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Ebook has 378 lines and 98593 words, and 8 pages

"EL GRECO"

"VELASQUEZ"

GOYA

FORTUNY

SOROLLA

ZULOAGA

PIRANESI

MERYON

JOHN MARTIN

ZORN

BRANGWYN

DAUMIER

LALANNE

LEGRAND

GUYS

MONET

RENOIR

MANET

PICTURES AT THE HAGUE

THE MESDAG MUSEUM

HALS OF HAARLEM

PICTURES IN AMSTERDAM

ART IN ANTWERP

MUSEUMS OF BRUSSELS

BRUGES THE BEAUTIFUL

THE MOREAU MUSEUM

PICTURES IN MADRID

EL GRECO AT TOLEDO

VELASQUEZ IN THE PRADO

CODA

PROMENADES OF AN IMPRESSIONIST

There are many canvases the subjects of which are more pathologic than artistic, subjects only fit for the confessional or the privacy of the clinic. But, apart from these disagreeable episodes, the main note of the Salon is a riotous energy, the noisy ebullition of a gang of students let loose in the halls of art. They seem to rush by you, yelling from sheer delight in their lung power, and if you are rudely jostled to the wall, your toes trod upon and your hat clapped down on your ears, you console yourself with the timid phrase: Youth must have its fling.

PROMENADES

No need now to recapitulate the story of the New Salon and the defection from it of these Independents. It is a fashion to revolt in Paris, and no doubt some day there will arise a new group that will start the August Salon or the January Salon.

"Independent of the Independents" is a magnificent motto with which to assault any intrenched organisation.

PAUL C?ZANNE

And now we reach the holy precincts. If ardent youths sneered at the lyric ecstasy of Renoir, at the severe restraint of Chavannes, at the poetic mystery of Carri?re, their lips were hushed as they tiptoed into the Salle C?zanne. Sacred ground, indeed, we trod as we gazed and wondered before these crude, violent, sincere, ugly, and bizarre canvases. Here was the very hub of the Independents' universe. Here the results of a hard-labouring painter, without taste, without the faculty of selection, without vision, culture--one is tempted to add, intellect--who with dogged persistency has painted in the face of mockery, painted portraits, landscapes, flowers, houses, figures, painted everything, painted himself. And what paint! Stubborn, with an instinctive hatred of academic poses, of the atmosphere of the studio, of the hired model, of "literary," or of mere digital cleverness, C?zanne has dropped out of his scheme harmony, melody, beauty--classic, romantic, symbolic, what you will!--and doggedly represented the ugliness of things. But there is a brutal strength, a tang of the soil that is bitter, and also strangely invigorating, after the false, perfumed boudoir art of so many of his contemporaries.

Think of Bouguereau and you have his antithesis in C?zanne--C?zanne whose stark figures of bathers, male and female, evoke a shuddering sense of the bestial. Not that there is offence intended in his badly huddled nudes; he only delineates in simple, naked fashion the horrors of some undressed humans. His landscapes are primitive though suffused by perceptible atmosphere; while the rough architecture, shambling figures, harsh colouring do not quite destroy the impression of general vitality. You could not say with Walt Whitman that his stunted trees were "uttering joyous leaves of dark green." They utter, if anything, raucous oaths, as seemingly do the self-portraits--exceedingly well modelled, however. C?zanne's still-life attracts by its whole-souled absorption; these fruits and vegetables really savour of the earth. Chardin interprets still-life with realistic beauty; if he had ever painted an onion it would have revealed a certain grace. When Paul C?zanne paints an onion you smell it. Nevertheless, he has captured the affections of the rebels and is their god. And next season it may be some one else.

