground before his
overturned throne ... this terrible epitome tells everything."

The clever erudition of the painter, who had already revealed himself
as an adherent of the so-called group of "Pompeiians," in the
_Gyneceum_ (1850),--in which we perceive a group of nude women in the
court of a house in Herculaneum,--asserts itself once more, coupled
with an incisive touch of epigram in _Two Augurs Unable to Look at
Each Other Without Laughing_, and similarly in the _Cave Canem_, now at
Vesoul (in front of a Roman house a slave is playing the role of watch
dog), in the _Sale of Slaves at Rome_ (1884), etc.

A similar ingenuity, with greater amplitude, constitutes the charm
and the surprise of _Cleopatra and Caesar_ (1886). Cleopatra has had
herself brought into Caesar's cabinet in the palace at Alexandria,
concealed in a bundle of clothing. "Her appearance there," said Maxime
du Camp, who also praised the interest of the accessories, treated with
exquisite care, "is perfectly chaste, in spite of her nudity." All the
details are executed with a masterly command of picturesqueness and
accuracy.

As a religious painter Gerome has to his credit the _Virgin,
Infant Jesus, and St. John_ (1848), a youthful work imitated
from Perugino, a _St. George_, in the church of Saint-Georges at
Vesoul, a _St. Martin Cutting his Mantle_, in the ancient refectory
of Saint-Martin-des-Champs, a _Death of St. Jerome_ (1878) at
Saint-Severin, a _Moses on Mt. Sinai_, and _The Plague at Marsailles_,
and, most important of all, _Golgotha Consummatum Est_, intensely
lugubrious and symbolic in aspect, with Christ and the two thieves
appearing, through the desolate atmosphere, like writhing shadows on
the cross. This conception cost the author a violent diatribe from
Veuillot, while Edmund About, although making certain reservations,
wrote on the other side: "The entire sum of qualities that are
distinctive of M. Gerome will be found in this picture."

As a painter of exotic life Gerome remains an observer of the highest
order. If he has not wholly revealed Italy to us in his _Guardians of
the Herd_ and his _Pifferari_ (1855, 1857), he has at least done so
in the case of Egypt, still deeply impregnated with an ancient and
splendid civilization, naive and at the same time venerable, Egypt
before the advent of tourists, a luminous land where the Nile and
the Desert reign supreme, a land of magnificence and of savagery.
Landscapes of this Egypt of poetic mystery, and of Palestine as
well, childish or perverse _almas_, rude Albanian Chiefs, Turbaned
Turks,--one never wearies of these decorative effects, these clear
visions, these scenes of animation, whether violent or delicate,
the people, the vegetation, the fabrics, all resplendent under the
marvellous sky of the Orient.

In the company of this intrepid, venturesome and observant traveller,
we witness the passage of _Egyptian Recruits Crossing the Desert_, we
are present at _Prayers in the House of an Albanian Chief_, we pause
in the _Plain of Thebes_, not far from _Memmon and Sesostris_, and
we watch the _Camels at the Drinking Trough_, so admirably realized.
Gerome, who had a gift for finding the right and pleasing phrase, gave
this rather neat definition of a camel: "The Ship of the Sea of Sand."

Similarly, the _Egyptian Straw-chopper_ (1861, again exhibited in
1867, and purchased by M. Werle) symbolizes, simply yet forcefully,
agricultural Egypt, and all the varied shadings of her pastoral
poetry. Then again, there is _The Prisoner_ (1863), in which a boat
is making its way along the vast and pacific Nile. Two negro oarsmen,
the master, a bashibazouk, are in the prow; and in the stern, beside a
buffoon, who apparently derides him, while twanging the strings of a
guitar, the prisoner lies cross-wise, fast bound, and abandons himself
to his cruel destiny. There, in a setting of enchanted beauty, we have
the chief actors in this original drama, in which dream and reality are
blended.

What a horde of types, some of them bizarre, others simply comic! There
are, taking them as they come, a _Turkish Butcher in Jerusalem_ (1863),
_The Alma_ (Professional Singing Girl--1864), _The Slaves in the Market
Place_, _The Clothing Merchant at Cairo_, _The Albanians Playing Chess_
(1867), The _Itinerant Merchant at Cairo_ (1869). Then there is the
_Promenade of the Harem_, and still others, the _Santon_ (Turkish Monk)
_at the Door of the Mosque_ and _Women at the Bath_ (1876), the
_Arab and his Courser_ and _The Return from the Hunt_ (1878).

