Autobiographical fiction; Impressionist artists -- France -- Paris -- Fiction; Paris (France) -- Intellectual life -- Fiction
In fact, a portly man stood there, solidly planted on his fat legs, and
admiring his handiwork. With his head sunk between his shoulders, he had
the heavy, handsome features of a Hindu idol. He was said to be the son
of a veterinary surgeon of the neighbourhood of Amiens. At forty-five
he had already produced twenty masterpieces: statues all simplicity
and life, flesh modern and palpitating, kneaded by a workman of
genius, without any pretension to refinement; and all this was chance
production, for he furnished work as a field bears harvest, good one
day, bad the next, in absolute ignorance of what he created. He carried
the lack of critical acumen to such a degree that he made no distinction
between the most glorious offspring of his hands and the detestably
grotesque figures which now and then he chanced to put together. Never
troubled by nervous feverishness, never doubting, always solid and
convinced, he had the pride of a god.
‘Wonderful, the “Sower”!’ whispered Claude. ‘What a figure! and what an
attitude!’
Fagerolles, who had not looked at the statue, was highly amused by the
great man, and the string of young, open-mouthed disciples whom as usual
he dragged at his tail.
‘Just look at them, one would think they are taking the sacrament, ‘pon
my word--and he himself, eh? What a fine brutish face he has!’
Isolated, and quite at his ease, amidst the general curiosity,
Chambouvard stood there wondering, with the stupefied air of a man who
is surprised at having produced such a masterpiece. He seemed to behold
it for the first time, and was unable to get over his astonishment. Then
an expression of delight gradually stole over his broad face, he nodded
his head, and burst into soft, irresistible laughter, repeating a dozen
times, ‘It’s comical, it’s really comical!’
His train of followers went into raptures, while he himself could find
nothing more forcible to express how much he worshipped himself. All at
once there was a slight stir. Bongrand, who had been walking about
with his hands behind his back, glancing vaguely around him, had just
stumbled on Chambouvard, and the public, drawing back, whispered, and
watched the two celebrated artists shaking hands; the one short and of
a sanguine temperament, the other tall and restless. Some expressions of
good-fellowship were overheard. ‘Always fresh marvels.’ ‘Of course! And
you, nothing this year?’ ‘No, nothing; I am resting, seeking--’
‘Come, you joker! There’s no need to seek, the thing comes by itself.’
‘Good-bye.’ ‘Good-bye.’ And Chambouvard, followed by his court, was
already moving slowly away among the crowd, with the glances of a king,
who enjoys life, while Bongrand, who had recognised Claude and his
friends, approached them with outstretched feverish hands, and called
attention to the sculptor with a nervous jerk of the chin, saying,
‘There’s a fellow I envy! Ah! to be confident of always producing
masterpieces!’
Public-domain text, read in full here on John Shaqi.
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