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diff --git a/.gitattributes b/.gitattributes new file mode 100644 index 0000000..d7b82bc --- /dev/null +++ b/.gitattributes @@ -0,0 +1,4 @@ +*.txt text eol=lf +*.htm text eol=lf +*.html text eol=lf +*.md text eol=lf diff --git a/LICENSE.txt b/LICENSE.txt new file mode 100644 index 0000000..6312041 --- /dev/null +++ b/LICENSE.txt @@ -0,0 +1,11 @@ +This eBook, including all associated images, markup, improvements, +metadata, and any other content or labor, has been confirmed to be +in the PUBLIC DOMAIN IN THE UNITED STATES. + +Procedures for determining public domain status are described in +the "Copyright How-To" at https://www.gutenberg.org. + +No investigation has been made concerning possible copyrights in +jurisdictions other than the United States. Anyone seeking to utilize +this eBook outside of the United States should confirm copyright +status under the laws that apply to them. diff --git a/README.md b/README.md new file mode 100644 index 0000000..4992125 --- /dev/null +++ b/README.md @@ -0,0 +1,2 @@ +Project Gutenberg (https://www.gutenberg.org) public repository for +eBook #65929 (https://www.gutenberg.org/ebooks/65929) 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. 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- font-size: 100%; - margin-left: 0; - margin-right: 0; - text-indent: 0; - } - - p.drop-cap .smcap1, - p.drop-cap.b .smcap1, p.drop-cap.al .smcap1 {margin-left: 0;} - p .smcap1 {font-size: 100%;} - .smcap1 {font-variant: normal;} - - hr { - margin-top: .1em; - margin-bottom: .1em; - visibility: hidden; - color: white; - width: .01em; - display: none; - } - - .blockquot {margin: 1.5em 3% 1.5em 3%;} - - .hang {margin: .5em 3% 2em 3%;} - - .transnote { - page-break-inside: avoid; - margin-left: 2%; - margin-right: 2%; - margin-top: 1em; - margin-bottom: 1em; - padding: .5em; - } -} - </style> - </head> - -<body> - -<div style='text-align:center; font-size:1.2em; font-weight:bold'>The Project Gutenberg eBook of The Illustrators of Montmartre, by Frank L. Emanuel</div> - -<div style='display:block; margin:1em 0'> -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 <a href="https://www.gutenberg.org">www.gutenberg.org</a>. 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. -</div> - -<p style='display:block; margin-top:1em; margin-bottom:1em; margin-left:2em; text-indent:-2em'>Title: The Illustrators of Montmartre</p> - -<div style='display:block; margin-top:1em; margin-bottom:1em; margin-left:2em; text-indent:-2em'>Author: Frank L. Emanuel</div> - -<div style='display:block; margin:1em 0'>Release Date: July 27, 2021 [eBook #65929]</div> - -<div style='display:block; margin:1em 0'>Language: English</div> - -<div style='display:block; margin:1em 0'>Character set encoding: UTF-8</div> - -<div style='display:block; margin-left:2em; text-indent:-2em'>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)</div> - -<div style='margin-top:2em; margin-bottom:4em'>*** START OF THE PROJECT GUTENBERG EBOOK THE ILLUSTRATORS OF MONTMARTRE ***</div> - -<div class="transnote"> -<p class="center larger">Transcriber’s Note:</p> - -<p>Larger versions of most illustrations may be seen by right-clicking them -and selecting an option to view them separately, or by double-tapping and/or -stretching them.</p> - -<p><a href="#Transcribers_Notes">A list</a> of spelling and accent corrections appears at the end of this eBook.</p> -</div> - -<div class="newpage figcenter" style="max-width: 30em;"> - <img src="images/cover.jpg" alt="cover" /> -</div> - -<p class="newpage p4 center larger vspace"> -<span class="gesperrt">THE LANGHAM SERIES</span><br /> -AN ILLUSTRATED COLLECTION<br /> -OF ART MONOGRAPHS</p> - -<p class="p1 center">EDITED BY SELWYN BRINTON, M.A. -</p> - -<hr /> - -<div class="chapter ad"> -<p class="center larger vspace wspace">THE LANGHAM SERIES OF<br /> -ART MONOGRAPHS</p> - -<p class="center wspace">EDITED BY SELWYN BRINTON, M.A.</p> - -<div class="blockquot hang"> - -<p><span class="smcap">Vol. I.</span>—<span class="smcap">Bartolozzi and his Pupils in -England.</span> <i>By</i> <span class="smcap">Selwyn Brinton</span>, M.A.</p> - -<p><span class="smcap">Vol. II.</span>—<span class="smcap">Colour-Prints of Japan.</span> <i>By</i> -<span class="smcap">Edward F. Strange</span>.</p> - -<p><span class="smcap">Vol. III.</span>—<span class="smcap">The Illustrators of Montmartre.</span> -<i>By</i> <span class="smcap">Frank L. Emanuel</span>.</p> - -<p><span class="smcap">Vol. IV.</span>—<span class="smcap">Auguste Rodin.</span> <i>By</i> <span class="smcap">Rudolph -Dircks</span>, Author of “Verisimilitudes” -and “The Libretto.”</p> - -<p><span class="smcap">Vol. V.</span>—<span class="smcap">Venice as an Art City.</span> <i>By</i> -<span class="smcap">Albert Zacher</span>. <span class="right">[<i>Nearly ready</i></span> -</p> - -<p class="p1"><span class="smcap">Vol. VI.</span>—<span class="smcap">London as an Art City.</span> <i>By</i> -Mrs. <span class="smcap">Steuart Erskine</span>, Author of “Lady -Diana Beauclerc,” &c. <span class="right">[<i>In the Press</i></span> -</p> -</div> - -<p>These volumes will be artistically presented -and profusely illustrated, both with -colour plates and photogravures, and neatly -bound in art canvas. 1<i>s.</i> 6<i>d.</i> net, or in -leather, 2<i>s.</i> 6<i>d.</i> net.</p> -</div> - -<div id="if_i_p00" class="newpage figcenter" style="max-width: 35em;"> - <div class="caption"><p>STEINLEN</p></div> - <img src="images/i_p00.jpg" width="2190" height="2858" alt="" /> - <div class="caption"> - <p>TROTTIN</p> - <p class="smaller">(<i>Dressmaker’s Apprentice</i>)</p></div></div> - -<div class="center wspace vspace"> -<h1> -THE ILLUSTRATORS<br /> -OF MONTMARTRE</h1> - -<p class="p2">BY<br /> -<span class="large">FRANK L. EMANUEL</span></p> - -<p class="p4"><span class="large gesperrt">A. SIEGLE</span><br /> -2 LANGHAM PLACE, LONDON, W.<br /> -1904<br /> -</p> - -<hr /> - -<div id="if_i_p01" class="newpage figcenter" style="max-width: 20em;"> - <img src="images/i_p01.png" width="1232" height="780" alt="" /></div> - -<p class="p4"><i>All rights reserved</i></p> -</div> - -<hr /> - -<div class="chapter"> -<p class="larger in0 in35 vspace"><i>TO MY BROTHERS</i><br /> - -<span class="in6"><i>CHARLES</i></span><br /> -<span class="in6"><i>WALTER</i></span><br /> -<span class="in6"><i>ALFRED</i></span> -</p> -</div> - -<hr /> - -<div class="chapter"> -<h2 class="nobreak" id="ILLUSTRATIONS">ILLUSTRATIONS</h2> -</div> - -<table id="loi" summary="Illustrations"> -<tr> - <td class="tdr top">1.</td> - <td class="tdl"><span class="smcap">Dressmaker’s Apprentice</span> (<i>By Steinlen</i>)</td> - <td class="tdr"><a href="#if_i_p00"><i>Frontispiece</i></a></td> -</tr> -<tr> - <td> </td> - <td> </td> - <td class="tdr"><i>Facing<br />page </i></td> -</tr> -<tr> - <td class="tdr top">2.</td> - <td class="tdl"><span class="smcap">A “Montmartre Tapestry” Design</span> (<i>By Steinlen</i>)</td> - <td class="tdr"><a href="#if_i_p02">2</a></td> -</tr> -<tr> - <td class="tdr top">3.</td> - <td class="tdl"><span class="smcap">On an Exterior Boulevard</span> (<i>By Steinlen</i>)</td> - <td class="tdr"><a href="#if_i_p06">6</a></td> -</tr> -<tr> - <td class="tdr top">4.</td> - <td class="tdl"><span class="smcap">Révolution</span> (<i>By Steinlen</i>)</td> - <td class="tdr"><a href="#if_i_p10">10</a></td> -</tr> -<tr> - <td class="tdr top">5.</td> - <td class="tdl"><span class="smcap">En Promenade</span> (<i>By Steinlen</i>)</td> - <td class="tdr"><a href="#if_i_p14">14</a></td> -</tr> -<tr> - <td class="tdr top">6.</td> - <td class="tdl"><span class="smcap">The Combat</span> (<i>By Caran d’Ache</i>)</td> - <td class="tdr"><a href="#if_i_p19">19</a></td> -</tr> -<tr> - <td class="tdr top">7.</td> - <td class="tdl"><span class="smcap">At the Moulin Rouge</span> (<i>By De Toulouse Lautrec</i>)</td> - <td class="tdr"><a href="#if_i_p24">24</a></td> -</tr> -<tr> - <td class="tdr top">8.