[Illustration: PLATE VII.--THE VENDOR OF RUGS

  PIERRE LAFITTE & CIE, PARIS

(In a Private Collection, United States)

From his numerous journeys to the East, Gerome brought back many
curious memoranda of picturesque scenes, which he subsequently
converted into brilliant canvases. He excelled in reproducing the
caressing beauty of shimmering carpets and the rippling sheen of silken
textures.]

In the company of this experienced and reliable guide, we wander from
_Jerusalem_ (1868) to the _Great Bath at Broussa_ (1885), from a
_Corner of Cairo_ to _Medinet_ and _Fayoum_. Here we have the severed
heads in the _Mosque of El Hecanin_, the nude woman in the _Moorish
Bath_, all the barbarity and all the grace of the Orient,--and
invariably the anecdote, whether agreeable or sinister, blends with the
matchless splendour of the landscape.

To this list must be added _Recreation in Camp, a Souvenir of Moldavia_
(Salon of 1854), in which a soldier is dancing before his assembled
comrades, to the sound of drums, fifes, and violins. A sentinel keeps
watch. It is a picture taken in the act, and intensely real.

It is easy to detect the historian, or, to adopt the expression of
M. Jules Claretie, the "Memoir Maker," possessed of the true gift,
agreeable and individual, lurking behind every one of the works of
this authoritative orientalist. He dedicated himself quite naturally
and with great success to the interpretation of history and of the
historic and literary anecdote.

His love of contrasts, his gift for depicting locality and somehow
conveying the very atmosphere belonging to the varied scenes that
are to be brought before the spectator's eye, give amplitude to such
attractive little compositions as _Louis XIV. and Moliere_ (1863),
and _A Collaboration_ (1874); evoke the whole sombre tragedy of the
death of Marechal Ney, _December 7, 1815, Nine o'clock in the Morning_
(1868); and appeal successively to our curiosity, our sympathy, or our
admiration, with a Frederick II., conqueror of Silesia, playing on
his flute, the _King Flutist_ (1874, purchased by M. H. Oppenheim),
_His Gray Eminence_ (1874), in which the austere and dominant Father
Joseph is making his way alone, down the stairway, in the presence
of the obsequious courtiers; a Bonaparte day-dreaming before the
Sphinx, _Oedipus_ (1886), a _Bonaparte at Cairo_ gazing at the town
from the back of his Arab horse, a _Bonaparte in Egypt_, mounted on a
white dromedary, dreaming of his omnipotence, of his conquest of the
universe, and surrounded by his overdriven soldiers.

As a matter of fact, Gerome made a sort of hero-worship of Napoleon
and the Napoleonic epic, resembling in this respect his friend, M.
Frederic Masson, the celebrated historian of the Emperor, who was
better qualified than any other writer to pay an eloquent tribute to
this _Bonaparte in Egypt_.

"Bonaparte is no longer on the road to Syria, he is on the road to
India; he is hesitating between the two halves of the world that he
holds in his hands; he is weighing the destiny of Alexander against the
destiny of Caesar; he is asking himself whether Asia, to which he holds
the key, is a fair exchange for Europe which he has just quitted; and
while his dream embraces the universe, he leaves his human rubbish heap
to suffer."

Gerome is wholly himself when he has an anecdote to give us, whether
it be subtle, humorous, kindly, or dramatic, and even,--why not use the
word?--melodramatic.

Classified thus, _The Duel after the Masquerade_ fully deserves
its brilliant reputation. Reproduced, not only in lithographs and
engravings, but even transferred to the theatre (given at the Gymnase,
in 1881, by Mme. Fould), its subject has become a matter of general
knowledge. It is winter in the Bois de Boulogne. A number of people
in fancy costume are bending over a wounded Pierrot, while one of the
witnesses of this improvised duel is leading away the murderer, the
Harlequin.

One can see at once what a tremendous appeal a subject like this would
have for the general public.

This singular drama, taking place in the snow, all this joyousness
ending in bloodshed and perhaps death, is so fantastic that it leaves a
lasting impression. It was, by the way, as M. Guillaumin has explained,
suggested by an actual duel that took place between Deluns-Montaud,
the Harlequin, and the Prefect of Police Bortelle, the Pierrot.

Undoubtedly there was, and still is, ground for criticism. Alexandre
Dumas thought, not unreasonably, that serious-minded men of that
age would not go out to fight each other in such a costume. Edmond
About criticized the pose of Crispin supporting on his knee an
entire group of spectators, along with the body of poor Pierrot. But
Paul de Saint-Victor praised the "truthfulness of the postures, the
etching-like precision of the heads, the wise planning of the whole
composition."

