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New Painting - Impressionism 1874-1886 PDF

516 Pages·1986·87.672 MB·English
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swritsWiS Sr^ 't^>i r ^z SOCIE* TE_0 ANONYME DES ARTISTES PEINTRES, SCL'LPTEURS, GRAVEURS, ETC. PREMIERE EXPOSITION 1874 35 boulevard des Capucines^ 35 y -*>»»«<•- CATALOGUE Prix 50 centimes : L'Exposition est ouverte du i5 avril au i5 mai 1874, de 10 heures du matin ^ 6 h. du soir et de 8 h. k 10 heures du soir» Prix d'entree franc : i PARIS IMPRIMERIE ALCAN-LfiYY" 61, &UE DE LAFAYBTtB 1874 New The Painting Impressionism i8^zf-i8S6 An exhibition organized by The Fine Arts Museums of San Francisco with the National Gallery of Art, Washington Directed and coordinated by Charles S. Moffett with the assistance of Ruth Berson and Barbara Lee WilUams Fronia E. Wissman The Fine Arts Museums of San Francisco TheNew Painting Impressionism: 1874-1886 NationalGalleryofArt,Washington i7january-6 April 1986 TheFineArtsMuseumsofSan Francisco M. H.deYoungMemorial Museum 19 April-6July 1986 Thisexhibitionismadepossiblebyat&t. Published byTheFineArts MuseumsofSan Francisco, 1986. All rights reserved. PrintedinSwitzerland. Thisbook may notbe reproduced,in wholeorin part,inany form (beyondthatcopyingpermitted bySections 107and 108 ofthe U.S. CopyrightLawandexceptbyreviewersforthepublicpress),without writtenpermission from thepublisher. Ahardcoveredition ispublishedby RichardBurton, s.A.,i placedela Taconnerie,Geneva,Switzerland. Translationsofextractsfroma review by LouisLeroyin LeCharivari, 25 April 1874,appearingwithcat. nos. 7, 9, 15,and 17,arefrom John Rewald, TheHistoryofImpressionism. © 1946 byThe Museum ofModern Art, New York, and renewed in 1973. All rights reserved. Reprinted bypermissionofTheMuseumofModern Art andJohn Rewald. Photo Credits: Reproductionsofworksin theexhibition arebyper- missionofthelenders,whosuppliedthecolortransparenciesexceptfor the following: A. C. Cooper, Ltd., London 29; D.JamesDee i; Photo Routhier, Paris 136; EricPollitzer, New York 10,43, ^2.; Schopplein Studio, San Francisco 107; Malcolm Varon,New York 152. LibraryofCongressCatalogingin Publication Data Mainentry undertitle: TheNewPainting: Impressionism 1874-1886. Exhibition heldNationalGalleryofArt,Washington, 17January- 6 April 1986,andThe Fine ArtsMuseumsofSan Francisco, M. H. de YoungMemorial Museum,19April-6July 1986. Bibliography: p.497 Includesindex. I. Impressionism (An)-France-Exhibitions. 2. Painting,French- Exhibitions. 3. Painting, Modern-19thcentury-France- Exhibitions. I. Moffett,CharlesS. II. The FineArtsMuseumsof San Francisco. III. National GalleryofArt (U.S.) ND547.5.14N38 1986 759.4'o74'oi53 85-24537 ISBN 0-88401-047-3 (pbk.) Frontcover: EdgarDegas, Portraitsdansunbureau (Nouvelle- Orleans), 1873. Detail. Cat. no.22 Backcover: ClaudeMonet, Lapromenade{WomanwithaParasol- MadameMonetandHer.So«), 1875. Cat.no.32 Frontispiece: CoverofthecataloguefortheFirstImpressionist Exhibition. DEDICATED TO Mr. and Mrs. Paul Mellon in recognition oftheir extraordinary achievement as collectors of Impressionist art Mr.John Rewald whose The History ofImpressionism is the cornerstone ofthe study ofthe Impressionist movement Mr. Charles Durand-Ruel (1905— 985) 1 whose knowledge of Impressionism was exceeded only by the kindness and generosity with which he greeted scholars for more than halfa century Note to the Reader The catalogue section ofthis book is divided into eight beneath the color plates ofthese works, are arranged as parts, representing the original eight Impressionist exhi- follows: catalogue raisonne, institution catalogue, and bitions. Each part contains an essay, a reproduction of recent exhibition catalogues or other references, in the original exhibition catalogue, and color plates of chronological order. These selected references have been works in the present exhibition. The works exhibited in chosen to direct the reader to the most recent sources of The New Painting have been identified as accurately as complete cataloging and bibliographical information. possible as works that appeared in the original Full citations for these references are also located in the exhibitions. Appendix under Abbreviated References. Identification ofWorks Titles Annotations to the reproductions ofthe original cata- Works in The New Painting retain the titles