Essentials of Negotiation Canadian 3rd

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Chapter 6
Perception, Cognition, and Emotion

Overview

The basic building blocks of all social encounters include perception (how we make sense of our
environment), cognition (how we process information) and emotion (internal affective states).
Each of these factors can play a role in shaping negotiation interactions and outcomes, often in
subtle and difficult to observe ways. A working knowledge of how humans perceive and process
information is important to understanding why people behave the way they do during
negotiations. We will look at how information is perceived, filtered, distorted and framed.

Learning Objectives

The purpose of this chapter is to introduce perception, cognition, and emotion, and explain how
each can influence negotiator behaviour. After reading this chapter you should have a deeper
understanding of the following:
1. Define perception and explain the ways perceptual distortion can influence negotiator
behaviour,
2. Describe the ways in which cognition (information processing) can be affected by
framing processes and systematic errors (or cognitive biases), and
3. Recognize the effects of mood and emotion on how we interact with others in negotiation
situations.

I. Perception

A. Perception is the process by which individuals connect to their environment, by ascribing

meaning to messages and events. This process is strongly influenced by the perceiver’s
current state of mind, role and comprehension of earlier communications.

1. Perception is a “sense-making” process where people interpret their environment so

they can respond appropriately.
2. Because environments have a large array of stimuli, perception becomes selective.
People tune in and out the environmental sounds, senses, expressions and
information. These perceptional short cuts allow people to process information more
readily, but unfortunately these short cuts can be inaccurate.

B. Perception distortion

1. A perceiver’s own needs, desires, motivation and personal experiences may create a
predisposition about the other party. This can lead to biases and errors in perception
and subsequent communication.
a. Stereotyping – occurs when one individual assigns attributes to another solely on
the basis of the other’s membership in a particular social or demographic
category.

Lewicki, Essentials of Negotiation, 3rd Canadian Edition

Instructor’s Manual
 Copyright © 2017, McGraw-Hill Education Ltd.

(1) Highly resistant to change

(2) Commonly used as a resort during conflicts involving values, ideologies, and
direct competition for resources.
b. Halo effects occur when people generalize about a variety of attributes based on
the knowledge of one attribute of an individual.
(1) Research shows halo effects are most likely to occur in perception
(i) Where there is very little experience with a person along some dimension
(ii) When the person is well known
(iii)When the qualities have strong moral implications
c. Selective perception occurs when the perceiver singles out certain information
that supports or reinforces a prior belief and filters out information that does not
confirm that belief.
d. Projection occurs when people assign to others the characteristics or feelings that
they possess themselves. Projection usually arises out of a need to protect one’s
own self-concept— to see oneself as consistent and good.

2. Stereotyping and Halo Effects are perceptional distortions by generalization (using

small amounts of information to draw large conclusions about individuals). Selective
perception and Projection are perceptional distortions that involve anticipating certain
attributes by relying on certain information to arrive at a consistent view.

II. Framing

A frame is the subjective mechanism through which people evaluate and make sense out of
situations, leading them to pursue or avoid subsequent actions. Framing is a key issue in negation
because it is a way of labeling different interpretations of the issues in dispute or the situation.

A. Frames in Negotiation

1. Loss–gain—how the parties define the risk or reward associated with particular
outcomes. Being in a loss frame of mind makes you more risk seeking.
2. Outcome—a party’s predisposition to achieving a specific result or outcome from the
negotiation. Strong outcome frame makes you more likely to engage in distributive
negotiations.
3. Aspiration—a predisposition toward satisfying a broader set of interests or needs in
negotiation. Strong aspiration frame makes you more likely to engage in integrative
negotiations.
4. Process—how the parties will go about resolving their dispute. Strong process frame
makes you more likely to be concerned about how the dispute is managed.
5. Identity—how the parties define “who they are.” Strong identity frames makes you
more likely to be concerned with the social category of the parties (e.g., race, gender,
etc.).

B. The frame of an issue changes as the negotiation evolves.

Lewicki, Essentials of Negotiation, 3rd Canadian Edition

Instructor’s Manual
 Copyright © 2017, McGraw-Hill Education Ltd.

1. Several factors shape a frame: the negotiation context clearly affects the way both
sides define the issue and conversations that the parties have with each other about
the issues in the bargaining mix.

