diff options
| author | nfenwick <nfenwick@pglaf.org> | 2025-01-22 20:01:35 -0800 |
|---|---|---|
| committer | nfenwick <nfenwick@pglaf.org> | 2025-01-22 20:01:35 -0800 |
| commit | 619f85b9192c48ef0422a3706614b491b2b59a38 (patch) | |
| tree | 04cb72801b3860e2d555eeb047ef168ee61c6847 /old/65929-0.txt | |
| parent | 4f4e3f075a80794c671b7f9873e62f5c6493ecb7 (diff) | |
Diffstat (limited to 'old/65929-0.txt')
| -rw-r--r-- | old/65929-0.txt | 2450 |
1 files changed, 0 insertions, 2450 deletions
diff --git a/old/65929-0.txt b/old/65929-0.txt deleted file mode 100644 index 9d82e2f..0000000 --- a/old/65929-0.txt +++ /dev/null @@ -1,2450 +0,0 @@ -The Project Gutenberg eBook of The Illustrators of Montmartre, by Frank L. -Emanuel - -This eBook is for the use of anyone anywhere in the United States and -most other parts of the world 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. If you are not located in the United States, you -will have to check the laws of the country where you are located before -using this eBook. - -Title: The Illustrators of Montmartre - -Author: Frank L. Emanuel - -Release Date: July 27, 2021 [eBook #65929] - -Language: English - -Character set encoding: UTF-8 - -Produced by: deaurider, Charlie Howard, and the Online Distributed - Proofreading Team at https://www.pgdp.net (This file was - produced from images generously made available by The Internet - Archive) - -*** START OF THE PROJECT GUTENBERG EBOOK THE ILLUSTRATORS OF MONTMARTRE *** - - - - -Transcriber’s Note: A list of spelling and accent corrections appears at -the end of this eBook. - - - - - THE LANGHAM SERIES - AN ILLUSTRATED COLLECTION - OF ART MONOGRAPHS - - EDITED BY SELWYN BRINTON, M.A. - - - - -THE LANGHAM SERIES OF ART MONOGRAPHS - -EDITED BY SELWYN BRINTON, M.A. - - - VOL. I.--BARTOLOZZI AND HIS PUPILS IN ENGLAND. _By_ SELWYN - BRINTON, M.A. - - VOL. II.--COLOUR-PRINTS OF JAPAN. _By_ EDWARD F. STRANGE. - - VOL. III.--THE ILLUSTRATORS OF MONTMARTRE. _By_ FRANK L. EMANUEL. - - VOL. IV.--AUGUSTE RODIN. _By_ RUDOLPH DIRCKS, Author of - “Verisimilitudes” and “The Libretto.” - - VOL. V.--VENICE AS AN ART CITY. _By_ ALBERT ZACHER. [_Nearly ready_ - - VOL. VI.--LONDON AS AN ART CITY. _By_ Mrs. STEUART ERSKINE, - Author of “Lady Diana Beauclerc,” &c. [_In the Press_ - - -These volumes will be artistically presented and profusely illustrated, -both with colour plates and photogravures, and neatly bound in art -canvas. 1_s._ 6_d._ net, or in leather, 2_s._ 6_d._ net. - - -[Illustration: STEINLEN - -TROTTIN - -(_Dressmaker’s Apprentice_)] - - - - - THE ILLUSTRATORS - OF MONTMARTRE - - - BY - FRANK L. EMANUEL - - - A. SIEGLE - 2 LANGHAM PLACE, LONDON, W. - 1904 - -[Illustration] - - -_All rights reserved_ - - - - -_TO MY BROTHERS_ - - _CHARLES_ - _WALTER_ - _ALFRED_ - - - - -ILLUSTRATIONS - - - 1. DRESSMAKER’S APPRENTICE (_By Steinlen_) _Frontispiece_ - - _Facing - page_ - - 2. A “MONTMARTRE TAPESTRY” DESIGN (_By Steinlen_) 2 - - 3. ON AN EXTERIOR BOULEVARD (_By Steinlen_) 6 - - 4. RÉVOLUTION (_By Steinlen_) 10 - - 5. EN PROMENADE (_By Steinlen_) 14 - - 6. THE COMBAT (_By Caran d’Ache_) 19 - - 7. AT THE MOULIN ROUGE (_By De Toulouse Lautrec_) 24 - - 8. PORTRAIT OF DE TOULOUSE LAUTREC (_F. L. Emanuel_) 25 - - 9. YVETTE GUILBERT (_By De Toulouse Lautrec_) 28 - - 10. “MIMI PINSON, TU IRAS EN PARADIS” (_By Willette_) 33 - - 11. PORTRAIT OF DRUMONT (_By Vallotton_) 38 - - 12. PORTRAIT OF LOUIS MORIN (_By Morin_) 41 - - 13. KNIFE GRINDERS (_By Huard_) 49 - - 14. PSYCHOLOGUE (_By Malteste_) 62 - - 15. A MOULIN ROUGE POSTER (_By De Toulouse Lautrec_) 66 - - 16. RUDOLPH SALIS (_By Léandre_) 73 - - 17. LES CHANTEURS DE MONTMARTRE (_By Léandre_) 78 - - 18. LÉANDRE (_By Léandre_) 80 - - 19. DEUX AMIS (_By Léandre_) 82 - - 20. PIERROT, ARTISTE-PEINTRE (_By Willette_) 86 - - - - -CONTENTS - - - CHAPTER I - - A. STEINLEN - - A painter’s painter--His field of operations--The - “Chat Noir”--His sympathies and work Pp. 1–14 - - - CHAPTER II - - CARAN D’ACHE - - The quality of his humour--His life and military - training--His “œuvre” Pp. 15–21 - - - CHAPTER III - - H. DE TOULOUSE LAUTREC - - A pathetic life-story--Student days--Comet-like career and - sad end Pp. 22–28 - - - CHAPTER IV - - P. BALLURIAU - - The modern Boucher Pp. 29–32 - - - CHAPTER V - - F. VALLOTTON - - His vigorous technique--The “Enfantillistes” and the strong - men--His woodcuts Pp. 34–39 - - - CHAPTER VI - - L. MORIN - - A Watteau of our day--His spirituality, and distinction as - a writer--The “Chat Noir” shadow plays Pp. 40–47 - - - CHAPTER VII - - C. HUARD - - The portrayer of provincials--His insight into character Pp. 48–56 - - - CHAPTER VIII - - J. WÉLY - - His grace and “esprit”--The modern choice of medium for - drawing for reproduction Pp. 57–61 - - - CHAPTER IX - - L. MALTESTE - - Drawing under difficulties--Strong and serious work Pp. 62–66 - - - CHAPTER X - - J. L. FORAIN - - Subtlety of technique and forceful caustic wit Pp. 67–71 - - - CHAPTER XI - - C. LÉANDRE - - An irresistible caricaturist--The influence of Renouard--His - theatre of work Pp. 72–80 - - - CHAPTER XII - - CONCLUSION - - Temperament of Montmartre and her Free Lances--Plea - for a National Gallery of Black and White Art Pp. 81–83 - - - - -I - -A. STEINLEN - - -There is no modern illustrator whose work has more completely won the -admiration of his fellows of the brush, whatever their predilection in -art, than Steinlen. Be the studio in Paris, in London, in Munich, be it -even in Timbuctoo, from some discreet corner will be drawn a treasured -copy or two of _Gil Blas Illustré_ illustrated by Steinlen--forthwith -to be discussed, and as surely lauded without stint. - -This is not to imply that Steinlen is what is termed “a painter’s -painter” and nothing more; for the artist we are now considering is -one of the few who are sufficiently great to have captured the warmest -appreciation from the public at large, as well as from the critical -ranks of his fellow workers. - -[Illustration] - -The “painters’ painter” is, as a rule, if nothing else, a master of -technique, one whose work shows on the face of it the sheer joy -evinced in the skilful manipulation of the medium employed--the -exceptions to this rule being the men whose work reflects some subtle -or involved workings of the brain, and whose great thoughts are felt -to outweigh the shortcomings of faulty technique. They are of course -styled “painters’ painters” because their work appeals to artists and -other highly trained critics; and it is useless to expect any but the -most sensitive among the public to appreciate them. In smoothness -and “softness” consists the acme of technical perfection in the eyes -of the untrained, who, as regards figure subjects, prefer something -which appears to the artist to be inane and common-place, and as -regards landscape subjects, insipid prettiness is always preferred to -greatness or originality of view. In either case an excess of detail is -a “sine quâ non,” and such _plébiscites_ as have been taken in England -have almost invariably proved that the inferior painters are the most -popular. - -Yet, occasionally a great artist arises who will upset these canons, -and compel the admiration of connoisseur and public alike; such an one -is Steinlen. - -Just as it may be presumed that J. F. Millet’s popularity extends to -all classes, so is it certain that the “Millet of the streets” will be -equally widely and lastingly appreciated. - -The pioneer work that Millet did in interpreting the toilsome -life of the French peasantry has been extended by Steinlen to the -denizens--reputable and disreputable--of the nearer suburbs of Paris. - -Born in Lausanne, he was trained for the church; and we may feel sure -that had he joined that profession he would have been a forcible -advocate of the poor and the ill-favoured, and that his blunt honesty -of diction would have dealt his congregation some rude shocks indeed. - -This was not to be, however, for the art in the man would out. In -1882 he journeyed to Paris; there to undergo much privation and many -hardships before getting a foothold in the form of a drawing accepted -by the paper _Le Chat Noir_, which was to prove the first rung on his -ladder to fame. - -[Illustration] - -Rudolph Salis’ artistic _cabaret_ of the “Black Cat” was the editorial -office of this paper, and at the same time a centre of all that was -Bohemian and daring and go-ahead, a forcing ground of impatient -talent. These first notable studies by Steinlen were of cats and of -children. It was here that our artist met the authors whose work he -was later to illustrate; more particularly he struck up a friendship -with that fierce poet _cabaretier_, Aristide Bruant, whose powerful -and terror-striking poems dealt with the very world that interested -Steinlen to the quick, and provided him with the stimulus for many of -his finest drawings. They both show us the, to us, shabby joys of the -_faubouriens_, and their terrible struggles with one another and with -Dame Fortune. - -Steinlen’s field of labour has been in the so-called eccentric -quarters of Paris--that is to say, on that soiled fringe of nondescript -outlying districts of the _Ville Lumière_, which is separated from the -city proper by the circlet of shabby-genteel exterior boulevards. Many -of these suburbs were at one time peaceful, outlying villages; but they -have now been swallowed, and more or less thoroughly digested, by the -metropolis. Thus it comes that many of them consist of a queer mixture -of humble rustic abodes jostling against towering blocks of tenement -buildings, or busy factories for ever being pressed outwards by the -expanding city. - -No less incongruous than these streets are their inhabitants,--chiefly -composed of armies upon armies of toiling workers, while there is -nevertheless an effervescing sediment or substratum of those who live -by violence and crime. The less successful of those who trade on the -weaknesses and follies of a vicious city are forced by circumstances to -live in these cheaper suburbs, just as are the poorest of the honest -classes; and this is so despite the fact that throughout Paris the -upper stories of all flats are occupied by the lower, or at any rate -the poorer, classes. - -Curiosity, and a search for novel experiences wherewith to whet their -jaded appetites, brought numbers of roysterers of a higher social -grade to the places of amusement affected by this poverty-stricken -and criminal population. These same humble places of amusement, more -particularly round and about Montmartre rapidly flourished out of all -recognition of their former selves, and until the recent waning of the -craze others were frequently being added to the list. This influx added -to the complex character of such neighbourhoods. Artists, authors, and -other persons of more or less Bohemian tastes, many of them men of -great renown and genius, have ever found their home on the commanding -heights of the Montmartre cliff. - -[Illustration] - -Among them Steinlen has settled, perched high over the myriad -glittering roofs and towers and domes of Paris, which lies seething -far below. The roar and clatter of the great city reach his window but -fitfully, as the sounds are hurried hither and thither on the wings -of wayward breezes, the while great stretches of urban landscape are -plunged into purple shadow or bathed in golden sunlight as the fleeting -clouds chase one another across the great dome of sky. - -Most of the artists to be referred to in this little volume are -intimately connected with this same breezy, turbulent suburb, and -also with the before-mentioned “Chat Noir”. This _cabaret_, founded -and carried on by Salis, himself an artist, for years attracted _le -tout Paris_ by means of its _réunions_ of the most up-to-date artists, -authors, and actors, and its unique theatre. Along with its sprightly, -risky weekly paper it would form matter for a weighty volume of itself. -The students from the _Quartier Latin_, moreover, came to share -their joyous, reckless hours of leisure between their own beloved -neighbourhood of the _Boul’ Mich’_, and the far-away Mount of the -Windmills--Montmartre. - -Peasants, workgirls, the starving, the insane, the destitute, those -who are fighting misery and those who are making it, garrotters, -thieves, murderers, and a large assortment of parasitical ruffians as -well, have all found a sympathetic student and recorder in Steinlen. -He understands them, he has a big heart, and he pities them all, and -what is more he makes us, willy-nilly, pity them also. He delights in -showing us that one little touch of remaining nature that makes the -whole world akin, and will out in his most abandoned wretch. He makes -us feel that his criminals are what nature and cruel circumstances -have led them to be. Never does he descend