Chapter XVII: Appendix: (a) THE SCIENTIFIC ASPECT OF IMPRESSIONISM

The clearest explanation of the scientific theory of colouring is to be found in the treatise written by Chevreul. First published in France in 1838, it met with great success, and was translated into English in 1854 by Charles Martel. Chevreul remains the standard authority, although he has been followed by Helmholtz, Church, Rood, and others.

Given the necessary competence for accuracy in draughtsmanship, and considerable practice in the manipulation of colour, the art-student may take the field, and not before; for Impressionist painting demands the highest artistic capability. Firstly, he will discover that Impressionists worship light, using the trees, rocks, rivers, &c. of landscape, as so many vehicles for the conveyance of luminous impressions to the eye. This quality of atmosphere distinguishes Impressionist pictures from all others; here will be found what Brownell, Chevreul, MacColl, and Mauclair, have to say upon the subject. Secondly, the art-student will perceive the vital necessity of correct values within a general tone, a subject also enlarged upon by the above writers. Thirdly, some reference is given to the modern study of shadows and reflections, with regard to their influence and treatment.

The following lines, extracted from “The French Impressionists,” by Camille Mauclair, sum up definitely the Impressionist Idea.

“In nature no colour exists by itself. The colouring of the
objects is a pure illusion: the only creative source of colour
is the sunlight which envelops all things, and reveals them,
according to the hours, with infinite modifications.... Only
artificially can we distinguish between outline and colour; in
nature the distinction does not exist.... A value is the degree
of dark or light intensity, which permits our eyes to comprehend
that one object is further or nearer than another.... The values
are the only means that remain for expressing depth on a flat
surface. Colour is therefore the procreatrix of design. Colour
being simply the irradiation of light, it follows that all
colour is composed of the same elements as sunlight, namely the
seven tones of the spectrum.... The colours vary with the
intensity of light. There is no colour peculiar to any object,
but only more or less rapid vibration of light upon its surface.
The speed depends, as is demonstrated by optics, on the degree
of the inclination of the rays which, according to their
vertical or oblique direction, give different light and
colour.... What has to be studied therefore in these objects, if
one wishes to recall their colour to the beholder of a picture,
is the composition of the atmosphere which separates them from
the eye. This atmosphere is the real subject of the picture, and
whatever is represented upon it only exists through its medium.
A second consequence of this analysis of light is, that shadow
is not absence of light, but light of _a different quality_ and
of different value. Shadow is not a part of the landscape where
light ceases, but where it is subordinate to a light which
appears to us more intense. In the shadow the rays of the
spectrum vibrate with different speed. The third conclusion
resulting from this: the colours in the shadow are modified by
_refraction_.... The colours mixed on the palette compose a
dirty grey.... Here we touch on the very foundations of
Impressionism. The painter will have to paint with only the
seven colours of the spectrum, and discard all the others; that
is what Claude Monet has done boldly, adding to them only black
and white. He will, furthermore, instead of composing mixtures
on his palette, place on his canvas touches of none but the
seven colours _juxtaposed_, and leave the individual rays of
each of these colours to blend at a certain distance, so as to
act like sunlight itself upon the eye of the beholder.”

CAMILLE MAUCLAIR.
(“The French
Impressionists.”)

“Take a landscape with a cloudy sky, which means diffused light
in the old sense of the term, and observe the effect upon it of
a sudden burst of sunlight. What is the effect when considerable
portions of the scene are suddenly thrown into marked shadow, as
well as others illuminated with intense light? Is the absolute
value of the parts in shadow lowered or raised? Raised, of
course, by reflected light. Formerly, to get the contrast
between sunlight and shadow in proper scales, the painter would
have painted the shadows darker than they were before the sun
appeared. Relatively they are darker, since their value, though
heightened, is raised infinitely less than the value of the
parts in sunlight. Absolutely their value is raised
considerably. If therefore they are painted lighter than they
were before the sun appeared, they in themselves seem true. The
part of Monet’s picture that is in shadow is measurably true,
far truer than it would have been if painted under the old
theory of correspondence, and had been unnaturally darkened to
express the relations of contrast between shadow and sunlight.
Scale has been lost. What has been gained? Simply truth of
impressionistic effect. Why? Because we know and judge and
appreciate and feel the measure of truth with which objects in
shadow are represented; we are insensibly more familiar with
them in nature than with objects directly sun-illuminated, the
value as well as the definition of which are far vaguer to us on
account of their blending and infinite heightening by a
luminosity absolutely overpowering. In a word, in sunlit
landscapes objects in shadow are what customarily and
unconsciously we see and note and know, and the illusion is
greater if the relation between them and the objects in
sunlight, whose value habitually we do not note, be neglected or
falsified. Add to this source of illusion the success of Monet
in giving a juster value to the sunlit half of his picture than
has ever been systematically attempted before his time, and his
astonishing ‘trompe d’œil’ is, I think, explained. Each part is
truer than ever before, and unless one have a specially
developed sense of ‘ensemble’ in this very special matter of
values in and affected by sunlight, one gets from Monet an
impression of actuality so much greater than he has ever got
before, that one may be pardoned for feeling, and even for
enthusiastically proclaiming, that in Monet realism finds its
apogee. Monet paints absolute values in a very wide range, plus
sunlight, as nearly as pigments can be got to represent it.”

W. C. BROWNELL.
(“Realistic Painting.”)

“Impressionism is the art that surveys the field and determines
which of the shapes and tones are of chief importance to the
interested eye, enforces these, and sacrifices the rest.