In order to appreciate better the daring fantasy and the wise and
invariably picturesque inventiveness of Gerome, we have only to study
further such works as the Frieze destined to be reproduced upon a vase
commemorative of the Exposition of London (1853), _Rembrandt Etching_
(exhibited in 1867, purchased by M. E. Fould), which has been admired
for its golden half-shadows and freely compared to Gerard Dow, the
_Reception of the Siamese Ambassadors_ (1865), _The First Kiss of
the Sun_ (1886), the _Poet_, _Thirst_ (1888), and fantasies, such
as, _The Amateur of Tulips_, _Whoever you are, here is your Master_;
anecdotal portraits throwing side lights on history, such as: _They are
Conspiring_, or _Not Convenient_, _Louis XI. visiting Cardinal Balue_,
_Promenade of the Court in the Gardens of Versailles_ (1896); animals
full of life and prowess, such as: _The Lioness meeting a Jaguar_
and _Ego nominor Leo_, a lion rendered life size; lastly, his studio
interiors, in which he has chosen to depict himself exactly as he was,
that is to say, a sincere, clear-sighted, and indefatigable workman.

In the most recent of these studio pictures, he appears, wearing a
sculptor's blouse and occupied in modelling a statuette of a woman.
He astonished his friends and admirers, during his last years, by his
earnest labours in sculpture. His two groups, _The Gladiators_ and
_Anacreon, Bacchus and Cupid_, claimed the attention of the public at
the Exposition of 1878; and it was the same with his marble statue of
_Omphale_ (1887), his _Tanagra_, his _Dancing Girl_, his bronze _Lion_
(1890, 1891), etc.

His efforts to revive the art of coloured or polychrome sculpture, the
so-called chryselephantine sculpture, which invokes the aid of various
precious elements, constitute one of the most curious and important
artistic experiments of modern times, even though the result did not
always come up to the expectation.

On February 2, 1892, in an unpublished letter addressed to M. Germain
Bapst, who desired information concerning the artist's experiment,
Gerome wrote: "I have always been struck with a sense of the coldness
of statues if, when the work is once finished, it is left in its
natural state. I have already made some experiments and am continuing
my efforts, for I am anxious to bring before the eyes of the public a
few demonstrations that I hope will be conclusive. I know that there
are a great many protests. The world always protests against anything
which is, I will not merely say new, but even renewed; for it disturbs
a good many people in their tranquillity and their routine." And after
having first shown that ancient architecture was adorned with colours
and that in chryselephantine sculpture the Greeks combined gold, tin,
and ivory, that they painted the marble and united it with various
metals, Gerome added: "Shall I succeed? At least I shall have the
honour of having made the attempt."

In the interesting study which M. Germain Bapst devoted to this
question, after having, as we have seen, consulted the artist himself,
he recalled the fact that both in chateaux and in churches the Mediaeval
statuary was coloured. In Greece, the Minerva Parthenos contained a
weight of gold equivalent to more than 2,200,000 francs in the French
currency of to-day. The statue of Jupiter at Olympus was partly of
ivory and partly of gold.

[Illustration: PLATE VIII.--THE TWO MAJESTIES

  PIERRE LAFITTE & CIE, PARIS

(In a Private Collection, United States)

In the mournful immensity of African solitudes, the king of planets
mounts towards the zenith, darting his fires upon the arid land that he
consumes, while the other king of the desert, the lion, contemplates
the triumphant ascension of his rival in the sky. Gerome has rendered
the scene with an eloquence all the greater because he has employed
such simple means.]

Towards the middle of the nineteenth century, the Duc de Luynes
undertook, in collaboration with the architect Dubau, to produce an
example of chryselephantine sculpture, which cost him more than 500,000
francs and was placed on view at the Exposition Universelle held in the
Palais de l'Industrie in 1855.

Gerome in his turn made a like attempt, in his _Bellona_, in which,
to remedy the cold immobility of the material, he coloured both
the ivory and the marble and at the same time invoked the aid of
silver, bronze, gold, and enamel. He had associated with him several
experienced collaborators, such as M. Siot-Decauville, who was to cast
the face of Bellona in bronze, Messrs. Moreau-Vauthier and Delacour to
point the ivory, M. Gautruche to attend to the verde-antique and the
electroplating. Lastly, Galle, and M. Lalique as well, made a number of
trial models for the little head of Medusa.

