The Judgment of Paris
Page 51
14 Quoted in John Rewald, The History of Impressionism (New York: Museum of Modern Art, 1961),p.79.
15 Quoted in Boime, "An Unpublished Petition," p. 347.
16 On this boycott, see Hungerford, Ernest Meissonier, p. 50.
Chapter Six: Youthful Daring
1 Juliet Wilson-Bareau maintains that the show at Martinet's gallery, which opened a month before the deadline for Salon paintings, was "part of Manet's strategy to gain support for his Salon pictures": Manet by Himself (London: Macdonald Illustrated, 1991), p. 16. For a similar argument, see George Heard Hamilton, Manet and His Critics (New Haven: Yale University Press, 1954), p. 38.
2 Théodore Zeldin reports that in 1861 there were 104 picture dealers in Paris: Taste and Corruption: France 1848—1945 (Oxford University Press, 1980), p. 116.
3 Gérôme received 20,000 francs in 1852 for his Age of Augustus, first shown in 1855; and he was paid another 20,000 francs for his Reception of the Siamese Ambassadors, painted between 1861 and 1863. For his relationship with Adolphe Goupil—whose daughter he married in 1863—see Gérôme & Goupil: Art and Enterprise, trans. Isabel Ollivier (New York: Dahesh Museum of Art, 2000).
4 For a discussion of Manet's experimentation with technique, see Anthea Callen, Techniques of the Impressionists (London: Tiger Books International, 1993), especially pp. 10-45.
5 L'Artiste, April 1, 1863.
6 Gazette des Beaux-Arts, April 1, 1863.
7 Edmond and Jules de Goncourt, Pages from the Goncourt Journal, p. 138.
8 La Presse, April 27, 1863.
9 Émile Zola, The Masterpiece, trans. Roger Pearson (Oxford: Oxford University Press, 1993), P. 140.
10 See Lee Johnson, Eugène Delacroix (1798—1863): Paintings, Drawings, and Prints from North American Collections (New York: Harry N. Abrams, 1991), p. 16.
11 Callen, Techniques of the Impressionists, pp. 16 and 22.
12 On this matter, see Théodore Zeldin, Taste and Corruption, pp. 83—4.
13 See Baudelaire, Oeuvres complètes, 2 vols., ed. Claude Pichois (Paris: Bibliothèque de la Pleiade, 1975-6), vol. 2, p. 494.
14 Quoted in Linda Nochlin, Realism (London: Penguin, 1971)1 P. 28.
15 See, for example, his articles in Le Moniteur universel, December 24,18 5 5 and June 4, 1868.
16 Wilson-Bareau, ed., Manet by Himself, p. 29.
17 Courrier artistique, April 15, 1863.
Chapter Seven: A Baffling Maze of Canvas
1 Zola, The Masterpiece, p. 324.
2 Ibid., p. 318.
3 A juror from later in the century, Tony Robert-Fleury, claimed that jurors could be forced to view as many as 600 works per day, "and sometimes they refuse out of distaste what they have seen in a bad mood": quoted in John Milner, The Studios of Paris: The Capital of Art in the Late Nineteenth Century (New Haven: Yale University Press, 1988), p. 49.
4 Boime, "An Unpublished Petition," p. 346.
5 The winners of the Prix de Rome in the Académie des Beaux-Arts at this time were: Ingres (1801), François Heim (1807), Jean Alaux (1815), Léon Cogniet (1817), Signol (1830), and Hippolyte Flandrin (1832).
6 Rewald, The History of Impressionism, p. 79
7 This at least is the claim of one of Signol's students, Pierre-Auguste Renoir, quoted in Vollard, Renoir: An Intimate Portrait, trans. Harold Van Doren and Randolph T. Weaver (New York: Greenberg, 1925), p. 31.
8 Correspondance generale de Eugène Delacroix, 5 vols., ed. Andre Joubin (Paris: Plon, 1937), vol. 3, p. 369.
9 Dr. Gachet would later have, as his most famous patient, Vincent Van Gogh, who was treated at Cachet's house in Auvers-sur-Oise in the weeks before his suicide in 1890. Van Gogh immortalized his physician in Portrait of Doctor Gachet.
10 An example of such a rejection—that of Fantin-Latour—is reproduced in Daniel Wildenstein, "Le Salon des Refusés de 1863: Catalogue et Documents," Gazette des Beaux-Arts, ser. 6 (September 1965), p. 131.
