Chapter 3

It is extraordinary that there is no blade of grass to be found in any painting by Michael Angelo. He loved to paint but one thing, and that was the naked man, the powerful muscles, or the twisted limbs of those in great agony. He loved only to work upon vast spaces of ceiling or wall. Look at this picture of Daniel and see how like sculpture the pose and modelling appear to be. First of all, Michael Angelo was a sculptor, and most of the painting which fate forced him to do has the characteristics of sculpture.

One critic has remarked that he loves to think of this strange man sitting before the marble quarry of Pietra Santa and thinking upon all the beings hidden in the cliff--beings which he should fashion from the marble.

It was said that in Michael Angelo's hands the Holy Family became a race of Titans, and where others would have put plants or foliage, Angelo placed men and naked limbs to fill the space. When his subject made some sort of herbage necessary, he invented a kind of mediæval fern in place of grass and familiar leaves. Everything appears brazen and hard and mighty, suggestive of Angelo's own throbbing spirit and maddened soul. Most of his work, when illustrated, must be shown not as a whole but in sections, but one can best mention them as entire picture themes. On the ceiling of the Sistine Chapel are nine frescoes describing "The Creation of The World," "The Fall of Man" and "The Deluge." "The Last Judgment" occupies the entire altar wall in the same chapel of the Vatican. "The Holy Family" is in the Uffizi Gallery, Florence.

III

ARNOLD BÖCKLIN

(Pronounced Bek'-lin) _Modern German School (Düsseldorf)_ 1827-1901

This splendid artist is so lately dead that it does not seem proper yet to discuss his personal history, but we can speak understandingly of his art, for we already know it to be great art, which will stand the test of time. His imagination turned toward subjects of solemn grandeur and his work is very impressive and beautiful.

He was born in Basel, "one of the most prosaic towns in Europe." His father was a Swiss merchant, and not poor; thus the son had ordinarily good chances to make an artist of himself. He was born at a time when to be an artist had long ceased to be a reproach, and men no longer discouraged their sons who felt themselves inspired to paint great pictures.

When Böcklin was nineteen years old he took himself to Düsseldorf, with his merchant father's permission, and settled down to learn his art, but in that city he found mostly "sentimental and anecdotal" pictures being painted, which did not suit him at all. Then he took himself off to Brussels, where again he was not satisfied, and so went to Paris. But while in Brussels he had copied many old masters, and had advanced himself very much, so that he did not present himself in Paris raw and untried in art.

At first he studied in the Louvre, then went to Rome, seeking ever the best, and being hard to satisfy. He found rest and tranquillity in Zürich, a city in his native country, but it was Italy that had most influenced his work.

He loved the Campagna of Rome with its ruins and the sad grandeur of the crumbling tombs lining its way, and therefore a certain mysterious, grand, and solemn character made his pictures unlike those of any other artist. He loved to paint in vertical (up-and-down) fines, rather than with the conventional horizontal outlines that we find in most paintings. This method gives his pictures a different quality from any others in the world.

He loved best of all to paint landscape, and it is said of him that "as the Greeks peopled their streams and woods and waves with creatures of their imagination, so Böcklin makes the waterfall take shape as a nymph, or the mists which rise above the water source wreathe into forms of merry children; or in some wild spot hurls centaurs together in fierce combat, or makes the slippery, moving wave give birth to Nereids and Tritons."

Muther, art-critic and biographer, calls our attention to the similarity between Wagner's music and Böcklin's painting. While Wagner was "luring the colours of sound from music," Böcklin's "symphonies of colour streamed forth like a crashing orchestra," and he calls him the greatest colour-poet of the time.

In appearance Böcklin was fine of form, healthy and wholesome in all his thoughts and way of living. In 1848 he took part in revolutionary politics and later this did him great harm. Only the influence of his friends kept him from ruin. After the Franco-Prussian war he was made Minister of Fine Arts. In this office he rendered great service; but because he had to witness the wrecking of the Column Vendôme in order to save the Louvre and the Luxembourg from the mob, he was censured; indeed so heavy a fine was imposed that it took his whole fortune to pay it; and he was banished into the bargain. From 1892 to 1901 he lived in or near Florence, and he died at Fiesole, January 16th, 1901.