2. Remember that frames are not fixed and can be altered by persuasion. As such, rather
than focus on a parties’ initial dominant frame, focus on the patterns of change
(transformation) that can occur in the issues as parties communicate with each other.
The process of “reframing” is important because it allows the party to propose to
counterpart a new way to approach the problem.

a. At least four factors can affect how the conversation is shaped:

(1) Negotiators tend to argue for stock issues, or concerns that are raised every
time the parties negotiate.
(2) Each party attempts to make the best possible case for his or her preferred
position or perspective.
(3) In a more “macro” sense, frames may also define major shifts and transitions
in the overall negotiation.
(4) Multiple agenda items operate to shape the issue development frames.

3. The process of “reframing” is important because it allows the party to propose to

counterpart a new way to approach the problem.

Summary of Framing

Framing is about focusing, shaping, and organizing the world around us—making sense of
complex realities and defining them in ways that are meaningful to us. We discussed the
different type of frames that exist and their importance for understanding strategic choices in
negotiation. We can offer the following prescriptive advice about problem framing for the
negotiator:

• Frames shape what the parties define as the key issues and how they talk about them
• Both parties have frames
• Frames are controllable, at least to some degree
• Conversations change and transform frames in ways negotiators may not be able to
predict but may be able to control.
• Certain frames are more likely than others to lead to certain types of processes and
outcomes

III.Cognitive Biases in Negotiation

Negotiators tend to make systematic errors (i.e., cognitive biases) when processing information.
These errors tend to impede negotiator performance. Some examples of cognitive biases are:

1. Irrational escalation of commitment

Lewicki, Essentials of Negotiation, 3rd Canadian Edition

Instructor’s Manual
 Copyright © 2017, McGraw-Hill Education Ltd.

• An “escalation of commitment” is the tendency for an individual to make

decisions that stick with a failing course of action.
• Once a course of action is decided upon, negotiators often continue with that
course while seeking supportive (confirmation) evidence and ignoring
disconfirming evidence.
• Escalation of commitment is due in part to biases in individual perception seeking
consistency and saving face.

2. Mythical fixed-pie beliefs

• Many negotiators assume that all negotiations involve a fixed pie.

• Those who believe in the mythical fixed pie assume there is no possibility for
integrative settlements and mutually beneficial trade-offs, and they suppress
efforts to search for them.

3. Anchoring and adjustment

• Anchoring is to the effect of the initial standard (or offer) against which
subsequent adjustments are made during negotiation.
• Once the anchor is set or defined, parties tend to treat it as a real, valid benchmark
by which to adjust other judgments, such as the size of the other side’s counter to
the opening offer.

4. Issue framing and risk

• A frame is a perspective or point of view that people use when they gather
information and solve problems.
• The way an issue is framed (e.g., positive/negative or loss/gain) influences how
negotiators perceive risk and behave in relation to it.

5. Availability of information

• The availability bias operates when information that is presented in vivid,

colorful, or attention-getting ways becomes easy to recall, and thus also becomes
central and critical in evaluating events and options.
• The availability of information also affects negotiation through the use of
established search patterns.

6. The winner’s curse

• The winner’s curse refers to the tendency of negotiators, particularly in an auction

setting, to settle quickly on an item and then subsequently feel discomfort about a
negotiation win that comes too easily.

Lewicki, Essentials of Negotiation, 3rd Canadian Edition

Instructor’s Manual
 Copyright © 2017, McGraw-Hill Education Ltd.

7. Overconfidence

• Overconfidence is the tendency of negotiators to overestimate or believe that their

ability to be correct or accurate is greater than is actually true.
• Overconfidence has a double-edged effect:
1. It can solidify the degree to which negotiators support positions or options that
are incorrect or inappropriate, and
2. It can lead negotiators to discount the worth or validity of the judgments of
others, in effect shutting down other parties as sources of information, interests,
and options necessary for a successful integrative negotiation.

8. The law of small numbers

• The law of small numbers refers to the tendency of people to draw conclusions
from small sample sizes.
• This tendency leads to a self-fulfilling prophecy - people who expect to be treated
in a distributive manner will:
1. Be more likely to perceive the other party’s behaviors as distributive
2. Treat the other party in a more distributive manner.

