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Updated: May 15, 2025
All these examples of the most successful but least inspired of modern artists exemplify his patient, concentrated, meticulous style. By an ingenious fiction that the installation is only provisional, six characteristic Venetian pictures by the veteran, Ziem, have been retained in the collection. 136, is, however, wrongly named, and should read Scene from the Giudecca.
Charles Jacque, with the keen smile and the facility for absorbing ideas from the best of them; Ziem even, who painted Venice for some years in the shades of Fontainebleau; Dupré, whose nature expresses itself in deep sunsets gleaming through the oaks of the forest; Daubigny, the youngest of the group, and the more immediate forerunner of landscape as it is to-day, then winning his first success; Decamps, who later sometimes left the Imperial Court, domiciled for the moment at the palace of Fontainebleau, and brought his personality of a great painter who failed through lack of elementary instruction, among them; Daumier, the great caricaturist, and possibly greater painter, but for the engrossing character of the work which first fell in his way all these and more made up the constantly shifting group.
The dashing Ziem, for example, deprived Venice of her translucency; our own Henry Woods and Luke Fildes endow her daughters, who have always a touch of wistfulness, with too bold a beauty.
On the other runs the long brick wall of the garden, soggy, begrimed; streaked with moss and lichen in bands of black-green and yellow ochre, over which mass and sway the great sycamores that Ziem loves, their lower branches interwoven with zinnober cedars gleaming in spots where the prying sun drips gold. Only wide enough for a barca and two gondolas to pass this canal of mine.
The personal relations between Rousseau and Millet were in the best sense of the word fraternal, and from neither did I ever hear a word to the disparagement of a brother artist, while Rousseau used to talk in the subtlest vein of critical appreciation of his rivals among the landscape painters, the Duprés, Ziem, Troyon, and others, so that I regret that in those days I thought only of my own instruction, and not of the putting on record the opinions of a man whose ideas of art were amongst the most exalted I have known.
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