“C’EST L’AFFIRMATION GRANDIOSE DE L’EFFORT VERS LE
BEAU QUE CERTAINS ARTISTES INDÉPENDANTS TRAITÈRENT À
UN MOMENT DONNÉ EN DEHORS DE LA TRADITION ET DES
FORMULES ACQUISES”
_GEORGES
LECOMTE_
IT is the fashion nowadays amongst a certain class of art-critics to
adopt the pessimistic note. They laud the past, deplore the present, and
display sympathetic alarm for the future of art and artists. Should a
modern manifestation of art be under discussion, some phase undeniably
good and universally accepted by those best qualified to form an
opinion, these critics recognise it with a guarded qualification and a
prophecy of its speedy decadence in the immediate future; and these
depreciatory remarks are extended to all those artists who have been
attracted by the new movement and have ranged themselves under its
banner. It has always been so. In the art literature of the past we read
of Delacroix and the decadence, of Corot and the downfall, of Monet and
the abyss. There are still living in France aged and honoured
professors, members of the Institute and of the Salon juries, who
believe that the teaching of Claude Monet has been a national calamity.
They hold that art no longer exists, having been destroyed by these
dreadful innovations. Is it not strange that the birth of new methods,
rather than the death of old ones, should be heralded with melancholy
head-shakings, with frequent and wrathful imprecations upon the impious
intruders! Time rights all things. The new to-day is old to-morrow, the
exotic becomes classic, and one more page is added to the history of the
evolution of art.
Nothing is more amazing than to read in the daily and weekly press of
the “pernicious influence” and decadence of modern French art,
criticisms the more astonishing as the present age is one of universal
travel and liberal ideas. French art is in no such parlous state, and
never, at any period of its history, displayed stronger signs of
vitality. Never was its activity greater, nor its influence, poetry, and
gaiety better for the general good of the nation. Such wild accusations
are unjustifiable, hypocritical, and themselves pernicious. French
influence dominates the work of the most successful painters and
sculptors throughout the world. The art of such men as La Thangue,
Edward Stott, Alfred East, Peppercorn, Bertram Priestman, Arnesby Brown,
Fred Footet, John Lavery, Macaulay Stevenson, Edwin Abbey, John S.
Sargent, George Clausen, and the men of the Glasgow school, is
unquestionably derived from Paris, a city we are asked to believe is
decadent in art matters. Of these artists it may be said that the
majority were educated in Paris. It is well to acknowledge candidly
that, although in the days of Gainsborough, Turner, Constable, and the
other members of that brilliant band, English art led the world, to-day
we must look to “la ville lumière” for instruction and inspiration. The
fact is proved by the enormous preponderance of students of all
nationalities who flock to Paris for the completion of their art
education. In other words, French art is the leading art of the day, and
will remain so for many years to come.
Let any unbiased observer compare the two magnificent Salons of Painting
and Sculpture held annually in Paris with the English Royal Academy, New
Gallery, and British Artists’ Exhibitions. Note that France houses her
artists in some of the most beautiful palaces in the world, then think
of London. Observe the high average quality of the exhibits, their
astounding technical excellence, the courage of the artists, and their
bold experiments in untrodden paths, their extraordinary originality and
diversity of temperament. They are not content with an ephemeral
success, or the stereotyped reproduction of popular playthings. The
contributors are cosmopolitan in nationality, for, provided the
necessary passport of talent, Paris welcomes the stranger. Where in
Great Britain can the foreigner, even if he possess acknowledged genius,
be sure of meeting with a sympathetic reception and fair play from a
Hanging Committee? He is fortunate if he escapes public ridicule. The
Continental artist has learnt this lesson and troubles us no more, to
the blight of our national education and the detriment of our taste.
This blot upon our reputation for common sense has been to some extent
redeemed of recent years by the International Society of Painters,
Sculptors, and Gravers. Perhaps its intermittent exhibitions will
rehabilitate our name abroad, and incidentally aid in revivifying our
national taste.
Recall haphazard the names of a few artists who are at the present
moment exhibiting in France. Aman-Jean, Barillot, Binet, Besnard,
Billotte, Bracquemond, Cottet, Chèret, Carrière, Cassatt, Cazin,
Dagnan-Bouveret, Daillon, Dameron, Didier-Pouget, Degas, d’Espagnat,
Forain, Fantin-Latour, Geffroy, Gosselin, Gaston la Touche, Gagliardini,
Guillaumin, Harpignies, Henner, Lhermitte, Le Sidaner, Meunier, Marais,
Monet, Menard, Maufra, Montenard, Pointelin, Ribot, Rigolot, Raffaëlli,
Rodin, Renoir, Roybet, Ziem. This list can be extended indefinitely by
the addition of the names of artists of the rarest temperaments. The art
of the whole of the rest of the world cannot surpass the productions of
these men.
The state of the plastic arts in England is deplorable. If it be not
soon remedied, we shall be compelled to go abroad for any statues
needed. The little sculpture we have is frequently excellent, but its
output is so insignificant that it cannot possibly be compared with the
sculpture of France. The art cannot flourish in England whilst there are
so few public commissions, or wealthy patrons. Financially the painter’s
career is bad enough, but, as a remunerative profession, sculpture does
not exist. Look around the galleries in London during the height of the
season, and note the quite insignificant amount of sculpture exhibited.
Many of the London galleries exclude it altogether, and in the
provincial collections it is practically non-existent. If there is any
it is systematically overlooked by visitors, and as for sales—! one
never hears of such a thing. Then remember Paris with its immense annual
production of excellent sculpture, and the admirable manner in which the
State fosters this great art.
If we take monuments and statues in public places as the fittest
expression of national gratitude, we are sadly lacking. Where in England
can we find monuments in perpetuation of the memory of such mighty
painters as Turner, Reynolds, Gainsborough, Constable, Romney, and a
score besides. If we possess such monuments, they are certainly hidden
away from the sight of both native and stranger, and the latter
frequently remarks upon their absence. In France the birthplaces of
these artists would have raised some remembrance, whilst the capital
city in which they laboured would surely have had its statues and
collegiate endowments to perpetuate their spirit. An example can be
quoted from the little country town in which these lines are being
written. Here in Les Andelys, in the most prominent position, are two
statues. One of them is as fine a memorial as can be seen in any capital
city of Europe. The men so honoured in imperishable bronze are not
kings, generals, statesmen, or even local benefactors. They are merely
artists, and one of them (the son of an Englishwoman) is but distantly
allied to the countryside. Chaplin and Poussin, two artists of
thoughtful, gentle lives, of obscure birth, without fortune or
influence, yet possessors, in some degree, of the ennobling fire of
genius. Of these men the simple townspeople are exceedingly proud, and
in such pride we see the whole spirit of the nation. France delights to
honour genius, and the intelligent foreigner, noting these things, will
pay little heed to stories that decadence and pernicious influences are
the outcome of such a feeling.
Following the lead of Paris, American painters may be said to have
adopted “la peinture claire” almost to a man. Germany also has revolted,
and the Secessionist movement, with Liebermann at its head, has gathered
together the most vigorous talent in modern German art. Clean painting
in a pure and healthy atmosphere now reigns supreme. Spain and Italy
have also been deeply affected, and in both of these countries there is
a marked recrudescence of that fine talent which in times past
distinguished the two peninsulas. Together with this increasing activity
is happily to be noted a commensurate degree of financial encouragement.
Enormous sums yearly change hands in Germany alone for the products of
the new school, irrespective of nationality. The sales recorded at the
annual exhibitions in Berlin, Munich, Dresden, and Dusseldorf average
about twenty times the amounts received at the Royal Academy, and it is
clear that Germany intends to take as leading a position in the arts as
she is doing in commerce.
