Complete Works of Emile Zola (888 page)

Irma had stationed herself in front of the picture, and looked at it with a knowing air. ‘Oh! I see,’ she said, ‘that woman in the grass, eh? Do you think I could be of any use to you?’

Jory flared up in a moment, warmly approving the idea, but Claude with the greatest energy replied, ‘No, no madame wouldn’t suit. She is not at all what I want for this picture; not at all.’

Then he went on stammering excuses. He would be only too pleased later on, but just now he was afraid that another model would quite complete his confusion over that picture; and Irma responded by shrugging her shoulders, and looking at him with an air of smiling contempt.

Jory, however, now began to chat about their friends. Why had not Claude come to Sandoz’s on the previous Thursday? One never saw him now. Dubuche asserted all sorts of things about him. There had been a row between Fagerolles and Mahoudeau on the subject whether evening dress was a thing to be reproduced in sculpture. Then on the previous Sunday Gagniere had returned home from a Wagner concert with a black eye. He, Jory, had nearly had a duel at the Cafe Baudequin on account of one of his last articles in ‘The Drummer.’ The fact was he was giving it hot to the twopenny-halfpenny painters, the men with the usurped reputations! The campaign against the hanging committee of the Salon was making a deuce of a row; not a shred would be left of those guardians of the ideal, who wanted to prevent nature from entering their show.

Claude listened to him with impatient irritation. He had taken up his palette and was shuffling about in front of his picture. The other one understood at last.

‘You want to work, I see; all right, we’ll leave you.’

Irma, however, still stared at the painter, with her vague smile, astonished at the stupidity of this simpleton, who did not seem to appreciate her, and seized despite herself with a whim to please him. His studio was ugly, and he himself wasn’t handsome; but why should he put on such bugbear airs? She chaffed him for a moment, and on going off again offered to sit for him, emphasising her offer by warmly pressing his hand.

‘Whenever you like,’ were her parting words.

They had gone at last, and Claude was obliged to pull the screen aside, for Christine, looking very white, remained seated behind it, as if she lacked the strength to rise. She did not say a word about the girl, but simply declared that she had felt very frightened; and — trembling lest there should come another knock — she wanted to go at once, carrying away with her, as her startled looks testified, the disturbing thought of many things which she did not mention.

In fact, for a long time that sphere of brutal art, that studio full of glaring pictures, had caused her a feeling of discomfort. Wounded in all her feelings, full of repugnance, she could not get used to it all. She had grown up full of affectionate admiration for a very different style of art — her mother’s fine water-colours, those fans of dreamy delicacy, in which lilac-tinted couples floated about in bluish gardens — and she quite failed to understand Claude’s work. Even now she often amused herself by painting tiny girlish landscapes, two or three subjects repeated over and over again — a lake with a ruin, a water-mill beating a stream, a chalet and some pine trees, white with snow. And she felt surprised that an intelligent young fellow should paint in such an unreasonable manner, so ugly and so untruthful besides. For she not only thought Claude’s realism monstrously ugly, but considered it beyond every permissible truth. In fact, she thought at times that he must be mad.

One day Claude absolutely insisted upon seeing a small sketch-book which she had brought away from Clermont, and which she had spoken about. After objecting for a long while, she brought it with her, flattered at heart and feeling very curious to know what he would say. He turned over the leaves, smiling all the while, and as he did not speak, she was the first to ask:

‘You think it very bad, don’t you?’

‘Not at all,’ he replied. ‘It’s innocent.’

The reply hurt her, despite Claude’s indulgent tone, which aimed at making it amiable.

‘Well, you see I had so few lessons from mamma. I like painting to be well done, and pleasing.’

Thereupon he burst into frank laughter.

‘Confess now that my painting makes you feel ill! I have noticed it. You purse your lips and open your eyes wide with fright. Certainly it is not the style of painting for ladies, least of all for young girls. But you’ll get used to it; it’s only a question of educating your eyes and you’ll end by seeing that what I am doing is very honest and healthy.’