</td> - <td class="tdl"><span class="smcap">Portrait of De Toulouse Lautrec</span> (<i>F. L. Emanuel</i>)</td> - <td class="tdr"><a href="#if_i_p25">25</a></td> -</tr> -<tr> - <td class="tdr top">9.</td> - <td class="tdl"><span class="smcap">Yvette Guilbert</span> (<i>By De Toulouse Lautrec</i>)</td> - <td class="tdr"><a href="#if_i_p28">28</a></td> -</tr> -<tr> - <td class="tdr top">10.</td> - <td class="tdl">“<span class="smcap">Mimi Pinson, tu iras en Paradis</span>” (<i>By Willette</i>)</td> - <td class="tdr"><a href="#if_i_p33">33</a></td> -</tr> -<tr> - <td class="tdr top">11.</td> - <td class="tdl"><span class="smcap">Portrait of Drumont</span> (<i>By Vallotton</i>)</td> - <td class="tdr"><a href="#if_i_p38">38</a></td> -</tr> -<tr> - <td class="tdr top">12.</td> - <td class="tdl"><span class="smcap">Portrait of Louis Morin</span> (<i>By Morin</i>)</td> - <td class="tdr"><a href="#if_i_p41">41</a></td> -</tr> -<tr> - <td class="tdr top">13.</td> - <td class="tdl"><span class="smcap">Knife Grinders</span> (<i>By Huard</i>)</td> - <td class="tdr"><a href="#if_i_p49">49</a></td> -</tr> -<tr> - <td class="tdr top">14.</td> - <td class="tdl"><span class="smcap">Psychologue</span> (<i>By Malteste</i>)</td> - <td class="tdr"><a href="#if_i_p62">62</a></td> -</tr> -<tr> - <td class="tdr top">15.</td> - <td class="tdl"><span class="smcap">A Moulin Rouge Poster</span> (<i>By De Toulouse Lautrec</i>)</td> - <td class="tdr"><a href="#if_i_p66">66</a></td> -</tr> -<tr> - <td class="tdr top">16.</td> - <td class="tdl"><span class="smcap">Rudolph Salis</span> (<i>By Léandre</i>)</td> - <td class="tdr"><a href="#if_i_p73">73</a></td> -</tr> -<tr> - <td class="tdr top">17.</td> - <td class="tdl"><span class="smcap">Les Chanteurs de Montmartre</span> (<i>By Léandre</i>)</td> - <td class="tdr"><a href="#if_i_p78">78</a></td> -</tr> -<tr> - <td class="tdr top">18.</td> - <td class="tdl"><span class="smcap">Léandre</span> (<i>By Léandre</i>)</td> - <td class="tdr"><a href="#if_i_p80">80</a></td> -</tr> -<tr> - <td class="tdr top">19.</td> - <td class="tdl"><span class="smcap">Deux Amis</span> (<i>By Léandre</i>)</td> - <td class="tdr"><a href="#if_i_p82">82</a></td> -</tr> -<tr> - <td class="tdr top">20.</td> - <td class="tdl"><span class="smcap">Pierrot, Artiste-Peintre</span> (<i>By Willette</i>)</td> - <td class="tdr"><a href="#if_i_p86">86</a></td> -</tr> -</table> - -<hr /> - -<div class="chapter"> -<p><span class="pagenum" id="Page_vii">vii</span></p> - -<h2 class="nobreak" id="CONTENTS">CONTENTS</h2> -</div> - -<table id="toc" summary="Contents"> -<tr> - <td class="tdc chap" colspan="2">CHAPTER I</td> -</tr> -<tr> - <td class="tdc chapsub" colspan="2">A. STEINLEN</td> -</tr> -<tr> - <td class="tdl">A painter’s painter—His field of operations—The “Chat Noir”—His sympathies and work</td> - <td class="tdr">Pp. <a href="#toclink_1">1–14</a></td> -</tr> -<tr> - <td class="tdc chap" colspan="2">CHAPTER II</td> -</tr> -<tr> - <td class="tdc chapsub" colspan="2">CARAN D’ACHE</td> -</tr> -<tr> - <td class="tdl">The quality of his humour—His life and military training—His “œuvre”</td> - <td class="tdr">Pp. <a href="#toclink_15">15–21</a></td> -</tr> -<tr> - <td class="tdc chap" colspan="2">CHAPTER III</td> -</tr> -<tr> - <td class="tdc chapsub" colspan="2">H. DE TOULOUSE LAUTREC</td> -</tr> -<tr> - <td class="tdl">A pathetic life-story—Student days—Comet-like career and sad end</td> - <td class="tdr">Pp. <a href="#toclink_22">22–28</a></td> -</tr> -<tr> - <td class="tdc chap" colspan="2">CHAPTER IV</td> -</tr> -<tr> - <td class="tdc chapsub" colspan="2">P. BALLURIAU</td> -</tr> -<tr> - <td class="tdl">The modern Boucher</td> - <td class="tdr">Pp. <a href="#toclink_29">29–32</a></td> -</tr> -<tr> - <td class="tdc chap" colspan="2">CHAPTER V</td> -</tr> -<tr> - <td class="tdc chapsub" colspan="2">F. VALLOTTON</td> -</tr> -<tr> - <td class="tdl">His vigorous technique—The “Enfantillistes” and the strong men—His woodcuts</td> - <td class="tdr">Pp. <a href="#toclink_34">34–39</a><span class="pagenum" id="Page_viii">viii</span></td> -</tr> -<tr> - <td class="tdc chap" colspan="2">CHAPTER VI</td> -</tr> -<tr> - <td class="tdc chapsub" colspan="2">L. MORIN</td> -</tr> -<tr> - <td class="tdl">A Watteau of our day—His spirituality, and distinction as a writer—The “Chat Noir” shadow plays</td> - <td class="tdr">Pp. <a href="#toclink_40">40–47</a></td> -</tr> -<tr> - <td class="tdc chap" colspan="2">CHAPTER VII</td> -</tr> -<tr> - <td class="tdc chapsub" colspan="2">C. HUARD</td> -</tr> -<tr> - <td class="tdl">The portrayer of provincials—His insight into character</td> - <td class="tdr">Pp. <a href="#toclink_48">48–56</a></td> -</tr> -<tr> - <td class="tdc chap" colspan="2">CHAPTER VIII</td> -</tr> -<tr> - <td class="tdc chapsub" colspan="2">J. WÉLY</td> -</tr> -<tr> - <td class="tdl">His grace and “esprit”—The modern choice of medium for drawing for reproduction</td> - <td class="tdr">Pp. <a href="#toclink_57">57–61</a></td> -</tr> -<tr> - <td class="tdc chap" colspan="2">CHAPTER IX</td> -</tr> -<tr> - <td class="tdc chapsub" colspan="2">L. MALTESTE</td> -</tr> -<tr> - <td class="tdl">Drawing under difficulties—Strong and serious work</td> - <td class="tdr">Pp. <a href="#toclink_62">62–66</a></td> -</tr> -<tr> - <td class="tdc chap" colspan="2">CHAPTER X</td> -</tr> -<tr> - <td class="tdc chapsub" colspan="2">J. L. FORAIN</td> -</tr> -<tr> - <td class="tdl">Subtlety of technique and forceful caustic wit</td> - <td class="tdr">Pp. <a href="#toclink_67">67–71</a></td> -</tr> -<tr> - <td class="tdc chap" colspan="2">CHAPTER XI</td> -</tr> -<tr> - <td class="tdc chapsub" colspan="2">C. LÉANDRE</td> -</tr> -<tr> - <td class="tdl">An irresistible caricaturist—The influence of Renouard—His theatre of work</td> - <td class="tdr">Pp. <a href="#toclink_72">72–80</a></td> -</tr> -<tr> - <td class="tdc chap" colspan="2">CHAPTER XII</td> -</tr> -<tr> - <td class="tdc chapsub" colspan="2">CONCLUSION</td> -</tr> -<tr> - <td class="tdl">Temperament of Montmartre and her Free Lances—Plea for a National Gallery of Black and White Art</td> - <td class="tdr">Pp. <a href="#toclink_81">81–83</a></td> -</tr> -</table> - -<hr /> - -<div id="toclink_1" class="chapter"> -<p><span class="pagenum" id="Page_1">1</span></p> - -<h2 class="nobreak" id="I">I<br /> - -<span class="subhead">A. STEINLEN</span></h2> -</div> - -<p class="drop-cap"><span class="smcap1">There</span> 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 <i>Gil Blas Illustré</i> illustrated by Steinlen—forthwith -to be discussed, and as surely lauded -without stint.</p> - -<p>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.</p> - -<div id="if_i_p02" class="figcenter" style="max-width: 31em;"> - <img src="images/i_p02.jpg" width="1934" height="1972" alt="" /></div> - -<p>The “painters’ painter” is, as a rule, if nothing -else, a master of technique, one whose work shows<span class="pagenum" id="Page_2">2</span> -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<span class="pagenum" id="Page_3">3</span> -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 <i>plébiscites</i> as have been taken -in England have almost invariably proved that the -inferior painters are the most popular.</p> - -<p>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.</p> - -<p>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.</p> - -<p>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.</p> - -<p>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.</p> - -<p>This was not to be, however, for the art in the<span class="pagenum" id="Page_4">4</span> -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 <i>Le Chat -Noir</i>, which was to -prove the first rung -on his ladder to -fame.</p> - -<div id="if_i_p04" class="figleft" style="max-width: 21em;"> - <img src="images/i_p04.png" width="1297" height="1140" alt="" /></div> - -<p>Rudolph Salis’ artistic -<i>cabaret</i> 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 <i>cabaretier</i>, 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 <i>faubouriens</i>, and their terrible -struggles with one another and with Dame Fortune.