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Meissonier
When Jean-Louis-Ernest Meissonier was born at Lyons in 1815, under the fading light of an Imperial sunset, these were scarcely the ideas that predominated in the national school of French art. Pictorial art, to confine ourselves to that, had, both before and during the First Empire, achieved at most a lumbering and trammelled flight; and the influence of antiquity, so perceptible in the language as well as in the manners and fashions at the close of the Eighteenth Century, served only to confine the inspiration of artists more strictly within the bounds of classic tradition. Roman characters, Roman costumes, Roman virtues,—such was the ideal to which each debutant who did not revolt openly must make surrender! To be sure, the commanding figure of David gave a magnificent prestige to this rather cold and dishearteningly classic programme. But, like all great artists, David was exceptional; and he stands today as the only one who, in an epoch sadly poor in genius, produced a host of living masterpieces, to swell the lists of a school so artificial that it would now be forgotten, save as an echo of his name. It is true that, by way of ransom, he spent much time in painting vast canvases that today hold but a small place in his life work.
On the threshold of the Nineteenth Century, in 1799, Eugène Delacroix was born. It was he who brought a new spirit into French painting and, single-handed, wrought a great revolution.
Such is not destined to be the rôle of Meissonier! His was neither so tragic a struggle, nor so immense a triumph. Unlike Delacroix, he did not restore the Beautiful nor hand down new forms to glory. He succeeded none the less in inscribing his name in modest yet precise characters—that will long remain legible—upon the marble of the temple.
How did the artist get his start? According to the monotonous and mournful formula, “after a hard struggle.” The lives of all beloved and admired artists have this in common with fairy they always begin badly and end happily (unluckily, they sometimes end a long time after the death of the principal hero!).
The father of Meissonier was a dealer in colonial products and chemicals, and kept a drug and provision shop in the Rue des Ecouffes. Beneath the low ceiling of this shop and between walls lined with drawers, bearing strange labels, the childhood of Jean-Louis-Ernest was passed. His mother was a fragile woman. We are told further that she was sensitive to music and that she had learned to paint on porcelain and to make miniatures.
Are we at liberty to attribute to the tender and brief contact of that mother, who died so young, with the life of her child, the origin of his artistic vocation? It is pleasant at least to fancy so and to try to believe it, even though we are told that parents bequeath to their children, not a vocation—a mysterious gift, of unknown origin—but rather a certain number of necessary aptitudes and qualities, which will enable them to profit by the gift, if perchance it falls to them from Heaven.
Yet the fact remains that in the depths of a cupboard, in the house on the Rue des Ecouffes, there lay the paint-box which Mme. Meissonier once used, while taking miniature lessons from the authoritative hands of Mme. Jacottot. As joyously as other children would have appropriated a jar of jam, the boy possessed himself of the magic box, and on that selfsame day entered, with stumbling fingers, upon the laborious mission which was destined to cease only with his life.
On the threshold of the Nineteenth Century, in 1799, Eugène Delacroix was born. It was he who brought a new spirit into French painting and, single-handed, wrought a great revolution.
Such is not destined to be the rôle of Meissonier! His was neither so tragic a struggle, nor so immense a triumph. Unlike Delacroix, he did not restore the Beautiful nor hand down new forms to glory. He succeeded none the less in inscribing his name in modest yet precise characters—that will long remain legible—upon the marble of the temple.
How did the artist get his start? According to the monotonous and mournful formula, “after a hard struggle.” The lives of all beloved and admired artists have this in common with fairy they always begin badly and end happily (unluckily, they sometimes end a long time after the death of the principal hero!).
The father of Meissonier was a dealer in colonial products and chemicals, and kept a drug and provision shop in the Rue des Ecouffes. Beneath the low ceiling of this shop and between walls lined with drawers, bearing strange labels, the childhood of Jean-Louis-Ernest was passed. His mother was a fragile woman. We are told further that she was sensitive to music and that she had learned to paint on porcelain and to make miniatures.
Are we at liberty to attribute to the tender and brief contact of that mother, who died so young, with the life of her child, the origin of his artistic vocation? It is pleasant at least to fancy so and to try to believe it, even though we are told that parents bequeath to their children, not a vocation—a mysterious gift, of unknown origin—but rather a certain number of necessary aptitudes and qualities, which will enable them to profit by the gift, if perchance it falls to them from Heaven.