“If three objects, A, B, and C, stand at different depths before
the eye, we can at will fix A, whereupon B and C must fall out
of focus, or B, whereupon A and C must be blurred, or C,
sacrificing the clearness of A and B. All this apparatus makes
it impossible to see everything at once with equal clearness,
enables us, and forces us for the uses of real life, to frame
and limit our picture, according to the immediate interest of
the eye, whatever it may be.

“The painter instinctively uses these means to arrive at the
emphasis and neglect that his choice requires. If he is engaged
on a face he will screw his attention to a part and now relax
it, distributing the attention over the whole so as to restore
the bigger relations of aspect.

“Sir J. Reynolds describes this process as seeing the whole
‘with the dilated eye;’ the commoner precept of the studios is,
‘to look with the eyes half closed.’ In any case the result is
the minor planes are swamped in bigger, that smaller patches of
colour are swept up into broader, that markings are blurred.

“The Impressionist painter does not allot so much detail to a
face in a full-length portrait as to a head alone, nor to twenty
figures on a canvas as to one.”

D. S. MACCOLL.
(“Encyclopædia
Britannica.”)

“The discovery of these Impressionists consists in having
thoroughly understood the fact that strong light discolours
tones, and that sunlight reflected by the various objects in
nature, tends from its very strength of light to bring them all
up to one uniform degree of luminosity, which dissolves the
seven prismatic rays in one single colourless lustre, which is
the light.... Impressionism, in those works which represent it
at its best, is a kind of painting which tends towards
phenomenism, towards the visibility and the signification of
things in space, and which wishes to grasp the synthesis of
things as seen in a momentary glimpse.... One has now the right
to say, without provoking an outcry, that it has been given to
the people of the present time to witness a magnificent and
phenomenal artistic evolution by this succession of canvases
painted by Claude Monet during the past twenty years.”

GEFFROY.

“Two coloured surfaces in juxtaposition will exhibit the
modification to the eye viewing them simultaneously, the one
relative to the height of tone of their respective colours, the
other relative to the physical composition of these same
colours.... We must not overlook the fact, that whenever we mix
pigments to represent primitive colours, we are not mixing the
colours of the solar spectrum, but mixing substances which
painters and dyers employ as Red, Yellow, and Blue colours....
All the primary colours gain in brilliancy and purity by the
proximity of Grey.... Grey in association with sombre colours,
such as Blue and Violet, and with broken tints of luminous
colours, produces harmonies of analogy which have not the vigour
of those with Black; if the colours do not combine well
together, it has the advantage of separating them from each
other.... Distant bodies are rendered sensible to the eye, only
in proportion as they radiate, or reflect, or transmit the light
which acts upon the retina.”

CHEVREUL.

“The object of landscape painting is the imitation of light in
the regions of the air and on the surface of the earth and of
water.... One must seek above all else in a picture for some
manifestation of the artist’s spiritual state, for a portion of
his reverie.... In the career of an artist, one must have
conscience, self-confidence and perseverance. Thus armed the two
things in my eyes of the first importance are the severe study
of drawing and of values.”

COROT.

(_b_) SALES AND PRICES

For future comparison it will be interesting to note some results reached at recent sales of Impressionist paintings. Pictures which, in the early seventies, were unsaleable for five pounds, now average from £500 to £800 apiece, with a tendency to go much higher. A sale at New York, in December 1902, of seventeen pictures by members of the Impressionist and Barbizon schools, produced nearly £40,000, an average of £2300 for each canvas. The last great public sale by auction was “La Vente Chocquet” at the Petit Galerie, Paris, July 1, 1899. A few days previous to the sale the writer had a long conversation with Claude Monet at Giverny. Discussing the coming event, which was already exciting much press comment, Monet told how the late Père Chocquet, as he was affectionately called, a “chef du bureau” in the Department of Finance, had been a tower of strength to the early Impressionists. He encouraged them, foretold ultimate triumph, invested every franc of his savings in the purchase of their works, at prices ranging from £2 to £10. Late in life M. Chocquet inherited, quite unexpectedly, a large fortune. The Impressionists anticipated much, and the studios were jubilant. Long cherished plans were rediscussed; the Chocquet legacy was to be the source of a golden stream. But a great disappointment was to come. With the increase of M. Chocquet’s riches came the decrease and final extinction of M. Chocquet’s taste. He never bought another picture!

Throughout the three days’ sale, the gorgeous rooms of M. Georges Petit were crowded, although many well-known and wealthy buyers were absent owing to the lateness of the season. Amongst the distinguished collectors and dealers, from all parts of Europe and America, were the Counts de Camondo, Gallimard, de Castellane, the Marquis de Charnacé, the Barons Oberkampff and de Saint-Joachim, and Messieurs Degas, Cheramy, de St. Léon, de la Brunière, de Léclanché, Clerq, Muhlbacher, Ligneau, André Sinet, Antonin Proust, Escudier, Natanson, de Laivargott, Bigot, Ferrier, Marcel, Cognet, Durey, Zacharian, Moreau-Latour, Mittmann, Durand-Ruel, Bernheim, Allard, Montagnac, Vollard, Boussod, Rosemberg, and Camemtron, Monet’s _La Prairie_ realised 6400 francs, _Les Meules_ 9000 francs, _Falaise à Varengeville_ 9500 francs, and _La Seine à Argenteuil_ was knocked down to M. d’Hauterive for 11,500 francs. Renoir’s works fetched between ten and twenty thousand francs. Manet’s _Portrait of Claude Monet in his Studio_, which was sold after Manet’s death for 150 francs, changed hands at 10,000 francs.

At the Vever sale in 1897, Monet’s _Le Pont d’Argenteuil_ realised 21,500 francs.

