J.C. Leyendecker and his brother Frank traveled to Paris in 1896 and enrolled at the prestigious Académie Julian, which was headed by William Adolphe Bouguereau. The academic training they pursued there involved careful study of Greek and Roman statues, old master paintings, and the living model.
As soon as the Leyendeckers hit the Paris boulevards, they found themselves surrounded by the posters of artists like Toulouse-Lautrec and Alphonse Mucha, whom he admired and befriended. These artists believed that great art could be produced for visionary companies that manufacture products for the masses.
J.C. wrote home to Chicago describing the work he was doing in the Académie Julian under Benjamin-Constant, Lefebvre, Bouguereau, and Laurens:
"Thoroughness is the principle upon which the French Art Schools have won their success. It doesn't take long to discover that style and dash will not make a drawing or painting go here as it will an illustration back home."
"Serious work —getting right down to the foundation principles—is the demand which is laid upon every student over here. If I learned anything it was that a picture is really only valuable for the thought behind it. There is little talk of 'handling' and of the catch tricks of the trade, and much emphasis upon a deep and serious significance in everything attempted."
Students were accepted into the program not with an entrance portfolio, but instead they were evaluated after attempting a study from life:
"Three models pose at the same time in each room, and the new pupil takes his materials and begins work upon the subject which attracts him. But some time in the first week the professor comes around and takes a first look at the beginner's study. That is an important moment, for if the teacher does not approve of it the nouveau is assigned to work from casts instead of from life."
"The mornings are devoted to class study from models and casts, and the afternoons to composition work. The subject of the composition is announced in the class, and it is briefly explained by the teacher. The students are not allowed to consult with any authorities bearing upon the subject, but must make their composition wholly from the meager data given them by the professor."
"The pupil is at liberty to do his composition in his own atelier or combination lodging-room and studio. Saturday afternoon is looked forward to as the great occasion of the week. Then the compositions are brought to the classroom and the teacher passes from one easel to another giving his criticism to the pupils, who crowd around him, clambering upon chairs and stools to secure points of vantage from which to view the pictures."
Thanks to David Saunders, Dan Zimmer, and Illustration Magazine.
This, more than anything else, is what the AI Bros cannot understand. There is tremendous pleasure in making something that wasn't there before you went to work. The end result might what gets sold and pays the bills, or might just be 'okay, I learned a lot from this, my friend loves it so it's now theirs' or 'this is going in the fire!" But the process itself is what makes it worthwhile.
Mark Twain said, "Work is what a body is obliged to do, play is what a body is NOT obliged to do." Which is why we put so much more energy and pleasure into play. And some people just do not understand this, CANNOT understand that making something, doing it well, is not drudgery, it's pleasure. 'but you could make money from that!' Dude, money is tremendously useful, but it's not the most important thing in the world!
Amazing! I did not know Leyendecker studied under Bouguereau! Bouguereau is one of my all-time favorite artists, as much for his art as who he was as a person. Thank you so much for sharing these valuable tidbits. I love hearing descriptions of 19th century art training!