etNS

Impressions of Light
THE FRENCH LANDSCAPE FROM COROT TO MONET

This lavish journey through the art of the nineteenth-

century French landscape presents a host of master-
works, among them Jean-Baptiste-Camille Corot’s
Forest of Fontainebleau, Jean-Francois Millet’s End of
the Hamlet of Gruchy, Pierre-Auguste Renoir’s Rocky
Crags at L’Estaque, and Claude Monet's Rue de la
Bavolle, Honfleur. As is often the case, however, some
of the most remarkable sights are also the least
expected: rare monotypes by Edgar Degas, three
states of a soft-ground etching by Camille Pissarro,
and numerous pieces by some of their lesser-known
but equally important contemporaries.
Impressions of Light introduces a new level of
complexity into the discussion of French landscapes.
Rather than considering the landscape as a steady,
linear development, it takes into account the many
crosscurrents and intersecting paths in French art,
from the foundations of the Barbizon School through
the Post-Impressionist period. In addition, it studies
the landscape in a variety of media—painting, print-
making, drawing, and photography—exploring both
the individual artists’ perceptions and the ways in
which they influenced one another.
With over eighty paintings and seventy works
on paper from the Museum of Fine Arts’ collections,
and published to accompany a major exhibition,
Impressions of Light encompasses more than one
hundred years and fifty-five artists. The book
includes an authoritative opening essay, detailed
discussions of the works by specialists in the field,
and thorough documentation for each object. It
takes a broad view, yet never loses sight of the intri-
cacy and variation that make the landscape so end-
lessly appealing.

185 color and 30 black-and-white illustrations

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MFA PUBLICATIONS
a division of the Museum of Fine Arts, Boston
465 Huntington Avenue
Boston, Massachusetts 02115
Tel. 617 369 3438 Fax 617 369 3459
www.mfa-publications.org

This book was published to accompany the exhibition

Impressions of Light: The French Landscape from Corot to
Monet, organized by the Museum of Fine Arts, Boston,
December 15, 2002—April 13, 2003.

© 2002 by Museum of Fine Arts, Boston

ISBN 0-87846-646-0 hardcover
ISBN 0-87846-647-9 softcover
Library of Congress Control Number: 2002104335

All rights reserved. No part of this book may be repro-

duced in any form or by any electronic or mechanical
means, including information storage and retrieval sys-
tems, without written permission from the publisher,
except in the case of brief quotations embodied in criti-
cal articles and reviews.

Front cover: Pierre-Auguste Renoir, The Seine at Chatou,

1881 (cat. no. 102)

Back cover: Jean-Baptiste-Camille Corot, Mother and

Child in a Wooded Landscape, 1856 (cat. no. 17)

Frontispiece: Claude Monet, View of the Sea at Sunset,

about 1862 (cat. no. 83)

All photographs of works in the Museum of Fine Arts,

Boston’s collection are by the Department of
Photographic Services, Museum of Fine Arts, Boston.

Designed and produced by Cynthia Rockwell Randall

Edited by Sarah E. McGaughey and Emiko K. Usui
Documentation edited by Denise Bergman
Printed and bound at Arnoldo Mondadori Editore,
Verona, Italy

Trade distribution:
Distributed Art Publishers/D.A.P.
155 Sixth Avenue, 2nd floor
New York, New York 10013
Tel. 212 627 1999 Fax 212 627 9484

FIRST EDITION
Printed in Italy
 Contents

Director's Foreword

Acknowledgments

Impressions of Light:
The French Landscape from Corot to Monet
George T. M. Shackelford

Catalogue

Documentation
Nicole R. Myers and Sue Welsh Reed

274 Glossary for Works on Paper

Rebecca Senf

275 References

290 Figure Illustrations

 Foreword

Jean-Baptiste-Camille Corot wrote to a friend in 1827, at the beginning of his career,

“T have only one aim in life, which I wish to pursue steadfastly: it is to make landscapes.”
Emerging from the revival of landscape art at the end of the eighteenth century, Corot
and his colleagues were to revolutionize the depiction of light and nature in their time,
giving new vitality to a tradition that would culminate in the late Impressionism of
Claude Monet after 1900. Impressions of Light: The French Landscape from Corot to Monet
explores that great tradition through more than 150 great works from the collections of
the Museum of Fine Arts, Boston.
For the first time, this book and the exhibition it accompanies reunite Boston’s
impressive holdings of landscape paintings with equally distinguished examples of works
on paper: pastels, watercolors, drawings, prints, and a superb selection of photographs.
Thanks are due to the team of curators and authors, led by Sue Welsh Reed, George
T. M. Shackelford, and Fronia E. Wissman, who have written this thoughtful book and,
with the help of many members of the Museum’s staff, produced an equally handsome
exhibition.
Among the treasures showcased here are a painting by Corot and three drawings by
Jean-Francois Millet given to the Museum in 1876, the year of its opening. In addition to
magnificent gifts and bequests from Boston collectors of the nineteenth and twentieth
centuries, we find here purchases made possible by the generosity of many donors to the
institution—including, for instance, a noteworthy photograph by Alphonse Jeanrenaud
acquired only in 2001. I would like to acknowledge, on behalf of the Museum and the
public it serves, our unending gratitude to the men and women who have made this
great collection one of the richest of its kind in the world.
In 1926, the year of his death, Claude Monet wrote that “the only merit I have is to
have painted directly from nature with the aim of conveying my impressions in front of
the most fugitive effects.” We hope that our readers and visitors will take this extraordi-
nary opportunity to study a century of such impressions, to see through the artist’s eyes
the splendor of light.

MALCOLM ROGERS

Ann and Graham Gund Director

 Acknowledgments

Impressions of Light grew out of an earlier project, an exhibition entitled Monet, Renoir,
and the Impressionist Landscape, organized by the Museum of Fine Arts, Boston, on the
occasion of the opening of the Nagoya/Boston Museum of Fine Arts in 1999. We are
grateful to our colleagues in Nagoya, particularly Saeko Yamawaki and Makiko Yamada,
for their cooperation. That exhibition, slightly altered, was subsequently presented in 2000
and in 2002 in North America and in Ireland. We would like to thank our associates at the
following institutions for their support of the project: at the National Gallery of Canada:
Pierre Theberge, Colin B. Bailey, Serge Thériault, Usher Caplan; at the Virginia Museum
of Fine Arts: Katharine Lee Reid, Richard Woodward, Malcolm Cormack; at the Museum
of Fine Arts, Houston: Peter Marzio, Edgar Peters Bowron, Mary Morton; and at the
National Gallery of Ireland: Raymond Keaveney, Fionnuala Croke.
The authors and contributors are grateful to the following individuals who have
given advice during the preparation of the catalogue: Sylvie Aubenas, Katia Busch, Denis
Canguilhem, David Park Curry, Malcolm Daniel, Louise Désy, Douglas Druick, Robert
Hershkowitz, Erica E. Hirshler, Charles Isaacs, Ken Jacobson, Elaine Kilmurray, Robert
Klein, Mack Lee, Alexandra R. Murphy, Marc Simpson, Abigail G. Smith, MaryAnne
Stevens, Paul Hayes Tucker, and Bradford Washburn.
We would like to thank members of the Museum of Fine Arts, Boston, staff—both
past and present—who played a role in the production of this book and in the creation of
the exhibition that it accompanies: Clifford S. Ackley, Gregory J. Albers, Jim Armbruster,
Ronni Baer, Natalia Bard, Jennifer Bose, Raymond Burke, Gary Bustin, Deborah Carton,
Keith Crippen, Leane DelGaizo, Kathleen Drea, Gail B. English, Rae Francoeur, Julia
Fuld, David Geldart, Katherine Getchell, Phil Getchell, Larry Gibbons, Kelly Gifford,
Dawn Griffin, Deanna M. Griffin, Sarah Gurney, Andrew Haines, Melinda Hallisey, Mazie
Harris, Patricia B. Jacoby, Jennifer Jandebeur, Irene Konefal, Thomas Lang, Emily Lasner,
Margaret Laster, Alexandra Ames Lawrence, Mary Lister, Susan Longhenry, Rhona
MacBeth, Annette Manick, Barbara Martin, William McAvoy, Terry McAweeney, Sarah E.
McGaughey, Jennifer McIntosh, Max McNeil, Elizabeth Meyers, Martha Rush Mueller,
Patrick Murphy, Saravuth Neou, Kimberly Nichols, Janet O'Donoghue, Roy Perkinson,
Mark Polizzotti, Cynthia R. Randall, Thomas E. Rassieur, Ann and Graham Gund Director
Malcolm Rogers, Gary Ruuska, Gilian Shallcross, John S. Stanley, Stephanie Stepanek,
Erika Swanson, Emiko K. Usui, Lydia Vagts, Julia Valiela, Gen Watanabe, Jennifer
Weissman, Jean Woodward, John D. Woolf, and Jim Wright.

THE AUTHORS
 Impressions of Light:
The French Landscape from Corot to Monet

George T. M. Shackelford Impressions of Light presents a selection of more than eighty paintings and seventy works
of graphic art by artists from Jean-Baptiste-Camille Corot to Claude Monet, as well as by
figures of the generations before and after them who shared their inspiration. It begins
with the roots of the Impressionist landscape in the art of Corot and the Barbizon School
and extends as far as the Post-Impressionist compositions of Paul Gauguin, Vincent van
Gogh, and the late work of Monet himself. Drawn entirely from the great collection of
paintings and graphic arts at the Museum of Fine Arts, Boston, this book showcases some
of Boston’s most famous works by these well-known artists and others such as Jean-
Francois Millet, Pierre-Auguste Renoir, and Edgar Degas. But the project also features
astonishing paintings, newly brought to light from the Museum’s collection, by artists
such as Paul Huet, Karl Bodmer, and Antoine Chintreuil, whose fame in the early twenty-
first century has been overshadowed by that of the Impressionist generation.
Even those who know nineteenth-century French landscape well may be surprised
to find here paintings that they have never seen before. Recent generations of collectors
and scholars have widened our view of the genre, bringing a new understanding of how
these vanguard artists fit into a more complicated pattern of artistic development. Above
all, modern audiences will be astonished by the richness and variety of the works of
graphic art assembled here and reproduced in this book, many for the first time. For
example, while Degas’s paintings of the racecourse may be familiar to most admirers of
Impressionism, few readers of this book may know that many if not most of Degas’s
greatest landscape images were created on paper, mostly in the experimental medium of
monotype. Degas revived the monotype in the late 1870s and returned to it between 1890
and 1892 to make some of the most radical landscape images of the nineteenth century.
Five of these rare and beautiful works are included here (cat. nos. 94-95, 121-23).
In fact, the Museum’s collection of works on paper—pastels, watercolors, drawings,
and prints—is particularly rich in the production of artists who were primarily known as
painters but who were equally adept in graphic media. Millet is thus seen in paintings,
charcoal and black chalk drawings, etchings, watercolors, and a magnificent series of pas-
tels. Gauguin is represented not only in paintings such as the Landscape with Two Breton
Women of 1889 but also by a daring zincograph, printed on bright yellow paper and col-
ored by hand in the same year (see cat. nos. 124-25). The book also includes works by
such artists as Rodolphe Bresdin, who worked almost exclusively in graphic media, pro-
ducing some of the century’s most curious and beautiful prints and drawings (cat. nos.
40-42). Corot is represented by paintings, drawings, prints, and the hybrid medium of
cliché-verre, a newly invented process in his day in which a photographic negative was
made by painting or scraping a light-blocking medium on a glass plate, the plate in turn
used to print the image on photo-sensitive paper.
In our time, as in 1859 when photography was first given a place beside the arts of
painting and drawing at the Salon (the juried exhibitions sponsored by the Académie des
Beaux-Arts), photographs by Eugéne Cuvelier or Gustave Le Gray reveal that the nine-
teenth century's newest artistic tool could be richly exploited for the creation of landscape
images (see cat. nos. 24-26, 30). The subjects treated by painters and photographers are
often remarkably similar—indeed many of these artists were acquainted with one another—
yet they have rarely been discussed on equal terms, in part because of the hegemony of
painting in the public imagination. When placed alongside the paintings, these photo-
graphs, prints, and drawings tell much more completely the story of French art in the
nineteenth century.

Charting the Journey

The development of the French nineteenth-century landscape forms a complex tale,

yet too often the narrative has been reduced to a simple and direct trajectory: from the
plein-air cloud studies of the British painter John Constable, whose work exerted a pro-
found influence across the English Channel, to the freely painted compositions of the
Barbizon School; and on from there to Monet’s Impression: Sunrise and the sunstruck land-
scapes of Van Gogh at Arles, Saint-Rémy, and Auvers. This story recognizes the fact that
the Impressionists, encouraged by the example of their forebears at Barbizon, rejected the
fussy, overly finished effects of paintings intended for exhibition at the official Salons. They
opted instead to paint sketchlike compositions in the open air and to exhibit these “impres-
sions” as finished works, thus forging a modern landscape style, much to the consterna-
tion of the critics as well as the public. Their advances, in turn, were the background
against which the artists at the end of the century elaborated their own vision of what
landscape art should be.
This version is undoubtedly true, but it describes only one of the many ways in
which the art of landscape emerged across the century from the achievements of the
Men of 1830, as Corot and his contemporaries were called; French landscape’s develop-
ment in the 1860s, 1870s, and 1880s was not a simple linear progression away from the pre-
occupations of an official style and toward a modernist idiom. The present book attempts
to trace some of the major paths of that development. Beginning with the French artists
who brought landscape into a new light at the end of the eighteenth century—artists such
as Pierre-Henri de Valenciennes and Jean-Joseph-Xavier Bidauld (see cat. nos. 1-2)—it then
focuses on the painting and graphic arts of the Barbizon masters: Corot, above all, but
also Théodore Rousseau, Charles-Francois Daubigny, Narcisse-Virgile Diaz de la Pefia, and
Constant Troyon, as well as the Barbizon artist most closely identified with the Museum,
Millet. Boston’s phenomenal holdings of Impressionist landscape painting and graphic
arts—most significantly, the work of Monet, but also the achievements of his contempo-
raries—are treated in turn. But by including here, for instance, not only the works of the
indisputably Impressionist landscape painters—Monet and Renoir, with Paul Cézanne,
Degas, Camille Pissarro, and Alfred Sisley—but also works by some of their more tradi-
tionalist contemporaries—Franc¢ois-Louis Frangais, Jean Charles Cazin, and Henri-Joseph
Harpignies, for example—this project seeks to enrich the story of the French nineteenth-
century landscape, pointing out interesting byways that intersect or branch off from
those paths.

Points of Departure

Camille Corot, whose achievement in landscape dominates the first half of the nineteenth
century, began his own artistic journey by going to terrain that was considered, in his day,
the source of the great landscape traditions of art history: Italy. Corot was attracted to
Italy by its fabled light, the qualities of which were supposed to be especially favorable for
painting, and by the antiquity and nobility of the motifs that he would find there. He fol-
lowed in the footsteps of a generation of painters who arrived in Rome in the last decades
of the eighteenth century, among them Valenciennes and Bidauld, who were active in
Italy in the 1780s. The great contribution that these painters made to the practice of land-
scape painting in their time was in the stress that they placed on the experience of nature
en plein air, advocating the use of the painted oil sketch made in the landscape.
Their landscape sketches did not necessarily serve directly for the elaboration of
“composed” landscape paintings worthy of the Salon, such as Valenciennes’s Italian
Landscape with Bathers (cat. no. 1). In the treatise that Valenciennes published in 1800 for
the practical use of artists, the Eléments de perspective (Elements of perspective), he distin-
guished such compositions from studies made for the singular purpose of perfecting the
artist’s sensibility.’ Valenciennes (known as the “David of landscape,” a reference to his
contemporary Jacques-Louis David, the painter of ancient history) also argued for the
worthiness of the historical landscape in the Academic hierarchy. Eléments de perspective
codified the practice of artists of his own generation—Bidauld, for example—and gave
practical advice to the generation that was to follow—painters like Théodore Caruelle
d’Aligny, Huet, and, of course, Corot—so that by the 1820s, sketching was a firmly
 Fig. 1. Paul Huet, The Forest of Compiégne, about 1830,
Museum of Fine Arts, Boston.

established part of the landscape painter’s practice. Huet, for example, is known to have
employed a single canvas to execute five small-scale views in the forest near the chateau
of Compiégne (fig. 1). He later expanded some of those miniature impressions in larger
canvases, but the rest remained studies made for their own sake.
Corot was similarly imbued with Valenciennes’s lessons through his teachers, Jean-
Victor Bertin and Achille Michallon, and went to Rome in December 1825 to paint the
expected views of the Colosseum and the Forum, motifs along the Tiber, and panoramic
stretches of the Roman Campagna. In sketch after sketch, he judiciously captured the par-
ticular qualities of light as it fell onto manmade structures or distant grassy plains.’ Even
when he turned his attention to the human figure, he was intent upon understanding the
action of light; in one of his earliest figure paintings, Old Man Seated on a Trunk (fig. 2),
dated to February 1826, he placed the figure before a high, light-filled opening so that he
could intensify the effect of bright highlight and deep shadow through the sketch’s subtle
monochromy.
Corot made sketches not only in Italy but also in his native France. One drawn in the
wild regions around Fontainebleau in the early 1830s served as the inspiration for the Forest
 of Fontainebleau (cat. no. 12), the only picture of four he submitted to the Salon of 1846
that was accepted by the jury. The Salon exhibitions, usually held each year in Paris, were
the prime venue for the public display of the new work of painters and sculptors. At the
Salon, reputations were made, maintained, or lost. There, collectors, dealers, and the
interested public could encounter the works of newly emerging talents whose pictures
had been selected for exhibition by the jury, and see the latest output of established figures
who, by virtue of their previous success, were allowed to bypass the jury and exhibit the
work of their own choosing. A staggering number and variety of paintings were placed on
view. While figural compositions—history paintings, portraits, or scenes from daily life—
were in the majority in the early years of the century, landscape came increasingly to dom-
inate Salon exhibitions by the middle decades of the 1800s. Corot’s Forest of Fontainebleau,
which a recent critic has called “the greatest pure landscape of his middle years,” was
accepted for exhibition but was not well received.’ Corot’s contemporaries found it awk-
ward and raw, one caustically remarking that “M. Corot, the famous landscape artist,
paints everything with the dirt that falls from his boots as they're being cleaned.”
The canvas shows one of the clearings bordered by great trees that characterized
Fig. 2. Jean-Baptiste-Camille Corot, Old Man Seated on a the semiwilderness of the forest, a centuries-old gaming preserve featuring massive out-
Trunk, 1826, Museum of Fine Arts, Boston.
croppings of rock and great old oaks that attracted tourists from Paris. The village of
Barbizon, at the edge of the forest, became in the 1840s the center of a new artistic com-
munity that celebrated the kind of landscape that could be depicted with the dirt of the
painter’s boots—the so-called Barbizon School. The most important painters of the land-
scape vanguard thus practiced their craft in this region: not only Corot, but also Rousseau,
Troyon, Diaz, Millet, and Gustave Courbet. In the years before and after the Revolution
of 1848, Courbet and Millet struggled to establish a new movement in art, Realism, which
would react against the prevailing tendencies of both the Neoclassical and Romantic
schools. Rejecting the ancient past revered by Jean-Auguste-Dominique Ingres and the
fanciful exoticism of Eugéne Delacroix, they gave precedence to scenes drawn from the
experience of the meek and lowly and sent to the Salon paintings of peasants, stonebreak-
ers, and winnowers of grain. Exhibited at the Salon of 1850-51, Millet’s Sower (fig. 3) and
Courbet’s Stone Breakers and A Burial at Ornans announced the Realists’ new direction.’
Millet’s grave image of rural labor is set at the fall of night, with the dynamic counter-
poise of a monumental sculpture by Michelangelo. “Not since the appearance of .. .
the reapers on the portals of the great cathedrals of France,” a modern critic has written,
“had the peasant taken his place so prominently among the powers of the nation.”°
The rise of Realism in French painting gave forth not only Courbet’s and Millet’s
Fig. 3. Jean-Francois Millet, The Sower, 1850, Museum of
Fine Arts, Boston. heroic figural compositions but also a new notion of how landscape should be interpreted.

13
 Fig. 4. Jean-Baptiste-Camille Corot, A Morning, Dance
of the Nymphs, 1850, Musée d'Orsay, Paris.

Painters such as Corot and Rousseau sought to depict commonplace settings—ordinary

meadows, fields, or woodlands—and to invest these simple landscapes with a sense both
of poetry and of the quiet dignity of the earth itself. The mood of Corot’s paintings could
indeed be humble, painted with the earth, as in his early Farm at Recouvrieres, Niévre (cat.
no. 11). But by the later 1840s he was also capable of painting works of profoundly lyrical
sensitivity, as he demonstrated in the elegiac Twilight (cat. no. 13). Throughout the 1840s
and 1850s, he was generally regarded as the chief landscape painter in France—‘the greatest
landscape painter of our time,” wrote the critic Philippe de Chennevieéres in 1851.’
It was at the Salon of 1850-51 that Corot presented A Morning, Dance of the Nymphs
(fig. 4), the painting that introduced to the public the characteristics of the style he was to
elaborate for the next quarter century. How very different from Millet’s Sower—exhibited
at the same Salon—is this vision of Bacchic revels bathed in morning light. Morning
revealed Corot’s mastery of a delicate brushstroke, softly modeled foliage, and a sophis-
ticated compositional structure in which marked contrasts of light and shade were sensi-
tively balanced. Far from the bare-bones realism of the Forest of Fontainebleau, Corot’s
Morning signaled a turning point in his career, toward subjects of “intimate charm and
mellowness of sentiment.”*
Outside the Salon, the artists of Barbizon were often preoccupied with graphic media.
For each of them, drawing was an essential component in the elaboration of a painted
composition, but independent drawings in a variety of techniques also were created outside
the process of making paintings. Millet’s End of the Day, for example, or Corot’s charming
brush and wash studies of landscape elements were conceived respectively as finished
works of art and as tours de force of graphic bravura (see cat. nos. 51, 67-69). Such inde-
pendent works could find a market with a public that might not be willing or able to
purchase a major Salon composition. Like Millet, the landscapists Corot, Rousseau, and
Daubigny proved their skill with the etching needle—sometimes issuing prints in portfolios
for collectors of graphic arts (see cat. nos. 22, 71-72). And all three experimented with the
newly developed technique of cliché-verre (cat. nos. 16-18, 23, 73).
The cliché-verre evolved as one response to the developments that painters witnessed
in the new field of photography, introduced in France and England at the end of the 1830s
and widely popularized in the 1840s and 1850s, in tandem with the rise of Barbizon land-
scape painting. The new medium was suspect to some critics, who saw the camera as a
machine and the steps of developing and printing a photographic image as mechanical
processes not subject to the artist’s intellect or aesthetic choice. Nonetheless, the worlds of
painting and photography were often interlinked in the early days of the medium. Many
photographers—Edouard-Denis Baldus or Cuvelier, for example—had begun their careers
as painters. Baldus described himself for much of his career as a “peintre-photographe”
(painter-photographer); Cuvelier, whose father was also a passionate photographer and
a friend of Corot, was himself acquainted with Rousseau and Millet.
Along with Gustave Le Gray, Cuvelier photographed in the Forest of Fontainebleau,
attracted to the same motifs that fascinated painters. Thus Cuvelier’s photograph At “La
Reine Blanche,” Forest of Fontainebleau (cat. no. 25) records the soaring branches of a famous
tree with the same sense of awe and grandeur that suffuses Bodmer’s painting Oaks and
Wild Boars (cat. no. 47). Similarly, the photograph attributed to Paul Gaillard, Farmyard
(cat. no. 50), treats a subject that would later be taken up by Millet in the pastel Farmyard by
Moonlight (cat. no. 63), although Millet chose to depict a spectral moonlight that could not
be captured by the camera in the 1850s. According to the Bostonian Edward Wheelwright,
who visited Millet in Barbizon in the mid-1850s, the painter was himself interested in mak-
ing photographs, though he did not yet comprehend the coming status of the photograph
as a work of art in itself, believing that “no mechanism [could] be a substitute for genius.”
Millet did not understand the complex manipulation of processes that could
profoundly affect the appearance of the photograph. Far from being products of a
mechanism, the greatest photographs resulted from a complex weighing of intuition
and experience, just as did the greatest paintings, drawings, or prints. Two views of the
Mediterranean coast near Mount Agde taken from the same vantage point by Le Gray
(who was known to Millet’s contemporary Courbet) reveal the variety of effects that the
 Fig. 5. Gustave Le Gray, Seascape—Mediterranean with
Mount Agde, albumen print, 1856-59, Museum of Fine
Arts, Boston.

photographer could achieve (fig. 5, cat. no. 30). Varying the exposure of the negative that
captured the surface of the water to highlight or to suppress the reflective quality, the
artist then printed that negative along with another that recorded cloud formations. He
thereby created works of fiction based on nature, subtly manipulated and shaped by his
intellect. By varying the exposure of his negatives and their combinations, the artist could
alter the emotional content of the image, yielding results that could be either scintillating
or subtly ominous. Although such an artist as Millet regarded photographs as tools, rather
than as works of art in themselves, he may well have learned to admire the rich tonal
effects that artists such as Cuvelier could achieve. Millet’s crayon and pastel drawing
Twilight (fig. 6), for instance, explores the effect of atmosphere on light in parallel with his
friend Cuvelier’s Lane in Fog, Arras (cat. no. 24) which is roughly contemporaneous in date.
More than his other colleagues at Barbizon, Millet sought to integrate the graphic
arts into the practice of his painting. His Priory at Vauville, Normandy (cat. no. 58), for
example, was the transcription in oil of one of his charming pen and watercolor drawings.
 But more important still is the fusion of the practices of drawing and painting in his pas-
tels, which rank among his greatest achievements (see cat. nos. 59-63). Although Millet
had experimented with pastel at the beginning of his career, in the 1840s, it was not until
the years around 1860 that he turned to the medium with genuine interest. By then, he
had mastered the use of black conté crayon to create drawings of great sophistication of
design and richness of tone, works such as Twilight, End of the Day, and Faggot Gatherers
Returning from the Forest (fig. 6, cat. nos. 51-52). Millet gradually added hints of colored
chalks to crayon drawings, evolving a highly personal method of mingling black outlines
and hatchings with glimmering strokes of color, creating some of the most poetically
beautiful images in his oeuvre. By the middle of the decade, Millet’s pastels had become
highly prized, and in 1865 the collector Emile Gavet approached the artist with an offer to
pay him more than his pastels commonly brought in the marketplace in exchange for the
entirety of his production in the medium. (Eventually Millet agreed to supply an initial
twenty pastels to Gavet.)’° Ten years later, shortly after Millet’s death, the young Vincent
van Gogh wrote to his brother from Paris about the sale of Gavet’s collection, the greatest

Fig. 6. Jean-Francois Millet, Twilight, 1859-63, black conté

group of Millet pastels assembled in the nineteenth century: “When I entered the hall. . .
crayon and pastel, Museum of Fine Arts, Boston. where they were exhibited, I felt like saying, “Take off your shoes, for the place where you
are standing is Holy Ground.’”" The Museum of Fine Arts, Boston, now owns twenty-
two of the Gavet pastels, plus nine others, making its holdings the most important collec-
tion of Millet’s known pastel compositions.

New Directions

By the 1860s, the pioneers of the Barbizon School were artists in their fifties (or in Corot’s
case, sixties), and a younger generation of artists was beginning to make its mark on the
art of French landscape. A group of them—Monet, Renoir, Pissarro, Cézanne, Sisley, and
Degas, all born since 1830—would later be known as the Impressionists. Although each of
them played an important role in the story of the Impressionist landscape, that story is
especially linked to the career of Monet, its most famous, most steadfast, and arguably
most innovative practitioner.
Monet’s career began at the moment that Barbizon painting had achieved its great
success in France, but it had its start not in the Ile-de-France but in Normandy, where
Monet was raised. In 1857, when he was sixteen, Monet met in Le Havre the marine
painter Eugéne Boudin (see cat. nos. 75-76, 78), who took an interest in the young man
and invited him along to paint in the open air. Later, Monet said that the experience was
revelatory for him: “Boudin, with untiring kindness, undertook my education. My eyes

17
were finally opened and I really understood nature; I learned at the same time to love it.””
Boudin became Monet’s unofficial teacher for several years, and his gift for painting skies
was matched by the talents of the younger artist.
In May 1859, Monet went to Paris to see the Salon exhibition and to try his hand at
learning more about painting landscape. During that year, writing to Boudin from the
capital, the younger man singled out for praise the landscapes he saw at the Salon by the
Barbizon masters Daubigny, Troyon, Rousseau, and Corot. Troyon’s paintings were partic-
ularly attractive to Monet, who greatly admired the older artist’s ability to capture the
fleeting effects of clouds, sunlight, and atmosphere. “A magnificent sky,” he wrote, “a
stormy sky. There is a lot of movement, of wind in these clouds.”” Earlier, Monet had vis-
ited Troyon in his studio, and he immediately recognized Troyon’s skill. “I could not begin
to describe all the lovely things I saw there,” he wrote to Boudin. Looking at Monet’s can-
vases, Troyon advised the young man to learn how to draw by studying the human figure,
at that time the foundation of every artist’s education. “Don’t neglect painting,” he never-
theless told Monet, “go to the country from time to time and make studies, and above all
develop them.”'* Monet might have seen in Troyon’s studio sketches made in the open air,
like Field outside Paris (cat. no. 34), which Troyon would develop and refine into paintings
for the Paris art market and which also lay behind large-scale pictures like Hound Pointing
(cat. no. 38) and those he painted for the official Salon exhibitions.
In the Salon, still controlled by the Académie, as well as in the more informal market
of picture dealers, landscape had taken the place of history painting in the public imagina-
tion and in the minds and hearts of critics. Monet, recognizing the ascendancy of land-
scape painting, was determined to follow the path on which he had set out under Boudin.
Still, taking Troyon’s advice, he embarked in 1860 on a course of study to learn to draw
the human figure, entering an informal art school, the Académie Suisse. In 1862 he entered
the studio of Charles Gleyre, a history painter, where he met Renoir, the American James
McNeill Whistler, and Frédéric Bazille, each of whom practiced not only figure painting
but also landscape, and Sisley, who was to devote himself to pure landscape. In addition to
his study from the model, Monet continued to paint during excursions to the countryside
near Paris, notably at the village of Chailly, near Barbizon.
Aware of the historical associations of the Fontainebleau landscape, Monet spent
much of the spring of 1863 in Chailly. He returned in the following year, when he probably
painted Woodgatherers at the Edge of the Forest (fig. 7), the subject of which was derived
from those of artists of the Realist generation such as Rousseau and Millet (see cat. nos.
20, 52). At this period in his development, most of Monet’s subjects and compositions
reflected his awareness of the art of these masters, as well as the continuing importance
Fig. 7. Claude Monet, Woodgatherers at the Edge of the
Forest, about 1864, Museum of Fine Arts, Boston.

of Boudin and of Johan Barthold Jongkind (see cat. no. 77), a Dutch marine painter whom
Monet had met on the Normandy coast in 1862.
Boudin’s influence on Monet, however strong, was by no means exclusive, even in
the early 1860s. Although his masterly views of Normandy’s ports and beaches (see cat.
nos. 76, 78) depicted light in the fractured manner that Monet was to perfect later in his
career, the inland landscape of Woodgatherers at the Edge of the Forest is greatly simplified,
its effects flattened and almost schematic. Monet used choppy, broad strokes of color and
juxtaposed warm browns and greens against the blue of the sky, thus recalling the boldly
painted landscapes of Courbet, whose Stream in the Forest (cat. no. 46) was painted at
about the same time. Courbet’s earthy palette and his preference for dense, boldly painted
volumes may have inspired Monet again when, about 1864, he took his easel into the
streets of Honfleur, near Le Havre, to paint on site a view of the rue de la Bavolle (cat.
no. 79).’* Perhaps following Troyon’s advice to “develop” his studies, Monet used this
plein-air canvas as the basis for a later version (fig. 42, p. 141), in which the effects he stud-
ied before the motif were further refined.‘

Traveling Companions

Monet’s experience had its parallels in that of his future Impressionist colleagues Renoir,
Pissarro, and Sisley, each of whom felt the strong pull of Barbizon style in the mid-186os.
Renoir painted both sober portraits inspired by Realist genre scenes, such as The Cabaret of
Mother Anthony, and large-scale nudes, such as Diana the Huntress; both echoed Courbet’s
style and his subject matter—his bathers as well as his scenes of daily life. At the Salons of
1864, 1865, and 1866, Pissarro exhibited riverbank landscapes in the tradition of Daubigny,

19
who made a specialty of such themes. Also in 1866, Sisley exhibited A Street at Marlotte:
Environs of Fontainebleau, a painting that recalls Corot in its massing of farm buildings and
both Daubigny and Courbet in its sober palette. Degas, not yet allied with the landscape
painters, exhibited at the same Salon a large-scale scene, Steeplechase. An amalgam of
Realist landscape and figure painting, Degas’s ambitious composition nodded to Courbet’s
dramatic scenes of the hunt, as well as to the images of figures in the landscape painted
by his mentor Edouard Manet.”
By the end of the 1860s, however, the young artists of the nascent Impressionist
movement were advancing in uncharted directions, beyond the idiom of Barbizon paint-
ing. In 1869, working side by side at the fashionable boating place of La Grenouillére,
Monet and Renoir began to paint works in which the optical experience of sunlight falling
on rippling water was recorded on canvas with a new vocabulary of brushstrokes. They
were inspired by Courbet and Manet, but their aim was the invention of an altogether
new pictorial language.
These paintings marked a turning point in the history of the French landscape, but
they flow from the experiments that Monet had conducted in the middle years of the
decade. His careful, deliberate technique, particularly evident in the handling of the alter-
nating lights and shadows in his views of the river (see fig. 8), recalls the thick brush-
strokes he used to paint the Rue de la Bavolle, Honfleur. It seems, moreover, that Monet
again intended to use these riverside paintings—which were executed at the scale of can-
vases intended for the marketplace, if not for the Salon—to develop other compositions in
the studio. In late September 1869 he wrote to Bazille from a village near the Seine: “I do
have a dream, of a picture, the bathing place at La Grenouillére, for which I have made a
few bad sketches, but it’s only a dream. Renoir, who has just passed two months here,
would also like to paint this picture.”"*
A conventionally ambitious, larger-scale Salon composition that derived from these
studies never materialized—like Valenciennes before him, Monet found the making of the
sketch its own reward. It seems likely, however, that Monet sent a more developed version
of one of the pochades, as he called them, to the Salon of 1870, along with an interior.
The jury rejected both works.” Renoir shrewdly ignored his new landscapes and exhibited
at the same Salon two magnificent but less innovative figure paintings: a Courbet-like
Bather with a Griffon, nearly life-size, and a Woman of Algiers, manifestly inspired by Eugéne
Delacroix’s Orientalist subjects. In the wake of Monet’s exclusion from the Salon, both
Daubigny (long a defender of the young painter) and Corot resigned from the jury in
protest. But despite his absence in the exhibition, much was made of Monet’s being at the

20
Fig. 8. Claude Monet, La Grenouillere, 1869,
The Metropolitan Museum of Art, New York.

21
vanguard of painting. The critic Arséne Houssaye wrote: “The two real masters of this
school which, instead of saying art for art’s sake, says nature for nature’s sake, are MM.
Monet (not to be confused with Manet) and Renoir, two real masters, like Courbet of
Ornans, through the brutal frankness of their brush.””
Although his first attempt at exhibiting one of his “bad sketches” of La Grenouillére
was rebuffed, Monet was to exhibit another work of this type in the second Impressionist
exhibition, in 1876. By that time, he had already presented to the public the now-famous
Impression: Sunrise, the sketchy, lightly worked view of the port at Le Havre that gave the
Impressionist movement its name. That picture was initially shown at the first exhibition
of the newly founded Société anonyme des Artistes Peintres, Sculpteurs, Graveurs, held in
the former studio of the photographer Félix Nadar on a busy commercial street in Paris. It
opened on April 15, 1874. Writing ten days later, the satirist Louis Leroy presented the com-
ments of two fictional visitors to the Salon:
—... What does that painting represent? Look in the catalogue.
—Impression, Sunrise.
—TImpression, I was sure of it. I said to myself, too, because I am impressed, there must be
some impression in it... . And what freedom, what ease in the execution! An embryonic
wallpaper is still more finished than that seascape there!"

Leroy’s humorous exchange aside (and despite popular mythology), the critics’
response to the newly named Impressionists was generally favorable, and on the whole
they praised the Impressionists’ desire to exhibit free from the strictures of the Salon sys-
tem—to institutionalize, as it were, the notion of a “Salon des Refusés,” an exhibition of
artists working outside Academic taste and tradition.” Recognizing that the group assem-
bled artists from a wide variety of backgrounds, critics such as Armand Silvestre made an
attempt to understand the painters’ common motivations and to help their readers distin-
guish one participant from another:
At their head are three artists whom I have spoken of several times and who have, at least,
the merit of being immutable in their goals. This immutability even touches on an aspect
common to all three, which gives priority above all to the processes of their painting. At
first glance, one is hard pressed to distinguish what differentiates the paintings of M. Monet
from those of M. Sisley and the manner of the latter from that of M. Pissarro. A bit of
study will soon teach you that M. Monet is the most able and the most daring, M. Sisley is
the most harmonious and timid, M. Pissarro is, in the end, the inventor of this painting, the
most real and the most naive. ... What is sure is that the vision of things that these three
landscape painters affect does not resemble in the least that of any earlier master; that it has
its plausible side; and that it affirms itself with a character of conviction that does not admit
the possibility of disdain.»

22
Each in His Own Way

By the mid-1870s, in spite of the critics’ recognition of close affinities between them, each
artist had evolved a mature vision of how landscape might be painted. Both Renoir and
Monet had formulated a wholly individual manner of painting in the open air. Renoir’s
Woman with a Parasol and Small Child on a Sunlit Hillside (cat. no. 93), painted about 1874-76,
shows his distinctive feathered brushstroke, with which he suggests both the sheer white
fabric of the reclining woman’s dress and the soft tufts of grass on which she lies; sharp
contrasts between the foreground shadows of deep emerald green and the background
highlights of bright yellow and white convey the sense of brilliant sunshine. Monet’s 1875
depiction of his wife Camille sewing in a garden while a child is playing at her feet (cat.
no. 92) employs a characteristic flickering pattern of small daubed or curved brushstrokes.
Here, dark greens and reds are juxtaposed with brighter, lighter versions of the same
hues. This has the result of conveying the action of the light on the bed of dahlias and
the grassy verge that make up the background of the picture, while the figures are set off
from the vegetation by their blue and white clothing.
The overall effect of these treatments of the figure set in a landscape is a sense of
freedom and improvisation, contrasting sharply with the more classically refined surfaces
of such works as Degas’s Racehorses at Longchamp (cat. no. 82), probably begun about 1871
and reworked in the mid-1870s. Degas, who in the 1850s had painted pure landscapes in
Italy and had used landscape backgrounds in his early history paintings, in the 1860s spe-
cialized in painting people in everyday scenes, mostly indoors—at home, in a café, or at
the opera. He rarely turned to landscape at this period except as background for his racing
pictures. Although he is known to have painted pastels in the open air (see cat. no. 85),
he did not take his easel and canvas into the countryside. Unlike Monet and Renoir, he
painted such landscapes entirely in the studio, reproducing or adapting from memory
scenes he had witnessed in the suburbs of Paris. The seemingly careless arrangement of
horses in the open air is misleading, for Degas rearranged the elements of the picture
more than once before settling on a final pattern of jockeys and mounts.
A middle ground between the sense of improvisation that Monet and Renoir cher-
ished and the calculated strategies of Degas can be found in the paintings of Pissarro and
Cézanne. Working together in the environs of Pontoise and nearby Auvers in the 1870s,
these friends evolved a more geometrically structured response to the landscape. Pissarro,
who in these years turned to themes taken from the lives of the agricultural workers in
his district, often chose to order his paintings by introducing straight lines or geometrical
shapes, as in Sunlight on the Road, Pontoise, of 1874 (cat. no. 90), or The Cote des Boeufs at

23
 Fig. 9. Paul Cézanne, Quartier Four, Auvers-sur-Oise
(Landscape, Auvers), about 1873, Philadelphia Museum
of Art.

L’Hermitage, of 1877 (fig. 56, p. 219). Likewise, Cézanne, in Quartier Four, Auvers-sur-Oise
(fig. 9), painted in about 1873, employed the rhythmic architectural forms of walls and
houses both to animate and to anchor his composition. In the middle years of the decade,
both artists, along with Sisley, adopted a lightened palette in which the deeper shades
of green and brown were softened by the admixture of whites and grays. And all three
artists, particularly Cézanne, employed opaque, layered paint structures that together with
their carefully shaped compositions confirm the studied processes by which these ordinary
views were elaborated.
Pissarro is distinct from Sisley and Cézanne in his affinity for printmaking. Like
Degas and Mary Cassatt, Pissarro was fascinated by the techniques of etching and mono-
type and produced some of his most ambitious and revolutionary work in these media.
As the progress of his etching Wooded Landscape at the Hermitage, Pontoise (cat. nos. 97-99),
reveals, his visual acuity was matched by a restless intelligence that pursued his subject
through a complex development—each step along the way offering a new solution to the
problem of rendering on paper, in black and white, the intricate spatial relationships of the
sous-bois motif that he had treated in paint a few years earlier.
As the loosely affiliated artists explored different manners of depicting the landscape,
each member of the group chose his sites and themes according to his particular tempera-
ment. On the whole, however, they shared a preference for subject matter that veered

24
away from the conspicuously picturesque, avoiding the hackneyed compositional formats
that they scorned in the work of Salon painters. Thus, Monet painted an uneventful sec-
tion of the road outside Vétheuil (cat. no. 89), Pissarro painted an equally uninspiring
street in Pontoise on a dingy, snowy day (cat. no. 87), and Sisley, who might have chosen
to paint a fountain in the park at Versailles, preferred to paint the pumping station at the
Marly reservoir (cat. no. 91). By choosing subjects and points of view that seemed to con-
temporary audiences not only unimportant but somehow undignified, the Impressionists
emphasized the distinction between their landscapes and those of the Barbizon School
and its latter-day adherents at the Salon.
In line with their avoidance of conventional motifs, the Impressionists’ composi-
tions typically are free of apparent sentiment or evident meaning, especially when com-
pared with the landscape paintings being shown at the Salon in the 1870s. For example,
Chintreuil’s Last Rays of the Sun on a Field of Sainfoin (cat. no. 64) makes use of pyrotech-
nic cloud effects above the. bowed heads of the harvesters praying while haymaking. This
painting, exhibited at the Salon of 1870, romanticizes and glorifies France’s fertile land-
scape and traditional agrarian economy. The Impressionists tended to avoid such easily
recognized interpretations: although Pissarro often returned to similar themes of rural
labor, which Millet had made famous a generation earlier, his scenes of peasants or vil-
lagers in the fields are, in contrast to Chintreuil’s dramatic vision, notably matter-of-fact
(see cat. no. I16).

Faraway Horizons

During the 1870s, the Impressionists concentrated on depicting places close to Paris,
along the Seine or its tributaries downstream from the capital, in such towns as
Argenteuil, Bougival, and Pontoise. In the next decade, Monet abandoned the villages
along the Seine frequented by Parisians in favor of sites—some equally touristic, others
more remote in character—on the coasts of France. Monet typically avoided the views
that Boudin had painted at the height of the Second Empire in such works as Fashionable
Figures on the Beach (cat. no. 78), which exploited the relationship between sea and sky;
instead he turned to painting the sea in juxtaposition with the land.
Monet’s works of the early 1880s attest to his love for the rough Normandy coasts,
where Delacroix, Courbet, and Millet had painted in the previous generation. There, at
Pourville, Fecamp, and Etretat, Monet explored motifs that he had first treated in the
late 1860s and early 1870s. His 1881 Seacoast at Trouville (cat. no. 104) seems to equate the
windswept form of a tree beside the sea with a watchful human presence, just as Millet

25
 Fig. 10. Claude Monet, Cliffs of the Petites Dalles, 1880,
Museum of Fine Arts, Boston.

had done in his 1866 End of the Hamlet of Gruchy (cat. no. 57), a depiction of his native vil-
lage. Monet’s Fisherman’s Cottage on the Cliffs at Varengeville, from 1882 (cat. no. 105), resem-
bles not only that village view but also another by Millet showing a group of stone build-
ings perched on the sea, the 1872-74 Priory at Vauville, Normandy (cat. no. 58). Monet, like
Millet, felt a profound connection to the Normandy landscape: “The countryside is very
beautiful and I am very sorry I did not come here earlier,” he wrote to his companion
Alice Hoschedé from Pourville in February 1882. “One could not be any closer to the sea
than I am, on the shingle itself, and the waves beat at the foot of the house.”
A group of these Normandy landscapes by Monet were presented at the Impression-
ist exhibition of 1882, where just under a third of Monet’s paintings showed such cliffside
views, sometimes stormy, sometimes sunny—among them the Seacoast at Trouville and
probably the Cliffs of the Petites Dalles (fig. 10).” Although both Monet and Renoir remained
largely unconcerned with its organization, the 1882 exhibition was heralded by critics as a
great moment for the Impressionist landscape painters, who one by one had dropped out
of the most recent group shows. Monet had “defected” in 1880 to exhibit at the Salon; and
in 1881 Degas’s band of figural artists had dominated the planning of the exhibition, caus-
ing Renoir and Sisley to withdraw as well. But in 1882, the landscape painters had returned
to the fold—and the figure painters had decamped.” However, not all the landscape
Impressionists shared Monet's passion for coastal scenery. At the same exhibition, Sisley
presented Overcast Day at Saint-Mammes (fig. 11), a view of the village on the Seine near
Moret-sur-Loing, the town in which he had settled in 1880. Unlike Monet, he rarely trav-

26
Fig. 11. Alfred Sisley, Overcast Day at Saint-Mammés,
about 1880, Museum of Fine Arts, Boston.

Fig. 12. Pierre-Auguste Renoir, Grand Canal, Venice,

1881, Museum of Fine Arts, Boston.

27
eled outside the Ile-de-France; he was to make this humble landscape the subject of much
of his painting for the rest of his life. Renoir was represented in 1882 by a group of paint-
ings lent by his dealer, Paul Durand-Ruel. These included not only a large group of figure
paintings but also views taken along the Seine, among them The Seine at Chatou (cat. no.
102) and his new views of Venice (see fig. 12), which he had painted during a trip to Italy in
the autumn of 1881.
Many of Monet’s recent views of Normandy were featured in the first of his solo
exhibitions at the Galerie Durand-Ruel (including, perhaps, the Road at La Cavée, Pourville,
cat. no. 103), held in the spring of 1883. In the autumn of that year, Durand-Ruel dis-
patched to the New World—to the American Exhibition of Foreign Products, Arts, &
Manufactures held at the Mechanics’ Building in Boston—a group of paintings by artists he
represented: the Impressionists, but also more conservative painters. “A shipment has been
made of some of our paintings for the exhibition in Boston,” Pissarro wrote to Monet in
June. “The information from Americans that I know, is that it is a mediocre exhibition
which will have no influence. I have spoken of this to Durand-Ruel, he replied to me that
this is a test, that he will profit from the occasion by showing us.”” The exhibition was,
indeed, a trial run for the larger exhibition of Impressionists that Durand-Ruel would send
to New York three years later. Along with paintings by Manet, Pissarro, Renoir, and Sisley,
there were three paintings by Monet in the Boston show: an early view of The Artist’s
House at Argenteuil and two Normandy views, The Customs House at Dieppe and Low Tide
at Varengeville.*
Judging from the response of the press alone, the expedition to Boston was not an
unqualified success. “The French exhibit is an odd and incongruous affair, very extensively
seasoned with the eccentric products of the Salon de Refusés,” wrote one critic. He went
on to say:

Here we have Edouard Manet, lately deceased with two works; Claude Monet; a queer
genius named Pissarro; and a marvelous realist-impressionist called Renoir. . . . Altogether,
Paris would laugh to see this assortment of perverse and burlesque canvases; and we, on
the other hand, can not but regret their predominance in a collection shown here as pur-
porting to represent the contemporary art of France. ... Mr. Monet is scarcely worth seri-
ous attention. . . . We mention his works because the presence of these so-called “impres-
sionists” (who do not seem to have any impressions worth recording) now for the first time
allows us to perceive how just is the estimate in which they are held at home.”

At home, contrary to the opinion of the critic, Monet’s works only increased in pop-
ularity—in part because the painter continued to pursue new avenues of exploration. In

28
Fig. 13. Claude Monet, Cap Martin, near Menton, 1884,
Museum of Fine Arts, Boston.

the 1880s, for example, Monet’s contact with the Mediterranean world—a contact estab-
lished through his friend Renoir—was to have lasting consequences for his art as well
as for the history of Impressionist landscape painting. In Italy and the South of France,
Monet found the warm golden light that had attracted artists there for centuries, a light
that had clearly marked the work of a previous generation, from Valenciennes and
Bidauld to Corot and Huet (see cat. nos. 1-2, fig. 2, cat. no. 6). Inspired by Renoir’s enthu-
siasm for the Mediterranean, Monet forsook the Atlantic coast in 1883 and journeyed with
Renoir to Italy; on that trip, Renoir painted his Landscape on the Coast, near Menton (cat. no.
107). Monet went back to the Riviera alone early in the following year and painted both in
Bordighera, on the Italian coast, and on the Céte d’Azur, producing his own view of the
Menton coastline (fig. 13), a riot of color and brushstroke that prefigures the most auda-
cious southern landscapes of Van Gogh (see. cat. no. 129).

29
 Shoes eRe AS ee alle eS
Fig. 14. Claude Monet, Old Fort at Antibes, 1888, Museum
of Fine Arts, Boston.

30
 After several years, Monet again returned to the South, this time to Antibes, where
in the spring of 1888 he painted yet another group of canvases.” “I can see what I want
to do quite clearly but I’m not there yet,” he wrote to Alice Hoschedé on February tr.
“T've fourteen canvases under way, so you see how preoccupied I’ve become.” Among the
motifs that most fascinated him was the view across the bay to the city, dominated by the
tower of the old fort (fig. 14). Three weeks later, the painter told Hoschedé about his frus-
trations: “Everything's against me, it’s unbearable and I’m so feverish and bad-tempered I
feel quite ill . . . it’s a miracle that I can work at all with all these worries, but I’m begin-
ning to earn a reputation here as a ferocious and terrible person.””' Cap d’Antibes, Mistral
(cat. no. 119), which shows the snowcapped Alps beyond the Bay of Antibes, reveals the
energetic and even ferocious brushwork that Monet adopted during this trip to paint the
agitated motifs that he discovered on the Mediterranean coast.
It was in Antibes, too, that Monet was to refine his practice of painting a fixed motif
under changing conditions of light at different times of day, a practice that he was to
develop almost into a system over the next decade. Monet had often painted multiple
views of a particularly interesting motif, and he had already presented to the public
groups of paintings of related subjects. In 1876 he had painted twelve views in and around
the Gare Saint-Lazare, six of which he exhibited at the third Impressionist exhibition, in
1877.” In 1882 closely related views of the Normandy coast had constituted a kind of
series within the group of paintings that Durand-Ruel selected to represent Monet at the
Impressionist exhibition. As the decade drew to a close, in the early spring of 1889, Monet
painted a group of landscapes in the valley of the river Creuse in a remote region of cen-
tral France. Setting up his easel high above the spot where two small rivers converged, he
painted the valley in vivid sunlight (cat. no. 120) and in the gloom of twilight (fig. 28).
These, following the paintings of Antibes, were steps in the process toward Monet’s fully
developed serial method, which he would explore more deeply in the 1890s with such
series as his r890—91 Grainstacks (see cat. nos. 142-43) and 1897 Mornings on the Seine (see

cat. no. 144), and in the first decade of the twentieth century with his triumphant series of
Water Lilies of 1903-8, exhibited as a group in 1909 (see cat. nos. 153-54).

On Shifting Ground

The paintings of the Creuse River valley were shown as a group at the Galerie Georges
Petit at an exhibition timed to coincide with the 1889 Exposition Universelle. The venue
was perhaps the most luxurious in Paris. Monet’s works—more than 140 paintings—were
paired with sculpture by his friend Auguste Rodin. The exhibition was a resounding criti-

31
cal success. “Nature has never been revealed with more intensity and truth,” wrote the
critic Octave Maus.” At the same moment, however, a challenge was being mounted to
Impressionism, and perhaps most specifically to Monet’s vision of nature. At a café near
the site of the exposition, Gauguin and some of his friends had mounted a display of
some of their recent work in a new style that sought to unite color and form with deeply
charged emotion and to leave behind the Impressionists’ slavish imitation of optical reality.
They dubbed their new style “Synthetist”—though they were not above capitalizing on the
public recognition of the Impressionists by calling themselves the Groupe Impressioniste et
Synthétiste. To accompany the exhibition, Gauguin published a series of zincographs in a
highly stylized, antinatural idiom, including Women Washing Clothes (cat. no. 125).
In the last half of the 1880s, Gauguin, Odilon Redon, Georges Seurat, and Paul
Signac (see cat. nos. 124, 150, 133-34)—all of whom had exhibited with the Impressionists
in 1886—and Van Gogh (see cat. nos. 129-30)—whose brother Theo had sold Monet's
works—rejected the Impressionists’ methods as overly dependent on optical effects and
searched for some new stylistic means. Gauguin gradually abandoned the broken brush-
strokes that he had used in the early 1880s (see cat. no. 115) in favor of stylized forms and
large masses of color. Redon, who had always been at odds with the prevailing landscape
tendencies of the movement, continued to pursue his unique vision of a fantastic dream
universe, thereby making an important contribution to the development of Symbolism
(see cat. no. 145) across Europe. Seurat and Signac, likewise, left the feathered brushstroke
of Impressionism behind to evolve a method of painting with small dots of color, a tech-
nique that they thought more scientific and rational than the subjective optics of Monet
and Renoir. A critic would later label their work with the term “Neo-Impressionism.”™
Gauguin, Redon, and Signac, as well as Seurat, pursued the graphic media in drawings,
watercolors, and lithographs in addition to painting through the 1880s and 1890s (see
cat. nos. 125, 145, 136-38), and Van Gogh ended up rejecting the Impressionists’ delicately
nuanced palette in favor of an emphatically drawn, boldly colored painting style, which
he believed expressed his deepest emotions.
Partly because of these challenges, Monet, Renoir, and Pissarro themselves altered
their landscape styles in the final decade of the century. Monet evolved his series as a way
of expressing his continuing belief in the power of visual sensation and in the validity
of representing these sensations as a means of artistic expression (see cat. nos. 142-44).
Renoir, who in the late 1880s had expressed his dissatisfaction with the modes of tradition-
al Impressionism, in the 1890s approached a manner that associated his art with the great
traditions of French painting, deliberately referencing such painters of the eighteenth cen-

32
tury as Jean-Antoine Watteau and Jean-Honoré Fragonard. Thus, many of his late land-
scapes peopled by beautiful young women (cat. no. 140) seem like fictions, as he reduced
“the setting to little more than a freely brushed colored backdrop, with only the merest
hints of natural features.”” Pissarro, who in the mid-1880s had briefly adopted the Neo-
Impressionist style advocated by Seurat and his disciple Signac, returned to his structured
compositions of the 1870s in such paintings as Morning Sunlight on the Snow, Eragny-sur-Epte
(cat. no. 141). At the end of the decade he embarked on a series of Parisian street scenes
that seemed to bring his art back to the views of urban life that Monet, Renoir, and even
Gustave Caillebotte had pioneered in the late 1860s and early 1870s. And, most remarkably,
the figure painter Degas—who had once commented, “If I were the government I would
have a special brigade of gendarmes to keep an eye on artists who paint landscapes from
nature”—took up landscape once again in the 1890s, even holding a solo exhibition of his
imaginative landscape pastels in 1892 (see cat. nos. 122-23).”°
By the first years of the twentieth century, the artists of the Impressionist vanguard
were internationally renowned. Their paintings were shown in exhibitions and collected
enthusiastically throughout Europe and North America, and a growing appreciation of
their achievements was felt in Japan. In the 1890s, Monet’s series exhibitions had regularly
shaped public understanding of the evolution of his style, and in the early twentieth cen-
tury, the exhibitions of his London views, his Water Lilies, and his views of Venice had
garnered him lavish praise. The work of Cézanne, by contrast, had received little public
recognition during the artist’s lifetime, except perhaps from a handful of critics and from
other painters: it is interesting to note that Cézanne’s Pond (cat. no. 108) was owned by
Caillebotte, while his Turn in the Road (cat. no. 114) passed from the collection of the critic
Théodore Duret to the painter Paul-César Helleu and eventually to Cézanne’s friend
Monet. After the turn of the century, however, a young generation of painters—in which
were counted Henri Matisse, Pierre Bonnard, Pablo Picasso, and Georges Braque—found
in the works of Cézanne, as well as in the works of Gauguin and Van Gogh, the inspira-
tion for their vivid experiments with color and the radical distortion of form.

33
Ff.
SY He.
ig
 A View from the Other Side

At the turn of the twentieth century, Boston was a leading center for the collecting of
modern paintings and graphic arts—and above all for the appreciation of French artists.
In the autumn of 1902, the Boston photographer Thomas E. Marr came to the Museum
of Fine Arts, then in its Italian Gothic building on Copley Square, to document the
Museum’s galleries. He set up his camera in the “fifth picture gallery” on the second floor
of the building, where the visitor could appreciate the strength of Boston’s collection of
modern pictures.
American paintings were displayed on the west side of the gallery, whereas
European paintings were hanging opposite them on the east. One view that Marr took
toward the north wall (fig. 15) allowed him to look beyond the door in the center of that
wall into the “fourth picture gallery.” Both rooms were devoted to modern painters, and
in them works by Millet, Diaz, Corot, Jean-Léon Gérdme, J. M. W. Turner, and other
modern European artists could be seen side by side with works by their American coun-
terparts—George Inness and Whistler, as well as the Boston masters William Morris
Hunt, Joseph Foxcroft Cole, and the young Edmund Tarbell. A great variety of paint-
ings were thus hung, frame to frame, in dizzying numbers; as a result, the juxtapositions

Fig. 15. Thomas E. Marr, American, 1849-1910, Picture

gallery, Museum of Fine Arts, view to the northeast,
1902, Museum of Fine Arts, Boston.

35
Fig. 16. Jean-Francois Millet, Harvesters Resting (Ruth and
Boaz), 1850-53, Museum of Fine Arts, Boston.

could seem jarring. On either side of the door, for instance, two contemporary master-
pieces by the Boston native Winslow Homer, his Fog Warning (1885) and The Lookout—
‘All’s Well” (1896)—both recent museum purchases—balanced two large landscapes of
the 1820s by or attributed to the English master Constable, generally regarded as one of
the “grandfathers” of Impressionism.”
The Constable landscapes, on the other hand, were the first elements in a sequence
that told a story of the development of modern European painting in the nineteenth cen-
tury. Both the artists of the Barbizon School and the Romantics looked to Constable as a
source of inspiration, and works by these artists hung on the eastern wall of the gallery.
At the top can be seen the Young Shepherdess (fig. 17), painted by Millet between 1870 and
1873, purchased at the posthumous sale of the artist’s studio in 1875 by the Parisian dealer
Durand-Ruel and sold to Boston collector Samuel Dennis Warren, who presented it to the
Museum in 1877.* At the lower rank of the wall were four paintings by Millet from the
collection of Mrs. Martin Brimmer, whose late husband had purchased the first of them,
Harvesters Resting (fig. 16), shortly after the Salon of 1853, where it had gained the artist his
first widespread recognition as the leader of the Barbizon School of Realists. The painting
was among the first Millets seen in Boston and among the most familiar: it was exhibited
at the Boston Athenaeum just one year after its first appearance in Paris and on several
Fig. 17. Jean-Francois Millet, Young Shepherdess, about
1870-73, Museum of Fine Arts, Boston.
subsequent occasions, and had been on display at the Museum of Fine Arts since the
institution opened its doors in 1876.” Between the row of four Millets and the Young
Shepherdess were displayed two contrasting works by the Romantic master Delacroix,
the stirring Lion Hunt, acquired in 1895, and the somber Entombment of Christ (1848), given
in 1896.

36
Fig. 18. Thomas E. Marr, American, 1849-1910, Picture
gallery, Museum of Fine Arts, view to the southeast,
1902, Museum of Fine Arts, Boston.

The story of Romantic painting continued along the wall. Another view of the
gallery (fig. 18) reveals Henri Regnault’s Automedon with the Horses of Achilles, the young
artist's submission to the Salon of 1868, which the Museum purchased in 1890 (fig. 19).
Regnault’s epic treatment of a scene from Homer’s Iliad seemed to Boston audiences alter-
nately inspirational or dangerous, thrilling or insidiously grandiose. The quiet dignity of
its neighbor to the right, The Friend of the Humble, a contemporary history painting by
Léon Lhermitte, may have appealed to the Puritan tastes of those who feared the perni-
cious influence of Regnault’s Automedon. Both works were regarded as key examples of
the modern French school; Lhermitte’s had lately returned from the 1900 Paris World’s
Fair. Beside and below them are three ranks of smaller landscape paintings, including
works by or attributed to Millet, Corot, Georges Michel, Francais (compare cat. no. 74),

Fig. 19. Henri aie nit ae 1843-1871, Automedon and Cazin (compare cat. 0s. 109, 132).”
with the Horses of Achilles, 1868, Museum of Fine Arts, Over the doorway to the long southern gallery is another large-scale exhibition pic-
age ture, Corot’s depiction of Dante and Virgil in a gloomy forest of the Underworld, which
the collector Quincy Adams Shaw had given to the Museum even before it opened its
doors—the first work by the artist to enter the collection. Two other Corots hang on the
second tier—an early mature work by the master, the Forest of Fontainebleau from the
Salon of 1846 (cat. no. 12), and a composition from the last years of his life, Bathers in a
Clearing (cat. no. 66)—concluding the progression of landscape and figure painting that
had begun with the canvases by Constable on the opposite wall.
Three paintings, paler in tone than the pictures that surround them, hang beneath
these works by Corot and seem to announce a new direction for the narrative. They are
by the artist who had taken the banner of French landscape painting from Corot’s hands,

37
who was already being widely acknowledged as the greatest living painter of landscape,
and who would go on, in the first quarter of the twentieth century, to reinvent the paint-
ing of landscape once more. This was Claude Monet, and the paintings are three from the
collection of Denman Waldo Ross: at right, Ships in a Harbor (about 1873; cat. no. 86); at
left, Cliffs of the Petites Dalles (1880; fig. 10); and at center, Valley of the Creuse (Gray Day)
(1889; fig. 28). On loan to the Museum of Fine Arts from Ross in 1902, four years later they
would be the first works by the artist to be given to any American museum.
A century ago, then, Corot and Monet—the artists whose paintings stand at either
end of this book—were juxtaposed, frame to frame, on the Museum’s walls. On one side
of a gallery in the building on Copley Square the visitor could point out the major tenden-
cies in the history of French landscape in the nineteenth century. Its rise to prominence in
the first half could be documented in such daring works as Corot’s Forest of Fontainebleau,
which the critic Jules Champfleury had considered “more a serious study, a rigorous and
well-considered sketch, than a painting.”** Works by artists from Millet to Frangais illus-
trated the wide variety of approaches to landscape in the 1860s and 1870s. And at the end
of the room, three pictures by Monet hinted at the transformation of landscape in the
work of the Impressionist vanguard in the past quarter century. The rapid impression
recorded in Ships in a Harbor gave witness to the movement's origins; the Cliffs of the Petites
Dalles reflected the hegemony of landscape in the early 1880s; and the attentive record of
dim light on the Valley of the Creuse, one of the paintings that Monet had exhibited as a
unified group in 1889, foreshadowed his transformation of landscape in the series pictures
of the 1890s.”
The complexity of the story of French landscape was yet to be reflected in the
Museum’s collection in 1902, however, for some of its most important works—Neo-
classical, Romantic, Realist, Impressionist, or Post-Impressionist—were acquired only
decades later. And, in fact, some of the collection’s greatest masterpieces had not yet been
created. Still, the development of nineteenth-century landscape out of the Barbizon
School and into Impressionism was apparent, and to the knowledgeable visitor, the role
played by Boston’s artists and patrons in shaping the Museum’s growing collection would
have been clear. The paintings on display in this room and in adjacent galleries in 1902
were either made by artists who played a pivotal role in the development of the Museum’s
collection or had been lent or given by benefactors who were to profoundly shape the his-
tory of the institution. For example, ties of friendship and aesthetics bound the painters
Homer and Hunt, the latter a friend of both Martin Brimmer and Quincy Adams Shaw,
supporters of the Museum. Both Homer and Hunt were friends of Cole, who studied at

38
 Barbizon with the painter Charles Jacque; Cole married and lived for many years in Paris,
exhibited at the Salon, and eventually became a trusted adviser to collectors of both
Barbizon and Impressionist paintings, selecting on behalf of a Boston collector some
of the first Monets to come to the city (see figs. 14, 26, 27).”
The growth of Boston’s collection of landscape pastels, watercolors, drawings,
prints, and photographs can also be predicted from the study of period catalogues of the
Museum’s presentations. Some of the ones brought together in this book could have been
seen by the visitor to Copley Square at the turn of the last century in the room devoted
to works on paper, immediately beside the fifth picture gallery.“ There the visitor would
have encountered a wide variety of modern watercolors, drawings, and prints. French
works were intermingled with works of American and English origin: Millet’s haunting
drawing Faggot Gatherers Returning from the Forest (cat. no. 51) and his delicate watercolor
study of a farmhouse near Vichy (cat. no. 55) were installed there, and alongside watercol-
ors by Homer, charcoal drawings by Hunt, nature studies by Cole and John Ruskin, and
watercolors by Turner were the two astonishing monotype landscapes by Degas (cat. nos.
Fig. 20. William Morris Hunt, American, 1824-1879, 122-23), beautifully enhanced with pastel, which Denman Ross had placed on loan along
Self-Portrait, 1849, Museum of Fine Arts, Boston.
with his paintings by Monet. Many of the prints and drawings by Barbizon artists dis-
cussed in this book came to the Museum in the same way that the artists’ canvases did,
through the gift of patrons like Brimmer or Shaw, or as the gift of such artists as William
Perkins Babcock—in short, from donors who formed their collections during the lifetime
of the artists, or very shortly thereafter. But the majority of the watercolors, drawings,
and prints illustrated here do not have as direct and personal a history; instead, they came
into Boston collections long after the deaths of the artists who had created them. Many of
these graphic works, indeed, virtually all of the photographs, came to Boston as Museum
purchases, chosen by curators so that an already exceptional collection could recount, as
completely as possible, the story of French art in the nineteenth century.

From Barbizon to Boston

Boston’s collection of French landscapes has its origins at the Salon of 1850-51, where
both Corot’s Morning, Dance of the Nymphs and Millet’s Sower were exhibited (see figs. 4,
3). At the end of the Salon, Morning was purchased by the state. Millet’s Sower, however,
was purchased by the young Hunt, not yet thirty years old, who had first seen the paint-
ing at the Salon and arranged to be introduced to Millet by Babcock, another Boston artist
who lived at Barbizon. Hunt’s Self-Portrait of 1849 (fig. 20) records the image of the scion
of an affluent and cultured family, who had left Harvard before his 1844 graduation to pur-
sue a career in art and who, like his brother, the architect Richard Morris Hunt, had gravi-
tated toward Paris, entering the studio of Thomas Couture in 1847. Through the first half
of the 1850s, following his introduction to Millet, he was often in Barbizon, working with
Millet and painting works more or less imitative of the master in facture and subject, with
a strong admixture of Couture’s distinctive chiaroscuro—works such as The Belated Kid
(fig. 21), a mild-mannered homage to Millet’s Sower. Their friendship became a strong
one—Hunt and Babcock served as witnesses to Millet’s marriage in 1853—and Hunt’s
advocacy of Millet led him to purchase yet more paintings by the artist and to encourage
his friends to do so. It is significant, perhaps, that the first Boston collectors of Millet made
their purchases in France and not in the United States—they were not, therefore, prey to
the advice and opinions of their fellow countrymen, who were often suspicious of foreign
ideas and influences. Hunt and his college friend Brimmer bought three Millets presented
at the Salon of 1853 (among them Harvesters Resting, fig. 16), and Brimmer purchased
another genre painting at this time.” (Although Shaw—from the Harvard class of 1849—
was in Paris between 1851 and 1858, it is not certain that he yet shared his compatriots’
enthusiasm for Millet, though he was to become the greatest of all collectors of the
painter. )*
Fig. 21. William Morris Hunt, The Belated Kid, 1854-57,
Hunt returned to the United States in 1855 and did not visit France again until 1867,
Museum of Fine Arts, Boston.
but his allegiance to the art of Barbizon did not waver. He continued to practice and to
advocate the French style, and his opinions seem to have carried considerable weight in
the community, among people who had the means to make important acquisitions. In
April 1866, when the Parisian dealers Cadart and Luquet brought to Boston the First Exhi-
bition in Boston of Pictures, the Contributions of Artists of the French Etching Club (an exhibition
first shown in New York the previous month), the members of Hunt’s society of artists
and amateurs, the Allston Club, were overcome with admiration for Courbet’s Quarry
(fig. 22). Writing in the catalogue for the New York exhibition, the Parisian critic Jules
Castagnary had predicted that the painting would “one day have a place in the Louvre,”
but the Bostonians were to preclude that possibility for the time being—perhaps as Cadart
had intended when he published Castagnary’s introduction—rallying in a matter of days
to purchase the painting for themselves, at the then-astonishing cost of $5,000.”
The checklist of the exhibition held in the spring of 1866 by the Allston Club to cele-
brate its acquisition of The Quarry reveals the degree to which Bostonians were already
profoundly interested in the works of the Barbizon School. In addition to Courbet’s
masterpiece, there were six landscapes by Corot lent by club treasurer Albion Bicknell,
Fig. 22. Gustave Courbet, The Quarry, 1856, Museum of
Thomas Robinson (a minor painter who worked with the important Boston-Providence Fine Arts, Boston.

40
dealer Seth Vose to procure French paintings abroad), and Henry Sayles, who was to
become the owner of The Quarry when the Allston Club disbanded a few years later.
There was one picture by Diaz from the collection of Thomas G. Appleton; three by
Millet, including Noon (Brimmer’s Harvesters Resting) and The Sower, lent by Hunt; two
Daubignys from Sayles’s collection; two paintings by Rousseau; a painting of fowls by
Jacque along with two Portraits of Horses by Rosa Bonheur; and two canvases by Troyon.
The painter members of the club showed their own works, and in the catalogue Hunt,
Bicknell, and Babcock described themselves as pupils of Couture; Hunt and Babcock also
claimed their rank as pupils of Millet; Robinson was described as a pupil of Courbet, and
Cole as a pupil of Emile-Charles Lambinet, an artist living in Normandy who was popular
in America but who found little success in his native land.“
The enthusiasm of the Allston Club members for their new acquisition was not,
however, universal. The critic of the Boston Evening Transcript devoted an article to the
painting, a mix of praise for Courbet’s talent and criticism of the work in question (which
surely was one of only a handful of paintings by the artist that the reviewer could ever
have seen), claiming, “The faults of this picture are obvious. There is no imaginative inter-
est or suggestion, because the artist is a very great artist without soul. No concentration or
fustio of elements in the white heat and forgetfulness of genius. It is heavy and uninterest-
ing to the world at large. . . . But,” he went on to say, The Quarry was “a whole academy to
artists.”” The critic recognized, if ironically, the significant role that artists’ taste was to
have in shaping Bostonians’ collections.
“What care I for the Salon, what care I for honors, when the art students of a new
and a great country know and appreciate and buy my works?” Courbet is reported to have
said.” Millet could be equally content; in 1867 Hunt returned to France and brought with
him to see Millet “an American who didn’t speak a word of French” and who wanted des-
perately to purchase from Millet a pastel and a painting. (He left disappointed, as the one
was destined for Gavet, Millet’s most important client, and the other was not for sale.)”
The unnamed American may have been Quincy Adams Shaw, who was certainly in
Millet’s studio at the end of 1871 or the beginning of 1872. Millet wrote on January 8, 1872:
“An American gentleman and lady, M. and Mme. Shaw, of Boston, came to see me a while
ago, to ask for a painting. . .. 1 am to do one for them. For a subject, they picked from
among my drawings the Priory of Vauville.”** 2952 The painting (cat. no. 58), which the collector
and critic Etienne Moreau-Neélaton described as “one of Millet’s most perfect works,”
became the first surely documented painting by the artist in the Shaw collection; by the
end of the decade Shaw owned more than fifty works, including The Sower.”

42
New Arrivals

From the mid-1860s until the early 1880s, Boston could claim to be a significant center
for the reception and study of French painting, and particularly for Barbizon landscape.
The Cadart exhibition of 1866—in which Courbet’s Quarry was first seen in Boston—
also included another work, recorded only as Sea Shore, by the young Claude Monet, of
whom few Americans had heard at the time. Sea Shore does not seem to have found a pur-
chaser in Boston (though which of Monet’s early seascapes was seen in the city has not
been securely established). And when, in 1883, Durand-Ruel sent a group of paintings to
the American Exhibition of Foreign Products, Arts, ¢ Manufactures at Boston’s Mechanics’
Building, none of the three Monets, nor any of the Sisleys or Pissarros, seems to have
found a willing buyer either. Bostonians, in the early 1880s, were still very much under the
sway of Barbizon style—chiaroscuro, tone, and paintings that seemed to be “of the earth”
were still very much prized. By the end of the decade, however, the Impressionist revolu-
tion began to make itself felt in Boston, and Bostonians grew more receptive to the idea
of collecting works by Monet, the painter they came to see as the new prophet of the
French landscape.
The enormous publicity surrounding Durand-Ruel’s 1886 exhibition in New York,
Works in Oil and Pastel by the Impressionists of Paris—which opened in April at the American
Art Galleries and was transferred to the National Academy of Design in May and June—
may have roused some interest among Bostonians in the artists of the Impressionist gen-
eration. But it is likely that the advice of trusted artists may again have played a more sig-
nificant role in promoting Impressionism in Boston—as the enthusiasm of Hunt for Millet
had spurred interest in Barbizon painting a generation before. One important point of
contact must have been the American painter John Singer Sargent, who had been Monet's
friend since the 1870s. Sargent had spent part of the summer of 1885 in France, almost cer-
tainly sketching Monet at work in Giverny at that time (fig. 23; the very painting on which
Monet was working as he was painted by Sargent, Meadow with Haystacks near Giverny,
cat. no. 112, was shown by Durand-Ruel in New York in 1886). In 1887, after a second sum-
mer visit to Monet at Giverny—during which he acquired two paintings by his friend—
Sargent made a protracted visit to Boston, where his recent portraits and his superb genre
picture El Jaleo were shown at the St. Botolph Club to great acclaim.” One scholar has
suggested that Sargent’s endorsement of Monet may have influenced the city’s oldest
gallery, Williams and Everett, to purchase from Durand-Ruel the Road at La Cavee,
Pourville (cat. no. 103), the first picture by the artist to be owned by a Boston firm.”

43
 Williams and Everett received Road at La Cavée, Pourville in early June 1888. The paint-
ing was ultimately acquired by Mr. and Mrs. Charles Fairchild, intimate friends of Sargent,
who painted Mrs. Fairchild and their son and daughter during his Boston sojourn. It seems
likely that the Fairchilds would have known of their friend’s enthusiasm for Monet, and it
is perhaps through Sargent’s urging that they elected to purchase the painting. They may
also have been encouraged by the response that another friend, the painter Dennis Miller
Bunker, seems to have had to the work. Bunker, who is almost mute on the subject of
Monet, probably saw such paintings as Poppy Field in a Hollow near Giverny (cat. no. 111)
at the 1886 New York Impressionist exhibition, since he was exhibiting concurrently with
the Society of American Artists there. He spent much of the summer of 1888 in England
working with Sargent. On his return to Boston, he painted for Isabella Stewart Gardner
his first wholly Impressionist work, Chrysanthemums (fig. 24), which blends the high color
of Poppy Field with the radically foreshortened composition of the Road at La Cavée—
the latter of which he could have seen either at the Williams and Everett Gallery or with
the Fairchilds.”
Monet’s name was certainly in the air in Boston in the late 1880s, and artists, above
all, were responsible for building his local reputation. In October 1887, even before paint-
ings by Monet were owned in Boston, “Greta,” the critic of the Art Amateur, had already
commented:
Quite an American colony has gathered, I am told at Giverney [sic], seventy miles from
Paris, on the Seine, the home of Claude Monet, including our Louis Ritter, W. L. Metcalf,
Theodore Wendell, John Breck, and Theodore Robinson of New York. A few pictures just
received from these young men show that they have all got the blue-green color of Monet’s
impressionism and “got it bad.””

And as the critic William Howe Downes reported in 1888, it was “not altogether impossi-
ble to find extremists who already avow openly their admiration for those mad outlaws,
the Impressionists! There is such a thing as fashion in art,” he opined, and went on to
say—treferring to Durand-Ruel—that “the Parisian merchant who foresaw the fame of the
men of 1830 is now staking his fortune upon the next turn of the tide.”*
Once the tide began to turn for Impressionism in Boston, it seems to have risen very
quickly indeed. The summer of 1889 saw the opening of the Exposition Universelle in
Paris, to mark the centenary of the French Revolution. Sargent was in Paris to visit the
exposition—and presumably to take in Monet’s most important exhibition to date, the
show of some 140 paintings at the Galerie Georges Petit. Among the other American visi-
tors to Monet’s exhibition were two Bostonians, each of whom purchased a work by
Monet about 1889. One of them, Desmond Fitzgerald, became a great devotee of the

44
Fig. 23. John Singer Sargent, American, 1856-1925,
Claude Monet Painting by the Edge of a Wood, 1887,
Tate Gallery, London.

Fig. 24. Dennis Miller Bunker, American, 1861-1890,

Chrysanthemums, 1888, Isabella Stewart Gardner
Museum, Boston.

45
Fig. 25. Léon Lhermitte, French, 1844-1925, Wheatfield
(Noonday Rest), 1890, Museum of Fine Arts, Boston.

46
painter, writing about and organizing exhibitions of his work; he was eventually the
owner of nine paintings by his idol. The other visitor was herself a painter, Lilla Cabot
Perry, who was to become an intimate friend of Monet shortly thereafter.
Born in Boston, Lilla Cabot had married in 1874 Thomas Sergeant Perry, who was
the brother-in-law of the artist John La Farge, who in turn was a friend of both Hunt and
Cole. The Perrys settled in Paris in 1887, and Lilla received instruction from a variety of
painters. “How well I remember meeting [Monet] when we first went to Giverny in the
summer of 1889!” she wrote some years later. The Perrys were “enchanted” to meet the
artist, “having seen that very spring the great Monet exhibition which had been a revela-
tion to others besides myself. I had been greatly impressed by this (to me) new painter
whose work had a clearness of vision and a fidelity to nature such as I had never seen
before.” Among the paintings that she saw in the exhibition was Cap d’Antibes, Mistral
(1888; cat. no. 119), which was purchased by her brother, Arthur Tracy Cabot, in 1892.
When the Perrys returned to Boston in the autumn of 1889, they brought with them a
Monet—a view of the Normandy coast at Etretat—that Lilla believed to be “the first
Monet ever seen in Boston.””
The Monet that had appeared in 1866 was of course long forgotten, and Mrs. Perry
had overlooked the exhibition of three Monets in 1883. She also might not have known
that Williams and Everett had bought Road at la Cavée, Pourville in the summer of 1888.
Her enthusiasm for Impressionism seems to have been shared by her fellow Bostonians,
and not only by Fitzgerald. By the end of 1890, the year after Perry’s return with her cher-
ished Monet, there were many pictures by the artist in the hands of Boston collectors.
Still, their newfound enthusiasm for Monet does not seem to have turned collectors from
the painters whose reputations had been built through the Salon system. At the end
of March, for instance, James Maurice Prendergast bought a Monet then identified as
“Winter Creuze” (but later identified as Entrance to the Village of Vétheuil in Winter, cat. no.
89) for $950 from Williams and Everett; at the same time, he paid $2,500 for a much more
conservative painting by Lhermitte—Wheatfield (Noonday Rest) (1890; fig. 25).
Similarly, in the fall of 1890, the painter-adviser Cole purchased Cazin’s Riverbank
with Bathers (1881, cat. no. 109) from the Galerie Georges Petit and three paintings by
Monet from Durand-Ruel: Boulevard Saint-Denis, Argenteuil, in Winter (1875), Old Fort at
Antibes (1888; figs. 26 and 14, both now in the collection of the MFA), and the Seine at
Lavacourt (fig. 27, now in the collection of the Harvard University Art Museums).” Cole
wrote to his patron that he had purchased “three pictures by Monet, representing three
phases of his talent—I had the choice of about 50 pictures, so it was quite difficult to
decide which to take—I paid for the three F 14500—and for the Cazin F 15000—so you see

47
Fig. 26. Claude Monet, Boulevard Saint-Denis, Argenteuil,
in Winter, 1875, Museum of Fine Arts, Boston.

48
Fig. 27. Claude Monet, The Seine at Lavacourt, 1880,
Fogg Art Museum, Harvard University.

I have spent nearly all of your money.”® It is worthy of note that even with Monet’s consider-
able success, a large-scale Salon painting by the popular Cazin cost more in 1890 than three
masterly Impressionist canvases.

Into the Light

“It breaks my heart to see all of my paintings leave for America,” Monet had written to
Durand-Ruel in 1888.° And although the Impressionists’ works won the enthusiasm of at
least a number of collectors in every part of the United States, they were nevertheless an
easy target for satirists: “The Impressionists have been exhibiting here in force lately,” wrote
the critic of the Boston Art Amateur in May 1891, lamenting the passing of the Barbizon artists
so long favored by Bostonians:
But at last the news is circulated that leading Boston buyers of paintings—the first buyers, in
other days of Millets, Corots, Diazes and Daubignys—are now sending to Paris for this sort of
thing, and Impressionism becomes the fashion. Some of our leading landscape artists praise it
and preach it; many of the younger painters practice it. .. . The old favorites, sticking to their

49
 sae . a Fig 28. Claude Monet, Valley of the Creuse (Gray Day),
: B ais 1889, Museum of Fine Arts, Boston.

own styles, take back seats, and one almost wonders if all the pictures of the past are going
to be taken out into Copley Square and burned. Titian and Veronese and the old masters
have faded, we are told; Rembrandt is brown; even Corot is stuffy, and as for Daubigny
and the rest of the modern French school of landscape, they are virtually black-and-white.
Courbet and Hunt couldn’t see color in nature as it really is. Tone, so much prized and
labored for in the past, must go; Motley and Monet are your only wear.™

The writer cites some of the figures who were involved in the promotion of Impres-
sionist “Motley and Monet” in Boston. Cole, he wrote, “imports a number of Monets for
collectors of authority.” They included Brooks, of course. The painters Frederic Porter
Vinton and Robert Vonnoh were reported to be enthusiasts and backers of “the new light
in art.” But one name in his list of advocates stands out. “Mr. Fenellosa,” he recounts,
“expert in Japanese art, exults in numberless discourses on the increasing Japanese influ-
ence evident in the use of simple, pure tints and unconventional composition.””
Ernest Francisco Fenellosa, curator of Japanese art at the Museum of Fine Arts from
1890 to 1896, had gone to Japan in 1878, soon after his graduation from Harvard, to lecture
on Western philosophy at the Imperial University. Within a few years, with expert tute-
lage, he had become a distinguished connoisseur of Japanese art, and within a decade he
had formed a notable collection of more than one thousand paintings.” He sold the col- Fig. 29. Katsushika Hokusai, Japanese, 1760-1849, The
Yoshitsune Horse-washing Waterfall at Yoshino, about 1832,
lection in 1886 to Charles Goddard Weld, a Boston doctor, who placed it on deposit at the
woodblock print, Museum of Fine Arts, Boston.
Museum in 1889—the same year in which Weld lent the institution his sunset landscape
by Chintreuil (cat. no. 64). Fenellosa’s advocacy of Monet’s paintings by virtue of their
dependency on Japanese compositional strategies and “simple, pure tints” suggests
Fig. 30. Claude Monet, Valley of the Petite Creuse,
1889, Museum of Fine Arts, Boston.

another way in which Bostonians might have appreciated Monet’s art—through their
shared partiality for Japanese art. Two paintings owned by Denman Ross, Cliffs of the
Petites Dalles (fig. 10) and Valley of the Creuse (Gray Day) by Monet (fig. 28), not to mention
his Degas Landscape (cat. no. 123), exhibit the qualities of design that critics in the nine-
teenth century associated with Japanese composition. Ross, whose tastes ranged far and
wide and included Japanese art, showed a particular interest in views of undulating cliffs
and valleys that have a pronounced resonance with landscape compositions by Katsushika
Hokusai, the great ukiyoe painter and printmaker (see fig. 29). Might Ross and other
Bostonians have come to appreciate Monet not only as the inheritor of Corot and Millet,
but also as a fellow devotee of the art of Japan?
Whether due to ties of affection or to affinities of taste, sales of Monet’s paintings to
Bostonians continued steadily in 1891, and by March 1892, when the St. Botolph Club held
its solo exhibition of his work, it was said that there were forty paintings by the artist in
Boston collections.” Two of the paintings in the St. Botolph Club exhibition had already
been seen in public, for Anna Perkins Rogers had lent her Monets to the Museum the year
before. Following the exhibition, Ross’s Valley of the Creuse (Gray Day) and two paintings
from Fitzgerald’s collection joined three that had not been seen at the St. Botolph Club,
namely the Valley of the Petite Creuse (fig. 30) from Clara Kimball’s collection and the
Fairchilds’ Road at La Cavée, Pourville and On the Cliff at Dieppe, at the MFA, for what was,
in effect, a summer installation of works by Monet—which coincided, by accident or by
design, with Fenellosa’s major exhibition of the works of Hokusai.®

51
 In light of the local fascination for Monet’s bravura painting, it is ironic that the first
Impressionist landscape officially to enter the MFA’s collection was a refined and elegant
view of a racecourse in the Parisian suburbs by his chief rival, Edgar Degas. Racehorses at
Longchamp (cat. no. 82), purchased in 1903, was in fact the first work by Degas to enter the
collection of any American museum. The painting was sent to Boston by the New York
branch of Durand-Ruel in late April 1903, at the time that the Museum was already con-
sidering the purchase of another picture by Degas, Orchestra Musicians (fig. 31). Samuel
Dennis Warren, then president of the Museum, had asked the gallery to send the second
painting to Boston and wrote to the Museum’s director on April 23 requesting that he
“kindly obtain any expert opinions as to its merits in comparison with the other.”®” There
then followed a considerable debate, with some of the local painters consulted (such as
Vinton) opting for Racehorses, and others (notably Frank W. Benson, Perry, and Tarbell)
voting for Musicians. In the end, Warren purchased Racehorses from Durand-Ruel for
s9,000, and the Musicians was returned to New York.”
The decision to buy the comparatively more conservative Racehorses at Longchamp
over the more emotionally biting, spatially challenging Orchestra Musicians must be under-
Fig, 31. Edgar Degas, Orchestra Musicians, 1870-71,
stood in the context of Boston’s predilection for art of the countryside over art of the city,
Stadelsches Kunstinstitut, Frankfurt.
for sun-drenched fields over gaslit theaters. That partiality can be traced back as far as the
1860s, when—for all that Hunt had acquired, in The Sower, one of the most politically radi-
cal pictures of the century—Bostonians’ love of rural subjects in the art of Millet, Corot,
Diaz, Rousseau, and Daubigny had crystallized. That early preference for landscape beauty
saw its natural conclusion in turn-of-the-century Boston’s obsession with Monet.
For the next thirty years, Bostonians continued to acquire works by Monet—some-
times buying the painter's very latest efforts and on other occasions buying paintings com-
pleted many decades earlier. Sarah Choate Sears, for example, purchased a canvas from
Monet's 1909 Water Landscapes exhibition during the run of the show. Alexander Cochrane
bought two Water Lilies from Durand-Ruel in December 1909, a few months after the close
of the exhibition (cat. nos. 153-54); Cochrane returned to Durand-Ruel the earlier of the
two paintings, which was purchased by Mrs. Walter Scott Fitz in 1911 (and later donated to
the Museum of Fine Arts by her son, Edward Jackson Holmes). In that same year, Mrs.
Fitz purchased for the Museum a version of the Morning on the Seine (cat. no. 144). The
descendants of Juliana Cheney Edwards assembled a superb group of Impressionist paint-
ings in the first decades of the twentieth century, purchasing the first of eight Monets in
1907; among their gifts to the Museum, made in 1925 and 1939, were Monet’s Poppy Field in
a Hollow Near Giverny, Grainstack (Sunset), and Meadow at Giverny (cat. nos. 111, 142, 113), as
well as Corot’s Morning near Beauvais, Pissarro’s Sunlight on the Road, Pontoise, and Renoir’s
Rocky Crags at L’Estaque (cat. nos. 14, 90, 106).
The greatest benefactor of Boston’s Impressionist collection, John Taylor Spaulding,
bought only one Monet, but he bequeathed to the Museum in 1948 its greatest early work
by the artist, the Rue de la Bavolle, Honfleur (cat. no. 79). Spaulding, who with his brother
had assembled a staggering collection of some six thousand Japanese prints, was an astute
connoisseur of Impressionism and a friend to the institution for which he had envisioned
his collection of paintings. Purchasing key examples of the work of Cézanne, Pissarro,
Renoir, and Sisley (cat. nos. 114, 87, 93, 107, 80), he regularly chose pictures that extended,
rather than duplicated, the Museum’s holdings. His counterpart in the assemblage of a vast
collection of graphic art is another great benefactor, W. G. Russell Allen, who over several
decades formed a wide-ranging collection of prints, from the Renaissance to the twentieth
century. His gifts to the Museum began in 1923 and culminated in the bequest of some two
thousand prints at his death in 1955. Among the masterworks from his collection discussed
here are lithographs by Bresdin and Redon (cat. nos. 40, 145); Gauguin and Sérusier (cat.
nos. 125-26); and Bonnard and Vuillard (cat. nos. 146, 148).
During the twentieth century—perhaps at the expense of the art of Picasso, Braque,
Wassily Kandinsky, and Paul Klee—the Museum of Fine Arts became a considerable center
for the study of Barbizon and Impressionist landscape. This is particularly true in the case
of Monet: following an exhibition of more than ninety paintings by the artist at Boston’s
Copley Hall in 1905, the painter’s first American museum exhibition was held at the MFA in
1911, featuring more than forty works. A memorial exhibition of some eighty canvases took
place in 1927. In 1977, the groundbreaking exhibition Monet Unveiled marked a turning point
in the technical analysis and appreciation of the artist’s technique. Finally, two shows organ-
ized by the Museum with Monet scholar Paul Hayes Tucker, Monet in the ’90s (1989) and
Monet in the Twentieth Century (1998), explored in depth and in detail the artist’s series from
the Creuse pictures of 1889 to the phenomenal Water Lilies of the final years of his life.
Our understanding of the history and development of landscape art is constantly
evolving. Recent books and exhibitions on the subject—whether broadly retrospective or
tightly focused—suggest that much more is still to be discovered. At the beginning of the
twenty-first century, we look back at the history of French landscape art—at the accom-
plishments of the great painters, draftsmen, printmakers, and photographers whose works
are represented in this catalogue—and at the world in which these works were made and
first understood. Looking to the past, we hope to recapture a light that will guide us into
our own future.

53
NOTES 19. See Loyrette and Tinterow 1994, 436-38, and Stuckey 31. Monet to Hoschedeé, February 1 and February 24,
1. For a discussion of Valenciennes and the painted 1995, 194. According to Wildenstein 1974-91, I: no. 136, 1888, quoted in Kendall 1989, 126.
sketch, see Strick 1996, 79-87. See also Strick’s text on the rejected view of La Grenouillére was probably the 32. For a discussion of Monet's paintings of the Gare
ten Valenciennes paintings in Conisbee et al. 1996, work formerly in the Arnhold Collection, Berlin, pre- Saint-Lazare in the context of Manet’s work, see Bareau
126-33. sumed destroyed. 1998.
2. See, for instance, Tinterow, Pantazzi, and Pomaréde 20. Arséne Houssaye to Karl Bertrand, in “Salon de 33. Octave Maus, in L’Art Moderne, 1889, quoted in
1996, NOS. 6—II, 20-26. 1870,” L’Artiste (1870), 319, quoted in Loyrette and
Tucker 1989, 55. See Tucker’s chapter 3, 41-67, for a dis-
Tinterow 1994, 438; this author’s translation from the
3. Michael Pantazzi, “Le plus grand paysagiste de notre cussion of the Creuse series and the exhibition of 1889.
French. Renoir’s Bather is in the collection of the Museu
temps,” in Tinterow, Pantazzi, and Pomaréde 1996, 34. For a discussion of Neo-Impressionism, see Rewald
de Arte de Sao Paulo Assis Chateaubriand, Brazil;
195-207.
Woman of Algiers is at the National Gallery of Art, 1978, 73-132.
4. Anonymous critic quoted in Tinterow, Pantazzi, and Washington, D.C. 35. John House in Hayward Gallery 1985, 257.
Pomaréde 1996, 268, no. 91; this author’s translation
from the French.
21. Leroy 1874, 79-80, quoted in Berson 1996, 1:26; this 36. Degas quoted in Vollard 1928, 91, quoted in Kendall
author's translation from the French. Impression: Sunrise 1987, 308.
5. Stone Breakers was destroyed in World War II; A Burial is in the collection of the Musée Marmottan—Claude
at Ornans is in the collection of the Musée d'Orsay, 37. Framed by the doorway in the photograph are
Monet, Paris.
Géréme’s Greek Slave (MFA accession number 87.410)
Paris.
22. For a critical review of the exhibition, see Paul Hayes and Bonnat’s portrait Henry Lillie Pierce (MFA 98.1005).
6. Murphy 1984, 32. Tucker, “The First Impressionist Exhibition in Context,” Homer's works are Fog Warning (MFA 94.72) and The
7. Philippe de Chenneviéres, quoted in Tinterow, in Moffett et al. 1986, 93-117, especially 106-10. Lookout (MFA 99.23). Above the door are The Sand Dunes
Pantazzi, and Pomaréde 1996, 195 and note 9; this 23. Silvestre 1874, 2-3, quoted in Berson 1996, 1:39; this of Essex (MFA 85.486), by William Lamb Picknell, along
author's translation from the French. author's translation from the French. with three paintings of cows (MFA 87.48, 87.49, and
99.308) by John Bernard Johnston. The paintings by
8. Ibid., 292 and note 7. 24. Monet to Hoschedé, February 15, 1882, .quoted in
Constable are, at left, a work then on loan from Boston
9. Wheelwright 1876, 269. See also Scharf 1968, 92. Kendall 1989, 100.
collector Henry Lee Higginson and, at right, The White
10. See Murphy 1984, 169. 25. It is possible that the painting exhibited in 1882 was Horse (MFA 95.1373), by British artist John Dunthorne,
Jr.,
not the MFA canvas but another of the same subject, which was subsequently sold.
11. Vincent van Gogh to Theo van Gogh, June 29, 1875,
Wildenstein 1996, 2: no. 665.
in Van Gogh 2000, 1:28. 38. MFA 77.249. See Murphy 1984, no. 141.
26. For an extended discussion of the seventh Impres- 39. See Murphy 1984, no. 39. The other Millets on view
12. Monet to the journalist Thiébault-Sisson, 1900,
sionist exhibition (1882), see Joel Isaacson, “The Painters
quoted in Rewald 1973a, 38. : in the 1902 photograph are, from left to right,
Called Impressionists,” in Moffett et al. 1986, 373-93.
Laundresses (MFA 06.2421), Rabbit Warren, Dawn—appar-
13. Monet to Boudin, June 3, 1859, quoted in Wildenstein
27. Pissarro to Monet, June 12, 1883, in Pissarro 1980-91, ently an oil version of the pastel composition in this vol-
1974-91, 1:419; this author’s translation from the French.
1:216—-17, quoted in Zafran 1992, 4 and note 11. ume (cat. no. 59)—and Knitting Lesson (MFA 06.2423).
Troyon’s paintings were Return to the Farm and View
Taken from the Heights of Suresnes (Musée d'Orsay and 28. The Artist’s House is at the Art Institute of Chicago 40. Lhermitte’s painting (MFA 92.2657) was created in
Musée du Louvre, Paris). (Wildenstein 1996, 2: no. 284); The Customs House is at 1892 and given to the Museum in the same year by J.
the Metropolitan Museum of Art, New York; and Low Randolph Coolidge. Other identifiable works include:
14. Quoted by Monet to Boudin, May 19, 1859, quoted in
Tide is at the Museo Thyssen-Bornemisza, Madrid. at bottom in the corner of the room, a painting by
Kendall 1989, 18.
Zafran 1992, 55 and note 13, identifies The Customs House Michel (MFA Res.32.298) and above it, works by Cazin
15. See House et al. 1995, 178. exhibited in Boston with a work at the Brooklyn * (MFA 17.3273) and Millet (MFA 93.1461); immediately to
16. Wildenstein 1974-01, 1: no. 34. See also House et al. Museum of Art (Wildenstein 1996, 2: no. 740), but the left of the Cazin, a vertical landscape by Frangais
1995, 178. because that painting was bought from Monet by (MFA 79.323); to the left of the Francais, on the lowest
Durand-Ruel only in July 1883 and the paintings were level, a painting by or after Corot (MFA 94.136, subse-
17. Renoir’s Cabaret (1866) is at the National Museum,
shipped to Boston in June (according to Pissarro’s let- quently sold).
Stockholm; Diana (1867) is at the National Gallery of
ter), it must be correct (as Wildenstein states) that the
Art, Washington, D.C.; Pissarro’s riverbank views may 41. Jules Champfleury, “Salon de 1846,” quoted in
picture is the Metropolitan Museum of Art canvas
be found at the Glasgow Art Gallery and Museum, Tinterow, Pantazzi, and Pomaréde 1996, 268, no. 91;
(Wildenstein 1996, 2: no. 735).
Kelvingrove, the National Gallery of Scotland, this author’s translation from the French.
Edinburgh, and the Art Institute of Chicago; Sisley’s 29. “The Picture-Galleries of the Foreign Exhibition,”
42. See Tucker 1989 for a thorough account of Monet's
1866 Marlotte is at the Albright-Knox Art Gallery, Buffalo, Boston Daily Advertiser, September 3, 1883, 4, quoted in
series and the exhibition of 1889.
N.Y.; and Degas’s Steeplechase is at the National Gallery Zafran 1992, 5 and note 15.
43. Zafran 1992, 17 and notes 57-59.
of Art, Washington, D.C. 30. For a discussion of both of Monet's 1880s campaigns
18. Quoted in Wildenstein 1974-91, 1:427; this author's on the Riviera, see Pissarro 1997. 44. Catalogues of the exhibited works were published as
MFA 1902, 43-54, and MFA [1903], 69-89.
translation from the French.