(_c_) SOME COLLECTORS OF IMPRESSIONIST PICTURES

The following list contains the names of the chief private collectors of Impressionist pictures. Though incomplete it will be noted that almost every country is represented:

ALEXANDRE, M. ARSÈNE
ASTOR, JOHN JACOB
BATHMONT, MADAME
BÉARN, COMTESSE DE
BERNHEIM, FILS, M.
BLANQUET, BARON
CAHEN, M. GUSTAVE
CAMONDO, COMTE ISAAC DE
CHAUVEAU, FRÉDÉRIC
COCHIN, M. DENIS
COQUELIN FRÈRES
CUREL, M. DE
DECUP, M.
DUPEAUX, M.
DUPUX, DR.
DURAND-RUEL ET FILS
DURET, M. THEODORE
EPHRUSSI, M. CHAS.
FEYDEAU, M. M.
FORWARD, M.
GACHET, DR.
GONJON, M. S.
HAVINIMANN, MADAME
HAVEMEYER, M.
HERSCH, M.
HETE, M. DE
HOHENTSCHEL
JOUBERT, M.
KAKOREFF
LEHRMANN
MADDOCKS, J.
MARCHANT, W. S.
MARKER
MARSDEN, S.
MESDAG
MONNIER, M.
MOROSOFF, IVAN
MURER, M.
PAQUIN, M.
PAWSON, T.
PELERIN, M. AUGUSTE
PETIT, M. GEORGES
PRIESTLEY, W. E. B.
PRIPPER
RONNELL, MAX
ROTHSCHILD, BARONNE GUSTAVE DE
ROTHSCHILD, BARON HENRI DE
RUEL, M.
ROUS, M.
SAMUEL, M.
SCHLESINGER, M.
SCHMITZ, M.
SCHULTE, HERR
SCHUMANN, M.
SMITH, J. W.
SOTA, SIGNOR DE LA
STRAUSS, GUIDO
STRAUSS, JACQUES
STRAUSS, JULES
TESIGMANN, M.
TSCHUDI, HERR VON
VANDERBILT
VAN DER VELDE, M.
VANIER, M.
VIAU, M. GEORGES
VLIEYERE, M. DE
WALDECK-ROUSSEAU, M.
WILLS, SIR W. H.
ZYGOMALCO, M.

------------------------------------------------------------------------

BIBLIOGRAPHY

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· An article with portrait.

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· A magnificently
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A. M.:

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· A lengthy illustrated article
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· This book, the standard work
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· These excellent books deal with all the
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· An important article by a writer of
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PASCAL FORTHUNY:

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PASCAL FORTHUNY:

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W. H. FULLER:

Claude Monet and his Paintings.
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GUSTAVE GEFFROY:

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Notice de l’Exposition d’Œuvres de Camille
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La Vie artistique. E. Dentu, Paris,
1892-1900.

· These volumes of art criticism cover
the whole field of Impressionism, and include a lengthy
history of the movement. To the student and historian of
modern French art they are invaluable.

and Arsène Alexandre. Corot and Millet,
Winter Number of the _Studio_, London, 1902.

(Préface). Catalogue de Tableaux,
collection de M. E. Blot. Paris, Bernheim jeune.

· Contains essays upon Carrière,
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Pissarro, Renoir, Toulouse-Lautrec, Degas.

MAURICE GUILLEMOT:

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J. K. HUYSMANS:

Certains. Paris, 1896. L’Art Moderne.
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Claude Monet. _Les Décorés_, 1895.

Hommes du Jour, Renoir. _L’Éclair_, Paris,
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MISS R. G. KINGSLEY:

A History of French Art. Longmans, London,
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GEORGES LECOMTE:

L’Art Impressionniste. Paris, 1892.

· Contains 36 etchings of
Impressionist pictures in the collection of M. Durand Ruel.

GEORGES LECOMTE:

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l’Exposition. Paris, February 1892.

Pissarro, Les Hommes d’Aujourd’hui, No.
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Alfred Sisley. “Revue populaire des
Beaux-Arts.” February 1899.

Alfred Sisley. “L’Art dans les Deux
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D. S. MACCOLL:

Nineteenth Century Art. Maclehose, Glasgow,
1903.

_The Albemarle Review_, London, Sept.
1892.

_Fortnightly Review_, London, June 1894.

_The Artist_, London, March and July 1896.

Impressionism. “Encyclopædia Britannica”
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CAMILLE MAUCLAIR:

The French Impressionists. Duckworth,
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CHARLES MAURICE:

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ANDRÉ MELLERIO:

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Mary Cassatt, Préface de l’Exposition de
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L’Exposition de 1900, L’Impressionisme. H.

Floury, Paris, 1900.

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exhibited at the Exhibition, with particular reference to
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Le Mouvement Idéaliste en Peinture. H.
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· A biographical sketch of the artists
who associated themselves with this movement, 1885-95; Puvis
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F. H. MEISSNER:

A German Revolutionary—Max Liebermann. _Art
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ANDRÉ MICHEL:

Notes sur l’Art Moderne. Colin, Paris,
1896.

· Essays on Corot, Millet, Delacroix,
Monet, Puvis de Chavannes.

O. MIRBEAU:

Claude Monet. “L’Art dans les Deux Mondes.”
Paris, March 1891.

Camille Pissarro. “L’Art dans les Deux
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1892.

O. MIRBEAU:

Together with Bouyer, Tailhade, Maus
Mellerio, Dan, Mauclair, Geffroy, Marx, Mourey. J. F.
Raffaëlli. Paris.

· A collection of illustrated
appreciations of the artists.

