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Updated: June 15, 2025
The more I looked at him, the less I was surprised that Flandrin should have been struck by his appearance. There was an air of stern poverty and iron resolution about the man that arrested one's attention at first sight. The words "ancien militaire" were written in every furrow of his face; in every seam and on every button of his shabby clothing.
Earlier works are, 207, R. of entrance, Virgil and Dante nearing the City of Dis, executed with feverish energy in a few weeks for the Salon of 1822; and 208, L. of entrance, The Massacre of Scio, a glowing canvas painted in 1834. Flandrin can only be truly appreciated in the church of St.
He calls his place a 'den, but that's a metaphor. Mine is a howling wilderness." Arriving presently at a large house at the bottom of a courtyard in the Rue Vaugirard, he knocked at a small side-door bearing a tiny brass plate not much larger than a visiting-card, on which was engraved "Monsieur Flandrin."
But in truth I only answered thus to cover my own ignorance; for I knew little at that time of modern French art, and I had never even heard the name of Flandrin before. "Know him!" echoed Müller. "I should think so. Why, I worked in his studio for nearly two years." "But the main point now," said Müller, "is to get the sketch and how?
About the best known of Matisse's companions for they were in no sense his disciples were, I should say, Friesz, Vlaminck, Laprade, Chabaud, Marquet, Manguin, Puy, Delaunay, Rouault, Girieud, Flandrin. I think I am justified in describing all these, with the exception, perhaps, of Girieud and Flandrin, as Fauves; assuredly I have heard them all so described.
And further, there is the dress of a period to be taken into account. Think of the family likeness that pervades the flowing wigs of the courts of Louis Quatorze and Charles the Second see what powder did a hundred years ago to equalize mankind." Flandrin shook his head.
He mounted rapidly, and found himself in the large room devoted to the modern French school. He went straight to two pictures by Hippolyte Flandrin 'Madame Vinet' and 'Portrait de Jeune Fille. When, in the first year of his London life, he had made his hurried visits to Paris, these pictures, then in the Luxembourg, had been among those which had most vitally affected him.
When they learned that Flandrin had desired to have a sketch of the man's head; when Müller described his features, and I his obstinate reserve and semi-military air, their excitement knew no bounds. Each had immediately his own conjecture to offer. He was a political spy, and therefore fearful lest his portrait should be recognised. He was a conspirator of the Fieschi school.
"About an hour ago. But again, I repeat do you know him?" "Do I know him? Tonnerre de Dieu!" "Then who and what is he?" The model stroked his beard; shook his head; declined to answer. "Bah!" said he, gloomily, "I may have seen him, or I may be mistaken. 'Tis not my affair." "I suspect Guichet knows something against this interesting stranger," laughed Flandrin. "Come, Guichet, out with it!
"And I feel sure we should observe the greatest," replied Flandrin, striding up and down the studio, and speaking with great animation. "I believe, as regards the men and women of Holbein's time, that their faces were more lined than ours; their eyes, as a rule, smaller their mouths wider their eyebrows more scanty their ears larger their figures more ungainly.
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