Читать книгу Frederic Lord Leighton: An Illustrated Record of His Life and Work - Ernest Rhys - Страница 4

TWO EARLY PENCIL STUDIES

In 1848 he went to Brussels, and worked there for a time without any master, painting the first picture that deserves to be remembered. Characteristically enough, this depicted Cimabue finding Giotto in the fields of Florence. The shepherd boy is engaged in drawing the figure of a lamb upon a smooth rock, using a piece of coal for pencil; an admirable and precocious piece of work. At the time it was first shown it was considered especially good in its harmonious and original colouring, nor did a sight of it in 1896 at the Winter Exhibition of the Royal Academy contradict the generous verdict of contemporary critics. At Brussels he painted a portrait of himself, a notable thing of its kind, wherein we see a slight, dark youth, with a face of much charm and distinction, whose features one easily sees to be like those of later portraits. Then, immediately before the return to Frankfort, and the studying there, under Steinle, Leighton spent some months in Paris, working in an atelier in the Rue Richer.

The conditions of this most informal of life-schools were such as Henri Murger, who was alive and writing at the time, might have approved, but were hardly to be called educative in any higher sense. The only master that these Bohemians could boast was a very invertebrate old artist, who seems to have been the soul of politeness and irresponsibility, and who accompanied every weak criticism with the deprecatory conclusion, "Voilà mon opinion!"

"M. Voilà mon opinion!" is a type not unknown otherwhere than in that Paris atelier. A fine alterative the student must have found the severe and stringent tonics that Steinle prescribed immediately afterwards in Frankfort.

In the admirable monograph on "Sir Frederic Leighton" by Mrs. Andrew Lang, from which we have drawn on occasion in these pages, an interesting account is given of an exploit at Darmstadt, in which the young artist took a chief part. An artists' festival was to be held there, and Sir Frederic and one of his fellow-students, Signor Gamba, took it into their heads to paint a picture for the occasion on the walls of an old ruined castle near the town. The design was speedily sketched after the most approved mediæval fashion, and no time was lost in executing the work. "The subject was a knight standing on the threshold of the castle, welcoming the guests, while in the centre of the picture was Spring, receiving the representatives of the three arts, all of them caricatures of well-known figures. In one corner were the two young artists themselves, surveying the pageant. The Schloss where this piece was painted is still in existence, and the Grand Duke has lately erected a wooden roof over the painting, to preserve it from destruction."

Before leaving Frankfort, Leighton had already interested Steinle in his projected picture of Cimabue's Madonna, and the design for it was made under Steinle's direction. Under his direct influence, too, and inspired by Boccaccio, another Florentine picture—a cartoon of its great plague—was painted. In speaking of the dramatic treatment of its subject, Mrs. Lang describes "the contrast between the merry revellers on one side of the picture and the death-cart and its pile of corpses on the other, while in the centre is the link between the two—a terror-stricken woman attempting to escape with her baby from the pestilence-stricken city. We shall look in vain among the President's later works for any picture with a similar motif. In general he shared Plato's opinion—that violent passions are unsuitable subjects for art; not so much because the sight of them is degrading, as because what is at once hideous and transitory in its nature should not be perpetuated."

SCHEME FOR A PICTURE: THE PLAGUE IN FLORENCE

We have seen how the spirit and sentiment of Italy continually remained by the artist in his German studio, and how in Frankfort his artistic imagination returned again and again to Florence, and to the early Florentines of his particular adoration—Cimabue and Giotto. The recall to Italy came inevitably, as Steinle's teaching at last had fully worked its purpose. Steinle himself counselled the move, and gave his favourite pupil an introduction to Cornelius in Rome. It was to Rome, therefore, and not to Florence, that the young artist went—to Rome where sooner or later the steps of all men who work for art or for religion tend, and where so few stay. This was in 1852, the year which was represented in the Commemorative Exhibition at Burlington House by A Persian Pedlar, a small full-length figure of a man in Oriental costume, seated cross-legged on a divan, with a long pipe in his hand. To 1853 belongs a Portrait of Miss Laing (Lady Nias), which was shown again at the same time.

The Rome of the mid-century was Rome at its best, with much artistic stimulus of the present, as well as of the past. The English colony was particularly strong. Thackeray was there, moving about after his wont in the studios and salons; the Brownings were there, and in their prime. The young painter and his work, including the Cimabue's Madonna in its earlier stages, made a great impression on Thackeray, who turned prophet for once on the strength of it. On returning to London and meeting Millais, he prophesied gaily to that ardent Pre-Raphaelite, then marching on from success to success: "Millais! my boy, I have met in Rome a versatile young dog called Leighton, who will one of these days run you hard for the presidentship!" This was early days for such a rumour to reach the Academy, who knew an older school, represented by Landseer and Eastlake, and a younger school, represented by Millais and Rossetti, but as yet knew not Leighton.

Among the leading artists in Rome at this time, beside Cornelius, were the two French painters, Bouguereau and Gerome. To these, especially to Bouguereau, who was a great believer in "scientific composition," Leighton was, on his own testimony, largely indebted for his fine sense of form. Yet another famous Frenchman, Robert Fleury, whom he afterwards met in Paris, may be mentioned here, since from him he learnt much in the way of colouring, and the technique of his art.

Turning from the painters to the poets, it was at Rome that Robert Browning, who was at this time writing his "Men and Women," formed close acquaintance with the young artist. Something of the atmosphere which permeates such poems as "Bishop Blougram's Apology," "Andrea del Sarto," and others of the same series, seems to linger yet in the record of those early meetings of poets and painters, with all their associations:

"The Vatican,

Greek busts, Venetian paintings, Roman walls,

And English books."

One easily supposes Browning speaking through his Bishop Blougram, as, it is said, he was heard to speak in those days in praise of Correggio, to whose qualities, Ruskin tells us, Sir Frederic Leighton curiously approximates:

"'Twere pleasant could Correggio's fleeting glow

Hang full in face of one where'er one roams,

Since he more than the others brings with him

Italy's self—the marvellous Modenese!"

Italy's self, in truth, Frederic Leighton, like Browning in poetry, did not fail to bring with him, and revived for us for many years, by his art and southern glow of colour, in the gray heart of London.

CIMABUE'S MADONNA CARRIED IN PROCESSION THROUGH THE STREETS OF FLORENCE (1855)

Among other people whom Leighton met in Rome were George Sand, Mrs. Kemble, George Mason the painter, of Harvest Moon fame, Gibson the sculptor, and Lord Lyons. Like Robert Browning, let us add, he was readily responsive to the quickening of his contemporaries, and vigorously studied the present in order that he might the better paint the past, and put live souls into the archaic raiment of Cimabue and old Florence.

He was working hard all this while, with a devotion and concentration that impressed other friends beside Thackeray, upon his picture of Cimabue's Madonna, which was exhibited in the Academy of 1855, and as the work of an unknown hand made a distinct sensation. It was discussed, angrily by some, delightedly by others. The criticism which Rossetti, Mr. Ruskin, and other critics bestowed upon it in the press or in private correspondence[1] will come more fitly into our later pages, when we turn to deal with contemporary opinions upon Leighton's work. Enough to say here that it won fame for the artist at a stroke. The Queen bought it for £600, having bespoken it, I believe, before it left his studio, and hung it eventually in Buckingham Palace. With this encouraging first great success, the probationary stage of our artist's history may be said to close.