MATTHIAS MORHARDT:

Eugène Carrière. _Magazine of Art_, London,
August 1898.

GEORGE MOORE:

Modern Painting. Scott, London, 1898.

· Impressions and Opinions. Nutt, London,
1890. These two books contain interesting essays upon
Whistler, Manet, Corot, &c.

RICHARD MUTHER:

The History of Modern Painting (3 volumes).
Henry, London, 1896.

THADÉE NATANSON:

Claude Monet et Paul Cézanne. _La Revue
Blanche_, Paris 1900.

De M. Renoir et de la Beauté. _La Revue
Blanche_, Paris, 1900.

MAX OSBORN:

Claude Monet. _Das Magazin für Literatur_, Dec.
1896.

MILES L. ROGER:

Les Artistes Célèbres. Corot, Paris.

Catalogue de Tableaux, Collection du
Docteur D. Chevallier et Petit, Paris.

· Many illustrations, chiefly from
works by Boudin.

Catalogue de Tableaux, Succession of Mme.
Veuve Chocquet. Petit et Mannheim, Paris.

Sisley, Préface pour l’Exposition 1897.
Catalogue de Tableaux, Collection of Louis Schœngrun.
Chevallier et Petit, Paris.

· Many fine illustrations from the
works of Lépine, Lebourg, Thaulow, Bonvin, Lhermitte, &c.

OGDEN ROOD:

Colour; International Scientific Series,
1879-81.

JOHN RUSKIN:

Modern Painters, Vol. II. Allen.

GABRIEL SÉAILLES:

L’Impressionisme (Almanach du Bibliophile
pour l’Année 1898). Pelletan, Paris.

PAUL SIGNAC:

D’Eugène Delacroix au Néo-Impressionisme.
Edition de _La Revue Blanche_, Paris, 1899.

· Explains how the Impressionist idea
and technical method is almost entirely derived from Turner
and Constable.

THIEBALT SISSON:

Sur l’Impressionisme. _Le Temps_, Paris,
April 1899.

R. A. M. STEVENSON:

The Art of Velazquez. Bell, London, 1895.

HUGO VON TSCHUDI:

Manet. Cassirer, Berlin 1902.

· A short illustrated essay upon Manet’s
art by the Director of the National Gallery of Berlin.

C. WAERN:

Notes on French Impressionism. _Atlantic
Monthly_, April 1892.

FREDERICK WEDMORE:

The Impressionists. _Fortnightly Review_,
London, January 1883.

T. DE WYZEVA:

Renoir. “L’Art dans les Deux Mondes.”
Paris, December 1890.

Y. R. B.:

Miss Cassatt. “L’Art dans les Deux Mondes.”
November 1890.

ÉMILE ZOLA:

Mes Haines. Paris.

· Essays on Manet, Cézanne, the Salons
and the Impressionists.

------------------------------------------------------------------------

INDEX

_A Argenteuil_ (Monet), 40, 111

Abbey, E. A., 102

_Absinthe drinker_, the (Manet), 20

“Académie Suisse,” 54

_After church_ (Le Sidaner), 83

Alexandre, Arsène, 33, 63

_Alone with the tide_ (Whistler), 90

Aman-Jean, 102

Angrand, 50, 56

Anguin, 86

_Antibes_ (Monet), 40

Antwerp, 79, 80

_Argenteuil_, _l’_ (Manet), 27

_Arrangement in grey and black_ (Whistler), 90

_Artiste_, _l’_ (Manet), 27

Astruc, 34

_Asylum for old men, an_ (Liebermann), 98

Attendu, 34

_At the piano_ (Whistler), 90

_Autel des orphelines, l’_ (Le Sidaner), 83

_Bain, le_ (Manet), 22

_Bal au Moulin de la Galette_ (Renoir), 52

_Balcony, the_ (Manet), 25

_Balcony, the_ (Whistler), 90

Balzac, 45

Barbey d’Aurevilly, 23

Barbizon, School of, 2, 6, 9, 45, 50, 98, 110

Barillot, 102

Barry, 3

Barye, 45

Bastien-Lepage, 26, 41, 93, 98

Batignolles, School of, 7, 24

_Bataille de Solférino_ (Meissonier), 21

_Battle of the “Kearsage” and “Alabama”_ (Manet), 26

Baudelaire, 21

Baudit, 86

Bazille, 24, 26

Beauvais, 83

Béliard, 34, 35

Belle Isle (Monet), 40

Belot, 27

_Bénédiction de la mer_ (Le Sidaner), 83

Bérard, 47

Bernard, Emile, 16, 55

Bernstein, 27

Besnard, Albert Paul, 84-85, 91, 102, 105
_Entre deux Rayons_, 85
_Femme qui se chauffe_, 85
_La Morte_, 85
_Ponies worried by flies_, 84
_Porte d’Alger au Crépuscule_, 85
_Portrait of the artist_, 85

Billotte, 102

Binet, Victor, 92, 102

_Bon Bock, le_ (Manet), 27, 28

Bonington, 1, 3, 4, 5, 7, 29
_Boulogne Fishmarket_, 5
_View of Havre_, 3
_View of Lillebonne_, 3

Bonnat, 52, 58, 73

Bonvin, 31

_Bordighera_ (Monet), 40

Boucher, 2, 52

Boudin, Eugène, 7, 9-15, 31, 34, 38, 49, 50
_Corvette Russe au Havre_, 14
_Rade de Villefranche_, 14

