(Pronounced May-sohn-yay)
French School
1815-1891
Pupil of Léon Cogniet
This artist was born at Lyons. His father was a salesman and an art-training seemed impossible for the young man because the Meissoniers were poor people. Nevertheless, he was so persevering that while still a young man he got to Paris and began to paint in the Louvre. He was but nineteen at that time, and his fate seemed so hard and bitter that later in life he refused to talk of those days.
He sat for many days in the Louvre, by Daubigny's side, painting pictures for which we are told he received a dollar a yard. We can think of nothing more discouraging to a genius than having to paint by the yard. It is said that his poverty permitted him to sleep only every other night, because he must work unceasingly, and someone declares that he lived at one time on ten cents a week. This is a frightful picture of poverty and distress.
Meissonier's first paying enterprise was the painting of bon-bon boxes and the decorating of fans, and he tried to sell illustrations for children's stories, but for these he found no market. A brilliant compiler of Meissonier's life has written that "his first illustrations in some unknown journal were scenes from the life of 'The Old Bachelor.' In the first picture he is represented making his toilet before the mirror, his wig spread out on the table; in the second, dining with two friends; in the third, on his death-bed, surrounded by greedy relations and in the fifth, the servants ransacking the death chamber for the property." This was very likely a vision of his own possible fate, for Meissonier must have been at that time a lonely and unhappy man.
There are many stories of his first exhibited work, which Caffin declares was the "Visit to the Burgomaster," but Mrs. Bolton, who is almost always correct in her statements, tells us that it was called "The Visitor," and that it sold for twenty dollars. At the end of a six years struggle in Paris, his pictures were selling for no more.
Until this artist's time people had been used only to great canvases, and had grown to look for fine work, only in much space, but here was an artist who could paint exquisitely a whole interior on a space said to be no "larger than his thumb nail." His work was called "microscopic," which meant that he gave great attention to details, painting very slowly.
During the Italian war of 1859, and in the German war of 1870, this wonderful artist was on the staff of Napoleon III. During the siege of Paris he held the rank of colonel, and he lost no chance to learn details of battles which he might use later, in making great pictures. Thus he gained the knowledge and inspiration to paint his picture "Friedland," which was bought by A. T. Stewart and is now in the Metropolitan Museum. He, himself, wrote of that picture: "I did not intend to paint a battle--I wanted to paint Napoleon at the zenith of his glory; I wanted to paint the love, the adoration of the soldiers for the great captain in whom they had faith, and for whom they were ready to die.... It seemed to me I did not have colours sufficiently dazzling. No shade should be on the imperial face.... The battle already commenced, was necessary to add to the enthusiasm of the soldiers, and make the subject stand forth, but not to diminish it by saddening details. All such shadows I have avoided, and presented nothing but a dismounted cannon, and some growing wheat which should never ripen.
"This was enough.
"The men and the Emperor are in the presence of each other. The soldiers cry to him that they are his, and the impressive chief, whose imperial will directs the masses that move around, salutes his devoted army. He and they plainly comprehend each other and absolute confidence is expressed in every face."
This great work was sold at auction for $66,000 and given to the Metropolitan Museum.