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Then, contrasting with these distant tendernesses, there was the vigorous painting of Guillaumin. There life is rendered in violent and colourful brutality. The ladies fishing in the park, with the violet of the skies and the green of the trees descending upon them, is a chef d'œuvre.
He went to La Pature at the top of the Argueil hills at the beginning of the forest; he threw himself upon the ground under the pines and watched the sky through his fingers. "How bored I am!" he said to himself, "how bored I am!" He thought he was to be pitied for living in this village, with Homais for a friend and Monsieru Guillaumin for master.
"Good-night," said Monsieur Guillaumin. "Give him his head." They set out, and Homais went back. Madame Bovary had opened her window overlooking the garden and watched the clouds.
As he was a good deal bored at Yonville, where he was a clerk at the notary's, Monsieur Guillaumin Monsieur Léon Dupuis (it was he who was the second habitué of the "Lion d'Or") frequently put back his dinner-hour in the hope that some traveler might come to the inn, with whom he could chat in the evening. On the days when his work was done early, he had, for want of something else to do, to come punctually, and endure from soup to cheese a tête-
Homais and Monsieur Guillaumin were talking. They were waiting for him. "Embrace me," said the druggist with tears in his eyes. "Here is your coat, my good friend. Mind the cold; take care of yourself; look after yourself." "Come, Leon, jump in," said the notary. Homais bend over the splash-board, and in a voice broken by sobs uttered these three sad words "A pleasant journey!"
The amazing part of it all is that he produced for more than thirty years and seldom sold a canvas, seldom exhibited. His solitary appearance at an official salon was in 1882, and he would not have succeeded then if it had not been for his friend Guillaumin, a member of the selecting jury, who claimed his rights and passed in, amid execrations, both mock and real, a portrait by Cézanne.
During the winter of 1844-45, Charles Grun had some long conversations with Proudhon, which determined, very decisively, not the ideas, which belonged exclusively to the bisontin thinker, but the form of the important work on which he labored after 1843, and which was published in 1846 by Guillaumin.
At first he frequented the Académie Suisse, where he encountered as fellow-workers Pissarro and Guillaumin. He soon transferred his easel to the Beaux-Arts and became an admirer of Delacroix and Courbet.
He was adjudicator for a supply of cider to the hospital at Neufchâtel; Monsieur Guillaumin promised him some shares in the turf-pits of Gaumesnil, and he dreamt of establishing a new diligence service between Arcueil and Rouen, which no doubt would not be long in ruining the ramshackle van of the "Lion d'Or," and that, travelling faster, at a cheaper rate, and carrying more luggage, would thus put into his hands the whole commerce of Yonville.
He went to La Pâture at the top of the Argueil hills at the beginning of the forest; he threw himself upon the ground under the pines and gazed at the sky through his fingers. "How bored I am!" he said to himself, "how bored I am!" He thought he was to be pitied for living in this village, with Homais for a friend and Monsieur Guillaumin for master.
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