The Judgment of Paris
Page 53
7 Quoted in Erika Langmuir and Norbert Lynton, eds., The Yale Dictionary of Art and Artists (New Haven: Yale University Press, 2000), p. 711.
8 Quoted in Wilson-Bareau, "Manet and Spain," p. 235.
9 Wilson-Bareau, ed., Manet by Himself, p. 36.
10 For Duret's account, see Histoire de Édouard Manet et de son oeuvre, pp. 44—7.
11 The Times, October 5 1865.
12 See the reports in The Times, October 5 and 16, 1865.
13 Gazette des Hôpitaux, October 31, 1865.
14 The Times, November 4, 1865.
15 Wilson-Bareau, ed., Manet by Himself, p. 37.
Chapter Eighteen: The Jury of Assassins
1 See Pasquier-Guignard, "L'Installation a Poissy," pp. 66-70; and Pasquier, "La Vie a la 'Grande Maison,' " p. 71—2.
2 Pasquier, "La Vie a la 'Grande Maison,' " p. 72.
3 "Extraits de l'agenda de Charles Meissonier," p. 73.
4 Ibid.
5 Journal, vol. 3, p. 1180. A recent scholar is more cautious in her speculations about the early relationship between Meissonier and Elisa Bezanson. Hungerford calls her Meissonier's "attentive friend from the later 1860s" {Ernest Meissonier, p. 5) and his "intimate friend and confidante" {Ernest Meissonier: Rétrospective, p. 173).
6 Gréard, Meissonier, p. 253.
7 Quoted in Roos, Early Impressionism and the French State, p. 10.
8 Ibid., pp. 61 and 237, note 32.
9 Holtzapffel's suicide note was reproduced in several newspapers, including La Petite Revue (April 21, 1866).
10 Tabarant, Manet et ses oeuvres, p. 123.
11 L'Événement, April 23, 1866.
12 L'Événement, April 25, 1866.
13 Quoted in Rewald, History of Impressionism, p. 200.
14 Quoted in Frederick Brown, Zola: A Life (London: Macmillan, 1996), p. 124.
15 Quoted in ibid.
16 L'Événement, April 30, 1866. The article is also reproduced in Zola, Salons, ed. F. W J. Hemmings and Robert J. Neiss (Geneva: E. Droz, 1959), pp. 53-60.
Chapter Nineteen: Monet or Manet?
1 Quoted in Madeleine Fidell-Beaufort and Janine Bailly-Herzberg, Daubigny: La Vie et I'oeuvre (Paris: Éditions Geoffroy-Dechaume, 1975), p. 45.
2 Quoted in ibid., p. 57.
3 Rewald, The History of Impressionism, p. 142.
4 Quoted in John Rewald, The Ordeal of Paul Cézanne (London: Phoenix House, 1950), p. 26.
5 The Ordeal of Paul Cézanne, p. 38.
6 Ibid., p. 65.
7 Ibid., p. 39.
8 This letter is reproduced in Roos, Early Impressionism and the French State, p. 65.
9 The Ordeal of Paul Cézanne, p. 40.
10 L'Événement, May 7, 1866.
11 Wilson-Bareau, ed., Manet by Himself, p. 38.
12 Quoted in Roos, op. cit., p. 56.
13 Vollard, Recollections of a Picture Dealer, p. 18.
14 Quoted in Bowness et al., Gustave Courbet, p. 40; and Rewald, The History of Impressionism, p. 125.
15 Letters of Gustave Courbet, pp. 267—8
16 The Correspondence of James McNeill Whistler, no. 1131 o.
17 Quoted in Weintraub, Whistler, p. 116.
18 Quoted in Ibid., p. 118.
19 For Khalil Bey, see Francis Haskell, "A Turk and His Pictures in Nineteenth-Century Paris," The Oxford Art Journal, vol. 5 (1982), pp. 40-47. Khalil Bey was also the owner, at this time, of Ingres's Turkish Bath, which he purchased in 1865.
20 Letters of Gustave Courbet, p. 276.
21 Ibid.
22 Quoted in Rewald, The History of Impressionism, p. 144.
23 Quoted in Georges Jean-Aubry, Eugène Boudin (Paris: Bernheim-Jeune, 1922), p. 62. The word used by Boudin to describe the painting was tartine, which literally means a slice of bread and butter but also has the figurative sense of a long-winded discourse.
24 Monet by Himself: Paintings, drawings, pastels, letters, ed. Richard Kendall, trans. Bridget Strevens Romer (London: MacDonald Orbis, 1989), p. 23.
