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    Pierre Grassou
    Pierre Grassou
    Pierre Grassou
    Ebook55 pages39 minutes

    Pierre Grassou

    By Katharine Prescott Wormeley and Honoré de Balzac

    ()

    Read preview
    LanguageEnglish
    PublisherArchive Classics
    Release dateJan 1, 2004
    Pierre Grassou

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      Book preview

      Pierre Grassou - Katharine Prescott Wormeley

      The Project Gutenberg EBook of Pierre Grassou, by Honore de Balzac

      This eBook is for the use of anyone anywhere at no cost and with almost no restrictions whatsoever. You may copy it, give it away or re-use it under the terms of the Project Gutenberg License included with this eBook or online at www.gutenberg.org

      Title: Pierre Grassou

      Author: Honore de Balzac

      Translator: Katharine Prescott Wormeley

      Release Date: March, 1998 [Etext #1230]

      Posting Date: February 21, 2010

      Language: English

      *** START OF THIS PROJECT GUTENBERG EBOOK PIERRE GRASSOU ***

      Produced by John Bickers and Dagny

      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

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