to the narrow-minded, -short-sighted, spiteful views of current events, discernible in the -work of so many of his talented _confrères_. The firm tenderness of his -nature reveals itself in the very lines of his drawings, which, as if -to counterbalance the brilliant vivacity of the work of so many French -illustrators, display a sturdy thoroughness and sanity. - -A notable feature about his work is that--although he depicts the most -depraved and immoral, as well as the most poverty-stricken of his -fellow citizens--it cannot be said to be low or vulgar. - -His drawings of simple peasant life have all the air of having been -undertaken as a relaxation from the contemplation of more lurid -subjects. He sallies forth among his chance models, sketch-book in -hand, ready to put down notes of salient features and expressive poses, -later to be incorporated in the wonderfully complete drawings which are -shown to the public. - -Steinlen is a prolific worker. First in importance among the many -publications whose pages he has enriched comes the _Gil Blas Illustré_. -It was Steinlen who initiated the idea of this Paris daily paper -issuing a halfpenny supplement on Sundays containing feuilletons -and poetry, illustrated with drawings to be reproduced in two or -more colours. Since the year 1891, and until recently, the front -and frequently other pages of this paper have consisted of splendid -drawings by him, as a rule depicting some terrible or pathetic episode -in the lives of the _faubouriens_ or _faubouriennes_ to whom we have -already alluded. In every case a background, equally masterly and full -of local character, has been introduced. This series of essentially -modern subjects was occasionally varied by the appearance of a drawing -such as the _Chevalier à la Fée_ or _Les Digitales_, inspired by -some mediæval incident or legend. These Steinlen would treat in an -entirely different but equally successful manner--the style employed -somewhat resembling that of another masterly designer, namely, Eugène -Grasset. Of his more usual style to pick out such splendid drawings -as his suicide in _À l’eau_, the terrible street fight in the _Voix -du Sang_ or _Le Vagabond_, _L’Immolation_, _Pour les Amoureux et pour -les Oiseaux_, _Marchand de Marrons_ or _14 Juillet_, is but to recall -hundreds of others equally worthy of special attention. - -In 1895 the _Gil Blas_ employed more colours in its reproductions, -and Steinlen rose to the occasion with some daring colour schemes -exemplified in _La Terre Chante au Crépuscule_, _Le Poil de Carotte_ -and many another drawing. Towards 1896 the range of his subjects -noticeably widened. - -Among other publications to which he has contributed one recalls _Le -Chambard_, in which appeared splendid lithographs from his own hand, -_La Feuille_, _L’Assiette au Beurre_, _La Vie en Rose_, _Le Canard -Sauvage_, etc. In the following music albums will be found some further -superb lithographs by Steinlen, namely, _Chanson de Montmartre_, -_Chansons du Quartier Latin_, and _Chanson de Femmes_. Among the books -he has illustrated are: _Les Gaitès Bourgeois_, _Prison fin de Siècle_, -_Dans la Rue_, and _Dans la Vie_--the latter in colour. - -Description of a few of his notable drawings, culled here and there, -may help us to a better understanding of their quality. - -First, then, he shows us the gallery of some dark, putrid Assembly -Hall; the air is thick with garlic, and oaths, and gas, whose garish -light illuminates a disreputable mob of frenzied anarchists, who -are applauding with delirious gusto the sentiments of “Down with -everything,” “Death to every one.” - -[Illustration: STEINLEN - -REVOLUTION - -(_Lithographed Poster_)] - -Next we are taken to some dull, superstitious Breton hamlet; a blind -and crippled tramp has arrived, hobbling through on crutches. We feel -that his infirmities have hardly saved him from a career of violence. -We can almost hear his raucous appeal for alms, as it falls on the -ears of a group of simple village children, pitying, yet more than -half-fearing, the uncanny stranger--just as they did the chained -bear that passed through a week before. - -Less gruesome is a great healthy farmer’s lass, surrounded by cocks -and hens and clattering her wooden shoon across the cobbled farmyard; -or the two fresh little laundry girls, swinging along laden with three -great baskets of clean linen. “Look out! there’s another of those -beastly bicycles,” says one of them; “and on Sunday too,” comments the -other. - -Then again there are idyllic scenes on the sordid Paris fortifications, -or yet further afield. _Trompe la Mort_ shows us a crowd of humble -folk scandal-mongering in hushed tones, their tittle-tattle provoked -to its utmost by the climax indicated in the background by a sombre -hearse. Another drawing transports us to the midst of a crowd in -quite a different frame of mind. A hue and cry has been raised, and -an infuriated mob is tearing down the street at the heels of its -hapless prey. Next we see one of the many drawings dealing with a side -of life which in less safe hands might be offensive. An unctuous old -harpy waylays two fresh little workgirls, and insidiously lays the -seeds which, to her profit, shall lead to their downfall. Steinlen -occasionally, if rarely, makes drawings of which humour is the motive -power. Among these I recall a café-concert study of his. Yvette -Guilbert, at that time as thin as a lath, holds the stage, and among -the audience is a great, porpoise-like woman who says, threateningly -to her poor, inoffensive little wisp of a husband--“Perhaps that’s your -style.... Satyr.” - -One of his most charming drawings reproduced in colour in _Le Rire_ is -called “le bon Gîte.” The hapless Krüger, all war stained, is seated in -some peaceful Dutch cottage, where Queen Wilhelmina, as an awe-struck -peasant lassie, fills for him the pipe of peace, the while her martial -German husband eagerly engages the old man in fighting his battles over -again. - -Nor can we forget the splendid double-page drawing that appeared in -_L’Assiette au Beurre_ for May 23, 1901. Here we see a big boy’s -seminary, representing the French army of the future, the hope of -the country, going out for its daily walk in charge of a number of -priests--every one of them a monument of craftiness, superstition or -bigoted intolerance, thus representing the power that poisoned a great -nation’s sense of justice during the hateful period of the Dreyfus -trials. - -Then again in the same paper for June 27, 1901, appears among others -one of his most notable drawing, a veritable _tour de force_, -representing the harrowing scene of the identification of corpses after -the dynamite explosion at Issy. - -It is interesting to compare such powerful work as this with one -of his earliest successes, namely the illustrations to _Les Gaitès -Bourgeoises_, a set of _chic_ and delicate little pen-drawings instinct -with humour and gaiety. - -Steinlen is a giant in the artistic poster movement. Some of his -productions were lithographs in colour of enormous size, each printed -from as many as thirty different lithographic stones. Here and there -a poster would give him the opportunity to introduce some of the -marvellous drawings of cats for which he is so justly renowned; and in -this connection we cannot forbear mentioning two splendid drawings of -cocks which appeared in the earlier numbers of _Cocorico_, as well as -some wonderfully spirited comic drawings of frogs in a volume entitled -“Entrée de Clowns.” - -Those who keep an eye on the picture galleries of the Paris streets can -never forget, so splendid was their design and colouring, Steinlen’s -great posters for _La Rue_, or the equally long and fresco-like groups -of realistic Parisian types advertising the “Affiches Charles Verneau.” -Then, who does not love the “Lait Pur Sterilisé” poster with its -golden-haired little girl in scarlet drinking out of a saucer, while -three inimitable cats beg at her knee. His poster for Zola’s “Paris” -was a poem in itself; and in the “Tournée du Chat Noir” the noble beast -concerned is treated to a glory of decoration. Then there are his -daring “La Feuille” poster, his “Yvette Guilbert,” and many another, -not to mention programme covers and such smaller game. - -Finally, Steinlen has produced charming etchings, both in colour -and in black and white, and such splendid oil paintings as _Les -Blanchisseuses_. - -[Illustration: STEINLEN - -_Gil Blas Illustré_ - -EN PROMENADE - -(_Pen drawing_)] - - - - -II - -CARAN D’ACHE - - -Emmanuel Poiré, better known by his Russian pseudonym of Caran d’Ache -(pencil), is a public benefactor, in that he has considerably added -to the gaiety of nations; and if it be true that one laughs and grows -fat, then he must also be responsible for much of the extra weight that -those nations carry with them. - -The man upon whom one may count to make one merry is sure to be -popular. Caran d’Ache, as we have already hinted, has made whole -nations merry, and he is a popular favourite. It is true that sometimes -his own infectious laughter is cynical, or spiteful, or cruel to a -minority, but he always has the majority to laugh with him, and follow -him in his pictured tirades--be they well-considered or ill-considered. -But, after all, that is perhaps a matter of politics, or nationality, -or religion, or what not; and the fact remains that his drawings are -irresistibly humorous, and are always excellent works of art. - -Caran d’Ache was born in Moscow, of French parents, but when twenty -years of age he came to Paris, where his innate talent soon evinced -itself. - -While undergoing his military service in the early eighties his -unquenchable passion for drawing was put by the authorities to their -practical use, in making studies of past and current military uniforms -for the War Office. The costumes of the glorious Napoleonic era and of -Germany were made a speciality, and the knowledge thus acquired was -carefully retained by the young artist, and served him in good stead in -his later years. - -Caran d’Ache, like every thorough-going Frenchman, preserves his love -for the army, incidents in whose life he is never tired of depicting -with that spirited brilliance we have come to know so well. And the -military officer’s smartness of bearing has stuck to him, for he is -recognised as an “_ultra chic_”,--a very dandy among the illustrators, -and an eccentric one at that. Yet at the same time he refuses to -associate himself with the smart set in Paris; he has too much of the -artist temperament for that. - -He was early attracted to the “Chat Noir” on the Butte of Montmartre, -and Rudolph Salis--that keen exploiter or genial art patron, which -you will--was not long in appreciating the talent of his client. Soon -we hear of him achieving an artistic triumph with his astoundingly -perfect shadow pantomime, _L’Epopée_, at the little “Chat Noir” -Theatre. Caran d’Ache had spared no trouble to make his silhouettes and -the effects in which they were set as perfect as possible. No greater -pains could have been taken preliminary to the painting of a series of -Salon pictures; and he reaped fame as his reward. - -“_L’Epopée_” dealt with Napoleon’s succession of military triumphs. -Opportunity was thus early given to M. Poiré to display his astonishing -knowledge of the horse in all its varied attitudes. - -The horse he delights and excels in is a magnificent, proud, -high-mettled beast, whom he puts at some breakneck charge, or causes to -career about in high-strung excitement. Caran d’Ache’s army horses are -not surpassed even by those of such acknowledged masters as Meissonier -and Détaille. _The Studio_ published some splendid equine studies of -his a year or so ago, which must have been a revelation to those who -had previously looked on Caran d’Ache as a comic artist and nothing -more. - -His drawings have been produced in innumerable papers, magazines, -and books, and are for ever being re-reproduced abroad. Collections -of his caricatures have been published as “L’Album Caran-d’-Ache,” -“Bric-a-Brac,” “Le Carnet de Cheques,” “La Comédie du Jour,” “Les -Courses dans l’Antiquité,” “Fantaisies,” “Galérie Comique,” “Les -Peintres chez-eux,” apart from his illustrations to “C’est à prendre -ou à laisser,” “Prince Kozakokoff,” “Malbrough,” &c. More recently -“L’Album” published a selection of his works, including some drawings -done in a bolder style than that which he generally produces for -reproduction,--such are the _Battery of Dreadnoughts_, bold and grim, -and the splendid _Charge_. In the drawing of himself there is a good -specimen of those caricature portraits for which he is so renowned. - -His work appeared in the pages of _Tout Paris_, _La Vie Moderne_, _La -Revue Illustrée_, and _Le Chat Noir_, &c.; superb military sketches -came out in _La Caricature_; and every week he carries on a running -fire of pencilled commentary in _Le Journal_, and _Le Figaro_, -contributing at the same time to _Le Canard Sauvage_, and _Le Rire_. -A special number of the latter paper entitled _Tactique et Stratégie_ -consisted of a short series of vigorous military cartoons, representing -various epochs, drawn on a large scale, and some of them reproduced in -colours. - -However, it is by his stories without words that Caran d’Ache has -attracted most attention, and, it must be confessed, they are simply -captivating. Comic stories have been told by the same means in Germany -for half a century or more, but Caran d’Ache is credited with having -introduced the progressive drawing into France. - -Caran d’Ache’s little tales need not a syllable of explanation. All is -told by the subtlest of alterations in the expressions on the faces -of his figures, in the movements of their bodies, or of other animated -or inanimate bodies; there is never any mistaking the gist of a Caran -d’Ache story. His attention to detail is marvellous, yet everything -takes its right place, and the venue is never confused. - -[Illustration: “THE COMBAT”] - -Nothing could better than--say--the set of thirty-eight drawings -entitled _M. Toutbeau catches the 5.17 a.m. Express_. We trace the -dear, fat old fellow through all his agony. He is asleep. He wakes in -a perspiration of fright--ten to five--on with them--that accursed -tight boot--almost forgot to wash--tie--good gracious, seven to--hallo, -there goes a button--_Palsembleu!