Complete Works of Emile Zola (884 page)

On that particular evening, at about nine o’clock, the charwoman came in.

‘Monsieur, I have done. Can I go?’

‘Yes, go to bed. You have left the kettle on the fire, haven’t you? I’ll make the tea myself.’

Sandoz had risen. He went off at the heels of the charwoman, and only returned a quarter of an hour afterwards. He had no doubt been to kiss his mother, whom he tucked up every night before she dozed off.

Meanwhile the voices had risen to a high pitch again. Fagerolles was telling a story.

‘Yes, old fellow; at the School they even correct Nature herself. The other day Mazel comes up to me and says: “Those two arms don’t correspond”; whereupon I reply: “Look for yourself, monsieur — the model’s are like that.” It was little Flore Beauchamp, you know. “Well,” Mazel furiously replies, “if she has them like that, it’s very wrong of her.”’

They almost all shrieked, especially Claude, to whom Fagerolles told the story by way of paying court. For some time previously the younger artist had yielded to the elder’s influence; and although he continued to paint with purely tricky skill, he no longer talked of anything but substantial, thickly-painted work, of bits of nature thrown on to canvas, palpitating with life, such as they really were. This did not prevent him, though, from elsewhere chaffing the adepts of the open-air school, whom he accused of impasting with a kitchen ladle.

Dubuche, who had not laughed, his sense of rectitude being offended, made so bold as to reply:

‘Why do you stop at the School if you think you are being brutified there? It’s simple enough, one goes away — Oh, I know you are all against me, because I defend the School. But, you see, my idea is that, when a fellow wants to carry on a trade, it is not a bad thing for him to begin by learning it.’

Ferocious shouts arose at this, and Claude had need of all his authority to secure a hearing.

‘He is right. One must learn one’s trade. But it won’t do to learn it under the ferule of professors who want to cram their own views forcibly into your nut. That Mazel is a perfect idiot!’

He flung himself backward on the bed, on which he had been sitting, and with his eyes raised to the ceiling, he went on, in an excited tone:

‘Ah! life! life! to feel it and portray it in its reality, to love it for itself, to behold in it the only real, lasting, and changing beauty, without any idiotic idea of ennobling it by mutilation. To understand that all so-called ugliness is nothing but the mark of individual character, to create real men and endow them with life — yes, that’s the only way to become a god!’

His faith was coming back to him, the march across Paris had spurred him on once more; he was again seized by his passion for living flesh. They listened to him in silence. He made a wild gesture, then calmed down.

‘No doubt every one has his own ideas; but the annoyance is that at the Institute they are even more intolerant than we are. The hanging committee of the Salon is in their hands. I am sure that that idiot Mazel will refuse my picture.’

Thereupon they all broke out into imprecations, for this question of the hanging committee was the everlasting subject of their wrath. They demanded reforms; every one had a solution of the problem ready — from universal suffrage, applied to the election of a hanging committee, liberal in the widest sense of the word, down to unrestricted liberty, a Salon open to all exhibitors.*

* The reader will bear in mind that all these complaints made by Claude and his friends apply to the old Salons, as organized under Government control, at the time of the Second Empire. — ED.

While the others went on discussing the subject, Gagniere drew Mahoudeau to the open window, where, in a low voice, his eyes the while staring into space, he murmured:

‘Oh, it’s nothing at all, only four bars; a simple impression jotted down there and then. But what a deal there is in it! To me it’s first of all a landscape, dwindling away in the distance; a bit of melancholy road, with the shadow of a tree that one cannot see; and then a woman passes along, scarcely a silhouette; on she goes and you never meet her again, no, never more again.’

Just at that moment, however, Fagerolles exclaimed, ‘I say, Gagniere, what are you going to send to the Salon this year?’

Gagniere did not hear, but continued talking, enraptured, as it were.

‘In Schumann one finds everything — the infinite. And Wagner, too, whom they hissed again last Sunday!’

But a fresh call from Fagerolles made him start.

‘Eh! what? What am I going to send to the Salon? A small landscape, perhaps; a little bit of the Seine. It is so difficult to decide; first of all I must feel pleased with it myself.’

He had suddenly become timid and anxious again. His artistic scruples, his conscientiousness, kept him working for months on a canvas the size of one’s hand. Following the track of the French landscape painters, those masters who were the first to conquer nature, he worried about correctness of tone, pondering and pondering over the precise value of tints, till theoretical scruples ended by making his touch heavy. And he often did not dare to chance a bright dash of colour, but painted in a greyish gloomy key which was astonishing, when one remembered his revolutionary passions.