Yet the fact remains that in the depths of a cupboard, in the house on the Rue des Ecouffes, there lay the paint-box which Mme. Meissonier once used, while taking miniature lessons from the authoritative hands of Mme. Jacottot. As joyously as other children would have appropriated a jar of jam, the boy possessed himself of the magic box, and on that selfsame day entered, with stumbling fingers, upon the laborious mission which was destined to cease only with his life.
- GenresNonfiction
34 pages, Kindle Edition
First published January 1, 1912
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About the author
Henri Barbusse
199 books167 followersHenri Barbusse (1873-1935) was a French novelist and a member of the French Communist Party.
The son of a French father and an English mother, Barbusse was born in Asnières-sur-Seine, France in 1873. Although he grew up in a small town, he left for Paris in 1889 at age 16. In 1914, at the age of 41, he enlisted in the French Army and served against Germany in World War I. Invalided out of the army three times, Barbusse would serve in the war for 17 months, until the end of 1915, when he was permanently moved into a clerical position due to pulmonary damage, exhaustion, and dysentery.
Barbusse first came to fame with the publication of his novel Le Feu (translated as Under Fire) in 1916, which was based on his experiences during World War I. By this time, Barbusse had become a pacifist, and his writing demonstrated his growing hatred of militarism. Le Feu drew criticism at the time for its harsh naturalism, but won the Prix Goncourt.
In January, 1918 he left France and moved to the city of Moscow, Russia where he married a Russian woman and joined the Bolshevik Party. The novel Clarté is about an office worker who, while serving in the army, begins to realize that the imperialist war is a crime.
The Russian Revolution had significant influence on the life and work of Barbusse. He joined the French Communist Party in 1923 and later traveled back to the Soviet Union. His later works, Manifeste aux Intellectuels (Elevations) (1930) and others show a more revolutionary standpoint. Of these, the 1921 Le Couteau entre les dents (The Knife Between My Teeth) marks Barbusse's siding with Bolshevism and the October Revolution. Barbusse characterized the birth of Soviet Russia as "the greatest and most beautiful phenomenon in world history." The book "Light from the Abyss" (1919) and the collection of articles "Words of a Fighting Man" (1920) contain calls for the overthrow of capitalism. In 1925, Barbusse published "Chains", showing history as the unbroken chain of suffering of people and their struggle for freedom and justice. In the publicistic book "The Butchers" he exposes the White Terror in the Balkan countries.
In 1927 Barbusse was a participant in the Congress of Friends of the Soviet Union in Moscow. He led the World Congress Against Imperialist War (Amsterdam, 1932) and headed the World Committee Against War and Fascism, founded in 1933. He took part in the work of the International Youth Congress (Paris, 1933) and the International Congress of Writers in Defense of Culture. In the 1920s and 1930s, he also edited the periodicals Monde and Progrès Civique, which published some of the first writings of George Orwell.
In 1934 Barbusse sent Egon Kisch to Australia to represent the International Movement Against War and Fascism as part of his work for the Comintern. The resulting unsuccessful exclusion of Egon Kisch from Australia by the Conservative Australian Government succeeded in energising Communism in Australia and resulted in Kisch staying longer than Barbusse had intended.
An associate of Romain Rolland and editor of Clarté, he attempted to define a proletarian literature, akin to Proletkult and Socialist realism. Barbusse was the author of a 1936 biography of Joseph Stalin, titled Staline: Un monde nouveau vu à travers un homme (Stalin. A New World Seen Through the Man). Barbusse subsequently led a violent press campaign against his former friend Panait Istrati - a Romanian writer who had expressed criticism of the Soviet state. Barbusse in turn was harshly criticized for his admiration of Stalin and his propagandistic activities on behalf of Soviet Russia by his former comrade Victor Serge, who noted that Barbusse had dedicated a book to Leon Trotsky before Stalin had definitively won the power struggle against Trotsky, only to denounce Trotsky as a traitor after the latter's fall from power. Serge called Barbusse a hypocrite who was determined to
The son of a French father and an English mother, Barbusse was born in Asnières-sur-Seine, France in 1873. Although he grew up in a small town, he left for Paris in 1889 at age 16. In 1914, at the age of 41, he enlisted in the French Army and served against Germany in World War I. Invalided out of the army three times, Barbusse would serve in the war for 17 months, until the end of 1915, when he was permanently moved into a clerical position due to pulmonary damage, exhaustion, and dysentery.