</p> - -<p>Steinlen’s field of labour has been in the so-called<span class="pagenum" id="Page_5">5</span> -eccentric quarters of Paris—that is to say, on that -soiled fringe of nondescript outlying districts of the -<i>Ville Lumière</i>, 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.</p> - -<p>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.</p> - -<p>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<span class="pagenum" id="Page_6">6</span> -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.</p> - -<div id="if_i_p06" class="figcenter" style="max-width: 17em;"> - <img src="images/i_p06.png" width="1071" height="1577" alt="" /></div> - -<p>Among them Steinlen has settled, perched high<span class="pagenum" id="Page_7">7</span> -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.</p> - -<p>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 <i>cabaret</i>, founded -and carried on by Salis, himself an artist, for -years attracted <i>le tout Paris</i> by means of its <i>réunions</i> -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 -<i>Quartier Latin</i>, moreover, came to share their -joyous, reckless hours of leisure between their own -beloved neighbourhood of the <i>Boul’ Mich’</i>, and -the far-away Mount of the Windmills—Montmartre.</p> - -<p>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<span class="pagenum" id="Page_8">8</span> -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 <i>confrères</i>. 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.</p> - -<p>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.</p> - -<p>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.</p> - -<p>Steinlen is a prolific worker. First in importance -among the many publications whose pages he has -enriched comes the <i>Gil Blas Illustré</i>. It was<span class="pagenum" id="Page_9">9</span> -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 <i>faubouriens</i> or <i>faubouriennes</i> 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 <i>Chevalier à la Fée</i> or <i>Les -Digitales</i>, 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 <i>À l’eau</i>, the terrible street -fight in the <i>Voix du Sang</i> or <i>Le Vagabond</i>, <i>L’Immolation</i>, -<i>Pour les Amoureux et pour les Oiseaux</i>, <i>Marchand -de Marrons</i> or <i>14 Juillet</i>, is but to recall -hundreds of others equally worthy of special attention.</p> - -<p>In 1895 the <i>Gil Blas</i> employed more colours in -its reproductions, and Steinlen rose to the occasion -with some daring colour schemes exemplified in -<i>La Terre Chante au Crépuscule</i>, <i>Le Poil de Carotte</i><span class="pagenum" id="Page_10">10</span> -and many another drawing. Towards 1896 the -range of his subjects noticeably widened.</p> - -<p>Among other publications to which he has contributed -one recalls <i>Le Chambard</i>, in which appeared -splendid lithographs from his own hand, <i>La Feuille</i>, -<i>L’Assiette au Beurre</i>, <i>La Vie en Rose</i>, <i>Le Canard -Sauvage</i>, etc. In the following music albums will -be found some further superb lithographs by Steinlen, -namely, <i>Chanson de Montmartre</i>, <i>Chansons du -Quartier Latin</i>, and <i>Chanson de Femmes</i>. Among -the books he has illustrated are: <i>Les Gaitès Bourgeois</i>, -<i>Prison fin de Siècle</i>, <i>Dans la Rue</i>, and <i>Dans la -Vie</i>—the latter in colour.</p> - -<p>Description of a few of his notable drawings, -culled here and there, may help us to a better understanding -of their quality.</p> - -<p>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.”</p> - -<div id="if_i_p10" class="newpage figcenter" style="max-width: 33em;"> - <div class="caption"><p>STEINLEN</p></div> - <img src="images/i_p10.jpg" width="2086" height="2885" alt="" /> - <div class="caption"> - <p>REVOLUTION</p> - <p class="smaller">(<i>Lithographed Poster</i>)</p></div></div> - -<p>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.</p> - -<p>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.</p> - -<p>Then again there are idyllic scenes on the sordid -Paris fortifications, or yet further afield. <i>Trompe la -Mort</i> 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,<span class="pagenum" id="Page_12">12</span> -threateningly to her poor, inoffensive little wisp of a -husband—“Perhaps that’s your style.... Satyr.”</p> - -<p>One of his most charming drawings reproduced -in colour in <i>Le Rire</i> 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.</p> - -<p>Nor can we forget the splendid double-page -drawing that appeared in <i>L’Assiette au Beurre</i> 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.</p> - -<p>Then again in the same paper for June 27, 1901, -appears among others one of his most notable drawing, -a veritable <i>tour de force</i>, representing the harrowing -scene of the identification of corpses after -the dynamite explosion at Issy.</p> - -<p>It is interesting to compare such powerful work -as this with one of his earliest successes, namely -the illustrations to <i>Les Gaitès Bourgeoises</i>, a set of -<i>chic</i> and delicate little pen-drawings instinct with -humour and gaiety.</p> - -<p><span class="pagenum" id="Page_13">13</span></p> - -<p>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 <i>Cocorico</i>, as well as some wonderfully -spirited comic drawings of frogs in a volume -entitled “Entrée de Clowns.”</p> - -<p>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 <i>La Rue</i>, 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.</p> - -<p>Finally, Steinlen has produced charming etchings, -both in colour and in black and white, and -such splendid oil paintings as <i>Les Blanchisseuses</i>.</p> - -<p><span class="pagenum" id="Page_14">14</span></p> - -<div id="if_i_p14" class="newpage figcenter" style="max-width: 30em;"> - <div class="caption"><p>STEINLEN</p></div> - <img src="images/i_p14.jpg" width="1979" height="3048" alt="" /> - <div class="captionl"><p><i>Gil Blas Illustré</i></p></div> - <div class="caption"> - <p>EN PROMENADE</p> - <p class="smaller">(<i>Pen drawing</i>)</p></div></div> - -<hr /> - -<div id="toclink_15" class="chapter"> -<p><span class="pagenum" id="Page_15">15</span></p> - -<h2 class="nobreak" id="II">II<br /> - -<span class="subhead">CARAN D’ACHE</span></h2> -</div> - -<p class="drop-cap"><span class="smcap1">Emmanuel Poiré</span>, 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.</p> - -<p>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<span class="pagenum" id="Page_16">16</span> -his drawings are irresistibly humorous, and are -always excellent works of art.</p> - -<p>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.</p> - -<p>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.</p> - -<p>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 “<i>ultra -chic</i>”,—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.</p> - -<p>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<span class="pagenum" id="Page_17">17</span> -triumph with his astoundingly perfect shadow -pantomime, <i>L’Epopée</i>, 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.</p> - -<p>“<i>L’Epopée</i>” 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.</p> - -<p>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. -<i>The Studio</i> 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.</p> - -<p>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<span class="pagenum" id="Page_18">18</span> -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 <i>Battery of -Dreadnoughts</i>, bold and grim, and the splendid -<i>Charge</i>. In the drawing of himself there is a -good specimen of those caricature portraits for which -he is so renowned.