Bouguereau, 21

Boulanger, 21

_Boulogne Fishmarket_ (Bonington), 5

Bourgeois, Léon, 14

Boussod Vallodon, 40

_Boy with a sword_ (Manet), 21, 23

Bracquemond, Marie, 35, 76

Bracquemond, 20, 21, 34, 89, 102

Brandon, 34

_Breakfast on the grass_ (Manet), 22

_Brother and sister_ (Liebermann), 98

Brown, Arnesby, 102

Brownell, W. C., 107

Bruant, Aristide, 71

Bruges, 83

Bureau, 34, 35

_Burgomeister Petersen_ (Liebermann), 99

Burne-Jones, 5

Bussy, Simon, 55

Byron, 2

Cabanel, 59, 82

Café Guerbois, 6, 7, 15, 24, 25, 26, 27, 31, 39

Café de la Nouvelle Athénée, 32

Cahen, Gustave, 15, 33

Caillebotte, 35, 49

Cals, 12, 21, 34, 35, 49

_Carlyle_ (Whistler), 91

Carolus-Duran, 28, 52, 58

Carpeaux, 45

Carrière, Eugène, 57-60, 83, 102
_Christ at the Tomb_, 58, 60
_Maternité_, 58
_Portraits_, 58
_Théâtre de Belleville_, 58

Cassatt, Mary, 7, 35, 49, 66, 70, 76, 102

_Cathédrales, les_ (Monet), 40, 42, 44, 84

Cazin, 21, 28, 102

“Cercle des Quinze,” 98

Cézanne, 7, 15, 16, 24, 34, 35, 54, 55

_Champs des Tulipes_ (Monet), 40

Chaplin, 76, 103

Chardin, 2, 61

_Charge of Cuirassiers_ (Meissonier), 26

Charles X., 3, 24

_Chasse au renard_ (Courbet), 21

_Châteaux en Espagne_ (Harrison), 93

Chéret, 102

Chevallier, Paul, 43

Chevreul, 107, 110

Chocquet, 47, 110

_Christ at the Tomb_ (Carrière), 58, 60

_Christ before Pilate_ (Liebermann), 97

_Christ reviled by the Soldiers_ (Manet), 23

Church, 107

Claude, 61

Claus, Emile, 79-81, 105
_Flemish Farm_, 81
_Old Gardener_, 81

Clausen, George, 102

Clouet, 61

Colin, Gustave, 34

Collectors of Impressionist Paintings, 111, 112

_Communion in extremis_ (Le Sidaner), 83

Comondo, Count, 47

Constable, John, 3, 4, 5, 6, 7, 29, 31, 32, 61, 80, 102, 103
_Hay Wain_, 3
_Opening of Waterloo Bridge_, 5

Cordey, 35

Cormont, 73

Corot, 3, 4, 6, 7, 9, 11, 13, 15, 17, 29, 49, 53, 54, 59, 61, 80, 97,
101, 110

Correggio, 2

_Corvette Russe_ (Boudin), 14

_Côte St. Catherine à Rouen_ (Pissarro), 51

Cottet, 55, 102

_Cotton-Broker’s Office_ (Degas), 67

Courbet, 11, 12, 13, 20, 21, 23, 26, 49, 50, 53, 54, 97

_Courtyard of the orphanage_ (Liebermann), 99

Couture, 1, 11, 18, 19, 20, 22
_Romans of the Decadence_, 18

Cross, H. E., 56

Dagnan-Bouveret, 102

Daillon, 102

Dameron, 102

_Dante’s Bark_ (Delacroix), 3

Daubigny, 4, 12, 31, 41, 54, 97, 98

Daudet, 26, 58

Daumier, 20

David, 2

Dearp, 47

De Bellis, 27

Debras, 34

Degas, 7, 20, 24, 34, 35, 49, 52, 67-71, 73, 76, 89, 102
_Family Portraits_, 67
_Interior of a Cotton-Broker’s Office_, 67
_Semiramis_, 67
_Spartan Youths Wrestling_, 67
_Steeplechase_, 67
_War in the Middle Ages_, 67

_Déjeuner sur l’herbe_ (Manet), 22

Delacroix, 3, 16, 19, 20, 29, 32, 45, 61, 82, 101
_Massacre of Scio_, 32
_Dante’s Bark_, 3

Delaroche, 1, 19

Denis, Maurice, 50, 56

_Départ de Tobie_ (Le Sidaner), 83

Depeam, 47

_Déroute, la_ (Boulanger), 21

Desboutins, 27, 35

D’Espagnat, 32, 102, 105

Diaz, 12

Didier-Pouget, 85-87, 102

_Die Lange Lizen_ (Whistler), 90

Doré, Gustave, 55

Dowdeswell Gallery, 40

Duhem, H., 82

Dumas père, 1, 13

Dupré, 80

Durand-Ruel, 27, 34, 35, 39, 41, 42, 43, 47, 54, 63

Duranty, 24, 25

Duret, T., 26, 29, 32, 33, 70, 89

Dutch School, 80

East, Alfred, 102

“Echo de Paris,” 63

Egg, R.A., Augustus, 4

English School of Painting, 2, 6

English School of Water-Colours, 3

_Entre deux Rayons_ (Besnard), 85

Ephrussi, 27

_Etchings_ (Whistler), 89, 90

“L’Événement,” 15, 24

Eugénie, Empress, 17

_Execution of Emperor Maximilian_ (Manet), 25.

