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The Life and Works of Jean Léon Gérôme

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The Life and Works of Jean Léon Gérôme LIFE AND JEAN /-•' Si LEON : > GEROME Digitized by the Internet Archive in 2013 http://archive.org/details/grmelifeworksofjOOheri GEROME/ /\ -I KA.V LEON GEROME 389 EROME THE LIFE AXD WORKS OF /AM IBOA GERdME BY FANNY FIELD ///-.RING. /ROM AUTOBIOGRAPHICAL NOTES AND LETTERS BY THE ARTIST HIMSELF, WITH AN INTRODUCTION BY AUGUSTUS ST. GAUDENS. INCLUDING A PORTRAIT OF GBROME, NINETEEN FULL-PAGE PHOTOGRAVURES, AND TWENTY-FIVE FULL-PAGE PHOTO-PROCESS REPRODUCTIONS OF HIS PAINTINGS AND SCULPTURE, TOGETHER WITH FIFTY PENCIL-DRAWINGS, M ui/ ESPECIALLY FOR THIS HOOK BY GERdME, AND EXECUTED BY BOUS- SOD, VALADOA fir CO., SUCCESSORS TO GOL'PIL. /fc~i.yr PUBLISHED BY CASSELL PUBLISHING COMPANY ® ® ® ® ONE HUNDRED AND FOUR AND ONE HUNDRED AND SIX FOURTH AVENUE NEW YORK ®®®®®®@® i I PUBLISHING I OMPAN\ Alt right* reserved. INTRODUCTION. THE pleasure of associating my name with that of Ger6me led me to accept impulsively the Clattering proposal that I should contribute to this work some expression of my feeling toward him. Now that I think seriously of what I have undertaken, the first thing that occurs to me is that the author should he thanked lor her earnestness and spirit in making the production of this work possible and in inducing Ger6me to give us now his own history of a life so tilled with artistic interest. There is in his art. apart from its elevation and virility of style, that which ranks him in my mind with the Greek artists. So much so. thai I feel he would have taken his place in the everyday life oi Allans; I involuntarily imagine him in all the joyous contrasts of the blue skies and superb architecture, sharing the brilliancy and nervousness of Athenian lite when the Parthenon was built It seems to me that this feeling represents the unexpressed thought ot many ot his admirers. Since an early winter of our Civil War. when, as a hoy. I stopped evening aftei evening at Goupil's window on Broadway and adored G6r6me's Death of Ccesar, my admiration for him has never wavered, ami to be called iiixin. aftei nearly thirty years, to give expression to my feeling under these conditions, and to add one more wreath to his laurels, is an enviable Opport unity. AUGUSTUS ST. GAUDENS. REFACE. 1AM asked to write .1 preface for a book which treats only of me and my works, and to present it to the public. I feel peculiarly embarrassed, the more so thai I am ignorant oi the art oi writing; but as 1 wish, above all things, to please the author, I yield. However, I question whether a preface is not read it. I really necessary ; ordinaril} one does and think a good work can very well dispense with it. Thus, then, deai reader, it you will take my advice, turn these first pages and go directly to the book. This volume is written 111 English, and I am unacquainted with this lan- guage, —consequently I can express no opinion about it, hut I have my tears that .1 tlie friendship which unites me to the writer has placed bandage ovei hi 1 and that the estimate herein found is too 1 ulogistic and tar above my poor merits I wish only to give my general impressions about contemporaneous art, alter having east a glance at preceding epochs. Everything is connected and hound togt ther 111 the arts as elsewhere, and one is always the son oi somebody. The Vanloos, Simon Vouet, Jouvenet, etc., had passed away; David had come. He created a new school, that is to say, another manner oi seeing and feeling. This painter of greal talent and of great will had considerable influence upon the artists ol his time. hie wished In lead back art to the antique, lone; Since abandoned, hut. unhappily, he drew his inspiration from the works ol the Greek decadence instead of going back to Phidias and Ins predecessors. The Apollo Belvedere, and Diana, tin- Huntress, necessarily led him to the Rape of the Sabines, and Leonidas 0/ Thermopylae, works which are cold, without character, without movement, and without life. On the contrary, when he gave expression to his individuality, he painted portraits ot the first order, and a picture, The Coronation of Napoleon, which is a work ol great beauty, aid does honor to the 1 'renc b School. Alter him, M. Ingres, altera profound observation ot antiquity, revived more healthy and exalted ideas. He was the undisputed chiet ol that (.'lassie School which, during lone; years, contended with the Romantic School, whose most illustrious representative was Eugene Delacroix. This struggle took plaa not Only in the plastic arts, but also in literature, Victor Hugo being there the high- priest. By the side ol these two opposing