HECTOR AND ANDROMACHE. FROM A DRAWING BY PRUD'HON.
This charming drawing, which forms part of the collection in the Louvre, is a study for a projected painting, and is, by its grace of line and composition, peculiarly typical of the painter. Hector, about to depart for his combat with Ajax, and having bidden farewell to Andromache, his wife, desires to embrace his son. But the child, frightened at the emotion of which he is witness, takes refuge in his mother's arms.
Life now became somewhat easier, and in 1803—having long been separated from his wife—a talented young woman, Mlle. Mayer, became his pupil, and relations of a more tender character were established. The pictures of Mlle. Mayer are influenced by her master to a degree that makes them minor productions of his own; and her unselfish, though unconsecrated, devotion to him makes up the sum of the little happiness which he may have had.
In 1808 Prud'hon's picture of Justice and Divine Vengeance pursuing Crime was ordered for the Palace of Justice, and was shown at the Salon of that year, where the presence of David's Sabines and its influence as shown in many of the productions of his pupils were not enough to rob Prud'hon of a legitimate success, and the cross of the Legion of Honor was accorded him. The Assumption of the Virgin was exhibited in 1819; but before that Prud'hon had been made a member of the Institute, and (it passed for a distinction) drawing-master to the Empress Marie Louise.
Many pictures, all characterized by a subtile charm, were produced during this happy period; but in 1821 Mlle. Mayer, preyed upon by her false position, committed suicide, and Prud'hon lingered in continual sorrow until February 16, 1823, when he died. The work of Prud'hon covers a wide range, of which not the least important are the drawings which he made with a lavish hand. As has been observed, he was a true child of his time, and the classic influence is strongly felt in his work; but translated through his temperament, it is no longer lifeless and cold. It is eloquent of the early ages of the world, when life was young and maturity and age bore the impress of a simple life, little perplexed by intricate problems of existence. Throughout his work, in the recreation of the myths of antiquity or in the rarer representation of Christian legend, his style is sober and dignified—as truly classic as that of David; but permeating it all is the indescribable essence of beauty and youth, the reflection, undoubtedly, of a man who, rarely fortunate, capable of grave mistakes, has nevertheless left much testimony to the love and esteem in which he was held.
François Gérard, one of the many faithful followers of David, was born May 4, 1770, at Rome, where his father had gone in the service of the ambassador of France. He went to France in his twelfth year, and at sixteen was enrolled in the school of David. As a docile pupil he entered the competition for the Roman prize in 1789; but Girodet having obtained the first place, a second prize was awarded, and the next year the death of his father prevented him from finishing his competition picture; so that he is one of the exceptions amongst David's pupils, inasmuch as he did not obtain the Prix de Rome. In 1790, however, he accompanied his mother, who was an Italian, to her native country. But his sojourn there was short, as in 1793 he solicited the influence of David to save him from the general conscription; which was done by naming him a member of the Revolutionary tribunal. By taking refuge in his studio and feigning illness, he avoided the exercise of his judicial functions; and the storm passing away, he exhibited in 1795 a picture of Belisarius which attracted attention.
PORTRAIT OF A YOUNG MAN. FROM A PAINTING BY PRUD'HON, IN THE LOUVRE.
In 1806 Napoleon made him the official portrait painter attached to his court, and ordered the picture of the battle of Austerlitz, finished in 1810. This and indeed all of Gérard's pictures are marked by all the defects of David's methods, and lack the virile quality of his master. His portraits, however, have many qualities of grace and good taste, and his success in France was somewhat analogous to that of Lawrence in England. Under the Restoration his vogue continued; in 1819 he was given the title of baron; and, dying in Paris on January 11, 1837, he left as his legacy to the art of his time no less than twenty-eight historical pictures, many of great dimensions, eighty-seven full-length portraits, and over two hundred smaller portraits, representing the principal men and women of his time. The portraits of the Countess Regnault de Saint-Jean-d'Angely and of the Princess Visconti are both excellent specimens of the work of this estimable painter.