These childhood impressions were destined3 to abide4 with him throughout his life; he cherished to the end a fervent5 love for his native land, and he felt that he had an infinitely6 noble task in painting that life of the fields which the Second Empire affected7 to despise.[Pg 18]
But though he came of peasant stock, it was Bastien-Lepage's good fortune that these same peasants were in prosperous circumstances and could afford to give him an education. They were ambitious for him; and it hurt them to see their little Jules, who was so wide-awake, so intelligent, and at the same time so frail8, leading the hard and monotonous9 life of the fields, following the plough, tilling the soil. It needed only a few household economies to enable him to continue his studies; so, when the time came, young Bastien-Lepage wended his way towards Verdun, where he entered upon his college course.
There is nothing that marks in any particular way these years of study, nothing to indicate that the boy was a youthful prodigy10, nor that he showed any special aptitude11 for drawing. But he was studious, diligent12, and anxious to avoid repremands and to fulfil the expectations of his parents. In due time he obtained his bachelor's degree, which at that period was highly prized. His father,[Pg 19] filled with pride, already began to form brilliant projects for his future, already foresaw him a distinguished13 official, supervising some great branch of the public service. As a matter of fact, a position was found for the young baccalaureate in a government department which was neither the most desirable nor the one of least importance; namely, the Post Office Department. Bastien-Lepage was not vastly delighted with the choice, but, dutiful son that he was, he accepted the modest clerkship offered him. One circumstance contributed, in a large degree, towards overcoming his reluctance14: the post assigned to him from the start was in Paris, of which he had often heard marvellous things, and in which he hoped that he would be able to follow his secret inclination15. For, in the interval16 his vocation17 had revealed itself; he had conceived a passion for drawing, for colouring, for painting; and, like Correggio, he was eager to say in his turn, "I too am a painter!"
Accordingly he set forth18, leaving behind him[Pg 20] no suspicion of his purpose. Upon arriving at the capital, he acquitted19 himself scrupulously20 of his official duties, but every leisure moment was consecrated21 to visiting the museums and exhibitions. He saturated22 himself with the wealth of beauty strewn broadcast through the Louvre, and was thrilled with admiration23 at contact with the masters of every school and country. He did not care equally for them all, in spite of their genius; his intimate preferences leaned to the side of Flemish rather than Italian art; but he was not insensible to the lofty inspiration, the severe harmony, the faultless composition, which have made the great masters of the Renaissance24 the most astonishing prodigies25 in the history of painting.
But while the older schools of art delighted him, he followed with no less attention the movement of contemporary painting. At the hour when his critical spirit awoke, certain new elements and new formulas had come to light and had been put into practice by two audacious and gifted artists[Pg 21] by the names of Courbet and Manet. Although the prolonged struggle between the classicists and romanticists had not yet come to an end, these two rival schools were entrenched26 in their positions and refused to stir forth from them. Supporters of Delacroix and of Ingres confined themselves strictly27 to their respective hostile formulas, doing nothing either to expand or to rejuvenate28 them. Whoever dared to venture outside of one of these two beaten tracks was regarded as a madman, and his attempts were greeted with derisive29 clamours by both parties, who declared a momentary30 truce31, for the purpose of annihilating32 him by a joint33 attack. Courbet, who was scorned by Ingres, met with equally harsh criticism from Delacroix; and as for Manet, he had managed to call down universal wrath34 upon his head, and at the Salon35 of 1863 it became necessary to place his Olympia in the very topmost line upon the wall, in order to protect it from the fury of the public, hounded on by the hue36 and cry of the critics.
[Pg 22] Bastien-Lepage made mental notes of all the episodes of this struggle; he listened to the criticisms and passed them through the crucible37 of his unspoiled mind, in the presence of the very works under indictment38. His good sense showed him how large an element of injustice39 entered into these hostilities40. Moreover, his peasant blood inclined him to sympathize with those artists who refused to bind41 themselves to seek for beauty only within the limits of academic form, and who had the ability to make it flash forth from the humblest and even the most vulgar type of subject. Furthermore, this constant study of matters pertaining43 to art, day by day added fuel to the hidden fire smouldering within him; he was conscious of its mounting flame. Back of the rude sketches44, drawn45 and coloured in the tiny chamber46 befitting an humble42 postal47 clerk, he perceived vaguely48 that he also possessed49 the temperament50 of a painter, and little by little he witnessed the unfolding of his artist's soul.