It may interest readers of Zola's L'Oeuvre to learn about one of the characters, who perforce sat for his portrait in that clever novel . Paul C?zanne bitterly resented the liberty taken by his old school friend Zola. They both hailed from Aix, in Provence. Zola went up to Paris; C?zanne remained in his birthplace but finally persuaded his father to let him study art at the capital. His father was both rich and wise, for he settled a small allowance on Paul, who, poor chap, as he said, would never earn a franc from his paintings. This prediction was nearly verified. C?zanne was almost laughed off the artistic map of Paris. Manet they could stand, even Claude Monet; but C?zanne--communard and anarchist he must be , for he was such a villainous painter! C?zanne died, but not before his apotheosis by the new crowd of the Autumn Salon. We are told by admirers of Zola how much he did for his neglected and struggling fellow-townsman; how the novelist opened his arms to C?zanne. C?zanne says quite the contrary. In the first place he had more money than Zola when they started, and Zola, after he had become a celebrity, was a great man and very haughty.

"A mediocre intelligence and a detestable friend" is the way the prototype of Claude Lantier puts the case. "A bad book and a completely false one," he added, when speaking to the painter Emile Bernard on the disagreeable theme. Naturally Zola did not pose his old friend for the entire figure of the crazy impressionist, his hero, Claude. It was a study composed of C?zanne, Bazille, and one other, a poor, wretched lad who had been employed to clean Manet's studio, entertained artistic ambitions, but hanged himself. The conversations C?zanne had with Zola, his extreme theories of light, are all in the novel--by the way, one of Zola's most finished efforts. C?zanne, an honest, hard-working man, bourgeois in habits if not by temperament, was grievously wounded by the treachery of Zola; and he did not fail to denounce this treachery to Bernard.

Paul C?zanne was born January 19, 1839. His father was a rich bourgeois, and while he was disappointed when his son refused to prosecute further his law studies, he, being a sensible parent and justly estimating Paul's steadiness of character, allowed him to go to Paris in 1862, giving him an income of a hundred and fifty francs a month, which was shortly after doubled. With sixty dollars a month an art student of twenty-three could, in those days, live comfortably, study at leisure, and see the world. C?zanne from the start was in earnest. Instinctively he realised that for him was not the rapid ascent of the rocky path that leads to Parnassus. He mistrusted his own talent, though not his powers of application. At first he frequented the Acad?mie Suisse, where he encountered as fellow-workers Pissarro and Guillaumin. He soon transferred his easel to the Beaux-Arts and became an admirer of Delacroix and Courbet. It seems strange in the presence of a C?zanne picture to realise that he, too, suffered his little term of lyric madness and wrestled with huge mythologic themes--giant men carrying off monstrous women. Connoisseurs at the sale of Zola's art treasures were astonished by the sight of a canvas signed C?zanne, the subject of which was L'Enl?vement, a romantic subject, not lacking in the spirit of Delacroix. The Courbet influence persisted, despite the development of the younger painter in other schools. C?zanne can claim Courbet and the Dutchmen as artistic ancestors.

His most virulent enemies were forced to admit that Edouard Manet had a certain facility with the brush; his quality and beauty of sheer paint could not be winked away even by Albert Wolff. But to C?zanne there was no quarter shown. He was called the "Ape of Manet"; he was hissed, cursed, abused; his canvases were spat upon, and as late as 1902, when M. Roujon, the Director of the Beaux-Arts, was asked by Octave Mirbeau to decorate C?zanne, he nearly fainted from astonishment. C?zanne! That barbarian! The amiable director suggested instead the name of Claude Monet. Time had enjoyed its little whirligig with that great painter of vibrating light and water, but Monet blandly refused the long-protracted honour. Another anecdote is related by M. Duret. William II of Germany in 1899 wished to examine with his own eyes, trained by the black, muddy painting of Germany, the canvases of Monet, Pissarro, Sisley, C?zanne, and Manet, acquired by Director Tschudi for the Berlin National Gallery. He saw them all except the C?zanne. Herr Tschudi feared that the Parisian fat would be in the imperial fire if the C?zanne picture appeared. So he hid it. As it was his Majesty nodded in emphatic disapproval of the imported purchases. If he had viewed the C?zanne!

