Renoir
Page 43
168
Rivière, Renoir et ses amis.
169
Dauberville, vol. 1, pls 299, 370, 206, 419, respectively.
170
Bailey, Renoir’s Portraits, p. 284 n. 26. Henriot sold it to Durand-Ruel for 400 francs in December 1881.
171
Dauberville, vol. 1, including pls 224, 381, 460, 461, 466, 644; see pls 434, 463 for the medallions.
172
Ibid., pl. 462.
173
Ibid., pls 462, 344, 435, 462, 468, respectively.
174
Caillebotte’s will cited in Berhaut, Caillebotte, p. 281.
175
Dauberville, vol. 1, pls 603, 209, 295, respectively; Bords de la Seine à Champrosay, pl. 138; Le Pont de chemin de fer à Chatou, pl. 192; La Place Saint-Georges, Paris; Soleil couchant à Montmartre (the last two not reproduced in Dauberville).
176
Berhaut, Caillebotte, p. 281.
177
Dauberville, vol. 1, pls 111, 26, respectively.
178
White and White, Canvases and Careers, pp. 124–61.
179
For works by Cézanne in Renoir’s collection see Venturi, Cézanne, son art, son oeuvre, vol. 1: in oil, Thatched Cottages in Auvers, 1872–3, pl. 135; Landscape, 1879–82, pl. 308; Struggle of Love, c. 1875–6, pl. 380; Turning Road at La Roche-Guyon, 1885, pl. 441; in watercolour, Nude Bathers, 1882–94, pl. 902; for Carafe et Bol, 1879–82, see Cézanne Watercolors, pl. V.
180
See Cameron, France and the Economic Development of Europe, 1800–1914.
181
Rewald, The History of Impressionism, p. 394.
182
Moncade, ‘Le Peintre Renoir’, p. 9.
183
Dauberville, vol. 1, pl. 493; Leroy, Le Charivari, 25 April 1874, in White, Renoir: His Life, Art, and Letters, p. 51.
184
Dauberville, vol. 1, pl. 262.
185
Zola quoted in Bailey, Renoir’s Portraits, p. 17 n. 159.
186
Dauberville, vol. 1, pl. 209.
187
Albert Wolff, review, Le Figaro, 3 April 1876, repr. in White, Renoir: His Life, Art, and Letters, p. 58.
188
Armand Guillaumin to Dr Gachet, Paris, 24 February 1877, in Gachet, Lettres impressionnistes, pp. 72–3.
189
Dauberville, vol. 1, pl. 233. Eugène Murer (on whom see nn. 206, 211,/5 below) acquired this work.
190
That year, 1877, Renoir painted a profile portrait of Rivière’s head; ibid., pl. 546.
191
‘G.R.’, L’Impressionniste 1, repr. in Venturi, Archives de l’impressionnisme, vol. 2, p. 307.
192
Ibid., pp. 308–14.
193
L’Impressionniste 2, repr. in ibid., pp. 315–21.
194
Ibid., pp. 308, 309.
195
Rivière, L’Impressionniste, 21 April 1877, in ibid., p. 322.
196
Renoir, ‘[Letter to the director of L’Impressionniste: Journal d’Art]’; Renoir, ‘[Contemporary Decorative Art]’, both in ibid., pp. 321–2, 326–9. For discussion of the identity of ‘un peintre’ see Herbert, Renoir’s Writings on the Decorative Arts, pp. 93–9.
197
Rewald, History of Impressionism, p. 601.
198
‘G. Rivière’, article in L’Impressionniste, ‘L’exposition des impressionnistes’, repr. in Venturi, Archives de l’impressionnisme, vol. 2, pp. 315–17.
199
White, Renoir: His Life, Art, and Letters, p. 57.
200
Dauberville, vol. 1, pl. 617; White, Renoir: His Life, Art, and Letters, p. 102, c. 1880, oil on wood, location unknown.
201
Ibid., p. 529.
202
Théodore Duret (1838–1927) was heir to the Duret cognac fortune. Japan had gone through a long period of isolation from 1635 to 1853, after which foreigners started entering the country.
203
Dauberville, vol. 1, pl. 410.
204
Ibid., pl. 283.
205
Renoir to Duret, n.l., n.d. [1875], in ‘Renoir et la famille Charpentier’, p. 39; Renoir to Duret, n.l., 15 October 1878, in New York, Morgan Library & Museum, Adolphe Tabarant Collection.
206
Murer’s real name was Hyacinthe Eugène Meunier. For his collection see Daulte, Renoir: catalogue raisonné, including 7 scenes of daily life: pls 84, 188, 193, 197, 225, 236, 273; 5 portraits: pls 117, 246, 247, 248, 249; 1 figure, pl. 165. Because of financial difficulties Murer sold his collection in 1890, most of it going to the dentist Dr Georges Viau.
207
Shikes and Harper, Pissarro, p. 136.
208
Dauberville, vol. 1, pls 576, 233, 274, 543, 273, 335, 207, 336, 96 respectively.
209
Ibid., pls 547, 421, 422, 565.
210
Bailey, Renoir’s Portraits, p. 17; see also p. 48 n. 156.
211
For Pissarro’s Eugène Murer, 1878, Springfield Museum of Fine Arts, see Rewald, History of Impressionism, p. 414; for his Marie Murer, 1877, pastel, private collection, see p. 412.