11 For a discussion of the contribution of cafés to the artistic life of Paris in the nineteenth century, see Georges Bernier, Paris cafés: Their Role in the Birth of Modern Art (New York: Wildenstein & Co., 1985). The discontented drinker, J.-K. Huysmans, is quoted on p. 37.
12 George Du Maurier, quoted in Stanley Weintraub, Whistler: A Biography (London: Collins, 1974), p. 66.
13 James McNeill Whistler, The Correspondence of James McNeill Whistler, ed. Margaret F. MacDonald et al. (Glasgow: Centre for Whistler Studies, University of Glasgow), no. 08033. This collection may be found online at http://www.whistler.arts.gla.ac.uk/letters.
14 Quoted in David Baguley, Napoléon III and His Regime: An Extravaganza (Baton Rouge: Louisiana State University Press, 2000), p. no.
15 For lists of candidates for Louis-Napoléon's father, see Baguley, Napoléon III and His Regime, pp. 114—16; and Jasper Ridley, Napoléon III and Eugénie (London: Constable, !979),PP.14-15.
16 Ridley, Napoléon III and Eugénie, p. 23.
17 Quoted in Zeldin, Politics and Anger, p. 188. For the booming economy of the Second Empire, see ibid., pp. 188—92; and Alfred Cobban, A History of Modern France: From the First Empire to the Second Empire, 1799—1871 (Harmondsworth, Middlesex, U.K.: Penguin, 1984), pp. 164-71.
18 Quoted in Baguley, Napoléon III and His Regime, pp. 12 and 151.
19 Quoted in Ridley, Napoléon III and Eugénie, p. 120.
20 Quoted in Baguley, op. cit., p. 1.
21 The Illustrated London News, January 18, 1873.
22 Anna L. Bicknell, Life in the Tuileries under the Second Empire (London, 1895), p. 171.
23 James Howard Harris, First Earl of Malmesbury, Memoirs of an Ex-Minister (London, 1884), vol. 2, p. 282.
24 Quoted in Roger Bellet, Presse et Journalisme sous le Second Empire (Paris: Armand Colin, 1967), p. 18.
25 Quoted in Ridley, Napoléon III and Eugénie, p. 508.
26 Ibid., p. 510.
27 Quoted in Zeldin, Politics and Anger, p. 147. Zeldin writes that Louis-Napoléon's "mystical communion with public opinion made him—when he was successful—a kind of wizard" (ibid., p. 149). For Louis-Napoléon's reliance on public opinion, see also Cobban, A History of Modern France, p. 180.
28 For the Emperor's visit to the Palais des Champs-Élysées, see Wildenstein, "Le Salon des Refusés de 1863: Catalogue et Documents," p. 128.
29 For Lezay-Marnésia's involvement in the Salon des Refusés, see Boime, Thomas Couture and the Eclectic Vision, p. 473. Antoine-Albert Lezay-Marnésia (1819—79), whose father had been Prefect of the Rhone, was related to Louis-Napoléon through the Grand Duchess of Bade, Stéphanie de Beauharnais (1789—1860), whose mother had been a Lezay-Marnésia. Albert was the nephew of Adrien Lezay-Marnésia (1759—1814), the translator of Schiller, friend of Madame de Stael and Prefect of the Lower Rhine who died after accidentally skewering himself with his ceremonial sword. Albert Lezay-Marnésia's wife, a lady-in-waiting to Eugénie, is depicted in Franz Xaver Winterhalter's famous Portrait of the Empress Eugénie Surrounded by her Maids of Honor (1855), now in the Musée national du Château de Compiegne.
30 Quoted in Matthew Truesdell, Spectacular Politics: Louis-Napoléon Bonaparte and the Fête Impériale, 1849-1870 (New York: Oxford University Press, 1997), p. 67.
31 The Athenaeum, November 8, 1862.
32 On these matters, see Truesdell, Spectacular Politics, passim.
33 Le Moniteur universel, April 24, 1863.
34 L'Artiste, May 1, 1863.
35 The Correspondence of James McNeill Whistler, no. 08035.
36 Quoted in Shackelford and Wissman, eds., Impressions of Light, p. 76.
37 Fine Arts Quarterly Review, October 1863.
38 The Correspondence of James McNeill Whistler, no. 08035.
Chapter Eight: The Salon of Venus
1 Jules Janin, L'Éte à Paris (Paris, 1844), p. 148.
2 Philippe de Chennevières-Pointel, Souvenirs d'un directeur des Beaux-Arts, 5 vols. (Paris, 1889), vol. 1, p. 37. For information about Chenn
evières and his tasks in readying the Palais des Champs-Élysées for the Salon, see Jane Mayo Roos, Early Impressionism and the French State (1866-1874) (Cambridge: Cambridge University Press, 1996), pp. 4-5 and 40—1; and idem., "Aristocracy in the Arts: Philippe de Chennevières and the Salons of the Mid-1870S," Art Journal 48 (Spring 1989), pp. 53—62.