25 Quoted in Joel Isaacson, Monet: "Le Déjeuner sur I'herbe " (London: Allen Lane, 1972), p. 30.
26 L'Événement, May 11, 1866.
27 Monet by Himself', p. 23.
28 On these sales, see Paul Hayes Tucker, Claude Monet: Life and Art (New Haven: Yale University Press, 1995), p. 24.
29 La Lune, May 13, 1866.
30 L'Artiste, June 15, 1866.
31 Paul Hayes Tucker claims that this story is probably apocryphal since "the trench would have to have been a veritable canal—the picture is eight feet tall! Even if he had done such excavation, we know that the unfinished painting was shipped to him after he left Sèvres for Honfleur in the later summer or early fall of 1866 and that he completed it in his studio there on the coast" {Claude Monet, p. 31).
Chapter Twenty: A Flash of Swords
1 For this episode, see "Extraits de l'agenda de Charles Meissonier," p. 73.
2 This damage was noted on December 4, 1894, by the American art restorer George H. Storey. For Storey's report on the condition of Friedland I am indebted to Charlotte Hale, Paintings Conservator at the Metropolitan Museum of Art, New York.
3 "Extraits de l'agenda de Charles Meissonier," p. 73.
4 I am grateful to Charlotte Hale for providing this information from Storey's 1894 report on Friedland.
5 Quoted in Brombert, Édouard Manet, p. 353. This remark comes from 1875.
6 Quoted in Richardson, Théophile Gautier: His Life and Times (London: Max Reinhardt, 1958), p. 215.
7 La Revue du XIXe Siècle, January 1, 1867.
8 Wilson-Bareau, ed., Manet by Himself, p. 41.
9 Quoted in Mainardi, Art and Politics of the Second Empire, p. 139.
10 L'Artiste, May 1, 1867.
11 Brown, Zola, p. 315.
12 Wilson-Bareau, ed., Manet by Himself, p. 12.
Chapter Twenty-one: Marvels, Wonders and Miracles
1 Quoted in Brian and J. M. Chapman, The Life and Times of Baron Haussmann, p. 202.
2 For the full catalogue, see Paris Universal Exhibition, 1867: Complete Official Catalogue, 2nd edition (London and Paris, 1867).
3 Le Temps, May 22, 1867.
4 The Times, April 1, 1867.
5 La Liberté, April i, 1867.
6 Le Figaro, April 5, 1867.
7 Quoted in Rewald, History of Impressionism, p. 168.
8 Monet by Himself, p. 20.
9 Quoted in Tucker, Claude Monet, p. 34.
10 Quoted in Rewald, The History of Impressionism, p. 150. For the various sources of this story, a number of which attribute Manet's remark to different paintings, see ibid., p. 193, note 19.
11 Quoted in Mainardi, Art and Politics of the Second Empire, p. 137.
12 Boime, "The Salon des Refusés and the Evolution of Modern Art," p. 418.
13 Quoted in Mainardi, op. cit., p. 136.
14 Tabarant, Manet et ses oeuvres, pp. 135—6.
15 Ibid., p. 132.
16 Revue libérale, June 1867.
17 Wilson-Bareau, ed., Manet by Himself, p. 42.
18 The text of this preface may be found in ibid., p. 43.
19 Monet by Himself, p. 24.
20 L'Indipéndance beige, June 15, 1867.
21 Revue libérale, June 1867.
22 Le Journal amusant, June 29, 1867.
23 Proust, Manet: souvenirs, p. 5 5.
24 This, at least, is the price quoted in Le Journal amusant for June 29, 1867.
25 Quoted in Courthion and Cailler, eds., Portrait of Manet, trans. Michael Ross, p. 61.
26 Letters of Gustave Courbet, p. 315.
27 Monet by Himself, p. 24.
28 Pages from the Goncourt Journal, p. 149.
29 Quoted in Gaunt, The Pre-Raphaelite Tragedy, pp. 82 and 140.
30 The Correspondence of James McNeill Whistler, no. 11312.
31 Quoted in Weintraub, Whistler, p. 125. For Nieuwerkerke's admiration for Whistler's work, see The Correspondence of James
McNeill Whistler, nos. 09216, 02644 and 09191.