54
45. Murphy 1984, xix—xx; see also nos. 39, 40, 43, and 58. in Hirshler and Curry et al. 1994. This author is grateful 64. “Art in Boston,” Art Amateur 24, no. 6 (May 1891), 141,

46. See Fleming 1984, ix, xi-xii. to Erica E. Hirshler and David Park Curry for their dis- quoted in Zafran 1992, 14-15 and note 45.
cussion of Bunker's early assimilation of Impressionism.
47. See Alexandra Murphy in Poulet and Murphy 1979; 65. Ibid.
57. Greta, “Boston Art & Artists,” Art Amateur, October
and Douglas E. Edelson, “Courbet’s Reception in 66. Morse 2001, 34-39.
America before 1900,” in Faunce and Nochlin et al. 1988, 17, 1887, 93, quoted in Zafran 1992, 13 and note 43.
67. D.E. [Desmond Fitzgerald]. 1892, n.p. Fitzgerald
68-69. Castagnary is quoted in Edelson 1990, 200. 58. Downes 1888b, 782.
claimed, “This is probably the first time that an exhibi-
48. See Allston Club 1866. In an email to this author of 59. See Perry 1927; also reprinted in Martindale 1990, tion devoted wholly to Monet’s works, has been held in
March 20, 2002, Alexandra Murphy noted that a large 115-21. this country, and as such, may become a notable art
Apple Orchard by Lambinet was exhibited at the Boston event. [He was incorrect, as an exhibition had been held
60. Rewald and Weitzenhoffer 1984, 87; Wildenstein
Atheneum in 1860, and that the dealers Cadart and at the Union League Club, New York, in 1891.] The exhi-
1996, 2: no. 762 (Wildenstein incorrectly gives the loca-
Luquet presented four paintings by the artist in an 1867 bition becomes doubly interesting from the fact that
tion of Williams and Everett as New York instead of
Boston exhibition. She related that “J. Foxcroft Cole these twenty pictures have been loaned wholly from
Boston). See letters of December 5 and 6, 2001, between
wrote to critic William Downes in 1885 (letter now in
Durand-Ruel et Cie., Paris, and George Shackelford, in
Boston and vicinity, and that it would not be difficult to
the library of the Boston Athenaeum collection, not to find here in Boston twenty more pictures by the same
the Department of Art of Europe's curatorial object file
be confused with the Boston Atheneum) retrospectively hand, were the gallery large enough to show them to
for MFA 24.1755, Museum of Fine Arts, Boston.
crediting the experience of seeing the Apple Orchard as advantage.”
well as other Lambinets at Williams and Everett, the 61. Daniel Wildenstein identifies a view of Vétheuil as
68. See Morse 2001, 34-39.
Boston dealers, with inflaming in him the desire to having been owned by Brooks; see Wildenstein 1996, 2:
paint. Andas Cole later acted as an agent occasionally no. 532. Records of the former Department of Paintings 69. Samuel Dennis Warren to Edward Robinson, Esq.,
for the Providence and Boston dealer Seth Vose and of the MFA reveal, however, that the painting now at April 23, 1903, in the Department of Art of Europe’s
directly to other Boston collectors, including Quincy Harvard University, Wildenstein 1996, 2: no. 540, was curatorial object file for MFA 03.1034, Museum of Fine
Adams Shaw,” Cole may be credited “with sustaining lent to the Museum along with the views of Antibes Arts, Boston.

the Lambinet popularity during the 1860s.” Six paintings and Argenteuil (Wildenstein 1996, 3: no. r161a and 2: no.
70. See notes and letters in the Department of Art of
by the artist are now in the collection of the MFA: Young 3574, respectively) by Brooks’s daughter in 1920 (MFA
Europe's curatorial object files for MFA 03.1034 and in
Man Fishing Beneath Willow Trees (94.311), Washerwomen loan registration cards from the files of the former
the Museum Archives, Museum of Fine Arts, Boston.
(17.1622), Farmyard (20.1868), Fishing on the Banks of the Department of Paintings, temporary loan numbers
Durand-Ruel stated that he was “perfectly willing for the
Seine (23.567), Road through the Fields (37.599), and Village 201.20, 202.20, and 203.20). Wildenstein does not record
other Degas to remain with the Museum for a few days
on the Sea (37.600). Brooks’s ownership of the Harvard painting, but
longer, and hope that they will finally decide to pur-
instead places Cole and Brooks in the provenance of
49. Quoted in Edelson 1990, 15. chase it at the price of $13,500, as I know they will never
another painting, no. 539. The ex-Brooks picture now at
again have such an opportunity of acquiring a Degas of
50. Quoted in Downes 1888a, 504. Harvard, distinguishable by the presence of three verti-
this quality and composition at such a price.” Joseph
51. See Millet to Alfred Sensier, November 1867, in the
cal reeds or sticks on the bank below the small island in
Durand-Ruel to Samuel Dennis Warren, May 5, 1903, in
the river, is properly illustrated as no. 540. It seems cer-
Cabinet des Dessins, Musée du Louvre, Paris, referenced the Department of Art of Europe’s curatorial object file
tain that the three pictures lent to the Museum by
in Fleming 1984, xii and note 24. for MFA 03.1034.
Brooks's heirs—Wildenstein nos. 1161a, 357a, and 540—
52. Millet to Alfred Sensier, January 8, 1872, quoted in are the ones purchased for him by Cole in Paris in 1890.
Moreau-Nélaton 1921, 3:84; this author’s translation from
62. J. Foxcroft Cole to Peter Chardon Brooks,
the French. See also Fleming 1984, xii.
September 26, 1890, among the Brooks papers at the
53. Moreau-Nélaton 1921, 3:84. See also Fleming 1984, xii. Massachusetts Historical Society, quoted in Zafran 1992,
54. El Jaleo is in the collection of the Isabella Stewart 17 and notes 57-58. Cole and Brooks were not the only
Gardner Museum. Sargent’s first Monets were Rough Bostonians to buy both Cazin and Monet at the same
Seas at the Manneporte (Wildenstein 1996, 3: no. 1036) and time: the painter Anna Perkins Rogers, who was called
the landscape Bennecourt (Wildenstein 1996, 3: no. 1126). Annette, was in Paris inJune 1890 and purchased
He later purchased Gardener’s House (Wildenstein 1996, Cazin’s Farm beside an Old Road (cat. no. 132) at the auc-
2: no. 867) from Durand-Ruel, in r8or. tion sale of the collection of Ernest May for about 6,200
francs; in mid-June, she bought Monet’s Snow at
55. Frances Weitzenhoffer, “The Earliest American
Argenteuil (cat. no. 88) and Fisherman’s Cottage on the
Collectors of Monet,” in Rewald and Weitzenhoffer
Cliffs at Varengeville (cat. no. 105) from Durand-Ruel for
1984, 87.
8,500 francs.
56. See Porat 1994, 172, 174. See also Erica E. Hirshler,
63. Monet to Durand-Ruel, April 11, 1888, quoted in
“From the School of Mud to the School of Open Air’:
Wildenstein 1974-91, 3:234; this author's translation from
The Metamorphosis of Dennis Miller Bunker,” 19-89,
the French.
and David Park Curry, “Reconstructing Bunker,” 91-116,

55
 Pierre-Henri de Valenciennes
French, 1750-1819

I. PlIERRE-HENRI DE VALENCIENNES nineteenth century, and in doing so changed the

Italian Landscape with Bathers, 1790 course of landscape painting.
Oil on canvas Even if the motifs in Valenciennes’s oil
54 X 81.6 cm (21% x 32% in.) sketches appear in his finished works, the
Gift of John Goelet 1980.658 method of painting—fluid and spontaneous in
the former, measured and slow in the latter—
Pierre-Henri de Valenciennes, born in Toulouse sets them apart. One viewer of the Salon of
in 1750, was one of many French artists who 1791 criticized Valenciennes for a slavish reliance
went to Italy. These artists wanted to study the on an idealizing, secondhand view of nature:
works of Renaissance masters and to absorb the “Now and then recall the beautiful [paintings
Fig. 32. Pierre-Henri de Valenciennes, At the Villa Farnese:
flavor of the countryside around Rome that had by] Claude Lorrain, [Jacob van] Ruysdael, [Jan]
Houses among the Trees, Musée du Louvre, Paris.
inspired the great seventeenth-century French Both, and Nicolas Poussin; these are your mod-
painters resident there, Claude Lorrain and els and nature; paint after nature, and not after
Nicolas Poussin. Valenciennes went to Italy in the studies in your room.”
1777 and stayed there until 1784 or 1785, making from figure group to figure group. Once past Valenciennes’s ideas were well regarded,
Rome his base. While there, he painted and the figures on the path, the way is toward ever and he was well placed to promulgate them.
sketched in the city and the surrounding coun- greater light and height, culminating not in the The most influential landscape painter of his
tryside, producing small, dazzlingly fresh views buildings, the work of man, but gloriously on time, he taught perspective at the state-funded
of rooftops, trees, and more distant vistas. These high with the work of nature. Such a zigzag art school, the Ecole des Beaux-Arts, from 1796
he used as study exercises, to train his eye and route requires the viewer to take note of trees, to 1800, and in 1812 was appointed professor of
hand in the replication of objects in nature and rocks, buildings, and the varying light effects perspective there. Among his students were
their enveloping atmosphere (fig. 32). from shadow to full sunlight, and, in taking Jean-Victor Bertin and Achille Michallon, both
Back in Paris, he began exhibiting at the note, to appreciate the multiplicity of forms of whom were Corot’s teachers. FEW
Salon in 1787. The paintings he showed there, found in nature.
generally large in scale and finely finished, are From at least the end of the sixteenth 1. Elements de perspective pratique a l’usage des artistes;
suivis de la réflexions et conseils a un éleve sur la peinture et
thoughtful compilations of individual motifs century, art students were trained to sketch
particuliérement sur le genre du paysage. First published in
often taken from his studies and meant to evoke and paint indoors. Although artists had both 1800, it was reprinted in 1820.
faraway Italy (the trip from France to Italy at this sketched and painted outdoors for centuries, In December 1883 Armand Guillaumin enclosed
time typically took two to three months), with this was not accepted practice in art schools in a package that Camille Pissarro was sending to his
son Lucien, in London, a copy of Valenciennes’s
golden light bathing cubic buildings, some with and academies. Valenciennes firmly believed in book. Pissarro wrote: “It was made by the famous
columned porticos. Italian Landscape with Bathers the utility of sketching, in both pencil and oils, Valenciennes, it’s old, it’s still the best and the most
was shown in the Salon of 1791 along with four after nature. He wrote a treatise on painting, practical, be sure to take into account the underlying
principles.” [Il est fait par le fameux Valenciennes, c'est
other canvases, two of which depicted mytho- Elements of practical perspective for the use of
ancien, c'est encore le meilleur et le plus pratique, tache
logical scenes. Italian Landscape with Bathers is a artists; followed by reflections and advice for the de te rendre compte des principes qui servent de base.]
more generic view, the bathers taken from no student of painting and particularly of the genre Pissarro 1980-91, 1:260; this author’s translation from
particular story; their presence bespeaks warmth, of landscape, a book that continued to be con- the French.
ease, peace, and security. sulted and recommended to young artists as 2. Strick 1996, 79-87.

This feeling of calm is incorporated into the late as 1883.' In it Valenciennes recommends 3. “Rappelez-vous quelquefois les beaux Claude Lorrain,
very structure of the painting. A series of inter- careful observation of the natural world, the Ruysdael, Both et Nicolas Poussin; voila vos modéles et
la nature; peignez d’aprés elle, et non d’aprés des études
connecting diagonals leads the eye gradually better to communicate the emotions that
dans votre chambre.” Heim, Béraud, and Heim 1989, 43;
from foreground to background, starting with nature engenders.* The handbook articulated this author’s translation from the French.
the figure in the lower left corner and moving what would become common practice in the

56
2
 Jean-Joseph-Xavier Bidauld Paul Huet
French, 1758-1846 French, 1803-1869

Théodore Caruelle d’Aligny Eugéne Bléry

French, 1798-1871 French, 1805-1887

2. JEAN-JOSEPH-XAVIER BIDAULD Valenciennes’s treatise gave official sanction to which the buildings to the right and left were
Monte Cavo from Lake Albano, about 1790 the notion of painting directly from the land- constructed so as to mimic the surrounding ter-
Oil on canvas scape motif, outdoors. Yet he did not prescribe rain. Few artists painted with the hushed clarity
32.5 X 45.6 cm (12% x 18 in.) a method for making marks, so each artist that Bidauld achieved.
Charles Edward French Fund 43.130 responded to the demands of translating the Théodore Caruelle d’Aligny, unlike
natural world onto paper or canvas in individ- Bidauld, was presumably well acquainted with
3. THEODORE CARUELLE D’ ALIGNY ual ways. Valenciennes’s treatise, having studied with a
Study of a Great Tree, near Civita Castellana, 1826 Jean-Joseph-Xavier Bidauld was one of the pupil of Valenciennes’s. Living in Paris since the
Graphite pencil on cream wove paper artists who painted outdoors before the publi- age of ten, Aligny showed regularly at the Salon
Sheet: 62.1 x 46.9 cm (24% X 18 %e in.) cation of Valenciennes’s treatise, a fact that beginning in 1822, received the Legion of Honor
Anonymous gift 1985.874 underlines the prevalence of the practice in in 1842, and became a member of the Institut de
the late eighteenth century. Born in 1758 in France in 1862. He made his first trip to Italy in
4. THEODORE CARUELLE D’ALIGNY Carpentras, Bidauld started taking art lessons 1822 and stayed through 1827. While there, he
Rocky Landscape, probably about 1835 at the age of ten; by 1783 he was in Paris, copy- chose an anonymous mountain to study and
Pen lithograph on cream wove paper ing paintings by northern masters and studying painted it with quick, summary strokes (cat. no.
Image: 22.2 x 31 cm (8% X 12% in.) how nature actually looked during visits to the 5). The scrubbed-on color in the foreground
Lee M. Friedman Fund 1985.871 Forest of Fontainebleau. Like Valenciennes, he gives the eye no purchase; it glides over muddy
went to Italy, where he spent five years. Back hills, finding both more light and more defini-
5. THEODORE CARUELLE D’ALIGNY in Paris by 1790, he exhibited at the Salon until tion in the middle ground and the atmospheric
Italian Hills, about 1826-27 1844. Despite his advanced attitude toward background.
Oil on paper mounted on canvas - painting in the open air, Bidauld was conserva- The painstaking detail of Aligny’s large
41.2 X 68.8 cm (16% X 27% in.) tive in his painting technique, clinging over the drawing of a tree near Civita Castellana (cat.
Seth K. Sweetser Fund 49.1730 decades to the somewhat dry, even formulaic no. 3) shows a complementary element in the
style he favored in the later 1790s. landscapist’s repertoire, compared with the sim-
6. PauL Huet This view of Monte Cavo (cat. no. 2), most plification of the oil sketch. Valenciennes had
Landscape in the South of France, about 1838-39 likely done shortly before Bidauld’s return to cautioned that “all studies after nature,” by
Oil on paper mounted on panel Paris, about 1790, epitomizes his cool, atmos- which he meant atmosphere and the way light
35.6 X 52.4 cm (14 X 20% in.) pheric, luminous landscape style. Focusing his falls on such solid objects as trees, rocks, and
Fanny P. Mason Fund in memory of Alice view on the mountain resulted in the pyramidal bushes, “should be made in a period of two
Thevin 1987.257 structure, a favorite compositional type of his.’ hours at the most,” because “light and its shad-
This relatively simple form creates a sense of ows change continuously by virtue of the
7. EUGENE BLERY stasis, which Bidauld augments rather than movement of the earth.”* By contrast, the study
A Large Patch of Coltsfoot, 1843 enlivens with the detail built up in the blues of such solid objects can take a longer time,
Etching on chine collé and greens of water and foliage, set off by the “because they are fixed.”’ Aligny’s hard pencil
Platemark: 4o x 53 cm (15% x 20% in.) luminous sky. traced the outlines of branches and foliage,
Lee M. Friedman Fund 1986.612 Lake Albano, southeast of Rome and most filled in some with shadow and detail, and
noted for the lakes filling a volcanic crater picked out clumps to render as decorative pat-
around the city, was the location of Castel terns, thereby creating a portrait of only some
Gandolfo, the summer residence of the pope elements of the tree and its surroundings. Yet,
since the seventeenth century. Bidauld focused just as Aligny’s brush concentrated on the lumi-
on the strange, knobby forms projecting from nous middle ground and far hill at the expense
the crater’s walls, the sharp lines of the shad- of the elided foreground in Italian Hills, so did
ows cast by the landforms, and the way in his pencil linger over those aspects of the tree

59
that interested him. The greater detail of foliage
and the selective approach allowed Aligny the
freedom to create a spiral of dark-and-light
foliage rising around the trunk.
Aligny returned to Italy in 1834-35, and a
site on this second trip seems to have inspired
the pen lithograph Rocky Landscape (cat. no. 4).
Like the precise lines of the graphite pencil, the
unmodulated black lines of the pen lithograph
(their fluency assured by the high polish of the
lithographic stone) demonstrate Aligny’s con-
stant interest in form and structure. And, as in
the drawing, where forms are manipulated to
create an ascending spiral, here the tree branch-
es are disposed to shape an arch through which
the distant landscape is viewed. Although the
view is unprepossessing, the lithograph conveys
a knowing sense of the flattening, hot light of
Italy and how rocks jut up from valley floors.
Deep shadows under branches and on the pro-
tected faces of rocks contrast sharply with the
paper, daringly left blank.
More detailed yet still stunningly evocative
is Paul Huet’s Landscape in the South of France
(cat. no. 6). Poor health, both his wife’s and his
own, prompted repeated visits to the South of
France (1833, 1838-41, 1844-45) and Italy (1841-43).
The topography depicted in the painting sug-
gests that Huet painted this riverine view some-
time during one of those many trips. Drenched
in sunlight, the landscape is organized by the
winding river zigzagging to the mist-filled back-
ground. With its careful progression into depth,
punctuated by the darker V-shaped riverbank
in the middle ground, the composition is not
unlike examples by the seventeenth-century
painter Claude Lorrain (fig. 33). This small work
by Huet shows naked children playing at the
water's edge and two figures dancing, people
enjoying themselves in a beneficent climate.
Their abandon finds material expression in
Huet’s fluid marks. The ability to paint in
thinned-down, easy strokes was important to

61
Fig. 33. Claude Lorrain, French, 1600-1682, Landscape
with a Temple of Bacchus, 1644, National Gallery of
Canada, Ottawa.
Huet, so he chose paper as his support. (The
painting is now affixed to a panel.)
As happened often with artists from the
North experiencing the light of the South for
the first time, Huet despaired: “I am completely
dazzled by this light, so keen and brilliant. I do
not know if this glittering nature, well outside
the bounds of my studies and my first affec-
tions, suits my talent.” Without the softening
and integrating humid light of the North, Huet
explained in a letter to a friend, the landforms
take on greater prominence: “Here the land is
beautiful all on its own, and all its power, all its
admirable delicacy of color, it draws from the
sun and from the light.”* Capturing this keen
and brilliant light, which lends power to the
landscape, was in no way beyond his means,
as this painting admirably shows.
A different sensibility pervades Eugéne
Bléry’s Large Patch of Coltsfoot (cat. no. 7). After
a short detour as a private tutor in mathematics,
Bléry found his calling in printmaking, in partic- a eee Dp PY

ular etching. Based in Paris, he made hundreds

of prints, taking his motifs directly from nature.
Only three were not made either directly from
the motif or based on the drawings he made
outdoors. He compiled a catalogue of his prints “very beautiful” (trés-belles).° It is possible that monumentalizes each plant and shows it in all its
and gave his complete oeuvre to the Biblio- Les quatres grandes plantes appeared in the Salon detail, as if it were a botanical illustration. In his
théque nationale in 1878; his catalogue remains of 1843 as Cadre de quatre plantes, gravées a Veau- focus on uncultivated plants, Bléry’s project was
the basis for all later writing on him and his forte: Tusorlage des torrents [perhaps a mistran- similar to Aligny’s study of an individual tree;
work.’ scription of tussilages, coltsfoot], bardanne, each artist celebrated the beauty to be found in
Bléry concentrated on landscape views but chardon, patience d’eau.’ the unspectacular. FEW
did a number of renderings of plants. When These are all rangy plants that thrive in
publishing them, he grouped them according to waste ground; some of them, like the thistle, 1. Gutwirth 1977, 149, I5I.

his own taste. A Large Patch of Coltsfoot appeared can be pests when they invade cultivated fields 2. Quoted in Galassi 1991, 27.

with three depictions of other plants, burdock or gardens. Yet all these plants have a long his- 3. Ibid., 28.

(Fr. bardanne), thistle (Fr. chardon), and finally tory of being used as herbal remedies—colts- 4. Huet ro11, 115; this author’s translation from the French.
bloodwort (Fr. patience d’eau) and brambles (Fr. foot flowers were painted on doorposts in Paris 5. Béraldi 1885-92, 2:96-97.
Roncé a la vanne), in a portfolio called Les quatres to signal the location of an apothecary’s shop.* 6. Ibid., 94-96, no. 144.
grandes plantes. Made in 1842 and 1843, these are However, Bléry grouped these plants, generally 7. Explication des ouvrages 1843.
among the first of his plant etchings: the earli- considered weeds, according to their physical, 8. Information on individual plants taken from Grieve
est is dated 1840; the last, 1877; and most of not medicinal, characteristics. The low and 2001, June 18 (coltsfoot) and October 2 (burdock and this-
them were done by 1859. Bléry called these four close-up vantage point in his plant etchings tles). Sue Welsh Reed suggested the source.

63
 Lancelot-Théodore, comte du Turpin de Crissé
French, 1782-1859

Edouard Bertin
French, 1797-1871

8. LANCELOT-THEODORE, COMTE DU TURPIN

DE CRISSE
The Bay of Naples, 1840
Oil on canvas
97 X 146 cm (38% X 57 in.)
Charles H. Bayley Picture and Painting Fund
1980.3

9. EDOUARD BERTIN
Landscape, Tivoli, mid-19th century
Black chalk heightened with white chalk on
blue wove paper
Sheet: 33.6 x 27.7 cm (13% x 10% in.)
Lucy Dalbiac Luard Fund 1987.564

Lancelot-Théodore, comte du Turpin de Crissé, Edouard Bertin first studied with the his-
came from an old patrician family and grew up tory painter Anne-Louis Girodet-Trioson but
in Anjou. After his father fled the country in soon decided that pure history painting, which
1794, his mother supported the family by paint- focused on narrative and the human figure, did
ing portrait miniatures. Turpin won a gold not suit his temperament. Classes with the land-
medal with his first submission to the Salon— scapists Bidauld and then Louis Etienne Watelet
a landscape—in 1806. After going to Italy in confirmed his choice of historical landscape
1807-8, he became attached to the court of painting. On returning from a five-year sojourn
Josephine, serving as her chamberlain. The fall in Italy, he entered the studio of Jean-Victor
from power of Napoleon in 1814 allowed Turpin Bertin (not a relation). There he met Corot and
to paint full-time, but he resumed public service Aligny, and the three were in Rome at the same
with the Bourbon government; its overthrow in time in the mid-1820s, often painting together.
1830 ended Turpin’s official career, and he left When they exhibited paintings at the govern-
Paris for Angers. There he continued to paint ment-sponsored Salons in Paris in the early
and also to work on his collection of paintings, 1830s, the critics saw great similarities among
medals, Egyptian sculptures, Greek vases, and their works. Bertin visited Italy many times,
the like, which he had gathered on his travels to spending about ten cumulative years there and
Italy and Switzerland (he visited Italy again in in other countries bordering the Mediterranean.
1818, 1824, and 1830). He bequeathed his collec- Bertin, whose father founded the influential
tion to the city of Angers. periodical Journal des Débats, enjoyed a success-

65
 ful administrative and artistic career. After large drawing, inscribed “Tivoli,” is atypical of
assuming leadership of his family’s publica- views of the site in that it depicts none of the
tion in 1854, he no longer exhibited at the identifying landmarks of Tivoli—the gardens
Salon but continued to paint and draw. His belonging to the d’Este palace, for instance, or
best works are generally thought to be the the high waterfalls. Unlike Turpin de Crissé’s
large drawings he made in charcoal, often on painting, Bertin’s drawing was probably made
gray or blue paper.’ on the spot. To emphasize the simplicity of the
In contrast to the views of Italy by Aligny scene—rocky wall to the right, slender tree and
and Bidauld, which were done as exercises to vista to the left, path in the middle—Bertin
train the hand and eye in the transcription of closed the drawing at the top with an arch
nature, the works by Turpin de Crissé and shape, the curve of which contributes a sense
Bertin offer a less direct notion of the trans- of expansiveness and calm. This arch, a recur-
alpine country. Turpin’s choice of Naples as ring feature in both his paintings and drawings,
the site of his painting announces his romanti- imparts a decorative feel to the works, remov-
cized approach. Unlike Rome, famous for the ing them from the immediacy of vision seen
remains of the fallen empire and the site of in the oil sketches by Bidauld or Aligny. This
papal power, or Florence, with its concentra- northerner’s dream of Italy is achieved by subtle
tion of Renaissance masterpieces, Naples was means. The relative lack of detail soothes the
associated in the popular imagination with eye, as does the blue of the paper. By choosing
violence, both from the hand of man—brig- blue paper and black and white chalks, Bertin
ands—and natural causes—Mount Vesuvius, could let his materials do much of his work for
the destroyer-preserver of Pompeii and him. He needed only to establish outlines and
Herculaneum. In the foreground of Turpin highlights; the midtone of the paper largely did
de Crissé’s Bay of Naples (cat. no. 8), colorfully the rest.
dressed figures gaze at the remains of a ship- Both of these works convey a sense that
wreck in the waters crashing against rocks, Italy is a land distant from France. The land-
a reminder of the overwhelming power of forms are different, the light is different, the
nature. Intent on their looking, the figures are tenor of the countryside is different. They also
unaware of (or perhaps immune to) the glori- share a sense of melancholy: in the case of the
ous sky, set off by the piled-up, eroded dark painting by Turpin de Crissé, it is a sadness aris-
rocks. The center of the sky, bracketed by ing from the humans’ confrontation of the
curving clouds on the right and a long-aban- destructive power of nature; in the case of the
doned watchtower on the left, is the real sub- drawing by Bertin, it is the awareness that the
ject of the painting. Luminous and pearles- life of the monk, essentially elegiac, runs its
cent, the sunlight reaches across the flat- course outside the parameters of the everyday,
topped rock to illuminate the roiling water in contemporary world. FEW
the foreground and bathes the middle and
backgrounds in a calming, unifying glow. 1. Conisbee et al. 1996, 210.
If Turpin de Crissé’s figures are observ-
ing the sad result of nature’s power, Bertin’s
monk is engrossed in his reading, seemingly
oblivious of his surroundings (cat. no. 9). This

66
 Narcisse-Virgile Diaz de la Pefia
French, 1808-1876

IO. NARCISSE-VIRGILE DIAZ DE LA PENA

Bohemians Going to a Féte, about 1844
Oil on canvas
IOI X 81.3 cm (39% X 32 in.)
Bequest of Susan Cornelia Warren 03.600

Narcisse-Virgile Diaz de la Pefia’s career

began with work in a porcelain factory, and
he quickly became an independent painter.
His orientalizing genre subjects were very
popular, and he painted many works that he
sold for a small amount each. The mid- to
late 1830s were decisive years for him. He
started painting in the Forest of Fontaine-
bleau, where he met Rousseau, whose style
influenced him greatly. Diaz combined his
natural tendency toward genre figures such
as gypsies, bathers, and mythological charac-
ters with a devotion to an honest depiction
of landscape. His paintings were tremen-
dously popular, he received medals and was
elected to the Legion of Honor, and he was
able to sell everything he painted. His success
allowed him to help less fortunate col-
leagues, Millet, Rousseau, and Jongkind
among them.
Diaz forms an important link in the his-
tory of French art. The subjects of his paint-
ings look back to the eighteenth century and
the féte galante, and the softened contours of
his forms are evidence of his fondness for the
work of Pierre-Paul Prud’hon (French, 1758-
1823) and Correggio (Italian, about 1489?—
1534). He brought scenes of the Forest of
Fontainebleau to the Salon and made them
available for popular consumption. And he
met Monet, Renoir, Bazille, and Sisley near
Barbizon in 1863. The younger artists under-
stood the importance of Diaz’s warm colors
and individual brushstrokes. After years of
living in Barbizon, he moved to Menton, on
the Riviera, where he died.
 Jean-Baptiste-Camille Corot
French, 1796-1875

Here we have Diaz. This man does not fear II. JEAN-BAPTISTE-CAMILLE COROT
the most brilliant light. His pictures are like a Farm at Recouvriéres, Niévre, 1831
pile of precious stones. The reds, blues, Oil on canvas
greens, and yellows, all [are] pure tones and
47.5 X 70.3 cm (18% X 27% in.)
all combined in a thousand different ways,
their brilliance gleaming from every point in The Henry C. and Martha B. Angell Collection
his pictures; it is like a bed of poppies, tulips, 19.82
bouquets scattered under the sun; it is like
the fantastic palette of a great colorist. It is 12. JEAN-BAPTISTE-CAMILLE COROT
impossible to risk more and to succeed
Forest of Fontainebleau, 1846
better.
Oil on canvas
Forty years later, Diaz's work still found 90.2 X 128.8 cm (35% x 50% in.)
supporters: Gift of Mrs. Samuel Dennis Warren 90.199
In his sun-gilt landscapes Diaz put such fig-
ures as offered, by their costumes, a pretext After showing himself to be uninterested in busi-
for the wealth of his palette. The Descent of ness, Jean-Baptiste-Camille Corot was given
Fig. 34. Théodore Rousseau, Cattle Descending the Jura, the Bohemians is the fullest expression of this
money by his parents to devote himself to paint-
1834-35, Musée de Picardie, Amiens. style; here is all life and air; the band is com-
ing down a steep path; through the foliage ing. He studied in the ateliers of Jean-Victor
the sun rains down its beams and floods the Bertin and Achille Michallon and then, from
This picture, with its strong emphasis on whole picture with a transparent and lumi- 1825 through 1828, visited Italy. There he painted
the landscape setting, demonstrates Diaz’s nous half-light; it is a perfect dazzle to the
small studies outdoors, something he had already
eye, like all the works of this great colorist.’
indebtedness to Rousseau. More specifically, been doing in France. He had a successful Salon
Bohemians Going to a Féte was painted in homage In their distance from the everyday world, career, showing in every exhibition from 1827
to Rousseau’s 1834-35 Cattle Descending the Jura with their mixture of northern and Italian through the posthumous Salon of 1875. Up to
(fig. 34).' Unlike Rousseau’s canvas, which was peasant-style costumes, Diaz’s bohemians about 1850 he often showed landscapes with sub-
rejected from the Salon of 1836, Diaz’s was nonetheless were grounded in reality for the jects drawn from the Bible or classical mythol-
accepted in 1844, displayed to great acclaim, artist and his viewers. For centuries in France ogy. After midcentury, however, he developed
and bought by the distinguished collector Paul the term bohémien meant “gypsy,” because these a softer style, with diaphanous foliage and inde-
Périer. Rousseau’s painting may have been wandering peoples were thought to have come terminate subject matter. This, often called his
deemed too truthful, too real, too harsh. Diaz’s, from Bohemia. At the time Diaz painted this pic- poetic or lyrical style, became extremely popular.
a happy blend of his earlier genre pictures and ture, the term had evolved to refer to creative He was an inveterate traveler, returning to Italy
naturalistic landscapes, offers an escape into a figures—artists, writers, musicians—and people in 1834 and again in 1843, and visiting Switzerland,
fantasy view. on the fringe of society, such as vagabonds.* the Netherlands, and England. He stayed in Paris
The forest canopy breaks just enough and These gypsies, funneling “out of the woods, a during the winters, working in his studio, but
in just the right place to allow a brilliant shaft spatial device that perfectly suits their legendary during the summer months he crisscrossed
of light to enter from the left. It picks out the oneness with nature,’ can be seen as a kind of northern France, staying with his many friends
trunks of twin birch trees at the left and a few self-portrait—the artist, outside society, in the and painting outdoors. He was a close friend of
of the colorfully dressed figures—particularly forest, reveling in color and light. FEW Daubigny and Millet; Chintreuil and Francais
the young woman in the pink-red skirt and her considered themselves his pupils; and he gave
1. On Rousseau’s painting, see Forges 1962, 85-90.
attentive companion—and bursts with detail- advice to Berthe Morisot and Pissarro. Of an
obliterating force on the right-hand bank, a 2. Thoré 1844, 398.
older generation and a classical bent, he never
chiaroscuro effect that looks back to 3. Wolff 1886, 47.
understood the painterly means of the Impres-
Rembrandt. 4. Brown 1978, 4.
sionists, although his insistence on transferring to
A critic who saw the painting in the Salon 5. Ibid., 287. canvas his impressions of nature connected him
of 1844 was enthusiastic: to the younger painters.

68
 Like Valenciennes, Bidauld, Aligny, and
Bertin, Corot traveled to Italy, hoping to ally
himself with the great tradition of landscape
painting that had developed there in the seven-
teenth century. Unlike them, however, Corot
looked to other traditions as well in his search
for appropriate models on which to base his art.
One of these was seventeenth-century Dutch
painting.
Nineteenth-century French commentators
on art described the paintings made by the
Dutch two centuries earlier as straightforward,
naive, and realistic.! Corot’s Farm at Recouvrieres,
Nievre (cat. no. 11) and Forest of Fontainebleau
(cat. no. 12) are also aptly characterized with
these words. Painted fifteen years apart, Corot’s
two paintings nonetheless have much in com-
mon. They are organized as a succession of hor-
izontals marking recession into space, with a
view into the distance, and their subjects are
taken from everyday rural life: in one, clothes
washing, child tending, firewood carrying; in
the other, bringing cows to drink at a forest
pool. In each case fairly close prototypes can be
found in the earlier Dutch tradition: compare
Farm at Recouvrieres with a plate from the Small
Landscapes series issued by Hieronymus Cock
in 1561 (fig. 35). The print, one of a series cele-
brating the points of interest and humble beau-
ties in the vicinity of Antwerp,’ presages the
painting’s compositional structure of strips of
land and water, a view into the distance to the
left, and simple buildings nestled among trees.
Corot’s view, though more animated and
modulated with details of foliage, fallen tree
limbs, and figures—not to mention color—is
somehow starker. The tree trunk and broken
latticework in the foreground are lined up with
the picture plane; the farther bank of the stream
traces an almost straight line across the picture;
the corners of the buildings seem squarer, more
true; even the limbs and foliage of the trees are
tidier, less whimsical than in the print. Corot’s

69
site
, at’ % . 4
ae
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painting has regularized and clarified the earlier Corot’s vision of this rock-edged pool in the
scene, imposing a measure of rationality. This Forest of Fontainebleau appeared to Baudelaire
approach results in a feeling of immediacy akin to be natural, straightforward, and direct, and
to the plein-air sketches he and his compatriots so it is. The wonder of Gorot’s art is that it
did, especially in Italy but also in France. That looks, to use Baudelaire’s words, “instinctive”
Farm at Recouvriéres conveys an impression of and “lack{ing] in pedantry” while drawing on
freshness is particularly noteworthy because it and transforming a venerable, earlier tradition
was painted entirely in the studio, a practice that of landscape painting. FEW
allowed for the seamless integration of the fig-
ures with the landscape surrounding them.’ 1. Chu 1974 remains the most thorough study of the
subject, covering all genres. Herbert 1962 focuses on
Similarly close to an earlier precedent is
landscape.
Corot’s Forest of Fontainebleau. Representative
2. Gibson 2000, 1-2, 39.
of the many forest scenes that could have
3. Tinterow, Pantazzi, and Pomaréde 1996, 99.
served Corot as a model is Meindert Hobbema’s
4. For its provenance and an entry on it by Walter A.
Farmland with a Pond and Trees (fig. 36). Although
Liedtke, see Taft Museum 1995, 1:165-67.
Corot could not have known this image directly,
5. Baudelaire 1965, 106.
it is an exemplary picture of its kind.* The focus
6. Tinterow, Pantazzi, and Pomaréde 1996, 211—12, no. 91,
in Corot’s picture on the foreground pool, propose that Forest of Fontainebleau is a composite of oil
foliage, and cow to the left is balanced by the sketches Corot had done some years before. So far as
deep recession into space on the right, an ar- the truth of the genesis of a work of art can be known,
it most likely lies in a combination of the analysis given
rangement found in reverse in his 1831 farm
here and that put forth in Tinterow, Pantazzi, and
scene. The subject of Forest of Fontainebleau— Pomaréde 1996.
cows being brought to a pool in the forest to Fig. 35. Johannes van Doetechum, the Elder, Dutch, died
1605, and Lucas van Doetechum, Dutch, died after 1589,
drink—is hardly a subject at all; its quotidian
Village with Pond and Church Tower, 1561, etching,
nature borrows directly from the Dutch proto- National Gallery of Art, Washington, D.C.
type. As with the comparison of Corot’s farm
Fig. 36. Meindert Hobbema, Dutch, 1638-1709, Farmland
scene with the earlier Dutch print, Forest of with a Pond and Trees, about 1663-64, Taft Museum of
Fontainebleau rings changes on the scheme of Art, Cincinnati.

Hobbema’s painting. Where the Dutch painting

delights in the contrast of dark, semihidden
pockets of space and dazzling sunlight beyond, Italy), and for it he was made a knight in the
Corot’s scene is illuminated more evenly. Where Legion of Honor. Charles Baudelaire, the influ-
the Dutch trees on the left lean toward each ential poet and critic, praised Corot’s Salon
other, as if consciously creating the shade for the work, comparing it with Aligny’s paintings:
cattle, Corot’s trees stand straight, their limbs But what, with M. Aligny, is a violent and
spread so that the foliage forms a screen across philosophic dogma, is an instinctive habit
the middle ground, forcing attention to the fore- and a natural turn of mind with M, Corot.
ground (again, a device used in the earlier farm ...M. Corot is a harmonist rather than a
colourist; and it is their very simplicity of
scene, there with the buildings).
colour, combined with their complete lack of
Forest of Fontainebleau was an important pic-
pedantry, that gives such enchantment to his
ture for Corot. It was the only one of the four compositions. Almost all his works have the
canvases he submitted to the jury for the Salon particular gift of unity, which is one of the
of 1846 to be accepted (the others were views of requirements of memory.’

71
 Jean-Baptiste-Camille Corot
French, 1796-1875

13. JEAN-BAPTISTE-CAMILLE COROT Shortly after Corot painted Forest of with a restricted palette of earth tones (values)
Twilight, 1855-60 Fontainebleau, his style became softer and relieved by the luminous sky.
Oil on canvas monochromatic, a manner that is often labeled Even though Morning near Beauvais
50.3 X 37 cm (19% x 14% in.) lyrical. The sturdy, purposeful peasants dis- (cat. no. 14) and Souvenir of a Meadow at Brunoy
Bequest of Mrs. Henry Lee Higginson, Sr., charging their daily tasks in Corot’s Farm at (cat. no. 15) are daytime pictures, they, too, emit
in memory of her husband 35.1163 Recouvriéres, Niévre and Forest of Fontainebleau an air of wistfulness. The titles of the paintings
(cat. nos. 11-12) are replaced by figures, almost may localize the scenes, and the initial inspira-
14. JEAN-BAPTISTE-CAMILLE COROT always women, doing nothing more strenuous tion for them most likely arose from visits to
Morning near Beauvais, about 1855-65 than picking flowers or fruit. Generated as the respective towns, yet Corot’s vision of them
Oil on canvas much by emotion as by observation, Corot’s is filtered through an idealizing, aestheticizing
36 X 41.5 cm (14% X 16% in.) works, starting about 1848, explored mood; the sensibility.
Juliana Cheney Edwards Collection 39.668 transcription of actual locales correspondingly Looking at Morning near Beauvais, a picture
decreased in importance. of serene calm, one can easily understand why
15. JEAN-BAPTISTE-CAMILLE COROT Twilight (cat. no. 13) shows two women such fresh, evocative works were in enormous
Souvenir of aMeadow at Brunoy, about 1855-65 gathering a round fruit from trees bordering a demand toward the end of Corot’s life. A sim-
Oil on canvas lake. The end of the day, when any wind has ple scene—on the right a stream with a red-
90.6 X 115.9 cm (35% X 45% in.) died down, is depicted by means of a darkening roofed house on the far bank, an open meadow
Gift of Augustus Hemenway in memory of sky and the glass-smooth surface of the water. with scattered trees closed off in the middle
Louis and Amy Hemenway Cabot 16.1 Ruddy tones associated with sunset appear, not distance by a screen of trees growing more
in the sky, but in the surrounding foliage and in thickly—is painted in the palette typical of the
16. JEAN-BAPTISTE-CAMILLE COROT the clothing of the women. artist’s late career. The overall silvery gray
Young Woman and Death, 1854 Twilight is an evocative time of day, often tonality is made up of a range of soft greens
Cliché-verre, salt print marked by regret and nostalgia. Lines from the for the foliage and light browns and grays for
Sheet: 18.3 x 13.3 cm (7% X 5% in.) writings of such French Romantic poets as trunks and branches. The whole is unified by
Gift of Mr. and Mrs. Peter A. Wick 63.2742 Alphonse de Lamartine and Alfred de Musset the white sky and the discrete flecks of white
were often quoted in Salon reviews of Corot’s throughout. One senses the freshness of early
17. JEAN-BAPTISTE-CAMILLE COROT paintings to convey the emotions evoked that morning, the promise of a new day symbolized
Mother and Child in a Wooded Landscape, 1856 were not possible to express in everyday prose. by the bare trees of spring.
Cliché-verre, salt print Lamartine’s poetry in particular is suffused After 1857 Corot frequently visited the city
Sheet: 32.6 x 24.8 cm (12"%o x 9% in.) with a reverence for nature, as both a divine of Beauvais, about sixty-five kilometers (forty
Bequest of William P. Babcock, 1900 Br052.2/1 creation and a refuge for the troubled human miles) northwest of central Paris. He had sev-
spirit. Although no direct connection between eral friends there, among them Pierre-Adolphe
18. JEAN-BAPTISTE-CAMILLE COROT Lamartine and Corot can be documented, none Badin, a painter whom he had met in Italy and
The Gardens of Horace, 1855 is needed: critics recognized that poetry and who was by then the director of the State
Cliché-verre, salt print painting were each informed by an acknowl- Tapestry Manufactory in the city. In the early
Sheet: 34.8 x 27.1 cm (13% X 10%e in.) edgment of nature’s restorative power. 1860s Corot stayed with Badin and, beginning
Bequest of William P. Babcock, 1900 B1052.2/2 The affective power of a painting like in 1866, with a collector named Wallet? Where-
Twilight derives from its successful embodiment as a modern visitor might go to Beauvais to see
of one of Corot’s central maxims: “The first what remains of the cathedral (an overambi-
two things to study are the form, then the val- tious building plan resulted in the collapse of a
ues.”' Twilight carefully juxtaposes the masses large part of the superstructure in 1284 and the
(form) of the trees against the void of the lake lantern tower in 1573), Corot was attracted to
and sky and then modulates the large forms outlying areas of woods and streams.’ The

72
house to the right and the fence at the base
of the tree to the left proclaim the area to be
domesticated, put to human use, although
Corot was not concerned with exactly what that
use was. A woman and a small child sit on the
grass, protected and safe. Morning near Beauvais
investigates the subtle interplay of shallow
spaces divided laterally. Our attention is directed
entirely to the foreground and middle ground,
where a sense of intimacy, security, and well-
being is created.
Although one can accept the bare trees at
the right as being species that come into leaf
later than the trees on the left, they are perhaps
better understood as a pictorial device by which
Corot was contrasting linearity with mass,
spareness with fullness. Such explorations of
difference are in keeping with the juxtaposition
of near and far. In this way, the painting func-
tions as both evocation and artifice.
Souvenir of a Meadow at Brunoy shares with
Morning near Beauvais a similar screen of trees.
Through it, a denser forest is visible, beyond
which rises a hill capped by the buildings of a
town. Figures are scattered across the fore- and
middle ground: in the foreground at the left,
a woman kneels, perhaps picking flowers; just
above and to her right, a man walks deeper into
the forest; two women, one holding the hand of
a child, stop on a path to converse. A cow, at the
right, looks out of the painting.
Corot produced many paintings similar to
this one. They were popular in his day more
for their evocation of mood than of place. The
soft colors, green tending toward gray-brown,
enlivened by spots of local color in the clothes
the people wear and the pink-red flecks that sit
on the surface, depict a scene that, despite its
convincing sense of space and light, exists only
in the imagination. The word souvenir in the
title hints at the real subject of the picture: a
recollection or remembrance of a meadow, not
the meadow itself. Corot explained:

75
 sophisticated play of contrasts—surface versus years of Corot’s acquaintance with the process,
depth, light versus dark, line (the tree trunks) show a remarkable range of effects. Young
versus pattern (the foliage). In this configura- Woman and Death is distinguished from Mother
tion the figures are place markers, much as they and Child
in a Wooded Landscape
(cat. no. 17) and
are in many seventeenth-century landscapes, The Gardens of Horace (cat. no. 18) by its thick,
meant to guide the eye through the scene. loopy lines, made by scratching through the
In his sixth decade, Corot found a new ground with a blunt tip, such as the butt end of
vehicle through which to express his lyricism, a paintbrush or a stick. The density of the thick
a photography-based printmaking process called lines is relieved somewhat by the modulated
cliché-verre.* Cliché-verre is a perfect technique passages created by smudges (fingerprints?) and
for an artist such as Corot, who was not inter- a tonal haze caused by the varying thickness of
ested in the chemistry or mechanics of tradi- the emulsion on the glass plate. The subject
tional printmaking. In cliché-verre, a glass plate matter of Young Woman and Death also distin-
is prepared with a ground, either printer's ink or guishes it. While nostalgia, reverie, or an un-
fogged collodion. Marks are made by scratching specified feeling of regret are often perceivable
with a sharp instrument through the ground, in Corot’s art, such outright moralizing as is
which is often dusted with a white powder so seen in this cliché-verre is unprecedented.”
the marks can be seen. The glass plate is placed More typical of Corot’s work in both paint
on light-sensitive paper. When the plate is and prints in terms of subject matter are the
exposed to sunlight, the design prints on the large Mother and Child in a Wooded Landscape and
paper. The Gardens of Horace. Made with the pointed
Beauty in art consists of truth, imbued with Beginning in 1853, Corot became closely as- tool more commonly used to make clichés-
the impression we received from the contem- sociated with a group of artists in Arras, north- verre, they show the artist's delight in creating
plation of nature. . .. We must never forget
east of Paris, who among them practiced lithog- texture. The evocative hazy quality in Mother
to envelop reality in the atmosphere it first
had when it burst upon our view. Whatever raphy, drawing, photography, and painting. and Child in a Wooded Landscape was made by
the site, whatever the object, the artist must Under their influence he made his first cliché- the method known as tamponnage, a pricking of
submit to his first impression.‘ verre in 1853, and by 1874 he had made a total the emulsion with the stiff bristles of a brush to
The unpretentiousness and even insignifi- of sixty-six, more than any other nineteenth- create a myriad of tiny holes. This technique
cance of the scene—the people are not engaged century artist. Evidently the freedom of the achieves in the print the equivalent of Corot’s
in any specific activity—are belied by the paint- process appealed to him, and he used it both to famed soft-focus trees, such as those seen in
ing’s careful composition. Typical of Corot’s reprise subjects he had treated before—in some Souvenir of a Meadow at Brunoy.
later works is the shallow foreground. The light instances replicating painted compositions (such The nurturing aspect of nature, embodied
color of the meadow draws the eye into the as The Little Shepherd, a Salon painting from 1840 in the mother’s embrace of her child, is cast in-
painting, yet access to the meadow is mediated that was purchased by the state for the museum to an intellectual mode in The Gardens of Horace.
by the alternating forms of human figures, trees, in Metz)—and to explore themes that did not In it, the Roman poet (65-68 B.c.) is all but
and cow. Further recession into depth is denied appear in paint (such as Young Woman and Death, subsumed by the intricate web of lines that
by the edge of the woods beyond the meadow, cat. no. 16). The cliché-verre technique offered describe the towering trees and enclosing land-
and there is no visible way to get to the town on Corot a printmaking process that corresponded forms. As Corot enjoyed his visits to Arras, so
the hill, the bright facets of its masonry the ulti- to his experiments in paint to find means to Horace liked spending time at his country
mate goal of the viewer's eye. The surface of express a quiet sense of spiritual tranquillity retreat in the Sabine Hills, northeast of Rome.
the picture is covered by large, slightly textured centered on nature. There he could think, write, and read, as here,
shapes: the receding foreground, the diagonal These three clichés-verre, all printed in a undisturbed.* FEW
wedge of woods, the lighter sky. Corot set up a rich golden brown and executed in the first few

76
17

1. Cailler 1946, 1:82; this author’s translation from the that the Death figure is related to the seated Death in
French. Giovanni Battista Tiepolo’s (1696-1770) capriccio Death
Giving Audience. See Russell 1972, cat. no. 8. It is not
2. Tinterow, Pantazzi, and Pomaréde 1996, 222, 295-96.
known whether the title is Corot’s, but the titles of
3. Ibid., 296. the clichés-verre are contemporary with their making.
4. Quoted in Cailler 1946, 1:89, translated in Clarke 1991a, They come from Alfred Robaut, Corot’s future biogra-
109. pher, who was one of the artists in Arras and thus close
to Corot when he made the prints. Thus it is likely that
5. See Glassman and Symmes 1980 for the best overview
Corot did not object to the title of this or any other
of the process. The technical and historical information print, and may well have suggested it himself.
provided here was taken from this source, 29, 36-39. See
Mason et al. 1982 for a concentrated look at nineteenth- 8. Glassman and Symmes 1980, 61, cat. no. 22.

century French clichés-verre.

6. Glassman and Symmes 1980, 56-57, cat. no. 14.
7. H. Diane Russell suggested, in conversation in 1986,
19

8
 Théodore Rousseau
French, 1812-1867

I9. THEODORE ROUSSEAU Rousseau may have known the Forest of

Pool in the Forest, early 1850s Fontainebleau better than any other painter. He
Oil on canvas painted all aspects of the forest: the edge where
39.5 X 57.4 cm (15% X 22% in.) it meets the surrounding plain, as in Gathering
Robert Dawson Evans Collection 17.3241 Wood in the Forest of Fontainebleau (cat. no. 20),
trees isolated on the plain (Group of Oaks,
20. THEODORE ROUSSEAU Apremont, Forest of Fontainebleau, Musée du
Gathering Wood in the Forest of Fontainebleau, Louvre, Paris), and the forest interior, as in
about 1850-60 Pool in the Forest (cat. no. 19).
Oil on canvas In the serene Pool in the Forest, one looks
54.7 X 65.3 cm (21% x 25% in.)
Fig. 37. Meindert Hobbema, Dutch, 1638-1709, A Pond in
beyond a dark foreground and past a screen of
Bequest of Mrs. David P. Kimball 23.399 a Forest, 1668, Allen Memorial Art Museum, Oberlin trees to a group of five cows and their herder
College, Ohio. enjoying the sun. A palette of earth tones—espe-
21. THEODORE ROUSSEAU cially the ochers and oranges—contributes to the
Wooded Stream, 1859 Théodore Rousseau received traditional train- feeling of warmth; this is perhaps one of the last
Oil on panel ing first from a cousin and then from the land- days of summer. Despite the immediate attrac-
53.2 X 74.5 CM (21 x 29% in.) scapists Jean-Charles-Joseph Rémond and tion of the sunlit glade and the dark, insistent
Gift of Mrs. Henry S. Grew 17.1461 Guillaume-Lethiére. He was already painting verticals of the tree trunks, the eye is led gradu-
in the Forest of Fontainebleau in the late 1820s ally through the composition, slowed by a series
22. THEODORE ROUSSEAU and traveled to the Auvergne, Normandy, of gentle curves. The lower edge of the pool is
The Oak Tree of the Rock, Forest of Fontainebleau, Switzerland, and the Jura. His work was first defined by rocks whose curve echoes that of the
1861 accepted at the Salon in 1831. Rousseau visited water's far edge. The leaning ocher-colored tree
Etching in brown ink on cream laid paper Barbizon in 1836, which was also the year that at the left points the way for the branches that
Image: 12.3 x 16.9 cm (4% X 6% in.) the Salon jury first rejected his submissions, as join in an arch at the center. The very shapes of
Bequest of William P. Babcock, 1900 B3950 it did in 1838, 1839, and 1840. Rousseau chose not the trees, full and rounded, are another voice in
to submit to the jury again for several years, the symphony of curves.
23. THEODORE ROUSSEAU showing the next time only in the unjuried Steven Adams, in his book The Barbizon
Cherry Tree at La Plante-a-Biau, 1862 Salon of 1849, when he won a first-class medal. School and the Origins of Impressionism, relates
Cliché-verre, salt print By then his work had attracted the attention of the device of a framed view (here, the glade seen
Borderline: 21.7 x 27.6 cm (8 % x 10% in.) the writers Charles Baudelaire and George Sand through the screen of trees) to contemporaneous
Bequest of William P. Babcock, 1900 B3956.5/7 and, importantly, the critic Théophile Thoreé. book illustration, “in which bright, centrally
Rousseau divided his time between Barbizon, placed motifs gradually bleed off into dark, sur-
where Millet was his closest friend, and Paris, rounding frames. . . . It marks a clear interface
where he kept a studio and where he could stay between print-making, popular imagery and
involved in the art world. Barbizon and its envi- landscape paintings.”’ As Adams notes, Rousseau
rons became his chief subject matter, and his was not alone in using this compositional device
compositions show the influences of both (see, for example, Diaz’s Bohemians Going to a
seventeenth-century Dutch landscapes and Féte, cat. no. 10), and the increasing popularity of
Japanese prints. In 1866 the dealers Durand-Ruel landscape paintings may be linked to the vogue
and Brame bought his early sketches, which for similarly composed, and more widely avail-
gave him sufficient money on which to live, and able, landscape views in prints.
he was elected president of the jury for the Another source for the framed view was
Exposition Universelle of 1867. seventeenth-century Dutch landscape paintings,

79
 “ . a = zc

Fig. 38. Simon de Vlieger, Dutch, 1600-1653, Sleeping

Peasants near Fields (Parables of the Weeds), 1650-53, The
Cleveland Museum of Art.

which were at the time also widely known and

valued for their perceived verisimilitude. To
nineteenth-century French eyes, Dutch land-
scapes such as Meindert Hobbema’s Pond in a
Forest (fig. 37) seemed almost haphazard; the
artists, it was said, painted without selection or
adjustment of what was in front of them. A pic-
ture like Rousseau’s looked similarly casual to
its audience, a glimpse of an otherwise over-
looked corner of nature.
Despite immediate perceptions, Rousseau’s
Pool in the Forest is carefully composed and
equally carefully painted, just as its Dutch pro-
totypes were. The curves distributed through-
out establish a slow, easy rhythm, allowing the
viewer to discover, bit by bit, nature’s beauties.
This discovery is a hard-won prize, and the
artist makes the process visible in his patient
brushwork. Rousseau’s fastidious paint handling
makes one feel his concentration on, his dedica-
tion to, and his love for the view he paints.
Artists like Rousseau who went to the
Forest of Fontainebleau to find subjects to paint
were attracted to it for several reasons. Sixty-
four kilometers (forty miles) to the southeast of
Paris, it offered startlingly varied topography,
from rocky gorges to open plains, from thick
forests to paths and roadways. In addition, the
forest was lived in and used by hard-working
peasants, who for the painter animated and

80
humanized the land. Rousseau and his col- ture, made visible by the light that shows at What he wants to catch is the organic life of
leagues tried to paint what they saw in the for- once the detail of the foreground and the seem- nature acting secretly everywhere . . . the
est, not idealizing but presenting the natural ingly endless plain stretching into the distance. impression he seeks to produce is that which
facts with a humble honesty. This humility As indebted to seventeenth-century proto- one experiences when, transported to rustic
allied them, again, with seventeenth-century types as Rousseau’s paintings are, they are seclusion, beyond the sight and affairs of peo-
ple, one feels oneself so to speak living on the
Dutch landscapists, whose paintings were seen nonetheless unmistakably creations of the nine-
general life of nature that rustles in the air,
in the nineteenth century to embody naturalism teenth century. Greg M. Thomas has proposed
flows from the heart of the earth, and vibrates
and truth. that Rousseau’s paintings are ecological. These
in the smallest blade of grass as in the shifting
In Gathering Wood in the Forest of works, Thomas asserts, offer “a distinct new
crowns of grand forests.’
Fontainebleau (cat. no. 20), Rousseau shows a visual model in which people appear to be
typical activity in the forest. The location is peripheral participants in an ideal, self-ordering, Rousseau submitted only one painting to
most likely the Plain of Chailly, at the north- organic network of interdependent natural the Salon of 1861, The Oak Tree of the Rock, Forest

western edge of the forest. Women—destitute processes.’ In Wooded Stream (cat. no. 21), an of Fontainebleau.* He was so proud of this paint-
members of the community or wives of land- elevated viewpoint, a common device in ing that he made an etching after it, in reverse

less woodcutters—combed the forest for fallen Rousseau’s landscapes, affords a wide view (cat. no, 22). It was published in the Gazette des
branches that they would sell for a meager prof- encompassing trees to either side of a meander- Beaux-Arts as an unnumbered page facing the
it.? Rousseau’s luminous painting shows faggot ing stream, distant hills, and an overarching sky, discussion of the Salon painting.” Dated May
gathering as a group activity. A cart and horse in which covers more than half of the picture’s sur- 1861, the etching distills the essence of the paint-
the middle ground seem to have some relation face. The sky in this painting is particularly glori- ing. The nervous but controlled lines of the
to the two women moving down the rain- ous: gray clouds are pierced by a light-rimmed print—some parallel, others densely hatched—
soaked path toward the foreground. The fore- blue opening, the luminous effect of which is effectively convey the welter of textures, and
most one rides a laden donkey, and the second answered in the water. This light forms a core the blank paper denoting the sky stands in star-
woman carries on her back a huge bundle of around which the other elements of the painting tling contrast to the silhouetted black tree
sticks, called a faggot, as big as she is. pivot. So focused is this light that the trees in the trunks. The critic for the Gazette des Beaux-Arts
But the depiction of laboring peasants foreground are effectively—and illogically—cast complained that the painting had several faults:
is not what really interested Rousseau. The into shadow. Tiny figures of people and cattle the sky was out of balance with the rest of the
human figures are incidental to the delineation are scattered across the middle ground, those on painting and thrust itself forward where it did
of the physiognomy of the forest, especially the left small enough to be overlooked. not belong; the leaves of the mighty oak
the point at which the forest meets the plain. The smallness of the figures is significant. stretched like a uniform green fringe across the
Taking his cue, as Corot did, from any number As in Pool in the Forest, the activities of man and top of the painting; and, when seen up close,
of seventeenth-century Dutch forest scenes, in woman in this depicted world are shown to be the brushwork dissolved into jumbled tones. No
which a concentration on elements in the fore- no more—and perhaps less—important than the such accusations can be levied against the etch-
ground on one side of the painting is relieved flowing of the stream, the growing of the trees ing. Its smaller scale and reduced means result
by a view into the distance on the other side and scrub, and the beaming down of the sun’s in an image of astonishing power.
(fig. 38), Rousseau contrasts the dense, intricate rays. All are interconnected parts of a larger sys- That Rousseau made an etching after one
foliage on the right with the expanse of plain tem. In Rousseau’s words, “For God and in of his paintings was highly unusual; he is
crowned by an overarching sky. The central return for the life he has given us, let us act such known to have made only six prints. Two of
towering tree blocks the sun, with the result that in our works the manifestation of life is our them were clichés-verre, both done in 1862,

that the tree is silhouetted against the light. Its first thought; let us make a man breathe, and a probably at the urging of Eugéne Cuvelier, one
dark branches seem both to be given form by tree able actually to vegetate.”* Each aspect of of the artists Corot associated with in Arras (see
the light and to do battle with it. Rousseau here the natural world—and humankind is but one cat. nos. 24-26).* Cherry Tree at La Plante-a-Biau

subsumes the figures into a radiant vision of aspect—is worthy of regard, worthy of careful (cat. no. 23) is one of those clichés-verre.

nature’s strength, variety, and vitality. His brush depiction. Some contemporary critics under- Rousseau approached the glass plate with the
weaves a light-toned tapestry of color and tex- stood what Rousseau was trying to achieve: same kind of nervous energy as he did the cop-

8I
 perplate. Probably with an etching needle, he made
a myriad of jabs through the coating, leaving a field
of marks resembling iron filings coerced into shapes
by a magnet. Three huge rocks erupt from a flat
plain that is bordered by a straggle of houses among
trees. Not only has a cherry tree taken root among
the boulders, it appears to have flourished. As in The
Oak Tree of the Rock, Rousseau’s concentration on a
single tree heroizes it.
Trees formed one of the cornerstones of
Rousseau’s thinking. He explained his feelings about
them in a letter of about 1863 to Alfred Sensier, his
future biographer:
If one can deny that they [trees] think, certainly
they make us think, and in return for all the mod-
esty that they make use of to elevate our thoughts,
we owe them, as the price of their spectacle, not
arrogant mastery, or pedantic and classical style,
but all the sincerity of grateful care in the repro-
duction of their beings, for the powerful action
they arouse in us. They only ask us, for all they give
us to think about, not to disfigure them, not to
deprive them of this air that they so need.’
Rousseau’s prints and paintings embody his
humility before these creatures. His art is an homage
to the vast natural world in which he, as a human
being, is but a tiny part. FEW

1. Adams 1994, 83.

2. For a fuller discussion of faggot gatherers, see Murphy

1984, 26-27, cat. no. 16, and 88-89, cat. no. 57.

3. Thomas 2000, 2.

4. Rousseau, as translated in Thomas 1999, 145.

5. Jean-Louis-Hippolyte Peisse, in Le Constitutionnel, July 31,

1849, quoted in Prospec Dorbec, “L’oeuvre de Théodore
Rousseau aux Salons, de 1849 4 1867,” Gazette des Beaux-Arts,
.
aie 4th ser., 9 (1913): 108, translated in Thomas 2000, 89.
eer 3 ens
SNES
Carers veel
a * a
LTE MN hay | dns
a. fs Nai ¥.
ahi Dokte= AN 6. For a color reproduction, see Christie’s, New York,
SHAN haslinaaicsAm4 5
axial
November 19, 1998, lot 122.
fae MAsth:
NN
a Ee 7. Lagrange 1861, 136 and facing 136.
TAL Ret
Pty ny
att,
8. Melot 1980, 294.

ew ol
ey ween
ty 9. Rousseau, as translated in Thomas 2000, App. B, 210.
STE Re wferqin sy S
1 el yf " +r

23

82
 Eugéne Cuvelier
French, 1837-1900

Alphonse Jeanrenaud
French, before 1835-1895

24. EUGENE CUVELIER

Lane in Fog, Arras, early 1860s
Photograph, salt print from paper negative,
mounted
Sheet: 25.7 x 19.8 cm (10% x 7% in.)
Lucy Dalbiac Luard Fund 1989.21

25. EUGENE CUVELIER

At “La Reine Blanche,” Forest of Fontainebleau,
18608
Photograph, albumen print from paper nega-
tive, mounted
Sheet: 25.3 x 34.3 cm (9 %e X 13 in.)
Sophie M. Friedman Fund and Gift of Mack and
Paula Lee and William and Drew Schaeffer.
1990.175

26. EUGENE CUVELIER

Boundary of Barbizon, 1860s
Photograph, albumen print from paper nega-
tive, mounted ;
Sheet: 27.3 x 34 cm (9 %e X 13% in.)
Frederick Brown Fund 1996.38

27. ALPHONSE JEANRENAUD :

Cart in Forest Path, probably early 1860s
Photograph, albumen print from glass-plate
negative, top corners rounded, unmounted
Sheet: 23 x 28 cm (9 % X 11 in.)
Prints, Drawings, and Photographs Curator’s 24
Discretionary Fund 2001.274
Like the painters, the photographers attracted Although Gustave Le Gray made a memo-
to Barbizon and the some forty thousand acres rable group of photographs in Fontainebleau
of the Forest of Fontainebleau saw the area as about 1850, it is Eugéne Cuvelier who with his
an idyllic refuge, far away from the hardships of expressive views of the region, made in the next
city life. With the new railroad in place by 1849, decade, became the photographer most closely
many came to walk the forest’s paths, admire identified with the area. Cuvelier was trained as
its great oaks, and pause in the sunlit openings a painter and introduced to photography by his
between its trees. A number of photographers father, Adalbert Cuvelier, the Arras vegetable oil
established personal friendships with the and sugar refiner whose passion for art and pho-
painters and worked side by side in the forest. tography led him to help reintroduce the cliché-
The dialogue among their media is rich and verre and, through his friend Corot, inspire a
thought-provoking. fashion for the process among Barbizon

83
 painters.’ Young Eugéne became skilled at
cliché-verre early on and advised painters in
the use of the technique, keeping many of the
painters’ glass plates and printing them on
request.
In his youth, Eugéne came to Barbizon fre-
quently with his father and other Arras artists.
He cemented his association with the region
on March 7, 1859, by marrying Marie-Louise
Ganne, daughter of the famous Barbizon inn-
keeper whose lodging walls were decorated
with painters’ sketches and whose public rooms
had become a center for lively artistic discus-
sions. Corot and Rousseau were the witnesses
for the bridegroom, and Rousseau and Millet
reportedly decorated a barn for the festivities.
Cuvelier became one of the most sensitive
photographers of the region, and his photo-
graphs of the trees and paths have an unusual
expressiveness that transmits, in theme and vari-
ation, his great devotion to the area. Surviving
in part on family income, Cuvelier made few
prints of his negatives. He appreciated the picto-
rial potential of paper negatives and worked
with them long after most photographers had
turned to glass. Cuvelier’s preference for the
aesthetic image akin to painting is exemplified
by Lane in Fog, Arras (cat. no. 24) in which the
subtly delineated forms, misty atmosphere,
and hushed serenity are reminiscent of Corot.
This photograph was taken near Cuvelier’s
hometown of Arras, and its softness and deco-
rative massing of forms are very similar to the
few landscape photographs that exist by his
father, Adalbert. In his attention to the play of
light and atmosphere, Cuvelier was touching on
ideas that would later become the major themes
of Impressionism.
Whereas many of Cuvelier’s most magical
evocations, such as Lane in Fog, were printed on
salted paper, other examples of his photographs

84
evoke a dramatically different mood through
the greater detail offered by printing on albu-
men-coated paper. In his depiction of the Forest
of Fontainebleau location known as La Reine
Blanche, famous for a succession of trees that
stood there, Cuvelier used albumen paper to
convey more intensely the harshness and angu-
larity of awkwardly twisting branches and
dense, overgrown foliage (see cat. no. 25).
Cuvelier, like his painter friends, occasion-
ally documented such humble subjects as farm-
yards, still lifes of dead game, and views around
the town. In his Boundary of Barbizon (cat. no.
26), the photographer has focused on the border
between the small village and the vast woods,
controlled civilization versus untidy nature. He
has also paid attention to the lively play of
banded light and shadow over the road.
Other photographers who interpreted the
Fontainebleau trees and Barbizon farms were
influenced by Cuvelier’s work. One of the most
talented of these was Alphonse Jeanrenaud, a
naval officer turned photographer who took
pictures of a variety of subjects, a number of
which he printed in an early form of photogra- 27

vure. Jeanrenaud is best known for his painterly

photographic landscapes, like Cart in Forest Path
(cat. no. 27), a view of an abandoned cart and ful of Adalbert Cuvelier’s photographs exist today, no
rutted road. Images such as this, with its clichés-verre by him have been found, and only one
cliché-verre by Eugéne is known.
poignant mood, reveal the photographer's
2. Claude-Frangois Denecourt, a retired Napoleonic sol-
expressive talent. Like Cuvelier, Jeanrenaud
dier, was devoted to the forest and started in the 1830s
could combine bold compositions and delicate to groom its trails, marking them with blue arrows and
recording of light to evoke the artist’s personal naming all the prominent landmarks, including La
response to the woods as well as a sense of Reine Blanche. Cuvelier would have been familiar with
Denecourt’s many well-known guides to the forest,
timelessness. AEH
published from 1840 into the 1870s, and it is interesting
to consider Cuvelier’s photographs as a visual counter-
1. Adalbert Cuvelier’s interest in the cliché-verre, the point to Denecourt’s writings. See, for example, C. F.
hybrid process combining etching and photography, was Denecourt, Guide du voyageur et de Vartiste a
shared with the painters Constant Dutilleux and Fontainebleau; itinéraire du palais et de la forét, avec les
Adolphe Grandguillaume. See the discussion of cat. nos. promenades les plus pittoresques, par C.-E. Denecourt, 6th
16-18 and the glossary in this catalogue for an explana- ed. (Paris: n.p., 1850), 30, for “Le Reine Blanche.”
tion of the technique. It is curious that although a hand-

85
 Eugéne Isabey
French, 1803-1886

Fig. 39. Richard Parkes Bonington, English, 1801-1828,

Rouen, before 1822, watercolor, The Wallace Collection,
London.

28. EUGENE ISABEY was drawn to the Normandy coast, traveling its ships. This is a peaceful scene, showing every-
Harbor View, about 1850 length and painting its various ports his whole day activities carried out following the rhythms
Oil on canvas life. It is likely that in 1825 he went to England of nature. A different kind of tradition, that of
33.3 X 47.9 cm (13% x 18% in.) with Eugéne Delacroix and the English artist constructed artifacts, is present as well, empha-
The Henry C. and Martha B. Angell Collection Richard Parkes Bonington, from whom he sized through composition and color. The eye
19.101 adopted fresh colors and easy brushwork to moves through the depicted space following a
depict marine subjects.! In 1828 he painted in long zigzag course, starting at the lower left
29. EUGENE ISABEY Normandy with Huet. In 1844 he met Boudin, and ending at the high point of the eccentrically
Stormy Weather, about 1836 who exhibited Isabey’s work in his frame shop shaped steeple of the church. The dominant
Lithograph on cream wove paper in Le Havre. On a trip to the Netherlands in brown-blue tonality, sparked by the scattered
Image: 11.1 x 18.4 cm (4% x 7% in.) 1846, Isabey met Johan Barthold Jongkind, who reds of skirts, shirts, sail, and flags, is a subtle
Samuel P. Avery Fund 21.10733 became his pupil when the Dutchman moved to modulation of brown foreground, green middle
Paris later that year. The next year Isabey took ground, and blue background, a palette used by
Eugéne Isabey, son of Jean-Baptiste Isabey, a Jongkind to Normandy. Isabey is also known for landscapists since the sixteenth century to indi-
court painter to Napoleon, began exhibiting his lithographs, on which he worked concen- cate recession into depth.
at the Salon in 1824, when he won a first-class tratedly from 1825 to 1835, as well as for his Isabey took obvious delight in applying
medal. This auspicious beginning set the stage luminous watercolors. paint to canvas. He thinned the paint with
for his whole career. He exhibited regularly at In Harbor View (cat. no. 28), Isabey shows us enough medium to allow him to paint rapidly
the Salon until 1878 and was, in his turn, a court an inlet that at high tide functions as a harbor. with squiggles and flourishes; three-dimensional
painter for Louis-Philippe. In this role he com- Now, however, at low tide, the local people strokes of paint are visible in the foreground,
memorated historic and diplomatic events. He flock to the shore to wash clothes and load the where his and the viewer's vision is clearest.

86
This active brushwork functions as an analogue ments of France from the Middle Ages and ear-
for the activity of washerwomen and laders but lier periods which were fast disappearing,” so
also, and more important, for the activity of that in addition to their archaeological interest,
light and its interaction with air, water, and the monuments could serve “as the source of
objects. For all its adherence to convention, poetic and patriotic emotions in the modern
Isabey’s Harbor View is a careful study of these viewer. *The Voyages pittoresques exploited the
essential elements of landscape painting, ren- relatively new process of lithography, which
dered with an understanding of how, for exam- was introduced into France very early in the
ple, sunlight glinting off water and mud actually nineteenth century.’ Able to be produced
looks. cheaply and in large editions, lithographs, both
Isabey had painted on the Channel coast singly and in albums, were collected avidly by
since the very beginning of his career, but it the newly established middle class.* The age of
was his acquaintance in the mid-1820s with mass armchair travel had begun. Isabey con-
29
Bonington that proved decisive. The English tributed a succession of evocative yet convinc-
painter's free, fluid, and light-saturated oils and ing views of mountainous regions of France.
watercolors electrified the young French artists Isabey’s Stormy Weather, however, shows
who saw them, including Isabey. Isabey’s compo- no medieval ruins, no interesting scenery. In sus an anonymous site—demonstrate the
sition is more complicated than Bonington’s fact, it is difficult to say what Stormy Weather extremes of artistic expression that could be
often are: the patterns made by the masts acti- depicts. A body of water in the lower right is evoked through an intense examination of the
vate the space in a linear fashion inherently for- held back by a sluice. Two tracks—one travel- natural world. In each work, however, Isabey
eign to Bonington’s emphasis on luminosity— ing horizontally over the sluice, the other fol- has paid careful attention to specific atmos-
even when compared with such a picture as lowing the left edge of the water—converge. pheric effects. In each, too, a specific place is
Bonington’s Rouen (fig. 39, p. 86). Isabey’s insis- A lone figure is walking farther into the pic- evoked. Whether the place depicted actually
tence on pattern can be seen in his repeated use ture, a gun or fishing pole over his shoulder. existed is not important. What matters is the
of the same boat. Tipped at different angles or With so little narrative and scenic detail to look authenticity of feeling, amply evinced in each.
lined up behind each other, the boats are compo- at, the viewer can indulge, as the artist did, in Where Rousseau was concerned with conveying
sitional devices rather than portraits of individ- the heady invocation of atmosphere and mood, to the viewer his sense of wonder before indi-
ual vessels. Isabey’s brushwork, too, is more created through the manipulation of tone. vidual trees, so Isabey was true to his impres-
detail-oriented than the Englishman’s. Still, Isabey explored the full range of tones sions of places where land and water meet.
Isabey’s picture is full of light, and it betrays an available to him in the monochromatic lithog- These lessons he was to impart to his students,
affection for the workaday scene that is akin to raphy process, from the whites of the paper left Eugéne Boudin and Johan Barthold Jongkind.
Bonington’s fondness for such Channel scenes. bare, clustered in the middle of the small sheet, They, in turn, were instrumental in the develop-
Isabey reveals a different facet of his sensi- to the dark blacks in the lower third, made by ment of Claude Monet's art. FEW
bility in the lithograph Stormy Weather (cat. no. using alternately a brush and a crayon. Scratch-
29). Made about 1836, at the peak of his activity ing through the ink spread on the limestone 1. Noon 1991, I.

in the medium, Stormy Weather shows Isabey in from which the image would be printed, Isabey 2. Grad and Riggs 1982, 17.

an unexpectedly experimental mood. He had suggested light uneasily seeping through threat- 3. MFA 1996.

made many lithographs before the mid-1830s, ening clouds. 4. Chu 1990, especially 118, 120-21.

especially for the ambitious multivolume project The superficial differences between Harbor
of Baron Isidore Taylor and Charles Nodier, the View and Stormy Weather—calm versus turbu-
Voyages pittoresques et romantiques dans l’ancienne lent weather, anecdotal detail versus virtually
France. This publishing venture had as its aim “to no detail, an attempt at localization (although
record in word and image the ruins and monu- the church steeple has yet to be identified) ver-

88
 Gustave Le Gray
French, 1820-1882

Charles Paul Furne fils

French, active 1850-1870

30

30. GUSTAVE LE GRAY 31. CHARLES PAUL FURNE FILS

Cloudy Sky—Mediterranean with Mount Agde, Douarnenez, a Fishing Village in Brittany, 1858-59
1856-59 Photograph, albumen print from glass-plate
Photograph, albumen print from glass-plate negative, corners rounded, mounted
negative, unmounted Sheet: 20.3 x 26.7 cm (8 x 10% in.)
Sheet: 31.1 x 39.7 cm (12% x 15% in.) Gift of Jessie H. Wilkinson. Jessie H. Wilkinson
Gift of Charles Millard in honor of Clifford S. Fund 1998.74
Ackley 1997.241
Gustave Le Gray was one of the most brilliant
photographers working in France in the middle
decades of the nineteenth century, a leader in
the field who inspired many to make art with
the camera. He was a founding member of the
Société héliographique and the Société francaise
de la photographie, the two early French organ-
izations where photographers could exchange
ideas. Originally a painter, he had great insight
into photography’s expressive possibilities. As a
master craftsman, he was an important experi-
menter with new negative materials and print-
ing papers and was the author of an important
treatise advocating his own method for coating
paper negatives in wax before exposure. He was
one of few who saw photography as a true art
form and who refused to compromise the artis-
tic goals they conceived for their medium.
Le Gray made impressive photographs of
landscapes in the Forest of Fontainebleau, other
sites around France, Egyptian ruins, Napoleon
III's military camp at Chalons, portraits, and a
small number of artistic nudes, but he may be 31
best remembered for his monumental sea-
scapes. Cloudy Sky—Mediterranean with Mount The intensity of response to nature repre- in stereocard format, frequently in association
Agde (cat. no. 30) was one of a group of marine sented in Cloudy Sky—Mediterranean with Mount with his photographer colleague Henry
studies Le Gray took in the late 1850s along the Agde recalls the ideals of Romanticism, an im- Tournier. Furne fils and Tournier were very
southern French coast, looking out over the portant aesthetic influence on mid-nineteenth- productive and issued a monthly newsletter
Gulf of Lions. Photographs like this, with their century photographers. (One of the characteris- called La Photographie, Journal des Publications
dramatic skies, dashing waves, and occasional tics of Romanticism was a heightened emotion- Légalement Autorisées from October 1858 until
graceful sailing ships, won Le Gray interna- alism.) In turn, photographic images had their May 1859. On his own, Furne fils specialized in
tional acclaim. The large exhibition scale of the own impact on painters such as Gustave Courbet, photographs of Brittany, publishing Vues des
prints was new, and the tonal nuances in these who sometimes modeled his oils after Le Gray’s cotes de Brétagne and Vues, monuments, estuaires de
photographs were pushed to their greatest seascapes and other photographs. Photographs la Bretagne in about 1857. This photograph of
expressive potential. The blank or mottled sky, a like Le Gray’s marines also provided a deep well the Brittany town of Douarnenez (cat. no. 31),
common problem of photographs of the period of imagery on which the future Impressionists the small fishing village between Brest and
because of the emulsion’s variable sensitivity to could draw. Quimper, was probably taken not long after Le
color, led Le Gray to use two negatives. One In contrast to Le Gray, Charles Paul Furne Gray’s seascapes were first exhibited. With the
negative was correctly exposed for the sea, fils, a commercial photographer active in the toylike old village on the far side of the beach
another exposed separately for the sky, and the 1850s and probably the 1860s, is relatively and the sails of the fishing boats fluttering in
two were skillfully (and probably, for the time, unstudied. He is known to have made numer- the wind, this magically clear image is wonder-
deceptively) joined along the horizon line. ous views of Paris and its environs, often issued fully evocative and atmospheric. AEH

90
 Charles Marville
French, 1816—about 1879

Louis-Rémy Robert
French, 1810-1882

32. CHARLES MARVILLE

Path in the Bois de Boulogne, 1858
Photograph, albumen print from glass-plate
negative, mounted
Sheet: 26.9 x 36.4 cm (10 %s X 14% in.)
Sophie M. Friedman Fund 1984.54

33. Louis-REMY ROBERT

The Baths of Apollo, Versailles, 1853
Photograph, albumen print from paper nega-
tive, mounted
Sheet: 31.8 x 25.8 cm (12% x 10% in.)
Lucy Dalbiac Luard Fund 1986.138

The new medium of photography, invented in

1839, was very versatile, and one of the many
purposes to which it was quickly applied was
the documentation of important historic sites
both at home and abroad. In France, a fervently
nationalistic country, the urge to represent mon-
uments visually was especially strong and was
supported by the regime of the Second Empire.
Photographers such as Edouard-Denis Baldus,
Charles Négre, Henri le Secq, and Charles 32

Marville seized the opportunity to earn ready

governmental income documenting the archi-
tectural and topographic achievements of their Marville’s photographic documentation Exposition in London in 1862 and was probably
nation. Sometimes this photographic documen- of the Bois de Boulogne was one of his first exhibited again with forty additional drawings
tation of the French national heritage fell into government projects. The former royal forest in the Paris Exposition Universelle of 1867.
the domain of landscape. and hunting ground located at the western Marville’s many photographs of sylvan land-
Charles Marville, originally an illustrator edge of the city had been given to its citizens scapes and his emphasis on dappled light con-
in engraving and lithography, was one of sev- by Napoleon III in 1848 and was dramatically nect him to Barbizon photographers such as
eral important nineteenth-century French pho- redesigned by Haussmann from 1853 to 1858. Eugene Cuvelier and form another step toward
tographers who brought a painter's eye to the Marville was evidently hired to promote the the Impressionist vision.
medium. He took up photography about 1850 virtues of the new park. In Path in the Bois de Although Louis-Rémy Robert never pho-
and worked on commission for the city of Paris Boulogne (cat. no. 32), he featured one of the tographed for the state, his capturing of land-
for much of his long career. Marville’s photo- park's gently curving walkways in the well- marks of France's rich patrimony was equally
graphic oeuvre includes the recording of state groomed woods. Although the season is celebratory. Robert was born into a family of
events, buildings, and monuments, the repro- autumn and the leaves have fallen, the pathway, artists and artisans employed at the Sévres
duction of works of art, and numerous views with its low, iron fencing, is swept clean. This porcelain factory and, like Marville, came to
of both old Paris and the construction of new photograph was one of sixty grouped together photography thoroughly trained in aesthetics.
Paris under the direction of Baron Georges in an album of views of the park that was Robert followed in his father’s footsteps to
Eugéne Haussmann. exhibited in the Paris section of the Universal become head of the Sévres glass painting work-

91
 shop (1839-48), and was subsequently promoted
to be in charge of painting and gilding (1848-71),
and then to director (1871-79). At Sévres, he
worked closely with Henri-Victor Regnault, who
was director of the factory from 1852 to 1871 and
with whom he shared his burgeoning interest
in photography. Robert and Regnault photo-
graphed some of the same subjects and may
have explored the medium together. The knowl-
edge of chemical interactions that Regnault and
Robert gained from the manufacture of porce-
lain prepared them for the complicated chem-
istry of photography.
Robert was a photographic experimenter
who enjoyed the problems posed by challenging
subjects and light situations. He made expres-
sive photographs of Sévres porcelain that evoked
the perfection of the factory's classical forms
and luxurious glazes and were intended to
record and promote the factory’s finest produc-
tions. His enchanting views of the chateau and
garden decoration of Versailles and Saint-Cloud
share an exquisite luminosity and delicate sense
of atmosphere. The picturesque Baths of
Apollo in the gardens of the palace of Versailles
were designed by the painter Hubert Robert in
1778. Hubert Robert carved out the grotto and
incorporated earlier sculptures by various artists
depicting the resting Apollo, the nymphs who
tend him, and the god’s steeds being groomed
by tritons. Louis-Rémy Robert's photograph
The Baths
of Apollo, Versailles
(cat. no. 33) was the
first of thirteen views in the album Souvenirde
Versailles (1853), printed and published by Louis
Desiré Blanquart-Evrard, the great disseminator
of many French photographic views of the
period. AEH

92
 Constant Troyon
French, 1810-1865

Antoine Vollon
French, 1833-1900

34. CONSTANT TROYON 36. ANTOINE VOLLON Because Troyon had already beem painting out-
Field outside Paris, 1845-51 Meadows and Low Hills doors, this: advice was: received more as: valida-
Oil on paperboard Oil on panel tion tham as: a suggestion to, try something new:
27 X 45.5 Com (10% X 17-% tm.) 28 X 46.2 Com (EE X 18% im.) Critical to, Troyon’s: career was: a trip to the
The Henry C. and Martha B. Angell Collection Bequest of Ernest Wadsworth Longfellow Netherlands im 1847. Im Amsterdam he saw; the
19.117 37-602, seventeenth-century animall paintings of Aelbert
Cuyp and Paulus: Potter, and he begam to add
35. CONSTANT TROYON Constant Troyom was one of many nineteenth- animals: to his landscapes. These became very
Windswept Meadow with Shepherd and Flock, century painters who were trained as porcelain popular with the public, not only im France but
about 1850 decorators. (Diaz and Renoir were others.) im England, the Netherlands, Germany, and!
Black chalk on beige paper Although he exhibited successfully at the Salon Austria as: welll. To, meet the demand), Troyon
Sheet: 25.4 x 35.4 cm (10 X 13'%e im.) froma 1833, with conventional landscape subjects, hired assistants: to fill im the backgrounds: so, that
Gift of L. Aaron Lebowich and Harvey D. he was encouraged by Rousseau and Huet, he could concentrate om the animals, be they.
Parker Collection, by exchange 63.263 whom he met im 1843, to paimt more directly: cows, sheep, or dogs. Troyom also painted pure

93
 paint. He obviously enjoyed its malleability,
varying its stickiness with medium to make it
flow more or less smoothly, depending on the
effect he wanted. His choice of paperboard as
support for this painting suggests outdoor exe-
cution, since this material was easier to trans-
port than a stretched canvas.
The same low viewpoint and the same
delight in materials animate Troyon’s drawing
Windswept Meadow with Shepherd and Flock (cat.
no. 35). All surfaces of the black chalk were
used: the sharpened tip for the outlines of
clouds; the side rubbed roughly over the buff
paper to sketch in masses of field, hills, and
clouds; a blunter tip, used with more pressure,
for the summary denotations of horizon and
tree trunks. The evocation of clouds scudding
across the sky is particularly masterly: faint but
definite scalloped lines give form to vague
smudges, and a believable skyscape takes shape.
The rightward slant of the trees draws attention
landscapes and in his later years frequently mary interest lies in the active sky and in the to the fact that the lines demarcating the clouds
visited the Normandy coast. There, freed from establishment of a sense of place. are all on the right and hence are the leading
market demands, he painted in a more explora- The low point of view taken by Troyon in edges of the amorphous masses. The wind is
tory fashion, recording variations in light. In Fields outside Paris heightens the immediacy of strong enough to obliterate the individual bod-
1849 he was the first of the artists associated the scene. We are there, on the same plane as ies of the sheep. And the grasses through which
with Barbizon and rural French subjects to be the women, in the middle of the field. This van- the flock and the man walk are flattened across
awarded the cross of the Legion of Honor. tage point has the effect of breaking the compo- their path; passage must be difficult.
Landscape subjects could be found quite sition into horizontal bands (a compositional Antoine Vollon’s Meadows and Low Hills
close to home, even for an urban dweller. In the ploy often used later, for similar agrarian sub- (cat. no. 36) offers a rare look at Vollon the land-
middle of the nineteenth century a field outside jects, by Pissarro). These are variously differenti- scapist. Vollon began his career in his native
Paris could be as near as eight or nine kilome- ated by texture and color—a thin, scrubbed-on Lyon in an enameling shop, copying the works
ters (five to six miles) from Notre Dame or the muddy green foreground; a fluid farther field, of the eighteenth century onto decorative
Louvre. Visible in Troyon’s Fields outside Paris maybe newly harvested, wetly brushed on in objects. He won awards in printmaking during
(cat. no. 34) are low hills (perhaps those of long brown horizontals; a still farther, greener his two-year period of study, from 1851 to 1852,
Montmartre, at the northern edge of the city), field; the nervous, active, and brushy dark trees; at the Ecole des Beaux-Arts in Lyon, and by 1858
poplars marking the boundaries of fields or and the blue hill, whose color announces its dis- was exhibiting oil paintings in his hometown.
properties, farmhouses and their outbuildings, tance from the rest. Above all is a cloud-filled He moved to Paris in 1859 and first exhibited at
three cows in the right middle ground, and two sky. The white impasto on the clouds to the the Salon in 1864. His paintings were regularly
women to the left of the center foreground. right show the effects of the hidden sun break- purchased from the Salon by the state (1864,
Exactly what the women are doing cannot be ing through. 1868, 1870, and 1875), and he had a successful
determined, nor does it matter, for Troyon’s pri- Troyon delighted in the materiality of official career, marked by awards at the Salon in

94
1865, 1868, and 1869 and at the Expositions below are painted more thickly. In places the distance, and those at the top of the hill are so
Universelles of 1878 and 1900. He was named a paint stands up in relief, as if mimicking the far away that the artist registered them as mere
knight in the Legion of Honor in 1870, an offi- solidity of the ground and trees, in the same puffs against the sky.
cer in 1878, and a commander in 1898. Associ- way that the thinness of the paint in the sky is Vollon chose an overcast day on which to
ated with Francois Bonvin and Théodule Ribot, analogous to the ephemerality of that element. paint his small but expansive scene. Devoid of
Vollon was best known for his still lifes, primar- The evident rapidity of execution and the strong contrasts of sunlight and shadow, the
ily of kitchen subjects, yet he was also fond of fact that the painting was done on an easily field shows itself in a dark, rich palette of
painting armor. His works are characterized by portable panel attest to its having been made greens and browns, colors similar to those the
heavily loaded brushstrokes and dramatic light- outdoors. Vollon was interested not so much artist used in his kitchen interiors and arrange-
ing. He was equally adept at landscapes, often in capturing color and light as in exploring the ments of armor. As in those paintings, too, the
of farmyard subjects, and he also did portraits. effect of depth and recession. The expanse of brushwork in the darker areas is fluid and loose.
Toward the end of his life Vollon spent the meadow is indicated by the tiny size and In his still lifes Vollon was not interested in
more time outside Paris, painting rural subjects. indistinct anatomy of the grazing cows (and microscopic detail; rather, he preferred to juxta-
For this painting he used an extremely simple perhaps sheep) and the tinier farm buildings pose larger masses of simplified textures, a
composition and consciously restricted means farther away. The place at the far end of the predilection he transferred to his work out-
to achieve an effect of startling verisimilitude. meadow at which the land starts to rise is doors. FEW
Indeed, the composition of this view of mead- marked by a line of dark trees, which perhaps
ows and low hills could hardly be simpler. More signal the presence of a stream or perhaps
than half of the small panel is given over to a serve simply as boundary markers. The trees
cloud-filled sky, painted so thinly that the grain climbing the hill—their crowns progressively
of the wood shows through. The landforms silhouetted against the sky—indicate increasing

95
 Jean-Léon Gér6me Antoine-Louis Barye
French, 1824-1904 French, 1795-1875

Constant Troyon
French, 1810-1865

37. JEAN-LEON GEROME The life of animals—apart from their useful- plus his highly developed commercial sense,
Black Panther Stalking a Herd of Deer, 1851 ness to humankind—was a source of fascina- Gérome began, with Black Panther Stalking a

Oil on canvas tion for people in the nineteenth century. Ani- Herd of Deer, a lifelong engagement with paint-
52.3 X 74 cm (20% x 29% in.) mals represented instinct, power, savagery, and ing large cats.
Anonymous Gift 30.232 nobility in equal measures. Their essential for- Corals, pinks, mauves, greens, and yellows
eignness constituted the principal aspect of fill the luminous sky, and laser-sharp rays of
38. CONSTANT TROYON their allure. In previous centuries animals had light shoot out from the barely hidden sun.
Hound Pointing, 1860 appeared in art as symbols of nobles or gods, as Against this glow crouches the inky panther, its
Oil on canvas prey and attacker in hunting scenes (with the irregular but sinuous outline echoed in rocks
163.8 X 130.5 cm (64% X 51% in.) presence of men implied or actual), or as do- and clouds on either side. So that the viewer not
Gift of Mrs. Louis A. Frothingham 24.345 mesticated pets or prize livestock—in other overlook the narrative of the painting, rocks in
words, always as an adjunct to the activities of the lower left corner point to the herd of deer
39. ANTOINE-LOUIS BARYE humans. In the nineteenth century, animals, on their way-to the waterside to drink.
Stag and Doe wild and tame, were valued for their very ani- Géréme’s later pictures of felines, especially
Watercolor on paper, mounted mality, their difference. Painting animals in a lions, are more credibly portrayed than this one,

Sheet: 21 x 28.2 cm (8% x 11% in.) naturalistic way, appropriate to their species, presumably thanks to his increased familiarity
Bequest of David P. Kimball in memory of his gave them additional autonomy. with their appearance and their milieu. He was
wife Clara Bertram Kimball 23.526 Jean-Léon Géréme had great success with nonetheless proud of his black panther paint-
his paintings of orientalist and historicizing sub- ing—its drama is undeniable—for at an un-
jects—harems, mosques, caravans, scenes from known date he gave it to the critic Théophile
imperial Rome—and the prints made after Gautier, who appreciated narrative and descrip-
them, published and cannily marketed by his tive art. Gautier had praised Géréme’s first sub-
father-in-law, Adolphe Goupil. Gérome made mission to the Salon in 1847, The Cock Fight, sin-
several trips to the Near East and Africa, but gling out its “rare elegance” and “exquisite orig-
the first of these postdates by five years the inality” and the artist’s “fine and delicate han-
execution of Black Panther Stalking a Herd of dling of pencil and brush.”* He remained sup-
Deer, a painting the artist signed and dated in portive of Gérdme’s art, and the gift must have
1851 (cat. no. 37). Interest in the Middle East and been in appreciation. Gautier in turn liked the
northern Africa was at a high pitch at midcen- painting, for he kept it until his death.
tury. Eugene Delacroix was only one of many Constant Troyon’s dog in Hound Pointing
artists to bring to France the colors, sights (cat. no. 38) is also hunting, but he is under the
(including animals), almost palpable heat, orders of a human master, who has marked the
smells, and sounds of these exotic places,’ and hound as his property by means of the wide
photographs, deemed more truthful than paint- leather collar with a gleaming buckle. Monu-
ings, showed that the region was, if anything, mental in scale, the dog is heroic, eagerly but
stranger than the scenes depicted in paintings. patiently sniffing the air, the scents of which are
Géréme studied with both Paul Delaroche and complicated by the electricity of the coming
Charles Gleyre, each of whom was devoted to storm. He is a controlled mass of dynamism,
high technical finish and accuracy in historical the forty-five-degree angle of back leg and back
re-creation. With this background and the avail- balanced by the horizontals of head and tail.
ability of recently published volumes of litho- This pose, and the stark markings of black and
graphs and photographs of the Middle East, white (note how the black is clustered in the

96
97
 middle, so that the vibrant whites at the
extremities act like pointers in various direc-
tions) activates the whole of this large paint-
ing. The tail and head, the horizontals of
which usually contribute a calming, stabiliz-
ing influence to a painting, here become the
entrance and exit points of a tight U-turn,
shooting attention off to the left. The dog
may well know his quarry; we never will. The
landscape here is evocatively and summarily
painted, so as not to distract too much from
the noble dog. With its threatening sky, it has
a power of its own.
Antoine-Louis Barye’s reputation, both in
his lifetime and in the present day, rests on his
sculptures of wild animals, often depicted in
acts of violence. Big cats eating smaller mam-
mals or attacking crocodile-like creatures
were offered in small scale in limited editions
and were bought by middle- and upper-class
customers alike. People were evidently eager
to gaze on the bloody side of animal life.
Barye studied animal anatomy at the
Jardin des Plantes, making drawings of both
live animals and dead ones during dissections.
Throughout his life he made watercolors of
animals in landscape settings, not as studies
for his sculptures but to be exhibited and sold.
Indeed, Barye had included watercolors in his
submissions to the Salon almost from the
first, starting in 1831.
About 1840 Barye became friends with
some of the artists who painted in the Forest
of Fontainebleau, such as Jules Dupré and
Théodore Rousseau. Barye was especially
attracted by the more desolate parts of the
forest, such as the Gorges d’Apremont, where
he found “rocks sticking up from the sandy
soil, the scanty, twisted vegetation, the heavy
skies leaning low and charged with rain.”
Despite its small size, Barye’s watercolor of a
stag and doe running through a rock-strewn

98
 Rodolphe Bresdin
French, 1822-1885

Odilon Redon
French, 1840-1916

40. RODOLPHE BRESDIN

The Good Samaritan, 1861
Pen lithograph on chine collé
Image: 56.4 X 44.4 Cm (22%. X 17% in.)
Bequest of W. G. Russell Allen 60.73

41. RODOLPHE BRESDIN

Mountain Landscape with Army in a Rocky Gorge,
1865
Pen and black ink on card with embossed bor-
der
Sheet: 10.3 x 14.8 cm (4% X 5%e in.)
Gift of Dr. and Mrs. Irvin Taube and Sophie M.
Friedman Fund 1986.128

42. RODOLPHE BRESDIN

Mountain Stream, 1871
Etching and drypoint (roulette) on cream wove
paper
Platemark: 11.2 x 14.6 cm (4%6 x 5% in.)
Gift of David P Becker 1998.40

43. ODILON REDON

Fear, 1866
39
Etching on cream wove paper
Image: II X 20 cm (4% X 7% in.)
Lee M. Friedman Fund 67.741
landscape is a powerful statement of animal 1. Stevens 1984.

life (cat. no. 39). The upraised head of the doe, 2. Gautier, as translated in F. F Hering, The Life and The self-taught draftsman and printmaker
mouth open, suggests flight from danger, sym- Works of Jean-Léon Géréme (New York, 1892), 52, quoted Rodolphe Bresdin developed his idiosyncratic
in Zafran 1982, 104. vision within the bohemian milieu of Paris dur-
bolized, perhaps, by the difficult-to-explain dra-
matic cleft in the rock above the stag.
3. Charles Saunier, Barye (New York, 1926), 55, quoted in ing the 1840s. A number of artists and writers
Norelli 1988, 62.
Théophile Gautier, the critic to whom noted his eccentric persona, which served as the
4. Gautier in Saunier 1926, 58, quoted in Norelli 1988, 63.
Géréme gave his panther, wrote that Barye’s model for the impoverished engraver in Chien-
watercolors were “no ordinary water-colours, Caillou (1845), an early novella by Champfleury.
the brush [having] the firmness of the sculptor’s Through a series of restless moves between
tool... . There are tones which come too near Paris, Bordeaux, Toulouse, and even Canada,

the clay of his daily use; and his distances want Bresdin was constantly burdened by ill health, a
air.”* Gautier meant his words as negative criti- growing family, and a steadfast distaste for stan-
cism of Barye’s often dark, pigment-saturated, dard artistic ambition. He died alone in a garret
splotchy scenes. Yet Barye’s watercolors are of the Sévres porcelain factory without achiev-
rich, modulated evocations of the hard, perilous ing any popular success, his posthumous reputa-
life of animals in the wild. FEW tion nurtured by his one noted student, Odilon
Redon, and a small circle of devoted admirers.