9. Self-serving biases

• People often explain another person’s behavior by making attributions, either to

the person or the situation.
• There is a tendency of negotiators to overestimate the causal role of personal
internal factors (i.e., the counterpart’s personality) and underestimate the
situational, external factors (i.e., the context).
• Self-serving biases effect the negotiation process in a number of ways, for
example:
1. Perception of greater use of constructive tactics than the other party
2. Less accurate in estimating the other’s preferred outcomes
3. Influences perception of fairness in a negotiation context.

10. Endowment effect

• The endowment effect is the tendency to overvalue something you own or believe
you possess.
• The endowment effect can lead to inflated estimations of value that interfere with
reaching a good deal.

11. Ignoring others’ cognitions

• Failure to consider others’ cognitions allows negotiators to simplify their thinking

about otherwise complex processes; this usually leads to a more distributive
strategy and causes a failure to recognize the contingent nature of both sides’
behaviors and responses.
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 Copyright © 2017, McGraw-Hill Education Ltd.

12. Reactive devaluation

• Reactive devaluation is the process of devaluing the other party’s concessions

simply because the other party made them.
• Reactive devaluation leads negotiators to:
1. Minimize the magnitude of a concession made by a disliked other
2. Reduce their willingness to respond with a concession of equal size, or
3. Seek even more from the other party once a concession has been made

13. Egocentric bias – this should be added to the textbook chapter 6 because it is discussed
as a cognitive bias in chapter 7

• The tendency of the individual to overestimate or allocate greater amounts of

something for himself or herself, for example regarding a larger share of the
proposed outcome for oneself to be fair.
• This bias can be diminished by interactional justice, which means actually turning
one’s mind to treating the other party fairly.

IV. Managing misperceptions and cognitive biases in negotiation

Misperceptions and cognitive biases typically arise out of an unconscious awareness as

negotiators gather and process information. How best to manage the negative consequences of
misperception:
1. Be aware that they occur and assign to a colleague the task of watching for and
identifying them during negotiation preparation.
2. Tell people about a perceptual or cognitive bias - discuss them in a structured
manner within the team and with the party’s counterparts.

A. Reframing

• Reframing might involve any of a number of approaches.

1. Rather than perceiving a particular outcome as a loss, the
negotiator might reframe it as an opportunity to gain.
2. Trying to perceive or understand the situation in a different way or
from a different perspective
• Because reframing requires negotiators to be flexible during the
negotiation itself, they should anticipate—during planning—that
multiple contingencies may arise during negotiations.

V. Mood, Emotion, and Negotiation

a. Definitions
i. Mood – states of feeling that are mild in intensity, last for an extended
period of time and are not directed at anything
ii. Emotions – intense feelings that often last for a short duration and are
clearly directed at someone or something
Lewicki, Essentials of Negotiation, 3rd Canadian Edition
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 Copyright © 2017, McGraw-Hill Education Ltd.

b. Differences between positive and negative emotions

i. Positive emotions are often lumped into the category “happiness”
ii. Negative emotions are described in more gradients (disappointment,
anxiety, fear, frustration, etc.)

Negative Emotions

When displayed to or perceived by the other side, negative emotions may lead
counterpart to act aggressively, retaliate or escape.

a. Anger - Signals irritation, with the hopes the party may settle, though this
depends on the power dynamics. If the expresser of anger is in position of
power, then it may lead to greater gains for him or her. Expressing anger in
other circumstances may not be as effective or may produce negative results.

b. Anxiety - Anxious negotiators seem to perform worse than negotiators whose

feelings were more neutral. In a study, anxious negotiators expected lower
outcomes, made lower first offers responded more quickly to offers, exited
negotiations early and obtained worse outcomes than non-anxious negotiators.

Negative emotions generally have negative consequences for negotiations.

i. Negative emotions may lead parties to define the situation as competitive

or distributive.
ii. Negative emotions may undermine a negotiator’s ability to analyze the
situation accurately, which adversely affects individual outcomes.
iii. Negative emotions may lead parties to escalate the conflict.
iv. Negative emotions may lead parties to retaliate and may thwart integrative
outcomes.

