First Impressionist Exhibition

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First Impressionist Exhibition
Cover of the catalog of the First Impressionist Exhibition
Native name Première exposition des peintres impressionnistes
DateApril 15 – May 15, 1874 (1874-04-15 – 1874-05-15)
Venue35 Boulevard des Capucines
LocationParis, France
Also known asThe Exhibition of the Impressionists
TypeArt exhibition
Organized bySociété anonyme des artistes peintres, sculpteurs, graveurs, etc.

The First Impressionist Exhibition was an art exhibition held by the Société anonyme des artistes peintres, sculpteurs, graveurs, etc.,[a] a group of nineteenth-century artists who had been rejected by the official Paris Salon and pursued their own venue to exhibit their artworks. The exhibition was held in April 1874 at 35 Boulevard des Capucines, the studio of the famous photographer Nadar. The exhibition became known as the "Impressionist Exhibition" following a satirical review by the art critic Louis Leroy in the 25 April 1874 edition of Le Charivari entitled "The Exhibition of the Impressionists". Leroy's article was the origin of the term Impressionism.

History[edit]

Background[edit]

In mid-19th century France, artists depended on public exhibitions to connect them with patrons willing to buy their artworks. The most prestigious exhibition was the Salon in Paris. From the earliest Salons in the 17th century until the French Revolution in 1789, only members of the Académie royale de peinture et de sculpture were permitted to exhibit artworks. Following the revolution and the abolishment of the Royal Academy in 1791, non-member artists were permitted to exhibit artworks in the Salon. With the exception of a short period of a few years following the French Revolution of 1848, the artworks displayed at the Salon were chosen by a jury consisting of members of the Académie des Beaux-Arts.[1] Being accepted to the Salon was vital for artists because the jury's decision affected the public's perception of artworks. Paintings that had been accepted by the Salon were more likely to sell, and the public would often refuse to purchase paintings that had been rejected. Patrons would sometimes even return paintings that had been purchased beforehand if they had been rejected by the jury.[2] Artists who were rejected by the jury often complained about corruption and unfairness.[3] Disagreements among artists with the official standards of the Salon and the Académie des Beaux-Arts would lead to artists seeking alternative venues for promoting their art.

The Salon of 1863 was particularly controversial with artists. A new rule was established that limited artists to three artworks each. The jury was also stricter than it had been in previous years, rejecting three-fifths of all submissions. Even artists who had been regularly admitted were rejected. Louis Martinet, who had previously displayed artworks rejected from the Salon in his gallery, did not room to host all of the rejected artists.[4] After hearing about the controversy, Emperor Napoleon III visited Palais de l'Industrie where the Salon was to be held and consulted with the president of the jury. Two days later, it was announced that there would be a second elective Salon, a Salon des Refusés ("Salon of the Refused"), to exhibit the rejected artworks.[5]

Le Déjeuner sur l'herbe by Édouard Manet, exhibited at the Salon des Refusés in 1863.

The artwork to attract the most visitors at the Salon des Refusés was the painting Le Déjeuner sur l'herbe by Édouard Manet.[6] Manet had painted it specifically for the Salon, and had hoped that it would bring him success.[7] When it was rejected, Manet chose to display it at the Salon des Refusés in hopes that the public would side with him against the jury and prove the jury wrong.[8] The painting proved to be controversial with among critics. Many critics criticized it for the indecency of its subject matter. Manet was also widely criticized for painting technique, which some critics considered sloppy. Despite this criticism, other critics lauded his technique, and described it as "fresh" and "lively".[9][10] The scandal surrounding Édouard Manet and the Salon des Refusés brought several younger artists into his social circle.[11]

A Studio at Les Batignolles by Henri Fantin-Latour

Manet was a frequent visitor at the Café Guerbois, located at 11 Grande rue des Batignolles in Paris. There he regularly met with many of his admirers, friends, and fellow artists. Some of the artists that regularly visited the café were Claude Monet, Pierre-Auguste Renoir, Frédéric Bazille, Edgar Degas, Camille Pissarro, and Paul Cézanne. Émile Zola and Edmond Maître were also occasional visitors. The famous photographer Gaspard-Félix Tournachon, better known by his pseudonym Nadar, also sometimes visited the café.[12] The artists that frequented the Café Guerbois called themselves the Batignolles group. They chose to refer to themselves as a "group" rather than a "school" because, although they all had contempt for "official art", they all sought their own directions.[13]

The members of the Batignolles group had differing opinions about the Salon. Manet and Renoir believed that the Salon offered them the best chance at gaining recognition. Cézanne, on the other hand, believed that they should always submit their most "offensive" pictures to the Salon as a means of challenging established customs.[14] Despite their differing views, the members of the Batignolles group regularly submitted their artworks to that annual Salon. All members of the group except for Cézanne had been accepted into the Salon at least once.[15]

The Exhibition of the Impressionists[edit]

Claude Monet and Frédéric Bazille first proposed that the Batignolles group hold their own exhibition at their own expense in 1867. The group was unable to hold an exhibition then due to a lack of funds. Following the Salon of 1873 and the Exposition artisique des oeuvres refusées, a second Salon des Refusés, Monet once again proposed that the group hold their own exhibition. Bazille, who had died in the Franco-Prussian War in 1870, did not live to participate in the exhibition that he and Monet had once envisioned.[16][17]

Edgar Degas expressed concern that if the exhibition only consisted of members of their own group, their exhibition might be seen by the public and critics as being put on by refusés and suggested that they invite outside artists and artists who had previously had success in the salon.[18][19] Some of the artists thought that inviting outsiders would change the character of the exhibition. Pierre-Auguste Renoir endorsed Degas's plan to invite outside artists, as a greater number of participating artists would result in a lower cost to each artist. The rest then agreed to Degas's plan.[20] Some of the members of the group opposed Cézanne's participation in the exhibition, however they agreed after Monet supported his participation. Manet would ultimately not participate in the exhibition. He once told the others that it was because he would never participate in an exhibition with Cézanne, however, his main reason was that believed that the only way to succeed was to succeed at the Salon.[21]

A painting of the Boulevard des Capucines in Paris by Claude Monet, painted from the window in Nadar's studio.
One of two 1873 painting of the Boulevard des Capucines in Paris by Claude Monet, painted from the window in Nadar's studio. The other version of this painting was featured in the first Impressionist Exhibition.
A photorgaph of Nadar's Studio at 35 Boulevard des Capucines in 1860
Nadar's Studio at 35 Boulevard des Capucines in 1860.