99
 Bresdin’s lithographic masterwork The Good
Samaritan (cat. no. 40) garnered the only signifi-
cant critical notice during the artist’s life when it
was shown at the Salon of 1861.' The print first
appeared under the title Abd el-Kader Aiding a
Christian, a reference to the famed Algerian
emir imprisoned by the French in 1847, who,
after being exiled to Damascus, was celebrated
for saving thousands of Christians from mas-
sacre in July 1860.’ Bresdin attached the title The
Good Samaritan only in later printings, in effect
expressing his gratitude for its continuing sales.
Precedents for the almost overwhelming
forest in The Good Samaritan may be found in
the work of Albrecht Altdorfer (German, about
1482/85—1538) and other Danube School artists,
along with certain seventeenth-century Dutch
landscapists. Contemporary publications pro-
vided other views of newly discovered forests
and jungles in the Americas, and many French 41
printmakers such as Rousseau (cat. no. 22),
Bléry (cat. no. 7), and Bodmer (cat. no. 48) were By comparison, Mountain Landscape with Mountain Stream of 1871 similarly shows a
exploring their own forests at the time.’ Bresdin Army in a Rocky Gorge (cat. no. 41) and Mountain harsh landscape with only a misty glimpse of
also appropriated several of the animals in the Stream (cat. no. 42) reveal Bresdin's love of the a city in the far distance. The modern scholar
print by tracing graphic prototypes from illus- real landscapes of the Midi—in particular the Maxime Préaud finds a telling evocation of
trated books and periodicals. The camel ulti- rugged gorges of the Garonne and Tarn Rivers Rembrandt's chiaroscuro in the glowering skies
mately derives from an illustration after the —where he spent a number of years during the and shadowy rocks and forests of Bresdin’s
French painter Prosper Marilhat, and many of 1850s. Specific inspiration for Bresdin’s place- work from this period.’ This etching is one of
the creatures lurking in the undergrowth owe ment of solitary riders or vast armies in deso- a group that the artist later transferred to litho-
their origins to vignettes in a French edition of late scenes such as Mountain Landscape includes graphic stones, a common procedure used to
The Swiss Family Robinson.‘ the influential 1834 painting by Alexandre- produce an image in a much larger edition
It seems almost miraculous that Bresdin Gabriel Decamps, The Defeat of the Cimbrians, more cheaply than the time-consuming intaglio
accomplished such a coherent composition and illustrations after Adrien Dauzats of the printing process. This impression of the etching
amid the welter of detail. He successfully tied French military campaigns in Algeria.° Bresdin’s is one of only three known, and one of two in
all the elements together within his own land- draftsmanship has precedents in the highly fin- the earliest state, notable for its rich drypoint
scape of the mind and executed them in the ished detail and evocative chiaroscuro of much accents produced with a roulette. Bresdin’s pen-
thinnest lines imaginable. Bresdin’s lithograph, contemporary wood-engraved book illustra- chant for obsessively detailed depictions of rock,
one of the largest from the nineteenth century, tion. The artist effectively mobilized his army leaf, and cloud is amply revealed.
was printed by the noted Parisian firm in this grand landscape on a small, decoratively Odilon Redon met Bresdin in Bordeaux at
Lemercier. The artist dedicated this impression embossed carte-de-visite (a calling card, a for- an exhibition of the older artist’s work during
to Aglaiis Bouvenne, the firm’s technical direc- mat Bresdin employed often), in his customary the summer of 1863 and soon began to study
tor, an amateur engraver, and the compiler in India ink using the finest of pen nibs, and on with him. Redon was a native of the city, and
1895 of the first catalogue of Bresdin’s prints.’ the most miniature scale. Bresdin had moved there that year. The younger

IOI
 artist developed a lifelong friendship with his
often importunate master, devoting an article
in 1869 to Bresdin in the Bordeaux journal La
Gironde, which includes many valuable personal
reminiscences.* Although Redon’s mature works
do not directly reflect Bresdin’s individual style,
he always acknowledged its formative effect,
especially toward favoring the imagination over
an obligation to follow strict academic standards.
Bresdin taught him the art of etching, and
Redon’s first works in the medium in the mid-
1860s strongly reflect that influence. Fear (cat.
no. 43), executed a year after Bresdin’s Mountain
Landscape, is placed in a similarly barren, rocky
landscape. It depicts a lone horseman cradling a
small child and pulling back at the edge of an
apparent precipice, a subject surely inspired by
Goethe’s Erlkonig (Elf-king).’ While the setting
and figural grouping are indebted to Bresdin, the
angular, faceted draftsmanship is entirely charac-
teristic of Redon. DPB

1. See Préaud 2000, 66-71, for transcriptions of adulatory

articles by Maxime du Camp, Théophile Thoré, and
Théodore de Banville, among others.
2. Ibid., 67; see also Becker 1983.

3. For an excellent introduction to this subject, see Grad

and Riggs 1982.

4. Becker 1983; Becker 1993; see also Préaud 2000, cat. nos.
35-37.

5. See Préaud 2000, cat. no. I.

6. For the Decamps subject, see Préaud 2000, cat. nos.

124-25; the Dauzats illustrations appear in Nodier 1844.

7. Préaud 2000, cat. no. 100; see, for instance, Rem-

brandt’s Three Trees (Bartsch 1797, no. 212) or Large Tree
next to a House (or The Small Gray Landscape, Bartsch 1797,
no. 207).

8. Redon 1869, 2. See also Redon 1986, 108-10, 135—40. For

the most recent discussion of Redon’s early life and rela-
tions with Bresdin, see Druick et al. 1994, especially chap-

iy ter I.

Uy g. Harrison 1986, xxix and under cat. no. 7; Druick et al.

1994, 21, 58-61, suggest a further connection with Redon’s
remoyal, soon after his birth until the age of eleven, to a
family estate outside Bordeaux.

102
 Edouard-Denis Baldus
French, 1813-1882

se

44. EDOUARD-DENIS BALDUS 45. EDOUARD-DENIS BALDUS

Bridge of Saint Bénézet, Avignon, early 1860s Mer de Glace, Chamonix, about 1860
Photograph, albumen print from glass-plate Photograph, albumen print from paper nega-
negative, mounted tive, mounted
Sheet: 21.5 x 28.1 cm (8% X 11% in.) Sheet: 30.9 x 42.5 cm (12% x 16% in.)
Gift of Mrs. George R. Rowland, Sr. 1986.767 Sophie M. Friedman Fund 1989.23

103
Fig. 40. Louis-Auguste Bisson, French, 1814-1876, and
Auguste-Rosalie Bisson, French, 1826-1900, Alpine View,
Mer de Glace, about 1860, albumen print, Museum of
Fine Arts, Boston.

45

Edouard-Denis Baldus often used the term mentation with the medium, Baldus was chosen and Auguste-Rosalie Bisson, and then produced
“peintre-photographe” to describe himself. He by the French government’s Commission des as large-format prints and published in 1860 as
and a number of his French contemporaries in monuments historiques to take part in the Haute-Savoie: Le Mont-Blanc et ses glaciers. Baldus
the newly burgeoning field of photography had, Missions héliographiques and was assigned the also traveled to the Dauphiné, Savoy, and Céte
in fact, begun their careers as painters but early documentation of the historic architecture of dAzur in about 1860, apparently without a
on were drawn to the mysterious beauty of Fontainebleau, Burgundy, the Rhone Valley, and commission, to photograph the regions’ towns
the calotype print, the negative-positive photo- Provence. He was also recognized for having and the rugged landscapes that surrounded
graphic process invented in 1839 by the English- discovered a refinement of the paper-negative them. Although this project is difficult to date
man William Henry Fox Talbot. Baldus first process using gelatin, which gave his photo- exactly, he may have been inspired to focus on
arrived in Paris from Prussia just one year prior graphs the fine detail and tonal range that distin- these southeastern territories because they had
to the announcement of Talbot’s discovery, and guished his work from that of his competitors. only recently been annexed to France as a result
he is known to have worked as a painter and One genre of topographical photography to of the Italian war with Austria.' The powerful
copyist for nearly a decade before taking up become popular in France during the 1850s and images that resulted from this trip complement
photography in 1848 or 1849. The great speed 1860s was that of glacier and alpine views, a the awesome sublimity of his subjects, in this
with which he mastered the technique of mak- novel subject that had yet to be tackled by the case the so-called Mer de Glace, the famous
ing sharp photographic prints from unwieldy French painters of the day. A number of these glacier in the shadow of Mont Blanc, near
paper negatives is apparent when one realizes spectacular scenes were first photographed in Chamonix. Unlike the more standard view of
that onlyP a few years after his earliest experi- the French Alps by the brothers Louis-Auguste the glacier made by the fréres Bisson (fig. 40),

104
 Gustave Courbet
French, 1819-1877

Baldus has carefully placed his camera so that tangle of fishing boats at the water's edge beau- A6. GUSTAVE COURBET
the jagged, icy floe sweeps down through the tifully set off the repeating curves of the bridge Stream in the Forest, about 1862
center of the image (cat. no. 45), thus leaving reflected in the limpid surface of the river. KEH Oil on canvas
out the distinctive promontory of the Grands- 157 X 114 cm (61% X 44% in.)
Charmoz at the right, which many photogra- 1. Daniel 1994, 76-77.
Gift of Mrs. Samuel Parkman Oliver 55.982
phers of the day chose to feature. As Baldus’s 2. “Son objectif embrasse des espaces que l'oeil peut a
peine mesurer.” Lacan, Esquisses photographiques a propos
friend the critic Ernest Lacan said of pictures Gustave Courbet went to Paris in 1839, ostensi-
de VExposition Universelle et de la Guerre d’Orient, 1856,
like these: “His lens takes in spaces which the quoted in Néagu and Heilbrun 1983, 74. bly to study law. He sporadically attended the
eye can scarcely measure.”* 3. Daniel 1994, 80-90. Académie suisse, but he was essentially self-
Baldus’s Bridge of Saint Bénézet, Avignon taught, having spent much time in the Musée
(cat. no. 44) dates to the early 1860s and is one du Louvre studying the old masters, particularly
of a handful of images of Avignon that appear the Dutch, Venetian, and Spanish Schools.
in a photographic album entitled Chemins de fer His submissions to the Salon in the early 1850s,
de Paris a Lyon et a la Méditerranée, for which he such as Burial at Ornans (Musée d
Orsay, Paris),
received a commission in 1861 from the director gave rise to controversy because of their use of
of the newly merged railroad companies. everyday subject matter on a heroic scale. After
Baldus had worked in Avignon earlier in his 1855 his art became less polemic, and he painted
career, first during the early 1850s while more nudes, portraits, and landscapes. The
employed by the Missions héliographiques and nineteenth-century critic Edmond About
then again in 1856, when he was called on by explained that Courbet “affects not to choose,
the government to document the city’s devastat- but to paint all which he meets, without prefer-
ing floods. This photograph of the city’s twelfth- ring one thing before another. . . . His theory
century bridge, celebrated in a popular chil- may be thus given: all objects are equal before
dren’s song, records its few remaining arches painting.”’ Courbet, like many other artists,
reaching partway across the Rhone River, as painted on the Normandy coast, first going to
well as the medieval chapel of Saint Nicolas on Le Havre in 1859, where he met Boudin.
the bridge’s second pier. Rather than focusing Courbet’s involvement with the Paris Com-
on the subject of the railroad itself, it is one of mune and his alleged role in the destruction of
several images among the album’s sixty-nine the Venddme Column prompted his move to
photographs that feature, instead, the architec- Switzerland in 1873.
tural monuments of Provence. As one scholar For this picture Courbet used virtually the
has pointed out, Baldus cleverly sequenced the same palette that Rousseau had used to paint
prints in the series in such a way as to suggest his Pool in the Forest (cat. no. 19), and the sub-
striking parallels between the engineering feats ject—water in the form of a pool or stream in
of the region’s ancient and medieval structures the forest—is also closely comparable, but there
and the purported subject of the album—the the similarities end. Whereas Rousseau’s paint-
Second Empire railroad bridges, tracks, and tun- ing is small and intimate in feel, Courbet’s is
nels that it was meant to commemorate.’ Made large and assertive. Rousseau applied his paint
from a glass plate rather than a paper negative, in careful, minute touches of a brush, whereas
this image is a fine example of one of the Courbet spread his onto the canvas with a paint-
artist’s characteristically serene and balanced ing knife whose movement can be read in the
compositions. Its sharply angled shoreline and long, tactile planes and ridges of paint.

105
 Courbet has situated the point of view of
the scene in midair, suspended over the stream.
We look down on a young deer, turning to stare
at us, as if asking what we are doing in this
secluded spot, and perhaps ready to defend the
two younger deer in the underbrush behind.
(This anecdotal touch, to which our attention is
drawn by the splashes of red and white near the
deer, argues for the picture’s having been made
for the market.) The high point of view also
shows the stream’s surface. The light-blue streak
to the right is especially arresting. Meant to be
read as a reflection of the sky, it becomes a
shape divorced from the tangible world. Be-
cause the reflections of the tree trunks converge
at the right side of the stream, the blue streak
seems to point to the watery depths.
The sense of looking down is matched by
a sense of looking up. This is a large painting,
and its vertical format emphasizes the height of
the slender trees. The trees seem especially lofty
because their tops are cut off: even a meter-and-
a-half-high (five-foot-high) canvas is not large
enough to encompass their full height.
The art historian Anne Wagner has ex-
plained that Courbet’s approach was geared
toward satisfying his audience, which was made
up primarily of people living in cities who could
find visual respite in the cool colors and simple
shapes of his scenes. In their quest for pictures
of refreshing nature, his viewers were clearly
able to accept the roughness of his technique.
By insisting on the physicality of their surface,
Courbet’s landscapes, such as Stream in the
Forest, balance delicately between the attempt
to paint a fictive space that looks real and the
urge to let the viewer see how the painting was
made.* FEW

1. Edmond About, Nos artistes au Salon de 1857, quoted in

Clement and Hutton 1879, 1:165.

2. Wagner 1981, 410-31.

107
 Karl Bodmer
Swiss (worked in France), 1809-1893

47. KARL BODMER

Oaks and Wild Boars, about 1865
Oil on canvas
134 X 106.8 cm (52% x 42 in.)
Bequest of Francis Skinner 06.3

48. Kart BODMER

Fox in the Hiding Place, 1858
Lithograph on chine collé
Image: 29 X 17.7 cm (11% X 6% in.)
Gift of Clifford S. Ackley in memory of Lillian
H. Stern 1984.182

Karl Bodmer had a long and successful career

in France primarily as a painter and illustrator
of animal subjects. In the United States during
the twentieth century, however, he was known
almost exclusively for his depictions of Native
Americans, subjects he studied while on an
expedition up the Missouri River with Prince
Maximilian of Wied-Neuwied, from 1832
through 1834. Largely self-taught, Bodmer had heap of animals on the forest floor. In turn, the generally surrounds them with a graceful
an affinity for the Forest of Fontainebleau and power of the animals takes physical shape in landscape, full of intricate and mysterious
debuted at the Salon of 1850-51 with three paint- the thick, thrusting branches. The dull colors— suggestions, with here and there some plant
ings of forest interiors. He was so closely identi- dark browns, ochers, and grays—contribute to in clearer definition, drawn with perfect
fied with the forest that one of its venerable oak the informative mission of Bodmer’s art. fidelity and care.’
trees acquired the name Bodmer Oak.' Bodmer Fox in the Hiding Place (cat. no. 48), a finely Bodmer provided illustrations for books
exhibited variations on this theme for two worked lithograph from 1858, again displays and general and specialized journals, including
decades, collecting praise from the critics and Bodmer’s ability to capture the little-known L’Illustration, Le Monde illustré, La Chasse illus-
prizes from the art establishment. details in the lives of animals. Here, a fox has trée, and L’Art, over several decades. Fox in the
Oaks and Wild Boars (cat. no. 47) is typical been spied by its intended prey. Snarl though Hiding Place appeared in the book Les Artistes
of his paintings in reflecting an intimate knowl- the fox might, the ducks fly to safety. The anciens et modernes. FEW
edge of the subject. Bodmer frequented Bar- artist's contemporaries appreciated his com-
bizon as early as 1849, when he decided to make mand of his subject: 1. Claude Monet painted the tree. See his Bodmer Oak,
his career in France rather than Germany or his Fontainebleau Forest, Chailly Road (1865) at the
He is an artist of consummate accomplish- Metropolitan Museum of Art, New York, reproduced,
native Switzerland, and he bought a house there ment in his own way, and of immense with a photograph of the tree by Gustave Le Gray, in
in 1856. The taxonomic impulse informing his range. There is hardly a bird or quadruped Tinterow and Loyrette 1994, 75, fig. 96, 423.
watercolors and drawings recording the ani- of Western Europe that he has not drawn, 2. P. G. Hamerton, Portfolio (February 1873) quoted in
mals, plants, people, landforms, and artifacts of and drawn, too, with a closeness of observa- Clement and Hutton 1883, 1:70.

North America is evident in his work in France; tion satisfactory alike to the artist and natu-
he was as much naturalist as artist. The tangle ralist. The bird or the beast is always the
of bare branches is echoed in the disorderly central subject with Karl Bodmer, but he

109
 André Giroux
French, 1801-1879

Paul Gaillard
French, active 1850s/60s—1890

49. ANDRE GIROUX

Under the Arbor, about 1853
Photograph, salt print from paper negative,
mounted
Sheet: 20 x 25.5 cm (7% X 10 %e in.)
Anonymous Loan, Promised Gift 461.1974

50. ATTRIBUTED TO PAUL GAILLARD

Farmyard, 1850s
Photograph, albumen print from glass-plate
negative, mounted
Sheet: 20 x 25.5 cm (7% X 10 %e in.)
Anonymous Loan, Promised Gift 387.1974

André Giroux was the son of Alphonse Giroux,

the maker of the camera equipment used by
Louis-Jacques-Mandé Daguerre, inventor of the
daguerreotype. Although the younger Giroux
was trained as a painter, he, like many of his
French contemporaries, was attracted to the
medium of photography in the early 1850s, at
the same moment that the paper negative was
at the height of its popularity and collodion
glass-plate technology was first being devel- 49
oped. He brought a painter’s sensibility to his
work, and his prints are often extensively re-
touched and richly toned. Critics of the day images to which his fellow photographers as- the Bois de Boulogne and the Forest of
lauded Giroux for photographs like Under the pired. The necessarily long exposures of his Fontainebleau. These picturesque views were
Arbor (cat. no. 49), an image of a rustic, vine- paper-negative prints also resulted in shadowy very popular among French photographers at
covered barn, describing them as “ravishing forms, like the gently blurred figure seen here midcentury, and vignettes of barnyards, walled
landscapes and little pictures where nature within the arbor—a picturesque effect he would gardens, thatched cottages, and “still lifes” of
seems to have posed for him.” certainly have admired and which can be seen in primitive farm implements were highly sought
Specializing in these pastoral subjects, several other prints by him. after by artists and collectors who had come to
Giroux experimented with both paper and glass- Paul Gaillard (see cat. no. 50) was one of admire such humble subjects in seventeenth-
plate negatives and would often liberally rework the founding members of the Société francaise century Dutch genre scenes and the paintings
his negatives in his desire to give them the ap- de photographie in 1854 and one of its directors of Millet, Daubigny, and Rousseau. Not surpris-
pearance of drawings, at times even scratching during the 1860s. Little else is known of his ingly, this taste for unpretentious images of
and stippling directly on them to make them career as a photographer, except that he was a rural life steadily grew as more and more peo-
look more like the clichés-verre of the period. wealthy amateur who also worked with both ple left the countryside and moved to cities to
In fact, Giroux went to unusual lengths to de- paper and glass-plate negatives.* Like Giroux, he find work during France’s Industrial Revolution.
emphasize the mechanical aspect of his work seems to have made something of a specialty of Many of these new urban dwellers felt nostalgia
and over the course of his career showed little bucolic landscapes, many of them taken at sites for their agrarian roots, and this period of un-
inclination for the sharp and finely resolved favored by the painters of the period, including precedented growth and modernization only

IIO
 Jean-Francois Millet
French, 1814-1875

51. JEAN-FRANCOIS MILLET

Faggot Gatherers Returning from the Forest,
about 1854
Black conté crayon on*cream wove paper
Sheet: 28.6 x 46.7 cm (11% x 18% in.)
Gift of Martin Brimmer 76.437

52. JEAN-FRANCOIS MILLET

End of the Day, 1852-54
Black conté crayon heightened with white chalk
on blue-gray laid paper
Sheet: 23.6 x 33.1 cm (9% X 13 %e in.)
Gift of Martin Brimmer 76.439

53. JEAN-FRANCOIS MILLET

Study for Shepherdess Knitting, 1862
Black conté crayon on dark cream wove paper
Sheet: 31.4 x 24.2 cm (12% x 9% in.)
Gift of Mrs. J. Templeman Coolidge 46.594

54. JEAN-FRANCOIS MILLET

Shepherdess Knitting, 1862
Etching on dark cream laid paper
50 Platemark: 32 x 24 cm (12% x 9% in.)
Gift of Gordon Abbott 21.10786

reinforced the vogue for photographs with 55. JEAN-FRANCOIS MILLET

pastoral themes. This type of picture also had Farmstead near Vichy, 1866-67
precedents in England during the 1840s, for Watercolor and pen and brown ink over
example in one of the earliest photographically graphite pencil on dark cream laid paper
illustrated books, William Henry Fox Talbot’s Sheet: 22 x 29 cm (8 %e X 11% in.)
Pencil of Nature (1844-46). The book featured, Bequest of Reverend Frederick Frothingham
among other things, a calotype of a haystack 94.316

and ladder and another of a sunlit doorstep

flanked by a simple straw broom, both of which 56. JEAN-FRANGOIS MILLET
prefigure works such as these by Giroux and Road from Malavaux, near Cusset, 1867

Gaillard. KEH Watercolor and pen and brown ink over

graphite pencil on cream laid paper
1. Société frangaise de photographie, Bulletin (1858): 107,
quoted in Jammes and Janis 1983, 184. Sheet: 11.2 x 16.2 cm (4% x 6% in.)

2. See Jammes and Janis 1983, 180-81; Gaillard’s calotypes Gift of Martin Brimmer 76.425
were praised by fellow photographer Eugéne Durieu as
being of such high quality that they could sometimes be
mistaken for glass, a very great compliment for a pho-
tographer of the period.

III
 aes
Seed
areal Ee, Fe
Ree

112
Jean-Francois Millet was born to a farmer in the
peasant community of Gruchy, on the coastal
edge of the village of Gréville, in Normandy.
He took lessons in nearby Cherbourg from the
portrait painter Bon Du Mouchel and the his-
tory painter Lucien-Théophile Langlois. A
municipal stipend from Cherbourg underwrote
his study in Paris in the studio of the history
painter Paul Delaroche in 1837, but Cherbourg
withdrew Millet’s stipend when he left that stu-
dio following his failure in the Prix de Rome
competition. Millet spent the 1840s painting por-
traits and genre and pastoral scenes. In 1847 he
met the collector Alfred Sensier, who became
the artist’s most constant supporter and, later,
biographer. Millet used the money from a gov-
ernment commission to flee the cholera epi-
demic of 1849; he settled with his family, which
came to include nine children, born between
1846 and 1863, in Barbizon, a village in the
Forest of Fontainebleau. There he concentrated
on the agricultural themes that brought him
52
fame. He was closely associated with Rousseau,
Troyon, and Diaz. His paintings sold well in the
last decade of his life, and he received both pub- Fontainebleau, Millet approached landscape trees was also represented in Rousseau’s cliché-
lic and private commissions. Although he was in the early 1850s with a stronger interest than verre Cherry Tree (cat. no. 23). Millet’s motif of
portrayed as a peasant-painter, Millet’s early ever before. He attempted to capture light the sheep and shepherd, silhouetted on the hori-
schooling with two village priests inculcated in effects that would communicate the atmo- zon, appears often in his paintings and pastels of
him a thorough knowledge of Latin literature sphere and mood of different times of day and the 1850s and 1860s. His presentation of them as
and a love of reading. A deep sense of tradition improve the settings for his figures. His black remote was based on real experience, for the
is palpable in his works, allied to a sincere love conté crayon drawing End of the Day (cat. no. men who tended the large, wandering herds
of the countryside.’ 52) depicts a farmer and his wife who have fin- were isolated from the local community.
In Barbizon, Millet held to a daily routine ished their work in the field and are packing The three women depicted in Faggot
that consisted of working in the garden in the up the vegetables they harvested to be carried Gatherers Returning from the Forest (cat. no. 51)
morning, painting in the afternoon, and when home on their donkey’s back. Their figures are are also set apart from their rural community,
the light in the studio faded, taking a walk. On almost lost in the dark and shadowed field. On both socially and visually. The woman in the
these walks he observed the end-of-day activi- the crest of the hill, a shepherd leads his sheep foreground, dragging an enormously long walk-
ties of the local farmers and shepherds and the to a resting place for the night. This evocative ing stick, has a young face, a fact that further
effects of twilight on the landscape. Rather than drawing captures the end of the farm laborers’ emphasizes her plight. These were the poorest
sketching from nature, he returned to the stu- day.* The location of End of the Day was identi- women of the village, who gathered fallen
dio and set his distilled observations down on fied in the 1875 auction of Millet’s studio effects branches from the forest floor and fastened this
paper, often revising and improving their com- (held in Paris after the artist’s death) as La firewood into a faggot, which often was so large
positions in succeeding sheets. Captivated by Plante-a-Biau, lying just outside the village of they could scarcely carry it on their backs.
the beauty and silence of the Forest of Barbizon. This hilly area with a stand of young Millet saw them at the end of the day, leaving

113
 Ln GAS

t
i.

i
i
:
WI

the Bas Bréau area of the forest, near the road this medium. Though the composition is domi- more importance in such works as Shepherdess
to Barbizon. This particular image intensifies nated by the figure of a young shepherdess who Knitting. By 1863, encouraged by Rousseau,
the dehumanization of the women. Defined quietly concentrates on her knitting, Millet con- Millet began to depict pure landscapes, without
by similar strokes of black conté crayon, the sciously demonstrates his growing interest in any human figures. The opportunity to focus
human bodies appear to unite with their bur- landscape. A well-developed pastoral scene com- on the subject came during trips to Vichy in the
dens and merge with the tree trunks behind posed of a sheep-filled meadow and a distant summers of 1866 to 1868, when Millet and his
them.’ Nature dominates in such drawings as village provides a detailed setting, while a huge wife spent a month at the spa in the hope of
this—peasants are subsumed into the landscape rock serves as a backdrop for the figure itself. improving her delicate health. While his wife
and become one with it. Millet makes the viewer aware of the omnipres- took the mineral waters, Millet walked about
In 1855 or 1856, at the urging of his patron ence of nature by using dappled light and shade the surrounding countryside, making rapid pen-
Sensier, Millet made his first etchings for the to create a leafy pattern on the shepherdess’s cil sketches in tiny sketchbooks. Back at the inn,
market, with modest success. After a few years thick cloak that suggests she is embraced by the he would go over the lines in pen and ink and
of concentrating on drawing and painting, he foliage of the trees that rise above her. Millet sometimes add watercolor washes.
was encouraged to take up etching again by the treated the subject a number of times, but this The two drawings Farmstead near Vichy
noted print collector Philippe Burty. Shepherdess image most strongly integrates landscape and (cat. no. 55) and Road from Malavaux, near Cusset
Knitting (cat. no. 54) was possibly a commission figure.‘ (cat. no. 56) probably date from the 1867 trip.
from Alfred Cadart, a prestigious print publisher A figure painter by training, Millet had They are on larger sheets and finished to a
and founder of the Société des Aquafortistes. Its always included generalized landscape elements degree that suggests they may have been com-
large size, strong composition, and linear vital- in his outdoor paintings of peasants. However, pleted at the Barbizon studio. Farmstead near
ity make this Millet’s most successful work in beginning in the early 1860s, landscape acquired Vichy depicts a farmhouse and outbuilding seen

114
behind a thick green hedge. Rising above the
rooftops are three trees, each of a different
species. The freely scribbled pen and ink lines
resemble Millet’s confident manner of etching
as seen in Shepherdess Knitting and recall draw-
ings by Rembrandt, whose work he admired.
His interest in characterizing individual trees
seems to reflect Rousseau’s authoritative style
(see cat. nos. 22 and 23). Millet’s most inventive
work during the last decade of his life is found
in his landscapes. Road from Malavaux, near
Cusset is highly original in its close-up study
of ordinary, undramatic ground surfaces and
anticipates such a work of the next century as
Auguste Lepére’s protoabstract Saint-Jean-de-
Monts (cat. no. 127). Millet’s interest in depicting
what simple dirt has to tell is continued in paint-
ings from his last years, including Priory at
Vauville, Normandy (cat. no. 58).
Although Millet sold some drawings during
his lifetime, he kept many to show to clients so
that they could choose the subject of a commis-
sioned painting. Thus, a large number of draw- 55
ings were included in the 1875 auction of his
studio effects. End of the Day, Faggot Gatherers
Returning from the Forest, Farmstead near Vichy,
and Road from Malavaux, near Cusset were
among those purchased by Boston collectors
at that sale and later donated to the Museum of
Fine Arts. SWR and FEW

1. This text is based primarily on Alexandra Murphy's

publications on Millet; see Murphy 1984 and Murphy
et al. 1999.

2. It refines an earlier, rougher sketch, Shepherd and Flock

on the Edge of a Hill, Twilight (93.1455), also in the
Museum’s collection.
3. A drawing in the Museum of the same subject from
about 1850, Faggot Carriers on the Edge of Fontainebleau
Forest (76.435), provides a grassy slope for the women
emerging from the forest, which is less desolate than the
bare, undefined space of the drawing under discussion.

4. The Museum owns two others: another black conté

crayon drawing, Shepherdess Knitting (Study for Shepherd-
ess Knitting beside a Tree) (76.432), and a pastel, Shepherdess
Knitting, outside the Village of Barbizon (17.1494).

1I5
 Jean-Francois Millet
French, 1814-1875

57. JEAN-FRANCOIS MILLET

End of the Hamlet of Gruchy, 1866
Oil on canvas
81.5 X 100.5 cm (32% x 39% in.)
Gift of Quincy Adams Shaw through Quincy A.
Shaw, Jr., and Mrs. Marian Shaw Haughton
17.1508

58. JEAN-FRANCOIS MILLET

Priory at Vauville, Normandy, 1872-74
Oil on canvas
90.9 X II6.7 cm (35% x 46 in.)
Gift of Quincy Adams Shaw through Quincy A.
Shaw, Jr., and Mrs. Marian Shaw Haughton
17.1532 ;

Millet is so intimately associated with Barbizon mother and child who have just vacated their
(he moved his family there from the capital in chairs. In a letter, the artist described the scene.
1849) that his attachment to his native Normandy During a break from spinning, and to amuse
is sometimes overlooked. This painting of his the child,
coastal hometown, Gruchy (cat. no. 57), evinces the woman picked him up and sat him on
a profound affection for the scene depicted,! the little wall where he plays. . . . 1would
particularly for “the habitual peacefulness of like to have the power to express for the
the place, where each act, which would be noth- viewer the thoughts that must enter, for life,
ing anywhere else, here becomes an event.” the mind of a young child who has never
The stone house stands at the end of the single experienced anything other than what I have
street of the village, where land meets water. just described, and how this child, later in his

Domestic details abound: the two chairs by the life, will feel completely out of place in a city
environment.’
spinning wheel, the family of ducks at the right,
and the endearing procession of geese heading It is hard to avoid concluding that in this letter
purposefully indoors, the last in line looking up Millet was thinking of his own feelings when he
as if to check the weather. Most poignant are the lived in Paris.

117
118
 The child reaches for the tree—an elm, French Revolution. Not to let good buildings go It is reported that “the evident admiration and
Millet tells us—that clings to the coastal soil. to waste, local people converted the structures delight of the young man pleased Millet, who
A symbol of tenacity and strength, by 1866 it to the agricultural use Millet records here: the called him nearer, and bade him notice the
nonetheless had succumbed to the winds off chapel was a barn for the farmer, who lived in simplicity of his execution, and the infinite var-
the channel. It lives on in the painting, perched another building. iety of effect that can be produced by a few
at the edge of Normandy, its home, yet reach- Unlike his earlier depiction of the sea from touches.” It is easy to agree with this assess-
ing out, its limbs anthropomorphized as if his home in Gruchy, here only very little of the ment, particularly because the contrast of var-
yearning for the unknown. In another letter channel waters can be seen (to the left and right iety and simplicity is exactly what makes this
Millet described the view to be had standing of the central buildings), yet the presence of painting so engaging. FEW and GTMS
by the elm: the open water is felt intensely. The rocky, rut-
ted foreground, up to the stone boundary wall, 1. The discussion of this painting is indebted to Murphy
Suddenly one faces the great marine view
1984, no. III.
and the boundless horizon. . . . Imagine the takes up the bottom half of the picture. Be-
2. Millet to Théophile Silvestre, April 20, 1868, quoted in
impressions that one can get from such a cause this foreground, despite its details of
Murphy 1984, 243.
place. Clouds rushing through the sky, rocks and grass, is untended, formless land, it
3. Ibid.
menacingly obscuring the horizon, boats directs attention to the priory and its horizontal
4. Millet to Alfred Sensier, February 6, 1866, quoted in
sailing to faraway lands, tormented, beauti- lines of wall and roofs. This combination of
Murphy 1984, 2.43.
ful, etc., etc.’ unfocused space and horizontality powerfully
5. Millet to Silvestre, April 18, 1868, quoted in Murphy
Millet’s modifiers—menacingly, tormented, suggests the expanse of sea beyond. 1984, 243.
beautiful—betray an ambivalence about his Millet is concerned with showing that these 6. Cartwright 1896, 339.
home; perhaps he feels he should have stayed. buildings and this land are being used. A wom-
Some of this ambivalence can be seen in the an opens the gate for the white cows on their
painting: the house is cast largely in shadow, way to pasture along the cliffs; perhaps the man
and the geese are moving indoors (Millet told sitting to the left is waiting for them. Chickens
Théophile Silvestre that the house was the are visible close to the largest building. The
“constant goal” of the geese). The overwhelm- teeth of a harrow lying on the hillside outside
ing impression, however, is one of contentment the wall sparkle in the sunlight: even this
and delight in nature’s beauty. Even this humble unpromising soil can be made to yield crops.
spot is beautiful. Millet lavishes color every- Just as these farmers are able to make a
where, from the flowers growing in the thatch living at the edge of the continent, so is Millet
of the roof to the blue-speckled stream to the able to make a ravishing painting from the same
lavenders and pinks in the sky and water. The scrap of land. Darker colors at the bottom
entire scene sparkles with sunlight, evoking the gradually give way to lighter colors as the space
clean, salty air of the sea. moves back through the farm buildings, beyond
Millet’s painting of a priory at Vauville, to the sea, and up to the sky. Likewise, brush-
Normandy, shows another structure from his strokes become smaller and more even, enliv-
native province and emphasizes the thriftiness ened by spots of bright white representing high-
of the rural French (cat. no. 58). The group of lights on cows, chickens, and clouds.
eleventh-century granite buildings, built at the Millet was pleased with this painting, if
edge of cliffs overlooking the English Channel, the following anecdote can be trusted. A young
formed a priory, a religious institution headed Canadian-born American painter named Wyatt
by a prior, a rank one step below an abbot. As Eaton befriended Millet at the end of the
with many other religious buildings in France, Frenchman’ life. Eaton visited Millet at Barbi-
it was removed from church control during the zon in 1873 and saw Priory at Vauville on an easel.

119
 Jean-Francois Millet
French, 1814-1875

59. JEAN-FRANCOIS MILLET Having experimented with pastel early in his Millet’s gentle attention to the most delicate
Rabbit Warren, Dawn, 1867 career in the 1840s, Millet turned to the medium effects of light, color, and texture, his discovery

Pastel and black conté crayon on cream wove with greater seriousness in the 1860s, when he of majesty in the dawn, of mystery in the silent
paper was commissioned by the collector Emile Gavet movements of the animals, reflects his almost

49.5 X 59.5 cm (19% X 23% in.) to produce a series of pastel paintings on pantheistic reverence for nature. Just after
Gift of Quincy Adams Shaw through Quincy A. themes of his own choice. Among the works Christmas, 1865, Millet wrote to Gavet that

Shaw, Jr., and Mrs. Marian Shaw Haughton that Millet made for Gavet in the initial years of Barbizon had experienced
17.1522 their agreement is Rabbit Warren, Dawn (cat. no.
some superb effects of fog and hoarfrost so
59). The pastel depicts a site in the Gorges fairy-like it surpasses all imagination. The for-
60. JEAN-FRANCOIS MILLET d’Apremont, a hilly, boulder-strewn area of the est was marvellously beautiful in this attire,
Primroses, 1867-68 Forest of Fontainebleau—in which Millet is said but I am not sure whether the most modest
Pastel on gray-brown wove paper to have walked every day—near the village of objects, the bushes and briars, tufts of grass,
40.2 X 47.8 cm (15% x 18% in.) Barbizon. As the light of dawn breaks over the and little twigs of all kinds were not, in their

Gift of Quincy Adams Shaw through Quincy A. high horizon, two rabbits have emerged from way, the most beautiful of all. It is as if
their burrows, at lower left, to nibble grasses on Nature wanted to make amends to them,
Shaw, Jr., and Mrs. Marian Shaw Haughton
the hillside. One rabbit, its ears held back, lies showing that these poor things in all their
17.1523
humility are inferior to no other thing. At any
close to the ground, its eye turned toward the
rate, they have had three glorious days.’
61. JEAN-FRANCOIS MILLET viewer; another, its ears erect, sits alert near the

Dandelions, 1867-68 very center of the composition. A third rabbit, The sense that the wonder of nature may
Pastel on tan wove paper performing a morning toilette, is silhouetted be discovered in its quietest moments and expe-
40.2 X 50.2 cm (15% x 19% in.) against a clump of branches at the right. rienced in the presence of its humblest elements
Gift of Quincy Adams Shaw through Quincy A. Like his drawing End of the Day (cat. no. 52), pervades two of Millet’s most moving landscape
Shaw, Jr., and Mrs. Marian Shaw Haughton this pastel reveals Millet’s interest in the pastels, Primroses (cat. no. 60) and Dandelions
17.1524 moments between light and dark: he himself (cat. no. 61), made for Gavet in 1867 or 1868.
called Rabbit Warren by the title crépuscule matin, Both pictures show clumps of flowers against
or “the twilight of morning.” The crayon draw- verdant backgrounds, and in both, the pastel is
ing that establishes the composition is visible densely applied in painterly strokes, so that
throughout the landscape, while the sky is none of the preparatory drawing is visible. In
treated only with the palest strokes of chromat- Primroses, a group of common cowslips is seen
ic color, blue streaked with yellow and pink. at the edge of a dense, dark thicket, amid bro-
The earth below is rendered in murky hues of ken twigs and spiky leaves of grass; the deep
ocher, brown, and green. Through the central browns and greens of the shadows are a brilliant
ledge of space defined between the bottom of foil for the bright yellow flowers with their pale
the hill and the point where it rises to its boul- green stems and sepals. Millet’s dandelions are
der-topped summit, however, Millet introduces lit by a dappled ray of sunshine, so that their
a subtle range of color contrasts: a bush at left, feathery white seed globes seem to glow from
with dark green spiky leaves, bears flowers of within; yellow sunlight strikes the turf at left
deep plum rose tint; grizzled olive green grasses and filters through the leaves of clover in the
are highlighted with subtle touches of mauve; background. Time passes: a snail crawls upon a
and at right, the claret red leaves or flowers on a rock at the base of the cowslips, and downy dan-
scrubby bush contrast with a patch of deep ver- delion seeds detach from their heads and fall
digris moss or grass. toward the earth.

120
 The closest parallel to Millet’s vision of his day’s journey,” feeling its rays “come stream- he must have seen are Rabbit Warren, Dawn,
nature may lie in the writings of the American ing kissingly and almost hot on my face.” Then Primroses, and Dandelions, although he did not
poet Walt Whitman. In a passage that corre- came “the golden dandelions in endless profu- comment on any of them in the diary entry
sponds closely to Millet’s depiction of rabbits sion, spotting the ground everywhere. The... that he later published. He must have found in
at dawn or flowers of wood or field, Whitman wild violets, with their blue eyes looking up and these humble subjects a harmony with his own
wrote of his joy at seeing the world around him saluting my feet, as I saunter the wood-edge . . . writings on nature, just as he recognized the
waken to the day, as he went “out just after sun- the summer fully awakening.” greatness of Millet’s more overtly political
rise, and down towards the creek.” He sensed When in 1881 Whitman was taken to see paintings, notably The Sower (fig. 3). “Besides
“the fresh earth smells—the colors, the delicate the collection of Quincy Adams Shaw, he spent this masterpiece,” he wrote,
drabs and thin blues of the perspective” as “the “two rapt hours” studying the marvels of there were many others . . . all inimitable, all
sun silently mounts in the broad clear sky, on Millet’s art exhibited there. Among the works perfect as pictures, works of mere art; and
 then it seem’d to me, with that last impalpa-
ble ethic purpose from the artist (most likely
unconscious to himself) which I am always
looking for. If for nothing else, I should dwell
on my brief Boston visit for opening to me
the new world of Millet’s pictures. Will
America ever have such an artist out of her
own gestation, body, soul??

“American Democracy,” he wrote a year

later, “must either be fibred, vitalized, by regular
contact with out-door light and air and growths,
farm-scenes, animals, fields, trees, birds, sun-
warmth and free skies, or it will certainly dwin-
dle and pale.”
Who would be the American equivalent to
Millet? Although William Morris Hunt, Boston’s
native son, would carry the banner of Barbizon
painting in the years after his return from
France, he was not the artist of Whitman’s
imagining. It was, instead, Hunt’s contemporary
the Boston-born painter Winslow Homer —
whose awareness of and indebtedness to Millet
remain to be studied—who would answer
Whitman’s call for an artist of “impalpable ethic
purpose,” “fibred, vitalized,” by rugged nature.’
GTMS

1. Millet to Gavet, December 28, 1865, quoted in Murphy

1984, 197 (variations in translation). Murphy’s analysis
and interpretation of Millet’s works inform this discus-
sion.

2. Walt Whitman, “Bumble Bees,” in Specimen Days, col-

lected in Whitman 1982, 783-84.

3. Whitman, “Millet’s Pictures—Last Items,” in Specimen

Days, collected in Whitman 1982, 903-4.

4, Whitman, “Nature and Democracy—Morality,” in

Specimen Days, collected in Whitman 1982, 925-26.

5. Erica Hirshler, Croll Senior Curator of Paintings, Art

of the Americas, MFA, points out that Homer has a
direct link to William Morris Hunt and the Boston parti-
sans of Millet through Joseph Foxcroft Cole, a friend of
Homer's since the 1850s.

123
 Jean-Francois Millet
French, 1814-1875

62. JEAN-FRANCOIS MILLET 63. JEAN-FRANCOIS MILLET

Farmyard in Winter, 1868 Farmyard by Moonlight, 1868
Pastel and black conté crayon on buff wove paper Pastel and black conté crayon on tan wove paper
68 x 88.1 cm (26% x 34% in.) 70.9 X 86.7 cm (27% xX 34% in.)
Gift of Quincy Adams Shaw through Quincy A. Gift of Quincy Adams Shaw through Quincy A.
Shaw, Jr., and Mrs. Marian Shaw Haughton Shaw, Jr., and Mrs. Marian Shaw Haughton
17.1526 17.1525

124
Two magnificent pastels of 1868 transform a
humble farmyard into a world of mystery and
profound sentiment. Both were painted in pas-
tel by Millet for his patron Emile Gavet and
rank among his most important efforts in the
medium, not only for their unusually grand
scale—each is as large as most oil paintings by
the artist—but also for their brilliance of execu-
tion. The two pastels were purchased after
Gavet’s 1875 sale of his Millet pastel collection
by Quincy Adams Shaw, through whose heirs
they were presented to the Museum of Fine
Arts.
As Alexandra Murphy noted, Farmyard by
Moonlight (cat. no. 63) may be Millet’s most
ambitious crayon drawing, executed on a larger
scale than ever before.’ Here the artist uses only
a handful of crayons and chalks in an extremely
reduced range of hues: black is everywhere,
heightened with white, and touches of blue and
pink are placed here and there. Between the
coolness of the blues and the sparing warmth of
the pinks is the tone of the warm taupe paper
that lies beneath the pastel as a whole, provid-
ing the median tone for the blacks and whites,
as well.
Human life is hardly hinted at in the
composition. As Murphy recognized, the scene In contrast to Farmyard by Moonlight, domi- the paper support plays an important role.
seems almost an illustration of Millet’s favored nated by coal-black shadow, the snowy image of Here, however, the paper is not used to estab-
line from a French translation of Milton’s Farmyard in Winter (cat. no. 62) is distinguished lish broad areas of tone. Rather, the darker
Paradise Lost, “the silence listens” [le silence by the greater role that the artist gives to white. color of the paper beneath the strokes of white
écoute].’ But it seems, as well, that Millet may Millet’s beloved black crayon retreats, here, to pastel gives the sense of the sleeping earth, now
have treasured the image not only for its evoca- the shadows beneath the thatched roof of a and then visible beneath the frost and drifted
tion of the absence of sound but also for the farmyard roost for fowl. Strokes of pure white snow. GTMS
challenge that it posed for the rendering of half- pastel mingle with carefully chosen touches of
1. Murphy 1984, 201.
light, a recurring interest in his work. Millet’s pink, yellow, ocher, and cool blue-gray in the
friend the critic Théophile Silvestre annotated foreground, on the roof of the hut, on the 2. Ibid.

a copy of Gavet’s sale catalogue with commen- branches of the trees and houses in the back- 3. Silvestre 1875.

taries on each work. Beside the entry for ground, and in the leaden sky. More vivid
this work, there called Cour de ferme la nuit touches of green, yellow, and red highlight the
(Farmyard at Night), he wrote, “What Millet stones on a broken wall, the fluffed-out feathers
called the loveliness of shadow” [Ce que Millet of a rooster, his cockscomb, and the breast of a
appelait le bel ombreux].’ robin. As in Farmyard by Moonlight, the color of

125
126
 Antoine Chintreuil
French, 1816-1873

64. ANTOINE CHINTREUIL picture threatens to engulf the viewer by virtue from a M. Fassin, in Reims, to whom he had
Last Rays of the Sun on a Field of Sainfoin, of its size and luminosity. Chintreuil was at- already sold it. FEW
about 1870 tracted to sweeping vistas painted at large scale
Oil on canvas and dominated by strong light effects.? Last Rays 1. Georges Lafenestre in Gazette des Beaux-Arts (July
1873), quoted in Clement and Hutton 1879, 1:136.
95.8 X 134 cm (37% X 52% in.) of the Sun exemplifies this tendency. Here the
2. For the best-known example, see his Expanse, measur-
Gift of Mrs. Charles Goddard Weld 22.78 field seems to stretch indefinitely to the low
ing 102.2 by 201.9 cm (41% x 79% in.), in the Musée
hills in the distance, and more than half of the d Orsay, Paris.
Antoine Chintreuil did not arrive in Paris until canvas is given over to the sky. 3. Rosenblum 1989, 118.
1838, at which time he worked as a bookseller. In his attention to a specific light effect,
4. Ibid.
The primary influence on his painting was that Chintreuil showed himself a faithful follower
5. Zola 1959, 204.
of Corot, whom he met in the 1840s; he listed of Corot, having learned from the master the
himself as “a pupil of Corot” in the Salon cata- importance of capturing the overall impression
logues throughout his career. However, he was of a scene and ignoring any potentially distract-
probably mainly self-taught. He was dogged in ing details. Yet Chintreuil’s effect could hardly
his pursuit of an artistic career, weathering be more different from Corot’s soft, silvery
repeated rejections by the Salon jury in the mid- light. Chintreuil’s effulgent sky “is more conso-
1840s. The years of the Second Republic and nant with a belated spirit of Romanticism, a res-
Second Empire were good to him, though: sev- onant hymn of praise and wonder before the
eral of his paintings were bought by the state varied majesties of nature,” than it is a careful
through the 1850s. His most productive period naturalistic study. The hot light does two things.
began in 1857, when he settled at Septeuil, near In the sky and at the horizon it seems to take on
Mantes. After 1863, when he showed the three material form, much as does the light of the
paintings that had been rejected by the Salon English painter J. M. W. Turner, although there
jury in the Salon des Refusés, his reputation is no evidence that Chintreuil had seen the lat-
grew. He received a medal at the Salon of 1867 ter’s paintings. And like the animating light of
and the Legion of Honor in 1870. Chintreuil the German painter Caspar David Friedrich or
was particularly known for weather and light of the midcentury American luminist painters
effects, some of which were unusual. Georges such as Martin Johnson Heade,’ it makes the
Lafenestre wrote in the July 1873 issue of the piles of the harvested crop glow eerily. (This
Gazette des Beaux-Arts: crop, mauve-colored and interspersed with

M. Chintreuil loves to seize that which pink flowers, is sainfoin, a perennial leguminous
appears unseizable, to express that which herb grown to feed livestock.) The novelist and
seems inexpressible; the vegetable, geologi- journalist Emile Zola trenchantly described
cal, atmospheric complications attract him Chintreuil’s accomplishment: “One senses an
inevitably; his curious mind and his skillful artist who is striving to go beyond the leaders
brush are only at ease in the midst of the of the Naturalist school of landscape painting
strange and unexpected; when he succeeds and who, although faithfully copying nature,
he creates prodigies.'
attempted to catch her at a special moment dif-
Such a prodigy is Last Rays of the Sun on a ficult to transcribe.” Chintreuil himself consid-
Field of Sainfoin, striking for its lurid yellow- ered this an important painting and exhibited it
orange sunset. More than four feet wide, the at the Salon of 1870, having to borrow it back

127
 Jean-Baptiste-Camille Corot
French, 1796-1875

65. JEAN-BAPTISTE-CAMILLE COROT Cleveland Museum of Art), and still farther

Bacchanal at the Spring: Souvenir of Marly-le-Roi, back to Poussin’s source on antique sarcophagi.
1872 Some of Corot’s contemporaries, more commit-
Oil on canvas ted to the depiction of everyday life, however
82.1 X 66.3 cm (32% x 26% in.) raw, were unsympathetic to his inclusion of the
Robert Dawson Evans Collection 17.3234 classical world. Emile Zola complained: “If
M. Corot agreed to kill off, once and for all, the
66. J EAN-BAPTISTE-CAMILLE COROT nymphs with which he populates his woods and
Bathers in a Clearing, about 1870-75 Fig. 41. Jean-Baptiste-Camille Corot, Bacchante with a replace them with peasant women I would like
Panther, 1860, reworked about 1865-70, Shelburne
Oil on canvas him beyond measure.” Yet despite his grum-
Museum, Vermont.
92 X 73.2 cm (36% x 28% in.) bling, Zola seems to have understood Corot’s
Gift of James Davis 76.4 aims, for he went on: “I know that for this light
foliage, this humid and smiling dawn, one must
67. JEAN-BAPTISTE-CAMILLE COROT Throughout his long career, which spanned have the diaphanous creatures, dreams clothed
Sketch to Show How Six Paintings Should Be Hung, the middle of the nineteenth century, Corot in vapours.”' As Zola knew, such figures are
1860S remained faithful to the classical tradition. crucial to an understanding of Corot’s art, in
Pen, brown ink, and brown wash on cream Nymphs and bathers often animated his care- which tradition played a large role.
ruled writing paper fully observed landscapes, thereby linking The magic of Corot’s Bacchanal depends
Sheet: 10 x 7.8 cm (3 %e X 3 %e in.) antiquity with the nineteenth century’s interest on the way it combines a deep-seated regard
Helen and Alice Colburn Fund 62.754 in optical verisimilitude and naturalism. In for tradition with an extraordinarily sensitive
Bacchanal at the Spring: Souvenir of Marly-le-Roi rendering of light and atmosphere. The glade
68. JEAN-BAPTISTE-CAMILLE COROT (cat. no. 65), fictive figures disport themselves seems to be in semidarkness, a protected,
Landscape, with Large Tree on Left, Two Figures at in a forest glade. In the foreground a woman secluded spot for these mysterious goings-on.
Right, One Holding Long Pole, 1860s reclines, leaning on a pitcher from which water A blue sky and white clouds overhead signal
Brush and brown wash on beige wove paper flows. Farther back, a figure wearing a red cap clement weather. A patch of sky at the right
Sheet: 7 x 9.5 cm (2% x 3% in.) (perhaps a satyr?) plays panpipes and a woman gives form to the birch tree, which is more
Helen and Alice Colburn Fund 62.753 raises a tambourine. A woman in pink dances to directly illuminated by a shaft of light striking
the music and strikes a pose in front of a child it from the left. This light connects near and far,
69. JEAN-BAPTISTE-CAMILLE COROT riding a leopard. To the right, a woman in blue for the eye moves from the whitish bark to the
Landscape, with Grove of Trees at Left, Two Men watches. Surely this is not a scene from every- sun-struck clearing beyond. The brightness of
with Long Poles at Right, 1860s day life; this view makes visible the feeling that the farther glade and the light on the tree at the
Brush and brown wash on beige wove paper one is not alone in a forest. These figures are right serve to make the enclosing trees seem
Sheet: 5.9 x 10.3 cm (2% X 4 %e in.) the animating spirits of the woods, embodying darker, and indeed the foliage is painted in dark
Helen and Alice Colburn Fund 62.755 the freshness and renewal that nature was greens tending to browns, enlivened by Corot’s
thought to offer the city-bound audience of signature flecks of light-colored paint that sit
Corot’s art. sparklingly on the surface. Corot’s subtle modu-
Such figures can be found throughout lation of these hues, the product of a long life
Corot’s paintings, sometimes isolated and to spent studying the effects of light outdoors,
monumental effect, as in Bacchante with a Pan- faithfully replicates the interior darkness of a
ther (fig. 41), or else integrated, as in the Boston forest.
painting. The reclining figure with the pitcher By contrast to the fully visualized fiction
can be traced to the seventeenth century, as of nymphs and child astride a leopard, Corot’s
in Nicolas Poussin’s Amor omnia vincit (The Bathers in a Clearing (cat. no. 66) looks tentative.

128
 vagueness of my pictures. But why? Nature is in
flux! We are in flux! Vagueness is the essence of
life!”?
The theme of the bather—single or multi-
ple female figures in the outdoors, nude or
partly clothed—was a constant in Corot’s
career. How to integrate the figures with their
surroundings, so that they do not look like
cutouts pasted into place, was a problem Corot
had wrestled with for years. Bathers in a Clearing
represents the results of a lifetime of thinking
about this problem.’ These bathers are fully
integrated into the glade by the river, with some
of the brush strokes that form the undergrowth
covering the contours of the figures.* They are
thus joined inextricably to the landscape. Such
a scene embodies ideas of Arcadia, a pleasant
land where humans live in harmony with each
other and the natural world, an idyllic realm
aptly pictured by the softened contours, poten-
tial branches, and indistinguishable masses of
foliage. This treatment relies on the viewer's
subjective response to complete the artist’s evo-
cation of dream and mood.
The painting was appreciated by collectors
as soon as the picture came on the art market
following Corot’s death. Only a little more than
seven months after his studio sale, in early
January 1876, the painting was accepted by the
Trustees of the Museum of Fine Arts as a gift
from the Bostonian James Davis. A daring
choice for both Davis and the trustees at that
Tree trunks peter out into thin air without bear- not ready for sale, he nonetheless left clues that time, Bathers in a Clearing epitomizes the poetic
ing branches. Foliage appears either as a scrim he considered it as finished as it needed to be. and classic aspects of Corot’s long career.
from a stage set, as on the left, or as blots from The luminous sky, faintly streaked with pink, Corot’s drawings are a less appreciated
a leaky pen, as along the limbs of the tree on is, unlike the rest of the canvas, richly and aspect of his oeuvre. An inveterate sketcher, he
the right. Pencil lines blocking in the primary thoughtfully textured with impasto. Corot’s drew in sketchbooks, on loose sheets, and on
masses of foliage of the tree on the right and trademark red and pink flecks sit on the surface, less formal supports such as cheap, lined paper
indicating where further branches might go are deliberately placed. Thus the painting only (perhaps used for a receipt).* He sent sketches
still visible. The bathers themselves are little appears to be unfinished; Corot worked on it to friends to show them the paintings he was
more than pinkish curves surmounted by round as much as he wanted. He once said, defending working on, made notations of the people and
dark forms serving as heads. Although Corot himself against the criticism that his paintings places he saw around him, and tried out ideas
did not sign the painting, indicating that it was were too sketchy: “I am reproached for the for future paintings.

130
 He also was comfortable using a variety of |

drawing media. Early in his career he was par-

ALy
=

tial to a hard graphite pencil, such as the type

Aligny used to portray the tree near Civita ?hae — i]
Castellana (see cat. no. 3). Later on, in the 1850s
fe
panama
a
tines
and 1860s, he used charcoal or chalk, often on
blue paper, to create moody, emotional effects.
The drawings shown here, probably dating from ei
the end of the artist’s life, show him trying out
a medium unusual for him, brush and brown
wash. It is unfortunate that Corot did not make
more drawings in brown wash, for the abbrevi-
ated forms created with the liquid medium well
suited his simple compositions. The drawing of
the single tree and the man with a long fishing
pole conveys something of an Asian sensibility
(cat. no. 68). The spareness of the forms, espe-
cially the lone tree, the emptiness of the space,
and the figures of the men call to mind the long
tradition in China of depicting hermit scholar-
artists, withdrawn from the world of the court.
The freedom with which forms are suggested
finds a parallel in the blotlike treatment of the
darkest tree in Bathers in a Clearing.
The best of Corot’s mature work is charac-
terized by the interplay of masses and empty
space. His Sketch to Show How Six Paintings
Should Be Hung (cat. no. 67) expands this notion
of equipoise to a group of objects. Darks and
lights call to and answer each other across the
edges of their respective paintings. Trees mass directly beneath. By no means a formal draw- Valley behind the Property of the Master. Oddly, he included
in the center in the top register and move to ing—the lined paper speaks to the ad hoc cir- the bathers in neither the title nor the sketch he made of
the work. See Robaut and Moreau-Nélaton 1905, 4:215,
the far sides in the middle. Framed differently, cumstances of the image’s creation—Sketch to
no. 210.
the six together constitute a dynamic group. Show How Six Paintings Should Be Hung gives
4. Jim Wright, paintings conservator at the Museum of
Supported by the two horizontal paintings at evidence of how a group of Corot’s paintings Fine Arts, made this observation, important in establish-
the bottom, which may be in the most elabo- could contrive to be greater than the sum of its ing the fact that Corot himself painted the figures.
rate of the frames, the four vertical canvases are parts. FEW 5. The Département des arts graphiques at the Musée du
clustered into a towering block, its height accen- Louvre has about seventy-five percent of Corot’s sketch-
1. Zola 1974, 73, quoted in Clarke 19912, 85. books as well as hundreds of his drawings.
tuated by the trees within each picture. The
2. Quoted in Claretie 1882-84, 1:106; this author's transla-
visual weight of the massed interior edges and tion from the French.
frames is, as is Corot’s wont in individual can-
3. In the sale catalogue of Corot’s studio effects, Alfred
vases, balanced and, paradoxically, supported by Robaut, Corot’s self-appointed biographer, dated this
the space between the two horizontal paintings work to May 1874 and gave it the title At Ville-d’Avray, the

131
 Charles-Francois Daubigny
French, 1817-1878

70. CHARLES-FRANCOIS DAUBIGNY Charles-Francois Daubigny’s father was a land- for Daubigny, whose later career was a contin-
Chateau-Gaillard at Sunset, about 1873 scape painter who had studied with Jean-Victor ual examination of atmospheric conditions.
Oil on canvas Bertin, Corot’s first teacher. Thus, unlike many Bright orange picks out a turret of the ruins,
38.1 X 68.5 cm (I5 X 27 in.) other artists, Daubigny did not have to overcome and violets and mauves fill the water and tint
Gift of Mrs. Josiah Bradlee 18.18 parental opposition in pursuit of his career. He the sky. Landforms are drawn in with liquid
worked variously as a decorator of ornamental brushstrokes of olive green and teal blue. Single
71. CHARLES-FRANCOIS DAUBIGNY objects and a restorer and went to Italy for six strokes lie flat on the surface, tracing a contour
The Boat-Studio, 1861 months in 1836. He had an active and respected of a hill or, alternatively, functioning as calligra-
Etching on cream laid paper career as a graphic illustrator beginning in 1838, phy, as in the squiggle in the foreground. The
Platemark: 13 x 17.8 cm (5% X 8 % in.) the year he also began to exhibit in the Salon. In coloristic focus is the setting sun, with its hot
Special Print Fund, 1916 M26a211 1852 he met Corot, and the two remained close hues of orange and yellow; the surrounding
friends all their lives. In 1857 Daubigny launched landscape serves mainly as a framework for the
72. CHARLES-FRANCOIS DAUBIGNY his botin, or floating studio, which he piloted study of color and tone.
Tree with Crows, 1867 along the Seine, Marne, and Oise Rivers, painting This is one of four versions that Daubigny
Etching on cream wove paper directly from nature. He settled in Auvers in painted of the same prospect.' All are approxi-
Image:
g 18 x 27.4 cm (7 % X 10 %e in. 1860. Daubigny began to be criticized for the mately the same size, and they present the ele-
Frederick Keppel Memorial Bequest, 1913 roughness and unfinished quality of his paintings ments—ruined castle, town below, and island in
M23423 by the late 1850s. Despite some negative opin- the river—with varying degrees of detail under
ions, though, his works won medals and were different light conditions. For instance, the town
73. CHARLES-FRANCOIS DAUBIGNY purchased by the state. Daubigny’s direct that appears as a rather undifferentiated jumble
The Ford, 1863 approach to painting nature also found expres- here (decipherable only by the church spire) is
Cliché-verre, salt print, reverse-printed sion in his championing the work of Pissarro, legible in another version as orderly rows of
Sheet: 27.2 x 36.3 cm (10% X 14% in.) Cézanne, and Renoir when he was on the Salon buildings.* The summary treatment of the
Stephen Bullard Memorial Fund 1997.106 jury in the late 1860s. Fleeing the Franco-Prussian Boston version shows Daubigny’s willingness to
War of 1870-71, he traveled in Holland and to forgo description in favor of capturing an effect.
London, where he met Monet, thereby forging Because the four views overlooking the Seine
another link between the generations. from the height of the chateau were done over
This view from Chateau-Gaillard, perched a period of years and not as a concerted cam-
high on chalk cliffs above the river Seine between paign, they cannot be considered a series, like
Rouen and Paris, appealed to Daubigny (cat. no. Monet's later investigations of early morning on
70). He painted it and its environs several times the Seine and of grainstacks (see cat. nos. 142—
over a period of years beginning in 1869. The 44). Yet Daubigny’s exploration of effects from
choice of a historic site is unusual for this artist. the same vantage point is testimony to the same
Chateau-Gaillard was built by the English king spirit of study that animates Monet's canvases.
Richard I, the Lion-Hearted, in 1196 at Les Chateau-Gaillard was one of many sites
Andelys in a futile attempt to protect Normandy that Daubigny encountered on his trips on his
(at that time under English rule) against a French botin.’ Traveling during the summer months,
invasion. In 1603 the castle was dismantled by he studied the rivers of France and their moods.
order of the French king Henri IV. Any historical The boat itself was built as a ferry. Flat-bot-
associations, however, are subsumed in the com- tomed, it was eight and a half meters (twenty-
positional possibilities the site offered: the ruins eight feet) long, nearly two meters (six feet)
could as easily be a rock formation as a castle. broad, and drew only forty-six centimeters
The effects of the setting sun were a draw (eighteen inches) of water. Daubigny had it

132
133
 slightly refashioned, including having a cabin ©
built at the stern, which we see in The Boat-
Studio (cat. no. 71). This served as an all-purpose
room, with storage along the sides.‘ The Boat-
Studio shows Daubigny hard at work, the motif
on his canvas visible on the far shore. He is sur-
rounded by the necessities of daily life; thus
provisioned with onions, fish, and cooking
utensils, he was not tied to the hours and rou-
tines of the land-bound.
The Boat-Studio is one of a portfolio of fif-
teen prints Daubigny made after sketches illus-
trating his life on the water. Although many of
the prints are lighthearted and even comical,
this self-portrait of the artist takes its place in
the centuries-old tradition of artists depicting
themselves at work. Daubigny’s boat-studio
took him to places where he could paint, as
honestly and truthfully as he could. His serious
approach is announced in the word Réalisme,
written across the back of the canvas in the
DRAG
lower right corner.
Daubigny had made prints since the begin-
ning of his career, providing illustrations for
sheet music and making reproductive prints
after seventeenth-century paintings by Claude
Lorrain and the Dutchman Jacob van Ruisdael
as well as prints of his own devising. Yet despite
his familiarity with printmaking processes and
his evident facility, Daubigny made only about
eighteen clichés-verre, seemingly all in the same
year, 1862.° This concentration contrasts with
Corot’s more extended interest (see cat. nos.
16-18). Daubigny’s Ford (cat. no. 73) reprises a
motif he treated many times over the years.
He has varied and enlivened it here by placing
the glass plate on the paper with the collodion
side up. Because the light refracts as it passes
through the glass, lines lose definition. Edges
dissolve, and a soft, almost fuzzy picture is
created. By experimenting with the technique
of cliché-verre, Daubigny’s scene of endless
work—note the slumped, defeated-looking pos-

134
 Francois-Louis Francais
French, 1814-1897

74. FRANCOIS-LOUIS FRANGAIS

Sunset, 1878
Oil on canvas
47.1 X 56.3 cm (18% x 22.% in.)
Bequest of Ernest Wadsworth Longfellow
37-598

Francois-Louis Francais began his career in Paris

as an errand boy to the publisher Paulin in 1829.
In 1834 he studied drawing and printmaking in
the atelier of Jean Gigoux. For many years
is Francais provided lithographs and wood engrav-
fee
ro
e ings for a range of books, from Bernardin de
3 Saint-Pierre’s popular romantic novel Paul et
Fi
Ea
Virginie to La Fontaine’s fables to novels by his
contemporaries George Sand and Honoré de
Balzac. Also in 1834, Frangais began going to
Barbizon. He became the pupil of Corot in 1836.
Francais’s sympathy for the works of Corot and
other midcentury landscapists informed his
many lithographs done after their paintings.
He enjoyed a long and successful career, exhibit-
ing both paintings and lithographs at the Salon
beginning in 1837. He received his first medal
in 1841 and in 1853 was made a knight of the
ture of the cowherd—is transformed into a 1. Hellebranth 1976, nos. 89-92.
Legion of Honor. His landscapes trace a record
scene of tranquillity. 2. Ibid., no. 89.
of far-flung travels—the Italian countryside (he
No such softness informs the etching Tree 3. Grad 1980, 123-27. spent several years in Italy from 1846 through
with Crows (cat. no. 72). A stark, powerful 4. For a full description, see Melot 1980, 280, quoting 1849, then returned in 1851, 1858-59, 1864-66,
image, it was one of the few prints Daubigny Wickenden 1913, 190-93.
1869, and 1873), the French provinces (from 1870
did that was not planned for publication.¢ It is 5. The total number is uncertain; see Glassman and
he wintered on the Riviera), and the Ile-de-
distinctive in Daubigny’s oeuvre for its ominous Symmes 1980, 39, note 23.
France. Frangais’s work was essentially hybrid,
mood. The crows are large and black. They do 6. Melot 1980, 282, no. D.120. It is, however, related to a
painting executed later, L’effet de neige, which appeared
combining the calculation of neoclassical land-
not so much sit in as take over the foremost
in the Salon of 1873. Fidell-Beaufort and Bailly-Herzberg scape with the study of nature.
tree. The birds shown in flight and on the
1975, 68, identify it as the countryside of Auvers. By 1878, the date of this picture, Frangais
ground stretching to the right suggest others,
had had a long career of working outdoors.
perhaps in overwhelming numbers. Adding to
In the early 1830s he painted in the environs
the uneasy mood is the perspective: the ruts in
of Paris with Huet; then, in the mid-1830s, he
the earth rush to the distance; the trees become
worked in the Forest of Fontainebleau, where
rapidly smaller. Large numbers of birds on the
he met Corot and Diaz. At midcentury he
ground are never a welcome sight for farmers,
painted in various locations with Troyon, Corot,
jealous of their precious seed. Daubigny shows
Courbet, Boudin, Jongkind, and Daubigny.
a scene out of balance, with birds rather than
Through these companions, Fran¢ais became
people benefiting from the tilled earth. FEW

135
 Eugéne Boudin
French, 1824-1898

Johan Barthold Jongkind

Dutch (worked in France), 1819-1891

75. EUGENE BOUDIN

River Landscape with Houses and Bridge, late 1850s
Graphite pencil on dark cream laid paper
Sheet: 28.5 x 44.5 cm (11% x 17% in.)
M. and M. Karolik Fund 1972.368

76. EUGENE BOUDIN

Harbor at Honfleur, 1865
Oil on paper mounted on panel
20.3 X 26.8 cm (8 X 10% in.)
Anonymous Gift 1971.425

77. JOHAN BARTHOLD JONGKIND

Harbor Scene in Holland, 1868
Oil on canvas
42 X 56 cm (16% x 22 in.)
Gift of Count Cecil Pecci-Blunt 61.1242

The son of a ship’s captain, Eugéne Boudin

opened a framing and stationery shop with a
partner in Le Havre in 1844. As was the custom
before commercial art galleries were estab-
lished, he exhibited in his window paintings by
local artists. Troyon and Millet were two of
these, and they persuaded him to try painting
himself. The local art society gave Boudin a
familiar with the practice of closely observing different altitudes. The sky was worked with scholarship to study art in Paris. At its end, in

effects in nature. The slow-moving river may be very thin paint, swept across the canvas with 1854, he returned to the Normandy coast and

the Sadne; after 1873 Francais summered on that large brushes to capture the broad effects. The painted directly from nature. He met Monet in
river at Plombieéres. In this painting he tackles trees marking the far bank were, if not an after- 1858 and persuaded him, as he himself had been
the difficult and evanescent subject of the last thought, then not integral to the painting’s con- persuaded, to paint outdoors. In 1859 he became
moments of the setting sun, just before it sinks ception, for they were added on top of the col- friends with Courbet and in 1862 with Jongkind,
below the horizon completely, taking all light ored sky as dabs and strokes of darkness. whose fresh vision of marine painting made a
with it. By 1878 artists were exhibiting their studies significant impact on him. His works were
In contrast to Daubigny’s Chdteau-Gaillard and sketches; these less formal works were no accepted regularly at the Salon beginning in
at Sunset (cat. no. 70), whose titular focus is the longer confined to the studio. The painting’s 1859, and he showed several works in the first

ruined castle, Francais’s Sunset concentrates careful signature and date suggest that this Impressionist exhibition in 1874. His reputation

all attention on the sky. The landforms in this medium-size canvas was made for sale, either was secure after 1871, and he began to travel,
painting fade into steel gray-blue and brownish directly to a collector or through a dealer. Its visiting Belgium, the Netherlands, the South of
black beneath a sky aflame with pinks, salmons, appeal to collectors is evident: the Bostonian France, and Venice. Despite his popular success
yellows, and oranges. Frangais deftly captures Ernest Wadsworth Longfellow bought it as and financial security (after 1883 Durand-Ruel
the different colors refracted through and early as 1884. FEW held exclusive rights to his output), Boudin
reflected off clouds of various shapes and at received official honors only late in life—a third-

136
class medal at the Salon of 1881, a gold medal at of moist atmosphere. Details of both man- ing, only ten inches wide. It becomes almost
the 1889 Exposition Universelle, and a knight- made and natural forms are simplified, even abstract, a field for paint. Docked along two
hood in the Legion of Honor in 1892. elided altogether, in this riverine tranquillity, sides of the pier, the ships—a brig, a hermaph-
This drawing of the poplar-lined banks of broken by no sign of movement. rodite brig, and a smaller coastal vessel'—
a river converging on a bridge (cat. no. 75) was Ten to fifteen years later Boudin painted instead of continuing the geometry, serve as a
made in graphite, the same medium Aligny Harbor at Honfleur (cat. no. 76). His earlier pro- foil to it, their masts, spars, rigging, and sails
chose to depict a tree near Civita Castellana pensity to see the world in geometries found offering an active alternative to the starkness of
(cat. no. 3). Aligny used a harder graphite pencil more sure-footed grounding when he set up his the wharf.
because he was interested in fine outlines and easel so as to see a pier at a sharp angle. The Boudin localizes this view by inscribing
hard edges in his portrait of a tree. Boudin, by atypical vantage point makes the pier spread out Honfleur in the lower left corner. Without the
contrast, used a softer medium to create a sense to fill the entire foreground of this tiny paint- inscription, we would be at a loss to know

137
 spent their careers studying the ever-changing
interplay of light, air, and water and developing
painterly means to replicate what they saw.
Jongkind’s first teacher was the foremost
Dutch landscape painter of the time, Andreas
Schelfhout, with whom he studied in The
Hague. A government stipend allowed Jongkind
to go to Paris in 1846 for further study under
Isabey. Early public success (acceptance at the
Salon, a third-class medal in 1852, several pur-
chases by the state, and support from the dealer
Pierre Firmin-Martin) was cut short by the
withdrawal of the Dutch stipend in 1853.
Jongkind fell into debt, drank heavily, and
returned to the Netherlands in 1855. A sale of
works by Jongkind’s artist friends in 1860 real-
ized enough money to allow him to return
to Paris. Once back, he met Joséphine Fesser-
Borrhée. Her friendship and the support of her
family gave Jongkind a new lease on life. He
lived with them until his death (he died at their
family home). They traveled frequently to the
Normandy coast, where in 1862 he met the
young Monet. He also returned to the Nether-
lands and visited the South of France and the
Dauphiné. Jongkind’s art was a path-breaking
which of the many English Channel ports it sought by most painters of seascapes. This
peinture claire was to have a crucial influence
combination of compositional structures taken
represents. With it, we know that Boudin made
on the emergence of Impressionism.” from the land- and seascape traditions of seven-
the short trip from Le Havre, the large town
teenth-century Dutch art, a careful study of
on the northern shore of the Seine estuary, to
Although Boudin never broke his brush- specific light conditions, and a free manner of
the smaller town on the southern shore. The
strokes into individual marks of color, as the painting.
palette suggests that this is a summertime paint-
Impressionists did, his distinctive touch (aptly In Harbor Scene in Holland (cat. no. 77), two
ing (Boudin often spent the summer months in
described by the art historian Peter Sutton as brigantines (two-masted square-rigged sailing
his hometown). Light-colored paint gives the
“gently feathered, blended, and succinctly artic- ships) are anchored on either side of a canal.
scene the effect of being light-filled. A contem-
ulated”)’ suggests the movement of light Rowboats work the water between them.
porary wrote of Boudin:
through air. Here, the rapid brushwork ani- Judging from the brick houses at the right and
In his color, he consistently adopted the mates the surface of the canvas. This makes the the silhouettes of the drawbridge and windmill
luminous, all-over light-toned palette, pio-
eye skip and hop from one stroke to another, a in the distance (a tug or barge is near the draw-
neered by Corot, which in the 1850s and
movement similar to that which the eye experi- bridge), the scene is set in The Netherlands.
1860s was known as peinture claire or peinture
grise; this means of conveying the effects of ences in nature. It was this combination of pein- The date of 1868 suggests that the view could
outdoor light was, Boudin remembered later, ture claire and active brushwork that so capti- have been taken in Rotterdam or Dordrecht
very unfashionable in those years, in contrast vated the young Monet. (Jongkind visited those two cities in the fall of
to the more theatrical, artificial effects Both Boudin and the Dutchman Jongkind that year). Yet it is a generalized view rather

138
than a portrait of a particular canal done at a
particular time, for Jongkind is not known to
have painted oils outdoors. His evocative scenes
are based on memory and sketches.
Unlike seventeenth-century Dutch marines,
in which the surface of the canvas is covered
with a uniformly worked layer of paint,
Jongkind varied his brushwork to represent
different materials. The elements in this canal
view—sky and clouds, trees, buildings, ships and
boats, and water—are each rendered with their
own kind of brushstroke. The blue sky and gray
and white clouds are painted with large, buttery
strokes. The canal, in contrast, is made up of
tiny dabs of color—surprisingly, with almost
no blue. These flecks of color, as well as the
swirling strokes in the sky, stand for water and
sky but also proclaim their physical presence on
the canvas. In addition, Jongkind depicts a com-
plicated light effect, with the sun hidden behind
clouds. The windmill is obscured, and the brigs
are backlit, their hulls appearing as dark masses.
Jongkind’s importance for the younger gen-
eration of landscapists was immense. Boudin
and Monet appreciated his free and spontaneous
brushwork. But where Boudin and Monet often under the influence of impressions.” Boudin’s
worked in oils outdoors, Jongkind did not. and Monet’s respect for Jongkind’s work is testi-
Instead, he made sketches in pencil and water- mony that the end result, the success of the
colors from nature but preferred to compose his painting, was more important to them than
oil paintings in the studio. Boudin emulated the whether it was executed outdoors or in the
older artist, writing: “Jongkind began to make studio. FEW
the public swallow a sort of painting whose
rather tough skin hid an excellent and very tasty 1. Sutton 1991, 40.

fruit.”* Monet believed that one had “always 2. Leroi 1887, 32, translated by John House in Hamilton
1992, I7.
something to gain from studying Jongkind’s
3. Sutton 1991, 20.
landscapes because he paints what he sees and
what he feels with sincerity.”* The critic 4. Boudin in L’Art, 1887, quoted in Jean-Aubry [1968], 116,
translated in Cunningham 1977, 21.
Théophile Thoré was more explicit in stating
5. Quoted in Cahen 1900, 41, translated in Hamilton
his praise: “M. Jongkind’s manner does not
1992, 42.
appeal to everyone, but it delights all who love
6. Thoré in Boime 1971, 21, quoted in Cunningham 1977,
spontaneous painting, in which strong feelings 14.
are rendered with originality. . . . |have always
maintained that true painters work at speed,

139
 Eugéne Boudin
French, 1824-1898

78. EUGENE BOUDIN Boudin dedicated himself to painting the sea, its Boudin took care to individualize the fig-
Fashionable Figures on the Beach, 1865 coastlines, and the human activities that take ures he painted just enough so that their actions
Oil on panel place in these locales. He began painting fash- could be discerned, but not so much that they
35.5 X 57.5 cm (14 x 22% in.) ionable people on the beach at Trouville in 1862 assumed more importance than the bright blue
Gift of Mr. and Mrs. John J. Wilson 1974.565 and found that these horizontal pictures had a sky and sunny enveloping atmosphere. Here the
ready market. In them he combined popular viewer notes a steamship on the horizon, a
anecdote, a keen eye for costume (here a pre- form of technology related to the trains that
ponderance of white), and an acute sense of brought these visitors to the coast. The steam-
seaside weather to produce pictures that com- ship contrasts with the rowboat, whose occu-
plemented and coincided with the growing taste pant appears to be telling a story to the people
for tourism among the French middle and surrounding him. The people on the beach
upper classes. stand or sit in conversational groups. It is most

140
 Claude Monet
French, 1840-1926

likely a weekday, as there are relatively few men 79. CLAUDE MONET
present (then as now, businessmen would join Rue de la Bavolle, Honfleur, about 1864
their vacationing families only on weekends). Oil on canvas
Particularly engaging are the young girl and the 55.9 X 61 cm (22 x 24 in.)
dogs. The girl’s dress is simply a small-scale ver- Bequest of John T. Spaulding 48.580
sion of the type worn by the adults. Her imperi-
ous gesture with the walking stick reinforces the Monet's prodigious talent was first recognized
unchildlike nature of her costume. The dogs, by Boudin, whom he met in Le Havre in 1858.
facing alertly to the left, evince more animation Boudin encouraged Monet to give up drawing
and interest in the world around them than any caricatures and to paint outdoors, which he did
of the almost fifty people represented. in the company of both Boudin and Jongkind.
Boudin understood the public appeal of Monet’s short tenure (1862-64) in the atelier of
these beach-side depictions. Between 1864 and Charles Gleyre was decisive, for not only did
1869 he showed eleven paintings at the annual Gleyre encourage his students to go their own Fig. 42. Claude Monet, Rue de la Bavolle, Honfleur, about
Salon, nine of which were of this type.’ He way, but it was there that Monet met Frédéric 1864, Stadtische Kunsthalle, Mannheim.

painted such pictures throughout his life, one Bazille, Renoir, and Sisley. After limited success
as late as 1896, yet in a letter of August 1867 he at the Salon during the 1860s, Monet became
complained about the essential vapidity of the a leader of the group that exhibited independ-
subject matter: “Must I admit it? This beach at ently of the Salon, the group called the Impres- the left focus, if not force, attention to the right-
Trouville that till recently so delighted me, now, sionists, after the title of one of his canvases. hand portion of the painting. As in Woodgather-
on my return [from Brittany], seems merely a In the early part of his career, Monet’s subjects ers at the Edge of the Forest (fig. 7, p. 19), from
ghastly masquerade. ... When... one comes came from the English Channel coast and the about the same time, the lines forming the com-

back to this band of gilded parasites who look western suburbs of Paris. Later, he sought position are in the shape of a large X. Because
so triumphant, one pities them a little, and also motifs farther afield, in places such as Norway, the subject matter here is a built environment
feels a certain shame at painting their idle lazi- London, the South of France, and Venice. He rather than a glimpse of the natural world, the
ness.’ As delightful as this painting is, Boudin’s was a canny businessman, playing dealers off lines of the X are much more strongly deline-
feelings help explain why later he concentrated one another and carefully orchestrating his exhi- ated than was the case with the irregular shapes
on less detailed, more atmospheric scenes. FEW bitions and their attendant publicity. He moved of trees and uneven ground. The eye easily
to Giverny in 1883 and in 1890 bought property leaps from the roof line on the left across the
1. Tinterow and Loyrette 1994, 340. there. He worked on the grounds for decades, void of the street to the edge of the road in sun-
2. Sutton 1991, 42. diverting streams and maintaining a water gar- light on the right; the invisible crossing of the X
3. Jean-Aubry [1968], 90, translated by John House in den. The area around Giverny and his gardens lies just above the head of the man in the street.
Hamilton 1992, 20. provided the subjects for his series of paintings Such a structure locks the pictorial elements
of single motifs. firmly in place and gives the picture a sense of
Monet painted in Honfleur during his sum- solidity and assurance.
mer trips to Normandy from Paris, where he This sense of solidity can also be found in
lived beginning in 1859. Small streets like the Monet’s palette and technique. The colors—
Rue de la Bavolle, Honfleur would have been browns, grays, ochers, and even blacks—recall
familiar to him from his boyhood in Le Havre, the palettes of older painters such as Boudin
which lies to the north of Honfleur, across the and Corot. Broad, smooth strokes of ocher and
estuary of the Seine. Bold patterns and sharp gray mimic the effect of the sun falling directly
contrasts make his painting of this street imme- on the siding and plaster of the houses, with
diately appealing. House fronts in shadow on architectural details firmly drawn in. Yet careful

I4I
attention to subtler effects of light can also be man peeks out of a doorway, a woman sitting she were watching the painter at work; the man
found. Edges of roofs, dormers, and shutters outdoors is kept company by a black cat. in the middle of the road cedes to a woman and
sparkle against their more sober background; Monet’s interest in anecdote, in recording what child nearer the viewer. Monet records these
the dust and cobblestones of the street are he sees, is also evident in another painting of changes—‘“imaginable but not truly predic-
rendered with shorter strokes applied with a the same street, now in Mannheim (fig. 42, table,” like changes in weather—dispassionately,
smaller brush; the ivy so quivers with light that p. 141). The differences between the two are as if he were a camera installed in the center of
it looks as if it might detach itself from the wall.’ noticeable in the shadows and clouds and in the the street.2, FEW
The subject matter of this painting ties it to figures. The man in the doorway to the left in
1. Poulet and Murphy 1979, cat. no. 2.
the tradition of townscapes. Anecdotal details the Boston painting is replaced by a bolder
2. Isaacson 1984, 20-21.
abound—a cloth hangs out a window to air, a woman in the Mannheim version, staring as if

142
 Alfred Sisley
British (worked in France), 1839-1899

80. ALFRED SISLEY

Early Snow at Louveciennes, about 1870-71
Oil on canvas
54.9 X 73.7 cm (21% x 29 in.)
Bequest of John T: Spaulding 48.600

If we can deduce an artist’s character from his

paintings, Alfred Sisley seems to have had a qui-
eter personality than the other Impressionists.
The son of British parents living in Paris, he
retained his British citizenship all his life. Sisley
went to London in the late.1850s to prepare him-
self for a career in business. He used part of
this time to visit museums, where he studied
the work of British painters, particularly John
Constable. On his return to Paris, his father was
amenable to his studying art, and he entered
Gleyre’s studio in 1860, through an introduction
from Bazille. There he met Monet and Renoir
and with them painted in the countryside
around Paris, especially the Forest of Fontaine-
bleau. He had limited success at the Salon in
the late 1860s and participated in four of the
eight independent group shows. He moved
often in the 1870s, always close to Paris. In 1880
he moved to the area where the Loing River following the Franco-Prussian War in Paris.’ for patient exploration of his surroundings, bit
empties into the Seine, beyond Barbizon and Early Snow at Louveciennes records a freak early by bit over time. The art historian MaryAnne
Fontainebleau, where he stayed until his death. snowfall, one light enough so that the snow’s Stevens has suggested that Sisley’s approach is
The Franco-Prussian War ruined his father weight did not cause the tree branches, still in logical, “an attempt to present a more or less
financially, and from 1871 on Sisley had to sup- full leaf, to break. The unusual occurrence gave extended panorama of a specific location
port himself, his mistress, and their two sons Sisley the opportunity to juxtapose close-toned, through a sequence of individual paintings.”
solely on the sales of his paintings. Despite a muted colors—browns, greens, ochers—with He was to stay in Louveciennes until the late
coterie of collectors, the dealings of Durand- dazzling whites and vibrant reds. winter or early spring of 1875 and continue to
Ruel and Georges Petit, and inclusion in major The bank of trees rising behind the cluster paint scenes of the village and its environs even
exhibitions, Sisley did not enjoy financial suc- of buildings gives the impression that after he no longer lived there. Early Snow at
cess. He concentrated on landscapes of the Louveciennes was limited in scale, perhaps only Louveciennes is distinguished in this group of
region in which he lived, and his canvases are this one street and one or two more. In fact it about sixty paintings, not only because of its
marked by a calmness of mood and a brightness was quite large, boasting a train line and, a bit confident handling of space and color, but also
of palette. outside the village, a chateau Louis XV gave because it is the first surviving canvas by Sisley
Sisley probably moved with his growing to his mistress Madame du Barry in 1769, the of the area. FEW
family to Louveciennes, one of the many sub- waterworks (see cat. no. 91), and the beginning
of the aqueduct of Marly. Sisley’s focus on the 1. Stevens and Cahn 1992, 102, 262.
urbs to the west of Paris, most likely at the end
of 1871, to escape the aftermath of the upheavals little rue de Voisins establishes his predilection 2. Ibid., 82.

143
 Edgar Degas
French, 1834-1917

8I. EDGAR DEGAS Degas’s father, a banker interested in music and Rome. On his return to Paris he painted por-
At the Races in the Countryside, 1869 art, did not object much when his son wanted traits and scenes from history and modern life
Oil on canvas to pursue a career in art instead of the law. and was accepted at the Salon from 1865 to 1870.
36.5 X 55.9 cm (14% x 22 in.) Degas first studied with Félix-Joseph Barrias Increasingly, however, he joined groups of inde-
1931 Purchase Fund 26.790 and then, more importantly, with Louis pendent-minded artists who gathered at the
Lamothe, a pupil of Jean-Auguste-Dominique Café de la Nouvelle Athénes and the Café
82. EDGAR DEGAS Ingres. Ingres’s supple draftsmanship and classi- Guerbois. He exhibited with the group known
Racehorses at Longchamp, 1871, possibly reworked cal orientation were deciding factors in Degas’s as the Impressionists in all but one of their
in 1874 early development. From 1856 to 1859 Degas eight shows, sharing with them an interest in
Oil on canvas visited Italy, where he copied ancient and Japanese prints, subjects of modern life, and
34.1 X 41.8 cm (13% x 16% in.) Renaissance works in Naples and Florence innovation. Degas distinguished himself from
S. A. Denio Collection 03.1034 (in both cities he stayed with relatives) and in almost all other progressive artists of the later

144
nineteenth century by the combination of his
devotion to the figure and his constant technical
experimentation. His increasingly poor eyesight
led to work in bolder forms, as well as in the
media of poetry and photography.
Because Degas exhibited with the
Impressionist landscape painters, his art is often
described in terms used for their canvases, that
is, encompassing instantaneity of vision and
depicting aspects of modern life. Yet despite
Degas’s interest in the body in motion, as evi-
denced in his depictions of ballerinas and peo-
ple passing on the street, At the Races in the
Countryside (cat. no. 81) and Racehorses at
Longchamp (cat. no. 82) are curiously quiet,
stilled visions. And although horse racing was
indisputably a part of life in late-nineteenth-
century France, it was primarily associated with
the upper classes, not with the lives of working
men and women.
At the Races in the Countryside is almost a
misnomer: the three horses coursing at the left
are engaged in an impromptu race, and the
focus of the painting is the decidedly upper-class
family group that is barely contained by the
edges of the canvas. This is Degas’s version of
the Impressionists’ capturing of a moment in
time, although Degas’s interest was spatial ing the summer of 1869 at Ménil-Hubert, the scene when he painted Racehorses at Longchamp,
rather than temporal. Here, too, however, Valpincons’ estate in Normandy; the racetrack a few years after the portrait of the Valpincon
Degas confounds expectations, because the is Argentan, fifteen kilometers (nine miles) from family. Horse racing, a quintessentially aristo-
horses and carriage are going nowhere, lest the the estate.’ cratic British sport, became extremely popular
movement disturb the infant who has fallen The light blue and white of the sky, which in France beginning in the 1830s. The French
asleep at his nursemaid’s breast. The cropping covers more than half of the canvas, and largely Jockey Club was founded in 1833, and the
of wheels and horses’ legs and head does not unmodulated green of the sward are pleasing Société des steeplechases de France, in 1863. The
suggest arrested motion as much as it conveys colors, evoking a lovely summer’s day. The dark racetrack here, visible in the mid-distance, is
intimacy, a viewer's sudden coming upon of this browns and blacks of the horses and carriage Longchamp, in the Bois de Boulogne, the huge
tender familial scene. The mother of the child are relieved by the light-colored clothing of the park on the western edge of Paris. Identifiable is
cranes around to look at her nursing infant; the Valpincons; an especially tender color note is the village of Suresnes, whose buildings climb
father turns to watch; and even the family pet, a added by the nursemaid’s mauve dress. Degas’s the slopes of Mont Valérien across the river
pert black miniature bulldog or pug, contem- affection for these people—Paul Valpincon and Seine, here made invisible. The racetrack at
plates the women and baby under the umbrella. Degas had been friends since childhood—is Longchamp, the site of an abandoned convent,
The family depicted was that of Degas’s good made manifest through color and composition. opened in 1857. Its proximity to Paris seems to
friend Paul Valpincon. Degas visited them dur- Degas had no such personal link to the have compensated for its short season: a week

145
 Claude Monet
French, 1840-1926

Edgar Degas
French, 1834-1917

in April, four days in late May or early June, and work, reported on Degas’s habits while visiting
another short time in September.’ Normandy:
As he did in At the Races in the Countryside, As he looks at them, Degas’s keen eye also
Degas depicted an uncharacteristic moment in registers the appearance of the countryside,
the life of the racetrack. And despite Degas’s the pale sea-green shore fringed with foam,
much-discussed interest in the study of motion, the curve of a bank of golden sand, the out-
these horses, bred specifically for their speed, line of hills, a velvety meadow, the color of
hardly move at all. The delicate shades of pink the sky. Later, back in the studio, the artist

and mauve in the sky explain this paradoxical delights in re-creating some of these places s ae

from memory, attempting to reproduce the Fig. 43. Claude Monet, The Old “Le Pollet” Quarter of
lethargy. It is the end of the day, the horses have
colors and outlines with his sticks of pastel.’ Dieppe, 1856-57, Museum of Fine Arts, Boston.
run their races, and they and their jockeys are
tired. Although Racehorses at Longchamp is painted
Across an expanse of richly textured turf in oils rather than pastels, Lemoisne’s com- 83. CLAUDE MONET
are arrayed eleven brown and black horses and ments are equally applicable to it. Like many View of the Sea at Sunset, about 1862
their riders, gaudily attired in their racing silks. of Corot’s canvases, Racehorses at Longchamp is Pastel on paper
If the animals were arranged as randomly as evidence that an artist need not paint at the site 15.3 X 40 cm (6 x 15% in.)
they appear to be at first glance, the painting to be able to evoke a sense of place. FEW Bequest of William P. Blake in memory of his
would dissolve into visual incoherence. Degas sister, Anne Dehon Blake 22.604
exercises firm control over his creatures, in a 1. See Boggs et al. 1988, 157-58, cat. no. 95, for a full dis-
cussion of the painting’s origin and provenance.
way analogous to the discipline required of a 84. CLAUDE MONET
winning racehorse. The bright caps of the jock- 2. Details on Longchamp and horse racing were taken
Broad Landscape, about 1862
from Poulet and Murphy 1979, 69, and Herbert 1988, 143,
eys cluster in two horizontal groups parallel to 152. For a further discussion of racetrack pictures by Pastel on paper
the distant racecourse. The horses on the left, other artists, see Herbert 1988, 152-70. 17.4 X 36 cm (64x 14% in.)
their color barely modulated so that their forms 3. Lemoisne 1946-49, 1:61, quoted in Loyrette 1988, 154. Bequest of William P. Blake in memory of his
read as silhouettes, plunge the eye deep into sister, Anne Dehon Blake 22.605
space. This diagonal recession is reinforced by
the movement of the lighter middle horse. After 85. EDGAR Decas
the eye travels along the row of horses on the Cliffs on the Edge of the Sea, 1869
left, following the left-to-right reading pattern Pastel on paper
traditional in the West, it comes back to the 44.3 X 58.5 cm (17% X 23 in.)
lighter color of the middle horse and rider. This Gift of Lydia Pope Turtle and Isabel Pope
group, rather than directing attention to the Conant in memory of their father, Hubert Pope
foreground, takes the eye back into the distance. 1980.390
The blank foreground encourages the recession,
because there is nothing close by on which the Monet, renowned for his dexterity with a paint-
eye can focus. Degas could have seen such an brush, is hardly known for his graphic work. Yet
empty foreground coupled with a rushing per- throughout his career, he made pencil or chalk
spective in the Japanese prints he collected drawings—often loose, sketchy studies of the
avidly. principal outlines of a motif that might later
Degas did not paint outdoors. The intense serve as schematic “maps” for a painted compo-
sense of place, of colors observed, can be at- sition. At the beginning of his career, Monet
tributed to his acute memory. Paul-André was a particularly ardent draftsman. His first
Lemoisne, a friend and cataloguer of the artist’s exhibited works, in fact, were a group of carica-

146
Reese

147
tures that he displayed in an artist’s supply store simply works on paper—in the open air. noted that the artist searched for “what is
in Le Havre.' Notebooks dated 1856 and 1857 Working with the older artist, Monet focused, impossible to grasp in form or color,” but that
record his impressions of the countryside above all, on cloud and sky effects. Boudin he documented each study with precise details
around Le Havre in careful pencil sketches that wrote in his diary at the end of 1856 that he of date, hour, and weather conditions. “In the
resemble lithographic landscape vignettes.’ A wanted “To swim in the open air. To attain the end,” Baudelaire wrote,
similar sheet, also dating from the very begin- tenderness of the cloud. . . . These tendernesses
all these clouds with fantastic and luminous
ning of Monet's career, adapts the composition of the sky that go as far as praise, as far as ado-
forms, these yawning furnaces, these firma-
of one of Isabey’s paintings or prints (cat. nos. ration: that is not an exaggeration.’ A few years ments of black or violet satin . . mount to
28-29) to depict Pollet, a fishermen’s neighbor- later, the poet and critic Charles Baudelaire the brain like a heady drink or the eloquence
hood near the port of Dieppe (fig. 43). praised Boudin’s pastel studies of clouds and of opium. Curiously enough, it never once
But these hesitant early drawings predate sea, and described them in his review of the occurred to me in front of one of these li-
Monet's encounter with Boudin and his intro- 1859 Salon as “quickly and faithfully sketched” quid, aerial forms of magic to complain
duction to the idea of making pictures—not from the most fugitive elements of nature. He about the absence of man.*

148
 Baudelaire might almost have been describ- Rochester), and ten years later at the first of the The forms of the landscape reveal Degas’s
ing one of the pastels that Monet would execute Impressionist exhibitions, he placed on view a mastery of the pastel medium—he shaped
a few years later in Normandy, such as View of number of landscapes executed in pastel, per- masses of bank, beach, and hill, and defined tiny
the Sea at Sunset (cat. no. 83). With its carefully haps including one or both of the works shown details such as the figures on the shore, distant
applied layers of pastel, it must have been here.’ In the furor over Monet's audacity in pre- buildings at the water’s edge, and a villa perched
worked up over a span of time during which the senting his Boulevard des Capucines and Impression: at the top of the cliff, with care and skill. Above
precise effect of the setting sun would necessarily Sunrise, the pastels passed without comment.° the landscape rises the gray-blue sky (now,
have changed. Yet like one of Boudin’s works, it At the exhibition, Monet—known as a land- unfortunately, somewhat blemished by tiny
seems to capture a distinct moment, an ephem- scape painter—presented one genre scene, a flecks of gray mold). Through the ceiling of
eral effect of light and atmosphere. Here, the large-scale interior showing a family sitting at a cloud, patches of brilliant azure radiate, and at
velvety surface of a blue-gray cloud, tinged with luncheon table (now in Frankfurt at the the horizon, at left, the sun shines on masses of
hints of reflected pink, opens onto a great blaze Stadelsches Kunstinstitut und Stadtische Galerie); billowing clouds. The depiction of the sky, in
of yellow sunlight. in turn, Degas—already known for his figural fact, suggests the keenness of Degas’s sensitivity
The pastel medium was almost more suit- compositions—exhibited one landscape painting, to the kinds of ephemeral effects of landscape
able than oil paint for noting a landscape effect At the Races in the Countryside (cat. no. 81). Like that, according to tradition, he scorned. On the
very quickly. Pastels (and paper) were easily Monet, Degas sent a number of works on paper contrary, Degas’s landscapes of 1869 such as
transported in a small box, could be worked to the exhibition, among them a pastel of a laun- Cliffs on the Edge of the Sea reveal not only his
without liquid medium (though water could be dress and four works described as drawings— skill as a pastelist but his profound admiration
used to smear and liquefy them), and did not, in though these may have been highly finished, col- for nature and light. It was Degas, after all, and
general, require the artist to wait before applying ored images. Had he chosen, Degas could have not Boudin or Monet, who wrote in 1869 this
one hue over another. Thus in View of the Sea shown a work such as Cliffs on the Edge of the Sea subtle description of landscape:
at Sunset, the streaks of pink above and yellow (cat. no. 85), one of more than forty landscape Villers-sur-Mer, sunset, cold and dull orange-
below could be applied directly and immediately pastels that he finished in the summer of 1869.’ pink, whitish green, neutral, sea like a sar-
over the bluish ground in order to describe the Degas’s pastel depicts a section of the coast dine’s back and lighter than the sky. Line of
light reflected up onto the bank of cloud and of Normandy from a vantage point in the harbor the seashore brown, the first pools of water
down onto the rippling surface of the water. In of the fishing village of Dives-sur-Mer, looking reflecting the orange, the second reflecting
Broad Landscape (cat. no. 84), which also dates to northeast toward the tourist town of Houlgate, the upper sky; in front, coffee-colored sand,
about 1862, the pastel is much thinner in applica- identified as a clump of buildings in the distance rather somber.®

tion, suggesting that the view of clouds over a at left. (Beyond lies the larger town of Villers-sur- GTMS

bay may have been very rapidly sketched, the Mer, where Degas’s friends the Morisots often
1. Stuckey 1995, 186.
paper still visible here and there across the sheet. spent their holidays.) The immediate foreground
2. See Wildenstein 1974-91, 5:60-78, nos. D.1—104.
Quickly executed landscape studies such as is occupied by a sandy, grassy bank that rises
3. Boudin, December 3, 1856, quoted in Stuckey 1995, 186.
these, in both pastel and watercolor, were tradi- above the surface of the water lying out of our
4. Quoted in Stuckey 1995, 187.
tionally used in planning compositions executed view. Strokes of blue pastel only hint at the inlet
5. Murphy and Giese 1977 dated the pastels to 1870-74,
in oils, but Monet—much like Boudin—seems to on either side of the sandy spit that enters the
noting that Monet exhibited several such works in 1874.
have turned to pastel for its own sake. He ad- composition from the left-hand margin. With his Wildenstein 1974-91 notes that Monet himself told
mired its mutability and efficiency, both qualities typical taste for elision and ambiguity, Degas Durand-Ruel that he had drawn the works in 1862. See
5:219, piece justificative 347.
that helped him capture a fleeting impression. chooses a point of view that hides the form of a
For all this, Monet both exploited and boat beached on the shore—traditionally the 6. See Berson 1996, 2:9—42, for the known criticism of the
first Impressionist exhibition.
respected the pastel medium. He turned to the central motif in such a coastal scene—and gives
7. For the most thorough and informative discussion of
View of the Sea at Sunset, for example, when he his viewers only its masts and rigging at left,
Degas’s activity as a landscape artist, see Kendall 1993;
began to paint his Towing of a Boat at Honfleur, much as he would show only half the form of a for an analysis of the 1869 pastels, see 85-107.
traditionally dated 1864 (and now with the distant gig in At the Races in the Countryside, or 8. Quoted in Kendall 1993, 98, with variations by this
Memorial Art Gallery of the University of only a dancer’s legs behind a lowering curtain. author.

