OIL
In the Charles L. Freer Collection, National Gallery of American Art
[Pg 44b]
DROUET
ETCHING. G. 55
At last they came to Aix, where there was an American Consul who knew Major Whistler, and advanced fifty francs to his son. At Liège, poor, shivering, ragged Ernest got twenty from the French Consul, and the rest of the journey was made in comfort. On his return, Whistler's first appearance at the Café Molière was a triumph. They had thought him dead, and here he was, le petit Américain! And what blague, what calling for coffee pour le petit Whistler, pour notre petit Américain! And what songs!
"Car il n'est pas mort, larifla! fla! fla! Non, c'est qu'il dort. Pour le réveiller, trinquons nos verres! Pour le réveiller, trinquons encore!"
That Herr Schmitz was paid and delivered up the plates the prints are the proof. Some years after Whistler went back to Cologne with his mother. In the evening he slipped away to the old, little hotel, where the landlord and the landlord's daughter, grown up, recognised him and rejoiced.
These stories, and hundreds like them, still float about the Quarter, told not only by Whistler, but by les vieux, who shake their heads over the present degeneracy of students and the tameness of student life—stories of the clay model of the heroic statue of Géricault, left, for want of money, swathed in rags, and sprinkled every morning until at last even the rags had to be sold, and then, when they were taken off, Géricault had sprouted with mushrooms that paid for a feast in the Quarter and enough clay to finish the statue: stories of a painter, in his empty studio, hiring a piano by the month that the landlord might see it carried upstairs and get a new idea of his tenant's assets; stories of the monkey tied to a string, let loose in other people's larders, then pulled back, clasping loaves of bread and bottles of wine to its bosom; stories of students, with bedclothes pawned, sleeping in chests of drawers to keep warm; stories of Courbet's Baigneuse in wonderful Highland costume at the students' balls; stories of practical jokes at the Louvre. It was the day of practical jokes, les charges: and Courbet, whom they worshipped, was the biggest blageur of them all, eventually signing his death-warrant with that last terrible charge, the fall of the Column Vendôme, which Paris never forgave.
In this atmosphere, Whistler's spirit, so alarming to his mother, found stimulus, and it is not to be wondered if his gaiety struck everyone in Paris as in St. Petersburg and Pomfret, West Point and Washington.
Footnotes
[1] See Chapter XLIV.
CHAPTER VII: WORKING DAYS IN THE LATIN QUARTER.
THE YEARS EIGHTEEN FIFTY-FIVE TO EIGHTEEN FIFTY-NINE CONTINUED.
The stories cannot be left out of Whistler's life as a student, for they lived in his memory. The English students brought back the impression that he was an idler, the French thought so too, and the English believe to-day that he was an idler always. And yet he worked in Paris as much as he played. His convictions, his preferences, his prejudices, were formed during those years. His admiration for Poe, a West Point man, was strengthened by the hold Poe had taken of French men of letters. His disdain of nature, his contempt for anecdote in art as a concession to the ignorant public, his translation of the subjects of painting into musical terms, and much else charged against him as deliberate pose, can be traced to Baudelaire. It is incomprehensible how he found time to read while a student, and yet he knew the literature of the day. With artists and their movements he was more familiar. He mastered all that Gleyre could teach on the one hand, Courbet on the other. He came under the influence of Lecocq de Boisbaudran, who was occupied with the study of values, effects of night, and training of memory. It is absurd for anyone to say that Whistler idled away his four full years in Paris.
The younger men in their rebellion against official art were not so foolish as to disdain the Old Masters. They went to the Louvre to learn how to use their eyes and their hands. There they copied the pictures, and there they met each other. To Whistler the Frenchmen were more sympathetic than the English, and he joined them at the Louvre. Respect for the great traditions of art always was his standard: "What is not worthy of the Louvre is not art," he said. Rembrandt, Hals, and Velasquez were the masters by whom he was influenced. There are only a few pictures by Velasquez in the Louvre, and Whistler's early appreciation of him has been a puzzle to some, who, to account for it, have credited him with a journey when a student to Madrid. But that journey was not made in the fifties or ever, though he planned it more than once. A great deal could be learned about Velasquez without going to Spain. Whistler knew the London galleries, and in 1857 he visited the Art Treasures Exhibition at Manchester, taking Henri Martin with him. There was a difficulty about the money for their railway fares, and he suggested to T. Armstrong that he might borrow it from a friend of the family who was manager of the North-Western. "But have you paid him the three hundred francs he has already lent you?" Armstrong asked. "Why, no," Whistler answered; "ought that to make any difference?" And he consulted the friend as to whether it would not be the right thing to ask for another loan. From this friend, or somebody, he managed to get the money, and Miss Emily Chapman finds in her diaries, which she has consulted for us, that on September 11, 1857, Rose, her sister, "went to Darwen and found Whistler and Henri Martin staying at Earnsdale" with another sister, Mrs. Potter; "a merry evening," the note finishes. Fourteen fine examples of Velasquez were in the Manchester Exhibition, lent from private collections in England, among them the Venus, Admiral Pulido Pareja, Duke Olivarez on Horseback, Don Balthazar in the Tennis Court, some of them now in the British National Gallery.
Whistler once described himself to us as "a surprising youth, suddenly appearing in the group of French students from no one knew where, with my Mère Gérard and the Piano Picture [At the Piano] for introduction, and making friends with Fantin and Legros, who had already arrived, and Courbet, whom they were all raving about, and who was very kind to me."
The Piano Picture was painted toward the end of his student years in Paris, the Mère Gérard a little earlier, so that this agrees with Fantin's notes. In 1858, Fantin says, "I was copying the Marriage Feast at Cana in the Louvre when I saw passing one day a strange creature—personnage étrange, le Whistler en chapeau bizarre, who, amiable and charming, stopped to talk, and the talk was the beginning of our friendship, strengthened that evening at the Café Molière."
Carolus Duran writes us, from the Académie de France in Rome, that he and Whistler met as students in Paris; after that he lost sight of Whistler until the days of the new Salon, but, though there were a few meetings then,
