The morning news. [volume] (Savannah, Ga.) 1887-1900, 1888-07-30
fact that he was for a time the master of NJ.

vi.
MelsSOnier.
At this time literature and art in France
were divided into two warning factions, the
classical and the romantic. The former
was the established school. 1t controlled
the institute and the salon, and contemptu-
ously shut out all the writers and artists
who did not conform to classical models.
The romantic school, however, was ris-
ing and growing force. Victor Hugo was
of course its leader in literature. Della
croix was its leader in art. Gros was the
great classical painter of the day, and he
was so bewildered by the growth of the
romantic school that he killed himself to
avoid the rising tide which was sweeping
away his idols. But before doing so he
sent for Delacroix, in whom he recognized
triumphant rival. My friend, y said he,
II have sont for you to tell you what |
think of your work. Your coloring is
divine; your drawing is damnable!' M.
MeisSonier did not attempt to identify him
self with either school He became a close
friend of Delacroix, but wonld not deign
to initiate or follow him. On the other
hand, Delacroix recognized MeisSonier's
great powers, and said to him one day:
You alone are really great painter" In
deed, NJ. Meissonier from the outset formed
a school of his own His first salon picture
was exhibited in 1888 Every other picture
in the salon was either classical or romantic,
and before every one of them the conflict
ing critics waged their wOrdy war. But
when they came to NJ. Meissonier's canvas
the voices of faction were hushed This
picture was something new. 1t was
not classic 1t was not a romance 1t
was art.
1t was not until 1858 that NJ. Meissonier
made an overwhelming impression upon the
art world and placed himself indisputably
in the foremost rank of living painters.
He exhibited in that year four pictures.
They were all great works. They were as
different each from the other in style and
subject as pictures could be. Yet each was
absolutely a masterpiece. There was
not one Of them, said Gautier, that any
other artist in the world could have i'm
proved upon" From this time forward Nj.
Meissonier was the favorite of both fame
and fortune, and when be sold his "lSO7' to
Alexander 7. Stewart Tor $50 900, the high
est price by far that had ever at that time
been paid for picture all Europe was con-
strained to hail him as the most successful
painter of the age. | remember that when
he received the 500, 900 he remarked with
smile, "Do you know what my first salon
picture fetchedl just 800" The 1907" by
the way never was exhibited here. Mr.. Stew
art took it to America as soon as it was fin
ished, and few here have ever seen it. NJ.
MeiSsonier says that he spent the best part
of his time on it for fifteen years. And it
is a small picture, too Many have called
it his best work, and until lately he has so
considered it himself But now he gives the
preference to LA RiXe," which is the prop
erty of the Queen of England. 1t was pur-
chased from the artist by Napoleon III. for
$3.50 and presented to the Prince Con
sort Another painting which the artist
prefers to "1S07" is his "1S14," which
represents Bonaparte and his army on the
disastrous retreat from Moscow. But these
three works are unquestionably the-master
pieces of NJ. Meissonier.
AS is well known, he makes wax or other
models of nearly all the figures in his paint
ings, especially the figures of animals. In
his house is a perfect museum of such mod
els, including horses, men, cannon, coaches,
and other objects. He paints from
these models. II once wanted" he said to
me one day, ito paint a prancing horse.
For that purpose l had horse brought to
me every day and made to prance. What
was the result! 1t actually killed the horse |!
Then l made up my mind to make wax
models. So you see | am sculptor before
/ am painter" Pointing to shadow of a
horse in one of his pictures, he said
"Do you know how | got that shadow
there9 Well, first made this model of the
horse himself and painted him in the pic
ture. Then | spread a sheet of paper on the
table in the strong sunlight and stood the
model on IL in the exact position, with rela-
ton to the sun, that the horse has in the
painting. Then | had, of course, my
shadow, and | quickly traced it as it lay on
the paper, and afterward copied it from the
paper upon the canvas"
All this seems mechanical. But it in
sures absolute correctness, and NJ. Meis-
sonier's genius supplies the rest. Genius,
did say. Certainly; and with NJ Meis-
sonier it is true that genius is merely an in
finite capacity for taking pains.
ADOLPH HOUssAYE.