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Updated: June 11, 2025
"Should I be likely to have our portraits painted by an artist who wasn't decorated?" returned the former bottle-dealer. Elie Magus here bowed to the Vervelle family and went away. Grassou accompanied him to the landing. "There's no one but you who would fish up such whales." "One hundred thousand francs of 'dot'!" "Yes, but what a family!"
"High art is at a low ebb," said his friend Pierre Grassou, who made daubs to suit the taste of the bourgeoisie, in whose appartements fine paintings were at a discount. "You ought to have a whole cathedral to decorate; that's what you want," declared Schinner; "then you would silence criticism with a master-stroke."
It will take me all to-morrow to get the tones of the original and make the copy look so old it can't be distinguished from it." "Adieu, mother," said Philippe, kissing Agathe. "Next Sunday, then." The next day Elie Magus was to come for his copy. Joseph's friend, Pierre Grassou, who was working for the same dealer, wanted to see it when finished.
The Vervelles and the Grassous, who agree delightfully, keep a carriage, and are the happiest people on earth. Pierre Grassou never emerges from the bourgeois circle, in which he is considered one of the greatest artists of the period.
What a crew!" "I'll write you a line for my notary." "Have you got a notary?" "Yes." "That explains to me why you still make cheeks with pink tones like a perfumer's sign." Grassou could not help coloring, for Virginie was sitting. "Take Nature as you find her," said the great painter, going on with his lecture. "Mademoiselle is red-haired. Well, is that a sin?
The dealer did not come as he had promised. It was getting late; Agathe dined that day with Madame Desroches, who had lately lost her husband, and Joseph proposed to Pierre Grassou to dine at his table d'hote. As he went out he left the key of his studio with the concierge. An hour later Philippe appeared and said to the concierge,
But admire the good fortune of men who are methodical if Grassou, belated with his work, had been caught by the revolution of July he would not have got his money.
Some persons, touched by the persistent energy of a man whom nothing had discouraged, talked of Domenichino and said: "Perseverance in the arts should be rewarded. Grassou hasn't stolen his successes; he has delved for ten years, the poor dear man!" That exclamation of "poor dear man!" counted for half in the support and the congratulations which the painter received.
His despondency did not abate his powers of work, as from April to December he published "Z. Marcas," "Un Prince de la Boheme," and "Pierre Grassou"; while in 1841, among other masterpieces, appeared "La Fausse Maitresse," "Une Tenebreuse Affaire," "Un Menage de Garcon," "Ursule Mirouet," and "Les Memoires de deux Jeunes Mariees."
When the Cenacle friends or some brother-painter, like Schinner, Pierre Grassou, Leon de Lora, a very youthful "rapin" who was called at that time Mistigris, discussed a picture, she would come back afterwards, examine it attentively, and discover nothing to justify their fine words and their hot disputes.
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