149
 Claude Monet
French, 1840-1926

86. CLAUDE MONET

Ships in a Harbor, about 1873
Oil on canvas
50 X 61 cm (19% x 24 in.)
Denman Waldo Ross Collection 06.117

Monet received early encouragement from

Boudin, who, living in Le Havre on the coast
of the English Channel, painted what he saw
around him, the shipping and harbor of the
bustling port. Monet, too, grew up in Le Havre,
so the marine motif was familiar to him. Thus
it is perhaps all the more surprising that he
could bring to the subject a fresh vision, some-
thing both he and Boudin did.
Monet's Ships in a Harbor was painted, or
at least begun, on an overcast day. The lack of
direct sunlight muted local colors and lent an
overall unifying tonality to the whole. Starting
with a pale gray ground, which provides a mid-
tone, Monet applied a closely hued selection of
blues, greens, purples, and a few touches of red-
dish brown, the latter of which harmonizes
with the pinks in the sky. These colors convey a
sense of dampness and a faint chill, conditions
to be expected at the seaside.
Perhaps most inventive is Monet's decision
to emphasize the surface of the water with a
network of horizontal strokes interwoven with
vertical squiggles. The undulating lines are an
apt analogue for the slight but constant move-
ments of the masts, prompted by the ever-fluid
water. In fact, the whole picture is in flux. The
varying thicknesses of the lines demarcating
masts, spars, and rigging give the sensation of
vibrating, calling their solidity into question.
The green hull of the largest boat merges with
the water and its reflection. The figures of
people and birds were made with flicks of the
brush, Aquiver and alive, Ships in a Harbor belies
its muted palette in its evocation of the fluid
relations among ships, water, and sky. FEW

150
 Camille Pissarro
French (born Danish West Indies), 1830-1903

Claude Monet
French, 1840-1926

87. CAMILLE PISSARRO

Pontoise, the Road to Gisors in Winter, 1873
Oil on canvas
59.8 X 73.8 cm (234 x 29 in.)
Bequest of John T. Spaulding 48.587

88. CLAUDE MONET

Snow at Argenteuil, about 1874
Oil on canvas
54.6 X 73.8 cm (214 x 29 in.)
Bequest of Anna Perkins Rogers 21.1329

89. CLAUDE MONET

Entrance to the Village of Véetheuil in Winter, 1879
Oil on canvas ;
60.6 X 81 Cm (23% xX 31% in.)
Gift of Julia C. Prendergast in memory of her
brother, James Maurice Prendergast 21.7

In northern Europe as in the northern United

States, winter is a season of cold temperatures,
snow and ice, and frequently overcast and even
gloomy skies. Without foliage, trees and bushes
stand spare and lean; grasses are dead and
brown; flowers are gone. The light is duller,
often grayer or bluer, than it is in warmer sea-
sons. The moist air of northern France, so soft
in the summer, in the winter shrouds forms in Académie suisse. Pissarro asked Camille Corot Pissarro preferred to live in the country
alienating whiteness. Even the built environ- for advice, and aspects of the older painter's style rather than the city, and he settled in Pontoise,
ment looks different, as if buildings shrink into can be seen in Pissarro’s silvery palette and soft on the river Oise twenty-four kilometers (about
themselves to keep warm. Such conditions touch through the mid-186os. After that time the fifteen miles) northwest of Paris, as early as
intrigued Pissarro and Monet—the latter espe- more assertive style of Courbet is evident. Spo- 1866. He lived there periodically with his grow-
cially when he and his family moved to Vétheuil, radic success at the Salon encouraged Pissarro ing family until 1884, and so he is identified with
a town farther down the Seine than Argenteuil to find alternative exhibition venues. He was the village and its surrounding countryside in
and hence still relatively untouched by signs of the only artist to participate in all eight of the the way that Corot is associated with Ville-
modernity." Impressionist group shows. By all accounts a d’Avray or Millet with Barbizon. More rural
Pissarro learned to draw when his parents generous and kindly man, he counseled Cézanne than Monet’s Argenteuil, Pontoise was a pro-
sent him to Paris for schooling in 1841. After an in the early 1870s and was himself influenced vincial capital and market town, the place of
unsettled period during which he first worked by the younger painters Seurat and Signac in transfer for the corn harvest from the Vexin
in his father’s store and then went to Venezuela the later 1880s. Although success came late to region northwest of Pontoise to the navigable
with the Danish painter Fritz Melbye, Pissarro Pissarro, he continued to find challenging motifs Oise.? In some paintings of Pontoise, Pissarro
returned to Paris in 1855, in time to see the for his paintings. He also left an impressive body showed signs of its increasing modernization—
Exposition Universelle. He enrolled in both the of prints, many of which are technically innova- smokestacks of a gasworks or a factory that dis-
Ecole des Beaux-Arts and the less regimented tive (see cat. nos. 97-101). tilled alcohol from sugar beets. In others he

I5I
emphasized the hilliness of the area; Pontoise is
built on a plateau above the river. The Road to
Gisors in Winter (cat. no. 87), in contrast, shows
none of the particulars of the town—the view
down a village street could have been taken in
any number of villages, perhaps even Honfleur
(see Monet's Rue de la Bavolle, Honfleur, cat. no.
79). The street we see here was, in fact, the
widest road in Pontoise, leading from the river
in a northwesterly direction toward Gisors, yet
its relative anonymity freed Pissarro from depict-
ing identifying characteristics to concentrate on
the generic, traditional aspects of the town. A
man pulls a cart without the benefit of a horse,
his head down and his shoulders hunched with
the strain; awoman sweeps the walkway free of
snow with a broom made of twigs. (The descen-
dants of these brooms, with the twigs now —
replaced by plastic, can be seen in the streets
of Paris today.)
The overcast sky of winter in the village
gave Pissarro the opportunity to focus on subtle
color distinctions rather than on sharp contrasts
of sunlight and shadow. The almost uniform
color of the plaster-fronted buildings and the
gray light forced Pissarro to find pictorial equiv-
alents for the smallest differences of hue and
value. The view he chose resulted in an inter-
locking pattern of rectangles, some smaller,
others larger, the roof lines forming an uneven
series of steps. Apart from rust red and olive .
green shutters, brick chimneys, and a few
touches of blues and greens, the painting is a
study of pale, midrange taupes, mushrooms,
browns, beiges, and grays. The effect is that of a
lightly tinted sepia photograph. The careful fit-
ting together of parts and the rigorous geometry
evident here were never far from Pissarro’s sen-
sibility, which was related to his admiration for
Corot’s work and to the similar predilections in
Cézanne’s emerging vision.
Pissarro’s friend Monet had settled in
Argenteuil, a town on the Seine downstream a ; err Re coe: (ovine «hy ae
<s is * has he SP te at
from Paris, after he returned from exile in

153
 A path or road leading into a town or vil- subtly continue the architectural forms, in their
lage was a favorite compositional motif of the turn terminated by the great curve of the hill,
Impressionists. Its converging edges lent an even more lightly drawn in with long, thin
immediate structure and dynamism to a paint- strokes, like those of a pastel.
ing, as well as establishing depth. Monet used it The rushing perspective to the middle
again in Boulevard Saint-Denis, Argenteuil, in ground is not new to Monet's oeuvre; it was
Winter (fig. 26) and in the later Entrance to the present in Rue de la Bavolle, Honfleur (cat. no. 79)
Village of Vétheuil in Winter. The path, in all and in Boulevard Saint-Denis, Argenteuil, in
these paintings, situates the viewer in the scene. Winter. It replicates lived experience: we look
Fences, grassy meadows, or bushes act as fram- where we are going, at the goal of our journey,
ing devices, so that like the pedestrians (and like rather than examine the weeds along the way.
ee ae. ae ui rth, x |
the artist himself, as he painted) we can feel our Yet here the perspective is exaggerated, with the
Fig. 44. Utagawa Hiroshige, Japanese, 1797-1858,
way through the cold, damp air and falling point of view chosen so that the roadway covers
The Five Pines at Onakigawa, 1856, color woodcut,
Philadelphia Museum of Art. snow. Perhaps the frequent appearance of paths what seems a disproportionate area of the can-
and roads leading into villages in Impressionist vas. Monet could have seen such a composition
England and Holland during the Franco- paintings, as Robert Herbert has suggested, in nineteenth-century Japanese woodblock
Prussian War. In two views of the town in underlines the painters’ essentially touristic rela- prints that were being imported into France in
winter, he explored varying conditions of light tion to the villages.‘ Pissarro may have lived in large numbers. Utagawa Hiroshige’s Five Pines
and atmosphere. The first of these, Snow at Pontoise, Sisley in Louveciennes, and Monet in at Onakigawa, from the One Hundred Views of
Argenteuil (cat. no. 88), depicts the first rapid Argenteuil and later Vétheuil, but they were Famous Places in Edo series, is one such exam-

snowfall of the season. Some leaves still cling to painting for the Paris market. These paths and ple (fig. 44). It directs the viewer's eye immedi-
the trees, and grass in the meadow and along roads were ways in for outsiders. ately to the middle and background, more or
the path is not yet covered. Painted not far from At Vétheuil Monet painted none of the less skipping over the foreground, so that the
his house in Argenteuil and probably begun out- suburban gardens (see cat. no. 92) or sailboat picture as a whole is perceived at a glance. Ina
doors, this work is one of the few that Monet regattas that had fascinated him at Argenteuil. circular pattern of borrowing, Hiroshige used
made showing the actual fall of snow.’ The In the snow scene he painted there in 1879, a an exaggerated form of European one-point
flakes form a scrim that impedes vision: edges sweep of country road leading into the village, perspective, initially introduced to Japan via
are blurred; expanses of walls are interrupted; bordered by messy stretches of grasses and Dutch landscape prints. When Monet used
stability, both visual and physical, is compro- weeds sodden with melting snow, takes up the Hiroshige’s foreshortened foreground, he was
mised. Monet created the indefinite forms in bottom half of the picture (cat. no. 89). The able to retain the atmospheric qualities—the
this painting over a light gray ground, visible edges of the road materialize out of dabs and enveloppe of air—that were so important to
between the quickly and thinly applied brush- flicks of the brush, and Monet has found myri- him.’ FEW
strokes. Underlying this scene of change and ad colors in the unpromising terrain—various
1. See Moffett et al. 1998 for a full discussion of
momentariness is a stable and harmonious blues and greens, reds and oxbloods, whites and
Impressionist snow scenes.
structure. The horizontal expanse of the mead- ochers. All are unified by the medium light-
2. Brettell 1990 provides a complete discussion of
ow to the right is balanced by the vertical of the brown color of the canvas priming, left visible
Pissarro’s activities in the town. See also Brettell’s
walls to the left. Although muted in color and in places just as the grasses and ground peek “Pissarro, Cézanne, and the School of Pontoise,” in
partly obscured by tree branches, the church through the melting snow. The eye is not held Brettell et al. 1984, 175-205, especially 175-82.
spire is the picture’s center, rising from the clus- by the colors and texture present in the fore- 3. Moffett et al. 1998, 96.
ter of snow-covered roofs at its base, the whites ground but rushes past, only to be stopped by 4. Herbert 1988, 219.
of which are sparked by the reds of the chim- the phalanx of houses constituting the village, 5. Needham 1975, 117.
neys. Its vertical is grounded in the horizontal their rectilinear forms hastily sketched in blue.
of the wall at the edge of the meadow. The outlines of plowed fields on the hill beyond

154
 Camille Pissarro
French (born Danish West Indies), 1830-1903

Alfred Sisley
British (worked in France), 1839-1899

QO. CAMILLE PISSARRO A rigorous geometry, based on horizontals, at the pair. A stand of trees fills the foreground
Sunlight on the Road, Pontoise, 1874 underlies both Pissarro’s Sunlight on the Road, to the right, and slate-roofed cottages peek
Oil on canvas Pontoise and Sisley’s Waterworks at Marly. through the lush green foliage in the back-
52.3 X 81.5 cm (20% x 32% in.) Painted within two years of each other, these ground. Beginning in 1874 Pissarro started to
Juliana Cheney Edwards Collection 25.114 works emphasize the structure that gives form concentrate on rural subjects, following the
to their discrete brushstrokes, whether the sub- advice of his friend the critic Théodore Duret,
OI. ALFRED SISLEY ject is a landscape or a manmade building. who urged him to “follow your own path of
Waterworks at Marly, 1876 Sunlight on the Road, Pontoise (cat. no. 90) rustic nature.”?
Oil on canvas depicts a simple moment in the country. A Pissarro’s redirected focus was accompa-
46.5 X 61.8 cm (18% x 24% in.) woman and child walk hand in hand down a nied by a change in technique. The brushwork
Gift of Miss Olive Simes 45.662 country road. A man on horseback looks back of Sunlight on the Road, Pontoise is varied and

155
 by Versailles and Marly (another royal resi-
dence), where it filled the famous fountains.
Sisley did not depict the historic waterworks,
however, for they were replaced between 1855
and 1859 by a new system, and it is the end of
the brick building containing six iron wheels
and twelve forcing pumps that Sisley painted
here. The site clearly intrigued him, for he
painted at least six other views of it.’ Sisley used
the structure provided by the architecture and
walkways to lay out his painting in large, bold
shapes. The horizontals of the building and
especially the walkway and row of posts reach-
ing across the water give order to the trees with
their autumn foliage; although they actually
recede at a diagonal along the river, they appear
as a uniform screen across the painting, block-
ing the view and concentrating attention on the
foreground. Horizontal lines convey a sense of
peace, an evenness of temperament, which here
is reinforced by the presence of the recreational
fishermen. At right and left, the fishermen take
matter-of-fact advantage of the combination at
Marly of the vestiges of the ancien régime and
Napoleon III’s more recent empire and the tech-
nology that served both reigns.
dense, with different strokes used to depict dif- each to its appropriate texture or surface, is Sisley’s palette, particularly in his early
ferent textures, each kind of stroke relegated to matched by the strict geometry Pissarro found career, was often blond in tonality. Pale grays,
a specific purpose: upright for grasses; long, in, or imposed on, the seemingly casual scene. blues, greens, and ochers frequently dominate
creamy strokes for sunlight and shadow on the Most obvious are the horizontals of the river- his scenes of water and sky. Here the foliage,
road; dabs for leaves; and horizontals for the bank, its relative darkness answering the canted touched with yellows and pinks, harmonizes
blue of the sky and circular for clouds. Lighter shapes of the slate roofs above. The tree trunks with the pink of the bricks, and the colors are
blues, greens, and yellows are dispersed rela- offer softened verticals to harmonize with the carried throughout the bottom of the painting
tively evenly over the left side of the picture sur- horizontal, while the thick carpet of grasses in the reflections in the water. The frankly pret-
face, emphasizing the darker, cooler clump of lends a more unified texture in contrast to the ty color scheme calls to mind paintings of the
trees to the right. As in many of Corot’s pic- more varied brushwork of the trees beyond previous century, suggesting that Waterworks at
tures, there is virtually no subject, simply peo- the wall. Marly is Sisley’s tribute to a past age. FEW
ple walking and riding along the road. The Such geometry finds its manmade equiva-
interest of the picture lies rather in the way it is lent in Sisley’s Waterworks at Marly (cat. no. 91). 1. Quoted in House et al. 1995, 214, from Pissarro and
Venturi 1939, 1:26.
painted, with careful, constructive strokes, akin The waterworks were originally built in the
2. Stevens and Cahn 1992, 122, cat. no. 20.
to the way Cézanne was beginning to paint (see late seventeenth century to lift water from the
cat. no. 114 for a later painting by Cézanne). Seine to the aqueduct at Louveciennes. The
The considered disposition of brushstrokes, aqueduct carried the water to the parks at near-

156
 Claude Monet
French, 1840-1926

Pierre-Auguste Renoir
French, 1841-1919

Q2. CLAUDE MONET 93. PIERRE-AUGUSTE RENOIR

Camille Monet and a Child in the Artist’s Garden Woman with a Parasol and Small Child on a Sunlit
in Argenteuil, 1875 Hillside, 1874-76
Oil on canvas Oil on canvas
55-3 X 64.7 cm (21% X 25% In.) 47 X 56.2 cm (18% X 22% in.)
Anonymous gift in memory of Mr. and Mrs. Bequest of John T. Spaulding 48.593
Edwin S. Webster 1976.833
The men who painted the scenes of urban and Child in the Artist’s Garden in Argenteuil (cat. no. warm. It is a picture of secluded domesticity.
rural France in the late nineteenth century were 92) is one of the most popular paintings by the A pictorial rigor underlies the peacefulness
family men. Unlike Corot and Rousseau, for artist in the Museum’s collection. The subject is of this scene. Monet’s insistence on pattern
example, who had no children, Monet, Sisley, immediately appealing. A pretty young woman making, so evident in the earlier Rue de la
Pissarro, and Renoir had families for whom they in a fashionable striped dress sits in a lush gar- Bavolle, Honfleur (cat. no. 79), is no less marked
had to provide. When these artists wanted to den, sewing. At her feet sits a small child, engag- here. The picture is composed simply. Hori-
paint the human figure in a landscape setting (a ingly adorned with a pink ribbon that holds zontal bands of flowers, grass, and pathway
problem Corot had worked on for years; see back his blond hair, looking at a picture book. A establish the pictorial space. Over these bands
cat. no. 66), they often used their family mem- toy horse, wearing a green collar, waits its turn are painted the triangles of the two figures. A
bers as models. Monet’s Camille Monet and a for attention. The day is sunny, the air soft and geometric order has been imposed on the seem-

158
ing vagaries of nature. Yet a curious tension also a faithful adherent of the classical tradition
reigns in this garden. Because blue is a cool and submitted to the Salon regularly. His pri-
color and therefore gives the impression of mary subject matter was the figure, and he
receding from the eye, the figures, despite their experimented with portraits, genrelike scenes,
position in front of the flowers, seem to sink and bathers. In the early 1880s he traveled to
back into them. And because pink and red are Italy, North Africa, and the South of France.
warm colors and seem to advance toward the The Renaissance art and light he experienced
eye, the flowers appear to collapse the interven- there prompted him to adopt a brighter and
ing space, enveloping the young woman and more colorful palette, which he joined to an
making her part of the garden. increased emphasis on line and structure. In
The painting testifies to the flight of poor health for some time, he wintered in the
middle-class Parisians to the suburbs after mid- Fig. 45. Edouard Manet, French, 1832-1883, The Railway, South of France, and in 1907 he bought pro-
century. The art historian Paul Hayes Tucker 1873, National Gallery of Art, Washington. perty in Cagnes and had a house built there,
has amply discussed this trend and Monet’s part where he died.
in it in his book Monet at Argenteuil.' The figures In Woman with a Parasol and Small Child on a
seen here are indeed urban people transposed to Camille's striped dress, for the Virgin is tradi- Sunlit Hillside (cat. no. 93) the pretty, dark-haired
a suburban setting. The young woman, Monet's tionally depicted wearing a blue mantle. A de- young woman smiles welcomingly under her
first wife, Camille, wears city, not country, ceptively simple painting, Camille Monet and a pink parasol. If it were possible to step into a
clothes, and the toy horse comes from a shop in Child in the Artist’s Garden in Argenteuil is at once painting, such an invitation would be hard to
Paris, not a father’s workbench. The garden ingratiating and manipulative, seamlessly blend- resist. Renoir’s depiction of a hillside in summer
belonged to the second house Monet rented in ing tradition and the present in a careful tapes- conveys a sense of fullness and ease that can be
Argenteuil, on the boulevard Saint-Denis, a road try of flickering brushstrokes, evocative of a complete only with the inclusion of the human
that runs a block away from and parallel to the perfect summer's day. figure: without the young woman and child—
railway line to Paris. The seclusion and quiet Of all the paintings produced by the artists the one relaxing, the other exploring—the scene
that pervade this painting are exactly the quali- associated with the Impressionist movement, would hold no interest for us.
ties city dwellers sought in their suburban Renoir’s are the most immediately appealing. Renoir’s rapid yellow and green brush-
retreats, yet one wonders, with the train tracks His scenes often include people—frequently strokes mimic the lushness of summer grasses
a short block away, how peaceful the garden young women and children—with whom we, as so tall that the woman sinks into them (notice
really was. viewers, can identify. At age thirteen Renoir was the blades curving over her right arm holding
Such a question, however, is altogether apprenticed to the porcelain painters Lévy the parasol). The small child toddling off on a
beside the point, for Monet painted exactly Fréres in Paris, where his family had moved in mission of his own is equally enveloped by the
what he wanted us to see. The simple composi- 1844. He worked for a manufacturer of window grasses. The unconcern evinced by the woman
tion evokes a sense of permanence and stability. blinds and other decorative objects in 1858, and for the child’s whereabouts is a sign, not of her
The combination of young woman and child in 1860 applied for and received permission to inattention, but of the evident security of the
(who is too young to be the Monets’ first son, copy paintings in the Louvre. In 1862 he entered surroundings. A beautiful summer's day holds
Jean, born in 1867) proclaims both domesticity both the Ecole des Beaux-Arts and the studio of no dangers. What it does hold is what Renoir
and the promise of future generations. Yet, Charles Gleyre, where he met such other pro- shows us: color and light combining inextrica-
while this painting is resolutely of its time, the gressively minded painters as Bazille, Sisley, and bly, color as light and light as color. Renoir took
imagery recalls the medieval convention of the Monet. They painted together during the sum- special care with the dress, which is not so
hortus conclusus, an enclosed garden in which mers in the Forest of Fontainebleau, and Renoir much the white it initially appears as it is blues
the Virgin and Child sit at their ease. This asso- showed in the group’s independent exhibitions and grays, yellows and pinks—all the colors,
ciation is underscored by the blue color of in 1874, 1876, 1877, and 1882. However, he was that is, that he saw in the shadow in which the

159
 Edgar Degas
French, 1834-1917

woman is reclining. As though this were a por-

trait, Renoir flatters the sitter’s fashion sense by
detailing the narrow black ribbon and ruffle
trimming the neckline and cuff.
Yet, despite the sunny nature of the picture,
there seem to be some unresolved questions
and tensions. The pose of the woman, propped
as she is on one elbow, with that arm holding
the parasol, seems awkward, and perhaps finally
painful. The movement of the child toward the
upper right of the canvas, continuing the diago-
nal that begins in the lower left corner, opens
the pictorial space into the unknown, symbol-
ized by the dark, indeterminate corner. It is the
country equivalent of Edouard Manet’s Railway
(fig. 45). Both paintings feature a young woman
whose gaze out of the picture establishes a rela-
tionship with the viewer, and a child whose
attention is so intently directed toward an
obscure goal that it turns its back. Although the
woman in Renoir’s painting clearly establishes
that the spot where she reclines is soft and
agreeable—a small segment of pays doux—the
94
child’s movement shows that there is more to
see and explore beyond the confines of the pic-
ture space. FEW About 1876 Degas and his friend the Viscount
94. EDGAR DEGAS
Beside the Sea, 1876-77 Ludovic Lepic, an artist who had exhibited with
1. Tucker 1982, 125-53.
Monotype on cream wove paper the Impressionists, began to experiment with
Platemark: 11.8 x 16.2 cm (4% x 6% in.) metal etching plates, printer’s inks, and papers.
Gift of Mr. and Mrs. Peter A. Wick 1993.1015 Degas had been making prints since the late
1850s, but by the 1870s he was searching for new
95. EDGAR DEGAS ways to use time-honored media. Lepic, a tal-
The Path up the Hill, 1877-79 ented printmaker following the example of
Monotype on cream wove paper Rembrandt, had tried using broadly applied
Platemark: 11.6 x 16.1 cm (4 %e X 6% in.) swaths of ink rather than etched lines to vary
Fund in memory of Horatio Greenough Curtis the mood conveyed by each pulling of a print.
24.1688 Together, Degas and Lepic abandoned the
notion of etching or engraving a matrix in the
plate to establish the printed design and decided
to make works that were, as Degas later de-
scribed them, “drawings made with thick ink
and then printed.” The resulting images in mod-

160
 plate of virtually identical dimensions—perhaps
even the same sheet of metal—Degas proceed-
ed in a different fashion. He filled his brush with
printer's ink and painted all but the very top of
the plate with broad strokes of black. The inked
portion of the design became the land; the
untouched plate served to suggest the sunlit sky.
To give definition to the dark form of the land-
scape, Degas then wiped and stippled the silver-
black ink. A dry brush was dragged through the
medium to give horizontal dimension to the
ground; the same brush was punched across
the surface to suggest the texture of grass and
drawn upward through the ink to suggest the
trunk of a tree. The path itself was wiped away
with a brush, a rag, or the artist’s fingers. Ruts
were then drawn into the path with a brush,
and trees were indicated as blobs at the horizon.
This way of working, in which form is pulled
into light from an inky base, is called Degas’s
“dark field manner.”
The notion of light and dark corresponds
with Degas’s considerable ambitions as a print-
95
maker at the end of the 1870s. His experimenta-
tion with the monotype process stoked his pas-
sion for more traditional printmaking tech-
ern times have been called monotypes, as usual- drew the figure of a woman on the left of the
niques. Following the Impressionist exhibition
ly only one impression of the “drawing” can be metal plate, facing right with an umbrella in her
of 1877, Degas, Mary Cassatt, and Pissarro envi-
successfully printed.' hand. He placed a seaside villa to her right in the
sioned a publication on the glories of printed
In a matter of two years, Degas made more middle distance, and beyond on the horizon, the
Impressionism, for which Degas proposed the
than a hundred monotypes. As he experimented distant form of a steamer trailing a plume of
title Le Jour et la nuit (Day and night). Although
with the procedure, he evolved two basic ways smoke. The drawing was worthy of the greatest
the publication never came into being, it in-
of working. Among the earlier prints, a work Japanese calligrapher. Satisfied with the design,
spired the artists to do some of their most ad-
like Beside the Sea (cat. no. 94) is in what scholars Degas applied a sheet of moistened paper to the
venturesome work (see cat. nos. 97-101). At the
have called Degas’s “light field manner,” mean- plate and ran the two through a heavy printing
height of their engagement with the transcrip-
ing that the monotype was made by placing press. Once peeled away, the paper bore the
tion of light effects through the means of color,
dark ink onto a light background. Degas began lines that Degas had painted on metal—but, of
they pioneered what Barbara Shapiro has rightly
Beside the Sea in his Paris studio by selecting a course, the woman no longer faced right but
called “black-and-white Impressionism.”? GTMS
smooth metal plate of copper or steel. Using left, as the printed image was the reverse of the
printer’s ink diluted with spirits, he painted a drawing.
1. For the groundbreaking study of Degas’s work in the
drawing onto the working surface—in this case Degas’s second working method is exempli- medium, see Janis [1968]. For a discussion of the early
the metal plate instead of a sheet of paper. fied by The Path up the Hill (cat. no. 95), which landscape monotypes, see Kendall 1993, 128-32.

Working from memory and imagination, he may have been made slightly later. Taking a 2. Shapiro 1997; 244.

161
 Camille Pissarro
French (born Danish West Indies), 1830-1903

96. CAMILLE PISSARRO

The Quarry at the Hermitage, Pontoise, 1878
Black chalk on blue wove paper
Sheet: 33.7 x 20.7 cm (13% x 8 %.in.)
Gift of Barbara and Burton Stern in memory of
Lillian H. and Bernard E. Stern 1985.348

Q7. CAMILLE PISSARRO

Wooded Landscape at the Hermitage, Pontoise, 1879
Soft-ground etching and aquatint on cream wove
paper, first state
Platemark: 21.6 x 26.7 cm (8% x 10% in.)
Lee M. Friedman Fund 1971.267

98. CAMILLE PISSARRO

Wooded Landscape at the Hermitage, Pontoise, 1879
Soft-ground etching and aquatint on beige laid
paper, fifth state
Platemark: 21.6 x 26.7 cm (8% x 10% in.)
Lee M. Friedman Fund 1971.268

99. CAMILLE PISSARRO

Wooded Landscape at the Hermitage, Pontoise, 1879
Soft-ground etching and aquatint on cream Japanese
paper, sixth state
Platemark: 21.6 x 26.7 cm (8% x 10% in.)
Katherine E. Bullard Fund in memory of Francis
Bullard, Prints, Drawings and Photographs Curator’s
Discretionary Fund, Anonymous gifts, and Gift of
Cornelius C. Vermeule III 1973.176

IOO. CAMILLE PISSARRO

Twilight with Haystacks, 1879
Aquatint with drypoint and etching on cream wove
paper
Platemark: 10.5 x 18.1 cm (4% x 7% in.)
Lee M. Friedman Fund 1974.533

IOI. CAMILLE PISSARRO

Twilight with Haystacks, 1879
Aquatint with drypoint and etching in Prussian blue
on beige laid paper
Platemark: 10.5 x 18.1 cm (4% x 7% in.)
Lee M. Friedman Fund 1983.220 97

162
 When Pissarro moved with his wife, Julie,
his eldest son, Lucien, and a small daughter,
Minette, to the village of Pontoise at the begin-
ning of 1866, he found a distinct geography and
motifs in the area that pleased him greatly: the
markets and fairs in the town itself, the banks
along the river Oise, the fields filled with
orchards, and the hilly terrain of L Hermitage
(an older section of the village). Except for a
short stay in 1869 in nearby Louveciennes,
Pissarro traveled about the area, sketching regu-
larly, until 1870, when he was forced to flee with
his family to England with the outbreak of the
Franco-Prussian War. By the summer of 1872,
however, Pissarro was back in Pontoise, where
he remained for a decade, working with his
favorite motifs. At the same time, he lightened
his palette, trusted his sensations, and for the
most part advocated working outdoors. In con-
junction with his becoming an Impressionist
artist, Pissarro believed that constant drawing
served as both an agreeable activity and an intel-
ligent preparation for painting. More than a
thousand sheets document his drawing cam-
paigns and provide an impressive body of visual
information. Many of them reveal a footpath
bordered by lush vegetation and an intricate
screen of trees, or a hillside that boldly lifts the
horizon line of the composition and frames the
scene.
The Quarry (cat. no. 96) is representative of
Pissarro’s recording of Pontoise’s special topog-
raphy, in this case a niche within an overhang-
ing hillside covered with a stand of leafless
trees. By sketching the scene on a large sheet of
blue paper, the artist conveys a simple, poetic
charm to a particular locale. Pissaro favored
special papers and, in fact, printed many of his
etchings on pages removed from old ledgers.
This composition represents Pissarro’s affection
for drawing, an almost daily occupation, or it
may have served as a study to be worked up
later into a painting.
os)

163
 While Pissarro favored the rural geography Jour et la nuit. To produce them, he first scraped and Pissarro is seen in the small but outstanding
of Pontoise as subject matter, he also main- and polished the printing plate. He then added etching Twilight with Haystacks of 1879 (cat. nos.
tained close ties to artistic circles in Paris. He vis- layers of aquatint and soft-ground lines with too-1or1). A few impressions were printed by a
ited friends regularly and attended Emile Zola’s drypoint accents that mimicked the textured, professional printer in black and white, and even
Thursday night dinners, along with Cézanne and overlaying brushstrokes of a painted prototype without color they convey a powerful effect of
other artists and writers. In the spring of 1879, similar to The Céte des Boeufs at L’Hermitage (fig. tone and light. To produce the painterly print
with the printmaker Félix Bracquemond as artis- 56, p. 219) in its use of an elevated hillside and shown here, for example, Pissarro made creative
tic adviser, Degas invited Pissarro, along with densely worked screen of trees.’ The first state use of the etching, drypoint, and aquatint
Mary Cassatt, to join him in launching a journal of the print (cat. no. 97) established the key processes, with many small touches of acid
of original prints to be called Le Jour et la nuit structural forms: the silhouettes of the houses, brushed directly onto the plate and incorporat-
(Day and night). Pissarro enthusiastically ac- the contour of the Pontoise hillside, and a fig- ed into the image (see cat. no. 100). The artist
quired a new set of skills for the project, becom- ure on the left intersected by a tree trunk. A also chose to suggest a sinking sun on the cop-
ing proficient in working with both copper and small amount of scraping introduced the light, per plate so that the haystacks and the two
zinc plates, and some thirty impressions from cube-shaped homes, and then a screen of bare, small figures on the curving road could cast
about twenty plates testify to this productive thin trees was brushed on the plate with a lift- deep, naturalistic shadows.
period of working with his Parisian colleagues. ground, in which acid and aquatint were the With the unusual intervention of Degas as
As the title of the journal suggests, all three underlying techniques. This unique trial proof printer, other impressions were produced in var-
artists were able to transfer strokes of painted was printed on a heavy paper favored by Degas ious colors that suggest the intense hues found
colors onto etching plates to create, in a small and bears a red stamp on its verso signifying in many of Pissarro’s paintings—brown, red,
format, a distinctive form of black-and-white that it was found in Degas’s studio after his and blue.’ As a group, these color landscapes
Impressionism. death. call to mind Monet’s series of painted haystacks,
Of all the Impressionists, however, it was Pissarro did not stop here, however. The and by special inking, they reflect in small for-
Pissarro who most diligently and successfully fifth state of the print (cat. no. 98) showed the mat the same modification of light and atmos-
translated his pictorial ideas into printed images. artist less reliant on the painting and more phere. It is worth noting, however, that Monet
For the first time in the nineteenth century, the involved with various etching techniques. Here did not attempt his haystack sequence until
etching medium, with all its most creative rami- he has experimented with radically scraping and nearly a decade after Pissarro and Degas had
fications, was explored artistically for its own polishing the gray matrix on the plate, toning completed these distinctive prints.‘ BSS
sake. Its role as a means to reproduce paintings down the distinct tree trunks and removing
was rejected; instead, the intention to fashion 1. See Shapiro 1980, 191-234.
some of the heavy underbrush work in the fore-
impressionistic, painterly images without obvi- ground of the image. The next, final, state (cat. 2. The original painting, Wooded Landscape at the
Hermitage, is now in the collection of the Nelson-Atkins
ous contours or noticeable etched lines was bril- no. 99), professionally printed by Jacques
Museum of Art, Kansas City.
liantly achieved. Pissarro created many unusual Salmon in an edition of fifty, reflects the
3. One example of the landscape, now in the
texture and light effects and a broad range of Impressionist aesthetic of light, color, and tactil- Bibliothéque nationale, was printed on the verso of a
tonal values, all by unconventional means. The ity. No longer dependent upon the painting, wedding invitation dated June 17, 1879 (Paris). An inscrip-
methods used were so inventive, individual, and Pissarro could be more concerned with combin- tion in the margin in Pissarro’s hand states: “printed by
Degas” [imp. par Degas]. Degas and Pissarro were work-
closely blended that they are not easily analyzed. ing textures (in the many different types of
ing closely together at this time, and one can posit that
The most significant feature of Pissarro’s foliage, for example) and with varying the Degas picked up a discarded invitation in his studio and
prints was his innovative commitment to mak- effects of light and shade. The artist felt so used the sheet to print an example in brown.
ing series of impressions that often developed strongly about his efforts with Degas that he 4. Melot 1977, 16.
through progressive stages.' These three states willingly exhibited four states of the Wooded
of the print Wooded Landscape at the Hermitage, Landscape mounted on yellow paper at the fifth
Pontoise (cat. nos. 97—99) are part of such a series Impressionist exhibition in 1880.
and were among Pissarro’s contributions to Le The closest collaboration between Degas

164
 Pierre-Auguste Renoir
French, 1841-1919

Claude Monet
French, 1840-1926

102. PIERRE-AUGUSTE RENOIR

4
[. The Seine at Chatou, 1881
le
Oil on canvas
73.5 X 92.5 cm (28% x 36% in.)
Gift of Arthur Brewster Emmons _ 19.771

103. CLAUDE MONET

Road at La Cavée, Pourville, 1882
Oil on canvas
60.4 X 81.5 cm (23% x 32% in.)
Bequest of Mrs. Susan Mason Loring 24.1755

Renoir's Seine at Chatou and Monet's Road at La

Cavee, Pourville make an intriguing pair. Both
depict the intersection of land and water on
a summer's day, blue skies above and white
clouds proclaiming clement weather. The lush
vegetation that almost fills each canvas is ren-
dered with a flurry of minute brushstrokes. The
colors, while not identical, were chosen from
the midrange of tones—pinks, greens, blues,
and yellows leaning toward the pastel end. It is
the differences between them, however, that
help us to characterize the individual accom-
plishments of each artist.
Painted in April or May 1881, after Renoir’s
return from Algeria and before his second trip
to Italy, The Seine at Chatou (cat. no. 102) places
the viewer among grasses and pink-flowering
trees on the banks of the Seine near Chatou, a
small town about sixteen kilometers (nine and
one half miles) west of Paris and a short dis-
tance north of Bougival. The Seine was a popu-
lar subject for writers, painters, and photogra-
phers alike, who often depicted it as a favored
locus of Parisian and provincial leisure activity.'
This painting, however, is not as much about
people and their activities as it is about the land-
scape, the weather, and the atmosphere, all
bursting with the color and vitality of spring.
Both banks of the river are covered with
lush foliage. Renoir emphasizes the suburban,
rather than rural, character of the locale. The

165
houses on the far bank resemble villas that as if the sun were so bright, the weather so hot, About 1871 Renoir had painted the same
spread along the Seine in the late nineteenth that the whole natural world and everything in location, focusing on some of the villas across
century, and the sailboats are leisure, not work- it was set atremble. So alive is the surface, in the river (fig. 46). A quiet scene, it is character-
ing, craft. The girl or young woman with her fact, that there is no single focal point. The eye ized by bold, loose, and fluid brushstrokes remi-
armful of flowers, likewise, is at leisure. This alternates between the flowering tree at the left niscent of the work of Daubigny. In the earlier
quiet moment in summer is animated solely and the figure at the right, neither one offering painting Renoir was concerned with the water
by the active brushstrokes. Different touches— visual or psychological rest. This, despite the and its reflections and refractions of light,
dabs, interweaving verticals, horizontals, and receding diagonals that posit the figure at their whereas in this later one nature’s fecundity and
diagonals—demarcate to some degree differ- meeting point: the brightest grasses lead to the vitality were his focus.
ent textures and surfaces—sky, water, grasses, figure, whose orange-red hat establishes the Monet, too, painted a picture of nature’s
flowering buds—but, as the art historian John nearer end of a diagonal marked by equally lushness, but his vision is much more ordered
House has noted, there is “no overriding bright orange-red shapes leading to the left end and rational, relying on a favorite device of his,
order.”’ The effect is of sparkle and dazzle, of the far bank. the X shape (cat. no. 103). He had begun to

166
103

experiment with X-shaped compositions as early ably bland containers for the welter of colored
as 1863-64 (see fig. 7 and cat. no. 79). Here, marks. One of the great joys of looking at
almost twenty years later, he has refined the Monet’s paintings is being able to trace the
schema and simultaneously clothed it in an activity of his brush, the various ways in which
active surface pattern of indescribable subtlety. he applied paint, and the many different colors
A grass-tufted path leads between hills to dip of paint he applied. The pastel pinks, mauves,
below, or turn to skirt, a wall of trees. The dark- greens, and blues, so soft that they look as if
er foliage of the trees separates the light-toned they have been wafted onto the canvas, make
regions of foreground grasses and distant water the coarse seaside grasses seem pliant to the
and also denies access to the shore: the path touch, almost silky. If Monet did not arrange his
must lead there, but how? brushstrokes into areas of pattern, as Pissarro
The large, simple triangle shapes and the and Cézanne did, here they are nonetheless
Fig. 46. Pierre-Auguste Renoir, The Seine at Chatou,
about 1871, Art Gallery of Ontario, Toronto. softened rectangle of the foliage serve as suit- more discrete and form defining than Renoir’s.

167
 Claude Monet
French, 1840-1926

Pierre-Auguste Renoir
French, 1841-1919

104. CLAUDE MONET

Seacoast at Trouville, 1881
Oil on canvas
60.7 X 81.4 cm (23% xX 32 in.)
The John Pickering Lyman Collection. Gift of
Miss Theodora Lyman 19.1314

105. CLAUDE MONET

Fisherman’s Cottage on the Cliffs at Varengeville,
1882
Fig. 48. Théodore Rousseau, Oak Trees in the Gorge of
Oil on canvas Apremont, about 1850-52, Musée du Louvre, Paris.
60.5 X 81.5 cm (23% x 32% in.)
Fig. 47. Claude Monet, The Sheltered Path, 1873, Bequest of Anna Perkins Rogers 21.1331
Philadelphia Museum of Art.
sion into the distance. Such an abstract field
106. PIERRE-AUGUSTE RENOIR
behind the tree deprives it of volume, so that it
Rocky Crags at L’Estaque, 1882
reads as a flat pattern on the surface. This pat-
Oil on canvas
Where Renoir offers a vision of bursting life, tern is so dominant that its outline determines
66.5 X 81 cm (26% x 31% in.)
Monet gives us nature submitted to an idea. the shapes of other forms in the painting. Not
Juliana Cheney Edwards Collection 39.678
Despite the uncertain continuance of only do the low blue bushes that extend from
Monet’s path, this is a welcoming, pleasant one edge of the canvas to the other echo the
107. PIERRE-AUGUSTE RENOIR
place. The path nestles between two soft general form of the tree’s foliage, but the very
Landscape on the Coast, near Menton, 1883
mounds. In the Western tradition, landforms ground answers the bending motion in low
Oil on canvas
are often discussed in sensuous terms in relation hillocks parallel or related to the tree’s angle.
65.8 x 81.3 cm (25% x 32 in.)
to the human body. The topos of Mother Earth Although the tree’s form is dominant and deter-
Bequest of John T. Spaulding 48.596
is evoked, and the import can be nurturing, or mines so many other shapes in the painting, the
sexual, or both. By this date Monet’s paintings tree in itself is almost ephemeral, for it is barely
The essential difference between the art of
only rarely included the human figure. If one rooted in the soil. The wind on the English
Renoir and Monet seen in The Seine at Chatou
were present here, as in the much more Channel coast is so strong that it seems to be
(cat. no. 102) and Road at La Cavée, Pourville
straightforward Sheltered Path of 1873 (fig. 47), able to pry tree roots from the ground, and this
(cat. no. 103)—overall lushness versus geome-
the scene would take on an anecdotal air, and tree looks as if it is about to be blown away.
try—is even more apparent in this grouping of
the force of the geometry and suggestiveness of two paintings by each artist. Painted within The painting is thus an exercise in pattern
the landforms would be diminished. Without a making rather than a naturalistic description of
only a few years of each other, Monet’s paint-
figure, Road at La Cavée, Pourville invites,
ings were done on his beloved Normandy a place. What is lacking here—because Monet
seduces, comforts, and promises, on an optical coast, whereas Renoir’s show him exploring had no intention of including it—is the person-
as well as an animal level, the component parts completely new terrain at the other end of ality and even sentimentality that an earlier
of which are impossible to disentangle. FEW France—the Mediterranean. artist such as Théodore Rousseau invested in his
In Monet’s Seacoast at Trouville (cat. no. 104) portraits of isolated trees (fig. 48).' Rousseau
1. See Brettell 19906.
the central motif is a single tree, deformed by made heroes of his trees. They become massive,
2. House et al. 1995, 260, cat. no. 98.
the constant buffeting of onshore winds. The overwhelming presences, reducing to insignifi-
artist has focused so intently on it that the rest cance the humans or animals taking shelter
of the canvas serves as a mere backdrop. under their spreading branches. The other
Because the horizon line is effaced in a haze of forms in the landscape—trees, cows, and peo-
creamy blue strokes, there is no sense of reces- ple—appear very small, as if seen from a great

168
104

169
distance, the distance being determined by how
far back the artist had to go in order to see all of
the central trees. As naturalistic as Rousseau’s
scene is, in its careful description of light, shadow,
and plants, it is informed by the artist’s awestruck
wonder in the face of nature’s majesty. No such
humility underpins Monet’s picture. He sees natu-
ral forms as a starting point, elements to be ma-
nipulated to serve optical and pictorial ends. The
artist’s will, not the natural world, is primary.
Monet was a restless man. Summertime often
drew him to the English Channel coast, and in
1881 and 1882 he explored the area around Dieppe,
situated about ninety-six kilometers (fifty-eight
miles) along the coast east of Le Havre. He liked
Pourville and Varengeville, west of Dieppe, be-
cause they were smaller and less pretentious and,
most important, their cliffs offered more com-
pelling motifs.’ It is impossible to know whether
the motifs Monet painted were in one or the
other town—what mattered was his confronta-
tion with nature, not the built environment.
Still, it is sometimes useful to give focus to a
scene. For this purpose, Monet particularly liked
the stone cabins that had been built during the of high-summer vegetation is created with layers Ruel. Monet and his dealer found that these
Napoleonic era as posts from which to observe of brushstrokes—myriad greens, salmons, blues, pictures sold easily, especially after the success
coastal traffic. In Monet’s day they were used by and turquoises—so complex that Monet could of similar subjects at the seventh Impressionist
fishermen for storage. The door and flanking win- not have completed the canvas on site but must group exhibition, in March 1882.
dows anthropomorphize the building in Fisher- have taken it back to the studio. The vegetation Rocky Crags at L’Estaque (cat. no. 106) docu-
man’s Cottage on the Cliffs at Varengeville (cat. no. is enlivened and simultaneously grounded and ments an important point in the development
105), giving it a nose and two eyes. In this sunny brought forward by the red of the poppies, the of Renoir’s art. At the end of the 1870s, Renoir,
picture (Monet was in the Dieppe area from mid- only plant species at which one can guess. The along with his independent-minded colleagues,
June to early October) the cottage turns into a lush vegetation offers no purchase for the eye, was becoming dissatisfied with the techniques
teasing redhead, playing a game of hide-and-seek. so we look out to the water, where our vision of Impressionism.’ Looking for greater composi-
We may see the cottage, but we cannot reach is directed to the horizon by the diagonal line tional structure, and realizing that firm outlines
it, for there is no path. Indeed, all we can do is formed by three of the boats. In contrast to the were not anathema to him, he went to Italy
admire the view out to sea (on which the cottage flickering brushwork of the vegetation, the sails in October 188r. “I am in a fever to see the
seems to turn its back). The channel, dotted with are made of comparatively large strokes of Raphaels,” he wrote.’ A few months later, in
recreational yachts, sparkles in the distance. The creamy white paint that lies flat on the canvas, mid-January 1882, he was with Cézanne at
cottage, especially its roof, is given an orange thwarting to some extent the expected sense of L’Estaque, west of Marseilles. There they
hue, which it may truly have possessed but which recession. A complicated painting, Fisherman’s worked together. In a letter, he described his
makes a striking complementary contrast with Cottage on the Cliffs at Varengeville was made for excitement at experiencing the strong sun of
the blue of the water on the horizon. The tangle the market, specifically for the dealer Durand- southern France:

I7I
 to a naturalistic vision by making the brush fol-
low the contours of the forms depicted. Here,
in the areas of most active brushwork, we
observe Renoir “not bothering any more with
the small details.” In this “perpetual sunshine,”
Renoir painted how the sun obliterates details in
a way that he did not see in the moister air of
the environs of Paris. Still, underlying the trees
and grasses exploded into tiny, regular strokes is
a firm sense of geology, of how the flatlands
rise gently to the grassy hillside and how the
hillside abruptly meets the towering crags.
Renoir’s vision of these rocks is easier to
understand than Cézanne’s version of a similar
scene (fig. 49). Cézanne’s forms are more
schematic, less naturalistic; his palette is less
varied, less ingratiating. The blue of his sky is
deeper, more insistent. Yet Cézanne’s influence

Iam in the process of learning a lot... . I

is palpable in Renoir’s painting, from the con-
have perpetual sunshine and I can scrape off centration devoted to a small slice of nature to
and begin again as much as I like. This is the the patient building-block approach to painting.
only way to learn, and in Paris one is obliged Later landscapes by Renoir do not have so firm
to be satisfied with little . . . am staying in a structure, nor so keen an appreciation for the
the sun... while warming myself and solidity of the earth.
observing a great deal, I shall, I believe, have Renoir returned to southern France when
acquired the simplicity and grandeur of the he and Monet traveled together on the Riviera
ancient painters. . . . Thus as a result of see- coast from Marseille to Genoa in the last two
ing the out-of-doors, I have ended up by not
weeks of December 1883. In Landscape on the
bothering any more with the small details
Coast, near Menton (cat. no. 107), painted at that
that extinguish rather than kindle the sun.’
time, Renoir’s long, fluid brushstrokes in mid-
Rocky Crags at L’Estaque testifies to what to-dark greens are analogues for the individual
Renoir was learning. Painted in bold strokes of leaves and blades of grass set in motion by the
creamy white, the rocks are given form by the wind, just as the yellow-green color used
intervening ochers and greens of vegetation. throughout represents the hot southern sun.
Set off against the brilliant blue of the sky, the To give visual snap to the picture, he used the
whites advance visually and constitute the most chromatic complementaries of dark red and
solid part of the picture. And, because this is green (as well as smaller touches of blue and
Renoir painting, not Cézanne, the rocks are ren- orange), a technique he could have borrowed
Fig. 49. Paul Cézanne, Bottom of the Ravine, about 1879, dered with caressing brushstrokes and are mod- from the colorful canvases of Eugéne Delacroix,
The Museum of Fine Arts, Houston. ulated with clefts and vegetation. They are an artist he greatly admired. This time in the
simultaneously firm and lush. The grassy lower South of France, with Monet rather than with
slopes and the trees are painted with compara- Cézanne, Renoir seems to have been somewhat
tively small, parallel strokes, a technique Renoir less interested in the structure of his painting;
was learning from Cézanne, although he clings certainly, compared with Rocky Crags at L’Estaque

172
107

the recession into depth in Landscape on the Coast, well enough the differences between the sensi- that humans are part of the landscape. Renoir
near Menton is less clearly delineated. The move- bilities of the two artists. Monet’s large brush- has painted his view in such a way that it allows
ment of foliage, light, and water overwhelmed strokes, among the loosest he would use on any us into the scene, and once we are there, it pro-
all other considerations, with the result that the of his trips to the Mediterranean, flatten vol- vides the sensory pleasures of heat and moving
viewer can imagine the feel of hot air and wind umes so that they appear as patterns on the sur- air. Renoir was concerned with aspects of pic-
ruffling hair and clothes. face. This is particularly true where the trees ture making, to be sure, but he was also con-
In this insistence on movement and air, at the left form a kind of window onto the cerned with the human element in his art, even
Renoir’s view of the Mediterranean coast stands mountains. The view to the right shows clearly when it is not overtly expressed. FEW
in sharp contrast to Monet’s, as evidenced by that the mountains are at a distance, yet the 1. Tinterow and Loyrette 1994, 71, 73.
Monet's 1884 painting of the same region (fig. abstracted brushstrokes through the aperture 2. Herbert 1994, 44.
13). Although Monet's Cap Martin, near Menton read like a backdrop, compressing the interven- 3. Isaacson 1980.
was painted, not on the trip with Renoir, but on ing space to nothing. In Renoir’s view, in con- 4. Quoted in Hayward Gallery 1985, 300.
Monet’s next trip to the South, which he made trast, the distance reads as distance. In addition, 5. Renoir to Mme Charpentier, quoted in Florisoone
alone beginning the following month, it shows Landscape on the Coast, near Menton acknowledges 1938b, 36, translated in Rewald 1973a, 463-64.

173
 Paul Cézanne Francgois-Louis Francais
French, 1839-1906 French, 1814-1897

Jean Charles Cazin

French, 1841-1901

108. PAUL CEZANNE so these people are not on a picnic, yet the man
The Pond, about 1877-79 at the left makes a half-hearted attempt to fish.
Oil on canvas This unsatisfactory attempt to read a story
47 X 56.2 cm (18% x 22% in.) into the painting demonstrates how beside the
Tompkins Collection 48.244 point such a narrative is. Cézanne was certainly
capable of painting a story, as Picnic on a River
IO9. JEAN CHARLES CAZIN (fig. 50) demonstrates. There the woman is in a
Riverbank with Bathers, about 1882 prettier dress and has brought a parasol and a
Oil on canvas straw hat trimmed with a black ribbon. The
131.2 X 147 cm (51% X 57% in.) sleeping figure is more realistically portrayed
Peter Chardon Brooks Memorial Collection; (his body actually takes up space, rather than
Gift of Mrs. Richard M. Saltonstall 20.593 simply tracing a two-dimensional pattern on the
Fig. 50. Paul Cézanne, Picnic on a River, about 1872-75,
Yale University Art Gallery, New Haven, Connecticut. grass), and a wine bottle in the lower right may
I1O. FRANCOIS-LOUIS FRANGAIS explain the cause of the nap. Three of the four
Morning on the Banks of the Sevre at Clisson, 1884 people are clustered together, as if sharing a
Watercolor over graphite pencil on cream wove came to know Pissarro, who introduced him to common purpose. Mary Tompkins Lewis has
paper painting outdoors and a new way of applying explained how paintings such as Picnic on a River
Sheet: 48 x 60 cm (18% x 23% in.) paint, as well as to Monet, Renoir, and others. derive from eighteenth-century fétes galantes in
Bequest of Mrs. Arthur Croft 01.6233 After 1864 Cézanne would divide his time the manner of Antoine Watteau.’
between Paris and Aix. Thanks to his prosper- Although vestiges of a Provencal rococo
Paintings of rivers, their banks, and the activi- ous family, he was able to devote himself to his revival may remain in The Pond,’ Cézanne’s
ties that took place on and near them were a art. Cézanne’s early paintings are marked by brushstrokes here have moved beyond descrip-
staple of landscape art in France. Rivers were romantic, violent, and erotic themes and a deep tion or a careful delineation of form to become
essential routes of transport, and both larger regard for the old masters. Although Cézanne almost independent marks. From early 1872
and smaller streams offered city dwellers wel- showed with the independent artists in 1874 and until the spring of 1874, Cézanne, under
come respite from the heat and dust of sum- 1877, his vision of structure and solidity was at Pissarro’s watchful eye, stayed in Auvers and
mer. People who lived in more rural areas also odds with theirs of sensuousness and spontane- began to paint outdoors. He used lighter and
appreciated the cleansing and soothing proper- ity. He withdrew physically and artistically, liv- brighter colors and adopted Pissarro’s technique
ties of water, as is demonstrated in these three ing in Aix and no longer showing his work. of placing small strokes of pure color next to
depictions of water meeting land. Only in 1895 did Ambroise Vollard hold an exhi- each other. Cézanne’s version of the broken
Cézanne’s Pond (cat. no. 108) dates from bition of Cézanne’s paintings in Paris, an event brushstroke—patches of parallel strokes, here
the end of the 1870s, when he was beginning that introduced Cézanne’s work to a new gen- predominantly blue and green—calls attention
to formulate his distinctive parallel brushstroke. eration of young artists. to itself and hence to the fiction of the scene,
In the late 1850s Cézanne studied law for three In The Pond six people—two couples and not only to the fiction of the one depicted but,
years in his native Aix; at the same time, how- two men by themselves—relax by the side of a with its awkward and confusing passages and
ever, he took lessons in the free municipal draw- pond or river. It is an enigmatic scene. The cou- inconsistencies in scale, to the fiction of any
ing school. His father finally relented and ple at the far left appears to have come from painted space. The Pond allows us to see
allowed him to go to Paris in the summer the city; the woman’s square-necked, puff Cézanne trying to meld a newly learned tech-
of 1861, but he was soon unhappy there and sleeved blue dress and the man’s light-colored nique with traditional iconography and realiz-
returned home, where he worked in his father’s top hat and jacket contrast with the simpler ing that the technique is more important to him
bank. Restless, he was back in Paris in 1862, clothes worn by the others, setting them apart. than the story.
enrolled again at the Académie suisse, and One man naps as if lost to exhaustion; another, Jean Charles Cazin was of an entirely differ-
showed in the Salon des Refusés of 1863. He in a straw hat, sits in a boat. No food is present, ent artistic temperament. He studied under
175
Horace Lecog de Boisbaudran at the Ecole des to Italy and Holland. In 1872 he sketched with draftsman. Cazin debuted at the Salon of 1876
arts décoratifs in Paris. His early training was as Daubigny and Monet in Holland—a formative and also exhibited at the Salon of 1879. He took
a draftsman for prints, architectural projects, experience that made him decide to devote his part in the Expositions Universelles of 1889 and
and designs for porcelain and other ceramics. In efforts to painting. Returning to France in 1875, 1900 in Paris, where he received a gold medal
1886 he became a professor of drawing at the he settled in Equihen, Picardy, on the coast of and grand prize respectively. He was named
Ecole d’architecture as well as director of the the English Channel. He painted history paint- knight of the Legion of Honor in 1882 and offi-
Ecole des Beaux-Arts in Tours and curator of ings until about 1888, when he turned to purer cer in 1889. Although critics and Salon judges
the Musée du Tours. Like many other artists, landscapes. His works were highly acclaimed for praised his history paintings, it was his land-
he fled to England in 1871 during the Franco- the science and precision of their execution, no scapes that were most popular with collectors.
Prussian War. Between 1871 and 1875 he traveled doubt a result of his early experiences as a Cazin’s history paintings were mainly sub-
jects drawn from the Bible, with the figures
appearing in contemporary dress. This practice
may explain why his Riverbank with Bathers (cat.
no. 109) was given the title Pharaoh’s Daughter
Bathing in the Nile when it was exhibited at
Copley Hall in Boston in 1897. Riverbank with
Bathers is a curious amalgam of ideal nudes (the
standing one is haloed in blue), naturalistic set-
ting, and a bizarre pairing of an inquisitive dog
and a woman carrying a tray of glasses and bis-
cuits. (The ghostly boatman in the river had
been painted over but increasingly can be seen
as the upper layers of paint become more trans-
lucent.) The woman and dog—she dressed in
vaguely East Asian garb, the dog, elegant of
line—introduce a note of avant-garde aestheti-
cism hard to explain on the banks of a river in
rural France. Yet such incongruities fade before
an appreciation of the suavity of paint handling
that so successfully evokes the end of day.
The mixture of traditional subject matter—
nudes bathing (see Valenciennes’s version, cat.
no. 1)—and somewhat progressive paint han-
dling made Cazin’s pictures very popular; this
work was in Boston by 1890. It received an
enthusiastic endorsement from the critic
Theodore Child in Harper’s New Monthly
of gray, green, and rose, this picture is a lenge of showing sunlight intensified by its
complete and definitive vision of evening reflection off water filtering through leaves.
Magazine in May 1890:
calm at the river-side, familiar, and yet grave Backlit, some leaves are turned into silhouettes;
“La Marne” [the title under which the paint- and impressive, for the hour has something others are made translucent. Beams of light that
ing was exhibited in the Exposition Uni- of melancholy in it.’
have broken through the foliage sit as white
verselle in 1889] is a late evening effect. The
Francois-Louis Francais’s Morning on the flecks on inner leaves and the grass. The color
sunset is lost in a dark haze below the hori-
Banks of the Sevre at Clisson (cat. no. 110) records harmonies of blue and green suggest the cool-
zon, while the vault of heaven is still illu-
another moment of leisure at water's edge. ness of the riverbank, and the whites and yel-
mined with vertical rose-colored rays. There
Whereas Monet, Renoir, and Sisley painted lows foretell the coming heat of afternoon. FEW
is a bridge, a lock, the bank lined with trees,
rivers around Paris, Francais chose his motifs
and beyond them the mass of cottages,
1. Lewis 1989, 88-112.
above which rise the finer houses of the away from the capital. The Sévre River is in
western France, emptying into the Loire at 2. The painting was given the title Scéne champétre in the
wealthy. The river, calm and vitreous, reflects list of Gustave Caillebotte’s paintings that were be-
with intensity the mirage of the landscape Nantes. In this watercolor, a young woman in queathed to the French state at his death in 1894. It did
and sky, while in the foreground are figures blue looks up and twists around; perhaps the not go to the state, either because it was refused or
because the family retained it. See Poulet and Murphy
of female bathers and of a handmaiden car- bird flying to shore made a noise that startled 1979, 85, Cat. nO. 43.
rying refreshments on a tray. The nude fig- her. Francais was as adept in watercolors as in 3. Child 1890, 828.
ures are exquisite in silhouette and in uncon- oils (see cat. no. 74) in the convincing portrayal
sciousness of pose. In its splendid harmony of light effects. Here he has taken on the chal-

177
 Claude Monet
French, 1840-1926

III. CLAUDE MONET

Poppy Field in a Hollow near Giverny, 1885
Oil on canvas
65.2 X 81.2 cm (25% x 32 in.)
Juliana Cheney Edwards Collection 25.106

TI2. CLAUDE MONET

Meadow with Haystacks near Giverny, 1885
Oil on canvas
74 X 93.5 CM (29 % X 36% in.)
Bequest of Arthur Tracy Cabot 42.541

113. CLAUDE MONET

Meadow at Giverny, 1886
Oil on canvas
92 X 81.5 cm (36% xX 32% in.)
Juliana Cheney Edwards Collection 39.670

Monet moved to Giverny, a hamlet between Paris

and Rouen, in April 1883. The countryside in that
part of Normandy is tame and rolling, having
been smoothed and shaped by the Seine. There
Monet found a combination of motifs, light, and
foliage that provided him with seemingly endless m2

ideas for paintings. In Meadow with Haystacks near

Giverny (cat. no. 112), a painting of primarily blue, Texture, too, is seen as an integral compo- dent that Monet went to the meadow accom-
green, and violet hues, the eye is drawn to the nent of color and light. Blues, greens, oranges, panied not only by a professional colleague,
lighter and brighter streaks of yellow. These rep- and yellows appear haphazardly scattered on Sargent, but also by a woman, variously identi-
resent sunlight that has broken through the trees the ground to simulate the effect of light fied as Blanche or Suzanne Hoschedé, the
on the right, trees that glow from within with bouncing off the unevenness of the cut stubble; daughter of Monet’s companion, Alice. The trio
captured light. Color and light had always been in fact, close observation reveals a careful may have brought a picnic lunch, so domestic
Monet’s primary interests; at Giverny in the mid- manipulation of paint to create texture that is does Sargent’s scene appear, with the woman
1880s, he began to give himself up entirely to then colored with more strokes of paint—a absorbed in needlework or a book. Monet's let-
their exploration. This could well be the same painstaking rather than spontaneous process.' ters written in the summer of 1885 describe his
meadow of Meadow at Giverny (cat. no. 113), but Texture of a different kind can be seen in the progress on this painting from late June to late
here the view takes in haystacks, which have diagonal brushstrokes that unify the upper half August,’ proof that it was not the result of a
turned pink in the late afternoon light. Not an of the painting, moving from the blue-green single campaign. The sense of companionship
untended expanse filled with wildflowers, the foliage through the smoother creamy white sky. evinced by Sargent’s painting—although the
land is put to human and animal use. But Monet Monet wanted the public to believe that his painters do not face one another, each was
is more interested in the haystacks for their for- paintings represented solitary confrontations aware of the other—makes the intellectual, for-
mal properties, and he has carefully cropped the with nature. A painting by the American artist mal, and aesthetic rigor of Monet’s work all the
one farthest to the left and aligned it with two John Singer Sargent, however, proves that this more impressive.
others in a diagonal recession. was not always the case (fig. 23, p. 45). It is evi- Poppy Field in a Hollow near Giverny (cat. no.

179
111) looks as if it depicts a crop, for the concen- metric shape proclaims the two-dimensionality face. These bands—the meadow itself—are a hyp-
tration of the red color suggests that the flowers of the picture plane. The eye is drawn to the notic field of carefully planned strokes. Blues and
had been sown in a trapezoidal shape. Indeed, flurry of red brushstrokes, made with discrete lavenders are layered on top of greens and spill
in some paintings by Monet, poppies appear jabs of the brush. It gratefully escapes from the over onto hotter yellows. The darker bands, we
in wheat fields so thickly that they color the hot busyness of the poppies to the coolness sur- come to realize, are to be read as shadows of
whole, as in Field of Poppies at the Art Institute rounding them on three sides, but it is an escape trees. Thus the cooler lavenders and blues are
of Chicago. There the flower is an interloper, into unknown territory. Once drawn into the shadows, not springtime flowers. The pink-mauve
taking up space where wheat could grow, reduc- picture by the red carpet, the viewer can go no color of the trees—poplars can be inferred from
ing the farmer's yield,’ but here the flower farther. What had seemed an inviting hollow the long, thin shadows—betokens autumn foliage.
seems to be on its own. Yet Monet’s concern is dissolves into amorphousness with no comfort- Colors are placed one on top of another, creating
not to record agricultural practices but to make able purchase on the real world.’ Fully three- a built-up, crusty surface in the foreground and a
a painting. quarters of the picture is painted with long wispy, tracerylike effect against the sky. The paint-
The fields around Giverny, whether filled brushstrokes, vertical in the lateral triangles, ing is evidently the result not of a single outing
or gloriously empty, were so familiar to Monet horizontal and diagonal in the hillside. The eye but of a premeditated, thought-out campaign.°
that he could use the forms he found there to slips along, having been given nothing for which Meadow at Giverny does not have an obvious
experiment with the basics of picture making. to stop. Salmon hues on the upper slopes make focal point: no figure, structure, or natural feature
As the art historian John House has explained, the eye circle back to the carpet of red at the attracts the viewer’s attention. The high-keyed
“The simple formal structure of the subject bottom, where the circuit starts again. At first palette and, especially, the insistence on pattern
becomes just an armature for the elaboration of glance, the symmetrical geometry of Poppy Field further contribute to our sense of it as a decora-
the surface; by inflexions of brushwork and gra- in a Hollow near Giverny promises calm and sta- tive painting, in the best sense of the term—as a
dations of colour Monet could define the space sis. Yet with restless brushwork and optical work concerned, above all, with the very qualities
and articulate the surface while bypassing com- excitement caused by complementary colors, of color and pattern. It is also a painting of loneli-
position in its traditional sense.”* Here, the Monet moves the act of painting away from a ness. The tree just left of center in the back-
wider end of the rich carpet of poppies seems realist approach, with its goal of representing ground frees itself from its neighbors. Were the
to propel the viewer into the space. In the mid- the seen world, toward manipulation of the pic- tree a human figure, it could be described as dis-
dle ground a bowl-shaped valley rises smoothly ture surface for optical and aesthetic effect. playing itself against the sky in a gesture of defi-
from the center to the top of the hills, seven- In Meadow at Giverny (cat. no. 113) horizon- ance or triumph. A tree is nota human being, of
eighths of the way up the canvas, leaving space tal bands of color undulate across the vertical course, yet the temptation to read the one for the
at the top for only a narrow strip of sky. Hillside canvas—purplish green alternating with green- other is strong. This tree is isolated, mirroring the
and poppies form a symmetrical chalicelike ish yellow in the lower half, and pinkish yellow position of the viewer looking at this deserted, if
shape, the curved hillside resting on the stable and pinkish white in the upper half. Two verti- colorful, meadow. FEW
base of poppies. cal elements—trees—interrupt the gentle
This simple description belies the complex- waves. It is difficult to describe adequately a 1. Herbert 1979, 92, 94, figs. 1-2, and passim.

ity and even ambiguity of the painting. As evi- painting of such visual complexity and sophisti- 2. Wildenstein 1974-91, 2: letters 578 and 581. The date of
Sargent’s painting, much discussed in the literature on the
denced by the curved top edges of the triangles cation. A connection to the observed world is
artist, was first conclusively given as 1885 in Simpson 1993,
on either side—green, ocher, and pink on the offered by the trees that break free of the pris- 1:314-16.
left and pale greens on the right—and the area matic waves, mimicking the human posture, 3. Brettell et al. 1984, 260, cat. no. 103.
at the top of the poppies joining them, the bowl and by the horizon line, the break between
4. House 1986, 54.
shape is meant to be read as continuing into the meadow and farther trees, which is placed rela-
5. Thanks for this observation go to Nicole R. Myers,
foreground. But any contour of land is negated. tively high on the picture plane. This high place- research assistant, Department of Art of Europe, Museum
As the trapezoid establishes depth and move- ment frustrates the attempt to read the picture of Fine Arts, Boston.
ment into space, it simultaneously fights with as a naturalistic scene with recession into depth, 6. For an analytical explanation of Monet's method, see
what it has created. So much red-orange in one for it tips up the picture plane and forces us to Herbert 1979, 90-108.

place has a flattening effect. Rising up, the geo- read the colored bands as adhering to the sur-

180
113

181
 Paul Cézanne
French, 1839-1906

Paul Gauguin
French, 1848-1903

II4. PAUL CEZANNE Turn in the Road shows just what its title early work by a stockbroker-turned-painter.
Turn in the Road, about 1881 says, an unpaved road in the country, curving Before Gauguin worked in a bank in Paris, he
Oil on canvas along a wall behind which are clustered the spent four years in Lima, Peru, with his mother’s
60.5 X 73.5 cm (23% X 28% in.) houses of a village, probably Valhermay, family and six years as a sailor, putting in at
Bequest of John T. Spaulding 48.525 between Auvers and Pontoise.? Cézanne took ports around the world. While a stockbroker,
nothing on faith. Intuitively, the artist knew that he began to collect Impressionist paintings and
II5. PAUL GAUGUIN the road stayed the same width in the course began to paint, exhibiting with the independent
Entrance to the Village of Osny, 1883 of its curve; empirically, he did not, and so he painters in 1879, 1880, 1881, and 1882. The col-
Oil on canvas painted what he saw, the road disappearing as lapse of the stock market in 1883 cost him his
60 X 72.6 cm (23% x 28% in.) it made the bend. Likewise, Cézanne made no job, and, despite the responsibilities of his grow-
Bequest of John T. Spaulding 48.545 attempt to rationalize the houses behind the ing family, he turned to painting full-time, sell-
wall. No pattern of roads or even passageways ing his collection to make a living.
When Sisley and Monet painted roads leading can be read from the jumble of roofs and walls. From June 15 to July 5, 1883, Gauguin visited
into villages (see cat. nos. 80, 88-89), their pic- What, for example, is happening behind the Pissarro in Osny, a village on the northwestern
tures included an attainable goal; the viewer can three taller trees to the right? Space is flattened edge of Pontoise, and it is likely that this paint-
imagine reaching the comfort and amenities of so that the wall surface with windows and a ing was at least started and perhaps even fin-
the village in question. Their essentially rational door is in a continuous plane with the wall that ished at that time. The painting was found
way of constructing a painting betrays roots in belongs to the ocher roof second from the right, among Pissarro’s effects after his death, when
the naturalistic, realistic mode: even in the obvi- but our experience of the world tells us that that the dealer Durand-Ruel bought some canvases
ous picture- and pattern-making of Monet's cannot be so. Such inconsistencies did not trou- from Madame Pissarro. Durand-Ruel explained
Entrance to the Village of Vétheuil in Winter (cat. ble Cézanne. His colors, bereft of “previous to John T. Spaulding, the donor of the picture to
no. 89), for example, there is still the sense that memories,” make up a world seen afresh. the Museum of Fine Arts, Boston, that among
the observed world is the basis of the painterly Cézanne’s world, as lush and verdant as it is, them was “one that was unsigned which we
creation. nonetheless seems a deserted and somewhat for- knew was not by Pissarro but resembled a cross
With Cézanne and Gauguin, one senses a bidding place. We are to look at this village but between Pissarro and Guillaumin.”? Madame
loosening of the bonds to reality. In Cézanne’s not enter it. The tree trunks in the foreground Pissarro made the identification. It is not surpris-
Turn in the Road (cat. no. 114), the viewer's expec- form a screen, through which we gain only a ing that the sophisticated dealer Durand-Ruel
tation that the road would lead to the town are partial view of the village. The wall keeps us did not recognize this work as one by Gauguin,
thwarted. Cézanne painted a picture; he did not out, and even if we were to hop over it, only because the artist himself was very reluctant to
transcribe the visible world in a necessarily objec- one house has a door. There are no people acknowledge his early works.* While Pissarro
tive manner. His intent was understood by the with whom to identify. Rilke understood that was still in Pontoise, in the summer of 1881,
German poet Rainer Maria Rilke. Rilke noted Cézanne sought to represent the physical world Cézanne (who lived there at the time), Gauguin,
that Cézanne’s work as a painter “purely by means of color.” Rilke’s perception— and Armand Guillaumin all visited him.
so... reduced a reality to its color content that Cézanne found chromatic equivalents for Gauguin, as the most inexperienced of the
that it resumed a new existence in a beyond of the phenomenal world—succinctly explains the group and an amateur (he was still employed by
color, without any previous memories. .. . painter’s approach to his art. Turn in the Road a bank), could easily have absorbed techniques
[People] accept, without realizing it, that he first startles and then seduces with its color, its from the other artists.
represented apples, onions, and oranges purely white houses, its tawny road, and its brilliant and Entrance to the Village of Osny shows a road
by means of color (which they still regard as nuanced greens. plunging into the village, which, like Van Gogh’s
a subordinate means of painterly expression), Gauguin’s Entrance to the Village of Osny (cat. Houses at Auvers (cat. no. 130), is a mix of tile-
but as soon as he turns to landscape they start no. 115) is not as radical as Cézanne’s vision nor and thatch-roofed houses. Tilled fields cover the
missing the interpretation, the judgment, the
as abstracted as his own work would become slopes of the surrounding hills. The subject, a
superiority.’
within just a few years. It is, after all, a relatively farming village with no discernible narrative, is

182
183
very much like those Pissarro favored. The treat- on others’ art (Guillaumin’s brash color, thatched roof almost like a flame, the skinny
ment, however, is not. Gauguin used a rough Pissarro’s small, rhythmic brushstrokes), this poplar to right of center, and the mass of green-
canvas, which he did not cover completely with painting by Gauguin nonetheless contains cer- ery at the right edge. These verticals, in concert
paint, evidently because he liked the resulting tain marks of bravado, including the unwilling- with the strong horizontal of the hillcrest, keep
uneven effect. The road, which stretches the full ness to create a legible space. The pinkish the color patches in check and presage Gauguin’s
width of the canvas, peters out; it is not clear thatched roof jumps out from the overall dark extreme pattern-making in his later works. FEW
where the figures are going. With no goal, the green—brown and blue palette. The pink color
eye lifts to the jumble of roofs, where there is no brings out the other pinks and purples scattered 1. Rilke 1985, 46.

order or design; so, too, with the fields and line throughout, colors Gauguin would use almost 2. See Brettell et al. 1984, 194, 200, cat. no. 72.

of boundary trees. Gauguin’s patches of color as signature hues in his paintings of the South 3. Durand-Ruel to Spaulding, January 9, 1933, in the

do not read as the equivalents of elements in Seas. The road is a bold stroke—a wide swath Department of Art of Europe’s curatorial object file for
MFA 48.545, Museum of Fine Arts, Boston.
the natural world. of many colors. A rhythm across the canvas is
4. Stuckey 1988.
Despite its hesitancies and its dependence established by the chimney rising from the

184
 Camille Pissarro
French (born Danish West Indies),
1830-1903

ot

Fig. 51. Camille Pissarro, Standing Peasant Girl, about

1884, black chalk and watercolor, Whitworth Art
Gallery, Manchester, England.

116

I16. CAMILLE PISSARRO large garden, the river Epte, surrounding mead- in Eragny and represents a local view in which
Turkey Girl, 1884 ows, tree-covered hills, and an appealing village a tranquil field leads to a broad horizon punctu-
Tempera on paper provided Pissarro with much subject matter and ated by a distinct church spire. Its subject, how-
81 X 65.5 cm (31% X 25% in.) inspired him to produce over a period of nearly ever, draws on Jean-Francois Millet’s repertoire
Juliana Cheney Edwards Collection 39.673 twenty years more than two hundred paintings, of young peasant women standing by a tree,
hundreds of drawings and watercolors, many watching over sheep or poultry (cat. nos. 53-54).
A growing family and the need for more spa- pastels, and at least one hundred and fifty prints. Although Pissarro often referred to Millet as
cious accommodations forced Pissarro to move Pissarro’s Eragny compositions are mostly of “too biblical;” or moralistic, for his tastes, he
in the spring of 1884 to Eragny-sur-Epte, a small female workers at their labors; they do not was respectful and admiring of the artist’s work;
village close to Gisors and two hours from include the wooded landscapes, steep hillsides, indeed, Turkey Girl echoes Millet’s style and
Paris. In choosing a new location, he was also and winding paths that he had found so appeal- technique. The columnar quality of the
motivated by the constant desire to find inter- ing in Pontoise (cat. nos. 96-101). guardian is reinforced by the tree trunk, and
esting motifs—these he discovered in Eragny. A Turkey Girl of 1884 was most likely created in Pissarro’s composition, the solemn setting is

185
 Mary Cassatt
American (worked in France), 1844-1926

Camille Pissarro
French (born Danish West Indies),
1830—1903

offset by a lively gaggle of turkeys that peck for II7. MARY CASSATT theme of mother and child, which had been
food. Pissarro’s attitude toward rural life, that Gathering Fruit, about 1893 treated with affection by the Japanese artist,
“there is joy in agricultural labor,” is demon- Color drypoint and aquatint printed from three however, she abandoned the woodcut technique
strated in this fresh composition and is represen- plates on cream laid paper of the Japanese craftsmen and adopted the
tative of his views concerning the harmony of Platemark: 42 x 29.8 cm (16 % x 11% in.) intaglio techniques of drypoint and aquatint
rural communities. Gift of William Emerson and The Hayden for her color prints.
Pissarro also made a black chalk study Collection, Charles Henry Hayden Fund 41.813 Pissarro had the opportunity to see
heightened with watercolor (fig. 51) for Turkey Cassatt’s remarkable portfolio when he and
Girl that predicts almost exactly the pose and 118. CAMILLE PISSARRO Cassatt exhibited together at Galerie Durand-
setting of the finished painting. During the Church and Farm at Eragny-sur-Epte, 1894-95 Ruel in April 1891. On two occasions during the
1880s, he commonly used colored chalks or pas- Color etching on cream laid paper run of the exhibition, he wrote to his son Lucien
tels for figure studies, many of which were Platemark: 15.8 x 24.7 cm (6/4 x 9% in.) that Cassatt had achieved remarkable results
drawn on colored papers. By contrast, the fin- Ellen Frances Mason Fund 34.583 with her “mat tone, subtle, delicate, without
ished Turkey Girl is a large-scale figure composi- stains or smudges: adorable blues, fresh rose,
tion made with tempera and bears comparison In June 1874, the Pennsylvania-born Mary etc.” He added that the “result is admirable, as
with the artist’s oil paintings of the same per- Cassatt settled in Paris, and by 1877 her parents beautiful as Japanese work, and it’s done with
iod. The spectrum of colors is dominated by and sister had joined her to live abroad perma- colored printer’s ink.”’ As Pissarro’s admiration
blue, with the addition of pale yellow strokes nently. Although Cassatt never renounced her suggested, the set of ten images were a boost
and touches of red. The light palette is in vivid American citizenship, she spent the whole of her for Cassatt’s reputation, and within two years
contrast to the solemn, dark color schemes maturity as an artist in France, only occasionally she attempted nine more color prints, including
favored by Millet. The figures in both the study traveling back to the United States. A chance Gathering Fruit (cat. no. 117), shown here. (Degas,

and the painting are variants of stock poses encounter with Edgar Degas encouraged her to meanwhile, was at work on his own series of

Pissarro composed during the 1880s, probably follow his path and join the Impressionist artists. color monotypes, some of which would be
She would first exhibit with them in 1879. In the exhibited at Durand-Ruel in November 1892;
because of the lack of female models in the
countryside. It is worth noting that Pissarro’s aftermath of that exhibition, Cassatt joined see cat. nos. 121-23.)
Degas and Pissarro in an intense exploration of A change of lifestyle whereby Cassatt and
peasant figures and the farm activities they per-
printmaking, creating some of the most daring her mother spent more time in the French coun-
formed were not necessarily created outdoors;
and inventive images of the nineteenth century tryside (her father and sister were now deceased)
according to Richard Thomson, these “truthful”
(see cat. nos. 96-101). She returned to printmak- encouraged the artist to present women and
rural images were very likely fabricated within
ing at the end of the 1880s, but it was in the next children increasingly in outdoor settings.* She
the confines of the artist’s studio.” BSS
year that her imagination was once again fired employed this favorite theme when she was
1. Thomson 1990, 51. to move her work in a new direction. commissioned in the summer of 1892 to design
2. Ibid., 56. Cassatt attended an immense exhibition a monumental mural, to be called Modern
organized by Siegfried Bing, a dealer in Asian Woman, for the 1893 Chicago World’s Columbian
works of art, in the spring of 1890. Thrilled by Exposition as a companion piece to a second
the more than seven hundred Japanese prints mural, entitled Primitive Woman.* The two
(mounted individually and in albums) and some pieces—vast lunettes depicting landscapes fig-
four hundred illustrated books in the show, ured with women, ancient and modern—were
Cassatt shared her enthusiasm with Berthe placed opposite each other in the great hall of
Morisot and Degas. It was from this experience the Woman’s Building. Cassatt’s composition
that Cassatt was inspired to create a set of ten was painted in bright colors and depicted
color prints that drew on the motifs and style women in contemporary dress plucking apples
practiced by her preferred artist, Kitagawa from the tree of knowledge. Once the mural
Utamaro (1753-1806). Cassatt appropriated the was shipped, Cassatt produced a painting, Child

186
 Picking Fruit, and two prints, The Banjo Lesson
and Gathering Fruit, to serve as advertisements
for the Chicago project.‘ The Cassatt specialist
Judith Barter suggests that the scene in Gathering
Fruit—one woman standing on a ladder passing
an apple to a child held by a second—symbolizes
the community of female relationships as well as
the passing of knowledge from one generation
to the next.’
The setting for Gathering Fruit is not a flour-
ishing landscape but a compact place contained
by a brick wall covered by an espaliered pear
tree and a grapevine. A path and open doorway
pierce the flat space to reveal a garden and a sun-
dial in the distance.* Cassatt may have moved
her women and children outdoors, but she
retained the calm elegance and suggestion of an
interior space that may be found in her earlier
set of ten drypoints and aquatints. Gathering
Fruit is a continuation of her interest in the role
of the modern woman, and its gardenlike set-
ting aligns it with the work of her Impressionist
friends, notably Monet and Renoir, who painted
women and children in the landscape more than
a decade before (see cat. nos. 92-93).
Although Cassatt’s friend Pissarro had con-
veyed in 1891 his wish to make a series with her
of market scenes and peasants in the fields, he
realized that the fine aquatint box and the good
printer that were her excellent “assistants” in the
production of her color prints were far beyond
his means. With the exception of the color
impressions of Twilight with Haystacks, printed in
1879 by Degas (cat. nos. 100-101), it was not until
1894, when Pissarro purchased a press from the
printer Auguste Delatre, that he devised his own
method of making color etchings. In his barn
studio in Eragny, Pissarro embarked on a mod-
est but labor-intensive method using four copper
plates, three of which were covered respectively
with red, yellow, and blue ink. Each of these
three plates was printed in turn over the fourth,
the key plate that outlined in black or gray the
117

187
 Claude Monet
French, 1840-1926

II9. CLAUDE MONET

Cap d’Antibes, Mistral, 1888
Oil on canvas
66 X 81.3 cm (26 x 32 in.)
Bequest of Arthur Tracy Cabot 42.542

120. CLAUDE MONET

Valley of the Creuse (Sunlight Effect), 1889
Oil on canvas
65 X 92.4 cm (25% xX 36% in.)
Juliana Cheney Edwards Collection 25.107

As Monet grew older, his paintings became sim-

pler. He began to focus on a single, isolated
motif, the better to record the changes in color
and light wrought on it by different times of
day and fluctuations in weather. Not only are
Cap d’Antibes, Mistral and Valley of the Creuse
(Sunlight Effect) set in locales basically unfamiliar
118
to Monet—the Mediterranean and the central
part of France—but both constitute one of a
initial composition. The subtle ink variations view from his studio window frequently, look- number of paintings done of the exact same
and alterations in the registration and printing ing across the meadows toward the hamlet of site. Cap d’Antibes, Mistral (cat. no. 119) is one of
of the four plates created different effects of Bazincourt. Church and Farm at Eragny-sur-Epte is three paintings of these very same trees that
color, light, and atmosphere in a single motif. a choice representation of the artist’s affection Monet made during his four-month sojourn in
The magic of making prints is that the for the “true poem of the countryside.”” Loys Antibes, from January through May 1888. (He
intensity and color relationships of the subject Delteil, the cataloguer of Pissarro’s printed made thirty-nine paintings during this period.)
can be altered with each printing. Unlike paint- oeuvre, dated this etching to 1890; however, This was Monet’s third visit to the Riviera. He
ing, in which the last layer of pigment covers Pissarro’s purchase of the printing press in 1894, went first with Renoir, in December 1883; then
previous changes, each state taken from an etch- and a painting of the exact motif dated 1895, alone to Bordighera, in northwest Italy, for
ing plate permanently records the artist’s alter- suggests that the print was made after the paint- about ten weeks in 1884 (see fig. 13, p. 29). With
ations. For Church and Farm at Eragny-sur-Epte ing was completed.® BSs Alice (now his second wife), he made a final trip
(cat. no. 118), Pissarro made two drawings and to Venice, from October through December
1. Pissarro 1980-91, 3:55.
developed a black-and-white etching through six 1908. These repeated visits are evidence of
2. Barter et al. 1998, 87.
states (or stages) before he attempted the series Monet’s fascination with the region, which
3. Primitive Woman was commissioned from another
of color editions. The mood of the various afforded, among other things, a comfortable dis-
American artist living abroad, Mary MacMonnies.
impressions changed with the layering of the tance from family, friends, and dealers.’
4. Gathering Fruit, called Le Potager when it was exhibited
three primary colors, extending the atmospheric in Paris in 1893, was very similar to Child Picking Fruit in The component parts of Cap d’Antibes,
effects of each color print. The overall rose subject, costume, and coloration. Mistral, like those of its two companion pieces,’
tonality of this particular impression of Church 5. Barter et al. 1998, 94. are easily itemized: a narrow strip of pink fore-
and Farm at Eragny-sur-Epte suggests a warm, 6. Mathews and Shapiro 1989, 157. ground on which grow grasses and trees of
glowing sunset. 7. Thomson 1990, 81. pink, green, and purple; a strip of blue-green
In Eragny, Pissarro explored the pastoral 8. The painting is in the Musée d'Orsay, Paris. water dotted with pleasure craft; the snowy

188
119

189
maritime Alps terminating the expanse of water; [Gray Day], fig. 28, p. 50). This particular paint-
and a strip of sky. Each of the three works is dis- ing, however, differs from the others in show-
tinguished by varying color tonalities and brush- ing the scintillating effects of bright sun. The
work. The Boston example is further character- Museum of Fine Arts uses the artist’s titles, and
ized by its wind-blown appearance, representing it is important to note that for this painting
the current of the mistral, the strong, cold, Monet specified sunlight. On March 11 he wrote
northerly wind of southern France. The long, to his future wife, Alice Hoschedé, that if the
Fig. 52. Ferdinand Hodler, Swiss, 1853-1918, Lake of
loose brushstrokes that depict the foliage are Geneva and the Range of Mont-Blanc, at Dawn, 1918, Musée
weather remained fine, he would stay in
carried over into the water, mountains, and sky, dart et d’histoire, Ville de Genéve. Fresselines fifteen or twenty days. As it hap-
as if to suggest that the wind is capable of pened, he stayed for a much longer time: his last
smoothing the large surfaces of those different letter to her from there was dated May 15. He
elements as easily as it agitates the more pliable With a few notable exceptions, Monet was wrote to her almost every day, and the letters
grasses and leaves. not particularly adventuresome when it came to are a litany of complaints about the weather:
In painting similar versions of a subject over choosing motifs to paint. In general, he used rain, wind, even snow. The canvases painted in
time, Monet sought to record the atmospheric what he saw around him. His painting cam- sunny weather were the most problematic for
conditions of each moment. And as those condi- paigns away from home were usually initiated him. As he explained on April 4: “I have some
tions changed, so did the perceptions of the by someone else, whether as an invitation to [paintings] done in the sun, but it’s been such a
painter. In Joachim Pissarro’s words: stay with a friend or to investigate the possibility long time since they were begun that I’m con-
Seriality [the painting of more than one ver- of a commission. His trip to the valley of the cerned that when there is another sunny day
sion of a single subject] emphasizes the nat- Creuse River in 1889, for example, was instigated I'll find that the effects are quite changed.”*
ural uniqueness of painting, not only in its by his friend the critic Gustave Geftroy. Geffroy The colors used for the hillsides—medium
subject matter (representing a fragment of took the painter to meet the poet Maurice to light greens, yellows, and pinks—combined
the real that is constantly under flux) but Rollinat, who admired Monet’s work.’ with the puffy clouds tinged with pink, almost
also in its temporality (reflecting a moment Rollinat lived in Fresselines, a tiny village globular in shape, suggest the freshness of
of the creative individuality that cannot be that looked down on the confluence of the spring. On the foremost hill, thick swirls of
repeated).*
Petite Creuse and Grande Creuse Rivers in the mauve paint define facets of the boulders,
Underlying the fluctuation of color and Massif Central, a rugged and sparsely inhabited which catch the sun coming from the left. The
light that so riveted Monet, however, is the rigor- region in the middle of France. The area in- force of the sun on the flank of the surface of
ous horizontal structure of strips piled one on trigued Monet. Used to the Seine, flowing qui- the hill on the right, beyond the river, is strong
top of the other. Monet’s reduction looks for- etly through its gentle, domesticated banks, he enough to minimize individual forms, so Monet
ward to the sparer, starker vision of Ferdinand found the Creuse wild, even formidable. He had rendered it as a mass of broken and scumbled
Hodler’s late views of Lake Geneva (fig. 52). not brought supplies with him; inspired, he brushstrokes. Each successive hill is painted in
Hodler, like Monet, painted many scenes of returned to Giverny to fetch paints and canvases. an increasingly summary fashion, culminating
an expanse of water terminated by a range of Once back, he set to work. By the time he left in the farthest hill, which appears as a single
mountains, seen at different times of day. Con- Fresselines in mid-May, he had completed two hue of blue.
cerned with recording psychic rather than atmos- dozen paintings. Valley of the Creuse (Sunlight Effect) was
pheric nuances, Hodler eliminated all but the This view of rounded hills strewn with meant to be seen as one of a series. In June,
narrowest strip of foreground and showed no boulders, the river rushing between them (cat. only a month after Monet left Fresselines, he
boats on the lake. In contrast to the later Swiss no. 120), was the one Monet deemed most showed at least fourteen from the campaign—
painter, Monet, rooted in the nineteenth centu- expressive of the area around Fresselines: ten of five of the site of Sunlight Effect—in a joint exhi-
ry, supposed that a view must have a the two dozen canvases resemble Valley of the bition with the sculptor Auguste Rodin at the
viewer and made the trees, with their wind- Creuse (Sunlight Effect) in their configuration of Galerie Georges Petit. Sunlight Effect could well
tossed foliage, stand in as surrogates. hills, water, and sky (see also Valley of the Creuse have been one of the exhibited works. Seen

190
120

together, the different views of the Creuse sig- 1. For a thorough discussion of Monet and his activities on
the Mediterranean, see Pissarro 1997.
naled a shift in Monet’s emphasis. No longer
2. Ibid., cat. no. 63 (Hill-Stead Museum, Farmington,
intent on capturing a single instantaneous Conn.) and cat. no. 65 (private collection, France).
moment in time, by 1889 Monet was investigat- 3. Ibid., 20.
ing the continually shifting enveloppe of colored 4. House 1986, 12.
air that surrounds forms in nature.* Thus Sunlight 5. ‘Jen ai bien quelques-unes par soleil, mais depuis si
Effect fanctions on two levels: as one element of a longtemps qu’elles sont commencées j’ai bien peur que le
jour ou il y aura enfin du soleil je trouve mes effets bien
composite portrait of the Creuse River Valley transformés.” Wildenstein 1974-91, 3:2.43, letter 937; this
and as a sensitive response to the rare sunshine at author’s translation from the French.
Fresselines in the spring of 1889. FEW 6. House 1986, 15.

191
 Edgar Degas
French, 1834-1917

I2I. EDGAR DEGAS

Autumn Effect, 1890
Color monotype on beige wove paper
Sheet: 29.8 x 40 cm (11% x 15% in.)
Gift of her children in memory of Elizabeth
Paine Metcalf 1992.565

122. EDGAR DEGAS

Landscape, 1890
Pastel over color monotype on dark cream laid
paper
31.1 X 41.3 cm (12% X 16% in.)
Denman Waldo Ross Collection 09.296

123. EDGAR DEGAS

Landscape, 1892
Pastel over color monotype on cream wove
paper
26.7 X 35.6 cm (10% x 14 in.)
Denman Waldo Ross Collection 09.295

121

In the autumn of 1890, Degas and his friend the As Jeanniot described the afternoon some
sculptor Albert Bartholomé set off from Paris years later, Degas was single-minded as soon as he
in a tilbury for Burgundy. Their destination was was given a metal plate, inks, brushes, and pads:
the village of Diénay, near Dijon, where their Once supplied with everything he needed,
friend Georges Jeanniot, also an artist, had a without waiting, without allowing himself to
small chateau. Along the way, they passed be distracted from his idea, he started. With his
through fields and alongside rolling hills and strong but beautifully-shaped fingers, his hand
cliffs, arriving at Jeanniot’s about a week after grasped the objects, the tools of his genius,
their departure. On finishing the welcoming handling them with a strange skill and little by
meal, Degas asked to be taken to his friend’s little one could see emerging on the metal sur-
attic studio, announcing, “I have been wanting face a small valley, a sky, white houses, fruit
trees with black branches, birches and oaks,
for so long to make a series of monotypes!”?
ruts full of water after the recent downpour,
He set to work, returning to the medium more
orangey clouds dispersing in an animated sky,
than a decade after the creation of his first land-
above the red and green earth.”
scape prints—all completed before 1880—to
bring forth some of the most astonishing As his friend’s account makes clear, Degas
images of his career. was no longer working with black and white but

192
 PS
=

193
 2 aie

194
with color, freely mixing tints to create land- Degas’s color monotypes were unknown to t. Degas to Georges Jeanniot, quoted in Kendall 1993,
scapes in which orange, green, and red, for all but a select few for two years. But by the last 146. For a discussion of the Diénay monotypes and
Degas’s 1892 exhibition of landscapes, see 145-229.
instance, were combined on one plate. months of 1892, Degas had formed a plan for
2. Georges Jeanniot, quoted in Kendall 1993, 146.
Among the monotypes that were finished these landscapes. Back in Paris, he had printed
3. Ibid.
by Degas in Jeanniot’s studio is Autumn Effect many more monotypes, and almost all of these
4. The Boston monotype (Janis [1968], no. 284), long rec-
(cat. no. 121), a misty evocation of a hillside seen were enhanced with pastel. In the second
ognized to be the pendant to a monotype in the collec-
along Degas’s route. To create the image, Degas Landscape (cat. no. 123) shown here, for example, tion of the Metropolitan Museum of Art (Janis [1968],
first laid down a scumbled pattern of dark pur- the rosy streaks of printed ink in the sky are no. 285), was exhibited at the Museum of Fine Arts,
ple brushstrokes, then attacked them with a dry heightened with pastel strokes of blue, and an Boston, in 1997 beside another monotype in a private
collection (Janis [1968], no. 288), in conjunction with a
brush, or perhaps with rags or with his fingers, undulating cliff in the foreground printed in
presentation of Asian-inspired landscape paintings by
shifting the purple medium (undoubtedly artist’s tones of deepest green is embellished with Roy Lichtenstein. This author and Barbara Shapiro rec-
oil colors) until he achieved the basic outline of strokes of rich pink and coral red.* Sometimes ognized that Janis [1968], no. 288 was, in fact, the first
an undulating hill. He then applied a thin layer his embellishments hid nearly every trace of the state of the design. After it was printed, the foreground
cliff was added, changing the composition dramatically.
of paint in a complementary color, golden yel- colored inks that formed the basis of the com-
From this design, the Boston monotype was pulled; the
low, washing the hill with a haze of sunlight, or position. Degas placed twenty-one of these, New York sheet, which preserves features of both
a suggestion of yellowed foliage. The resulting plus three landscapes entirely executed in pastel, images, greatly reduced in definition, was printed last.
All three were subsequently embellished with pastel,
landscape, when printed, reads as thin veils of on exhibition at the Galerie Durand-Ruel in
making the identification of them as a cognate trio
color, virtually formless, but brilliantly sugges- November 1892, in the only solo exhibition the
more difficult.
tive of the countryside in autumn. Not since the artist ever organized for himself.
5. Gustave Geffroy, quoted in Kendall 1993, 224.
late work of the English painter J. M. W. Turner Such critics as Gustave Geffroy, surprised to
6. Georges Jeanniot, quoted in Shackelford 1984, 62.
(1775-1851) had anything like this been attempted find an exhibition of landscapes by the master Degas wrote to his family in December 1892 that he had
in landscape. of the dance, the racecourse, and the female organized “at Durand-Ruel a little exhibition of twenty-
Degas managed to make nearly fifty impres- nude, nonetheless recognized that six imaginary landscapes.” See Janis [1968], xxvii.

sions in all between his visit to Burgundy in Degas necessarily remains Degas in front of
September 1890 and the autumn of 1892. Autumn fields, hills, water, skies. He brings his under-
Effect, like the other experimental landscapes standing of the movement and flexibility of
thought to have been printed at Diénay, meas- bodies to the construction and shaping of
ures about thirty by forty centimeters; all these the land, to hollowing out ravines and to

images may have been pulled from the same raising hillocks. . . . It is the same eye that
metal plate. Another print, Landscape (cat. no. sees and the same brain that understands.

122), shares that dimension and was probably Geffroy was convinced that the pastels resulted
one of the sheets printed in Burgundy, subse- from Degas’s acute powers of observation, not-
quently enhanced with pastel touches. Jeanniot ing that “A man who is an artist has passed in
described landscape images like this one emerg- front of all this, and has brought to life those
ing from the ink, and that Degas immediately visions of an instant that, without him, would
began to use pastels “to finish off the prints.” have remained unknown, born and swallowed
He commented: up in unconsciousness.”’ But for Degas, these

It is here, even more than in the making of the monotypes were the consummate products of
proof, that I would admire his taste, his imagina- the artist’s imagination working in concert with
tion, and the freshness of his memories. He memory, freed, as he told Jeanniot, “from the
would remember the variety of shapes, the con- tyranny which nature imposes.”° GTMS
struction of the landscape, the unexpected oppo-
sitions and contrasts; it was delightful.’