The tendency in England appears to be retrograde. Modern Dutch art
reigns as the present fashion, its propagation admirably engineered, its
influence widespread. The pictures _à-la-mode_ are those with foggy,
sombre grey skies in heavy unatmospheric paint. They give us damp
discoloured tenements, shipping the colour of coal-tar, clumsy barges,
malodorous canals, ugly toil-broken humanity, the whole as unromantic,
depressing, and dyspeptic as can be imagined. The seal of official
approbation has been secured for this kind of thing, and the Mansion
House requisitioned for its display. This poetry of the prosaic has been
generally accepted, and never have times been better for the sturdy,
plodding producer of Dutch pictures. As it is the dark and sordid side
of Nature that appeals most forcibly to these men, we shall, within a
given time, develop a whole race of “Nubians” of our own. Finally we
shall deny the very existence of the sun and all he represents in our
limited share of life.
The cult of sun-worship, of joy in sparkling colour, of pure
health-bringing open-air art must, sooner or later, predominate in
England as it already predominates throughout the world. The mission of
Impressionism is to depict beauty that elevates, light that cheers. In
their struggle for this mastery of light, Impressionist painters have
often in the past sacrificed many of the qualities which go towards the
making of a picture, and have thus incurred public displeasure. Their
subjects have been chosen at random, and they have gained their effects
often regardless of composition. The artists were far too much occupied
by technical difficulties to care about picture-making, and the results,
mere studies, were not intended as pictures. They were the necessary
experiments incidental to the invention of “Impressionism.” Yet how
preferable are these “studies” to the ordinary canvases of commerce, and
how treasured they are at the present day. Now that the material
difficulties have been overcome, and settled methods achieved, this
reproach will disappear, and we may confidently look to the
Impressionist picture for all those qualities which go to the making of
a perfect work of art.
In the canvases of Vincent Van Gogh, Gauguin, Claus, Maufra, d’Espagnat,
Liebermann, Harrison, Besnard, Le Sidaner, and many others of the later
school, will be found not only colour, rich light, and subtly strong
harmonies, but a feeling for beauty of line, composition, rhythm of
movement. Our admiration for the great men of 1870 must not blind us to
the fact that there are others; the road is not barred, and many of the
followers are of great strength. The pioneers having opened up the new
territory, the gift is free and all are welcome.
[Illustration]
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APPENDIX
(_a_) THE SCIENTIFIC ASPECT OF IMPRESSIONISM
The clearest explanation of the scientific theory of colouring is to be
found in the treatise written by Chevreul. First published in France in
1838, it met with great success, and was translated into English in 1854
by Charles Martel. Chevreul remains the standard authority, although he
has been followed by Helmholtz, Church, Rood, and others.
Given the necessary competence for accuracy in draughtsmanship, and
considerable practice in the manipulation of colour, the art-student may
take the field, and not before; for Impressionist painting demands the
highest artistic capability. Firstly, he will discover that
Impressionists worship light, using the trees, rocks, rivers, &c. of
landscape, as so many vehicles for the conveyance of luminous
impressions to the eye. This quality of atmosphere distinguishes
Impressionist pictures from all others; here will be found what
Brownell, Chevreul, MacColl, and Mauclair, have to say upon the subject.
Secondly, the art-student will perceive the vital necessity of correct
values within a general tone, a subject also enlarged upon by the above
writers. Thirdly, some reference is given to the modern study of shadows
and reflections, with regard to their influence and treatment.
The following lines, extracted from “The French Impressionists,” by
Camille Mauclair, sum up definitely the Impressionist Idea.
“In nature no colour exists by itself. The colouring of the
objects is a pure illusion: the only creative source of colour
is the sunlight which envelops all things, and reveals them,
according to the hours, with infinite modifications.... Only
artificially can we distinguish between outline and colour; in
nature the distinction does not exist.... A value is the degree
of dark or light intensity, which permits our eyes to comprehend
that one object is further or nearer than another.... The values
are the only means that remain for expressing depth on a flat
surface. Colour is therefore the procreatrix of design. Colour
being simply the irradiation of light, it follows that all
colour is composed of the same elements as sunlight, namely the
seven tones of the spectrum.... The colours vary with the
intensity of light. There is no colour peculiar to any object,
but only more or less rapid vibration of light upon its surface.
The speed depends, as is demonstrated by optics, on the degree
of the inclination of the rays which, according to their
vertical or oblique direction, give different light and
colour.... What has to be studied therefore in these objects, if
one wishes to recall their colour to the beholder of a picture,
is the composition of the atmosphere which separates them from
the eye. This atmosphere is the real subject of the picture, and
whatever is represented upon it only exists through its medium.
A second consequence of this analysis of light is, that shadow
is not absence of light, but light of _a different quality_ and
of different value. Shadow is not a part of the landscape where
light ceases, but where it is subordinate to a light which
appears to us more intense. In the shadow the rays of the
spectrum vibrate with different speed. The third conclusion
resulting from this: the colours in the shadow are modified by
_refraction_.... The colours mixed on the palette compose a
dirty grey.... Here we touch on the very foundations of
Impressionism. The painter will have to paint with only the
seven colours of the spectrum, and discard all the others; that
is what Claude Monet has done boldly, adding to them only black
and white. He will, furthermore, instead of composing mixtures
on his palette, place on his canvas touches of none but the
seven colours _juxtaposed_, and leave the individual rays of
each of these colours to blend at a certain distance, so as to
act like sunlight itself upon the eye of the beholder.”
CAMILLE MAUCLAIR.
(“The French
Impressionists.”)
“Take a landscape with a cloudy sky, which means diffused light
in the old sense of the term, and observe the effect upon it of
a sudden burst of sunlight. What is the effect when considerable
portions of the scene are suddenly thrown into marked shadow, as
well as others illuminated with intense light? Is the absolute
value of the parts in shadow lowered or raised? Raised, of
course, by reflected light. Formerly, to get the contrast
between sunlight and shadow in proper scales, the painter would
have painted the shadows darker than they were before the sun
appeared. Relatively they are darker, since their value, though
heightened, is raised infinitely less than the value of the
parts in sunlight. Absolutely their value is raised
considerably. If therefore they are painted lighter than they
were before the sun appeared, they in themselves seem true. The
part of Monet’s picture that is in shadow is measurably true,
far truer than it would have been if painted under the old
theory of correspondence, and had been unnaturally darkened to
express the relations of contrast between shadow and sunlight.
Scale has been lost. What has been gained? Simply truth of
impressionistic effect. Why? Because we know and judge and
appreciate and feel the measure of truth with which objects in
shadow are represented; we are insensibly more familiar with
them in nature than with objects directly sun-illuminated, the
value as well as the definition of which are far vaguer to us on
account of their blending and infinite heightening by a
luminosity absolutely overpowering. In a word, in sunlit
landscapes objects in shadow are what customarily and
unconsciously we see and note and know, and the illusion is
greater if the relation between them and the objects in
sunlight, whose value habitually we do not note, be neglected or
falsified. Add to this source of illusion the success of Monet
in giving a juster value to the sunlit half of his picture than
has ever been systematically attempted before his time, and his
astonishing ‘trompe d’œil’ is, I think, explained. Each part is
truer than ever before, and unless one have a specially
developed sense of ‘ensemble’ in this very special matter of
values in and affected by sunlight, one gets from Monet an
impression of actuality so much greater than he has ever got
before, that one may be pardoned for feeling, and even for
enthusiastically proclaiming, that in Monet realism finds its
apogee. Monet paints absolute values in a very wide range, plus
sunlight, as nearly as pigments can be got to represent it.”
W. C. BROWNELL.
(“Realistic Painting.”)
“Impressionism is the art that surveys the field and determines
which of the shapes and tones are of chief importance to the
interested eye, enforces these, and sacrifices the rest.