Exhibitions (_see also_ Salons)

Exhibitions Martinet, 21, 24

Exhibitions Great, 1851, 4

Exhibitions Great Paris, 1867, 23

Exhibitions Universal Paris 1878, 27, 28, 76

Exhibitions Universal Paris 1889 and 1900, 61

Exhibitions Impressionist, 34, 35, 39, 49, 54, 68

_Falaise_ (Monet), 111

Fantin-Latour, 20, 21, 24, 89, 102

Faure, 27, 28, 47

_Femme à la Robe Verte_ (Monet), 34

_Femme qui se chauffe_ (Besnard), 85

Fielding, Copley, 3

_Fifre de la Garde_ (Manet), 22, 23, 24

“Figaro, Le,” 24, 33, 44

Flaubert, 64

_Flemish Farm_ (Claus), 81

“Fleurs de Mal,” 21

Footet, F., 102

Forain, 35, 49, 70, 73, 102

Fra Angelico, 67, 83

Fragonard, 2, 52, 75

France, Anatole, 58

French painting, 2, 4, 9

Fuseli, 3

Gagliardini, 103

Gainsborough, 3, 31, 70, 102, 103

Gallimard, 47

Gambetta, 28

Gauguin, 16, 35, 49, 55, 105

Gautier, 1, 20, 23

Geffroy, Gustave, 33, 35, 58, 65, 109

Geffroy, 102

Gérard (artist), 2

Gérard (collector), 27

Géricault, 1, 3

Gérôme, 65, 93

Ghent, 79

Giorgione, 22

Giotto, 82

Girodet, 2

Girtin, 29

Giverny, 46, 51

_Glaçons sur la Seine_ (Monet), 40

Glasgow School of Painting, 90, 102

Gleyre, 7, 38, 89

_Golden Screen_ (Whistler), 90

Gonzalès, 7, 76-77

Goya, 20, 23

“Grand Journal, Le,” 63

_Green Bridges_ (Monet), 47

Greuze, 52

Grévy, President, 17, 28

Gros, 2, 19

Grosvenor Gallery, 69

Guérard, 76

Guillaumet, 21

Guillaumin, 32, 34, 35, 49, 54-55, 103

_Guitarero_ (Manet), 20

Harding, 3

Hals, 19, 27

Hanover Gallery, 40

Harpignies, 12, 20, 21, 103

Harrison, Alexander, 82, 91-94, 105
_In Arcady_, 92
_The Wave_, 92
_Châteaux en Espagne_, 93

Hassam, Childe, 94
_Seventh Avenue_, 94

_Hauptmann_ (Liebermann), 99

Havemeyer, H. O., 47

_Havre_ (Bonington), 3

_Haystacks_ (Monet), 32, 42

_Hay Wain_ (Constable), 3

Hecht, 27

Helmholtz, 107

Henley, W. E., 5

Henner, 24, 28, 103

Hochédé, 99

Hogarth, 2, 3

Holbein, 2, 67

Hoogh, 82

Hoppner, 52

Hugo, 1

Ibels, 56

“Idealists,” 55

_In Arcady_ (Harrison), 92

Ingres, 2, 69, 70

International Society of Painters, &c. 25, 40, 102

“Intimists,” 55

Isabey, 9, 12, 13

Japanese Art, 2, 6, 41, 70, 76, 91

_Jeanne_ (Manet), 28

_Jeune fille Hollandaise_ (Le Sidaner), 83

Jongkind, 7, 9-13, 20, 21, 31

Jordaens, 82

Karr, Alphonse, 11

Kauffmann, 76

Keyser, 79

Kneller, 2

_Labourers in the turnip field_ (Liebermann), 98

_Lady Archibald Campbell_ (Whistler), 91

_Lady with fan_ (Manet), 27

Lalanne, 28

_La mère Gérard_ (Whistler), 90

Lamy, 35

“Lantier, Claude,” 15

_Last of Old Westminster_ (Whistler), 90

_La table_ (Le Sidaner) 83

La Thangue, 102

Latouche, 34

Laurens, J. P., 22

Lavery, 102

Lawrence, 31, 32

Lebrun, 76

Lebourg, 35

Leenhoff, Mdlle., 21

Legros, 20, 22, 24, 35

Lely, 2

Leighton, 4

Lenbach, 98

Lepic, 34, 35

Lépine, 12, 34

Le Roux, 62

Le Sidaner, 55, 81-83, 103, 105
_After church_, 83
_Benediction de la mer_, 83
_Communion in extremis_, 83
_Départ de Tobie_, 83
_Jeune fille Hollandaise_, 83
_L’autel des orphelines_, 83
_La promenade des orphelines_, 83
_La table_, 83
_Les promis_, 83
_Les vieilles_, 83

Levert, 34, 35

Lhermitte, 103

Liebermann, 95-100, 105
_An asylum for old men_, 98
_Brother and sister_, 98
_Burgomeister Petersen_, 99
_Christ before Pilate_, 97
_Courtyard of the orphanage, Amsterdam_, 99
_Gerhart Hauptmann_, 99
_Labourers in the turnip field_, 98
_Netmenders_, 99
_Professor Virchow_, 99
_Ropeyard_, 99
_Women plucking geese_, 97, 99
_Women preserving vegetables_, 97

