Part 1

JULES BASTIEN-LEPAGE

JULES BASTIEN-LEPAGE AS ARTIST, BY GEORGE CLAUSEN, A.R.W.S.; MODERN REALISM IN PAINTING, BY WALTER SICKERT, N.E.A.C.; AND, A STUDY OF MARIE BASHKIRTSEFF, BY MATHILDE BLIND [Illustration]

ILLUSTRATED WITH REPRODUCTIONS OF BASTIEN-LEPAGE’S AND MARIE BASHKIRTSEFF’S WORKS [Illustration]

LONDON: T. FISHER UNWIN, PATERNOSTER SQUARE. MDCCCXCII.

CONTENTS.

PAGE

JULES BASTIEN-LEPAGE AND HIS ART: A MEMOIR. BY ANDRÉ THEURIET 11

JULES BASTIEN-LEPAGE AS ARTIST. BY GEORGE CLAUSEN, A.R.W.S. 107

MODERN REALISM IN PAINTING. BY WALTER SICKERT, N.E.A.C. 129

A STUDY OF MARIE BASHKIRTSEFF. BY MATHILDE BLIND 145

LIST OF ILLUSTRATIONS.

JULES BASTIEN-LEPAGE. AFTER A PORTRAIT BY HIMSELF. _Frontispiece_

PAGE

GRANDFATHER LEPAGE. BY JULES BASTIEN-LEPAGE 25

THE COMMUNICANT. BY JULES BASTIEN-LEPAGE 31

THE HAYFIELD. BY JULES BASTIEN-LEPAGE 43

SARAH BERNHARDT. BY JULES BASTIEN-LEPAGE 51

JOAN OF ARC LISTENING TO THE VOICES. BY JULES BASTIEN-LEPAGE 55

THE BEGGAR. BY JULES BASTIEN-LEPAGE 61

FATHER JACQUES, THE WOODMAN. BY JULES BASTIEN-LEPAGE 71

SKETCH FOR FATHER JACQUES. BY JULES BASTIEN-LEPAGE 75

THE INN. BY JULES BASTIEN-LEPAGE 101

BAS-RELIEF PORTRAIT OF BASTIEN-LEPAGE. BY AUGUSTUS SAINT-GAUDENS 110

THE LITTLE SWEEP. BY JULES BASTIEN-LEPAGE 132

MARIE BASHKIRTSEFF. FROM A PORTRAIT BY HERSELF 148

A MEETING. BY MARIE BASHKIRTSEFF 169

MARIE BASHKIRTSEFF. FROM A PHOTOGRAPH 187

JULES BASTIEN-LEPAGE AND HIS ART.

JULES BASTIEN-LEPAGE

AS MAN AND ARTIST.

In the month of June, 1856, the chances of a Civil Service noviciate compelled me to live for six weeks at Damvillers, a small town on the Meuse, half-way between Verdun and Montmédy.

Damvillers was formerly fortified, and had the honour of being besieged by Charles V., but there is now nothing left to recall the memory of those warlike days. The whole aspect of the place is peaceful and rural. The people are occupied with agriculture. Orchards now cover the ground where the fortifications once stood, and form a circle of verdure round the scattered houses, in a valley where the Tinte winds through osier beds and meadows. On the right a vine-covered mound like the back of a camel, on the left a succession of wooded slopes, enclose the little town. The grey, blue hills are low. The monotony of the fields and meadows is broken only by rows of poplars. The ill-kept solitary streets bordered by the labourers’ houses with grey or dingy yellow fronts, have the same washed-out look as the landscape.

For a young fellow of twenty-two there was nothing here particularly attractive. I spent my solitary evenings with my elbows on my window-sill watching the twilight descend upon the brown-tiled roofs which enclose the great square as with a horizontal frame. In one corner the large green waggon of a travelling pedler was resting by the side of rows of earthenware, whose polished surface reflected the lights from the window of the neighbouring inn.

My only amusement consisted in listening to the chatter of some girls sitting at the tinner’s door, or the shouts of the children playing at ball by the wall of the corn-market.

I little thought then that among these urchins, with torn pinafores and tangled hair, was to be found a future master of contemporary painting, and that the name of Bastien-Lepage thrown to and fro each evening by the children’s voices, and repeated by the echoes of the solitary square, would come to be known, and received with acclamations throughout the world, by all who are interested in Art and in Artists.

I.

Jules Bastien-Lepage was born at Damvillers, on November 1, 1848, in a house which forms one of the corners of that square of which I have just spoken; a simple, well-to-do farmer’s house, the front coloured yellow, the shutters grey.

On opening the outer door one finds oneself at once in the kitchen, the regular kitchen of the Meuse villages, with its high chimney-piece surmounted by cooking utensils, with its rows of copper saucepans, its _maie_ for the bread, and its dresser furnished with coloured earthenware. The next room serves at once as sitting-room and dining-room, and even, at need, as bed-chamber. Above are some apartments not in general use, and then some vast granaries with sloping rafters.