they were logues, which follow each essay, document these identifi- given in the original exhibitions. Beneath color plates of cations. The full citations for the annotations appear in these works are English translations ofthe original titles. the Appendix under Abbreviated References. Contribu- Ifthere is an alternate, current title, it is noted as well. tions by scholars and other authorities, including the Figure captions for the essays also include in parenthe- authors of these essays, are noted. ses the works' current titles, in English, ifthey vary from the original title. No English title is given, however, in Catalogue Entries cases where an owner in an English-speaking country In addition to the catalogue numbers for works in this retains a French title. exhibition, works that were in the original exhibitions are identified by a two-part number. A Roman numeral Quotations from Reviews designates the original show, i through viii, in which the Contemporary journalism and art criticism have been work appeared. An accompanying Arabic number is the especially important in the identification ofworks in the same one by which works were listed in the original exhi- original exhibitions. The color plates in this catalogue bition catalogue. Thus, our cat. no. 39, Caillebotte's Le are accompanied by translations of relevant quotations pant de I'Europe, also bears the number 111-2, indicating from the nineteenth-century reviews and criticism ofthe that it was no. 2 in the Third Impressionist Exhibition in original exhibitions. Spelling, capitalization, and punc- 1877. Works that were neither numbered nor listed in an tuation have been standardized, and other minor errors original catalogue, but which were shown in an original have been corrected, exceptwhere noted. Full citations exhibition, are referred to as HC {hors catalogue). Abbre- for these reviews, organized by exhibition, are found in viations ofselected references for identification, found the Appendix under Contemporary Reviews. Contents Note to the Reader 6 TheThird Exhibition 1877 189 Sponsor's Statement 8 The "First" Exhibition of Impressionist Painters Acknowledgments 9 Richard R. Brettell Lenders to the Exhibition 12 The Fourth Exhibition 1879 243 Directors' Preface 13 Contemporary Popularity and Posthumous Neglect Ian McKibbin White, CarterBrown Ronald Fickvance J. Introduction 17 The Fifth Exhibition 1880 293 Charles S. Moffett Disarray and Disappointment Charles S. Moffett The Impressionists and Edouard Manet 2-7 Stephane Mallarme The Sixth Exhibition 1881 337 Realists among the Impressionists The New Painting 37 Fronia E. Wissman Louis Emile EdmondDuranty The Seventh Exhibition 1882 375 The Intransigent Artist The Painters Called Impressionists or How the Impressionists GotTheir Name 51 Joel Isaacson Stephen F. Eisenman The Eighth Exhibition 1886 421 The End of Impressionism 61 The Rhetoric of Independence and Innovation RichardShift Martha Ward The First Exhibition 1874 93 Appendix The First ImpressionistExhibition in Context La nouvelle peinture 477 Paul Tucker Louis Emile EdmondDuranty Abbreviated References 485 The Second Exhibition 1876 145 Contemporary Reviews 490 A Failed Attempt Bibliography 497 Mollis Clayson Index ofArtists 506 Sponsor's Statement This magnificentexhibition and its catalogue-recreating the original eight Impressionist shows-are major contributions to the study ofa pivotal moment in the art ofthe western world, at&t is honored to sponsor this exhibition on the occasion ofthe looth anniversary of We the eighth and final Impressionists' show. trust it will stimulate both the intellect and emotions ofall who view it. The Fine Arts Museums ofSan Francisco deserve praise fororganizing this extraordinary exhibition of Impressionistpaintings, an exhibition that allows us to sense the wonder the paintings provoked when first seen more than a century ago. Special thanks, too, go to Charles S. Moffett, exhibition curator, who assembled the works from museums and private collections around the world, and to the directors and staffs of both The Fine Arts Museums ofSan Francisco and the National Gallery ofArt, Washington. Because oftheir efforts, many ofus can experience-with a fresh perspective-the beauty and insights of Impressionism. C. L. Brown Chairman ofthe Board AT&T

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