3 Souvenirs d'un directeur des Beaux-Arts, vol. 4, p. 2.
4 Quoted in Roos, Early Impressionism and the French State, p. 135.
5 Quoted in Roos, "Aristocracy in the Arts," p. 54.
6 For Chennevières's aesthetic conservatism, see ibid., p. 55.
7 Quoted in Rewald, The History of Impressionism, p. 20.
8 Quoted in Lethève, Daily Life of French Artists in the Nineteenth Century, p. 120.
9 For discussions of the art critics, or salonniers, of the Second Empire, see Zeldin, Taste and Corruption, p. 119; and Claudine Mitchell, "What is to be done with the Salonniers?" Oxford Art Journal 10 (1987), pp. 106-14.
10 Quoted in Gérôme & Goupil: Art and Enterprise, p. 117.
11 Moniteur universel, June 13, 1863.
12 Gazette des Beaux-Arts, June 1863.
13 Maxime du Camp, Les Beaux Arts a l'Exposition Universelle et aux Salons de 1863—1867 (Paris, 1867), p. 30.
14 For discussions of the issues involved in painting the nude at this time, see Jennifer L. Shaw, "The Figure of Venus: Rhetoric of the Ideal and the Salon of 1863," Art History 14 (December 1991), pp. 540—67; and T. J. Clark, The Painting of Modern Life: Paris in the Art of Manet and His Followers (Princeton: Princeton University Press, 1984), pp. 121—31.
15 For an example, see Geoffrey Wall, Flaubert: A Life (London: Faber and Faber, 2001), p. 172.
16 Revue des deux mondes, June 15, 1863.
17 Arthur Stevens, Le Salon de 1863 (Paris, 1866), p. 57; Alan Bowness et al., Gustave Courbet (1819—1877) (London: Arts Council of Great Britain, 1978), p. 39.
18 Quoted in Elizabeth Anne McCauley, "Sex and the Salon: Defining Art and Immorality in 1863," in Tucker, ed., Manet's "Le Déjeuner sur l'Herbe, "p. 49.
19 Le Correspondant, June 18, 1863.
20 Revue des races latines, June 1863; Fine Arts Quarterly Review, October 1863.
21 Quoted in Baguley, Napoléon III and His Regime, p. 243.
22 Much work has been done on prostitution in nineteenth-century France. See, for example, Jill Harsin, Policing Prostitution in Nineteenth-Century Paris (Princeton: Princeton University Press, 1985); Alain Corbin, Women for Hire: Prostitution and Sexuality in France after 1850 (Cambridge, Mass.: Harvard University Press, 1990); and Hollis Clayson, Painted Love: Prostitution in French Art of the Impressionist Era (New Haven: Yale University Press, 1991).
23 La Pornacratie, ou les femmes dans les temps modernes (Paris, 1875), P. 13.
24 On this loan, see Ridley, Napoléon III and Eugénie, pp. 285-6.
Chapter Nine: The Tempest of Fools
1 For the preface, see Wildenstein, "Le Salon des refusés de 1863," p. 132.
2 For the Marquis de Laqueuille's involvement with the Salon des Refusés, see Adolphe Tabarant, Manet et ses oeuvres (Paris: Gallimard, 1947), p. 66.
3 Quoted in James H. Rubin, Courbet (London: Phaidon Press, 1997), p. 4.
4 Quoted in ibid., p. 51.
5 Quoted in Bowness et al., Gustave Courbet, p. 31.
6 For Courbet's sojourn in Saintes, see Rubin, op. cit., pp. 186-7.
7 The Letters of Gustave Courbet, ed. and trans. Petra ten-Doesschate Chu (Chicago: University of Chicago Press, 1992), p. 221.
8 Ibid.
9 Ibid., p. 222.
10 Quoted in Rubin, op. cit., p. 108.
11 Tabarant, Manet et ses oeuvres, p. 6 5.
12 Ibid., p. 67.
13 Zola, The Masterpiece, p. 327.
14 Fine Arts Quarterly Review, October 1863.
15 Tabarant, op. cit., p. 67.
16 Le Salon de 1863, May 20, 1863.
17 Fine Arts Quarterly Review, October 1863.
18 Le Boulevard, May 31, 1863; Le Figaro, May 31, 1863. Stevens's review was not without a certain bias: he was the brother of the painter Alfred Stevens, a good friend of Manet and his companions at the Café de Bade.
