Part 2

=The story of the artist.= Jules Bastien-Lepage was born in Damvillers, France. His parents were people of means, and as his father was an artist he received his first art instructions from him. As a young man Jules held a position in the post office, and his duties there kept him busy every morning. But all his afternoons were devoted to study under an artist who lived near by.

Then during the Franco-Prussian war he joined the army in the defense of Paris. He was never very strong, and the constant exposure and hardships forced him to return home on sick leave; that was the end of his experience as a soldier. His health somewhat recovered, he began painting in earnest. He desired above all things to be a great historical painter and, if possible, to paint these pictures at the very places where the historical events occurred.

He had a very fine studio fitted up on the second floor at home, but most of his painting was done out of doors.

We cannot read much of his life without finding some mention of his grandfather, for it was the old man’s delight to work or sit beside his grandson while the young man was painting. The grandfather is usually described as wearing a brown skull cap and spectacles, and carrying his snuffbox and large checked handkerchief much in evidence. He took care of their garden and orchard, and one of the very first pictures Lepage painted that caused most favorable comment was a portrait of his grandfather in a corner of the garden. This picture, together with another of a young peasant girl, exhibited at the same time, marked the beginning of the artist’s popularity.

Born in the same country as Millet and like him understanding the religious enthusiasm and the superstitions of the peasants, we are not surprised that he should love to paint the French peasant and that Joan of Arc’s life and history should have appealed to him so strongly. This subject had been a favorite theme for painters for several hundred years, and most of the artists had represented Joan as a saint or as a maid of great beauty. Lepage, however, represented her as a simple peasant girl, dressed as such, and showing evidence in her face and her coarse hands of the rough farm work she had been doing.

This painting of Joan of Arc is considered the artist’s masterpiece. Another noted picture by him is “The Hay Makers.”

Bastien-Lepage became very popular indeed, and the people vied with each other to obtain his paintings and to get an opportunity to work in his studio. He worked very hard, and this, with the excitement of so much publicity, finally wore him out. He died at the age of thirty-six years.

=Questions about the artist.= Who painted this picture, and where was he born? Where is the original painting? Tell about Jules Bastien-Lepage and his early training. Why did he not remain in the army? What kind of a painter did he most desire to be? Where did he usually paint? Who went with him? Describe the old grandfather. What picture marked the beginning of the artist’s popularity? Why did the life of Joan of Arc appeal to him so strongly? In what way did his representation of Joan differ from that of other artists?

THE SYNDICS OF THE CLOTH HALL

=Questions to arouse interest.= What are these men doing? How are they dressed? What makes you think some one has interrupted them? At whom are they looking? Why do you suppose the one syndic has risen? Why do you think the man standing behind the others wears no hat? What do you think his duties were? Which man looks the oldest? the youngest? How has the artist avoided a stiff arrangement of the figures in this painting?

=Original Picture=: Ryks Museum, Amsterdam, the Netherlands. =Artist=: Rembrandt van Rijn (rĕm´ bränt vän rīn´). =Birthplace=: Leiden, the Netherlands. =Dates=: Born, 1606; died, 1669.

=The story of the picture.= This picture represents the syndics of the Cloth Merchants’ Guild, in a room of their Guild House, busy going over their accounts. In these days of great corporations and societies of all kinds, it is easy for us to understand what a Cloth Merchants’ Guild might be.

History tells us that as far back as the time of the Romans there were what were called merchants’ corporations or guilds organized for mutual aid and protection. Among the very first known was a fishermen’s guild, in which all the members met and decided the rights of the various members to use the water front, and also, no doubt, planned to take away the privilege from all who were not members.

In the Netherlands the guilds were many and very influential. Besides the general officers usually appointed by the king, there were a certain number of officers whom the members themselves chose, called masters, deans, wardens, or syndics. It was the duty of these syndics to visit the workshops and salesrooms of all members of the guild, at all hours, to see that the rules were enforced. They were also expected to examine candidates for apprenticeship and mastership. Each guild had its own costume or uniform. Even to this day a remnant of these old customs remains, and in England every twenty years a few of the cities celebrate, by a very important and imposing parade, what is known as “guild day.” Many cities still have the old Guild Houses where these meetings were held, and there is not a cathedral or church building of any importance in the Netherlands or Belgium in which some great event connected with these guilds is not represented by either a painting or a sculptured monument. And so it is little wonder that Rembrandt should paint such a picture as this.

It is as if we opened the door suddenly upon the syndics, who look up to see what has disturbed them. One man has half risen from his chair. All five are dressed in the uniform of the guild—black coats, broad white collars, and large black felt hats. Each figure is a complete portrait in itself and bears, it is said, a speaking likeness to the syndic painted.