‘For my part,’ said Mahoudeau, ‘I feel delighted at the prospect of making them squint with my woman.’

Claude shrugged his shoulders. ‘Oh! you’ll get in, the sculptors have broader minds than the painters. And, besides, you know very well what you are about; you have something at your fingers’ ends that pleases. There will be plenty of pretty bits about your vintaging girl.’

The compliment made Mahoudeau feel serious. He posed above all for vigour of execution; he was unconscious of his real vein of talent, and despised gracefulness, though it ever invincibly sprung from his big, coarse fingers — the fingers of an untaught working-man — like a flower that obstinately sprouts from the hard soil where the wind has flung its seed.

Fagerolles, who was very cunning, had decided to send nothing, for fear of displeasing his masters; and he chaffed the Salon, calling it ‘a foul bazaar, where all the bad painting made even the good turn musty.’ In his inmost heart he was dreaming of one day securing the Rome prize, though he ridiculed it, as he did everything else.

However, Jory stationed himself in the middle of the room, holding up his glass of beer. Sipping every now and then, he declared: ‘Well, your hanging committee quite disgusts me! I say, shall I demolish it? I’ll begin bombarding it in our very next number. You’ll give me some notes, eh? and we’ll knock it to pieces. That will be fine fun.’

Claude was at last fully wound up, and general enthusiasm prevailed. Yes, yes, they must start a campaign. They would all be in it, and, pressing shoulder to shoulder, march to the battle together. At that moment there was not one of them who reserved his share of fame, for nothing divided them as yet; neither the profound dissemblance of their various natures, of which they themselves were ignorant, nor their rivalries, which would some day bring them into collision. Was not the success of one the success of all the others? Their youth was fermenting, they were brimming over with mutual devotion; they indulged anew in their everlasting dream of gathering into a phalanx to conquer the world, each contributing his individual effort; this one helping that one forward, and the whole band reaching fame at once in one row. Claude, as the acknowledged chief, was already sounding the victory, distributing laurels with such lyrical abundance that he overlooked himself. Fagerolles himself, gibing Parisian though he might be, believed in the necessity of forming an army; while even Jory, although he had a coarser appetite, with a deal of the provincial still about him, displayed much useful comradeship, catching various artistic phrases as they fell from his companions’ lips, and already preparing in his mind the articles which would herald the advent of the band and make them known. And Mahoudeau purposely exaggerated his intentional roughness, and clasped his hands like an ogre kneading human flesh; while Gagniere, in ecstasy, as if freed from the everlasting greyishness of his art, sought to refine sensation to the utmost limits of intelligence; and Dubuche, with his matter-of-fact convictions, threw in but a word here and there; words, however, which were like club-blows in the very midst of the fray. Then Sandoz, happy and smiling at seeing them so united, ‘all in one shirt,’ as he put it, opened another bottle of beer. He would have emptied every one in the house.

‘Eh?’ he cried, ‘we’re agreed, let’s stick to it. It’s really pleasant to come to an understanding among fellows who have something in their nuts, so may the thunderbolts of heaven sweep all idiots away!’

At that same moment a ring at the bell stupefied him. Amidst the sudden silence of the others, he inquired—’Who, to the deuce, can that be — at eleven o’clock?’

He ran to open the door, and they heard him utter a cry of delight. He was already coming back again, throwing the door wide open as he said—’Ah! it’s very kind indeed to think of us and surprise us like this! Bongrand, gentlemen.’

The great painter, whom the master of the house announced in this respectfully familiar way, entered, holding out both hands. They all eagerly rose, full of emotion, delighted with that manly, cordial handshake so willingly bestowed. Bongrand was then forty-five years old, stout, and with a very expressive face and long grey hair. He had recently become a member of the Institute, and wore the rosette of an officer of the Legion of Honour in the top button-hole of his unpretentious alpaca jacket. He was fond of young people; he liked nothing so much as to drop in from time to time and smoke a pipe among these beginners, whose enthusiasm warmed his heart.

‘I am going to make the tea,’ exclaimed Sandoz.