“If three objects, A, B, and C, stand at different depths before
the eye, we can at will fix A, whereupon B and C must fall out
of focus, or B, whereupon A and C must be blurred, or C,
sacrificing the clearness of A and B. All this apparatus makes
it impossible to see everything at once with equal clearness,
enables us, and forces us for the uses of real life, to frame
and limit our picture, according to the immediate interest of
the eye, whatever it may be.
“The painter instinctively uses these means to arrive at the
emphasis and neglect that his choice requires. If he is engaged
on a face he will screw his attention to a part and now relax
it, distributing the attention over the whole so as to restore
the bigger relations of aspect.
“Sir J. Reynolds describes this process as seeing the whole
‘with the dilated eye;’ the commoner precept of the studios is,
‘to look with the eyes half closed.’ In any case the result is
the minor planes are swamped in bigger, that smaller patches of
colour are swept up into broader, that markings are blurred.
“The Impressionist painter does not allot so much detail to a
face in a full-length portrait as to a head alone, nor to twenty
figures on a canvas as to one.”
D. S. MACCOLL.
(“Encyclopædia
Britannica.”)
“The discovery of these Impressionists consists in having
thoroughly understood the fact that strong light discolours
tones, and that sunlight reflected by the various objects in
nature, tends from its very strength of light to bring them all
up to one uniform degree of luminosity, which dissolves the
seven prismatic rays in one single colourless lustre, which is
the light.... Impressionism, in those works which represent it
at its best, is a kind of painting which tends towards
phenomenism, towards the visibility and the signification of
things in space, and which wishes to grasp the synthesis of
things as seen in a momentary glimpse.... One has now the right
to say, without provoking an outcry, that it has been given to
the people of the present time to witness a magnificent and
phenomenal artistic evolution by this succession of canvases
painted by Claude Monet during the past twenty years.”
GEFFROY.
“Two coloured surfaces in juxtaposition will exhibit the
modification to the eye viewing them simultaneously, the one
relative to the height of tone of their respective colours, the
other relative to the physical composition of these same
colours.... We must not overlook the fact, that whenever we mix
pigments to represent primitive colours, we are not mixing the
colours of the solar spectrum, but mixing substances which
painters and dyers employ as Red, Yellow, and Blue colours....
All the primary colours gain in brilliancy and purity by the
proximity of Grey.... Grey in association with sombre colours,
such as Blue and Violet, and with broken tints of luminous
colours, produces harmonies of analogy which have not the vigour
of those with Black; if the colours do not combine well
together, it has the advantage of separating them from each
other.... Distant bodies are rendered sensible to the eye, only
in proportion as they radiate, or reflect, or transmit the light
which acts upon the retina.”
CHEVREUL.
“The object of landscape painting is the imitation of light in
the regions of the air and on the surface of the earth and of
water.... One must seek above all else in a picture for some
manifestation of the artist’s spiritual state, for a portion of
his reverie.... In the career of an artist, one must have
conscience, self-confidence and perseverance. Thus armed the two
things in my eyes of the first importance are the severe study
of drawing and of values.”
COROT.
(_b_) SALES AND PRICES
For future comparison it will be interesting to note some results
reached at recent sales of Impressionist paintings. Pictures which, in
the early seventies, were unsaleable for five pounds, now average from
£500 to £800 apiece, with a tendency to go much higher. A sale at New
York, in December 1902, of seventeen pictures by members of the
Impressionist and Barbizon schools, produced nearly £40,000, an average
of £2300 for each canvas. The last great public sale by auction was “La
Vente Chocquet” at the Petit Galerie, Paris, July 1, 1899. A few days
previous to the sale the writer had a long conversation with Claude
Monet at Giverny. Discussing the coming event, which was already
exciting much press comment, Monet told how the late Père Chocquet, as
he was affectionately called, a “chef du bureau” in the Department of
Finance, had been a tower of strength to the early Impressionists. He
encouraged them, foretold ultimate triumph, invested every franc of his
savings in the purchase of their works, at prices ranging from £2 to
£10. Late in life M. Chocquet inherited, quite unexpectedly, a large
fortune. The Impressionists anticipated much, and the studios were
jubilant. Long cherished plans were rediscussed; the Chocquet legacy was
to be the source of a golden stream. But a great disappointment was to
come. With the increase of M. Chocquet’s riches came the decrease and
final extinction of M. Chocquet’s taste. He never bought another
picture!
Throughout the three days’ sale, the gorgeous rooms of M. Georges Petit
were crowded, although many well-known and wealthy buyers were absent
owing to the lateness of the season. Amongst the distinguished
collectors and dealers, from all parts of Europe and America, were the
Counts de Camondo, Gallimard, de Castellane, the Marquis de Charnacé,
the Barons Oberkampff and de Saint-Joachim, and Messieurs Degas,
Cheramy, de St. Léon, de la Brunière, de Léclanché, Clerq, Muhlbacher,
Ligneau, André Sinet, Antonin Proust, Escudier, Natanson, de Laivargott,
Bigot, Ferrier, Marcel, Cognet, Durey, Zacharian, Moreau-Latour,
Mittmann, Durand-Ruel, Bernheim, Allard, Montagnac, Vollard, Boussod,
Rosemberg, and Camemtron, Monet’s _La Prairie_ realised 6400 francs,
_Les Meules_ 9000 francs, _Falaise à Varengeville_ 9500 francs, and _La
Seine à Argenteuil_ was knocked down to M. d’Hauterive for 11,500
francs. Renoir’s works fetched between ten and twenty thousand francs.
Manet’s _Portrait of Claude Monet in his Studio_, which was sold after
Manet’s death for 150 francs, changed hands at 10,000 francs.
At the Vever sale in 1897, Monet’s _Le Pont d’Argenteuil_ realised
21,500 francs.
(_c_) SOME COLLECTORS OF IMPRESSIONIST PICTURES
The following list contains the names of the chief private collectors of
Impressionist pictures. Though incomplete it will be noted that almost
every country is represented:
ALEXANDRE, M. ARSÈNE
ASTOR, JOHN JACOB
BATHMONT, MADAME
BÉARN, COMTESSE DE
BERNHEIM, FILS, M.
BLANQUET, BARON
CAHEN, M. GUSTAVE
CAMONDO, COMTE ISAAC DE
CHAUVEAU, FRÉDÉRIC
COCHIN, M. DENIS
COQUELIN FRÈRES
CUREL, M. DE
DECUP, M.
DUPEAUX, M.
DUPUX, DR.
DURAND-RUEL ET FILS
DURET, M. THEODORE
EPHRUSSI, M. CHAS.
FEYDEAU, M. M.
FORWARD, M.
GACHET, DR.
GONJON, M. S.
HAVINIMANN, MADAME
HAVEMEYER, M.
HERSCH, M.
HETE, M. DE
HOHENTSCHEL
JOUBERT, M.
KAKOREFF
LEHRMANN
MADDOCKS, J.
MARCHANT, W. S.
MARKER
MARSDEN, S.
MESDAG
MONNIER, M.
MOROSOFF, IVAN
MURER, M.
PAQUIN, M.
PAWSON, T.
PELERIN, M. AUGUSTE
PETIT, M. GEORGES
PRIESTLEY, W. E. B.
PRIPPER
RONNELL, MAX
ROTHSCHILD, BARONNE GUSTAVE DE
ROTHSCHILD, BARON HENRI DE
RUEL, M.
ROUS, M.
SAMUEL, M.
SCHLESINGER, M.
SCHMITZ, M.
SCHULTE, HERR
SCHUMANN, M.
SMITH, J. W.
SOTA, SIGNOR DE LA
STRAUSS, GUIDO
STRAUSS, JACQUES
STRAUSS, JULES
TESIGMANN, M.