195
 Aos
Actes
>

ors

ee:
 Paul Gauguin
French, 1848-1903

Paul Sérusier
French, 1864-1927

124. PAUL GAUGUIN

Landscape with Two Breton Women, 1889
Oil on canvas
72.4 X 92 cm (28% x 36% in.)
Gift of Harry and Mildred Remis and Robert
and Ruth Remis 1976.42

125. PAUL GAUGUIN

Women Washing Clothes, 1889
Zincograph on yellow wove paper, hand
colored
Image: 21 x 26 cm (8% x 10% in.)
Bequest of W. G. Russell Allen 60.310

126. PauL SERUSIER

Breton Landscape, 1893
Color lithograph on yellow wove paper
Image: 23.2 x 30.1 cm (9% X 11% in.)
Bequest of W. G. Russell Allen 60.742

124

Gauguin’s Landscape with Two Breton Women and subject matter included Breton peasants dressed
Women Washing Clothes of 1889 are a far cry in distinctive traditional costume, farms, and
from Entrance to the Village of Osny of 1882-83 seaside landscapes. At times he drew on memo-
(cat. no. 115), a work that the artist, still an ama- ries of his travels in 1887 to the Caribbean island
teur and follower of Pissarro, had painted in of Martinique and in 1888 to Arles in southern
the Impressionist style. In the half-dozen years France, the latter of which he left after two
that intervened, Gauguin lost his job as a bro- months of attempting to live and work along-
ker in the stock market crash of 1883 and side the increasingly troubled Vincent van
embraced art as a career, gradually selling his Gogh.
Impressionist painting collection to support his In Brittany, Gauguin forged a bold and
family. He turned his back on Paris, moreover, more decorative style of painting. Instead of
and sought to escape civilization in favor of using small, variegated strokes of paint to sug-
what he imagined to be unspoiled areas of gest forms in light in the Impressionist manner,
primitive cultures. He spent extended periods he began to use flattened space, rhythmic and
of time between 1886 and 1891 working in or defined shapes, and brilliant colors to produce
near Pont-Aven, an artists’ colony since the images that were meant to be emotional inter-
1860s near the southern coast of Brittany. His pretations of nature. His work at this time was

197
125

198
influenced by the beliefs of medieval Christian-
ity and ancient paganism that coexisted in con-
temporary Brittany, as well as such physical
reminders of the region’s Celtic and Druidic
past as its monumental stone formations. Other
painters, including Emile Bernard, Armand
Séguin, and Paul Sérusier, embraced this new
style that developed around Gauguin in Pont-
Aven; Sérusier named it Synthetism because it
was a synthesis of realism, individual subject-
ivity, and decorativeness. Some of the self-
proclaimed Synthetist artists worked in this
manner for many years, whereas Gauguin
changed and developed, largely in response to
new stimuli from his extended stays in Tahiti
from 1891 to 1893 and 1895 to 1901.
Landscape with Two Breton Women (cat. no.
124) was painted in Pont-Aven in the summer of
1889. Here, on a ground composed of strips and
triangular patches in clear hues of green, yellow,
and red, two young women dressed in local cos-
tume are seated in the sparse shade of the atten-
uated branches of a tree. One figure appears to
be praying, but she is eating something, quite
possibly the red fruit of the tree. Tall golden 126

haystacks are glimpsed in the distance. The

serene, meditative, and timeless quality of the
image, the abstraction of the young women’s public exposure, Gauguin and a small group of cal of the so-called Volpini set of prints in its
silhouettes, the freely drawn, distorted shapes of other artists found a spot to hang their paint- use of both lithographic crayon and liquid
the trees, the ornamental patterns of grass, and ings on the fairgrounds at Monsieur Volpini’s tusche. The tusche, employed largely as,a wash
the prominent crossed diagonals of the overall Café des Arts. In addition, two of the artists, applied with brushes, marvelously suggests the
design represent a strong break with Impres- Gauguin and Bernard, each provided a set of woolly texture of the shawl of the woman at
sionism. Yet in this work, Gauguin maintained prints that could be seen on request. Gauguin’s the left. Although the composition corresponds
the overlapping brushstrokes from his earlier set of eleven zincographs (similar to litho- to that of a painting executed in Arles, the caps,
painting style, thereby providing inviting tex- graphs but printed from zinc plates) were his dresses, and distinctive wooden washboard are
tures that enliven the surface of the canvas. first prints, deriving most of their subjects typically Breton. The simplified, monumental
When Gauguin attempted to participate from recent paintings of Brittany, Arles, and forms of the figures, virtually faceless, also
in the official exhibition for Paris’s Exposition Martinique.’ He prepared the plates in Paris in bring to mind the massive standing stones of
Universelle of 1889 with works similar to the early months of 1889 and had them printed the region, remnants of its pagan past.
Landscape with Two Breton Women, he was rejected by the lithographer Edward Ancourt in a small Gauguin infrequently depicted pure land-
as being too avant-garde. Nevertheless, recogniz- edition of about thirty impressions on large scape, yet landscape was often an important ele-
ing that the event (for which the Eiffel Tower sheets of vivid yellow paper. ment of his work as it is here, forming a shal-
was built) offered a prime opportunity to gain Women Washing Clothes (cat. no, 125) is typi- low backdrop against which the women per-

199
 Auguste Lepére
French, 1849-1918

Henri Riviére
French, 1864-1951

form their tasks. Like Millet (in cat. nos. 51, 52), a Pont-Aven style that remained relatively 127. AUGUSTE LEPERE
Gauguin conveys the peasant’s burden of unchanged from that of the late 1880s. The high Saint-Jean-de-Monts, 1900-5
unending labor. A goat, busily grazing in the horizon, tilted ground, and geometric shapes of Black and red chalk and opaque watercolor
corner, lightens the content. The ornamental the fields echo elements in Gauguin’s Landscape on prepared artist’s board
patterns in the waves and the overall flatness of with Two Breton Women, as do the soft, overlap- Sheet: 23 x 37.6 cm (9% X 14% in.)

the image reflect Gauguin’s appreciation of the ping crayon strokes, whereas the use of bright Francis Welch Fund 1988.371
design and aesthetics of Japanese prints.* Few yellow paper clearly emulates Women Washing
complete portfolios of the Volpini prints sold; Clothes and the other zincographs Gauguin 128. HENRI RIVIERE
Gauguin gave away both sets and individual made in 1889. Sérusier used two separate litho- The Chéruette Beacon at Low Tide, Saint-Briac,
prints to friends, and occasionally made an graphic stones for Breton Landscape, one printed Brittany, 1890
impression very special by coloring it with in brown and the other in green ink. Shoots of Color woodcut on beige Japanese paper
watercolors, as here. green in the foreground promise new growth in Block/image: 22.7 x 35.2 cm (8 %o X 13% in.)
Paul Sérusier first met Gauguin in Pont- this otherwise desolate scene. Compared with Stephen Bullard Memorial Fund by sale of
Aven in 1888 after completing a classical educa- Gauguin, Sérusier had more immediate success duplicate 1983.225
tion, at his wealthy family’s insistence, at the with his print, for it was selected for publication
Lycée Condorcet in Paris, and then after his in L’Estampe originale, a quarterly anthology that Born in Paris, Auguste Lepére wished to be a
family relented, training in art at the Académie appeared from January 1892 through March 1895 painter. However, his sculptor father, who rec-
Julian. The younger artist enthusiastically and provided good exposure for printmakers. ognized the need to earn a living, apprenticed
embraced Gauguin’s flat, simplified forms and SWR him at the age of thirteen to a wood engraver.
bold colors and became active and influential in Throughout much of the nineteenth century,
Brittany, serving as Gauguin’s and Synthetism’s 1. Gauguin would not seriously take up printmaking this method of printmaking was used to make
again until 1893 with his magnificent woodcuts of
closest disciple. He also promoted Gauguin’s black-and-white illustrations. Traditionally, the
Tahitian subjects.
work to a group of Parisian artists that included design was drawn by an artist and cut in fine
2. Although Gauguin undoubtedly knew Japanese prints
himself, Pierre Bonnard, Ker-Xavier Roussel, from Paris, he also would have seen them recently when
white lines on an end-grain block of wood by a
and Edouard Vuillard. These young painters had he was in Arles with Van Gogh, who had a large collec- specially trained craftsman; the engraved block
met in art school and privately called them- tion. See Brettell et al. 1988, 174. The yellow paper could then be inked and the image printed in a
Gauguin used to print his zincographs resembled not
selves Nabis, the Hebrew word for “prophets,” press at the same time as the type. Lepére’s skill
only the paper often used earlier for French advertising
because they predicted a new era in art (see cat. posters but also that used for the covers of Japanese at both designing and cutting blocks enabled
nos. 146—48).’ A student of philosophy, Sérusier woodblock-printed books (manga) and independent him to do both jobs, leading to a successful
acted as the theorist and spokesman for both Japanese woodblock prints that were very popular in career. Through much of his life, he executed
France in the later nineteenth century (see cat. no. 128).
the Nabi and Synthetist artists. He was a painter more than one thousand wood engravings,
See also Boyle-Turner 1986, 37, 40.
of modest talents, largely interested in color, which appeared in popular weekly magazines
3. In 1891, when Gauguin held an auction of his work to
who was obsessed with the growing tendency help finance his first trip to Tahiti, these artists, as well as and books. He also managed to have his paint-
to make abstract art. Like the other Nabis, he Sérusier and other friends and admirers, banded together ings accepted regularly at the Salons. By the
worked in Paris designing theater sets, cos- to purchase Landscape with Two Breton Women. 1890s he had gained financial security. As illus-
tumes, and programs and decorating homes trations based on photography gradually took
with murals, but he also maintained a studio in the place of wood engravings designed by
Brittany during the 1890s. artists, Lepére turned to making individual
Sérusier made only a few prints, and they prints—etchings, lithographs, and woodcuts
were generally rather crudely drawn and primi- (cut on planks of wood so that the design itself
tive in spirit. Breton Landscape (cat. no. 126), a stands out in relief)—producing many hand-
lithograph of 1893, decidedly pays homage to some works for sale. Lepére led the way in pro-
Gauguin and demonstrates the continuation of moting original woodcuts and original wood

200
engravings, designed and cut by the artist, and
he arranged for prominent exhibitions of such
works in the late 1880s and early 1890s. By the
mid-1890s many artists were making their own
woodcuts and wood engravings, even such an
individualist as Paul Gauguin.
By and large, Lepére’s wood engravings
depicted urban scenes and were produced in
Paris during the winter. However, for much of
his life he kept a summer residence at Saint-
Jean-de-Monts, a village located on the Atlantic
coast north of La Rochelle, in the Vendée.
There he captured village events as well as the
marshes and sand dunes of the local landscape
in drawings, pastels, and paintings. It was often
these works, made not as commissions but as
personal choices, that he exhibited in the annual
Paris Salons. Saint-Jean-de-Monts (cat. no. 127) is 127
a mixed-media drawing, combining blue and
white opaque watercolor with black and red-
brown chalks, which records a landscape that
must have been very familiar to the artist.’
With his back to the sea, he has represented
the humpy sand dunes—the monts (hills) of the
town’s name—with their sparse vegetation.
Tiny windmills may be observed in the distance,
working to grind grain or pump water from
the marshes that lie inland from the beach. The
subject is decidedly lacking in drama and is
drawn honestly and humbly. In making a work
of art from a nondescript landscape, Lepére
joins the company of Jean-Francois Millet (cat.
nos. 56 and 58) and Edgar Degas (cat. no. 95).
Lepére’s paintings have yet to be systematically
published, and it is not possible to say whether
this drawing is a study for a painting or a fin-
ished work in itself. He began to exhibit draw-
ings at the 1904 Salon and throughout that
decade showed subjects of dunes and Saint-Jean-
de-Monts.”
Japanese woodcuts played a role in France's
revival of interest in the medium. Following the
opening of Japan to the West in 1854, Japanese

201
objects ranging from scrolls and sculptures water-based pigments on the block and printing 1. In 1904 Lepére depicted his own, whitewashed house
in the village, using the same combination of media:
to fans and kimonos, and in particular easily it by laying a piece of imported Japanese paper
gouache, pastel, and black chalk on a board thirty by
exportable prints, were collected enthusiastic- on the top of the block and rubbing with a flat forty-one centimeters. A color reproduction of this
ally in Europe and were especially popular in wooden implement. After several years of in- drawing, taken from a 1995 catalogue of the Galerie
France. The first major exhibition of these tense activity, he produced nearly twenty views Antoine Laurencin, Paris, is in the Lepére documenta-
tion files at the Musée d’ Orsay, Paris.
kinds of objects took place in 1883 at a promi- of Brittany that he exhibited in 1892. Since
2. For more information on Lepére’s life and work in the
nent Parisian art gallery and coincided with the these prints contained from six to ten colors
Vendée, see Vital 1988.
publication of a major book on Japanese art.’ apiece, each printed from a different block, he
3. The gallery was that of Georges Petit; Louis Gonse
Subsequent public exhibitions of Japanese prints had time to print only ten impressions of every
wrote the two-volume work L’Art japonais (1883). See
took place in Paris, ranging from a large one design.’ In the late 1880s, at the same time that Cate 1975, 53.
held at the Exposition Universelle of 1889 to he was working on the Brittany woodcuts, 4. The Paris dealer Siegfried Bing’s important 1888 exhi-
smaller ones such as that which Van Gogh, him- Riviére was also sketching the Eiffel Tower bition should also be noted; see Baas and Field 1983, ro.
self a collector, mounted in an artists’ café in under construction. His aim was to produce 5. See note 3 and Ives 1974.
1887.‘ Japanese prints were admired by many thirty-six views of this imposing new symbol 6. For more about these entertainments, see Shapiro et
avant-garde artists and can be seen as still-life of Paris in the same woodcut technique and al. 1991, 109-66.

elements in paintings by Degas, Gauguin, with similarly bold compositions as those that 7. Baas and Field 1983, 73.
Monet, and others. Japonisme, or the cult of Katsushika Hokusai had used for his thirty-six 8. Signac also represented these beacons in the 1890
Japanese art in the late nineteenth century, is a views of Mount Fuji. In the mid-1890s Riviére painting The Beacons at Saint-Briac, Opus 210 (Collection
of Mr. and Mrs. Donald B. Marron, New York); see
rich topic that describes a range of European switched to the less time consuming medium
Ferretti-Bocquillon et al. 2001, no. 50.
borrowings from Japanese art.’ The Chéruette of lithography in order to produce larger edi-
Beacon at Low Tide, Saint-Briac, Brittany (cat. no. tions, retaining the eloquent but labor-intensive
128), by Henri Riviére, and Gathering Fruit (cat. Japanese-style color woodcut only for major
no. 117), by Mary Cassatt, are two examples of individual works.
works that emulate Japanese woodcuts with This view of Saint-Briac from the Breton
their flattened perspective, unusual point of series shows its shallow harbor at low tide, with
view, and abrupt cropping. attention focused on the beacons, or spindles,
Largely a self-taught painter, Riviére en- that are strategically placed to warn sailors of
joyed a long and successful career as a print- rocks hidden at high tide.* The blue areas of
maker. Like Paul Signac, his childhood friend, water clearly exhibit a characteristic Japanese
he was born in Paris to a middle-class family. printing technique, which allows for varying
The two young artists shared a studio in the density of the transparent paint and retains
Montmartre in the early 1880s. Riviére soon the marks of the brush. The small rocky island
gained attention with his shadow-theater pro- in the foreground and the vertical beacons are
ductions for the Chat Noir, an artists’ cabaret, the only elements that interrupt the horizontal
and his first prints (made in 1889 and 1890) were bands of water, land, and sky. The brilliant con-
color lithographs, views of Paris made to illus- trasting colors, unusual composition, and deco-
trate programs for avant-garde plays produced rative patterns in the clouds and water emulate
at the Theatre-Libre.® Not satisfied with merely the aesthetics and conventions of Japanese
borrowing stylistic elements from Japanese woodblock prints. In the Asian tradition,
prints, Riviére taught himself to cut and print Riviére marked his print with a red rectangle
woodblocks using traditional Japanese tech- containing his initials—it closely resembles the
niques. He cut a separate block for each color signature stamps used by Japanese artists.
and printed each one in sequence, brushing SWR

202
 Vincent van Gogh
Dutch (worked in France), 1853-1890

I29. VINCENT VAN GOGH 130. VINCENT VAN GOGH

Ravine, 1889 Houses at Auvers, 1890
Oil on canvas Oil on canvas
73 X 91.7 cm (28%
x 36% in.) 75.5X 61.8 cm (29%
x 24% in.)
Bequest of Keith McLeod 52.1524 Bequest of John T. Spaulding 48.549

203
Van Gogh was the son of a Protestant minister, dants, which ran from March 19 through April paint outdoors. The region’s artistic heritage was
and the importance of leading a moral, useful 27. It was a great success there. Gauguin liked it therefore rich, but Van Gogh may have valued it
life was early impressed on him. He tried several so much he offered to trade something of his more for its proximity to his brother and young
different professions—art dealer, teacher, minis- own for it. He wrote to Van Gogh: family in Paris and for its enabling him to live on
ter, and missionary—before deciding in 1880 his own. There was much to interest the artist,
In subjects from nature you are the only one who
to become a painter. His training was spotty; he including the older cottages and newer houses,
thinks. I talked about it with your brother, and
worked under his cousin Anton Mauve in The there is one that I would like to trade with you the surrounding rich fields, the flowers, the
Hague, on his own, and in Antwerp. He joined for one thing of your choice. The one I am talking church (mentioned in guidebooks of the time),
his brother Theo in Paris in the spring of 1886. about is a mountain landscape. Two travelers, and the sympathetic Dr. Gachet himself.
There he met many of the progressive painters, very small, seem to be climbing there in search In Houses at Auvers (cat. no. 130), Van Gogh
including Pissarro, Degas, Gauguin, Signac, of the unknown. There is in this work an emo- has painted a sunny day in June or July, with
Seurat, and Henri de Toulouse-Lautrec. His art, tion a la Delacroix, and very suggestive color. puffy white clouds in a blue sky. Like works by
previously dark in palette and moralistic in sub- Here and there, red touches like lights, the Pissarro (cat. no. 90, for example), this one shows
ject matter, changed dramatically under the whole in a violet tone. It is beautiful and a peaceful village integrated into the surround-
twin influences of Impressionism and Japanese grandiose. I talked about it for a long time with ing countryside: the thatched roofs help tie
prints, becoming light and bright. Van Gogh Aurier, Bernard and many others. They together the manmade and natural worlds. In his
was emotionally unstable, and when Paris all give you their compliments.*
very first letter to Theo from Auvers, Van Gogh
became too much for him, in February 1888 he Because the painting is now unvarnished, noted that thatched roofs were “getting rare.”
went to Arles, in the South of France. Gauguin the color harmonies that the viewer sees are His concentration on the roof in the left fore-
joined him there for a while. After a year’s close if not identical to what Van Gogh’s fellow ground evinces his fondness for the old-fashioned
internment in an asylum, Van Gogh returned artists saw. Paint streams down the canvas. To material. Certainly compared with the red- and
north in May 1890. Always productive, he con- left and right are violet-colored rock faces; they green-tiled roofs, the thatched one is richer,
tinued to paint until he killed himself inJuly. converge at a roiling green stream. Barely visible more nuanced, and subtler.
Paradoxically, given his worldwide reputation are two women making their way up a path that The thick strokes of paint overall, but partic-
now, his work was little known and he sold but seems to disappear. A green eminence abruptly ularly in the thatched roof, can be likened to col-
one painting during his lifetime. closes the view at the back. Flamelike bushes, in ored threads. Van Gogh had a box containing
The title of Ravine (cat. no. 129) is based on red, green, and ocher, punctuate the mountain- balls of yarn that he manipulated to create and
Van Gogh’s references to it in letters.’ He paint- sides. The colors are relatively equal in value; observe the resulting color harmonies. He
ed it in early October 1889 and wrote about it in there are no strong contrasts, as there are in thought of himself as an artisan.° His careful
a letter to the painter Emile Bernard. “Such sub- the later version. The paleness of the figures, application of paint was an attempt to ally his
jects,” he explained, “certainly have a fine blending with the rock face, gives the picture work with that of other craftspeople. His color
melancholy, but then it is fun to work in rather an unworldly air. Gauguin’s words about the and touch were put at the service of suggesting
wild places, where one has to dig one’s easel in women articulate well the inchoate sense of surfaces; tile roofs are painted differently from
between the stones lest the wind should blow yearning this painting embodies. thatch, bricks differently from plaster. Likewise,
the whole caboodle over.”* Van Gogh referred It was shortly after the Salon des Indépen- puffy clouds receive individual treatment, and
to this painting as a study and contrasted it with dants that Van Gogh left the South of France. fields are differentiated from trees. Van Gogh
the version he painted a few months later (now He settled in Auvers, near the river Oise, where gave each motif its due. FEW
in the Rijksmuseum Kroller-Miiller, Otterlo), Dr. Gachet, an eccentric physician and art collec-
1. Hulsker 1996, 416.
which he characterized as having “closer draw- tor, lived. At Pissarro’s urging, Gachet promised
2. Van Gogh 1958, 3:521, letter B20, first half of October
ing and there is more controlled passion and Van Gogh’s brother Theo that he would look 1889.
more color in it.”? This picture was not yet dry, after the painter. Van Gogh was not the first 3. Ibid., 243, letter 243.
so Vincent did not send it to his brother Theo artist to paint in Auvers. Auvers is close to 4. Gauguin, quoted in Hulsker 1996, 430.
with others in January 1890. Theo included the Pontoise, an area in which Pissarro had worked 5. Van Gogh 1958, 3:273.
October version in the group of ten paintings happily some years earlier; Cézanne visited 6. See Silverman 1994, 137-68, 465-73, especially 163-68.
by Vincent he sent to the Salon des Indépen- Pissarro there and was encouraged by him to

205
 Henri-Joseph Harpignies
French, 1819-1916

Jean Charles Cazin

French, 1841-1901

131. HENRI-JOSEPH HARPIGNIES

Evening at Saint-Privé, 1890
Oil on canvas
73-7 ¥ 54.5 Cm (29 x 21% in.)
Bequest of Ernest Wadsworth Longfellow
23.486

132. JEAN CHARLES CAZIN

Farm beside an Old Road, about 1890
Oil on canvas
65.1 X 81.6 cm (25% x 32% in.)
Bequest of Anna Perkins Rogers 21.1330

The attention lavished on the Impressionist

painters in recent years has overshadowed the
reputations of many landscape artists who,
in their lifetimes, were widely esteemed and
whose works were avidly collected. Because
Impressionism was so popular at the end of
the twentieth and now at the beginning of the
twenty-first century, it is important to remem-
ber those artists who enjoyed an equal measure
of success one hundred years ago. Harpignies
and Cazin are two of these now-eclipsed artists
whose paintings deserve a fresh examination. 132

Extremely long-lived, Harpignies studied

with the landscapist Jean-Alexis Achard after
working for his father. He and Achard visited
the Netherlands and Belgium to avoid the silvery tonalities he adopted until about the (cat. no. 131) appears to be a portrait of trees.
Revolution of 1848, and then Harpignies trav- early 1870s. His concurrent work in watercolor The vertical orientation of the canvas, reminis-
eled to Italy from 1849 to 1852. He returned can be said to have brightened his palette and cent of portraits, reinforces this impression. Yet
there from 1863 to 1865. He had a successful given it more individuality. After about 1885 he the cropping of the composition—the tops of
career at the Salon from 1853 to 1912, winning was increasingly influential as a watercolorist. the trees are cut off by the upper edge of the
medals in 1866, 1868, and 1869. He received a From 1878 he lived in Saint-Privé, on the river canvas—emphasizes the decorative quality, in
knighthood in the Legion of Honor in 1875, was Yonne, wintering in Nice after 1885. Harpignies which patterns that lie flat on the picture’s sur-
named an officer in 1883, a commander in 1901, was unaffected by the developments in land- face take precedence over description. A con-
and grand officer in 1911. In 1883 the art dealers scape painting. He remained true to a midcen- temporary of the artist explained:
Arnold & Tripp began to commission and tury aesthetic of straightforward transcription, While accepting the modern feeling for air
sell his works, an arrangement that freed marked by his distinctive stylization. and sunlight, he never forgot the primary
Harpignies from financial worries and increased Both Harpignies and Cazin transcribed the rhythmical purpose of a picture—that it
his productivity. In the mid-1850s Harpignies elusive, evocative end of day, yet in very differ- must before all else be a pattern. So in his
was particularly drawn to Corot’s work, whose ent ways. At first glance, Evening at Saint-Privé paintings we always find this sense of

207
 Paul Signac
French, 1863-1935

rhythm and pattern accentuated with a true Cazin may be doing more than painting a 133. PAUL SIGNAC
French love for clarity of expression, for grav- view of a farm along a little-used road. The View of the Seine at Herblay, Opus 203, 1889
ity of mood, and for that logical, temperate forms here seem to subside into, and be Oil on canvas
balance, that love of proportion for its own absorbed by, the surrounding land. The build- 33.2 X 46.4 cm (13% X 18% in.)
sake.’ Gift of Julia Appleton Bird 1980.367
ings, for example, seem to be intimately con-
As true as these words are, this painting by nected with the earth. Although they are multi-
Harpignies, done near his house at Saint-Privé story structures, their roofs do not break above 134. PAUL SIGNAC
on the river Yonne southeast of Paris, conveys the crest of the hills, and the side of the roofs Port of Saint-Cast, Opus 209, 1890
the effect of looking out from the relative dark- aglow with the setting sun slope sharply toward Oil on canvas
ness of a forest to a brighter area in the distance. the ground. Twilight and the end of the grow- 66 X 82.5 cm (26 x 32% in.)
With the sun hidden, the light picks out the tops ing season combine to suggest another kind of Gift of William A. Coolidge 1991.584
and right sides of the trees on the far bank. The end, the gradual abandonment of the country-
river itself is a smooth, reflective surface. The side for urban areas. If this interpretation has Spurning the profession of architect, which his
subtle nuancing of light throughout and the merit, Cazin’s painting is an elegy to a vanishing family wanted him to follow, Paul Signac was
contrast of dark forms against a blue sky chang- way of life. FEW largely self-taught as a painter. He met Georges
ing ever so slightly to rose recall the artist’s Seurat in 1884, and Seurat’s ideas about a scien-
watercolors, in which luminosity is of prime 1. Holmes 1909, 76, 81. tific approach to painting, based on the aesthetic
importance. theories of the chemist Charles Henry, trans-
Whereas Harpignies’s paintings remained formed Signac’s art. He adopted Seurat’s style
untouched by new thinking about color and of divisionism, or pointillism, a method of
time that characterized much of the art pro- painting in small, separate touches of color.
duced at the end of the nineteenth century, After Seurat died in 1891 Signac assumed the
Cazin’s paintings responded to recent develop- leadership of the loose group of painters called
ments. In Farm beside an Old Road (cat. no. 132), the Neo-Impressionists, in part because of his
as in Riverbank with Bathers (cat. no. 109), writings, which included D’Eugéne Delacroix au
Cazin applied paint in discrete strokes, akin to néo-impressionnisme (1899) and, with Henri-
Daubigny’s broad brushwork, which sometimes Edmond Cross, a translation of parts of John
verges on calligraphy (see cat. no. 70). Ruskin’s Elements of Drawing (1889). To ally his
Farm beside an Old Road reveals itself only paintings with music, a common goal among
slowly. A road at the right carves a broad arc artists and writers in the late nineteenth century,
past a cluster of farm buildings into low hills Signac assigned his paintings opus numbers
beyond. Behind the buildings, to the left, are the between 1887 and 1893. He moved to Saint-
conical forms of grainstacks, familiar to us from Tropez in 1892, where he could indulge his
Monet's paintings (see cat. nos. 142-43), and favorite subjects—marines and views of ports.
beyond them smoke from smoldering fires. Despite his adherence to theory, Signac did not
Thick pinkish clouds cover hints of blue sky as paint in a consistent divisionist style throughout
day gives way to night. A thin, quick brush- his career. Instead, his touch loosened and
stroke of orangish red peeks through the clouds became quite free, especially in the studies—
just above the horizon, suggesting the final often in watercolor—he made outdoors. Signac
rays of the setting sun. The autumnal browns, was an active member of the Société des
ochers, and oranges of the earth, along with the Indépendants, formed in 1884, and he exhibited
grainstacks and empty fields, indicate that it is his work throughout Europe as well. His bright,
past harvest time. mosaiclike brushstrokes of about 1904 informed

208
Fig. 53. Paul Signac, The Seine at H
d Orsay, Paris.

209
 At A aa t ul 4
Ce
Aid

210
Henri Matisse’s art at that time. dots and in others as oblongs or sketchy strokes, sliver of a promontory on the left, the tip of
Signac was an admirer of Monet’s paint- shows how he responded in different ways to the large hill points toward the sailing vessels,
ings, and like Monet he was attracted to sites the light reflecting off various surfaces. A par- whose forms rhyme with those of the town on
on the water. He did not live at Herblay, close ticularly lovely passage is in the foliage, where the far shore.
to where the Seine meets the Oise, nor did he blossoms shimmer against the dark blue The small, meticulously placed brush-
map the region in a series of paintings, as Sisley leaves—or is it sunlight that has coagulated strokes, juxtaposing primary and secondary col-
did with Louveciennes and Monet did with there, quivering? The brushwork in The Seine at ors, create a fluctuating visual resonance and
Argenteuil, Giverny, and Vétheuil. However, Herblay (fig. 53) is more controlled, less sponta- evoke the physical and visual textures found in
Signac visited the town, downstream from Paris, neous, and more truly divisionist. This is not to nature, from the graininess of the sand to the
in August and September 1889 and made six say that the painting in Boston is an unmediated shimmering reflections on the water. The influ-
paintings and three studies there.’ The configu- response to nature; pencil lines carefully demar- ence of Japanese woodblock prints is detectable
ration of the town is seen more clearly in a cate the shoreline and the crest of the hill. But in the flattened picture plane and in the large
panoramic view (fig. 53). Rising in steps are despite the pencil lines, the premeditated use of areas that give the appearance of being unified
bathhouses (or washhouses) moored in the color opposites, and the light gray priming left colors. Signac had visited an exhibition of
river; houses looking out over the water; and, bare to provide a sense of transparency and Japanese art in Paris shortly before going to
thrusting above the crest of the hill, the tower depth as well as a midtone that mutes the con- Brittany. His companion, the critic Arsene
of a church. In the Boston painting (cat. no. 133) trast of colors, Signac allowed himself the lux- Alexandre, remembered, “We spent a long
the view is seen from a position under a tree ury of painterly touches. These are in evidence time looking at the landscapes of Hiroshige.”
whose branches hang over the water. The vil- in the already mentioned brushy reflection and Signac, along with others who were dissecting
lage seems to dissolve in color and light. Barely in the more thickly painted farther hill, where the visual world into its fundamental compo-
articulated, it looks bleached and isolated.’ no dots can be seen. Perhaps the Boston picture nents of color and light, including Henri
Signac’s divisionism is put to good use here. was done on the spot, and The Seine at Herblay Edmond Cross (cat. no. 139), influenced the
Divisionism was developed as a way of applying indoors, where the relative freedom of plein-air unconventional color and bold forms champi-
the scientific analysis of color to painting, so work was replaced by the intellectual rigor of oned by Signac’s friend and follower Henri
that color would have as much brilliance as pos- the studio. Matisse. FEW
sible. An example can be seen in the reflection Painted shortly after the scene at Herblay,
Port of Saint-Cast (cat. no. 134) belongs to one 1. Ferretti-Bocquillon et al. 2001, 303.
of the foliage, where orange and blue, opposites
on the color wheel, are juxtaposed so that they of two series, each. consisting of four paintings, 2. For another view of Herblay by Signac, see his
1889-90 Sunset at Herblay (Glasgow Art Gallery and
vibrate to best advantage. Paintings done in this that Signac exhibited in 1891 in Brussels and
Museum).
manner often look as though a veil has been Paris under the group titles Le Fleuve (The river)
3. The painting was identified by Murphy 1985, 263, as
dropped over the scene. Each small touch of and La Mer (The sea). Monet, who earlier had showing Vétheuil, undoubtedly because the church
color, no matter how vivid, necessarily denies begun working on his Creuse Valley (cat. no. tower so closely resembles that at Vétheuil. However,
the possibility of large areas of hue. Even in this 120) and Belle Isle series, may have provided the the church at Vétheuil is on a level with the riverbank,
not on a slope, as at Herblay.
painting, with its fairly large oblong strokes and inspiration for these landscapes by Signac. In
4. Arséne Alexandre, “Chronique d’aujourd’hui,” Paris,
concentration of midnight blue in the overhang- this stilled vision of a port on the northern
March 19, 1892, 2, quoted in Ferretti-Bocquillon et al.
ing foliage and its reflection, the individual coast of Brittany, Signac rendered the natural 2001, 157.
brushstrokes make the scene scintillate before world as pattern. Contours are straightened or
our eyes. simplified so that shapes like the bluff to the
It was thought that in its application of sci- right or the shoreline in the foreground become
entific principles to painting, divisionism would elemental. Diagonals take the viewer through
depersonalize art, removing from it the subjec- the painting: from the lower left, the shoreline
tive, expressive element. This was not to be. leads to the reflection of the hill, which changes
Signac’s brushwork, appearing in some places as direction to lead to the bluff. Together with the

211
 Charles Angrand Henri Edmond Cross
French, 1854-1926 French, 1856-1910

Paul Signac
French, 1863-1935

135. CHARLES ANGRAND Like Paul Signac, Charles Angrand and Henri
Farmyard, 1892 Edmond Cross followed the lead of Georges
Black conté crayon on cream laid paper Seurat and painted in a divisionist, or pointillist,
Sheet: 47.5 x 62.4 cm (18 %e X 24 %e in.) style (see cat. nos. 133-34). Signac and Cross also
Gift of her children in memory of each made a small number of lithographs that
Elizabeth Paine Metcalf 1992.566 expressed their theories of color and its applica-
tion in the divisionist manner. Angrand adopted
136. PAUL SIGNAC Seurat’s distinctive way of drawing with black
Les Andelys, 1897-98 conté crayon on rough textured paper, using
Color lithograph on cream wove paper continuous tones rather than lines to create his
Image: 30 X 45 Cm (11 '%« X 18 in.) images. Thus each in his own way paid homage
Anonymous gift 1971.709 to Seurat while at the same time developing an
individual style.
137. PAUL SIGNAC Angrand was born in the farming village
Boats, 1897-98 of Criquetot-sur-Ouville, in the Caux region of
Color lithograph on cream wove paper Normandy, north of the Seine River. His father
Image: 23.5 x 39.8 cm (9% X 15 %e in.) held the respected position of schoolmaster.
Anonymous gift 54.721 Following in his father’s footsteps, Angrand
attended a teachers’ college in Rouen from 1872 Fig. 54. Georges Seurat, French, 1859-1891, Head of a

138. PauL SIGNAC Woman, study for the painting Sunday Afternoon on the
to 1874 and remained there as a tutor at the
Island of La Grande Jatte, about 1884-85, black conté
Boats, 1897-98 Lycée Corneille until 1881. He had already crayon, Smith College Museum of Art, Northampton,
Color lithograph on cream wove paper, trial decided to be a painter, and he began to exhibit Massachusetts.
proof, annotated by the artist in Rouen while studying at its Académie de
Sheet: 39 x 53.5 cm (15% X 21% in.) peinture et de dessin under Gustave Morin and gle man, devoted to his nieces and nephews and
Gift of Peter A. Wick 55.576 later Edmond Lebel. Lebel’s academic taste for traveling only as far as Paris to see and partici-
dark tonalities made him unsympathetic to pate in exhibitions. He corresponded regularly
139. HENRI EDMOND Cross Angrand’s work, which displayed the paler col- with his closest colleagues, Maximilian Luce,
The Promenade, 1897 ors of his idol, Camille Corot. Denied a scholar- Cross, and Signac, whose picture postcards
Color lithograph on cream Chinese paper ship to the Ecole des Beaux-Arts in Paris, mailed from afar provided him with armchair
Image/sheet: 28 x 40.7 cm (11 x 16 in.) Angrand moyed to the capital anyway, painting travels. These divisionist artists, along with
Bequest of W. G. Russell Allen 60.98 and supporting himself once again by teaching Théo van Rysselberghe and Hippolyte Petitjean,
at the Collége Chaptal. were first called Neo-Impressionists by the critic
Angrand painted urban and rural subjects Félix Fénéon in 1886. For a few years beginning
in the divisionist style, exhibiting both in Rouen in December 1892 they held their own exhibi-
and in Paris at the Salons des Indépendants tions, but sales were poor and the project ceased
starting in 1884. He became one of Seurat’s few at the end of December 1894. The Société des
close friends, and they painted together on the Indépendants, with its annual exhibitions,
island of the Grande Jatte. After Seurat’s death served them and other avant-garde artists well
Angrand stopped painting and until 1895 worked for many decades. Angrand exhibited at the
only in black and white, creating a body of annual Salon des Indépendants with some regu-
drawings, many of which depict Norman farms. larity until 1925, the year before his death.
In 1896 he moved back to Saint-Laurent en Although he returned to oil painting about 1906
Caux, where he lived the rest of his life as a sin- and also worked in pastel, his contributions to

212
135

213
the salons were primarily large black-and-white
drawings.
In the introduction to the 1925 catalogue of
a retrospective exhibition of Angrand’s work,
Signac wrote of Angrand’s “happy drawings:
vacations on the farm, all the joys of the fields,
the squadron of ducks, the peaceful life of
hens,” and noted particularly his attention to
the “unrecognized philosopher, the pig.”’ One
of these neglected thinkers is represented sniff-
ing the ground at the left in Farmyard (cat. no.
135). In this handsome sheet, the light and dark
tonalities almost magically conjure up the
ghostly forms of the farmyard and its occupants
—the pig and a farmer unloading hay from his
horse-drawn wagon. Misty, serene, and some-
what mysterious, the image resembles other
drawings of farm animals in their outdoor sur-
roundings and human activities indoors that
Angrand drew in the 1890s. These luminous
images, a number of them dated 1892, are
drawn with black conté crayon on paper whose
texture is clearly visible; the laid and chain lines,
as well as the prominent watermark of the total is not large—twenty lithographs and seven cussed here, differ somewhat; one represents
paper's manufacturer, Michallet, read as white etchings, spread over the years 1887 to 1927. The the river Seine, and the other is a view of clip-
lines. Angrand drew no lines with his black most coherent group is the color lithographs he per ships on open water.
crayon, but only broad areas of tone, in a man- made from 1897 to 1898 at the Paris workshop The composition of Les Andelys (cat. no.
ner similar to that which Seurat used for his of the masterly lithographer Auguste Clot, who 136) repeats that of a painting Signac executed
numerous studies for paintings, such as the also printed lithographs by Pierre Bonnard, Ker- in 1886, The Laundresses (Petit Andely), and a
charming Head of a Woman (fig. 54). Critics ap- Xavier Roussel, and Edouard Vuillard (cat. nos. related drawing.’ These three works depict the
preciated the mystery and melancholy of the 146-48). Signac’s set of six landscapes, executed banks of the Seine with its picturesque chalk
drawings, but simultaneously criticized them for with the same meticulous strokes as his paint- cliffs near the towns of Petit and Grand Andely,
slavishly recalling Millet and Seurat.’ After the ings, was issued by Gustave Pellet in about 1898 which lie between Paris and Rouen. Women
turn of the century Angrand adopted a more but had little commercial success. Pellet, who kneel to wash at the river’s edge, and a tall
linear style of draftsmanship, softened, however, became a print publisher in 1886, issued some of factory chimney and a storage tank, however
by his experience of Seurat and the tonal Clot’s greatest productions, including these col- small, record the artist’s interest in the industrial
mode.‘ orful landscapes by Signac and others by Luce, landscape. The lithograph, printed in seven pale
Signac, unlike Seurat and Angrand, made as well as Henri de Toulouse-Lautrec’s Elles powdery colors, exhibits a uniform surface
few large black-and-white, finished drawings. (Women).’ Four of Signac’s lithographs are treatment that is offset by the variations in
He painted many watercolors for exhibition and views of harbors. Of these, three were based on direction of the strokes. These follow the planes
sale, but otherwise tended to make modest drawings or paintings of Holland, where he vis- of the landscape—horizontal on the river’s sur-
sketches. However, Signac made more prints ited for the first time in 1896; one represents a face, diagonal on hills and rooftops. This pro-
than any other divisionist painter, although the Saint-Tropez quayside.* The remaining two, dis- vides a sense of rhythm and vitality to the pic-

214
ture surface more in keeping with Signac’s
painting style of the late 1890s than with the
more regular horizontal bands of small strokes
he used earlier, such as in Port of Saint-Cast (cat.
no. 134).
Signac was a passionate sailor and over his
lifetime owned some thirty boats, using them
for both cruising and racing. In his early years
he kept a barge on the Seine, enabling him to
stay in rural areas such as Les Andelys. He also
sailed in the waters off France, including the
coasts of Brittany and Normandy, and the
Mediterranean, where he lived in Saint-Tropez
for many summers between 1892 and 1922. A
large part of Signac’s oeuvre consists of river
views and seascapes, almost always occupied
by well-characterized marine vessels. His litho-
graph Boats (cat. no. 137) evokes his love of the
water and nostalgia for the past. He creates a
stately array of square-riggers, seaworthy old
137
sailing vessels used for long-distance hauls
throughout the world. He presents the ships as
ekg yey
blue silhouettes that seem about to be absorbed pepe Gye aan

into a rosy sunset. They are seen not as an es Sar RE lg ee ae a

a
(ee wl!
a
e
at
orderly flotilla, but as individual boats, sailing
different courses. No painting or drawing of this
; O=
SE
tae), dt ie eg Aaa
=
ee Bn Kee
ae
aS

composition is known, and Signac probably rec- & Ve

olde jon ie
ollected a scene he had observed near a busy Oy Re | \
‘e as / \
ff
international harbor such as Bordeaux or
* e r. \
Marseille. As in Les Andelys, he gently animates (3
)
the surface by varying the direction of the Oe- elke? ut |
(ole 3
By ee
marks. There is some debate as to whether or ey 4 owl

not Signac worked directly on the stones; he

a

Bh ne
tee
may have provided transfer drawings and water-
colors for Clot to work from. However, there is \ ie be fame
“ ot aw = oe yuk : eee” ar

no question about the artist’s concern with the wi er ae ey rs i a

S.
final appearance of the prints. A working proof = MER (ges) Seas) et al ‘| te \
} wm fa al oy \
of Boats in the Museum of Fine Arts’ collection 7 va =
records the artist’s numerous penciled com-
ments to Clot, including requests to adjust the ean at
color of many of the individual tiny rectangles
(cat. no. 138). ae GO BELA.
The third of these divisionist artists, Henri 138 (detail)

215
Edmond Cross, was born in Douai, in the
northeast of France, to an English mother and
French father named Delacroix. He changed his
name when he began to exhibit in the 1880s, to
avoid confusion not so much with the famous
deceased Eugéne Delacroix as with a contempo-
rary painter Henri Eugéne Delacroix. As a child,
Cross’s artistic abilities were recognized by a
physician cousin, Auguste Soins, who ensured
that he received lessons at the art academy in
Lille. By 1881 Cross was living in Paris and had
his conventional portraits and still lifes accepted
at the Salon. Cross turned to landscape after he
spent part of several winters with his parents
and Dr. Soins in Monaco and the Alpes-
Maritimes. In 1884 Cross first exhibited with the
Indépendants. There he met Seurat, Angrand,
and Signac. In 1891 he moved permanently to
the Mediterranean coast of France, and he built
a house at Saint-Clair near Lavandou in 1892,
the year that his good friend Signac moved to
nearby Saint-Tropez. Cross kept in close contact
with the Parisian art world and exhibited regu-
larly with the avant-garde artists of his genera-
tion. While he never gave up the divisionist the summer of 1904 when he stayed in Saint- 3. One such example is the unnamed writer in La Revue
style, his watercolors—like those of Signac— Tropez with Signac. This poetic image and its Indépendante, April 1892, cited in [Lespinasse] 1982, 43.

were more loosely painted. After 1900 his health divisionist technique very likely inspired Matisse 4. See reproductions in Angrand 1988, 381, 397.

seriously deteriorated and he painted relatively to produce such an important work as his 5. See Pat Gilmour et al., “Cher Monsieur Clot. . .
Auguste Clot and His Role as a Colour Lithographer,”
little. 1904-5 Luxe, Calme, et Volupté (Musée National
in Gilmour 1988, 129-182. Signac’s prints, traditionally
The Promenade (cat. no. 139) was published d’Art Moderne, Paris), with its female bathers
dated to 1894-95, were actually made from 1897 to 1898;
by the Parisian art dealer Ambroise Vollard in on a cliff overlooking the sea. Cross’s only other Wick 1962; Gilmour 1990.
his 1897 Album d’estampes originales de la Galerie color lithograph, Nursemaids on the Champs- 6. For the Holland images, see Kornfeld and Wick 1974,
Vollard, an anthology of artist’s prints, in which Elysées, was made in 1898 for the art periodical nos, 8, 11, 12; for Saint-Tropez, see no. 9.

Bonnard’s Boating (cat. no. 146) also appeared. Pan, which was published in Berlin, where his 7. For the painting, see Cachin and Nonne 2000, 124
Cross creates an idealized vision of life by the paintings as well as those by Angrand and (private collection, Paris); for the drawing, see Wick
1962, 87, fig. 2 (private collection, New York).
Mediterranean, where young women in white Signac were exhibited and well received.
8. Angrand, Signac, and Cross shared anarchist sympa-
robes gesture expressively as they pass along a SWR
thies, and some of their works of art were produced to
row of cypress trees that gracefully bend in the illustrate anarchist journals or as paintings and prints
southern breeze. Below the cliff, fishing boats 1. The exhibition was held at the Galerie Dru, Paris, that supported the cause. However, their political views
from March 23 to April 9, 1925. Signac’s introduction is had relatively little effect on their pure landscapes.
with sails furled lie at anchor. The dreamlike
cited by Joan Ungersma-Halperin in her preface to
existence represented here acknowledges the Angrand 1988, 9.
utopian views held by Cross.* 2. For reproductions of some of these drawings, see
Henri Matisse got to know Cross during Angrand 1988, 362, 363, 368, and [Lespinasse] 1982, 41.

216
Pierre-Auguste Renoir
French, 1841-1919

Camille Pissarro
French (born Danish West Indies),
1830-1903

140. PIERRE-AUGUSTE RENOIR I4I. CAMILLE PISSARRO

Girls Picking Flowers in a Meadow, about 1890 Morning Sunlight on the Snow, Eragny-sur-Epte,
Oil on canvas 1894
65 X 81 cm (25% x 31% in.) Oil on canvas
Juliana Cheney Edwards Collection 39.675 82.3 X 61.5 cm (32% x 24% in.)
The John Pickering Lyman Collection. Gift
of Miss Theodora Lyman 19.1321

Fig. 55. Francois Boucher, French, 1703-1770, Spring, 1745,

The Wallace Collection, London.

217
By the 1890s Renoir and Pissarro, like Monet, Whereas the girls’ dresses are simple, everyday
were exploring different ways of transcribing wear, the hats are quite extraordinary. The
the landscape. Pattern and decorative color were straw hat with blue ribbons (on the left) is a
used to convey the artists’ emotional, rather complicated affair, bent and crimped into a
than visual, response to the observed scene. In fantastic shape, and the ruffles on the pink hat
Girls Picking Flowers in a Meadow (cat. no. 140) turn it into a cloud around the dark-haired
Renoir felt free to dispense with the transcrip- girl’s head. The hats are not necessarily ones
tion of an actual place altogether and gives us a that the girls themselves would have worn—
wistful vision of springtime. His painting is so Renoir may have had them made expressly for
soft, in both touch and color, that the viewer can his models.’ They suit well the atmosphere of
be excused for not seeing at first how strictly charm and youth that the painting evokes.
composed it is. Set against an expanse of green If springtime seems especially suited to
and yellow (so unarticulated in terms of reces- Renoir's evolving aesthetic, snow scenes contin-
sion that it looks like a backdrop), the two girls ually intrigued Pissarro. Here the artist has
form a triangle. This stable geometric shape has translated to canvas with perfect accuracy the
been used in figure compositions in the West sparkle, crispness, and crustiness of an early
since the Renaissance as a means of suggesting morning in winter (cat. no. 141). Pissarro proba-
permanence. Just as Raphael (1483-1520) did in bly painted the scene from inside his house, but
many of his depictions of the Madonna, Renoir he nonetheless knew how to convey the way Fig. 56. Camille Pissarro, The Cote des Boeufs at
knits the outline of the triangle together by pair- light looks outdoors when its effect is magni- L’Hermitage, 1877, National Gallery, London.

ing the girls’ profiles and posing their arms in fied by reflection off snow and by refraction
such a way that they form an echoing smaller through ice- and frost-covered branches. Pastel canvases emphasizes the verticality of the trees,
triangle within the larger enclosing shape. The pinks and blues dominate the canvas; only up making them seem impossibly tall and thin.
geometric form finds greater materiality in the close are purples, oranges, and greens visible. The screen of trees, by affording a glimpse of
strict vertical of the curiously short tree trunk. The woman carrying a bucket is understand- the distance yet denying immediate access to it,
Such is the chromatic as well as emotional har- ably transfixed by the myriad colors, glancing weaves foreground and distance together into a
mony of the whole, however, that logical ques- light, and spiky textures. single two-dimensional pattern: the background
tions—how could the tree be so short? why are Pissarro had long been fascinated with the becomes the interstices between the trees.
there no flowers left in the meadow?—seem out complex spatial problems presented by a medi- The intricate and textured surface of the
of place. ating screen of trees. Corot, too, had explored painting testifies to the extended labor Pissarro
Renoir also found a way to paint scenes the problem, as can be seen in two of his works lavished on the canvas. Tiny flecks of paint
from modern life that linked them to the history in this catalogue, Morning near Beauvais (cat. no. were placed quickly but deliberately. Pinks are
of art. Girls Picking Flowers in a Meadow recalls 14) and Souvenir of a Meadow at Brunoy (cat. no. balanced with blues, and optically heavier pur-
imagery from eighteenth-century France, such 15). Pissarro may have adopted the motif from ples, oxbloods, and greens are clustered toward
as the girls outdoors in Frangois Boucher’s his early teacher. Pissarro, however, made the the bottom of the canvas, echoing the colors
Spring (fig. 55). Through juxtaposition and ges- screen of trees a principal motif, both in paint- worn by the lone figure. Glancing out the win-
ture Renoir relates the sexuality of the adoles- ings and in prints (cat. nos. 97-99). It is seen to dow and deciding to paint the scene may have
cent girls to the flowering sapling. With its particularly good effect here, where the trees been an instantaneous decision, but the plan-

clothed figures, Renoir’s version may be more are bare and the palette is pale. The Cote des ning and execution surely constituted a plotted-
innocent than Boucher’s, but the meaning of the Boeufs at L’Hermitage (fig. 56) is similarly con- out intellectual exercise. FEW
season—a time of rebirth and regrowth—is still structed, though its browner palette and 1. Hayward Gallery 1985, 251.
legible. Perhaps the hats the girls wear are an blocked view into the distance seem to clog the 2. Isaacson 1992, 320-24.

additional homage to the eighteenth century. picture’s surface. The orientation of these two

219
 Claude Monet
French, 1840-1926

142. CLAUDE MONET

Grainstack (Sunset), 1891
Oil on canvas
73-3 X 92.6 cm (28% x 36% in.)
Juliana Cheney Edwards Collection 25.112

143. CLAUDE MONET

Grainstack (Snow Effect), 1891
Oil on canvas
65.4 X 92.3 cm (25% x 36% in.)
Gift of Misses Aimée and Rosamond Lamb in
memory of Mr. and Mrs. Horatio A. Lamb
1970.253

142

Grainstack (Sunset) and Grainstack (Snow Effect) Each painting shows a stack of grain, care-
belong to a series of at least twenty-five can- fully constructed and thatched to protect the
vases that Monet painted of the subject (some precious harvest from moisture and rodents. Its
with one stack and others with two) from 1890 upright sides and conical roof tower to a height
to 1891. The artist showed fifteen of them at the of four and a half or six meters (fifteen or
Galerie Durand-Ruel in May 1891.' The cumula- twenty feet) and relate it formally to the build-
tive effect of seeing so many at once can be ings stretching across the middle of the canvas,
exhilarating. The variety of light, colors, and whose roofs were similarly thatched. The rela-
textures wrested from a single motif is astound- tion between the constructed forms goes
ing, producing a sensation somewhat like the beyond their shape, however. The stacks repre-
calm induced by a group of Abstract Impres- sent the wealth of the people who lived in the
sionist paintings by Mark Rothko (1903-1970) or distant buildings and the prosperity and security
Clyfford Still (1904-1980). Seeing only two paint- of the country at large, for France continued to
ings of a grainstack, as here, has its own re- identify itself as an agrarian nation. The edges
wards, however. In isolation from their many of the stacks’ roofs intersect with the houses, as
relatives vying for attention, the individual if to underscore the connection.
works can be studied at leisure, their various Grainstack (Sunset) (cat. no. 142) is aflame.
aspects noted with care. Despite a palette that includes pale pastels of

221
yellows, pinks, blues, and purples, hot oranges, shadow. Likewise, the ends of the buildings pink-laden mauves and orangy browns.
reds, and burning yellows predominate. The yel- glow with bluish white under the light orange A fulgent grainstack in one scene, one hud-
lows in particular have a tangible presence; yel- roofs; they, too, face away from the sun. dling for warmth in the other, these two paint-
low paint is thickest along the contour of the In Grainstack (Snow Effect) (cat. no. 143), ings of a simple form in a flat meadow suggest
stack’s cone, as if the sunlight were caught in whatever reality Monet saw in the field was the possibilities Monet saw before him. Monet
the thatch and had piled up there. The material- accommodated to his artistic vision. Whereas used the grainstacks as a vehicle through which
ity of the sunlight is emphasized by the much the stack seen in the setting sun rises trium- his emotions would have an outlet. “In short,” he
smoother surface of the conical roof facing the phantly above the tops of the background hills, wrote on October 7, 1890, “Iam more and more
viewer. There the brushstrokes are long and dis- the stack in this snow scene seems to contract driven by the need to render what I feel.”? Monet
junctive and make up the darkest part of the into itself for warmth, soaking up the yellow achieved his goal: these grainstacks, shown alone
picture. The contrast is startling—and distinctly light that gilds the snow around it. Cool colors in a field, are emotion made visible. FEw
antinaturalistic. The upright wall of the stack and blue and white (admittedly modulated with
1. Tucker 1989, 65-105. Tucker's discussion is the basis of
that the viewer sees could not possibly be the pinks and yellows) surround the stack, which much of this entry.
hot orange Monet painted it; it was, after all, in seems by contrast all the warmer in its coat of 2. Quoted in Geffroy 1924, translated in Stuckey 1985, 157.

222
 Claude Monet
French, 1840-1926

144. CLAUDE MONET

Morning on the Seine, near Giverny, 1897
Oil on canvas
81.4 X 92.7 cm (32 x 364 in.)
Gift of Mrs. W. Scott Fitz 11.1261

Monet traveled as far north as Norway and as

far south as Venice to look for different motifs,
but he always returned to the places he knew
best. He painted the river Seine in Paris,
Argenteuil, Vétheuil, and where it emptied into
the English Channel. He turned to it again in
1896 and 1897 for a series of canvases showing
how it looked at dawn.
This version is notable for its softness. Its
colors of pinkish mauve, cool blues, and greens
are matched with large, simple, and rounded
shapes. With the point of view suspended over
the water, we are made to feel weightless, per-
haps even bodiless. Almost symmetrical reflec-
tions threaten to disorient us, but- Monet has left
clues—the slight but discernible greater defini-
tion of outline and form in the sky—to let us
know which way is up.
Lilla Cabot Perry, an American painter and
journalist who met Monet in 1889 when she and
her husband began spending their summers in
Giverny, remembered the series when she wrote
about Monet after his death: “They were paint-
ed from a boat, many of them before dawn, Ménard quoted from a letter purportedly
which gave them a certain Corot-like effect, written by the artist himself:
Corot having been fond of painting at that
A landscape-painter’s day is delightful. He
hour.”! In one of the many eulogies written
gets up early, at three in the morning, before
after Corot’s death in 1875, his early-morning
sunrise; he goes to sit under a tree, and
habits were extolled. René Ménard explained watches and waits. There is not much to be
that seen at first. Nature is like a white veil, upon
Corot is par excellence the painter of morn- which some masses are vaguely sketched in
ing. He can render with more felicity than profile. .. . The chilly leaves are moved by
anybody else the silvery light on dewy fields, the morning air. One sees nothing: every-
the vague foliage of trees mirrored in calm thing is there. The landscape lies entirely
water. He was not fond of the noonday light, behind the transparent gauze of the ascend- Fig. 57. Jean-Baptiste-Camille Corot, Souvenir of
Mortefontaine, 1864, Musée du Louvre, Paris.
and it was always in the earliest morning that ing mist, gradually sucked by the sun, and
he went out to paint from nature.* permits us to see, as it ascends the silver-

223
 Odilon Redon
French, 1840-1916

striped river, the meadows, the cottages, the 145. ODILON REDON From September 1870 until he was dis-
far-receding distance. At last you can see Tree, 1892 missed in 1871 due to exhaustion, Redon served
what you imagined at first.’ Lithograph on chine collé as a soldier in the Franco-Prussian War. This
When Perry evoked Corot, she was doubt- Image/chine collé: 47.7 x 31.9 cm (18% x experience led to his adoption of an artist's life.
less thinking of his Souvenir of Mortefontaine 12% in.) He wrote, “At that moment, I became conscious

(fig. 57), which has been in the collection of the Bequest of W. G. Russell Allen 60.699 of my natural gifts... . That was the true date
Musée du Louvre since 1889. Monet too must when I discovered my will.”* After he returned
have been thinking of this work when he painted Odilon Redon’s reflections on his life in his 1922 to Bordeaux, he often made trips to Peyrelebade
Morning on the Seine, and Ménard’s words autobiography (published posthumously), A soi- and first conceived his series of noirs—several
describe the later work perhaps better than the méme (To myself), describe his art as directly hundred charcoal drawings and lithographs that
earlier one. We can imagine no greater homage. related to his psychology and early experiences. were to be his main artistic occupation until the
FEW Born in Bordeaux in 1840, he was sent at a very early 1890s.
young age to Peyrelebade, a small sixteenth- About 1874 Redon became acquainted with
1. Perry 1927, 120, quoted in Stuckey 1985, 184, and century chateau and wine-producing estate Henri Fantin-Latour, who in 1876 taught him a
Tucker 1989, 231. Tucker’s chapter is the most sensitive owned by his father. It is believed that Redon’s new method of making lithographs. Fantin-
treatment of the Morning on the Seine series.
parents sent him there due to frail health to be Latour introduced Redon to a special transfer
2. René Ménard in Portfolio (October 1875) quoted in
raised by his uncle in relative solitude and sur- paper on which one could draw with a litho-
Clement and Hutton 1879, 1:16r.
rounded by nature, and it was not until 1851, graphic crayon and from which the finished
3. Quoted in Portfolio (October 1875) quoted in Clement
and Hutton 1879, 1:161. Clarke 1991a, 89, points out that
when Redon was eleven, that they brought him drawing could be mechanically transferred onto
the passage, which he gives in a slightly different transla- back to Bordeaux to live with the family and the lithography stone, thus relieving the artist of
tion, was actually written by Arthus Stevens, under the attend school. According to the Redon special- the more tedious and unwieldy aspects of the
pen name of J. Graham, in “Un étranger au Salon,” of
ists Douglas Druick and Peter Kort Zegers, process. The technique allowed Redon to create
1864. Clarke cites Moreau-Nélaton (in Robaut and
Moreau-Nélaton 1905, 1:225—26), who wrote that Corot research suggests that the artist may have suf- lithographic prints that suggest the look of
was shown the letter and “was allegedly amused by it fered from epilepsy—a disease that then carried chalk or charcoal drawings, and he was immedi-
and did not repudiate it.” with it a terrible social stigma. Druick and ately attracted to it because it was a way to
Zegers explain that “Redon’s childhood was the “multiply” his drawings.
source of psychological trauma leaving perma- Lithography soon became a major form
nent scars and... . to understand his outlook on of expression for Redon, and his first album of
life and art, we must consider the structuring lithographs, Dans le réve (In dreams), created
potential of these early events.”! after drawings made at Peyrelebade, was pub-
The young Redon’s interest in the visual lished in 1879. Between 1879 and 1899 he pro-
arts, especially printmaking, was strengthened duced twelve lithographic albums, several with
by his lifelong friendship with and tutelage strong literary associations. For example, Gus-
under Rodolphe Bresdin (see cat. nos. 40-42), tave Flaubert’s Tentation de Saint Antoine (The
whom he met in Bordeaux in 1863. Redon made temptation of Saint Anthony) of 1874 served as
numerous etchings under Bresdin’s guidance the source for Redon’s albums in 1888, 1889, and
that display the teacher's style and technique 1896—prints that were not merely illustrations
(most notably Fear, cat. no. 43), and Bresdin but interpretations of the text. A similar series
taught him a love of the earlier printmaking of lithographs from 1882 drew from the work of
masters Albrecht Diirer and Rembrandt. Corot, (and was dedicated to) Edgar Allan Poe. By the
who urged Redon to study nature with sensitiv- end of the 1890s, Redon also began to experi-
ity and humility, was also an early and signifi- ment with color lithography. He made many
cant influence on the young artist. single lithographs as well as a series of drawings

224
after Charles Baudelaire’s collection of poems
Les fleurs du mal (Flowers of evil), which were
later reproduced in an album.’
Redon’s work from this period took an
approach to subject matter and composition
that associated him with the European move-
ment called Symbolism—a term used to
describe trends in both art and literature, which
were closely related at the time. Symbolism
essentially claims that objective or real facts
must be transformed into symbols of the artist’s
inner experience. The Symbolist painter or
printmaker thus not only sees the objects he
depicts but also sees past them to a significance
and reality far deeper than what is indicated by
superficial appearance. Subject matter for the
Symbolists became increasingly visionary, mys-
terious, and dreamlike in its representation.
Redon’s Symbolist works often represent a
transformation of nature observed through his
imagination. The artist explained his interest in
nature when he wrote:

I have always felt the need to copy nature in

small objects, particularly the casual or acci-
dental. It is only after making an effort of
will to represent with minute care a grass
blade, a stone, a branch, the face of an old
wall, that I am overcome by the irresistible
urge to create something imaginary. External
nature, thus assimilated and measured,
becomes—by transformation—my source,
my ferment. To the moment following such
exercises I owe my best works.*

The image of a lone tree, for example, became

a symbolic reflection of the artist’s secluded
childhood at Peyrelebade and the solitude he
found there in nature. Trees were repeated
again and again throughout Redon’s career in
different media and were part of the artist's
complex personal iconography, along with other eee
repeated forms such as the centaur (cat. no. eee .
i
150). The tree shown here, solitary against a \
Rese:= wd j . OPLLON
eB REDON
NA Ky
blank background and represented in an incredi-
145

225
 Pierre Bonnard Edouard Vuillard
French, 1867-1947 French, 1868—1940

Ker-Xavier Roussel
French, 1867-1944

bly delicate and almost mysterious manner, was 146. PIERRE BONNARD more avant-garde. Several of them, including
printed in 1892, the same year that the art critic Boating, 1896-97 Bonnard, Roussel, and Vuillard, became enam-
and writer Albert Aurier published his article Color lithograph on cream Chinese paper ored with the work of Impressionist painters—
“Les Symbolistes” in La Revue Encyclopédique, in Image: 25.7 X 47.5 cm (10% X 18 '%e in.) especially Monet, Renoir, and Pissarro—and
which he ranked Redon with Gauguin and Van Bequest of W. G. Russell Allen 60.68 emulated some of their stylistic elements, such
Gogh, thus establishing Redon as one of the as lighter colors, open brushwork, and small or
foremost artists of the period.* Despite such 147. KER-XAVIER ROUSSEL dotted strokes. Young and idealistic, the group
critical acclaim, Redon never became popular Woman in Red in a Landscape, 1898 privately named themselves the Nabis, derived
with the general public. However, numerous Color lithograph on cream Chinese paper from the Hebrew word for prophet or visionary.
collectors came to subscribe to his lithographic Image: 23.5 X 35.4 Cm (9% X 13% in.) They held regular meetings and had initiation
publications, and the Parisian literary avant- Gift of Mrs. Frederick B. Deknatel 1985.858 rites, secret names, and passwords. To a lesser
garde, including Emile Hennequin, Joris-Karl or greater degree, there were elements of mys-
Huysmans, and Stéphane Mallarmé, champi- 148. EDOUARD VUILLARD ticism as well as Symbolism in their pictures.
oned his work for its imaginative and dreamlike Crossing the Field, 1899 Nabi artists firmly believed that art should
interpretations of reality and its creation of Color lithograph on cream Chinese paper be incorporated into daily life. Until about 1900
haunting and poetic visual imagery. Redon’s Image: 25.3 X 34.3 cm (9% X 134 in.) they functioned as a collective, working on a
Symbolist work was also much admired by the Bequest of W. G. Russell Allen 60.108 range of projects that included not only easel
Nabis artists (see cat. nos. 146-48) and Henri pictures and interior murals, but also theater
Matisse, among others. JK Pierre Bonnard was born near Paris to a middle- sets and programs, prints, book illustrations,
class family that had a summer home in the and posters. They also designed utilitarian
rt. Druick et al. 1994, 17-22. country, where he learned to love animals and objects including lamps, ceramics, textiles, and
2. Quoted in Eisenman 1992, 72. the outdoors. To please his father, he studied folding screens. The human figure was nearly
3. MoMA 1061, 26~29; see also Druick et al. 1994, 16-28, law and in 1889 became a lawyer. However, his always primary in the work of the Nabis, but
120-25, 193-94; and Redon 1986. true desire was to be a painter, and two years landscape could play an important and often
4. Odilon Redon, Confidences d’artiste, 1909, quoted in earlier he had enrolled in art classes at the equal role, especially in the large panels painted
MoMA 1961, 23.
Académie Julian. There he met two young to decorate the walls of their patrons’ private
5. For a discussion of Redon’s tree images, see Eisenman
artists who had been friends for a decade, Ker- homes. The work of each artist had a distinctive
1992, 31-44, and Druick et al. 1994, 31, 66-68, 230.
Xavier Roussel—Bonnard’s exact contemporary, character: that of Maurice Denis was the most
6. Aurier’s career as an art critic began with his entry
into Symbolist literary circles in Paris in the 1880s. From
also from a moderately well-to-do family—and Christian; Paul Ranson’s, with its Buddhas,
1890 to 1892 Aurier wrote his most substantial art criti- Edouard Vuillard, a year younger and the son tigers, and sinuous forms, was the most exotic;
cism, including major articles on Van Gogh in January of a widowed seamstress. The three artists Bonnard’s and Vuillard’s, with images of con-
1890 and Gauguin in March 1891. Aurier championed
would remain friends; stylistically, they were temporary life, were the most secular. After
Symbolist artists for rejecting academic procedure and
communicating ideas through symbolic form, as dis- most closely related in the 1890s, when they 1900 their styles began to mature and diverge,
cussed in his last major article, “Les Symbolistes,” of belonged to the Nabis. and eventually some of the artists moved away
1892. Aurier 1892, 474-86. The Nabis were founded by Paul Sérusier, from Paris to complete their careers elsewhere.’
who returned from Pont-Aven in 1888 charged Bonnard was the most productive print-
with energy from having worked with Paul maker of the Nabis, creating over 250 litho-
Gauguin. He introduced a group of painters in graphs between 1889 and 1902, including more
their twenties to a new way of working, based than thirty printed in three or more colors.’ His
on Gauguin’s use of flat, decorative, and color- involvement, along with Henri de Toulouse-
ful forms (see cat. nos. 124-25). Traditional, Lautrec, in the hands-on process of preparing
realist paintings as taught in art schools did not lithograph stones to make posters helped to
satisfy these young men, who aspired to be change the face of color lithography. The medi-

226
227
 1896 oil painting, Boating at Chatou.* In the print
he exploited the white of the paper to evoke
light, glinting off the rippled surface of the
water and dissolving the crisscrossed trusses of
the bridge. With its depiction of leisure and its
wonderful sense of fresh air, Boating pays hom-
age to paintings that Renoir made a decade and
a half earlier, at the height of the Impressionist
movement (see cat. no. 102).’
Bonnard’s contemporary Roussel was per-
mitted to go to art school directly after complet-
ing secondary school. He attended the Ecole
des Beaux-Arts and the Académie Julian but was
dissatisfied with the conventional realist teach-
ing at both institutions. He had been friends
with Vuillard since 1877, when they were sec-
ondary students at the Lycée Condorcet in
Paris, and in 1893 he married Vuillard’s sister,
Marie. Roussel joined the Nabis in 1888, and in
addition to easel paintings he designed stained
147 glass and painted murals. He was already
advanced enough in 1889 to show with Gauguin
and the Synthetists at Volpini’s café (see cat. no.
um grew increasingly sophisticated in its tech- including four sets of twelve prints each from 125). In 1892 he created his first lithograph, a
niques and in its abilities to relate closely to the Nabi painters Denis, Roussel, Vuillard, and portrait of Vuillard, and in 1893 he made a color
painting styles. Long after working in lithogra- Bonnard, as well as individual prints such as lithograph that was close to Denis’s Symbolist
phy Bonnard acknowledged that color printing Boating, Almost without exception these were style.
informed his own painting, saying, “I’ve discov- printed by the lithographer Auguste Clot, a Woman in Red in a Landscape (cat. no. 147) is
ered a lot that applies to painting by doing color master of the medium in color. Most of the one of the set of twelve landscape lithographs
lithography. When you have to judge tonal rela- subjects reflected what the artists were paint- that Vollard commissioned from Roussel. They
tionships by juggling with four or five colors, ing at the time—dreamy Symbolist figures by were intended for publication in 1899 as L’Album
superimposing them or juxtaposing them, you Denis, contemporary interiors by Vuillard, and de paysage (Album of landscapes); however,
learn a great deal.” urban views by Bonnard. However, in a few of Roussel took years to finish the prints, and they
Bonnard’s lithograph Boating (cat. no. 146) the images, notably those by Roussel, the out- never appeared as a complete album. In this
was made for the art dealer Ambroise Vollard doors played a major role. This is also true of print, a tiny salmon red figure stands at the end
and was published in Vollard’s 1897 Album d’es- Bonnard’s Boating. of a path before an orchard of green trees bear-
tampes originales. (Bonnard designed the cover In Boating Bonnard depicted rowers on the ing red fruit. Gray trees and a blue sky complete
of the album, which also included Roussel’s water and picnickers on the banks of the Seine a picture that brilliantly demonstrates the lumi-
Landscape with a House and The Promenade by at Chatou, a popular recreation area on the nous qualities of blank white paper and the
Henri Edmond Cross, cat. no. 139). Vollard had western outskirts of Paris. To clearly distinguish power of color as it is found in paintings by
taken up print publishing shortly after 1895, and this lithograph from his recent posters and to Monet. In homage to Impressionism, patches of
in the next few years he enthusiastically com- underscore its artistic validity and painterly dappled strokes suggest forms rather than defin-
missioned a large number of color lithographs, qualities, Bonnard used the composition of an ing them with linear means. Roussel’s only

228
other lithographs to be printed in significant
numbers were produced in the 1890s, during
his Nabi years. Subsequently, he made some
fifty lithographs and twenty-five etchings that
almost exclusively depict landscapes peopled by
nymphs and fauns. These prints are extremely
rare, a sign that printmaking was a private affair
for him.‘
Vuillard, like Bonnard and Roussel, studied
painting at the Académie Julian and was one of
the original Nabis. A lifelong bachelor, the artist
lived with his mother until her death in 1928,
and she helped support him until his own career
was established. He frequently painted his fam-
ily and friends in the rooms of their modest
apartment. Vuillard’s closest artist friend was
Roussel, and he maintained long-term social
relationships with numerous other artists and
patrons. Like the other Nabis, Vuillard designed
theater scenery—in his case for Symbolist dra-
mas by Ibsen and Strindberg—as well as decora-
tive works such as stained glass. In the early
1890s several wealthy patrons commissioned
148
him to paint sets of decorative panels to be
installed in the dining or living rooms of their
mansions. green, and violet. It exhibits some of the artist’s 1. For an overview of Nabi work in many media, see
Cogeval, Fréches-Thory, and Genty 1998.
Though Vuillard made a few etchings fascination with textures in the striated grass
and sixty lithographs throughout his life, only and in the small repeated forms of people walk- 2. These numbers are based on a survey of illustrations
in Bouvet 1981; see also Ives, Giambruni, and Newman
about twenty are color lithographs. Paysages et ing in a line through the meadow. The sky is
1989, 3.
intérieures (Landscapes and interiors), his set somewhat more realistically portrayed, but its
3. Bonnard’s grandnephew Antoine Terrasse published
of twelve color lithographs commissioned by unmodulated blue shapes suggest a flatness this undated quotation in his 1967 book on the artist; it
Vollard, was printed by Auguste Clot in an edi- that is antinatural. Impressionist paintings are has been variously translated. This version appears in
recalled by the clear pastel colors and the matte Bouvet 1981, 8; a slight variant is in Ives, Giambruni, and
tion of one hundred and exhibited in February
Newman 1989, 25.
1899. Vuillard’s paintings of that time show a surface of this lithograph, in which the inks
4. Private collection; reproduced in Ives, Giambruni, and
preoccupation with filling a shallow picture have been absorbed by the fine fibers of the
Newman 1989, 23, cat. no. 52, pl. 30.
plane with decorative patterns—wallpapers and Chinese paper. Like Bonnard, Vuillard may have
5. These paintings include Oarsmen at Chatou, 1879,
fabrics in stripes, florals, and abstract designs. found that working with color lithography National Gallery of Art, Washington, D.C.; reproduced
In some of his lithographs of interiors, Vuillard affected his painting techniques: about 1900 his in Ives, Giambruni, and Newman 1989, 23, pl. 31.
deliberately chose eye-catching color combina- paint surfaces became less glossy, as he turned 6. For Roussel’s print oeuvre, see Alain 1968 and
tions such as wallpaper with red designs on a to painting more frequently with oil on Christian von Heusinger’s section on prints in
Kunsthalle Bremen 1965.
pink ground.’ The only true landscape in the absorbent cardboard or with distemper (glue-
7. Roger-Marx 1990, nos. 36-38.
set, Crossing the Field (cat. no. 148), is printed based paint) on canvas. SWR
from five seductive colors, including cool blue,

229
 Eugene Atget
French, 1857-1927

149. EUGENE ATGET

Versailles, 1902
Photograph, gold-toned albumen print from
glass-plate negative, unmounted
Sheet: 18.1 x 21.8 cm (7% x 8 %e in.)
Helen B. Sweeney Fund 1989.322

Eugéne Atget pursued several different pro-

fessions—sailor, soldier, actor, and painter—
before finally taking up photography in about
1888. Surprisingly little is known of Atget’s
early years. He was born near Bordeaux and
orphaned at an early age. By the time this image
was made in 1902, however, he had established
himself in Paris as a photographer specializing
in views of the old sections of the city, many of
which were slated for demolition. He modestly
described his photographs as “documents for
artists” and set out to create a systematic inven-
tory of his chosen subjects using a large-format
camera and tripod and cumbersome glass-plate
negatives. He organized his work, which was
typically made “on spec” and only rarely com-
missioned, into a number of different series, 149
grouping them under headings such as Land-
scape-Documents, Old France, Picturesque
Paris, Art in Old Paris, and Interiors. Atget’s photographer’s first visit to Versailles, records In this particular image, Atget has carefully
photographs were sought after as source mater- the carefully manicured Tapis vert, the main positioned his camera in order to capture the
ial by painters, architects, set designers, and allée between the king’s residence and the verdant swath of lawn on the left and the mas-
craftsmen, as well as by the city’s archivists and Grand Canal and Basin of Apollo. In 1624 Louis sive white vase set off against the black curtain
librarians, who recognized the significance of his XIII had purchased a small piece of land on the of trees at the right. The vertiginous rush of the
documentation of the architectural and cultural current site in order to build what he envisioned grand promenade and the dramatic diminution
heritage of France at the turn of the century. as a simple hunting lodge, but by the 1660s his in scale of the sculpture along its edge—both
Atget returned to certain sites over and over son Louis XIV had commenced its transforma- greatly enhanced by Atget’s use of a wide-angle
during the course of his career. Just twenty-two tion into the lavish chateau and grounds that lens—contrast with the graphic shape of the
and a half kilometers (fourteen miles) southwest visitors can still see today. The realization of decorative urn. The sharply receding V of the
of Paris, Versailles was one of his favorite places, Le Nétre’s elaborate landscape designs involved allée is beautifully echoed in the bright slice of
and he photographed it many times, as part of converting thousands of acres of swampland sky that parts the deep foliage on either side.
his Environs series, over a span of twenty-five into sweeping vistas and imposing a rigorous, This composition is even more remarkable
years. More than the looming facade of the classical order on what had once been untamed when one imagines the view as the photogra-
palace itself, Atget was drawn to André Le countryside. As such, Versailles’s gardens seem pher would originally have seen it—upside
Notre’s (1613-1700) surrounding gardens, with to have been a subject, according to one Atget down and reversed on the camera’s mirrorlike
their geometric plantings, waterways, fountains, scholar, that perfectly fulfilled the photograph- ground glass. KEH
marble sculpture, and urns. This richly toned er’s own “orderly ideal . . . laid out in three-
albumen print, made only one year after the dimensional reality.”’ 1. Szarkowski and Hambourg 1983, 18.

230
 Odilon Redon
French, 1840-1916

I50. ODILON REDON

Centaur, 1895-1900
Pastel on canvas
73 X 60.2 cm (28% x 23% in.)
Gift of Laurence K. Marshall 64.2206

Centaur is a masterpiece of Odilon Redon’s late

style, displaying the artist’s audacious use of
color and remarkable manipulation of pastel.
Here, it is twilight in a landscape of dreams.
The setting sun turns the sky into an explosion
of flower colors: geranium, marigold, larkspur,
and delphinium. A solitary tree, bare-limbed,
stands bleak against the brilliant sky. Beside it,
to the left, a looming rock glows with the
vibrant colors of azure, cobalt, and lapis lazuli.
Between the stone and the tree, his head silhou-
etted in profile above the horizon, stands a lone
figure, the mythological man-horse, the cen-
taur. In his outstretched right hand he holds a
delicate arrow, its feathers barely visible as tiny
strokes of white; the same white follows the
outline of his fragile bow, held in his left hand
at his side. In the foreground, strange flowers or
leaves emerge from the ground, touched with
delicate strokes of pink, yellow, green, and blue.
Rivaling Degas in the variety of touch and mark
at his command, Redon works the pastel against
the unaccustomed medium of a primed canvas,
thick and opaque in the sky, thin and diffuse in
the foreground, coaxing light and color from
the drab gray and setting the tree and the cen-
taur’s flank into deep brown shadow.
The principal elements of the composi-
tion—the lone tree, the great stone, the cloudy
sky, and the centaur himself—trelate to themes
that the artist had treated since the beginning
of his career. Rocky outcroppings figure promi-
nently in Redon’s prints and drawings of the
1860s, in such works as the etching Fear of 1866
(cat. no. 43), as well as in oil sketches of the
1880s.' Isolated trees spread their branches
against the sky in paintings of the 1860s, in the

231
 Paul Gauguin
French, 1848-1903

artist’s moody lithographs and charcoal draw- the process of unfolding, life . . . can also reveal I51. PAUL GAUGUIN
French, 1848-1903
ings of the 1870s and 1880s, and in a delicate joy.”
lithograph of 1892 (cat. no. 145).’ Likewise, the Redon’s considerable gifts as a painter, Women and a White Horse, 1903
centaur has a distinguished place in the artist’s draftsman, and printmaker of landscape sub- Oil on canvas
iconography. One of his earliest drawings made jects have been overshadowed by the darkly 73.2 X 91.7 cm (28% x 36% in.)

in 1863, for instance, shows such a beast resting emotional figure studies with which he is identi- Bequest of John T. Spaulding 48.547
against a rock, gazing at a cloud; another draw- fied in the public imagination—scenes of decap-
ing, dating from about 1875, shows the centaur itated heads, floating, cell-like globes with eyes In the spring of 1891, Gauguin left France for
taking aim with bow and arrow at clouds (the or ears, and mysterious spiders with demonic the South Seas, seeking a terrestrial paradise
motif was later repeated in pastel and oil).* This faces. Even in his so-called noirs (as he described emotionally and geographically more remote
unusual theme has its roots in the myth of the his black chalk and charcoal drawings), he from the art center of Paris than any other
centaur’s origins, in which a beast—half man turned often to landscape themes, drawing place he had ever worked before—Martinique,
and half horse—is born to Ixion, a ne’er-do-well beautiful studies of tree trunks inflected with Brittany, or Provence, for example. He settled in
resident of Olympus, and a cloud that was sent Corot’s soft light. But even his most innocuous Tahiti, where he was to remain for the next two
to him by Zeus in the form of Zeus’s wife, oil sketches of such themes were transformed years, painting the landscape and people of his
Hera. As Pindar related, in the studio into haunting images. For Redon, newfound land—a place that both fell short of
in such works as Centaur, the earth and the sky, and exceeded his expectations.
the man in his ignorance chased a sweet
fake and lay with a cloud, for its form was the dark and the light, were actors in an omi- Gauguin had hoped to find an untouched
like the supreme celestial goddess. . . . The nous spiritual drama.° GTMS Eden populated by native peoples of great dig-
hands of Zeus set it as a trap for him, a nity and simplicity, but he found instead a thriv-
beautiful misery. . . . She bore to him, with- 1. See Druick et al. 1994, chap. 1, figs. 51, 59, 62, 65; for ing French colony in which the Tahitians wore,
1880s sketches, see chap. 3, fig. 77. See also Wildenstein
out the blessing of the Graces, a monstrous often as not, clothing of European design pro-
1992-98, 3: nos. 1877-1906 for rocky landscapes.
offspring—there was never a mother or a vided by Catholic missionaries. All the same,
2. See Druick et al. 1994, chap. 1, figs. 6, 67, 80; chap. 2,
son like this—honored neither by men nor he was awestruck by the beauty of the world
fig. 2A, 72.
by the laws of the gods. She raised him and around him. “The landscape, with its pure,
3. See Wildenstein 1992-98, 2: nos. 1235, 1251, 1250, 1252.
named him Centaurus.* intense colors, dazzled and blinded me,” he
4. Pindar [1915] 1946, 175, Pythian Ode II, line 44 and
Douglas Druick and Peter Zeghers have following. wrote later, and
argued convincingly that the centaur and the 5. See Druick et al. 1994, 45-47; Redon’s writings are It was so simple . . . to paint what I saw, to
cloud had a complex personal significance for cited in Druick et al. 1994, 24. put a red or a blue on my canvas without
Redon. The artist related his own confused feel- 6. See Druick et al. 1994, chap. 3, especially 165-66. so much calculation! Golden forms in the
ings of abandonment by his mother to the story streams enchanted me; why did I hesitate to
of Achilles, who was educated by the centaur make all of that gold and all of that sunny
Chiron when his mother refused to care for joy flow on my canvas? Old European habits,
him. The nurturing centaur, child of the cloud, expressive limitations of degenerate races!'

takes aim at the maternal symbol in Redon’s Gauguin’s words recall those of Monet when,
early images, but by the turn of the twentieth encountering the brilliance of Mediterranean
century, as in the Boston Centaur, the cloud light, he felt his “palette rather poor. Here. . .
became altogether more luminous and benefi- [one] would need tones of gold and diamonds.”?
cent. “I have never loved my mother so much In fact, Monet’s last Mediterranean land-
as when I saw her again, completely reduced to scapes, painted at Antibes in 1888, were first
infantilism; she is touching,” Redon wrote to a shown by Gauguin’s dealer, Theo van Gogh, in
friend in 1908. “By opening my eyes wider on all the autumn of that year, and his Cap d’Antibes,
things,” he later wrote, “I have learned that in Mistral (cat. no. 119) was presented at an exhibi-

232
E
234
Fig. 58. Paul Gaugin, Fatata te Moua, 1892, The State Fig. 56. Paul Gaugin, Where Do We Come From? What Are We?
Hermitage Museum, Saint Petersburg. Where Are We Going? 1897-98, Museum of Fine Arts, Boston.

tion Gauguin must have seen in June 1889. one of sunshine and clearly defined shadow at one of the steeds from the procession of
Although by 1889 Gauguin was in rebellion left and another of a murky nocturnal under- worshipers on the Parthenon frieze. Thus in
against the conventions of Impressionism as wood at right. If the view of a distant mountain Gauguin’s art, the South Sea is a place of con-
represented by Monet, he might have recalled seems to be a record of an actual topographical trasts. His figures are both Polynesian and
Monet's vividly colored views of mountains and feature, the gloomy glade at right, with two fig- European, for they are island natives yet they
trees when he set about painting such works as ures emerging from an enigmatic cloud, may be are the Graces of ancient Greece. Furthermore,
the 1892 canvas to which he gave the title Fatata a transcription of a more visionary experience. they inhabit a world, like the realm that
te Moua (Against the mountain, fig. 58). Bands of Gauguin believed in landscape as a realm of Gauguin posits in Where Do We Come From? that
unified color unite the foreground of the view, mystery and power. He said that he “left an is fundamentally paradoxical. The landscape
while in the background, against the rising land, important part to the great voice of the earth,” resounds with the “great voice of the earth,”
a glorious mango tree spreads its branches, its and that he was searching for “the harmony of yet it is watched over by the cross of a Christian
foliage depicted by the artist as a billowing human life and animal and plant lives.”* church. GTMS
cloud of yellow and green. Among the last of Gauguin’s landscapes is
After a sojourn in France from August Women and a White Horse, painted in the final 1. Gauguin, manuscript of Noa Noa (Musée du Louvre,
Département des arts graphiques, fonds du Musée
1893 until June 1895, Gauguin sailed back to the months of his life. Thinly executed in delicately
d Orsay, Paris), quoted in Brettell et al. 1988, 248.
Pacific, never to return to his native land. Most applied washes of color, it seems to return to
2. Monet in 1884, quoted in Pissarro 1997, 38.
of his Tahitian paintings are focused on the the spirit of his first Tahitian paintings. As in
3. Gauguin, quoted by the critic André Fontainas about
human figure, but that figure is most often Fatata te Moua, the landscape is conceived as a 1900, in Prather and Stuckey 1987, 286.
placed in a landscape setting, more or less series of bands of color, rising to a high hori-
clearly defined and more or less abstracted. The zon. At the center of this late painting, Gauguin
paintings of his final years in Tahiti and in the places a great wave of brilliantly colored foliage,
Marquesas are marked, in general, by a steady moving from deep coral red at left to golden
abandonment of any sense of the topographi- orange, to ocher yellow and citrus yellow-green
cal, and yet again and again Gauguin found the at right. In the middle ground, two native
elements of his abstraction in nature itself. Thus women in white garments flank a third, who is
in his monumental Where Do We Come From? nude and lying astride a white horse. Like the
What Are We? Where Are We Going? of 1897-98 horse and rider at the left in Fatata te Moua, this
(fig. 59), he presents, in effect, two landscapes— equine form is a distant but faithful quotation of

235
 Claude Monet
French, 1840-1926

152. CLAUDE MONET the bridge date from 1895, but in 1899 and 1900 of blue, from deep cornflower to palest tur-
The Water Lily Pond, 1900 he began to paint the motif repeatedly, subtly quoise.
Oil on canvas varying its position on the canvas. When Monet’s Water Lilies were exhibited
90 X 92 cm (35% X 364 in.) In the bridge paintings of 1900, including at Durand-Ruel in May 1909 with the subtitle
Given in memory of Governor Alvan T. Fuller The Water Lily Pond (cat. no. 152), Monet height- Series of Water Landscapes, critics saw them as a
by the Fuller Foundation 61.959 ened the palette of his 1899 compositions, add- phenomenal achievement. The paintings repre-
ing tones of deep red, violet, and vivid orange sented a revolutionary departure from the con-
153. CLAUDE MONET to the greens, yellows, and blues of the foliage. ventions of landscape painting as it had been
Water Lilies, 1905 Beneath the bridge, Monet shows the pond practiced since the Renaissance because the fun-
Oil on canvas itself, a sheet of water reflecting the long sun- damental relationship of earth to sky—based on
89.5 X 100.3 (354 X 39% in.) struck branches of a weeping willow. Their ver- the principle of the horizon as the location of
Gift of Edward Jackson Holmes 39.804 tical mirror reflections are crossed by the hori- a perspectival vanishing point—had been aban-
zontal “islands” of water lily foliage in blue and doned. In his review of the exhibition, the critic
154. CLAUDE MONET green, studded with white and pink flowers. The Roger Marx proclaimed:
Water Lilies, 1907 tension the painter establishes between the ver- No more earth, no more sky, no limits now;
Oil on canvas ticals and horizontals extends to his depiction of the dormant and fertile waters completely
89.3 X 93.4 Cm (35% X 36% in.) space. The surface of the water recedes into cover the field of the canvas; light overflows,
Bequest of Alexander Cochrane 19.170 depth, but Monet’s emphatic brushwork, not cheerfully plays upon a surface covered with
only in the lily pond but also in the willow, the verdigris leaves. . . . Here the painter deliber-
In 1890, Monet purchased the house in which foreground foliage, and the bridge itself, seems ately broke away from the teachings of
he had been living at Giverny since 1883 and its chosen to remind the viewer that the painting is Western tradition by not seeking pyramidal
attached garden. He began extensive work on a series of vigorous marks on a flat surface. lines or a single point of focus. The nature of
the flowerbeds and fruit and vegetable gardens This dynamic tension between vertical and what is fixed, immutable, appears to him to
near the house right away, transforming the contradict the very essence of fluidity; he
horizontal, between depth and flatness, distin-
wants attention diffused and scattered every-
property into a gentleman’s estate. Long rows guishes the paintings that Monet made of the
where.!
of brilliantly colored flowers on either side of pond some years later, beginning in 1903 and
a great allée of fir trees lined the main path continuing through the summer of 1908. Water This critical description of Monet’s Water
between the house itself and the garden gate, Lilies (cat. no. 153) marks the moment, in 1905, Lilies might be interpreted as an attempt to
which opened onto the road that led from the when Monet eliminated altogether any refer- place the painter at the vanguard of abstraction.
village of Vernon to Gasny. Beyond the road lay ence to the bank, focusing his attention on the According to Marx, Monet stated that “The
a railroad, and beyond that a marshy plot of surface of the water itself. Large floating clus- indeterminate and the vague are modes of
land crossed by the tiny Ru River, a tributary of ters of foliage and flowers in tones of pink, expression that have a reason for existing and
the Seine. Monet bought this plot of land in white, and yellow intersect the shadowy vertical have their own characteristics”; they might con-
1893 and immediately began work on his water reflections of the trees on the opposite shore stitute, in effect, an aesthetic system in which
garden, a little world of his own creation that and the glowing sky between them. In a canvas “sensations become lasting.” But, teetering at
was to inspire the painter to create the most of two years later (cat. no. 154), Monet main- the brink of acknowledging his fluid veils of
radical landscapes of his career. tained a similar point of view and compositional paint as the raison d’étre of his art—of espous-
At the point where the pathway from the structure but responded to a different time of ing, that is, the principle of “art for art’s sake”—
house entered the garden, the Ru was dammed day and changing conditions of light. The trees Monet pulled back, asserting his dependence on
to fill a pond, which Monet would plant with cast into shade in the 1905 canvas are here observing the world around him. “The richness
water lilies. To link the north and south path- bathed in gentle light, and the sky, which was I achieve comes from nature, the source of my
ways around this pond, he constructed a wood- rosy pink, mauve, and lavender in the earlier inspiration. . . . I aspire to no other destiny than
en bridge in Japanese style. A few paintings of composition, is here shot through with strokes to work and live in harmony with her laws.”*

236
237
 Throughout his career, nonetheless, Monet
was intensely aware of the ability of painting
both to honor nature, her beauties, and her laws
and to manipulate humaa emotion and intellect
on a purely aesthetic level. His late work—not
only the two Water Lilies shown here but also
the great cycle of decorations executed for the
French state in the aftermath of World War I—
is rooted in his direct observation of his garden
at Giverny. It is also a profound meditation on
the affective power of color and form as plastic
means of retaining the sensation—vague or
intense—resulting from that encounter. “Beauty
in art consists of truth,” Corot had said,
“imbued with the impression we received from
the contemplation of nature... . We must
never forget to envelop reality in the atmos-
phere it first had when it burst upon our view.
Whatever the site, whatever the object, the
artist must submit to his first impression.”
GTMS

1. Roger Marx, ““Les Nymphéas’ de M. Claude Monet,”

Gazette des Beaux-Arts (June 1909), quoted in Stuckey
1985, 265. See also Tucker et al. 1998, 37-50.

2. Monet, as reported by Roger Marx, in Stuckey 1985,

266-67. This discussion is indebted to Paul Tucker in
Tucker et al. 1998, 50.
154
3. Corot in Cailler 1946, 1:89, translated in Clarke roo91a,
109.

239
Catalogue authors Note to the Reader

DPB David P. Becker ORGANIZATION

The documentation section is arranged alphabetically
KEH Karen E. Haas by artist and then by catalogue number.

AEH Anne E. Havinga SOURCES

This documentation was compiled from the Museum's
JK Joanna Karlgaard curatorial object files. Entries for all works by Claude
Monet have been augmented using information
SWR Sue Welsh Reed from the most recent catalogue raisonné on Monet,
Wildenstein 1996. Provenance and exhibition histories
GTMS George T. M. Shackelford listed in Wildenstein 1996 cannot in all cases be verified
by the information available in the Museum’s object files.
Barbara Stern Shapiro
PROVENANCE
Fronia E. Wissman In the provenance section, a semicolon after a name
or clause designates a continuous sequence or known
connection between two owners. A period denotes an
unknown mode of transfer or a gap in the chain of
ownership.
For many prints, the provenance can be traced back
only to the dealer who sold the print or to the collector
who gave it to the Museum. When a former owner is
known by a mark, it is noted.

PRINT AUTHORITY SOURCES

Catalogues raisonnés used as authority sources for the
prints are cited in author-catalogue number form (e.g.,
Breeskin 157). The standard abbreviations for these cata-
logues raisonnés are as follows:

Béraldi—Béraldi, Henri. 1885-92, Les graveurs du dix-

neuvieme siecle: Guide de amateur d’estampes modernes, 12
vols. Paris: Librairie L. Conquet.

Breeskin—Breeskin, Adelyn D. 1948. The Graphic Work

of Mary Cassatt: A Catalogue Raisonné. New York: H.
Bittner.

Curtis—Curtis, Atherton. 1939. Catalogue de l’oeuvre litho-

graphié de Eugene Isabey. Paris: Paul Prouté.

Delteil—Delteil, Loys. 1906-30. Le peintre-graveur illustré

(dix-neuviéme et vingtiéme siécles). 32 vols. Paris: Chez
l’auteur.

Guérin—Guérin, Marcel. 1927. L’oeuvre gravé de Gauguin.

2 vols. Paris: H. Floury.

