DOI issue:
No. 269 (August 1915)
DOI article:Thomson, Croal: The Paris Salon of fifty years ago, [2]
DOI Page / Citation link:https://doi.org/10.11588/diglit.21213#0182
The Paris Salon of Fifty Years Ago
boy and the dog Toby. It would be hard to bring
together more incidents specially characteristic of
London towards the end of last century.
Felicien J. V. Rops (1833-1898) was an artist
usually classed with the Belgian School, as he was
born at Namur; but his instincts were far more
Eastern, and in his later life he developed a class
of production nearly allied to the decadents of
Pompeii, or worse, and some of his subjects no
journal would be permitted to publish either in the
East or in the West. The drawing, La Camp ague
Parisiemie, which we reproduce, is, however, one
that is full of a humour of which no one need
be ashamed. The idea throughout the drawing is
connected with the contests of the artistic world,
for there are a number of painters hard at work
amidst the turmoil of horse traffic, the central
group being the St. Cloud coach filled to more than
overflowing, not forgetting the dog hanging from
the literary man’s foot at the back.
Of Joseph Suchet and his pictures I find little to
say except that he was a native of Marseilles and
lived there. As a draughtsman he had great skill,
and his Fishing Boat moves along, somewhat high
in the water, while the little boat behind is lighter
still. The wind blows the sails vigorously, and
apparently in gusts by the way the flag turns
upwards.
The three remaining drawings are all by men
whose eminence is far more widely admitted now
than at the time they were produced.
Edouard Manet’s work (1832-1883) is interest-
ing even in its smallest details, and the curious
miniature sketch he has made of three pictures is
remarkable in every way.
The Buveur de FEau appears to be one of the
painter’s first ideas for a picture which afterwards
became celebrated. It originally formed part of a
large picture entitled Gipsies, which figured in
Manet’s personal Exhibition in 1867. The subject
of the picture was sufficiently detached to be cut
in three portions by the artist, each three feet high,
“LA CAMPAGNE PARlStENNE
162
BY FJSLICIEN ROPS
boy and the dog Toby. It would be hard to bring
together more incidents specially characteristic of
London towards the end of last century.
Felicien J. V. Rops (1833-1898) was an artist
usually classed with the Belgian School, as he was
born at Namur; but his instincts were far more
Eastern, and in his later life he developed a class
of production nearly allied to the decadents of
Pompeii, or worse, and some of his subjects no
journal would be permitted to publish either in the
East or in the West. The drawing, La Camp ague
Parisiemie, which we reproduce, is, however, one
that is full of a humour of which no one need
be ashamed. The idea throughout the drawing is
connected with the contests of the artistic world,
for there are a number of painters hard at work
amidst the turmoil of horse traffic, the central
group being the St. Cloud coach filled to more than
overflowing, not forgetting the dog hanging from
the literary man’s foot at the back.
Of Joseph Suchet and his pictures I find little to
say except that he was a native of Marseilles and
lived there. As a draughtsman he had great skill,
and his Fishing Boat moves along, somewhat high
in the water, while the little boat behind is lighter
still. The wind blows the sails vigorously, and
apparently in gusts by the way the flag turns
upwards.
The three remaining drawings are all by men
whose eminence is far more widely admitted now
than at the time they were produced.
Edouard Manet’s work (1832-1883) is interest-
ing even in its smallest details, and the curious
miniature sketch he has made of three pictures is
remarkable in every way.
The Buveur de FEau appears to be one of the
painter’s first ideas for a picture which afterwards
became celebrated. It originally formed part of a
large picture entitled Gipsies, which figured in
Manet’s personal Exhibition in 1867. The subject
of the picture was sufficiently detached to be cut
in three portions by the artist, each three feet high,
“LA CAMPAGNE PARlStENNE
162
BY FJSLICIEN ROPS