32 Notes and Sketches of the Paris Exhibition (London, 1868), p. 79.
33 La Situation, July 1, 1867.
34 Charles Blanc, "Exposition Universelle de 1867," quoted in ibid., Les Artistes de mon temps (Paris, 1876), p. 321; L'lllustration, November 23, 1867; Gazette des Beaux-Arts, October 1, 1867; L'Artiste, May 1, 1867; Salons de W. Burger, quoted in Hungerford, Ernest Meissonier, p. 95; Le Correspondant, August 1867.
35 This work, the Tyler Davidson Fountain, was completed in 1871 and now stands in Fountain Square (formerly Probasco Square) in downtown Cincinnati.
36 For Probasco's bid of 150,000 dollars, see Mollett, Meissonier, p. 56. Writing in 1882, fifteen years after the fact, Mollett identifies the work in question not specifically as Friedland—discussed elsewhere in his text—but as "Cavalry Charge," which he claims Probasco successfully acquired in 1867. However, there is no record (e. g., in Gréard) of Meissonier ever having painted a work named "Cavalry Charge." The Probasco collection was dispersed in 1887, and I have been unable to determine the identity of this painting—if, indeed, it ever existed. I suspect that Probasco's bid—ultimately unsuccessful—was actually for Friedland, the only painting for which Meissonier expected compensation of more than 100,000 francs. Friedlandwas sometimes known by varying names, including "Cavalry Charge." For example, Théodore Duret (writing in 1906) called it "Charge des cuirassiers" {Histoire de Édouard Manet et de son oeuvre, p. 124).
Chapter Twenty-two: Funeral for a Friend
1 Quoted in Ridley, Napoléon III and Eugénie, p. 532.
2 Quoted in ibid., p. 526.
3 L'Indipéndance beige, July 6, 1867.
4 Courthion and Cailler, Portrait of Manet, p. 40.
5 This visit is confirmed in Wilson-Bareau and Degener, eds., Manet and the Sea, p. 258.
6 Correspondance de Baudelaire, vol. 2, p. 253.
7 Ibid., p. 460.
8 For a discussion of this painting and its relation to Paris's topography and monuments, see Nancy Locke, "Unfinished Homage: Manet's Burial and Baudelaire," The Art Bulletin (March 2000), pp. 68-82.
9 Quoted in McMullen, Degas, p. 119.
10 Plateau would publish his study in 1873. For a discussion of the surprisingly long and important scientific history of soap bubbles, see Michele Emmer, "Architecture and Mathematics: Soap Bubbles and Soap Films," in Nexus: Architecture and Mathematics, ed. Kim Williams (Florence: Edizioni dell'Erba, 1996), pp. 53—65.
11 This account seems to have originated with Manet's friend Théodore Duret: see Histoire de Édouard Manet et de son oeuvre, p. 115. However, Juliet Wilson-Bareau argues that this story "may have been a picturesque invention of the kind often used to catch the imagination of the public and enhance the 'veracity' of a history painting": see "Manet and The Execution of Maximilian," in Wilson-Bareau et al., Manet: "The Execution of Maximilian": Painting, Politics, Censorship (London: National Gallery Publications, 1992), p. 55.
12 Wilson-Bareau, "Manet and The Execution of Maximilian," p. 55.
13 Ibid., p. 52.
14 See Henri Loyrette's review, in the September 1992 Burlington Magazine, of a 1992 exhibition at the National Gallery, London, entitled Manet: The Execution of Maximilian. Loyrette makes the case that Manet's "clear and straightforward purpose was to denounce the French attitude to the incident" (p. 613).
Chapter Twenty-three: Maneuvers
1 Gréard, Meissonier, p. 185. For Colonel Dupressoir ordering his cuirassiers to perform maneuvers for Meissonier, see Yriarte, "E. Meissonier," p. 835.
2 Yriarte, "E. Meissonier," p. 835.
3 Quoted in Hungerford, Ernest Meissonier, p. 166.
4 "E. Meissonier," p. 835.
5 Ibid.
6 Wolff, La Capitale de Fart (Paris, 1886), p. 181.
7 For a description of this work, see Gréard, Meissonier, p. 378. For the price paid by Delahante, see Hungerford, Ernest Meissonier, p. 259, note II.
8 For the price of Friedland, see the report in Paris-Artiste, January 25, 1872, cited in Hungerford, Ernest Meissonier, p. 160. Hungerford states that Meissonier agreed to sell Friedland to Lord Hertford sometime around 1867 (ibid.)—that is, at the time of the Universal Exposition or shortly thereafter.
