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Updated: May 10, 2025
Honestly, you make me think of Fromentin, or that poor Maupassant, who talked of the desert because he had been to Djelfa, two days' journey from the street of Bab-Azound and the Government buildings, four days from the Avenue de l'Opera; and who, because he saw a poor devil of a camel dying near Bou-Saada, believed himself in the heart of the desert, on the old route of the caravans.... Tidi-Kelt, the desert!"
Each has had his own conception of the theme, each his own professional technique in handling his chosen medium, each his own habits of brain, each, in a word, has found his own subject. "Are these children who are playing in the sunlight," said Fromentin, "or is it a place in the sunlight in which children are playing?"
The contrast which Guillaumet presents to Fromentin affords a very striking illustration of the growth of the realistic spirit in recent years. Fromentin is so admirable a painter that I can hardly fancy any appreciative person wishing him different.
The triumphant chorus of Rops's admirers comprises the most critical names in France and Italy: Barbey d'Aurevilly, J.K. Huysmans, Pradelle, Joséphin Péladan once the Sâr of Babylonian fame Eugène Demolder, Emile Verhaeren, the Belgian poet; Camille Lemonnier, Champsaur, Arsène Alexandre, Fromentin, Vittorio Pica, De Hérédia, Mallarmé, Octave Uzanne, Octave Mirbeau, the biographer Ramiro and Charles Baudelaire.
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