Print collector's quarterly (6.1916)

his Studio after Gerome. He had entered Gerdme’s
atelier in 1865, but was prevented by other work and
orders for etchings from continuing long under this
master. Yet he was no doubt better fitted for the inter-
pretation of Gerdme’s pictures, several of which he re-
ceived orders to etch, by reason of this experience. The
"Rembrandt” subject was in a sense prophetic of
Raj on’s future; it represented the old master engaged
on a plate under the screened window used by etchers.
In examining the technique of this print, it is evident
that Rajon had studied the method of the “Prince of
Etchers,” as Rembrandt has been called, and the ef-
fective interpretation of light and air for which Rajon
was later distinguished is already suggested. With
several oriental subjects after Gerome, the “Rem-
brandt” was exhibited at the Salon of 1868 and Rajon’s
ability was at once recognized. Philippe Burty, the
eminent critic, reviewing the Salon of 1868 in the
“Gazette des Beaux-Arts,” openly criticized the jury
for not at once awarding him a medal. In comparing his
work with that of others, he wrote, “. . . M. Rajon
studies with more penetration, draws with more style,
and more attention. ... All is scrutinized, studied, de-
cided upon with a truly surprising care: the drawing of
the hands, feet, heads, costumes, of everything in fact
that holds the eye in passing from the general effect to
the details, is so clear, so frank, that we should be cu-
rious to see M. Rajon taking hold of some important
subject of M. Meissonier.” This last expressed desire
received full satisfaction in several later plates.
After such complete approval commissions followed
rapidly, and in 1869 Rajon was awarded a medal for his
Reading the Bible from one of Brion’s Alsatian subjects,

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