When he came back from the kitchen, carrying the teapot and cups, he found Bongrand installed astride a chair, smoking his short cutty, amidst the din which had again arisen. Bongrand himself was holding forth in a stentorian voice. The grandson of a farmer of the Beauce region, the son of a man risen to the middle classes, with peasant blood in his veins, indebted for his culture to a mother of very artistic tastes, he was rich, had no need to sell his pictures, and retained many tastes and opinions of Bohemian life.

‘The hanging committee? Well, I’d sooner hang myself than belong to it!’ said he, with sweeping gestures. ‘Am I an executioner to kick poor devils, who often have to earn their bread, out of doors?’

‘Still, you might render us great service by defending our pictures before the committee,’ observed Claude.

‘Oh, dear, no! I should only make matters worse for you — I don’t count; I’m nobody.’

There was a chorus of protestations; Fagerolles objected, in a shrill voice:

‘Well, if the painter of “The Village Wedding” does not count—’

But Bongrand was getting angry; he had risen, his cheeks afire.

‘Eh? Don’t pester me with “The Wedding”; I warn you I am getting sick of that picture. It is becoming a perfect nightmare to me ever since it has been hung in the Luxembourg Museum.’

This ‘Village Wedding’ — a party of wedding guests roaming through a corn-field, peasants studied from life, with an epic look of the heroes of Homer about them — had so far remained his masterpiece. The picture had brought about an evolution in art, for it had inaugurated a new formula. Coming after Delacroix, and parallel with Courbet, it was a piece of romanticism tempered by logic, with more correctness of observation, more perfection in the handling. And though it did not squarely tackle nature amidst the crudity of the open air, the new school claimed connection with it.

‘There can be nothing more beautiful,’ said Claude, ‘than the two first groups, the fiddler, and then the bride with the old peasant.’

‘And the strapping peasant girl, too,’ added Mahoudeau; the one who is turning round and beckoning! I had a great mind to take her for the model of a statue.’

‘And that gust of wind among the corn,’ added Gagniere, ‘and the pretty bit of the boy and girl skylarking in the distance.’

Bongrand sat listening with an embarrassed air, and a smile of inward suffering; and when Fagerolles asked him what he was doing just then, he answered, with a shrug of his shoulders:

‘Well, nothing; some little things. But I sha’n’t exhibit this time. I should like to find a telling subject. Ah, you fellows are happy at still being at the bottom of the hill. A man has good legs then, he feels so plucky when it’s a question of getting up. But when once he is a-top, the deuce take it! the worries begin. A real torture, fisticuffs, efforts which must be constantly renewed, lest one should slip down too quickly. Really now, one would prefer being below, for the pleasure of still having everything to do — Ah, you may laugh, but you’ll see it all for yourselves some day!’

They were indeed laughing, thinking it a paradox, or a little piece of affectation, which they excused. To be hailed, like Bongrand, with the name of master — was that not the height of bliss? He, with his arms resting on the back of his chair, listened to them in silence, leisurely puffing his pipe, and renouncing the idea of trying to make them understand him.

Meanwhile, Dubuche, who had rather domesticated tastes, helped Sandoz to hand the tea round, and the din continued. Fagerolles related a story about Daddy Malgras and a female cousin by marriage, whom the dealer offered as a model on conditions that he was given a presentment of her in oils. Then they began to talk of models. Mahoudeau waxed furious, because the really well-built female models were disappearing. It was impossible to find one with a decent figure now. Then suddenly the tumult increased again; Gagniere was being congratulated about a connoisseur whose acquaintance he had made in the Palais Royal one afternoon, while the band played, an eccentric gentleman living on a small income, who never indulged in any other extravagance than that of buying pictures. The other artists laughed and asked for the gentleman’s address. Then they fell foul of the picture dealers, dirty black-guards, who preyed on artists and starved them. It was really a pity that connoisseurs mistrusted painters to such a degree as to insist upon a middleman under the impression that they would thus make a better bargain. This question of bread and butter excited them yet more, though Claude showed magnificent contempt for it all. The artist was robbed, no doubt, but what did that matter, if he had painted a masterpiece, and had some water to drink? Jory, having again expressed some low ideas about lucre, aroused general indignation. Out with the journalist! He was asked stringent questions. Would he sell his pen? Would he not sooner chop off his wrist than write anything against his convictions? But they scarcely waited for his answer, for the excitement was on the increase; it became the superb madness of early manhood, contempt for the whole world, an absorbing passion for good work, freed from all human weaknesses, soaring in the sky like a very sun. Ah! how strenuous was their desire to lose themselves, consume themselves, in that brazier of their own kindling!