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father abandoned seafaring, and the son gave it up too, having of course no real vocation for it, though he preserved to his last days much of a sailor's See also:

CHARACTER (Gr. xapareri7p, from xap&crew, to scratch)

character,—frankness, accessibility, open-heartedness. Boudin the See also:

elder now established himself as stationer and See also:

FRAME

frame-maker; this See also:

time in the greater seaport See also:

TOWN

town of Havre; and Eugene helped in the little business, and, in stolen See also:

HOURS, CANONICAL

hours, produced certain drawings. That was a time at which the romantic out-lines of the See also:

Norman See also:

COAST (from Lat. costa, a rib, side)

coast engaged See also:

ISABEY, JEAN BAPTISTE (1767–1855)

Isabey, and the See also:

green wide valleys of the inland See also:

COUNTRY (from the Mid. Eng. contre or contrie, and O. Fr. cuntree; Late Lat. contrata, showing the derivation from contra, opposite, over against, thus the tract of land which fronts the sight, cf. Ger. Gegend, neighbourhood)

country engaged See also:

TROYON, CONSTANT (5810-1865)

Troyon; and Troyon and Isabey, and See also:

Millet too, came to the See also:

SHOP

shop at Havre. See also:

Young Boudin found his See also:

DESIRE

desire to be a painter stimulated by their See also:

INFLUENCE (Late Lat. influentia, from influere, to flow in)

influence; his See also:

WORK

work made a certain progress, and the See also:

INTEREST

interest taken in the young See also:

man resulted in his being granted for a See also:

SHORT, FRANCIS JOB (1857– )

short See also:

TERM

term of years by the town of his See also:

ADOPTION (Lat. adoptio, for adoptalio, from adoptare, to choose for oneself)

adoption a See also:

PENSION (Lat. pensio, a payment, from pendere, to weigh, to pay)

pension, that he might study See also:

PAINTING

painting. He studied partly in See also:

Paris; but whatever individuality he possessed in those years was hidden and covered, rather than disclosed. An instance of tiresome, elaborate labour—good enough, no doubt, as groundwork, and not out of keeping with what at least was the popular See also:

TASTE (from Lat. taxare, to touch sharply; tangere, to touch)

taste of that day—is his " See also:

PARDON (through the Fr. from Late Lat. perdonare, to remit a debt or other obligation on a penalty)

Pardon of Sainte See also:

Anne de la Palud," a See also:

Breton See also:

SCENE (Fr. scene, Lat. scaena, Gr. oflvil, a tent or booth, a stage or scene)

scene, of 1858, in which he introduced the young Breton woman who was immediately to become his wife. This conscientious and unmoving picture hangs in the museum of Havre, along with a See also:

HUNDRED

hundred later, fresher, thoroughly individual studies and sketches, the See also:

GIFT (a common Teutonic word, cf. Ger. die Gift, gift, das Gift, poison, formed from the Teut. stem gab-, to give, cf. Dutch geven, Ger. geben; in O. Eng. the word appears with initial y, the guttural of later English is due to Scandinavian influence)

gift of Boudin's See also:

BROTHER

brother, See also:

Louis Boudin, after the painter's See also:

DEATH

death. Re-established at Honfleur, Boudin was married and poor. But his work gained character and added, to merely See also:

ACADEMIC

academic correctness, character and See also:

CHARM (through the Fr. from the Lat. carmen, a song)

charm. He was beginning to be himself by 1864 or 1865—that was the first of such periods of his as may be accounted good—and, though not at that time so fully a See also:

MASTER (Lat. magister, related to tnagis, more, as the corresponding minister is to minus, less; the English form is due partly to the O. Eng. maegister, and partly to O. Fr. maistre, mod. maitre; cf. Du. meester, Ger. Meister, Ital. maestro)

master of transient effects of See also:

WEATHER (O. Eng. weder; the word is common to Teutonic languages; cf. Du. weder, Dan. veir, Icel. ve8r, and Ger. Wetter and Gewitter, storm; the root is wa- to blow, from which is derived " wind ")

weather as he became later, he began then to paint with a success genuinely See also:

ARTISTIC

artistic the scenes of the See also:

HARBOUR (from M.E. hereberge, here, an army; cf. Ger. Heer and -beorg, protection or shelter. Other early forms in English were herberwe and haiborow, as seen in various place names, such as Market Harborough.. The French auberge, an inn, derived through

harbour and the estuary, which no longer lost vivacity by deliberate and too obvious completeness.