For the location of the group exhibition, Manet suggest the studio of the photographer Félix Nadar at 35 Boulevard des Capucines, which was sometimes rented out for concerts or lectures. Nadar had recently vacated his studio for a larger one at 51 rue d'Anjou nearby, so it was available for the group to use.[22] Nadar's studio was on the second floor of the building. A staircase led up to a series of large rooms on two floors which received light from the windows.[23] While Nadar preferred more tradition styles of art, he sympathized with the group's anti-establishment stance.[22] According to Monet, Nadar allowed the group to use his studio for free.[23]

On Pissarro's suggestion, the group formed a joint-stock company. The charter was signed on December 27, 1873. The initial signers of the charter were Monet, Renoir, Sisley, Degas, Berthe Morisot, Pissarro, Béliard, Guillaumin, Lepic, Levert, and Rourt.[24] For the name of the group, Renoir and Degas wanted neutral name that would not be associated with a particular style or suggest a new "school" of art.[23][25] Degas suggested that the group be called La Capucine after their exhibition space at 35 Bouleveard des Capucines, with a capucine flower as their logo.[23][26] In the end, the members of group settled on the name Société anonyme des artistes peintres, sculpteurs, graveurs, etc.[a][25]

The Première exposition of the Société anonyme opened on April 15, 1874. They chose to open the exhibition two weeks before the Salon of 1874 in hopes of emphasizing to the public that it was not another Salon des Refusés.[27] The exhibition was open for one month, from ten in the morning to six in the evening. It was also open from eight to ten in the evening. The entrance fee was one franc, and the catalog was sold for fifty centimes.[28] Throughout its entire duration, the exhibition received about 3,500 visitors in total. This was significantly fewer than the Salon of 1874, which received about 400,000 visitors in total.[29] Most of the media coverage of exhibition came from left-wing and republican publications. Most of the conservative press chose not to provide platform to those who opposed official arts policy.[30]

On April 25, the satirical magazine Le Charivari published a review of the exhibition by Louis Leroy titled "L'Exposition des impressionnistes".[b] The satirical review was written in the form of a dialog between Leroy and a fictional[31] academic landscape painter named Joseph Vincent. In the review, as Leroy guides Vincent through the exhibition, Vincent is shocked and aghast at style of the paintings. Leroy begrudgingly defends each painting by saying that, while they are not accurate depictions, they have an impression of what they are supposed to depict. Vincent repeatedly mocks Leroy's use of the word "impression", and begins to refer to the artists collectively as "impressionists". When Vincent finally reaches Cézanne's A Modern Olympia, he is driven mad at its sight and begins to hallucinate that the paintings are talking to him.[32] Leroy's article was intended to be just as much of a spoof of the reactions of conservative academic painters to the "Impressionists" as it was a mockery of Impressionists themselves.[33]

The painting "Impression, Sunrise" by Claude Monet.
Impression, Sunrise by Claude Monet, 1873.

Louis Leroy's review was the first use of the term "Impressionists", a term that would come to refer to the artists who painted in style of Impressionism. Leroy's use of the word "impression" derived from the title of Claude Monet's painting Impression, Sunrise. Monet chose to call his painting an "impression" after Edmond Renoir (the brother of Pierre-Auguste Renoir), the editor of the exhibition catalog, complained that the titles of his paintings were too monotonous. Monet told him "Why don't you just put Impression!"[28] Critics had sometimes previously used the term "impression" in reference to the landscape paintings of Camille Corot, Charles-François Daubigny, and Johan Jongkind. The members of the Batignolles group had also previously used the term "impression" in reference to creating "impressions of nature".[34]

The First Impressionist Exhibition was a commercial failure. Money earned from entrance fees, catalog sales, commissions on painting sales, etc. amounted to 10,221.50 francs. Expenses from rent, decorations, insurance, wages, etc. amounted to 9,272.20 francs. The remaining 949.20 francs were added to 2,359.50 in outstanding shares. In December of 1874, Renoir called a meet where he announced that, after paying off all debts, the Société anonyme still owed over 3,700 francs in liabilities, but only had about 278 francs remaining. All of the members still owed about 185 francs each. The group was then liquidated, and members that had already paid their dues for the next year were refunded.[35]

Legacy[edit]

Despite the commercial and critical failure of the First Impressionist Exhibition and the Société anonyme, the Impressionists would not be dissuaded from pursuing their own style and would hold seven more Impressionist Exhibitions. A second exhibition was held in 1876, a third 1877, a fourth in 1879, a fifth in 1880, a sixth 1881, a seventh in 1882, and an eight and final exhibition was held in 1886.[36]

Commemorative exhibitions[edit]

In 1974, the Louvre and the Metropolitan Museum of Art held an exhibition titled Impressionism: A Centenary Exhibition to celebrate the one-hundredth anniversary of the first Impressionist exhibition. The goal of the exhibition was to exhibit some of the most significant Impressionist works that were painted from approximately 1860 thorough the late 1880s.[37] Forty-two paintings were included in the exhibition. The version of the exhibition held at the MET included additional galleries of other contemporaneous paintings to help put the Impressionist paintings in context as well as later Impressionist and Post-Impressionist paintings.[38]

Reception[edit]