_--5 o’clock--hair done--now for my -coat--I shall never do it! And so on, through all the terrors of hasty -packing, ringings for the servant, getting, discussing and paying the -hotel bill--umbrella left behind and recovered at the last moment--the -dash into a crawling cab--and then Mr. Toutbeau is seen beaming in his -first-class railway carriage. - -Who does not know the _Great Expectations_ set, wherein the expectant -nephew, to his joy, is telegraphed for by his dying uncle; and how the -latter miraculously gets stronger and plumper day by day, just as the -erstwhile buoyant and vigorous nephew’s growing disappointment drags -him visibly nearer and nearer to an untimely grave. - -Then there is the little set of three _Shooting Impressions of my -Friend Marius_, who presumably hails from the _Midi_. First he is in -the North of France with his gun and his dog--nothing in sight, _no -game at all_! Next he is in the Midlands, both man and dog are happier, -_There’s just a little_, and a bird has been bagged. Lastly, he’s in -his beloved and romantic _Midi_ and _there’s too much_; there’s no room -to walk for the game; they press round and caress the bloodthirsty -Marius, a hare is making up to the dog, and one confiding game bird has -brought its nest of young and actually settled with them on the gun -barrel! - -Another splendid set is that of _The Finest Conquest of Man_, wherein -is traced the marvellous horsemanship of a swell, who, with the -greatest of ease and suavity, completely subdues a very demon of a -horse. - -But we could proceed thus _ad infinitum_ and yet never give an idea of -the wonderful spirit of the drawings, which must be seen to be loved. - -Most of them are executed with a thin, very precise and sensitive line. -How successfully he can manage bold masses when necessary we can judge -by his excellent Cossack poster for the “Exposition Russe,” or in those -used to advertise the exhibition of his own works at the Fine Art -Society, London, in 1898. - - - - -III - -H. DE TOULOUSE LAUTREC - - -Lautrec is one of those artists whose work is so uneven and out of the -ordinary, that opinions as to its merits or demerits will ever remain -as strongly divided now that he is gone, as ever they were during his -lifetime. His short life work consists of a mixed series of talented -absurdities, and of veritable _tours de force_. His genius, alas! was -of the species that borders on insanity. Occasionally the border was -overstepped. - -In more ways than one Aubrey Beardsley’s short life may be compared to -that of Lautrec. His genius was of a similar order, and as one examines -his work, so will one be inclined first to call him an unwholesome -incompetent, and next feel convinced that he is a pioneer artist of the -first rank. - -Lautrec’s life story is a very pathetic one. With him in 1901 was -extinguished the last remnant of an ancient line of nobles. His father -was an amateur sculptor and painter, who was extremely fond of sport. -The family came to live in Paris in 1883. The artist son was a dwarf, -and after fighting hard against his handicap, and cheerfully entering -the ring to tilt successfully for fame, his mind gave way, and he died -at an early age in his father’s castle at Albi, after having been -confined in a private asylum. - -Lautrec’s student days were passed in Paris at Cormon’s _atelier_. -His work done from the life in the studio did not hold out any -great promise of later achievement; but, as is often the case, the -untrammelled work he did outside was recognised at once as being out -of the ordinary, and frequently of great merit. He would bring to -the studio to show his comrades very clever sketches of types he had -encountered during his rambles along the Boulevards. Indeed, Lautrec -occasionally asserted with some bitterness in after days that it was -these studies that had inspired Steinlen to make the character-drawings -through which he had become famous--Steinlen having previously made -cats and children his chief study. - -However this may be, one has not much patience with such claims. -Real plagiarism is a detestable thing, but surely there is room for -more than one artist in the field of the life of the poor, or of the -amusements of a huge city like Paris, without being suspected of that -offence. In any case Steinlen has treated his subject as no one else -has done, or probably could do. - -Lautrec was deservedly popular with his fellow students; his -excellent wit, delivered in a strident voice, and punctuated with the -gesticulations of a pair of extraordinarily short arms, always proved -entertaining to those in the midst of whose company he happened to be. - -His best work is probably to be found amongst his posters and -portraits. His illustrations, except in his earliest work, as seen in -_Paris Illustré_, more frequently show those crude vagaries of form and -colour, which would point to an unevenly balanced judgment. - -That Anquetin’s drawings strongly influenced Lautrec’s work is evident, -while Raffaëlli, Degas and Renoir were his particular gods in art. -Whether Ibels influenced him, or _vice versâ_, it is difficult to -judge; but in any case there is a remarkable similarity in the aims and -peculiarities of their art. - -[Illustration: DE TOULOUSE LAUTREC - - _Paris--Collection Bernheim_ - -AT THE MOULIN ROUGE - -(_Oil-Painting_)] - -There is a magnificent poster of the poet-saloon-keeper, Aristide -Bruant, by Lautrec, which alone would have been sufficient to place -him high among modern artists. Bruant in a large soft hat and wrapped -in a cloak of a gorgeous subdued blue, moves with vivid energy across -the sheet. His strong face, printed in grey, is wonderfully rendered -with a few telling strokes. Little less attractive is his Bruant at -the Ambassadeurs Music Hall. These are but two of many fine posters, -done since his first essay in 1888, to advertise the stars of that -peculiar firmament of the Cafés Chantants, to which Lautrec was drawn -as a moth to the flame. - -[Illustration] - -He lithographed posters of Cissy Loftus, of the beautiful Anna Held, -_La Goulue_ the dancer of the Moulin Rouge, and May Belfort; and being -particularly attracted by the picturesque possibilities of Yvette -Guilbert, with her then lithe figure and inevitable long black gloves, -he introduces her into many of his works. Then there is a remarkable -poster advertising _Babylone d’Allemagne_, and a yet more striking -one for _La Vache Enragée_, where we see a mad cow charging an old -coloured dandy down a street. There is also the startling advertisement -for “_L’artisan moderne_,” and the truly terrible “At the Foot of the -Scaffold.” Apart from these there are his posters “in little,” and -programme-covers, such as those for _Le Missionaire_ and _L’Argent_. - -The very peculiarities and incomprehensibilities inherent in Lautrec’s -work were sure to arrest attention, and demand that scrutiny which is -of the very essence of the successful poster. In every one of Lautrec’s -poster designs there is something strikingly unusual. Very rarely is a -figure drawn in its entirety; the margin cuts off part of it, otherwise -the design would have been too conventional for him. - -The artiste Caudieux zig-zags across a stage seen in violent -perspective, while down in a corner is a worried member of the -orchestra studying the coming bars. Caudieux’s head is full of life and -pent-up strength, and the whole movement of this quaintly placed figure -is striking in the extreme. - -Jane Avril’s poster shows an anæmic-looking artiste doing a high kick -on the stage. The foreground is occupied by a monster hand holding the -head of a ’cello in the orchestra. - -The poster for the _Divan Japonais_, on the other hand, shows us -a lady and gentleman in the audience listening to a singer on the -stage, behind an orchestra. Of the singer we see monster black gloves, -and everything but the head; of the orchestra we are shown two -’cello heads, and, of the conductor, the arms alone. The lady in the -foreground--who looks as though she always turned night into day--is -wonderfully depicted, as is her companion, the dissipated, bearded -swell. Perhaps his most graceful work in the poster line is that -advertising _Elles_. - -Finally in the poster for _La Gitane_, an unsavoury actress, arms -akimbo, who comes right out of the design in the left hand foreground, -smiles over her shoulder at the bold bad brigand who strides, in -shadow, out of the poster at the top right hand corner. In all these -and his other posters the lettering is bold and legible. - -Lautrec’s studies in the music halls are uncompromising in their -garishness; he apparently does not attempt to seek beauty where it -exists in such small quantities, or has been so carefully hidden. He -delights in the flare and glare, the powder and paint, the discords -and the inconsistencies of the thing. He prefers the raucous screech -of the bold-faced jig, whose reputation as a songstress rests on her -fine limbs, to the exquisite song of the highly-trained opera singer. -He would reject gold in favour of tinsel. Yet this same man in another -mood would paint a splendid and refined portrait. - -Then there is Lona Barrison, jauntily leading her white horse out of -the ring, followed by her manager with the pale chrome hair and beard; -and then the hideous negro--“Chocolat dancing in a bar.” All of these -figures, despite their faulty drawing and their element of caricature, -carry conviction with them. - -Lautrec’s travels in Spain, in England, Holland, and Belgium seem -to have left little impression on his work. It is probable that the -unhealthy surroundings and late hours imposed by his studies in -café-concerts, in green-rooms, in libertine ballrooms and worse, -hastened the end of that frail, feverish life--a life like that of a -gaudily coloured rocket, brilliant and soon spent. - -In his later years he had evinced a great attraction towards the -repulsive and the gruesome, and took a pleasure in seeing medical -operations performed. Curiously enough, his studio window overlooked a -cemetery. - -[Illustration: - - _By De Toulouse Lautrec_ - -YVETTE GUILBERT] - - - - -IV - -PAUL BALLURIAU - - -Balluriau is best known as the artist who has supplemented Steinlen’s -realism in the pages of the _Gil Blas Illustré_ with drawings full of -fancy and imagination. Just as we shall call Morin the Watteau, so he -may be styled the Boucher of the modern French press. - -His work, however, has not been confined to the pages of _Gil Blas_, -for his gay and irresponsible (we had almost said reckless and -unfettered) sketches have been noticeable in many another journal -of far less steady gait. Nor has he restricted himself entirely to -allegorical or eighteenth-century pastoral subjects. Occasionally he -bursts forth as a strong modern realist, walking sturdily in Steinlen’s -steps. - -Balluriau has that thorough knowledge of the human figure which enables -him to draw it with freedom and certainty, and makes him a painter of -classical allegories _par excellence_. Further, he has a broad, open -style, and a very charming and delicate sense of colour. His favourite -medium is apparently the chalk