The See also:

war of 1870–71 found Boudin impecunious but See also:

GREAT

great, for then there had well begun the See also:

SERIES (a Latin word from serere, to join)

series of freshly and vigorously conceived canvases and panels, which See also:

RECORD (Lat. recordari, to recall to mind, from cor, heart or mind)

record the impressions of a precursor of the Impressionists in presence of the Channel See also:

WATERS, TERRITORIAL

waters, and of those autumn skies, or skies of summer, now radiant, now uncertain, which hung over the small ports and the rocky or See also:

CHALK

chalk-cliff coasts, over the watering-places, See also:

TROUVILLE

Trouville, See also:

DIEPPE

Dieppe, and over those larger harbours, with See also:

PORT

port and avant-port and bassin, of See also:

Dunkirk, of Havre. In the war time, Boudin was in See also:

BRITTANY

Brittany and then in the See also:

Low Countries. About 18751876 he was at See also:

ROTTERDAM

Rotterdam and See also:

BORDEAUX

Bordeaux. That great See also:

BIRD

bird's-See also:

eye See also:

VISION (from Lat. videre, to see), or SIGHT

vision of Bordeaux which is in the Luxembourg See also:

DATES

dates from these years, and in these years he was at Rotterdam, the See also:

COMPANION (through the O. Fr. compaignon or compagnon, from the Late Lat. companio,—cum, with, and panis, bread,—one who shares meals with another; the word has been wrongly derived from the Late Lat. compagnus, one of the same pages or district)

companion of Jongkind, with whom he had so much in See also:

COMMON

common, but whose work, like his, See also:

FREE

free and fearless and unconventional, can never be said with accuracy to have seriously influenced his own. Doing excellent things continually through all the 'seventies, when he was in See also:

LATE

late See also:

MIDDLE

middle age—gaining See also:

SCOPE (through Ital. scopo, aim, purpose, intent, from Gr. o'KOaos, mark to shoot at, aim, o ic07reiv, to see, whence the termination in telescope, microscope, &c.)

scope in See also:

COLOUR (Lat. color, connected with celare, to hide, the root meaning, therefore, being that of a covering)

colour, having now so many notes—faithful no longer wholly to his amazing range of subtle greys, now blithe and silvery, now nobly deep—sending to the See also:

SALON

Salon great canvases, and to the few enlightened See also:

PEOPLE

people who would buy them of him the toile or See also:

PANEL (O. Fr. panel, mod. panneau, piece of cloth, from Med. Lat. pannellus, diminutive of pannus, cloth)

panel of most moderate See also:

SIZE

size on which he best of all ex-pressed himself—Boudin was yet not acceptable to the public or to the fashionable dealer. The late 'eighties had to come and Boudin to be elderly before there was a See also:

sale for his work at any prices that were in the least substantial. Broadly speaking his work in those very 'eighties was not so See also:

GOOD, JOHN MASON (1764-1827)

good as the labour, essentially delicate and fresh and just, of some years earlier, nor had it always the attractiveness of the impulsive deliverances of some years later, when the inspired See also:

SKETCH (directly adapted from Dutch schets, which was taken from Ital. schizzo, a rough draft, Lat. schedium, something hastily made, Gr. oxE&os, sudden, off-hand, axeb6v, near by; Ger. Skizze and Fr. esquisse are from the same source)

sketch was the thing that he generally stopped at. Old age found him strong and receptive. Only in the very last See also:

YEAR

year of his See also:

LIFE

life was there perceptible a See also:

POSITIVE (or PORTABLE) ORGAN

positive deterioration. Not very See also:

long before it, Boudin, in a visit to See also:

Venice, had produced impressions of Venice for which much more was to be said than that they were not See also:

ZIEM, FELIX FRANCOIS GEORGE PHILIBERT (1821— )

Ziem's. And the deep colouring of the See also:

South, on days when the See also:

SUNSHINE

sunshine blazes least, had been caught by him and presented nobly at See also:

ANTIBES

Antibes and Villefranche. At last, resorting to the south again as a See also:

REFUGE

refuge from See also:

ill-See also:

HEALTH

health, and recognizing soon that the See also:

RELIEF

relief it could give him was almost spent, he resolved that it should not be for him, in the words of See also:

Maurice Barres, a " tombe,fleurie," and he returned, hastily, weak and sinking, to his See also:

home at Deauville, that he might at least See also:

die within sight of Channel waters and under Channel skies.

As a " marine painter "—more properly as a painter of subjects in which See also:

WATER

water must have some See also:

PART

part, and as curiously See also:

EXPERT (Lat. expertus, from experiri, to try)

expert in the rendering of all that goes upon the See also:

sea, and as the painter too of the green See also:

banks of tidal See also:

rivers and of the long-stretched See also:

BEACH

beach, with crinolined Parisienne noted as ably as the sailor-folk—Boudin stands alone. Beside him others are See also:

apt to seem rather theatrical—or if they do not See also:

ROMANCE

romance they appear, perhaps, to See also:

CHRONICLE (from Gr. Xpovos, time)

chronicle dully. The pastels of Boudin—summary and economic even in the 'sixties, at a time when his painted work was less free—obtained the splendid eulogy of See also:

BAUDELAIRE, CHARLES PIERRE (1821-1867)

Baudelaire, and it was no other than See also:

COROT

Corot who, before his pictures, said to him: " You are the master of the See also:

SKY (M. Eng. skie, cloud; O. Eng. skua, shade; connected with an Indo-European root sku, cover, whence " scum," Lat. obscurus, dark, &c.)

sky." See also Gustave Cahen, Eugene Boudin (Paris, 1899) ; Arsene See also:

ALEXANDRE, NOEL (NATALIS ALEXANDER) (1639-1724)

Alexandre, Essais; See also:

Frederick See also:

WEDMORE, FREDERICK (1844— )

Wedmore, See also:

WHISTLER, JAMES ABBOTT

Whistler and Others (1906). (F.

End of Article: BOUDIN, EUGENE (1824-1898)

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