A caricature of the First Impressionist Exhibition by Charles Amédée de Noé. The caption reads: "Impressionist painting: a revolution in painting that is starting to spread alarm."
A caricature of the First Impressionist Exhibition by Charles Amédée de Noé. The caption reads: "Impressionist painting: a revolution in painting that is starting to spread alarm."[39]

Much of the critical reception to the First Impressionist Exhibition was negative. Many of the critics commented that the paintings looked unfinished.[40]

Participating artists[edit]

The exhibition catalog lists thirty artists as participated in the First Impressionist Exhibition in 1874.[41] A thirty-first artist, the Comtesse de Luchaire, was mentioned as participating in the exhibition in a review by Marc de Montifaud, but was not listed among the participating artists in the catalog.[42][43]

List of artworks[edit]

The exhibition catalog for the First Impressionist Exhibition lists artworks as numbered 1 through 165. Several of these entries contain multiple artworks each, and there are no entries listed for numbers 71, 72, and 73.[41] Three artworks were shown at the exhibition hors catalogue ("out of catalog"), meaning that they were exhibited but were not listed in the catalog. These artworks have been identified as being displayed at the exhibition through references in contemporary reviews.[44][45] These hors catalogue artworks are numbered as "HC#" in the list below.

Artworks at the First Impressionist Exhibition
No. Title Image Artist Date Technique Dimensions Current Location Notes
1. Le Bouquet à la Pénitente Zacharie Astruc Watercolor
2. La Leçon du vieux Torrero Zacharie Astruc Watercolor
3. Frame of figures containing:
  1. Dames flamandes à leur fenêtre
  2. Scène de Somnambulisme
  3. Enfants flamands dans une serre
  4. Poupées japonaises
  5. Les Présents chinois (Londres)
  6. Intérieur parisian
 Zacharie Astruc
Zacharie Astruc
Zacharie Astruc
Zacharie Astruc
Zacharie Astruc Watercolor on paper 38 cm × 55 cm (15 in × 22 in) Private collection [46]
Zacharie Astruc 1874 Watercolor on vellum paper 36.4 cm × 28.4 cm (14.3 in × 11.2 in) Musée d'Évreux [47][48]
4. Frame of landscapes containing:
  1. Estaminet dans les Flandres
  2. Jardins de Schaerbeck
  3. Intérieur d'estaminet
  4. Étang de Saint Josse-ten-Noode (Flandres)
 Zacharie Astruc
Zacharie Astruc
Zacharie Astruc
Zacharie Astruc
5. Les Poupées blanches (Japon) Zacharie Astruc
6. Le Ménage mal assorti Zacharie Astruc
7. Nature morte Antoine-Ferdinand Attendu
8. Un fin Connaisseur Antoine-Ferdinand Attendu
9. Quelques réflexions (au XIIIe arrondissement) Antoine-Ferdinand Attendu
11. Nature morte: Cuisine Antoine-Ferdinand Attendu Watercolor
12. Nature morte: Cuisine Antoine-Ferdinand Attendu Watercolor
13. Le Fort de la Halle Édouard Béliard
14. Saules Édouard Béliard
15. Rue de l'Hermitage, à Pontoise Édouard Béliard
16. Vallée d'Auvers Édouard Béliard
17. Le Toulinguet, côtes de Camaret (Finistère) Eugène Boudin
18. The Coast of Portrieux, Cotes-du-Nord Eugène Boudin 1874 Oil on canvas 85 cm × 148 cm (33 in × 58 in) Private collection [i][49]
19. The Coast of Portrieux, Cotes-du-Nord Eugène Boudin See above.
20. 4 Cadres (même numéro). Études de ciel ("4 Frames (same number). Sky studies") Eugène Boudin Pastels
21. 2 Cadres (même numéro). Études diverses ("4 Frames (same number). Various studies") Eugène Boudin Pastels
22. 4 Cadres (même numéro). Plage de Trouville ("4 Frames (same number). Trouville Beach") Eugène Boudin Watercolors
23. Portrait Félix Bracquemond Drawing
24. Frame of etchings: Portraits of MM.
  1. Robert
  2. Meyer Heine
  3. Hoschedé
  4. Edwards
  5. Aug. Compte
  6. Ch. Kean
  7. A. Legros
  8. Meryon
  9. Th. Gauthier
  10. Th. Gautier (le Tombeau)
  11. Baudelaire
  12. Madame Graner)
 Félix Bracquemond Etching 33 cm × 23 cm (13.0 in × 9.1 in) [47]
Félix Bracquemond Etching 21.8 cm × 24.5 cm (8.6 in × 9.6 in) [47]
Félix Bracquemond Etching 27.5 cm × 10 cm (10.8 in × 3.9 in) [47]
Félix Bracquemond Etching 16.4 cm × 14.5 cm (6.5 in × 5.7 in) [47]
Félix Bracquemond Etching 19 cm × 13.5 cm (7.5 in × 5.3 in) New York Public Library [50]
Félix Bracquemond Etching 22.8 cm × 13.5 cm (9.0 in × 5.3 in) [50]
Félix Bracquemond Etching 17 cm × 11.5 cm (6.7 in × 4.5 in) [50]
Félix Bracquemond Etching 12 cm × 8.8 cm (4.7 in × 3.5 in) [50]
Félix Bracquemond Etching 15.4 cm × 12.1 cm (6.1 in × 4.8 in) [51]
Félix Bracquemond Etching 15.4 cm × 9.8 cm (6.1 in × 3.9 in) [51]