Harrison—Harrison, Sharon R. 1986. The Etchings of

Odilon Redon: A Catalogue Raisonné. New York: Da Capo.
Janis—Janis, Eugenia Parry. [1968]. Degas Monotypes: 1977-78 Monet Unveiled kaiga no meisaku (From Neoclassicism to Impressionism:
Essay, Catalogue, and Checklist. Exh. cat. [Cambridge, Boston, Museum of Fine Arts, November 22, 1977— French Paintings from the Museum of Fine Arts,
Mass.]:Fogg Art Museum, Harvard University. February 22, 1978, Monet Unveiled: A New Look at Boston’s Boston) (Kyoto Museum, Kyoto Shimbun, and MFA
Johnson—Johnson, Una E. 1944. Ambroise Vollard Editeur, Paintings (Murphy and Giese 1977). 1989).
1867-1939. New York: Wittenborn. 1979-80 Corot to Braque 1991-92 Claude Monet: Impressionist Masterpieces
Kornfeld—Mongan, Elizabeth, Eberhard W. Kornfeld, Atlanta, High Museum of Art, April 20-June 17, 1979; Baltimore, The Baltimore Museum of Art, September
and Harold Joachim. 1988. Paul Gauguin: Catalogue Tokyo, Seibu Art Museum, July 28-September 19, 1979; 21, 1991-January 19, 1992, Claude Monet: Impressionist

Raisonné of His Prints. Bern: Galerie Kornfeld. Nagoya, Nagoya City Art Museum, September 29- Masterpieces
from the Museum of Fine Arts, Boston.
October 31, 1979; Kyoto, National Museum of Modern
Kornfeld and Wick—Kornfeld, Eberhard W,, and Peter 1992 Crosscurrents
Art, November 13, 1979-January 15, 1980; Denver, Denver
A. Wick. 1974. Catalogue raisonné de Voeuvre gravé et litho- Boston, Museum of Fine Arts, February 19—May 17,
Art Museum, February 13—April 20, 1980; Tulsa, The
graphié de Paul Signac. Bern: Kornfeld & Klipstein. European and American Impressionism: Crosscurrents.
Philbrook Art Center, May 25-July 25, 1980; Phoenix,
Mellerio—Mellerio, André. 1913. Odilon Redon. Paris: Phoenix Art Museum, September 19—November 23, 1980, 1992-93 Monet and His Contemporaries
Société pour l'étude de la gravure francaise. Corot to Braque: French Paintings from the Museum of Fine Tokyo, Bunkamura Museum, October 17, 1992~January
Arts, Boston (Poulet and Murphy 1979). 17, 1993; Kobe, Hyogo Prefectural Museum of Modern
Roger-Marx—Roger-Marx, Claude. 1990. The Graphic
Art, January 23-March 22, 1993, Mone to inshoha: Bosuton
Work of Edouard Vuillard. Trans. Susan Fargo Gilchrist. 1983-84 Masterpieces of European Painting
Bijutsukan ten (Monet and His Contemporaries from the
Reprint, San Francisco: A. Wofsy Fine Arts. Tokyo, Isetan Museum of Art, October 21-December 4,
Museum of Fine Arts, Boston) (Bunkamura Museum
1983; Fukuoka, Fukuoka Art Museum, January 6-29,
Salomon—Alain [pseud]. 1968. Introduction a Voeuvre and MFA 1992).
1984; Kyoto, Kyoto Municipal Museum of Art, February
grave de K. X. Roussel par Alain accompagnée de vingt-huit
25-April 8, 1984, Bosuton Bijutsukan ten: Runessansu kara 1995 The Real World
dessins en fac-similé et suivie d’un essai de catalogue par
inshoha made (Masterpieces of European Painting from Yokohama, Yokohama Sogo Museum of Art, April 27—
Jacques Salomon. Paris: Mercure de France.
the Museum of Fine Arts, Boston) (Nippon Television July 24; Chiba, Chiba Sogo Museum of Art, August 4—
Van Gelder—Van Gelder, Dirk. 1976. Rodolphe Bresdin: 1983). September 17; Nara, Nara Sogo Museum of Art,
Monographie et catalogue raisonné de l’oeuvre grave. 2 vols. September 27-November 5, Bosuton Bijutsukan no shiho:
The Hague: Martinus Nijhoff. 1984 Jean-Francois Millet
Jyiikyit seiki yoroppa no kyosho (The Real World: Nine-
Boston, Museum of Fine Arts, March 28—July 1, Jean-
teenth-Century European Paintings from the Museum
Frangois Millet: Seeds of Impressionism (Murphy 1984).
SELECTED EXHIBITIONS of Fine Arts, Boston) (Sogo Museum and MFA 1994).
In the selected exhibitions section, if the object’s inclu- 1984-85 Jean-Francois Millet Exhibition
1999 Monet, Renoir, and the Impressionist
sion in a particular exhibition can not be confirmed, a Tokyo, Nihonbashi Takashimaya Art Gallery, August 9—
Landscape
question mark in parentheses follows the listing. The September 30, 1984; Sapporo, Hokkaido Museum of
Nagoya, Nagoya/Boston Museum of Fine Arts, April
exhibition number for the object, if known, follows the Modern Art, October 9-November 11, 1984; Yamaguchi,
17-September 26, Mone, Runowaru to inshoha no fukei
exhibition title. The catalogue number follows the cata- Yamaguchi Prefectural Museum of Art, November 22—
(Monet, Renoir, and the Impressionist Landscape)
logue reference, if known. In either of these cases, if the December 23, 1984; Nagoya, Matsuzakaya Museum of
(Nagoya/Boston and MFA 1999).
number can not be confirmed, it is followed by a ques- Art, January 4-29, 1985; Kyoto, Kyoto Municipal
tion mark. Museum of Art, February 28—April 14, 1985; Kofu, 2000-2 Monet, Renoir, and the Impressionist
The following exhibitions, drawn extensively or en- Yamanashi Prefectural Museum of Art, April 23-May 19, Landscape
tirely from the collections of the Museum of Fine Arts, 1985, Mire ten, Bosuton Bijutsukan zo (Jean-Francois Millet Ottawa, National Gallery of Canada, June 2-August 27,
Boston, are cited in abbreviated form. The author-date Exhibition from the Museum of Fine Arts, Boston) 2000; Richmond, Virginia Museum of Fine Arts, Sep-
citations listed in parentheses refer to the exhibition (Nippon Television and MFA 1984). tember 19—December 10, 2000; Houston, The Museum
catalogues. of Fine Arts, January 21—April 15, 2001; Dublin, National
1985 IBM Gallery Gallery of Ireland, January 22—April 14, 2002, Monet,
1939-40 Juliana Cheney Edwards Collection New York, IBM Gallery of Science and Art, June 1o~July
Renoir, and the Impressionist Landscape (Shackelford and
Boston, Museum of Fine Arts, December 1, 1939- 27, Jean-Frangois Millet.
Wissman 2000).
January 15, 1940, Juliana Cheney Edwards Collection
1989 From Neoclassicism to Impressionism
(Cunningham 1939b).
Kyoto, Kyoto Municipal Museum of Art, May 30-July 2;
1973 Impressionism: French and American Sapporo, Hokkaido Museum of Modern Art, July 15-
Boston, Museum of Fine Arts, June 15—October 14, August 20; Yokohama, Sogo Museum of Art, August 30-
Impressionism: French and American (MFA 1973a). October ro, Bosuton Bijutsukan ten: Jyukyu seiki furansu

241
 Documentation

| Théodore Caruelle d’Aligny NOTES PROVENANCE Antoine-Louis Barye

| French, 1798-1871 1. According to a letter of February 25, Robert Klein Gallery, Boston; 1989, sold French, 1795-1875
1950, from Rudolph Holzapfel of the by Robert Klein Gallery to the MFA.
3. Study of a Great Tree, near Civita Melander Shakespeare Society to W. G. SELECTED EXHIBITION
39. Stag and Doe
Castellana, 1826 Constable of the MFA in curatorial file, Watercolor on paper, mounted
1998-99 * Boston, Museum of Fine Arts,
Graphite pencil on cream wove paper this work was purchased in Paris by the Sheet: 21 x 28.2 cm (84 x 11% in.)
November 21, 1998—May 23, 1999, French
Sheet: 62.1 x 46.9 cm (24% X 18 % in.) society “eight to ten years ago” by a Bequest of David P. Kimball in memory
Photography: Le Gray to Atget.
Anonymous gift 1985.874 dealer who did not supply any data of his wife Clara Bertram Kimball 23.526
SELECTED REFERENCES
PROVENANCE about the painting. PROVENANCE
Szarkowski and Hambourg 1983, vol. 3;
Artist’s estate stamp (Lugt 6). By 1979, 2. According to a letter of January 5, 1950, February 7-12, 1876, Barye sale, Paris,
Borcoman 1984, 67, 130-31.
private collection, France. By 1983, with from Weitzner to W. G. Constable in probably no. 147; James F. Sutton, New
Hazlitt, Gooden & Fox, London, Nine- curatorial file. York; April 7, 1892, American Art Associa-
teenth-Century French Drawings, cat. no. 14; SELECTED EXHIBITIONS tion, sale, New York, no. 57; David P.
Edouard-Denis Baldus
private collection, Maine; 1985, gift of 1987-88 - Memphis, The Dixon Gallery Kimball, Boston; 1923, bequest of David P.
French, 1813-1882
anonymous donor. and Gardens, November 22, 1987—January Kimball.
SELECTED EXHIBITIONS 3, 1988; Oberlin, Ohio, Allen Memorial 44. Bridge of Saint Bénézet, Avignon, SELECTED EXHIBITION
1978 » Orléans, Musée des Beaux-Arts, Art Museum, Oberlin College, January 17- early 1860s 1992 * Boston, Museum of Fine Arts,
February 28—April 20; Dunkerque, Musée March 13, 1988; Louisville, Ky.,J.B. Speed Photograph, albumen print from glass- April 8—June 29, Neoclassical and Romantic
des Beaux-Arts, April 25—June 20; Rennes, Art Museum, March 27—May 15, 1988, plate negative, mounted Works on Paper. -
Musée des Beaux-Arts, June 25-September4, From Arcadia to Barbizon: A Journey in Sheet: 21.5 x 28.1 cm (8% X 11 %e in.)
Théodore Caruelle d’Aligny et ses compagnons, French Landscape Painting (Simpson 1987), Gift of Mrs. George R. Rowland, Sr.
no. 18.
no. 37. 1986.767 Edouard Bertin
1994 + Boston, Museum of Fine Arts, Trees, 1996-97 * Washington, D.C., National PROVENANCE French, 1797-1871
April 7-July 2. Gallery of Art, May 26-September 2, Lee Gallery, Boston; 1986, sold by Lee
1996; Brooklyn, The Brooklyn Museum, Gallery to the MFA.
9. Landscape, Tivoli, mid-1oth century
October 11, 1996—January 12, 1997; St. Black chalk heightened with white chalk
4. Rocky Landscape, probably about 1835 SELECTED EXHIBITIONS
Louis, The St. Louis Art Museum, Feb- on blue wove paper
Pen lithograph on cream wove paper 1989 * Boston, Museum of Fine Arts,
ruary 21—May 18, 1997, In the Light of Italy: Sheet: 33.6 x 27.7 cm (13% x 10% in.)
Image: 22.2 x 31 cm (8% x 12% in.) October 7—December 17, Capturing an
Corot and Early Open-Air Painting (Conis- Lucy Dalbiac Luard Fund 1987.564
Lee M. Friedman Fund 1985.871 Image: Collecting 150 Years of Photography.
bee et al. 1996), no. 81. PROVENANCE
PROVENANCE 1998-99 * Boston, Museum of Fine Arts,
SELECTED REFERENCES Artist’s estate stamp (Lugt suppl. 238a).
Artist’s estate stamp (Lugt 6); Alfred November 21, 1998—May 23, 1999, French
Murphy 1985, 2; Ramade 1986, 125, fig. 12; Eric G. Carlson, New York; 1987, sold by
Beurdeley stamp (Lugt 421); by 1985, R. E. Photography: Le Gray to Atget.
Galassi 1991, 118, pl. 144. Carlson to the MFA.
Lewis, Inc., San Rafael, Calif.; 1985, sold by
SELECTED REFERENCES
Lewis to the MFA. SELECTED EXHIBITION
Jammes and Janis 1983, 139-42; Daniel 1992 * Boston, Museum of Fine Arts,
SELECTED EXHIBITION
1996 * Boston, Museum of Fine Arts, Charles Angrand 1994, 80-90. April 8—June 29, Neoclassical and Romantic
French, 1854-1926 Works on Paper.
January 10-July 7, Lithography’s First Half 45. Mer de Glace, Chamonix, about 1860
Century: The Age of Goya and Delacroix, Photograph, albumen print from paper
135. Farmyard, 1892
no. 66, pl. 44. negative, mounted
Black conté crayon on cream laid paper Jean-Joseph-Xavier Bidauld
Sheet: 47.5 x 62.4 cm (18 %e X 24% in.) Sheet: 30.9 x 42.5 cm (12 %6 x 16% in.)
5. Italian Hills, about 1826-27 French, 1758-1846
Gift of her children in memory of Sophie M. Friedman Fund 1989.23
Oil on paper mounted on canvas
Elizabeth Paine Metcalf 1992.566 PROVENANCE 2. Monte Cavo from Lake Albano, about
41.2 X 68.8 cm (16% x 27% in.)
PROVENANCE William L. Schaeffer, Chester, Conn.; 1790
Seth K. Sweetser Fund 49.1730
Elizabeth Paine Card Metcalf, Boston; 1989, sold by Schaeffer to the MFA. Oil on canvas
PROVENANCE 32.5 X 45.6 cm (12% x 18 in.)
1992, gift of Metcalf’s children. SELECTED EXHIBITION
By the early 1940s, anonymous dealer, Charles Edward French Fund 43.130
1998-99 * Boston, Museum of Fine Arts,
Paris; sold by anonymous dealer to the
November 21, 1998—May 23, 1999, French PROVENANCE
Melander Shakespeare Society, Santa
Eugene Atget Photography: Le Gray to Atget. About 1870-80, purchased from anony-
Barbara, Calif. [1]; consigned by Melander
French, 1857—1927 SELECTED REFERENCES
mous collection or dealer in France by
Shakespeare Society to Parke-Bernet
Seth Morton Vose, Boston; about 1870-80
Galleries, New York; 1949, sold by Parke- Jammes and Janis 1983, 139-42; Néagu and
149. Versailles, 1902 until 1943, with Vose Galleries, Boston (as
Bernet at Plaza Auction Room, New York, Heilbrun 1983; Daniel 1994, 76-77.
Photograph, gold-toned albumen print Achille Michallon); 1943, sold by Vose
and bought by Julius H. Weitzner, London from glass-plate negative, unmounted Galleries to the MFA.
and New York [2]; 1949, sold by Weitzner Sheet: 18.1 x 21.8 cm (7% x 8 % in.)
to the MFA. Helen B. Sweeney Fund 1989.322
SELECTED EXHIBITIONS 48. Fox in the Hiding Place, 1858 1992-93 * Monet and His Contemporaries Impressionist Marine Paintings (Sutton
1950 * Detroit, The Detroit Institute of Lithograph on chine collé. Delteil 90 (Bunkamura Museum and MFA 1992), not 1991), unnumbered entries, pl. 7.
Arts, February 1-March 5, French Painting Image: 29 x 17.7 cm (11% X 6% in.) in catalogue. 1992 © Crosscurrents.
from David to Courbet (Detroit 1950), no. 68. Gift of Clifford S. Ackley in memory of 1999 * Monet, Renoir, and the Impressionist 1995 * The Real.World (Sogo Museum and
1978 * Boston, Museum of Fine Arts, Lillian H. Stern 1984.182 Landscape (Nagoya/Boston and MFA MFA 1994), no. 37.
May 2~August 27, French Paintings from the 1999), NO. 22,
Storeroom and Some New Acquisitions. 1999 * Monet, Renoir, and the Impressionist
2000-2 * Monet, Renoir, and the
Pierre Bonnard Landscape (Nagoya/ Boston and MFA
1978 * New York, Wildenstein Galleries, Impressionist Landscape (Shackelford and 1999), NO, 2.
October 17-November 22, Romance and French, 1867—1947 Wissman 2000), no. 22.
Reality: Aspects of Landscape Painting 2000-2 * Monet, Renoir, and the Impres-
146. Boating, 1896-97 SELECTED REFERENCES sionist Landscape (Shackelford and
(Wildenstein 1978), no. 2.
Color lithograph on cream Chinese paper. Schmit 1973, no. 339; Murphy 1985, 30. Wissman 2000), no. 23.
1996-97 * Washington, D.C., National Roger-Marx 44
Gallery of Art, May 26—-September 2, SELECTED REFERENCES
Image: 25.7 X 47.5 cm (10% x 18 % in.) 78. Fashionable Figures on the Beach,
1996; Brooklyn, Brooklyn Museum of Schmit 1973, no. 345; Murphy 1985, 30.
Bequest of W. G. Russell Allen 60.68 1865
Art, October 11, 1996—January 12, 1997; Oil on panel
SELECTED REFERENCE
St. Louis, The St. Louis Art Museum, 35.5 X 57.5 Cm (14 X 22% in.)
Ives, Giambruni, and Newman 1989, Rodolphe Bresdin
February 21—May 18, 1997, In the Light of Gift of Mr. and Mrs. John J. Wilson
21-23. French, 1822-1885
Italy: Corot and Early Open-Air Painting 1974.565
(Conisbee et al. 1996), no. 30.
PROVENANCE 40. The Good Samaritan, 1861
SELECTED REFERENCES With Cadart & Luquet, Paris. With Pen lithograph on chine collé.
Eugéne Boudin
Gutwirth 1977, 150, fig. 4; Murphy 198s, 19;
French, 1824-1898 Galerie Georges Petit, Paris; probably by Van Gelder 100
Simpson 1987, 51; Kitson et al. 1990, 245, 1930s, sold by Galerie Georges Petit to Dr. Image: 56.4 X 44.4 cm (22 % x 17% in.)
fig. 14; Zafran 1998, 168-69, no. 75. 75. River Landscape with Houses and Francisco Llobet (d. 1959), Buenos Aires Bequest of W. G. Russell Allen 60.73
Bridge, late 1850s [1]; 1959, inherited by Mme Inés Llobet de
SELECTED REFERENCE
Graphite pencil on dark cream laid paper Gowland (daughter); by 1961, sold by
Becker 1983.
Eugene Bléry Sheet: 28.5 x 44.5 cm (11% x 17% in.) Gowland to Drs. Fritz and Peter Nathan,
French, 1805-1887 M. and M. Karolik Fund 1972.368 Zurich; by 1962, sold by Drs. Fritz and
41. Mountain Landscape with Army in a
PROVENANCE Peter Nathan to Mr. and Mrs. John J.
Rocky Gorge, 1865
7. A Large Patch of Coltsfoot, 1843 Wilson, Boston; 1974, gift of Mr. and Mrs.
Robert Light & Co., Boston; 1972, sold by Pen and black ink on card with embossed
Etching on chine collé. Béraldi 144 JohnJ.Wilson.
Robert Light & Co. to the MFA. border
Platemark: 40 x 53 cm (15% x 20% in.)
SELECTED EXHIBITIONS NOTE Sheet: 10.3 x 14.8 cm (4% X 5 '%e in.)
Lee M. Friedman Fund 1986.612 —
1990 * Boston, Museum of Fine Arts, rt. According to a letter of December 3, Gift of Dr. and Mrs. Irvin Taube and
July 13-August 19, Boudin in Boston. 1962, from Peter Nathan to Perry T. Sophie M. Friedman Fund 1986.128
Rathbone of the MFA, Llobet was a well-
Karl Bodmer 1991 * Salem, Mass., Peabody Museum, PROVENANCE
known collector of Impressionist painting
May 17—-September 16, Eugene Boudin: Galerie Gosselin, Paris; 1986, sold by
Swiss (worked in France), 1809-1893 in South America. There is some dispute
Impressionist Marine Paintings (Sutton Galerie Gosselin to the MFA.
as to the exact time Llobet purchased the
47. Oaks and Wild Boars 1991), 34-35, illus., unnumbered entries, SELECTED EXHIBITION
painting. In a letter of June 22, 1962, to
Oil on canvas, about 1865 pl. 3. 1992 * Boston, Museum of Fine Arts,
Perry T. Rathbone in curatorial file, Peter
134 X 106.8 cm (52% xX 42 in.) January 8—March 22, The Art of Drawing.
Nathan writes that Llobet most likely pur-
Bequest of Francis Skinner 06.3 76. Harbor at Honfleur, 1865
chased the painting between 1920 and 1925
PROVENANCE Oil on paper mounted on panel 42. Mountain Stream, 1871
from Galerie Georges Petit in Paris
By 1872-1906, Francis Skinner, Boston; 20.3 X 26.8 cm (8 x 10% in.) Etching and drypoint (roulette) on cream
(though not at an auction sale), while
1906, bequest of Francis Skinner. Anonymous Gift 1971.425
Rathbone in a letter to Nathan of wove paper. Van Gelder 130
PROVENANCE Platemark: 11.2 x 14.6 cm (4% X 5% in.)
SELECTED EXHIBITIONS December 14, 1962, argues that Llobet
1866 © Paris, Salon, called Bande de By 1929, private collection (or anonymous Gift of David P Becker 1998.40
probably did not do so until after 1930.
sangliers sous la haute futaie, no. 189? dealer), Paris; 1929-71, Rowland Burdon- SELECTED EXHIBITION
SELECTED EXHIBITIONS
Muller, Lausanne and Boston; 1971, gift of 1987 * Boston, Museum of Fine Arts,
1872 ¢ Boston, Boston Athenaeum, 1966 « New York, Hirschl & Adler
no. 191.
anonymous donor.
Galleries, Inc., November 2-26, Eugene
April 17~July 26, Printmaking: The Evolving
SELECTED EXHIBITIONS Image, no. 38.
1873 « Boston, Boston Athenaeum, no. 205 Boudin, 1824-1898, no. 7.
1991 * Salem, Mass., Peabody Museum, SELECTED REFERENCE
(lent as The Wild Boars of the Forest). 1990 * Boston, Museum of Fine Arts,
May 17—September 16, Eugene Boudin: Préaud 2000.
SELECTED REFERENCE July 13-August 19, Boudin in Boston.
Impressionist Marine Paintings (Sutton
Murphy 1984, 21. 1991), 40-41, pl. 6.
1991 * Salem, Mass., Peabody Museum,
May 17-September 16, Eugene Boudin:

243
| Mary Cassatt 132. Farm beside an Old Road, about SELECTED EXHIBITIONS umareta: Akademisumu kara Kurube, Mune,
| American (worked in France), 1890 1905 * Paris, Grand Palais, Salon Mone, Runowaru (The Birth of Impression-
1844-1926 Oil on canvas d’Automne, no. 319?, called Bord de riviére. ism) (Tobu Bijutsukan 1996), no. 149.
65.1 X 81.6 cm (25% x 32% in.) 1949 * Manchester, N.H., The Currier 1997 * Glasgow, McLellan Galleries,
117. Gathering Fruit, about 1893 Bequest of Anna Perkins Rogers 21.1330 Gallery of Art, October 8-November 6, Burrell Collection, Glasgow Museums,
Color drypoint and aquatint printed from Monet and the Beginnings of Impressionism: May 23-September 7, The Birth of
PROVENANCE
three plates on cream laid paper. Breeskin Twentieth Anniversary Exhibition (Currier Impressionism: From Constable to Monet
By 1890, Ernest May, Paris; June 4, 1890,
157 Gallery of Art [1949]), no. 27. (Glasgow Museums 1997), 24-25, 31,
sold at May sale (Chevallier), Paris, no. 6,
Platemark: 42 x 29.8 cm (16 %6 x 11% in.)
and bought by Anna P. Rogers, Boston; 1950 * Richmond, Virginia, Museum of unnumbered entry.
Gift of William Emerson and The Hayden
1890-1921, Anna P. Rogers, Boston; 1921, Fine Arts, October-November, 1999 * Monet, Renoir, and the Impressionist
Collection, Charles Henry Hayden Fund
bequest of Anna P. Rogers. Impressionists and Post-Impressionists. Landscape (Nagoya/ Boston and MFA
41.813
SELECTED EXHIBITIONS 1952 ¢ Montreal, Montreal Museum of 1999), NO. 36.
SELECTED REFERENCE
1889 ¢ Paris, Exposition Universelle de 1889 Fine Arts, March 7—April 13, Six Centuries 2000-02 * Monet, Renoir, and the
Mathews and Shapiro 1989, no. 15, ninth
(Exposition Universelle de 1889 [1889]), of Landscape (Montreal Museum 1952), Impressionist Landscape (Shackelford and
state.
no. 280(?). no. 55. Wissman 2000), no. 34.
1903 * Boston, Copley Hall, A Loan 1956 * The Hague, Gemeentemuseum, SELECTED REFERENCES
Jean Charles Cazin Collection of Pictures by Old Masters and June-July, Paul Cézanne, 1839-1906 (Haags Bernard 1921, 21, pl. 41; Bernard 1926, opp.
French, 1841-1901 Other Painters (Copley Society 1903), [1956]), no. 11. 64; Venturi 1936, I:116, NO. 232; 2: no. 232,
no. At. 1956 « Zurich, Kunsthaus Zurich, pl. 63; “Enriching U.S. Museums” 1948, 31;
109. Riverbank with Bathers, about 1882 2000-02 ¢ Monet, Renoir, and the August-October, Cézanne, no. 21. Edgell 1949, 51; Lindsay 1969, fig. 32; MFA
Oil on canvas Impressionist Landscape (Shackelford and [1970], 93, 95, no. 63; Geist 1975, 9; Berhaut
1956-57 * Cologne, Kunsthaus Lempertz,
131.2 X 147 cm (51% X 57% in.) Wissman 2000), no. 53. 1978, 251; Shiff 1984, 115, fig. 24; Murphy
December 1, 1956—January 31, 1957,
Peter Chardon Brooks Memorial 1985, 48; Kendall 1988, 108; Lewis 1989,
SELECTED REFERENCES Cézanne: Ausstellung zum Gedenken an sein
Collection; Gift of Mrs. Richard M. 109, fig. 52; Rewald 1996, 172, fig. 224.
Trumble 1890, 131; “Vente E. May” 1890, 50. Todesjahr (Wallraf-Richartz 1956), no. 6.
Saltonstall 20.593
179; Trumble 1893, 300; Murphy 1985, 47.
1970 * New York, The Metropolitan 114. Turn in the Road, about 1881
PROVENANCE
Museum of Art, May 29-July 26, One Oil on canvas
By 1889, Antonin Proust. By 1890, with
Hundred Paintings from the Boston Museum 60.5 X 73.5 cm (23% x 28% in.)
Galerie Georges Petit, Paris; September 25,
Paul Cézanne (MFA [1970]), no. 64. Bequest of John T. Spaulding 48.525
1890, sold by Galerie Georges Petit and
French, 1839-1906
bought by J. Foxcroft Cole, Boston, for 1971 * Washington, D.C., The Phillips PROVENANCE
Peter Chardon Brooks, Boston; November 108. The Pond, about 1877-79 Collection, February 27—March 28; Julien Tanguy, Paris (?). By 1894, Théodore
1890-1919, Peter Chardon Brooks, Boston; Oil on canvas Chicago, The Art Institute of Chicago, Duret, Paris (critic, friend, and biographer
1919-20, inherited by Mrs. Richard M. 47 X 56.2 cm (18 % X 22% in.) April 17—May 16; Boston, Museum of Fine of the artist); March 19, 1894, sold at
Saltonstall, Chestnut Hill, Mass. (daugh- Tompkins Collection 48.244 Arts, June 1-July 3, Cézanne: An Exhibition Duret sale, Galerie Georges Petit
ter); 1920, gift of Mrs. Richard M. in Honor of the Fiftieth Anniversary of The (Chevallier), Paris, no. 3, and bought by
PROVENANCE
Saltonstall. Phillips Collection (Rewald 1971), no. 4. Paul-César Helleu (painter, d. 1927), Paris;
By 1894, acquired from the artist by
SELECTED EXHIBITIONS Gustave Caillebotte (d. March 8, 1894), 1973 * Impressionism: French and American by 1926, sold by Helleu to Claude Monet,
1882 © Paris, Salon, hors catalogue. Paris [1]; about 1894, inherited by Martial (MFA 1973a), unnumbered entry. Giverny; 1926/27, inherited by Michel
Caillebotte, Paris (brother) [2]; inherited Monet, Giverny; 1926/27, sold at Monet
1889 « Paris, Exposition Universelle 1978 * Boston, Museum of Fine Arts,
by G. (Albert?) Chardeau, Paris (nephew). May 2~August 27, French Paintings from the estate sale and bought by Paul Rosenberg
(Exposition Universelle [1889]), no. 280,
1948, with Matignon Art Galleries, Inc. & Co., Paris, for Wildenstein & Co.;
called La Marne. Storerooms and Some Recent Acquisitions.
(André Weil Gallery), Paris and New 1926/27, Wildenstein & Co., New York;
1897 * Boston, Copley Hall, March 5-28, 1978 * St. Petersburg, Fla., Museum of 1927, sold by Wildenstein to John Taylor
York; 1948, sold by Matignon Art Galleries
Loan Exhibition of One Hundred Master- Fine Arts, September 30-November 5; Spaulding (d. 1948), Boston; 1927-48, John
to the MFA.
pieces, no. 2, called Pharaoh’s Daughter Montgomery, Ala., Montgomery Museum Taylor Spaulding, Boston; 1948, bequest of
Bathing in the Nile. NOTES of Art, November 17—December 31, John Taylor Spaulding.
1. Most or all of Caillebotte’s estate was Symbolist Roots of Modern Painting.
1997 * London, National Gallery, SELECTED EXHIBITIONS
bequeathed to the French state, which
July 2-September 28, Seurat and the 1979-80 * Corot to Braque (Poulet and 1928 * New York, Wildenstein Galleries,
refused much of it. It is unclear whether Murphy 1979), no. 43.
Bathers (Leighton et al. 1997), no. 66. Paul Cézanne, no. 14, called Environs d’Aix-
this painting was included in the bequest.
SELECTED REFERENCES However, if it was included in the be- 1983-84 * Masterpieces of European Painting en-Provence.
Album artistique 1882; Child 1890, 828; quest, it was subsequently rejected. (Nippon Television 1983), no. 53.
1929 * Cambridge, Mass., Fogg Art
Child 1892, 50; Bénédite 1901, 32, opp. 76; 2. Martial Caillebotte negotiated with the 1992 * Crosscurrents. Museum, Harvard University, March 6—
Marcel [1905], 316, 318; MFA 10921, 78, French state regarding his brother's be- April 6, Exhibition of French Painting of the
1996 * Tokyo, Tobu Museum of Art,
no. 188; Edgell 1949, 58; MFA 1955, 11; quests. He received the rejected portion Nineteenth and Twentieth Centuries (Fogg
March 30-June 30, Inshoha wa koshite
Murphy 1985, 47. of the bequest. Art Museum [1929]), no. 5.

244
1931-32 * Boston, Museum of Fine Arts, 1992 © Crosscurrents. SELECTED EXHIBITIONS 1983-84 * Masterpieces of European Painting
May 26, 1931-October 27, 1932, Collection of 1870 ° Paris, Salon, no. 571. (Nippon Television 1983), no. 34.
1993 Tiibingen, Kunsthalle, January
Modern French Paintings, Lent by John T. 16—April 27, Cézanne: Gemiilde (Adriani 1874 * Paris, Ecole nationale des Beaux- 1987-88 * Memphis, The Dixon Gallery
Spaulding.
1993), NO. 27. Arts, April 25—May 15, Tableaux, études et and Gardens, November 22, 1987—January
1934 * Chicago, The Art Institute of 1995-96 * London, Hayward Gallery, May dessins de Chintreuil exposés a ’Ecole des 3, 1988; Oberlin, Ohio, Allen Memorial
Chicago, June November 1, A Century of 18—August 28, 1995; Boston, Museum of Beaux-Arts (Ecole nationale 1874), no. 208. Art Museum, Oberlin College, January 17—
Progress (AIC 1934), no. 292, called Environs Fine Arts, October 4, 1995—January 14, 1999 * Monet, Renoir, and the Impressionist March 13, 1988; Louisville, Ky.,J.B. Speed
d’ Aix-en-Provence. Art Museum, March 27—May 15, 1988,
1996, Impressions of France: Monet, Renoir, Landscape (Nagoya/Boston and MFA
1948 * Boston, Museum of Fine Arts, Pissarro, and Their Rivals (House et al. 1999), No. 14. From Arcadia to Barbizon: A Journey in
May 26-November 7, The Collections of 1995), NO. 96. French Landscape Painting (Simpson 1987),
2000-2 ¢ Monet, Renoir, and the Impression-
John Taylor Spaulding, 1870-1948 (MFA 1948), No. 35.
1995-96 ¢ Paris, Grand Palais, September ist Landscape (Shackelford and Wissman
no. 8. 1989 * From Neoclassicism to Impressionism
25, 1995—January 7, 1996; London, The Tate 2000), no. It.
1949 * Cambridge, Mass., Fogg Art Gallery, February 8—April 28, 1996; Phila- (Kyoto Museum, Kyoto Shimbun, and
SELECTED REFERENCES
Museum, Harvard University, February 1- delphia, Philadelphia Museum of Art, May MFA 1989), no. 17.
De la Fizeliére, Champfleury, and Henriet
September 15, Student Exhibition. 26—August 18, 1996, Cézanne (Cachin et al. 1874, 66, no. 408; Murphy 1985, 51. 1992-93 * Monet and His Contemporaries
1950 * Springfield, Mass., Springfield 1995), no. 76 (Philadelphia venue only). (Bunkamura Museum and MFA 1992),
Museum of Fine Arts, January 15— 1999 * Monet, Renoir, and the Impressionist no. I.
February 19, In Freedom’s Search Landscape (Nagoya/ Boston and MFA 1999), Jean-Baptiste-Camille Corot 1996-97 ° Paris, Galeries Nationales du
(Springfield Museum 1950), no. 4. no. 37. French, 1796-1875 Grand Palais, February 27—May 27, 1996;
1952 * Chicago, The Art Institute of 2000-2 © Monet, Renoir, and the Ottawa, National Gallery of Canada,
I1. Farm at Recouvriéres, Niévre, 1831 June 21-September 22, 1996; New York,
Chicago; New York, The Metropolitan Impressionist Landscape (Shackelford and
Oil on canvas The Metropolitan Museum of Art,
Museum of Art, February—March, Wissman 2000), no. 35.
47.5 ¥ 70.3 cm (18% x 27% in.) October 29, 1996~January 19, 1997, Corot
Cézanne: Paintings, Watercolors, and Draw- SELECTED REFERENCES The Henry C. and Martha B. Angell (Tinterow, Pantazzi, and Pomaréde 1996),
ings, a Loan Exhibition (AIC 1952), no. 42. Watson 1928, 33, 35-36; Pope 1930, 122; Collection 19.82 no. 39.
1954 ¢ Edinburgh, Royal Scottish Academy, Venturi 1936, 1:136, no. 329, 2: pl. 90, no.
PROVENANCE SELECTED REFERENCES
August-September; London, The Tate ' 329; Novotny [1937], pl. 33; Vollard 1937,
Given by the artist to M. Pons (owner of Robaut and Moreau-Nélaton 1905, 2:104,
Gallery, September 29—October 27, An pl. 30; Goldwater 1938, 149; Cogniat 1939,
the farm depicted in the painting). By no. 292; MFA 1921, no. 201; Cunningham
Exhibition of Paintings by Cézanne (Gowing pl. 36; Lhote 1939, no. 44; Wilenski 1940,
1895, with Aimé Diot, Paris (dealer, also 1936, 100; Edgell 1949, 10-11; MFA 1955, 14;
et al. 1954), no. 26. 10-11, 75, pl. 15A; Jewell 1944, 43; Dame
known as MM. Diot et Tempelaere); 1895, Leymarie 1966, 49; Chu 1974, 21; Murphy
1959 * New York, Wildenstein Galleries, 1948, 12; Edgell 1949, 51; Cooper 1954,
sold by Diot to Dr. Henry Clay Angell 1985, 59.
Noyvember—December, A Loan Exhibition of 378-79; Raynal 1954, 55; Gowing 1956,
(d. 1911), Boston; 1895-1911, Dr. Henry
Paul Cézanne, no. 19. 185-92; Erpel 1958, 20-21; Lhote 1958, no.
Clay Angell, Boston; r911-19, inherited by 12. Forest of Fontainebleau, 1846
43; Boisdeffre [1966], 198; Andersen 1967,
1971 * Washington, D.C., The Phillips Martha Bartlett Angell (widow, d. 1919), Oil on canvas
139, note 22; Bodelsen 1968, 345; Ikegame
Collection, February 27—March 28; Boston; 1919, gift of Martha Bartlett 90.2 X 128.8 cm (35% x 50% in.)
1969, no. 18; MFA 1973b, no. 33; Bizardel
Chicago, The Art Institute of Chicago, Angell. Gift of Mrs. Samuel Dennis Warren
1974, 152, 155, fig. 11; Venturi 1978, 82;
April 17—-May 16; Boston, Museum of Fine SELECTED EXHIBITIONS 90.199
Murphy 1985, 48; MFA 1986, 78; Rewald
Arts, June 1-July 3, Cézanne: An Exhibition 1908 * Boston, Copley Hall, March, French
1996, 330, NO. 490. PROVENANCE
in Honor of the Fiftieth Anniversary of the School of 1830 (Copley Society 1908), 1846-72, with the artist; February 26, 1872,
Phillips Collection (Rewald 1971), no. 11. no. 56. contributed by the artist to the Corot
1973 © Impressionism: French and American Antoine Chintreuil 1915 * Boston, Museum of Fine Arts, (Anastasi) sale, Boussaton, Paris, no. 26, to
(MFA 1973a), unnumbered entry. French, 1816-1873 opening February 3, Robert Dawson Evans benefit Auguste Anastasi [1]. 1872, Alfred
1974 ¢ Tokyo, National Museum of Memorial Galleries Opening Exhibition. Robaut, Paris. 1878, with anonymous
Western Art; Kyoto, Municipal Museum;
64. Last Rays of the Sun on a Field of dealer. 1881, Ferdinand Barbédienne, Paris.
1962-63 * San Francisco, California Palace
Fukuoka, Prefectural Culture Center
Sainfoin, about 1870 By 1884-86, Beriah Wall, Providence, R.1.;
of the Legion of Honor, September 24—
Museum, March 29—August 6, Exhibition of Oil on canvas April 4, 1886, sold at Wall sale, American
November 4, 1962; Toledo, Ohio, The
the Work of Paul Cézanne, no. 29. 95.8 X 134 Cm (37% X 52% in.) Toledo Museum of Art, November 20-
Art Galleries, New York, no. 263, and
Gift of Mrs. Charles Goddard Weld 22.78 bought by Vose Galleries, Providence and
1984-85 * Los Angeles, Los Angeles December 27, 1962; Cleveland, The
PROVENANCE Boston, on behalf of Mrs. Susan Cornelia
County Museum of Art, June 28— Cleveland Museum of Art, January 15—
About 1870, M. Fassin, Reims. By 1889- Warren, Boston; 1886-90, Mrs. Susan
September 16, 1984; Chicago, The Art February 24, 1963; Boston, Museum of
1911, Charles G. Weld (d. 1911), Boston; Cornelia Warren, Boston (d. 1901, 67
Institute of Chicago, October 18, 1984— Fine Arts, March 15—April 28, 1963,
1911-22, inherited by Mrs. Charles Mount Vernon St.); 1890, gift of Mrs.
January 6, 1985; Paris, Grand Palais, Barbizon Revisited (Herbert 1962), no. 3.
Goddard Weld (widow, d. 1922), Boston; Warren.
February 8—April 22, 1985, A Day in the 1979-80 * Corot to Braque (Poulet and
1922, bequest of Mrs. Charles Goddard
Country: Impressionism and the French Murphy 1979), no. 4.
Landscape (Brettell et al. 1984), no: 72. Weld.

245
NOTE 1996-97 * Paris, Galeries Nationales du SELECTED REFERENCES 1939-40 * Juliana Cheney Edwards Collection
1. This was known as the Anastasi sale, Grand Palais, February 20—May 20, 1996; Robaut and Moreau-Nélaton 1905, 2:216, (Cunningham 1939b), no. 4.
but he was not the owner; various artists Ottawa, National Gallery of Canada, June no. 614; MFA 1955, 14; Murphy 1985, 60. 1972 * Providence, R.I., Museum of Art,
contributed paintings to the sale. 20-September 20, 1996; New York, The Rhode Island School of Design, February 3-
SELECTED EXHIBITIONS Metropolitan Museum of Art, October 15, 14. Morning near Beauvais, about March 5, To Look on Nature: European and
1846 ¢ Paris, Salon, no. 422. 1996—January 12, 1997, Corot (Tinterow, 1855-65 American Landscape, 1800-1874 (Brown
Pantazzi, and Pomaréde 1996), no. 91. Oil on canvas University 1972), unnumbered entries,
1875 * Paris, Ecole des Beaux-Arts, Corot,
36 X 41.5 cm (14% x 16% in.) pl. 35.
no. 74. SELECTED REFERENCES
Dumesnil 1875, 41; Robaut 1881, nos. 2, 5,
Juliana Cheney Edwards Collection
1878 * Paris, Durand-Ruel, Maitres 1979-80 * Corot to Braque (Poulet and
39.668
and note 3; Wall 1884, 14, no. 27; American Murphy 1979), no. 7.
Modernes.
Art Assoc. 1886, 92, no. 263; Downes PROVENANCE
1886 * Providence, R.I., Loan Exhibition in 1989 * From Neoclassicism to Impressionism
1888b, 784-85; Van Rensselaer 1889a, 256; By 1886, John Saulnier, Bordeaux, France;
Aid of the First Light Infantry, no. 96. (Kyoto Museum, Kyoto Shimbun, and
Van Rensselaer 1889b, 158, 176; June 5, 1886, Saulnier (posthumous) sale at
MFA 1989), no. 18.
1946 * Philadelphia, Philadelphia Museum Thurwanger 1892, 692; Geffroy and Hotel Drouot, Paris, no. 21, called Paysage:
of Art, Corot, 1796-1875 (PMA 1946), no. 24. Alexandre 1903, cxvii; Robaut and Matinée environs de Beauvais; 1886, with 1992 © Crosscurrents.
Moreau-Nélaton 1905, 1:109—10, 2:185, Boussod Valadon et Cie., Paris, no. 2717 1992-93 * Monet and His Contemporaries
1950 * Detroit, The Detroit Institute of
NO. 502, 4:168, 281, 361, no. 422; Moreau- (probably bought at Saulnier sale). June 1, (Bunkamura Museum and MFA 1992),
Arts, February March 5, French Painting
Nélaton 1924, 1:60, fig. 97; Cunningham r901—July 31, 1903, with Knoedler & Co., no. 2.
from David to Courbet (Detroit 1950), no. 75.
1936, 100-102; Edgell 1949, 10-11; Foucart London, no. 9546, called Prairie boisée prés
1952 * Venice, Twenty-sixth Biennale, no. 21. 1999 * Monet, Renoir, and the Impressionist
1964, 347; Baudelaire 1965, 106, note 1; ruisseau. July 31, 1903-December 1906, F.
Landscape (Nagoya/ Boston and MFA 1999),
1960 * Chicago, The Art Institute of Leymarie 1966, 70; Hours [1972], 78; Isman, Philadelphia; by December 31,
no. I.
Chicago, October 5-November 13, Corot, Murphy 1985, 58; Potterton 1991, 47—48. 1906, purchased from Isman by Knoedler
1796-1875: An Exhibition of His Paintings and & Co., New York; December 31, 1906, sold 2000-2 * Monet, Renoir, and the
Graphic Works (AIC 1960), no. 63. 13. Twilight, 1855-60 by Knoedler to Robert J. Edwards, (d. Impressionist Landscape (Shackelford and
Oil on canvas 1924), Boston (probably for his sister Wissman 2000), no. I.
1962-63 * San Francisco, California Palace
of the Legion of Honor, September 24- 50.3 X 37 cm (19% x 14% in.) Hannah Marcy Edwards), called The Brook SELECTED REFERENCES
November 4, 1962; Toledo, Ohio, The Bequest of Mrs. Henry Lee Higginson, Sr., in the Woods; 1906-29, Hannah Marcy Robaut and Moreau-Nélaton 1905, 2:310,
Toledo Museum of Art, November 20-— in memory of her husband 435.1163 Edwards (sister, d. 1929), Boston; 1931-38, no. 1012; MFA 1955, 14; Murphy 1985, 60.

December 27, 1962; Cleveland, Cleveland PROVENANCE inherited by Grace M. Edwards (sister,
Museum of Art, January 15—-February 24, With Goupil and Co., New York. By d. 1938), Boston; 1939, bequest of Hannah 15. Souvenir of a Meadow at Brunoy,
1963; Boston, Museum of Fine Arts, 1903-8, collection of Major Henry Lee Marcy Edwards [1]. about 1855-65
March 15—April 28, 1963, Barbizon Revisited Higginson, Sr., Boston (d. 1919); 1919, NOTE Oil on canvas
(Herbert 1962), no. 10. inherited by Alexander Higginson, 1. Juliana Cheney Edwards (d. 1917?) was 90.6 X 115.9 cm (35% X 45% in.)

Boston; 1935, inherited by Mrs. Henry Lee an art collector who left her objects to Gift of Augustus Hemenway in memory
1968-69 « Paris, Petit Palais, November 23,
Higginson, Sr. (widow of Major Henry her three children: Robert Jacob Edwards of Louis and Amy Hemenway Cabot 16.1
1968—March 17, 1969, Baudelaire (Calvet et
al. 1968), no. 181. Lee Higginson), Boston; 1935, bequest of (d. 1924), Hannah Marcy Edwards PROVENANCE
Mrs. Higginson. (d. 1929), and Grace M. Edwards (d. 1938). By 1875, Louis Latouche, Paris, called
1969 « New York, Wildenstein Galleries,
SELECTED EXHIBITIONS The siblings, each of whom was an inde- Chemin de village. By 1882?, Seth M. Vose,
October 30-December 6, Corot
1903 * Boston, Copley Hall, A Loan pendent collector of artworks, agreed Westminster Gallery, Providence, R.I. By
(Wildenstein 1969), no. 28.
Collection of Pictures by Old Masters and that all of their mother’s paintings and 1887, William Hemenway, Boston; inher-
1979-80 * Corot to Braque (Poulet and the paintings that they each collected ited by Louis and Amy Hemenway Cabot,
Other Painters (Copley Society 1903),
Murphy 1979), no. 3. would be bequeathed to each other and Boston; by 1916, inherited by Augustus
no, 28.
1985 * Boston, Museum of Fine Arts, Feb- ultimately to the MFA. Most likely stipu- Hemenway, Milton, Mass.; 1916, gift of
1908 * Boston, Copley Hall, March, French
ruary 13~June 2, The Great Boston Collectors: lated by their wills, some objects were Augustus Hemenway.
School of 1830 (Copley Society 1908), no. 24
Paintings from the Museum of Fine Arts, bequeathed to the Museum by Robert SELECTED EXHIBITIONS
or 84.
Boston (Troyen and Tabbaa 1984), no. 30. or Hannah despite the fact that their 1875 * Paris, Ecole nationale des Beaux-
1940 * Colorado Springs, Colo., Colorado younger sister, Grace, was in final posses-
1991-92 * Manchester, N.H., The Currier Arts, Corot, no. 193 (as Chemin de village).
Springs Fine Arts Center, January; Boston, sion of the works of art. All the objects,
Gallery of Art, January 29—April 28, 1991; 1878 ¢ Paris, Durand-Ruel, Maitres
St. Botolph Club, March 16—April 16; New regardless of who initially acquired them,
New York, IBM Gallery of Science and Modernes, no. 120.
London, Conn., Lyman Allen Museum, were left to the MFA as a memorial col-
Art, July 30-September 28, 1991; Dallas,
Connecticut College, November 17— lection honoring the mother, Juliana. 1890 * Boston, Museum of Fine Arts, Loan
Dallas Museum of Art, November ro,
December 15. Exhibition.
1991—January 5, 1992; Atlanta, High SELECTED EXHIBITIONS
Museum of Art, January 29—March 29, 1979-80 * Corot to Braque (Poulet and 1915 * Boston, Museum of Fine Arts,
1886 ¢ Paris, May, Maitres du siécle, no. 45.
1992, The Rise of Landscape Painting in Murphy 1979), no. 5. opening February 3, Robert Dawson Evans
1929 * Atlanta, High Museum of Art, Memorial Galleries Opening Exhibition.
France: Corot to Monet (Champa, Wissman, 1983-84 * Masterpieces of European Painting
April 20-June 17.
and Johnson 1991), no. 19. (Nippon Television 1983), no. 35.

246
1940 © San Francisco, Palace of Fine Arts, 65. Bacchanal at the Spring: Souvenir of 1946 ¢ Philadelphia, Philadelphia Museum SELECTED EXHIBITIONS
Golden Gate International Exposition Marly-le-Roi, 1872 of Art, Corot, 1796-1875 (PMA 1946), no. 74. 1942 © Norfolk, Va., Norfolk Museum of
(Golden Gate 1940), no. 245. Oil on canvas Arts and Sciences.
1960 * Chicago, The Art Institute of
1953-54 * New Orleans, Isaac Delgado 82.1 X 66.3 cm (32% xX 26% in.) Chicago, October 5-November 13, Corot, 1989 * From Neoclassicism to Impressionism
Museum of Art, October 17, 1953~January Robert Dawson Evans Collection 17.3234 1796-1875: An Exhibition of His Paintings and (Kyoto Museum, Kyoto Shimbun, and
10, 1954, Masterpieces of French Painting PROVENANCE Graphic Works (AIC 1960), no. 135. MFA 1989), no. 19.
through Five Centuries, 1400-1900 (Isaac 1872, Emile Gavet, Paris (presumably 1962-63 * San Francisco, California Palace 1994 * Tokyo, National Museum of
Delgado Museum of Art 1954), no. 63. acquired from the artist). Marquis of the Legion of Honor, September 24— Western Art, September 20—-November 27,
1999 * Monet, Renoir, and the Impressionist Fressinet de Bellanger collection, Paris, November 4, 1962; Toledo, Ohio, The Paris en 1874: L’Année de l'Impressionisme
Landscape (Nagoya/ Boston and MFA no. 79. By 1875, with Galerie Georges Toledo Museum of Art, November 20— (Yomiuri Shimbun 1994), no. 57.
1999), no. I. Petit, Paris; 1875, sold by Galerie Georges December 27, 1962; Cleveland, The SELECTED REFERENCES
Petit to Arthur Tooth & Sons, London Cleveland Museum of Art, January 15—
2000-02 * Monet, Renoir, and the Clement and Hutton 1883, 1:159; Mollett
and New York; 1875-98, with Arthur February 24, 1963; Boston, Museum of
Impressionist Landscape (Shackelford and 1890, 106; Robaut and Moreau-Nélaton
Tooth & Sons, London and New York; Fine Arts, March 15—April 28, 1963,
Wissman 2000), no. I. 1905, 3:228, NO. 1966, 4:29, 215, nO. 210;
March 1898, sold by Arthur Tooth & Sons Barbizon Revisited (Herbert 1962), no. 18.
SELECTED REFERENCES Murphy 1985, 57.
and bought by H. S. Henry, Philadelphia;
Durand-Gréville 1887, 67; Thurwanger 1972 * New York, Shepherd Gallery,
1898-1907, H. S. Henry, Philadelphia;
1892, 700; Robaut and Moreau-Nélaton April 22~June 10, The Forest of 67. Sketch to Show How Six Paintings
January 25, 1907, sold at Henry sale,
1905, 3:380, NO. 2417, 4:276, 281; MFA ro16, Fontainebleau: Refuge of Reality (Ittman Should Be Hung, 1860s
Paintings of the Men of 1830, American Art
4; MEA 1921, 86-87, no. 214; Edgell 1949, 11; et al. 1972), no. 18. Pen, brown ink, and brown wash on
Association, New York, no. 4, and bought
Murphy 1985, 58. 1999 * Monet, Renoir, and the Impressionist cream ruled writing paper
by Robert Dawson Evans (d. 1909),
Landscape (Nagoya/ Boston and MFA Sheet: 10 x 7.8 cm (3% X 3% in.)
Boston; 1909, Mrs. Robert Dawson Evans
16. Young Woman and Death, 1854 Helen and Alice Colburn Fund 62.754
(Maria Antoinette Hunt, d. 1917), Boston; 1999), No. 3.
Cliché-verre, salt print. Delteil 45 1917, inherited by Abby and Belle Hunt 2000-2 * Monet, Renoir, and the PROVENANCE
Sheet: 18.3 x 13.3 cm (7%. x 5% in.) Impressionist Landscape (Shackelford and Dr. Victor Simon, Paris; Mme Cécile
(daughters); 1917, bequest of Abby and
Gift of Mr. and Mrs. Peter A. Wick Simon-Roland; April 11, 1962, sold
Belle Hunt. Wissman 2000), no. 3.
63.2742 Sotheby’s London, no. 21; 1962, sold by
SELECTED EXHIBITIONS 2001 * Madrid, Museo Thyssen-
SELECTED EXHIBITION Colnaghi’s, London, to the MFA.
1875 * Paris, Ecole nationale des Beaux- Bornemisza, June 26—October 21, Corot: El
1980 © Detroit, The Detroit Institute of Arts, Corot, no. 12. Parque de los Leones en Port-Marly, 1872
Arts, July 12—-August 21, 1980; Houston,
68. Landscape, with Large Tree on Left,
(Pickvance 2001), no. 5.
The Museum of Fine Arts, September 1—
1895 ¢ Paris, Palais Galliéra, Centenaire de Two Figures at Right, One Holding Long
Corot, no. 79. SELECTED REFERENCES Pole, 1860s
October 23, 1980, Cliché-verre: Hand-Drawn,
1908 ¢ Boston, Copley Hall, March, French Roger-Milés 1896, no. 39; Robaut and Brush and brown wash on beige wove
Light-Printed, a Survey of the Medium from
School of 1830 (Copley Society 1908), no. 15. Moreau-Nélaton 1905, 2:53-54, NO. 97, paper
1829 to the Present (Glassman and Symmes
3:330, NO. 2201, 4:269, 291; Moreau-Nélaton Sheet: 7 x 9.5 cm (2% x 3% in.)
1980), no. 14. 1914 * New York, The Men of 1830
1924, 2:53, fig. 227; Fosca 1930, no. 87; Helen and Alice Colburn Fund 62.753
(Wickenden 1914), no. 4.
Murphy 1985, 59.
17. Mother and Child in a Wooded PROVENANCE
1915 * Boston, Museum of Fine Arts,
Landscape, 1856 Dr. Victor Simon, Paris; Mme Cécile
opened February 3, Robert Dawson Evans 66. Bathers in a Clearing, about 1870-75
Cliché-verre, salt print. Delteil 59 Simon-Roland; April 11, 1962, sold
Memorial Galleries Opening Exhibition. Oil on canvas
Sheet: 32.6 x 24.8 cm (12'%6 x 9% in.) Sotheby’s London, no. 21; 1962, sold by
1916 * Cleveland, The Cleveland Museum 92 X 73.2 cm (36% x 28% in.)
Bequest of William P. Babcock, 1900 Colnaghi’s, London, to the MFA.
of Art, June 6-September 20, Inaugural Gift of James Davis 76.4
Bros2/1
Exhibition (CMA 1916), no. 9. PROVENANCE 69. Landscape, with Grove of Trees at
SELECTED. REFERENCE
1940 * Colorado Springs, Colo., Colorado Until 1875, with the artist (d. 1875); May Left, Two Men with Long Poles at Right,
Glassman and Symmes 1980.
Springs Fine Arts Center, January; Boston, 26-28, 1875, sold at Corot posthumous 1860s
St. Botolph Club, March 16—April 16; New sale, Hotél Drouot, Paris, no. 210, and Brush and brown wash on beige wove
18. The Gardens of Horace, 1855
London, Conn., Lyman Allen Museum, bought by Rosimont (titled in sales cata- paper
Cliché-verre, salt print. Delteil 58
Connecticut College, November 17— logue as A Ville-d’Avray, le vallon derriere Sheet: 5.9 X 10.3 cm (2% X 4 %e in.)
Sheet: 34.8 x 27.1 cm (13 %e X 10 '%e in.)
December 15. la propriété du maitre, mai 1874); 1875, Helen and Alice Colburn Fund 62.755
Bequest of William P. Babcock, 1900
Rosimont. With Gustave Détrimont, PROVENANCE
Bro52.2/2 1942 ¢ New York, Wildenstein Galleries,
Paris. By 1876, James Davis, Boston (pos-
November 11-December 12, The Serene Dr. Victor Simon, Paris; Mme Cécile
SELECTED REFERENCE sibly acquired from Détrimont); 1876, gift
World of Corot: An Exhibition in Aid of the Simon-Roland; April 11, 1962, sold
Glassman and Symmes 1980. of Davis.
Salvation Army War Fund (Wildenstein Sotheby’s London, no. 21; 1962, sold by
1942), no. 68. Colnaghi’s, London, to the MFA.

247
 Gustave Courbet 1999 * Monet, Renoir, and the Impressionist Mack and Paula Lee and William and SELECTED REFERENCES
French, 1819-1877 Landscape (Nagoya/ Boston and MFA Drew Schaeffer 1990.175 Sterling and Adhémar 1958-61, no. 523, pl.
1999), NO. 17. PROVENANCE 158; Fidell-Beaufort and Bailly-Herzberg
46. Stream in the Forest, about 1862 1975, 202, no. 162; Hellebranth 1976, no.
2000-2 * Monet, Renoir, and the 1860s—1989, New England private collec-
Oil on canvas 90; Murphy 1985, 71.
Impressionist Landscape (Shackelford and tion; 1989, sold by the private collection to
157 X 114 cm (61% x 44% in.)
Wissman 2000), no. 17. the Lee Gallery, Winchester, Mass.; 1990,
Gift of Mrs. Samuel Parkman Oliver 55.982
partial gift, partial sale from the Lee 71. The Boat-Studio, 1861
SELECTED REFERENCES
PROVENANCE Gallery to the MFA. Etching on cream laid paper. Delteil m1
Meier-Graefe 1g921a, pl. 58; Léger 1929,
After 1862, Potter Dekens, Brussels. With Image: 10.2 x 13.4 cm (4 x 5% in.);
pl. 52; MacOrlan 1951, pl. 44; Comstock SELECTED EXHIBITION
Galerie Allard (probably Joseph Allard), platemark: 13 x 17.8 cm (5% x 8 %e in.)
1956, 144-43; Cooper 1960, 245; Fitzwilliam 1998-99 * Boston, Museum of Fine Arts,
Paris. Until January 4, 1923, Meyer Special Print Fund, 1916 M26a11
Museum 1960, 157; Werner 1960, 47; November 21, 1998—May 23, 1999, French
Goodfriend (New York?); January 4, 1923, Delestre 1961, 1-5, no. 27; Murphy 1985, 64; Photography: Le Gray to Atget.
sold at Meyer Goodfriend sale, American 72. Tree with Crows, 1867
Adams 1994, 6, 154, fig. 1. SELECTED REFERENCES
Art Galleries, New York, no. 61, called Etching on cream wove paper. Delteil 120,
Daniel 1996; Staatsgalerie, Stuttgart 1996, second state
Paysage avec biches, and bought by
144, NO. 343. Image: 18 x 27.4 cm (7 %s X 10 '%e in.);
Wildenstein and Co., London, New York, Henri Edmond Cross
and Paris. With Paul Rosenberg & Co., platemark: 21.5 x 29.6 cm (8 %s x 11% in.)
French, 1856-1910 26. Boundary of Barbizon, 1860s
New York (?). By 1936-55, Sir A. Chester Frederick Keppel Memorial Bequest, 1913
Photograph, albumen print from paper M23423
Beatty (d. 1968), London; March 1955, 139. The Promenade, 1897
negative, mounted
acquired from Beatty by Paul Rosenberg Color lithograph on cream Chinese paper.
Sheet: 27.3 x 34 cm (9% X 13% in.) 73. The Ford, 1863
& Co., New York; 1955, sold by Paul Johnson 40
Frederick Brown Fund 1996.38 Cliché-verre, salt print, reverse-printed.
Rosenberg & Co. to the MFA. Image/sheet: 28 x 40.7 cm (11 X 16 in.)
Bequest of W. G. Russell Allen 60.98 PROVENANCE Delteil 139
SELECTED EXHIBITIONS
1860s—1989, New England private collec- Sheet: 27.2 x 36.3 cm (10 %e X 14 %e in.)
1936 * London, Anglo-French Art and
tion; 1989, sold by private collection to the Stephen Bullard Memorial Fund 1997.106
Travel Society, Masters of Nineteenth-
Century Painting, no. 29.
Eugéne Cuvelier Lee Gallery, Winchester, Mass.; 1996, sold PROVENANCE
French, 1837-1900 by the Lee Gallery to the MFA. Alfred Beurdeley stamp (Lugt 421).
1937 ° Paris, Palais des Beaux-Arts, Chefs-
SELECTED EXHIBITIONS SELECTED EXHIBITIONS
d’oeuvre de l'art francais, no. 280. 24. Lane in Fog, Arras, early 1860s
1997 * Stuttgart, Staatsgalerie, March 8— 1980 © Detroit, The Detroit Institute of
1939 * Belgrade, Prince Paul Museum, Photograph, salt print from paper nega-
August 31, Eugéne Cuvelier (Staatsgalerie, Arts, July 12-August 21; Houston, The
tive, mounted
French Painting of the Nineteenth Century, Stuttgart 1996), 142, no. 303.
Sheet: 25.7 x 19.8 cm (10% x 7% in.) Museum of Fine Arts, September m—
no, 26.
Lucy Dalbiac Luard Fund 1989.21 1998-99 * Boston, Museum of Fine Arts, October 23, Cliché-verre: Hand-Drawn,
1957 * New York, Paul Rosenberg & Co., November 21, 1998—May 23, 1999, French Light-Printed, a Survey of the Medium from
PROVENANCE
February 6—March 2, Masterpieces Recalled: Photography: Le Gray to Atget. 1829 to the Present (Glassman and Symmes
By 1988, with Harry Lunn; 1988, sold by
A Loan Exhibition of Nineteenth- and 1980), no. 40.
Lunn to Charles Isaacs, Malvern, Pa.; SELECTED REFERENCE
Twentieth-Century French Paintings (benefit
1989, sold by Charles Isaacs to the MFA. Daniel 1996.
exhibition for the League for Emotionally
Disturbed Children, Inc.) (Paul Rosenberg SELECTED EXHIBITIONS
1989 * Boston, Museum of Fine Arts,
Edgar Degas
1957), NO. 5.
Charles-Francois Daubigny French, 1834-1917
October 7-December 17, Capturing an
1959-60 * Philadelphia, Philadelphia French, 1817-1878
Image: Collecting 150 Years of Photography. 81. At the Races in the Countryside, 1869
Museum of Art, December 16, 1959—
February 14, 1960, Gustave Courbet (PMA 1997 * Stuttgart, Staatsgalerie, March 8— 70. Chateau-Gaillard at Sunset, about Oil on canvas
1959), no. 68. August 31, Eugéne Cuvelier (Staatsgalerie, 1873 36.5 X 55.9 cm (14% x 22 in.)
Stuttgart 1996), 89, 148, no. II/1r. Oil on canvas 1931 Purchase Fund 26.790
1979-80 * Corot to Braque (Poulet and
38.1 x 68.5 cm (15 x 27 in.)
Murphy 1979), no. 21. 1998-99 * Boston, Museum of Fine Arts, PROVENANCE
Gift of Mrs. Josiah Bradlee 18.18
November 21, 1998—May 23, 1999, French September 17, 1872, sold by the artist to
1983-84 * Masterpieces of European Painting
Photography: Le Gray to Atget. PROVENANCE Durand-Ruel, Paris; October 12, 1872, sent
(Nippon Television 1983), no. 40.
By 1918, Mr. and Mrs. Josiah Bradlee, to Durand-Ruel, London; April 25, 1873,
SELECTED REFERENCE
1988-89 * Brooklyn, N.Y., The Brooklyn Boston; 1918, gift of Mrs. Josiah Bradlee. sold by Durand-Ruel to Jean-Baptiste
Daniel 1996.
Museum; Minneapolis, The Minneapolis Faure through Charles Deschamps, Paris;
SELECTED EXHIBITIONS
Institute of Arts, November 1988—April 1999 * Monet, Renoir, and the Impressionist 1873-93, Jean-Baptiste Faure, Paris; Jan-
25. At “La Reine Blanche,” Forest of
1989, Courbet Reconsidered (Faunce et al., uary 2, 1893, sold by Jean-Baptiste Faure to
Fontainebleau, 1860s Landscape (Nagoya/ Boston and MFA
1988), no. 37. Durand-Ruel; March 29, 1918, deposited
Photograph, albumen print from paper 1999), no. 16.
1992 © Crosscurrents. negative, mounted 2000-2 * Monet, Renoir, and the
with the Durand-Ruel family, Les Balans;
Sheet: 25.3 x 34.3 cm (9% X 13% in.) December 20, 1926, sold by Durand-Ruel,
1992-93 * Monet and His Contemporaries Impressionist Landscape (Shackelford and
(Bunkamura Museum and MFA 1992), no. 14. Sophie M. Friedman Fund and Gift of Wissman 2000), no. 16.
New York, to the MFA.

248
SELECTED EXHIBITIONS 1939 * San Francisco, Golden Gate 1995 * The Real World (Sogo Museum and Ruel, Paris, no. 5689; February 20, 1901,
1872 * London, 168 New Bond Street, International Exposition, Masterworks of MFA 1994), no. 38. sold by Durand-Ruel, Paris, to Durand-
October-November, Fifth Exhibition of the Five Centuries (Golden Gate 1939), no. 147. Ruel, New York; March 27, rgo1, sold by
1998 * Washington, D.C., National
Society of French Artists, no. 113, called At Durand-Ruel, New York, to William H.
1946-47 * Toledo, Ohio, The Toledo Gallery of Art, April 12~July 12, Degas at
the Races. Moore, New York. By 1903, with Durand-
Museum of Art, November—December, the Races (Boggs et al. 1998), no. 38.
1873 « London, 168 New Bond Street, 1946; Toronto, Art Gallery of Toronto, Ruel, New York, no. 2494; 1903, sold by
1999 ¢ New Orleans, New Orleans
Sixth Exhibition of the Society of French January—February 1947, Development of Durand-Ruel to the MFA.
Museum of Art, May 1-August 9;
Artists, no. 79, called A Race Course in French Culture for 200 Years (‘Toledo SELECTED EXHIBITIONS
Copenhagen, Ordrupgaard, September 16—
Normandy. Museum [1946]), no. 42. 1911 * Cambridge, Mass., Fogg Art
November 28, Degas and New Orleans: A
1874 ° Paris, 35, boulevard des Capucines, 1955 * Paris, Musée de I’Orangerie, April French Impressionist in America Museum, Harvard University, April, Loan
April 15—May 15, Premiére exposition de la 20-July 3, De David a Toulouse-Lautrec: (Feigenbaum et al. 1999), no. 18. Exhibition of Paintings and Pastels by H. G.
Société anonyme des Artistes Peintres, Chefs-d’oeuvre des collections américaines E. Degas, no. 10.
2000-2 © Monet, Renoir, and the
Sculpteurs, Graveurs, no. 63, called Aux (Musée de |’Orangerie 1955), no. 20. Impressionist Landscape (Shackelford and 1929 * Cambridge, Mass., Fogg Art
courses en Province. Museum, Harvard University, March 6—
1958 * Los Angeles, Los Angeles County Wissman 2000), no. 32.
1899 ¢ Saint Petersburg, Exhibition of Museum of Art, March, An Exhibition of April 6, Exhibition of French Painting of the
SELECTED REFERENCES
Paintings Organized by “Mir Iskousstva,” Works by Edgar Hilaire Germain Degas, Nineteenth and Twentieth Centuries (Fogg
Carjat 1874, 3; Chesneau 1874, 2; Mauclair
no. 81. 1834-1917 (LACMA [1958]), no. 17. Art Museum [1929]), no. 32.
1903, 35; Sickert 1905, 101; Grappe 1911, 18;
1903-04 * Vienna, Secession. 1958 ° Brussels, Palais International des Jamot 1918, 137-38; Lafond 1918-19, 1:141, 1935 * Kansas City, Mo., William Rockhill
Beaux-Arts, August 8—October 19, Man 2:42; Liebermann 1918, 6; Hertz 1920, 29, Nelson Gallery of Art and Mary Atkins
1905 * London, Grafton Galleries,
and Art. 97; Meier-Graefe 1923, 35, pl. 21; Jamot Museum of Fine Arts, March 31—April 28,
January-February, Pictures by Boudin,
1924, 81, I41, pl. 32; Lemoisne 1924, 27; One Hundred Years of French Painting,
Cézanne, Degas, Manet, Monet (exhibited by 1973 * Impressionism: French and American
Jenks 1927, 2-3; Manson 1927, 20, 46, pl. 18; 1820-1920 (William Rockhill 1935), no. 2r.
Durand-Ruel) (Grafton Galleries 1905), (MFA 19734), no. 4.
no. 57. “Carriages at the Races” 1929, 34; Degas 1937 © Paris, Musée du Louvre,
1974-75 * New York, The Metropolitan
1931, 65, note 1; Riviére 1935, 174; Barazetti lOrangerie de Tuileries, March—April,
1917 * Zurich, Kunsthaus, October 5-— Museum of Art, December 12, 1974—
1936, 43; Venturi 1939, 2:194; Wilenski 1940, Degas (Musée de l’Orangerie 1937), no. 12.
November 14, Franzosische Kunst des 19. February 10, 1975, Impressionism: A
5, 9, 31, pl. 9A; Gammell [1946], pl. 59; 1938 « Cambridge, Mass., Fogg Art
und 20. Jahrhunderts, no. 88. ‘Centenary Exhibition (Dayez-Distel et al.
Lemoisne 1946—49, 1:85, 2: no. 281; Rewald Museum, Harvard University, April 20-
1922 * Paris, Musée des arts décoratifs, 1974), NO. 13.
1946, 264; Edgell 1949, 45; Rich 1951, 52; May 21, The Horse: Its Significance in Art
May 27-July 10, Le décor de la vie sous le sec- 1983-84 ° Masterpieces of European Painting Fosca 1954, 34-39; Shinoda 1957, 57-58, (Fogg Art Museum [1938]), no. 16.
ond empire, no. 57. (Nippon Television 1983), no. 48. pl. 93; Cabanne 1958, 23, 27, 35, 48, 97, II0;
1938 « Amsterdam, Stedelijk Museum,
1924 ° Paris, Galerie Georges Petit, 1985 ¢ Boston, Museum of Fine Arts, Boggs 1962, 37, 46, 92-93, note 66, pl. 72;
July-September, Honderd jaar Fransche
April 12-May 2, Exposition Degas (Galerie February 13—June 2, The Great Boston Scharf 1962, 191, fig. 7; Pickvance 1963, 257;
kunst (Stedelijk Museum [1938]), no. 98.
Georges Petit 1924), no. 40. Collectors: Paintings from the Museum of Fine Coke 1964, 15, 69, note 34; Wildenstein
Arts, Boston (Troyen and Tabbaa 1984), 1968, 2; MFA [1970], 80, no. 52; Russoli and 1939 * New York, Knoedler & Co.,
1929 ¢ Cambridge, Mass., Fogg Art
no. 39. Minervino 1970, no. 203; Clark 1973, 314, January 9-28, Views of Paris: Loan
Museum, Harvard University, March 6—
fig. 244; MFA 1973b, no. 7; Rewald 1973a, Exhibition of Paintings ([Knoedler] [1939]),
April 6, Exhibition of French Painting of the 1986 ¢ Washington, D.C., National
311; Sutton 1975, 6, fig. 3; Hiittinger 1977 no. 28.
Nineteenth and Twentieth Centuries (Fogg Gallery of Art, January 17—April 6; San
[1988], 62; Dunlop 1979, 93, no. 84; Harris 1947 ¢ Cleveland, The Cleveland Museum
Art Museum [1929]), no. 25. Francisco, The Fine Arts Museums of San
1979, 64; Kelder 1980, 129, 157, 160; of Art, February 5—March 9, Works by
1933 * Chicago, The Art Institute of Francisco, April 19—July 9, The New
Canaday 1981, 237, fig. 282; McMullen Edgar Degas (CMA 1947), no. 31.
Chicago, June 1-November 1, A Century of Painting: Impressionism, 1874-1886 (Moffett
1984, 194-96; Sutton 1984, 286, fig. II;
et al. 1986), no. 4. 1949 * New York, Wildenstein Galleries,
Progress (AIC 1933), no. 282. Murphy 1985, 75; MFA 1986, 67; Sutton
1988-89 * Paris, Grand Palais, February 9— April-May, A Loan Exhibition of Degas for
1936 ¢ Philadelphia, Philadelphia Museum 1986, 144, fig. 115; Clarke r991b, 16, fig. 3;
May 16, 1988; Ottawa, National Gallery of
the Benefit of the New York Infirmary
of Art, Degas, 1834-1917 (PMA 1936), no. 21. Bailey 1997, 70, fig. 82; Benfey 1997, 76-77;
(Wildenstein 1949), no. 29.
Canada, June 27—August 28, 1988; New Rathbone and Shackelford 2001, 26, fig. 19.
1937 * Paris, Musée du Louvre, 1957 © Fort Worth, Tex., Fort Worth Art
York, The Metropolitan Museum of Art,
lOrangerie de Tuileries, March—April,
September 27, 1988—January 8, 1989, Degas Center, January 7—March 3, Horse and
82. Racehorses at Longchamp, 1871, pos-
Degas (Musée de I’Orangerie 1937), no. 14. Rider (Fort Worth 1957), no. 103.
(Boggs et al. 1988), no. 95. sibly reworked in 1874
1937 ° Paris, Palais National des Arts, 1960 * Richmond, Va., Virginia Museum
1992 © Crosscurrents. Oil on canvas
Chefs-d’oeuvre de Vart francais (Palais 34.1 X 41.8 cm. (13% X 16% in.) of Fine Arts, April May 15, Sport and the
National 1937), no. 301. 1994-95 ¢ Paris, Grand Palais, April 19—
S. A. Denio Collection 03.1034 Horse (Virginia Museum [1960]), no. 59.
August 8, 1994; New York, The Metro-
1938 * Cambridge, Mass., Fogg Art
politan Museum of Art, September 19, PROVENANCE 1968 « New York, Wildenstein Galleries,
Museum, Harvard University, April 20— By 1900, Bernheim-Jeune, Paris; February March 21—April 27, Degas’ Racing World: A
1994-January 8, 1995, Impressionnisme: Les
May 21, The Horse: Its Significance in Art 10, 1900, sold by Bernheim-Jeune to Loan Exhibition of Paintings, Drawings, and
origines, 1859-1869 (Loyrette and Tinterow
(Fogg Art Museum [1938]), no. 147. Durand-Ruel, Paris; 1900-1, with Durand- Bronzes, for the Benefit of the National
1994), NO. 66.

249
Museum of Racing, Saratoga (Wildenstein pl. 168B; Bodelson 1968, 345; Russoli and 1994 * New York, The Metropolitan 122. Landscape, 1890
1968), no. 5. Minervino 1970, no. 384; Novotny 1971, Museum of Art, January 21—April oF Pastel over color monotype on dark
1973 * Impressionism: French and American pl. 294; Dunlop 1979, 118, no. 108; Brettell Houston, The Museum of Fine Arts, cream laid paper
(MFA 1973a), no. 5. and McCullagh 1984, 54; Fairley 1984, April 24-July 3, Degas Landscapes. 31.1 X 41.3 cm (12% x 16% in.)
21-22, 127; McMullen 1984, 239; Sutton SELECTED REFERENCE Denman Waldo Ross Collection 09.296
1977-78 * Boston, Museum of Fine Arts,
1984, fig. 6; Murphy 1985, 74; Lipton 1986, Kendall 1993, 128, fig. 106.
November 8, 1977—January 15, 1978, The PROVENANCE
23, fig. 12; Pyle 1986, xy, fig. 9; Sutton 1986,
Second Greatest Show on Earth: The Making June 2, 1893, purchased from the artist by
144, fig. 114; Brettell et al. 1988, 489; 95. The Path up the Hill, 1877-79
of a Museum (MFA [1977]), no. 25. Durand-Ruel, Paris; 1893-94, with
Shackelford and Wissman 2000, 44, fig. 4. Monotype on cream wove paper. Janis 267 Durand-Ruel, Paris, no. 2771; October 25,
1978 * Richmond, Va., Virginia Museum
Platemark: 11.6 x 16.1 cm (4 %e X 6 % in.) 1894, sold by Durand-Ruel, Paris, to
of Fine Arts, May 23-July 9, Degas 85. Cliffs on the Edge of the Sea, 1869 Fund in memory of Horatio Greenough Durand-Ruel, New York, no. 1241;
(Virginia Museum 1978), no. 8. Pastel on paper Curtis 24.1688 November 17, 1894, sold by Durand-Ruel,
1978 * New York, Acquavella Galleries, 44.3 X 58.5 cm (17% x 23 in.)
PROVENANCE New York, to Denman Waldo Ross,
November 1-December 3, Edgar Degas Gift of Lydia Pope Turtle and Isabel Pope
November 22-23, 1918, Degas studio sale, Cambridge, Mass.; 1909, gift of Denman
(Acquavella Galleries 1978), no. ro. Conant in memory of their father,
Galerie Manzi-Joyant, Paris, no. 308; Waldo Ross.
Hubert Pope 1980.390
1979-80 * Corot to Braque (Poulet and Sagot-LeGarrec, Paris; 1924, sold by Sagot- SELECTED EXHIBITIONS
Murphy 1979), no. 35. PROVENANCE LeGarrec to MFA. 1892 * Paris, Durand-Ruel, November,
July 2-4, 1919, Degas studio sale (4th),
1982-83 * Washington, D.C., National SELECTED EXHIBITIONS Paysage de Degas.
no. 59b. Collection Nunés and Fiquet,
Gallery of Art, December 5, 1982—March 6, 1968 « Cambridge, Mass., Fogg Art 1897 * Boston, Copley Hall, March 5-28,
Paris. By 1928, with Alexander Reid, Reid
1983, Manet and Modern Paris (Reff 1982), Museum, April 24—June 14, Degas Loan Exhibition of One Hundred
and Lefevre, London; 1928, bought from
no. 72. Monotypes (Janis [1968]), cat. no. 64, check- Masterpieces, no. 11.
Reid and Lefevre by Herbert Pope,
1985 * Boston, Museum of Fine Arts, list no. 267.
Chicago; inherited by Lydia Pope Turtle 1911 * Cambridge, Mass., Fogg Art
February 13~June 2, The Great Boston and Isabel Pope Conant (daughters); by 1985 * London, Hayward Gallery, May 15— Museum, Harvard University, April 1-15,
Collectors: Paintings from the Museum of Fine 1980, Lydia Pope Turtle, Bedford and July 7, Edgar Degas: The Painter as Print- Loan Exhibition of Paintings and Pastels by
Arts, Boston (Troyen and Tabbaa 1984), Brookline, Mass.; 1980, gift of Lydia Pope maker (complementary exhibition of H. G. E. Degas, no. 12.
no. 38. Turtle and Isabel Pope Conant. monotypes, no Cat.).
1968 * Cambridge, Mass., Fogg Art
1988-89 * Paris, Grand Palais, February 9- SELECTED REFERENCES 1994 * New York, The Metropolitan Museum, Harvard University, April 25—
May 16, 1988; Ottawa, National Gallery of Galerie Georges Petit 1918-19, 4:53, no. 50b; Museum of Art, January 21—April 3; June 14, Degas Monotypes (Janis [1968}),
Canada, June 27—August 28, 1988; New Lemoisne 1946-49, 2:112—13, NO. 217; Houston, The Museum of Fine Arts, no. 69, checklist no. 279 (provenance and
York, The Metropolitan Museum of Art, Murphy 1985, 77; Kendall 1993, 91, fig. 70. April 24-July 3, Degas Landscapes. exhibition history mistakenly inter-
September 27, 1988—January 8, 1989, Degas changed with cat. no. 70).
SELECTED REFERENCE
(Boggs et al. 1988), no. 96. 94. Beside the Sea, 1876-77 Kendall 1993, 131, fig. 111. 1973 * Impressionism: French and American
1998 * Washington, D.C., National Monotype on cream wove paper. Janis 264 (MFA 1973a), no. 11 (exhibited as a pair
Gallery of Art, April 12~July 12, Degas at Platemark: 11.8 x 16.2 cm (4% x 6% in.) 121. Autumn Effect, 1890 with Degas’s Landscape [09.295]).
the Races (Boggs et al. 1998), no. 49. Gift of Mr. and Mrs. Peter A. Wick Color monotype on beige wove paper
SELECTED REFERENCES
1999 * Monet, Renoir, and the Impressionist 1993.1015 Sheet: 29.8 x 40 cm (11% x 15% in.)
Manson 1927, 46; Lemoisne 1946-49, 3: no.
Landscape (Nagoya/ Boston and MFA PROVENANCE Gift of her children in memory of
1055; Russoli and Minervino 1970, no. 983;
1999), NO. 32. November 22-23, 1918, Degas studio sale, Elizabeth Paine Metcalf 1992.565
Murphy 1985, 75; Kendall 1993, 170-71,
2001 * Atlanta, High Museum of Art, Galerie Manzi-Joyant, Paris, no. 300; PROVENANCE fig. 151.
March 3~—May 27; Minneapolis, The Gustave Pellet; Maurice Exteens; 1930, 1893, Durand-Ruel, Paris; Maurice
Minneapolis Institute of Arts, June 16— Marcel Guérin (Lugt suppl. 1872b); with Exsteens; Paul Brame and César de 123. Landscape, 1892
September 9, Degas and America: The Early Gérald Cramer, Geneva; 1952, sold by Hauke, Paris; Sir Robert Abdy, London; Pastel over color monotype on cream
Collectors (Dumas and Brenneman [2001)), Cramer to Mr. and Mrs. Peter A. Wick, Valentine Abdy, Paris; La Galerie de wove paper
no. 29. Boston; 1993, gift of the Wicks. L’ Oeil, Paris; E. V. Thaw and Co., New 26.7 X 35.6 cm (10% x 14 in.)
SELECTED EXHIBITIONS York; by 1968, R. M. Light & Co., Boston; Denman Waldo Ross Collection 09.295
SELECTED REFERENCES
1968 * Cambridge, Mass., Fogg Art Elizabeth Paine Card Metcalf, Boston;
Grappe 1911, 20-23, 48; Lemoisne [r911?], PROVENANCE
Museum, April 25-June 14, Degas 1992, gift of Metcalf’s children.
77-79, pl. 31; Lafond 1918-19, 2:42; June 2, 1893, purchased from the artist by
Thiébault-Sisson 1918, 3; Hertz 1920, 100, Monotypes (Janis [1968]), no. 61, checklist SELECTED EXHIBITIONS Durand-Ruel, Paris; 1893-94, with
108; Manson 1927, 28, 46, pl. 48; Waldman no. 264. 1968 * Cambridge, Mass., Fogg Art Durand-Ruel, Paris; October 25, 1894,
1927, 95, 470; “Carriages at the Races” 1988-89 * Paris, Grand Palais, February 9- Museum, April 24~June 14, Degas transferred from Durand-Ruel, Paris, to
1929, 34; Wilenski 1931, 272; Mauclair 1937, May 16, 1988; Ottawa, National Gallery of Monotypes (Janis [1968]), cat. no. 75, check- Durand-Ruel, New York; November 17,
fig. 48; Wolf 1938, 117; Lemoisne 1946-49, Canada, June 27—August 28, 1988; New list no. 299. 1894, sold by Durand-Ruel, New York, to
1:86, nO. 334, 2:174, no. 334; Edgell 1949, 44; York, The Metropolitan Museum of Art, 1994 * Houston, Museum of Fine Arts, Denman Waldo Ross, Cambridge, Mass.;
Fosca 1954, 39-40; Cabanne 1958, 28, 48, September 27-January 8, 1989, Degas April 24~July 3, Degas Landscapes (not in 1909, gift of Denman Waldo Ross.
110, 126, pl. 45 (detail); Novotny 1960, (Boggs et al. 1988), cat. no. 152. catalogue).

250
SELECTED EXHIBITIONS December 4, 1849, sold at Mosselman sale, SELECTED REFERENCES Charles Paul Furne fils
1892 © Paris, Durand-Ruel, November, Rolin, Paris, no. 86, and bought by Explication des ouvrages 1844, 70, NO. 35; French, active 1850-1870
Paysage de Degas. Getting. Mme André Edouard, Paris. “Salon de 1844” 1844, 1-2; Silvestre 1856,
1897 * Boston, Copley Hall, March 5-28, With Arnold and Tripp, Paris. 1868-73, 225; Claretie 1875, 17; Claretie 1876, 26-27; 31. Douarnenez, a Fishing Village in
Loan Exhibition of One Hundred with Laurent-Richard, Paris; April 7, 1873, Ballu 1877, 294, 298; Silvestre 1878, 219; Brittany, 1858-59
Masterpieces, no. 10. sold at Laurent-Richard sale, Paris, and Claretie 1882-84, 1:228; Wolff 1883, no. 35; Photograph, albumen print from glass-
bought by Gustave Viot, Paris; 1886, Viot Stranahan 1888, 253; ““The Descent of the plate negative, corners rounded, mounted
1911 * Cambridge, Mass., Fogg Art
sale, Paris. By 1893, Mrs. Samuel Dennis Gypsies’” 1890, 176-77; Mollett 1890, 97, Sheet: 20.3 x 26.7 cm (8 x 10% in.)
Museum, Harvard University, April 1-15,
Warren (d. 1901), Boston; 1901, inherited 124, appendix; Frapp 1903, 34; La Farge Gift of Jessie H. Wilkinson. Jessie H.
Loan Exhibition of Paintings and Pastels by
by Miss Susan Cornelia Warren, Boston; 1903, 127-29; Tomson 1903, 161-62; La Wilkinson Fund 1998.74
H. G. E. Degas, no, 11.
January 8, 1903, sold at Warren sale, Farge 1908, 119; MFA 1921, 96; MFA 1955, PROVENANCE
1968 * Cambridge, Mass., Fogg Art American Art Association, New York, no. 19; Grate [1959], 207; Durbé and Damigella Robert Hershkowitz, Sussex, England;
Museum, Harvard University, April 25— 113, and bought by Samuel Putnam Avery 1969, 19, no. 28; Bouret 1972, 105; Bouret 1998, sold by Robert Hershkowitz to the
June 14, Degas Monotypes (Janis [1968]), (dealer, d. 1904), New York, for the MFA; 1973, 105, 122; Murphy 1985, 82. MFA.
no. 70, checklist no. 284 (provenance and June 13, 1903, sold by Samuel Putnam
SELECTED EXHIBITION
exhibition history mistakenly inter- Avery to the MFA.
1998-99 * Boston, Museum of Fine Arts,
changed with cat. no. 69). Francois-Louis Frangais
SELECTED EXHIBITIONS November 21, 1998—May 23, 1999, French
1972 * New York, The Metropolitan 1844 ¢ Paris, Salon, no. 553. French, 1814-1897 Photography: Le Gray to Atget.
Museum of Art, October 12-December 15.
1877 ¢ Paris, Ecole nationale des Beaux- 74. Sunset, 1878 SELECTED REFERENCE
1973 * Impressionism: French and American Arts, Diaz de la Pena, no. 6. Oil on canvas Daniel 1992, 24-27 and notes 54, 55.
(MFA 1973a), no. 11 (exhibited as a pair
1893 ¢ Chicago, World Columbian 47.1 X 56.3 cm (18% X 22% in.)
with Degas’s Landscape [09.296)).
Exposition, no. 2913. Bequest of Ernest Wadsworth Longfellow
1974 * Boston, Museum of Fine Arts, 37.598 Attributed to Paul Gaillard
1897 * Boston, Copley Hall, March 5-28,
June 20-September 1, Edgar Degas: The French, active 1850s/60s—1890
Loan Exhibition of One Hundred PROVENANCE
Reluctant Impressionist (Shapiro [1974]),
Masterpieces, no. 24. By 1884?, Ernest Wadsworth Longfellow,
no. 106. 50. Farmyard, 1850s
Boston; 1937, bequest of Ernest
1901 * Boston, St. Botolph Club, no. 17. Photograph, albumen print from glass-
1980-81 * New York, The Metropolitan Wadsworth Longfellow.
1902 * Boston, Museum of Fine Arts, plate negative, mounted
Museum of Art, October 16—-December 7;
Paintings from the Collection of the Late Mrs. SELECTED EXHIBITIONS Sheet: 20 x 25.5 cm (7% X 10 %s in.)
Boston, Museum of Fine Arts, January 24—
Samuel Dennis Warren, no. 35.
1989 * From Neoclassicism to Impressionism, Anonymous Loan, Promised Gift 387.1974
March 22, The Painterly Print: Mono-types
no. 36.
from the Seventeenth to Twentieth Century 1962-63 * San Francisco, California Palace PROVENANCE
(Metropolitan 198o0b), no. 31. of the Legion of Honor, September 24— 1999 * Monet, Renoir, and the Impressionist Gérard Lévy, Paris; sold by Lévy to current
November 4, 1962; Toledo, Ohio, The
Landscape (Nagoya/ Boston and MFA anonymous lender; promised gift to MFA.
SELECTED REFERENCES
Toledo Museum of Art, November 20- 1999), NO. 13. SELECTED EXHIBITION
Manson 1927, 46; Lemoisne 1946—49, 3: no.
1045; Russoli and Minervino 1970, no. 958; December 27, 1962; Cleveland, The 2000-2 ¢ Monet, Renoir, and the 1998-99 » Boston, Museum of Fine Arts,
Cleveland Museum of Art, January 15— Impressionist Landscape (Shackelford and November 21, 1998—May 23, 1999, French
Janis 1973, [178-79]; Murphy 1985, 75;
February 24, 1963; Boston, Museum of Wissman 2000), no. 12. Photography: Le Gray to Atget.
Sutton 1986, 280; Boggs et al. 1988, 504;
Kendall 1993, 193-94, fig. 172. Fine Arts, March 15—April 28, 1963, SELECTED REFERENCE SELECTED REFERENCES
Barbizon Revisited (Herbert 1962), no. 38. Murphy 1985, ror. Trillat et al. 1979; Jammes and Janis 1983,
1965 * Indianapolis, Herron Museum of 180-81.
Narcisse-Virgile Diaz de la Pefia Art, February 21—April 11, The Romantic 110. Morning on the Banks of the Sevre
French, 1808-1876 Era: Birth and Flowering, 1750-1850 (Art at Clisson, 1884
Association of Indianapolis [1965]), no. 48. Watercolor over graphite pencil on cream Paul Gauguin
10. Bohemians Going to a Féte, about wove paper French, 1848-1903
1979-80 ° Corot to Braque (Poulet and
1844
Murphy 1979), no. 10.
Sheet: 48 x 60 cm (18% x 23% in.)
Oil on canvas Bequest of Mrs. Arthur Croft 01.6233 115. Entrance to the Village of Osny,
IOI X 81.3 cm (39% X 32 in.) 1995 * The Real World (Sogo Museum and
PROVENANCE 1882-83
Bequest of Susan Cornelia Warren MFA 1994), no. Io.
1898, Frangais estate sale, no. 153/171; Oil on canvas
03.600 1999 * Monet, Renoir, and the Impressionist 60 X 72.6 cm (23% X 28% in.)
Gardner Brewer, Mass.; Mrs. Arthur
PROVENANCE Landscape (Nagoya/ Boston and MFA Croft; 1901, bequest of Mrs. Arthur Croft. Bequest of John T. Spaulding 48.545
1999), no. 6.
Until 1846, Paul Périer, Paris; December 19,
SELECTED EXHIBITION PROVENANCE
1846, sold at Périer sale, Bonnefons, Paris, 2000-2 * Monet, Renoir, and the
1977 * Boston, Museum of Fine Arts, July 1883, given by the artist to Camille
no. 4, and bought by M. A. Mosselman; Impressionist Landscape (Shackelford and June 4-September 4, 1977, Watercolor in Pissarro (painter, d. 1903), Eragny-sur-Epte;
Wissman 2000), no. 6.
Nineteenth-Century Europe. by 1903, sold by Pissarro to Jean-Baptiste

251
Faure (d. 1914), Paris; by 1903-14, Jean- 1995-96 * London, Hayward Gallery, brother, a doctor) were also joint owners Circle in Brittany: The Prints of the Pont-
Baptiste Faure; 1914, purchased at the May 18—August 28, 1995; Boston, Museum of this painting (letter from Juliet Bareau Aven School.
Faure estate sale by Durand-Ruel, Paris, of Fine Arts, October 4, 1995—January 14, to Barbara Shapiro, March 11, 1985). 1993 * Boston, Museum of Fine Arts,
no. 4520; 1914-21, with Durand-Ruel, Paris 1996, Impressions of France: Monet, Renoir, 2. Upon the death of their close friend June 2-October 31, The Age of Art Nouveau.
and New York; March 3, 1921, sold by Pissarro, and Their Rivals (House et al. Julien Magnin (who was in possession of SELECTED REFERENCES
Durand-Ruel to John Taylor Spaulding 1995), NO. 104. the painting at the time of his death in Boyle-Turner 1986, 44-45; Mongan,
(d. 1948), Boston; 1921-48, John Taylor 1999 * Monet, Renoir, and the Impressionist October 1905), the joint owners drew lots Kornfeld, and Joachim 1988, 11-12, 34-35.
Spaulding, Boston; 1948, bequest of John Landscape (Nagoya/ Boston and MFA to establish sole ownership of the work of
Taylor Spaulding. art. It is uncertain whether the painting 151. Women and a White Horse, 1903
1999), nO. 56.
SELECTED EXHIBITIONS fell to Vuillard or to Roussel. It should be Oil on canvas
2000-2 * Monet, Renoir, and the
1931-32 * Boston, Museum of Fine Arts, noted that the family of Vuillard and 73.2 X O1.7 cm (28% xX 36% in.)
Impressionist Landscape (Shackelford and
Roussel claim that Sérusier, Denis, Bequest of John T. Spaulding 48.547
May 26, 1931—October 27, 1932, Collection of Wissman 2000), no. 62.
Bonnard, Vuillard, and Roussel bought
Modern French Paintings, Lent by John T. PROVENANCE
SELECTED REFERENCES this picture jointly to help Gauguin, plan-
Spaulding. Gustave Fayet, Igny, France. Moll (?).
Malingue 1948, 76; Edgell 1949, 73; Van ning to rotate the painting among them-
1948 * Boston, Museum of Fine Arts, October 31, 1908, bought by Bernheim-
Dovski 1950, 338, no. 9; Estienne 1953a, 27; selves for specified periods of time. The
May 26—November 7, The Collections of [Huyghe et al. 1960], 111; Reidemeister family claims that this arrangement soon
Jeune, Paris. 1909, Ambroise Vollard,
John Taylor Spaulding 1870-1948 (MFA 1948), 1963, 82; Wildenstein 1964, no. 121; Roskill Paris. Probably by 1929, with Paul
grew impossible and it was Vuillard who
no. 29. [1970], 16, 254, note 3, under “Impression- finally paid back the other four owners
Rosenberg & Co., Paris; possibly by 1929,
1950 ¢ Springfield, Mass., Springfield ism”; Murphy 1985, 111. sold by Rosenberg to John Taylor
and kept the painting for himself. When
Spaulding (d. 1948), Boston; 1929?—48, John
Museum of Fine Arts, January 15—- he died, his nephew (also Roussel’s son)
February 19, In Freedom’s Search 124. Landscape with Two Breton Taylor Spaulding, Boston; 1948, bequest of
Jacques Roussel inherited it (letter from
Women, 1889 John Taylor Spaulding.
(Springfield Museum 1950), no. 8. Daniel Wildenstein to Barbara Shapiro
1954 * Houston, The Museum of Fine Oil on canvas January 28, 1976). SELECTED EXHIBITIONS
Arts, March 27—April 25, Paul Gauguin: His 72.4 X 92 cm (28% x 36% in.) 1927 © Berlin, Galerie Thannhauser, Octo-
SELECTED EXHIBITIONS
Place in the Meeting of East and West (MFA Gift of Harry and Mildred Remis and ber, Paul Gauguin, no. 79.
1964 * Paris, Galerie de l’Elysée, June
Houston [1954]), no. 4. Robert and Ruth Remis 1976.42 1928 Basel, Kunsthalle, July-August,
2-30, Sept Tableaux Rares, unnumbered
1955 * Cambridge, Mass., Fogg Art PROVENANCE entry in exhibition pamphlet. Paul Gauguin, 1848-1903 (Kunsthalle 1928),
Museum, Harvard University, May 2-31, 1889-91, with the artist, Paris; February 23, no. 91.
1976 * Boston, February—March, From
From Sisley to Signac: A Museum Course 1891, sold at Gauguin sale, Hétel Drouot, 1930 ¢ Amsterdam, Stedelijk Museum,
Impressionism to Symbolism—Paul Gauguin.
Exhibition (Fogg [1955]), no. 7. Paris, no. 23, and bought through Ker- Van Gogh and His Contemporaries, no. 176.
Xavier Roussel, Paris (d. 1940, address: 94 1987 ¢ Tokyo, The National Museum of
1960 * Paris, Galerie Charpentier, Modern Art, March 6—May 17; Aichi, Aichi 1931-32 * Boston, Museum of Fine Arts,
rue de la Victoire); 1891-1905, jointly
January 7-February 28, Gauguin, no. 13. Prefectural Art Gallery, June 12-28, Paul May 26, 1931-October 27, 1932, Collection of
owned by Roussel, Paul Sérusier, Maurice
1960 * Munich, Haus der Kunst, April 1- Gauguin [in Search of Paradise] (Tokyo Modern French Paintings, Lent by John T.
Denis, Pierre Bonnard, Edouard Vuillard,
May 29, Paul Gauguin (Haus der Kunst Shimbun 1987), no. 35. Spaulding.
Frédéric Henry, and Julien Magnin [1];
[{1960]), no. 11. 1905-40, acquired by either K.-X. Roussel 2001-2 * Chicago, The Art Institute of 1936 * New York, Wildenstein Galleries,
i960 * Vienna, Belvedere Museum, June 1— or Edouard Vuillard, Paris [2]; 1940-54, Chicago, September 22, 20o1r-January 13, March 20—April 18, Paul Gauguin, 1848-1903:
July 31, Gauguin, no. 2. inherited by Jacques Roussel, Paris (son of 2002; Amsterdam, Van Gogh Museum, A Retrospective Loan Exhibition
Roussel and nephew of Vuillard, address: February 9—June 2, 2002, Van Gogh and (Wildenstein [1936]), no. 46.
1963 * Hamburg, Kunstverein, May 4-
35 rue Washington); 1954, sold by Roussel Gauguin: The Studio of the South (Druick et 1936 * Cambridge, Mass., Fogg Art
July 14, Wegbereiter der modernen Malerei:
and bought by Georges Maratier for Jean al. 2001), no. 55. Museum, Harvard University, May 1-21,
Cézanne, Gauguin, Van Gogh, Seurat
Davray, Paris; 1954-64, Jean Davray, Paris; SELECTED REFERENCES Paul Gauguin (Fogg 1936), no. 45.
(Kunstverein [1963]), no. 38.
1964, sold by Davray to Alex Maguy, Paris Natanson 1951, 33; Rewald 1956, 475;
1963 * Berlin, Orangerie des Schlosses 1948 « Boston, Museum of Fine Arts,
(address: 69 rue de Faubourg Ste- Leymarie 1963, 225-26; Rewald 1978, 442,
Charlottenburg, September 28-November May 26—November 7, The Collections of
Honoré); 1964, sold by Maguy to Harry 444; Murphy 1985, 112.
24, Ile de France und ihre Maler: Ausstellung John Taylor Spaulding 1870-1948 (MFA 1948),
and Mildred Remis, Boston; 1976, gift of
veranstaltet von der Nationalgalerie in der no. 3I.
Harry Remis. 125. Women Washing Clothes, 1889
Orangerie des Schlosses Charlottenburg Berlin 1949 * Cambridge, Mass., Fogg Art
NOTES Zincograph on yellow wove paper, hand
(Staatliche Museen [1963]), no. 27. Museum, Harvard University, February 1—
1. Based on the correspondence of colored. Guérin 6; Kornfeld 10 A.a
1973 * Impressionism: French and American September 15, Paul Gauguin.
Frédéric Henry (an architect and intimate Image: 21 x 26 cm (8% x 10% in.)
(MFA 19734), no. 13. friend of Edouard Vuillard) from Novem- Bequest of W. G. Russell Allen 60.310 1949 * Paris, Musée de l’Orangerie, July—
1979-80 * Corot to Braque (Poulet and ber 17 and December 24, 1905, it is possi- October, Gauguin: Exposition du centenaire
SELECTED EXHIBITIONS
Murphy 1979), not in catalogue. ble that Pierre Hermant (a composer), (Musée de l’Orangerie 1949), no. 59.
1987 * Boston, Museum of Fine Arts,
1992 © Crosscurrents. Paul Percheron (a businessman and mys- October 17—December 13, Gauguin and His 1950 * Minneapolis, The Minneapolis
tic), and Henri Roussel (K.-X. Roussel’s Institute of Arts, Gauguin in Tahiti.

