Chapter 11

This picture in the Dresden Gallery is a scene from the mythical story of a goddess who fell in love with the youthful son of a faun and a naiad. Thus she excited the jealous fury of the cyclops, Polythemus, who is seen in the picture herding his flock of sheep upon the high cliff at the right. Soon he will rise and hurl a rock upon Acis, crushing the life out of him, so that there will be nothing left for Galatea to do but to turn him into the River Acis, but meanwhile the lovers are unconscious and happy. Venus is reposing near them on the waves and Cupid is closer still, while the sea in the background seems to be stirred with a fresh morning breeze.

Some of the famous Lorrains in the Louvre are: "Seaport at Sunset," "Cleopatra Landing at Tarsus," and "The Village Festival."

XXVII

MASACCIO (TOMMASO GUIDI)

(Pronounced Tome-mah'so Mah'sahch'cheeo) _Florentine School_ 1401-1428 _Pupil of Ghibertio, Donatello, and Brunellesco_

This artist, who lived and died within the century that witnessed the discovery of America, was famous for more than his painting. He was the original inventor who first learned and taught the mixing of colours with oils, thus making the peculiar "distemper" unnecessary.

The story of Italian artists includes a history of their names, for the Italians seem to have had most remarkable reasons for naming children. For example, this artist, Masaccio, was born on St. Thomas's day, hence, his name of Tommaso. Presently, for short, or for love, he was called Maso, and to cap all, being a careless lad, his friends added the derogatory "accio," and there we have the artist completely named. He owed nothing of this to his father, who was plain, or ornamentally, Ser Giovanni di Simone Guidi, of Castello San Giovanni, in the Valdamo.

As a very little boy, it was plain to be seen that slovenly Thomas was going to be a great artist, and no time was lost in putting him to work with the best of masters.

He was a veritable inventive genius. Until his time difficulties in drawing had been overcome mostly by ignoring them. Since no artist had been able to draw a foreshortened foot, it had been the fashion in art to paint people standing upon their tiptoes, to make it possible for an artist to paint the foot. The enterprising Thomas came along and he decided that feet must be painted both flat and crossed, on tiptoe or otherwise; in short he did not mean to lose by a foot.

He worked at this problem day and night, till at last the naturally poised foot came into existence for the artist. Never after Masaccio's time did an artist paint the foot stretched upon the toes. Moreover, until his time flesh had never been painted of a remotely natural colour, so Masaccio set about combining colours till he made one that had the tint of real flesh. Thus he was the first to overcome the difficulties of drawing and the first to discover a mixture that would not leave a glazed, hard, unnatural appearance and be likely to crack and destroy the finest effort of an artist.

He worked during his youth in Pisa, where the "leaning tower" stands; then he worked in Florence, finally in Rome, but those early pictures are long since gone. It was a century of adventure and discovery as well as of art, and with so much change, so many wars and rumours of wars, many great art works were lost. Besides, the horrible plague swept Italy east, west, north, and south. Who was to concern himself with saving works of art, when human life was going out wholesale all over the land?

Masaccio was certainly very poor most of his life. He lived with his mother and his brother Giovanni, an artist like himself, but not nearly so brilliant. Masaccio could not spend his life in painting but had to eke out the family fortunes by keeping a little shop near the old Badia, and being pestered day and night by his creditors he was forced again and again to go to the pawn shop.

Somewhere about 1422, careless Thomas painted his greatest picture which was doomed to destruction too early for us to know much about it; but it was named "San Paolo" and it was painted in the bell-room of the Church of the Carmine in Florence. The figure for his model was an illustrious personage, Bartoli d'Angiolini, who had held many honourable offices in Florence for many years. A critic and friend of artists tells us that the portrait was so great it lacked only the power of speech.

In this picture Masaccio made his first great triumph in the foreshortening of feet.

He undertook to celebrate the consecration Of the Church of the Carmine, and for this he made many frescoes, among which was a correct painting of the procession as it entered from the cloisters of the church. "Among the citizens who followed in its wake, portraits are introduced of Brunellesco, Donatello, Masolino, Felice Brancacci (the founder of the chapel) Giovanni di Bicci de' Medici, and others, including the porter of the convent with the key of the door in his hand."

This work was thought to be very wonderful because the figures grew smaller in the distance, thereby giving "perspective" for the first time. Imagine how crude a thing was painting in the day of careless Thomas.

That fresco is long since gone, but drawings of it still exist which tell us something of the people of Christopher Columbus's day--previous to their appearance, and their conditions.

After Masaccio had finished the procession he went back to his painting of the chapel and in the end covered three of its four walls with his works. Many of those paintings are scenes from the life of St. Peter, and several were worked at by other artists than Masaccio.

