the ways of men(人们的手段)-第20节
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A portrait of Madame de Portalais； exhibited about this time； drew all
art…loving Paris around the new celebrity's canvas。 Shortly after； the
government purchased a painting （of our master's beautiful wife）； now
known as LA FEMME AU GANT； for the Luxembourg Gallery。
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It is difficult to overestimate the impetus that a master's successes
impart to the progress of his pupils。 My first studious year in Paris had
been passed in the shadow of an elderly painter； who was comfortably
dozing on the laurels of thirty years before。 The change from that sleepy
environment to the vivid enthusiasm and dash of Carolus…Duran's studio
was like stepping out of a musty cloister into the warmth and movement of
a market…place。
Here； be it said in passing； lies perhaps the secret of the dry rot that too
often settles on our American art schools。 We； for some unknown reason；
do not take the work of native painters seriously； nor encourage them in
proportion to their merit。 In consequence they retain but a feeble hold
upon their pupils。
Carolus； handsome； young； successful； courted； was an ideal leader for
a band of ambitious； high…strung youths； repaying their devotion with an
untiring interest and lifting clever and dull alike on the strong wings of his
genius。 His visits to the studio； on which his friend Henner often
accompanied him； were frequent and prolonged； certain Tuesdays being
especially appreciated by us； as they were set apart for his criticism of
original compositions。
When our sketches （the subject for which had been given out in
advance） were arranged； and we had seated ourselves in a big half…circle
on the floor； Carolus would install himself on a tall stool； the one seat the
studio boasted； and chat A PROPOS of the works before him on
composition； on classic art； on the theories of color and clair…obscur。
Brilliant talks； inlaid with much wit and incisive criticism； the memory of
which must linger in the minds of all who were fortunate enough to hear
them。 Nor was it to the studio alone that our master's interest followed us。
He would drop in at the Louvre； when we were copying there； and after
some pleasant words of advice and encouragement； lead us off for a stroll
through the galleries； interrupted by stations before his favorite
masterpieces。
So important has he always considered a constant study of
Renaissance art that recently； when about to commence his TRIUMPH OF
BACCHUS； Carolus copied one of Rubens's larger canvases with all the
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naivete of a beginner。
An occasion soon presented itself for us to learn another side of our
trade by working with our master on a ceiling ordered of him by the state
for the Palace of the Luxembourg。 The vast studios which the city of Paris
provides on occasions of this kind； with a liberality that should make our
home corporations reflect； are situated out beyond the Exhibition buildings；
in a curious； unfrequented quarter； ignored alike by Parisians and tourists；
where the city stores compromising statues and the valuable debris of her
many revolutions。 There； among throneless Napoleons and riderless
bronze steeds； we toiled for over six months side by side with our master；
on gigantic APOTHEOSIS OF MARIE DE MEDICIS； serving in turn as
painter and painted； and leaving the imprint of our hands and the reflection
of our faces scattered about the composition。 Day after day； when work
was over； we would hoist the big canvas by means of a system of ropes
and pulleys； from a perpendicular to the horizontal position it was to
occupy permanently； and then sit straining our necks and discussing the
progress of the work until the tardy spring twilight warned us to depart。
The year 1877 brought Carolus…Duran the MEDAILLE D'HONNEUR；
a crowning recompense that set the atelier mad with delight。 We
immediately organized a great （but economical） banquet to commemorate
the event； over which our master presided； with much modesty；
considering the amount of incense we burned before him； and the speeches
we made。 One of our number even burst into some very bad French verses；
asserting that the painters of the world in general fell back before him …
。 。 。 EPOUVANTES … CRAIGNANT EGALEMENT SA BROSSE ET
SON EPEE。
This allusion to his proficiency in fencing was considered particularly
neat； and became the favorite song of the studio； to be howled in and out
of season。
Curiously enough； there is always something in Carolus…Duran's
attitude when at work which recalls the swordsman。 With an enormous
palette in one hand and a brush in the other； he has a way of planting
himself in front of his sitter that is amusingly suggestive of a duel。 His
lithe body sways to and fro； his fine leonine face quivers with the intense
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study of his model； then with a sudden spring forward； a few rapid touches
are dashed on the canvas （like home strokes in the enemy's weakest spot）
with a precision of hand acquired only by long years of fencing。
An order to paint the king and queen of Portugal was the next step on
the road to fame； another rung on the pleasant ladder of success。 When this
work was done the delighted sovereign presented the painter with the
order of 〃Christ of Portugal；〃 together with many other gifts； among which
a caricature of the master at work； signed by his sitter； is not the least
valued。
When the great schism occurred several years ago which rent the art
world of France； Carolus…Duran was elected vice… president of the new
school under Meissonier； to whose office he succeeded on that master's
death； and now directs and presides over the yearly exhibition known as
the SALON DU CHAMP DE MARS。
At his chateau near Paris or at Saint Raphael； on the Mediterranean；
the master lives； like Leonardo of old； the existence of a grand seigneur；
surrounded by his family； innumerable guests； and the horses and dogs he
loves； … a group of which his ornate figure and expressive face form the
natural centre。 Each year he lives more away from the world； but no more
inspiriting sight can be imagined than the welcome the president receives
of a 〃varnishing〃 day； when he makes his entry surrounded by his pupils。
The students cheer themselves hoarse； and the public climbs on everything
that comes to hand to see him pass。 It is hard to realize then that this is the
same man who； not content with his youthful progress； retired into an
Italian monastery that he might commune face to face with nature
undisturbed。
The works of no other painter give me the same sensation of quivering
vitality； except the Velasquez in the Madrid Gallery and； perhaps； Sargent
at his best； and one feels all through the American painter's work the
influence of his first and only master。
〃TOUT CE QUI N'EST PAS INDISPENSABLE EST NUISIBLE；〃 a
phrase which is often on Carolus…Duran's lips； may be taken as the
keynote of his work； where one finds a noble simplicity of line and color
scheme； an elimination of useless detail； a contempt for tricks to enforce
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an effect； and above all a comprehension and mastery of light； vitality； and
texture … those three unities of the painter's art … that bring his canvases
very near to those of his self…imposed Spanish master。
Those who know the French painter's more important works and his
many splendid studies from the nude； feel it a pity that such masterpieces
as the equestrian portrait of Mlle。 Croisette； of the Comedie Francaise； the
REVEIL； the superb full length of Mme。 Pelouse on the Terra