point, which he handles vigorously; -occasionally, however, he varies his method by using pen and ink. - -For ten years past his brilliant work has graced the pages of _Gil Blas -Illustré_. He is essentially the artist of lovers; and no better choice -of an illustrator for that paper’s series, “Les Poètes de l’Amour,” -than that of Paul Balluriau could have been made. - -To judge by these illustrations Cupid has handed over all the resultant -knowledge of his long experience to Balluriau; for there is very little -about the outward signs of love and passion which he has not carefully -noted, thereafter to render in his drawings. From the first shy gesture -to the tender murmur of adoration, and thence, through the whole gamut, -to the frenzied passion of uncontrollable love--we find the recording -crayon of Balluriau to be ever present. - -The settings in which he places his graceful lovers, his Bacchanalian -dances, his fauns and his nymphs, are suitably idyllic and beautiful. - -Innumerable are the backgrounds of fair lawns shaded by great trees, of -lovely bowers, and of secluded nooks in some great park in Dreamland. - -Perhaps there is some serio-comic difficulty to be settled, and we see -two charming little ladies, in high powdered coiffures and bared to -the waist, fighting a duel with swords under the trees. Or perhaps it -is twilight, and some deep and placid stream murmuring beneath the -darkling trees carries on its bosom a fairy bark and its cargo of love. - -Then it is the mysterious hour of moonrise, and in the shadow of the -garden wall, which climbs serpent-like up hill and down dale, we shall -find our lovers serenely happy, but hushed by the beauty of the waking -night. - -Frequently Balluriau will carry us back to a century of delicate -silks and satins; and in the broad sunlight will show a band of -amorous _beaux_ and _belles_, full of the _joie de vivre_, and about -to start a game of blind man’s buff. His figures live within their -old-time costumes; he draws handsome men and beautiful women, for -the ugly or the grotesque rarely attract him. But he has proved in -such charming works as his “Printemps,” and many others, that he also -finds in the lovers of to-day sufficient beauty to include them in -his _répertoire_. The embrace of the sentimental young student in the -felt hat and caped overcoat, who has just met the darling of his heart -in the Bois de Boulogne, is every whit as tender and graceful as is -that of the perruqued _galant_ of the eighteenth century, arrayed in -pink satins, who, behind a sculptured satyr, has stolen a kiss from -his coy and dainty partner in the last minuet on the sward. Look, in -his illustration to “Badinage Sentimental,” how natural is the whole -scene, how easy the pose, and how charming the face of the little -_Parisienne_, who listens, half fearing the ardent words of the young -exquisite who is stealing a conversation with her. - -Balluriau also knows how to deal with subjects requiring more vigour -of treatment--such as he displays in his Breton figure subjects. His -drawing _Partance_ is a case in point. The scene is laid in a sailors’ -_cabaret_, on the tiled floor are rough tables, at and on which sit -peaceful groups of Breton peasants; and sailor-men and buxom _bonnes_ -are bidding each other their last adieux--for the sailors are about to -embark in one of the ships we see through the wide-open window. - -And in the rare drawings where he touches on poverty and serious -tragedy he proves himself impressive and capable of deep feeling. -His drawings _La Toussaint Héroïque_, the terrible beer-house brawl, -_L’Été_, and _Un Mendiant Rousse_, are worthy of Steinlen. - -But it is in his illustrations of classical and allegorical subjects -that he stands alone, and shows his greatest individuality. - -Such subjects as his _Bacchantes_, his weird _Vers le Sabbat_, his -_Chloé_, or his _La Mort des Lys_, to mention but a few in the _Gil -Blas_ alone, could have come from no other hand; for excellency of -draughtsmanship combined with trained composition and an exquisitely -refined sense of colour, they are hard to beat. - -[Illustration: A. WILLETTE - - _Courrier Français_ - -“MIMI PINSON, TU IRAS EN PARADIS!”] - - - - -V - -FRÉDÉRIC VALLOTTON - - -Vallotton’s work has probably appeared less frequently in the French -press than that of many of his _confrères_ to whom we are directing our -attention. - -His drawings are marked by a singular boldness of execution; and -his skilful manipulation of masses of pure black gives his work -distinction, and makes them attractive on any page. - -Good draughtsmanship, and this clever use of unbroken black -masses--wherewith to indicate and model both his shadows and his -half-tones--is wherein Vallotton struck out a new line for himself, -and established his individuality. This he did, too, at a time when -there was a lamentable aberration evident among the ranks of the French -illustrators. It became the fashion for the comic draughtsmen to draw -as though they could not draw--a proceeding which provided a grand -opportunity for those who could not draw if they would to join their -ranks on even terms, and to pass as geniuses of a very _spirituel_ -order. - -The irritating group to whom I refer, in its frantic efforts to -be original, hit on the idea of drawing with the _naïveté_ of the -untutored child; and this _rôle_ was for several years acted so -thoroughly that some of the papers looked as if their illustrations had -been copied from a collection of babies’ slates. Terrible examples of -this evident incapability passing muster as genius may be seen in the -ludicrous discords by “Bob,” and, in a less degree, in the many works -by Dépaquit, Delaw, Rabier and others. - -Midway between this group of _soi-disant_ or actual incompetents, and -the valiant band of thorough unflinching draughtsmen of realism--in -whose ranks we find Renouard, Steinlen, Léandre, Huard, Malteste, -Wély, and others--came an intervening group. Their work was, and is, -extremely interesting. They adopted much of the _naïveté_ of the -_enfantillistes_, but wedded to it much knowledge and artistic feeling. -In this class one may mention Lautrec, who wavered between one group -and the other, Ibels, who did much the same, Jossot, who, amongst a -large number of weird drawings, has produced some really fine, strong -work in black and white and in colour, Metivet, who has similarly -produced both classes of work, Hermann Paul, an undeniably great -draughtsman, and the subject of this chapter, Frédéric Vallotton. - -The curious thing about Vallotton’s drawings is that we do not miss the -half-tones; the unbroken blacks are so skilfully managed that we do not -feel the want of Nature’s intervening tones between pure black and pure -white. His convention in no wise shocks one, but gives keen artistic -pleasure. - -This question of the accepting of conventions must strike one as a -very remarkable matter. The human face, in reality covered with a -smooth, soft skin, delicately gradated in tone and colour, is quite -completely and satisfactorily conveyed to us by Vallotton, in a cunning -arrangement of black splotches; while Huard will model the delicate -roundness of a cheek with two or three bold black lines in curves. In -both cases we at once realise the truth to Nature, and can even from -such suggestions conjure up the particular colouring and flesh texture -of the person represented. - -Vallotton adds a keen sense of humour to his great ability as a -draughtsman. Look at his coloured drawing _Don’t Move_, in _Le -Rire_, where we see a petty official and his family, tidied up for -the occasion, being photographed on a national fête day. A typical -photographer, engrossed in his work, counts one! two! three! -preparatory to removing the cap from his camera. So engrossed in his -counting is he that he does not notice that his carefully composed -group is becoming rapidly discomposed. In the foreground is fat -_nou-nou_, beaming down at the youngest hopeful in her arms; yet more -bulgy _maman_ swerves over to tickle her youngest, while the next -eldest clutches her mother’s skirts in terror of the great ugly man -with the camera. - -In the background is the father of the family, looking over his wife’s -shoulder at the baby; while he places one hand on the shoulder of -his eldest boy, who is rapidly outgrowing his knickerbockers, but is -nevertheless determined to “come out well” in the group. The party is -completed by the grown-up sister, who toys coyly with a straw flower -lent her for that exact purpose. - -A couple of drawings record with equal force and truth the effect on -the public of the cry “Stop Thief.” First we see the excited rabble in -full chase; and then the victim (absolutely innocent) being hurried -off to the police station by victorious gendarmes, followed by a -gesticulating crowd of knowing ones, who declare the prisoner is a -murderer who has killed a woman and six children. On another page -are two street wrestlers, drawn to the life. One of them is shouting -himself hoarse in his endeavours to collect a crowd to witness the -marvellous accomplishments of his colleague, a mountain of flesh who is -about to lift a stupendous pair of dumb-bells. - -Yet another coloured drawing in _Le Rire_, called _Le Coup de Main_ -is very remarkable in its composition and handling, and like most of -Vallotton’s work shows an appreciation of Japanese methods. It depicts -a team drawing a huge block of stone which has come to a standstill, -while a group of labouring men are all lending a helping hand to get -the huge white mass on the move. - -[Illustration: PORTRAIT OF M. DRUMONT] - -Among the papers which Vallotton has helped to illustrate may be -mentioned _Le Cri de Paris_, _Le Sifflet_, and _Le Canard Sauvage_. - -The hoardings of Paris have been enlivened from time to time by -vigorous posters by Vallotton, a class of work to which his art is -eminently adaptable. A most notable example was the bold and telling -one he cut on the wood, for the publisher Sagot. But it is Vallotton’s -portraits of contemporary celebrities that entitle him most to lasting -fame. Some of these have appeared in the French journals, as a -magnificent set of powerful woodcuts, done in a large style and on a -large scale. - -A fine example of this work was published in _The Studio_ in 1899, in -a portrait of Puvis de Chavannes, which Vallotton drew and cut on the -wood specially for that journal. - -A very subtle and delicately coloured reproduction of Vallotton’s -work in colour appeared also in _The Studio_ a few years back; and an -excellently rendered landscape woodcut by him appeared in the volume -that so fully indicated the claims of modern wood engraving, namely, -“L’Image.” - - - - -VI - -LOUIS MORIN - - -Morin is the Watteau of the modern illustrated press. He is, so to -speak, an eighteenth-century _maître galant_ of the twentieth century. -He inherits Watteau’s gaiety and light-hearted joy in the fêtes -and intrigues of the butterfly life of a time now gone by--a life -half imaginary and half real. His figures tip-toe airily through an -atmosphere scented with roses, ever ready for ardent love-making, for -a stately minuet on the sward, or for a reckless break-neck dance over -the cobble stones. Anon his figures laze in swan-like gondolas, gliding -along the moonlit canals of Venice to the throbbing music of the -mandoline. Moreover, all his delightful personages are instinct with -life; they flirt and romp, and their boisterous gaiety is infectious; -we must laugh with them for sheer joy--aye, and weep with them, now and -then, for sheer sorrow. - -Morin wields magic pens and pencils. His lines are full of nerve and -_verve_; they are impelled by the passionate excitement of the moment, -and can be no mere outcome of patient plodding. If ever an artist’s -fingertips were the ready, unquestioning servants of a lively brain, -those fingertips are Morin’s; in its effervescent spirit and gaiety, -the quality of his brain is essentially Gallic. - -[Illustration: LOUIS MORIN - -(_By himself_)] - -Morin was born in Paris in 1855, and was educated (education being much -against his youthful will) first at Versailles, and then at one of the -Paris Lycées. He was trained as an architect, but left that profession -in favour of sculpture, producing excellent portrait busts and such -exquisite work as his “Moineau de Lesbie,” &c. As an author Louis -Morin has gained great distinction. His “Cabaret du Puits sans Vin,” -written in 1884, was crowned by the Académie Française, and further was -awarded a gold medal at the Paris Exhibition. - -In 1883 he had produced “Jeannik,” a book resulting from a stay in -his beloved Brittany, and illustrated with eighty-seven drawings of -eighteenth century Brittany. Later he