TSCHUDI, HERR VON
VANDERBILT
VAN DER VELDE, M.
VANIER, M.
VIAU, M. GEORGES
VLIEYERE, M. DE
WALDECK-ROUSSEAU, M.
WILLS, SIR W. H.
ZYGOMALCO, M.
[Illustration]
------------------------------------------------------------------------
BIBLIOGRAPHY
ARSÈNE ALEXANDRE:
Préface du catalogue de
l’exposition des œuvres de Camille Pissarro. Paris, April
1891.
Claude Monet, _L’Éclair_. Paris,
26 May 1895.
· An article with portrait.
Préface du catalogue de
l’exposition des œuvres de Renoir. Paris, May 1893.
Préface du catalogue des Tableaux
Modernes, collection de M. Jules Strauss, MM. Paul Chevallier
et Bernheim jeune. Paris.
· A magnificently
illustrated record of a collection belonging to wealthy
connoisseurs; much sought after by collectors.
Histoire populaire de la peinture,
École Française. H. Laurens, Paris.
· A concise history of
French art, with 250 illustrations, by the art critic of the
_Figaro_.
Le “Balzac” de Rodin. H. Floury,
Paris.
· A witty defence of
Rodin’s statue, together with a scathing attack upon public
taste generally.
Préface du catalogue de
l’exposition des œuvres d’Armand Guillaumin. Durand-Ruel,
Paris.
· A sympathetic essay upon
the artist’s career.
Préface du catalogue de
l’exposition des œuvres de Zandomeneghi. Paris, 1893.
A. M.:
Les artistes à l’atelier—Camille
Pissarro et A. Renoir. “L’Art dans les Deux Mondes.” Paris,
6th and 31st Jan. 1891.
“ART JOURNAL”:
Some remarks upon Impressionism;
with.
G. ALBERT AURIER:
Le Néo-Impressionisme (Camille
Pissarro). _Mercure de France_, Paris, 1895.
Le Syncholisme en peinture (Paul
Gauguin). _Mercure de France_, Paris, March 1891.
L’Impressionisme (Monet et Renoir).
_Mercure de France_, Paris, 1893.
FRANCIS BATE:
The Naturalistic School of Painting.
_The Artist_, London, 1887.
EDMOND BAZIRE:
Manet. Paris, 1884.
EMILE BERNARD:
Les hommes d’aujourd’hui—Paul Cézanne,
avec dessin de Pissarro. Vannier, Paris.
F. A. BRIDGMANN:
L’anarchie dans l’art,
Impressionisme—Symbolisme. L. H. May, Paris.
W. C. BROWNELL:
French art, Realistic painting.
_Scribner’s Magazine_, Nov. 1892.
· A lengthy illustrated article
written with knowledge, although some of the conclusions
arrived at by the author cannot be admitted.
French art. London, 1892. · The collected
articles first published in _Scribner’s_, but without the
illustrations.
GUSTAVE CAHEN:
Eugène Boudin, sa vie et son œuvre
(Preface by Arsène Alexandre). H. Floury, Paris, 1900.
· Fully illustrated, with dry point
by Paul Helleu. It contains special references to the early
days of Impressionism.
Préface du catalogue des Tableaux
Modernes. Collection de Monsieur L. B. Chevallier et Bernheim
jeune, Paris. · Numerous photogravures of Impressionist works,
particularly of those by Boudin.
M. CHEVREUL:
The principles of harmony and contrast of
colours, and their application to the arts. Tr. C. Martel.
Longmans, London, 1854.
· This book, the standard work
upon the subject, should be in the hands of every person who
desires to study Impressionism thoroughly. This is the best
English translation.
A. H. CHURCH:
The Laws of Contrast of Colour. Tr. J.
Spanton. London, 1858.
Colour, an Elementary Manual for Students.
Cassells, London, 1901.
Chemistry of Paints and Painting. London,
1890.
· These excellent books deal with all the
problems of light and colour.
G. CLÉMENCEAU:
Exposition des Cathédrales de Rouen. _La
Justice_, May 20, 1895.
· An important article by a writer of
ability.
E. DELACROIX:
Mon Journal, 1823-63 (notes par Flat et
Riot). Paris, 1893. Three volumes.
DENOINVILLE:
Sensations d’art. Girard, Paris.
· A collection of short essays dealing
with such subjects as Corot, Eugène Carrière, the Simplists,
l’Art nouveau, &c.
WYNFORD DEWHURST:
Claude Monet, Impressionist; _Pall Mall
Magazine_, London, June 1900.
A great French Landscapist. _Artist_,
London, October 1900.
· These articles are notable for their
reproductions of Monet’s works.
Impressionist Painting; its Genesis and
Development. _Studio_, London, June and September, 1903.
DURANTY:
La nouvelle peinture. Paris, 1876.
· A rare and interesting _brochure_.
THÉODORE DURET:
Histoire d’Édouard Manet. H. Floury, Paris,
1902.
· The official biography of Manet, by his
life-long friend and executor, with many illustrations, and a
complete catalogue of works.
Les Peintures Impressionistes. Paris,
1878.
· A short treatise on Impressionism,
explanatory and defensive, with biographical notes of Monet,
Sisley, Pissarro, Renoir, Morisot.
L’art Japonais. Quantin, Paris.
Critique d’avant garde. Charpentier,
Paris, 1885.
Degas. _The Art Journal_, London, 1894.
· A critical illustrated article.
FÉLICIEN FAGUS:
Petite gazette d’art Cézanne. _Revue
Blanche_, Paris, December 1899.
Petite gazette d’art, Camille Pissarro.
_Revue Blanche._ Paris, April 1899.
FELIX FÉNÉLON:
Les Impressionistes en 1886. Paris, 1886.
ANDRÉ FONTAINAS:
Art Moderne, Zandomeneghi. _Mercure de
France_, April 1898.
Art Moderne, Camille Pissarro. _Mercure de
France_, July 1898, May 1899.
Art Moderne, Exposition Cézanne. _Mercure
de France_, June 1898.
Art Moderne, Renoir. _Mercure de France_,
July 1898, May 1899.
ANDRÉ FONTAINAS:
Art Moderne, Claude Monet. _Mercure de
France_, July 1898, May 1899.
PASCAL FORTHUNY:
Catalogue des Tableaux Modernes. Preface by
Roger Marx. Durand-Ruel, Paris.
· Richly illustrated.
PASCAL FORTHUNY:
Catalogue de Tableaux. Préface by H.
Fourquier. Bernheim et Chevallier, Paris.
· A handsome volume illustrated by
many engravings and photographs.
W. H. FULLER:
Claude Monet and his Paintings.
_Evening Sun_, New York, January 26, 1899.
GUSTAVE GEFFROY:
Sisley, Préface pour la Vente. May 1, 1899.
Notice de l’Exposition d’Œuvres de Camille
Pissarro. Paris, February 1890.
La Vie artistique. E. Dentu, Paris,
1892-1900.
· These volumes of art criticism cover
the whole field of Impressionism, and include a lengthy
history of the movement. To the student and historian of
modern French art they are invaluable.
and Arsène Alexandre. Corot and Millet,
Winter Number of the _Studio_, London, 1902.
(Préface). Catalogue de Tableaux,
collection de M. E. Blot. Paris, Bernheim jeune.
· Contains essays upon Carrière,
Cézanne, Fantin-Latour, Guillaumin, Jongkind, Monet, Morisot,
Pissarro, Renoir, Toulouse-Lautrec, Degas.
MAURICE GUILLEMOT:
Claude Monet. _Revue Illustrée_, Paris,
March 1898.
J. K. HUYSMANS:
Certains. Paris, 1896. L’Art Moderne.
Paris, 1883.
FRANZ JOURDAIN:
Renoir et Renouard. _Les Décorés_, 1895.
