BY FR. CRASTRE

TRANSLATED FROM THE FRENCH
BY FREDERIC TABER COOPER

ILLUSTRATED WITH EIGHT
REPRODUCTIONS IN COLOUR

FREDERICK A. STOKES COMPANY NEW YORK—PUBLISHERS

COPYRIGHT, 1914, BY
FREDERICK A. STOKES COMPANY

March, 1914

THE·PLIMPTON·PRESS
NORWOOD·MASS·U·S·A

There are certain beings who bear the stamp of the divine seal and are preordained to receive the highest favours within the gift of glory; they are fated to pass through life like those brilliant meteors which are seen to flash across the heavens and disappear in the same instant. Bastien-Lepage was one of these meteors. But while the others leave behind them only a luminous trail that swiftly vanishes, this rare artist, snatched so prematurely from the field of art, traced his passage in a furrow of dazzling splendour, the radiance of which has not even yet begun to fade.

Bastien-Lepage was a painter in the noblest acceptation of the term; it may even be asserted that he would have exercised considerable influence upon the art of his epoch if Destiny had not stupidly mown down the sturdy flower of his genius in the very hour of its brightest blossoming. Born into this world with a solid tenacity of purpose which seems to be a special gift of the soil of Lorraine to her sons and daughters, he had a clear-cut and unalterable conception of what painting should be. His mind was receptive only of simple ideas, his eye perceived only visions that were tangible, such as were unobscured by any shadow or any artifice. He was the apostle of clearness, both in conception and in execution. Every time that he tried experimentally to turn aside from his chosen path, he ceased to be himself, he fell below his own standards. What interested him most of all, in the life of this world which he observed so eagerly, as though he had a presentiment of his early end, was nature's most precise and most uncompromising manifestation, both in line and in relief; namely, the peasant and the environment which frames him. Having deliberately chosen such models, Bastien-Lepage could not pretend to be the painter of the Beautiful, nor did he ever become so. He did not even adorn his subjects with that special sort of idealism with which Millet embellished even his most uncouth rustic types, a slightly melancholy idealism obtained by a sombre toning down of colour, which Bastien-Lepage held in horror. His peasants stand out boldly, in the crude glare of flamboyant noontide, under a summer sun that refuses to leave hidden any part of their ugliness or their defects. He painted them as he saw them, with the searching rays striking them full in the face; and his brush was a stranger to any compromise, intolerant of even the slightest betterment, in the course of the literal transference of his model to his canvas. It made no difference how handsome or how homely a given subject might be, Bastien-Lepage would always render him precisely as nature, in a grudging or indulgent mood, had made him,—that is to say, truly and sincerely, with a precision that would be almost photographic, if the minuteness of his technique were not ennobled by the high quality of his art. With such gifts, Bastien-Lepage was foreordained to be a marvellous interpreter of rural life, and such he was in the highest degree; in like manner, he could not fail to become a portrait painter of the first order, and it was in this capacity also that he enrolled himself among the most interesting and vigorous artists of our epoch.

(Museum at Verdun)

Few artists have been able to endow their models with such an animated expression of life. All the keenness, intelligence and austerity of this prominent personage, known by the name of Father of the Constitution, are eloquently transferred to this page, with a sobriety of means that still further emphasizes its vigour.