His Masterpiece, Émile Zola [essential reading txt] 📗

by a still struggling artist. However, ominous rumours were already in circulation. As the number of well-known pictures was limited, and the number of amateurs could barely be increased, a time seemed to be coming when business would prove very difficult. There was talk of a syndicate, of an understanding with certain bankers to keep up the present high prices; the expedient of simulated sales was resorted to at the Hôtel Drouot⁠—pictures being bought in at a big figure by the dealer himself⁠—and bankruptcy seemed to be at the end of all that Stock Exchange jobbery, a perfect tumble head-over-heels after all the excessive, mendacious agiotage.

“Good day, dear master,” said Naudet, who had drawn near. “So you have come, like everybody else, to see my Fagerolles, eh?”

He no longer treated Bongrand in the wheedling, respectful manner of yore. And he spoke of Fagerolles as of a painter belonging to him, of a workman to whom he paid wages, and whom he often scolded. It was he who had settled the young artist in the Avenue de Villiers, compelling him to have a little mansion of his own, furnishing it as he would have furnished a place for a hussy, running him into debt with supplies of carpets and knicknacks, so that he might afterwards hold him at his mercy; and now he began to accuse him of lacking orderliness and seriousness, of compromising himself like a feather-brain. Take that picture, for instance, a serious painter would never have sent it to the Salon; it made a stir, no doubt, and people even talked of its obtaining the medal of honour; but nothing could have a worse effect on high prices. When a man wanted to get hold of the Yankees, he ought to know how to remain at home, like an idol in the depths of his tabernacle.

“You may believe me or not, my dear fellow,” he said to Bongrand, “but I would have given twenty thousand francs out of my pocket to prevent those stupid newspapers from making all this row about my Fagerolles this year.”

Bongrand, who, despite his sufferings, was listening bravely, smiled.

“In point of fact,” he said, “they are perhaps carrying indiscretion too far. I read an article yesterday in which I learnt that Fagerolles ate two boiled eggs every morning.”

He laughed over the coarse puffery which, after a first article on the “young master’s” picture, as yet seen by nobody, had for a week past kept all Paris occupied about him. The whole fraternity of reporters had been campaigning, stripping Fagerolles to the skin, telling their readers all about his father, the artistic zinc manufacturer, his education, the house in which he resided, how he lived, even revealing the colour of his socks, and mentioning a habit he had of pinching his nose. And he was the passion of the hour, the “young master” according to the tastes of the day, one who had been lucky enough to miss the Prix de Rome, and break off with the School of Arts, whose principles, however, he retained. After all, the success of that style of painting which aims merely at approximating reality, not at rendering it in all its truth, was the fortune of a season which the wind brings and blows away again, a mere whim on the part of the great lunatic city; the stir it caused was like that occasioned by some accident, which upsets the crowd in the morning and is forgotten by night amidst general indifference.

However, Naudet noticed the Village Funeral.

“Hullo! that’s your picture, eh?” he said. “So you wanted to give a companion to the Wedding? Well, I should have tried to dissuade you! Ah! the Wedding! the Wedding!”

Bongrand still listened to him without ceasing to smile. Barely a twinge of pain passed over his trembling lips. He forgot his masterpieces, the certainty of leaving an immortal name, he was only cognisant of the vogue which that youngster, unworthy of cleaning his palette, had so suddenly and easily acquired, that vogue which seemed to be pushing him, Bongrand, into oblivion⁠—he who had struggled for ten years before he had succeeded in making himself known. Ah! when the new generations bury a man, if they only knew what tears of blood they make him shed in death!

However, as he had remained silent, he was seized with the fear that he might have let his suffering be divined. Was he falling to the baseness of envy? Anger with himself made him raise his head⁠—a man should die erect. And instead of giving the violent answer which was rising to his lips, he said in a familiar way:

“You are right, Naudet, I should have done better if I had gone to bed on the day when the idea of that picture occurred to me.”

“Ah! there he is; excuse me!” cried the dealer, making off.

It was Fagerolles showing himself at the entrance of the gallery. He discreetly stood there without entering, carrying his good fortune with the ease of a man who knows what he is about. Besides, he was looking for somebody; he made a sign to a young man, and gave him an answer, a favourable one, no doubt, for the other brimmed over with gratitude. Then two other persons sprang forward to congratulate him; a woman detained him, showing him, with a martyr’s gesture, a bit of still life hung in a dark corner. And finally he disappeared, after casting but one glance at the people in raptures before his picture.

Claude, who had looked and listened, was overwhelmed with sadness. The crush was still increasing, he now had nought before him but faces gaping and sweating in the heat, which had become intolerable. Above the nearer shoulders rose others, and so on and so on as far as the door, whence those who could see nothing pointed out the painting to each other with the tips of their umbrellas, from which dripped the water left by