Positive Emotions

a. Positive emotions lead to these consequences:

i. Positive feelings are more likely to lead the parties toward more
integrative processes.
ii. Positive feelings also create a positive attitude toward the other side.
iii. Positive feelings promote persistence in addressing issues and concerns in
the negotiation.

b. Aspects of the negotiation interactions can lead to positive emotions:

i. Positive feelings result from fair procedures during negotiation.

Lewicki, Essentials of Negotiation, 3rd Canadian Edition

Instructor’s Manual
 Copyright © 2017, McGraw-Hill Education Ltd.

ii. Positive feelings result from favorable social comparisons.

Emotions can be used strategically as negotiation gambits

i. Given the power that emotions may have in swaying the other side toward
one’s own point of view, emotions may also be used strategically and
manipulatively as influence tactics within negotiation.
ii. Negotiators may also engage in the regulation or management of the
emotions of the other party.

Chapter Summary and Key Learning Points

In this chapter we have taken a multifaceted look at the role of perception, cognition, and
emotion in negotiation. The first portion of the chapter presented a brief overview of the
perceptual process and discussed four types of perceptual distortions: stereotyping, halo effects,
selective perception, and projection. We then turned to a discussion of how framing influences
perceptions in negotiation and how reframing and issue development both change negotiator
perceptions during negotiations. We ended with a discussion of common cognitive biases and the
effects of mood and emotion in negotiation. We conclude with a few observations of some of the
key points covered in the chapter:

1. Be on the lookout for your own tendency to be influenced by perceptual distortions and
cognitive biases. However, it is just as important to watch out for these tendencies from
your counterparts. These factors often help to explain why negotiators perceive their
counterparts to be acting irrationally. Perhaps their behaviour appears to be risk-seeking.
Could it be caused by framing effects? Or perhaps they are selling something and can’t
possibly imagine that someone else might value the thing they are selling less then they
value it. Could this be caused by the endowment effect?

2. Watch for the effects of emotions and moods on your own and your counterpart’s
behaviour. For the most part, positive emotions produce positive results, while negative
emotions create tension and frustration. Do what you can to create the right mood
because it can influence your likelihood of success.

Lewicki, Essentials of Negotiation, 3rd Canadian Edition

Instructor’s Manual
Another random document with
no related content on Scribd:
The Project Gutenberg eBook of Jules Bastien-
Lepage and his art
This ebook is for the use of anyone anywhere in the United
States and most other parts of the world 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. If you
are not located in the United States, you will have to check the
laws of the country where you are located before using this
eBook.

Title: Jules Bastien-Lepage and his art

a memoir

Author: Mathilde Blind

George Clausen
Walter Sickert
André Theuriet

Release date: September 12, 2023 [eBook #71623]

Language: English

Original publication: London: T. Fisher Unwin, 1892

Credits: Carol Brown, Tim Lindell and the Online Distributed

Proofreading Team at https://www.pgdp.net (This file
was produced from images generously made available
by The Internet Archive/American Libraries.)

*** START OF THE PROJECT GUTENBERG EBOOK JULES

BASTIEN-LEPAGE AND HIS ART ***
JULES BASTIEN-LEPAGE
 JULES BASTIEN-LEPAGE
After the portrait by himself

Imp. Chardon-Wiltmann, Paris

 JULES BASTIEN-LEPAGE
AND HIS ART. A MEMOIR,
BY ANDRÉ THEURIET

JULES BASTIEN-LEPAGE AS
ARTIST, BY GEORGE
CLAUSEN,
A.R.W.S.; MODERN REALISM
IN
PAINTING, BY WALTER
SICKERT,
N.E.A.C.; AND, A STUDY OF
MARIE BASHKIRTSEFF, BY
MATHILDE BLIND
ILLUSTRATED WITH
REPRODUCTIONS
OF BASTIEN-LEPAGE’S
AND MARIE BASHKIRTSEFF’S
WORKS

L O N D O N : T. F I S H E R U N W I N ,
PATERNOSTER SQUARE. MDCCCXCII.
 CONTENTS.

PAGE
Jules Bastien-Lepage and his Art: A Memoir.
By André Theuriet 11
Jules Bastien-Lepage as Artist. By George
Clausen, A.R.W.S. 107
Modern Realism in Painting. By Walter
Sickert, N.E.A.C. 129
A Study of Marie Bashkirtseff. By Mathilde
Blind 145
 LIST OF ILLUSTRATIONS.