Masaccio was greater than Raphael, greater than Michael Angelo in so far as he pointed the way that they were to go, having solved for them all the problems that had kept artists from being great before him. Sir Joshua Reynolds says that "he appeared to be the first who discovered the path that leads to every excellence to which the art afterward arrived; and may therefore be justly considered one of the great fathers of modern art."

The artist lived but a little time, and was most likely poisoned. Nobody knows, but it is said that other painters were so wildly jealous of his original genius that they wished him out of the way, and his death was at least mysterious. He drew very rapidly and let the details go, caring only to represent motion and action. Because he painted so many portraits into his pictures there was great life and animation in them, and people said of him that he painted not only the body but the soul.

PLATE--ARTIST'S PORTRAIT [Footnote: Many artists have left us portraits of themselves, painted, no doubt, with the aid of a mirror, in a group or alone. This one of Masaccio in the Naples Museum, shows him to have been a picturesque model.]

Some of his known pictures are the frescoes in the church of St. Clemente in Rome; the frescoes in the Brancacci Chapel in the Church of the Carmine, "St. Peter Baptising" and the "Madonna and Child, with St. Anne," which is in the Accademia at Florence.

XXVIII

JEAN LOUIS ERNEST MEISSONIER

(Pronounced May-sohn-yay) _French School_ 1815-1891 _Pupil of Léon Cogniet_

This artist was born at Lyons. His father was a salesman and an art-training seemed impossible for the young man because the Meissoniers were poor people. Nevertheless, he was so persevering that while still a young man he got to Paris and began to paint in the Louvre. He was but nineteen at that time, and his fate seemed so hard and bitter that later in life he refused to talk of those days.

He sat for many days in the Louvre, by Daubigny's side, painting pictures for which we are told he received a dollar a yard. We can think of nothing more discouraging to a genius than having to paint by the yard. It is said that his poverty permitted him to sleep only every other night, because he must work unceasingly, and someone declares that he lived at one time on ten cents a week. This is a frightful picture of poverty and distress.

Meissonier's first paying enterprise was the painting of bon-bon boxes and the decorating of fans, and he tried to sell illustrations for children's stories, but for these he found no market. A brilliant compiler of Meissonier's life has written that "his first illustrations in some unknown journal were scenes from the life of 'The Old Bachelor.' In the first picture he is represented making his toilet before the mirror, his wig spread out on the table; in the second, dining with two friends; in the third, on his death-bed, surrounded by greedy relations and in the fifth, the servants ransacking the death chamber for the property." This was very likely a vision of his own possible fate, for Meissonier must have been at that time a lonely and unhappy man.

There are many stories of his first exhibited work, which Caffin declares was the "Visit to the Burgomaster," but Mrs. Bolton, who is almost always correct in her statements, tells us that it was called "The Visitor," and that it sold for twenty dollars. At the end of a six years struggle in Paris, his pictures were selling for no more.

Until this artist's time people had been used only to great canvases, and had grown to look for fine work, only in much space, but here was an artist who could paint exquisitely a whole interior on a space said to be no "larger than his thumb nail." His work was called "microscopic," which meant that he gave great attention to details, painting very slowly.

During the Italian war of 1859, and in the German war of 1870, this wonderful artist was on the staff of Napoleon III. During the siege of Paris he held the rank of colonel, and he lost no chance to learn details of battles which he might use later, in making great pictures. Thus he gained the knowledge and inspiration to paint his picture "Friedland," which was bought by A. T. Stewart and is now in the Metropolitan Museum. He, himself, wrote of that picture: "I did not intend to paint a battle--I wanted to paint Napoleon at the zenith of his glory; I wanted to paint the love, the adoration of the soldiers for the great captain in whom they had faith, and for whom they were ready to die.... It seemed to me I did not have colours sufficiently dazzling. No shade should be on the imperial face.... The battle already commenced, was necessary to add to the enthusiasm of the soldiers, and make the subject stand forth, but not to diminish it by saddening details. All such shadows I have avoided, and presented nothing but a dismounted cannon, and some growing wheat which should never ripen.

"This was enough.

"The men and the Emperor are in the presence of each other. The soldiers cry to him that they are his, and the impressive chief, whose imperial will directs the masses that move around, salutes his devoted army. He and they plainly comprehend each other and absolute confidence is expressed in every face."

This great work was sold at auction for $66,000 and given to the Metropolitan Museum.

It is said that when he painted the "Retreat from Russia," Meissonier obtained the coat which Napoleon had worn at the time, and had it copied, "crease for crease and button for button." He painted the picture mostly out of doors in midwinter when the ground was covered with snow, and he writes: "Sometimes I sat at my easel for five or six hours together, endeavouring to seize the exact aspect of the winter atmosphere. My servant placed a hot foot-stove under my feet, which he renewed from time to time, but I used to get half-frozen and terribly tired."

