Studio: international art (65.1915)

The Paris Salon of Fifty Years Ago

SKETCH OF DUCKS

BY J. F. MILLET

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“peasant girl resting” by j. f. millet

in “Trilby”), became interested in Hamon, and
helped him to a position as a designer at the Sevres
manufactory. Hamon has one picture in the Louvre.
The drapery of the young girl drinking (p. 87) proves
him to have been an artist able to draw delicately
and accurately. The idea of the sketch is a fairy
figure drinking out of a convolvulus flower in recol-
lection of the feasting at a betrothal party. The
subject was afterwards engraved in line under the
title UAutomne.

We now return to Barbizon with the masterly
sketch of Theo. Rousseau (1812-1867) in Fon-
tainebleau Forest, UArcadie, and his charming
letter to the editor of “ L’Autographe.” Like
Millet, he appears to have just sent a sketch of
what was interesting him at the moment, for there
was no picture of the kind at the Salon. This, how-
ever, only makes the sketch more interesting, and
it is one that may profitably be studied in every
detail. It is, perhaps, a little conventional in its
treatment, especially in the rock outlines, but the
whole effect is magistral in its conception and
execution. The letter, with its friendly final word,
“ Je vous serre la main,” and its clear writing and
84

signature, is eminently character-showing, and repre-
sents the greatest genius of the Barbizon school.
Rousseau was the man with most originality, most
sense of bigness, and largest all-round artist’s out-
look in his circle: and these were none of them
small men—J. F. Millet, Corot, and Dupre—all of
them great painters, but all willing to acknowledge
the supremacy of Theodore Rousseau.

The sketch by Claude Monet (born 1840) comes


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