forces another power made its way; this band ol artists and men ol letters received the title ol the School ol (.ood ; Sense. Paul Delaroche and Casimir Delavigne belonged to this party. The contest was hoi and the harshesl criticisms were nol stinted on either side: each violentlj attacking the other, which in turn did not spare the opposing party. A blow for a blow, an eye for an eye, was the device oi the com- batants. This epoch was disturbed, bu1 gave evidence «>! an extraordinary vitality, and extremely powerful works in every genre were the result of these epic conflicts, In these times, one believed; one possessed the sacred in*- Art was a religion and artists had faith ; faith, thai enormous power thai can nunc- mountains, This pleiad ol men ol meril shed a dazzling light, and this epoch need envv no other, for science, literature, music, all the arts had as representatn es men oi eminenl talent, who shone with incomparable brilliancy li would perhaps be useful to re\ iew the long list of these different celebrities, and the catalogue would be very curious and interesting. The nineteenth cen- is ol tury and will remain one the greal epochs ol the world . it has made a giant sinde in advance, and lor a period oi hiiv years the achievements easj to he enumerated have been Stupendous; lor il is in our day. to eite only the principal discoveries, thai photography, chloroform, electricity, the telephone, etc., have been utilized and that we have employed steam to annihilate distance. Steam is the connecting link between nations. We behold only the debul of these things; hut the way is open, it is fertile, and we ask ourselves where human genius will pause and what our sons will see. This little digression concluded, let us return to the plastic arts. Toward the year 1848, the French School, taken as a whole, had nol that powei of expression which il has since acquired ; in the main it was rather weak. and this no doubt was owing to the primary studies having been neglected; it is austere and profound studies that make greal painters and greal sculptors one lives all one's life oil this foundation, and il it is lacking one will only he mediocre. Just as a good breeder feeds his colts with oats in order to make of them strong, Sturdy horses 111 the future, so young artists should be nourished with the marrow of lions, and led to the purest springs to quench their thirst. From this somber mass, composed ol artists who possessed only a secondary merit, several brilliant personalities stood out in relief, luminous meteors, who Caused the other artists who revolved in their orbil to appear still more dull. Since then the fecole has perceptibly improved, has strengthened in its manner ol seeing, feeling, and reproducing . i1 tonus a more powerful, more homogeneous whole, a more imposing ensemble. Unfortunately, the number ol painters, and consequently of worthless ones, has increased beyond all measure; it is because painting is nowamatterol commerce; formerly the profession did not securea PRt vii man bis bare living to-day il lias becom< .1 paying thing; ii is only the sculptors, nowadays, who die of hunger. Bui this is owing to complex causes and ii is to be feared that these reasons will always exist. For some years the sentimenl which governs arl productions has been com- pletel} changing, and the works of men who m then time bad many admirers, are for the moment, entirel} unfashionable and despised. I think thai this is \> i\ unjusl to these artists, formerly great, and thai they are uol treated with the respect <hu- to them, but it lias been thus since naturalism was invented. Now. there ma] be 1 in naturalism (and I am oi those who observe with interest all these diverse manifestations, because, <m the whole, movement is life); nevertheless, I avow, it seems to me we area little too near the earth ; and, foi example, one can sec in an exhibition oi two thousand pictures many can well painted and ol a truthful and striking appearance, but in tins total yov ma} deem yoursell fortunate il you run across two or three works which appeal to heart and your soul. They have abandoned themselves to realism, to common- realism has and indiscriminating ; the letter killed the spirit, and poetry has tied to the liea\ ens. Formerly, French artists had undisputed precedence over foreigners, when ecuted pit tures where research from the plastic side, and the portrayal ol ideas, simply comprehended and clearly, powerfully expressed, constituted the basis ol are to the is the work ; now they devoted picturesque, which more convenient and easy. The last Exposition demonstrated thai in other countries beside our own there are excellenl artists m this style.
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