"Sita and Sarita" by Cecilia Beaux |
The subjects were frequently Biblical, and when the 'Supper at Emmaus' was given out, I had already visited the Salon Carré [at the Louvre]. Of course, what I produced was inevitably an imitation of Rembrandt, though not in design. I had no models and had to bring forth the same by means of inward vision, which I was beginning to practice.
The compositions were shown on the wall, and we all stood behind Fleury, or whoever the critic of the month might have been, to see them. He stood growling before them with folded arms. Pointing to mine, he said savagely, 'Qui est-ce qui a fait ca (Who did this)?" I stood quaking before him, for he was often bitterly ironical. 'Humph,' he said, 'c'est vous? Je n'ai pas vu les autres, mais je sais bien que c'est la meilleure (It is you? I haven't seen the others, but I know very well that it is the best).'
The next day Julian came to the class. He held up my composition, which was in size about eight by ten inches, and
looked at me smiling. It was to be 'accrochée sur le mur.' This was the
highest honor the work of a student could hope for, and the wall showed a
meagre collection of examples, charcoal studies from the model, and a
few paintings, and once there, it was forever. They were never to yield
their place. Once worthy, always worthy - a record of the Cours. What simple faith in an everlasting standard! Glorious reward, where are you now? But it can truly be confessed that no subsequent award or distinction that Fate thought good to bestow on me had power to seem such a gift as this."
To be continued
(Excerpts from Cecilia Beaux's autobiography "Background with Figures.")
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