Among the other examples of Gerome's sculpture, mention must be made
of _The Entrance of Bonaparte into Cairo_ (1897), _Bonaparte_, a
bust (1897), _Timour-Lang, the Lion Tamer_ (1898), _Frederick the
Great_ (1899), _Washington_ (1901), _The expiring Eagle of Waterloo_,
_The Bowlers_ (1902), _Cupid the Metallurgist_, a statue in bronze,
_Corinth_, a statue in polychrome marble and bronze (1904).




THE ART OF GEROME


"If you wish to be happy," Gerome used to say to his pupils, "remain
students all your lives." For his own part he applied himself
ceaselessly to his studies, trusting nothing to chance. He had an
extraordinarily methodical and orderly mind, even in regard to the
smallest details. It is related that, when he was absent on his
travels, he would notify his models several months in advance, so that
they would be on hand to pose for him in his studio, from the very day
of his arrival.

Being partly a traditionalist and partly an independent, he did not
always possess the gift of pleasing the critics, and he loved them
none too well. And when one of them asked him one day for a sketch,
he replied, "I do not pay to be applauded." But he was exceedingly
strict in his self-criticism. In one of his notes entrusted to his
relative Timbal, he wrote: "I am my own severest critic.... I am under
no delusion regarding my works."

On the other hand, and it is well to dwell upon this in order to grasp
his personality, Gerome was far from being an eclectic. Of the work of
Puvis de Chavannes he said with virulence: "It won't stand analysis,
it is a series of mannikins set on the ground all out of plumb, and
nothing seems to fit in." And he made a play upon words by employing,
in place of Puvis, the Latin word _pulvis_, which signifies dust.

After his appointment as professor at the Ecole des Beaux-Arts, he did
his best to have Manet banished from it. He couched his protest in the
following energetic terms: "I am certain that Manet was capable of
painting good pictures. But he chose to be the apostle of a decadent
fashion, the scrap-work school of art. I, for my part, have been chosen
by the State to teach the orthography of art to young students.... I
do not think it right to offer them as a model the extremely arbitrary
and sensational work of a man who, although gifted with rare qualities,
did not develop them." In his opinion, it would have been more suitable
to exhibit such works in a bar-room than at the Beaux-Arts. M. Coutil
relates that Gerome said further on this same subject: "The first merit
a painting should have is to be luminous and alluring in colour, and
not dull and obscure."

He had, for that matter, no more tolerance for Millet than for Sisley,
Monet, and Pissaro. On one occasion, he assured M. Jules Claretie that
if Millet could return and again send his canvases to the Salon, he
would refuse them over again! And, when his distinguished interlocutor
protested, "Oh, come now, Gerome, you don't mean that!" he declared
unhesitatingly, "I mean just that, and nothing else."

Messrs. Moreau-Vauthier and Dagnan-Bouveret have given some very
accurate and useful details regarding his methods of instruction and
of work. They have shown him to us at his task, both as painter and
professor.

He emphasized the importance of construction, and of the character
of the form, rather than the form itself, which is a matter of
temperament. He insisted that a scene must be visualized in its
completeness, as a harmonious and fully significant whole. Emile
Augier, for instance, with whom he felt no annoyance at being compared,
the excellent comedian, Got, the younger Dumas, Gounod,--all of these
he loved for their absolute clarity, and he demanded it of them. He
declared that one has no right to paint off-hand, without a model; and
he also held that one has no right to make hasty, careless sketches.

His method was distinguished by its scrupulous and admirable precision.
Impeccable order always reigned in his studio. M. Dagnan-Bouveret
writes that his palette and brushes were scrupulously cared for.
He used to overspread his canvases with a uniform foundation of
half-tones more or less warm or cold, using preparations made by
Troigras. He roughed in the whole picture very rapidly, and this
first rough draft, according to connoisseurs, was always extremely
interesting.

In his paintings, he proved that the strength of colouring is in
inverse proportion to the intensity of light. He had a marvellous
faculty for making the delicate shadings of nature correspond with the
psychological sentiments that their aspects evoke. From this comes his
amazing variety.

A man of wide reading and deep culture, Gerome had a profound love for
the truth, for reality just as it is, holding that it is the artist's
first duty to know his place, his time, his episode, and the one
special angle of vision that will give the rarest and most fruitful
results.

On the eve of his death, he was still lauding the merits of
photography, which has the advantage of being able to snatch a document
straight out of life, without falsifying it by giving it a personal
interpretation that must always be more or less inaccurate.