Claude Monet. _Les Décorés_, 1895.
Hommes du Jour, Renoir. _L’Éclair_, Paris,
May 1899.
Hommes du Jour, Pissarro. _L’Éclair_,
Paris, June 1898.
MISS R. G. KINGSLEY:
A History of French Art. Longmans, London,
1899.
GEORGES LECOMTE:
L’Art Impressionniste. Paris, 1892.
· Contains 36 etchings of
Impressionist pictures in the collection of M. Durand Ruel.
GEORGES LECOMTE:
Camille Pissarro, Préface pour
l’Exposition. Paris, February 1892.
Pissarro, Les Hommes d’Aujourd’hui, No.
366. Paris.
Pissarro. “Revue populaire des
Beaux-Arts.” Paris, June 1898.
Alfred Sisley. “Revue populaire des
Beaux-Arts.” February 1899.
Alfred Sisley. “L’Art dans les Deux
Mondes.” Paris, February 1891.
D. S. MACCOLL:
Nineteenth Century Art. Maclehose, Glasgow,
1903.
_The Albemarle Review_, London, Sept.
1892.
_Fortnightly Review_, London, June 1894.
_The Artist_, London, March and July 1896.
Impressionism. “Encyclopædia Britannica”
Supplement, 1903.
Mr. Whistler’s Paintings in Oil. _Art
Journal_, London, March 1893.
CAMILLE MAUCLAIR:
The French Impressionists. Duckworth,
London, 1903.
The Néo-Impressionists. _Artist_, London,
May 1902.
The Great French Painters. Duckworth,
London, 1903.
CHARLES MAURICE:
Rodin. Floury, Paris, 1900.
ANDRÉ MELLERIO:
L’Art Moderne, Exposition de Paul Cézanne.
La _Revue Artistique_, February 1896.
Mary Cassatt, Préface de l’Exposition de
1897.
L’Exposition de 1900, L’Impressionisme. H.
Floury, Paris, 1900.
· Contains short essays upon pictures
exhibited at the Exhibition, with particular reference to
Impressionist works, together with a useful bibliography.
Le Mouvement Idéaliste en Peinture. H.
Floury, Paris.
· A biographical sketch of the artists
who associated themselves with this movement, 1885-95; Puvis
de Chavannes, Gustave Moreau, Odilon Redon, Paul Cézanne,
Vincent van Gogh, Toulouse-Lautrec, &c.
F. H. MEISSNER:
A German Revolutionary—Max Liebermann. _Art
Journal_, London, August 1893.
ANDRÉ MICHEL:
Notes sur l’Art Moderne. Colin, Paris,
1896.
· Essays on Corot, Millet, Delacroix,
Monet, Puvis de Chavannes.
O. MIRBEAU:
Claude Monet. “L’Art dans les Deux Mondes.”
Paris, March 1891.
Camille Pissarro. “L’Art dans les Deux
Mondes.” Paris, January 1891. _Le Figaro_, Paris, February 1,
1892.
O. MIRBEAU:
Together with Bouyer, Tailhade, Maus
Mellerio, Dan, Mauclair, Geffroy, Marx, Mourey. J. F.
Raffaëlli. Paris.
· A collection of illustrated
appreciations of the artists.
MATTHIAS MORHARDT:
Eugène Carrière. _Magazine of Art_, London,
August 1898.
GEORGE MOORE:
Modern Painting. Scott, London, 1898.
· Impressions and Opinions. Nutt, London,
1890. These two books contain interesting essays upon
Whistler, Manet, Corot, &c.
RICHARD MUTHER:
The History of Modern Painting (3 volumes).
Henry, London, 1896.
THADÉE NATANSON:
Claude Monet et Paul Cézanne. _La Revue
Blanche_, Paris 1900.
De M. Renoir et de la Beauté. _La Revue
Blanche_, Paris, 1900.
MAX OSBORN:
Claude Monet. _Das Magazin für Literatur_, Dec.
1896.
MILES L. ROGER:
Les Artistes Célèbres. Corot, Paris.
Catalogue de Tableaux, Collection du
Docteur D. Chevallier et Petit, Paris.
· Many illustrations, chiefly from
works by Boudin.
Catalogue de Tableaux, Succession of Mme.
Veuve Chocquet. Petit et Mannheim, Paris.
Sisley, Préface pour l’Exposition 1897.
Catalogue de Tableaux, Collection of Louis Schœngrun.
Chevallier et Petit, Paris.
· Many fine illustrations from the
works of Lépine, Lebourg, Thaulow, Bonvin, Lhermitte, &c.
OGDEN ROOD:
Colour; International Scientific Series,
1879-81.
JOHN RUSKIN:
Modern Painters, Vol. II. Allen.
GABRIEL SÉAILLES:
L’Impressionisme (Almanach du Bibliophile
pour l’Année 1898). Pelletan, Paris.
PAUL SIGNAC:
D’Eugène Delacroix au Néo-Impressionisme.
Edition de _La Revue Blanche_, Paris, 1899.
· Explains how the Impressionist idea
and technical method is almost entirely derived from Turner
and Constable.
THIEBALT SISSON:
Sur l’Impressionisme. _Le Temps_, Paris,
April 1899.
R. A. M. STEVENSON:
The Art of Velazquez. Bell, London, 1895.
HUGO VON TSCHUDI:
Manet. Cassirer, Berlin 1902.
· A short illustrated essay upon Manet’s
art by the Director of the National Gallery of Berlin.
C. WAERN:
Notes on French Impressionism. _Atlantic
Monthly_, April 1892.
FREDERICK WEDMORE:
The Impressionists. _Fortnightly Review_,
London, January 1883.
T. DE WYZEVA:
Renoir. “L’Art dans les Deux Mondes.”
Paris, December 1890.
Y. R. B.:
Miss Cassatt. “L’Art dans les Deux Mondes.”
November 1890.
ÉMILE ZOLA:
Mes Haines. Paris.
· Essays on Manet, Cézanne, the Salons
and the Impressionists.