Félix Bracquemond Etching 10.5 cm × 7 cm (4.1 in × 2.8 in) [52]
Félix Bracquemond Etching 24.5 cm × 16.2 cm (9.6 in × 6.4 in) [52]
25. Frame of etchings:
  1. La Locomotive (D'après Turner)
  2. Le Lièvre (D'après A. de Belleroy)
  3. Le Divan (D'après Manet)
  4. Le Tournoi (D'après Rubens)
  5. La Source (D'après Ingres)
  6. La Servante (D'après Leys)
 Félix Bracquemond Etching 20.2 cm × 26.3 cm (8.0 in × 10.4 in) [52]
Félix Bracquemond Etching 17.9 cm × 25 cm (7.0 in × 9.8 in) [52]
Félix Bracquemond Etching 22.1 cm × 32.4 cm (8.7 in × 12.8 in) Cabinet des estampes, Bibliothèque nationale de France [52]
Félix Bracquemond Etching 27.2 cm × 39.5 cm (10.7 in × 15.6 in) [52]
Félix Bracquemond Etching 31.3 cm × 16.2 cm (12.3 in × 6.4 in) [53]
Félix Bracquemond Etching 14.3 cm × 22.8 cm (5.6 in × 9.0 in) [53]
26. Frame of etchings:
  1. Les Saules
  2. Les Arbres de la manufacture à Sèvres
  3. Les Charmes
  4. Les Bouleaux
  5. La Montèe de Bellvue
  6. Le Mur
  7. Les Bachots
 Félix Bracquemond Etching 20.3 cm × 29.5 cm (8.0 in × 11.6 in) [53]
(No free image) Félix Bracquemond Etching 14 cm × 31.7 cm (5.5 in × 12.5 in) [53]
Félix Bracquemond Etching
Félix Bracquemond Etching 21.3 cm × 15.2 cm (8.4 in × 6.0 in) [53]
Félix Bracquemond Etching 10 cm × 31 cm (3.9 in × 12.2 in) [53]
(No free image) Félix Bracquemond Drypoint 23 cm × 31 cm (9.1 in × 12.2 in) [54]
Félix Bracquemond Drypoint 25 cm × 34.9 cm (9.8 in × 13.7 in) [55]
27. Frame of engravings:
  1. Le Chemin du parc
  2. Frontispice pour les "Fleurs de mal"
  3. Margot la critique
  4. Bois de Boulogne
  5. La Mort de Matamore (Capitain Fracasse)
 Félix Bracquemond Etching and aquatint 21.5 cm × 23 cm (8.5 in × 9.1 in) [56]
Félix Bracquemond Etching 18 cm × 12 cm (7.1 in × 4.7 in) [56]
Félix Bracquemond Etching 24 cm × 21 cm (9.4 in × 8.3 in) [56]
Félix Bracquemond Etching 16.1 cm × 11 cm (6.3 in × 4.3 in) [56]
Félix Bracquemond Etching 16 cm × 22.5 cm (6.3 in × 8.9 in) [57]
28. Frame of engravings:
  1. Portrait d'Erasme, D'après Holbein, Premier État
  2. Portrait d'Erasme, D'après Holbein, État
 Félix Bracquemond Etching 24.8 cm × 19.7 cm (9.8 in × 7.8 in) Unknown [57]
Félix Bracquemond Etching 24.8 cm × 19.7 cm (9.8 in × 7.8 in) [57]
29. Scene in a Synagogue Jacques Émile Édouard Brandon 1869-70 Oil on canvas 156.9 cm × 88.3 cm (61.8 in × 34.8 in) Philadelphia Museum of Art [57]
30. Portrait de M. A. Z. Jacques Émile Édouard Brandon
31. Watercolors Jacques Émile Édouard Brandon Watercolors
32. Exposition du corps de Sainte-Brigitte à Rome, en 1392 Jacques Émile Édouard Brandon
32. (bis) Le Maître d'ecole (No free image) Jacques Émile Édouard Brandon Lithograph 16 cm × 21 cm (6.3 in × 8.3 in) Cabinet des estampes, Bibliothèque nationale de France [58]
33. Le Clocher de Jouy-le-Comte Pierre-Isidore Bureau
34. Près de l'étang de Jouy-le-Comte Pierre-Isidore Bureau
35. Moonlight on the banks of the Oise in Isle-Adam Pierre-Isidore Bureau 1867 Oil on canvas 33 cm × 41 cm (13 in × 16 in) Musée d'Orsay [59]
35. (bis) Clair-de-Lune Pierre-Isidore Bureau
36. Portrait de Madame Ed. G. Adolphe-Félix Cals
37. Le Bon Père Pêcheur à Honfleur (No free image) Adolphe-Félix Cals 1874 Oil on canvas 120 cm × 100 cm (47 in × 39 in) Unknown [60]
38. Vieux pêcheur Adolphe-Félix Cals 1873 Oil on canvas 115.9 cm × 88.9 cm (45.6 in × 35.0 in) Private collection [60]
39. Paysage Adolphe-Félix Cals
40. Bonne Femme tricotant Adolphe-Félix Cals
41. La Fileuse bleue (No free image) Adolphe-Félix Cals 1860 Oil on canvas 39 cm × 30 cm (15 in × 12 in) Unknown [60]
42. The Hanged Man's House Paul Cézanne 1873 Oil on canvas 55 cm × 66 cm (22 in × 26 in) Musée d'Orsay, Paris [61]
43. A Modern Olympia Paul Cézanne 1873-74 Oil on canvas 46.2 cm × 55.5 cm (18.2 in × 21.9 in) Musée d'Orsay, Paris [62]
44. Étude: Paysage à Auvers Paul Cézanne 1873 Oil on canvas 46.3 cm × 55.2 cm (18.2 in × 21.7 in) Philadelphia Museum of Art [63]
45. Haurra-Maria Gustave-Henri Colin
46. La Maison du Charpentier Gustave-Henri Colin
47. L'Étang aux poules d'eau Gustave-Henri Colin
48. Marchandes de poissons de Fontarabie (Espange) Gustave-Henri Colin
49. Entrée du port de Pasages (Espange) Gustave-Henri Colin
50. Un Paysan Louis Debras
51. Une Nature morte Louis Debras
52. San Juan de la Rapita (Espagne) Louis Debras Drawing
53. Rembrandt dans son atelier Louis Debras
54. Examen de danse au théâtre Edgar Degas
55. The Dancing Class Edgar Degas 1871 Oil on wood 19.7 cm × 27 cm (7.8 in × 10.6 in) Metropolitan Museum of Art, New York [64]
