THE J. PAUL GETTY MUSEUM LIBRARY Digitized by the Internet Archive in 2016 with funding from Getty Research Institute https://archive.org/details/bouguereauOOboug MASTERS IN ART “©Rr Jesters ” THE EH RICH GALLERIES 463 & 465 FIFTH AVENUE, NEW YORK CITY (One Door North of 40 th St. Opposite the Library) Expert opinion pronounced as to the genuineness and authenticity of Antique Paintings. YAMANAKA O J C\ OSAKA 06 VU« KYOTO 254 FIFTH AVENUE, NEW YORK Japanese and Chinese Works of Art BRONZES, METAL WORK 1 IVORY CARVINGS PORCELAINS ^ EMBROIDERED SCREENS JADES, CRYSTALS KAKEMONOS OLD PAINTINGS AND COLOR-PRINTS A SPECIALTY fl. fe»artortus & Co. MANUFACTURERS AND IMPORTERS OF 5lrti£t*s’ Catenate and Colors China Painting Oil-Color Painting Water-Color Painting Write for Illustrated Catalogue 45 Murray Street, New York MEISSONIER. Mr. C. Klackner, Art Publisher, will be pleased to send, on request, a copy of his Illustrated Price-List of 21 Etchings after Paintings by the great Master, MEISSONIER, etched by leading French Artists. C. KLACKNER 2 Haymarket, London 7 West 28th St., N. Y. Bouguereau: “The Consoling Virgin” REPRODUCTIONS OF MASTERPIECES IN MASTERPIECES OF REPRODUCTION The greatest selection and largest variety will be found in our catalogue, containing 400 illustrations of the most famous pictures — both ancient and modern. A copy of this reference-book, indispensable to all lovers of art, with comments by com- petent critics, biographical notes, suggestions for decorating homes, schools, etc., will be sent on receipt of 50c., which amount will be reimbursed on receipt of initial order. Art Schools, Libraries, and other educational institutions, making appli- cation on their printed letter-heads and enclosing 20c. in stamps to defray packing and for- warding expenses, will receive a copy free. BERLIN PHOTOGRAPHIC COMPANY 14 East 23d Street (Madison Square South), New York A visit to our Show-rooms is respectfully requeued. In answering advertisements, please mention Masters in Art. THt 1 PAUL GETTY MUSEUM LIBRARY MASTERS IN AMT PLATE I PHOTOGRAPH BY BRAUN, CLEMENT &. CIE [ 381 ] BOUGUEEEAU THE VIHGIN OF CONSOLATION GALLEHV, PA HIS LUX EM BOUMG MASTERS IX ART PRATE II PHOTOGRAPH BY BRAUN, CLEMENT & CIE [ 3831 BOUO IT ERE A U INNOCENCE PR I V ATE CORRECTION HOUr»lTEHEAU MASTERS IX ART PLATE III PHOTOGRAPH BY BRAUN, CLEMENT & CIE [ 305 ] G I RL WITH CHERRIES PH I V ATE COLLECT ION MASTERS IX AKT PLATE IV BY BRAUN, CLEMENT & ClE [ 387 j POUGUEP EA U THE HOLY WOMEi\ AT THE TOMB OF CHRIST A.NTWEKP MUSEUM PHOTOGRAPH V MASTERS I N ART PLATE V BY BRAUN, CLEMENT & CIE L 889 ] R( )l T ( ; UERFiA U PHOTOGRAPH THE MADONNA WITH ANGELS PR I V A T E GOLLFi V TION I.IASTEHS IX Ain’ PLATE VI PHOTOGRAPH BY BRAUN, CLEMENT A. CIE [ 301 ] HOUGUEHEAU CUPID I.YrNO IX WAIT PHI V A T E ( '( ILL EC 71' I OX MASTERS IX APT PLATE VIE PHOTOGRAPH BY BRAUN, CLEMENT & CIE [ 393 ) BOUGUKHEAU THE SIIEPIIKHDESS PRIVATE COLLECTION I MASTERS IN ART PRATE VIII BOUGUER EA U BROTHER AM) SISTER METROPOLITAN MUSEUM, NEW YORK KHOTOGRA PH BY CHARLES BALLIARD . 39 .", ] MASTERS IN ART 1’LATK IX FHOTOGRAPH BY BRAUN, CLEMENT « TIE [ 397 ] HOIKUT EREAU SON (7 S (IF SPRING PR I V A T E < O ELECT I O N LUXEMBOURG GALLERY, POJKTKAIT OP BOUGUEHEAU BY HIMSELF AKTWEEJ MUSEUM This portrait of Bouguereau was painted by the artist himself in 1895. It is not only a speaking likeness of him at that age, but it is a line example of his ability as a portrait-painter. Vigorous, life-like, full of character, it may well rank as one of his very best works. “It is a delicate but manly head,” writes Mr. Beckwith, “and in its well-rounded proportions it shows a thoroughly balanced and practical, though poetic, brain.” [ 400 ] MASTERS IN ART William JSoutjummt BORN 1825: DIED 19 05 FRENCH SCHOOL ADOLPHE WILLIAM BOUGUEREAU (pronounced Boo-gl ter-o) was il born in the old Protestant city of La Rochelle, France, on November 30, 1825. His father was a wine-merchant of thattown, butwhen Bouguereau was still a small boy the family moved to St. Martin-de-Re. Even while at his primary school he began to be possessed with that need for pictorial expression which never after left him. His text-books were filled from cover to cover with drawings of scenery, sailors, peasants, all of which were viewed with admiring eyes by his comrades. Already, too, his childish mind felt the poetry that brooded in that stern old town with its fierce architecture so full of memories of the ancient times. From then began the love for his native city which only changed to grow deeper and more profound. When William grew large enough his father sent him to learn the rudiments of Latin of his uncle, the priest at Montagne-sur-Gironde. The years during which the boy was with this guardian-teacher were a period of great and tran- quil growth, the foundation of his future intellectual and artistic life. The book lessons his uncle supplemented with out-of-door instruction, explaining the forces of nature and showing him the archaeological marvels of the country about. And all the time the love of the beautiful in nature grew daily stronger in the heart of the nephew. Alone, often for hours, he used to watch entranced the lights and shades and golden colors of the dying day as the sun moved over the Gironde. Often he would rise at daybreak out of pure joy of the glowing hours of sunrise. Meanwhile the books were not neglected, and of them all it is curious to note that the favorites of the future painter of myth and religion were the Lives of the Saints, the Bible, and the Dictionary of Fables! A rather strange assortment, but in them can be found both the double