252
1952 * Montreal, Montreal Museum of anonymous collection; 1930, gift of an Morris J. Hirsch, London; 1904, sold by PROVENANCE
Fine Arts, March 7—April 13, Six Centuries anonymous donor. Morris J. Hirsch to Knoedler & Co.; Until 1882, with Doll and Richards, Inc.,
of Landscape (Montreal 1952), no. 59. March 1904, sold by Knoedler & Co. to Boston; March 23-24, 1882, sold at Doll
SELECTED EXHIBITIONS
1955 ¢ Edinburgh, Royal Scottish Academy, 1943 * Cambridge, Mass., Fogg Art Ernest Wadsworth Longfellow (d. 1923), and Richards, Inc., sale, Boston, no. 35,
August 21-September 18; London, The Museum, Harvard University (?). Boston; 1904-23, Ernest Wadsworth called Entrance-to a Port. Until 1904, Louis
Tate Gallery, September 30—October 26, Longfellow, Boston; 1923, bequest of Ralston, Boston; 1904, Dr. Henry Clay
1962 ¢ Cambridge, Mass., Busch-
Gauguin: An Exhibition of Paintings, Longfellow. Angell (d. ror), Boston; 1911, inherited by
Reisinger Museum, Harvard University,
Engravings, and Sculpture (Arts Council SELECTED EXHIBITIONS Martha B. Angell (widow, d. 1919), Boston;
April 26—June 16, Rivers and Seas: Changing
[1955]), no. 65. n.d. « New York, Union League Club. 1919, gift of Martha B. Angell.
Attitudes toward Landscapes, 1700-1962,
1955 * Oslo, Kunstnerforbundet, Novem- no. 31. 1999 * Monet, Renoir, and the Impressionist SELECTED EXHIBITIONS
ber 11~December 1, Paul Gauguin, no. 36. Landscape (Nagoya/ Boston and MFA 1952 ¢ Hartford, Conn., Wadsworth
1996 * Boston, Museum of Fine Arts,
1999), No. 19. Atheneum, The Romantic Circle.
1956 * New York, Wildenstein Galleries, June 26—October 15, Hanging to
April 5—May 5, Loan Exhibition: Gauguin Complement an Egyptian Object: Falcon. 2000-2 ¢ Monet, Renoir, and the 1962 * Cambridge, Mass., Busch-Reisinger
(Wildenstein [1956]), no. 53. Impressionist Landscape (Shackelford and Museum, Harvard University, April 26-
SELECTED REFERENCES
Wissman 2000), no. 19. June 16, Rivers and Seas: Changing Attitudes
1959 * Chicago, The Art Institute of Catalogue des tableaux 1873, 10, no. 36;
toward Landscapes, 1700-1962, no. 56.
Chicago, February 12-March 29; New Hering 1892, 242; Rosenthal 1982, 78, SELECTED REFERENCES
York, The Metropolitan Museum of Art, fig. 77; Murphy 1985, 116; Ackerman 1986, Murphy 1985, 129; Wilmerding 1986, 231, 1967 * Cambridge, Mass., Fogg Art
April 23-May 31, Gauguin: Paintings, Draw- no. 39. fig. 3. Museum, Harvard University, November
ings, Prints, Sculpture (AIC 1959), no. 70. 22—December 29, Eugéne Isabey: Paintings,
Watercolors, Drawings, Lithographs (Fogg
1969-70 * Philadelphia, University
Art Museum [1967]), no. 14.
Museum, University of Pennsylvania, André Giroux Paul Huet
October 15-December 15, 1969; Stockholm, French, 1801-1879 French, 1803-1869 1989 * From Neoclassicism to Impressionism
Ethnographic Museum, January (Kyoto Museum, Kyoto Shimbun, and
1969—-February 1970, Paul Gauguin. 49. Under the Arbor, about 1853 6. Landscape in the South of France, MFA 1989), no. 13.
Photograph, salt print from paper nega- about 1838-39
1973 ¢ San Diego, Fine Arts Gallery of 1990 * Boston, Museum of Fine Arts,
tive, mounted Oil on paper mounted on panel
San Diego, October 7~November 25, July 13-August 19, Boudin in Boston.
Sheet: 20 x 25.5 cm (7% X 10 % in.) 35.6 X 52.4 cm (14 x 20% in.)
Dimensions of Polynesia (Teilhet [1973]), 1991 * Salem, Mass., Peabody Museum,
Anonymous Loan, Promised Gift Fanny P. Mason Fund in memory of Alice
no. XII.12. May 17-September 16, Eugene Boudin:
461.1974 Thevin 1987.257
1998-99 * Essen, Folkwang Museum, Impressionist Marine Paintings (Sutton
PROVENANCE PROVENANCE
1991), unnumbered entries, pl. r.
June 17—October 18, 1998; Berlin, Neue
Gérard Lévy, Paris; sold by Lévy to cur- Until April 15, 1878, Huet collection, Paris;
Nationalgalerie, October 31, 1998—January 1992-93 * Monet and His Contemporaries
rent anonymous lender; promised gift to April 15-17, 1878, sold at Huet sale, Paris,
10, 1999, Paul Gauguin: Das verlorene (Bunkamura Museum and MFA 1992),
MFA. and bought by Durand-Ruel, Paris.
Paradies (Kéltzsch 1998), no. 6r. no. 4.
SELECTED EXHIBITION Private collection, Paris (?). Probably by
SELECTED REFERENCES 1986, sold by a private collector to Galerie 1999 * Monet, Renoir, and the Impressionist
1998-99 * Boston, Museum of Fine Arts,
Frankfurter 1936, 5; Gauguin [1936], 166; de la Scala, Paris; 1987, sold by Galerie de Landscape (Nagoya/Boston and MFA
November 21, 1998—May 23, 1999, French
Wilenski 1947, 354; Edgell 1949, 6, 73; Van la Scala to the MFA. 1999), No. 5.
Photography: Le Gray to Atget.
Dovski 1950, 355, no. 397; Wildenstein 1964,
SELECTED REFERENCES SELECTED EXHIBITIONS 2000-2 * Monet, Renoir, and the
no. 636; Mandel 1972, no. 454; Murphy
Jammes and Janis 1983, 183-85; Brettell et 1999 * Monet, Renoir, and the Impressionist Impressionist Landscape (Shackelford and
1985, 112; Maurer 1998, 192, no. 386.
al. 1984. Landscape (Nagoya/ Boston and MFA Wissman 2000), no. 5.
1999), NO. 4. SELECTED REFERENCES
Jean-Léon Géréme Henri-Joseph Harpignies 2000-2 * Monet, Renoir, and the Miquel 1980, no. 540; Murphy 1985, 136.
French, 1824-1904 French, 1819-1916 Impressionist Landscape (Shackelford and
Wissman 2000), no. 4. 29. Stormy Weather, about 1836
37. Black Panther Stalking a Herd of 131. Evening at Saint-Privé, 1890 Lithograph on cream wove paper.
Deer, 1851 Oil on canvas Curtis 81
Oil on canvas 73.7 X 54.5 cm (29 xX 21% in.) Eugeéne Isabey Image: 11.1 x 18.4 cm (4% x 7% in.)
52.3 X 74 cm (20% x 29% in.) Bequest of Ernest Wadsworth Longfellow Samuel P. Avery Fund 1.10733
French, 1803-1886
Anonymous Gift 30.232 23.486 SELECTED EXHIBITION
PROVENANCE PROVENANCE 28. Harbor View, about 1850 1996 * Boston, Museum of Fine Arts,
By 1873, given by the artist to Théophile By 1901, with Obach and Co., London; Oil on canvas January 1o-July 7, Lithography’s First Half
Gautier (art critic); January 14-16, 1873, 33.3 X 47.9 cm (13% x 18% in.)
May 5, 1901, sold at Obach sale and Century: The Age of Goya and Delacroix,
sold at Gautier sale, Hétel Drouot bought by Knoedler & Co., London;
The Henry C. and Martha B. Angell no. 65.
(Escribe), Paris, no. 36, and purchased by 1901-3, with Knoedler & Co., London, Collection 19.101
R. W. Sears, Boston. By 1930, with an no. 2689; 1903, sold by Knoedler & Co, to

253
 Alphonse Jeanrenaud SELECTED REFERENCES 1989 * Boston, Museum of Fine Arts, Sheet: 23.6 x 33.1 cm (9 %e X 13% in.)

French, before 1835-1895 Roger-Milés 1920, 105, plate following 104; October 7—-December 17, Capturing an Gift of Martin Brimmer 76.439
Hefting 1975, 198, no. 448; Murphy Image: Collecting 150 Years of Photography. PROVENANCE
27. Cart in Forest Path, probably early 1985, 153.
1998-99 * Boston, Museum of Fine Arts, 1875, Millet studio sale, Hétel Drouot,
1860S
November 21, 1998—May 23, 1999, French Paris, May 10-11, no. 125, bought by
Photograph, albumen print from glass- Photography: Le Gray to Atget. Richard Hearn for Martin Brimmer
plate negative, top corners rounded, Gustave Le Gray (1829-1896); 1876, gift of Martin Brimmer.
SELECTED REFERENCES
unmounted French, 1820-1882 Metropolitan Museum of Art 1980a, SELECTED EXHIBITIONS
Sheet: 23 x 28 cm (9 % X 11 in.)
30. Cloudy Sky—Mediterranean with no. 99; Jammes and Janis 1983, 214-17; Jay 1984 * Jean-Francois Millet (Murphy 1984),
Prints, Drawings, and Photographs
Curator’s Discretionary Fund 2001.274 Mount Agde, 1856-59 1995, 329. no. 42.

PROVENANCE Photograph, albumen print from glass- 1984-85 * Jean-Frangois Millet Exhibition
André Jammes, Paris; October 27, 1999,
plate negative, unmounted (Nippon Television and MFA 1984), no. 25
Sheet: 31.1 x 39.7 cm (12% X 15% in.) Jean-Francois Millet (Tokyo, Sapporo, and Yamaguchi venues
Sotheby’s New York, sold to Robert Klein,
Gift of Charles Millard in honor of French, 1814-1875 only).
Boston; 2001, sold by Robert Klein to the
Clifford S. Ackley 1997.241
MFA. 51. Faggot Gatherers Returning from the
PROVENANCE 53. Study for Shepherdess Knitting, 1862
SELECTED REFERENCES Forest, about 1854
André Jammes; 1971, Lucien Goldschmidt, Black conté crayon on dark cream wove
Jammes and Sobieszek 19609, illus. no. 115 Black conté crayon on cream wove paper
New York; Charles W. Millard III; 1997, paper
(variant); The Art Institute of Chicago Sheet: 28.6 x 46.7 cm (11% x 18% in.)
gift of Millard to the MFA. Sheet: 31.4 x 24.2 cm (12% x 9% in.)
1977, no. 71; Auer and Auer 1985; Heilbrun Gift of Martin Brimmer 76.437
Gift of Mrs. J. Templeman Coolidge 46.594
1986, illus., 65. SELECTED EXHIBITION
PROVENANCE
1998-99 * Boston, Museum of Fine Arts, PROVENANCE
May 10-11, 1875, sold at Millet studio sale,
November 21, 1998—May 23, 1999, French Paul Marmontel; January 25-26, 1883,
Hotel Drouot, Paris, no. 127, and bought
Photography: Le Gray to Atget. sold Hétel Drouot, Paris, no. 187; by 1908,
Johan Barthold Jongkind by Richard Hearn for Martin Brimmer
John Templeman Coolidge, Jr. (1856-1945),
| Dutch (worked in France), 1819-1891 SELECTED REFERENCES (1829-1896); 1876, gift of Martin Brimmer.
Boston; Mrs. J. Templeman Coolidge; 1946,
Janis 1987, illus., 73; Jacobson 2001, 45,
77. Harbor Scene in Holland, 1868 SELECTED EXHIBITIONS gift of Mrs. J. Templeman Coolidge.
no. 13; Aubenas et al. 2002, 127, no. 147.
Oil on canvas 1956 * Washington, D.C., The Phillips
SELECTED EXHIBITIONS
42X56 cm (16% xX 22 in.) Gallery, March.
1984 * Jean-Frangois Millet (Murphy 1984),
Gift of Count Cecil Pecci-Blunt 61.1242 1956 ¢ Great Britain, The Arts Council of no. 92.
Auguste Lepére
PROVENANCE Great Britain, circulated June 15-Sep-
French, 1849-1918 1984-85 * Jean-Francois Millet Exhibition
By 1920, Ferdinand Blumenthal. By at tember 15, Drawings by Jean-Francois Millet,
(Nippon Television and MFA 1984), no. 50
127. Saint-Jean-de-Monts, 1900-05 no. 51.
least 1961, Count Cecil Pecci-Blunt, Rome (Tokyo, Sapporo, and Yamaguchi venues
(address: 3 Piazza Arcoeli); 1961, given by Black and red chalk and opaque watercolor 1975-76 * Paris, Grand Palais, October 17, only).
Count Cecil Pecci-Blunt to the MFA. on prepared artist’s board 1975—January 5, 1976 (Herbert 1975), no. 172;
1987 * Boston, Museum of Fine Arts,
Sheet: 23 x 37.6 cm (9 %e X 14% in.) London, Hayward Gallery, January 22-
SELECTED EXHIBITIONS April 15—July 26, Printmaking: The Evolving
Francis Welch Fund 1988.371 March 7, 1976, Jean-Francois Millet (Herbert
1910 * Paris, Galerie Georges Petit, May, Image, no. 37.
Exposition de chefs-d’oeuvre de l’école PROVENANCE 1976), no. 96.
frangaise, no. 107. Galerie Jacques Fischer/ Chantal Kiener, 1984 * Jean-Frangois Millet (Murphy 1984), 54. Shepherdess Knitting, 1862
Paris; 1988, sold by Galerie Jacques no. 57. Etching on dark cream laid paper.
1979-80 * Corot to Braque (Poulet and
Fischer/ Chantal Kiener to the MFA. Delteil 18
Murphy 1979), not in catalogue (Phoenix 1984-85 * Jean-Francois Millet Exhibition
venue only). (Nippon Television and MFA 1984), no. 29 Platemark: 32 x 24 cm (12% x 9%e in.)
(Tokyo, Sapporo, and Yamaguchi venues Gift of Gordon Abbott 21.10786
1990 * Boston, Museum of Fine Arts,
Charles Marville only).
July 13-August 19, Boudin in Boston. SELECTED EXHIBITION
French, 1816—about 1879 1987 * Boston, Museum of Fine Arts,
1991 * Salem, Mass., Peabody Museum, 1999-2000 * Williamstown, Mass.,
32. Path in the Bois de Boulogne, 1858 Sterling and Francine Clark Art Institute, April 15—July 26, Printmaking: The Evolving
May 17-September 16, Eugéne Boudin:
June 18—-September 7, 1999; Amsterdam, Image, no. 37.
Impressionist Marine Paintings (Sutton Photograph, albumen print from glass-
1991), pl. 4. plate negative, mounted Van Gogh Museum, October 26, 1999— SELECTED REFERENCE
Sheet: 26.9 x 36.4 cm (10 %e X 14% in.) January 5, 2000; Pittsburgh, The Frick Art Murphy 1984, no. 93.
1992 © Crosscurrents.
Sophie M. Friedman Fund 1984.54 Museum, February 10—April 23, 2000, Jean-
1999 * Monet, Renoir, and the Impressionist Frangois Millet: Drawn into the Light 55. Farmstead near Vichy, 1866-67
PROVENANCE
Landscape (Nagoya/ Boston and MFA (Murphy et al. 1999), no. 21. Watercolor and pen and brown ink over
Robert Hershkowitz, London; 1984, sold
1999), no. 20.
by Hershkowitz to the MFA. graphite pencil on dark cream laid paper
2000-2 * Monet, Renoir, and the 52. End of the Day, 1852-54 Sheet: 22 x 29 cm (8 %o X 11% in.)
SELECTED EXHIBITIONS Black conté crayon heightened with white
Impressionist Landscape (Shackelford and Bequest of Reverend Frederick
1984 * Boston, Museum of Fine Arts, chalk on blue-gray laid paper
Wissman 2000), no. 20. Frothingham 94.316
April 7-July 1, Trees.

254
PROVENANCE 1984-85 ° Jean-Francois Millet Exhibition SELECTED REFERENCES 59. Rabbit Warren, Dawn, 1867
May 10-11, 1875, sold at Millet studio sale, (Nippon Television and MFA 1984), no. 64 About 1866; Chesneau 1875, 429; Piedagnel Pastel and black conté crayon on cream
H6tel Drouot, Paris, no. 104, and bought (Tokyo, Sapporo, and Yamaguchi venues only). 1876, 62, 80; Burty 1877, 280-81; Strahan wove paper
by Reverend Frederick Frothingham, 1879, 3:86; Sensier and Mantz 1881, 290-94, 49.5 X 59.5 Cm (19 4 x 23% in.)
Milton, Mass.; 1894, bequest of Reverend 57. End of the Hamlet of Gruchy, 1866 311; Durand-Gréville 1887, 68; Ady 1896, Gift of Quincy Adams Shaw through
Frederick Frothingham. Oil on canvas 290-92, 309; Marcel 1901, 74-78; Gensel Quincy A. Shaw, Jr., and Mrs. Marian
81.5 X 100.5 cm (32% x 39% in.) 1902, 58; Rolland 1902, 107; Peacock 1905,
SELECTED EXHIBITIONS Shaw Haughton 17.1522
1956 * Washington, D.C., The Phillips Gift of Quincy Adams Shaw through 116-18; MFA ro18b, 15; Moreau-Nélaton
Quincy A. Shaw, Jr., and Mrs. Marian Shaw PROVENANCE
Gallery, March. 1921, 2:182, 3:12, 5, 53, 91, fig. 214; Tabarant
Haughton 17.1508 By 1875, Emile Gavet; June 11-12, 1875, sold
1942, 383; Edgell 1949, 19-20; Fermigier
1956 ¢ Great Britain, The Arts Council of at Gavet sale, Hétel Drouot, Paris, no. 70,
PROVENANCE 1977, 19; Biihler 1985, 2551-56; Murphy
Great Britain, circulated June 15-Septem- and bought by Durand-Ruel, Paris and
By 1868, Paul Monmartel; May 11-14, 1868, 1985, 197.
ber 15, Drawings by Jean-Francois Millet. New York; 1875, with Durand-Ruel, Paris
sold at Monmartel sale, H6tel Drouot,
1984 ¢ Jean-Francois Millet (Murphy 1984), and New York. By 1917, Quincy Adams
Paris, no. 55. With Hector Henri Clement 58. Priory at Vauville, Normandy,
no. 127. Shaw, Boston; 1917, gift of Quincy Adams
Brame, Paris. By 1873, with Jean-Baptiste 1872-74
Shaw through Quincy A. Shaw, Jr., and
1984-85 Jean-Francois Millet Exhibition Faure, Paris; June 7, 1873, sold at Faure Oil on canvas
Mrs. Marian Shaw Haughton.
(Nippon Television and MFA 1984), no. 68 sale, Galerie Georges Petit, 26 boulevard 90.9 X 116.7 cm (35% xX 46 in.)
(Tokyo, Sapporo, and Yamaguchi venues des Italiens, Paris, no. 26. By 1879, with Gift of Quincy Adams Shaw through SELECTED EXHIBITIONS
only). Durand-Ruel, Paris; 1879, probably Quincy A. Shaw, Jr., and Mrs. Marian 1875 ¢ Paris, 7 rue St. Georges, Dessins de
acquired from Durand-Ruel by Quincy Shaw Haughton 17.1532 Millet provenant de la collection de M. G.
1999-2000 « Williamstown, Mass.,
Adams Shaw, Boston; 1917, gift of Quincy [Gavet] (Catalogue des dessins de Millet
Sterling and Francine Clark Art Institute, PROVENANCE
Adams Shaw through Quincy A. Shaw, Jr., 1875), NO. 24.
June 18-September 7, 1999; Amsterdam, 1874-1908, acquired from the artist by
and Mrs. Marian Shaw Haughton. 1918 « Boston, Museum of Fine Arts,
Van Gogh Museum, October 26, r999— Quincy Adams Shaw, Boston (commis-
January 5, 2000; Pittsburgh, The Frick Art
SELECTED EXHIBITIONS sioned in 1872); 1908-17, inherited by opened April 18, Quincy Adams Shaw
1866 ¢ Paris, Salon, no. 1376. Quincy A. Shaw, Jr., and Mrs. Marian Collection (MFA t918a), no. 47.
Museum, February 1o—April 23, 2000, Jean-
Frangois Millet: Drawn into the Light 1889 « New York, American Art Shaw Haughton, Boston; 1917, gift of 1984 * Jean-Francois Millet (Murphy 1984),
(Murphy et al. 1999), no. 68. Association, The Works of Antoine-Louis Quincy Adams Shaw through Quincy A. no. 130.
Barye ... His Contemporaries and Friends for Shaw, Jr., and Mrs. Marian Shaw
1984-85 * Jean-Francois Millet Exhibition
56. Road from Malavaux, near Cusset, the Benefit of the Barye Monument Fund Haughton.
(Nippon Television and MFA 1984), no. 69.
1867 (American Art Galleries 1889), no. 553.
SELECTED EXHIBITIONS
1985 * IBM Gallery.
Watercolor and pen and brown ink over 1918 * Boston, Museum of Fine Arts, 1918 « Boston, Museum of Fine Arts,
graphite pencil on cream laid paper opened April 18, Quincy Adams Shaw SELECTED REFERENCES
opened April 18, Quincy Adams Shaw
Sheet: 11.2 x 16.2 cm (4% X 6% in.) Collection (MFA t9r18a), no. 2. Soullié 1900b, 108; Guiffrey 1913, 547;
Collection (MFA 1918a), no. 25.
Gift of Martin Brimmer 76.425 Moreau-Nélaton 1921, 3:20—21, fig. 247;
1975-76 * Paris, Grand Palais, October 17, 1984 ¢ Jean-Francois Millet (Murphy 1984), Murphy 1985, 200.
PROVENANCE 1975—January 5, 1976 (Herbert 1975), no. 193; no. 149.
May 10-11, 1875, Millet studio sale, Hotel London, Hayward Gallery, January 22-
1984-85 ¢ Jean-Francois Millet Exhibition 60. Primroses, 1867-68
Drouot, Paris, no. 91, bought by Richard March 7, 1976 Jean-Francois Millet (Herbert
(Nippon Television and MFA 1984), no. 80. Pastel on gray-brown wove paper
Hearn for Martin Brimmer (1829-1896); 1976), NO. 112.
1985 ¢ IBM Gallery. 40.2 X 47.8 cm (15% x 18% in.)
1876, gift of Martin Brimmer. 1984 ° Jean-Francois Millet (Murphy 1984), Gift of Quincy Adams Shaw through
no. Il. 1999 * Monet, Renoir, and the Impressionist
SELECTED EXHIBITIONS Quincy A. Shaw, Jr., and Mrs. Marian
1956 © Washington, D.C., The Phillips
Landscape (Nagoya/ Boston and MFA
1984-85 ¢ Jean-Francois Millet Exhibition Shaw Haughton
1999), no. 12.
Gallery, March. (Nippon Television and MFA 1984), no. 58. 17.1523
2000-2 * Monet, Renoir, and the
1956 « Great Britain, The Arts Council of 1985 ° IBM Gallery. PROVENANCE
Great Britain, circulated June 15-Septem-
Impressionist Landscape (Shackelford and
1995-96 * London, Hayward Gallery, 1868-1875, acquired from the artist by
Wissman 2000), no. 14.
ber 15, Drawings byJean-Francois Millet, May 18—August 28, 1995; Boston, Museum Emile Gavet, Paris (commissioned in
no. 64. of Fine Arts, October 4, 1995—January 14, SELECTED REFERENCES 1867); June 11-12, 1875, sold at Gavet sale,
1996, Impressions of France: Monet, Renoir, Sensier and Mantz 1881, 348-49, 352, 362, H6tel Drouot, Paris, no. 47, and bought
1977-78 * College Park, Md., University of
Pissarro, and Their Rivals (House et al. 363; Durand-Gréville 1887, 68; Mantz 1887, by Détrimont (probably for Quincy
Maryland Art Gallery, October 26~Decem-
ber 4, 1977; Louisville, Ky., January 9— 1995), NO. 12. 32; Ady 1896, 331-32, 334, 339, 344; Peacock Adams Shaw). By 1917, Quincy Adams
1905, 132; MBA to918b, 15; Moreau-Nélaton Shaw, Boston; 1917, gift of Quincy Adams
February 19, 1978; Ann Arbor, Mich., 1999 * Monet, Renoir, and the Impressionist
1921, 3:78-79, 84, 87, 102, 104, fig. 272; Shaw through Quincy A. Shaw, Jr., and
University of Michigan Museum of Art, Landscape (Nagoya/ Boston and MFA 1999),
Murphy 1985, 201. Mrs. Marian Shaw Haughton.
April 1-May 14, 1978, From Delacroix to no. II.
Cézanne (De Leiris and Smith 1977), no. 120. 2000-02 * Monet, Renoir, and the Impression-
1984 ° Jean-Frangois Millet (Murphy 1984), ist Landscape (Shackelford and Wissman
no. 123. 2000), no. 13.

255
SELECTED EXHIBITIONS [Gavet] (Catalogue des dessins de Millet March 20, 1976, Jean-Francois Millet Claude Monet
1918 « Boston, Museum of Fine Arts, 1875), no. 46. (Herbert 1976), no. 117. French, 1840-1926
opened April 18, Quincy Adams Shaw 1918 * Boston, Museum of Fine Arts, 1984 * Jean-Francois Millet (Murphy 1984),
Collection (MFA 1918a), no. 49. 79. Rue de la Bavolle, Honfleur, about
opened April 18, Quincy Adams Shaw no. 138.
1864
1962-63 ¢ San Francisco, California Palace Collection (MFA t918a), no. 48. 1999-2000 * Williamstown, Mass., Oil on canvas
of the Legion of Honor, September 24— 1963 * Philadelphia, Philadelphia Museum Sterling and Francine Clark Art Institute, 55.9 X 61 Cm (22 x 24 in.)
November 4, 1962; Toledo, Ohio, The of Art, May 1-June 9, A World of Flowers. June 18-September 7, 1999; Amsterdam, Bequest of John T. Spaulding 48.580
Toledo Museum of Art, November 20-— Van Gogh Museum, October 22, 1999—
1984 * Jean-Frangois Millet (Murphy 1984), PROVENANCE
December 27, 1962; Cleveland, The January 5, 2000; Pittsburgh, The Frick Art
no. 136. By 1867, private collection. By 1897, Aimé
Cleveland Museum of Art, January 15- Museum, February 10—April 23, 2000, Jean-
February 24, 1963; Boston, Museum of 1984-85 * Jean-Francois Millet Exhibition Diot, Paris; March 8-9, 1897, sold at Diot
Francois Millet: Drawn into the Light
Fine Arts, March 15—April 28, 1963, (Nippon Television and MFA 1984), no. 71. sale, H6tel Drouot, Paris, no. 102, called
(Murphy et al. 1999), no. 78
Barbizon Revisited (Herbert 1962), no. 75. 1985 * IBM Gallery. Une rue. About 1901, with Arthur Tooth &
(Williamstown venue only).
Sons, London (not in Tooth stock records;
1975-76 * Paris, Grand Palais, October 1, SELECTED REFERENCES SELECTED REFERENCES probably in Paris stock); November 21,
1975—January 5, 1976 (Herbert 1975), no. 197; Burty 1877, 308; Strahan 1879, 3:87; Greta Strahan 1879, 3:87; Soullié 1900b, 121; 1902, bought from Tooth & Sons by
London, Hayward Gallery, January 20- 1881, 72; Soullié 1900b, 120; Guiffrey 1913, Guiffrey 1913, 547; Moreau-Nélaton 1921, Durand-Ruel, Paris; 1902-12, with
March 20, 1976, Jean-Francois Millet 547; Cary 1918, 266; Moreau-Nélaton 1921, 3:39, fig. 253; Murphy 1985, 200; Durand-Ruel, Paris; August 12, 1912,
(Herbert 1976), no. 115. 3:18, fig. 239; Murphy 1985, 200; Manoeuvre 1996, 48—49. bought from Durand-Ruel by Galerie
1984 * Jean-Francois Millet (Murphy 1984), Manoeuvre 1996, 46; Murphy et al. 1999,
Thannhauser, Munich, called Rue de vil-
no. 135. 110. 63. Farmyard by Moonlight, 1868 lage, Normandie, 1865. 1915, Oscar Schmitz,
1999-2000 * Williamstown, Mass., Pastel and black conté crayon on tan wove Dresden. 1936-40, with Wildenstein and
62. Farmyard in Winter, 1868 paper
Sterling and Francine Clark Art Institute, Co., Paris; 1940-48, bought from
Pastel and black conté crayon on buff 70.9 X 86.7 cm (27% x 34% in.)
June 18-September 7, 1999; Amsterdam, Wildenstein by John Taylor Spaulding
wove paper Gift of Quincy Adams Shaw through
Van Gogh Museum, October 22, 1999- (d. 1948), Boston; 1948, bequest of John
68 x 88.1 cm (26% x 34% in.) Quincy A. Shaw, Jr., and Mrs. Marian
January 5, 2000; Pittsburgh, The Frick Art Taylor Spaulding.
Museum, February 1o—April 23, 2000, Jean-
Gift of Quincy Adams Shaw through Shaw Haughton 17.1525
Quincy A. Shaw, Jr., and Mrs. Marian SELECTED EXHIBITIONS
Francois Millet: Drawn into the Light PROVENANCE 1905 * Weimar, Grossherzéglisches
Shaw Haughton 17.1526
(Murphy et al. 1999), no. 77. 1868-75, acquired from the artist by Museum, March, Monet, Manet, Renoir,
PROVENANCE Emile Gavet, Paris (commissioned in
SELECTED REFERENCES und Cézanne, no. I.
1868-75, acquired from the artist by 1868); June 11-12, 1875, sold at Gavet sale,
Burty 1877, 308; Strahan 1879, 3:87; Greta 1928 Berlin, Galerie Thannhauser,
Emile Gavet, Paris (commissioned in Hotel Drouot, Paris, no. 48, and bought
1881, 72; Soullié 1900b, 100; Guiffrey 1913, February 15—March (day unknown), Claude
1868); June 11-12, 1875, sold at Gavet sale, by Détrimont (probably for Quincy
547; Cary 1918, 266; MFA 1918b, 18; Monet (Galerie Thannhauser 1928), no. 7.
Hotel Drouot, Paris, no. ro, and bought Adams Shaw). By 1917, Quincy Adams
Moreau-Nélaton 1921, 3:17—18, fig. 237.
by Durand-Ruel, Paris and New York; Shaw, Boston; 1917, gift of Quincy Adams 1932 © Zurich, Kunsthaus, Sammlung Oscar
Durbé and Damigella 1969, 22, 86, pl. LX;
1875, with Durand-Ruel, Paris and New Shaw through Quincy A. Shaw, Jr., and Schmitz, no. 33.
Pollock 1977, 77, no. 54; lida 1979, 130;
York. By 1917, Quincy Adams Shaw, Mrs. Marian Shaw Haughton. 1936 © Paris, Wildenstein Galleries, La Col-
Murphy 1985, 200; Fermigier 1991, 104, 138.
Boston; 1917, gift of Quincy Adams Shaw lection Oscar Schmitz (Schmitz 1936), no. 40.
SELECTED EXHIBITIONS
through Quincy A. Shaw, Jr., and Mrs.
61. Dandelions, 1867-68 1875 ¢ Paris, 7 rue St. Georges, Dessins de 1948 * Boston, Museum of Fine Arts,
Marian Shaw Haughton.
Pastel on tan wove paper Millet provenant de la collection de M. G. May 26—November 7, The Collections of
40.2 X 50.2 cm (15% x 19% in.) SELECTED EXHIBITIONS [Gavet] (Catalogue des dessins de Millet John Taylor Spaulding, 1870-1948 (MFA
Gift of Quincy Adams Shaw through 1918 * Boston, Museum of Fine Arts, 1875), No. 12. 1948), no. 59.
Quincy A. Shaw, Jr., and Mrs. Marian opened April 18, Quincy Adams Shaw
1918 * Boston, Museum of Fine Arts, 1949 * Cambridge, Mass., Fogg Art
Shaw Haughton 17.1524 Collection (MFA 1918a), no. 45.
opened April 18, Quincy Adams Shaw Museum, Harvard University, February 1-
PROVENANCE 1962-63 * San Francisco, California Palace Collection (MFA t918a), no. 44. September 15, Student Exhibition.
1868-75, acquired from the artist by of the Legion of Honor, September 24—
1975 * Washington, D.C., National 1949 * Manchester, N.H., The Currier
Emile Gavet, Paris (commissioned in November 4, 1962; Toledo, Ohio, The
Collection of Fine Arts, Smithsonian Gallery of Art, October 8-November 6,
1867); June 11-12, 1875, sold at Gavet sale, Toledo Museum of Art, November 20-
Institution, January 23—April 20, American Monet and the Beginnings of Impressionism:
Hotel Drouot, Paris, no. 94, and bought December 27, 1962; Cleveland, The
Art in the Barbizon Mood (Bermingham Twentieth Anniversary Exhibition (Currier
by Carlin. By 1917, Quincy Adams Shaw, Cleveland Museum of Art, January 15—
1975), NO. 9. Gallery of Art [1949]), no. 34.
Boston; 1917, gift of Quincy Adams Shaw February 24, 1963; Boston, Museum of
Fine Arts, March 15—April 28, 1963, 1984 * Jean-Francois Millet (Murphy 1984), 1952 * Zurich, Kunsthaus, May 10—June 15
through Quincy A. Shaw, Jr., and Mrs.
Marian Shaw Haughton. Barbizon Revisited (Herbert 1962), no. 74. no. 137. (Besson and Wehrli [1952]), no. 3; Paris,
SELECTED REFERENCES Galerie des Beaux-Arts, June 19—July 17;
SELECTED EXHIBITIONS 1975-76 * Paris, Grand Palais, October 1,
Strahan 1879, 3:86; Greta 1881, 72; Yriarte The Hague, Gemeentemuseum, July 24-
1875 * Paris, 7 rue St. Georges, Dessins de 1975-January 5, 1976 (Herbert 1975), no. 199;
1885, 39; Murphy 1985, 200. September 22, Claude Monet (Haags
Millet provenant de la collection de M. G. London, Hayward Gallery, January 20-

256
[1952]), no. 2 (Zurich and The Hague ven- 1995-96 * London, Hayward Gallery, 1906 ¢ Paris, Bernheim-Jeune, 86. Ships in a Harbor, about 1873
ues only). May 18—August 28, 1995; Boston, Museum October-November, Claude Monet (?). Oil on canvas
1953 * Kansas City, Mo., William Rockhill of Fine Arts, October 4, 1995~January 14, 1927 ¢ Boston, Museum of Fine Arts, 50 x 61 cm (19% x 24 in.)
Nelson Gallery of Art and Mary Atkins 1996, Impressions of France: Monet, Renoir, Denman Waldo Ross Collection 06.117
January 11—February 6, Claude Monet:
Museum of Fine Arts, Twentieth Pissarro and Their Rivals (House et al. Memorial Exhibition (MFA 1927), no. 2. PROVENANCE
Anniversary Exhibition. 1995), NO. 57. 1880, purchased from the artist by
1973 * Impressionism: French and American
1957 ¢ Edinburgh, Royal Scottish 1996 * Tokyo, Tobu Museum of Art, (MFA 1973a), no. 27. Durand-Ruel, Paris, no. 1234. By 1893,
Academy, August 6-September 15; March 30-June 30, Inshoha wa koshite Erwin Davis, New York; March 16, 1893,
1977-78 * Monet Unveiled (Murphy and
London, The Tate Gallery, September 26- umareta: Akademisumu kara Kurube, Mune, sold by Davis to Durand-Ruel, New York;
Giese 1977), no. 3.
November 3, Claude Monet (Tate Gallery Mone, Runowaru (The Birth of Impression- 1893-97, with Durand-Ruel, New York,
ism) (Tobu Bijutsukan 1996), no. 120. SELECTED REFERENCES no. 1032; May 28, 1897, sold by Durand-
[1957]), no. 8.
Greenberg 1957, 136; Wildenstein 1974-91, Ruel to Denman W. Ross, Cambridge,
1972 * Providence, R.I., Museum of Art, 1999 * Monet, Renoir, and the Impressionist
5:219 (pieces justicatives nos. 346-47),
Landscape (Nagoya/Boston and MFA Mass.; 1897-1906, Denman W. Ross collec-
Rhode Island School of Design, February no. P34; Gordon and Forge 1983, 140, 292;
1999), NO. 39. tion, Cambridge, Mass.; 1906, gift of
3—March 5, To Look on Nature: European and Murphy 1985, 206; Murphy and Giese Denman W. Ross.
American Landscape, 1800-1874 (Brown Uni- 2000-2 * Monet, Renoir, and the Impression- 1985, 13, no. 3; Bunkamura Museum and
versity 1972), unnumbered entries, pl. 46. ist Landscape (Shackelford and Wissman SELECTED EXHIBITIONS
MFA 1992, 62, fig. 22.
2000), no. 39. 1895 * New York, Durand-Ruel, January
1973 * Impressionism: French and American
12-27, Tableaux de Claude Monet (Durand-
(MFA 19738), no. 26. SELECTED REFERENCES 84. Broad Landscape, about 1862
Ruel 1895), no. 41, called Marine.
1975 * Chicago, The Art Institute of Biermann 1913, 325, fig. 21; Modernen Pastel on paper
1916, 31, pl. 16; Scheffler 1921, 178, 186; 17.4 X 36 cm (6% x 14% in.) 1895 * Boston, St. Botolph Club, February
Chicago, March 15—May 11, Paintings by
Dormoy 1926, 342; Malingue 1943, 22, 33, Bequest of William P. Blake in memory of 4-16, Claude Monet, no. t.
Monet (Masson, Seiberling, and Marandel
145, no. 33; Rewald 1946, 119; Reutersward his sister, Anne Dehon Blake 22.605 1899 * Boston, St. Botolph Club, February
1975), NO. 5.
1948, 281; Edgell 1949, 55; Seitz 1960, 19, 22, PROVENANCE 6-23, Monet (St. Botolph [1899]), no. 25.
1977-78 * Monet Unveiled (Murphy and
nos. 15, 16; Rewald [1961], 128; MFA [1970], August 25, 1891, sold by the artist to
Giese 1977), no. 2. 1905 * Boston, Copley Hall, March 28—
85, no. 56; Champa 1973, 60, note 5; Durand-Ruel, Paris; 1891-1907, with April 9, Monet-Rodin (Copley Society 1905),
1980 ° Paris, Grand Palais, February 8— MFA 1973b, no. 10; Rewald 1973a, 128; Durand-Ruel, Paris, no. 1936; September 7, no. 34.
May 5, Hommage a Claude Monet (1840-1926) Wildenstein 1974-91, 1: no. 33; Weisberg 1907, sold by Durand-Ruel to William P.
(Adhémar, Distel, and Gache-Patin 1980), et al. 1975, 117, fig. 31; Isaacson 1978, 55, 1911 * Boston, Museum of Fine Arts,
Blake, Boston; 1907-21, William P. Blake,
no. 13. 193-95, no. 7; Goldstein 1979, 224; Dufwa August, Monet (MFA 1911), no. 43.
Boston; 1921, bequest of William P. Blake.
1983-84 * Masterpieces of European Painting 1981, 119-21, 188, fig. 95; Tucker 1982, 27, 1927 * Boston, Museum of Fine Arts,
SELECTED EXHIBITIONS
(Nippon Television 1983), no. 56. 29, fig. 12; Isaacson 1984, 19-22, fig. 2; January 11-February 6, Claude Monet:
1874 ° Paris, 35, boulevard des Capucines,
Murphy 1985, 209; Murphy and Giese Memorial Exhibition (MFA 1927), no. 8.
1985 * Boston, Museum of Fine Arts, April 15—May 15, Premiére exposition de la
1985, 12, no. 2; Howard 1989, 35; Kendall 1973 * Impressionism: French and American
February 13-June 2, The Great Boston Col- Société anonyme des Artistes Peintres,
1989, 37; Rouart [1990], 20; Milner 1991, 27; (MFA 1973a), no. 29.
lectors: Paintings from the Museum of Fine Sculpteurs, Graveurs (?).
Wildenstein 1996, 2: no. 33.
Arts, Boston (Troyen and Tabbaa 1984), 1977-78 * Monet Unveiled (Murphy and
1906 » Paris, Bernheim-Jeune, October—
no. 52. Giese 1977), no. 5.
83. View of the Sea at Sunset, about 1862 November, Claude Monet (?).
1985 * Williamstown, Mass., Sterling and Pastel on paper 1991 ° Salem, Mass., Peabody Museum,
1927 * Boston, Museum of Fine Arts,
Francine Clark Art Institute, June 8— 15.3 X 40 cm (6 x 15% in.) January u—February 6, Claude Monet: May 17-September 16, Eugene Boudin:
October 6, Monet in Massachusetts (Brooks Bequest of William P. Blake in memory of Impressionist Marine Paintings (Sutton
Memorial Exhibition (MFA 1927), no. t.
1985), unnumbered entry. his sister, Anne Dehon Blake 22.604 1991), pl. 13.
1973 * Impressionism: French and American
1991-92 * Claude Monet: Impressionist PROVENANCE 1991-92 * Claude Monet: Impressionist
(MFA 19734), no. 28.
Masterpieces. August 25, 1891, sold by the artist to Masterpieces.
1977-78 * Monet Unveiled (Murphy and
1992 ® Crosscurrents. Durand-Ruel, Paris; 1891-1907, with 1992 © Crosscurrents.
Giese 1977), no. 4.
1992-93 © Monet and His Contemporaries Durand-Ruel, Paris, no. 1429; September 7,
1991-92 * Claude Monet: Impressionist SELECTED REFERENCES
(Bunkamura Museum and MFA 1992), 1907, sold by Durand-Ruel to William P.
MFA 1906, 11, 35; Borgmeyer [1913], 21;
Blake, Boston; 1907-21, William P. Blake, Masterpieces.
no. 21. MFA 1921, no. 357; Fels 1929, 236;
Boston; 1921, bequest of William P. Blake. SELECTED REFERENCES
1994-95 ¢ Paris, Grand Palais, April 19— Reutersward 1948, 281; Wildenstein
Wildenstein 1974-91, 5:219 (pieces justica-
August 8, 1994; New York, The Metropol-
SELECTED EXHIBITIONS 1974-91, I: no. 259; Murphy 1985, 204;
1874 ¢ Paris, 35, boulevard des Capucines, tives nos. 346-47), no. P32; Murphy 198s,
itan Museum of Art, September 19, 1994— Murphy and Giese 1985, 14, no. 5;
April 15—May 15, Premiere exposition de la 206; Murphy and Giese 1985, 13, no. 4;
January 8, 1995, Impressionnisme: Les orig- Bunkamura Museum and MFA 1992, 55,
Bunkamura Museum and MFA 1992, 62,
ines, 1859-1869 (Loyrette and Tinterow
Société anonyme des Artistes Peintres, fig. 17; Wildenstein 1996, 2: no. 259.
Sculpteurs, Graveurs. fig. 23.
1994), no. 124 (New York venue only).

257
88. Snow at Argenteuil, about 1874 1979-80 * Corot to Braque (Poulet and PROVENANCE 1991-92 * Claude Monet: Impressionist
Oil on canvas Murphy 1979), no. 46. February 1880, sold by the artist to M. Masterpieces.
54.6 X 73.8 cm (214 x 29 in.) Bascle, Paris; May 3, 1890, sold at Charles 1992-93 * Monet and His Contemporaries
1985 * Williamstown, Mass., Sterling and
Bequest of Anna Perkins Rogers 21.1329 Bonnemaison-Bascle sale, Hétel Drouot, (Bunkamura Museum and MFA 1992),
Francine Clark Art Institute, June 8—
Paris, no. 33. By at least May 1891,
PROVENANCE October 6, Monet in Massachusetts (Brooks no. 26.
1985), unnumbered entry. Williams and Everett, Boston [1]; July
April 29, 1890, purchased from the artist 1995-96 * London, Hayward Gallery,
1891, sold by Williams and Everett to
by Durand-Ruel, Paris, no. 305; June 14, 1989 © From Neoclassicism to Impressionism May 18—August 28, 1995; Boston, Museum
James M. Prendergast (d. 1899), Boston;
1890, sold by Durand-Ruel to Anna (Kyoto Museum, Kyoto Shimbun, and of Fine Arts, October 4, 1995-January 14,
1899, inherited by Julia C. Prendergast
Perkins Rogers, Boston; 1890-1921, Anna 1996, Impressions of France: Monet, Renoir,
MFA 1989), no. 68.
Perkins Rogers, Boston; 1921, bequest of (sister), Boston; 1921, gift of Julia C.
Pissarro, and Their Rivals (House et al.
1991-92 * Claude Monet: Impressionist Prendergast.
Anna Perkins Rogers.
Masterpieces. 1995), NO. 94.
SELECTED EXHIBITIONS NOTE
1992 * Crosscurrents.
1999 * Monet, Renoir, and the Impressionist
1879 * Paris, 28 avenue de l’Opéra, April 10- 1. According to a letter of May 25, 1891,
Landscape (Nagoya/ Boston and MFA
May 11, Quatriéme exposition de peinture, 1992-93 * Monet and His Contemporaries from Williams and Everett to James M.
Prendergast in MFA curatorial file. 1999), nO. 41.
no. 159. (Bunkamura Museum and MFA 1992),
2000-2 * Monet, Renoir, and the
1892 * Boston, St. Botolph Club, March 28— no. 22.
SELECTED EXHIBITIONS Impressionist Landscape (Shackelford and
April 9, Monet (D.F. 1892), no. 19. 1995 « Chicago, The Art Institute of
1899 * Boston, St. Botolph Club, February Wissman 2000), no. 42.
1899 * Boston, St. Botolph Club, February Chicago, July 22-November 26, Claude
6-23, Monet (St. Botolph [1899]), no. 7. SELECTED REFERENCES
6-23, Monet (St. Botolph [1899]}), no. 6. Monet: 1840-1926 (Stuckey 1995), no. 43.
1905 * Boston, Copley Hall, March 28— Reutersward 1948, 121, 283; Rouart [1958],
1903 * Boston, Copley Hall, A Loan 1996 * Tokyo, Tobu Museum of Art,
April 9, Monet-Rodin (Copley Society 1905), 73; Wildenstein 1974-91, 1: no. 509; Isaacson
Collection of Pictures by Old Masters and March 30-June 30, Inshoha wa koshite
no. OI. 1978, 23, 109, 211, no. 61; Seiberling 1981, 52;
Other Painters (Copley Society 1903), umareta: Akademisumu kara Kurube,
Tucker 1982, 155, fig. 126; Murphy 1985,
no. A8. Mune, Mone, Runowaru (The Birth of 1941 * New London, Conn., Lyman Allen
205; Murphy and Giese 1985, 21, no. 11;
Impressionism) (Tobu Bijutsukan 1996), Museum, Connecticut College.
1905 * Boston, Copley Hall, March 28— Wildenstein 1996, 2: no. 509.
April 9, Monet-Rodin (Copley Society 1905), no. 144. 1945 * New London, Conn., Lyman Allen
no. 6. 1998-99 * Washington, D.C., The Phillips Museum, Connecticut College. 92. Camille Monet and a Child in the
1911 * Boston, Museum of Fine Arts, Collection, September 19, 1998—January 3, 1949 * Boston, Symphony Hall. Artist’s Garden in Argenteuil, 1875
August, Monet (MFA ro11), no. 38. 1999; San Francisco, Fine Arts Museums Oil on canvas
1952 * Boston, Simmons College, Novem-
of San Francisco at the Center for the 55-3 X 64.7 cm (21% x 25% in.)
1927 * Boston, Museum of Fine Arts, ber 3-10, Mid-Century Jubilee.
January 11-February 6, Claude Monet:
Arts at Yerba Buena Gardens, January 30— Anonymous gift in memory of Mr. and
May 2, 1999; Brooklyn, The Brooklyn 1956 * Binghamton, N.Y., Robertson
Memorial Exhibition (MFA 1927), no. 3. Mrs. Edwin S. Webster 1976.833
Museum, May 27—August 29, 1999,
Memorial Center, Impressionist Painting.
1940 ¢ San Francisco, Palace of Fine Arts, PROVENANCE
Impressionists in Winter: Effets de Neige 1957 ° St. Louis, City Art Museum of St.
Golden Gate International Exhibition October 1875, acquired from the artist by
(Moffett et al. 1998), no. 9. Louis, September 25—October 22;
(Golden Gate 1940) no. 286. Clément Courtois, Mulhouse. Julius
2000-2 * Monet, Renoir, and the Impression- Minneapolis, The Minneapolis Institute of
Oehme, Paris. 1900, with Durand-Ruel,
1947 * Wellesley, Mass., Wellesley College ist Landscape (Shackelford and Wissman Arts, November 1-December 1, Claude
Paris and New York. 1905-27, Desmond
Art Museum, May 8-25, Loan Exhibition of Monet: A Loan Exhibition (City Art
2000), no. 40. Fitzgerald, Boston; April 21, 1927, sold at
Paintings and Prints since 1860, unnumbered Museum 1957), no. 36.
SELECTED REFERENCES Fitzgerald sale, American Art Association,
entry.
Reutersward 1948, 282; Seitz 1960, 29, 100,
1960 * New York, The Museum of New York, no. 187, and bought by Edwin S.
1949 * Boston, Symphony Hall. Modern Art, March 7—May 15; Los Webster, Boston. 1972-76, private collec-
tor; MFA 1973b, no. 9; Wildenstein 1974-91,
n.d. « Boston, Lincoln House, Loan I: NO. 348, 5:29; Petrie 1979, 52; Tucker Angeles, Los Angeles County Museum of tion, New York; 1976, gift of an anony-
Exhibition of Pictures. 1982, 48-49; Gordon and Forge 1983, Art, June rg—August 7, Claude Monet: mous donor.
Seasons and Moments (Seitz 1960), no. 20.
1957 * Edinburgh, Royal Scottish 64-65, 84; Murphy 1985, 205; Murphy and SELECTED EXHIBITIONS
Academy, August 6—-September 15; Giese 1985, 15, no. 6; Stuckey 1985, 58, 104; 1960 » Portland, Ore., Portland Art 1905 * Boston, Copley Hall, March 28-
London, The Tate Gallery, September 26— House 1986, 168, pl. 203; Wildenstein 1996, Museum, September 8—October 2, April 9, Monet-Rodin (Copley Society 1905),
November 3, Claude Monet (Tate Gallery 2: no. 348. Impressionist Paintings. no. 29.
[1957]), no. 4t. 1973 * Impressionism: French and American 1911 * Boston, Museum of Fine Arts,
1973 * Impressionism: French and American 89. Entrance to the Village of Vétheuil in (MFA 1973a), no. 34. August, Monet (MFA ro11), no. 36.
(MFA 1973a), no. 30. Winter, 1879
1975 * Chicago, The Art Institute of 1914 * Boston, Copley Hall, March,
Oil on canvas
1976 * New York, Acquavella Galleries, Chicago, March 15—May u1, Paintings by Portraits by Living Painters, Loan Collection
60.6 X 81 cm (23% x 31% in.)
October 27—November 28, Claude Monet Monet (Masson, Seiberling, and Marandel (Copley Society 1914), no. 46.
(Acquavella Galleries 1976), no. 22.
Gift of Julia C. Prendergast in memory of
1975), NO. 50.
her brother, James Maurice Prendergast 1939 * Boston, Museum of Fine Arts,
1977-78 * Monet Unveiled (Murphy and 1977-78 * Monet Unveiled (Murphy and
EhOy June 9-September 10, Art in New England:
Giese 1977), no. 6. Giese 1977), no. Io.

258
Paintings, Drawings, and Prints, from Private 209; Murphy and Giese 1985, 17, no. 8; 1973 * Impressionism: French and American SELECTED EXHIBITIONS
Collections in New England (MFA 1939), Sagner-Diichting 1990, 79; Wildenstein (MFA 1973), no. 38. 1882 © Paris, 251, rue Saint-Honoré,
no. 82. 1996, 2: no. 382.
1977-78 * Monet Unveiled (Murphy and March, Septiéme Exposition des Artistes
1945 « New York, Wildenstein Galleries, Giese 1977), no. 15. Indépendants, no. 84.
April 11—-May 12, A Loan Exhibition of 103. Road at La Cavée, Pourville, 1882 1886 * Brussels, February 6, Société des XX.
1991-92 © Claude Monet: Impressionist
Paintings by Claude Monet, for the Benefit of Oil on canvas
Masterpieces. 1886 * New York, American Art Galleries,
the Children of Giverny (Wildenstein 60.4 X 81.5 cm (23% x 32% in.)
1992 © Crosscurrents. April; National Academy of Design,
[1945]), no. 22. Bequest of Mrs. Susan Mason Loring
May-June, Works in Oil and Pastel by the
1949 * Manchester, N.H., The Currier
24.1755 1992-93 * Monet and His Contemporaries
Impressionists of Paris (American [1886}),
PROVENANCE (Bunkamura Museum and MFA 1992),
Gallery of Art, October 8-November 6, no. 268.
October ro, 1882, probably sold by the no. 30.
Monet and the Beginnings of Impressionism: 1907 * Boston, Walter Kimball Gallery,
Twentieth Anniversary Exhibition (Currier artist to Durand-Ruel, Paris; 1883, sold by 1998 * Graz, Neue Galerie am
March 12-30, Monets from the Durand-Ruel
Gallery of Art [1949]), no. 46. Durand-Ruel, Paris. March 9, 1888, sold by Landesmuseum Joanneum, September 4—
Collection (Walter Kimball 1907), no. 13.
Girard, Paris (address: 8 rue d’Uzés) to November 30, Chemins de V’impression-
1977-78 * Monet Unveiled (Murphy and 1910 ¢ New York, Lotos Club, December,
Durand-Ruel, Paris, no. 1445; July 11, 1888, nisme: Normandie-Paris, 1860-1910 (Tapié
Giese 1977), no. 8. Paintings by French and American Luminists,
sold by Durand-Ruel, Paris, to Durand- 1998), no. 40.
1978 * Tokyo, National Museum of Ruel, New York, nos. 408 and 346; June 6, no. 19?
1999 * Monet, Renoir, and the Impressionist
Western Art, April 25—June 11; Kyoto, 1888, sold by Durand-Ruel to Williams 1915 * Boston, Museum of Fine Arts,
Landscape (Nagoya/ Boston and MFA
Kyoto National Museum, June 20- and Everett, Boston. By 1898, Charles opened February 3, Robert Dawson Evans
August 9; Nagoya, Nagoya City Museum, 1999), NO. 44.
Fairchild, New York (address: 39 Wall Memorial Galleries Opening Exhibition.
August 20-September 18, Human Figures Street); December 3, 1898, consigned by 2000-2 ¢ Monet, Renoir, and the
Impressionist Landscape (Shackelford and 1927 * Boston, Museum of Fine Arts,
in Fine Arts: Boston Museum Exhibition Fairchild to Durand-Ruel, New York,
Wissman 2000), no. 45.
January 11-February 6, Claude Monet
(Kokuritsu Seiyo Bijutsukan 1978), no. 35. no. 5765; October 22, 1900, sold by Fairchild
Memorial Exhibition (MFA 1927), no. 9.
1983 * San Diego, Timken Art Gallery, to Durand-Ruel, New York, no. 2373; SELECTED REFERENCES
April 3, 1903, sold by Durand-Ruel, Geffroy 1922, 107; Wildenstein 1974-91, 2: 1939 * Williamstown, Mass., Lawrence
May 17-June 12, Selected French Paintings.
New York, to William Caleb Loring, no. 762; Gordon and Forge 1983, 138; Hall, Williams College.
1989 * From Neoclassicism to Impressionism
Boston; by 1924, inherited by Mrs. Susan Murphy 1985, 206; Murphy and Giese 1941 * Norfolk, Va., Norfolk Museum of
(Kyoto Museum, Kyoto Shimbun, and’
Mason Loring, Boston; 1924, bequest of 1985, 27, no. 16; Stuckey 1985, 95-97; Arts and Sciences, February 2—March 30;
MFA 1989), no. 69.
Mrs. Susan Mason Loring [1]. Kendall 1989, 137; Wildenstein 1996, 2: Colorado Springs, Colo., Colorado
1991-92 * Claude Monet: Impressionist no. 762. Springs Fine Arts Center, May 15—July 1,
NOTE
Masterpieces. French Impressionists: Spring Exhibition
1. Susan Mason Loring’s niece, Mrs.
1992 © Crosscurrents. Harriet C. Binney, maintained possession 104. Seacoast at Trouville, 1881 (Norfolk Museum 1941), no. 6.

1992-93 * Monet and His Contemporaries of the painting through 1955. Oil on canvas 1963 © Wellesley, Mass., Wellesley College,
(Bunkamura Museum and MFA 1992), 60.7 X 81.4 cm (23% xX 32 in.) Jewett Arts Center, January 1-May 1.
SELECTED EXHIBITIONS
no. 23. The John Pickering Lyman Collection.
1883 * Paris, Durand-Ruel, March 1-25, 1965 ¢ Albuquerque, University of New
Gift of Miss Theodora Lyman 19.1314
1994 * Tokyo, Bridgestone Museum of Exposition des oeuvres de Claude Monet, Mexico Art Gallery, February 9—March 14;
Art, February 11—April 7; Nagoya, Nagoya no. 24 (?). PROVENANCE San Francisco, M. H. de Young Memorial
City Art Museum, April 16—June 12; June 1882, probably sold by the artist to Museum, March 30—May 5, Impressionism
1883 * London, Dowdeswell and
Hiroshima, Hiroshima Museum of Art, Durand-Ruel, Paris; August 1883, sold by in America (Junior League 1965), 6.
Dowdeswell’s (organized by Durand-
June 18—July 31, Monet: A Retrospective Durand-Ruel, Paris, to Galerie Georges
Ruel), April-June, La Société des impression- 1973 © Impressionism: French and American
Petit, Paris. By 1888, Leroux, Paris; Febru-
(Tucker, Fukaya, and Miyazaki 1994), istes, NO. 34. (MFA 19734), no. 36.
ary 27-28, 1888, sold at Leroux sale, Hétel
no. 25. 1977-78 * Monet Unveiled (Murphy and
1902 ¢ New York, Durand-Ruel, February Drouot, Paris, no. 61, and bought by
1995 * The Real World (Sogo Museum and 11-25, Claude Monet (Durand-Ruel 1902), Giese 1977), no. 13.
Durand-Ruel, Paris; 1888, probably sold by
MFA 1994), no. 42. no. 13. Durand-Ruel to Mrs. Catholina Lambert, 1979-80 * Corot to Braque (Poulet and
1999 © Monet, Renoir, and the Impressionist 1905 * Boston, Copley Hall, March 28— Paterson, N,J.; February 28, 1899, sold by Murphy 1979), no. 48.
Landscape (Nagoya/ Boston and MFA April 9, Monet-Rodin (Copley Society 1905), Lambert to Durand-Ruel, New York;
1991-92 * Claude Monet: Impressionist
1999), NO. 40. no. 35. 1899-1907, with Durand-Ruel, New York,
Masterpieces.
2000-2 ¢ Monet, Renoir, and the no. 2122; April 13, 1907, sold by Durand-
1957 * Cambridge, Mass., Fogg Art 1992 * Crosscurrents.
Impressionist Landscape (Shackelford and Ruel, New York, to John Pickering
Museum, Harvard University, French
Lyman, Portsmouth, N.H.; 1907-14, John 1992-93 * Monet and His Contemporaries
Wissman 2000), no. 41. Painting.
Pickering Lyman (d. 1914), Portsmouth, (Bunkamura Museum and MFA 1992),
SELECTED REFERENCES 1960 * Boston, Metropolitan Boston Arts N.H.; 1914-19, inherited by Miss Theodora no. 27.
Geffroy 1920, 68; Reutersward 1948, 87; Center, Institute of Contemporary Art, Lyman (d. 1919), Portsmouth, N.H.; 1919, 1999 * Monet, Renoir, and the Impressionist
Seitz 1960, 102-3; Bortolatto 1972, 96-97; May-—August, The Image Lost and Found gift of Theodora Lyman. Landscape (Nagoya/Boston and MFA
Wildenstein 1974-91, I: no. 382, 5:30; (Messer 1960), no. 5.
Tucker 1982, 149, fig. 121; Murphy 198s, 1999), NO. 42.

259
2000-2 * Monet, Renoir, and the Impression- 1946 * Colorado Springs, Colo., Colorado 2000-2 * Monet, Renoir, and the Impression- 1942 * Montreal, Montreal Museum of
ist Landscape (Shackelford and Wissman Springs Fine Arts Center, November 5- ist Landscape (Shackelford and Wissman Fine Arts, February 5—March 8,
2000), no. 43. December 9, French Paintings of the 2000), no. 44. Masterpieces of Painting (Montreal 1942),
SELECTED REFERENCES Nineteenth Century, unnumbered entry in SELECTED REFERENCES no. 70.
“Collection de tableaux . . .” 1888, 1; exhibition pamphlet. Venturi 1939, 1:62; Reutersward 1948, 284; 1944 * Williamstown, Mass., Lawrence
“Faits-divers” 1888, 2; Alexandre 1908, 98; 1955 * Atlanta, Atlanta Art Association Wildenstein 1974-91, 2: no. 805, 5:98; Hall, Williams College.
MFA 1920, 2; MFA 1921, no. 361; Bertram Galleries, September 2—October 4; Herbert 1979, 108; Murphy 1985, 205; 1948 * Springfield, Mass., Springfield
1931, pl. 7; Venturi 1939, 1:220-21; Birmingham, Ala., Birmingham Museum Murphy and Giese 1985, 26, no. 15; Museum of Fine Arts, October 7—
Reutersward 1948, 289; Seitz 1960, 30; of Art, October 16—-November 5, Painting: House 1986, 120, pl. 151; Herbert 1988, 300, November 7, Fifteen Fine Paintings
Wildenstein 1974-91, 1:443 (letter no. 222), School of France (Atlanta Art Association fig. 307; Rapetti 1990, 66, pl. 44; Fourny- (Springfield Museum 1948), unnumbered
no. 687, 5:36; Murphy 1985, 205; Murphy [1955]), no. 21. Dargére 1992, no. 15; Herbert 1994, 48, 54, entry.
and Giese 1985, 23, no. 13; Berson 1996, 1960 * New York, The Museum of figs. 1, 56, 57; Wildenstein 1996, 2: no. 805.
1961 * Phoenix, Phoenix Art Museum,
2:206, 223, VII-84; Wildenstein 1996, 2: Modern Art, March 7—May 15; Los February 1-26, Oakland, Oakland Art
no. 687. Angeles, Los Angeles County Museum 111. Poppy Field in a Hollow near
Museum, March 5-31, One Hundred Years of
of Art, June r4—August 7, Claude Monet: Giverny, 1885
French Painting, 1860-1960 (Phoenix 1961),
105. Fisherman’s Cottage on the Cliffs at Seasons and Moments (Seitz 1960), no. 29. Oil on canvas
no, 64.
Varengeville, 1882 65.2 X 81.2 cm (25% x 32 in.)
1960 © Portland, Ore., Portland Art 1973 * Impressionism: French and American
Oil on canvas Juliana Cheney Edwards Collection
Museum, September 8—October 2, (MFA 1973a), no. 41.
60.5 X 81.5 cm (23% X 32% in.) 25.106
Impressionist Paintings.
Bequest of Anna Perkins Rogers 21.1331 PROVENANCE 1977-78 * Monet Unveiled (Murphy and
1971 * Hagerstown, Md., Washington Giese 1977), no. 18.
PROVENANCE September 1885, purchased from the artist
County Museum of Fine Arts, September
October 1882, probably sold by the artist by Durand-Ruel, Paris. 1886, Mrs. Albert 1978 * New York, The Metropolitan
1-30, Claude Monet (Fortieth Anniversary
to Durand-Ruel, Paris; August 1883, sold Spencer, New York; March 24, ror, sold Museum of Art, April 19—July 9; St. Louis,
Exhibition) (Washington County [1971]),
by Durand-Ruel, Paris, to Galerie Georges by Spencer to Durand-Ruel, Paris; 1911, The St. Louis Art Museum, late July—Sep-
no. 7.
Petit, Paris. By 1890, M. de Porto-Riche; transferred from Durand-Ruel, Paris, to tember 15, Monet’s Years at Giverny: Beyond
May 14, 1890, sold at M. de Porto-Riche 1973 * Impressionism: French and American Durand-Ruel, New York; August 23, 1911, Impressionism, 1883-1926 (Metropolitan
sale, Galerie Georges Petit, and bought by (MFA 1973a), no. 34. sold by Durand-Ruel, New York, to 1978), no. 5.
Durand-Ruel, Paris, no. 22; June 14, 1890, 1977-78 * Monet Unveiled (Murphy and Arthur B. Emmons, Newport, R.L;
1983 * Montclair, N.J., Montclair Art
sold by Durand-Ruel to Anna Perkins Giese 1977), no. 14. January 14-15, 1920, sold by Emmons at
Museum, October 1-November 30,
Rogers, Boston; 1890-1921, Anna Perkins American Art Association, Plaza Hotel,
1985 © Auckland, Auckland City Art Evanston, Ill., Terra Museum; Seattle,
Rogers, Boston; 1921, bequest of Anna New York, no. 31, and bought by Durand-
Gallery, April 29—June 9; Sydney, Art Henry Art Gallery, University of
Perkins Rogers. Ruel, New York, for Robert J. Edwards,
Gallery of New South Wales, June 21— Washington, Down Garden Paths: The
SELECTED EXHIBITIONS Boston; 1920-24, Robert J. Edwards
August 4; Melbourne, National Gallery of Floral Environment in American Art (Gerdts
1892 * Boston, St. Botolph Club, March 28— (d. 1924), Boston; by 1925, inherited by
Victoria, August 14-September 29, Claude 1983), 82, 137 (Montclair venue only).
April 9, Monet (D.F. 1892), no. 1. Hannah Marcy Edwards (sister, d. 1929),
Monet: Painter of Light (Auckland City 1985 * Boston, Museum of Fine Arts,
Boston, and Grace M. Edwards (sister,
1899 * Boston, St. Botolph Club, February 1985), no. 12. February 13~June 2, The Great Boston
d. 1938), Boston; 1925, bequest of RobertJ.
6-23, Monet (St. Botolph [1899]), no. 24. 1989 * From Neoclassicism to Impressionism Collectors: Paintings from the Museum of Fine
Edwards [1].
1903 ¢ Boston, Copley Hall, A Loan (Kyoto Museum, Kyoto Shimbun, and Arts, Boston (Troyen and Tabbaa 1984),
NOTE
Collection of Pictures by Old Masters and MFA 19809), no. 70. no. 46.
1. See note 1 to the provenance for Corot’s
Other Painters (Copley Society 1903), 1991-92 * Claude Monet: Impressionist 1991-92 © Claude Monet: Impressionist
Morning near Beauvais, cat. no. 14, p. 2.46.
no. Ag. Masterpieces. Masterpieces.
SELECTED EXHIBITIONS
1905 * Boston, Copley Hall, March 28- 1992-93 * Monet and His Contemporaries 1992 © Crosscurrents.
1886 * New York, American Art Galleries,
April 9, Monet-Rodin (Copley Society 1905), (Bunkamura Museum and MFA 1992), April; National Academy of Design, May— 1992-93 * Monet and His Contemporaries
no. 3. no. 29. June, Works in Oil and Pastel by the (Bunkamura Museum and MFA 1992),
1911 * Boston, Museum of Fine Arts, 1995-96 * London, Hayward Gallery, Impressionists of Paris (American [1886]), no. 33.
August, Monet (MFA 1911), no. 33. May 18—August 28, 1995; Boston, Museum no. 270. 2001-2 * Pushkin, Pushkin State Museum
1927 * Boston, Museum of Fine Arts, of Fine Arts, October 4, 1995—January 14, 1891 * New York, Union League Club, of Fine Arts, November 26, 2001-February
January 11—-February 6, Claude Monet: 1996, Impressions of France: Monet, Renoir, February, Monet, no. 66. 10, 2002; St. Petersburg, Hermitage,
Memorial Exhibition (MFA 1927), no. 10. Pissarro, and Their Rivals (House et al. March 1-May 15, 2002, Claude Monet.
1927 * Boston, Museum of Fine Arts,
1995), NO. 100.
1945 * New York, Wildenstein Galleries, January 11-February 6, Claude Monet: SELECTED REFERENCES
April 11—May 12, A Loan Exhibition of 1999 * Monet, Renoir, and the Impressionist Memorial Exhibition (MFA 1927), no. 14. Forthuny 1920, 179; Cunningham 1939b,
Paintings by Claude Monet, for the Benefit of Landscape (Nagoya/ Boston and MFA 105; Reutersward 1948, 284; Edgell 1949, 57;
1939-40 * Juliana Cheney Edwards
the Children of Giverny (Wildenstein 1999), NO. 43. Seitz 1960, 124-25; Rouart et al. 1972, 54;
Collection (Cunningham 1939b), no. 34.
[1945]), no. 44. MEA 1973b, no. 12; Wildenstein 1974-91, 2:

260
no. 1000; Joyes et al. 1975, 54; Keller 1982, 1979-80 * Corot to Braque (Poulet and PROVENANCE 1984 ¢ Miami, Center for Fine Arts,
no. 61; Seitz 1982, 46; Gordon and Forge Murphy 1979), no. 47. 1898, purchased from the artist by Galerie January 12—April 22, In Quest of Excellence
1983, 139; Gerdts 1984, 86-87, pl. 88; Georges Petit, Bernheim-Jeune, and (Van der Marck [1984]), no. 119.
1982-83 * Memphis, The Dixon Gallery
Rewald and Weitzenhoffer 1984, 72; Montaignac, Paris (?). With Jos Hessel,
and Gardens, November 21-December 23, 1991-92 * Claude Monet: Impressionist
Murphy 1985, 207; Murphy and Giese 1982; Evanston, Ill., Terra Museum of Paris. By 1914, Alexandre Berthier, prince
Masterpieces.
1985, 29, nO 18; Stuckey 1985, 126-27, 144;
American Art, January 8—February 13, de Wagram (d. 1918), Paris; April 14, ror4,
1992-93 * Monet and His Contemporaries
House 1986, 71-72, pl. 109; Alphant 1993,
1983; Worcester, Mass., Worcester Art sold by Berthier and bought by Durand-
357; Gerdts 1993, 66; Orr, Tucker, and Ruel, Paris, no. 10519; 1914-15, with
(Bunkamura Museum and MFA 1992),
Museum, March 3—April 30, 1983, An
no. 38.
Murray 1994, 21-22, fig, 8; Wildenstein Durand-Ruel, Paris; November 11, 1915,
International Episode: Millet, Monet, and
1996, 3: NO. 1000. transferred from Durand-Ruel, Paris, to 1999 * Monet, Renoir, and the Impressionist
Their North American Counterparts
(Meixner 1982), no. 30. Durand-Ruel, New York, no. 3897; Landscape (Nagoya/ Boston and MFA
112. Meadow with Haystacks near March 20, 1916, sold by Durand-Ruel, 1999), NO. 46.
1985 ¢ Auckland, Auckland City Art
Giverny, 1885 New York, to Hannah Marcy Edwards 2000-2 * Monet, Renoir, and the
Oil on canvas
Gallery, April 29—June 9; Sydney, Art
(d. 1929), Boston; 1916-29, Hannah Marcy Impressionist Landscape (Shackelford and
Gallery of New South Wales, June 21—
74 X 93.5 cm (29% x 36% in.) Edwards, Boston; 1931-38, inherited by Wissman 2000), no. 47.
August 4; Melbourne, National Gallery of
Bequest of Arthur Tracy Cabot 42.541 Grace M. Edwards (sister, d. 1938), Boston;
Victoria, August 14-September 29, Claude SELECTED REFERENCES
PROVENANCE 1939, bequest of Hannah M. Edwards [1].
Monet: Painter of Light (Auckland City Reutersward 1948, 285; Wildenstein
December 1885, purchased from the artist 1985), no. 14. NOTES 1974-91, 2: NO. 1083; Murphy 1985, 208;
by Durand-Ruel, Paris. 1886, with 1. See note 1 to the provenance for Corot’s Murphy and Giese 1985, 30-31, no. 19;
1991-92 * Claude Monet: Impressionist
Bernheim-Jeune, Paris. 1886, Durand- Morning near Beauvais, cat. no. 14, p. 246. Wildenstein 1996, 3: no. 1083.
Masterpieces.
Ruel, Paris and New York, no. 792. 1897, SELECTED EXHIBITIONS
Eastman Chase, Boston. 1899-1942, Dr. 1992-93 * Monet and His Contemporaries 119. Cap d’Antibes, Mistral, 1888
1992 * New York, Durand-Ruel, February
Arthur Tracy Cabot, Boston; 1942, (Bunkamura Museum and MFA 1992),
11-25, Claude Monet (Durand-Ruel 1902), Oil on canvas
bequest of Arthur Tracy Cabot. no. 32. 66 X 81.3 cm (26 xX 32 in.)
no. 21 (?).
SELECTED EXHIBITIONS 1995-96 * London, Hayward Gallery,
1916 * Boston, Brooks Reed Gallery, Bequest of Arthur Tracy Cabot 42.542
1886-87 * New York, American Art May 18—August 28, 1995; Boston, Museum PROVENANCE
March, [Tableaux Durand-Ruel].
Galleries, December 1886—January 1887, of Fine Arts, October 4, 1995~January 14, 1890, purchased from the artist by
1996, Impressions of France: Monet, Renoir,
1919-20 * Boston, Museum of Fine Arts,
Modern Paintings, no. 82. Durand-Ruel, Paris and New York. 1892,
December r919-January 1920, Impressionist
Pissarro, and Their Rivals (House et al. J. Eastman Chase, Boston. About 1903-42,
1887 * New York, National Academy and Barbizon Schools.
1995), NO. 107. Mr. and Mrs. Arthur Tracy Cabot, Boston;
of Design, May 25—June 30, Celebrated
1999 * Monet, Renoir, and the Impressionist
1927 « Boston, Museum of Fine Arts, 1942, bequest of Arthur Tracy Cabot.
Paintings by Great French Masters (National
Landscape (Nagoya/ Boston and MFA January 11-February 6, Claude Monet
Academy 1887), no. 156. SELECTED EXHIBITIONS
Memorial Exhibition (MFA 1927), no. 48.
1895 ¢ New York, Durand-Ruel, January 1999), NO. 45. 1889 ° Paris, Galerie Georges Petit,
2000-2 * Monet, Renoir, and the Impression- 1939-40 * Juliana Cheney Edwards June-July, Monet-Rodin, no. 125, called
12-27, Tableaux de Claude Monet (Durand-
Collection (Cunningham 1939b), no. 37. Au cap d’Antibes, par vent de mistral, 1888.
Ruel 1895), no. 33, called La Pré a Giverny. ist Landscape (Shackelford and Wissman
2000), no. 46. 1945 * New York, Wildenstein Galleries, 1903 * Boston, Copley Hall, A Loan
1899 ¢ Boston, St. Botolph Club, February
SELECTED REFERENCES
April 11~—May 12, A Loan Exhibition of Collection of Pictures by Old Masters and
6-23, Monet (St. Botolph [1899]), no. 2.
Fels 1929, 235; Reutersward 1948, 286;
Paintings by Claude Monet, for the Benefit of Other Painters (Copley Society 1903),
1905 * Boston, Copley Hall, March 28— the Children of Giverny (Wildenstein
Wildenstein 1974-91, 2: no. 995; Herbert no. Ar2.
April 9, Monet-Rodin (Copley Society 1905), [1945]), no. 52.
1979, 92, 94-95, figs. -2; Seiberling 1981, 1905 * Boston, Copley Hall, March 28—
no. 95.
87; Murphy 1985, 208; Murphy and Giese 1949 * Boston, Symphony Hall. April 9, Monet-Rodin (Copley Society 1905),
1911 * Boston, Museum of Fine Arts, 1985, 32, no, 20; Stuckey 1985, 370; 1971 * Hagerstown, Md., Washington no. 37.
August, Monet (MFA 1911), no. 13. Fairbrother 1986, 51, fig. 17; House 1986, County Museum of Fine Arts, September 1911 © Boston, Museum of Fine Arts,
1954 ¢ Cambridge, Mass., Busch-Reisinger 94, 96, 238, note 30, pl. 132; De Veer and 1-30, Claude Monet (Fortieth Anniversary August, Monet (MFA tort), no. 3.
Museum, Harvard University, February 12- Boyle 1987, 202, fig. 235; Gerdts 1993, 68, Exhibition) (Washington County [1971]),
March 20, Impressionism and Expressionism fig. 59; Herbert 1994, 97, 99, 132, fig. 106; 1945 * Wellesley, Mass., Farnsworth
no. 5.
(Harvard University [1954]), no. 9. Wildenstein 1996, 3: no. 995. Museum, Wellesley College.
1973 ° Impressionism: French and American
1955 © Winnipeg, Winnipeg Art Gallery, 1949 * Boston, Symphony Hall.
(MFA 1973a), no. 42.
October 11-30, Modern European Art since 113. Meadow at Giverny, 1886 1957 ¢ Edinburgh, Royal Scottish Academy,
Oil on canvas 1974-75 ° Berkeley, Calif., University Art
Manet (Winnipeg [1955]), no. 57. August 6-September 15; London, The Tate
92 X 81.5 cm (36% xX 32% in.) Museum, University of California.
1973 * Impressionism: French and American Gallery, September 26—November 3,
Juliana Cheney Edwards Collection 1977-78 * Monet Unveiled (Murphy and Claude Monet (‘Tate Gallery [1957]), no. 86.
(MFA 1973a), no. 43.
39.670 Giese 1977), no. 19.
1977-78 * Monet Unveiled (Murphy and 1959-60 * Cologne, Wallraf-Richartz
1979-80 © Corot to Braque (Poulet and Museum, November 1, 1959—May 1, 1960.
Giese 1977), no. 20.
Murphy 1979), no. 50.

261
1973 * Impressionism: French and American 120. Valley of the Creuse (Sunlight 1976 * New Haven, Conn., Yale University NOTE
(MFA 19734), no. 46. Effect), 1889 Art Gallery, February 1-March 15. 1. See note 1 to the provenance for Corot’s
Oil on canvas Morning near Beauvais, cat. no. 14, p. 246.
1977-78 * Monet Unveiled (Murphy and 1977-78 * Monet Unveiled (Murphy and
Giese 1977), no. 24. 65 X 92.4 cm (25% x 36% in.) Giese 1977), no. 25. SELECTED EXHIBITIONS
Juliana Cheney Edwards Collection 1985 * Boston, Museum of Fine Arts, 1891 © Paris, Durand-Ruel, May 4-16,
1979-80 * London, Royal Academy of
25.107 February 13~June 2, The Great Boston Oeuvres récentes de Claude Monet, no. 5.
Arts, November 17, 1979—March 16, 1980,
Post-Impressionism: Cross-Currents in PROVENANCE Collectors: Paintings from the Museum of Fine 1905 * Boston, Copley Hall, March 28-
European Painting (Royal Academy 1979), June 1889, bought from the artist by Arts, Boston (Troyen and Tabbaa 1984), April 9, Monet-Rodin (Copley Society 1905),
no. 25. Boussod, Valadon et Cie., Paris. 1891, with no. 47. no. 66.
Williams and Everett, Boston. By 1905, 1919-20 * Boston, Museum of Fine Arts,
1985 * Williamstown, Mass., Sterling and 1990 * Boston, Museum of Fine Arts,
James FE. Sutton, New York; January 17,
Francine Clark Art Institute, June 8— January 27—April 30; Chicago, The Art December 1919-January 1920, Impressionist
1917, sold at Sutton sale, American Art and Barbizon Schools.
October 6, Monet in Massachusetts (Brooks Institute of Chicago, May 19—August 12;
Association, Plaza Hotel, New York,
1985), unnumbered entry. London, Royal Academy of Arts, July 9- 1927 * Boston, Museum of Fine Arts,
no. 153, and bought by Durand-Ruel, New
1989-90 * Paris, Musée Rodin, November December 9, Monet in the ’90s: The Series January 11-February 6, Claude Monet
York; 1917-24, with Durand-Ruel, New
14, 1989—January 21, 1990, Claude Monet— Paintings (Tucker 1989), no. 1. Memorial Exhibition (MFA 1927), no. 16.
York, no. 4066; February 2, 1924, sold by
Auguste Rodin: Centenaire de l’exposition de Durand-Ruel, New York, to Grace M. 1991-92 * Claude Monet: Impressionist 1939-40 © Juliana Cheney Edwards
1889 (Musée Rodin [1989]), no. 17. Edwards (d. 1938), Boston (probably pur- Masterpieces. Collection (Cunningham 1939b), no. 38.
1991-92 * Claude Monet: Impressionist chased for her brother Robert J. Edwards); 1992 * Crosscurrents. 1942 * Lubbock, Tex., Texas Technological
Masterpieces. 1924, Robert J. Edwards (d. 1924), Boston; 1992-93 * Monet and His Contemporaries College of Art Institute.
1992-93 * Monet and His Contemporaries by 1925, inherited by Hannah Marcy (Bunkamura Museum and MFA 1992), 1942 ¢ Santa Barbara, Calif., Santa Barbara
(Bunkamura Museum and MFA 1992), Edwards (sister, d. 1929) and Grace M. no. 39. Museum of Art.
no. 37. Edwards, Boston; 1925, bequest of
1998 * South Hadley, Mass., Mount Holyoke 1949 * Boston, Symphony Hall.
RobertJ.Edwards [1].
1995-96 * London, Hayward Gallery, College Art Museum, September 1—
NOTES 1950-51 © Boston, School of the Museum
May 18—August 28, 1995; Boston, Museum December 13, On the Nature of Landscape.
1. See note 1 to the provenance for Corot’s of Fine Arts.
of Fine Arts, October 4, 1995—January 14, SELECTED REFERENCES
1996, Impressions of France: Monet, Renoir, Morning near Beauvais, cat. no. 14, p. 246. 1954 * Cambridge, Mass., Busch-Reisinger
Malingue 1943, 113; Reutersward 1948, 286;
Pissarro, and Their Rivals (House et al. SELECTED EXHIBITIONS Museum, Harvard University, February 12—
Rewald 1973b, [100]; Wildenstein 1974-91, 3:
1995), NO. 112. 1889 » Paris, Galerie Georges Petit, June— March 20, Impressionism and Expression-ism
no. 1219, 5:47; Gordon and Forge 1983, 124;
July, Monet-Rodin, no. 128 (?). (Harvard University [1954]), no. 8.
1997-98 * Fort Worth, Tex., Kimbell Art Murphy 1985, 207; Murphy and Giese 1985,
Museum, June 8-September 7, 1997; 1905 * Boston, Copley Hall, March 28— 38-39, no. 25; House 1986, 98, pl. 134; 1955 * Cambridge, Mass., Fogg Art
Brooklyn, The Brooklyn Museum of Art, April 9, Monet-Rodin (Copley Society 1905), Alphant 1993, 455; Levine 1994, 117, fig. 57; Museum, Harvard University, May 2-31,
October 10, 1997—January 18, 1998, Monet no. 28. Tucker 1995, 135-36; Wildenstein 1996, 3: From Sisley to Signac: A Museum Course
and the Mediterranean (Pissarro 1997), no. 1219. Exhibition (Fogg [1955]), no. 15.
1920 * Boston, Brooks Reed Gallery,
no. 138. March, [Tableaux Durand-Ruel]. 1957 * Cambridge, Mass., Fogg Art
1999 * Monet, Renoir, and the Impressionist 142. Grainstack (Sunset), 1891 Museum, Harvard University, French
1922 * Baltimore, Mount Royal Avenue
Landscape (Nagoya/Boston and MFA Oil on canvas Painting.
Building, April 1-10, French Impressionist
73-3 X 92.6 cm (28% X 36% in.)
1999), NO. 47. Paintings. 1957 * Edinburgh, Royal Scottish
Juliana Cheney Edwards Collection 25.112
2000-1 * Paris, Grand Palais, September 19, Academy, August 6—September 15;
1923 * Providence, R.I., Rhode Island
2000-January 15, 2001, Méditerranée: De PROVENANCE London, The Tate Gallery, September 26—
School of Design, April.
Courbet ad Matisse, 1850-1925 (Cachin and September 1891, possibly purchased from November 3, Claude Monet (Tate Gallery
1927 * Boston, Museum of Fine Arts, the artist by Hamman for Knoedler & Co.,
Nonne 2000), no. 54. [1957]), no. 93.
January 1—February 6, Claude Monet London. By 1917, James F. Sutton, New
2000-2 * Monet, Renoir, and the Impression- 1960 * New York, The Museum of
Memorial Exhibition (MFA 1927), no. 12. York; January 17, 1917, sold at Sutton sale,
ist Landscape (Shackelford and Wissman Modern Art, March 7—May 15; Los
1939-40 * Juliana Cheney Edwards American Art Association, New York,
2000), no. 48 (Ottawa and Houston ven- Angeles, Los Angeles County Museum
Collection (Cunningham 1939b), no. 36. no. 156, and purchased by Durand-Ruel,
ues only). of Art, June 14—August 7, Claude Monet:
New York and Paris; 1917, sold by Durand-
1957 * St. Louis, City Art Museum of St. Seasons and Moments (Seitz 1960), no. 50.
SELECTED REFERENCES Ruel, New York, to Robert J. Edwards (d.
Louis, September 25—October 22; 1960 * Portland, Ore., Portland Art
Fels 1929, 235; Reutersward 1948, 285; 1924), Boston; 1917-24, RobertJ.Edwards,
Minneapolis, The Minneapolis Institute Museum, September 8—October 2,
Wildenstein 1974-91, 3: no. 1176; Murphy Boston; by 1925, inherited by Hannah
of Arts, November 1-December 1, Claude Impressionist Paintings.
and Giese 1977, 37; Murphy 1985, 208; Marcy Edwards (sister, d. 1929) and Grace
Monet: A Loan Exhibition (City Art
Murphy and Giese 1985, 36-37, no. 24; M. Edwards (sister, d. 1938), Boston; 1925, 1973 * Impressionism: French and American
Museum 1957), no. 72.
House 1986, 168-69, fig. 206; Kendall 1989, bequest of Robert J. Edwards [1]. (MFA 1973a), no. 50.
165; Kiister 1992, no. 17; Wildenstein 1996, 1973 * Impressionism: French and American
3: no. 1176. (MFA 1973a), no. 49.

262
1977-78 * Monet Unveiled (Murphy and 2001 ¢ Canberra, National Gallery of Angeles, Los Angeles County Museum PROVENANCE
Giese 1977), no. 29. Australia, March 9-June 11; Perth, Art of Art, June 14-August 7, Claude Monet: 1897-1909, with the artist, Giverny, France;
1978 * New York, The Metropolitan Gallery of Western Australia, July 6— Seasons and Moments (Seitz 1960), no. 51. June 18, 1909, purchased from the artist by
Museum of Art, April 19-July 9; St. Louis, September 16, Monet and Japan (National 1973 * Impressionism: French and American Durand-Ruel, Paris; October 22, 1909, sold
The St. Louis Art Museum, late July— Gallery of Australia 2001), no. 22 (Perth (MFA 1973a), no. 51. by Durand-Rzel to James Viles, Chicago;
September 15, Monet’s Years at Giverny: venue only). 1909-11, James Viles, Chicago; March 1,
1977-78 * Monet Unveiled (Murphy and
Beyond Impressionism 1883-1926 SELECTED REFERENCES r911, sold by Viles to Durand-Ruel, Paris
Giese 1977), no. 30.
(Metropolitan 1978), no. 14. “Claude Monet Exhibit Opens” 1905, 9; and New York; March 7, 1911, sold by
1980 * Washington, D.C., National Durand-Ruel to Mrs. Walter Scott Fitz
1979-80 * Copenhagen, Ordrupgaard, Geffroy 1922, 189; Reutersward 1948, 286;
Gallery of Art, May 25-September 1, 1980, (Henrietta Goddard Wigglesworth,
November 16, 1979—January 1, 1980, Monet i Seitz 1956, 40; Seitz 1960, 35, 138-39;
Post-Impressionism: Cross-Currents in d. 1927), Boston; 1911, gift of Mrs. Walter
Giverny (Ordrupgaardsamlingen 1979), Greenberg 1961, 37-46; Wildenstein
European and American Painting, 1880-1906 Scott Fitz.
no. 4. 1974-91, 3: NO. 1289, 5:48, 200 (letter nos.
(National Gallery 1980), no. 26.
1983 ¢ Paris, Centre Culturel du Marais, 2833, 2835-37); Herbert 1979, 106, fig. 18; SELECTED EXHIBITIONS
Kelder 1980, 213; Seiberling 1981, 94, 97, 1990 * Museum of Fine Arts, Boston, 1898 ¢ Paris, Galerie Georges Petit,
April 8—July 17, Claude Monet au temps de
360, fig. 14, no. 33; Gordon and Forge 1983, January 27—April 30; Chicago, The Art June-July, Claude Monet, no. 50 (?).
Giverny (Centre Culturel [1983]), no. 43.
162; Moffett 1984, 153, fig. 67; Rewald and Institute of Chicago, May 19—August 12;
1984-85 * Los Angeles, Los Angeles 1900 * New York, Durand-Ruel, April,
Weitzenhoffer 1984, 139-60, fig. 67; London, Royal Academy of Arts, July 9-
County Museum of Art, June 28— Exhibition of Paintings: Claude Monet and
Auckland City 1985, 22, fig. 13; Murphy December 9, Monet in the ’90s: The Series
September 16, 1984; Chicago, The Art Pierre Auguste Renoir (Durand-Ruel [1900)),
1985, 207; Murphy and Giese 1985, 44-45, Paintings (Tucker 1989), no. 24.
Institute of Chicago, October 18, 1984— no. 16.
no. 29; House 1986, 28, 98, 128, 176, 178, 1992 © Crosscurrents.
January 6, 1985; Paris, Grand Palais, 1909 * New York, Durand-Ruel, Novem-
197, 199, fig. 162; Smith [1994], 102-03, fig.
February 8—April 22, 1985, A Day in the 1991-92 * Claude Monet: Impressionist ber, Monet?.
64; Tucker 1995, 141, 143; Wildenstein 1996,
Country: Impressionism and the French Masterpieces.
3: no. 1289; Tucker et al. 1998, 5-6, fig. 5. 1910 * Boston, Walter Kimball Gallery,
Landscape (Brettell et al. 1984), no. 104.
1998-99 * Washington, D.C., The Phillips March 7-26, Monets from the Durand-Ruel
1985 ¢ Williamstown, Mass., Sterling and Collection, September 19, 1998-January 3, Collection (Walter Kimball roro), no. 7.
143. Grainstack (Snow Effect), 1891
Francine Clark Art Institute, June 8— 1999; San Francisco, The Fine Arts
Oil on canvas 1911 Boston, Museum of Fine Arts,
October 6, Monet in Massachusetts (Brooks Museums of San Francisco at the Center
65.4 X 92.3 cm (25% x 36% in.) August, Monet (MFA toir), no. 45.
1985), unnumbered entry. for the Arts at Yerba Buena Gardens,
Gift of Misses Aimée and Rosamond
1919 * Boston, Walter Kimball Gallery,
1986 ¢ Madrid, Museo Espanol de Arte Lamb in memory of Mr. and Mrs. January 30—May 2, 1999; Brooklyn, The
Monet, no. 27.
Contemporaneo, April 29~June 30, Claude Horatio A. Lamb 1970.253 Brooklyn Museum, May 27—August 29,
Monet, no. 69. 1999, Impressionists in Winter: Effets de Neige 1927 * Boston, Museum of Fine Arts,
PROVENANCE January 11-February 6, Claude Monet:
1990 * Museum of Fine Arts, Boston, (Moffett et al. 1998), not in catalogue.
May 9, 1891, sold by the artist to Durand- Memorial Exhibition (MFA 1927), no. 19.
January 27—April 30; Chicago, The Art Ruel, Paris; June 30, 1891, sold by Durand- 2001 ¢ Canberra, National Gallery of
Institute of Chicago, May 19—August 12;
Ruel to Mr. and Mrs. Horatio A. Lamb, Australia, March 9—June 11; Perth, Art 1949 ° Boston, Symphony Hall.
London, Royal Academy of Arts, July Boston; 1891-1950, Mr. and Mrs. Horatio A. Gallery of Western Australia, July 6— 1968 * New York, Acquavella Galleries,
9—December 9, Monet in the ‘90s: The Series
Lamb, Boston; 1950-70, inherited by September 16, Monet and Japan (National October 24—November 30, Four Masters of
Paintings (Tucker 1989), no. 30.
Misses Aimée and Rosamond Lamb Gallery of Australia 2001), no. 24. Impressionism: Monet, Pissarro, Renoir, Sisley
1991-92 * Claude Monet: Impressionist (daughters), Boston; 1970, gift of Misses SELECTED REFERENCES (Acquavella Galleries 1968), no. 58.
Masterpieces. Aimée and Rosamond Lamb. Denoinville 1901, 67; Vauxcelles 1922, 235; 1970 * Tokyo, Magasin Tokyu, October
1992 © Crosscurrents. SELECTED EXHIBITIONS Wildenstein 1974-91, 3: no. 1280; Joyes et 2-21; Osaka, Magasin Daimaru, October
al. 1975, 58; Isaacson 1978, 221, no. 97; 27-November 1; Fukuoka, Magasin
1992-93 * Monet and His Contemporaries 1891 © Paris, Durand-Ruel, May 4-16,
Oeuvres récentes de Claude Monet, no. 8. Gordon and Forge 1983, 160; Auckland Iwataya, November 17-29, Claude Monet
(Bunkamura Museum and MFA 1992),
City 1985, 22, fig. 12; Murphy 1985, 209; (Asahi Shimbun 1970), no. 16.
no. 4I. 1892 * Boston, St. Botolph Club, March 28—
Murphy and Giese 1985, 44, 46, no. 30;
1995-96 ° Dallas, Dallas Museum of Art, April 9, Monet (D.F. 1892), no. 16. 1973 ° Impressionism: French and American
House 1986, 128, fig. 161; Smith [1994],
May 18, 1995—January 14, 1996. (MFA 19734), no. 55.
1905 * Boston, Copley Hall, March 28— 102-03, fig. 63; Wildenstein 1996, 3: no.
1997-98 * Goteborg, Géteborgs April 9, Monet-Rodin (Copley Society 1905), 1280; Heinrich 2001, 67, 184. 1977-78 * Monet Unveiled (Murphy and
Konstmuseum, October 11, 1997—January no. 39. Giese 1977), NO. 34.
6, 1998, Claude Monet: Tolv mdsterverk 144. Morning on the Seine, near 1978 * New York, The Metropolitan
1911 * Boston, Museum of Fine Arts,
(G6teborgs 1997), no. 7. Giverny, 1897 Museum of Art, April 19—July 9; St. Louis,
August, Monet (MFA toit), no. 19.
1999 * Monet, Renoir, and the Impressionist Oil on canvas The St. Louis Art Museum, late July—
1957 * Boston, Museum of Fine Arts,
Landscape (Nagoya/Boston and MFA 81.4 X 92.7 cm (32 x 36% in.) September 15, Monet’s Years at Giverny:
January 9—-February 19, A Tribute to Claude
1999), no. 48. Gift of Mrs. W. Scott Fitz 11.1261 Beyond Impressionism, 1883-1926
Monet (?).
2000-2 * Monet, Renoir, and the Impression- (Metropolitan 1978), no. 27.
1960 * New York, The Museum of
ist Landscape (Shackelford and Wissman
Modern Art, March 7—May 15; Los
2000), no. 49.

