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Updated: April 30, 2025
But one would say: That may answer for landscape: what about the figure-painter? Let us counsel together. A man only rises to his own level. In art, as in music and literature, he only expresses himself. Each selects his own method. The school of Meissonier is not content with a few grand truths simply expressed. They want a multitude of facts; they must tell the story in their own way.
I had seen mounted troops in action, of course, both in Africa and in Asia, but they had brown skins and wore fantastic uniforms. What I wanted to see was one of those charges such as Meissonier used to paint scarlet breeches and steel helmets and a sea of brandished sword-blades and all that sort of thing.
In summer, with Adele languid under her parasol, and Teddy enchanting in white, they went to the park concerts, or to the various museums, and wrangled about the new Strauss and Debussy, and commented upon the Hals canvases and the art of Meissonier and Detaille. This evening he had a book for her from the Public Library; he had been dipping into it on the elevated train.
"Because I'm something of a rogue myself. I could not enjoy the rug and the paintings except on board. The French, the Italian, and the Spanish governments could confiscate every solitary painting except the Meissonier and the Detaille, for the simple reason that they were stolen. Oh, I did not steal them myself; I merely purchased them with one eye shut.
Then comes, in the third place, poverty in rags, the poverty of the people, the poverty that is poetic; which Callot, Hogarth, Murillo, Charlet, Raffet, Gavarni, Meissonier, Art itself adores and cultivates, especially during the carnival. The man in whom poor Agathe thought she recognized her son was astride the last two classes of poverty.
They were like figures out of a canvas of Meissonier, recalling the spacious days when men went into action with all the pomp and circumstance of war, drums beating, colours flying, plumes nodding, and the air vibrant with the silvery notes of the bugle.
As for Menzel, it would be well here to correct the notion bandied about town that he discovered impressionism before the French. He did not. He went to Paris in 1867. Meissonier at first, and later Courbet, influenced him. His Rolling Mill was painted in 1876. It is very Courbet.
Edmund About writes that "to cover M. Meissonier's pictures with gold pieces simply would be to buy them for nothing; and the practice has now been established of covering them with bank-notes." Meissonier seldom painted the figure of a woman in his pictures, but all of his subjects were wholesome and fine.
At the A. T. Stewart sale, in New York, the "Fortunys" brought higher prices than anything else in the collection, save, I believe, the "1807" of Meissonier. In fact, there are more "Fortunys" owned in New York than there are in either Barcelona or Madrid. Indeed, there is a marked similarity between the style of Fortuny and that of Meissonier.
As is usual in such affairs, the purchase was made, not by the duke in person, but by an agent: in this case, it was his secretary, M. Adaline, who bought the picture from Meissonier, who as an acknowledgment of the service gave the secretary a water-color drawing which, to-day, like everything coming from the hand of Meissonier, would bring the owner a good round sum if offered for sale.
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