His landscapes are real, though without the subtle poetry of Corot or the blazing lyricism of Monet. He hails directly from the Dutch: Van der Near, in his night pieces. Yet no Dutchman ever painted so uncompromisingly, so close to the border line that divides the rigid definitions of old-fashioned photography--the "new" photography hugs closely the mellow mezzotint--and the vision of the painter. An eye--nothing more, is C?zanne. He refuses to see in nature either a symbol or a sermon. Withal his landscapes are poignant in their reality. They are like the grill age one notes in ancient French country houses--little caseate cut in the windows through which you may see in vivid outline a little section of the landscape. C?zanne marvellously renders certain surfaces, china, fruit, tapestry.

In February, 1904, Bernard landed in Marseilles after a trip to the Orient. A chance word told him that there had been installed an electric tramway between Marseilles and Aix. Instantly the name of C?zanne came to his memory; he had known for some years that the old painter was in Aix. He resolved to visit him, and fearing a doubtful reception he carried with him a pamphlet he had written in 1889, an eulogium of the painter. On the way he asked his fellow-travellers for C?zanne's address, but in vain; the name was unknown. In Aix he met with little success. Evidently the fame of the recluse had not reached his birthplace. At last Bernard was advised to go to the Mayor's office, where he would find an electoral list. Among the voters he discovered a Paul C?zanne, who was born January 19, 1839, who lived at 25 Rue Boulegon. Bernard lost no time and reached a simple dwelling house with the name of the painter on the door. He rang. The door opened. He entered and mounted a staircase. Ahead of him, slowly toiling upward, was an old man in a cloak and carrying a portfolio. It was C?zanne. After he had explained the reason for his visit, the old painter cried: "You are Emile Bernard! You are a maker of biographies! Signac"--an impressionist--"told me of you. You are also a painter?" Bernard, who had been painting for years, and was a friend of Signac, was nonplussed at his sudden literary reputation, but he explained the matter to C?zanne, who, however, was in doubt until he saw later the work of his admirer.

He had another atelier a short distance from the town; he called it "The Motive." There, facing Mount Sainte-Victoire, he painted every afternoon in the open; the majority of his later landscapes were inspired by the views in that charming valley. Bernard was so glad to meet C?zanne that he moved to Aix.

In C?zanne's studio at Aix Bernard encountered some extraordinary studies in flower painting and three death heads; also monstrous nudes, giant-like women whose flesh appeared parboiled. On the streets C?zanne was always annoyed by boys or beggars; the former were attracted by his bohemian exterior and to express their admiration shouted at him or else threw stones; the beggars knew their man to be easy and were rewarded by small coin. Although C?zanne lived like a bachelor, his surviving sister saw that his household was comfortable. His wife and son lived in Paris and often visited him. He was rich; his father, a successful banker at Aix, had left him plenty of money; but a fanatic on the subject of art, ceaselessly searching for new tonal combinations, he preferred a hermit's existence. In Aix he was considered eccentric though harmless. His pride was doubled by a morbid shyness. Strangers he avoided. So sensitive was he that once when he stumbled over a rock Bernard attempted to help him by seizing his arm. A terrible scene ensued. The painter, livid with fright, cursed the unhappy young Parisian and finally ran away. An explanation came when the housekeeper told Bernard that her master was a little peculiar. Early in life he had been kicked by some rascal and ever afterward was nervous. He was very irritable and not in good health.