Plate III PLATE III.—THE ARTIST'S MOTHER
(Collection of é. Bastien-Lepage)
What a kindly51 and gentle face this is, the face of the woman to whom the artist applied52 the tender endearment53 of "Good little mother"! In this work, it is evident that the heart guided the hand of the painter. None but a son could have rendered with such emotion the humid tenderness of those eyes and the maternal54 caress55 of those lips. It is a powerful work, which enrolls56 Bastien-Lepage in the foremost rank of portrait painters.
[Pg 25]
At last, unable to bear it longer, he resigned from the postal service and enrolled57 his name at the Beaux-Arts. At this time, when he entered the studio of Cabanel, he was but little more than nineteen years of age. Cabanel, to be sure, was not the painter of his choice, but Bastien-Lepage was not for that reason any the less appreciative58 of a system of instruction which was dominated by a worship of line-work. His training under Cabanel was not without value to the young artist, who throughout his life, even in his most realistic paintings, proved himself to be an impeccable master of design.
At the outset, however, he was beset59 with difficulties. Now that his salary as a postal clerk had ceased and remittances60 from the family were necessarily restricted, Bastien-Lepage exerted himself to gain a living by his own efforts. He had no lack of courage, and he had in addition that Lorraine tenacity61 which enabled him to confront all difficulties with tranquil62 assurance. He worked[Pg 26] with desperate energy, and in the intervals63 of respite64 from his labours he overran all Paris in search of orders from business houses. It was an inglorious task, but at least it enabled him to live; thus it happened that about 1873 he produced a widely circulated advertisement for a perfumery house. Up to this time he had remained wholly unknown; and although he had already exhibited one painting, at the Salon of 1870, it was passed by unheeded both by the critics and the general public.
This lack of success in no wise discouraged him, for he had faith. It was in the year 1874 that he exhibited The Song of Springtime. It was a veritable revelation. There was no neglect this time. The public gathered in throngs65 before his canvas, and the critics, notwithstanding a few objections to details, were lavish66 in their praise and hailed him as having the qualities of a true artist. Naturally, the picture was not perfect, but it well merited the flattering reception which it received. In a springtime landscape a young[Pg 27] peasant girl is seated beneath a tree, looking before her over a sunlit plain. Around her skirts a whole bevy67 of Cupids are gathering68 blossoms and offering them to the girl. Here, at the first stroke, is an assertion of the young painter's independence, his formal determination to emancipate69 himself from the accepted formulas in his treatment of the eternal theme of a young girl's soul, opening to the first appeal of love. As a matter of fact, the allegory is somewhat clumsy; you realize that the author's talent does not run to sentimental70 compositions. Yet the young girl is brushed in with an energetic hand, and all that rather coarse robustness71 that distinguishes the women of peasant stock is blended in a masterly manner with the na?ve innocence72 of simple souls. The Song of Springtime was Bastien-Lepage's first attempt in that vein73 of realistic painting in which he was soon destined to excel.
That same year he produced Grandfather's Portrait, which also attracted much attention.[Pg 28] The artist had placed his model in the little garden adjoining the home of his birth. This portrait, which belongs to-day to the painter's brother, is remarkable74 for its naturalness, its touch of intimate understanding, and its vigour75 of execution.
Bastien-Lepage had now acquired a name. His Song of Springtime won him a third class medal, and the State purchased the painting for the museum at Verdun, where it at present hangs.
In the following year he exhibited Her First Communion, picturing a young and pretty country girl, stiff and self-conscious under her white veil. This work was the product of keen observation, and is deliberately76 stilted77 and traditional in its style of execution, recalling in some measure the French primitive78 school. Bastien-Lepage evidently had in mind the portraits by Fran?ois Cluet: his little communicant is infinitely artificial in her spotless finery, yet infinitely alive under the thin surface wash of colour which recalls the Elizabeth of Austria, wife of Charles[Pg 29] IX, as painted by the greatest of the French primitives79.
Simultaneously80 with this picture he exhibited the Portrait of M. Hayem, in which the vigorous treatment of the face, with its clear, firm colour tones and sober workmanship, proclaimed him already a portrait painter of the first order.