Jules Bastien-Lepage. After a

Portrait by Himself. Frontispiece
PAGE
Grandfather Lepage. By Jules
Bastien-Lepage 25
The Communicant. By Jules Bastien-
Lepage 31
The Hayfield. By Jules Bastien-
Lepage 43
Sarah Bernhardt. By Jules Bastien-
Lepage 51
Joan of Arc Listening to the Voices.
By Jules Bastien-Lepage 55
The Beggar. By Jules Bastien-Lepage 61
Father Jacques, the Woodman. By
Jules Bastien-Lepage 71
Sketch for Father Jacques. By Jules
Bastien-Lepage 75
The Inn. By Jules Bastien-Lepage 101
Bas-relief Portrait of Bastien-Lepage.
By Augustus Saint-Gaudens 110
The Little Sweep. By Jules Bastien-
Lepage 132
Marie Bashkirtseff. From a Portrait
by Herself 148
A Meeting. By Marie Bashkirtseff 169
Marie Bashkirtseff. From a
Photograph 187
JULES BASTIEN-LEPAGE AND
HIS ART.
 JULES BASTIEN-LEPAGE

AS MAN AND ARTIST.

In the month of June, 1856, the chances of a Civil Service noviciate

compelled me to live for six weeks at Damvillers, a small town on the
Meuse, half-way between Verdun and Montmédy.
Damvillers was formerly fortified, and had the honour of being
besieged by Charles V., but there is now nothing left to recall the
memory of those warlike days. The whole aspect of the place is
peaceful and rural. The people are occupied with agriculture.
Orchards now cover the ground where the fortifications once stood,
and form a circle of verdure round the scattered houses, in a valley
where the Tinte winds through osier beds and meadows. On the right
a vine-covered mound like the back of a camel, on the left a
succession of wooded slopes, enclose the little town. The grey, blue
hills are low. The monotony of the fields and meadows is broken only
by rows of poplars. The ill-kept solitary streets bordered by the
labourers’ houses with grey or dingy yellow fronts, have the same
washed-out look as the landscape.
For a young fellow of twenty-two there was nothing here
particularly attractive. I spent my solitary evenings with my elbows on
my window-sill watching the twilight descend upon the brown-tiled
roofs which enclose the great square as with a horizontal frame. In
one corner the large green waggon of a travelling pedler was resting
by the side of rows of earthenware, whose polished surface reflected
the lights from the window of the neighbouring inn.
 My only amusement consisted in listening to the chatter of some
girls sitting at the tinner’s door, or the shouts of the children playing
at ball by the wall of the corn-market.
I little thought then that among these urchins, with torn pinafores
and tangled hair, was to be found a future master of contemporary
painting, and that the name of Bastien-Lepage thrown to and fro
each evening by the children’s voices, and repeated by the echoes
of the solitary square, would come to be known, and received with
acclamations throughout the world, by all who are interested in Art
and in Artists.
 I.

