Autobiographical fiction; Impressionist artists -- France -- Paris -- Fiction; Paris (France) -- Intellectual life -- Fiction
It struck four. Claude, who had accompanied Bongrand, still went on
talking to him in the deserted streets. He did not want to go to bed; he
was waiting for daylight, with impatient fury, so that he might set
to work at his picture again. This time he felt certain of painting a
masterpiece, exalted as he was by that happy day of good-fellowship,
his mind pregnant with a world of things. He had discovered at last what
painting meant, and he pictured himself re-entering his studio as one
returns into the presence of a woman one adores, his heart throbbing
violently, regretting even this one day’s absence, which seemed to him
endless desertion. And he would go straight to his canvas, and realise
his dream in one sitting. However, at every dozen steps or so, amidst
the flickering light of the gaslamps, Bongrand caught him by a button
of his coat, to repeat to him that, after all, painting was an accursed
trade. Sharp as he, Bongrand, was supposed to be, he did not understand
it yet. At each new work he undertook, he felt as if he were making a
debut; it was enough to make one smash one’s head against the wall. The
sky was now brightening, some market gardeners’ carts began rolling down
towards the central markets; and the pair continued chattering, each
talking for himself, in a loud voice, beneath the paling stars.
IV
SIX weeks later, Claude was painting one morning amidst a flood of
sunshine that streamed through the large window of his studio. Constant
rain had made the middle of August very dull, but his courage for
work returned with the blue sky. His great picture did not make much
progress, albeit he worked at it throughout long, silent mornings, like
the obstinate, pugnacious fellow he was.
All at once there came a knock at his door. He thought that Madame
Joseph, the doorkeeper, was bringing up his lunch, and as the key was
always in the door, he simply called: ‘Come in!’
The door had opened; there was a slight rustle, and then all became
still. He went on painting without even turning his head. But the
quivering silence, and the consciousness of some vague gentle breathing
near him, at last made him fidgety. He looked up, and felt amazed; a
woman stood there clad in a light gown, her features half-hidden by a
white veil, and he did not know her, and she was carrying a bunch of
roses, which completed his bewilderment.
All at once he recognised her.
‘You, mademoiselle? Well, I certainly didn’t expect you!’
It was Christine. He had been unable to restrain that somewhat unamiable
exclamation, which was a cry from the heart itself. At first he had
certainly thought of her; then, as the days went by for nearly a couple
of months without sign of life from her, she had become for him merely a
fleeting, regretted vision, a charming silhouette which had melted away
in space, and would never be seen again.
‘Yes, monsieur, it’s I. I wished to come. I thought it was wrong not to
come and thank you--’
Public-domain text, read in full here on John Shaqi.
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