travelled in Italy, and found -inspiration for his book, “Les Amours de Gilles,” which he adorned with -178 spirited sketches of the _beaux_ and _belles_ of Old Venice, their -manners and their customs. In 1886 he wrote and illustrated “La Légende -de Robert le Diable,” to charm the little ones. He has also illustrated -for his juvenile admirers, “Pikebikecornegramme,” and “Dansons la -Capucine”; later he wrote and illustrated with ninety sketches his -delightful “L’Enfant Prodigue.” Then there are his works on “French -Illustrators,” and on “Quelques Artistes de ce Temps,” as well as -“Dimanches Parisiens,” with twenty-five etchings by the greatest wood -engraver of modern times--A. Lepère. - -He has also illustrated the following books: “Vieille Idylle” with -twelve drypoints, “Le petit Chien de la Marquise,” “Les Cerisettes,” -“Le dernier Chapître de mon Roman,” “Vingt Masques,” “Carnavals -Parisiens” (with 178 drawings), and “Les Confidences d’une Aïeule.” - -In the early eighties Morin started drawing for _La Caricature_ and -_Le Chat Noir_, and later on for the _Revue Illustrée_, the _Revue des -Lettres et des Arts_, _Figaro Illustré_, _St. Nicolas_, _Le Canard -Sauvage_, _La Vie en Rose_, &c. - -Morin was one of the leading spirits of the “Chat Noir” shadow -pantomimes, and produced there in 1890 his enchanting “Carnaval de -Venise,” in 1892 “Pierrot Pornographe,” in 1894 “Le Roi débarque,” and -in 1896 “L’honnête Gendarme.” In 1891 he produced his pantomime “Au -Dahomey” at the Musée Grévin. - -A fair sized room having been acquired as an annexe to the artistic -_cabaret_ of the “Chat Noir,” a white sheet was fixed at one end of -it over a miniature stage, and surrounded by a quaint and elaborate -gold frame. From the wings at the rear were thrown on to the sheet -the shadows of marvellous little figures cut out by such artists as -Morin, the great Henri Rivière, Caran-d’-Ache, Henri Somm and others, -who thereby achieved great fame. All kinds of ingenious little pieces -of machinery and clever combinations were invented and employed to -build up the great success, which proved attractive enough to draw -“all Paris” to Montmartre for some years, and to fill the pockets of -proprietor Rudolph Salis, the “King of Montjoie-Montmartre,” so full -that towards 1897 he was enabled to purchase and retire to a noble -estate in the country. From this estate, however, he was shortly to -be recalled by the magnetic attraction of his beloved Montmartre. - -[Illustration] - -A glance at the pages of the _Revue des Quat’ Saisons_, which consists -of four dainty parts written and illustrated by Morin, serves to give -us a very good idea of his later work. Each of the quarterly parts -is contained in a paper cover embellished with a different design in -colour by the artist-author, which gives one a foretaste of the treat -of spices contained within; for within, interspersed amongst the larger -plates of a refined colouration, are numberless little masterpieces -of pen draughtsmanship, incredibly gay and graceful and supple. Morin -herein shows himself a superb draughtsman, his excited little figures -career about the pages, their shapely forms palpitating and quivering -with the _joie de vivre_. The artist’s quick eye has detected the -slightest inflection in the body’s outline, caused by some momentary -and wayward impulse, and crystallises the beautiful thing for his own -joy and for ours. - -The intoxication of the carnival pervades the greater part of this -book, whose literary contents consist of a series of chapters on such -interesting matters as the “Courrier Français Ball,” “The Ball of -the Medical Students,” and the final two Quat’z’arts Balls--at which -latter the Paris art students and their models used, until the heavy -hand of the law fell upon them, to vie with one another in producing -the most artistic and audacious groups of revellers in (and without) -fancy dress ever seen. Another chapter is devoted to a “Night Fête -at Venice” in the olden time, with its scenes of love and revelry. -Yet another, illustrated with silhouettes such as helped to make the -success of the Chat Noir Theatre, deals with the influence of that -institution on latter-day Art and Poetry. Then follows an article on -“Spanish and Eastern dances,” illustrated with gracefully whirling -votaries of the terpsichorean art; next comes a chapter on “Modern -Sculpture,” decorated with irresistibly comic drawings of models posing -in excruciating attitudes to satisfy the modern sculptor’s supposed -craving for originality. - -The amount of ingenuity, facility, and anatomical sureness shown in -this little set astounds one. - -Most of the drawings have evidently been done with a very flexible pen, -capable alike of giving a line that with but slight pressure passes -from great delicacy to corresponding strength. - -[Illustration: - - _By Louis Morin_ -] - -The _Vie en Rose_ contained many contributions from Morin; occasionally -he essayed a drawing executed with the bold thick line then in vogue, -but anything approaching brutality in method or subject could not but -come amiss to him, and it is in such delightful fancies in this journal -as the _Façon de voir la vie en Rose--Le Dessinateur_--that we see -him at his best. A draughtsman of elegant appearance, surrounded with -bric-a-brac, is here seen in his censer-perfumed studio, reclining on -an enormous rose-coloured cushion; his cigarette is in one hand, and -the crayon which is limning a female form in the other. Two adoring -little models watch and guard him; while a procession of respectful -art patrons stream in humbly to offer their thousand-franc notes for -the sketches he is tossing off. - -Other less discreet studio incidents, treated with even more delicacy -of colour and draughtsmanship, are contained in the journal. - -Morin stands alone in his particular style of workmanship: those who -have come nearest him are the joyful and boisterous Robida, and the -more reserved Henri Pille. - -From all the above it is easy to gather that Louis Morin is little -short of a genius; a charming and wonderful personality, endowed with -one of the keenest and most versatile brains of our day. - - - - -VII - -CHARLES HUARD - - -Huard has done for the denizens of the godly, deadly dull French -villages and provincial towns of France what Steinlen has done for -Paris--and he has done it exceedingly well. It is difficult to conceive -how these worthy people, so fully convinced of their own importance, -so proud of their deviltries and or their little wickednesses, and so -full of tittle-tattle about their neighbours could have been better -introduced to us. - -Huard’s collection of one hundred sketches, published in book form, and -entitled “Province,” should prove a valuable document to future writers -on the manners and customs of a section of French provincials at the -commencement of the twentieth century. He interests himself mainly -with the local official and _petit commerçant_ (or tradesman) classes, -deviating occasionally to draw within his net a few stray soldiers, or -some dignified member of the old nobility of France. - -A man of healthy mien and fine physique, Huard is excessively reserved -and retiring, seeking the companionship of very few, and entirely -engrossed in his work. Moreover, he is most modest, and has in no wise -been spoilt by the lasting success and renown his work has earned for -him, at an age when others are but commencing to hammer at the door of -Fame. - -[Illustration] - -Huard was born in Paris, but brought up in a provincial town. His -schooldays, we are told, were marked by indomitable diligence in the -successful finding of means of evading the tedium of one school after -another. It is a ludicrous fact that although none of his humorous -sketches are actual portraits, his own townspeople have taken such -dire offence at what appeared to them as hits at themselves, that they -have so far boycotted the satirist that he willingly banishes himself -from the town in which he passed his youth. It is even reported that -one old lady said, quite seriously, that if he ever dared to draw her -she would disfigure him for life with vitriol. Possibly this is the -marvellous person, in a good temper, whose physiognomy appears on the -cover of the Huard number of “L’Album.” - -Of course it is not to be denied that Huard has “made game” of the -provincials; and, knowing the inherent pettiness of the classes he has -held up to ridicule, it is small wonder that they resent fun poked -at their expense by one who to them can appear to be no less than a -traitor. Huard, however, is never spiteful or malicious; he sees better -and further than his neighbours, and he knows how to tell the truth -about what he has seen, without being warped by local influences. - -A perusal of “Province,” and other works to be mentioned, will, I am -sure, prove the truth of these remarks. - -His figures are as a rule set in fitting urban landscapes, every whit -as truthful as the personages they frame. Look at the drawing among -those classed _Les Officiels_, entitled _Midday Mass is far the most -aristocratic_--wherein a procession of regular church-goers debouches -out of a picturesque, half-hearted, somnolent High Street into the -blazing sunlight of the “Grande Place.” The local member and his wife, -the lawyer, and all the other pious scandalmongers of the town are -going to make their daily penitence. We can see these good folk, we -can feel the sunshine, and we can even hear the clangour of the bells -in the church tower. Then look in another sketch at the two editors of -_The Revenge_. Were ever such _chauvinistes_, such firebrands? Getting -on in years--true; but as dangerous as not yet extinct volcanoes, they -reek of pistols for two and coffee for one. - -A drawing labelled _The Express conveying the President will pass at -five o’clock_, is most amusing. There, on the little railway platform, -is gathered all the official rank and society of Tilliere-Sur-Ruron. -Inflated, yet nervous, they fidget about, awaiting impatiently the -proudest moment of their lives. We know them all; the mayor with -his address is there, surrounded by his satellites of the Municipal -Council, all arrayed in heirloom dress suits, members of the Gymnastic -Society are there--some lithe, some burly--then there are _ces braves -pompiers_, and the stern gendarmes; and behind them, dressed in their -best, but shut out from view and from seeing, are the townspeople in -their thousands. No matter, they are about to receive a main topic of -conversation for many a weary year to come. - -Then there are the poor, dear, terrible old ladies, to whom Huard -introduces us under the heading “Les Vieilles Dames,”--thin-lipped, -moustachioed, bigoted, deadly-dull personages are they, most of them; -but they do not think so. They are contented, and are even conceited, -as to the figure they cut, despite their shocking clothes; for is not -each of them so much more Parisian in appearance and manners than -“Madame Chose”--round the corner, and just out of hearing. - -Here and there, however, we are presented to some real dignity, the -dignity which pertains to old parchment. For example there are the -portraits of _the Mlles. Petanville de Grandcourt, in whom will expire -the most purple blood of the country_. - -Under _Soirs de Province_ we are shown with quaint humour the nocturnal -dissipations of a provincial town. Two troopers, one as drunk as the -other, are zig-zagging an erratic coursee home to barracks. One says -to the other: “Vidalène--you hurt me to the quick ... you won’t wait -for me because you think I’m drunk ... you are ashamed of me!” Again, -the musical genius of the place has brought his violin to an at-home, -and says: “What I prefer in music is imitations. Listen, I’ll give you -first ‘Mother-in-Law in hysterics,’ and then ‘The Nightingale.’” - -Then amongst the group of drawings headed _Rentiers et Retraités_ look -at the two retired tradesmen, chatting in the middle of a deserted -square. In bated breath one of these busybodies relates to the -other--“You know the whole town is agog with it. Mrs. Lepinçon visited -the new dentist three times in the same day!” - -A splendid set of drawings is included in the group _Au café_. We -can see that they are so many _resumés_ of the hurried sketches, for -ever being made in the sketch-books which are Huard’s never-failing -companions. The handling, whether in pen and ink or in chalk, is always -frank and bold, and occasionally is like that of Raffaëlli. Among the -_Raisonneurs et Sentimentaux_ are two old gossips seated on their -favourite bench on the fringe of the town; it is evident that neither -of them, even in his palmiest days, could have set the local brook -on fire. Yet one of them explains that “there