</p> - -<p>His work appeared in the pages of <i>Tout Paris</i>, -<i>La Vie Moderne</i>, <i>La Revue Illustrée</i>, and <i>Le -Chat Noir</i>, &c.; superb military sketches came -out in <i>La Caricature</i>; and every week he carries -on a running fire of pencilled commentary in <i>Le -Journal</i>, and <i>Le Figaro</i>, contributing at the same -time to <i>Le Canard Sauvage</i>, and <i>Le Rire</i>. A -special number of the latter paper entitled <i>Tactique -et Stratégie</i> consisted of a short series of vigorous -military cartoons, representing various epochs, drawn -on a large scale, and some of them reproduced in -colours.</p> - -<p>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.</p> - -<p>Caran d’Ache’s little tales need not a syllable of -explanation. All is told by the subtlest of alterations<span class="pagenum" id="Page_19">19</span> -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.</p> - -<div id="if_i_p19" class="figcenter" style="max-width: 32em;"> - <img src="images/i_p19.jpg" width="2005" height="1346" alt="" /> - <div class="caption">“THE COMBAT”</div></div> - -<p>Nothing could better than—say—the set of -thirty-eight drawings entitled <i>M. Toutbeau catches -the 5.17 a.m. Express</i>. 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<span class="pagenum" id="Page_20">20</span> -goes a button—<i>Palsembleu!</i>—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.</p> - -<p>Who does not know the <i>Great Expectations</i> -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.</p> - -<p>Then there is the little set of three <i>Shooting -Impressions of my Friend Marius</i>, who presumably -hails from the <i>Midi</i>. First he is in the North of -France with his gun and his dog—nothing in sight, -<i>no game at all</i>! Next he is in the Midlands, -both man and dog are happier, <i>There’s just a little</i>, -and a bird has been bagged. Lastly, he’s in his -beloved and romantic <i>Midi</i> and <i>there’s too -much</i>; 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!</p> - -<p>Another splendid set is that of <i>The Finest Conquest -of Man</i>, wherein is traced the marvellous horsemanship<span class="pagenum" id="Page_21">21</span> -of a swell, who, with the greatest of ease and -suavity, completely subdues a very demon of a -horse.</p> - -<p>But we could proceed thus <i>ad infinitum</i> and yet -never give an idea of the wonderful spirit of the -drawings, which must be seen to be loved.</p> - -<p>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.</p> - -<hr /> - -<div id="toclink_22" class="chapter"> -<p><span class="pagenum" id="Page_22">22</span></p> - -<h2 class="nobreak" id="III">III<br /> - -<span class="subhead">H. DE TOULOUSE LAUTREC</span></h2> -</div> - -<p class="drop-cap al"><span class="smcap1">Lautrec</span> 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 -<i>tours de force</i>. His genius, alas! was of the -species that borders on insanity. Occasionally the -border was overstepped.</p> - -<p>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.</p> - -<p>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<span class="pagenum" id="Page_23">23</span> -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.</p> - -<p>Lautrec’s student days were passed in Paris at -Cormon’s <i>atelier</i>. 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.</p> - -<p>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.</p> - -<p><span class="pagenum" id="Page_24">24</span></p> - -<p>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.</p> - -<p>His best work is probably to be found amongst -his posters and portraits. His illustrations, except -in his earliest work, as seen in <i>Paris Illustré</i>, -more frequently show those crude vagaries of form -and colour, which would point to an unevenly -balanced judgment.</p> - -<p>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 <i>vice versâ</i>, it is difficult to -judge; but in any case there is a remarkable -similarity in the aims and peculiarities of their -art.</p> - -<div id="if_i_p24" class="newpage figcenter" style="max-width: 34em;"> - <div class="caption"><p>DE TOULOUSE LAUTREC</p></div> - <img src="images/i_p24.jpg" width="2142" height="2871" alt="" /> - <div class="captionl"><p><i>Paris—Collection Bernheim</i></p></div> - <div class="caption"> - <p>AT THE MOULIN ROUGE</p> - <p class="smaller">(<i>Oil-Painting</i>)</p></div></div> - -<p>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.</p> - -<div id="if_i_p25" class="figright" style="max-width: 19em;"> - <img src="images/i_p25.png" width="1202" height="776" alt="" /></div> - -<p>He lithographed posters of Cissy Loftus, of the -beautiful Anna Held, <i>La Goulue</i> 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 <i>Babylone d’Allemagne</i>, and a yet -more striking one for <i>La Vache Enragée</i>, where -we see a mad cow charging an old coloured dandy -down a street. There is also the startling -advertisement for “<i>L’artisan moderne</i>,” 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 <i>Le Missionaire</i> -and <i>L’Argent</i>.</p> - -<p>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<span class="pagenum" id="Page_26">26</span> -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.</p> - -<p>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.</p> - -<p>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.</p> - -<p>The poster for the <i>Divan Japonais</i>, 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 <i>Elles</i>.</p> - -<p>Finally in the poster for <i>La Gitane</i>, 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<span class="pagenum" id="Page_27">27</span> -shadow, out of the poster at the top right hand -corner. In all these and his other posters the -lettering is bold and legible.</p> - -<p>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.</p> - -<p>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.</p> - -<p>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.</p> - -<p><span class="pagenum" id="Page_28">28</span></p> - -<p>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.</p> - -<div id="if_i_p28" class="figcenter" style="max-width: 25em;"> - <img src="images/i_p28.jpg" width="1585" height="2876" alt="" /> - <div class="captionr"><p><i>By De Toulouse Lautrec</i></p></div> - <div class="caption"> - <p>YVETTE GUILBERT</p></div></div> - -<hr /> - -<div id="toclink_29" class="chapter"> -<p><span class="pagenum" id="Page_29">29</span></p> - -<h2 class="nobreak" id="IV">IV<br /> - -<span class="subhead">PAUL BALLURIAU</span></h2> -</div> - -<p class="drop-cap b"><span class="smcap1">Balluriau</span> is best known as the artist -who has supplemented Steinlen’s realism -in the pages of the <i>Gil Blas Illustré</i> -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.</p> - -<p>His work, however, has not been confined to the -pages of <i>Gil Blas</i>, 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.</p> - -<p>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 <i>par excellence</i>. Further, he has a<span class="pagenum" id="Page_30">30</span> -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.</p> - -<p>For ten years past his brilliant work has graced -the pages of <i>Gil Blas Illustré</i>. 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.</p> - -<p>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.</p> - -<p>The settings in which he places his graceful -lovers, his Bacchanalian dances, his fauns and his -nymphs, are suitably idyllic and beautiful.</p> - -<p>Innumerable are the backgrounds of fair lawns -shaded by great trees, of lovely bowers, and of -secluded nooks in some great park in Dreamland.</p> - -<p>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<span class="pagenum" id="Page_31">31</span> -twilight, and some deep and placid stream murmuring -beneath the darkling trees carries on its bosom a -fairy bark and its cargo of love.</p> - -<p>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.</p> - -<p>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 <i>beaux</i> and -<i>belles</i>, full of the <i>joie de vivre</i>, 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 <i>répertoire</i>. -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 <i>galant</i> 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 <i>Parisienne</i>, who<span class="pagenum" id="Page_32">32</span> -listens, half fearing the ardent words of the -young exquisite who is stealing a conversation -with her.