3.3 Hit the road
The narrative in the letters examined for this article starts when the trio, formulate plans to jointly embark on a journey to Italy, rooted in a shared desire to witness famous past and present artwork. ‘We have decided, my dear Master, to undertake the journey to Italy, Jean, Jules and I.’1 declares Roberti, justifying his decision with his fascination for the artistic richness of Rome, and the reluctance to let his childhood friend Van Eycken embark on this journey alone. He also reveals that his journey is made possible by financial support from his brother Constant Roberti. Van Eycken, in turn, secures a grant from the ministry of Internal Affairs,2 while Storms' source of income remains undisclosed. Their departure is scheduled for the 25th of April 1838.
Transitioning from Paris as their operational base, following a period of learning the ins and outs of painting under Navez in Brussels, it becomes evident from their correspondence that Navez continued to play a pivotal role in supporting and advising his students abroad. The letters addressed to Navez express a recurring deep admiration of the artistic heritage in cities like Genoa and Parma. Storms highlights the presence of the Belgian artistic community in Florence, similar to their experiences in Paris. Notably, Roberti even encounters a familiar face, the sculptor Pierre De Vigne (1812-1877).
However idyllic the journey might have seemed, it came with logistic challenges, including constant need to secure accommodations and establish brief connections in each new city they visited. Travelling part of their journey on foot, the students endured physical strain with the unpredictable climate adding to their difficulties.3 Roberti documented this demanding period in anecdotal letters to his mother, Marie Thérèse Roberti,4 who Navez had painted a few years earlier [6]. These letters provide a window into the various places they traversed [7].5
'The pace of travel here is very slow. The carriage moves at a constant crawl. We set off at dawn and travel until around midday, then stop for two hours before starting again until evening. The arrangements with the driver are rather amusing: he provides both our food and lodging. We travel economically, though very slowly. Our journey to Piacenza cost us 20 francs, all included.'6
Another episode in Roberti’s letters to his mother reveals a more humorous side of their journey. In Marseille, the three students encountered the journalist René Spitaels (1809-1849)7, who challenged them to travel through the “cursed” Duchy of Modena wearing their French-style moustaches and beards. As Roberti later recalled, ‘Indeed, our moustaches caused quite a sensation, for we were regarded as rare and curious creatures.’8
In the passage to Rome, the students primarily sought interaction with their master by sharing their impressions of renowned masterpieces, such as Michelangelo’s David and Rafaël’s Ecstasy of St. Cecilia. Remarkably, Van Eycken is the only one explicitly asking for feedback on his own work. In a letter addressed to Navez, he urgently requests an assessment of his artworks, indicating his desire for affirmation and drive to improve.
'I received, about six weeks ago in Genoa, the news that my painting had been sold to the Museum of Liège. Since then, I have had no further news from home. I believe my works will be exhibited in Ghent, where you will serve on the jury of the competition. Should you find a spare moment, my dear Master, I would be most grateful if you could write me a few lines of advice regarding this painting.'9
The works he refers to are The Entombment of Christ and The Good Samaritan which would be purchased by the city of Liège [8].10 Van Eycken’s need for validation underscores the crucial role of the master in assessing and guiding the artistic growth of his apprentice. Eventually, both works would be exhibited at the Salon of 1838 in Ghent, albeit under different titles: Le Dernier Adieu and L'amour du Prochain, respectively.11
During this initial phase, the students depended on their mentor for guidance and feedback as they explored the uncertain and at times tumultuous characteristics of their journey. Notably, due to their brief stays in various cities on their way to Rome, they were unable to leverage Navez's international relations for support. This dynamic changes significantly upon their arrival in Rome.
6
François-Joseph Navez,
Portrait of Madame Roberti, 1831,
oil on canvas, 78 x 66 cm,
Musée des Beaux-Arts Charleroi, inv. no. 416
7
Visualization of the different stops of the pupils of Navez on their way to Rome: Storms, Roberti and Van Eycken
8
Jean-Baptiste Van Eycken,
The Entombment of Christ, 1837,
oil on canvas, 217 x 264 cm,
Musée des Beaux-Arts de Liège, inv. nro 127, photo KIK-IRPA, Brussels
Notes
1 ‘Nous nous sommes décidés mon cher Maître, d’entreprendre le voyage d’Italie, Jean, Jules et moi.’ A. Roberti to F.-J. Navez, Paris 11 April 1838, Manuscript Cabinet KBR, Ms II 70/1/196, fol. 358r-359r.
2 Later, he would reject this scholarship because he believed that others deserved it more than he did, and the sale of his paintings became his only source of income. Dupont 2005, p. 163.
3 Coekelberghs/Jacobs/Loze 1999.
4 In 1835, Albert Pierre Suykens had changed his surname to that of his mother: Roberti. Ranwet 1842, p. 387; Coekelberghs/Jacobs/Loze 1999; Coekelberghs 1968.
5 The students traveled through various locations, including: Dijon, Ouanne, Dôle, Besançon, Pontarlier, Lausanne, Chambéry en Savoie, Avignon, Nîmes, Aix-les-Bains, Grenoble, Geneva, Ventimiglia, Bordighera, San Remo, Porto Maurizio, Oneglia, Diano, Alassio, Albenga, Borghetto Santo Spirito, Loano, Finale Ligure, Noli, Savona, Voltri, Genoa, San Giovanni in Persiceto, Piacenza, Parma, Reggio Emilia, Modena, Bologna, Florence, Rome, and Naples.
6 ‘La manière de voyager ici est fort lente. La voiture marche constamment au pas. On part le matin à la pointe du jour jusque vers midi. Alors on s’arrête pendant deux heures et c’est à recommencer jusqu’au soir. Les arrangements avec le voiturier sont assez drôles. C’est lui qui nous nourrit et nous loge. On voyage avec économie, mais lentement. Notre trajet jusqu’à Plaisance nous a coûté 20 francs tout compris.’ A. Roberti to M. T. Roberti, Parma 13 July 1838, Coekelberghs 1968.
7 Spitaels himself also made a journey from Brussels to Istanbul, which was also told through correspondence, see Spitaels 1839.
8 ‘En effet, nos moustaches faisaient de l’effet car nous étions regardés comme des étrangers en route.’ A. Roberti to M. T. Roberti, Florence 5 August 1838, Coekelberghs 1968, p. 543.
9 ‘C’est à Gênes que j’ai reçu il y a 6 semaines, la nouvelle de la Vente de mon Tableau au Musée de Liège. Depuis lors je n'ai plus de nouvelles Du Pays, je pense que mes tableaux seront exposés à Gand où vous siègerez au jugement du Concours, s'il vous restait un moment, je vous prie mon Chèr Maître de l'employer à me préparer un mot d'écrit contenant vos Conseils sur ce Tableau.’ J.-B. van Eycken to F.-J. Navez, Florence 9 August 1838, Manuscript Cabinet KBR, Ms II 70/1/356, fol. 601r -601v.
10 Quetelet 1854, p. 442.
11 Anonymous 1838.