It was in a room on the ground floor, with windows looking to the south, that the painter of Les Foins (_Hay_) and of Jeanne d’Arc first saw the light. The family consisted of the father, a sensible, industrious, methodical man; of the mother, a woman of the truest heart and untiring devotion; and of the Grandfather Lepage, formerly a collector of taxes, who now found a home with his children. They lived in common on the modest produce of the fields, which the Bastiens themselves cultivated, and on the grandfather’s small pension.

At five years old Jules began to show an aptitude for drawing, and his father was eager to cultivate this dawning talent. He himself had a taste for the imitative arts, employing his leisure in light work that required a certain manual skill, and to this he brought the scrupulous exactness and conscientious attention which were his ruling qualities.

From this time, in the winter evenings, he required that Jules should draw with pencil on paper the various articles in use upon the table――the lamp, the jug, the inkstand, etc. It was to this first education of the eye and of the hand that Bastien-Lepage owed that love of sincerity, that patient seeking for exactness of detail, which were the ruling motives of his life as an artist.

In thus urging him to draw every day, the father had no idea of making his son a painter. At that time, especially at Damvillers, painting was not looked upon as a serious profession. The dream that he cherished, along with the grandfather, was to put Jules in a position to choose later on one of the administrative careers, such as overseer of forests, or bridges, or high-ways, which are always easiest of access to those who have been well trained in drawing. So, as soon as he should be eleven years old, he was to leave the communal school, and go to the College.

This involved great sacrifice, for the resources of the family were low, and in the interval a second boy was born; but they redoubled their economy, and in 1859 they managed to send Jules to the College of Verdun.

It was at the drawing class that he worked with the greatest zeal. The correctness of his eye and the dexterity of his hand astonished his master.

When the boy went back to Damvillers for the holidays he drew everywhere; upon his books, upon the walls, upon the doors, and long afterwards traces of these rough outlines might be seen on the orchard palings. His mother carefully preserved books full of pencil sketches of the little brother Emile in all sorts of poses.

His habit was to express any thought that possessed him by a drawing. He already attempted to reproduce with his pencil, passages that struck him in reading, and his first composition was Abraham’s Sacrifice. Classical stories made more impression on his mind at this time than the rustic scenes which met him everywhere in his wanderings in the open air.

At this age, the surroundings in which we live, and which custom renders familiar to us, excite neither our surprise nor our imagination, but they enter our eyes and our memory, and, without our knowing it, become deeply engraven there. It is only in later years that, by comparison and reflection, we feel their powerful charm and their original grace.

In his walks across the fields, Bastien-Lepage received impressions of country life, and assimilated them like daily food. Gatherers of faggots carrying their bundles of wood; fishers for frogs wet to the knees, crossing the meadows with their fishing tackle on their shoulders; washerwomen wringing out their linen by the banks of the Tinte; loungers sitting under a willow tree, while the lunch of cheese is carried to the workers; the village gardens in April at the time of the spring digging, when the leafless trees spread their shadows over borders adorned only by the precocious blossoms of the primrose and the crown imperial; potato fields, where fires of dried stems send up their blue smoke into the red October evening――all these details of village life entered the eyes of the child, who instinctively stored them up in his memory.

Literary studies had little interest for him, while on the contrary he had a strong liking for mathematics.

At one time when he was leaving the fourth form he thought of preparing for the examination for St. Cyr. This is not surprising in a department essentially military, whose remarkable men have all been generals or marshals; but this fancy, in which he was led more by imitation of others than by his own true calling, soon passed away, and during his last years at college his thoughts were constantly turned towards drawing, and when his course of philosophy came to an end, he made known to his parents his wish to go to Paris to study painting.

Great was the astonishment in the home at Damvillers. While recognizing his son’s skill as a draughtsman, Father Bastien persisted in declaring that painting was not a career――nothing certain, a long and costly apprenticeship, and then ten chances of failure to one of success. Let us talk rather of an honourable appointment in the administration of the state, where one is sure to get one’s pay every month, with a prospect of a provision for one’s old age!

They held a family council. The grandfather considered the adventure hazardous and shook his head; the mother was frightened above all at the dangers of Paris and the life of privation to be undergone there, but, conquered at last by the persistency of her son, she murmured timidly, “Yet, if Jules wishes it!…”

A way was found for settling everything. A friend of the family, who held a superior employment in the Central Postal Administration, advised Jules to go up for examination for admission into that department, promising him that on his being received, he would have him called to Paris, when it could be arranged for him to study at the École des Beaux Arts in the hours that were free from his postal service. They took this advice; Bastien passed the examination, was named supernumerary, and set out for Paris about the end of 1867.

