Autobiographical fiction; Impressionist artists -- France -- Paris -- Fiction; Paris (France) -- Intellectual life -- Fiction
Then the three o’clock snack proved very welcome: there was half an
hour’s rest at a buffet, where claret, chocolate, and sandwiches could
be obtained. It was there that the market of mutual concessions was
held, that the bartering of influence and votes was carried on. In order
that nobody might be forgotten amid the hailstorm of applications which
fell upon the committee-men, most of them carried little note-books,
which they consulted; and they promised to vote for certain exhibitors
whom a colleague protected on condition that this colleague voted for
the ones in whom they were interested. Others, however, taking no part
in these intrigues, either from austerity or indifference, finished the
interval in smoking a cigarette and gazing vacantly about them.
Then the work began again, but more agreeably, in a gallery where
there were chairs, and even tables with pens and paper and ink. All the
pictures whose height did not reach four feet ten inches were judged
there--‘passed on the easel,’ as the expression goes--being ranged, ten
or twelve together, on a kind of trestle covered with green baize. A
good many committee-men then grew absent-minded, several wrote their
letters, and the president had to get angry to obtain presentable
majorities. Sometimes a gust of passion swept by; they all jostled each
other; the votes, usually given by raising the hand, took place amid
such feverish excitement that hats and walking-sticks were waved in the
air above the tumultuous surging of heads.
And it was there, ‘on the easel,’ that ‘The Dead Child’ at last made its
appearance. During the previous week Fagerolles, whose pocket-book was
full of memoranda, had resorted to all kinds of complicated bartering
in order to obtain votes in Claude’s favour; but it was a difficult
business, it did not tally with his other engagements, and he only met
with refusals as soon as he mentioned his friend’s name. He complained,
moreover, that he could get no help from Bongrand, who did not carry a
pocket-book, and who was so clumsy, too, that he spoilt the best causes
by his outbursts of unseasonable frankness. A score of times already
would Fagerolles have forsaken Claude, had it not been for his obstinate
desire to try his power over his colleagues by asking for the admittance
of a work by Lantier, which was a reputed impossibility. However, people
should see if he wasn’t yet strong enough to force the committee into
compliance with his wishes. Moreover, perhaps from the depths of his
conscience there came a cry for justice, an unconfessed feeling of
respect for the man whose ideas he had stolen.
As it happened, Mazel was in a frightfully bad humour that day. At the
outset of the sitting the brigadier had come to him, saying: ‘There
was a mistake yesterday, Monsieur Mazel. A _hors-concours_* picture was
rejected. You know, No. 2520, a nude woman under a tree.’
Public-domain text, read in full here on John Shaqi.
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