His Masterpiece Émile Zola (e textbook reader TXT) 📖

this picture out of doors; he merely cleaned and touched it up a bit in his studio. When the canvas was placed beneath the wan daylight of the glazed roof, he himself was startled by its brutality. It showed like a scene beheld through a doorway open on the street. The snow blinded one. The two figures, of a muddy grey in tint, stood out, lamentable. He at once felt that such a picture would not be accepted, but he did not try to soften it; he sent it to the Salon, all the same. After swearing that he would never again try to exhibit, he now held the view that one should always present something to the hanging committee if merely to accentuate its wrongdoing. Besides, he admitted the utility of the Salon, the only battlefield on which an artist might come to the fore at one stroke. The hanging committee refused his picture.

The second year Claude sought a contrast. He selected a bit of the public garden of Batignolles in May; in the background were some large chestnut trees casting their shade around a corner of greensward and several six-storied houses; while in front, on a seat of a crude green hue, some nurses and petty cits of the neighbourhood sat in a line watching three little girls making sand pies. When permission to paint there had been obtained, he had needed some heroism to bring his work to a successful issue amid the bantering crowd. At last he made up his mind to go there at five in the morning, in order to paint in the background; reserving the figures, he contented himself with making mere sketches of them from nature, and finishing them in his studio. This time his picture seemed to him less crude; it had acquired some of the wan, softened light which descended through the glass roof. He thought his picture accepted, for all his friends pronounced it to be a masterpiece, and went about saying that it would revolutionise the Salon. There was stupefaction and indignation when a fresh refusal of the hanging committee was rumoured. The committee’s intentions could not be denied: it was a question of systematically strangling an original artist. He, after his first burst of passion, vented all his anger upon his work, which he stigmatised as false, dishonest, and execrable. It was a well-deserved lesson, which he should remember: ought he to have relapsed into that cellar-like studio light? Was he going to revert to the filthy cooking of imaginary figures? When the picture came back, he took a knife and ripped it from top to bottom.

And so during the third year he obstinately toiled on a work of revolt. He wanted the blazing sun, that Paris sun which, on certain days, turns the pavement to a white heat in the dazzling reflection from the house frontages. Nowhere is it hotter; even people from burning climes mop their faces; you would say you were in some region of Africa beneath the heavily raining glow of a sky on fire. The subject Claude chose was a corner of the Place du Carrousel, at one o’clock in the afternoon, when the sunrays fall vertically. A cab was jolting along, its driver half asleep, its horse steaming, with drooping head, vague amid the throbbing heat. The passersby seemed, as it were, intoxicated, with the one exception of a young woman, who, rosy and gay under her parasol, walked on with an easy queenlike step, as if the fiery element were her proper sphere. But what especially rendered this picture terrible was a new interpretation of the effects of light, a very accurate decomposition of the sunrays, which ran counter to all the habits of eyesight, by emphasising blues, yellows and reds, where nobody had been accustomed to see any. In the background the Tuileries vanished in a golden shimmer; the paving-stones bled, so to say; the figures were only so many indications, sombre patches eaten into by the vivid glare. This time his comrades, while still praising, looked embarrassed, all seized with the same apprehensions. Such painting could only lead to martyrdom. He, amidst their praises, understood well enough the rupture that was taking place, and when the hanging committee had once more closed the Salon against him, he dolorously exclaimed, in a moment of lucidity:

“All right; it’s an understood thing⁠—I’ll die at the task.”

However, although his obstinate courage seemed to increase, he now and then gradually relapsed into his former doubts, consumed by the struggle he was waging with nature. Every canvas that came back to him seemed bad to him⁠—above all incomplete, not realising what he had aimed at. It was this idea of impotence that exasperated him even more than the refusals of the hanging committee. No doubt he did not forgive the latter; his works, even in an embryo state, were a hundred times better than all the trash which was accepted. But what suffering he felt at being ever unable to show himself in all his strength, in such a masterpiece as he could not bring his genius to yield! There were always some superb bits in his paintings. He felt satisfied with this, that, and the other. Why, then, were there sudden voids? Why were there inferior bits, which he did not perceive while he was at work, but which afterwards utterly killed the picture like ineffaceable defects? And he felt quite unable to make any corrections; at certain moments a wall rose up, an insuperable obstacle, beyond which he was forbidden to venture. If he touched up the part that displeased him a score of times, so a score of times did he aggravate the evil, till everything became quite muddled and messy.

He grew anxious, and failed to see things clearly; his brush refused to obey him, and his will was paralysed. Was it his hands or his eyes that ceased to belong to him amid those progressive attacks of the hereditary disorder