source of Bouguereau’s inspiration and his lifelong attachment to the traditions. As a mere boy the antique delighted him. He found an infinite charm in the melodious accents of Virgil and in the elegant preciosity of Ovid. What a change when he was forced to leave all this to go to Bordeaux to become clerk for his father, who had established himself there in the heat of the melancholy rue Neuve as merchant of olive oil! When he could find the minutes he cov- ered boxes and bundles with drawings of all sorts, and finally some of the cus- [ 401 ] 24 MASTERS IN ART tomers and friends of his father became greatly interested in the blond youth of sixteen who, perched all day on the high stool in the counting-house, only lef t the ,pen for the pencil. At length his father consented to allow him to en- ter the Ecole des Reaux-Arts of Bordeaux — with the express condition that he was not to become a painter, for that was a trade which did not pay! From that day the laborious life of young William was illuminated by the hours given to his beloved art. Each morning from six to eight o’clock he spent in the art school, from which he hurried back to devote the rest of the day to the accounts in the ledger. In the evening, the moment he left the family table, he shut himself in his room, and late into the night by the light of candle-ends saved from shop or house he would draw and draw — -anything he saw or could remember. To get the necessary crayons, colors, and materials he painted the colored designs to be reproduced on the covers of prune or raisin boxes. Nothing was too insignificant or common so long as it brought the future nearer when he dreamed of being a prince of painters! Soon, too, the future began to open out most alluringly. After two years at the Ecole des Beaux-Arts, he won the first prize for painting the figure. This in spite of the fact that his competitors were all-day students, while he was only in the studio for two hours each morning. The success so intoxicated him that he straightway informed his father that the career of a merchant of oil “gave no chance for life,” and begged permission to take up that of painter. This Bouguereau the elder finally somewhat reluctantly yielded, saying, “Do as you will, my boy, but at your own risk. You know I cannot help you.” But if his father could not help him, his mother could and did. She was vastly proud of the artistic talent of her son, and many were the francs her beautiful embroideries earned toward the education of the young student. The good cure of Montagne-sur-Gironde also did his best to aid his nephew. Ele went about the country and procured many orders for portraits at fifteen francs the head! With these aids, William Bouguereau was able at length to realize his long cherished project: to go to Paris! He arrived there in March, 1846, and at once entered the studio of Picot, that old master whose works and whose in- struction carried the imprint of the most elevated traditions. Among his fel- low-students were Lenepveu, Cabanel, Henner, Gustave Moreau. This new life devoted entirely to art gave to the one just embarked upon it the most in- tense joy which he had known, and filled him with overflowing enthusiasm. He spent not more than twenty sous a day, eating hardly anything but bread and cheese, and often going without any dinner. What did it matter to him! He had voluntarily taken to heart the adage “Who paints, dines,” and the only necessities of life for him were to paint, to draw, to study anatomy, natural history, perspective. Ah! how he took revenge on the gloomy hours in the wine-scented shipping-office! He worked even harder, if that were possible, after he entered the Ecole des Beaux-Arts of Paris, in that same year, 1846. In the evening, when his hand was too tired to hold the pencil, he studied history, mythology, architecture. His very distractions were taken to further his art. If he went to the Theatre- [ 402 ] BOUGUEREAU 25 Fran^ais it was above all to study the beautiful poses of Rachel and Ristori. In the street, the promenaders, the groups of people, the peasants, all were to him texts for his artistic eye to learn by heart till they became the very maxims of his art. These maxims, fruit of patient reflection and a clear mind, he con- signed to a diary which he then began to write. What a breviary of will and of work is this book, where on each page is felt the most insistent, the most methodical, the most constant, effort towards the ideal and beauty! In these pages can be perceived the influence of the painters of the classic school upon the young student, — that of Ingres, Ary Scheffer, and above all of Hippolyte Flandrin, for whom he had an especial admiration. Here is found, too, that phrase which expresses so well all the life of the master, and which he seems to have taken for motto : “All the moments of life should be employed in study. Let us always have in mind this great truth.’’ The only time when he neglected his favorite maxim was when he went to fight, in those dreadful June days of 1848, by the side of his friend Pils. Once order was restored he returned to the studio with more ardor than ever. This passionate zeal obtained its reward. The young Rochellaise tried twice for the Prix de Rome, in 1848 and in 1850. As there had been no first prize bestowed in 1848, it was given in 1850 to William Bouguereau, who in a very frenzy of delight departed for the Villa Medici, where the French school of painting was established at Rome. With him went his friend Paul Baudry, winner of the first prize of 1850, sharer of his dreams and his enthusiastic projects for study. Rome enchanted Bouguereau, but it was his journey to Tuscany and Um- bria which remained with him as the most vibrant of memories. One city, fairly perfumed with mystic art and holy traditions, particularly exerted upon him an unquenchable fascination. That was Assisi. He stayed there for months in the home of an old soldier of the Empire who had for Napoleon that unbounded adoration shared by all the Great Army. The ardent young French artist was delighted to hear from the mouth of the Italian the marvel- ous tales of the glories of the armies of France. All day Bouguereau spent in the convent, the church, and the crypt of St. Francis, copying the entire decoration of the cupola where Giotto allegorized the vows of the Franciscan Order, or reproducing with equal love the severe fervor of Guido of Siena, of Giunto of Pisa, of Cimabue. At the same time he was carried away by the penetrating charm of that sweet and severe nature of Umbria where the vine and the olive are married to the oak and the pine. Afterwards he visited Padua and Ravenna. In this latter city he copied a part of the celebrated Byzantine frescos of St. Vitalis. Their inspiration is seen in later years in his own church decorations. He also went to Venice, but he did not dream of copying Titian, Veronese, or Tintoretto. It was not till long afterwards that he began to search for the secret of their thrilling color. At that time of ardent youth the pursuit of the ideal, and the beauty of form, cap- tivated his mind more completely than the magic of color. In Pompeii once more he found beautiful lines and harmonious attitudes. As the painter of re- ligion had been ravished by the pure luster of the Primitives, so the lover of the smiling and ever young antique recognized the country ot his dreams in [ 403 ] 26 MASTERS IN ART that city sprung as it were out of the bowels of the earth. Mars and Venus, Diana and Endymion, the Muses, the Seasons, the Hours, — all lived before his eyes. And in the future he often traced them upon the walls and the ceil- ings of his home. They were so true, so exact, that it was no wonder M. Ed- mond About, the sculptor, declared later to his pupils, “If you do not know Pompeii, go see it in the studio of M. Bouguereau.” But it was soon necessary to leave all that. In 1854 the pensioner of the Villa Medici returned to Paris and exhibited his ‘Triumph of Martyrdom ’ (plate x). This picture was the first important work of a fecund and noble career which Bouguereau followed for more than fifty years, years which saw the most striking successes, the most glorious consecrations, and which are scarcely less rich in works than in days. For more than half a century Bouguereau never failed to exhibit at every Salon religious, genre, or mythologic pictures and portraits. At the same time he executed a considerable amount of mural dec- oration for houses, theaters, and churches. His first work in this line was in his own part of France. For Mme. Mou- lun’s villa at Angoulins near La Rochelle he painted four panels representing the Seasons. Other important labors were the decorations for the Bartholoni and Pereire residences in Paris, which he finished during the years immediately following his return from Italy. On these walls, on the ceilings, along the friezes, a whole world of mythology was displayed in all its beautiful nudity, its airy play of graceful attitudes. At the Salon of 1869 Bouguereau showed his ‘Apollo and the Muses,’ painted for the ceiling of the concert hall of the Grand Theater of Bordeaux. Again the scene was mythologic, and it was filled with figures both nude and draped. While doing these secular works he finished a series of decorative paintings in several churches. In the beginning of his career religious art had an irre- sistible attraction for him. The influence of his uncle had developed his nat- ural disposition towards belief, a disposition very generally met with among painters of that generation. “Believe and you will be a great painter,” he has written. And he made a vow to himself to paint religious pictures like those which he admired so intensely by Flandrin in St. Germain-des-Pres. He kept his vow. In 1859 he was given the decoration of the chapel of St. Louis at Ste. Clotilde. Here, however, he had to depict historical scenes which did not in- spire him and which he executed with coldness. He did not care for history. He did not comprehend it, and the laws of esthetics and precision which had to be followed only caused him pain. He is seen much more at his ease in the chapels of St. Peter and Paul and St. John the Baptist in the church of St. Augustine. His work there brings memories of the mosaics at Ravenna. At St. Vincent-de-Paul Bouguereau glorified the Virgin, whom he shows grave and sad, surrounded by smiling angels. She is again portrayed in her joys, her sadness, and in her glory in the cathedral of La Rochelle. This last dec- oration is a circular ceiling holding the ‘Assumption,’ and, within six arches, the ‘Annunciation,’ the ‘Visitation,’ the ‘Nativity,’ the ‘Flight into Egypt,’ the ‘Swooning of the Madonna,’ and the ‘Pieta.’ Frequently Bouguereau left the land of the fabulous for the domain of con- [ 404 ] BOUQUEREAU 27 temporary life — a domain less propitious for pure lines. In 1857, for instance, under orders of the minister of public instruction, he painted an enormous canvas representing the ‘Visit of Napoleon to the Flooded Inhabitants of Tar- ascon.’ In 1869 he brought back from a trip in Brittany numbers of pleasing pictures, such as ‘Young Girls ol Fouesant returning from a Walk’ and ‘The Vow of St. Anne of Auray.’ Among the pictures inspired by modern life, ‘All Soul’s Day’ and the ‘Poor Family’ are in a vein seldom explored by the painter. He loved better to paint, and he painted better, smiles than tears. He also painted a great number ot ‘Little Beggars,’ ‘Little Fishermaidens,’ ‘ Little Bohemians,’ etc. These studies of small girls he made almost exclu- sively at La Rochelle, his models taken from the children of the neighborhood. Three tiny sisters with bright eyes, complexions burned by the sea-breezes, were the special clientele attached to the master’s studio. Perhaps his most successful worlTof all was portraiture, and at almost every Salon he exhibited one or more portraits that won both recognition and praise. This enormous production, this never-ending labor, almost entirely filled the life of Bouguereau. Few were the hours which were not wholly given to art. In the siege of Paris in 1870, however, he once more left his brush for the bayonet. Though exempt from all active service by his age and because of having been “pensioner” of the Academy of France in Rome, he joined the National Guard, as he had in 1848. He belonged to the batalhon commanded by Bergeret, the future general of the Commune, and with him as comrades in arms were the two brothers Flourens. From beginning to end he did his duty with patriotic punctuality, stoically braving the physical and moral suffer- ings, upheld by a vigorous temperament and by the lively hope that patriotism would save Paris. The Franco-German war over, he again resumed his brush. The impressions of that unhappy time Bouguereau never forgot. His national pride would not let him forget, and he always dreamed of some triumphant future revenge. One day he heard with great joy of a chance offered to France to conquer her conqueror — a victory all of peace, delivered courteously in the close field of art. It was fifteen years later. One well remembers the commo- tion excited by the visit of the Empress-Dowager of Germany to Paris tor the purpose of asking the painters of France to take part in the Exposition of Fine Arts at Berlin. Bouguereau, among the first to be solicited, promised to ex- hibit. But a strong contrary sentiment, undoubtedly respectable but seemingly illogical and unconsidered, dominated press, public, and the majority of the artistic world. Boucmereau held firm. “If I have to orfcs of Bouguereau DESCRIPTIONS OF THE PLATES ‘THE VIRGIN OF CONSOLATION’ PLATE I I T was sometime after the death of his first wife that Bouguereau sent to the Salon of 1877 the ‘Virgin of Consolation’ (La Vierge Consolatrice) now in the Luxembourg Gallery, Paris. “The canvas gained a vital success, and it has never,” says M. Sonolet, “lost its early popularity. In it is found the influ- ence of the Byzantine, but the smooth, fine brush of Bouguereau admirably suits these representations of sacred or symbolic personages, against their gold or marble backgrounds. I11 this canvas the Virgin, seated and draped in red and blue according to ancient custom, is lifting her hands, which are spread open, the hierarchical gesture giving her a distinction that is striking in its im- pression of solemn peace. “The mother thrown upon the knees of the Virgin, weeping for her child, and the little baby figure stretched out upon the marble step are also as re- markable for the surety of the drawing as for the superiority of the modeling. It is a work of high inspiration and of irreproachable execution.” Bouguereau sold this composition to the French government for 12,000 francs, having previously refused more than double that sum from a private would-be purchaser. It measures twelve feet eleven inches high by ten feet five and one half inches wide. ‘INNOCENCE’ PLATE II B OUGUEREAU was never happier than when painting such subjects as this, with its graceful, slender maiden, its sleepy, chubby baby, and its wee lamb. His detractors call these ideal pictures of his too pretty, too smooth, too unreal. But all have admitted his impeccable drawing, his grace in com- position, his surety of handling. The scene represents a young girl dressed in a semi-classic style, with her mantle falling over her head and caught up about her waist. Her bare foot shows beneath her underskirt, her blouse is low about her neck, and her full sleeves are slipped back, showing her shapely arm almost to the elbow. Within her arms, a burden whose weight she apparently scarcely feels, are a nude baby fast asleep and a little white lamb with wide-open regardful’ eye. The charm- ing fall of the drapery in straight, simple folds, the easy, natural pose of the delicate, slight, girlish form, the excellent drawing of hands and feet, — all these are attributes found over and over again in the Frenchman’s works. ‘GIRL WITH CHERRIES’ PLATE III A VERY roguish bit of mischief is the small Brittany maid shown sitting on the high wall with her spoil of cherries. Back of the wall are the trees and shrubs of a rich garden, a garden whose prototype was to be found stretching out from Bouguereau’s old house in La Rochelle. It was into this garden that [ 413 ] 36 MASTERS IN ART the children of his peasant neighbors were beguiled to serve as models for the painter, a task which they enjoyed as much as the “Patron” himself. The mothers all complained that M. Bouguereau spoiled their children, and the laughing eyes and mouth of the barefoot tot here do not belie the accusation. Like all the rest of his genre pictures, this one of the little cherry-gatherer is a transcription, not from nature, but from the ideal which nature had suggested to the artist. The comparative insignificance of his actual models to Bou- guereau is indicated