Jules bastien-lepage was born at Damvillers, on November 1,

1848, in a house which forms one of the corners of that square of
which I have just spoken; a simple, well-to-do farmer’s house, the
front coloured yellow, the shutters grey.
On opening the outer door one finds oneself at once in the
kitchen, the regular kitchen of the Meuse villages, with its high
chimney-piece surmounted by cooking utensils, with its rows of
copper saucepans, its maie for the bread, and its dresser furnished
with coloured earthenware. The next room serves at once as sitting-
room and dining-room, and even, at need, as bed-chamber. Above
are some apartments not in general use, and then some vast
granaries with sloping rafters.
It was in a room on the ground floor, with windows looking to the
south, that the painter of Les Foins (Hay) and of Jeanne d’Arc first
saw the light. The family consisted of the father, a sensible,
industrious, methodical man; of the mother, a woman of the truest
heart and untiring devotion; and of the Grandfather Lepage, formerly
a collector of taxes, who now found a home with his children. They
lived in common on the modest produce of the fields, which the
Bastiens themselves cultivated, and on the grandfather’s small
pension.
At five years old Jules began to show an aptitude for drawing, and
his father was eager to cultivate this dawning talent. He himself had
a taste for the imitative arts, employing his leisure in light work that
required a certain manual skill, and to this he brought the scrupulous
exactness and conscientious attention which were his ruling
qualities.
From this time, in the winter evenings, he required that Jules
should draw with pencil on paper the various articles in use upon the
table—the lamp, the jug, the inkstand, etc. It was to this first
education of the eye and of the hand that Bastien-Lepage owed that
love of sincerity, that patient seeking for exactness of detail, which
were the ruling motives of his life as an artist.
In thus urging him to draw every day, the father had no idea of
making his son a painter. At that time, especially at Damvillers,
painting was not looked upon as a serious profession. The dream
that he cherished, along with the grandfather, was to put Jules in a
position to choose later on one of the administrative careers, such as
overseer of forests, or bridges, or high-ways, which are always
easiest of access to those who have been well trained in drawing.
So, as soon as he should be eleven years old, he was to leave the
communal school, and go to the College.
This involved great sacrifice, for the resources of the family were
low, and in the interval a second boy was born; but they redoubled
their economy, and in 1859 they managed to send Jules to the
College of Verdun.
It was at the drawing class that he worked with the greatest zeal.
The correctness of his eye and the dexterity of his hand astonished
his master.
When the boy went back to Damvillers for the holidays he drew
everywhere; upon his books, upon the walls, upon the doors, and
long afterwards traces of these rough outlines might be seen on the
orchard palings. His mother carefully preserved books full of pencil
sketches of the little brother Emile in all sorts of poses.
His habit was to express any thought that possessed him by a
drawing. He already attempted to reproduce with his pencil,
passages that struck him in reading, and his first composition was
Abraham’s Sacrifice. Classical stories made more impression on his
mind at this time than the rustic scenes which met him everywhere in
his wanderings in the open air.
At this age, the surroundings in which we live, and which custom
renders familiar to us, excite neither our surprise nor our imagination,
but they enter our eyes and our memory, and, without our knowing it,
become deeply engraven there. It is only in later years that, by
comparison and reflection, we feel their powerful charm and their
original grace.
In his walks across the fields, Bastien-Lepage received
impressions of country life, and assimilated them like daily food.
Gatherers of faggots carrying their bundles of wood; fishers for frogs
wet to the knees, crossing the meadows with their fishing tackle on
their shoulders; washerwomen wringing out their linen by the banks
of the Tinte; loungers sitting under a willow tree, while the lunch of
cheese is carried to the workers; the village gardens in April at the
time of the spring digging, when the leafless trees spread their
shadows over borders adorned only by the precocious blossoms of
the primrose and the crown imperial; potato fields, where fires of
dried stems send up their blue smoke into the red October evening—
all these details of village life entered the eyes of the child, who
instinctively stored them up in his memory.
Literary studies had little interest for him, while on the contrary he
had a strong liking for mathematics.
At one time when he was leaving the fourth form he thought of
preparing for the examination for St. Cyr. This is not surprising in a
department essentially military, whose remarkable men have all
been generals or marshals; but this fancy, in which he was led more
by imitation of others than by his own true calling, soon passed
away, and during his last years at college his thoughts were
constantly turned towards drawing, and when his course of
philosophy came to an end, he made known to his parents his wish
to go to Paris to study painting.
Great was the astonishment in the home at Damvillers. While
recognizing his son’s skill as a draughtsman, Father Bastien
persisted in declaring that painting was not a career—nothing
certain, a long and costly apprenticeship, and then ten chances of
failure to one of success. Let us talk rather of an honourable
appointment in the administration of the state, where one is sure to
get one’s pay every month, with a prospect of a provision for one’s
old age!