56. Intérieur de coulisse Edgar Degas Destroyed by artist [65]
57. Blanchisseuse Edgar Degas
58. Départ de Course Edgar Degas Sketch drawing
59. Faux Départ Edgar Degas Drawing
60. Ballet Rehearsal on Stage Edgar Degas 1874 Oil on canvas 65 cm × 81.5 cm (25.6 in × 32.1 in) Musée d'Orsay, Paris [66][ii]
61. Une Blanchisseuse Edgar Degas 1869 Charcoal, white chalk, and pastel on paper 74 cm × 61 cm (29 in × 24 in) Musée d'Orsay, Paris [66]
62. Après le bain Edgar Degas Drawing
63. At the Races in the Countryside Edgar Degas 1869 Oil on canvas 36.5 cm × 55.9 cm (14.4 in × 22.0 in) Museum of Fine Arts, Boston [70]
64. View of the Seine, Paris Armand Guillaumin 1871 Oil on canvas 126.4 cm × 181.3 cm (49.8 in × 71.4 in) Museum of Fine Arts, Houston [71]
65. Temps pluvieux (landscape) Armand Guillaumin
66. Soleil couchant à Ivry Armand Guillaumin 1869 Oil on canvas 65 cm × 81 cm (26 in × 32 in) Musée d'Orsay [72]
67. Clocher de Berk (pas-de-Calais) Louis Latouche
68. Vue des Quais (Paris) Louis Latouche
69. La Plage, marée basse à Berck (Pas-de-Calais) Louis Latouche
70. Sous bois Louis Latouche
74. L'Arrivée de la marée à Cayeux Ludovic-Napoléon Lepic Watercolor
75. La pêche Ludovic-Napoléon Lepic Watercolor
76. Golfe de Naples Ludovic-Napoléon Lepic Watercolor
77. Le Départ pour la pêche du hareng Ludovic-Napoléon Lepic Etching
78. L'Escalier du château d'Aix en Savoie (No free image) Ludovic-Napoléon Lepic 1863 Etching 41 cm × 38.4 cm (16.1 in × 15.1 in) [73]
79. César, Portrait de chien Ludovic-Napoléon Lepic 1861 Etching 32 cm × 24 cm (12.6 in × 9.4 in) [73]
80. Jupiter, Portrait de chein Ludovic-Napoléon Lepic 1861 Etching 34.5 cm × 25.5 cm (13.6 in × 10.0 in) [73]
81. Le canal Saint-Denis Stanislas Lépine
82. La rue Cortot Stanislas Lépine
83. Bank of the Seine Stanislas Lépine 1869 Oil on canvas 30 cm × 58.5 cm (11.8 in × 23.0 in) Musée d'Orsay [74]
84. Bords de l'Essonne Léopold Levert
85. Le Moulin de Touiaux Léopold Levert
86. Près d'Auvers Léopold Levert
HC1 Lieutenant des lanciers Comtesse de Luchaire [iii][42]
87. Estienne Marcel, prévôt des marchands Alfred Meyer Enamel
88. Doña Maria Pacheco, épouse de Don Jaun de Padilla, chef de l'insurrection, qui avait pris le nom de Sainte Ligue des communes sous Charles-Quint Alfred Meyer Enamel
89. Le Firmament Alfred Meyer Enamel
90. Figure d'après Raphaël Alfred Meyer Enamel
91. Figure d'après Raphaël Alfred Meyer Enamel
91. (bis) Idylle Alfred Meyer Drawing
92. The Comming Storm (No free image) Auguste de Molins 1874 Oil on panel 34.6 cm × 55.5 cm (13.6 in × 21.9 in) Private collection, Lausanne [75]
93. Rendez-Vous de chasse (No free image) Auguste de Molins Oil on canvas 35.5 cm × 55 cm (14.0 in × 21.7 in) Private collestion [iv][75]
94. Relai de chiens Auguste de Molins
94. (bis) Rendez-Vous de chasse Auguste de Molins
95. Poppies at Argenteuil Claude Monet 1873 Oil on canvas 50 cm × 65 cm (20 in × 26 in) Musée d'Orsay, Paris [76]
96. Fishing Boats Leaving the Port of Le Havre Claude Monet 1874 Oil on canvas 60 cm × 101 cm (24 in × 40 in) Private collection [77]
97. Boulevard des Capucines Claude Monet 1873 Oil on canvas 61 cm × 80 cm (24 in × 31 in) Pushkin Museum, Moscow [78][v]
98. Impression, Sunrise Claude Monet 1872 Oil on canvas 48 cm × 63 cm (19 in × 25 in) Musée Marmottan Monet, Paris [81][82]
99. Deux croquis ("Two sketches") Claude Monet Pastel
100. Deux croquis ("Two sketches") Claude Monet Pastel
101. Deux croquis ("Two sketches") Claude Monet Pastel
102. Un croquis ("A sketch") Claude Monet Pastel
103. The Luncheon Claude Monet 1868-69 Oil on canvas 150 cm × 230 cm (59 in × 91 in) Städel Museum, Frankfurt [83]
104. The Cradle Berthe Morisot 1872 Oil on canvas 56 cm × 46 cm (22 in × 18 in) Musée d'Orsay, Paris [84]
105. La lecture Berthe Morisot 1873 Oil on canvas 45.1 cm × 72.4 cm (17.8 in × 28.5 in) Cleveland Museum of Art [85][86]
106. Hide-and-Seek Berthe Morisot 1873 Oil on canvas 45 cm × 55 cm (18 in × 22 in) Private collection, New York [87]
107. The Harbor at Lorient Berthe Morisot 1869 Oil on canvas 43.5 cm × 73 cm (17.1 in × 28.7 in) National Gallery of Art, Washington, DC [88]
108. Portrait of Madeleine Thomas Berthe Morisot 1873 Oil on canvas 60 cm × 49.5 cm (23.6 in × 19.5 in) Private collection, New York [89]
109. Le village de Maurecourt Berthe Morisot Pastel on paper 47 cm × 72 cm (19 in × 28 in) Private collection, New York [90]
110. Sur la falaise Berthe Morisot Watercolor on paper 18 cm × 23 cm (7.1 in × 9.1 in) Musée d'Orsay [91]