263
1983 « Paris, Centre Culturel du Marais, 152. The Water Lily Pond, 1900 October 6, Monet in Massachusetts (Brooks 153. Water Lilies, 1905
April 8—July 17, Claude Monet au temps de Oil on canvas 1985), unnumbered entry. Oil on canvas
Giverny (Centre Culturel [1983]), no. 36. 90 X 92 cm (35% xX36% in.) 1986 * Basel, Kunstmuseum, July 19- 89.5 X 100.3 (35 4 X 39% in.)
1983-84 * Masterpieces of European Painting Given in memory of Governor Alvan T. October 19, Claude Monet: Nymphéas Gift of Edward Jackson Holmes 39.804
(Nippon Television 1983), no. 57. Fuller by the Fuller Foundation 61.959 (Geelhaar et al. 1986), no. 11. PROVENANCE
1985 * Auckland, Auckland City Art PROVENANCE 1990 * Museum of Fine Arts, Boston, 1905-9, with the artist, Giverny, France;
Gallery, April 29~June 9; Sydney, Art December 1900, purchased from the artist January 27—April 30; Chicago, The Art June 1909, purchased from the artist by
Gallery of New South Wales, June 21— by Léonce Rosenberg, Paris. By 1923, Institute of Chicago, May r9—August 12; Durand-Ruel, Paris and New York, and
August 4; Melbourne, National Gallery of Léon Orosdi, Paris [1]; May 25, 1923, sold London, Royal Academy of Arts, July 9- Bernheim-Jeune, Paris; December 10,
Victoria, August 14-September 29, Claude at Orosdi posthumous sale, Hétel Drouot, December 9, Monet in the ’90s: The Series 1909, sold by Durand-Ruel to Alexander
Monet: Painter of Light (Auckland City no. 41, and bought by Durand-Ruel, Paris; Paintings (Tucker 1989), no. 93. Cochrane, Boston; December 21, 1901,
1985), no. 26. 1923-27, with Durand-Ruel, Paris and New sold by Cochrane to Durand-Ruel, Paris
1991-92 * Claude Monet: Impressionist
York; November 27, 1927, sold by Durand- and New York; 1901-11, with Durand-Ruel,
1990 * Museum of Fine Arts, Boston, Masterpieces.
Ruel to Alvan Tufts Fuller (governor, Paris and New York; 1911, sold by Durand-
January 27—April 30; Chicago, The Art 1992 * Crosscurrents.
d. 1958), Boston; 1927-58, Alvan T. Fuller, Ruel to Mrs. Walter Scott Fitz (Henrietta
Institute of Chicago, May 19—August 12;
Boston; 1958-61, with the Fuller 1992-93 * Monet and His Contemporaries Goddard Wigglesworth, d. 1927), Boston;
London, Royal Academy of Arts, July 9-
Foundation, Inc., Boston; 1961, gift of the (Bunkamura Museum and MFA 1992), 1911-27, Mrs. Walter Scott Fitz, Boston;
December 9, Monet in the ’90s: The Series
Fuller Foundation. no. 45. 1927-31, Estate of Mrs. Walter Scott Fitz;
Paintings (Tucker 1989), no. 83.
NOTE 1994 * Tokyo, Bridgestone Museum of 1931-39, inherited (?) by Edward Jackson
1991-92 * Claude Monet: Impressionist Holmes (d. 1950), Boston; 1939, gift of
1. Orosdi purchased almost all his paint- Art, February 1—April 7; Nagoya, Nagoya
Masterpieces. Edward Jackson Holmes.
ings from Bernheim-Jeune, but it cannot City Art Museum, April 16—June 12;
1992-93 * Monet and His Contemporaries be said with certainty that this particular Hiroshima, Hiroshima Museum of Art, SELECTED EXHIBITIONS
(Bunkamura Museum and MFA 1992), work came from that dealer. June 18—July 31, Monet: A Retrospective 1909 * Paris, Durand-Ruel, May 6—June 5,
no. 43. (Tucker, Fukaya, and Miyazaki 1994), no. 69. Monet. Nymphéas, no. 8.
SELECTED EXHIBITIONS
1998 * Ann Arbor, Mich., University of 1927 * Boston, Museum of Fine Arts, Jan- 1998-99 * Boston, Museum of Fine Arts, 1909 * New York, Durand-Ruel, Novem-
Michigan Museum of Art, January 25- uary 11—February 6, Claude Monet: September 20—-December 27, 1998; London, ber, Monet?.
March 15; Dallas, Dallas Museum of Art, Memorial Exhibition (MFA 1927), no. 52. Royal Academy of Arts, January 23—April 18, 1910 * Boston, Walter Kimball Gallery,
March 28—May 17; Minneapolis, The 1999, Monet in the Twentieth Century
1928 « Boston, Boston Art Club, The Fuller March 7-26, Monets from the Durand-Ruel
Minneapolis Institute of Arts, May 30— (Tucker et al. 1998), no. 3.
Collection, no. 15. Collection (Walter Kimball roro), no. 5.
July 26, Monet at Vetheuil, The Turning
1957 * Boston, Museum of Fine Arts, Jan- 1999 * Paris, Musée de l’Orangerie, May 6—- 1911 * New York, Durand-Ruel, February
Point (Dixon, McNamara, and Stuckey
uary 9-February 19, A Tribute to Claude August 2, Monet: Le cycle des nymphéas 8-25, Tableaux de Claude Monet a différentes
1998), not in catalogue (Dallas venue only).
Monet. (Musée de l’Orangerie 1999), no. 8. périodes, no. 17.
1999 * Monet, Renoir, and the Impressionist
1959 * Boston, Museum of Fine Arts, 2000-2 * Monet, Renoir, and the Impressionist 1927 * Boston, Museum of Fine Arts,
Landscape (Nagoya/Boston and MFA
February 6—March 22, A Memorial Exhibi- Landscape (Shackelford and Wissman 2000), January 11-February 6, Claude Monet:
1999), NO. 49.
tion of the Collection of the Honorable Alvan no, 51. Memorial Exhibition (MFA 1927), no. 51.
2000-2 * Monet, Renoir, and the
T. Fuller (MFA 1959), no. 37. 2001 ¢ Canberra, National Gallery of 1941 ¢ Norfolk, Va., Norfolk Museum of
Impressionist Landscape (Shackelford and
1961 * Palm Beach, Fla., Society of the Australia, March 9—June 11; Perth, Art Arts and Sciences, February 2—March 30;
Wissman 2000), no. 50.
Four Arts, January 7-29, Paintings in the Gallery of Western Australia, July 6— Colorado Springs, Colo., Colorado
2001-2 * Hamburg, Hamburger September 16, 2001, Monet and Japan
Collection of Alvan T. Fuller (Society of the Springs Fine Arts Center, May 15-July 1,
Kunsthalle, September 28, 2001—January 6, (National Gallery of Australia 2001),
Four Arts [1961]), no. 28. French Impressionists: Spring Exhibition
2002, Monet’s Legacy. no. 32 (Perth venue only).
1973 * Impressionism: French and American
(Norfolk Museum 1941), either this paint-
SELECTED REFERENCES SELECTED REFERENCES ing or Water Lilies 19.170 (cat. no. 154) was
(MFA 19734), no. 56.
MFA 1921, no, 363; Geffroy 1922, 260; “Carnet d'un collectionneur. . .” 1923, 3; no. 8.
Venturi 1939, 1:424; Reutersward 1948, 283; 1977~78 * Monet Unveiled (Murphy and
Feuillet 1923, 11; “Revue des ventes.. .” 1960 * New York, The Museum of
Edgell 1949, 56; Seitz 1960, 144-45; Coplans Giese 1977), no. 35.
1923, 3; T. 1923, 89; Reutersward 1948, 288; Modern Art, March 7—May 15; Los
[1968], 28, fig. 4b; Rouart et al. 1972, 58, 60; 1979-80 * Corot to Braque (Poulet and “La Chronique des Arts” 1962, no. 151;
Wildenstein 1974-91, 3:302 (piéce justica-
Angeles, Los Angeles County Museum
Murphy 1979), no. 51. Rouart et al. 1972, 155; Wildenstein 1974-91, of Art, June 14—August 7, Claude Monet:
tive no. 144), NO. 1481, 4:377 (letter no. 1897); 4:349 (letter nos. 1580-81), 427 (piéces jus-
1985 * Boston, Museum of Fine Arts, Seasons and Moments (Seitz 1960), no. 106.
Joyes et al. 1975, 59; Isaacson 1978, 156, ticatives nos. 151-52), no. 1630; Murphy and
February 13~June 2, The Great Boston
224, no. 111; Sutton 1978, 85; Tucker 1982, 1960 * Portland, Ore., Portland Art
Collectors: Paintings from the Museum of Giese 1977, 52, no. 35; Kelder 1980, 219;
166, fig. 148; Murphy 1985, 204; Murphy Museum, September 8-October 2,
Fine Arts, Boston (Troyen and Tabbaa Seiberling 1981, 240; Murphy 1985, 209;
and Giese 1985, 50-51, no. 34; Stuckey 1985, Impressionist Paintings.
1984), nO. 57. Murphy and Giese 1985, 52, no. 35; Tucker
196; Alphant 1993, 578; Wildenstein 1996, 3: 1989, 277, 280; Wildenstein 1996, 4: no. 1630; 1963 * Philadelphia, Philadelphia Museum
no. 1481; Tucker et al. 1998, 8, fig. 11. 1985 * Williamstown, Mass., Sterling and
Georgel 1999, 4-25. of Art, May 1~June 9, A World of Flowers.
Francine Clark Art Institute, June 8—

264
1968 * Buenos Aires, Museo Nacional de House 1986, 106, fig. 140; MFA 1986, 74; Camille Pissarro 1989 * From Neoclassicism to Impressionism
Bellas Artes, May 15~June 5; Santiago, Milner 1991, 2-3; Wildenstein 1996, 4: French (born Danish West Indies), (Kyoto Museum, Kyoto Shimbun, and
Museo de Arte Contemporaneo de la no. 1671. 1830-1903 MFA 1989), no. 44.
Universidad de Chile, June 26—July 17;
1992 © Crosscurrents.
Caracas, Museo de Bellas Artes, August 154. Water Lilies, 1907 87. Pontoise, the Road to Gisors in
4-25, De Cézanne a Miro (MoMA 1968), Oil on canvas Winter, 1873 1994-95 * Jerusalem, Weisbord Exhibition
unnumbered entry, pp. 10-11. Oil on canvas Pavilion, Israel Museum, October 11, 1994—
89.3 X 93.4 cm (35% X 36% in.)
January 9, 1995, Camille Pissarro: Impression-
1969 * Omaha, Joslyn Art Museum, Bequest of Alexander Cochrane 19.170 59.8 x 73.8 cm (23% x 29 in.)
Bequest of John T. Spaulding 48.587 ist Innovator (Pissarro and Rachum 1995),
April ro—-June 1, Mary Cassatt among the PROVENANCE
no. 41.
Impressionists (JAM [1969]), no. 35. 1907-9, with the artist, Giverny, France; PROVENANCE
1997 * Glasgow, McLellan Galleries, Burrell
1973 * Impressionism: French and American June 1909, purchased from the artist by Until 1925, with Durand-Ruel, Paris; 1925,
Durand-Ruel, Paris and New York, and purchased from Durand-Ruel by John Collection, Glasgow Museums, May 23-
(MFA 19734), no. 57.
Bernheim-Jeune, Paris; December 1909, Taylor Spaulding (d. 1948), Boston; 1948, September 7, The Birth of Impressionism:
1977-78 * Monet Unveiled (Murphy and From Constable to Monet (Glasgow Museums
sold by Durand-Ruel to Alexander bequest of John Taylor Spaulding.
Giese 1977), no. 37. 1997), 26, unnumbered entry.
Cochrane (d. 1919), Boston; 1909-19, SELECTED EXHIBITIONS
1978 * New York, The Metropolitan Alexander Cochrane, Boston; r919, 1999 * Monet, Renoir, and the Impressionist
1939 * Boston, Museum of Fine Arts,
Museum of Art, April 19-July 9; St. Louis, bequest of Alexander Cochrane. Landscape (Nagoya/Boston and MFA 1999),
June 9-September ro, Art in New England:
The St. Louis Art Museum, late July— no. 27.
SELECTED EXHIBITIONS Paintings, Drawings, and Prints, from Private
September 15, Monet’s Years at Giverny: Collections in New England (MFA 1939), 2000-2 * Monet, Renoir, and the Impression-
1909 Paris, Durand-Ruel, May 6—June 5,
Beyond Impressionism 1883-1926 no. 92. ist Landscape (Shackelford and Wissman
Monet. Nympheas, no. 30.
(Metropolitan 1978), no. 40. 2000), no. 27.
1927 * Boston, Museum of Fine Arts, 1948 * Boston, Museum of Fine Arts,
1983-84 * Masterpieces of European Painting May 26—November 7, The Collections of SELECTED REFERENCES
January 11—February 6, Claude Monet:
(Nippon Television 1983), no. 58.
Memorial Exhibition (MFA 1927), no. 20. John Taylor Spaulding, 1870-1948 (MFA 1948), Watson 1925, 336, 344; Pope 1930, 98, 103;
1985 * Auckland, Auckland City Art no. 64. Pissarro and Venturi 1939, 1:107, no. 202, 2:
1941 ¢ Norfolk, Va., Norfolk Museum of
Gallery, April 29—June 9; Sydney, Art 1949 * Cambridge, Mass., Fogg Art pl. 41, no. 202; Edgell 1949, 35; Rewald
Arts and Sciences, February 2—March 30;
Gallery of New South Wales, June 21— Museum, Harvard University. [1954], pl. 19; MFA 1955, 52; Reidemeister
Colorado Springs, Colo., Colorado Springs
August 4; Melbourne, National Gallery.of 1963, 55; Rewald 1963, 88, no. 202; Preutu
Fine Arts Center, May 15-July 1, French 1949 * Manchester, N.H., The Currier
Victoria, August 14-September 29, Claude 1974, 39; Murphy 1985, 229.
Impressionists: Spring Exhibition (Norfolk Gallery of Art, October 8-November 6,
Monet: Painter of Light (Auckland City
Museum 1941), either this painting or Water Monet and the Beginnings of Impressionism:
1985), NO. 35. 90. Sunlight on the Road, Pontoise, 1874
Lilies 39.804 (cat. no. 153) was no. 8. Twentieth Anniversary Exhibition (Currier
Oil on canvas
1991-92 * Claude Monet: Impressionist Gallery of Art [1949]), no. 18.
1949 * Boston, Symphony Hall. 52.3 x 81.5 cm (20% x 32% in.)
Masterpieces.
1973 ° Impressionism: French and American 1963 * Berlin, Orangerie des Schlosses Juliana Cheney Edwards Collection 25.114
1992-93 * Monet and His Contemporaries Charlottenburg, September 28—-November
(MFA 19734), no. 58. PROVENANCE
(Bunkamura Museum and MFA 1992), 24, Ile de France und ihre Maler: Ausstellung
1977-78 * Monet Unveiled (Murphy and Jean-Baptiste Faure, Paris (not in the Faure
no. 46. veranstaltet von der Nationalgalerie in der
Giese 1977), no. 38. sale of April 29, 1878). G. Faure (?); by 1919,
1998-99 * Boston, Museum of Fine Orangerie des Schlosses Charlottenburg Berlin sold by either Jean-Baptiste Faure or
Arts, September 20—-December 27, 1998;
1998-99 * Boston, Museum of Fine Arts, (Staatliche Museen [1963]), no. 15. G. Faure to Durand-Ruel, New York and
London, Royal Academy of Arts, January September 20—December 27, 1998; London,
1973 * Impressionism: French and American Paris, no. 4258 [1]. By 1924, Robert J.
23-April 18, 1999, Monet in the Twentieth Royal Academy of Arts, January 23—April 18,
(MFA 1973a), no. 62. Edwards (d. 1924), Boston; by 1925, inher-
Century (Tucker et al. 1998), no. 28. 1999, Monet in the Twentieth Century
1979-80 * Corot to Braque (Poulet and ited by Hannah Marcy Edwards (sister,
(Tucker et al. 1998), no. 33.
1999 * Paris, Musée de l’‘Orangerie, May 6— Murphy 1979), no. 32. d. 1929) and Grace M. Edwards (sister,
August 2, Monet: Le cycle des nymphéas 1992 * Crosscurrents.
d. 1938), Boston; 1925, bequest of RobertJ.
1980-81 * London, Hayward Gallery,
(Musée de l’Orangerie 1999), no. 13. 1999 * Paris, Musée de l’Orangerie, May 6— Edwards [2].
October 31, 1980—January 11, 1981; Paris,
SELECTED REFERENCES August 2, Monet: Le cycle des nymphéas NOTES
Grand Palais, January 30—April 27, 1981;
Venturi 1939, 1:422-25; Edgell 1949, 8;
(Musée de l’Orangerie 1999), no. 17. 1. According to a note in the object file,
Boston, Museum of Fine Arts, May 19—
Francis 1960, 195; Rouart et al. 1972, 27, SELECTED REFERENCES August 9, 1981, Camille Pissarro, 1830-1903 Herbert Elfers of Durand-Ruel verbally
158; MFA 1973b, no. 13; Wildenstein MBFA to19, 44; MFA 1921, no. 364; Venturi (Brettell et al. 1980), no. 25. relayed the following information to
1974-91, 4:376-77 (letter nos. 1885, 1887-88, 1939, 1:421-26; Reutersward 1948, 288; C. C. C. at the MFA: “Bought from
1983-84 * Masterpieces of European Painting
1891, 1897), 429 (piéce justicatives nos. 213, Rouart et al. 1972, 160; Wildenstein 1974-91, G. Faure by Durand-Ruel.” It is not clear
(Nippon Television 1983), no. 44.
218-19, 233), NO. 1671; Isaacson 1978, 175, 4:376-77 (letter nos. 1885, 1887-88, 1890-91, whether or not this was a misunderstand-
228, no. 130; Sutton 1978, 88; Kelder 1980, 1897), 429 (piece justicative no. 213), no. 1985 « Boston, Museum of Fine Arts, ing for “J. Faure.”
185; Seiberling 1981, 240; Centre Culturel 1697; Seiberling 1981, 240; Murphy 1985, February 13-June 2, The Great Boston 2. See note 1 to the provenance for Corot’s
[1983], fig. 83; Rewald and Weitzenhofter 204; Murphy and Giese 1985, 55-56, no. 38; Collectors: Paintings from the Museum of Fine Morning near Beauvais, cat. no. 14, p. 246.
1984, 227, fig. 89; Murphy 1985, 208; Tucker 1995, 194; Wildenstein 1996, 4: Arts, Boston (Troyen and Tabbaa 1984),
Murphy and Giese 1985, 54, 56, no. 37; no. 1697. no. 53.

265
SELECTED EXHIBITIONS 96. The Quarry at the Hermitage, SELECTED EXHIBITION May 4-June 17, Camille Pissarro:
1904 * Paris, Durand-Ruel, Pissarro, no. 31. Pontoise, 1878 1987 * Boston, Museum of Fine Arts, Impressionism, Landscape, and Rural Labour
1919 « New York, Durand-Ruel, Recently Black chalk on blue wove paper April 15~July 26, Printmaking: The Evolving (Thomson 1990), no. 38.
Sheet: 33.7 x 20.7 cm (13% x 8% in.) Image, no. 43a.
Imported Works by Pissarro, no. 6. SELECTED REFERENCES
Gift of Barbara and Burton Stern in mem- MFA 10920, 121; Pissarro and Venturi 1939,
1939-40 * Juliana Cheney Edwards
ory of Lillian H. and Bernard E. Stern 101. Twilight with Haystacks, 1879 1:277, no. 1414, 2: fig. 1414.
Collection (Cunningham 1939b), no. 43.
1985.348 Aquatint with drypoint and etching in
1944 * Williamstown, Mass., Lawrence Prussian blue on beige laid paper.
PROVENANCE 118. Church and Farm at Eragny-sur-
Hall, Williams College Museum. Delteil 23
1959, O’Hana Gallery, London; 1961, Epte, 1894-95
1951 « Milwaukee, Milwaukee Art Platemark: 10.5 x 18.1 cm (4% x 7% in.) Color etching on cream laid paper.
Guido R. Rahr, Manitowoc, Wisc.; Eric G.
Institute, October 8-November 15, Lee M. Friedman Fund 1983.220 Delteil 96
Carlson, New York; 1985, sold by Eric G.
Masters of Impressionism ((Milwaukee Carlson to the MFA. SELECTED EXHIBITION Platemark: 15.8 x 24.7 cm (6% x 9% in.)
1951]), no. 3. 1987 * Boston, Museum of Fine Arts, Ellen Frances Mason Fund 34.583
SELECTED EXHIBITION
1965 * New York, Wildenstein Galleries, April 15~July 26, Printmaking: The Evolving SELECTED REFERENCE
1888 * Boston, Museum of Fine Arts,
March 25-May 1, C. Pissarro (Wildenstein Image, no. 43. Shapiro 1973, illus., unpaginated.
summer, Nineteenth-Century European
1965), NO. 25.
Drawings.
116. Turkey Girl, 1884 I41. Morning Sunlight on the Snow,
1973 * Impressionism: French and American
Tempera on paper Eragny-sur-Epte, 1894
(MFA 1973a), no. 63. 97. Wooded Landscape at the Hermitage,
81 x 65.5 cm (31% X 25% in.) Oil on canvas
1979-80 * Corot to Braque (Poulet and Pontoise, 1879
Juliana Cheney Edwards Collection 39.673 82.3 x 61.5 cm (32% x 24% in.)
Murphy 1979), no. 31. Soft-ground etching and aquatint on
cream wove paper, first state. Delteil 16 PROVENANCE The John Pickering Lyman Collection.
1983-84 * Masterpieces of European Painting By 1914, with Durand-Ruel, Paris and New Gift of Miss Theodora Lyman 19.1321
Platemark: 21.6 x 26.7 cm (8% x 10% in.)
(Nippon Television 1983), no. 45.
Lee M. Friedman Fund 1971.267 York. 1914, probably sold by Durand-Ruel PROVENANCE
1985 * Boston, Museum of Fine Arts, Feb- to Hannah Marcy Edwards (d. 1929), April 10, 1894, purchased from the artist
SELECTED REFERENCE
ruary 13—June 2, The Great Boston Collectors: Boston; 1914-29, Hannah Marcy Edwards, by Durand-Ruel, Paris, no. 1789; 1894-1910,
Shapiro 1973, nos. 6—I1.
Paintings from the Museum of Fine Arts, Boston; 1931-38, inherited by Grace M. with Durand-Ruel, Paris; 1910, sold by
Boston (Troyen and Tabbaa 1984), no. 45. Edwards (sister, d. 1938), Boston; 1939, Durand-Ruel to John Pickering Lyman
98. Wooded Landscape at the
1992 * Crosscurrents. Hermitage, Pontoise, 1879
bequest of Hannah M. Edwards [1]. (d. 1914), Portsmouth, N.H.; 1910-14, John
1995-96 * London, Hayward Gallery, Soft-ground etching and aquatint on beige NOTE Pickering Lyman, Portsmouth, N.H.;
May 18—August 28, 1995; Boston, Museum laid paper, fifth state. Delteil 16 1. See note 1 to the provenance for Corot's 1914-19, inherited by Miss Theodora
of Fine Arts, October 4, 1995—January 14, Platemark: 21.6 x 26.7 cm (8% x 10% in.) Morning near Beauvais, cat. no. 14, p. 246. Lyman, Portsmouth, N.H.; 1919, gift of
1996, Impressions of France: Monet, Renoir, Lee M. Friedman Fund 1971.268 Miss Theodora Lyman.
SELECTED EXHIBITIONS
Pissarro, and Their Rivals (House et al. SELECTED REFERENCE 1903 * New York, Durand-Ruel, Pissarro, SELECTED EXHIBITIONS
1995), NO. 75. Shapiro 1973, nos. 6—I1. no. 29. 1915 * Boston, Museum of Fine Arts,
1996 * Tokyo, Tobu Museum of Art, opened February 3, Robert Dawson Evans
1919-20 * Boston, Museum of Fine Arts,
March 30-June 30, Inshoha wa koshite 99. Wooded Landscape at the Hermitage, Memorial Galleries Opening Exhibition.
December 1919—January 1920, Impressionist
umareta: Akademisumu kara Kurube, Mune, Pontoise, 1879 and Barbizon Schools. 1945 * New London, Conn., Lyman Allen
Mone, Runowaru (The Birth of Soft-ground etching and aquatint on Museum, Connecticut College.
1939-40 * Juliana Cheney Edwards
Impressionism) (Tobu Bijutsukan 1996), cream Japanese paper, sixth state.
Collection (Cunningham 1939b), no. 44. 1945 * New York, Wildenstein Galleries,
no. I4I. Delteil 16
Camille Pissarro and His Influence, no. 32.
Platemark: 21.6 x 26.7 cm (8% x 10% in.) 1945 * New London, Conn., Lyman Allen
1999-2000 » Stuttgart, Staatsgalerie 1946 * Chicago, Arts Club of Chicago.
Katherine E. Bullard Fund in memory of Museum, Connecticut College.
Stuttgart, December 11, 1999—May 1, 2000,
Camille Pissarro (Becker et al. 1999), no. 27.
Francis Bullard, Prints, Drawings and 1949 * Boston, Symphony Hall. 1949 * Boston, Symphony Hall.
Photographs Curator’s Discretionary 1956 * South Hadley, Mass., Mount
2000-2 * Monet, Renoir, and the Impression- 1973 * Impressionism: French and American
Fund, Anonymous gifts, and Gift of Holyoke College, French and American
ist Landscape (Shackelford and Wissman (MFA 1973a), no. 64.
Cornelius C. Vermeule III 1973.176 Impressionism, no. 19.
2000), no. 28. 1980-81 * London, Hayward Gallery,
SELECTED REFERENCE 1964 * lowa City, University of Iowa,
SELECTED REFERENCES October 31, 1980—January 11, 1981; Paris,
Shapiro 1973, nos. 6-11. Gallery of Art, November 8—December 8,
Cunningham 1939a, 8; Pissarro and Grand Palais, January 30—April 27, 1981;
Venturi 1939, 1115, NO. 255, 2: no. 255, Boston, Museum of Fine Arts, May 19— Impressionism and Its Roots (University of
100. Twilight with Haystacks, 1879 Iowa [1964]), no. 39.
pl. 51. Edgell 1949, 33; MFA 1973b, no. 28; August 9, 1981, Camille Pissarro, 1830-1903
Aquatint with drypoint and etching on
Murphy 1985, 229; MFA 1986, 76; Brettell (Brettell et al. 1980), not in catalogue. 1973 * Impressionism: French and American
cream wove paper. Delteil 23
1990, 171, fig. 149. 1990 * Birmingham, England, City (MFA 1973a), no. 67.
Platemark: 10.5 x 18.1 cm (4% x 7% in.)
Lee M. Friedman Fund 1974.533 Museum and Art Gallery, March 8—April 1979-80 * Corot to Braque (Poulet and
22; Glasgow, The Burrell Collection, Murphy 1979), no. 30.

266
1980-81 * London, Hayward Gallery, PROVENANCE acquired from Phillips by Durand-Ruel, SELECTED REFERENCES
October 31, 1980—January 11, 1981; Paris, Gustave Fayet, Béziers, France. Paul New York, no, 8239; April 27, 1926, sold by Meier-Graefe 1929, 61, no. 52; Pope 1930,
Grand Palais, January 30—April 27, 1981; Bacou (?), Paris. By 1958, acquired by Durand-Ruel to John Taylor Spaulding 97, 121; MFA 1948, 17, 25, no. 70; Edgell
Boston, Museum of Fine Arts, May 19- Jacques Dubourg, Paris; January 1959, sold (d. 1948), Boston; 1926-48, John Taylor 1949, 63; Kerr 1954, 14-17; MFA 1955, 54;
August 9, 1981, Camille Pissarro, 1830-1903 by Dubourg to Laurence K. Marshall, Spaulding, Boston; 1948, bequest of John Daulte 1971, ne, 260; MFA 1973b, no. 18;
(Brettell et al. 1980), no. 74. Boston; 1959-64, Laurence K. Marshall, Taylor Spaulding. Schneider 1984, 25; Murphy 1985, 240;
1984 * Tokyo, Isetan Museum of Art, Boston; 1964, gift of Laurence K. Rabinow 2000, 12.
SELECTED EXHIBITIONS
March 9—April 8; Fukuoka, Fukuoka Art Marshall.
1921 * New York, The Metropolitan
Museum, April 25—May 20; Kyoto, Kyoto SELECTED EXHIBITIONS Museum of Art, May 3-September 15, 102. The Seine at Chatou, 1881
Municipal Museum of Art, May 26-July 1, 1926 © Paris, Musée des Arts Décoratifs, Impressionist and Post-Impressionist Oil on canvas
Retrospective Camille Pissarro (Isetan March, Odilon Redon: Exposition rétrospec- 73.5 X 92.5 cm (28% x 36%in.)
Paintings, no. 104.
Museum 1984), no. 49. tive de son oeuvre, no. 110. Gift of Arthur Brewster Emmons _ 19.771
1929° Cambridge, Mass., Fogg Art
1990 * Birmingham, England, City 1938 * London, Wildenstein Galleries, PROVENANCE
Museum, Harvard University, March 6—
Museum and Art Gallery, March 8—April January, Exhibition of Paintings by Odilon August 25, 1891, purchased from the artist
April 6, Exhibition of French Painting of the
22; Glasgow, The Burrell Collection, May Redon, no. 33. Nineteenth and Twentieth Centuries (Fogg by Durand-Ruel, Paris (stock no. 1326) and
4-June 17, Camille Pissarro: Impressionism,
New York; January 26, 1900, sold by
1948 ¢ Paris, Galerie Jacques Dubourg, Art Museum [1929]), no. 79.
Durand-Ruel, New York, no. 1324, to Mrs.
Landscape, and Rural Labour (Thomson June 16-July 3, Odilon Redon: Peintures, 1948 * Boston, Museum of Fine Arts, Blair, New York. By 1901, Mr. J. M. Sehley,
1990), no. 98. pastels, dessins, no. 16. May 26—-November 7, The Collections of New York; March 4, 1901, purchased from
1992-93 * Monet and His Contemporaries 1949-50 ° Paris, Musée de l’Orangerie, John Taylor Spaulding, 1870-1948 (MFA Sehley by Durand-Ruel, New York;
(Bunkamura Museum and MFA 1992), Eugene Carriere et le Symbolisme, December 1948), no. 70. 1901-6, with Durand-Ruel, New York, no.
no. 47. 1949—January 1950 (Musée de I’Orangerie 1950 ° Springfield, Mass., Springfield 2511; March 5, 1906, purchased from
1999 * Monet, Renoir, and the Impressionist [1950]), no. 144. Museum of Fine Arts, January 15— Durand-Ruel by Arthur Brewster
Landscape (Nagoya/Boston and MFA 1958 ¢ Bern, Kunsthalle, August 9— February 19, In Freedom’s Search Emmons, Newport, R.I., and New York;
1999), NO. 29. October 12, Odilon Redon, 1840-1916 (Redon (Springfield Museum 1950), no. 6. 1919, gift of Arthur Brewster Emmons.

2000-2 ¢ Monet, Renoir, and the [1958]), no. 158. 1953-54 ° Edinburgh, Royal Scottish SELECTED EXHIBITIONS
Impressionist Landscape (Shackelford and 1964 ¢ Waltham, Mass., Brandeis Univer- Academy, September 25—October 25; 1882 © Paris, 251, rue Saint-Honoré,
Wissman 2000), no. 30. sity, summer, Boston Collects Modern Art. London, The Tate Gallery, Renoir March, Septiéme Exposition des Artistes
(Edinburgh Festival Society 1953), no. 9. Indépendants, no. 154.
SELECTED REFERENCES 1970 ¢ Boston, Museum of Fine Arts,
Thieme and Becker 1933, 27:109; Pissarro 1973 ° Impressionism: French and American 1935 * Boston, Museum of Fine Arts,
opened February 4, Centennial Acquisitions:
and Venturi 1939, 1:63, 207, no. 911, 2: (MFA 1973a), no. 70. March 15—April 28, French Exhibition.
Art Treasures for Tomorrow (MFA 1970),
no. 911, pl. 185; MFA 1973b, no. 27; Murphy no. 88. 1979-80 * Corot to Braque (Poulet and 1937 « New York, The Metropolitan
1985, 229; Moffett et al. 1998, 50, fig. 8. Murphy 1979), no. 57. Museum of Art, May 18-September 12,
SELECTED REFERENCES
Renoir: A Special Exhibition of His Paintings
Berger [1964], no. 344; Murphy 1985, 237; 1985-86 * London, Hayward Gallery,
(Metropolitan 1937), no. 28.
Wildenstein 1992-98, 2: no. 1245. January 30—April 21, 1985; Paris, Grand
Odilon Redon Palais, May 14—September 2, 1985; Boston, 1958 * New York, Durand-Ruel, May 30-
French, 1840-1916 Museum of Fine Arts, October 9, 1985— October 15, Hommage a Renoir, no. 5.

43. Fear, 1866 Pierre-Auguste Renoir January 5, 1986, Renoir (Hayward Gallery 1973 * Impressionism: French and American
French, 1841-1919 1985), no. 3I. (MFA 19734), no. 71.
Etching on cream wove paper. Mellerio 6;
Harrison 7, first state 1989 * From Neoclassicism to Impressionism 1978 * Boston, Museum of Fine Arts,
93. Woman with a Parasol and Small
Image: 11 x 20 cm (4% x 7% in.); (Kyoto Museum, Kyoto Shimbun, and May 2—August 27, French Paintings from the
Child on a Sunlit Hillside, 1874-76
platemark: 14 x 22.3 cm (5% x 8% in.) MFA 1989), no. 72. Storerooms and Some Recent Acquisitions.
Oil on canvas
Lee M. Friedman Fund 67.741 1992 © Crosscurrents. 1979-80 * Corot to Braque (Poulet and
47 X 56.2 cm (184 X 22% in.)
Bequest of John T. Spaulding 48.593 1996 * Tokyo, Tobu Museum of Art, Murphy 1979), no. 54.
145. Tree, 1892
PROVENANCE March 30-June 30, Inshoha wa koshite 1985-86 * London, Hayward Gallery,
Lithograph on chine collé. Mellerio 120
umareta: Akademisumu kara Kurube, Mune, January 30—April 21, 1985; Paris, Grand
Image/chine collé: 47.7 x 31.9 cm (18% x August 25, 1891, purchased from the artist
by Durand-Ruel, Paris, no. 1541; 1891-1917, Mone, Runowaru (The Birth of Impression- Palais, May 14—September 2, 1985; Boston,
12% in.)
ism) (Tobu Bijutsukan 1996), no. 147. Museum of Fine Arts, October 9, 1985—
Bequest of W. G. Russell Allen 60.699 with Durand-Ruel, Paris and New York,
no. 1845-4935 (New York stock number); 1999 * Monet, Renoir, and the Impressionist
January 5, 1986, Renoir (Hayward Gallery
January 14, 1917, sold by Durand-Ruel, Landscape (Nagoya/ Boston and MFA 1985), NO. 57.
150. Centaur, 1895-1900
New York, to W. Josef Stansky, New York; 1999), NO. 50. 1989 * From Neoclassicism to Impressionism
Pastel on canvas
1917-26, W. Josef Stansky, New York; 1926, (Kyoto Museum, Kyoto Shimbun, and
73 X 60.2 cm (28% x 23% in.) 2000-2 * Monet, Renoir, and the
acquired from Stansky by Duncan MFA 1989), no. 73.
Gift of Laurence K. Marshall 64.2206 Impressionist Landscape (Shackelford and
Phillips, Washington, D.C.; April 1926, Wissman 2000), no. 55. 1992 © Crosscurrents.

267
1992-93 * Monet and His Contemporaries NOTE 1990 * Cologne, Wallraf-Richartz SELECTED EXHIBITIONS
(Bunkamura Museum and MFA 1992), 1. See note 1 to the provenance for Corot’s Museum, April 6—July 1; Zurich, 1931-32 * Boston, Museum of Fine Arts,
no. 55. Morning near Beauvais, cat. no. 14, p. 246. Kunsthaus Zurich, August 3-October 21, May 26, 1931-October 27, 1932, Collection of

1995-96 * London, Hayward Gallery, SELECTED EXHIBITIONS Landschaft im Licht: Impressionistische Modern French Paintings, Lent by John T.
1887 * New York, National Academy of Malerei in Europa und Nordamerika, Spaulding.
May 18—August 28, 1995; Boston, Museum
of Fine Arts, October 4, 1995—January 14, Design, May 25—June 30, Celebrated Paint- 1860-1910 (Czymmek 1990), no. 151. 1939 * Boston, Museum of Fine Arts,
1996, Impressions of France: Monet, Renoir, ings by Great French Masters (National 1992 * Crosscurrents. June 9-September 10, Art in New England:
Pissarro, and Their Rivals (House et al. Academy 1887), no. 181. Paintings, Drawings, and Prints, from Private
1992-93 * Monet and His Contemporaries
1995), no. 98. 1915 * Boston, Museum of Fine Arts, (Bunkamura Museum and MFA 1992), Collections in New England (MFA 1939),
1996-97 * Washington, D.C., The Phillips opening February 3, Robert Dawson Evans no. 56.
nO. 105.
Collection, September 21, 1996—February Memorial Galleries Opening Exhibition. 1994 * Glasgow, National Gallery of 1948 * Boston, Museum of Fine Arts,
23, 1997, Impressionists on the Seine: A 1939-40 * Juliana Cheney Edwards Scotland, August 11-October 23, Monet
May 26—November 7, The Collections of
Celebration of Renoir’s “Luncheon of the Collection (Cunningham 1939b), no. 48. to Matisse: Landscape Painting in France, John Taylor Spaulding, 1870-1948 (MFA
Boating Party” (Rathbone et al. 1996), 1874-1917 (Thomson 1994), no. 98. 1948), no. 73.
1942 * Montreal, Montreal Museum of
no. 57. 1973 * Impressionism: French and American
Fine Arts, February 5—March 8, Master- 1999 * Monet, Renoir, and the Impressionist
2001 * Tokyo, Bridgestone Museum of pieces of Painting (Montreal 1942), no. 73. Landscape (Nagoya/Boston and MFA (MFA 1973a), no. 80.
Art, February 1o—April 15; Nagoya, 1978 * Boston, Museum of Fine Arts,
1950 * New York, Wildenstein Galleries, 1999), NO. 51.
Nagoya City Art Museum, April 21— May 2—August 27, French Paintings from the
March 23~—April 29, A Loan Exhibition of 2000-1 * Paris, Grand Palais, September 19,
June 24, Renoir: From Outsider to Old Storerooms and Some Recent Acquisitions.
Renoir, for the Benefit of the New York 2000-January 15, 2001, Méditerranée: De
Master, 1870-1892 (Bridgestone 2001), no. 21.
Infirmary (Wildenstein 1950), no. 35. Courbet a Matisse, 1850-1925 (Cachin and 1985 * Boston, Museum of Fine Arts,
2000-2 * Monet, Renoir, and the Nonne 2000), no. 69. February 13—June 2, The Great Boston
1958 » New York, Wildenstein Galleries,
Impressionist Landscape (Shackelford and Collectors: Paintings from the Museum of Fine
April 8—May 10, Renoir: Loan Exhibition for 2000-2 * Monet, Renoir, and the
Wissman 2000), no. 56 (Richmond venue Arts, Boston (Troyen and Tabbaa 1984),
the Benefit of the Citizens’ Committee for Impressionist Landscape (Shackelford and
only). no. 51.
Children of New York City, Inc. (Wildenstein Wissman 2000), no. 57 (not in Richmond
SELECTED REFERENCES 1958), NO. 35. venue). 1985-86 * London, Hayward Gallery,
Hawes 1919, 65; Allen 1937, 112-13; McBride January 30—April 21, 1985; Paris, Grand
1973 * Impressionism: French and American SELECTED REFERENCES
1937, 158; Florisoone 1938a, 120; Edgell Palais, May 14-September 2, 1985; Boston,
(MFA 1973a), no. 77. Cunningham 1939, 8, 16; Venturi 1939,
1949, 5; MFA 1955, 54; Fezzi 1972, no. 443; Museum of Fine Arts, October 9, 1985—
1975 * Framingham, Mass., Danforth 1:61; Rewald 1946, 363; Edgell 1949, 64-65;
Feaver 1985, 48; Murphy 1985, 239; Bernard January 5, 1986, Renoir (Hayward Gallery
Museum, May 24-September 30, Inaugural Goldwater 1958, 60; Hoffmann 1958, 185;
1986, 179, 258; Langdon 1986, 28-29, no. 7; 1985), no. 71 (Boston venue only).
Exhibition. MFA 1973b, no. 20; Thomas 1980, 17;
Moffett et al. 1986, 380, fig. 5; Wadley 1987,
Callen 1982, 118-21; White 1984, 120, fig. 1992 ® Crosscurrents.
226, pl. 78; Updike 1989, 83; Kapos 1991, 1979-80 * London, Royal Academy of
123; Murphy 1985, 239; Schneider 1985, 54, 1995-96 * London, Hayward Gallery, May
282, pl. 88; Berson 1996, 2:211, 231, VII-154. Arts, November 17, 1979—March 16, 1980,
fig, 13; Keller 1987, 91, 165, no. 66.
Post-Impressionism: Cross-Currents in 18—August 28, 1995; Boston, Museum of
106. Rocky Crags at L’Estaque, 1882 European Painting (Royal Academy 1979), Fine Arts, October 4, 1995-January 14,
no, 171. 107. Landscape on the Coast, near 1996, Impressions of France: Monet, Renoir,
Oil on canvas
Menton, 1883 Pissarro, and Their Rivals (House et al.
66.5 X 81 cm (26% x 31% in.) 1980 * Washington, D.C., National
Oil on canvas 1995), NO. 105.
Juliana Cheney Edwards Collection Gallery of Art, May 25-September 1, 1980,
65.8 x 81.3 cm (25% x 32 in.)
39.678 Post-Impressionism: Cross-Currents in 1999 * Monet, Renoir, and the Impressionist
Bequest of John T. Spaulding 48.596
PROVENANCE European and American Painting, 1880-1906 Landscape (Nagoya/ Boston and MFA
(National Gallery 1980), no. 34. PROVENANCE 1999), No. 52.
By 1891, probably acquired from the artist
1884, acquired from the artist by Durand-
by Durand-Ruel, Paris and New York; 1985-86 * London, Hayward Gallery, 2000-2 * Monet, Renoir, and the
Ruel, Paris and New York (in Durand-
February 25, 1892, sold by Durand-Ruel, January 30—April 21, 1985; Paris, Grand Impressionist Landscape (Shackelford and
Ruel inventory of 1886, 1891, and 1897
New York, no. 193-1191, to Caroline Palais, May 14—September 2, 1985; Boston, Wissman 2000), no. 58.
when shipped to New York); by 1918, sold
Lambert, Boston. By 1915, probably sold Museum of Fine Arts, October 9, 1985-
by Durand-Ruel to Prince Alexandre SELECTED REFERENCES
by Durand-Ruel to RobertJ.Edwards January 5, 1986, Renoir (Hayward Gallery
Berthier de Wagram (d. 1918), Paris. By Watson 1925, 328, 338; Meier-Graefe 1929,
(d. 1924), Boston (probably for his sister 1985), no. 64.
1924, possibly acquired from Wagram 194, NO. 162; Pope 1930, 98, 122; MFA 1931,
Hannah Marcy Edwards); 1915-31, Hannah
1988-89 * Nagoya, Nagoya City Art heirs by Durand-Ruel, Paris and New 53; Barnes and de Mazia 1935, 82, 455,
Marcy Edwards (d. 1929), Boston; 1931-38,
Museum, October 15-December 11, 1988; York; December 1, 1924, sold by Durand- no. 140; McBride 1937, 60; MFA 1948, 18;
inherited by Grace M. Edwards (sister,
Hiroshima, Hiroshima Museum of Art, Ruel, New York, no. 1848, to John Taylor MFA 1955, 54; Fezzi 1972, no. 591; MFA
d. 1938), Boston; 1939, bequest of Hannah
December 17, 1988—February 12, 1989; Spaulding (d. 1948), Boston; 1924-48, John 1973b, no. 21; Guida all pittura di Renoir
Marcy Edwards [1].
Nara, Nara Prefectural Museum of Art, Taylor Spaulding, Boston; 1948, bequest of 1980, 83; White 1984, 135; Murphy 1985,
February 18—April 9, 1989, Renoir Retro- John Taylor Spaulding. 240; Wadley 1987, 228, pl. 80; Updike 1989,
spective (Nagoya City 1988), no. 25. 83; Renoir 1990, 54-55; Fell 1991, 19.

268
140. Girls Picking Flowers in a Meadow, a Survey of the Human Form through the Henri Riviére 1953-54 * New Orleans, Isaac Delgado
about 1890 Ages (M. H. de Young 1964), no. 214. French, 1864-1951 Museum of Art, October 17, 1953-January
Oil on canvas 1973 * Impressionism: French and American 10, 1954, Masterpieces of French Painting
65 x 81 cm (25% x 31% in.) 128. The Chéruette Beacon at Low Tide, through Five Centuries, 1400-1900 (Isaac
(MFA 1973a), no. 81.
Juliana Cheney Edwards Collection Saint-Briac, Brittany, 1890 Delgado Museum of Art 1954), no. 66.
1983-84 * Masterpieces of European Painting Color woodcut on beige Japanese paper
39.675
(Nippon Television 1983), no. 59. 1967 ¢ Wellesley, Mass., Wellesley College
Block/image: 22.7 x 35.2 cm (8'%s x 13% in.)
PROVENANCE Art Museum, for use in study, November
1985-86 * London, Hayward Gallery, Stephen Bullard Memorial Fund by sale of
By 1894, acquired from the artist by 1-December 4.
January 30—April 21, 1985; Paris, Grand duplicate 1983.225
Durand-Ruel, Paris and New York. By 1979-80 * Corot to Braque (Poulet and
Palais, May 14-September 2, 1985; Boston, SELECTED REFERENCE
1912, Palmer Potter, Chicago. 1912-31, Murphy 1979), no. 14.
Museum of Fine Arts, October 9, 1985— Fields 1983, 80-83.
Hannah Marcy Edwards (d. 1929), Boston;
January 5, 1986, Renoir (Hayward Gallery 1983-84 * Masterpieces of European Painting
1931-39, inherited by Grace M. Edwards
1985), no. 86. (Nippon Television 1983), no. 39.
(sister, d. 1938), Boston; 1939, bequest of
Hannah Marcy Edwards [1]. 1988 Springfield, Mass., Springfield Louis-Rémy Robert 1989 © From Neoclassicism to Impressionism
Museum of Fine Arts, September 25- French, 1810-1882 (Kyoto Museum, Kyoto Shimbun, and
NOTE
November 27, Lasting Impressions: French MFA 1989), no. 22.
1. See note 1 to the provenance for Corot’s 33. The Baths of Apollo, Versailles, 1853
and American Impressionism from New 1992-93 * Monet and His Contemporaries
Morning near Beauvais, cat. no. 14, p. 246. Photograph, albumen print from paper
England Museums (Harris, Kern, and Stern (Bunkamura Museum and MFA 1992),
SELECTED EXHIBITIONS 1988), no. 20. negative, mounted no. 7.
1900 * New York, Durand-Ruel, April, Sheet: 31.8 x 25.8 cm (12% x 10% in.)
1989 ° From Neoclassicism to Impressionism 1999 * Monet, Renoir, and the Impressionist
Exhibition of Paintings: Claude Monet and Lucy Dalbiac Luard Fund 1986.138
(Kyoto Museum, Kyoto Shimbun, and Landscape (Nagoya/ Boston and MFA
Pierre Auguste Renoir (Durand-Ruel [1900}), PROVENANCE
MFA 1989), no. 74. 1999), NO. 9.
no. 30. Robert Hershkowitz, London; 1986, sold
1991 * Nagoya, Matsuzakaya Museum 2000-2 * Monet, Renoir, and the Impression-
1939-40 * Juliana Cheney Edwards by Hershkowitz to MFA.
of Art, March 21—April 28; Nara, Nara ist Landscape (Shackelford and Wissman
Collection (Cunningham 1939b), no. 49. SELECTED EXHIBITIONS
Prefectural Museum, May 3-June 16; 2000), no. 9.
1941 « New York, Duveen Galleries, No- Hiroshima, Hiroshima Museum of Art, 1987 * Boston, Museum of Fine Arts,
SELECTED REFERENCE
vember 8—December 6, Centennial Loan June 22~July 28, The World of Impressionism February 22—May 3, Photographic
Murphy 1985, 251.
Exhibition, 1841-1941: Renoir, for the Benefit and Pleinairism (Matsuzukaya 1991), no. 24. Highlights.
of the Free French Relief Committee 1998-99 * Boston, Museum of Fine Arts,
1992-93 * Monet and His Contemporaries 20. Gathering Wood in the Forest of
(Fighting [1941]), no. 60. November 21, 1998—May 23, 1999, French
(Bunkamura Museum and MFA 1992), Fontainebleau, about 1850-60
1946 © Colorado Springs, Colo., Colorado no. 58. Photography: Le Gray to Atget. Oil on canvas
Springs Fine Arts Center, November 5— SELECTED REFERENCES 54.7 X 65.3 cm (21% x 25% in.)
1994-95 ° Brisbane, Queensland Art
December 9, French Paintings of the Jammes 1981, illus., 283; Jammes and Janis Bequest of Mrs. David P. Kimball 23.399
Gallery, July 30-September 11, 1994;
Nineteenth Century, unnumbered entry in 1983, 242-45; Lebon 1999. PROVENANCE
Melbourne, National Gallery of Victoria,
exhibition pamphlet. Until 1921, Samuel Putnam Avery collec-
September 18—October 30, 1994; Sydney,
1948 © Springfield, Mass., Springfield Art Gallery of New South Wales, Novem- tion, New York; 1921, acquired by David P.
Museum of Fine Arts, October 7— ber 5, 1994~January 15, 1995, Renoir: Master Théodore Rousseau Kimball, Boston; by 1923, Mrs. David P.
November 7, Fifteen Fine Paintings Impressionist (House 1994), no. 23. French, 1812-1867 Kimball, Boston; 1923, bequest of Mrs.
(Springfield Museum 1948), unnumbered David P. Kimball.
1995 ° The Real World (Sogo Museum and
entry. 19. Pool in the Forest, early 1850s
MFA 1994), no. 44. SELECTED EXHIBITIONS
Oil on canvas
1948 ¢ New York, Paul Rosenberg & Co., 1940 ® Colorado Springs, Colo., Colorado
1999 * Monet, Renoir, and the Impressionist 39.5 X 57.4 cm (15% X 22% in.)
November 15-December 18, Twenty-One Springs Fine Arts Center, January; Boston,
Landscape (Nagoya/ Boston and MFA Robert Dawson Evans Collection 17.3241
Masterpieces by Seven Great Masters (Paul St. Botolph Club, March 16—April 16; New
1999), NO. 54. PROVENANCE
Rosenberg 1948), no. 5. London, Conn., Lyman Allen Museum,
2000-2 * Monet, Renoir, and the Impression- M. Garnier, Paris. By 1909, Robert Connecticut College, November 17—
1955 ¢ Los Angeles, Los Angeles County ist Landscape (Shackelford and Wissman Dawson Evans, Boston; 1909-17, inherited December 15.
Museum of Art, July 14-August 21; San
2000), no. 60. by Mrs. Robert Dawson Evans (Maria 1942 * Norfolk, Va., Norfolk Museum of
Francisco, M. H. de Young Museum of
SELECTED REFERENCES Antoinette Hunt, d. 1917), Boston; 1917,
Art, September October 2, Pierre Auguste Arts and Sciences.
Meier-Graefe 1929, 199, no. 203; bequest of Mrs. Robert Dawson Evans.
Renoir, 1841-1919: Paintings, Drawings, 1999 * Monet, Renoir, and the Impressionist
Prints, and Sculpture ([LACMA] 1955),
Cunningham 1939b, 96-08, IOI, 110; SELECTED EXHIBITIONS Landscape (Nagoya/ Boston and MFA
Wilenski 1940, 338; Edgell 1949, 64-65; 1938-39 ¢ Springfield, Mass., Springfield
no. 38. 1999), no, TO.
MFA 1955, 54; Daulte 1971, no. 609; White Museum of Fine Arts, December 6, 1938—
1964-65 * San Francisco, M. H. de Young 1984, 192, 195; Murphy 1985, 239; Stevens 2000-2 * Monet, Renoir, and the Impression-
January 2, 1939.
Museum of Art, November 10, 1964—
1985, 317.
ist Landscape (Shackelford and Wissman
January 3, 1965, Man: Glory, Jest, and Riddle; 2000), no. Io.

269
SELECTED REFERENCES Ker-Xavier Roussel 2002 * Portland, Maine, Portland European Masters (Marlborough [1958b]),
Murphy 1985, 251; Thomas 2000, 163, French, 1867-1944 Museum of Art, June 27—October 20, no. 64.
fig. 71. Neo-Impressionism: Artists on the Edge. 1963-64 * Paris, Musée du Louvre,
147. Woman in Red in a Landscape, 1898
SELECTED REFERENCES December 1963—-February 1964, Signac
21. Wooded Stream, 1859 Color lithograph on cream Chinese paper.
“Principales acquisitions” 1981, 69; Murphy (Musée du Louvre [1964]), no. 35.
Oil on panel Salomon 15
1985, 263; Cachin 2000, 193, no. 188. 1992 * Crosscurrents.
53.2 X 74.5 cm (21 x 29% in.) Image: 23.5 X 35.4 cm (9 % X 13 ‘%e in.)
Gift of Mrs. Henry S. Grew 17.1461 Gift of Mrs. Frederick B. Deknatel 2001 ¢ Paris, Galeries Nationales du
134. Port of Saint-Cast, Opus 209, 1890
1985.858 Grand Palais, February 27—May 28;
PROVENANCE Oil on canvas
Amsterdam, Van Gogh Museum, June 15—
By 1907, Thomas Wigglesworth Collection 66 X 82.5 cm (26 x 32/4 in.)
September 9; New York, The Metro-
(d. 1906), Boston. By 1917, with Mrs. Henry Gift of William A. Coolidge 1991.584
Paul Sérusier politan Museum of Art, October 9—
S. Grew, Boston; 1917, gift of Mrs. Henry PROVENANCE
French, 1864-1927 December 30, Signac, 1863-1935 (Ferretti-
S. Grew. 1890, sold by the artist to Victor Boch, Bocquillon et al. 2001), no. 49.
SELECTED EXHIBITIONS 126. Breton Landscape, 1893 Brussels. Léon Marseille, Paris. A.
2000-2 * Monet, Renoir, and the Impression-
1879? * Boston, Boston Art Club. Color lithograph on yellow wove paper Zwemmer (dealer), London. A. Ehrman,
Image: 23.2 x 30.1 cm (9% x 11% in.)
ist Landscape (Shackelford and Wissman
1915 * Boston, Museum of Fine Arts, London. By 1958, Marlborough Fine Arts,
Bequest of W. G. Russell Allen 60.742
2000), no. 70 (Ottawa and Richmond ven-
opened February 3, Robert Dawson Evans Ltd., London; June 16, 1958, sold by
ues only).
Memorial Galleries Opening Exhibition. SELECTED REFERENCE Marlborough to William A. Coolidge,
Topsfield and Cambridge, Mass.; 1958-91, 2002 * Portland, Maine, Portland
Boyle-Turner 1986, 70-75.
1938 © Utica, N.Y., Munson Williams Museum of Art, June 27—October 20,
William A. Coolidge, Topsfield and
Proctor Institute, December 4-19. Neo-Impressionism: Artists on the Edge.
Cambridge, Mass.; 1991, gift of William A.
1942 * Norfolk, Va., Norfolk Museum of Coolidge.
Paul Signac SELECTED REFERENCES
Arts and Sciences. Antoine 1891, 157; Christophe 1891, 100;
French, 1863-1935 SELECTED EXHIBITIONS
1958-59 * Boston, First National Bank of 1891 * Brussels, February, Huitiéme Ernst 1891, 2; Germain 1891, 535; Krexpel
Boston. 133. View of the Seine at Herblay, Opus Exposition des XX, unnumbered entry, as 1891, 381; Leclercq 1891, 298; [Lecomte]
203, 1889 1891, 324; [Maus] 1891, 216; Rette 1891, 295;
1961 ¢ Dallas, Dallas Museum for Op. 209, Saint-Cast (Cotes-du-Nord), Mai, 1890
Oil on canvas Geffroy 1892, 308; Roger-Marx 1933, 36;
Contemporary Arts, March 8—April 2, under the general title La Mer.
33.2 X 46.4 cm (134 x 18% in.) Champigneulle 1934, 407; Guenne 1934,
Impressionists and Their Forebears from 1891 ¢ Paris, pavillon de la Ville de Paris,
Gift of Julia Appleton Bird 1980.367 126; Hermant 1934, 87; Turpin 1934, 2,
Barbizon (Dallas [1961]), no. 32. Champs-Elysées, March 20—April 27,
PROVENANCE no. 2; Sarradin 1936, 3; Roger-Marx [1947],
1968 * Boston, Copley Hall, May 24— Septiéme Exposition de la Société des Artistes
By the late 1880s, given by the artist to 51; Besson 1954, pl. 44; Rewald 1956, 135;
June 14, Barbizon School. Indépendants, no, 1112, as Op. 209, Saint-Cast
Edmond and Lucie Cousturier, Paris [1]. Russel 1958, 39; Rewald [1961], fig. 25;
(Cétes-du-Nord), Mai, 1890 under the general
1972 * Providence, R.I., Museum of Art, Hugo Moser, New York. Until March Roger-Marx 1963, 20; Charensol 1964, 134;
title La Mer.
Rhode Island School of Design, February 3— 1960, Hammer Galleries, New York; Lerrant 1964, 13; Jalard 1966, 23; Chartrain-
March 5, To Look on Nature: European and 1930 * Paris, Bernheim-Jeune, May 19-30, Hebbelinck 1969, 67-68, no. 1-2; Sutton
March 1960, sold by Hammer Galleries to
American Landscape, 1800-1874 (Brown Uni- Mrs. Charles Sumner Bird (Julia Appleton Paul Signac, no. 11. 1995, 96-101, no. 21, Cachin 2000, 199,
versity 1972), unnumbered entries, pl. 4o. Bird), East Walpole, Mass.; 1980, gift of 1932 ¢ Paris, Galerie Braun et Cie., Febru- no. 205.
SELECTED REFERENCE Mrs. Charles Sumner Bird. ary 25—March 17, Le Néo-impressionnisme,
Murphy 1985, 251. no, 25. 136. Les Andelys, 1897-98
NOTE
Color lithograph on cream wove paper.
1. According to a letter of August 20, 1997, 1934 * Paris, Grand Palais, February 2—
22. The Oak Tree of the Rock, Forest of Kornfeld and Wick 10
from Marina Ferretti to George March 11, Quarante-quatriéme Exposition de
Fontainebleau, 1861 Image: 30 x 45 cm (11'%. x 18 in.)
Shackelford in curatorial file. la Société des Artistes Indépendants, Exposition
Etching in brown ink on cream laid paper. Anonymous gift 1971.709
SELECTED EXHIBITIONS du Cinquantenaire, no. 4106. 3
Delteil 4
1893 * Brussels, February, Dixiéme 1936 * Paris, Grand Palais, February 7— 137. Boats, 1897-98
Image: 12.3 x 16.9 cm (4% X 6% in.);
Exposition des XX, mistakenly called Op. March 8, Quarante-sixiéme Exposition de la Color lithograph on cream wove paper.
platemark: 13.3 x 21 cm (5% x 8% in.)
227, Vert et Violet (?). Société des Artistes Indépendants, Exposition Kornfeld and Wick 13
Bequest of William P. Babcock, 1900
1989 * From Neoclassicism to Impressionism posthume de Paul Signac, no, 3067. Image: 23.5 x 39.8 cm (9% X 15 %e in.)
B3950
(Kyoto Museum, Kyoto Shimbun, and 1951 * Ostende, Belgium, Galeries Royales, Anonymous gift 54.721
23. Cherry Tree at La Plante-a-Biau, 1862 MFA 1989), no. 79. August 5-September 4, La peinture sous le
Cliché-verre, salt print. Delteil 5 1999 * Monet, Renoir, and the Impressionist signe de la mer, no. 85. 138. Boats, 1897-98
Borderline: 21.7 x 27.6 cm (8 %e x 10% in.) Landscape (Nagoya/ Boston and MFA 1958 * London, Marlborough Fine Arts,
Color lithograph on cream wove paper,
trial proof, annotated by the artist.
Bequest of William P. Babcock, 1900 1999), no. 62. Ltd., April-May, La création de l’oeuvre chez
Kornfeld and Wick 13
B3956.5/7 2000-2 * Monet, Renoir, and the Impression- Paul Signac (Marlborough [1958a]), no. 217.
Image: 23.5 x 39.8 cm (9% X 15 Me in.);
SELECTED REFERENCE ist Landscape (Shackelford and Wissman 1958 * London, Marlborough Fine Arts, sheet: 39 x 53.5 cm (15% X 21 %e in.)
Glassman and Symmes 1980. 2000), no. 69. Ltd., June, Nineteenth and Twentieth Century Gift of Peter A. Wick 55.576

270
 Alfred Sisley September 16, 1984; Chicago, The Art 1992-93 * London, Royal Academy of SELECTED EXHIBITIONS
British (worked in France), 1839-1899 Institute of Chicago, October 18, 1984— Arts, July 3-October 18, 1992; Paris, Musée 1946-47 * Cambridge, Mass., Fogg Art
January 6, 1985; Paris, Grand Palais, d'Orsay, October 28, 1992~January 31, 1993; Museum, Harvard University, September
80. Early Snow at Louveciennes, about February 8—April 22, 1985, A Day in the Baltimore, Walters Art Gallery, March 14— 1946-September 1947.
1870-71 Country: Impressionism and the French June 13, 1993, Alfred Sisley (Stevens and 1959 * Deerfield, Mass., Hilson Gallery,
Oil on canvas Landscape (Brettell et al. 1984), no. 19. Cahn 1992), no. 20. Landscape through Time.
54.9 X 73.7 cm (21% x 29 in.)
1992 © Crosscurrents. 1995-96 * London, Hayward Gallery, May 1962-63 ¢ San Francisco, California Palace
Bequest of John T. Spaulding 48.600
1992-93 * London, Royal Academy of 18—August 28, 1995; Boston, Museum of of the Legion of Honor, September 24—
PROVENANCE Fine Arts, October 4, 1995—January 14,
Arts, July 3-October 18, 1992; Paris, Musée November 4, 1962; Toledo, Ohio, The
By 1892, M. Picq-Véron of Ermont- 1996, Impressions of France: Monet, Renoir,
d Orsay, October 28, 1992-January 31, 1993; Toledo Museum of Art, November 20—
Eaubonne, France; June 25, 1892, sold by Pissarro, and Their Rivals (House et al.
Baltimore, Walters Art Gallery, March 14- December 27, 1962; Cleveland, The
Picg-Véron to Durand-Ruel, Paris; Octo- 1995), no. 83.
June 13, 1993, Alfred Sisley (Stevens and Cleveland Museum of Art, January 15—
ber 25, 1897, sold by Durand-Ruel to the
Cahn 1992), no. 10. 1996-97 * Washington, D.C., The Phillips February 24, 1963; Boston, Museum of
National Gallery, Berlin; 1936, sold by the
1996-97 * Berlin, Neue Nationalgalerie, Collection, September 21, 1996—-February Fine Arts, March 15—April 28, 1963,
National Gallery, Berlin, to the Galerie
September 20, 1996—January 6, 1997; 23, 1997, Impressionists on the Seine: A Barbizon Revisited (Herbert 1962), no. 104.
Nathan, St. Gallen, Switzerland, in
Munich, Neue Pinakothek, January 24— Celebration of Renoir’s “Luncheon of the 1978 * Chapel Hill, N.C., William Hayes
exchange for Caspar David Friedrich’s
May 11, 1997, Manet bis van Gogh: Hugo von Boating Party” (Rathbone et al. 1996), Ackland Memorial Art Center, University
Man and Woman Looking at the Moon [1].
Tschudi und der Kampf um die Moderne no. 46. of North Carolina, March 5-April 30,
By 1937, Raphael Gérard, Paris; 1939, sold
by Gérard to Arthur Tooth & Sons, (Hohenzollern and Schuster 1996), no. 32. 1999 * Monet, Renoir, and the Impressionist French Nineteenth Century Oil Sketches,
London; May 19, 1939, sold by Arthur SELECTED REFERENCES Landscape (Nagoya/ Boston and MFA David to Degas: An Exhibition in Honor of
Tooth & Sons to John Taylor Spaulding Bibb 1899, 151; Ortwin-Rave 1945, pl. 196; 1999), NO. 33. the Retirement of Joseph Curtis Sloane
(d. 1948), Boston; 1948, bequest of John Rewald 1946, 181; Edgell 1949, 3; Daulte 2000-2 * Monet, Renoir, and the (Wisdom et al. 1978), no. 60.
Taylor Spaulding. 1959, no. 18; Constable 1964, fig. 11; MFA Impressionist Landscape (Shackelford and 1999 * Monet, Renoir, and the Impressionist
NOTES [1970], 88, no. 58; Brown University 1972, Wissman 2000), no. 36. Landscape (Nagoya/Boston and MFA
1. See Hohenzollern and Schuster 1996, 139-40, pl. 48; MFA 1973b, no. 25; Rewald 2002-3 ¢ Ferrara, Palazzo dei Diamanti, 1999), no. 7.

106, no. 32.

1973a, 211, fig. 7; Rewald 1973-74, 52, fig. 10; February 17—May 19, 2002; Madrid, Museo 2000-2 * Monet, Renoir, and the Impression-
Shone 1979, 84, pl. 7; Southgate 1979, 2375, ThySsen-Bornemisza, June 6-September 15, ist Landscape (Shackelford and Wissman
SELECTED EXHIBITIONS
repr. cover; Kelder 1980, 151; Murphy 1985 2002; Lyon, Musée des Beaux-Arts, 2000), no. 7.
1937 © London, Alex Reid & Lefevre Ltd.,
264; Bernard 1986, 210, 261; MFA 1986, 77. October 9, 2002~January 6, 2003, Alfred
January, Pissarro and Sisley, no. 15. SELECTED REFERENCES
Sisley: Poet of Impressionism (Madrid venue Durbé and Damigella 1969, 41; Bouret
1939 * Boston, Museum of Fine Arts, 91. Waterworks at Marly, 1876 only). 1972, 111; Goldstein 1979, 223, fig. 6.26;
June 9-September ro, Art in New England: - Oil on canvas
Paintings, Drawings, and Prints, from Private SELECTED REFERENCES Murphy 1985, 283; Cormack 1986, 164-65,
46.5 X 61.8 cm (18 % X 24% in.)
Collections in New England (MFA 1939), MFA 1946a, 30; MFA 1946b, 43; MFA 1955, fig. 160.
Gift of Miss Olive Simes 45.662
no. 126.
61; Daulte 1959, no. 216; Murphy 1985, 264.
PROVENANCE 35. Windswept Meadow with Shepherd
1948 * Boston, Museum of Fine Arts, By about 1910-15, with Durand-Ruel, New and Flock, about 1850
May 26—-November 7, The Collections of York and Paris; about 1910-15, bought
Constant Troyon Black chalk on beige paper
John Taylor Spaulding, 1870-1948 (MFA from Durand-Ruel by William Simes [1]; Sheet: 25.4 x 35.4 cm (10 x 13% in.)
French, 1810-1865
1948), NO. 76. by 1945, inherited by Miss Olive Simes Gift of L. Aaron Lebowich and Harvey D.
1949 * Manchester, N.H., The Currier (daughter), Boston; 1945, gift of Miss 34. Field outside Paris, 1845-51 Parker Collection, by exchange 63.263
Gallery of Art, October 8-November 6, Olive Simes. Oil on paperboard PROVENANCE
Monet and the Beginnings of Impressionism: NOTE 27 X 45.5 cm (10% x 17% in.)
Nathan Chaikin, New York; 1963, sold by
Twentieth Anniversary Exhibition (Currier 1. According to Miss Simes, her father The Henry C. and Martha B. Angell Chaikin to MFA.
Gallery of Art [1949]), no. 29. purchased the painting sometime about Collection 19.117
SELECTED EXHIBITION
1950 * New York, Paul Rosenberg & Co., 1910-15. Letter in object file from Lucretia PROVENANCE 1967 * Wellesley, Mass., Wellesley College
March 7—April 1, The Nineteenth Century H. Giese in the Paintings Department at Until 1886, Thomas Robinson, Providence, Art Museum, November 1-30, Nineteenth-
Heritage (Paul Rosenberg 1950), no. 25. the MFA to Ronald Pickvance dated R.L.; November 16, 1886, sold at Robinson
Century Art.
January 21, 1971. sale, Moore’s Art Galleries, New York,
1961 * New York, Paul Rosenberg & Co.,
October 30—November 25, Alfred Sisley, SELECTED EXHIBITIONS no. 117, and bought by Vose Galleries, 38. Hound Pointing, 1860
1973 * Impressionism: French and American Providence, R.I., and Boston; 1886-1911, Oil on canvas
no. 2.
(MFA 1973a), no. 86. probably acquired through Vose Galleries 163.8 X 130.5 cm (64% x 51% in.)
1973 * Impressionism: French and American by Dr. Henry Clay Angell (d. 1911),
(MFA 19734), no. 85. 1983-84 * Masterpieces of European Painting Gift of Mrs. Louis A. Frothingham 24.345
Boston; 1911-19, inherited by Martha
(Nippon Television), no. 51.
1984-85 * Los Angeles, Los Angeles Bartlett Angell (widow, d. 1919), Boston;
County Museum of Art, June 28- 1992 © Crosscurrents. 1919, gift of Martha B. Angell.

271
PROVENANCE SELECTED REFERENCES SELECTED EXHIBITIONS 1901 * Paris, Bernheim-Jeune, March
1861, Senator Prosper Crabbe, Brussels. By Secrétan 1889, 79; Soullié 1900a, 158; MFA 1791 * Paris, Salon, no. 11? or 132? 15-31, Vincent van Gogh, no. 58.
1885, A. Dreyfus. By 1889, E. Secrétan; July 1924, 36; Baudelaire 1966, 1200; Rodee 1974, 1983-84 * Masterpieces of European Painting 1914 ¢ Berlin, Paul Cassirer [Art Gallery],
1, 1889, sold by E. Secrétan at Chevallier, 16-17; Didier Aaron 1990, fig. a (accompa- (Nippon Television 1983), no. 27. May-June, Vincent van Gogh, no. 117.
Aulard, Paris. Frederick Lothrop Ames nying entry no. 26).
1991-92 * Boston, Museum of Fine Arts, 1926 * London, Leicester Galleries,
(d. 1893), Boston; by 1924, probably inher-
July 13, 1991-July 5, 1992, Romantic and November—December, Vincent van Gogh,
ited by Mrs. Louis A. (Mary S. Ames)
Fantastic Landscapes. no. 24.
Frothingham; 1924, gift of Mary S. Ames Lancelot-Théodore, comte du
Frothingham to the MFA. 1992-93 * Boston, Museum of Fine Arts, 1929 * New York, The Museum of
Turpin de Crissé
July 24, 1992~January 17, 1993, The Grand Modern Art, November, First Loan
SELECTED EXHIBITIONS French, 1782-1859
Tour: European and American Views of Italy. Exhibition: Cezanne, Gauguin, Seurat, Van
1883 * Paris, Galerie Georges Petit, Cent
chefs-d’oeuvres des collections parisiennes 8. The Bay of Naples, 1840 SELECTED REFERENCES Gogh (MoMA [1929]), no. 84.

(Wolf 1883), no. 91 (?). Oil on canvas Dézallier d’Argenville 1791, 4, no. 1 (?); 1935-36 * New York, The Museum of
97 X 146 cm (38% X 574% in.) Explication des peintures 1791, 26, no. 132 (?); Modern Art, December 1935~January
1889 * New York, Union League Club,
Charles H. Bayley Picture and Painting Béquille de Voltaire 1791, 4, no. 11; 1936; Chicago, The Art Institute of
December, no. 28.
Fund 1980.3 Liepmannssohn 1870, 11, no. 1; Murphy Chicago; Boston, Museum of Fine Arts,
1898 * Boston, Copley Hall, Modern 1985, 288; Zafran 1998, 156-57, no. 70. February 19—March 15, 1936; Cleveland,
PROVENANCE
Painters, no. 84. The Cleveland Museum of Art, March 25-
July 10, 1974, sold at Galerie des Chevau-
1904 * New York, American Fine Arts Légers, Versailles, no. 235. By 1980, April 19, 1936; Detroit, The Detroit
Society, Comparative Exhibition of Native Hazlitt, Gooden & Fox, Ltd., London; Vincent van Gogh Institute of Arts, October 6-28, 1936;
and Foreign Art, no. 160. 1980, sold by Hazlitt, Gooden & Fox to Dutch (worked in France), 1853-1890 Kansas City, Mo., William Rockhill
1908 * Boston, Copley Hall, March, the MFA. Nelson Gallery of Art and Mary Atkins
129. Ravine, 1889 Museum of Fine Arts; Minneapolis, The
French School of 1830 (Copley Society 1908), SELECTED EXHIBITIONS
Oil on canvas Minneapolis Institute of Arts; Phila-
no. 68. 1979 * London, Hazlitt, Gooden & Fox,
73 X 91.7 cm (28% x 36% in.) delphia, Philadelphia Museum of Art; San
1962-63 * San Francisco, California Palace October 31-November 27, The Lure of
Bequest of Keith McLeod 52.1524 Francisco, California Palace of the Legion
of the Legion of Honor, September 24- Rome: Some Northern Artists in Italy in the
PROVENANCE of Honor, Vincent van Gogh (MoMA 1935),
November 4, 1962; Toledo, Ohio, The Nineteenth Century, Paintings and Drawings
1890, from the artist to Theo van Gogh addendum 55a, not in catalogue (Boston
Toledo Museum of Art, November 20- (Hazlitt, Gooden & Fox 1979), no. 18,
(brother), Paris [1]. By 1908, Prince venue only).
December 27, 1962; Cleveland, The pl. 4o.
Alexandre Berthier de Wagram (d. 1918), 1939 * Boston, Museum of Fine Arts,
Cleveland Museum of Art, January 15- 1983-84 * Masterpieces of European Painting
Paris. Barbazanges Art Gallery, Paris [2]. June 9-September 10, Art in New England:
February 24, 1963; Boston, Museum of (Nippon Television 1983), no. 33.
By 1918,J.B. Stang, Oslo. By 1926, with Paintings, Drawings, and Prints, from Private
Fine Arts, March 15—April 28, 1963,
1989 * From Neoclassicism to Impressionism Leicester Galleries, London. By 1928, with Collections in New England (MFA 1939),
Barbizon Revisited (Herbert 1962), no. 106.
(Kyoto Museum, Kyoto Shimbun, and Galerie Thannhauser, Berlin, Lucerne, no. 56.
1968 * New York, Knoedler’s Gallery, May MEFA 1989), no. 5. and New York; by 1929, sold by Galerie
7-24, The Artist and the Animal. 1992 * Crosscurrents.
1991-92 * Boston, Museum of Fine Arts, Thannhauser to Keith McLeod, Boston;
1978-79 * Philadelphia, Philadelphia 1952, bequest of McLeod. Note: Although catalogued and repro-
July 13, 1991-July 5, 1992, Romantic and
Museum of Art, October 1-November 26, duced in the exhibition catalogue for the
Fantastic Landscapes. NOTES
1978; Detroit, The Detroit Institute of following exhibition, the painting was
SELECTED REFERENCES 1. According to documentation from the
Arts, January 15—March 18, 1979; Paris, withdrawn at the last moment and did
MFA 1980, 28-29; Murphy 1985, 285; 1960s in curatorial file, there is some evi-
Grand Palais, April 24~July 2, 1979, The not appear: New York, Wildenstein
Zafran 1998, 198-99, no. 90. dence that the picture may have passed
Second Empire, 1852-1870: Art in France under Galleries, October-November 1943, The
from Theo van Gogh to Paul Gauguin as
Napoleon III (PMA 1978), no. VI-107. Art and Life of Vincent van Gogh: Loan
part of an exchange and placed on deposit
Exhibition in Aid of the American and Dutch
1983-84 * Masterpieces of European Painting Pierre-Henri de Valenciennes with Chaudet and later Amadée
War Relief (DeBatz 1943), no. 55.
(Nippon Television 1983), no. 38. French, 1750-1819 Schuffenecker, Paris, when Gauguin sailed
for Tahiti. SELECTED REFERENCES
1991-92 * Indianapolis, The National Art
I. Italian Landscape with Bathers, 1790 2. Letter of January 25, 1930, from a repre- Meier-Graefe 1912, 41; Van Gogh 1927,
Museum of Sport, January 14—April (day
Oil on canvas sentative of Galerie Thannhauser to Keith NOS. 610, 619, 621, 622, 629, 630, B20; De la
unknown) 1991; Washington, D.C., The
54 X 81.6 cm (21% x 32% in.) McLeod, in curatorial file. Faille 1928, 1: no. 662; Scherjon 1932, no. 60;
Corcoran Gallery of Art, September 1991-
Gift of John Goelet 1980.658 Scherjon and De Gruyter 1937, 256-57, no.
January 1992; Phoenix, Phoenix Art SELECTED EXHIBITIONS
60; De la Faille 1939, 462, no. 671; De Batz
Museum, May—August 1991; New York, PROVENANCE 1890 * Paris, pavillon de la Ville de Paris,
1943, no. 55; Constable 1946, 8; Derkert,
IBM Gallery of Science and Art, January By 1975, Palais Galliéra, Paris. H. Champs-Elysées, March 20—April 27,
Eklund, and Reutersward 1946, 128-29;
14—March 28, 1992, Sport in Art from Shickman Gallery, New York. By 1978, Sixiéme Exposition de la Société des Artistes
Meyerson 1946, 141-42; Buchmann 1948,
American Museums. John Goelet, New York; 1988, gift of John Indépendants, no. 833(?).
36-39, 51; Clark [1949], 121; Weisbach
Goelet.
[1949-51], 2:177-78, no. 69; Leymarie 1951,

272
126; Rewald 1956, 362, 378; Van Gogh 1958, Institute of Arts, October 6-28, 1936; SELECTED REFERENCES
3:223, 240, 243, 244, 260, 263, 521, 561 (T24), Kansas City, Mo., William Rockhill Meier-Graefe 1921b, 2:98, no. 100; De la
565 (T29); Van Gogh 1966, nos. 610, 619, Nelson Gallery of Art and Mary Atkins Faille 1928, 1:228, no. 805; Scherjon and
621, 622, B20, T24; De la Faille 1970, 261, Museum of Fine Arts; Minneapolis, The De Gruyter 1937, 363, no. 198; De la Faille
no. 662; MFA [1970], 97, no. 65; Roskill Minneapolis Institute of Arts; 1939, 539, no. 789; Edgell 1949, 84; Malraux
[1970], fig. 2; Cavallo et al. 1971, no. 143; Philadelphia, Philadelphia Museum of 1952, 15; Estienne 1953b, 73; MEA 1955, 29;
Lecaldano 1977, no. 712; Murphy 1985, 120; Art; San Francisco, California Palace of Reidemeister 1963, 164; De la Faille 1970,
Van Gogh 1985, 325, no. 287; Stein 1986, the Legion of Honor, Vincent van Gogh 306, no. 805; Lecaldano 1977, 853; Hulsker
277, pl. 101; Hulsker 1996, H1804. (MoMA 1935), no. 64. 1980, no. 1989; Nemeczek 1981, 33; Naeling
1984, 4; Murphy 1985, 120; MFA 1986, 81;
1939 * Boston, Museum of Fine Arts,
130. Houses at Auvers, 1890 Mothe 1987, 160; Hulsker 1996, Hr989.
June 9-September 10, Art in New England:
Oil on canvas
Paintings, Drawings, and Prints, from Private
75.5 X 61.8 cm (29% x 24% in.)
Collections in New England (MFA 1939),
Bequest of John T. Spaulding 48.549 Antoine Vollon
no. 58.
PROVENANCE French, 1833-1900
1948 * Boston, Museum of Fine Arts,
After 1890, Mrs. Johanna van Gogh-
May 26—-November 7, The Collections of 36. Meadows and Low Hills
Bonger, Amsterdam. Tilla Durvieux-
John Taylor Spaulding, 1870-1948 (MFA Oil on panel
Cassirer, Berlin; Paul Cassirer Gallery,
1948), no. 33. 28 X 46.2 cm (II x 18% in.)
Berlin. Galerie Thannhauser, Lucerne.
1949 * Cambridge, Mass., Fogg Art Bequest of Ernest Wadsworth Longfellow
Voss Collection, Berlin. By 1926, with
Museum, Harvard University. 37.602
Wildenstein and Co., New York; October
18, 1926, sold by Wildenstein to John 1951 © Cambridge, Mass., Busch-Reisinger PROVENANCE
Taylor Spaulding (d. 1948), Boston; Museum, Harvard University, Van Gogh. With Goupil and Co., London. By 1937,
1926-48, John Taylor Spaulding, Boston; Ernest Wadsworth Longfellow, Boston;
1956 * Raleigh, N.C., North Carolina
1948, bequest of John Taylor Spaulding. 1937, bequest of Ernest Wadsworth
Museum of Art, June 15—July 29, French
Longfellow.
SELECTED EXHIBITIONS Painting of the Last Half of the Nineteenth
Century (NCMA 1956), unnumbered entry. SELECTED EXHIBITIONS
1905 ¢ Amsterdam, Stedelijk Museum,
1999 * Monet, Renoir, and the Impressionist
July-August, Vincent van Gogh, no. 210. 1975 * Auckland, Auckland City Art
Landscape (Nagoya/ Boston and MFA
1908 ¢ Paris, Bernheim-Jeune, January, Gallery, August 18-October 5, Van Gogh in
1999), NO. 30.
Cent tableaux de Vincent van Gogh. Auckland (Auckland City 1975), no. 8.
2000-2 * Monet, Renoir, and the
1912 * Cologne, Kunsthalle, May— 1979-80 ® Corot to Braque (Poulet and
Impressionist Landscape (Shackelford and
September, International Exposition, Murphy 1979), no. 63.
Wissman 2000), no. 31.
No. 105. 1983-84 ° Masterpieces of European Painting
SELECTED REFERENCE
(Nippon Television 1983), no. 63.
1929 * Cambridge, Mass., Fogg Art Murphy 1985, 297.
Museum, Harvard University, March 6— 1985 * Boston, Museum of Fine Arts,
April 6, Exhibition of French Painting of the February 13-June 2, The Great Boston
Nineteenth and Twentieth Centuries (Fogg Collectors: Paintings from the Museum of Fine
Edouard Vuillard
Art Museum [1929]), no. 95. Arts, Boston (Troyen and Tabbaa 1984),
French, 1868-1940
no. 54.
1929 * New York, The Museum of
Modern Art, November, First Loan 1990-91 * Essen, Museum Folkwang, 148. Crossing the Field, 1899
Exhibition: Cézanne, Gauguin, Seurat, Van August 10-November 4, 1990 (Dorn et al. Color lithograph on cream Chinese paper.
1990), no. 54; Amsterdam, Van Gogh Roger-Marx 34
Gogh (MoMA [1929]), no. 90.
Museum, November 16, 1990—February 18, Image: 25.3 X 34.3 cm (9% X 134 in.)
1931-32 * Boston, Museum of Fine Arts, Bequest of W. G. Russell Allen 60.108
1991, Vincent van Gogh and Early Modern
May 26, 1931-October 27, 1932, Collection of
Art, 1890-1914 (K6ltzsch and de Leeuw
Modern French Paintings, Lent byJohn T.
1990), NO. 43.
Spaulding.
1992 © Crosscurrents.
1935-36 * New York, The Museum of
Modern Art, December 1935-January 1936; 1999 * Monet, Renoir, and the Impressionist
Chicago, The Art Institute of Chicago; Landscape (Nagoya/ Boston and MFA
Boston, Museum of Fine Arts, February 1999), NO. 59.
19—March 15, 1936; Cleveland, The 2000-2 ¢ Monet, Renoir, and the
Cleveland Museum of Art, March 25— Impressionist Landscape (Shackelford and
April 19, 1936; Detroit, The Detroit Wissman 2000), no. 66.

273
 Glossary for
Works on Paper

Photography Techniques PHOTOGRAVURE—A photomechanical Print Techniques been removed, leaving grooves. Next,
process in which a photographic image is the plate is covered with ink, filling the
ALBUMEN PRINT—A print made with AQUATINT—An etching technique used to
transferred and etched into a copper plate. grooves. The surface may be wiped clean,
light-sensitive silver salts held in an albu- create areas of graduated tone rather than
As with traditional printmaking, the result- or some tone may be left on and mani-
men (egg white) coating on paper. Unlike lines. A printing plate is prepared by coat-
ing plate is inked and printed in a press. pulated. In either case, the plate is run
SALT PRINTs, albumen prints have a glossy ing the area where tone is desired with
The appeal of printing photographic through a press with dampened paper,
surface, and the image appears to sit on tiny grains of an acid-resistant material
images in ink is that an artist can easily causing the ink to be transferred to the
top of the paper, rather than in it. Albu- such as rosin. When placed in an acid
produce a large number of consistent paper. In SOFT-GROUND ETCHING an artist
men prints are usually, although not solution, the plate is bitten only around
prints that will not discolor over time. (In draws on a sheet of paper set on top of
always, made with GLASS-PLATE NEGA- the grains, creating an irregular network
experimental form in the 1860s; modern a plate covered with a sticky ground.
TIVEs. (Invented 1850; commonly used of pits (or crevices). This pitted surface
photogravure invented in 1879.) Wherever the pressure of the drawing
1850S—90sS.) holds the ink and prints as an even tone.
pushes the paper against the ground, the
SALT PRINT (Or SALTED PAPER PRINT)— Variation in the tonality depends on the
ground is removed along with the paper.
CALOTYPE—A term often used to refer to
The earliest photographic print process to length of time the plate is exposed to the
both the PAPER NEGATIVE and the result- The plate is then etched and printed, creat-
use a negative. Paper is made light sensi- acid and the size and density of the gran-
ing SALT PRINT. Calotype negatives are ing tonal areas and soft, granular lines
tive by application of a salt solution fol- ular particles: longer exposure creates
made by applying a series of solutions to reminiscent of chalk, crayon, or soft
lowed by silver nitrate. Salt prints are con- deeper pits that hold more ink, resulting
create light-sensitive salts on paper. The pencil.
tact printed from the negative and appear in a darker tone. In LIFT-GROUND ETCH-
sensitized paper is exposed in a camera to
as though the image is embedded in the ING (also called sugar-lift) the portion of LIFT-GROUND ETCHING—See AQUATINT.
produce a latent image that is then devel-
paper. (Invented 1840; commonly used the plate to receive tone is brushed with
oped. The negative is contact printed in LITHOGRAPH—A printing process in which
1840S—50s. ) a solution in which sugar has been dis-
daylight, producing a salt print. (Invented the flat surface of a stone (traditionally
solved. The entire plate is then covered
1840; commonly used 1840s-early 50s.) STEREOCARD (Or STEREOGRAPH)— with a stopping-out varnish and im-
limestone) or a metal plate (as in a ZINCO-
A small card displaying two nearly identi- GRAPH) is treated to make it receptive to
CLICHE-VERRE—A type of GLASS-PLATE mersed in water. As the sugar in the solu-
cal images side by side. Such a card, in printing ink wherever it is drawn on with
NEGATIVE in which the glass is coated tion swells, it lifts areas of varnish off the
combination with a special viewer called a greasy medium, such as crayon or tusche
with a wet or dry opaque substance, plate, leaving the brushed area exposed.
a stereoscope, imitates human binocular (used as wash or with pen in the case of
through which an artist draws or scratches These areas are then covered with an
vision. The stereoscope blocks out periph- a pen lithograph). The remaining surface,
a design. The resulting negative is printed aquatint ground and bitten while the
eral vision and causes the eye to merge where no drawing exists, is kept wet dur-
as with any glass-plate negative and can stopping-out varnish protects the rest of
the two photographs into what appears ing the printing process to repel the greasy
be turned over to print the reverse image. the plate. This technique is used to dev-
to be a single, three-dimensional image. ink. Because there is no raised relief (as in
(In use as early as 1835.) elop painterly, subtly toned imagery.
woodcut) or depressed area (as in etching,
WET-COLLODION PROCESS—A process
GLASS-PLATE NEGATIVE—A negative cre- CHINE COLLE—A method whereby two drypoint, and aquatint) that wears out
whereby a sticky substance is poured onto
ated by applying a light-sensitive emulsion pieces of paper (usually one much lighter- with repeated printing, lithographs are
a plate of glass and made light-sensitive
to a plate of glass. Glass negatives typic- weight than the other, such as an Asian ideal for creating large numbers of prints.
immediately prior to exposure in the cam-
ally produce a sharper and more detailed tissue) are adhered together during the
era. The glass-plate negative is exposed MONOTYPE—A printing process in which
image than paper negatives. However, the printing process. This technique allows
while wet and then developed immedi- an artist draws directly on some material
fragility of large glass plates makes them for printing effects that are unattainable
ately after exposure. When executed out- (such as a metal plate or glass) with greasy
more difficult to use in the field. These on the thinner sheet without the support
side the studio, the collodion process ink or paint and then runs it through a
negatives are most often used in the cre- of the heavier paper.
requires a portable darkroom for coating press to create a print. Only one strong
ation of ALBUMEN PRINTs. (First in use in
and developing the plates. By the mid- CLICHE-VERRE—See under Photographic impression (or print) can be made, hence
1848 with WET-COLLODION PROCESS.)
1850s, a less frequently used dry-collodion Techniques. the name monotype.
PAPER NEGATIVE—A negative made by process was developed, which did not
DRYPOINT—A technique often used in con- PEN LITHOGRAPH—See LITHOGRAPH.
applying a series of solutions to create require exposing a wet negative. (Invented
junction with etching, in which a steel or
light-sensitive salts on paper. In order to 1848; commonly used 1850s—7os.) ROULETTE—A spiked wheel used to create
diamond point is used to scratch directly
make the paper more transparent, it is a tone or dotted lines directly on the print-
into the printing plate.
sometimes treated with a wax or gelatin ing plate.
coating. Individual paper fibers are often ETCHING—A printing process in which an
SOFT-GROUND ETCHING—See ETCHING.
visible in prints made from paper nega- artist covers a printing plate (traditionally
tives. See also SALT PRINT, CALOTYPE, and made of copper) with a waxy ground, and STATE—A stage in the progress of a print
ALBUMEN PRINT. (First used in 1840.) then draws in the ground with a point or at which impressions are printed. Only the
needle, exposing the plate. The plate is addition or deletion of marks on the plate,
then submerged in acid, which bites away stone, or block is considered a change of
at the plate only where the ground has state.

274
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289
 Figure Illustrations

Fig. 1. Paul Huet Fig. 8. Claude Monet Fig. 16. Jean-Francois Millet Fig. 24. Dennis Miller Bunker
The Forest of Compiégne, about 1830 La Grenouillére, 1869 Harvesters Resting (Ruth and Boaz), 1850-53 American, 1861-1890
Oil on canvas Oil on canvas Oil on canvas Chrysanthemums, 1888
33.4 X 44.4 Cm (13% X 174% in.) 74.6 X 99.7 cm (29% x 39% in.) 67.3 X 119.7 cm (26% x 47% in.) Oil on canvas
Museum of Fine Arts, Boston The Metropolitan Museum of Art, New Museum of Fine Arts, Boston 90.2 X 121.9 cm (354 x 48 in.)
Juliana Cheney Edwards Collection York Bequest of Mrs. Martin Brimmer 06.2421 Isabella Stewart Gardner Museum, Boston
2002.124 H. O. Havemeyer Collection, Bequest of P3w5
Mrs. H. O. Havemeyer, 1929 29.100.112 Fig. 17. Jean-Francois Millet
Fig. 2. Jean-Baptiste-Camille Corot Young Shepherdess, about 1870-73 Fig. 25. Léon Lhermitte
Old Man Seated on a Trunk, 1826 Fig. 9. Paul Cézanne Oil on canvas French, 1844-1925
Oil on panel Quartier Four, Auvers-sur-Oise (Landscape, 162 X 113 cm (63% X 44% in.) Wheatfield (Noonday Rest), 1890
32.1 X 22.9 cm (12% x 9 in.) Auvers), about 1873 Museum of Fine Arts, Boston Oil on canvas
Museum of Fine Arts, Boston Oil on canvas Gift of Samuel Dennis Warren 77.249 53.3 X 77-5 CM (21 xX 30% in.)
The Henry C. and Martha B. Angell 46.3 X 55.2 cm (18% x 21% in.) Museum of Fine Arts, Boston
Collection 19.79 Philadelphia Museum of Art Fig. 18. Thomas E, Marr Bequest of Julia C. Prendergast in mem-ory of
The Samuel S. White 3rd, and Vera White American, 1849-1910 her brother James Maurice Prendergast 44.38
Fig. 3. Jean-Francois Millet Collection 1967-30-16 Picture gallery, Museum of Fine Arts,
The Sower, 1850 Photograph by Eric Mitchell, 1983 view to the southeast, 1902 Fig. 26. Claude Monet
Oil on canvas Museum of Fine Arts, Boston Boulevard Saint-Denis, Argenteuil, in Winter, 1875
101.6 X 82.6 cm (40 x 32% in.) Fig. 10. Claude Monet Museum Archives, no. 7189 Oil on canvas
Museum of Fine Arts, Boston Cliffs of the Petites Dalles, 1880 60.9 X 81.6 cm (24 x 32% in.)
Gift of Quincy Adams Shaw through Oil on canvas Fig. 19. Henri Regnault Museum of Fine Arts, Boston
Quincy Adams Shaw, Jr., and Mrs. Marian 60.6 X 80.3 cm (23% x 31% in.) French, 1843-1871 Gift of Richard Saltonstall 1978.633
Shaw Haughton 17.1485 Museum of Fine Arts, Boston Automedon with the Horses of Achilles, 1868
Denman Waldo Ross Collection 06.116 Oil on canvas Fig. 27. Claude Monet
Fig. 4. Jean-Baptiste-Camille Corot 315 X 329 cm (124 x 129% in.) The Seine at Lavacourt, 1880
A Morning, Dance of the Nymphs, 1850 Fig. 11. Alfred Sisley Museum of Fine Arts, Boston Oil on canvas
Oil on canvas Overcast Day at Saint-Mammeés, about 1880 Gift by subscription 90.152 61 X 81.2 cm (24 x 32 in.)
97 X 131 cm (38% X 52 in.) Oil on canvas Fogg Art Museum, Harvard University Art
Musée d'Orsay, Paris/ Art Resource, New 54.9 X 74 cm (21% x 29% in.) Fig. 20. William Morris Hunt Museums/Bridgeman Art Library FOG126726
York R.E 73 Museum of Fine Arts, Boston American, 1824-1879
Photograph by Erich Lessing Juliana Cheney Edwards Collection Self-Portrait, 1849 Fig 28. Claude Monet
39.679 Oil on canvas Valley of the Creuse (Gray Day), 1889
Fig. 5. Gustave Le Gray 27.3 X 21.3 cm (10% x 8% in.) Oil on canvas
Seascape—Mediterranean with Mount Agde, Fig. 12. Pierre-Auguste Renoir Museum of Fine Arts, Boston 64.5 X 81.3 cm (25% x 32 in.)
1856-59 Grand Canal, Venice, 1881 Gift of William Perkins Babcock 92.2742 Museum of Fine Arts, Boston
Photograph, albumen print from wet col- Oil on canvas Denman Waldo Ross Collection 06.115
lodion glass negative 54 X 65.1 cm (21% x 25% in.) Fig. 21. William Morris Hunt
30.7 X 40 Cm (12% X 15% in.) Museum of Fine Arts, Boston American, 1824-1879 Fig. 29. Katsushika Hokusai
Museum of Fine Arts, Boston Bequest of Alexander Cochrane 19.173 The Belated Kid, 1854-57 Japanese, 1760-1849
Gift of Charles Millard in honor of Alan Oil on canvas The Yoshitsune Horse-washing Waterfall at Yoshino,
and Nancy Shestack 1997.240 Fig. 13. Claude Monet 137.8 X 98.4 cm (54% X 38% in.) about 1832
Cap Martin, near Menton, 1884 Museum of Fine Arts, Boston Woodblock print
Fig. 6. Jean-Francois Millet Oil on canvas Bequest of Miss Elizabeth Howes 07.135 35.8 X 25.6 cm (14% X I0 %e in.)
Twilight, 1859-63 67.3 X 81.6 cm (26% x 31% in.) Museum of Fine Arts, Boston
Black conté crayon and pastel on buff Museum of Fine Arts, Boston Fig. 22. Gustave Courbet William S. and John T. Spaulding Collection
wove paper Juliana Cheney Edwards Collection The Quarry, 1856 21.6686
50.5 X 38.9 cm (19% X 15 %e in.) 25.128 Oil on canvas
Museum of Fine Arts, Boston 210.2 X 183.5 cm (82% x 72% in.) Fig. 30. Claude Monet
Gift of Quincy Adams Shaw through Fig. 14. Claude Monet Museum of Fine Arts, Boston Valley of the Petite Creuse, 1889
Quincy Adams Shaw, Jr., and Mrs. Marian Old Fort at Antibes, 1888 Henry Lillie Pierce Fund 18.620 Oil on canvas
Shaw Haughton 17.1518 Oil on canvas 65.4 X 81.3 cm (25% X 32 in.)
65.4 X 81 cm (25% x 31% in.) Fig. 23. John Singer Sargent Museum of Fine Arts, Boston
Fig. 7. Claude Monet Museum of Fine Arts, Boston American, 1856-1925 Bequest of David P. Kimball in memory of
Woodgatherers at the Edge of the Forest, Anonymous gift 1978.634 Claude Monet Painting by the Edge of a his wife Clara Bertram Kimball 23.541
about 1864 Wood, 1887
Oil on panel Fig. 15. Thomas E. Marr Oil on canvas Fig. 31. Edgar Degas
59.7 X 90.2 cm (23% xX 35% in.) American, 1849-1910 54 X 64.8 cm (21% X 25% in.) Orchestra Musicians, 1870-71
Museum of Fine Arts, Boston Picture gallery, Museum of Fine Arts, Tate Gallery, London/ Art Resource, New Oil on canvas
Henry H. and Zoé Oliver Sherman Fund view to the northeast, 1902 York 69 x 49 cm (27% x 19% in)
1974.325 Museum of Fine Arts, Boston Presented by Miss Emily Sargent and Mrs. Stadelsches Kunstinstitut, Frankfurt /Artothek
Museum Archives, no. 7190 Ormond through the National Art $G237
Collections Fund, 1925 N4103

290
Fig. 32. Pierre-Henri de Valenciennes Fig. 38. Simon de Vlieger Fig. 45. Edouard Manet Oil on canvas
At the Villa Farnese: Houses among the Trees Dutch, about 1600-1653 French, 1832-1883 61.2 X 128 cm (24% x 50% in.)
Oil on paper on cardboard Sleeping Peasants near Fields (Parables of the The Railway, 1873 Musée d'art et d’histoire, Ville de Genéve
26 X 39.5 Cm (10% X 15% in.) Weeds), 1650-53 Oil on canvas 1918-25
Musée du Louvre, Paris Oil on canvas 93.3 X III.5 cm (36% x 45% in.)
Réunion des Musées Nationaux/ Art 90.4 X 130.4 CM (35% X 51% in.) National Gallery of Art, Washington Fig. 53. Paul Signac
Resource, New York ART160030 The Cleveland Museum of Art Gift of Horace Havemeyer in Memory of The Seine at Herblay, 1889
Mr. and Mrs. William H. Marlatt Fund his mother, Louisine W. Havemeyer Oil on canvas
Fig. 33. Claude Lorrain 1975.76 1956.10.1 33 X 55 cm (13 X 21% in.)
French, 1600-1682 Photograph © Board of Trustees, Musée d'Orsay, Paris/ Art Resource, New
Landscape with a Temple of Bacchus, 1644 Fig. 39. Richard Parkes Bonington National Gallery of Art, Washington York
Oil on canvas English, 1801-1828 Photograph © Réunion des Musées
96.5 X 123.1 cm (37 x 454 in.) Rouen, before 1822 Fig. 46. Pierre-Auguste Renoir Nationaux
National Gallery of Canada, Ottawa Watercolor on paper The Seine at Chatou, about 1871
Purchased, 1939 4422 18.1 X 23.8 cm (74 x 9% in.) Oil on canvas Fig. 54. Georges Seurat
The Wallace Collection, London 46.7 X 56.1 cm (18% x 22% in.) French, 1859-1891
Fig. 34. Théodore Rousseau Reproduced by permission of the Art Gallery of Ontario, Toronto Head of a Woman, study for the painting
Cattle Descending the Jura, 1834-35
Trustees P704 Purchase, 1935 2304 Sunday Afternoon on the Island of La Grande
Jatte, about 1884-85
Oil on canvas
Fig. 40. Louis-Auguste Bisson Fig. 47. Claude Monet Black conté crayon on cream laid paper
259 X 166 cm (102 x 65% in.)
French, 1814-1876 The Sheltered Path, 1873 29.8 X 21.6 cm (11% x 8% in.)
Musée de Picardie, Amiens/ Art Resource,
Auguste-Rosalie Bisson Oil on canvas Smith College Museum of Art,
New York 65 DN 5100
French, 1826-1900 54.5 X 65.4 cm (21/4 x 25% in.) Northampton, Massachusetts
Photograph © Réunion des Musées
Alpine View, Mer de Glace, about 1860 Philadelphia Museum of Art Purchased, Tryon Fund, 1938 1938:10-1
Nationaux
Photograph, albumen print from glass- Giit of Mr. and Mrs. Hughs Norment in
plate negative honor of William H. Donner 1972-227-1 Fig. 55. Francois Boucher
Fig. 35. Johannes van Doetechum,
Image: 30.5 X 44.5 cm (12 x 174 in.) French, 1703-1770
the Elder Sheet: 42.2 x 61 cm (16% x 24 in.) Fig. 48. Théodore Rousseau Spring, 1745
Dutch, died 1605 Museum of Fine Arts, Boston Oak Trees in the Gorge of Apremont, about Oil on canvas
Lucas van Doetechum Ernest Wadsworth Longfellow Fund 1850-52 100.3 X 135.6 cm (39% X 53% in.)
Dutch, died after 1589 2000.776 Oil on canvas The Wallace Collection, London
Praediorum Villarum: pl. 14 (Village with 63.5 X 99.5 cm (25 x 39% in.) Reproduced by permission of the
Pond and Church Tower), 1561 Fig. 41. Jean-Baptiste-Camille Corot Musée du Louvre, Paris/ Art Resource, Trustees P445
Etching retouched with engraving Bacchante with a Panther, 1860, reworked New York
Platemark: 16.2 x 20.5 cm (6% x 8 % in.) about 1865-70 Bequest of Thomy Thiéry, 1902 1447 Fig. 56. Camille Pissarro
Sheet: 17.2 x 24 cm (6% x 9%e in.) Oil on canvas The Cote des Boeufs at L’Hermitage, 1877
National Gallery of Art, Washington 54.6 X 95.3 cm (21% X 37% in.) Fig. 49. Paul Cézanne Oil on canvas
Rosenwald Collection 1964.8.500 Shelburne Museum, Shelburne, Vermont Bottom of the Ravine, about 1879 115 X 87.5 cm (45% X 34% in.)
Photograph © Board of Trustees, 27.1.1-226 Oil on canvas National Gallery, London NG4197
National Gallery of Art, Washington 73 X54 cm (28% x 21% in.)
Fig. 42. Claude Monet The Museum of Fine Arts, Houston Fig. 57. Jean-Baptiste-Camille Corot
Fig. 36. Meindert Hobbema Rue de la Bavolle, Honfleur, about 1864 Gift of Audrey Jones Beck 98.274 Souvenir of Mortefontaine, 1864
Dutch, 1638-1709 Oil on canvas Oil on canvas
Farmland with a Pond and Trees, about 58 x 63 cm (22% x 24% in.) Fig. 50. Paul Cézanne 65 x 89 cm (25% xX 35 in.)
1663-64 Stadtische Kunsthalle, Mannheim 299 Picnic on a River, about 1872-75 Musée du Louvre, Paris/ Art Resource,
Oil on canvas Photograph by Margitta Wickenhauser Oil on canvas New York MI 692 bis
96.5 X 128.3 cm (38 x 50% in.) 26.4 X 34 cm (10% x 13% in.)
Taft Museum of Art, Cincinnati, Ohio Fig. 43. Claude Monet Yale University Art Gallery, New Haven, Fig. 58. Paul Gauguin
The Old “Le Pollet” Quarter of Dieppe, Connecticut Fatata te Moua, 1892
Bequest of Charles Phelps and Anna
1856-57 Gift of Mr. and Mrs. Paul Mellon, Oil on canvas
Simon Taft 1931.407
Graphite and watercolor on scratchboard B.A. 1929 1983.7.6 68 X 92 cm (26% x 36% in.)
13.4 X 21.9 cm (5% X 8% in.) The State Hermitage Museum, Saint
Fig. 37. Meindert Hobbema
Museum of Fine Arts, Boston Fig. 51. Camille Pissarro Petersburg, Russia
Dutch, 1638-1709
Gift of Elizabeth K. Davis 1998.577 Standing Peasant Girl, about 1884
A Pond in a Forest, 1668
Black chalk and watercolor Fig. 59. Paul Gauguin
Oil on panel Where Do We Come From? What Are We?
Fig. 44. Utagawa Hiroshige 50.6 X 39 cm (19% X 15% in.)
60 x 84.5 cm (23% x 33% in.)
Japanese, 1797-1858 Whitworth Art Gallery, Manchester, Where Are We Going? 1897-98
Allen Memorial Art Museum, Oberlin
The Five Pines at Onakigawa, 1856 England Oil on canvas
College, Ohio 139.1 X 374.6 cm (54% X 147% in.)
Color woodcut
Mrs. F. FE. Prentiss Bequest, 1944 44.52
34 X 22.2 cm (13% x 8% in.) Fig. 52. Ferdinand Hodler Museum of Fine Arts, Boston
Philadelphia Museum of Art Swiss, 1853-1918 Tompkins Collection 36.270
Gift of Mrs. Anne Archbold, 1946 Lake of Geneva and the Range of Mont-
1946-66-92 Blanc, at Dawn, 1918

291
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‘ony|
GEORGE T. M. SHACKELFORD is Chair, Art of Europe,
at the Museum of Fine Arts, Boston. A specialist in
Impressionist painting and graphic arts, he was curator
of the groundbreaking 1984 exhibition Degas: The Dancers
at the National Gallery of Art. Shackelford has written
and lectured extensively on the art of the nineteenth
century. His most recent projects have included Monet in
the Twentieth Century (1998), Van Gogh: Face to Face (2000),
and Impressionist Still Life (2001).

FRONIA E, WISSMAN, a specialist in nineteenth-

century French landscape painting, received her Ph.D.
from Yale University. A freelance author and editor, she
has contributed essays to the exhibition catalogue From
Corot to Monet: The Rise of French Landscape Painting (1991)
and to Corot, un artiste et son temps (1998), a volume of
papers published on the occasion of a symposium on
Corot held at the Musée du Louvre.

Jacket front: Pierre-Auguste Renoir, The Seine at Chatou

(detail), 188r.

Jacket back: Jean-Baptiste-Camille Corot, Mother and

Child in a Wooded Landscape (detail), 1856.

Jacket design by Cynthia Rockwell Randall

PRINTED IN ITALY
ISBN 0-87846-646-0

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