Impressionist painting: its genesis and development
CHAPTER XIII · INFLUENCES AND TENDENCIES
“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.
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.
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.
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
Printed by BALLANTYNE, HANSON & CO. London & Edinburgh
● 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_).