111. Jeune Femme et enfant sur un banc Berthe Morisot Watercolor on paper 33 cm × 23 cm (13.0 in × 9.1 in) Musée d'Orasy [91]
112. Femme et enfant assise dans un pré Berthe Morisot Watercolor on paper 21 cm × 24.1 cm (8.3 in × 9.5 in) Private collection [91]
HC2 Portrait of Madame Pontillon Berth Morisot 1871 Pastel on paper 81 cm × 65 cm (32 in × 26 in) Musée d'Orasy [vi][92]
113. Barques à plomb Mulot-Durivage
114. La Rampe Mulot-Durivage
115. Paysage près de Blois Giuseppe De Nittis
116. Lever de Lune. Vésuve Giuseppe De Nittis
117. Campagne du Vésuve Giuseppe De Nittis
118. Études de femme Giuseppe De Nittis
118. (bis) Route en Italie Giuseppe De Nittis
119. Amour et Psyché Auguste-Louis-Marie Ottin Marble group
120. Acis et Galathée Auguste-Louis-Marie Ottin Bronze reduction Unknown [vii][93]
121. Jeune Faune Auguste-Louis-Marie Ottin Bronze reduction Unknown [viii][93]
122. Nymphe chasseresse Auguste-Louis-Marie Ottin Bronze reduction Unknown [ix][93]
123. Jeune Femme portant un vase Auguste-Louis-Marie Ottin Terracotta
124. Jeune Femme portant un vase Auguste-Louis-Marie Ottin Terracotta
125. Buste Auguste-Louis-Marie Ottin Terracotta
126. Buste de Ingress Auguste-Louis-Marie Ottin 1840 Plaster reduction 53 cm (21 in) Musée Ingres, Montauban [x][93]
127. Le Dernier Mousse du Vengeur Auguste-Louis-Marie Ottin Plaster
128. Buste de M. B*** Auguste-Louis-Marie Ottin Terracotta
129. Après la messe à la campagne Léon-Auguste Ottin
130. Au Château (sannois) Léon-Auguste Ottin
131. La Butte Montmartre, versant sud Léon-Auguste Ottin
132. La Fête chez Thérèse Léon-Auguste Ottin Watercolor
133. Une Bergerie sans moutons Léon-Auguste Ottin Lithograph
134. At home Léon-Auguste Ottin
135. Marette Léon-Auguste Ottin
136. Orchard in Bloom, Louveciennes Camille Pissarro 1872 Oil on linen 45.1 cm × 54.9 cm (17.8 in × 21.6 in) National Gallery of Art, Washington, DC [95]
137. Hoarfrost Camille Pissarro 1873 Oil on canvas 65.5 cm × 93 cm (25.8 in × 36.6 in) Musée d'Orsay, Paris [96]
138. The Chestnut Trees at Osny Camille Pissarro 1873 Oil on canvas 65 cm × 81 cm (26 in × 32 in) Private collection, New York [97]
139. The Public Garden at Pontoise Camille Pissarro 1874 Oil on canvas 60 cm × 73 cm (24 in × 29 in) Metropolitan Museum of Art [98]
140. June Morning at Pontoise Camille Pissarro 1873 Oil on canvas 55 cm × 91 cm (22 in × 36 in) Staatliche Kunsthalle Karlsruhe [98]
141. The Dancer Pierre-Auguste Renoir 1874 Oil on canvas 142.5 cm × 94.5 cm (56.1 in × 37.2 in) National Gallery of Art, Washington, DC [99]
142. La Loge, ("The Theatre Box") Pierre-Auguste Renoir 1874 Oil on canvas 80 cm × 63.5 cm (31.5 in × 25.0 in) Courtauld Gallery, London [100]
143. La Parisienne Pierre-Auguste Renoir 1874 Oil on canvas 163.2 cm × 108.3 cm (64.3 in × 42.6 in) Amgueddfa Cymru – Museum Wales [100][101]
144. Harvesters Pierre-Auguste Renoir 1873 Oil on canvas 58 cm × 72.5 cm (22.8 in × 28.5 in) Private collection [100]
145. Mixed Flowers in an Earthenware Pot Pierre-Auguste Renoir 1869 Oil on canvas 64.8 cm × 54 cm (25.5 in × 21.3 in) Museum of Fine Arts, Boston [100]
146. Croquis Pierre-Auguste Renoir Pastel
147. Tête de femme (No free image) Pierre-Auguste Renoir Oil on canvas 32 cm × 24.1 cm (12.6 in × 9.5 in) Unknown [100]
148. Ferme bretonne Henri Rouart
149. Levée d'étang Henri Rouart
150. Vue de Melun Henri Rouart
151. Village Henri Rouart
152. Forêt Henri Rouart
153. Route bretonne Henri Rouart
154. Ferme bretonne Henri Rouart Watercolor
155. Maisons béarnaises Henri Rouart Watercolor
155. Maisons béarnaises Henri Rouart Watercolor
157. Eau-forte Henri Rouart
158. Eau-forte Henri Rouart
159. Jeunes filles dans les foins en fleurs Léopold Robert
160. Cadre Léopold Robert Watercolor
161. The Route from Saint-Germain to Marly Alfred Sisley 1872 Oil on canvas 46.4 cm × 61 cm (18.3 in × 24.0 in) McNay Art Museum [102][103]
162. The Ferry of the Ile de la Loge Flood Alfred Sisley 1872 Oil on canvas 46 cm × 61 cm (18 in × 24 in) Ny Carlsberg Glyptotek, Copenhagen [104]
163. The Machine at Marly Alfred Sisley 1873 Oil on canvas 45 cm × 64.5 cm (17.7 in × 25.4 in) Ny Carlsberg Glyptotek, Copenhagen [105]
164. Orchard (No free image) Alfred Sisley 1873 Oil on canvas 50 cm × 73 cm (20 in × 29 in) Private collection, Paris [106]
165. Port Marly, soiré d'hiver Aldred Sisley
HC3 Autumn: Banks of the Seine near Bougival Alfred Sisley 1873 Oil on canvas 46 cm × 62 cm (18 in × 24 in) Montreal Museum of Fine Arts [xi][107]