by a story which is at least characteristic. A visitor to his studio surprised him romping with a curly-headed cherub of a baby, while all about on the floor were sheets of exquisite drawings of bambini. Laughing, the painter explained that the small rascal dancing wildly about was such a “ mauvais sujet” that he had had to go to the Louvre to get drawings for the picture for which the tot was supposed to be posing! “ I could only use him for the color,” he added. Even the color, critics have remarked, however, is scarcely the color which the sun and wind of Brittany shores would produce. The picture was painted in 1897, when Bouguereau was over seventy years old. The handling is as firm and clear and smooth as his earliest works. ‘THE HOLY WOMEN AT THE TOMB OF CHRIST* PLATEIV T HIS picture, showing the three faithful women at the tomb of their cruci- fied Master, Bouguereau finished in 1890, and exhibited that year at the Salon des Champs-Elysees. It is now in the Antwerp Museum. Before a massive stone entrance of severely classic lines the three heavily draped women are gathered in awestruck amaze. The one at the right is kneel- ing beside the huge rock which had blocked the opening but is now rolled quite away. She is back to and one hand rests on the rock; the other holds a large vessel against her side. Next her is the second woman, also kneeling, her face in profile, her hands clasped at her neck, her gaze riveted upon the open portal. Pressed against the wall of stone, beneath the square-cut arch, the third friend stands upright, motionless as the rock, her eyes too fastened upon the scene in front. There before them, within the tomb that is filled with a brilliant light, stands the angel, his wings stretching far up above his head, his arms lifted as he tells the wondrous news. “Never,” says M. Maurice Albert, “was the artist more serious, more des- perately impeccable. Who, then, would give himself the useless pain of trying to find, I do not say a fault, but a hint of hesitation in the drawing, the compo- sition, the modeling of the ‘Holy Women at the Tomb’ ? What surety of hand and what serenity of soul! What a simply severe arrangement of figures, and what majestic impassibility! And yet,” he goes on to say, “that high and mighty door of masonic architecture would .scarcely represent the opening to the little vault of Joseph of Arimathea, that funeral chamber which imagina- tion aided by the archaeological discoveries and the descriptions of M. Renan shows as low and dark, cut under a projecting rock. Nor, in the three women artistically grouped, who are such well-trained models, and whose discreet tears do not disfigure their calm and gracious modern faces, can one recog- nize the Galilean women, Mary Magdalene, Salome, and Mary Cleophas.” [ 414 ] BOUGUEREAU 37 ‘THE MADONNA WITH ANCELS’ PLATE V I T has been said of Bouguereau that at any one period ot his artistic career the work of his whole lde can he correctly estimated as to its scope, style, and general achievement. In other words, his paintings at the age of eighty, of sixty, of forty, of twenty, are so exactly similar in design, in execution, in style, in idea, that, without the date generally so carefully appended by the painter himself, the most acute critic might as easily place them at one as another year. There are few painters of whom this can be said. Of almost all it is true that their talent grows or it dwindles, it advances from height to height or it falls lower and lower into desuetude. Still less often, probably, can it be claimed of any one of such unceasing enthusiasm for his art, of such continuous, unend- ing industry, as Bouguereau never tailed to display. Picot, Bouguereau’s first teacher in Paris, is undoubtedly partly responsible for this. Easily impression- able, with practically no experience, the young Rochellaise adopted the the- ories and ideals of his new teacher with all his understanding, with all his heart, and with all his imagination. From that time art to him meant one thing and one thing only: the expression of beauty as beauty is apprehended by the classicists. No later experiences ever changed either his ideal or his manner of interpreting it. Such, probably, fairly explains why the content of Bouguer- eau’s paintings varied so little from decade to decade. That his technique equally was so unaltered is due to the ease with which, as a mere boy, he ac- quired his dexterous, smooth, polished handling of brush and pigment. 1 he method was so admirably adapted to his ideals that, naturally, the passage of years never tempted him to change it. ‘The Madonna with Angels,’ reproduced in plate v, painted about sixteen years before Bouguereau’s death, is a fairly typical example. In subject and in treatment it might as well have been executed soon after his return from Rome in 1854. The surety of drawing, the skill of brush-work, the smoothness of surface, the very scheme of color, — all were as inseparable a part of his youth as they were of his old age. The Madonna is here shown standing on the clouds with the child Jesus in her arms, the holy pair surrounded by the adoring figures of baby angels. The Mother is full and rather heavily draped, her eyes are downcast, her exquisite tapering fingers are clasped tight about her precious burden. Jesus himself is nude, his little arms stretched wide as if in blessing, his big eyes and curving rose-leaf lips characteristic of the infantChrists created by Bouguereau’s brush. Almost as pure in outline, and with sweetly reverent faces, are the little angels kneeling on each side, their wistful regard fixed intently on the Mother