New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1891-02-01
HIS LIFE AND WORKS.

ii
Meissonier, the master Of the infinitely little
has reIgned alone over the kingdom of Liliput for
generation and half Artists like Plassan. Charet.
Fchel, and Fichelet have gained certain degree Of
by initiating their master. Only one. Bargue, has
approached him. For artists with whom MesSonier
might be compared II has been deemed necessary 10
30 back 10 the Dutch school OF the seventeenth
century to Terburg, Gerard Dow, Mezic and Miers.
Throughout time and in a country prolific OF new
art movements and influences and Of startling political
changes WELL MeissOnier has pursued his miniature
genre painting unidentified with any school save his
own. His boyhOod the old age of David, the
leader Of the classical school in which lngres ana
Issbey were the foremost pupils But MISSIONER was
no more infected with caSscism than with roman
tcism when Delacroix headed the romantic movement
academic art typfed in Paul Dcaroche never
swerved him from his purpose The influence Vi
Constable and bennington, which stimulated Iheouoio
Rousseau, the father Of modern French landscape
art affected MeSsOnier not whit Before turner's
death Messonier himself had become an influence
in French art and bone Of contention lor
critics lie saw Miet, Corot, Dupre and Dlaz
win slow recognition and finally fame. Ills ne
time stretched from the classiciSm OF David u the
realism of Courbet and the impressionism OF Manet
His purposes his methods and 10 great extent his
subjects were the same at the end the beginning
of his His euogsts must admit that MS was
not the highest art. The chow" rather than the
what" forms the basis of most of the admiration
lavshed upon his perfectly executed works But IN
his field Of he stood alone In another respect
MISSIONER was uneQualcd. artist of this century
has received during his lifetime such prices as have
been paid MessOnier for his works. His first picture
sold for 100 francs. goo For the % 1907 the
late A. 7. Stewart paid 100000 francs; Tor lhe
Arrival at the Chateau in the Vanderbilt gallery
roo 900 francs in Paris. and the "1614" was sod 10
VI. secretan for $4,000 francs or $4,000 Not
outstanding the almost incredible sums received by
Alessonier he was not rcb man lie inalhtalio ou
two large and costly establishments fdrIs llaSo ",
in the boulevard Maesherbes. and country house al
Poissy. saint German. In both cases Melss0hie,
himself the architect and designer ana every dela
OF the work was of the best His town honsc Is Out
In the style of the Italian Renaissance From thc
richly carved Gothic staircase the other the visitor
passes up the panelled stairway, through plliaTea
tEetches. panels pictures wax statuetes modelled
oy the artist. and other models and c9neGuoh t6 0
brides the property OF MuIat Among tlo
Wcssonier from the BODY after death an enormous
canvas representing the ruins Of the Tuileres demQ
shed in May, 1871; waer-color portrait OF tho
painter with his dog by his side, and studies for
various works In the second studio Meissonier paint
ed and he was an almost uncea.ing workman ttS
long white hair, flowing white beard prominent
lightly hooked nose. keen dark eyes, slender ~
with legs somewhat bowed. His face bore a csrtai2.
resemblance to that Of Mr. T. Addison Rehas, us 81
was also designed by himself. his designing extending
even to the furniture and silver table service dRe
which often appear in his pictures Both places have
been described frequently by curious c0rrespOhdenl
Few artists in their lifetime formed the text of so much
periodical literature.
HIS EARLY YEARS.
And vet with all the flood of gossip and criticism
and cuogy which MessOnier has been the cause the
exact date of his birth remains unknown His friend
Jules Carec SAYS 1911. Others give 1873 as the cor
rect date but Vapereau states with precision that MelS
sonier was born February 81. 1s13. the fonrth
child Of a cOmmissionaire de merchandise Ills
bir,hpace was LYONS His infancy of poverty
.. IN Maic
reluctant to speak of his early years, says Napeeau
lie manifested when in school very lively tasto for
painting and obtained permission. not without trouble
TO take lessons of professor of drawing of Grenobc
NJ Fcrlot." But sans peinc. AT the age OF nine
teen he went to Paris. "Well for him that lie was
horn robust but what is struggle even in misery Tor
truc-born artst7" exclams Claretie. l have read
somewhere that in these dark days of his debutS MeS
soDier used TO work side by side with Daubigny At the
production Of pictures for francs per square metre
for export. II is perhaps only studio tradition But
it Is fact that Tony Johannot, TO whom MeiSsoner
exhibited his sketches at that time, gave him en-
uragement, and that Leon Cognet opened his studio
TO him" lie remained but four months with COgniet
Mc!ssonieT must be counted born draughtsman, Tor
his early training hampered and imperfect.
His first work drawing for illustrations, phase
of his career which reappears novelty since his
oveIshadOwng in oils. The story is told that
Meissoner in those early days of poverty offered four
scpa drawings, which he hoped might illustrate a
tale for children, 10 an editor IN the rue 81
Jacques But the editor although pleased with the
drawings aghast at the expense OF engraving them
and politely bowed the hcart-sick artist Of
doors. Another editor or publisher was accustomed
TO keep Meissoner waiting in all ante-chamber where
drawing paper and pencils lay invitngy upon table
The artist had the habit Of always occupying himself
The paper and pencils attracted him. lie absently
covered the blank sheets with designs to which he paid
no further attention after his business was transacted
much to the profit of the crafty publisher. Tho
earliest work in this direction is considered 10
be five woodcuts representing humorous and
pathetic scenes in the life of "The Old Bach
elor." About the same time MISSIONER drew
three designs for the Bible Of the sieur Raymond"
published in 1885. For The Discourse on Universal
History also published by Gunner. he drew the
figures Of Isaiah, st. Paul and Charenagne ana many
head and tail pieces and ornamental Letters lie Nus
traicd edition OF Lamartnes chute dun Ange'
The blocks of MeissOnlers earliest works sent TO Eng
land 70 be engrayed are ssd 9y W. ufy o % sDS
far an edition Of Orlando Funoso" forty three FOR
duced in wood. with one steel for the "Chaumeire
Indenne7 issued by NJ Gunner In 153-. MclssOIlcr ;
work in the latter volume includes landscapes plants
and foliage and ornamental letters as well As figures
vienette landscape. The VALLEY OF the Tomb won
especial praise for MISSIONER from his felowaI SIS
To NJ Cunners official account OF the removal 0, INC
remains Of Napoleon l. from st. Helena 20 Pall'
Meissoner Contributed Two Illustrations, the " In,
trance into Havre" and "Ghe Quay, at Rouen.
This was in 1910. From s41 to 3t3 Messonier reg9-
larry contributed designs 1 ErI SiG
tail pieces and ornamental letters 10 NJ turner R ;
serial publication " Les Francois Points Par t1A-
Memes% Two childrens books published IN lo45,
were illustrated by MeiSsOncr. and he executed ten
cravings, engraved on wood for " Lazarelo de
TormeS7 lie furnished some compositions for the
"Comedie HrmaineS q Dalzac.
Neissoniers work as illustrator has OF late years
been lost sight II important because in draw
ing for the wood graver he was compelled to fnr
niSh accurate and precise execution ana carefl
MISUNDERSTANDING HIS designs drawn on the
block and OF course. on a small scale. The books
which he illustrated the STYLES OF costume which
he stndied exercised no small influence upon his con-
temporary paintings.
HIS FIRST PAINTINGS.
For his work an illustrator ante dated but ntte
his debut as painter. OF 1.-THE Visitors" owned by
Sir Richard Wallace Meissonier wrote "My first
o,A.hi4od In Or lnnght for a