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Born in New York. Pupil of the Convent of the Sacred Heart and of Cabanel, in Paris. This artist has painted portraits of Leo XIII., who presented her with a gold medal; of Cardinal Ferrata; of Challemel-Lacour, President of the Senate at the time when the portrait was made, and of many others. Her picture of "Faith" is in the Luxembourg Gallery.
Some people said he had speculated unfortunately in railways, others that he was being bled by one of the most insatiable members of her profession; and to every report of threatened insolvency Beaufort replied by a fresh extravagance: the building of a new row of orchid-houses, the purchase of a new string of race-horses, or the addition of a new Meissonnier or Cabanel to his picture-gallery.
Life is short, and more important things, things of more significant import, demand attention. The grounds on which the works of Bouguereau and Cabanel are admired are certainly insufficient. But they are experts in their sphere. What they do could hardly be better done.
His talent is unsurpassably fine, and yet we reflect with complacency that he picked it up altogether at home. There is a certain refreshment in meeting an American artist of the first order who is not a pupil of Gérôme or of Cabanel. Of course, I hasten to add, we must make our account with the fact that, as I began with remarking, the great development of Mr.
Somebody was saying he did not like Daumier, and Degas preserved silence for a long while. "If you were to show Raphael," he said at last, "a Daumier, he would admire it, he would take off his hat; but if you were to show him a Cabanel he would say with a sigh 'That is my fault!" My reverie is broken by the piano; my friend is playing, and it is pleasant to listen to music in this airy studio.
But not only is it a mark of limitation to refuse all interest to such a work as, for example, M. Cabanel's "Birth of Venus," in the painting of which a vast deal of technical expertness is enjoyably evident, and which in every respect of motive and execution is far above similar things done elsewhere than in France; it is a still greater error to confound such painters as M. Cabanel and M. Bouguereau with other painters whose classic temperament has been subjected to the universal romantic influence equally with theirs, but whose production is as different from theirs as is that of the thorough and pure romanticists, the truly poetic painters.
Ingres was born in 1780, Gericault in 1791, Corot in 1796, Delacroix in 1798, Diaz in 1809, Dupre in 1812, Rousseau in 1812, Jacques in 1813, Meissonier in 1815, Millet in 1815, Troyon in 1816, Daubigny in 1817, Courbet in 1819, Fromentin in 1820, Monticelli in 1824, Puvis de Chavannes in 1824, Cabanel in 1825, Hervier in 1827, Vollon in 1833, Manet in 1833, Degas in 1834.
The result, we need scarcely say, was eminently successful, and the Abbe; was doubly grateful in having added so many more thousand francs to his purse. During this journey another priest, the Abbe Cabanel, united his forces with those of Jasmin and Masson. This Abbe was curate of Port de Sainte-Foi-la-Grande.
Louis, and Jeanne d'Arc, by Bonnat, Blanc, Levy, Cabanel and Lenepveu, are all excellent work of the kind so familiar to visitors to the Salon at Paris, but lacking in harmony and in inspiration. The angel appearing to Jeanne d'Arc seems to have been modelled from a figurante at the opera.
It is a source of really æsthetic satisfaction to see everything that is attempted as well done as it is in the works of such painters as Bouguereau and Cabanel. Of course the feeling that denies them large importance is a legitimate one.
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