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Zuloaga, the Spaniard, has several; Degas, two; the critic Duret, two; John S. Sargent, one a St. Martin. Durand-Ruel once owned the Annunciation, but sold it to Mrs. H.O. Havemeyer, and the Duveens in London possess a Disrobing of Christ. At the National Gallery there are two. Gautier wrote that El Greco surpassed Monk Lewis and Mrs.
For years he remained unknown. It is only giving M. Durand-Ruel his due, to state that he was one of the first to anticipate the Impressionist school and to buy the first works of these painters, who were treated as madmen and charlatans. He has become great with them, and has made his fortune and theirs through having had confidence in them, and no fortune has been better deserved.
The Fight of the Kearsage and the Alabama, a magnificent sea-piece, bathed in sunlight, announced this transformation in his work, as did also a study, a Garden, painted, I believe, in 1870, but exhibited only after the crisis of the terrible year. At that time the Durand-Ruel Gallery bought a considerable series by the innovator, and was imitated by some select art-lovers.
In 1891 and 1892, at Tahiti, Gauguin painted many pictures masterpieces his friends and disciples call them which were later shown at an exhibition held in the Durand-Ruel Galleries. Paris shuddered or went into ecstasy over these blazing transcriptions of the tropics; over these massive men and women, nude savages who stared with such sinister magnetism from the frames.
Exhibited at some galleries, gathered principally by Durand-Ruel, sold directly to art-lovers foreigners mostly these large series of works have practically remained unknown to the French public.
It was sold for the surprising sum of 84,000 francs to M. Durand-Ruel, who acted in behalf of the Metropolitan Museum. Another canvas by Renoir fetched 14,050 francs. A sanguine of Puvis de Chavannes brought 2,050 francs, and 4,700 francs was paid for a Cézanne picture.
Hamerton went to visit the New Sorbonne, the Hotel de Ville, the Lycee Janson, the new pictures in the Museum of the Luxembourg, those in the private exhibition of M. Durand-Ruel, as well as the exhibitions at Messrs. Goupil's and Petit's. He saw J. P. Laurens' "Voute d'Acier," M. Rodin's studio, and the Musee du Mobilier National, with its beautiful tapestries.
Gauguin uttered the paradox, "Nothing so resembles a daub as a masterpiece," and the novelist Elémir Bourges cried, "This is the painting of a vintager!" Alfred Stevens roared in the presence of the Cézannes, Anquetin admired; but, as Bernard adds, Jacques Blanche bought. So did Durand-Ruel, who has informed me that a fine Cézanne to-day is a difficult fish to hook.
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