His success this time was more marked: he received a medal of the second class. A less modest artist would have allowed himself to be borne tranquilly81 along by the mounting tide of glory; but Bastien-Lepage did not yet feel that he was sufficiently82 sure of himself. He wished to continue for a while longer, working, learning, perfecting himself; he even conceived the idea, in spite of his renown83, of competing for the Prix de Rome. Accordingly, the painter of The Song of Springtime and Her First Communion might shortly after have been seen entering the lists like any ordinary nobody. He obtained only the second prize.[Pg 30]
He presented himself again the following year, but with no better success. The subject assigned for the competition was Priam at the Feet of Achilles. It is easy to understand that such a theme was little calculated to inspire an artist of Bastien-Lepage's temperament; he found it impossible to attain84 full development unless in the presence of nature herself. No amount of manual dexterity85 can take the place of inborn86 faith, and the young artist had no faith in antiquity87; he never could muster88 any enthusiasm for the Greek or Roman gods, nor for historic scenes in which the very attitudes are dictated89 by the rules and regulations of time-honoured tradition.
Nevertheless, the work is not without merit; it is forceful, its colouring is good, and it falls short of perfection only in failing to conform sufficiently with what we know of ancient life. This painting is at present to be found in the Museum at Lille.
This rebuff did not discourage Bastien-Lepage unreasonably90; but he decided91 to confine himself in the future to painting portraits and picturing the life of the fields.
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1
rustics
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| n.有农村或村民特色的( rustic的名词复数 )；粗野的；不雅的；用粗糙的木材或树枝制作的 | |
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virtues
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| 美德( virtue的名词复数 )； 德行； 优点； 长处 | |
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destined
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| adj.命中注定的；(for)以…为目的地的 | |
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abide
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| vi.遵守；坚持；vt.忍受 | |
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fervent
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| adj.热的，热烈的，热情的 | |
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infinitely
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| adv.无限地，无穷地 | |
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affected
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| adj.不自然的，假装的 | |
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frail
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| adj.身体虚弱的；易损坏的 | |
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monotonous
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| adj.单调的，一成不变的，使人厌倦的 | |
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prodigy
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| n.惊人的事物，奇迹，神童，天才，预兆 | |
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aptitude
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| n.(学习方面的)才能，资质，天资 | |
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diligent
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| adj.勤勉的，勤奋的 | |
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13
distinguished
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| adj.卓越的，杰出的，著名的 | |
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reluctance
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| n.厌恶，讨厌，勉强，不情愿 | |
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inclination
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| n.倾斜；点头；弯腰；斜坡；倾度；倾向；爱好 | |
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16
interval
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| n.间隔，间距；幕间休息，中场休息 | |
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vocation
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| n.职业，行业 | |
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forth
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| adv.向前；向外，往外 | |
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acquitted
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| 宣判…无罪( acquit的过去式和过去分词 )； 使（自己）作出某种表现 | |
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scrupulously
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| adv.一丝不苟地；小心翼翼地，多顾虑地 | |
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21
consecrated
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| adj.神圣的，被视为神圣的v.把…奉为神圣，给…祝圣( consecrate的过去式和过去分词 )；奉献 | |
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22
saturated
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| a.饱和的，充满的 | |
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admiration
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| n.钦佩，赞美，羡慕 | |
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24
renaissance
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| n.复活，复兴，文艺复兴 | |
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prodigies
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| n.奇才，天才（尤指神童）( prodigy的名词复数 ) | |
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26
entrenched
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| adj.确立的，不容易改的(风俗习惯) | |
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strictly
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| adv.严厉地，严格地；严密地 | |
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rejuvenate
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| v.(使)返老还童；(使)恢复活力 | |
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derisive
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| adj.嘲弄的 | |
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momentary
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| adj.片刻的，瞬息的；短暂的 | |
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truce
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| n.休战，(争执，烦恼等的)缓和；v.以停战结束 | |
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32
annihilating
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| v.（彻底）消灭( annihilate的现在分词 )；使无效；废止；彻底击溃 | |
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joint
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| adj.联合的，共同的；n.关节，接合处；v.连接，贴合 | |
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34
wrath
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| n.愤怒，愤慨，暴怒 | |
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35
salon
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| n.[法]沙龙；客厅；营业性的高级服务室 | |
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36
hue
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| n.色度；色调；样子 | |
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37
crucible
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| n.坩锅，严酷的考验 | |
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38
indictment
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| n.起诉；诉状 | |
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39
injustice
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| n.非正义，不公正，不公平，侵犯（别人的）权利 | |
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40
hostilities
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| n.战争；敌意(hostility的复数)；敌对状态；战事 | |
