Meissonnière, sa vie et son art . TiN : LECTEUR HfRDV-CUKDY. (Crayon Sketch.) On m'a demandé d'envoyer un somedrawinos et des croquis à l'Ex-position des Beaux Arts. Je m'en suis amriting à Gerome comme suit :— Itwas no IDLE fantaisie qui a fait que mecloss mon pauvre portefeuille hier, après l'avoir fait à vous-SI inconditionnellement la veille. J'ai toujours tenu une stricte opinionque ce qu'un homme devrait montrer dans sa vie est son travail fini, et non que ce qui montre comment il l'a fait. J'ai hésité longtemps, avant de me mêlez de mon esprit. . Mais vous m'avez pressé, et en vous détestant comme je l'ai fait, la toréfuse, je vous ai donné sur tous ces od

• Contributeur: The Reading Room / Alamy Banque D'Images
• ID de l’image: 2AX5E9Y
• Taille du fichier: 7,1 MB (332,4 KB Téléchargement compressé)
• Autorisations: Modèle - non | Propriété - non
• Dimensions: 1297 x 1926 px | 22 x 32,6 cm | 8,6 x 12,8 inches | 150dpi

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Meissonier, his life and his art . Tin: HfRDV-CUKDY PLAYER. (Pencil Sketch.) I have been asked to send somedrawinofs and sketches to the Ex-position des Beaux Arts. I amwriting to Gerome as follows :— Itwas no idle fancy which made meclose my poor portfolio yesterday, after having made it over to you-SO unconditionally the day before. I have always held a strict opinionthat what a man should show in his lifetime is his finished work, andnot that which shows how he did it. I hesitated long, before I madeup my mind. . But you pressed me, and hating as I did, torefuse, I gave you over all those odds and ends of sketch(;s, —done onanything, w^ith any tools that came to hand, -to be used at yourdiscretion. HIS PROFESSION 219 Doctor, your attitude has altered insensibly: that always hap[)enswith a portrait. It is the same with a picture, no model gives me quitewhat I want at first, and I begin again and again until the pose is right.. When I hold my brush quite horizontally, I see my subject squared, as it were, for reduction. I can see how far the figure extendsbeyond the line of sur-rounding objects. I have always beenmuch struck by the aphor-ism (which I read in thisform, I know not where)that elegance and absur-dity are divided one fromanother only by a hairsbreadth. Nothing couldbe truer. . It is not generally un-derstood that painting ona reduced scale is a pro-cess prescribed to us, as itwere, by Nature herselfLook through a picture-frame, —the human fip-ure O seems to be naturally squared for reduction. All objects, in fact, are reduced, directly we look at them from a distance. PEN SKETCH. I have painted on this scale with the impression of drawing fromnature in pencil ; only pencil work is too slow for me. I gain timeto study my figures while I paint them. But when I have to indicate MEISSONIER

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