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The photographic news
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- 35.1891
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- 1891
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- Hochschule für Grafik und Buchkunst Leipzig
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- Bandzählung
- No. 1693, February 13, 1891
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The photographic news
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JEAN LOUIS ERNEST MEISSONIER. BY THE REV. F. C. LAMBERT, M.A. On the last day of last month the art world lost, in the death of M. Meissonier, a man whose name will always be regarded as an essential element in the art history of the present century. Meissonier was born, the son of humble parents, at Lyons, Feb. 21st, 1811. At the age of seven teen he came to Paris to study under Leon Cognite. Five years later, his first work, “ The Visit to the Burgo master,” made its appearance at the Salon, followed the next year by his “Joueur d’Echecs,” which at once established the painter as a master in genre. From that time a stream of works flowed from his hand, and medals, ribbons, and other honours and distinctions were showered upon him. Perhaps the most famous of his works are the Napoleonic series showing the great soldier at various stages of his wonderful career—i.e.. 1805, 1807, and 1814. It is said that the ’14 was sold to M. Chanchard for 850,000 fr. It is interesting to know that Her Majesty, Queen Victoria, is in possession of one of M. Meissonier's finest works. By many competent authorities, “ Le Rixe ” is pronounced the master’s chef tTceuvre. In appearance, Meissonier was short of stature, some what stern in feature, hair and beard long and flowing. Among his hobbies were billiards and riding. To a great extent it is true that, in his work, he made, rather than followed, a school. Waging a long war against the accepted methods of classicism, and crashing through the dogmas of the academies, he devoted his long life and undoubted talents to transferring nature to his canvas, relying on the keenest power of observation and an unrivalled technique. Those who deny the existence of any great poetry in his work assert that his abnormal—almost microscopic—eyesight enabled him to see what was to others quite invisible ; and maintain that while he surpassed the Dutch in “ niggling,” he yet lacked their power of chiaroscuro and general manipulation. On the other hand, there are quite as many who heartily subscribe to the criticism of Eugene Delacroix, wherein it is asserted that Meissonier was the most incontestable master of our epoch. Thus among painters, as among photographers, there are the pinhole, big-brush, palette-knife men, and also the f/64, fine-point, Meissonier-finish contingent; each anathematising the other. Who shall be bold enough to predict the “ sole survivor of the crew ” hereafter ? Is it not better to seek the via tula, via media? To attempt to treat all cases alike, to cure all complaints with medicine out of one and the same bottle, is to call up the unpleasant nursery reminiscence of the infallible brimstone—with or without the treacle. Corot, Millet, Bastien Lepage, and others have come and gone during Meissonier's four-score years. Each in turn had discovered the only way—the philosopher’s stone wherewith to touch his canvas—and now Meisso- nier’s hand will no longer hold the brush. Of all men whose names are most likely to become welded into the history of art, none will be so closely linked to photo graphy as that of the Lyons master, for the very simple reason that probably no other hand ever had that dexterity and cunning for reproducing on his canvas what most closely resembles that marvel of modern science, a well- focussed image on the ground glass. This man, who saw the birth and growth of photography, with all its possible wealth of detail-drawing, has been for years working in a more or less parallel line, and, although he has had a countless herd of followers, yet never a competitor. One may safely prophesy that photographers will always include in their ranks a large number of workers who revel in the boundless ocean of detail attainable by optical means, and to them Meissonier will stand forward, not only as a justification, but also as a master for whom they have the most unfeigned admiration. Thus, his illustrious name will have for many photographers a degree of interest which, in all human probability, is likely to remain unique—at any rate, until the photographers’ millennium—in other words, the discovery of photography in natural colours. However much men may disagree as to the rightness or wrongness of Meissonier’s method of work, yet all must substantially agree that he was facile princeps in the method which he selected ; and none have approached him in his power of truthful accuracy in portraying what is seeable. P.S.—There is a melancholy interest attaching to a work of M. Meissonier now on view at Messrs. Tooth’s Galleries, seeing that it is the last work from the master’s easel. It is a water-colour drawing of small size, and entitled “ Quiet Moments.” The subject is a young gentleman in picturesque seventeenth century costume standing near a white marble pillar. He seems immersed in pleasant memories; the ungloved hands are idly, yet gracefully disposed. The background is a rich tinted, antique tapestry. The whole work is eminently characteristic of the master’s wonderful powers, both in wealth of finish, and the rainbow purity and harmony of colour. The BARBIZON School. Messrs. McLean have now on view, at their Galleries in the Haymarket, a most interesting collection of pic tures, few in number, but all fine examples. Among them is a small Meissonier, date 1864, and valued at not less than £2,000. The subject is an officer on horseback riding along an open road, the daylight declining—and the whole in a quiet and sombre key. The other pictures are, in themselves, a little epitome of the Barbizon school, and include several paintings by Diaz (No. 9 is a masterpiece), Corot, Jacque, Daubigny, and others of the open air workers. Probably No. 17, “ The Hay Cart,” is the finest and fullest work of Troyon’s, and that picture alone is well worth a journey to the Gallery. The sheep in No. 25 (Jacque) are probably the woolliestand most sheep like ever put upon canvas; this is also a masterpiece. There is a picture by L. B. Hurt, which most people im mediately assign to Peter Graham, and not far from it is a small painting by that last-named artist, which is simply splendid in the way the clouds are treated. The collec tion also includes work by H. W. B. Davis, James Orrock, Vicat Cole, J. W. Waterhouse, and others. The Vienna PHOTOGRAPHIC Exhibition. — It would seem from indications thus far, that the United States will be well represented at the forthcoming exhibition in Vienna. It is advised that prints be sent unframed, but mounted, and each print larger than 34 by 44 must be mounted separately. Exhibits may be sent to Mr. C. F. Eckhardt, 32, Aldermanbury, London, E.C., or to the Committee of the Vienna International Exhibition, at the Imperial and Royal Museum of Arts and Manufactures, Vienna. Applications for admission must be in Vienna by February 1st, addressed to Mr. Carl Srna, Club of Amateur Photographers of Vienna, Wallfischgasse 4, Vienna, Austria. The New York Camera Club expects to have a good representation, and it is to be hoped that other clubs will fall into Une at once.—Anthony's Bulletin,
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