[Illustration]
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INDEX
_A Argenteuil_ (Monet), 40, 111
Abbey, E. A., 102
_Absinthe drinker_, the (Manet), 20
“Académie Suisse,” 54
_After church_ (Le Sidaner), 83
Alexandre, Arsène, 33, 63
_Alone with the tide_ (Whistler), 90
Aman-Jean, 102
Angrand, 50, 56
Anguin, 86
_Antibes_ (Monet), 40
Antwerp, 79, 80
_Argenteuil_, _l’_ (Manet), 27
_Arrangement in grey and black_ (Whistler), 90
_Artiste_, _l’_ (Manet), 27
Astruc, 34
_Asylum for old men, an_ (Liebermann), 98
Attendu, 34
_At the piano_ (Whistler), 90
_Autel des orphelines, l’_ (Le Sidaner), 83
_Bain, le_ (Manet), 22
_Bal au Moulin de la Galette_ (Renoir), 52
_Balcony, the_ (Manet), 25
_Balcony, the_ (Whistler), 90
Balzac, 45
Barbey d’Aurevilly, 23
Barbizon, School of, 2, 6, 9, 45, 50, 98, 110
Barillot, 102
Barry, 3
Barye, 45
Bastien-Lepage, 26, 41, 93, 98
Batignolles, School of, 7, 24
_Bataille de Solférino_ (Meissonier), 21
_Battle of the “Kearsage” and “Alabama”_ (Manet), 26
Baudelaire, 21
Baudit, 86
Bazille, 24, 26
Beauvais, 83
Béliard, 34, 35
Belle Isle (Monet), 40
Belot, 27
_Bénédiction de la mer_ (Le Sidaner), 83
Bérard, 47
Bernard, Emile, 16, 55
Bernstein, 27
Besnard, Albert Paul, 84-85, 91, 102, 105
_Entre deux Rayons_, 85
_Femme qui se chauffe_, 85
_La Morte_, 85
_Ponies worried by flies_, 84
_Porte d’Alger au Crépuscule_, 85
_Portrait of the artist_, 85
Billotte, 102
Binet, Victor, 92, 102
_Bon Bock, le_ (Manet), 27, 28
Bonington, 1, 3, 4, 5, 7, 29
_Boulogne Fishmarket_, 5
_View of Havre_, 3
_View of Lillebonne_, 3
Bonnat, 52, 58, 73
Bonvin, 31
_Bordighera_ (Monet), 40
Boucher, 2, 52
Boudin, Eugène, 7, 9-15, 31, 34, 38, 49, 50
_Corvette Russe au Havre_, 14
_Rade de Villefranche_, 14
Bouguereau, 21
Boulanger, 21
_Boulogne Fishmarket_ (Bonington), 5
Bourgeois, Léon, 14
Boussod Vallodon, 40
_Boy with a sword_ (Manet), 21, 23
Bracquemond, Marie, 35, 76
Bracquemond, 20, 21, 34, 89, 102
Brandon, 34
_Breakfast on the grass_ (Manet), 22
_Brother and sister_ (Liebermann), 98
Brown, Arnesby, 102
Brownell, W. C., 107
Bruant, Aristide, 71
Bruges, 83
Bureau, 34, 35
_Burgomeister Petersen_ (Liebermann), 99
Burne-Jones, 5
Bussy, Simon, 55
Byron, 2
Cabanel, 59, 82
Café Guerbois, 6, 7, 15, 24, 25, 26, 27, 31, 39
Café de la Nouvelle Athénée, 32
Cahen, Gustave, 15, 33
Caillebotte, 35, 49
Cals, 12, 21, 34, 35, 49
_Carlyle_ (Whistler), 91
Carolus-Duran, 28, 52, 58
Carpeaux, 45
Carrière, Eugène, 57-60, 83, 102
_Christ at the Tomb_, 58, 60
_Maternité_, 58
_Portraits_, 58
_Théâtre de Belleville_, 58
Cassatt, Mary, 7, 35, 49, 66, 70, 76, 102
_Cathédrales, les_ (Monet), 40, 42, 44, 84
Cazin, 21, 28, 102
“Cercle des Quinze,” 98
Cézanne, 7, 15, 16, 24, 34, 35, 54, 55
_Champs des Tulipes_ (Monet), 40
Chaplin, 76, 103
Chardin, 2, 61
_Charge of Cuirassiers_ (Meissonier), 26
Charles X., 3, 24
_Chasse au renard_ (Courbet), 21
_Châteaux en Espagne_ (Harrison), 93
Chéret, 102
Chevallier, Paul, 43
Chevreul, 107, 110
Chocquet, 47, 110
_Christ at the Tomb_ (Carrière), 58, 60
_Christ before Pilate_ (Liebermann), 97
_Christ reviled by the Soldiers_ (Manet), 23
Church, 107
Claude, 61
Claus, Emile, 79-81, 105
_Flemish Farm_, 81
_Old Gardener_, 81
Clausen, George, 102
Clouet, 61
Colin, Gustave, 34
Collectors of Impressionist Paintings, 111, 112
_Communion in extremis_ (Le Sidaner), 83
Comondo, Count, 47
Constable, John, 3, 4, 5, 6, 7, 29, 31, 32, 61, 80, 102, 103
_Hay Wain_, 3
_Opening of Waterloo Bridge_, 5
Cordey, 35
Cormont, 73
Corot, 3, 4, 6, 7, 9, 11, 13, 15, 17, 29, 49, 53, 54, 59, 61, 80, 97,
101, 110
Correggio, 2
_Corvette Russe_ (Boudin), 14
_Côte St. Catherine à Rouen_ (Pissarro), 51
Cottet, 55, 102
_Cotton-Broker’s Office_ (Degas), 67
Courbet, 11, 12, 13, 20, 21, 23, 26, 49, 50, 53, 54, 97
_Courtyard of the orphanage_ (Liebermann), 99
Couture, 1, 11, 18, 19, 20, 22
_Romans of the Decadence_, 18
Cross, H. E., 56
Dagnan-Bouveret, 102
Daillon, 102
Dameron, 102
_Dante’s Bark_ (Delacroix), 3
Daubigny, 4, 12, 31, 41, 54, 97, 98
Daudet, 26, 58
Daumier, 20
David, 2
Dearp, 47
De Bellis, 27
Debras, 34
Degas, 7, 20, 24, 34, 35, 49, 52, 67-71, 73, 76, 89, 102
_Family Portraits_, 67
_Interior of a Cotton-Broker’s Office_, 67
_Semiramis_, 67
_Spartan Youths Wrestling_, 67
_Steeplechase_, 67
_War in the Middle Ages_, 67
_Déjeuner sur l’herbe_ (Manet), 22
Delacroix, 3, 16, 19, 20, 29, 32, 45, 61, 82, 101
_Massacre of Scio_, 32
_Dante’s Bark_, 3
Delaroche, 1, 19
Denis, Maurice, 50, 56
_Départ de Tobie_ (Le Sidaner), 83
Depeam, 47
_Déroute, la_ (Boulanger), 21
Desboutins, 27, 35
D’Espagnat, 32, 102, 105
Diaz, 12
Didier-Pouget, 85-87, 102
_Die Lange Lizen_ (Whistler), 90
Doré, Gustave, 55
Dowdeswell Gallery, 40
Duhem, H., 82
Dumas père, 1, 13
Dupré, 80
Durand-Ruel, 27, 34, 35, 39, 41, 42, 43, 47, 54, 63
Duranty, 24, 25
Duret, T., 26, 29, 32, 33, 70, 89
Dutch School, 80
East, Alfred, 102
“Echo de Paris,” 63
Egg, R.A., Augustus, 4
English School of Painting, 2, 6
English School of Water-Colours, 3
_Entre deux Rayons_ (Besnard), 85
Ephrussi, 27
_Etchings_ (Whistler), 89, 90
“L’Événement,” 15, 24
Eugénie, Empress, 17
_Execution of Emperor Maximilian_ (Manet), 25.