</p> - -<p>Balluriau also knows how to deal with subjects -requiring more vigour of treatment—such as he -displays in his Breton figure subjects. His drawing -<i>Partance</i> is a case in point. The scene is laid -in a sailors’ <i>cabaret</i>, on the tiled floor are rough -tables, at and on which sit peaceful groups of -Breton peasants; and sailor-men and buxom <i>bonnes</i> -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.</p> - -<p>And in the rare drawings where he touches on -poverty and serious tragedy he proves himself -impressive and capable of deep feeling. His -drawings <i>La Toussaint Héroïque</i>, the terrible beer-house -brawl, <i>L’Été</i>, and <i>Un Mendiant Rousse</i>, are -worthy of Steinlen.</p> - -<p>But it is in his illustrations of classical and allegorical -subjects that he stands alone, and shows his -greatest individuality.</p> - -<p>Such subjects as his <i>Bacchantes</i>, his weird <i>Vers -le Sabbat</i>, his <i>Chloé</i>, or his <i>La Mort des Lys</i>, to mention -but a few in the <i>Gil Blas</i> 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.</p> - -<p><span class="pagenum" id="Page_33">33</span></p> - -<div id="if_i_p33" class="newpage figcenter" style="max-width: 34em;"> - <div class="caption"><p>A. WILLETTE</p></div> - <img src="images/i_p33.jpg" width="2155" height="2578" alt="" /> - <div class="captionl"><p><i>Courrier Français</i></p></div> - <div class="caption"> - <p>“MIMI PINSON, TU IRAS EN PARADIS!”</p></div></div> - -<hr /> - -<div id="toclink_34" class="chapter"> -<p><span class="pagenum" id="Page_34">34</span></p> - -<h2 class="nobreak" id="V">V<br /> - -<span class="subhead">FRÉDÉRIC VALLOTTON</span></h2> -</div> - -<p class="drop-cap"><span class="smcap1">Vallotton’s</span> work has probably appeared -less frequently in the French -press than that of many of his <i>confrères</i> -to whom we are directing our attention.</p> - -<p>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.</p> - -<p>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<span class="pagenum" id="Page_35">35</span> -on even terms, and to pass as geniuses of a very -<i>spirituel</i> order.</p> - -<p>The irritating group to whom I refer, in its -frantic efforts to be original, hit on the idea of -drawing with the <i>naïveté</i> of the untutored child; -and this <i>rôle</i> 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.</p> - -<p>Midway between this group of <i>soi-disant</i> 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 <i>naïveté</i> of the <i>enfantillistes</i>, -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.</p> - -<p><span class="pagenum" id="Page_36">36</span></p> - -<p>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.</p> - -<p>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.</p> - -<p>Vallotton adds a keen sense of humour to his -great ability as a draughtsman. Look at his -coloured drawing <i>Don’t Move</i>, in <i>Le Rire</i>, 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 <i>nou-nou</i>, -beaming down at the youngest hopeful in her<span class="pagenum" id="Page_37">37</span> -arms; yet more bulgy <i>maman</i> 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.</p> - -<p>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.</p> - -<p>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.</p> - -<p>Yet another coloured drawing in <i>Le Rire</i>, -called <i>Le Coup de Main</i> is very remarkable in -its composition and handling, and like most of -Vallotton’s work shows an appreciation of Japanese<span class="pagenum" id="Page_38">38</span> -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.</p> - -<div id="if_i_p38" class="newpage figcenter" style="max-width: 24em;"> - <div class="caption">PORTRAIT OF <span class="in6">M. DRUMONT</span></div> - <img src="images/i_p38.jpg" width="1518" height="1572" alt="" /> -</div> - -<p>Among the papers which Vallotton has helped to -illustrate may be mentioned <i>Le Cri de Paris</i>, <i>Le -Sifflet</i>, and <i>Le Canard Sauvage</i>.</p> - -<p>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<span class="pagenum" id="Page_39">39</span> -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.</p> - -<p>A fine example of this work was published in -<i>The Studio</i> in 1899, in a portrait of Puvis de -Chavannes, which Vallotton drew and cut on the -wood specially for that journal.</p> - -<p>A very subtle and delicately coloured reproduction -of Vallotton’s work in colour appeared also in -<i>The Studio</i> 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.”</p> - -<hr /> - -<div id="toclink_40" class="chapter"> -<p><span class="pagenum" id="Page_40">40</span></p> - -<h2 class="nobreak" id="VI">VI<br /> - -<span class="subhead">LOUIS MORIN</span></h2> -</div> - -<p class="drop-cap"><span class="smcap1">Morin</span> is the Watteau of the modern -illustrated press. He is, so to speak, -an eighteenth-century <i>maître galant</i> -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.</p> - -<p>Morin wields magic pens and pencils. His lines<span class="pagenum" id="Page_41">41</span> -are full of nerve and <i>verve</i>; 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.</p> - -<div id="if_i_p41" class="figright" style="max-width: 22em;"> - <img src="images/i_p41.jpg" width="1355" height="2195" alt="" /> - <div class="caption"><p>LOUIS MORIN</p> - <p class="smaller">(<i>By himself</i>)</p></div></div> - -<p>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<span class="pagenum" id="Page_42">42</span> -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.</p> - -<p>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 <i>beaux</i> and <i>belles</i> 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.</p> - -<p>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.”</p> - -<p><span class="pagenum" id="Page_43">43</span></p> - -<p>In the early eighties Morin started drawing for -<i>La Caricature</i> and <i>Le Chat Noir</i>, and later on for -the <i>Revue Illustrée</i>, the <i>Revue des Lettres et des Arts</i>, -<i>Figaro Illustré</i>, <i>St. Nicolas</i>, <i>Le Canard Sauvage</i>, <i>La -Vie en Rose</i>, &c.</p> - -<p>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.</p> - -<p>A fair sized room having been acquired as an -annexe to the artistic <i>cabaret</i> 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<span class="pagenum" id="Page_44">44</span> -to be recalled by the magnetic attraction of his -beloved Montmartre.</p> - -<div id="if_i_p44" class="figleft" style="max-width: 8em;"> - <img src="images/i_p44.png" width="523" height="1924" alt="" /></div> - -<p>A glance at the pages of the <i>Revue -des Quat’ Saisons</i>, 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 <i>joie -de vivre</i>. 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.</p> - -<p>The intoxication of the carnival pervades the -greater part of this book, whose literary contents -consist of a series of chapters on such interesting<span class="pagenum" id="Page_45">45</span> -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.</p> - -<p>The amount of ingenuity, facility, and anatomical -sureness shown in this little set astounds one.</p> - -<p>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.</p> - -<div id="if_i_p46" class="figcenter" style="max-width: 26em;"> - <img src="images/i_p46.jpg" width="1655" height="1664" alt="" /> - <div class="captionr"><p><i>By Louis Morin</i></p> -</div></div> - -<p>The <i>Vie en Rose</i> 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<span class="pagenum" id="Page_46">46</span> -could not but come amiss to him, and it is in such -delightful fancies in this journal as the <i>Façon de voir -la vie en Rose—Le Dessinateur</i>—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<span class="pagenum" id="Page_47">47</span> -patrons stream in humbly to offer their thousand-franc -notes for the sketches he is tossing off.