Whatever allowance must be made for what we may call the personal
equation of an artist, his own individual temperament, it is not
unprofitable to recall this opinion of Gerome's, for it helps us to
acquire a better conception of his art, based as it was upon accuracy
and unwavering truth.

Truth, which he once depicted in her well, killed by liars and
mountebanks (_Mendacibus in histrionibus occisa in puteo jacet alma
Veritas_, Salon of 1895), always charmed and inspired him. He rendered
it more attractive by his admirable sincerity, by his chivalrous and
imaginative spirit, as well as by his archeological and ethnographic
learning.

Thanks to this lofty conscientiousness in research, his work, erudite
and entertaining at the same time, making distant and vanished
civilizations live again, and reproducing atmospheres and local
settings with a delicacy that at times is a trifle specious, but
always incomparably picturesque, cannot fail to please and charm to-day
as it did yesterday, and to-morrow as it does to-day.

Accordingly, it is with good reason that M. Soubies has lauded his fine
attention to detail, and that M. Thiebaut-Sisson has summed him up in
the following terms: "The artist created his formula for himself. He
extracted from it the maximum effect that it contained." And even while
we glorify and venerate those painters gifted with a graver or more
lyric vision, a bolder or more laboured craftsmanship, we must freely
subscribe to the opinion of Edmond About when he said of Gerome: "He
is the subtlest, the most ingenious, the most brilliant ... of his
generation."




Transcriber's note:

The following correction have been made:

p. 17 honoured placed among -> placed changed to place

Illustrations were moved to paragraph breaks and a missing comma
was added. Everything else has been retained as printed (including
ambiguous hyphens at the ends of lines). Italics is represented with
underscore.





End of the Project Gutenberg EBook of Gerome, by Albert Keim

*** END OF THIS PROJECT GUTENBERG EBOOK GEROME ***

***** This file should be named 44340.txt or 44340.zip *****
This and all associated files of various formats will be found in:
        http://www.gutenberg.org/4/4/3/4/44340/

Produced by Sandra Eder, Sharon Joiner, sp1nd and the
Online Distributed Proofreading Team at http://www.pgdp.net


Updated editions will replace the previous one--the old editions
will be renamed.

Creating the works from public domain print editions means that no
one owns a United States copyright in these works, so the Foundation
(and you!) can copy and distribute it in the United States without
permission and without paying copyright royalties.  Special rules,
set forth in the General Terms of Use part of this license, apply to
copying and distributing Project Gutenberg-tm electronic works to
protect the PROJECT GUTENBERG-tm concept and trademark.  Project
Gutenberg is a registered trademark, and may not be used if you
charge for the eBooks, unless you receive specific permission.  If you
do not charge anything for copies of this eBook, complying with the
rules is very easy.  You may use this eBook for nearly any purpose
such as creation of derivative works, reports, performances and
research.  They may be modified and printed and given away--you may do
practically ANYTHING with public domain eBooks.  Redistribution is
subject to the trademark license, especially commercial
redistribution.



*** START: FULL LICENSE ***

THE FULL PROJECT GUTENBERG LICENSE
PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK

To protect the Project Gutenberg-tm mission of promoting the free
distribution of electronic works, by using or distributing this work
(or any other work associated in any way with the phrase "Project
Gutenberg"), you agree to comply with all the terms of the Full Project
Gutenberg-tm License available with this file or online at
  www.gutenberg.org/license.


Section 1.  General Terms of Use and Redistributing Project Gutenberg-tm
electronic works

1.A.  By reading or using any part of this Project Gutenberg-tm
electronic work, you indicate that you have read, understand, agree to
and accept all the terms of this license and intellectual property
(trademark/copyright) agreement.  If you do not agree to abide by all
the terms of this agreement, you must cease using and return or destroy
all copies of Project Gutenberg-tm electronic works in your possession.
If you paid a fee for obtaining a copy of or access to a Project
Gutenberg-tm electronic work and you do not agree to be bound by the
terms of this agreement, you may obtain a refund from the person or
entity to whom you paid the fee as set forth in paragraph 1.E.8.

1.B.  "Project Gutenberg" is a registered trademark.  It may only be
used on or associated in any way with an electronic work by people who
agree to be bound by the terms of this agreement.  There are a few
things that you can do with most Project Gutenberg-tm electronic works
even without complying with the full terms of this agreement.  See
paragraph 1.C below.  There are a lot of things you can do with Project
Gutenberg-tm electronic works if you follow the terms of this agreement
and help preserve free future access to Project Gutenberg-tm electronic
works.  See paragraph 1.E below.