Indeed, Christine slowly became used to it. But, at first, artistic conviction had nothing to do with the change, especially as Claude, with his contempt for female opinion, did not take the trouble to indoctrinate her. On the contrary, in her company he avoided conversing about art, as if he wished to retain for himself that passion of his life, apart from the new passion which was gradually taking possession of him. Still, Christine glided into the habit of the thing, and became familiarised with it; she began to feel interested in those abominable pictures, on noticing the important place they held in the artist’s existence. This was the first stage on the road to conversion; she felt greatly moved by his rageful eagerness to be up and doing, the whole-heartedness with which he devoted himself to his work. Was it not very touching? Was there not something very creditable in it? Then, on noticing his joy or suffering, according to the success or the failure of the day’s work, she began to associate herself with his efforts. She felt saddened when she found him sad, she grew cheerful when he received her cheerfully; and from that moment her worry was — had he done a lot of work? was he satisfied with what he had done since they had last seen each other? At the end of the second month she had been gained over; she stationed herself before his pictures to judge whether they were progressing or not. She no longer felt afraid of them. She still did not approve particularly of that style of painting, but she began to repeat the artistic expressions which she had heard him use; declared this bit to be ‘vigorous in tone,’ ‘well built up,’ or ‘just in the light it should be.’ He seemed to her so good-natured, and she was so fond of him, that after finding excuses for him for daubing those horrors, she ended by discovering qualities in them in order that she might like them a little also.

Nevertheless, there was one picture, the large one, the one intended for the Salon, to which for a long while she was quite unable to reconcile herself. She already looked without dislike at the studies made at the Boutin studio and the sketches of Plassans, but she was still irritated by the sight of the woman lying in the grass. It was like a personal grudge, the shame of having momentarily thought that she could detect in it a likeness of herself, and silent embarrassment, too, for that big figure continued to wound her feelings, although she now found less and less of a resemblance in it. At first she had protested by averting her eyes. Now she remained for several minutes looking at it fixedly, in mute contemplation. How was it that the likeness to herself had disappeared? The more vigorously that Claude struggled on, never satisfied, touching up the same bit a hundred times over, the more did that likeness to herself gradually fade away. And, without being able to account for it, without daring to admit as much to herself, she, whom the painting had so greatly offended when she had first seen it, now felt a growing sorrow at noticing that nothing of herself remained.

Indeed it seemed to her as if their friendship suffered from this obliteration; she felt herself further away from him as trait after trait vanished. Didn’t he care for her that he thus allowed her to be effaced from his work? And who was the new woman, whose was the unknown indistinct face that appeared from beneath hers?

Claude, in despair at having spoilt the figure’s head, did not know exactly how to ask her for a few hours’ sitting. She would merely have had to sit down, and he would only have taken some hints. But he had previously seen her so pained that he felt afraid of irritating her again. Moreover, after resolving in his own mind to ask her this favour in a gay, off-hand way, he had been at a loss for words, feeling all at once ashamed at the notion.

One afternoon he quite upset her by one of those bursts of anger which he found it impossible to control, even in her presence. Everything had gone wrong that week; he talked of scraping his canvas again, and he paced up and down, beside himself, and kicking the furniture about. Then all of a sudden he caught her by the shoulders, and made her sit down on the couch.

‘I beg of you, do me this favour, or it’ll kill me, I swear it will.’

She did not understand him.

‘What — what is it you want?’

Then as soon as she saw him take up his brushes, she added, without heeding what she said, ‘Ah, yes! Why did not you ask me before?’

And of her own accord she threw herself back on a cushion and slipped her arm under her neck. But surprise and confusion at having yielded so quickly made her grave, for she did not know that she was prepared for this kind of thing; indeed, she could have sworn that she would never serve him as a model again. Her compliance already filled her with remorse, as if she were lending herself to something wrong by letting him impart her own countenance to that big creature, lying refulgent under the sun.

However, in two sittings, Claude worked in the head all right. He exulted with delight, and exclaimed that it was the best bit of painting he had ever done; and he was right, never had he thrown such a play of real light over such a life-like face. Happy at seeing him so pleased, Christine also became gay, going as far as to express approval of her head, which, though not extremely like her, had a wonderful expression. They stood for a long while before the picture, blinking at it, and drawing back as far as the wall.