He divided his time between his postal duties and his studies in the School. This could only be done under great disadvantages. The requirements of his position in the Post Office made consecutive and serious study very difficult.

By the end of six months he was brought to the conclusion that this double work was impossible; that he must choose between the Office and the School. He did not hesitate; he gave up the Post Office, and, furnished with a letter from M. Bouguereau, he entered the Cabanel studio after having been received in the School with the number one.

“All beginnings are painful,” says Goethe. Bastien-Lepage had a harsh experience of this. He had burnt his ships in leaving the Post Office, and he found himself alone in Paris with very limited means of existence.

At Damvillers there was more self-denial. The mother, always valiant, herself went to work in the fields, that she might have something to add to the little sum sent every month to the young painter. The Council General of the Meuse had voted him an allowance of, I believe, six hundred francs; all this together scarcely furnished him with bed and board.

But Jules was endowed with a robust faith, a firm will, a never-failing cheerfulness, and the magical power of these three enabled him to endure bravely the many trials of the years of his apprenticeship.

In 1870 he sent his first picture to the Salon. It passed unnoticed. I have just seen this picture again. It is the portrait of a man, quite young, dressed in a coat of strong green, the whole flooded with a greenish light. It is rather in the manner of Ricard, but the solid construction of the head and the expression of the face already indicate a painter who sees clearly and seeks to enter into the character of his model.

A short time later the war broke out. Jules Bastien enlisted in a company of volunteers, commanded by the painter Castellani, and did his duty bravely at the outposts.

One day in the trenches a shell burst near him and sent a clod of hardened earth straight at his chest. He was taken to the ambulance, where he remained during the last month of the siege, while another shell fell upon his studio, and there destroyed his first composition, a nymph, nude, her arms clasped over her blonde head, and bathing her feet in the waters of a spring.

On the re-opening of communications he hastened back to his village, where he arrived, like the pigeon in the fable, disabled,

“Trainant l’aile et tirant le pied.”

There he spent the remainder of the year 1871, recovering his shattered health in his native air, making long excursions as far as to the Moselle, and painting various portraits of relations and friends. He did not return to Paris until sometime in the year 1872.

Then the struggling life of the _débutant_ began again. In order to make both ends meet he tried to get some of his drawings into the illustrated journals; but his manner of illustrating was not what was wanted by the editors, who sought above all things to please the ordinary public.

Weary of the struggle he began to paint fans.

One day a manufacturer of antéphelic milk (_lait antéphelique_) asked him to make a sort of allegorical picture intended for an advertisement for his Elixir of Youth. The artist, making a virtue of necessity, painted a bright gay picture, after the manner of Watteau’s landscapes, with groups of young women dressed in modern style approaching a fountain, where Cupids were gambolling.

The painting finished, Bastien explained to the manufacturer his intention to exhibit it first of all in the Salon.

The perfumer wished for nothing better, but insisted on one condition; above the fountain was to be placed on a scroll of all the colours of the rainbow, the name of the cosmetic, and the address of the place where it was sold.

Naturally Bastien refused, and the tradesman, disappointed of his advertisement, left him the picture for his trouble.

This painting was exhibited in the Salon of 1873, under the title of Au Printemps (In Spring); being placed very high it attracted no attention.

Jules was not discouraged, but he was a prey to that restless and feverish indecision which commonly besets beginners. The teaching in the school troubled him, and being a great admirer of Puvis de Chavannes, he was tempted to try decorative and allegorical painting.

His second picture, La Chanson du Printemps (The Song of Spring), exhibited in 1874, is conceived and executed under this influence. It represents a young peasant girl seated at the edge of a wood, bordered by a meadow which slopes down to a Meusian village, whose red-tiled roofs are seen in the distance. The girl is sitting, with wide-open eyes, her arm passed through the bowed handle of a rustic basket strewn with violets, while from behind her nude little children with butterflies’ wings and blowing upon pipes, whisper to her the song of the growing grass, and tell her of coming womanhood.

This light and spring-like picture, half realistic, half symbolical, would, perhaps, in spite of its simple charm, have left the public indifferent if it had not been accompanied by another, which suddenly brought the artist into the light, and was the success of the Salon of 1874.

During his last holiday at Damvillers, Bastien-Lepage had conceived the idea of painting the portrait of his grandfather, in the open air, in the little garden which the old man loved to cultivate.

The grandfather was represented seated in a garden chair, holding on his knees his horn snuff-box and his handkerchief of blue cotton. His striking face stood out well detached from the background of trees; the black velvet cap sloping jauntily towards his ear gave effect to the shrewd Socratic face; his blue eyes twinkled with humour; the nose was broad and retroussé; the white forked beard spread itself over an ancient vest of the colour of dead leaves; the hands, painted like life, were crossed upon the grey trousers.

