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I met M. Bonnat last in June 1881; he was then going up to Tákwá in company with Messieurs Bowden and Macarthy, and I was canoeing down the Ancobra on my way home. He was suffering severely from a carbuncular boil on the thigh, which he refused to have properly opened.
It could not be said that he was not inventive and new, yet one experienced on seeing no matter which one of his paintings that he was a creature of culture and of acquisition. The scattered studies in the atelier first of all displayed the influence of his first master, of solid and simple Bonnat.
The indurated critical judgment of the academic forces pronounced Bonnat a greater portraitist than Velasquez, and Gérôme and his mock antiques and mock orientalism far superior to Fromentin and Chasseriau. It was a glorious epoch for mediocrity.
It could not be said that he was not inventive and new, yet one experienced on seeing no matter which one of his paintings that he was a creature of culture and of acquisition. The scattered studies in the atelier first of all displayed the influence of his first master, of solid and simple Bonnat.
I have Bonnat, Guillemet, Gervex, Beraud, Hebert, Duez, Clairin, and Jean-Paul Laurens. It will be a stunning affair! And women, too! Wait till you see! Every actress without exception of course I mean, you know, all those who have nothing to do this evening." The landlord of the establishment came across. "Do you often have this housewarming?"
M. Bonnat was presently informed of the Tákwá Ridge, mines well known for a century at least to Cape Coast Castle, and ever the principal source of the Axim currency. They were still worked in 1875 by the people who drew their stores from Axim. A five-weeks' residence convinced him that they were rich enough to attract capital; he went to Europe, and was successful in raising it.
Yet, is it not something a vain virtue, perhaps to possess the courage of one's windmills! From the Paris of the days when I haunted the ateliers of Gérôme, Bonnat, Meissonier, Couture, and spent my enthusiasms over the colour-schemes of Decamps and Fortuny, to the Paris of the revolutionists, Manet, Degas, Monet, now seems a life long. But time fugues precipitately through the land of art.
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