So attentive was he to truthfulness in detail that he had a wooden horse made in imitation of the white charger of the Emperor; and seating himself on this, he studied his own figure in a mirror.

At last this conscientious man was made an officer of the Legion of Honour, having already become President of the Academy. Edmund About writes that "to cover M. Meissonier's pictures with gold pieces simply would be to buy them for nothing; and the practice has now been established of covering them with bank-notes."

Meissonier seldom painted the figure of a woman in his pictures, but all of his subjects were wholesome and fine.

One time an admirer said to him "I envy you; you can afford to own as many Meissonier pictures as you please!"

"Oh no, I can't," the distinguished artist replied. "That would ruin me. They are a good deal too dear for me."

In his maturity he became very rich, and his homes were dreams of beauty, filled with rare possessions such as bridles of black leather once owned by Murat, rare silver designed by the artist himself, great pictures, and flowers of the rarest description besides valuable dogs and horses. Yet it was said that "this man who lives in a palace is as moderate as a soldier on the march. This artist, whose canvases are valued by the half-million, is as generous as a nabob. He will give to a charity sale a picture worth the price of a house. Praised as he is by all he has less conceit in his nature than a wholesale painter."

On the 31st of January in his country house at Poissy, this great man, whose life reads like a romance, died, after a short illness. His funeral services were held in the Madeleine, and he was buried at Poissy, near Versailles, a great military procession following him to the grave.

PLATE--RETREAT FROM MOSCOW

In the painting of this picture we have already told how every detail was mastered by actual experience of most of them. Meissonier made dozens of studies for it--"a horse's head, an uplifted leg, cuirasses, helmets, models of horses in red wax, etc. He also prepared a miniature landscape, strewn with white powder resembling snow, with models of heavy wheels running through it, that he might study the furrow made in that terrible march home from burning Moscow. All this work--hard, patient, exacting work."

Some of his other pictures are "The Emperor at Solferino," "Moreau and His Staff before Hohenlinden," "A Reading at Diderot's" and the "Chess Players."

XXIX

JEAN FRANÇOIS MILLET

_Fontainebleau-Barbizon School_ 1814-1875 _Pupil of Delaroche_

Two great artists painted peasants and little else. One was the artist of whom we shall speak, and the other was Jules Breton. One was realistic, the other idealistic. Both did wonderful work, but Millet painted the peasant, worn, patient steadfast, overwhelmed with toil; Breton, a peasant full of energy, grace, vitality, and joy.

Millet painted peasants as he knew them, and hardly any one could have known them better, for he was himself peasant-born. His youth was hard, and the scenes of his childhood were such as in after life he became famous by painting. Millet lived in the department of Manche, in the village of Gruchy, near Cherbourg. Manche juts into the sea, at the English Channel, and whichever way Millet looked he must have seen the sea. His old grandmother looked after the household affairs, while his father and mother worked in the fields and Millet must have seen them hundreds of times, standing at evening, with bowed heads, listening to the Angelus bell. He toiled, too, as did other lads in his position. His grandmother was a religious old woman, and nearly all the pictures he ever saw in his boyhood were those in the Bible, which he copied again and again, drawing them upon the stone walls in white chalk.

The old grandmother watched him, never doubting that her boy would become an artist. It was she who had named him--François, after her favourite saint, Francis, and it was she, who, beside the evening fire, would tell him legends of St. Francis. It was she alone who had time and strength left, after the day's work, to teach him the little he learned as a boy and to fix in his mind pictures of home. His father and mother were worn, like pack-horses, after their day in the fields. The mother very likely had to hitch herself up with the donkey, or the big dog, after the fashion of these people, as she helped draw loads about the field. Who can look for Breton's ideal stage peasants from Millet who knew the truth as he saw it every day?

Many years after his life in the Gruchy home, Millet painted the portrait of the grandmother whom he had loved so much that he cried out: "I wish to paint her soul!" No one could desire a better reward than such a tribute.

Millet had an uncle who was a priest and he did what he could to give the boy a start in learning. He taught him to read Virgil and the Latin Testament; and all his life those two books were Millet's favourites. Besides drawing pictures on the walls of his home, he drew them on his sabots. Pity some one did not preserve those old wooden shoes! He did his share of the farm work, doing his drawing on rainy days.

When he was about eighteen years old, coming from mass one day, he was impressed with the figure of an old man going along the road, and taking some charcoal from his pocket he drew the picture of him on a stone wall. The villagers passing, at once knew the likeness; they were pleased and told Millet so. Old Millet, the father, also was delighted for he, too, had wished to be an artist, but fate had been against him. Seeing the wonderful things his son could do, he decided that he should become what he himself had wished to be, and that he should go to Cherbourg to study.