‘And now,’ he said at last, ‘I’ll finish her off with a model. Ah! so I’ve got her at last.’

In a burst of childish glee, he took the girl round the waist, and they performed ‘a triumphant war dance,’ as he called it. She laughed very heartily, fond of romping as she was, and no longer feeling aught of her scruples and discomfort.

But the very next week Claude became gloomy again. He had chosen Zoe Piedefer as a model, but she did not satisfy him. Christine’s delicate head, as he expressed it, did not set well on the other’s shoulders. He, nevertheless, persisted, scratched out, began anew, and worked so hard that he lived in a constant state of fever. Towards the middle of January, seized with despair, he abandoned his picture and turned it against the wall, swearing that he would not finish it. But a fortnight later, he began to work at it again with another model, and then found himself obliged to change the whole tone of it. Thus matters got still worse; so he sent for Zoe again; became altogether at sea, and quite ill with uncertainty and anguish. And the pity of it was, that the central figure alone worried him, for he was well satisfied with the rest of the painting, the trees of the background, the two little women and the gentleman in the velvet coat, all finished and vigorous. February was drawing to a close; he had only a few days left to send his picture to the Salon; it was quite a disaster.

One evening, in Christine’s presence, he began swearing, and all at once a cry of fury escaped him: ‘After all, by the thunder of heaven, is it possible to stick one woman’s head on another’s shoulders? I ought to chop my hand off.’

From the depths of his heart a single idea now rose to his brain: to obtain her consent to pose for the whole figure. It had slowly sprouted, first as a simple wish, quickly discarded as absurd; then had come a silent, constantly-renewed debate with himself; and at last, under the spur of necessity, keen and definite desire. The recollection of the morning after the storm, when she had accepted his hospitality, haunted and tortured him. It was she whom he needed; she alone could enable him to realise his dream, and he beheld her again in all her youthful freshness, beaming and indispensable. If he could not get her to pose, he might as well give up his picture, for no one else would ever satisfy him. At times, while he remained seated for hours, distracted in front of the unfinished canvas, so utterly powerless that he no longer knew where to give a stroke of the brush, he formed heroic resolutions. The moment she came in he would throw himself at her feet; he would tell her of his distress in such touching words that she would perhaps consent. But as soon as he beheld her, he lost all courage, he averted his eyes, lest she might decipher his thoughts in his instinctive glances. Such a request would be madness. One could not expect such a service from a friend; he would never have the audacity to ask.

Nevertheless, one evening as he was getting ready to accompany her, and as she was putting on her bonnet, with her arms uplifted, they remained for a moment looking into each other’s eyes, he quivering, and she suddenly becoming so grave, so pale, that he felt himself detected. All along the quays they scarcely spoke; the matter remained unmentioned between them while the sun set in the coppery sky. Twice afterwards he again read in her looks that she was aware of his all-absorbing thought. In fact, since he had dreamt about it, she had began to do the same, in spite of herself, her attention roused by his involuntary allusions. They scarcely affected her at first, though she was obliged at last to notice them; still the question seemed to her to be beyond the range of possibility, to be one of those unavowable ideas which people do not even speak of. The fear that he would dare to ask her did not even occur to her; she knew him well by now; she could have silenced him with a gesture, before he had stammered the first words, and in spite of his sudden bursts of anger. It was simple madness. Never, never!

Days went by, and between them that fixed idea grew in intensity. The moment they were together they could not help thinking of it. Not a word was spoken on the subject, but their very silence was eloquent; they no longer made a movement, no longer exchanged a smile without stumbling upon that thought, which they found impossible to put into words, though it filled their minds. Soon nothing but that remained in their fraternal intercourse. And the perturbation of heart and senses which they had so far avoided in the course of their familiar intimacy, came at last, under the influence of the all-besetting thought. And then the anguish which they left unmentioned, but which they could not hide from one another, racked and stifled them, left them heaving distressfully with painful sighs.