Barbusse first came to fame with the publication of his novel Le Feu (translated as Under Fire) in 1916, which was based on his experiences during World War I. By this time, Barbusse had become a pacifist, and his writing demonstrated his growing hatred of militarism. Le Feu drew criticism at the time for its harsh naturalism, but won the Prix Goncourt.
In January, 1918 he left France and moved to the city of Moscow, Russia where he married a Russian woman and joined the Bolshevik Party. The novel Clarté is about an office worker who, while serving in the army, begins to realize that the imperialist war is a crime.
The Russian Revolution had significant influence on the life and work of Barbusse. He joined the French Communist Party in 1923 and later traveled back to the Soviet Union. His later works, Manifeste aux Intellectuels (Elevations) (1930) and others show a more revolutionary standpoint. Of these, the 1921 Le Couteau entre les dents (The Knife Between My Teeth) marks Barbusse's siding with Bolshevism and the October Revolution. Barbusse characterized the birth of Soviet Russia as "the greatest and most beautiful phenomenon in world history." The book "Light from the Abyss" (1919) and the collection of articles "Words of a Fighting Man" (1920) contain calls for the overthrow of capitalism. In 1925, Barbusse published "Chains", showing history as the unbroken chain of suffering of people and their struggle for freedom and justice. In the publicistic book "The Butchers" he exposes the White Terror in the Balkan countries.
In 1927 Barbusse was a participant in the Congress of Friends of the Soviet Union in Moscow. He led the World Congress Against Imperialist War (Amsterdam, 1932) and headed the World Committee Against War and Fascism, founded in 1933. He took part in the work of the International Youth Congress (Paris, 1933) and the International Congress of Writers in Defense of Culture. In the 1920s and 1930s, he also edited the periodicals Monde and Progrès Civique, which published some of the first writings of George Orwell.
In 1934 Barbusse sent Egon Kisch to Australia to represent the International Movement Against War and Fascism as part of his work for the Comintern. The resulting unsuccessful exclusion of Egon Kisch from Australia by the Conservative Australian Government succeeded in energising Communism in Australia and resulted in Kisch staying longer than Barbusse had intended.
An associate of Romain Rolland and editor of Clarté, he attempted to define a proletarian literature, akin to Proletkult and Socialist realism. Barbusse was the author of a 1936 biography of Joseph Stalin, titled Staline: Un monde nouveau vu à travers un homme (Stalin. A New World Seen Through the Man). Barbusse subsequently led a violent press campaign against his former friend Panait Istrati - a Romanian writer who had expressed criticism of the Soviet state. Barbusse in turn was harshly criticized for his admiration of Stalin and his propagandistic activities on behalf of Soviet Russia by his former comrade Victor Serge, who noted that Barbusse had dedicated a book to Leon Trotsky before Stalin had definitively won the power struggle against Trotsky, only to denounce Trotsky as a traitor after the latter's fall from power. Serge called Barbusse a hypocrite who was determined to
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Displaying 1 of 1 review
July 3, 2013
Free download available at Project Gutenberg.
Opening lines:
ONE day—it was neither in war time nor during manoeuvres—on a July morning, with the sun shining radiantly, a squadron of cuirassiers passed at full gallop across a magnificent field of ripening grain, in the neighbourhood of Poissy, although on every side there were wide reaches of fallow land and pasture.
PLATE IV.—1814
(Chauchard Bequest, Musée du Louvre)
This picture, so masterly and so dramatic in composition, is assuredly one of the most widely known in existence. The sombre visage of the Emperor, the severity of the landscape, the prevailing tone of sadness, admirably rendered, explain the wide favour enjoyed by this celebrated work, further popularized in engravings.
Opening lines:
ONE day—it was neither in war time nor during manoeuvres—on a July morning, with the sun shining radiantly, a squadron of cuirassiers passed at full gallop across a magnificent field of ripening grain, in the neighbourhood of Poissy, although on every side there were wide reaches of fallow land and pasture.
PLATE IV.—1814
(Chauchard Bequest, Musée du Louvre)
This picture, so masterly and so dramatic in composition, is assuredly one of the most widely known in existence. The sombre visage of the Emperor, the severity of the landscape, the prevailing tone of sadness, admirably rendered, explain the wide favour enjoyed by this celebrated work, further popularized in engravings.
Displaying 1 of 1 review