Exhibitions (_see also_ Salons)
Exhibitions Martinet, 21, 24
Exhibitions Great, 1851, 4
Exhibitions Great Paris, 1867, 23
Exhibitions Universal Paris 1878, 27, 28, 76
Exhibitions Universal Paris 1889 and 1900, 61
Exhibitions Impressionist, 34, 35, 39, 49, 54, 68
_Falaise_ (Monet), 111
Fantin-Latour, 20, 21, 24, 89, 102
Faure, 27, 28, 47
_Femme à la Robe Verte_ (Monet), 34
_Femme qui se chauffe_ (Besnard), 85
Fielding, Copley, 3
_Fifre de la Garde_ (Manet), 22, 23, 24
“Figaro, Le,” 24, 33, 44
Flaubert, 64
_Flemish Farm_ (Claus), 81
“Fleurs de Mal,” 21
Footet, F., 102
Forain, 35, 49, 70, 73, 102
Fra Angelico, 67, 83
Fragonard, 2, 52, 75
France, Anatole, 58
French painting, 2, 4, 9
Fuseli, 3
Gagliardini, 103
Gainsborough, 3, 31, 70, 102, 103
Gallimard, 47
Gambetta, 28
Gauguin, 16, 35, 49, 55, 105
Gautier, 1, 20, 23
Geffroy, Gustave, 33, 35, 58, 65, 109
Geffroy, 102
Gérard (artist), 2
Gérard (collector), 27
Géricault, 1, 3
Gérôme, 65, 93
Ghent, 79
Giorgione, 22
Giotto, 82
Girodet, 2
Girtin, 29
Giverny, 46, 51
_Glaçons sur la Seine_ (Monet), 40
Glasgow School of Painting, 90, 102
Gleyre, 7, 38, 89
_Golden Screen_ (Whistler), 90
Gonzalès, 7, 76-77
Goya, 20, 23
“Grand Journal, Le,” 63
_Green Bridges_ (Monet), 47
Greuze, 52
Grévy, President, 17, 28
Gros, 2, 19
Grosvenor Gallery, 69
Guérard, 76
Guillaumet, 21
Guillaumin, 32, 34, 35, 49, 54-55, 103
_Guitarero_ (Manet), 20
Harding, 3
Hals, 19, 27
Hanover Gallery, 40
Harpignies, 12, 20, 21, 103
Harrison, Alexander, 82, 91-94, 105
_In Arcady_, 92
_The Wave_, 92
_Châteaux en Espagne_, 93
Hassam, Childe, 94
_Seventh Avenue_, 94
_Hauptmann_ (Liebermann), 99
Havemeyer, H. O., 47
_Havre_ (Bonington), 3
_Haystacks_ (Monet), 32, 42
_Hay Wain_ (Constable), 3
Hecht, 27
Helmholtz, 107
Henley, W. E., 5
Henner, 24, 28, 103
Hochédé, 99
Hogarth, 2, 3
Holbein, 2, 67
Hoogh, 82
Hoppner, 52
Hugo, 1
Ibels, 56
“Idealists,” 55
_In Arcady_ (Harrison), 92
Ingres, 2, 69, 70
International Society of Painters, &c. 25, 40, 102
“Intimists,” 55
Isabey, 9, 12, 13
Japanese Art, 2, 6, 41, 70, 76, 91
_Jeanne_ (Manet), 28
_Jeune fille Hollandaise_ (Le Sidaner), 83
Jongkind, 7, 9-13, 20, 21, 31
Jordaens, 82
Karr, Alphonse, 11
Kauffmann, 76
Keyser, 79
Kneller, 2
_Labourers in the turnip field_ (Liebermann), 98
_Lady Archibald Campbell_ (Whistler), 91
_Lady with fan_ (Manet), 27
Lalanne, 28
_La mère Gérard_ (Whistler), 90
Lamy, 35
“Lantier, Claude,” 15
_Last of Old Westminster_ (Whistler), 90
_La table_ (Le Sidaner) 83
La Thangue, 102
Latouche, 34
Laurens, J. P., 22
Lavery, 102
Lawrence, 31, 32
Lebrun, 76
Lebourg, 35
Leenhoff, Mdlle., 21
Legros, 20, 22, 24, 35
Lely, 2
Leighton, 4
Lenbach, 98
Lepic, 34, 35
Lépine, 12, 34
Le Roux, 62
Le Sidaner, 55, 81-83, 103, 105
_After church_, 83
_Benediction de la mer_, 83
_Communion in extremis_, 83
_Départ de Tobie_, 83
_Jeune fille Hollandaise_, 83
_L’autel des orphelines_, 83
_La promenade des orphelines_, 83
_La table_, 83
_Les promis_, 83
_Les vieilles_, 83
Levert, 34, 35
Lhermitte, 103
Liebermann, 95-100, 105
_An asylum for old men_, 98
_Brother and sister_, 98
_Burgomeister Petersen_, 99
_Christ before Pilate_, 97
_Courtyard of the orphanage, Amsterdam_, 99
_Gerhart Hauptmann_, 99
_Labourers in the turnip field_, 98
_Netmenders_, 99
_Professor Virchow_, 99
_Ropeyard_, 99
_Women plucking geese_, 97, 99
_Women preserving vegetables_, 97
_Lillebonne_ (Bonington), 3
Lindsay, Sir Coutts, 90
_Linge_, _le_ (Manet), 27
_Little white girl_ (Whistler), 90
_Loge_, _la_ (Renoir), 52
_Lola de Valence_ (Manet), 21
_Los Borrachos_ (Velasquez), 21
Louis-Philippe, 19, 24
“Luminarists,” 25, 65
MacColl, 107, 109
Maclise, 4
Maddocks, John, 80
Maire, Victor, 61
Mallarmé, 45
Manet, Edouard, 1, 3, 4, 6, 7, 8, 10, 16, 17-29, 31, 32, 33, 34, 38,
39, 45, 50, 61, 68, 75, 76, 82, 89, 98
_Absinthe drinker_, 20
_Argenteuil_, 27
_L’Artiste_, 27
_Le Bain_, 22
_Le Balcon_, 25
_Battle of “Kearsage” and “Alabama,”_ 26
_Le Bon Bock_, 27, 28
_Boy with a sword_, 21, 23
_Christ reviled by the soldiers_, 23
_Déjeuner sur l’herbe_, 22
_Execution of the Emperor Maximilian_, 25
_Le fifre de la Garde_, 22, 23, 24
_Guitarero_, 20
_Jeanne_, 28
_Lady with fan_, 27
_Le Linge_, 27
_Lola de Valence_, 21
_Music at the Tuileries_, 20, 21
_Nana_, 28
_Old Musician_, 21
_Olympia_, 22, 23
_Opera Ball_, 27
_Pertuiset_, 82
_Polichinelle_, 27
_Portraits_, 111
_The Railway_, 27
_Rochefort_, 82
_Spanish Ballet_, 21
_Street Singer_, 20
_Tragic Actor_, 23, 28
_Un Bar des Folies-Bergères_, 28, 82
Manet, Eugène, 25, 75
Mantz, Paul, 21
Marais, 103
Martel, Charles, 107
Martinet, 21, 24
Marx, Roger, 33
_Massacre of Scio_ (Delacroix), 32
_Maternité_ (Carrière), 58
_Matins sur la Seine_ (Monet), 40, 43
Mauclair, C., 6, 53, 107
Maufra, Maxime, 32, 61-64, 103, 105
Maureau, 35
Maurier, G. du, 89
May, 27
Meissonier, 21, 26, 31
Melbye, 49
Mellino, André, 55
Ménard, 103
Méryon, 18
“Mes Haines,” 32
Metropolitan Museum, New York, 21
_Meules, les_ (Monet), 40, 42, 111
Meunier, 103
Meyer, 34
Michelangelo, 2
Millet, J. B., 35
Millet, J. F., 11, 12, 45, 50, 80, 83, 98
Mirbeau, Octave, 63
“Mirliton, Le,” 71
_Miss Alexander_ (Whistler), 91
Molins, de, 34
Monet, Claude, 1, 4, 6, 7, 9, 10, 12, 14, 15, 20, 24, 25, 26, 31, 32,
33, 34, 35, 37, 49, 50, 54, 57, 60, 61, 64, 68, 80, 84, 98, 101,
108, 109, 110, 111
_A Argenteuil_, 40, 111
_Antibes_, 40
_Belle Isle_, 40
_Bordighera_, 40
_Les Cathédrales_, 40, 44, 84
_Champs des Tulipes_, 40
_Falaise à Varenqeville_, 111
_Femme à la Robe Verte_, 34
_Glaçons sur la Seine_, 39, 40