have only been two men -who have understood the proper course for France to pursue--M. Thiers -and I. M. Thiers is dead, and they will not listen to me!” A joyful -break in the monotony of life in the provincial town is most admirably -rendered in _Market day at Pavigny-le-Gras_. Everyone and everything -is fat, and hot, and smiling. Joy and plenty are the key notes of the -harmony; exuberant good nature exudes from every pore. Even the houses -around the Place de la Cathédrale seem to beam and bulge in purring -contentment. - -A review of Huard’s work leads one to regret that he does not render -his survey of provincial types more complete, by occasionally including -studies of that manly and womanly beauty which exists in even the most -forsaken community, to leaven the predominant ugliness. However, it may -be that such forms of rustic beauty do not attract Huard, and we must -rest grateful for his view of such types as do interest him deeply. - -M. Huard--equally with several others of the illustrators mentioned in -this little volume--has been honoured by having an entire number of -“L’Album” devoted to his work. Therein we learn that to the few Huard -is known as a most able oil and pastel painter of seafaring folk; and -the etchings and chalk drawings reproduced convince us that it is a -well-earned reputation. The double-page centre drawing of the number -consists of a masterly _Return from Mass_, in which we see the good -souls repairing homewards in the moonlight, soothed and contented in -mind and in spirit. A few pages further on we come to two _piou-pious_, -or “tommies,” enjoying their _Plaisir du Dimanche_: they are seated, -and one of them smokes a cheap cigar. The comment runs, “You wanted to -come here so as to show yourself off smoking a cigar; but we could have -had much more fun at the station watching the trains go through.” - -_Le Rire_ has published a quantity of Huard’s work, the strength and -vigour of which never seems to fail. The subjects are frequently drawn -from the quays of Paris, or from cafés and restaurants patronised -by visitors from the provinces to the gay city. The humour of a -drawing called _Plages_, in which a rather vulgar Paris tripper -to the seaside, paddling with her friends, exclaims in astonished -appreciation--“By Jove, sand like at Charenton” (shall we translate -Putney?), is apparent to all. In these, as in all his sketches, whether -drawn from a low Paris “pub,” or from an innocent village café, indoors -or out, the entire truth to nature of the type chosen, the very cut and -hang of every garment is absolutely convincing, and unerringly put in -with a few bold touches of the pen. - -A pathetic drawing is that of the poor workwoman, who has tramped out -to the sordid wastes of the _fortifs_, or fortifications of Paris; and, -in her enjoyment of the faint echo of the real country, there to be -found, exclaims--“If I were rich I’d come here every day!” - -Huard has drawn for _L’Assiette au Beurre_, _L’Image_, _Le Rire_, -and _Cocorico_ some remarkable military subjects, in which he has -depicted the French soldier to the life. Here, we have him disclosing -to a comrade on the quay his modest dreams of fortune--there, he -is discussing rations with his colonel, and in another splendid -double-page drawing we see him at night, shouting some rude refrain, -and painting the town scarlet generally; but the finest of all is -perhaps a vivid drawing in colour of a squad on a drill ground,--red -caps, white suits, and a yellow background,--the whole making a -most striking page. Huard is very successful with these coloured -illustrations, many of which appear in _Le Rire_, and charm us with -their quaint breadth and simplicity of treatment. Nothing in this way -could be better than the old _concièrge_ and his dumpy wife, who are -painting a cast of the “Venus of Milo” with canary yellow, and decide -that it is much prettier like that, and much less indecent. - -For the exhibition of _La Demi Douzaine_, the little group of artists -among whom he exhibits his marine work, Huard has done an excellent -poster. - -[Illustration: _By J. Wély._ (_p. 57_)] - - - - -VIII - -J. WÉLY - - -Wély is one of the more recent stars in the firmament of Parisian -illustrators; nevertheless he shines with a peculiar brilliance of his -own. - -His drawing of the female form divine, more or less disclosed in -dainty _décolleté_, is well nigh unsurpassed. The excellence of the -draughtsmanship, which is so generally attained in the Paris Schools -of Art, is very frequently not traceable in work produced later in the -artist’s career. This, however, is not the case with Wély; the sureness -of drawing required in the schools remains, plus a large quantity of -vim and _esprit_. The adjective which best labels his work is charming; -and here it may be well to state that the more emancipated any one -is the greater the number of Wély’s drawings he is able to admit to -his collection, to charm again and again. For Wély is the artist of -adventures--the adventures of the bedroom. He is a humorist, and not -a caricaturist. He has too much love of human beauty to caricature -the human face and figure, and it is possible that for the same reason -he never produces a coarse drawing; however risky the situation he -depicts, that which attracts and interests one is the beauty of his -drawing, and the technical dexterity of his handling. - -It is possible that admiration for the work of Jules Chéret, the master -poster-maker, has had something to do with the formation of his style. -His work, like that of most of the later illustrators, is done with -chalk or charcoal, very little pen-work being produced. The perfection -to which the photo-reproduction of drawings now attains has been -chiefly responsible for this, together with the praiseworthy attempt of -the modern men to vie with the magnificent series of drawings on stone, -done half a century ago, by Gavarni, Daumier, De Beaumont, Cham, and -other splendid draughtsmen. The revival of their method of treating -drawings with a broad point seems for the time to have more than half -submerged the exquisite pen-and-ink work, such as was contributed -to the illustrated papers some twenty years ago by Lunel, Courboin, -Jeanniot, Vogel, José Roy, Vierge, Luigi Loir, Moulignié, Gorguet, -Robida, G. Stein, Galice, Myrbach, G. Scott, F. Fau and others. But -the situation is saved by the fact that Guillaume, Caran-d’Ache, Job, -Morin, and a few other leading illustrators are still faithful to pen -and ink. In any case it is certain that of those who use crayon, -charcoal, or lithographic chalk, none produce work which is so subtle -and yet so facile and so sure as Wély. He is a light-hearted Steinlen -of my lady’s dressing-room; or an emboldened Helleu. - -The relations between artist and artist’s model frequently attract -Wély’s pencil, while other outside subjects seem to tempt him much less -frequently. The hard-working, penniless, happy-go-lucky artist _rapins_ -he draws are a delightful crew, most excellently put upon paper. - -A specimen of his humour is indicated in the words accompanying one of -his rare pen and ink drawings, which appeared in _Cocorico_. A _chic_ -little lady is seated in a shop, while a female attendant unrolls pile -after pile of material in the hope of supplying her wants. The lady -says: “Why certainly, show me some more: I’m not a bit tired.” - -A beautiful little drawing, of two dainty Parisiennes gossiping on a -pier, discloses the method he has employed to produce a telling piece -of work. The outline has been rapidly sketched in with a few bold, -subtly curving lines from a pen, while modelling and colour have been -given to the whole with deft crayon touches. We feel the joy the artist -must have evinced in regulating the pressure he put on the crayon, so -as to give each line its exact breadth, and depth of tone. The pleasure -he takes in manipulating his medium is always manifest in his work. The -complete modelling of a dainty neck and shoulders, or of a shapely -ankle, is frequently accomplished by the merest touch of the chalk--but -a touch in exactly the right place, and of exactly the right size. - -Wély has contributed to the pages of the _Frou Frou_; and very -frequently to _La Vie en Rose_. His small illustrations to “Aristophane -à Paris,” and to “La Maîtresse du Prince Jean,” which first appeared in -the latter journal, are full of ability, humour and vivacity. A drawing -entitled _Quelques Predictions pour 1902_, shows us a delightful little -coquette in _déshabillé_, who is consulting the cards with an old woman -fortune-teller, the while a tiny kitten plays with a ball of worsted. -They are so life-like and so subtly depicted that we almost expect to -see them move on the paper. _Passe temps du jeune Age_, is one of the -most astoundingly able and beautiful studies of the nude that one can -recall by any artist, and also appears in _La Vie en Rose_. - -The type of man usually introduced into our artist’s drawings is not -conspicuous for its beauty; it generally depicts a bit of a scamp, a -_bon viveur_, who is used artistically as a foil to some fresh and -dainty young person of the opposite sex. - -Several pages in colour, which appeared in the _Vie en Rose_, evinced -a charmingly refined sense in that direction; while some illustrated -covers for _Le Rabelais_, each most successfully dealing with an -entirely different and difficult colour problem were among the most -striking examples of that branch of art yet produced. - -[Illustration: - - _By J. Wély_ -] - -[Illustration: - - _By Malteste_ - -PSYCHOLOGUE] - - - - -IX - -LOUIS MALTESTE - - -Among the workers on the French illustrated papers none produces a -steadier flow of thoroughly conscientious, sound work than Louis -Malteste. - -His are no chance effects, no _tours de force_ of mere eccentricity or -charlatanism, but are the outcome of knowledge, hard work and assurance. - -He is a splendid draughtsman, unerring and direct, a seeker and finder -of individual character, who does not attempt to electrify the world -with his audacity, or his at-any-cost originality; for he is content to -delineate for us, in masterly fashion, specimens of humanity as they -appear to the man of keen discernment. - -At the time of the loathsome trials of Dreyfus, Malteste was one of -several artists who specially distinguished themselves by splendid -sketches of the actors concerned therein. In the writer’s possession -is a collection of these spirited and life-like drawings. They are -doubly admirable when one considers under what disadvantages they -were produced. The task of the artist, told off to a sweltering, -over-crowded court-house, surcharged with violent excitement, and -commissioned to make portrait groups of interested persons, who are -incessantly changing their positions, is none too easy. Yet these -drawings show no hesitation; in each case some fleeting gesture or -attitude is caught in a vigorous drawing, and fixed for ever. - -No wonder then that publishers such as Hachette, and the weekly -illustrated papers _Le Monde Illustré_, _L’Illustration_, &c., should -have availed themselves of his talent; or that when he turned his -crayon to more fanciful subjects he should have found a ready outlet in -the pages of such papers as _La Vie en Rose_, _Le Rire_, _L’Assiette au -Beurre_, and many others, wherein to let fly that _gauloiserie_ which -flows in the veins of even the most serious Frenchman. - -Most of the drawings in _La Vie en Rose_ are excellent works in chalk -of actions governed by sudden impulse; and, in technique, strongly -recall the admirable drawings of the English draughtsman, Gunning -King, whose work Malteste has probably never seen. It is most likely, -however, that the style of both artists has largely resulted from -profound and well-placed admiration of the work of the veteran Renouard. - -There is in _La Vie en Rose_ an amusing series of drawings by Malteste -of coachmen of all grades--each a strong piece of work, full of -character, and well placed on the page. Another series in colour -consists of fancy portraits of potentates; here again Malteste has -distinguished himself, as witness the _Léopold, Roi des Belges_, a -harmony in white, yellow, and brown. Malteste shows himself as a tender -colourist in the excellent drawing of a milking scene, entitled _La -Traité des Blanches_; another farm scene, _Le Fléau_, is as excellent -an example of black and white work, and only surpassed by the chalk -drawing _Psychologue_, a superb delineation of two ragged, storm-beaten -rag pickers toiling homewards with their baskets. - -His little studies of queer bits of gnarled humanity are splendid; -witness his _Femmes Fidèles_, _La Femme qui prise_, his droll lady who -declares _There is nothing