</p> - -<p>Other less discreet studio incidents, treated with -even more delicacy of colour and draughtsmanship, -are contained in the journal.</p> - -<p>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.</p> - -<p>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.</p> - -<hr /> - -<div id="toclink_48" class="chapter"> -<p><span class="pagenum" id="Page_48">48</span></p> - -<h2 class="nobreak" id="VII">VII<br /> - -<span class="subhead">CHARLES HUARD</span></h2> -</div> - -<p class="drop-cap"><span class="smcap1">Huard</span> 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.</p> - -<p>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 <i>petit commerçant</i> (or tradesman) -classes, deviating occasionally to draw within his -net a few stray soldiers, or some dignified member -of the old nobility of France.</p> - -<p><span class="pagenum" id="Page_49">49</span></p> - -<p>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.</p> - -<div id="if_i_p49" class="figright" style="max-width: 21em;"> - <img src="images/i_p49.jpg" width="1320" height="2102" alt="" /></div> - -<p>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<span class="pagenum" id="Page_50">50</span> -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.”</p> - -<p>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.</p> - -<p>A perusal of “Province,” and other works to be -mentioned, will, I am sure, prove the truth of these -remarks.</p> - -<p>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 -<i>Les Officiels</i>, entitled <i>Midday Mass is far the most -aristocratic</i>—wherein a procession of regular church-goers -debouches out of a picturesque, half-hearted,<span class="pagenum" id="Page_51">51</span> -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 <i>The Revenge</i>. -Were ever such <i>chauvinistes</i>, 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.</p> - -<p>A drawing labelled <i>The Express conveying the -President will pass at five o’clock</i>, 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 <i>ces braves pompiers</i>, 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.</p> - -<p>Then there are the poor, dear, terrible old ladies, -to whom Huard introduces us under the heading<span class="pagenum" id="Page_52">52</span> -“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.</p> - -<p>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 -<i>the Mlles. Petanville de Grandcourt, in whom will -expire the most purple blood of the country</i>.</p> - -<p>Under <i>Soirs de Province</i> 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.’”</p> - -<p>Then amongst the group of drawings headed -<i>Rentiers et Retraités</i> 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<span class="pagenum" id="Page_53">53</span> -with it. Mrs. Lepinçon visited the new dentist -three times in the same day!”</p> - -<p>A splendid set of drawings is included in the -group <i>Au café</i>. We can see that they are so many -<i>resumés</i> 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 -<i>Raisonneurs et Sentimentaux</i> 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 <i>Market day at Pavigny-le-Gras</i>. 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.</p> - -<p>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<span class="pagenum" id="Page_54">54</span> -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.</p> - -<p>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 <i>Return from Mass</i>, 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 <i>piou-pious</i>, or -“tommies,” enjoying their <i>Plaisir du Dimanche</i>: -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.”</p> - -<p><i>Le Rire</i> 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 <i>Plages</i>, in<span class="pagenum" id="Page_55">55</span> -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.</p> - -<p>A pathetic drawing is that of the poor workwoman, -who has tramped out to the sordid wastes -of the <i>fortifs</i>, 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!”</p> - -<p>Huard has drawn for <i>L’Assiette au Beurre</i>, -<i>L’Image</i>, <i>Le Rire</i>, and <i>Cocorico</i> 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<span class="pagenum" id="Page_56">56</span> -appear in <i>Le Rire</i>, and charm us with their quaint -breadth and simplicity of treatment. Nothing -in this way could be better than the old <i>concièrge</i> -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.</p> - -<p>For the exhibition of <i>La Demi Douzaine</i>, the little -group of artists among whom he exhibits his marine -work, Huard has done an excellent poster.</p> - -<div id="if_i_p56" class="figcenter" style="max-width: 22em;"> - <img src="images/i_p56.png" width="1380" height="1753" alt="" /> - <div class="captionl"><i>By J. Wély.</i> (<i><a href="#Page_57">p. 57</a></i>)</div></div> - -<hr /> - -<div id="toclink_57" class="chapter"> -<p><span class="pagenum" id="Page_57">57</span></p> - -<h2 class="nobreak" id="VIII">VIII<br /> - -<span class="subhead">J. WÉLY</span></h2> -</div> - -<p class="drop-cap"><span class="smcap1">Wély</span> is one of the more recent stars in -the firmament of Parisian illustrators; -nevertheless he shines with a peculiar -brilliance of his own.</p> - -<p>His drawing of the female form divine, more or -less disclosed in dainty <i>décolleté</i>, 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 <i>esprit</i>. 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<span class="pagenum" id="Page_58">58</span> -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.</p> - -<p>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<span class="pagenum" id="Page_59">59</span> -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.</p> - -<p>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 -<i>rapins</i> he draws are a delightful crew, most excellently -put upon paper.</p> - -<p>A specimen of his humour is indicated in the -words accompanying one of his rare pen and ink -drawings, which appeared in <i>Cocorico</i>. A <i>chic</i> 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.”</p> - -<p>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<span class="pagenum" id="Page_60">60</span> -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.</p> - -<p>Wély has contributed to the pages of the <i>Frou -Frou</i>; and very frequently to <i>La Vie en Rose</i>. 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 <i>Quelques -Predictions pour 1902</i>, shows us a delightful little -coquette in <i>déshabillé</i>, 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. <i>Passe temps -du jeune Age</i>, is one of the most astoundingly able -and beautiful studies of the nude that one can -recall by any artist, and also appears in <i>La Vie en -Rose</i>.</p> - -<p>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 <i>bon viveur</i>, -who is used artistically as a foil to some fresh and -dainty young person of the opposite sex.</p> - -<p>Several pages in colour, which appeared in the -<i>Vie en Rose</i>, evinced a charmingly refined sense in -that direction; while some illustrated covers for -<i>Le Rabelais</i>, each most successfully dealing with<span class="pagenum" id="Page_61">61</span> -an entirely different and difficult colour problem -were among the most striking examples of that -branch of art yet produced.</p> - -<div id="if_i_p61" class="figcenter" style="max-width: 34em;"> - <img src="images/i_p61.jpg" width="2118" height="1946" alt="" /> - <div class="captionr"><p><i>By J. Wély</i></p> -</div></div> - -<div id="toclink_62" class="chapter"> -<p><span class="pagenum" id="Page_62">62</span></p> - -<div id="if_i_p62" class="figcenter" style="max-width: 31em;"> - <img src="images/i_p62.jpg" width="1922" height="2702" alt="" /> - <div class="captionr"><p><i>By Malteste</i></p></div> - <div class="caption"> - <p>PSYCHOLOGUE</p></div></div> - -<hr /> - -<p><span class="pagenum" id="Page_63">63</span></p> - -<h2 class="nobreak" id="IX">IX<br /> - -<span class="subhead">LOUIS MALTESTE</span></h2> -</div> - -<p class="drop-cap al"><span class="smcap1">Among</span> the workers on the French illustrated -papers none produces a steadier -flow of thoroughly conscientious, sound -work than Louis Malteste.