PLATE--THE ISLE OF THE DEAD

This picture is perhaps the greatest of the many great Arnold Böcklin paintings, and it is both fascinating and awe-inspiring.

It best shows his liking for vertical lines in art. The Isle of the Dead is of a rocky, shaft-like formation in which we may see hewn-out tombs; and there, tall cypress trees are growing.

The traces of man's work in the midst of this sombre, ideal, and mystic scene add to the impressiveness of the picture. The isle stands high and lonely in the midst of a sea.

The water seems silently to lap the base of the rocks and the trees are in black shadow, massed in the centre. It looks very mysterious and still. There is a stone gateway touched with the light of a dying day. It is sunset and the dead is being brought to its resting place in a tiny boat, all the smaller for its relation to the gloomy grandeur of the isle which it is approaching. One figure is standing in the boat, facing the island, and the sunlight falls full upon his back and touches the boat, making that spot stand out brilliantly from all the rest of the picture.

Among Böcklin's paintings are "Naiads at Play," which hangs in the Museum at Basel, "A Villa by the Sea," "The Sport of the Waves," "Regions of Joy," "Flora," and "Venus Dispatching Cupid."

IV

MARIE-ROSA BONHEUR

(Pronounced Rosa Bon-er) _French School_ 1822-1895 _Pupil of Raymond B. Bonheur_

Rosa Bonheur, Landseer, and Murillo maybe called "Children's Painters" in this book because they painted things that children, as well as grown-ups, certainly can enjoy. To be sure, Murillo was a very different sort of artist from Rosa Bonheur or Landseer, but if the two latter painted the most beautiful, animals--dogs, sheep, and horses--Murillo painted the loveliest little children.

Rosa was the best pupil of her father; Raymond B. Bonheur. In Bordeaux they lived together the peaceful life of artists, the father being already a well known painter when his daughter was born. She became, as Mr. Hamerton, who knew her, said, "the most accomplished female painter who ever lived ... a pure, generous woman as well and can hardly be too much admired ... as a woman or an artist. She is simple in her tastes and habits of life and many stories are told of her generosity to others."

After a time the Bonheurs moved to Paris where young Rosa could have better opportunities; and there she put on man's clothing, which she wore all her life thereafter. She wore a workingman's blouse and trousers, and tramped about looking more like a man than a woman with her short hair. This, made everybody stare at her and think her very queer, but people no longer believe that she dressed herself thus in order to advertise herself and attract attention; but because it was the most convenient costume for her to get about in. She went to all sorts of places; the stockyards, slaughter houses, all about the streets of Paris, to learn of things and people, especially of animals, which she wished most to paint. She could hardly have gone about thus if she had worn women's clothing.

Rosa Bonheur exhibited her first painting at the _Salon_ in 1841, and this was twelve years before her beloved father died; thus he had the happiness of knowing that the daughter whom he had taught so lovingly was on the road to success and fortune. He knew that when fortune should come to her she would use it well. The year that she exhibited her work in the _Salon_ she painted only two little pictures--one of rabbits, the other of sheep and goats--but they were so splendidly done that all the critics knew a great woman artist had arrived.

It was then that her enemies, those who were becoming jealous of her work, said that she was wearing men's clothing in order to attract attention to herself.

Soon her work began to be bought by the French Government, which was a sure sign of her power. She was already much beloved by the people. In the meantime we in America and others in England had heard of Mademoiselle Bonheur, but we heard far less about her painting than we did about her masculine garb. We thought of her mostly as an eccentric woman; but one day came "The Horse Fair," and all the world heard of that, so the artist was to be no longer judged by the clothes she wore but by her art. Finally, she received the cross of the Legion of Honour, and also was made a member of the Institute of Antwerp.

She lived near Fontainebleau; her studio a peaceful retired home, till the Franco-Prussian war came about. Then she and others began to fear that her studio and pictures would be destroyed, so the artist was forced to stop her work and prepared to go elsewhere. But the Crown Prince of Prussia himself ordered that Mademoiselle Bonheur should not even be disturbed. Her work had made her belong to all the world and all the world was to protect her if need be.