1.C.  The Project Gutenberg Literary Archive Foundation ("the Foundation"
or PGLAF), owns a compilation copyright in the collection of Project
Gutenberg-tm electronic works.  Nearly all the individual works in the
collection are in the public domain in the United States.  If an
individual work is in the public domain in the United States and you are
located in the United States, we do not claim a right to prevent you from
copying, distributing, performing, displaying or creating derivative
works based on the work as long as all references to Project Gutenberg
are removed.  Of course, we hope that you will support the Project
Gutenberg-tm mission of promoting free access to electronic works by
freely sharing Project Gutenberg-tm works in compliance with the terms of
this agreement for keeping the Project Gutenberg-tm name associated with
the work.  You can easily comply with the terms of this agreement by
keeping this work in the same format with its attached full Project
Gutenberg-tm License when you share it without charge with others.

1.D.  The copyright laws of the place where you are located also govern
what you can do with this work.  Copyright laws in most countries are in
a constant state of change.  If you are outside the United States, check
the laws of your country in addition to the terms of this agreement
before downloading, copying, displaying, performing, distributing or
creating derivative works based on this work or any other Project
Gutenberg-tm work.  The Foundation makes no representations concerning
the copyright status of any work in any country outside the United
States.

1.E.  Unless you have removed all references to Project Gutenberg:

1.E.1.  The following sentence, with active links to, or other immediate
access to, the full Project Gutenberg-tm License must appear prominently
whenever any copy of a Project Gutenberg-tm work (any work on which the
phrase "Project Gutenberg" appears, or with which the phrase "Project
Gutenberg" is associated) is accessed, displayed, performed, viewed,
copied or distributed:

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

1.E.2.  If an individual Project Gutenberg-tm electronic work is derived
from the public domain (does not contain a notice indicating that it is
posted with permission of the copyright holder), the work can be copied
and distributed to anyone in the United States without paying any fees
or charges.  If you are redistributing or providing access to a work
with the phrase "Project Gutenberg" associated with or appearing on the
work, you must comply either with the requirements of paragraphs 1.E.1
through 1.E.7 or obtain permission for the use of the work and the
Project Gutenberg-tm trademark as set forth in paragraphs 1.E.8 or
1.E.9.

1.E.3.  If an individual Project Gutenberg-tm electronic work is posted
with the permission of the copyright holder, your use and distribution
must comply with both paragraphs 1.E.1 through 1.E.7 and any additional
terms imposed by the copyright holder.  Additional terms will be linked
to the Project Gutenberg-tm License for all works posted with the
permission of the copyright holder found at the beginning of this work.

1.E.4.  Do not unlink or detach or remove the full Project Gutenberg-tm
License terms from this work, or any files containing a part of this
work or any other work associated with Project Gutenberg-tm.

1.E.5.  Do not copy, display, perform, distribute or redistribute this
electronic work, or any part of this electronic work, without
prominently displaying the sentence set forth in paragraph 1.E.1 with
active links or immediate access to the full terms of the Project
Gutenberg-tm License.

1.E.6.  You may convert to and distribute this work in any binary,
compressed, marked up, nonproprietary or proprietary form, including any
word processing or hypertext form.  However, if you provide access to or
distribute copies of a Project Gutenberg-tm work in a format other than
"Plain Vanilla ASCII" or other format used in the official version
posted on the official Project Gutenberg-tm web site (www.gutenberg.org),
you must, at no additional cost, fee or expense to the user, provide a
copy, a means of exporting a copy, or a means of obtaining a copy upon
request, of the work in its original "Plain Vanilla ASCII" or other
form.  Any alternate format must include the full Project Gutenberg-tm
License as specified in paragraph 1.E.1.

1.E.7.  Do not charge a fee for access to, viewing, displaying,
performing, copying or distributing any Project Gutenberg-tm works
unless you comply with paragraph 1.E.8 or 1.E.9.

1.E.8.  You may charge a reasonable fee for copies of or providing
access to or distributing Project Gutenberg-tm electronic works provided
that

- You pay a royalty fee of 20% of the gross profits you derive from
     the use of Project Gutenberg-tm works calculated using the method
     you already use to calculate your applicable taxes.  The fee is
     owed to the owner of the Project Gutenberg-tm trademark, but he
     has agreed to donate royalties under this paragraph to the
     Project Gutenberg Literary Archive Foundation.  Royalty payments
     must be paid within 60 days following each date on which you
     prepare (or are legally required to prepare) your periodic tax
     returns.  Royalty payments should be clearly marked as such and
     sent to the Project Gutenberg Literary Archive Foundation at the
     address specified in Section 4, "Information about donations to
     the Project Gutenberg Literary Archive Foundation."