Catalog notes[edit]

  1. ^ Two paintings by Boudin with identical titles are listed in the catalog of the first Impressionist Exhibition. Another painting by Boudin with an identical is listed in the catalog of the Salon of 1874. The painting listed here may have been one of the two shown at the Impressionist Exhibition, or it may have been the one shown at the Paris Salon.
  2. ^ There are two other versions of this painting in the collection of the Metropolitan Museum of Art. These other two versions were probably painted after the Musée d'Orsay version.[67][68][69]
  3. ^ This artwork was shown at the exhibiton, but neither the artist nor the artwork were listed in the catalog.
  4. ^ This painting may have been either 93 or 94 (bis), as the two listings have identical titles.
  5. ^ Monet painted two paintings titled Boulevard des Capucines. It has been traditionally held that the version in the Nelson-Atkins Museum of Art in Kansas City, Missouri was the version exhibited at the First Impressionist Exhibition. However, recent scholarship has suggested that it was the version that is currently in the Pushkin Museum in Moscow, Russia.[79][80]
  6. ^ This artwork was shown at the exhibition, but was not listed in the catalog.
  7. ^ Catalog items 120, 121, and 122 were smaller bronze versions of Auguste-Louis-Marie Ottin's marble sculptures made for the Medici Fountain in the Luxembourg Gardens in Paris. The current location of these bronze reductions is unknown. Pictured is the full-sized marble version of Acis et Galathée at the gardens, which is located at the center-bottom of the fountain.
  8. ^ Catalog items 120, 121, and 122 were smaller bronze versions of Auguste-Louis-Marie Ottin's marble sculptures made for the Medici Fountain in the Luxembourg Gardens in Paris. The current location of these bronze reductions is unknown. Pictured is the full-sized marble version of Jeune Faune at the gardens, which is located in the left niche of the fountain.
  9. ^ Catalog items 120, 121, and 122 were smaller bronze versions of Auguste-Louis-Marie Ottin's marble sculptures made for the Medici Fountain in the Luxembourg Gardens in Paris. The current location of these bronze reductions is unknown. Pictured is the full-sized marble version of Nymphe chasseresse at the gardens, which is located in the right niche of the fountain.
  10. ^ Pictured is the full-sized marble version. A Non-free photograph of the plaster version is available at the Musée Ingres website.[94]
  11. ^ This painting was shown at the exhibition, but was not listed in the catalog.