In Bernard's presence he threw a bust made of him by Solari to the ground, smashing it. It didn't please him. In argument he lost his temper, though he recovered it rapidly. Zola's name was anathema. He said that Daumier drank too much; hence his failure to attain veritable greatness. C?zanne worked from six to ten or eleven in the morning at his atelier; then he breakfasted, repaired to the "Motive," there to remain until five in the evening. Returning to Aix, he dined and retired immediately. And he had kept up this life of toil and abnegation for years. He compared himself to Balzac's Frenhofer , who painted out each day the work of the previous day. C?zanne adored the Venetians--which is curious--and admitted that he lacked the power to realise his inward vision; hence the continual experimenting. He most admired Veronese, and was ambitious of being received at what he called the "Salon de Bouguereau." The truth is, despite C?zanne's long residence in Paris, he remained provincial to the end; his father before becoming a banker had been a hairdresser, and his son was proud of the fact. He never concealed it. He loved his father's memory and had wet eyes when he spoke of him.

It angered him to see himself imitated and he was wrathful when he heard that his still-life pictures were praised in Paris. "That stuff they like up there, do they? Their taste must be low," he would repeat, his eyes sparkling with malice. He disliked the work of Paul Gauguin and repudiated the claim of being his artistic ancestor. "He did not understand me," grumbled C?zanne. He praised Thomas Couture, who was, he asserted, a true master, one who had formed such excellent pupils as Courbet, Manet, and Puvis. This rather staggered Bernard, as well it might; the paintings of Couture and C?zanne are poles apart.

He had, he said, wasted much time in his youth--particularly in literature. A lettered man, he read to Bernard a poem in imitation of Baudelaire, one would say very Baudelairian. He had begun too late, had submitted himself to other men's influence, and wished for half a century that he might "realise"--his favourite expression--his theories. When he saw Bernard painting he told him that his palette was too restricted; he needed at least twenty colours. Bernard gives the list of yellows, reds, greens, and blues, with variations. "Don't make Chinese images like Gauguin," he said another time. "All nature must be modelled after the sphere, cone, and cylinder; as for colour, the more the colours harmonise the more the design becomes precise." Never a devotee of form--he did not draw from the model--his philosophy can be summed up thus: Look out for the contrasts and correspondence of tones, and the design will take care of itself. He hated "literary" painting and art criticism. He strongly advised Bernard to stick to his paint and let the pen alone. The moment an artist begins to explain his work he is done for; painting is concrete, literature deals with the abstract. He loved music, especially Wagner's, which he did not understand, but the sound of Wagner's name was sympathetic, and that had at first attracted him! Pissarro he admired for his indefatigable labours. Suffering from diabetes, which killed him, his nervous tension is excusable. He was in reality an amiable, kind-hearted, religious man. Above all, simple. He sought for the simple motive in nature. He would not paint a Christ head because he did not believe himself a worthy enough Christian. Chardin he studied and had a theory that the big spectacles and visor which the Little Master wore had helped his vision. Certainly the still-life of C?zanne's is the only modern still-life that may be compared to Chardin's; not Manet, Vollon, Chase has excelled this humble painter of Aix. He called the ?coles des Beaux-Arts the "Bozards," and reviled as farceurs the German secessionists who imitated him. He considered Ingres, notwithstanding his science, a small painter in comparison with the Venetians and Spaniards.

A painter by compulsion, a contemplative rather than a creative temperament, a fumbler and seeker, nevertheless Paul C?zanne has formed a school, has left a considerable body of work. His optic nerve was abnormal, he saw his planes leap or sink on his canvas; he often complained, but his patience and sincerity were undoubted. Like his friend Zola his genius--if genius there is in either man--was largely a matter of protracted labour, and has it not been said that genius is a long labour?

From the sympathetic pen of Emile Bernard we learn of a character living in the real bohemia of Paris painters who might have figured in any of the novels referred to, or, better still, might have been interpreted by Victor Hugo or Ivan Turgenieff. But the Frenchman would have made of P?re Tanguy a species of poor Myriel; the Russian would have painted him as he was, a saint in humility, springing from the soil, the friend of poor painters, a socialist in theory, but a Christian in practice. After following the humble itinerary of his life you realise the uselessness of "literary" invention. Here was character for a novelist to be had for the asking. The Crainquebille of Anatole France occurs to the lover of that writer after reading Emile Bernard's little study of Father Tanguy.

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