- You provide a full refund of any money paid by a user who notifies
     you in writing (or by e-mail) within 30 days of receipt that s/he
     does not agree to the terms of the full Project Gutenberg-tm
     License.  You must require such a user to return or
     destroy all copies of the works possessed in a physical medium
     and discontinue all use of and all access to other copies of
     Project Gutenberg-tm works.

- You provide, in accordance with paragraph 1.F.3, a full refund of any
     money paid for a work or a replacement copy, if a defect in the
     electronic work is discovered and reported to you within 90 days
     of receipt of the work.

- You comply with all other terms of this agreement for free
     distribution of Project Gutenberg-tm works.

1.E.9.  If you wish to charge a fee or distribute a Project Gutenberg-tm
electronic work or group of works on different terms than are set
forth in this agreement, you must obtain permission in writing from
both the Project Gutenberg Literary Archive Foundation and Michael
Hart, the owner of the Project Gutenberg-tm trademark.  Contact the
Foundation as set forth in Section 3 below.

1.F.

1.F.1.  Project Gutenberg volunteers and employees expend considerable
effort to identify, do copyright research on, transcribe and proofread
public domain works in creating the Project Gutenberg-tm
collection.  Despite these efforts, Project Gutenberg-tm electronic
works, and the medium on which they may be stored, may contain
"Defects," such as, but not limited to, incomplete, inaccurate or
corrupt data, transcription errors, a copyright or other intellectual
property infringement, a defective or damaged disk or other medium, a
computer virus, or computer codes that damage or cannot be read by
your equipment.

1.F.2.  LIMITED WARRANTY, DISCLAIMER OF DAMAGES - Except for the "Right
of Replacement or Refund" described in paragraph 1.F.3, the Project
Gutenberg Literary Archive Foundation, the owner of the Project
Gutenberg-tm trademark, and any other party distributing a Project
Gutenberg-tm electronic work under this agreement, disclaim all
liability to you for damages, costs and expenses, including legal
fees.  YOU AGREE THAT YOU HAVE NO REMEDIES FOR NEGLIGENCE, STRICT
LIABILITY, BREACH OF WARRANTY OR BREACH OF CONTRACT EXCEPT THOSE
PROVIDED IN PARAGRAPH 1.F.3.  YOU AGREE THAT THE FOUNDATION, THE
TRADEMARK OWNER, AND ANY DISTRIBUTOR UNDER THIS AGREEMENT WILL NOT BE
LIABLE TO YOU FOR ACTUAL, DIRECT, INDIRECT, CONSEQUENTIAL, PUNITIVE OR
INCIDENTAL DAMAGES EVEN IF YOU GIVE NOTICE OF THE POSSIBILITY OF SUCH
DAMAGE.

1.F.3.  LIMITED RIGHT OF REPLACEMENT OR REFUND - If you discover a
defect in this electronic work within 90 days of receiving it, you can
receive a refund of the money (if any) you paid for it by sending a
written explanation to the person you received the work from.  If you
received the work on a physical medium, you must return the medium with
your written explanation.  The person or entity that provided you with
the defective work may elect to provide a replacement copy in lieu of a
refund.  If you received the work electronically, the person or entity
providing it to you may choose to give you a second opportunity to
receive the work electronically in lieu of a refund.  If the second copy
is also defective, you may demand a refund in writing without further
opportunities to fix the problem.

1.F.4.  Except for the limited right of replacement or refund set forth
in paragraph 1.F.3, this work is provided to you 'AS-IS', WITH NO OTHER
WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO
WARRANTIES OF MERCHANTABILITY OR FITNESS FOR ANY PURPOSE.

1.F.5.  Some states do not allow disclaimers of certain implied
warranties or the exclusion or limitation of certain types of damages.
If any disclaimer or limitation set forth in this agreement violates the
law of the state applicable to this agreement, the agreement shall be
interpreted to make the maximum disclaimer or limitation permitted by
the applicable state law.  The invalidity or unenforceability of any
provision of this agreement shall not void the remaining provisions.