Some time before this, Rembrandt had had an unfortunate experience. He had painted a wonderful picture called the “Night Watch.” But in that great painting he had allowed his feelings as an artist, and his love of a fine composition, to make him forget man’s vanity. So, although a great many prominent men had posed for this picture, he had neglected to paint them all in conspicuous positions. Those upon whom the bright light fell were delighted with the picture, but the majority, who were in the shadow, did not like it at all and so refused to pay any money toward buying it. The truth is they had each expected a good portrait, and instead he had painted a masterpiece in composition.

So in this later picture he was careful to make a good likeness of each of the syndics, as well as to make an interesting composition.

These five syndics are gathered around a table covered with a rich oriental cloth woven on a dark red ground. The plain paneled walls of the room are brown, filling the picture with that rich golden-brown tone for which Rembrandt is famous and which gives to his pictures their mysterious and peculiar charm.

It is said that the other portraits in the Ryks Museum, Amsterdam, where this picture is hung, look dull and lifeless beside it. And, strange to say, it was painted when Rembrandt was fast losing his eyesight and when, too, he was in great financial difficulties. The order for the picture was given him by an old friend who thought first of his need, but later of his great genius. It was Rembrandt’s last important order before his death in 1669.

Although these men are looking toward us, no two are in exactly the same position. The light from the window falls full on the face of each syndic; even the servant is not placed in the shadow. Suppose these men had been represented as of exactly the same height; that would have given us a straight horizontal line across the picture even straighter than that of the wainscoting above, which is broken by the corner of the room. Thus we would have had a stiff, uninteresting arrangement.

Art students from all over the world go to the Art Museum to study and copy parts of this wonderful painting. Joseph Israels tells us he made a copy of his favorite figure, which was “the man in the left-hand corner with the soft gray hair under the steeple hat.”

=Questions to help the pupil understand the picture.= Where are these men? Why have they met here? What is their trade? For what purpose were the guilds formed? Tell about the first guilds and their purpose. In what country were these guilds most popular? Where do they still exist? Who were the syndics? What were some of their duties? What was the place called where they met? What do we have in our country in the place of syndics and guilds? Of what benefit are they? How are the syndics in this picture dressed? At whom are they looking? What can you say of the man standing behind the syndics? Which syndic seems to be the most important? What unpleasant experience had the artist had that influenced him in painting this picture? In what ways do the positions of the six men differ? What can you say of the composition of this picture? the light and shade? What qualities of greatness do you find in this picture? How did Rembrandt happen to paint it? What colors did he use? Where is the original painting?

=The story of the artist.= Rembrandt was born in Leiden, the Netherlands, in 1606. In those days, when there were no newspapers and no one cared to set down the daily events in the lives of great men, it was only what the man actually accomplished that was recorded. So we know very little of the early life of Rembrandt. Some authorities declare he was born in a windmill, but most agree that as his father was a prosperous miller, the son was no doubt born in a very comfortable if not elegant home. However that may be, we know that Rembrandt spent many happy hours with his brothers and sisters high up in this windmill, and here it is believed he first studied the effect of light and shade on objects.

From the small window in the tiny room at the top of the mill little light could be expected, and as he did much of his painting here his studies were mostly in shadow. Often he must have looked from this little window down upon the quaint city of Leiden, built upon its ninety islands joined by at least a hundred and fifty bridges; upon its wide streets, rose-bordered canals, houses built in rows, each with its own windmill, and the picturesque rows of trees. The largest building of all was the University, for which Leiden is still famous. Rembrandt attended this university, we are told, and as he looked at it he must have recalled its history and how bravely the Dutch people fought when the Spanish army tried to capture the city—how they braved famine and pestilence as they awaited the arrival of Prince William of Orange. As a reward for their courage, William offered his people either a great gift of gold or a university; and, although the people needed the money to rebuild their houses, they chose the university.

Rembrandt is one of the great artists who is known to the world by his first name. His father’s name was Gerrit Harmens and he was called Harmens van Rijn (by the Rhine). According to a custom of those days the name frequently told where the man lived. His son was called Rembrandt Harmenszoon van Rijn, meaning Rembrandt, son of Harmens by the Rhine.

Rembrandt’s great love for good pictures, and his desire to draw, caused his parents to send him to an artist to study. He studied with this teacher at home for three years. Then he spent several months in Amsterdam studying, but finally decided that nature should be his teacher. He was then only sixteen years old, but he fitted up the little room in the mill as a studio, and here he continued his study. He painted his father, his mother, and his brothers and sisters many times. Then he painted his own portrait by looking in a mirror, and, by assuming various attitudes and different expressions, he received much valuable practice which, later on, helped him greatly.