like a good swig_, his _Woman with a Dog_, -his _Woman with the Cats_, or the group called _Types of Electors in -the Ville Lumière_. We recognise all those electors at first sight; -there is the heavy, obstinate man, who gets his way by force of -sheer dead-weight, there the suave complaisant “good-sort,” there -the pugnacious, quixotic fellow, who adores a riotous meeting, there -the pensive philosopher, and so on. There is no mistaking the true -character of any one of them; to a companion page of _Femmes Infidèles_ -the same remarks apply. - -A noteworthy quality in Malteste’s work is the invariably excellent -drawing of the hands. To any but the surest draughtsmen hands are a -veritable _bête noire_, to be avoided whenever possible. - -Besides his reputation as an illustrator, Malteste has made his mark as -a painter of note, and in collaboration with Gélis-Didot has executed a -charming poster for _L’Absinthe Parisienne_; while his poster for the -Théâtre Antoine is one of the finest things of its kind yet produced. - -[Illustration: DE TOULOUSE LAUTREC] - - - - -X - -J. L. FORAIN - - -The collection of two hundred and fifty sketches, published in book -form under the title “La Comédie Parisienne,” at once established -Forain as a firm favourite both with the public and with artists. - -It could not well have been otherwise. For these tender, graceful, -little sketches touching on the private life and foibles of dancers, -bankers, lawyers and others, appealed to the risible faculties and the -sympathies of all Parisians; while artists admired the delicacy of -touch and apparent facility with which the little scenes were “flicked -in.” The expression “apparent facility” is purposely employed; for -despite the appearance of careless ease of execution conveyed by the -slightness of these sketches, those who have seen the artist at work -know that for each sketch presented to the public three or four have -been rejected by their author as unsatisfactory. - -A very large proportion of the drawings in “La Comédie Parisienne,” -treat of matters to which it is quite customary to refer in French -publications, but which in England are discreetly relegated to the -confidential whisper of intimates; so that it is rather difficult here -to give specimens of the delicate wit displayed therein,--lest it -should be classed as indelicate wit. The standard of delicacy topples -over at such very different angles in England and on the Continent. - -Whatever the subject treated, however, one is struck by the keen -observation these drawings display, the requisite movement or attitude -being perfectly rendered with the minimum number of lines. They are -snap-shots of propitious moments; but taken by an artist’s eye in place -of a photographic lens, and an artist’s science to display what is -necessary and to discard what is unnecessary for the illustration of -the point at issue. - -The drawings here and there reflect the touch of melancholy in the -author’s nature, as well as his caustic wit. - -A charming and sympathetic drawing is that of the working man playing -with his crooning babe, while the mother, who is getting supper ready, -says to her husband “Ah! wouldn’t you be stunning, if you’d only give -up drinking.” In another drawing a poor woman says to her drunken -husband “Aren’t you ashamed to be in this state on a Tuesday?” How -telling too the sketch of the rascally picture dealer who bursts in on -the famishing artist and his starving wife and baby, and says--“I must -have three Corots and a Diaz within six days--Madame, make him work!” - -Then there is another delightful artist subject. The landlord breaks -in on poor hard-working Pinceau. “Sir, you’ve made me call twenty -times--you owe me seven quarters’ rent, I tell you I’ve had enough of -it!” “Gracious--is that all you’ve got to think about then,” is the -cool reply. - -How beautiful in its simplicity and how exquisitely the curt legend -“---- Rothschild,” fits that drawing of the little ballet dancer who -whispers the portentous name into the ear of her sister _coryphée_, the -while the moneyed man behind the scenes passes them. - -Once more, look at the husband stupefied at the bill which accompanies -the host of packages in the midst of which he and his wife are -standing. “What, what! two thousand seven hundred and fifty-three -francs, forty five centimes! and all that so as to go away to the -seaside for three weeks!”--“Well, yes, you are right, my dear, I will -send back one of the umbrellas!” - -These drawings are almost all executed with a thin, pin-point pen line, -of even thickness throughout, and with flat tones of shading added -by means of mechanically engraved dots. Forain, Vogel, and Willette, -although their methods differ, are among the few who now illustrate -with such faint lines and aim at such fragile effects. - -A collection in book form of his political and topical illustrations, -which had appeared in _Le Figaro_ were republished under the title -“Doux Pays.” - -The number of _L’Album_ devoted to Forain contains able sketches, done -in wash and chalk, which are stronger in effect, although incomplete -looking; and bear the impress of having been dashed off at great speed -while the inspiration lasted. A very subtle drawing of the nude, -entitled, _The Tub_, however, is included in the number, as well as -some strongly indicated work in colour. - -Forain’s work has been widely published; we have seen it in _Nous, -Vous, Eux_, in _Le Figaro_, in _Les Femmes, il n’y a qu’ça_, _Le -Courrier Français_, _L’Indiscret_, _Le Rire_, in _L’Assiette au -Beurre_, in _The Studio_, and elsewhere. - -He has done bold poster work, _Le Salon du Cycle_, _La Parisienne -du Siècle_, &c.; and he did a series of splendid up-to-date designs -for a mosaic frieze, which was inserted in the front of a boulevard -restaurant some few years back. - -To _Le Rire_ he has been a pillar of strength; and this journal has -called forth some of his best efforts, generally drawn in with crayon -or brush, and completed with a wash of two or three such faint colours -as grey-green and pale brick-colour, being treated frankly as sketches -and nothing more. Yet how amply complete is such a drawing as that -of the little powdered _cocotte_ in the black hat receiving the last -touches to her toilette from her maid, while her vicious, bony, mother -waits impatiently to hurry her off to the evening’s rendezvous. Another -fine drawing culled from the same source introduces us to a squat lady -sculptor, modelling from a beautiful nude female model. The shapeless -sculptor cries out, “There! you’re posing so badly that I shall have to -finish it from myself--before the glass.” - -An exhibition of Forain’s work, which was held on the Eiffel Tower in -1890 or 1891, under the auspices of the _Courrier Français_, achieved -for the artist a great success; although he had a terrible struggle at -the outset of his career, even at one time appealing to Renouard to get -him a job to draw anything,--“anything, fashion plates, or never mind -whatsoever.” - -Forain is yet another past _habitué_ of the Montmartre “Café des -Hydropathes” (which later developed into the “Chat Noir”) who has -achieved fame and riches. He now lives in a splendid mansion in one -of the most fashionable quarters of Paris, immersed as ever in his -studies, and taking up sculpture as a relaxation. He works in a vast, -untidy studio amidst an astounding litter of studies and papers, from -which he but occasionally tears himself for a rapid spin in his beloved -motor-car. - - - - -XI - -CHARLES LÉANDRE - - -Léandre must be a terror to the members of the official classes in -Paris, for they must live from day to day in mortal fear lest they -shall have fallen a prey to his deft pencil. He must ever persuade them -of their own irresistible comicality, and thereafter they must always -feel more like Léandre’s caricatures than like themselves, and must -inevitably act likewise. - -Léandre not only caricatures the faces and figures of his subjects, -but he caricatures their mien and manners; their politeness, their -self-satisfaction, their _hauteur_, their cringing, in his hands exudes -from every pore. - -[Illustration: LÉANDRE - - (_From the collection of the Chat-Noir_) - -RUDOLPH SALIS - -(_Seigneur de Chat-noir ville_)] - -Yet he is not cruel, he does not lead us to hate his originals; he -makes us enjoy them, and laugh good naturedly at and with them. -He shows us their unmistakable features, as though seen through a -distorting but discriminating mirror. We can well imagine one of his -victims, impressed with the undeniable truth of Léandre’s portrait of -himself, shunning daylight altogether, after the publication thereof; -and refusing to walk abroad carrying those weasel eyes and that -terrible nose, which previously he had flaunted on the boulevards with -such evident pride. Indeed, a dose of Léandre might well be prescribed -as a cure for swollen head. - -[Illustration: A. WILLETTE - -MA CHANDELLE EST MORTE] - -It must not be imagined from the foregoing that portrait caricature -alone occupies the pencil of our artist. His book of subtle wash -drawings entitled “Nocturnes,” and the lively pages of _Le Rire_, -_L’Album_, _L’Assiette au Beurre_, and other journals are embellished -with his cartoons and comic drawings, covering a fairly wide range of -subjects. He is moreover a serious portrait-painter of great feeling -and delicacy. We may look on him almost as an _animalier_, or natural -history artist making a speciality of that droll, brainy, beast--man, -recording all his different varieties, and watching his every gesture -and movement. - -In his cartoons he occasionally approaches the somewhat nervous style -of Willette, whom we incline to think time may prove to have been -an overrated artist. The stronger method of Léandre, however, is -particularly noticed in such drawings as _Le Ministère en Vacances_ and -_Le Retour du Général Duchesne_ in _Le Rire_; and here we may mention -how much many of the most excellent of the younger artists--such as -Steinlen, Léandre, Malteste, Redon, Sabattier, Tilly, and Huard in -France, Lockhart-Bogle, Hartrick, Almond and Gunning King in England, -evidently owe to that giant among draughtsmen--Paul Renouard. - -[Illustration] - -Léandre was born at Champsecret, Orne. It is easy to trace the -influence that a course of modelling in plaster under the decorator -Bin, which he attended after leaving college and arriving in Paris, -impressed on his work, for all his heads have a strong sculpturesque -feeling about them. Later he became a pupil of Cabanel at the Beaux -Arts School; and we, who know the ways of Paris art students, can well -imagine the uproarious series of “_charges_” or caricatures, he must -have painted of his fellow students, and possibly of his professor. For -it is certain that later on he handled the _gens sérieux_, with whom -he was brought into contact at the _reunions_ given by his uncle--the -Deputy Christofle, with but scant regard for their dignity. - -Settling in Montmartre, he rapidly captured the _quartier_ with his -marvellous caricatures of the “types” of the neighbourhood, and of -the Bohemians of the greater Paris who flocked to its _cabarets -artistiques_. Thenceforward his fame has rapidly spread far and -wide: of course he was a patron of the _Chat Noir_, and later of the -_Quat’z’Arts_, to whose papers he contributed. - -We have only to examine his drawings to realise that--given the -opportunity to publish his work--success was inevitable. Before me -is one of his drawings in _Le Rire_--“The effect of Latin and table -salt on a youth of Normandy.” It represents a christening scene in the -church of a Normandy village. The irreverent babe in granny’s arms is -howling the roof off its mouth, while the ancient cleric with port-wine -nose, his service interrupted, essays to quiet the little darling; and -we can see he is only debarred by professional etiquette from using -language unfitting the Church. Grandpa beams good-naturedly at the -wickedness of his latest descendant, while the fond mamma joyfully -simpers her complete approval of the hopeful’s lung power. A priggish -chorister holds a long guttering church candle, which his hot hands are -melting in the middle; outside in the porch the bell-ringer with a jug -of cider and a glass is pulling his hardest at the joy bells, and a -background of fidgeting, yawning children completes the picture. - -Then look at the gaily-coloured page which transports us to the middle -of a village fête. All among the garlands and Japanese lanterns the -firemen are making merry with their lady admirers. The drummer of -the squad, a lusty fellow, is stealing a kiss from a protesting, yet -willing, kitchen-maid. - -An astounding drawing of a bacchanalian orgy