19 Wilson-Bareau, ed., Manet by Himself, p. 16.
20 Théodore Duret, Histoire de Édouard Manet et de son oeuvre (Paris: Charpentier et Fasquelle, 1906), p. 38.
21 Le Courrier artistique, May 30, 1863.
22 Le Siècle, July 19, 1863; La Patrie, May 21, 1863.
23 Le Constitutionnel, May 18, 1863. Similar complaints about the figures were voiced in Le Figaro (July 19, 1863) and L 'Artiste (August 15, 1863).
24 Quoted in Hamilton, Manet and His Critics, p. 45.
25 L 'Artiste, August 15, 1863. The notion of Le Déjeuner sur I'herbe as a practical joke has persisted. For a discussion of the work as a huge prank, see Linda Nochlin, The Politics of Vision: Essays on Nineteenth-Century Art and Society (London: Thames & Hudson, 1991), pp. 13 ff. She claims the painting "must have seemed as full of protest and constituted as destructive and vicious a gesture as that of Marcel Duchamp when, in 1919, he painted a moustache on the Mona Lisa" (p. 14).
26 Le Constitutionnel, May 18, 1863.
27 Alan Krell has argued that "there are no positive grounds to believe that the public considered the Déjeuner a moral affront verging on the scandalous": see "Manet's Déjeuner sur I'herbe in the Salon des Refusés: A Re-appraisal," Art Bulletin 65 (June 1983), p. 319. Nor, it seems, were the critics, apart from Chesneau, troubled by the painting's moral implications. As Krell writes elsewhere, "What we can say with some degree of certainty . . . is that the critics were not unanimous in declaring the juxtaposition of a naked woman with clothed men singularly offensive": Manet and the Painters of Contemporary Life (London: Thames & Hudson, 1996), p. 45.
28 Le Siècle, July 19, 1863.
29 This connection has been pointed out by John House, "Manet and the De-Moralized Viewer," in Tucker, ed., Manet's "Le Déjeuner sur I'Herbe, "p. 86.
30 Fine Arts Quarterly Review, October 1863.
31 L'Indipéndance beige, June 11, 1863.
32 Alan Krell has made a convincing case that Manet's painting received a better critical reception at the Salon des Refusés than has previously been recognized. See "Manet's Déjeuner sur I'herbe in the Salon des Refusés: A Re-appraisal," pp. 316—20.
33 Le Salon de 1863, May 20, 1863.
34 Le Petit journal, June 11, 1863.
35 Le Courrier artistique, May 16, 1863.
36 Quoted in Georges Vigne, Ingres, trans. John Goodman (New York: Abbeville, 1995), p. 137.
37 Le Figaro, September 16, 1855. The author of this review was Manet's friend Nadar, the photographer and aeronaut.
38 Quoted in Lorenz Eitner, An Outline of 19th Century European Painting: From David through Ceianne (New York: Harper & Row, 1987), p. 186.
39 Tabarant, Manet et ses oeuvres, p. 67.
40 Ibid.
41 Le Figaro, May 24, 1863.
42 Quoted in Tabarant, op. cit., p. 68. Pelloquet (a pseudonym of Frédéric Bernard) was writing in a biweekly publication called L'Exposition: Journal du Salon de 1863.
43 Quoted in Albert Boime, "The Salon des Refusés and the Evolution of Modern Art," The Art Quarterly 32 (1969), p. 414. Boime provides an excellent discussion of this battle between the "sketchers" and the "finishers" on pp. 414—15.
44 Quoted in ibid., p. 414.
Chapter Ten: Famous Victories
1 Burty, "La Vie de Meissonier," in Gustave Larroumet, Meissonier (Paris, 1895), p. 85.
2 Yriarte, "E. Meissonier," p. 829.
3 Verestchagín, "Reminiscences of Meissonier," p. 664.
4 Quoted in Gotlieb, The Plight of Emulation, p. 155.
5 For Dumas file's gift, see Ernest Meissonier: Retrospective, p. 79.
6 Yriarte, "E. Meissonier," p. 829.
7 History of the Consulate and the Empire of France Under Napoléon, vol. 7, p. 362.
/> 8 Ibid., p. 360.
9 Gréard, Meissonier, p. 41.
10 This scene is described in Thiers, History of the Consulate and the Empire of France Under Napoléon, vol. 7, p. 331.
11 Edmond and Jules de Goncourt, Journal, vol. 1, p. 138.