His first great work was a portrait of his mother, painted when he was twenty-three years old. Two years later he went to Amsterdam, where his pictures brought large prices and pupils flocked to him from all parts of Europe. Once he painted a window with a servant standing near it that was so real it deceived every one.

About this time he married the beautiful Saskia, whose picture he has painted so many times. His home was furnished extravagantly, and nothing was too good to give Saskia.

There are three great paintings by Rembrandt which mark three epochs in his life. The first was “The Anatomy Lesson,” painted for Doctor Tulp, representing the Professor of Anatomy lecturing to his class. It is said that Rembrandt hid behind a curtain and, without their knowledge, observed the class during several lessons that he might secure natural expressions and positions. This picture was painted shortly after his marriage to Saskia, and through it he became famous. It marks the beginning of the happiest part of his life.

The second great painting was the “Night Watch,” which was not appreciated because he failed to give all the figures equal prominence. This picture marks the beginning of his fall from favor, and it was about this time that his wife, Saskia, died.

Crushed by both sorrow and misfortune, Rembrandt still continued to paint. His choice of subjects, however, changed noticeably. He now painted more of the sorrow, poverty, and distress of life. His house, with all its beautiful furnishings, was sold.

Then came his great painting, “The Syndics of the Cloth Hall,” in which he seems to have concentrated all his wonderful genius. But, masterpiece that it is, the picture won no popularity, and so the last years of Rembrandt’s life were spent in increasing poverty and sadness.

Other noted pictures by Rembrandt are: “Christ Blessing Little Children,” “Sacrifice of Abraham,” “Portrait of an Old Woman,” “The Mill,” “Saskia,” and “Supper at Emmaus.”

=Questions about the artist.= Who painted this picture? Why was he so named? Why do we know so little about him? Where is it believed that Rembrandt first studied light and shade? What other training did he have? How did he paint his own portrait? What was his first great painting? Tell something which illustrates how well he could paint. Was the greatness of “The Syndics of the Cloth Hall” appreciated when it appeared?

THE LAST SUPPER

=Questions to arouse interest.= What does this picture represent? Where do the figures seem to be? Why do you suppose the artist placed all his figures on one side of the table? What makes you think the disciples are excited? How many do not look excited? Which is the central figure? How is our attention directed toward the central figure? How does the position of the hands aid in this? Which one is Judas? Why do you think so? Which one is John? What expressions do you see upon the different faces?

=Original Picture=: Convent Santa Maria delle Grazie, Milan, Italy. =Artist=: Leonardo da Vinci (lā´ō när´dō dä vēn´chē). =Birthplace=: Near Florence, Italy. =Dates=: Born, 1452; died, 1519.

=The story of the picture.= Beatrice, the good and beautiful wife of the Duke of Milan, had visited most of the many convents in Italy, but her favorite among them all was the Santa Maria delle Grazie in Milan. When the great dining room of this beautiful convent was being finished, the monks felt that it lacked nothing except a suitable decoration for the end wall; so they appealed to the duke and his wife for at least one fine painting by the most popular artist of the time, Leonardo da Vinci. And so it came about that Leonardo began this great work, which was to be his masterpiece. It was so placed that the monks seated at their meals could see the long table as if it were in their own room and but slightly raised above the rest.

Many stories are told of the artist while working on this great painting. Often he worked from early morning until dusk, quite unconscious of the flight of time, of his meals, or of the hushed voices of the monks and visitors who came to watch him paint. Then again he would not paint for several days, but would sit for hours quietly studying his painting. The prior of the monastery began to think he would never finish the picture, and at last he appealed to the duke to speak to Leonardo about it. The artist told the duke that while he sat thinking he was doing his best work, for it was necessary for him to have a complete picture in his mind before he could paint one. Of course he was told to do it in his own way. He completed the painting in two years, which was an unusually short time for so great a masterpiece, when we consider how much study was necessary, and that the figures were larger than life. Leonardo also had other work which had to be done.

Mr. William Wetmore Story has given us the prior’s complaint to the duke in verse, from which we have selected these extracts:

“’Tis twenty months since first upon the wall This Leonardo smoothed his plaster; then He spent two months ere he began to scrawl His figures, which were scarcely outlined, when, Seized by some mad whim, he erased them all.