Before this picture, so true, so frank, of such marvellous intensity of familiar life, the public stood delighted, and the name of Bastien-Lepage, unknown before, figured the next day in the first place in the articles on the Salon.

II.

It was in front of this picture that I first met Jules. Having looked in my catalogue for the name of the painter, I was delighted to find that he was from the Meuse, and born at that same Damvillers where I had once lived.

The heavy soil of our department is not fruitful in artists. When it has produced one it takes a rest for a few centuries.

Since Ligier Richier, the celebrated sculptor, born at the end of the fifteenth century, the Meuse could only claim credit for the painter Yard a clever decorator of churches and houses in the time of Duke Stanislas; so I was quite proud to find that Bastien-Lepage was a fellow countryman of mine. A few moments later a mutual friend introduced us to each other.

I saw before me a young man, plainly dressed, small, fair, and muscular; his pale face, with its square determined brow, short nose, and spiritual lips, scarcely covered with a blond moustache, was lighted up by two clear blue eyes whose straight and piercing look told of loyalty and indomitable energy. There was roguishness as well as manliness in that mobile face with its flattened features, and a certain cool audacity alternated with signs of sensitiveness and sparkling fun and gaiety.

Remembrances of our native province, our common love of the country and of life in the open air, soon established kindly relations between us, and after two or three meetings we had entered upon a close friendship.

The portrait of the grandfather had won for him a third medal, and had ensured him a place in the sunshine.

It was not yet a money success, but it was a certain degree of fame; he might go back to his village with his heart at rest, his head high. The State had just bought his picture, La Chanson du Printemps (The Song of Spring), and orders were beginning to come in.

In 1875 Bastien-Lepage reappeared in the Salon with La Communiante (The Communicant) and the portrait of M. Simon Hayem, two excellent works which gave, each in its way, a new mark of his originality.

The portrait of M. Hayem was best liked by men of the world; artists were most struck by La Communiante.

This young girl’s simple awkward bearing, as she stands out from a creamy background, with all the stiffness of her starched white veil, naïvely opening her pure hazel eyes, and crossing her fingers, ill at ease in the white gloves, is a marvel of truthful painting. It reminds one of the manner of Memling and of Clouet, though with quite a modern feeling. It is interesting, as being the first of those small, lifelike, characteristic portraits, in a style at once broad and conscientious, which may be reckoned among the most perfect of this painter’s works.

At the time of these successes in the Salon, Bastien joined in the competition for the Prix de Rome. The subject chosen for 1875 was taken from the New Testament――L’Annonciation aux Bergers (The Annunciation to the Shepherds).

I remember as if it were yesterday that July morning when the gates of the Palais des Beaux Arts were opened, and the crowd of eager inquirers rushed into the hall of the competition.

After a few minutes Bastien’s picture was surrounded, and a buzz of approval arose from the groups of young people gathered round that work, so real, so strongly conceived and executed that the other nine canvases disappeared as in a mist.

The artist had understood and treated the subject in a manner utterly different from the usual style of the Academy. It was familiar and touching, like a page of the Bible. The visit of the angel had surprised the shepherds sleeping by their fire in the open air; the oldest of them was kneeling before the apparition, and prostrated himself in adoration; the youngest was gazing with half-closed eyes, and his open lips and hands, with fingers apart, expressed astonishment and admiration. The angel, a graceful figure, with childlike almost feminine head, was showing with outstretched arm to the shepherds, Bethlehem in the distance surrounded by a miraculous halo.

This picture, which has both the charm of poetic legend and a manly grip of real life, was executed with uncommon grace and vigour; its very faults contributed to the realization of the effect aimed at.

Most of those who saw this work of Lepage declared that he would carry off the Prix de Rome with a high hand; yet the jury decided otherwise. It was an older and more correct competitor who was sent to the Villa Medicis at the cost of the State.

For a moment Bastien-Lepage was troubled and discouraged by this decision. Not that he felt himself strongly attracted towards Rome and Italian art, but he knew that many people judge of an artist by his success. Among the people down in his province and in his own family the Prix de Rome would have been considered as an official recognition of his talent, and he regretted, above all, not being able to give this satisfaction to his relations, who had undergone so many privations in order to maintain him at Paris. That he did not soon forget this unmerited check, we may gather from this fragment of a letter to a friend:

“I learned my business in Paris, I shall not forget that; but my art I did not learn there. I should be sorry to undervalue the high qualities and the devotion of the masters who direct the school. But is it my fault if I have found in their studio the only doubts that have tormented me? When I came to Paris I knew nothing at all, but I had never dreamed of that heap of formulas they pervert one with. In the school I have drawn gods and goddesses, Greeks and Romans, that I knew nothing about, that I did not understand, and even laughed at. I used to say to myself that this might be high art; I wonder sometimes now if anything has resulted from this education….”