TAILPIECE, BY PIERRE BONNARD.
{96} may leave him money, so he publishes his articles under the name of Jones; he was born in the city of Boston, so he signs himself de Boston, meaning of, or from, Boston. Under this name he paints his first picture, but the town council does not buy his works as he hoped it would, and the council of Albany does, so he discards “de Boston” and, in his gratitude, he afterward signs his canvases d’Albany (abbreviation of de Albany). But now as to Christian names. Our friend Smith was, perhaps, named by his father Henry, but at his baptism there were added the names of Lewis and Charles and his mother’s name, Black. Then, when at the age of fifteen he comes to be confirmed, he takes the name of Matthew, Mark, Luke, John, plus Mary. And with any of his surnyms he may at any time combine any two or half a dozen of these pronyms. So that a French biographical dictionary is one-half biography and one-half cross-reference. Thus—Brown, see Jones; Black, see White.
Knowing this, we referred to the periodical from which this was cut, and found it was a tailpiece to an article signed Pierre Réné Choudieu. Ah! this gave us a clue; but, who then was Dangers? Was Choudieu a sculptor as well as a writer, and was this a medallion portrait by him of Dangers? Or was it a portrait of Choudieu by a draftsman named Dangers? The artists were not mentioned in the index nor on any page in the body of the magazine, but on the title-page we found “Dessins de Pierre Bonnard,” meaning that the drawings in the magazine were by one artist—Pierre Bonnard. Therefore, D’Angers could not have been the artist, so {97}
AT THE CAFÉ APHRODITE. Pen Drawing by A. Brun.
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Example of French Art School studies, from plates published under the direction of Bargue and Gérôme, showing method of blocking in a cast, both outline and shadows.
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