and Child. Their chubby, rounded bodies and delicate white wings are painted with all the ease, with all the softness of outline and the clearness of color, which are so integral a part of the Frenchman’s art. ‘CUPID LYING IN WAIT’ PLATE VI F ROM a certain point of view Bouguereau had a rather extensive choice of subjects for his pictures. Religious scenes and mythologic, genre and por- traits, he was as likely to paint one as another. But, with the exception of the [ 415 ] 38 MASTERS IN ART last-named class, the actual contents of his canvases were not so vastly differ- ent one from another. Whether he called his study of young girlhood ‘ Spring’ or a ‘ Brittany Peasant Maid,’ there was slight difference in the type displayed, and his round, rosy, dimpled babies were much the same whether they were little St. Johns, or angels, cupids, or the mother’s first born. Perhaps he loved best of all to paint these babies when he could attach soft, white, downy wings to their pink-and-white shoulders. Then he called them little Loves or cupids, and over their rosebud mouths he spread a hint of roguish malice or of tanta- lizing delight. % ‘Cupid lying in Wait’ (Amour a 1 ’ affut), here reproduced, he painted in 1890. He is all alone, the little mischief-maker, sitting quietly on a rocky bank in a forest path. But he evidently is expecting somebody before long, for he is just placing an arrow on the string of his bow, slyly preparing for a victim whom he appears already to see in the distance. His full quiver lies beside him, and one is quite sure there is no hope for the advancing one — whoever she may be. The pose of the rounded little body, the tip of the head, the line of the baby-wings just edged with sunlight, — all these are charmingly ren- dered, and the whole picture admirably shows Bouguereau’s style and talent. ‘THE SHEPHERDESS’ PLATE VII W HEN Bouguereau made pictures of the small Brittany girls who posed for him in his garden at La Rochelle he called the completed canvases Fisher Maidens, or Little Shepherdesses, or Little Beggars, as the mood struck him or as the tiny figure suggested. As a rule they were as far removed from the title he bestowed upon them as the living prototypes were from their pic- tured duplicates. They are never dressed in grand clothes, these small maid- ens of the country lanes, these sturdy daughters of the Brittany fisher-folk. Their feet are always bare, their clothes are the simple French peasant skirt and blouse, even showing here and there a neat patch or two. But, as M. Sonolet observes, “they have the feet and hands of duchesses.” Their skin is too soft and delicately rosy, their curly locks might have just come from the hands of a fashionable hair-dresser. Their very clothes, in spite of their sim- plicity, have an immaculate freshness and newness, as if donned for the first time, — all of which Bouguereau himself would probably have quite agreed with. It was never his desire to paint the gay little peasant lasses exactly as they were, with the soil of the road on their hastening feet, with the berry or fish stains rubbed into their aprons and skirts, with their stubby, grimy hands and tousled, roughened hair. “He never tried,” continues M. Sonolet, “either exactly to represent the characters before him or to reproduce the types of a certain class. He made for himself an abstract image of beautiful forms, com- pletely independent, so to speak, of anything that could affect or modify it. In his way of rendering nature a considerable part of it is purely subjective. He never stops with things exactly as they are. He cannot help idealizing all he touches.” These criticisms are entirely applicable to this panel called ‘1 he Shepherd- ess’ (Bergere) which Bouguereau painted in 1887. I he small girl stands lean- 1416 ] BOUGUEREAU 39 ing easily and gracefully on her tall staff, while the sheep graze contentedly in the field behind. With her beautiful large eyes, her dark wavy hair, her hand- somely shaped hands and arms, she is such a shepherdess, surely, as no Briton maid of the fields could ever hope to be. But like all Bouguereau’s work, the drawing, the construction, and the composition are, as the French critics say often so complainingly, “impeccable.” 'BROTHER AND SISTER' PLATE VIII N OT unlike the ‘Shepherdess’ (plate vii) in type is the young Brittany peasant maid in this picture, with her rather straight brows over large dark eyes, her irregular well-marked nose and full lips, and her slightly fleshy chin. She is shown sitting on a bank at the edge of a forest, clad in a short red skirt and striped apron, white waist, and the large white Brittany cap and cape. Her arms are about her little brother, who is perched on her knee, his bare legs showing beneath his blue skirt, each of his chubby hands holding a big red apple. A red cap on the hack of his head, and the purple sleeves of his waist, add to the bright effect of the color scheme. The beautiful tapering fingers of the sister, and her immaculate if simple peasant dress, the waxily perfect bare feet of both of them, — all are characteristic of Bouguereau, who when he painted the children of his peasant neighbors at La Rochelle appar- ently never saw the grime of the fields, the soil of the roadside, that must have left their traces on both clothes and body. The canvas was bequeathed to the Metropolitan Art Museum of New York, in 1887, by Miss Katharine Lonllard Wolfe. It was painted by Bouguereau in 1871, and measures four feet two inches high by almost three feet wide. ‘SONGS OF SPRING’ PLATE IX W ITH the blossoming forest behind her and with flowering vines at her feet, the