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Updated: May 16, 2025
You feel before Guillaumet's Luxembourg canvases, as in looking over the slightest of his vivid memoranda, that you are getting in an acute and concentrated form the sensations which the actual scenes and types rendered by the painter would stimulate in you, supposing, of course, that you were sufficiently sensitive.
Fromentin, in comparison, is occupied in picture-making giving you a beautifully colored and highly intelligent pictorial report as against Guillaumet's actual reproduction.
But it is not in the slightly amateurish nature of his technical equipment realized perfectly by himself, of course, as the first critic of the technic of painting among all who have ventured upon the subject that his painting differs from Guillaumet's. It is his whole point of view. His Africa is that of the critic, the littérateur, the raffiné. Guillaumet's is Africa itself.
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