</p> - -<p>His are no chance effects, no <i>tours de force</i> of mere -eccentricity or charlatanism, but are the outcome of -knowledge, hard work and assurance.</p> - -<p>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.</p> - -<p>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.<span class="pagenum" id="Page_64">64</span> -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.</p> - -<p>No wonder then that publishers such as Hachette, -and the weekly illustrated papers <i>Le Monde Illustré</i>, -<i>L’Illustration</i>, &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 <i>La Vie en Rose</i>, -<i>Le Rire</i>, <i>L’Assiette au Beurre</i>, and many others, -wherein to let fly that <i>gauloiserie</i> which flows in -the veins of even the most serious Frenchman.</p> - -<p>Most of the drawings in <i>La Vie en Rose</i> 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.</p> - -<p>There is in <i>La Vie en Rose</i> an amusing series of -drawings by Malteste of coachmen of all grades—each<span class="pagenum" id="Page_65">65</span> -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 -<i>Léopold, Roi des Belges</i>, a harmony in white, yellow, -and brown. Malteste shows himself as a tender -colourist in the excellent drawing of a milking -scene, entitled <i>La Traité des Blanches</i>; another -farm scene, <i>Le Fléau</i>, is as excellent an example of -black and white work, and only surpassed by the -chalk drawing <i>Psychologue</i>, a superb delineation of -two ragged, storm-beaten rag pickers toiling homewards -with their baskets.</p> - -<p>His little studies of queer bits of gnarled humanity -are splendid; witness his <i>Femmes Fidèles</i>, <i>La Femme -qui prise</i>, his droll lady who declares <i>There is nothing -like a good swig</i>, his <i>Woman with a Dog</i>, his <i>Woman -with the Cats</i>, or the group called <i>Types of Electors -in the Ville Lumière</i>. 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 <i>Femmes Infidèles</i> -the same remarks apply.</p> - -<p>A noteworthy quality in Malteste’s work is -the invariably excellent drawing of the hands. -To any but the surest draughtsmen hands are<span class="pagenum" id="Page_66">66</span> -a veritable <i>bête noire</i>, to be avoided whenever -possible.</p> - -<p>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 <i>L’Absinthe Parisienne</i>; while his -poster for the Théâtre Antoine is one of the finest -things of its kind yet produced.</p> - -<div id="if_i_p66" class="newpage figcenter" style="max-width: 30em;"> - <div class="caption">DE TOULOUSE LAUTREC</div> - <img src="images/i_p66.jpg" width="1916" height="1418" alt="" /> -</div> - -<hr /> - -<div id="toclink_67" class="chapter"> -<p><span class="pagenum" id="Page_67">67</span></p> - -<h2 class="nobreak" id="X">X<br /> - -<span class="subhead">J. L. FORAIN</span></h2> -</div> - -<p class="drop-cap"><span class="smcap1">The</span> 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.</p> - -<p>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.</p> - -<p><span class="pagenum" id="Page_68">68</span></p> - -<p>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.</p> - -<p>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.</p> - -<p>The drawings here and there reflect the touch of -melancholy in the author’s nature, as well as his -caustic wit.</p> - -<p>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<span class="pagenum" id="Page_69">69</span> -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!”</p> - -<p>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.</p> - -<p>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 -<i>coryphée</i>, the while the moneyed man behind the -scenes passes them.</p> - -<p>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!”</p> - -<p>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<span class="pagenum" id="Page_70">70</span> -who now illustrate with such faint lines and aim at -such fragile effects.</p> - -<p>A collection in book form of his political and -topical illustrations, which had appeared in <i>Le -Figaro</i> were republished under the title “Doux -Pays.”</p> - -<p>The number of <i>L’Album</i> 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, <i>The Tub</i>, however, is included in the -number, as well as some strongly indicated work -in colour.</p> - -<p>Forain’s work has been widely published; we -have seen it in <i>Nous, Vous, Eux</i>, in <i>Le Figaro</i>, in -<i>Les Femmes, il n’y a qu’ça</i>, <i>Le Courrier Français</i>, <i>L’Indiscret</i>, -<i>Le Rire</i>, in <i>L’Assiette au Beurre</i>, in <i>The Studio</i>, -and elsewhere.</p> - -<p>He has done bold poster work, <i>Le Salon du Cycle</i>, -<i>La Parisienne du Siècle</i>, &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.</p> - -<p>To <i>Le Rire</i> 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<span class="pagenum" id="Page_71">71</span> -treated frankly as sketches and nothing more. Yet -how amply complete is such a drawing as that of -the little powdered <i>cocotte</i> 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.”</p> - -<p>An exhibition of Forain’s work, which was held -on the Eiffel Tower in 1890 or 1891, under the -auspices of the <i>Courrier Français</i>, 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.”</p> - -<p>Forain is yet another past <i>habitué</i> 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.</p> - -<hr /> - -<div id="toclink_72" class="chapter"> -<p><span class="pagenum" id="Page_72">72</span></p> - -<h2 class="nobreak" id="XI">XI<br /> - -<span class="subhead">CHARLES LÉANDRE</span></h2> -</div> - -<p class="drop-cap al"><span class="smcap1">Léandre</span> 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.</p> - -<p>Léandre not only caricatures the faces and figures -of his subjects, but he caricatures their mien and -manners; their politeness, their self-satisfaction, -their <i>hauteur</i>, their cringing, in his hands exudes -from every pore.</p> - -<div id="if_i_p73" class="newpage figcenter" style="max-width: 34em;"> - <div class="caption"><p>LÉANDRE</p></div> - <img src="images/i_p73.jpg" width="2135" height="2421" alt="" /> - <div class="captionl"> - <p>(<i>From the collection of the Chat-Noir</i>)</p></div> - <div class="caption"> - <p>RUDOLPH SALIS</p> - <p class="smaller">(<i>Seigneur de Chat-noir ville</i>)</p></div></div> - -<p>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<span class="pagenum" id="Page_75">75</span> -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.</p> - -<div id="if_i_p74" class="newpage figcenter" style="max-width: 21em;"> - <div class="caption"><p>A. WILLETTE</p></div> - <img src="images/i_p74.jpg" width="1294" height="2113" alt="" /> - <div class="caption"> - <p>MA CHANDELLE EST MORTE</p></div></div> - -<p>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 <i>Le Rire</i>, <i>L’Album</i>, -<i>L’Assiette au Beurre</i>, 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 <i>animalier</i>, -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.</p> - -<p>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 -<i>Le Ministère en Vacances</i> and <i>Le Retour du Général -Duchesne</i> in <i>Le Rire</i>; and here we may mention -how much many of the most excellent of the younger -artists—such as Steinlen, Léandre, Malteste, Redon,<span class="pagenum" id="Page_76">76</span> -Sabattier, Tilly, and Huard in France, Lockhart-Bogle, -Hartrick, Almond and Gunning King in -England, evidently owe -to that giant among -draughtsmen—Paul -Renouard.