dark-haired maiden in this picture sits with parted, smiling lips, her eyes wide and wistful, listening to the whispers of the two little Loves. She holds a branch of apple-hlossoms across her lap, while her chin rests on the back of her right hand, her elhow on her knee. Her drapery is conventional, of the Greek order of flowing lines and folds, showing her bare arms and a bit of her white throat. The two little white-winged Loves who are poised just above the grass, one on each side of her, are typical Bouguereau babies, with their rounded arms, their pink-and-white flesh, their curly golden hair. Each one is intent upon his work of whispering all the mysteries of spring he knows into the willing ear of the maiden. Because of their open frank little faces, their ingenuous gestures, and their exquisite little limbs, certain French critics as well as the general public have been captivated by the baby angels and baby Loves depicted by Bouguereau. They have been compared by certain writers to the bambini of Raphael and Andrea del Sarto. The subject of this picture was a favorite with the French painter, — this of fair maid and softly modeled infant forms, — and he lias made many varia- tions upon it. [ 417 ] 40 MASTERS IN ART ‘THE TRIUMPH OF MARTYRDOM’ PLATE X T HIS picture, which is now in the Luxembourg Gallery, Paris, was Bou- guereau’s last work while still a student in the French Academy at Rome. It was exhibited at the Salon in Paris in 1854, and from that day the young painter’s triumph was assured. St. Cecilia, whose entombment in the catacombs is the subject of the com- position, was a Roman maiden living in the third century. Her parents had secretly become Christians, and from her earliest youth she was devoted to the religious life. Through her influence, her husband, a rich Roman noble to whom she was married when only sixteen, also became a Christian, and so long as they lived they devoted their time, money, and strength to the help of the poor and suffering. Both he and she were put to a martyr’s death by orders of the prefect Almachius. St. Cecilia is the patron saint of music, and she is said to have invented the organ. So sweet were her songs, continues the legend, that angels came to listen to her. The moment depicted shows the white-robed figure of the fair young martyr borne in the arms of some of the faithful into the underground vaulted cham- bers, where she was to be laid beside her husband. Men and women in the conventional long robes and cloaks of the Rome of the day are gathered about, some on their knees, some standing. One man is prostrate, thrown forward on the step below her, and a young mother beside him holds her baby up to be blessed by the sight of the beautiful dead saint. At the right, the man who holds a torch in his left hand while he points to the body with his right is a portrait of the painter Henri Regnault. “St. Cecilia,” says M. Marcel, “is Bouguereau’s best work in firmness of drawing and strength of tone.” M. Jahyer writes of it that, “full of devotion, it was one of the best pictures ever sent from the Villa Medici. It contained more than hope. Already in it could be discerned an artistic temperament not alone vigorous and striking, but solid, sure of itself, and of an exquisite del- icacy. The subject was well chosen and adapts itself admirably to painting. . . . The types are elevated, the figures distinguished. The figures who hold the principal places are not merely conventional accessories. They are all nec- essary to the composition and express an ardent devotion. The execution is already easy, the drawing correct, the painting frank, with no overloading of colors or glazes — one touch had been enough to give the needed effect. I he tone of the whites is particularly remarkable.” The picture measures ten feet five and a half inches high by twelve feet eleven inches wide. A LIST OF THE PRINCIPAL PAINTINGS BY BOUGUEREAU IN PUBLIC COLLECTIONS T HIS list includes only the more important pictures in collections which are accessible to the public. The large majority of Bouguereau’s works (which, excluding his mural decorations, number nearly five hundred) are in private collections, and are not only difficult to trace, but are constantly changing hands. M. Marius Vachon in his mono- graph on Bouguereau gives the titles of all the painter's compositions. [ 418 ] BOUGUEREAU 41 B ELGIUM. Antwerp Museum: The Holy Women at the Tomb of Christ (Plate iv); Portrait of Bouguereau (see page 400) — Ghent Museum: Bather — Loo, Royal Chateau: Merchant of Pomegranates — ENGLAND. Birmingham Art Gal- lery: Charity — FRANCE. Bordeaux Museum: All Souls’ Day; A Bacchante teasing a Goat — Bordeaux, Grand-Theatre, Concert Hall: (mural decoration) [ceiling] Apollo and the Muses singing before the Gods on Olympus; Allegorical figures represent- ing Military Music, Pastoral Music, Lyric Music, Religious Music; Genii carrying In- struments of Music; (medallions) Portraits of Meyerbeer, Rossini, Halevy, Auber, Bee- thoven, Mozart, Gretry, Gluck, Weber, Haydn, Boieldieu, Herold, Ride, Garat — Dijon Museum: Copy of Raphael’s Galatea; Return of Tobias — La Rochelle Museum: Ulysses recognized by his Foster-mother on his return to Troy; Portrait of Mile. Lanusse; Portrait of Mme. Lanusse; Portrait of M. Lanusse — La Rochelle Cathedral, Chapel of the Virgin: [ceiling] Assumption; [six arches] Visitation, Annunciation, Nativity, Flight into Egypt, Fainting of Virgin, Pieta — -La Rochelle, Mme. Moulun’s Res- idence: (mural decoration) Four Seasons — Paris, Luxembourg Gallery: Virgin of Consolation (Plate 1); Philomela and Procne; Youth and Love; Birth