_Lillebonne_ (Bonington), 3

Lindsay, Sir Coutts, 90

_Linge_, _le_ (Manet), 27

_Little white girl_ (Whistler), 90

_Loge_, _la_ (Renoir), 52

_Lola de Valence_ (Manet), 21

_Los Borrachos_ (Velasquez), 21

Louis-Philippe, 19, 24

“Luminarists,” 25, 65

MacColl, 107, 109

Maclise, 4

Maddocks, John, 80

Maire, Victor, 61

Mallarmé, 45

Manet, Edouard, 1, 3, 4, 6, 7, 8, 10, 16, 17-29, 31, 32, 33, 34, 38,
39, 45, 50, 61, 68, 75, 76, 82, 89, 98
_Absinthe drinker_, 20
_Argenteuil_, 27
_L’Artiste_, 27
_Le Bain_, 22
_Le Balcon_, 25
_Battle of “Kearsage” and “Alabama,”_ 26
_Le Bon Bock_, 27, 28
_Boy with a sword_, 21, 23
_Christ reviled by the soldiers_, 23
_Déjeuner sur l’herbe_, 22
_Execution of the Emperor Maximilian_, 25
_Le fifre de la Garde_, 22, 23, 24
_Guitarero_, 20
_Jeanne_, 28
_Lady with fan_, 27
_Le Linge_, 27
_Lola de Valence_, 21
_Music at the Tuileries_, 20, 21
_Nana_, 28
_Old Musician_, 21
_Olympia_, 22, 23
_Opera Ball_, 27
_Pertuiset_, 82
_Polichinelle_, 27
_Portraits_, 111
_The Railway_, 27
_Rochefort_, 82
_Spanish Ballet_, 21
_Street Singer_, 20
_Tragic Actor_, 23, 28
_Un Bar des Folies-Bergères_, 28, 82

Manet, Eugène, 25, 75

Mantz, Paul, 21

Marais, 103

Martel, Charles, 107

Martinet, 21, 24

Marx, Roger, 33

_Massacre of Scio_ (Delacroix), 32

_Maternité_ (Carrière), 58

_Matins sur la Seine_ (Monet), 40, 43

Mauclair, C., 6, 53, 107

Maufra, Maxime, 32, 61-64, 103, 105

Maureau, 35

Maurier, G. du, 89

May, 27

Meissonier, 21, 26, 31

Melbye, 49

Mellino, André, 55

Ménard, 103

Méryon, 18

“Mes Haines,” 32

Metropolitan Museum, New York, 21

_Meules, les_ (Monet), 40, 42, 111

Meunier, 103

Meyer, 34

Michelangelo, 2

Millet, J. B., 35

Millet, J. F., 11, 12, 45, 50, 80, 83, 98

Mirbeau, Octave, 63

“Mirliton, Le,” 71

_Miss Alexander_ (Whistler), 91

Molins, de, 34

Monet, Claude, 1, 4, 6, 7, 9, 10, 12, 14, 15, 20, 24, 25, 26, 31, 32,
33, 34, 35, 37, 49, 50, 54, 57, 60, 61, 64, 68, 80, 84, 98, 101,
108, 109, 110, 111
_A Argenteuil_, 40, 111
_Antibes_, 40
_Belle Isle_, 40
_Bordighera_, 40
_Les Cathédrales_, 40, 44, 84
_Champs des Tulipes_, 40
_Falaise à Varenqeville_, 111
_Femme à la Robe Verte_, 34
_Glaçons sur la Seine_, 39, 40
_Green Bridges_, 47
_The Haystacks_, 32
_Matins sur la Seine_, 40, 43
_Les Meules_, 40, 42, 111
_Peupliers au bord de l’Epté_, 40, 42, 46
_Pont d’Argenteuil_, 111
_La Prairie_, 111
_Water Lilies_, 47

Montenard, 103

Moore, George, 68, 69, 83

Moret, 53

Morisot, Berthe, 7, 25, 34, 35, 49, 75, 76

Morny, de, 13

_Morte, La_ (Besnard), 85

Mourey, G., 63, 81, 82

Mulot-Durivage, 34

Mulready, 4

Munich, 98

Munkacsy, 97, 99

_Music at the Tuileries_ (Manet), 20, 21

Muther, 97

Nadar, 34, 39

_Nana_ (Manet), 28

Napoleon III., 19, 22

National Gallery, London, 3, 41

National Salon, Paris, 99

_Netmenders_ (Liebermann), 99

New English Art Club, 40

New Gallery, 102

Neuville, de, 28

Nittis, de, 25, 34

_Nocturne_ (Whistler), 91

Northcote, 3

Norwich School of Painting, 3, 4, 50

“Nubians,” 62, 104

“L’Œuvre,” 15

_Old Battersea Bridge_ (Whistler), 90

Old Crome, 31

_Old Gardener_ (Claus), 81

_Old Musician_ (Manet), 21

Oleron, 26

_Olympia_ (Manet), 22, 23

_On the Terrace_ (Renoir), 52

_Opening of Waterloo Bridge_ (Constable), 5

_Opera Ball_ (Manet), 27

Ottin, Auguste, 34

Ottin, Léon, 34, 35

Palmer, Potter, 47

Pape, A. A., 47

Paterson, C. Lambert, 47

Pauvels, 97

Pellerin, 47

Peppercorn, 102

_Pertuiset_ (Manet), 82

Petit, Georges, 39, 43, 98, 111

_Peupliers au bord de l’Epté_ (Monet), 40, 42, 46

Philadelphia Academy, 76

Piette, 35

Pissarro, Camille, 4, 7, 10, 22, 24, 31, 32, 33, 34, 35, 41, 49-51, 54,
61, 73, 80, 103
_La Côte St. Catherine à Rouen_, 51

