. Catalogue of masterpieces by "the men of 1830" : forming the private collection of Mr. H. S. Henry, Philadelphia. ng life he did not swerve from his early allegiance. He sawothers rise about him with different views, different interpretations of nature, different methods, but withcalm dignity he held his individual way. Good or bad, what work he sent forth he would have his ownand bear a personal seal. Such work is never likely to j)all upon the taste. Fortune favored Dupre with a more even disposition than his companion Rousseau. He got alongwith the world better, was more successful financ
. Catalogue of masterpieces by "the men of 1830" : forming the private collection of Mr. H. S. Henry, Philadelphia. ng life he did not swerve from his early allegiance. He sawothers rise about him with different views, different interpretations of nature, different methods, but withcalm dignity he held his individual way. Good or bad, what work he sent forth he would have his ownand bear a personal seal. Such work is never likely to j)all upon the taste. Fortune favored Dupre with a more even disposition than his companion Rousseau. He got alongwith the world better, was more successful financially, and had less bitterness in his life. He outlived allthe early tempests that gathered about the heads of the band, and saw the ideas they had struggled for atlast acknowledged. His quiet bearing under success was as admirable as his fortitude under early was not easily turned aside or beaten down or over-exalted. The belief of his youth he carried withhim into old age, firmly convinced that some day it would triumph. It has triumphed, and Dupre withRousseau has been justified. EUGENE FROMENTIN. 1820-1870 It was accident which made Fromentin an artist. The son of a well-to-do])rovincia] lawyer, born in 1820 at La Rochelle, he went, at nineteen years of age,to Paris to (jiiaiify himself to succeed his father. At twenty-three he received hisdiploma, but a fit of illness, during which he solaced his enforced leisure by gratify-ing his latent talent for drawing, turned him in the direction of art. He studiedunder Remond and Cabat, and his earlier works show little of the feeling of thosewhich rendered him illustrious. While he was making his first experiments as astudent. Prosper Marilhat was creating a [irofound impression by his Oriental land-scapes, and Fromentin, who in 1840 had visited Algeria for pleasure, found him-self attracted to those subjects in which the gifted pupil of Roqueplan excelled. Afterhis first exhibits in the Salon of 1847, Fromentin again vi
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