_Green Bridges_, 47
_The Haystacks_, 32
_Matins sur la Seine_, 40, 43
_Les Meules_, 40, 42, 111
_Peupliers au bord de l’Epté_, 40, 42, 46
_Pont d’Argenteuil_, 111
_La Prairie_, 111
_Water Lilies_, 47
Montenard, 103
Moore, George, 68, 69, 83
Moret, 53
Morisot, Berthe, 7, 25, 34, 35, 49, 75, 76
Morny, de, 13
_Morte, La_ (Besnard), 85
Mourey, G., 63, 81, 82
Mulot-Durivage, 34
Mulready, 4
Munich, 98
Munkacsy, 97, 99
_Music at the Tuileries_ (Manet), 20, 21
Muther, 97
Nadar, 34, 39
_Nana_ (Manet), 28
Napoleon III., 19, 22
National Gallery, London, 3, 41
National Salon, Paris, 99
_Netmenders_ (Liebermann), 99
New English Art Club, 40
New Gallery, 102
Neuville, de, 28
Nittis, de, 25, 34
_Nocturne_ (Whistler), 91
Northcote, 3
Norwich School of Painting, 3, 4, 50
“Nubians,” 62, 104
“L’Œuvre,” 15
_Old Battersea Bridge_ (Whistler), 90
Old Crome, 31
_Old Gardener_ (Claus), 81
_Old Musician_ (Manet), 21
Oleron, 26
_Olympia_ (Manet), 22, 23
_On the Terrace_ (Renoir), 52
_Opening of Waterloo Bridge_ (Constable), 5
_Opera Ball_ (Manet), 27
Ottin, Auguste, 34
Ottin, Léon, 34, 35
Palmer, Potter, 47
Pape, A. A., 47
Paterson, C. Lambert, 47
Pauvels, 97
Pellerin, 47
Peppercorn, 102
_Pertuiset_ (Manet), 82
Petit, Georges, 39, 43, 98, 111
_Peupliers au bord de l’Epté_ (Monet), 40, 42, 46
Philadelphia Academy, 76
Piette, 35
Pissarro, Camille, 4, 7, 10, 22, 24, 31, 32, 33, 34, 35, 41, 49-51, 54,
61, 73, 80, 103
_La Côte St. Catherine à Rouen_, 51
Pissarro, Lucien, 35
Poe, E. A., 59
Poiloup, Abbé, 18
Pointelin, 57, 60-61, 83, 103
“Pointillism,” 7, 50, 55, 56
_Polichinelle_ (Manet), 27
_Ponies worried by flies_ (Besnard), 85
Poole, 4
_Porte d’Alger au Crépuscule_ (Besnard), 85
_Portrait of the artist_ (Besnard), 85
Pouget, 2
Poussin, 2, 55, 61, 70, 103
Poynter, 89
_Prairie, la_ (Monet), 111
“Pre-Raphaelites,” 4
Priestman, B., 102
“Primitives,” 16
Princeteau, M., 73
_Promenade des Orphelines_ (Le Sidaner), 83
_Promis, les_ (Le Sidaner), 83
Proust, Antonin, 18, 24, 28, 29
Prout, Samuel, 3
Puvis de Chavannes, 14, 45
_Rade de Villefranche_ (Boudin), 14
Raffaëlli, J. F., 35, 65-67, 76, 103
Raffaëlli, J. M., 35
_Railway, the_ (Manet), 27
Raphael, 2
“Realists,” 65, 73
Redon, Odilon, 35
Regnault, 26
Rembrandt, 19, 72
Renoir, 7, 24, 34, 35, 49, 51-53, 55, 73, 103, 111
_Bal au Moulin de la Galette_, 52
_La loge_, 52
_On the Terrace_, 52
Reynolds, 3, 31, 52, 103, 109
Ribot, 97, 103
Rigolet, 103
Robert, 34
Robson, 3
Rodin, 23, 45, 58, 103
_Rochefort_ (Manet), 82
Roll, 28, 92
Rollinat, 46
_Romans of the Decadence_ (Couture), 18
Romney, 103
Rood, 107
_Ropeyard_ (Liebermann) 99
“Rose + Croix?” 55
Rossetti, 32, 90
Rouart, 34, 35, 49
Rousseau, 4, 80
Royal Academy, 5, 32, 90, 102
Royal Society of British Artists, 40, 91
Roybet, 103
Rubens, 16
Rude, 45
Ruskin, 26, 90
Sale Prices, 33, 35, 47, 51, 110, 111
Salon, 3, 9, 14, 18, 20, 21, 22, 23, 26, 27, 28, 49, 86, 98
Salon des Refusés, 22, 26, 27, 90
_Sarasate_ (Whistler), 91
Sargent, J. S., 58, 102
Sar Peladan, 55
_Scarf_, _the_ (Whistler), 90
Scheffont, 9
Schumann, 60
Scott, 2
“Secession,” 99, 104
_Semiramis_ (Degas), 67
Seurat, 35, 50, 56
Signac, 35, 49, 50, 56
Sisley, 4, 7, 24, 32, 34, 35, 49, 50, 53-54, 80, 84
Société des Artistes Indépendants, 56
Somm, 35
_Spanish Ballet_ (Manet), 21
_Spartan youths wrestling_ (Degas), 67
Spielman, M. H., 40
_Steeplechase_ (Degas), 67
Steffeck, 97
Stevens, Alfred, 24, 98
Stevenson, Macaulay, 102
Stott, Edward, 102
_Street Singer_ (Manet), 20
“Studio,” 81, 82
“Symbolists,” 16
Tarbes, 87
Tavernier, 53
“Temps, Le,” 87
Thaulow, 82
_Théâtre de Belleville_ (Carrière), 58
Thumann, 97
Tillot, 35, 49
Tintoretto, 19, 20, 83,
Titian, 19, 20, 23, 83
Toulouse-Lautrec, 71-72
_Tragic Actor_ (Manet), 23, 28
Troyon, 11, 12, 97, 98
Turner, 3, 4, 5, 7, 26, 29, 31, 32, 41, 50, 57, 61, 80, 102, 103
_Un Bar aux Folies-Bergères_ (Manet), 28
Vail, Eugène, 82
Vallon, 22
_Valparaiso_ (Whistler), 91
Vandyck, 2
Van Gogh, 16, 55
Van Rysselberghe, 50, 56
Varley, John, 3
Velazquez, 20, 21, 23
Verlaine, 58
Verlat, Charles, 79
Vermeer, 83
Veronese, 16, 83
Vidal, 35
“Vie Artistique,” 33, 35
_Vieilles, les_ (Le Sidaner), 83
“Vie Moderne,” 35, 39
Vignaux, 24, 25
Vignon, 35
Villemessant, 15, 24
_Virchow_ (Liebermann), 99
Virgil, 50
Vuillard, 32
_Wapping_ (Whistler), 90
_War in the Middle Ages_ (Degas), 67
_Water Lilies_ (Monet), 47
_Waterloo Bridge_ (Constable), 5
Watteau, 2
Watts, G. F., 32, 50
_Wave, the_ (Harrison), 92
Weimar, 97
West, Benjamin, 3
Whistler, J. A. McNeill, 7, 20, 22, 24, 40, 41, 57, 71, 83, 89, 92
_Alone with the tide_, 90
_Arrangement in grey and black_, 90
_At the piano_, 90
_Balcony, the_, 90
_Carlyle_, 91
_Die Lange Lizen_, 90
_Etchings_, 89, 90
_Golden Screen_, 90
_Lady Archibald Campbell_, 91
_La mère Gérard_, 90
_Last of Old Westminster_, 90
_Little white girl_, 90
_Miss Alexander_, 91
_Nocturne_, 91
_Old Battersea Bridge_, 90
_Sarasate_, 91
_Scarf, the_, 90
_Valparaiso_, 91
_Wapping_, 90
Wilkie, 32
Wilson, Richard, 3
_Women plucking geese_ (Liebermann), 97, 99
_Women preserving vegetables_ (Liebermann), 97
Zandomeneghi, 35, 49
Ziem, 103
Zola, 15, 24, 25, 28, 32, 55
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● Transcriber’s Notes:
○ Missing or obscured punctuation was silently corrected.
○ Typographical errors were silently corrected.
○ Inconsistent spelling and hyphenation were made consistent only
when a predominant form was found in this book.
○ Text that:
was in italics is enclosed by underscores (_italics_).