9 The author of the article in Le Moniteur was no less an authority than Napoléon Bonaparte: see D. M. Tugan-Baranovsky, "Napoléon as Journalist," in Napoleonic Scholarship: The Journal of the International Napoleonic Society 1 (December 1998), online at www.napoleonicsociety.com.
10 Blanc, Les Artistes de mon temps, p. 321.
11 Revue du XIXe Siècle, June 1866.
12 Quoted in Philip Nord, Impressionists and Politics: Art and Democracy in the Nineteenth Century (London and New York: Routledge, 2000), p. 48.
13 Quoted in Roos, Early Impressionism and the French State, p. 103. For these activities of Courbet et al., see ibid., pp. 103-4, and Mainardi, Art and Politics of the Second Empire, pp. 187-8.
14 Thirésè Raquin, trans. Andrew Rothwell (Oxford: Oxford University Press, 1992), p. 28.
15 Ibid., p. 62.
16 Quoted in Brown, Zola, p. 156.
17 Le Figaro, January 23, 1868. Since the author of the review has been identified as Zola's friend Louis Ulbach, it has been suggested that Zola, hoping to enhance his notoriety, was himself directly responsible for this campaign against "putrid literature." Certainly Zola was not above such practices. When his first book, Les Contes à Ninon, came out in 1864, he took the liberty of writing favorable reviews which he then obligingly sent to various newspapers (for this episode, see Brown, Zola, p. 119).
18 For this Preface, see Thirésè Raquin, pp. 1—6.
19 Ibid., p. 2.
20 Wilson-Bareau, ed., Manet by Himself, p. 45.
21 Ibid.
22 In total, 839 painters cast ballots in 1868, against only 125 in 1867 (Roos, Early Impressionism and the French State, p. 104).
23 This description comes from Zola's novel L 'Oeuvre, first published in 1886; see The Masterpiece, trans. Thomas Walton, pp. 314—15.
24 Astruc, Le Salon in time: Exposition au boulevard des Italiens (Paris, 1860), p. 91.
25 L 'Artiste, September 6,1857.
26 The Journal of Eugène Delacroix, p. 187.
Chapter Twenty-four: A Salon of Newcomers
1 Roos, Early Impressionism and the French State, p. 251, note 15.
2 Rewald, The History of Impressionism, p. 185.
3 Quoted in Rewald, The Ordeal of Paul Cézanne, p. 59.
4 Ernest d'Hervilly, Le Rappel, April 17,1874. D'Hervilly is here describing Cézanne's typical appearance in the 1860s.
5 Quoted in Brombert, Édouard Manet, p. 228.
6 Quoted in Roos, op. cit., p. 117.
7 Monet by Himself, p. 2 5.
8 Quoted in Roos, op. cit., p. 117.
9 Quoted in Roger L. Williams, The French Revolution of 1870—1871 (London: Weidenfeld and Nicolson, 1969), p. 45.
10 The Athenaeum, November 8, 1862.
11 Though this novel never made it into print, a recent historian has suggested that Napoléon Ill's contribution to the history of the novel was twofold: "to have confounded the view that we all have a novel in us and to have confirmed the view that there are very many novels that are better for never having been-written" (Baguley, Napoléon III and His Regime, p. 337).
12 Quoted in Brown, Zola, p. 172. See also Zeldin, Politics and Anger, p. 175; and David Thomson, Europe Since Napoléon (Harmondsworth, Middlesex: Penguin, 1966), p. 268.
13 Quoted in Ralph E. Shikes and Paula Harper, Pissarro: His Life and Work (London: Quartet Books, 1980), p. 75.
14 For the positive reception of Pissarro's work in 1868, see ibid.
15 L'Événement illustré, May 10, 1868.
16 Quoted in Hamilton, Manet and his Critics, p. 123.
17 Le Nain Jaune, June 5, 1868; Gazette des Beaux-Arts, June 1,1868; L'Artiste, May 1868. For samples of the other reviews, see Hamilton, Manet a
nd His Critics, p. 129.
18 Le Moniteur universel, May 11, 1868.
19 L'Événement illustré, May 10, 1868.
20 These reviews have been reprinted in Zola, Écrits sur Tart, ed. Jean-Pierre Leduc-Adine (Paris: Gallimard, 1991), pp. 191—223. For the importance of Zola's articles in L'Evinement illustré for identifying this avant-garde, and for the importance of the 1868 Salon more generally, see the excellent discussion in Roos, Early Impressionism and the French State, pp. 122—3.