See also[edit]

Notes[edit]

  1. ^ a b English: "Anonymous Society of painters, sculptors, engravers, etc."
  2. ^ English: "The Exhibition of the Impressionists"

References[edit]

  1. ^ Feist (2006), pp. 55–56.
  2. ^ Rewald (1973), p. 79.
  3. ^ Dunlop (1972), p. 14.
  4. ^ Rewald (1973), pp. 79–80.
  5. ^ Rewald (1973), p. 80.
  6. ^ Rewald (1973), p. 85.
  7. ^ Dunlop (1972), pp. 11–12.
  8. ^ Rewald (1973), pp. 81–82.
  9. ^ McCauley, Anne (1998). "Sex and the Salon: Defining Art and Immorality". In Tucker, Paul Hayes (ed.). Manet's Le Déjeuner sur l'herbe. New York, NY: Cambridge University Press. pp. 38–74. ISBN 0-521-47466-3.
  10. ^ Rewald (1973), p. 86.
  11. ^ Feist (2006), p. 64.
  12. ^ Rewald (1973), p. 197.
  13. ^ Rewald (1973), p. 205.
  14. ^ Rewald (1973), p. 214.
  15. ^ Rewald (1973), p. 216.
  16. ^ Rewald (1973), pp. 302–304, 309.
  17. ^ Dunlop (1972), pp. 61–66.
  18. ^ Dunlop (1972), pp. 67–68.
  19. ^ Rewald (1973), pp. 311–312.
  20. ^ Dunlop (1972), pp. 68–69.
  21. ^ Rewald (1973), pp. 314–316.
  22. ^ a b Gosling, Nigel (1976). Nadar. New York: Alfred A. Knopf, Inc. pp. 20–21. ISBN 0-394-41106-4.
  23. ^ a b c d Rewald (1973), p. 313.
  24. ^ Rewald (1973), pp. 312–313.
  25. ^ a b Moffett (1986), p. 18.
  26. ^ Feist (2006), p. 136.
  27. ^ Dunlop (1972), p. 74.
  28. ^ a b Rewald (1973), p. 318.
  29. ^ Rewald (1973), pp. 327–328.
  30. ^ Feist (2006), p. 140.
  31. ^ Dunlop (1972), p. 80.
  32. ^ Rewald (1973), pp. 318–324.
  33. ^ Moffett (1986), p. 117.
  34. ^ Rewald (1973), p. 212.
  35. ^ Rewald (1973), pp. 334–336.
  36. ^ Dunlop (1972), p. 87.
  37. ^ Dayez, Hoog & Moffet (1974), pp. 9–13.
  38. ^ Hoving, Thomas (1973). "[Director's Note]". The Metropolitan Museum of Art Bulletin. 32 (3): 1. ISSN 0026-1521. JSTOR 3269130. Archived from the original on 2 April 2024. Retrieved 2 April 2024.
  39. ^ Schaefer, Saint-George & Lewerentz (2008), p. 158.
  40. ^ Schaefer, Saint-George & Lewerentz (2008), p. 159.
  41. ^ a b Moffett (1986), pp. 118–123.
  42. ^ a b Berson (1996), p. 9.
  43. ^ Dumas, Ann, ed. (2007). Inspiring Impressionism: The Impressionists and the Art of the Past. Denver: Denver Art Museum. p. 249. ISBN 978-0-914738-57-2.
  44. ^ Moffett (1986), p. 6.
  45. ^ Berson (1996), pp. vii, 283.
  46. ^ Moffett (1986), p. 124.
  47. ^ a b c d e Berson (1996), pp. 3, 15.
  48. ^ "Intérieur Parisien". POP: la plateforme ouverte du patrimoine (in French). Ministrè de la Culture. Archived from the original on 5 January 2024. Retrieved 5 January 2024.
  49. ^ Dayez, Hoog & Moffet (1974), pp. 40–41.
  50. ^ a b c d Berson (1996), pp. 3, 16.
  51. ^ a b Berson (1996), pp. 4, 16.
  52. ^ a b c d e f Berson (1996), pp. 4, 17.
  53. ^ a b c d e f Berson (1996), pp. 4, 18.
  54. ^ Berson (1996), pp. 4, 19.
  55. ^ Berson (1996), pp. 4–5, 19.
  56. ^ a b c d Berson (1996), pp. 5, 19.
  57. ^ a b c d Berson (1996), pp. 5, 20.
  58. ^ Berson (1996), pp. 6–7, 20.
  59. ^ Berson (1996), pp. 6, 20.
  60. ^ a b c Berson (1996), pp. 6, 21.
  61. ^ Rewald (1973), p. 322.
  62. ^ Rewald (1973), p. 323.
  63. ^ Moffett (1986), p. 126.
  64. ^ Dayez, Hoog & Moffet (1974), pp. 94–98.
  65. ^ Berson (1996), p. 7.
  66. ^ a b Berson (1996), pp. 7, 22.
  67. ^ "Répétition d'un ballet sur la scène". Musée d'Orsay. Archived from the original on 3 January 2024. Retrieved 3 January 2024.
  68. ^ "The Rehearsal of the Ballet Onstage". The Metropolitan Museum of Art. Archived from the original on 24 January 2022. Retrieved 3 January 2024.
  69. ^ "The Rehearsal Onstage". The Metropolitan Museum of Art. Archived from the original on 24 January 2022. Retrieved 3 January 2024.
  70. ^ Rewald (1973), p. 311.
  71. ^ Moffett (1986), p. 128.
  72. ^ Berson (1996), pp. 8, 22.
  73. ^ a b c Berson (1996), pp. 8, 23.
  74. ^ Moffett (1986), p. 129.
  75. ^ a b Berson (1996), pp. 9, 23.
  76. ^ Wildenstein (1996), pp. 117–18.
  77. ^ Wildenstein (1996), p. 126.
  78. ^ Wildenstein (1996), p. 125.
  79. ^ Lilley, Ed (2012). "A Rediscovered English Review of the 1874 Impressionist Exhibition". The Burlington Magazine. 154 (1317): 843–845. ISSN 0007-6287. JSTOR 41812904. Archived from the original on 3 January 2024. Retrieved 3 January 2024.
  80. ^ Kennedy, Ian (March 2007). "Monet's Boulevard des Capucines: Kansas City or Moscow?". Apollo. 165 (541): 69–71. ISSN 0003-6536.
  81. ^ Wildenstein (1996), pp. 113–14.
  82. ^ Dayez, Hoog & Moffet (1974), pp. 150–154.
  83. ^ Wildenstein (1996), pp. 63–64.
  84. ^ Moffett (1986), p. 131.
  85. ^ Berson (1996), p. 10, 25.
  86. ^ "Reading". Cleveland Museum of Art. Archived from the original on 4 October 2023. Retrieved 12 March 2024.
  87. ^ Moffett (1986), p. 133.
  88. ^ Moffett (1986), p. 134.
  89. ^ Moffett (1986), p. 135.
  90. ^ Moffett (1986), p. 136.
  91. ^ a b c Berson (1996), pp. 10, 26.
  92. ^ Berson (1996), pp. vii, 11, 26.
  93. ^ a b c d Berson (1996), pp. 11, 26.
  94. ^ Buste d'Ingres Archived 2024-01-27 at the Wayback Machine (In French)
  95. ^ Moffett (1986), p. 137.
  96. ^ Moffett (1986), p. 138.
  97. ^ Moffett (1986), p. 139.
  98. ^ a b Berson (1996), pp. 12, 27.
  99. ^ Moffett (1986), p. 141.
  100. ^ a b c d e Berson (1996), pp. 12, 28.
  101. ^ "The blue lady". Museum Wales. Archived from the original on 16 April 2023. Retrieved 3 January 2024.
  102. ^ Berson (1996), pp. 13, 28.
  103. ^ "The Route from Saint-Germain to Marly". McNay Art Museum. Archived from the original on 5 January 2024. Retrieved 5 January 2024.
  104. ^ Shone (1999), pp. 62–64.
  105. ^ Shone (1999), pp. 64, 83.
  106. ^ Berson (1996), pp. 13, 29.
  107. ^ Moffett (1986), pp. 6, 142.

Bibliography[edit]

External links[edit]

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