Autobiographical fiction; Impressionist artists -- France -- Paris -- Fiction; Paris (France) -- Intellectual life -- Fiction
One serious obstacle was the smallness of his studio. If he had only had
the old garret of the Quai de Bourbon, or even the huge dining-room of
Bennecourt! But what could he do in that oblong strip of space, that
kind of passage, which the landlord of the house impudently let to
painters for four hundred francs a year, after roofing it in with glass?
The worst was that the sloping glazed roof looked to the north, between
two high walls, and only admitted a greenish cellar-like light. He was
therefore obliged to postpone his ambitious projects, and he decided
to begin with average-sized canvases, wisely saying to himself that the
dimensions of a picture are not a proper test of an artist’s genius.
The moment seemed to him favourable for the success of a courageous
artist who, amidst the breaking up of the old schools, would at length
bring some originality and sincerity into his work. The formulas of
recent times were already shaken. Delacroix had died without leaving any
disciples. Courbet had barely a few clumsy imitators behind him; their
best pieces would merely become so many museum pictures, blackened
by age, tokens only of the art of a certain period. It seemed easy to
foresee the new formula that would spring from theirs, that rush of
sunshine, that limpid dawn which was rising in new works under the
nascent influence of the ‘open air’ school. It was undeniable; those
light-toned paintings over which people had laughed so much at the Salon
of the Rejected were secretly influencing many painters, and gradually
brightening every palette. Nobody, as yet, admitted it, but the first
blow had been dealt, and an evolution was beginning, which became more
perceptible at each succeeding Salon. And what a stroke it would be if,
amidst the unconscious copies of impotent essayists, amidst the timid
artful attempts of tricksters, a master were suddenly to reveal himself,
giving body to the new formula by dint of audacity and power, without
compromise, showing it such as it should be, substantial, entire, so
that it might become the truth of the end of the century!
Public-domain text, read in full here on John Shaqi.
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