of Venus; The Triumph of Martyrdom (Plate x) — Paris, Bartholoni Mansion: (mural decorations) [ceiling] Allegory of Music; [ceiling] History of Cupid and Psyche; (panels) Muses; The Ode; Song; History and Astronomy ; Dance and Music; Tragedy and Comedy; Po- etry and Elegance; Love demanding his Arms; Love Chastised — -Paris, Mansion of Bartholoni, Junior: (mural decorations) [ceiling] Two allegorical figures; (panels) Fortune, Friendship, Love, Arion upon a Dolphin, Bacchante upon a Panther; Scenes of Autumn and Scenes of Spring — Paris, Pereire Mansion : (mural decorations) [ceiling] Day and Night; Four Seasons; [arches] Flora, Ceres, Pomona, Vesta; (medallions) Spring, Summer, Autumn, Winter — Paris, Church of Ste. Clotilde, Chapel of St. Louis: (panels) St. Louis as Judge, St. Louis bringing the Crown of Thorns to Paris, St. Louis aiding the Plague-stricken; Last Communion of St. Paul; Faith; Hope; Charity; Temperance; Justice; Prudence — Paris, Church of St. Augustine, Chapel of St. Peter and St. Paul: (panels) St. Peter baptizing a Catechumen; St. Paul teach- ing the Christian doctrine to a Young Woman and a Man; The Two Apostles before an Altar in Act of Blessing; [Chapel of St. John the Baptist] Preaching of St. John in the-Desert; Baptism of Jesus; Herodius receiving Head of Baptist— Paris, Church of St. Vincent-de-Paul, Chapel of the Virgin: (panels) Marriage of the Virgin; An- nunciation; Visitation; Adoration of Shepherds; Adoration of Kings; Flight into Egypt; Jesus meeting his Mother on Road to Calvary; Christ on Cross — Paris, Imperial Printing-office: Illustration of the Testament according to St. Luke — Paris, Minis- try of State: Visit of Emperor Napoleon to the Flooded Inhabitants of Tarascon — Paris, Palace of the Tuileries: Holy Family — HOLLAND. The Hague, Gal- lery of the Royal Palace: After the Bath — ITALY. Florence, Uffizi Gallery : Portrait of the Artist — UNITED STATES. Chicago, Art Institute : Two Bathers; Girl of Granada — Cincinnati Museum: Girl eating Porridge — New York, Metro- politan Museum: Brother and Sister (Plate vm) — New York, Hoffman House: Nymphs and Satyrs — Philadelphia, Pennsylvania Academy: Orestes pursued by the Furies. 9Sottgumau Bthltograpljp A LIST OF THE PRINCIPAL BOOKS AND MAGAZINE ARTICLES DEALING WITH BOUGUEREAU A BOUT, E. Le Decameron du Salon de Pelnture. Paris, i 8 8 i — Beneditf., L. Le . M usee national du Luxembourg. Paris [1896-98] — Brownell, W. C. French Art. New York, 1901 — Cyclopedia of Painters and Paintings (edited by J. D. [ 419 ] 42 MASTERS IN ART Champlin). New York, 1886 — Chaumelin, M. L’Art contemporain. Paris, 1873 — - Cook, C. Art and Artists of Our Time. New York [1886] — Gautier, T. Abece- daire du Salon de 1861. Paris, 1861 — Hamerton, P. G. Painting in France after the Decline of Classicism. London, 1869 — Houssaye, H. L’Art frantjais depuis dix ans. Paris, 1883 — -Jahyer, F. Les chefs-d’oeuvre d’art au Luxembourg. Paris, 1881 — Kingsley, R. G. A History of French Art. London, 1899 — Lafenestre, G. Dix annees du Salon. Paris, 1888 — Marcel, H. La peinture franchise au XIX e siecle. Paris [1905] — Mauclair, M. The Great French Painters. London, 1903 — Meyer, J. Geschichte der modernen franzosischen Malerei. Leipsic, 1866 — Montaiglon, A. de. Salon de 1875. Paris, 1875 — Montrosier, E. Les artistes modernes. Paris, 1882 — Muther, R. History of Modern Painting. New York, 1896 — Nouveau Larousse (edited under the direction of Claude Ange). A. W. Bouguereau. Paris [1899] — Strahan, E. (Editor). The Art Treasures of America. Philadelphia [1880] — Stranahan, C. H. A History of French Painting. New York, 1S88 — Vachon, M. W. Bouguereau. Paris, 1900 — Viardot, L., and others. Masterpieces of French Art. Philadelphia, 1883. IT AMATEUR, 1880: Ameiican Art Galleries — Boston Evening Transcript, 1905: A. S. Schmidt; Adolphe Bouguereau — Brush and Pencil, 1905: The Art of Adolphe William Bouguereau — Cosmopolitan, 1890: C. Beckwith; Bouguereau — Gazette des Beaux-Arts, 1859: P. Mantz; Le Salon de 1859. 1861: L. Lagrange; Salon de 1861. 1865: P. Mantz; Salon de 1865. 1867: P. Mantz; Salon de 1867. 1870: R. Menard ; Salon dei870. 1873:6. Lafenestre; Salon dei873- i 874:L. Gonze; Salon de 1874. 1876:6. Yriarte; Le Salon de 1876. 1 877 : Duranty; Reflexions d’un bourgeois sur le Salon. 1880: Ph. de Chennevieres; Le Salon de 1880. 1881: J. Buisson; Le Salon de 1881. 1883: C. Bigot; Le Salon de 1883. 1885: M. Andre; Le Salon de 1 S 8 5 . 1890: M. Albert; Le Salon des Champs-Elysees — -Les Arts, 1906: William Bouguereau — Portfolio, 1875: R. Menard; Bouguereau — Revue des Charentes, 1905: L. Sonolet; William Bouguereau — Scribner’s Magazine, 1905: Frank Fowler; The Lesson of Bouguereau — Zeitschrift fur Bildende Kunst, 1893: C. v. Liitzow; Zur Charakteristik Bouguereau’ s. magazine articles [ 420 ] MASTERS IN ART Special Notice To Readers of Masters in Art A FTER long experimenting we have perfected a process for making large size re- productions of paintings, possessing all the qualities of the finest carbon photo- graphs. We desire to introduce this process by reproducing at large scale, suitable for framing, ten of the greatest masterpieces of painting. Of the process we now have complete command, but the selection of subjects is a difficult problem. We have, therefore, decided to ask our readers to help us, by sending a list of what, to their minds, are the ten greatest paintings. From several thousand lists made out by intelligent stu- dents of art it should not be difficult to select the ten pictures which, from consensus of opinion, are the greatest. 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