cat., Stuttgart (Munich) 2012; Alain Bonnet, ed., L'Artiste en représentation.
, Paris 1896, 11: "En de nombreuses visites aux peintres et aux sculpteurs les plus différents, j'ai eu fréquemment l'occasion de constater qu'il faut, pour avoir une idée à peu près complète d'un artiste, de ses œuvres, de ses tendances, visiter son atelier.
On the use of photography and photographic processes in L'Illustration see 48 The canvas he is working on appears to be Le Jour (private collection), usually dated to 1881.
This is a strange anomaly: while it may indicate that that picture is of a later date, it could also be an invention of the draughtsman or one of Bouguereau's many copies after his most popular works.
This is indicated not only by the reference to Bouguereau's tendency to produce "a lot, and fast," but also by his comment, on finding the artist's abandoned painter's smock with his légion d'honneur in the buttonhole: "Ah! The illustration (257) shows an unpretentious if somewhat untidy space, the artist seated in a low chair, dressed in a simple velvet jacket, trousers and slippers, contemplating his work in progress, which, significantly, is invisible to the viewer.
The engraving was made on the basis of a photograph, one of the few plates in L'Illustration for which this is known to be the case: as the painter is so busy, and so much time has been lost in waiting around, after being admitted to the studio Eudel asks the artist to pose for his photograph so that he can take his leave.
La littérature, la production littéraire, n'est point pour moi distincte ou du moins séparable du reste de l'homme et de l'organisation; je puis goûter une œuvre, mais il m'est difficile de la juger indépendamment de la connaissance de l'homme même; et je dirais volontiers: tel arbre, tel fruit.