François set off with his father, carrying a lot of sketches to show, and upon telling the master in Cherbourg what he wanted and showing the sketches, he was encouraged to stay and begin study in earnest. So back the old father went, with the news to the mother and grandmother and the priest uncle, that François had begun his career. He stayed in Cherbourg studying till his father died, when he thought it right to go home and do the work his father had always done. He returned, but the women-folk would not agree to him staying. "You go back at once," said the grandmother, "and stick to your art. We shall manage the farm." She sewed up in his belt all the money she had saved, and started him off again, for he had then been studying only two months. Now he remained till he was twenty-three, a fine, strapping, broad-shouldered country fellow. He had long fair hair and piercing dark blue eyes. All the time he was with Delaroche he was dissatisfied with his work--and with his master's, which seemed to Millet artificial, untrue. He knew nothing of the classical figures the master painted and wished him to paint, for his heart and mind were back in Gruchy among the scenes that bore a meaning for him. He wished to study elsewhere, and by this time he had done so well that one of the artists with whom he had studied went to the mayor of Millet's home town, and begged him to furnish through the town-council money enough to send Millet to Paris. This was done, and Millet began to hope.

He was very shy and afraid of seeming awkward and out of place. The night he got to Paris was snowy, full of confusion and strange things to him, and an awful loneliness overwhelmed him. The next morning he set out to find the Louvre, but would not ask his way for fear of seeming absurd to some one, so that he rambled about alone, looking for the great gallery till he found it unaided. He spent most of the days that followed gazing in ecstasy at the pictures.

He liked Angelo, Titian, and Rubens best. He had come to Paris to enter a studio, but he put off his entrance from day to day, for his shyness was painful and he feared above all things to be laughed at by city students. At last one day, he got up enough courage to apply to Delaroche, whose studio he had decided to enter if he could, as he liked his work best. The students in that studio were full of curiosity about the new chap, with his peasant air, his bushy hair and great frame, so sturdy and awkward. They at once nicknamed him "the man of the woods," and they nagged at him and laughed at the idea that he could learn to paint, till one day, exasperated nearly to death, he shook his fist at them. From that moment he heard no more from them, for they were certain that if he could not paint he could use his fists a good deal better than any of them. Delaroche liked the peasant but did not understand him very well, and Millet was not too fond of his painting, so after two years he and a friend withdrew from that studio and set up one for themselves. Thus eight years passed, the friends living from hand to mouth, doing all sorts of things: sign-painting, advertisements, and the like; and Millet, in the midst of his poverty, got married.

He went home, returning to Paris with his wife, and after starving regularly, he became desperate enough to paint a single picture as he wished. It seemed at the time the maddest kind of thing to do. Who would see ugly, toil-worn peasants upon his _salon_ walls? Paris wanted dainty, aesthetic art, and an Academy artist would have scoffed at the idea; but the Millets were starving anyway, so why not starve doing at least what one chose. So Millet painted his first wonderful peasant picture "The Winnower," and just as the family were starving he sold it--for $100. He had done at last the right thing, in doing as he pleased. This was a sign to him that there was after all a place for truth and emotion in art. But the Millets must change their place of living, and go to some place where the money made would not at once be eaten up. Jacque--the friend with whom Millet had set up shop, and who also became famous, later--advised them to go to a little place he knew about, which had a name ending in "zon." It was near the forest of Fontainebleau, he said and they could live there very cheaply, and it was quiet and decent. The Millets got into a rumbling old cart and started in search of the place which ended in "zon" near the forest of Fontainebleau. Jacque had also decided to take his family there and they all went together. When they got to Fontainebleau they got down from the car and went a-foot through the forest.

They arrived tired and hungry toward evening, and went to Ganne's Inn, where there were Rousseau, Diaz, and other artists who like themselves had come in search of a nice, clean, picturesque place in which to starve, if they had to. Those who were just sitting down to supper welcomed the newcomers, for they had been there long enough to form a colony and fraternity ways. One of these was to take a certain great pipe from the wall, and ask the newcomer to smoke; and according to the way he blew his "rings" he was pronounced a "colourist" or "classicist." The two friends blew the smoke, and at once the other artists were able to place Jacque. He was a colourist; but what were they to say about Millet who blew rings after his own fashion.

"Oh, well!" he cried. "Don't trouble about it. Just put me down in a class of my own!"

"A good answer!" Diaz answered. "And he looks strong and big enough to hold his own in it!" Thus the newcomers took their places in the life of Barbizon--the place whose name ended in "zon," and Millet's real work began. His first wife lived only two years, but he married again. All this time he was following his conscience in the matter of his work, and selling almost nothing. In a letter to a friend he tells how dreadfully poor they are, although his new wife was the most devoted helpful woman imaginable, known far and near as "Mère Millet." The artist wrote to Sensier, his friend, who aided him: "I have received the hundred francs. They came just at the right time. Neither my wife nor I had tasted food in twenty-four hours. It is a blessing that the little ones, at any rate, have not been in want."