The Judgment of Paris

by Ross King

  17 Ibid.

  18 The Times, May 6, 1873.

  19 For samples of these reviews, see Hamilton, Manet and the Critics, p. 163; Brombert, Édouard Manet, p. 314; and Shennan, Berthe Morisot, p. 141.

  20 On these matters, see Susannah Barrows, "After the Commune: Alcoholism, Temperance and Literature in the Early Third Republic," in John M. Merriman, ed., Consciousness and Class Experience in 19th-century Europe (New York: Holmes & Meier, 1980), pp. 205-18.

  21 Le Soir, May 6, 1873; Le Gaulois, May 13, 1873; Le Temps, May 24, 1873 ; Le Figaro, May 12, 1873. Stevens is quoted in Rewald, History of Impressionism, p. 302. For a fuller sample of the reviews, see Tabarant, Manet et ses oeuvres, pp. 205—12.

  22 Quoted in Tabarant, op. cit., p. 212.

  23 Quoted in Brombert, Édouard Manet, p. 314.

  24 L'Artiste, June 1, 1873. On Montifaud's career, see Laurence Brogniez, "Marc de Montifaud: une femme en proces avec son siècle," Sextant, vol. 6 (1996), pp. 55—80.

  Chapter Thirty-seven: Beyond Perfection

  1 The Illustrated London News, September 20, 1873.

  2 The Illustrated London News, November 8, 1873; The Times, August 23, 1873. For accounts of the French display in Vienna, as well as the 1873 exhibition more generally, see Elizabeth Gilmore Holt, ed., The Art of All Nations: The Emerging Role of Exhibitions and Critics (Princeton: Princeton University Press, 1982), pp. 545-72.

  3 The Times, August 23, 1873.

  4 Gréard, Meissonier, p. 294.

  5 Quoted in Zeldin, Politics and Anger, p. 245.

  6 Quoted in The Times, January 11, 1873.

  7 For these reviews, see Hungerford, Ernest Meissonier, p. 174.

  8 The Times, November 8, 1873.

  9 Quoted in Mollett, Meissonier, p. 72.

  10 Roger Ballu, quoted in Hungerford, Ernest Meissonier, p. 174.

  11 Quoted in ibid.

  12 Revue des deux mondes, February 15, 1876, as translated in Gotlieb, The Plight of Emulation, pp. 173—4. Houssaye was writing his critique after the painting had returned from Vienna to Paris.

  13 Yriarte, "E. Meissonier," p. 837.

  14 Ibid., p. 838.

  15 Gréard, Meissonier, p. 294.

  Chapter Thirty-eight: The Liberation of Paris

  1 Quoted in Jean-Marie Mayeur, Les Dibuts de la Troisième République, 1871—1898 (Paris: Editions du Seuil, 1973), p. 27.

  2 For the pilgrims traveling to Lourdes in 1872, see The Nation, October 3, 1872.

  3 Quoted in Bowness et al., Gustave Courbet, p. 48.

  4 Le Temps, December 25, 1873.

  5 Roos, "Aristocracy in the Arts," pp. 55—6.

  6 Gréard, Meissonier, p. 266. Like most of the autobiographical reflections reproduced by Gréard, this one is difficult to date, but given its context—Meissonier speaks immediately before about the Panthéon commission and immediately afterward about the Commune—it appears to be from the early 1870s, when his house was under construction. Further evidence pointing to a date in the early 1870s is an allegorical sketch of the Arts, Science and Poetry which is dated 1873 (Gotlieb, The Plight of Emulation, p. 186).

  7 Quoted in Gotlieb, The Plight of Emulation, p. 19.

  8 Gréard, Meissonier, p. 263.

  9 Quoted in Gotlieb, op. cit., p. 19.

  10 Charles Seymour, ed., Michelangelo: The Sistine Chapel Ceiling (New York: WW. Norton, 1972), p. 150.

  11 For Delacroix's mural technique, see the essays in the exhibition catalogue Eugène Delacroix à I'Assembèie Nationale, ed. Arlotte Serullaz et al. (Paris: Assemblèe Nationale, 1995). The results of his fresco experiments at the abbey of Valmont—Anacrèon, Leda and the Swan, and Bacchus and the Tiger—are on display in Paris at the Musée National Eugène Delacroix.

  12 The Illustrated London News, November 15, 1873.

  13 Le Chronique des arts, January 17, 1874.

  14 Vollard, Recollections of a Picture Dealer, p. 152. For Manet's relations with Renoir, see also Rewald, The History of Impressionism, pp. 341—2.

  15 Quoted in Rewald, The History of Impressionism, p. 314.

  16 Le Siècle, April 29, 1874.

  17 Quoted in Darragon, Manet, p. 236.

  18 La Presse, April 29, 1874 and L'Artiste, May 1, 1874. Paul Hayes Tucker argues that "we have generally overlooked the fact that while a few critics gave the exhibition scathing reviews, more liked it than not": of fourteen reviews, he notes, six were very positive, three mixed, and five negative ("The First Impressionist Exhibition," p. 465). For other positive reviews, see ibid., pp. 469ff, and Tucker, Claude Monet, p. 77.

