Henner arrived in Paris, light of purse but full of courage. He
presented himself at the studio of Drolling, a compatriot, where he
proceeded to toil like a galley-slave. In order to subsist, he gleaned
here and there a little something by painting portraits; but, alas,
these were rare and wretchedly underpaid! They by no means brought him
a living; he experienced the keenest privations, and before long was
unable to pay his monthly contribution of twenty francs towards the
rental of the studio. What was he to do? Drolling was an artist with a
big heart, and he loved his young pupil: Henner had only to confide in
him, but he was too proud to admit his poverty. Should he appeal to his
brothers? He did not even dream of doing so, for he knew how hard they
found it, back there at home, to make both ends meet, even though they
turned and returned the natal soil without respite. Accordingly, he
chose the heroic part of returning to Alsace. There he passed the next
two years, painting portraits and depriving himself even of necessities
in order to economize and save up a fund. When his savings seemed to
him sufficiently large, he set forth once more for Paris and returned
to Drolling. The latter was stupefied at the progress Henner had made.
"But why," he demanded, "why did you leave the studio like that,
without a word of warning?"
Hereupon Henner confessed the cause for his departure; and on hearing
his story, the tears rose up in the kind old artist's eyes, while at
the same time he grew red with anger:
"People don't do such things," he said, "and they don't show false
pride when they have a talent like yours; but instead, they compete for
the Prix de Rome, and they win it!"
The Prix de Rome! A dream, which perhaps Henner had already vaguely
glimpsed, but the realization of which seemed to him at that time too
audacious and chimerical! That he, the little painter from Alsace,
friendless and unknown, might obtain this supreme distinction which
proclaims a talent! He did not dare to believe it, and yet his old
master, Drolling, was an authority in art and not prodigal of his
praise. Drolling did even better than encourage Henner, he made use of
his friendship with the prefect of the department of the Lower Rhine to
obtain an annuity for him. At the request of this official, the general
council of the department granted Jean-Jacques Henner an annual pension
of five hundred francs. This was very little, no doubt, but at least it
meant his daily bread!
Henner never had the pleasure of thanking Drolling; a rapid illness
ended the life of the aged master in a few days, before the matter in
question had been adjusted; but the young artist always retained a
grateful memory of him.
While awaiting the Prix de Rome, it was necessary to earn a living:
for, as may easily be imagined, the meagre subsidy of five hundred
francs could not suffice for all of Henner's needs. He had the good
luck to make the acquaintance of a painter who worked mainly for
Americans. He was a portrait painter and possessed a numerous clientèle
from Yankee-land. As he could not keep up with the demand
single-handed, he made a proposition to Henner that the latter should
paint the coats, cravats, and linen of his "puppet-show," as he called
them, reserving for himself the task of putting in the faces,
mistrusting, no doubt, the competence of his collaborator. However
humble the work, Henner accepted gratefully, for it enabled him to
better his lot, to put aside a reserve fund, and even to come to the
aid of the family left at home.
[Illustration: PLATE IV.--THE LITTLE WRITER
(Petit Palais des Beaux-Arts)
This unkempt but earnest little worker, diligently bending over
his copy-book, is a portrait of the artist's own nephew. This picture
for a long time adorned the wall of his studio in the Place
Pigalle.]
Shortly afterwards, he won a medal from the École des Beaux-Arts, which
gave him the right of free admission to the studio of the artist Picot.
Henner was at this time twenty-seven years of age. He felt that he was
now ready to enter the lists for the Prix de Rome. Boldly he set
himself to his task. The subject assigned was as follows: _Adam and Eve
Discovering the Body of Abel_. Henner's conception of the subject was
admirable. Abel stretched at length under the shadow of dense foliage,
and beside him, on her knees and heart-broken with grief, Eve suffers
the terrible blow of divine malediction, while Adam, standing petrified
with horror, seems not yet to have realized the immensity of his loss.
In this painting, the manner which is destined to become distinctive of
this artist declares itself: a luminous profundity of landscape that
emphasizes the whiteness of Abel's flesh. Although satisfied with his
work, Henner was doubtful of the result. He trembled, for he had staked
his entire future upon this picture. But he found unexpected
encouragement from the little model who had posed for him and his
competitors, in the character of Abel.
"Have no doubt about it," the child told him, "you will win the prize.
None of the others can compare with yours."
And Henner, only too glad to believe, went to work with redoubled zeal,
to justify the admiration of his little model. His composition,
however, when finished, proved to be incomplete: he had forgotten to
include the club which Cain had used to strike down Abel. At the last
moment he added this accessory so dexterously that the arrangement of
the picture as a whole was undisturbed.
There was no discussion regarding the bestowal of the prize. Henner was
unanimously declared the winner.
It is easy to imagine Henner's joy. Nevertheless a shadow dimmed it:
that of not having been able to give his mother the final consolation
of his triumph. That worthy and courageous woman died but shortly
before, blessing and encouraging him almost with her final breath.