This picture,
powerful in interest but derived from Vigneron as to sentiment and
from Dubufe's first manner as to execution, represented a young man in
prison, whose hair was being cut around the nape of the neck. On one
side was a priest, on the other two women, one old, one young, in
tears. A sheriff's clerk was reading aloud a document. On a wretched
table was a meal, untouched. The light came in through the bars of a
window near the ceiling. It was a picture fit to make the bourgeois
shudder, and the bourgeois shuddered. Fougeres had simply been
inspired by the masterpiece of Gerard Douw; he had turned the group of
the "Dropsical Woman" toward the window, instead of presenting it full
front. The condemned man was substituted for the dying woman--same
pallor, same glance, same appeal to God. Instead of the Dutch doctor,
he had painted the cold, official figure of the sheriff's clerk
attired in black; but he had added an old woman to the young one of
Gerard Douw. The cruelly simple and good-humored face of the
executioner completed and dominated the group. This plagiarism, very
cleverly disguised, was not discovered. The catalogue contained the
following:--
510. Grassou de Fougeres (Pierre), rue de Navarin, 2.
Death-toilet of a Chouan, condemned to execution in 1809.
Though wholly second-rate, the picture had immense success, for it
recalled the affair of the "chauffeurs," of Mortagne.
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