entitled _Ribote de Noël_ -appeared in No. 112 of _Le Rire_, and the whole reeling scene of -drunken revelry is marvellously rendered. In the largeness of the forms -and the rollicking _abandon_ of the whole scene we are reminded of our -own Rowlandson, an artist whose work is thoroughly appreciated across -the Channel. The quintessence of quaintness is reached in another -drawing, which again reminds us somewhat of Rowlandson. It is a drawing -contained in _L’Album_, entitled “La Folie des Grandeurs--Les Yeux plus -grands que le Ventre”; and shows us a queer little Tom Thumb of a man -smoking a cigar, and speaking in the language of the eye volumes of -admiration for the mountainous woman against whose knee he lolls. - -[Illustration: LÉANDRE - -LES CHANTEURS DE MONTMARTRE - -(_Tourney Poster for Yvette Guilbert_)] - -Other illustrations by Léandre appear in _Le Grand Guignol_, and in the -comic paper _La Vie en Rose_. To a little collection of caricatures -of (then) reigning sovereigns, entitled “Le Musée des Souverains,” -Léandre contributed some remarkably clever work. President Faure, Queen -Victoria, the Emperor of Austria, the King of the Belgians and King -Menelik, all come in for a more or less trying pictorial analysis by -Léandre. The drawing of Menelik is a most wonderful piece of work, but -unfortunately intended to be humiliating to Italy; and here we may -mention that Léandre has always been attracted by general political -cartooning, as well as his more frequent local cartoon work, but -however much his estimate of the nations, as seen from the Gallic point -of view, may tickle outsiders, we feel he is a good Frenchman, and the -artistic quality of his work never fails. His double-page drawing in -_Le Rire_ of the “Senators going to War against the Chamber” is crowded -with caricature portraits of politicians hurrying out to do vigorous -battle, each showing by the introduction of some subtle little device -his own marked peculiarity or fad. - -[Illustration: LÉANDRE - -(_By himself_)] - -Léandre has frequently introduced a self-portrait into his sketches, -and he is evidently as critical of himself as of others. He always -shows us a serio-comic little man with chubby cheeks, bulging, -spectacled eyes, and a big inquisitive nose dominating a small -turned-up moustache and starveling beard. Some of his own military -service adventures he has depicted for us in mock heroic style in “Les -Treize Jours de Léandre.” Among notable caricature portraits is that -of Drumont, the arch Jew-baiter. In a coloured drawing entitled “The -Ogre’s Repast,” we see this noisome person with a chain of Semite -“portions” round his neck poising a gory Jewish head on his fork -previous to making a meal of it. In fine irony a cross hangs on his -breast. - -His drawings of concerts and musical conductors throb and thrill with -sound, the very paper on which they are printed seems to vibrate with -the volume of it. - -The Comédie Française supplied him with subjects for a splendid set -of caricatures; and the rustic inhabitants of his native village of -Champsecret form the foundation of yet another delightful series -entitled “Ma Normandie.” - -That the tragic side of life touches Léandre deeply is evident, if only -from a couple of drawings which appeared in _L’Assiette au Beurre_. -The first is entitled “Saison des eaux--chacun va aux eaux suivant -ses moyens”; and we see a starving, distracted mother, plunging to -eternity in the foul depths of a canal, while her tiny children, all -unconscious of their fate, clutch her skirts and are being hurled to -death with her. The other drawing bears the legend, “What have they -been doing, sir? Sleeping without paying for it!”--which is given as -the conversation passing between a little milliner’s girl and an old -gentleman, who are watching a long procession of dejected outcasts -being led to the lock-up by ferocious-looking policemen, while behind -them is a wall inscribed with the mocking legend, “Liberté, Egalité, -Fraternité.” The poor prisoners are evidently not criminals, but merely -the crowded-out failures of a great city, who have perforce been -obliged to sleep in the streets. - -Léandre’s posters, such as his “Les Cartomimes” and “Le Vieux Marcheur” -display all his captivating characteristics, but look hardly robust -enough in style to stand the attacks of weather on a street hoarding. - -Léandre, however, is a great draughtsman, and there can be no mistaking -this fact. - -[Illustration: - - _From l’Album_ DEUX AMIS By LÉANDRE -] - - - - -XII - -CONCLUSION - - -It may be held that some of the Illustrators whose work we have been -considering are but slightly connected with Montmartre, and that there -is no such thing as a Montmartre school. Such contentions are both -right and wrong, according to the manner in which one cares to approach -them. - -It is incontestable that in the very informality and independence of -their various styles these artists are echoing the spirit of that -Montmartre in which they all have spent so many joyous hours. With the -“Butte,” one associates breeziness, irresponsibility, and a youthful -impatience of restraint. From her lofty perch Montmartre can survey at -leisure, and if it needs be point the pencil of derision at the world -of Paris surging at her feet; but it must not be forgotten that if she -be light-hearted she is also ever warm-hearted. Her interest in the -follies of life is even surpassed by her deep sympathy with those who -are struggling against its miseries. - -It is possible that, as time goes on, some other quarter of Paris will -take the place of Montmartre, as the nursery of young free-lances, -and will inspire future Bohemians to other great deeds in the world -of art. Mayhap the honoured quarter will be “Montparnasse,” or the -vicinity of the “Luxembourg;” or perhaps it will be the “Butte de -Chaumont,”--the other great cliff of Paris, surrounded in this instance -with a romantic park, and peopled with a toiling, excitable, working -population,--that will attract the next group of illustrators of -modern city life. However that may be, Paris supplies a never-failing -succession of highly talented artists who, as they leave the schools, -different as their methods may be, group themselves around some -chosen neighbourhood, some _cabaret_, some master of the art, or some -illustrated periodical. Already there is a brilliant group of yet -younger illustrators risen in Paris, since the advent of those with -whom this volume deals. - -The fact that most of the papers in which these illustrations appear -are unknown to, or unpalatable to, the British public, renders it -certain that, with but few exceptions, the accomplished work of -these modern masters of black and white art will never be as widely -appreciated in England as it deserves to be. - -And this is one more justification of the writer’s long-urged plea that -in London we are sadly in need of a National Water Colour and Black -and White Gallery, for which the best obtainable examples of such work -could be procured by gift or purchase, and thereafter exhibited. Stowed -away in drawers and cupboards at the British Museum, at the National -Gallery, and probably at South Kensington Museum and elsewhere--visible -only in driblets, after regulated application, is untold wealth of -beautiful drawings which should rightly be _displayed_ on the walls -of such a gallery as is suggested. Beautiful examples of work by -living illustrators, both British and foreign, could be obtained -for a comparatively nominal sum, and would exemplify a powerful and -fascinating development of modern art; which meets the requirements -of the day, in its own line, as fully as did the work of those early -Italian masters in _their_ time, which the nation’s art buyers collect -so assiduously and at so much cost. - -But such a gallery would be incomplete were it to pass by without -example the strength of Steinlen, the dainty elegance of Wély or Morin, -Huard’s types of provincialism, Forain’s delicacy of design, or the -humorous observation of Caran d’Ache. To be complete and cosmopolitan -it must chronicle within its walls something of that defiance of -convention, that exuberance of youthful audacity, seeking ever fresh -paths within the unexplored--above all, that single-minded devotion to -art for its own sake which belongs to these Illustrators of Montmartre. - -[Illustration: A. WILLETTE] - - - Printed by BALLANTYNE, HANSON & CO. - London & Edinburgh - - - - -Transcriber’s Notes - - -Punctuation, hyphenation, and spelling were made consistent when a -predominant preference was found in the original book; otherwise they -were not changed. - -Simple typographical errors were corrected; unbalanced quotation -marks were remedied when the change was obvious, and otherwise left -unbalanced. - -The following French words, misspelled or with accented letters, -were corrected, but others may have been missed. Also, when the same -misspelling occurred more than once, it was not changed. - - Page 5: Ville Lumiére => Ville Lumière - Page 9: Chevalier a la Fèe => Chevalier à la Fée - Page 9: Eugéne Grasset => Eugène Grasset - Page 9: A l’eau => À l’eau - Page 9: les Oisseaux => les Oiseaux - Page 12: le bon Gite. => le bon Gîte. - Page 30: Les Poétes de l’Amour => Les Poètes de l’Amour - Page 32: La Toussaint Heroique => La Toussaint Héroïque - Page 32: L’Etè => L’Été - Page 34: confréres => confrères - Page 35: soidisant => soi-disant - Page 42: A. Lepére => A. Lepère - Page 42: Aieule => Aïeule - Page 43: Musée Grèvin => Musée Grévin - Page 43: Henri Riviére => Henri Rivière - Page 57: decollété => décolleté - Page 64: Le Monde Illustrê => Le Monde Illustré - Page 65: La Traite des Blanches => La Traité des Blanches - Page 66: Gelis-Didot => Gélis-Didot - Page 66: Thêatre => Théâtre - Page 70: du Siécle => du Siècle - Page 75: du Genéral => du Général - Page 78: Ribote de Noel -> Ribote de Noël - -Not changed: - - Page 10: Les Gaitès Bourgeois - Page 12: Les Gaitès Bourgeoises - Page 18: Charge (perhaps should be “Chargé”) - Pages 17 and 43: Caran-d’-Ache - Page 75: reunions (perhaps should be “réunions”) - -Illustrations in this eBook have been positioned between paragraphs -and outside quotations. In versions of this eBook that support -hyperlinks, the page references in the List of Illustrations lead to -the corresponding illustrations. - -The poor image quality of “Deux Amis” occurs in at least three -different copies of the original book, and probably was printed that -way. - -*** END OF THE PROJECT GUTENBERG EBOOK THE ILLUSTRATORS OF MONTMARTRE *** - -Updated editions will replace the previous one--the old editions will -be renamed. - -Creating the works from print editions not protected by U.S. copyright -law 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 an eBook, except by following -the terms of the trademark license, including paying royalties for use -of the Project Gutenberg trademark. If you do not charge anything for -copies of this eBook, complying with the trademark license is very -easy. You may use this eBook for nearly any purpose such as creation -of derivative works, reports, performances and research. Project -Gutenberg eBooks may be modified and printed and given away--you may -do practically ANYTHING in the United States with eBooks not protected -by U.S. copyright law. 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 unprotected by copyright law 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 other than 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 in the United States and - most other parts of the world 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. If you are not located in the - United States, you will have to check the laws of the country where - you are located before using this eBook. - -1.E.2. If an individual Project Gutenberg-tm electronic work is -derived from texts not protected by U.S. copyright law (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 website -(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 the Project Gutenberg Literary Archive Foundation, the manager 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 -works not protected by U.S. copyright law 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 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 website -and official page at www.gutenberg.org/contact - -Section 4. Information about Donations to the Project Gutenberg -Literary Archive Foundation - -Project Gutenberg-tm depends upon and cannot survive without -widespread 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 not protected by copyright 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 website which has the main PG search -facility: www.gutenberg.org - -This website 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. |