Rosa Bonheur had a brother who, some critics said, was the better artist, but if that were true it is likely that his popularity would in some degree have approached that of his sister. Rosa Bonheur did not paint many large canvases, but mostly small ones, or only moderately large; but when she painted sheep it seems that one might shear the wool, it stands so fleecy and full; while her horses rampage and curvet, showing themselves off as if they were alive.

PLATE--THE HORSE FAIR

This picture was exhibited all over the world very nearly. It was carried to England and to America, and won admiration wherever it was seen. Finally it was sold in America. It was first exhibited in 1853, the year in which the artist's father died. Mr. Ernest Gambart was the first who bought the picture, and he wrote of it to his friend, Mr. S.P. Avery: "I will give you the real history of 'The Horse Fair,' now in New York. It was painted in 1852, by Rosa Bonheur, then in her thirtieth year, and exhibited in the next _Salon_. Though much admired it did not find a purchaser. It was soon after exhibited in Ghent, meeting again with much appreciation, but was not sold, as art did not flourish at the time. In 1855 the picture was sent by Rosa Bonheur to her native town of Bordeaux and exhibited there. She offered to sell it to the town at the very low price 12,000 francs ($2,400). While there, I asked her if she would sell it to me, and allow me to take it to England and have it engraved. She said: 'I wish to have my picture remain in France. I will once more impress on my countrymen, my wish to sell it to them for 12,000 francs. If they refuse, you can have it, but if you take it abroad, you must pay me 40,000 francs.' The town failing to make the purchase, I at once accepted these terms, and Rosa Bonheur then placed the picture at my disposal. I tendered her the 40,000 francs and she said: 'I am much gratified at your giving me such a noble price, but I do not like to feel that I have taken advantage of your liberality; let us see how we can combine in the matter. You will not be able to have an engraving made from so large a canvas. Suppose I paint you a small one from the same subject, of which I will make you a present.' Of course I accepted the gift, and thus it happened that the large work went travelling over the kingdom on exhibition, while Thomas Landseer was making an engraving from the quarter-size replica.

"After some time (in 1857 I think), I sold the original picture to Mr. William P. Wright, New York (whose picture gallery and residence were at Weehawken, N.J.), for the sum of 30,000 francs, but later I understood that Mr. Stewart paid a much larger price for it on the breaking up of Mr. Wright's gallery. The quarter size replica, from which the engraving was made, I finally sold to Mr. Jacob Bell, who gave it in 1859 to the nation, and it is now in the National Gallery, London. A second, still smaller replica, was painted a few years later, and was resold some time ago in London for £4,000 ($20,000). There is also a smaller water-colour drawing which was sold to Mr. Bolckow for 2,500 guineas ($12,000), and is now an heirloom belonging to the town of Middlesbrough. That is the whole history of this grand work. The Stewart canvas is the real and true original, and only large size 'Horse-Fair.'

"Once in Mr. Stewart's collection, it never left his gallery until the auction sale of his collection, March 25th, 1887, when it was purchased by Mr. Cornelius Vanderbilt for the sum of $55,000, and presented to the Metropolitan Museum of Art."

And thus we have the whole story of the "Horse-Fair." The picture is 93-1/2 inches high, and 197 inches wide, and it contains a great number of horses, some of which are ridden, while others are led, and all are crowding with wild gaiety toward the fair where it is quite plain they know they are about to be admired and their beauty shown to the best advantage. Other well-known Rosa Bonheurs are "Ploughing," "Shepherd Guarding Sheep," "Highland Sheep," "Scotch Deer," "American Mustangs," and "The Study of a Lioness."

V

ALESSANDRO BOTTICELLI

(Pronounced Ah-lays-sahn'dro Bo't-te-chel'lee) _Florentine School,_ 1447-1510 (Vasari's dates) _Pupil of Filippo Lippi and Verrocchio_

Botticelli took his name from his first master, as was the fashion in those days. The relation of master and apprentice was very close, not at all like the relation of pupil and teacher to-day.

