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From days in the Salons, from the illustrated papers and magazines and books we filled our bags with to take back to London, we could not measure the full powers of men like Willette and Caran d'Ache and Rivière and Louis Morin until we had seen also The Prodigal Son, The March of the Stars, and all the stories they told in those dramatic silhouettes those marvellous little black figures, cut in tin, only a few inches high, moving across a white space small in due proportion, but so designed and posed and grouped by the artist as to give the swing and the movement and the passing of great armies until one could almost fancy one heard the drums beat and the trumpets call, or to suggest the grandeur and solemnity of the desert, the vastness of the sky, the mystery of the night.
Without doubt it was a letter that should exact time for the response." It was on the fifth day that he met Mimi Chantal, the prettiest model on the left bank. "Is monsieur by chance painting the great picture which shall put him between Velasquez and Caran d'Ache on the last day?" "I am painting nothing," said Vernon. "And why is the prettiest model in Paris not at work?"
And Black-and-White was a section to be visited in the freshness of the morning, not to be put off, like the dull, shockingly over-crowded little room at the Academy, to the last hurried moments of fatigue a section to devote the day to and then to leave only for the bookstall or bookshop where we could invest the money we had not to spare in the books and magazines and papers illustrated by Carlos Schwabe and Khnopf and Steinlen and Willette and Caran D'Ache and Louis Legrand and Forain and the men whose work in the original we had been studying and laying down the law about for hours.
"In afternoon rode to St. Cloud with a view to comparison with Turner. In coming back met a steam-carriage on the road, managed, I believe, by Caran d'Ache," etc., etc. When he had regained the elasticity of his mind, his thoughts were turned again to his important work. Read the chapters over again to recover materials and spirit of work."
One of Caran d’Ache’s greatest successes in this line was an Epopée de Napoléon,—the great Emperor appearing on foot and on horseback, the long lines of his army passing before him in the foreground or small in the distance. They stormed heights, cheered on by his presence, or formed hollow squares to repulse the enemy.
He was probably himself a good horseman, and at any rate understood, as thoroughly as even Caran d'Ache himself, the humorous side of the equestrian art. A whole series of his smaller prints deal with the rider and his steed. "How to pass a carriage," "How to lose your way," "How to travel on two legs in a frost," are among the best of these.
Another charming form of entertainment inaugurated by this group of men is that of “shadow pictures,” conceived originally by Caran d’Ache, and carried by him to a marvellous perfection. A medium-sized frame filled with ground glass is suspended at one end of a room and surrounded by sombre draperies.
Daumier was the artistic progenitor of the Caran d'Aches, the Forains who was it that called Forain "Degas en caricature"? Willettes, and Toulouse-de-Lautrecs. He was a political pamphleteer, a scourger of public scamps, and a pictorial muck-raker of genius. His mockery of the classic in art was later paralleled by Offenbach in La Belle Hélène. But there were other sides to his genius.
The "Long Minuet" and this last belong to that class of caricatures in which the figures form a continued story a line of humour which the Germans have developed in Fliegende Blätter, which Caran d'Ache has used with success in France, and which Pick-Me-Up, when it was under the able direction of Mr. Leslie Willson, scored many a good point with. =By H. W. Bunbury A FASHIONABLE SALUTATION=
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