New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1904-01-11
GEROME, THE ARTIST,D DEAD
French Painter and Sculptor En-
pres Suddenly at Paris.

gayly but his friends noticed that his features
were drawn. and advised him to retire early.
At O'Clock this morning his valet entered his
bedroom. and finding him APPARENTLY asleep
withdrew The valet returned an hour later
and seeing that NJ. Gerome's position was un-
changed shook him gently. AS there was
sign of life. the valet informed Nine Gerome
ana summoned doctor. who declared that
death was due to congestion of the brain
NJ Gerome was a conspicuous figure in Paris
society. He was tall and slim, and retained
MS youthful gayety and activity, his snowy
halr and mustache alone displaying his age.
He was noted fer his sparkling wit. and always
kept up relations with the younger painters.
The day before his death several friends took
luncheon with him at his home and after the
luneheon he took them to his studio to show
them his statue OF "Corinth." 1t had just been
finished. but he was about to color It. NJ.
Ger0me talked with his visitors enthusiastically
concerning the work
Among NJ. Gerome's latest works were aIegor-
ical figures representing Labor, which he exc
cuted for Charles NJ. Schwab.
Jean Leon Gerome was born at vesoul Haute-
Saone where his father exercised the trade OF
goldsmith. on May H. 1924 He received a classical
education. and took A p. degree when he was
sixteen The school course included drawing and
In this department the boy commentator.
childhood. Paul Delaroche who urged the father to
send his TO Paris The father consented and
Gerome entered Delaroche's studio This was IN
1871 There he remained three years. working with
great courage, though suffering severely from sick
ness and dfsordered nervous system. His comrades
were Damery. Pcou Colbert and later, Hamon all
OF whom remained his friends in after life Re
turning from his vacation in the third year OF his
studies Ger6me learned that his master. who
about going Italy had closes his studio Dearoche
Ia for me M ia ufo
Picou, IN NJ Drolling's studio. but Gerome could
not bear the thought OF separation from his master
He begged to be taken to Rome-he could not study
under another, he could live well at Rome
at Paris his monthly allowance OF 100 francs
Dellroche yielded. In Italy the students health
revived, thanks to the climate and his life IN the
open air He studied hard and made rapid progress
Architecture. landscape figures and animals
ceIved his attention by turns. According 10 his
own account he his severest critic. Il remain
so.' lie added, because do not deceive mysel;
with regard to my works" On mis- return from
Italy. Gerome entered the studio OF NJ Gleyre, who
had succeeded Dearoche. He remained there only
three months His old companions were there. but
the artists teaching not to his liking. He
sought his former master. who employed him to
draw the outlines OF a large picture, "Charema6ne
Crossing the Alps" now at Versailles.
II the desire OF Ger0meS family that he
Ehould compete for the Prix de Rome whose pos
session its owner extraordinary privileges, In
Guiding residence OF three years at Rome and
tour through Germany at the states expense
GeT0me presented himself at the Academy, where
his sketches gave him high rank. but his paint
Ings OF dsures sent him down. 1t became apparent
to the artist that he must study drawing and mod
cling from the nude figure. With this In mind he
executed hts hrst composition. The COCK Fight.
Some persuasion was necessary before he consent
ed TO exhibit the pautng. fits fears proved
groundess. The success was great, despite the
bad Light IN which tho picture was hung. and
astonished than the author himself.
A large part of this triumph due to Theophile
Gauter. who fol esee.ng great future ior the un-
1t now hangs IN the Luxembourg Gallery En-
other work-'Anacreon" IL vas exhibited in the
Following year QSiSj and was even more successful
several aTtiStS. who gathering so9ut Gerome.
OF a new school which was aiterward popularity
distinguished as the Neo-Greek Hamon Picou'
uown members OF this group. They lived
Rue de Fleurus lost in IiIacs and climbing roses.
snG MhSh Ghey d % wa prost tine more 5e
imaginary than real Gerome however, was not
gin and Child exhibited at the same lime. The
latter he said was RaPhae Past e. lie = kept
In lSo4 GeToUe set out Tor Moscow. with his
noDIe bv wav Of the Danube n TimbnI relates in
the Gazette des BeauX Arts that Citrome's first
sketch In the East was CosSack military band
was exhibited in 1855, with ''rhe AuglIstan Age"
The ouT t taToush M9idaya was rather sight
Gerome was in haste to return home in order 10
of which was borrowed from Rossuets Universal
History" and In which the birth Of Christ
picture was greeted With cold critici5m ThGophiie
Mas large aSS By 8 t%6 Years
of hard labor had been spent II. The painting
hmSHs the ms BY the the dsae of
the public as it appeared to him set out for Egypt
where he remained eight month rs The Orient had
a,wsys 2nnea,sd 20, 20 IN G9r :tronEiy
the Academy. hut NJ HeSse being preferred
Fine Arts, which he retained until 1855 when a
vacancy occurring at the Academy he again Of
fered himself. and was elected He then made
another through Arabia Petrea- on his return
he exhibited two pictures OF utterly distinct char
gotha." Each the Of special annoyance
to the artist. The Superintendent OF Fine Arts
fused. The government compromised by hanging
the picture In corner That course did not pre-;
with the Prince of Moskowa, son OF Marshal Ney.
"Golgotha" created sensation in consequence
aI mo PIa % S non e ,b nu. on ns
The Duel After the Masked Ball" OF
oeS1 NT%n a5 r vas sr IN S
1888; lie Hache-Paille. study of Egyptian agr!-
and The Prisoner" another Eastern subject. ~
The militant period OF the artists NE closed
parative repose. but not in idleness; In 1874 sec
TO him. Three pictures. among which was
"LEminence Grse." were sent to the Salon Of
The list of Geroms's PAINTINGS is too long
three groups-antiaue Oriental and fantastic-but
one gathers from these titles no idea of the variety
cIasssd as fantastic artists ina gination has
been allowed freer play than IN the productions
whose Subjects are borrowed from modern history
such THE Royal Flute Player and ,'Monere
and CorneilIe in Collaboration" are, by NJ Ber-
gerat's method. distinguished fantastic The
aI-O he i1prS1 As ar fiItla