Botticelli's father was a Florentine citizen, Mariano Filipepi, and he wished his son to become a goldsmith; hence the lad was soon apprenticed to Botticelli, the goldsmith. As a scholar, the little goldsmith had not distinguished himself. Indeed it is said that as a boy he would not "take to any sort of schooling in reading, writing, or arithmetic." It cannot be said that this failure distinguished him as a genius, or the world would be full of genius-boys; but the result was that he early began to learn his trade.

Fortunately for him and us, Botticelli, the smith, was a man of some wisdom and when he saw that the lad originated beautiful designs and had creative genius he did not treat the matter with scorn, as the master of Andrea del Sarto had done, but sent him instead to Fra Filippo (Lippo Lippi) to be taught the art of painting. So kind a deed might well establish a feeling of devotion on little Alessandro's part and make him wish to take his master's name.

Fra Filippo was a Carmelite monk, merry and kindly; simple, good, and gifted, but his temperament did not seem to influence his young pupil. Of all unhappy, morbid men, Botticelli seems to have been the most so, unless we are to except Michael Angelo.

After studying with the monk, Botticelli was summoned by Pope Sixtus IV. to Rome to decorate a new chapel in the Vatican. Before that time his whole life had been greatly influenced by the teachings of Savonarola who had preached both passionately and learnedly in Florence, advocating liberty. From the time he fell under Savonarola's wonderful power, the artist grew more and more mystic and morbid. In Rome it was the custom to have the portraits of conspirators, or persons of high degree who were revolutionary or otherwise objectionable to the state, hung outside the Public Palace, and in Botticelli's time there was a famous disturbance among the aristocrats of the state. In 1478 the powerful Pazzi family conspired against the Medici family, which then actually had control. It was Botticelli who was engaged to paint the portraits of the Pazzi family, which to their shame and humiliation were to be displayed upon the palace walls.

One peculiarity of this artist's pictures was that he used actual goldleaf to make the high lights upon hair, leaves, and draperies. The effect of the use of this gold was very beautiful, if unusual, and it may have been that his apprenticeship as a goldsmith suggested to him such a device.

Also it was he who created certain characteristics of painting that have since been thought original with Burne-Jones. This was the use of long stiff lily-stalks or other upright details in his compositions. Examples of this idea, which produced so weird an effect, will be found in his allegory of "Spring," where stiff tree-trunks form a part of the background. In the "Madonna of the Palms" upright lily-stalks are held in pale and trembling hands. Like Michael Angelo, who came years afterward, Botticelli was a guest of the great Lorenzo the "Magnificent," in Florence. It was by Botticelli's hand that the greater painter sent a letter to Lorenzo from a duchess friend who was also his patron. This was in Angelo's youth; in Botticelli's old age.

All his life was a drama of morbid seeking after the unattainable, and finally he became so poor and helpless that in his old age he would have starved had Lorenzo de' Medici not taken care of him. Lorenzo and other friends who in spite of his gloominess admired his real piety, gathered about him and kept him from starvation.

On his "Nativity," Botticelli wrote: "This picture I, Alessandro, painted at the end of the year 1500 in the troubles of Italy, in the halftime after the time, during the fulfilment of the eleventh of John, in the second woe of the Apocalypse, in the loosing the devil for three and a half years. Afterward he shall be chained according to the twelfth of John, and see him trodden down as in this picture." All of this is interesting because Botticelli himself wrote it, but it is not very easily understood by any child, nor by many grown people.

Botticelli did some very extraordinary things, but whether they are beautiful or not one must decide for himself. They are paintings so characteristic that one must think them very beautiful or else not at all so.

PLATE--LA PRIMAVERA _(Spring)_

In this picture we have the forerunner of a modern painter, because we see in it certain, qualities that we find in Böcklin. Look at the effect of vertical lines; the tree trunks, and the poses of the slender women. Over all hovers a cupid who is sending love-shafts into the hearts of all in springtime.

Notice the lacy effect of the flowers that bestar the wind-blown gown of "La Primavera," the fern-like leaves that fleck the background; the draperies that do not conceal the forms of the nymphs of the lovely springtime.