Pissarro, Lucien, 35

Poe, E. A., 59

Poiloup, Abbé, 18

Pointelin, 57, 60-61, 83, 103

“Pointillism,” 7, 50, 55, 56

_Polichinelle_ (Manet), 27

_Ponies worried by flies_ (Besnard), 85

Poole, 4

_Porte d’Alger au Crépuscule_ (Besnard), 85

_Portrait of the artist_ (Besnard), 85

Pouget, 2

Poussin, 2, 55, 61, 70, 103

Poynter, 89

_Prairie, la_ (Monet), 111

“Pre-Raphaelites,” 4

Priestman, B., 102

“Primitives,” 16

Princeteau, M., 73

_Promenade des Orphelines_ (Le Sidaner), 83

_Promis, les_ (Le Sidaner), 83

Proust, Antonin, 18, 24, 28, 29

Prout, Samuel, 3

Puvis de Chavannes, 14, 45

_Rade de Villefranche_ (Boudin), 14

Raffaëlli, J. F., 35, 65-67, 76, 103

Raffaëlli, J. M., 35

_Railway, the_ (Manet), 27

Raphael, 2

“Realists,” 65, 73

Redon, Odilon, 35

Regnault, 26

Rembrandt, 19, 72

Renoir, 7, 24, 34, 35, 49, 51-53, 55, 73, 103, 111
_Bal au Moulin de la Galette_, 52
_La loge_, 52
_On the Terrace_, 52

Reynolds, 3, 31, 52, 103, 109

Ribot, 97, 103

Rigolet, 103

Robert, 34

Robson, 3

Rodin, 23, 45, 58, 103

_Rochefort_ (Manet), 82

Roll, 28, 92

Rollinat, 46

_Romans of the Decadence_ (Couture), 18

Romney, 103

Rood, 107

_Ropeyard_ (Liebermann) 99

“Rose + Croix?” 55

Rossetti, 32, 90

Rouart, 34, 35, 49

Rousseau, 4, 80

Royal Academy, 5, 32, 90, 102

Royal Society of British Artists, 40, 91

Roybet, 103

Rubens, 16

Rude, 45

Ruskin, 26, 90

Sale Prices, 33, 35, 47, 51, 110, 111

Salon, 3, 9, 14, 18, 20, 21, 22, 23, 26, 27, 28, 49, 86, 98

Salon des Refusés, 22, 26, 27, 90

_Sarasate_ (Whistler), 91

Sargent, J. S., 58, 102

Sar Peladan, 55

_Scarf_, _the_ (Whistler), 90

Scheffont, 9

Schumann, 60

Scott, 2

“Secession,” 99, 104

_Semiramis_ (Degas), 67

Seurat, 35, 50, 56

Signac, 35, 49, 50, 56

Sisley, 4, 7, 24, 32, 34, 35, 49, 50, 53-54, 80, 84

Société des Artistes Indépendants, 56

Somm, 35

_Spanish Ballet_ (Manet), 21

_Spartan youths wrestling_ (Degas), 67

Spielman, M. H., 40

_Steeplechase_ (Degas), 67

Steffeck, 97

Stevens, Alfred, 24, 98

Stevenson, Macaulay, 102

Stott, Edward, 102

_Street Singer_ (Manet), 20

“Studio,” 81, 82

“Symbolists,” 16

Tarbes, 87

Tavernier, 53

“Temps, Le,” 87

Thaulow, 82

_Théâtre de Belleville_ (Carrière), 58

Thumann, 97

Tillot, 35, 49

Tintoretto, 19, 20, 83,

Titian, 19, 20, 23, 83

Toulouse-Lautrec, 71-72

_Tragic Actor_ (Manet), 23, 28

Troyon, 11, 12, 97, 98

Turner, 3, 4, 5, 7, 26, 29, 31, 32, 41, 50, 57, 61, 80, 102, 103

_Un Bar aux Folies-Bergères_ (Manet), 28

Vail, Eugène, 82

Vallon, 22

_Valparaiso_ (Whistler), 91

Vandyck, 2

Van Gogh, 16, 55

Van Rysselberghe, 50, 56

Varley, John, 3

Velazquez, 20, 21, 23

Verlaine, 58

Verlat, Charles, 79

Vermeer, 83

Veronese, 16, 83

Vidal, 35

“Vie Artistique,” 33, 35

_Vieilles, les_ (Le Sidaner), 83

“Vie Moderne,” 35, 39

Vignaux, 24, 25

Vignon, 35

Villemessant, 15, 24

_Virchow_ (Liebermann), 99

Virgil, 50

Vuillard, 32

_Wapping_ (Whistler), 90

_War in the Middle Ages_ (Degas), 67

_Water Lilies_ (Monet), 47

_Waterloo Bridge_ (Constable), 5

Watteau, 2

Watts, G. F., 32, 50

_Wave, the_ (Harrison), 92

Weimar, 97

West, Benjamin, 3

Whistler, J. A. McNeill, 7, 20, 22, 24, 40, 41, 57, 71, 83, 89, 92
_Alone with the tide_, 90
_Arrangement in grey and black_, 90
_At the piano_, 90
_Balcony, the_, 90
_Carlyle_, 91
_Die Lange Lizen_, 90
_Etchings_, 89, 90
_Golden Screen_, 90
_Lady Archibald Campbell_, 91
_La mère Gérard_, 90
_Last of Old Westminster_, 90
_Little white girl_, 90
_Miss Alexander_, 91
_Nocturne_, 91
_Old Battersea Bridge_, 90
_Sarasate_, 91
_Scarf, the_, 90
_Valparaiso_, 91
_Wapping_, 90

Wilkie, 32

Wilson, Richard, 3

_Women plucking geese_ (Liebermann), 97, 99

_Women preserving vegetables_ (Liebermann), 97

Zandomeneghi, 35, 49

Ziem, 103

Zola, 15, 24, 25, 28, 32, 55

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Printed by BALLANTYNE, HANSON & CO.
London & Edinburgh

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● Transcriber’s Notes:
○ Missing or obscured punctuation was silently corrected.
○ Typographical errors were silently corrected.
○ Inconsistent spelling and hyphenation were made consistent only
when a predominant form was found in this book.
○ Text that:
was in italics is enclosed by underscores (_italics_).