1.F.6.  INDEMNITY - You agree to indemnify and hold the Foundation, the
trademark owner, any agent or employee of the Foundation, anyone
providing copies of Project Gutenberg-tm electronic works in accordance
with this agreement, and any volunteers associated with the production,
promotion and distribution of Project Gutenberg-tm electronic works,
harmless from all liability, costs and expenses, including legal fees,
that arise directly or indirectly from any of the following which you do
or cause to occur: (a) distribution of this or any Project Gutenberg-tm
work, (b) alteration, modification, or additions or deletions to any
Project Gutenberg-tm work, and (c) any Defect you cause.


Section  2.  Information about the Mission of Project Gutenberg-tm

Project Gutenberg-tm is synonymous with the free distribution of
electronic works in formats readable by the widest variety of computers
including obsolete, old, middle-aged and new computers.  It exists
because of the efforts of hundreds of volunteers and donations from
people in all walks of life.

Volunteers and financial support to provide volunteers with the
assistance they need are critical to reaching Project Gutenberg-tm's
goals and ensuring that the Project Gutenberg-tm collection will
remain freely available for generations to come.  In 2001, the Project
Gutenberg Literary Archive Foundation was created to provide a secure
and permanent future for Project Gutenberg-tm and future generations.
To learn more about the Project Gutenberg Literary Archive Foundation
and how your efforts and donations can help, see Sections 3 and 4
and the Foundation information page at www.gutenberg.org


Section 3.  Information about the Project Gutenberg Literary Archive
Foundation

The Project Gutenberg Literary Archive Foundation is a non profit
501(c)(3) educational corporation organized under the laws of the
state of Mississippi and granted tax exempt status by the Internal
Revenue Service.  The Foundation's EIN or federal tax identification
number is 64-6221541.  Contributions to the Project Gutenberg
Literary Archive Foundation are tax deductible to the full extent
permitted by U.S. federal laws and your state's laws.

The Foundation's principal office is located at 4557 Melan Dr. S.
Fairbanks, AK, 99712., but its volunteers and employees are scattered
throughout numerous locations.  Its business office is located at 809
North 1500 West, Salt Lake City, UT 84116, (801) 596-1887.  Email
contact links and up to date contact information can be found at the
Foundation's web site and official page at www.gutenberg.org/contact

For additional contact information:
     Dr. Gregory B. Newby
     Chief Executive and Director
     gbnewby@pglaf.org

Section 4.  Information about Donations to the Project Gutenberg
Literary Archive Foundation

Project Gutenberg-tm depends upon and cannot survive without wide
spread public support and donations to carry out its mission of
increasing the number of public domain and licensed works that can be
freely distributed in machine readable form accessible by the widest
array of equipment including outdated equipment.  Many small donations
($1 to $5,000) are particularly important to maintaining tax exempt
status with the IRS.

The Foundation is committed to complying with the laws regulating
charities and charitable donations in all 50 states of the United
States.  Compliance requirements are not uniform and it takes a
considerable effort, much paperwork and many fees to meet and keep up
with these requirements.  We do not solicit donations in locations
where we have not received written confirmation of compliance.  To
SEND DONATIONS or determine the status of compliance for any
particular state visit www.gutenberg.org/donate

While we cannot and do not solicit contributions from states where we
have not met the solicitation requirements, we know of no prohibition
against accepting unsolicited donations from donors in such states who
approach us with offers to donate.

International donations are gratefully accepted, but we cannot make
any statements concerning tax treatment of donations received from
outside the United States.  U.S. laws alone swamp our small staff.

Please check the Project Gutenberg Web pages for current donation
methods and addresses.  Donations are accepted in a number of other
ways including checks, online payments and credit card donations.
To donate, please visit:  www.gutenberg.org/donate


Section 5.  General Information About Project Gutenberg-tm electronic
works.

Professor Michael S. Hart was the originator of the Project Gutenberg-tm
concept of a library of electronic works that could be freely shared
with anyone.  For forty years, he produced and distributed Project
Gutenberg-tm eBooks with only a loose network of volunteer support.

Project Gutenberg-tm eBooks are often created from several printed
editions, all of which are confirmed as Public Domain in the U.S.
unless a copyright notice is included.  Thus, we do not necessarily
keep eBooks in compliance with any particular paper edition.

Most people start at our Web site which has the main PG search facility:

     www.gutenberg.org

This Web site includes information about Project Gutenberg-tm,
including how to make donations to the Project Gutenberg Literary
Archive Foundation, how to help produce our new eBooks, and how to
subscribe to our email newsletter to hear about new eBooks.