The History of Modern Painting, Volume 1 (of 4): Revised edition continued by the author to the end of the XIX centuryMuther, Richard
History
The History of Modern Painting, Volume 1 (of 4): Revised edition continued by the author to the end of the XIX century
Muther, Richard
Painting -- History
To keep the wolf from the door, Prudhon was obliged for some years to
draw vignettes on letter-sheets for the Government offices, business
cards for tradesmen, and even little pictures for _bonbonnières_. For
this the representatives of high art held him in contempt. Greuze alone
treated him amicably, and even he held out no hopes for his future. "You
have a family and you have talent, young man; that is enough in these
days to bring about one's death by starvation. Look at my cuffs." Then
the old man would show him his torn shirt-sleeves--for even he could no
longer find means of getting on in the new order of things. To his
anxieties about the necessities of life were added dissensions with his
wife. He became the prey of a continual melancholy; he was never seen to
smile. Even when a separation had been effected his tormentor persecuted
him still, until she was relegated to a madhouse. But now a change comes
over the scene with the entrance of Constance Mayer.
[Illustration: PRUDHON. STUDY DIRECTS THE FLIGHT OF GENIUS.]
This amiable young painter, his pupil, was the star that lighted up his
old age. She was ugly. With her brown complexion, her broad flat nose,
and her large mouth, she had at first sight the appearance of a mulatto.
Yet to this large mouth belonged voluptuous lips ever ready to be
kissed; above this broad nose there were two eyes shining like black
diamonds, which by their changeful expression made this irregular,
_gamin's_ face appear positively beautiful. She was seventeen years his
junior, and he has painted her as often as Rembrandt painted his Saskia.
He has immortalised the dainty upturned nose of his little gipsy, as he
called her, in pictures, sketches, pastels, all of which have the same
piquant charm, the same elegant grace, the same joyous and merry
expression. In her he had found his type, as his namesake Rubens did in
Hélène Fourment. Constance Mayer became the muse of his delicate,
graceful work. And she too died before his eyes, having cut her throat
with a razor.
[Illustration: PRUDHON. LE COUP DE PATTE DU CHAT.]
Public-domain text, read in full here on John Shaqi.
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