Pierre Grassou

by Honore de Balzac
Translated by Katharine Prescott Wormeley

DEDICATION
To the Lieutenant-Colonel of Artillery, Periollas,

As a Testimony of the Affectionate Esteem of the Author,
De Balzac

PIERRE GRASSOU
Whenever you have gone to take a serious look at the exhibition of

works of sculpture and painting, such as it has been since the
revolution of 1830, have you not been seized by a sense of uneasiness,

weariness, sadness, at the sight of those long and over-crowded
galleries? Since 1830, the true Salon no longer exists. The Louvre has

again been taken by assault,--this time by a populace of artists who
have maintained themselves in it.

In other days, when the Salon presented only the choicest works of
art, it conferred the highest honor on the creations there exhibited.

Among the two hundred selected paintings, the public could still
choose: a crown was awarded to the masterpiece by hands unseen. Eager,

impassioned discussions arose about some picture. The abuse showered
on Delacroix, on Ingres, contributed no less to their fame than the

praises and fanaticism of their adherents. To-day, neither the crowd
nor the criticism grows impassioned about the products of that bazaar.

Forced to make the selection for itself, which in former days the
examining jury made for it, the attention of the public is soon

wearied and the exhibition closes. Before the year 1817 the pictures
admitted never went beyond the first two columns of the long gallery

of the old masters; but in that year, to the great astonishment of the
public, they filled the whole space. Historical, high-art, genre

paintings, easel pictures, landscapes, flowers, animals, and water-
colors,--these eight specialties could surely not offer more than

twenty pictures in one year worthy of the eyes of the public, which,
indeed, cannot give its attention to a greater number of such works.

The more the number of artists increases, the more careful and
exacting the jury of admission ought to be.

The true character of the Salon was lost as soon as it spread along
the galleries. The Salon should have remained within fixed limits of

inflexible proportions, where each distinct specialty could show its
masterpieces only. An experience of ten years has shown the excellence

of the former institution. Now, instead of a tournament, we have a
mob; instead of a noble exhibition, we have a tumultuous bazaar;

instead of a choice selection we have a chaotic mass. What is the
result? A great artist is swamped. Decamps' "Turkish Cafe," "Children

at a Fountain," "Joseph," and "The Torture," would have redounded far
more to his credit if the four pictures had been exhibited in the

great Salon with the hundred good pictures of that year, than his
twenty pictures could, among three thousand others, jumbled together

in six galleries.
By some strange contradiction, ever since the doors are open to every

one there has been much talk of unknown and unrecognized genius. When,
twelve years earlier, Ingres' "Courtesan," and that of Sigalon, the

"Medusa" of Gericault, the "Massacre of Scio" by Delacroix, the
"Baptism of Henri IV." by Eugene Deveria, admitted by celebrated

artists accused of jealousy, showed the world, in spite of the denials
of criticism, that young and vigorous palettes existed, no such

complaint was made. Now, when the veriest dauber of canvas can send in
his work, the whole talk is of genius neglected! Where judgment no

longer exists, there is no longer anything judged. But whatever
artists may be doing now, they will come back in time to the

examination and selection which presents their works to the admiration
of the crowd for whom they work. Without selection by the Academy

there will be no Salon, and without the Salon art may perish.
Ever since the catalogue has grown into a book, many names have

appeared in it which still remain in their native obscurity, in spite
of the ten or a dozen pictures attached to them. Among these names

perhaps the most unknown to fame is that of an artist named Pierre
Grassou, coming from Fougeres, and called simply "Fougeres" among his

brother-artists, who, at the present moment holds a place, as the
saying is, "in the sun," and who suggested the rather bitter

reflections by which this sketch of his life is introduced,--
reflections that are applicable to many other individuals of the tribe

of artists.
In 1832, Fougeres lived in the rue de Navarin, on the fourth floor of

one of those tall, narrow houses which resemble the obelisk of Luxor,
and possess an alley, a dark little stairway with dangerous turnings,

three windows only on each floor, and, within the building, a
courtyard, or, to speak more correctly, a square pit or well. Above

the three or four rooms occupied by Grassou of Fougeres was his
studio, looking over to Montmartre. This studio was painted in brick-

color, for a background; the floor was tinted brown and well frotted;
each chair was furnished with a bit of carpet bound round the edges;

the sofa, simple enough, was clean as that in the bedroom of some
worthy bourgeoise. All these things denoted the tidy ways of a small

mind and the thrift of a poor man. A bureau was there, in which to put
away the studio implements, a table for breakfast, a sideboard, a

secretary; in short, all the articles necessary to a painter, neatly
arranged and very clean. The stove participated in this Dutch

cleanliness, which was all the more visible because the pure and
little changing light from the north flooded with its cold clear beams

the vast apartment. Fougeres, being merely a genre painter, does not
need the immense machinery and outfit which ruin historicalpainters;

he has never recognized within himself sufficient faculty to attempt
high-art, and he therefore clings to easel painting.

At the beginning of the month of December of that year, a season at
which the bourgeois of Paris conceive, periodically, the burlesque

idea of perpetuating their forms and figures already too bulky in
themselves, Pierre Grassou, who had risen early, prepared his palette,

and lighted his stove, was eating a roll steeped in milk, and waiting
till the frost on his windows had melted sufficiently to let the full

light in. The weather was fine and dry. At this moment the artist, who
ate his bread with that patient, resigned air that tells so much,

heard and recognized the step of a man who had upon his life the
influence such men have on the lives of nearly all artists,--the step

of Elie Magus, a picture-dealer, a usurer in canvas. The next moment
Elie Magus entered and found the painter in the act of beginning his

work in the tidy studio.
"How are you, old rascal?" said the painter.

Fougeres had the cross of the Legion of honor, and Elie Magus bought
his pictures at two and three hundred francs apiece, so he gave

himself the airs of a fine artist.
"Business is very bad," replied Elie. "You artists have such

pretensions! You talk of two hundred francs when you haven't put six
sous' worth of color on a canvas. However, you are a good fellow, I'll

say that. You are steady; and I've come to put a good bit of business
in your way."

"Timeo Danaos et dona ferentes," said Fougeres. "Do you know Latin?"
"No."

"Well, it means that the Greeks never proposed a good bit of business
to the Trojans without getting their fair share of it. In the olden

time they used to say, 'Take my horse.' Now we say, 'Take my bear.'
Well, what do you want, Ulysses-Lagingeole-Elie Magus?"

These words will give an idea of the mildness and wit with which
Fougeres employed what painters call studio fun.

"Well, I don't deny that you are to paint me two pictures for
nothing."

"Oh! oh!"
"I'll leave you to do it, or not; I don't ask it. But you're an honest

man."
"Come, out with it!"