 They held a family council. The grandfather considered the
adventure hazardous and shook his head; the mother was frightened
above all at the dangers of Paris and the life of privation to be
undergone there, but, conquered at last by the persistency of her
son, she murmured timidly, “Yet, if Jules wishes it!…”
A way was found for settling everything. A friend of the family,
who held a superior employment in the Central Postal
Administration, advised Jules to go up for examination for admission
into that department, promising him that on his being received, he
would have him called to Paris, when it could be arranged for him to
study at the École des Beaux Arts in the hours that were free from
his postal service. They took this advice; Bastien passed the
examination, was named supernumerary, and set out for Paris about
the end of 1867.
He divided his time between his postal duties and his studies in
the School. This could only be done under great disadvantages. The
requirements of his position in the Post Office made consecutive and
serious study very difficult.
By the end of six months he was brought to the conclusion that
this double work was impossible; that he must choose between the
Office and the School. He did not hesitate; he gave up the Post
Office, and, furnished with a letter from M. Bouguereau, he entered
the Cabanel studio after having been received in the School with the
number one.
“All beginnings are painful,” says Goethe. Bastien-Lepage had a
harsh experience of this. He had burnt his ships in leaving the Post
Office, and he found himself alone in Paris with very limited means
of existence.
At Damvillers there was more self-denial. The mother, always
valiant, herself went to work in the fields, that she might have
something to add to the little sum sent every month to the young
painter. The Council General of the Meuse had voted him an
allowance of, I believe, six hundred francs; all this together scarcely
furnished him with bed and board.
 But Jules was endowed with a robust faith, a firm will, a never-
failing cheerfulness, and the magical power of these three enabled
him to endure bravely the many trials of the years of his
apprenticeship.
In 1870 he sent his first picture to the Salon. It passed unnoticed.
I have just seen this picture again. It is the portrait of a man, quite
young, dressed in a coat of strong green, the whole flooded with a
greenish light. It is rather in the manner of Ricard, but the solid
construction of the head and the expression of the face already
indicate a painter who sees clearly and seeks to enter into the
character of his model.
A short time later the war broke out. Jules Bastien enlisted in a
company of volunteers, commanded by the painter Castellani, and
did his duty bravely at the outposts.
One day in the trenches a shell burst near him and sent a clod of
hardened earth straight at his chest. He was taken to the ambulance,
where he remained during the last month of the siege, while another
shell fell upon his studio, and there destroyed his first composition, a
nymph, nude, her arms clasped over her blonde head, and bathing
her feet in the waters of a spring.
On the re-opening of communications he hastened back to his
village, where he arrived, like the pigeon in the fable, disabled,
“Trainant l’aile et tirant le pied.”
There he spent the remainder of the year 1871, recovering his
shattered health in his native air, making long excursions as far as to
the Moselle, and painting various portraits of relations and friends.
He did not return to Paris until sometime in the year 1872.
Then the struggling life of the débutant began again. In order to
make both ends meet he tried to get some of his drawings into the
illustrated journals; but his manner of illustrating was not what was
wanted by the editors, who sought above all things to please the
ordinary public.
Weary of the struggle he began to paint fans.
 One day a manufacturer of antéphelic milk (lait antéphelique)
asked him to make a sort of allegorical picture intended for an
advertisement for his Elixir of Youth. The artist, making a virtue of
necessity, painted a bright gay picture, after the manner of Watteau’s
landscapes, with groups of young women dressed in modern style
approaching a fountain, where Cupids were gambolling.
The painting finished, Bastien explained to the manufacturer his
intention to exhibit it first of all in the Salon.
The perfumer wished for nothing better, but insisted on one
condition; above the fountain was to be placed on a scroll of all the
colours of the rainbow, the name of the cosmetic, and the address of
the place where it was sold.
Naturally Bastien refused, and the tradesman, disappointed of his
advertisement, left him the picture for his trouble.
This painting was exhibited in the Salon of 1873, under the title of
Au Printemps (In Spring); being placed very high it attracted no
attention.
Jules was not discouraged, but he was a prey to that restless and
feverish indecision which commonly besets beginners. The teaching
in the school troubled him, and being a great admirer of Puvis de
Chavannes, he was tempted to try decorative and allegorical
painting.
His second picture, La Chanson du Printemps (The Song of
Spring), exhibited in 1874, is conceived and executed under this
influence. It represents a young peasant girl seated at the edge of a
wood, bordered by a meadow which slopes down to a Meusian
village, whose red-tiled roofs are seen in the distance. The girl is
sitting, with wide-open eyes, her arm passed through the bowed
handle of a rustic basket strewn with violets, while from behind her
nude little children with butterflies’ wings and blowing upon pipes,
whisper to her the song of the growing grass, and tell her of coming
womanhood.
This light and spring-like picture, half realistic, half symbolical,
would, perhaps, in spite of its simple charm, have left the public