There he met Dubuche, Pierre Sandoz, and others of his former
schoolboy friends, and the little band formed a coterie of revolutionary
spirits, whose aim was to introduce new ideas and drastic changes into
the accepted canons of art. Claude attempted to embody his theories in a
picture which he called _Plein Air_ ("Open Air") in which he went direct
to nature for inspiration, and threw aside all recognized conventions.
The picture was refused by the committee of the _Salon_, and when
subsequently shown at a minor exhibition was greeted with derision by
the public. The artist was in despair, and left Paris with
Christine Hallegrain, a young girl between whom and himself a chance
acquaintanceship had ripened into love. They lived happily in a little
cottage in the country for several years, a son being born to them, but
Claude became restless, and they returned to Paris. Here he gradually
became obsessed by an idea for a great picture, which would show the
truth of his theories and cover his detractors with confusion. By this
time there is no doubt that his mind was becoming affected by repeated
disappointments, and that the family virus was beginning to manifest
itself in him.
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