* * * * * * * *

“Ah! there he is now—Would your Highness look Behind that pillar in the farthest nook? That is his velvet cap and flowing robe. See how he pulls his beard, as up and down He seems to count the stones he treads upon! ’T would irk the patience of the good man Job To see him idling thus his time away, As if our Lord and Judas were both done, And there were naught to do but muse and stray Along the cloisters. May I dare to pray Your Highness would vouchsafe one word to say; For when I speak he only answers me, ‘I am not idle, though I seem to be.’

* * * * * * * *

“‘Not idle! Well, I know not what you do! You do not paint our picture, that I see.’ To which he said, “A picture is not wrought By hands alone, good Padre, but by thought. In the interior life it first must start, And grow to form and color in the soul; While I seem idle, then my soul creates; While I am painting, then my hand translates.’”

It is said that Leonardo threatened to paint the face of the complaining prior as the Judas in his picture, but we know that he did not.

He has chosen for his subject the moment following the words of Christ to his disciples: “One of you shall betray me.” On their faces he has shown the surprise, consternation, and distress which would naturally follow the realization that there is a traitor among them.

We recognize at once the calm, beautiful face of the figure in the center as that of the Christ. Leonardo spent more time on this head than on any other part of the picture. He made a great many sketches, and in each he tried to represent Christ as looking at us, but all his efforts failed to satisfy him. At last he consulted a friend, who advised him to give up trying to paint the expression of the eyes, but to represent Christ looking down; and this seems to have been the last touch needed to make the face perfect.

On both sides we see the disciples in four groups of three each. If we study any one of these groups we will find it complete in itself, yet all four groups are held together by the expression on the faces and especially by the position of the hands. So wonderfully have the hands been painted that some critics have spoken of this picture as “a study of hands.”

If we begin at the left-hand side of the picture we see Bartholomew standing at the end. In his astonishment, he has risen so quickly that his feet are still crossed as they were when he was seated. He looks toward Christ as if he thought his ears must have deceived him.

Next to Bartholomew is James (the less), who reaches behind Andrew to touch the arm of Peter and urge him to ask the meaning of it all. Andrew’s uplifted hands express horror, while his face is turned anxiously toward the Master. Peter is greatly excited, but feels that John is the one to ask the question; so we see him leaning toward John, his hand resting on John’s shoulder as he eagerly urges him to ask who it is of whom Christ spoke. In his right hand Peter grasps his knife ready to defend his Lord.

Between Peter and John we see the traitor Judas, vainly attempting to appear innocent and unconcerned. As he leans forward, he clasps his money bag tighter, but at the first sudden movement of alarm he has overturned the salt upon the table. It is said that after the face of the Christ, Leonardo found that of Judas the most difficult to paint. It was hard to imagine a man so wicked.

The gentle, sorrowful face of John seated next to the Christ is in strong contrast to the startled, guilty look on the dark face of Judas.

To the right of the Master, we see James (the great), whose arms are outstretched as he looks at the Master and eagerly asks, “Lord, is it I?”

Just behind James is Thomas, with one finger lifted threateningly as if he must know who the traitor is that he may cast him out at once.

Philip, standing beside James, places his hands on his heart as he says, “Thou knowest, dear Lord, it is not I.” The three disciples at the end of the table are in earnest conversation. Matthew points with his arms to the Saviour as if explaining to the elder disciple, Simon, what has just been said. His face asks a question and expresses wonder, while that of Thaddeus, next to him, is worried and troubled. Simon holds his hands out and looks appealingly to Christ for an explanation.

The table itself was like that used in the dining room of the convent; even the tablecloth and china were the same. Three windows form a background for the picture, and the middle one frames the face of the Christ.

But the picture was painted in tempera upon damp walls, and it soon began to fade and even to peel off. If it had not been for an Italian who made an engraving of this picture shortly after it was finished, we should have little idea of the real beauty of the original. At one time the convent was used as a stable, and a door was cut right through the middle and lower part of the picture. Naturally, in the course of time, the picture lost most of its original splendor. Many attempts were made to preserve it, but without success. Then, not many years ago, an artist was found who succeeded in restoring the picture to some degree of perfection.

The painting is twenty-eight feet long, and the figures are all larger than life.

=Questions to help the pupil understand the picture.= Where is the original painting? Why was this convent chosen? In what room is it? In what way did it become a part of the furniture of the room? How long did it take Leonardo to paint this picture? Why did the prior feel so anxious? What reply did the artist make to him? What does the picture represent? Which is the central figure? How is it made to appear the most important? How are the disciples arranged? Which is John? Which is Judas? What has Christ just said that causes such excitement? What expressions do you see on the different faces? What can you say of the composition of this picture? How do the hands of each disciple express his feelings? What has become of this painting? About how large is it?

=To the Teacher=:

SUBJECTS FOR COMPOSITION