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41
bind
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| vt.捆，包扎；装订；约束；使凝固；vi.变硬 | |
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42
humble
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| adj.谦卑的，恭顺的；地位低下的；v.降低，贬低 | |
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43
pertaining
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| 与…有关系的，附属…的，为…固有的(to) | |
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44
sketches
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| n.草图( sketch的名词复数 )；素描；速写；梗概 | |
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45
drawn
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| v.拖，拉，拔出；adj.憔悴的，紧张的 | |
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46
chamber
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| n.房间，寝室；会议厅；议院；会所 | |
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47
postal
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| adj.邮政的，邮局的 | |
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48
vaguely
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| adv.含糊地，暖昧地 | |
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49
possessed
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| adj.疯狂的；拥有的，占有的 | |
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50
temperament
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| n.气质，性格，性情 | |
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51
kindly
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| adj.和蔼的，温和的，爽快的；adv.温和地，亲切地 | |
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52
applied
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| adj.应用的；v.应用，适用 | |
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53
endearment
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| n.表示亲爱的行为 | |
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54
maternal
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| adj.母亲的，母亲般的，母系的，母方的 | |
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55
caress
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| vt./n.爱抚，抚摸 | |
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56
enrolls
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| v.[亦作enrol]( enroll的第三人称单数 )；登记，招收，使入伍（或入会、入学等），参加，成为成员；记入名册；卷起，包起 | |
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57
enrolled
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| adj.入学登记了的v.[亦作enrol]( enroll的过去式和过去分词 )；登记，招收，使入伍（或入会、入学等），参加，成为成员；记入名册；卷起，包起 | |
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58
appreciative
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| adj.有鉴赏力的，有眼力的；感激的 | |
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59
beset
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| v.镶嵌；困扰，包围 | |
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60
remittances
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| n.汇寄( remittance的名词复数 )；汇款，汇款额 | |
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61
tenacity
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| n.坚韧 | |
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62
tranquil
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| adj. 安静的, 宁静的, 稳定的, 不变的 | |
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63
intervals
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| n.[军事]间隔( interval的名词复数 )；间隔时间；[数学]区间；（戏剧、电影或音乐会的）幕间休息 | |
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64
respite
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| n.休息，中止，暂缓 | |
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65
throngs
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| n.人群( throng的名词复数 )v.成群，挤满( throng的第三人称单数 ) | |
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66
lavish
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| adj.无节制的；浪费的；vt.慷慨地给予，挥霍 | |
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67
bevy
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| n.一群 | |
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68
gathering
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| n.集会，聚会，聚集 | |
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69
emancipate
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| v.解放，解除 | |
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70
sentimental
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| adj.多愁善感的，感伤的 | |
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71
robustness
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| 坚固性，健壮性；鲁棒性 | |
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72
innocence
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| n.无罪；天真；无害 | |
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73
vein
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| n.血管，静脉；叶脉，纹理；情绪；vt.使成脉络 | |
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74
remarkable
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| adj.显著的，异常的，非凡的，值得注意的 | |
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75
vigour
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| （=vigor）n.智力，体力，精力 | |
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76
deliberately
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| adv.审慎地；蓄意地；故意地 | |
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77
stilted
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| adj.虚饰的；夸张的 | |
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78
primitive
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| adj.原始的；简单的；n.原(始)人，原始事物 | |
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79
primitives
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| 原始人（primitive的复数形式） | |
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80
simultaneously
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| adv.同时发生地，同时进行地 | |
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81
tranquilly
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| adv. 宁静地 | |
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82
sufficiently
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| adv.足够地，充分地 | |
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83
renown
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| n.声誉，名望 | |
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84
attain
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| vt.达到，获得，完成 | |
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85
dexterity
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| n.(手的)灵巧，灵活 | |
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86
inborn
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| adj.天生的，生来的，先天的 | |
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87
antiquity
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| n.古老；高龄；古物，古迹 | |
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88
muster
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| v.集合，收集，鼓起，激起；n.集合，检阅，集合人员，点名册 | |
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89
dictated
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| v.大声讲或读( dictate的过去式和过去分词 )；口授；支配；摆布 | |
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90
unreasonably
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| adv. 不合理地 | |
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91
decided
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| adj.决定了的，坚决的；明显的，明确的 | |
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