The very spirit of spring is seen in all the half-floating, half-dancing, gliding, diaphanous figures of the forest. The flowers of "La Primavera's" crown are blue and white cornflowers and primroses. She scatters over the earth tulips, anemones, and narcissus. The painting is allegorical and unique. Never were such fluttering odds and ends of draperies painted before, nor such fascinating effects had from canvas, paint, or brush. The picture hangs in Florence in the Uffizi Gallery. A German critic tells us that the "Realm of Venus," is a better title for this picture, and that it was painted after a poem of that name.

Other pictures by this artist are: "The Birth of Venus," "Pallas," "Judith," "Holofernes," "St. Augustine," "Adoration of the Magi," and "St. Sebastian."

VI

WILLIAM ADOLPHE BOUGUEREAU

(Pronounced W. A'dolf Bou-gair-roh) _French (Genre) School_ 1825-1905 _Pupil of Picot and the Ecole des Beaux-Arts_

Bouguereau's business-like father meant his son also to be business-like, but he made the mistake of permitting him to go to a drawing school in Bordeaux and there, to his father's chagrin, the youngster took the annual prize. After that there seemed nothing for the father to do but grin and bear it, because the son decided to be an artist and had fairly won his right to be one.

Young Bouguereau had no money, and therefore he went to live with an uncle at Saintonge, a priest, who had much sympathy with the boy's wish to paint, and he left him free to do the best he could for himself in art. He got a chance to paint some portraits, and when he and his uncle talked the matter over It was decided that he should take the money got for them, and go to Paris. It was there that he sought Picot, his first truly helpful teacher; and there, for the first time he learned more than he already knew about art.

All Bouguereau's opportunities in life were made by himself, by his own genius. No one gave him anything; he earned all. He longed to go to Italy, and in the Ecole des Beaux-Arts he won the Prix de Rome, which made possible a journey to the land of great artists. The French Government began to buy his work, and he began to receive commissions to decorate walls in great buildings; thus, gradually, he made for himself fame and fortune.

When this artist undertook to paint sacred subjects, of great dignity, he was not at his best; but when he chose children and mothers and everyday folk engaged about their everyday business, he painted beautifully. Americans have bought many of his pictures and he has had more popularity in this country than anywhere outside of France.

Some authorities give the birthplace of Bouguereau as La Rochelle; at any rate he died there at midnight, on the nineteenth of August, 1905.

PLATE--THE VIRGIN AS CONSOLER

The main distinction about this artist's pictured faces is the peculiarly earnest expression he has given to the eyes. In this picture of the Virgin there is great genius in the pose and death-look of the little child whose mother has flung herself across the lap of Mary, abandoned to her agony. This painting is hung in the Luxembourg. Others by the same master are called "Psyche and Cupid" "Birth of Venus," "Innocence," and "At the Well."

VII

SIR EDWARD BURNE-JONES

_English (Pre-Raphaelite) School_ 1833-1898 _Pupil of Rossetti_

This artist has been called the most original of all contemporaneous artists. He has also been called the "lyric painter"; meaning that he is to painting what the lyric poet is to literature. His work once known can almost always be recognised wherever seen afterward. He did not slavishly follow the Pre-Raphaelite school, yet he drew most of his ideas from its methods. He was, in the use of stiff lines, a follower of Botticelli, and not original in that detail, as some have seemed to think.

PLATE--CHANT D'AMOUR _(The Love-Song)_

This is a picture in the true Burne-Jones style: a beautiful woman in billowy draperies, playing upon a harp forms the central figure of the group of three--a listener on either side of her. There is the attractiveness of the Burne-Jones method about this picture, but after all there seems to be no very good reason for its having been painted. The subject thus treated has only a negative value, and little suggestion of thought or dramatic idea.

Another picture of this artist, in which his use of stiff draperies is specially shown, is that of the women at the tomb of Christ, when they find the stone rolled away and, looking around, see the Saviour's figure before them. The scene is low and cavern-like, with a brilliant light surrounding the tomb. This artist also painted "The Vestal Virgin," "King Cophetua and the Beggar Maid," "Pan and Psyche," "The Golden Stairs," and "Love Among the Ruins."

VIII