Paul Durand-Ruel, the most famous art dealer in Paris, immediately smelled an opportunity.
He was not only one of the main patrons of the Impressionist school, but his gallery was also a coveted haven for many emerging painters.
By acquiring this painting, he could bring a rising star under his wing and establish a connection with Lionel...
He personally visited Paul Gauguin, his manner even more enthusiastic than Charpentier's:
"3,000 francs!"
Durand-Ruel held up three fingers, his gaze burning:
"Not only that, I am willing to hold a solo exhibition for you, right here in my gallery! Imagine, all the art lovers in Paris will know you!"
This condition almost broke Paul Gauguin's psychological defenses.
The dual temptation of money and fame made him tremble with excitement.
Just as Gauguin was about to sign the contract that Durand-Ruel had already prepared, a new competitor appeared.
A representative from the Efroussi family, from Odessa, entered the bidding.
This banking dynasty was famous for collecting cutting-edge European art, so the price quickly escalated to 4,000 francs.
Following that, a Russian noblewoman, Miss Sofia Ivanovna Durova-Shcherbatova, also appeared at Gauguin's studio.
Gauguin's studio, which had once been quiet, had now turned into a battlefield without gunpowder.
Sofia hadn't even looked closely at the painting that sparked the contention—she couldn't really understand the wild brushstrokes and glaring colors.
Furthermore, it depicted Lionel's new play...
She recalled the hint given by the noblewoman before she arrived and gritted her teeth.
However, Sofia could still read the looks on the faces of the others present, and she understood the meaning represented by this painting.
A piece of art's price was not only determined by its artistic level but also by the story people could tell with it.
Thunderstorm was a painting that could be used to tell a story, and what it would be worth in the future was hard to say.
After several rounds of bidding, Sofia lost her patience. She raised her hand:
"Gentlemen, we don't need to engage in this tedious tug-of-war anymore."
Her gaze swept over Durand-Ruel and the Efroussi representative, finally settling on Paul Gauguin, whose face was flushed red.
Her red lips parted, and she named a figure:
"20,000 francs."
Instantaneous silence fell upon the studio.
Paul Gauguin staggered back as if struck by lightning, bumping into the easel behind him with a loud clatter.
He wondered if his ears were playing tricks on him. 20,000 francs?
That was equivalent to ten years' salary for a civil servant!
It was ten times the highest price Monet's paintings had fetched!
It was even comparable to the representative works of some Academic masters!
Paul Gauguin's voice was hoarse:
"You... you mean..."
Sofia repeated herself, her tone flat:
"20,000 francs, paid in cash. The transaction can be completed today."
She spoke as if discussing some insignificant trinket.
No one competed with her.
This price had exceeded the realm of reason; it had become a declaration of wealth.
Durand-Ruel shrugged, offering a helpless smile, and was the first to leave.
The Efroussi representative also politely took his leave, clearly deeming the game too insane.
The transaction was quickly completed.
Sofia's personal maid counted the banknotes, while Paul Gauguin, as if in a trance, watched as the painting Thunderstorm was carefully taken down and packaged.
After Sofia left with the artwork, Paul Gauguin stood alone in his studio, looking at the neatly stacked pile of 20,000 francs on his table.
It still felt utterly unreal; he even pinched his arm—the sharp pain told him this was not a dream.
"20,000 francs... 2 francs... I must resign! I must resign! I must go find the moon that Lionel sent me!"
Paul Gauguin finally made up his mind!
——————
The news spread like wildfire throughout Paris.
Le Figaro reported the "unprecedented transaction" on its front page, with an exaggerated headline:
Impressionism Triumphs! Russian Noblewoman Spends 20,000 Francs, Gauguin's 'Thunderstorm' Sets Record Price!
The article detailed the bidding process, describing Sofia's move as a "storm from the North," and commented:
["This not only marks the birth of a rising painter but also signifies that Impressionist painting has officially entered the ranks of top-tier collectibles... And all of this is inseparable from Mr. Lionel Sorel's yet-to-be-staged play, Thunderstorm."]
The entire Parisian art circle and high society were shaken.
In salons, at banquets, in clubs... everyone was talking about the 20,000-franc painting, the lucky painter Gauguin, and the Russian noblewoman who spent money so lavishly.
Of course, they talked even more about Lionel Sorel and his Thunderstorm.
What kind of drama could inspire a painter to create a work worth 20,000 francs?
What kind of power could make a Russian noble girl spend fortunes on it?
Public expectation for Thunderstorm reached its zenith.
The queue outside the box office of the Comédie-Française grew even longer; tickets for the first five performances, not just the premiere, were snatched up within a few hours.
Director Émile Perrin smiled so widely every day that his face seemed unable to close, as if he could already see his vault filling up with francs.
When Lionel attended Zola's gathering, the topic naturally came up.
Maupassant spoke animatedly, as if he had witnessed it himself:
"20,000 francs! Good heavens, Lionel! That Russian woman is completely mad!"
He waved his arms:
"Just because it was a painting of your play? Is it too late for me to quit and take up painting?"
Zola was relatively calmer.
He puffed on his pipe and analyzed:
"This isn't just about artistic value, Sofia didn't buy a painting. She is making a statement; she and her family have secured an entry ticket into the core Parisian artistic social circle. Madame Rothschild made the first move, and she used francs to completely smash the door open."
Lionel nodded silently; Zola's analysis was basically the same as his own deduction.
Sofia gained entry into the top circle of Parisian noblewomen by engaging in a "duel" with Madame Rothschild—even though she lost.
Furthermore, her unexpected entry into the bidding for a work connected to Lionel was a gesture of humility from a "subordinate."
It represented not only Sofia putting aside any past grievances with Lionel but also proving her willingness to submit to the "order" of the Parisian elite circles presided over by Madame Rothschild.
The trigger might have been related to the political turbulence in Russia following the assassination of Tsar Alexander II by a member of the Narodnaya Volya (People's Will) group on March 13th of that year.
After Alexander III succeeded to the throne, he fully consolidated his autocratic power and declared a state of emergency.
However, revolutionary elements within Russia did not stop their assassination activities, and the entire country was shrouded in gloom.
The Shcherbatov family had long planned to relocate to Paris, and Sofia's willingness to make such a huge concession was likely due to pressure from her family.
Thinking about this, Lionel got a headache.
He spread his hands:
"Art is art, and social maneuvering is social maneuvering. Alright, let's talk about something else!"
——————
Just as all of Paris was buzzing about the sky-high price of that painting, an American quietly arrived in Paris, bringing Lionel an unexpected form of "help."
(End of Chapter)
(TL: I'll be releasing 2 chapters/day this week, since some of these chapters feel pretty short.)