</p> - -<div id="if_i_p76" class="figleft" style="max-width: 19em;"> - <img src="images/i_p76.jpg" width="1172" height="2134" alt="" /></div> - -<p>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 -“<i>charges</i>” 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 <i>gens sérieux</i>, with whom he<span class="pagenum" id="Page_77">77</span> -was brought into contact at the <i>reunions</i> given by -his uncle—the Deputy Christofle, with but scant -regard for their dignity.</p> - -<p>Settling in Montmartre, he rapidly captured the -<i>quartier</i> with his marvellous caricatures of the -“types” of the neighbourhood, and of the -Bohemians of the greater Paris who flocked to its -<i>cabarets artistiques</i>. Thenceforward his fame has -rapidly spread far and wide: of course he was -a patron of the <i>Chat Noir</i>, and later of the <i>Quat’z’Arts</i>, -to whose papers he contributed.</p> - -<p>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 <i>Le Rire</i>—“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<span class="pagenum" id="Page_78">78</span> -joy bells, and a background of fidgeting, yawning -children completes the picture.</p> - -<p>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.</p> - -<p>An astounding drawing of a bacchanalian orgy -entitled <i>Ribote de Noël</i> appeared in No. 112 of -<i>Le Rire</i>, and the whole reeling scene of drunken -revelry is marvellously rendered. In the largeness -of the forms and the rollicking <i>abandon</i> 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 <i>L’Album</i>, 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.</p> - -<div id="if_i_p78" class="newpage figcenter" style="max-width: 30em;"> - <div class="caption"><p>LÉANDRE</p></div> - <img src="images/i_p78.jpg" width="2313" height="3314" alt="" /> - <div class="caption"> - <p>LES CHANTEURS DE MONTMARTRE</p> - <p class="smaller">(<i>Tourney Poster for Yvette Guilbert</i>)</p></div></div> - -<p>Other illustrations by Léandre appear in <i>Le Grand -Guignol</i>, and in the comic paper <i>La Vie en Rose</i>. -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 -<i>Le Rire</i> 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.</p> - -<div id="if_i_p80" class="figcenter" style="max-width: 29em;"> - <img src="images/i_p80.jpg" width="1844" height="2633" alt="" /> - <div class="caption"><p>LÉANDRE</p> - <p class="smaller">(<i>By himself</i>)</p></div></div> - -<p><span class="pagenum" id="Page_81">81</span></p> - -<p>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<span class="pagenum" id="Page_80">80</span> -Jewish head on his fork previous to making a meal -of it. In fine irony a cross hangs on his breast.</p> - -<p>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.</p> - -<p>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.”</p> - -<p>That the tragic side of life touches Léandre -deeply is evident, if only from a couple of drawings -which appeared in <i>L’Assiette au Beurre</i>. 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,<span class="pagenum" id="Page_82">82</span> -who have perforce been obliged to sleep in the -streets.</p> - -<p>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.</p> - -<p>Léandre, however, is a great draughtsman, and -there can be no mistaking this fact.</p> - -<div id="if_i_p82" class="figcenter" style="max-width: 30em;"> - <img src="images/i_p82.jpg" width="1909" height="1747" alt="" /> - <div class="caption"> - <p class="p0 b0 floatl"><i>From l’Album</i></p> - <p class="p0 b0 floatr">By LÉANDRE</p> - <p class="p0 b0 floatc">DEUX AMIS</p> - </div></div> - -<hr /> - -<div id="toclink_81" class="chapter"> -<p><span class="pagenum" id="Page_83">83</span></p> - -<h2 class="nobreak" id="XII">XII<br /> - -<span class="subhead">CONCLUSION</span></h2> -</div> - -<p class="drop-cap"><span class="smcap1">It</span> 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.</p> - -<p>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.</p> - -<p><span class="pagenum" id="Page_84">84</span></p> - -<p>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 -<i>cabaret</i>, 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.</p> - -<p>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.</p> - -<p>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<span class="pagenum" id="Page_85">85</span> -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 <i>displayed</i> 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 <i>their</i> time, -which the nation’s art buyers collect so assiduously -and at so much cost.</p> - -<p>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.</p> - -<div id="if_i_p86" class="newpage figcenter" style="max-width: 25em;"> - <div class="caption">A. WILLETTE</div> - <img src="images/i_p86.jpg" width="1590" height="1650" alt="" /> -</div> - -<p class="p4 center wspace vspace"> -Printed by <span class="smcap">Ballantyne, Hanson & Co.</span><br /> -London & Edinburgh<br /> -</p> - -<div class="chapter"><div class="transnote"> -<h2 class="nobreak" id="Transcribers_Notes">Transcriber’s Notes</h2> - -<p>Punctuation, hyphenation, and spelling were made -consistent when a predominant preference was found -in the original book; otherwise they were not changed.</p> - -<p>Simple typographical errors were corrected; unbalanced -quotation marks were remedied when the change was -obvious, and otherwise left unbalanced.</p> - -<p>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.</p> - -<p class="in0 in4"> -<a href="#Page_5">Page 5</a>: Ville Lumiére => Ville Lumière<br /> -<a href="#Page_9">Page 9</a>: Chevalier a la Fèe => Chevalier à la Fée<br /> -<a href="#Page_9">Page 9</a>: Eugéne Grasset => Eugène Grasset<br /> -<a href="#Page_9">Page 9</a>: A l’eau => À l’eau<br /> -<a href="#Page_9">Page 9</a>: les Oisseaux => les Oiseaux<br /> -<a href="#Page_12">Page 12</a>: le bon Gite. => le bon Gîte.<br /> -<a href="#Page_30">Page 30</a>: Les Poétes de l’Amour => Les Poètes de l’Amour<br /> -<a href="#Page_32">Page 32</a>: La Toussaint Heroique => La Toussaint Héroïque<br /> -<a href="#Page_32">Page 32</a>: L’Etè => L’Été<br /> -<a href="#Page_34">Page 34</a>: confréres => confrères<br /> -<a href="#Page_35">Page 35</a>: soidisant => soi-disant<br /> -<a href="#Page_42">Page 42</a>: A. Lepére => A. Lepère<br /> -<a href="#Page_42">Page 42</a>: Aieule => Aïeule<br /> -<a href="#Page_43">Page 43</a>: Musée Grèvin => Musée Grévin<br /> -<a href="#Page_43">Page 43</a>: Henri Riviére => Henri Rivière<br /> -<a href="#Page_57">Page 57</a>: decollété => décolleté<br /> -<a href="#Page_64">Page 64</a>: Le Monde Illustrê => Le Monde Illustré<br /> -<a href="#Page_65">Page 65</a>: La Traite des Blanches => La Traité des Blanches<br /> -<a href="#Page_66">Page 66</a>: Gelis-Didot => Gélis-Didot<br /> -<a href="#Page_66">Page 66</a>: Thêatre => Théâtre<br /> -<a href="#Page_70">Page 70</a>: du Siécle => du Siècle<br /> -<a href="#Page_75">Page 75</a>: du Genéral => du Général<br /> -<a href="#Page_78">Page 78</a>: Ribote de Noel -> Ribote de Noël<br /> -</p> - -<p>Not changed:</p> - -<p class="in0 in4"> -<a href="#Page_10">Page 10</a>: Les Gaitès Bourgeois<br /> -<a href="#Page_12">Page 12</a>: Les Gaitès Bourgeoises<br /> -<a href="#Page_18">Page 18</a>: Charge (perhaps should be “Chargé”)<br /> -<a href="#Page_17">Pages 17</a> and <a href="#Page_43">43</a>: Caran-d’-Ache<br /> -<a href="#Page_75">Page 75</a>: reunions (perhaps should be “réunions”)<br /> -</p> - -<p>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.</p> - -<p>The poor image quality of “Deux Amis” occurs in -at least three different copies of the original -book, and probably was printed that way.</p> -</div></div> - -<div style='display:block; margin-top:4em'>*** END OF THE PROJECT GUTENBERG EBOOK THE ILLUSTRATORS OF MONTMARTRE ***</div> -<div style='text-align:left'> - -<div style='display:block; margin:1em 0'> -Updated editions will replace the previous one—the old editions will -be renamed. -</div> - -<div style='display:block; margin:1em 0'> -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. 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