  19 Quoted in Rewald, The History of Impressionism, p. 316.

  20 Le Siècle, April 29, 1874.

  21 For a sample of these caricatures, see Wilson-Bareau, Manet, Monet, and the Gare Saint-Lazare, pp. 50-55.

  22 La Republique française, June 9, 1874; La Revue de France, July 1874.

  23 Not everyone was pleased with L'Eminence grise. Murmurs of complaint about the work's trivial and merely anecdotal subject matter were voiced by a few critics when the painting was awarded the Grand Medal of Honor. Gérôme, who was in Holland at the time, tried to decline the medal when he learned of this adverse reaction. The jury refused to rescind the medal, and so he donated it toward a student fund at the École des Beaux-Arts, raising 4,000 francs. On this matter, see Gerald Ackerman, The Life and Work of Jean-Léon Gérôme (London: Sotheby's Publications, 1986), p. 96. The painting is now in the Museum of Fine Arts, Boston.

  24 Le Temps, November 1900.

  25 For Monet at Argenteuil in 1874, see Tucker, Claude Monet: Life and Art, pp. 79—92; and idem, Monet at Argenteuil, passim.

  26 Quoted in Michel, Histoire de l'Art depuis les premiers temps chrétiens jusqu 'à nos jours, vol. 8, p. 581.

  27 Herbert, Impressionism: Art, Leisure, and Parisian Society, pp. 234—6; Tucker, Monet at Argenteuil, pp. 90—97.

  Epilogue: Finishing Touches

  1 Quoted in Rewald, The History of Impressionism, p. 369.

  2 Quoted in ibid., p. 370.

  3 New York Tribune, April 11, 1886.

  4 Quoted in Rewald, The History of Impressionism, p. 531.

  5 Art Amateur, October 1887.

  6 Impressionist Paintings in the Louvre, trans. S. Cunliffe-Owen (London: Thames & Hudson, 1963), p. 67. For good introductions to Impressionist painting in America, see the catalogues of two recent exhibitions: Nicolai Cikovsky, ed., American Impressionism and Realism: The Margaret and Raymond Horowitz Collection (Washington, D.C.: National Gallery of Art, 1998); and Elizabeth Prelinger, ed., American Impressionism: Treasures from the Smithsonian American Art Museum (New York: Watson-Guptil, 2000). On the collection of Henry and Louisine Havemeyer, see Sylvie Patin, et al., La Collection Havemeyer: Quand I'Amerique découvrait I'impressionisme (Paris: Editions de la Réunion des musées nationaux, 1997). The Havemeyer mansion on Fifth Avenue has been demolished.

  7 Manet by Himself, p. 264.

  8 Quoted in Brombert, Édouard Manet, p. 453.

  9 For the 1884 auction, see Tabarant, Manet et ses oeuvres, pp. 499-501.

  10 On the controversies over the Caillebotte bequest, see Bazin, Impressionist Paintings in the Louvre, pp. 44—8; and Anne Distel et al., Gustave Caillebotte: The Unknown Impressionist (London: Royal Academy of Arts, 1996), pp. 22-3, and Appendix III, pp. 218—36, which attempts to reconstruct the entire collection. To give Bénédite his proper due, he cannot fairly be portrayed—as he often has been—as a backward-looking aesthetic conservative. He contributed to the catalogues for an 1897 Bracquemond exhibition at the Luxembourg, an 1899 Fantin-Latour exhibition at the Luxembourg, and a 1905 Whistler exhibition at the École des Beaux-Arts. He also published work on Alphonse Legros (1900) and Gustave Courbet (1911). The whereabouts of the two Manet paintings rejected from the Luxembourg are presently unknown.

  11 Le Figaro, February 20, 1909.

  12 Oulmont, "An Unpublished Watercolor Study for Manet's Olympia," Burlington Magazine (October 191
2), p. 47.

  13 Clark, The Painting of Modern Life, p. 79.

  14 Quoted in Susan Grace Galassi, Picasso's Variations on the Masters: Confrontations with the Past (New York: Harry N. Abrams, 1996), p. 185.

  15 See ibid., pp. 185-203.

  16 Quoted in Bazin, Impressionist Paintings in the Louvre, p. 49.

  17 Ibid., p. 77.

  18 Robert Goldwater, "A French Nineteenth-Century Painting: Manet's Picnic," Art in America 34 (October 1947), p. 328.

  19 Gustave Geffroy, quoted in Distel et al., Gustave Caillebotte, p. 222.

  20 Gréard, Meissonier, p. 269.

  21 James, The Painter's Eye, p. 180.

  22 Spire Pitou, The Paris Opéra: An Encyclopedia of Operas, Ballets, Composers and Performers (Westport, Conn.: Greenwood Press, 1983), pp. 47—8.

  23 Gréard, Meissonier, p. 345.

  24 Ibid., p. 166.

  25 Histoire de I'Art depuis les premiers temps chrétiens jusqu 'à nos jours, vol. 8, part 2, p. 567.

  26 Ibid., p. 581.

  27 Maîtres de la Belle Époque (Paris: Hachette, 1966), pp. 49—55. For a good summary of Meissonier's unfavorable place in the art history of the twentieth century, see Hungerford, Ernest Meissonier, p. 3.

  28 "Preface: Éloge d'Ernest Meissonier," p. 17.

  29 Mainstreams of Modern Art (New York: Holt, Rhinehart & Winston, 1981), p. 127.

  30 Thuiller, "Preface: Éloge d'Ernest Meissonier," in Ernest Meissonier: Retrospective, p. 17. Thuiller does not identify the critic.

  31 Quoted in ibid.

  32 For the collapse of Anatole France's reputation, see Zeldin, Taste and Corruption, pp. 65-8.

  33 Gréard, Meissonier, p. 341.

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