212
Eugène Murer’s notes c. 1877–8 quoted in Tabarant, Pissarro, p. 35.
213
One of Charpentier’s three purchases was Fisherman; Dauberville, vol. 1, pl. 263.
214
Ibid., pls 239, 465, 486, 499; see also Bailey, Renoir’s Portraits, p. 296 n. 1, pp. 299–300; Robida, Le Salon Charpentier et les impressionnistes, pls XIV, XV.
215
Dauberville, vol. 1, pls 379, 544.
216
Ibid., pls 636–8.
217
Robida, Le Salon Charpentier, pls X, XI.
218
See Renoir’s letters to the Charpentiers in ‘Renoir et la famille Charpentier’, pp. 32ff.
219
Ibid., p. 32; repro. in Gentner, Album d’une vie: Pierre-Auguste Renoir, n.p. [1875–77].
220
Daudet commissioned from Renoir a pastel portrait of his baby in 1875 and a painting of his wife in 1876; Dauberville, vol. 1, pls 605, 431.
221
Renoir’s illustrations included The Boches’ Apartment (La Loge des Boches), Father Bru trampling in the Snow to feel warmer (Le père Bru piétinait dans la neige pour se réchauffer), Lantier and Gervaise spending a very Pleasant Evening at a Cabaret (Lantier et Gervaise passèrent une très agréable soirée au café-concert).
222
Dauberville, vol. 1, pl. 677, a watercolour and pencil drawing, c. 1877.
223
Ibid., pls 213, 433, 581, 635.
224
[Renoir], L’Impressionniste, 14 and 28 April 1877, in Venturi, Archives de l’impressionnisme, vol. 2, pp. 321–2, 326–9.
225
Dauberville, vol. 1, pl. 229.
226
Ibid., pls 272, 461, 463; see also White, Renoir: His Life, Art, and Letters, pp. 78–9.
227
Renoir had painted a portrait of Legrand’s daughter in 1875; Dauberville, vol. 1, pl. 495.
228
Ibid., pl. 545.
229
Renoir to Georges Charpentier, n.l., n.d., in Renoir, ‘Renoir et la famille Charpentier’, pp. 32–4.
230
Renoir to Charpentier, n.l., n.d., ibid., p. 34.
Chapter 2 1878–84
1
Dauberville, vol. 1, pl. 224; vol. 2, pls 1001, 999, 1000, respectively.
2
See Bailey, Renoir’s Portraits, pp. 1–51, ‘Portrait of the Artist as a Portrait Painter’.
3
Duret, Les Peintres impressionnistes, May 1878, showing Renoir’s drawing, Lise with a Parasol, repro. in Duret, Histoire des peintres impressionnistes, pp. 27–8.
4
Pissarr
o to Caillebotte, Pontoise, n.d. [March 1878], in Correspondance de Camille Pissarro, vol. 1, p. 110.
5
Dauberville, vol. 1, pl. 406. Cézanne also submitted work to the 1878 Salon but was rejected, while Monet did not submit anything. Sisley followed Renoir’s example at the Salon.
6
Ibid., pl. 239.
7
According to Duret, as cited in Bailey, Renoir’s Portraits, pp. 17, 48 n. 158. Thirty years later, the Metropolitan Museum bought it for 84,000 francs; see here Ch. 5, p. 230.
8
Renoir to Mme Charpentier, n.l., 30 November 1878, in Renoir, ‘Renoir et la famille Charpentier’, p. 35.
9
Renoir to Mme Charpentier, n.l., n.d., in ibid.
10
Dauberville, vol. 1, pl. 493; Distel, Impressionism: The First Collectors, p. 157.
11
See de Waal, The Hare with Amber Eyes, for the Ephrussi family.
12
Cézanne to Chocquet, L’Estaque, 7 February 1879, in Cézanne, Paul Cézanne: Correspondance, p. 181.
13
Venturi, Archives de l’impressionnisme, vol. 2, pp. 262–3.
14
Dauberville, vol. 1, pls 239, 381; Robida, Le Salon Charpentier et les impressionnistes, pl. XIV, respectively.
15
Renoir interviewed by C.-L. de Moncade, ‘Le peintre Renoir et le Salon d’Automne’, 15 October 1904, repr. in Renoir, Écrits, entretiens et lettres, p. 9.
16
Renoir to Mme Charpentier, n.l., n.d. and 30 November [1878], in ‘Renoir et la famille Charpentier’, pp. 32, 34, 35.
17
Renoir to Georges Charpentier, n.l., n.d. [c. June 1878], ibid., p. 32.
18
Bailey, Renoir’s Portraits, pp. 167, 298 n. 96.
19
Renoir to Caillebotte, n.l. [Paris], n.d. [May 1879], excerpt in Paris, Hôtel Drouot sale catalogue, 5 June 1991, no. IX.
20
Bailey, Renoir’s Portraits, p. 297, nn. 51–4.
21
Pierre Dax, ‘Chronique’, L’Artiste (March 1879), cited in ibid., n. 42.
22
Renoir to Mme Charpentier, n.l. [Paris], n.d. [1879], in ‘Renoir et la famille Charpentier’, p. 34.
23
Pissarro to Murer, Pontoise, 27 May 1879, in Correspondance de Pissarro, vol. 1, p. 133.
24
This could be the pastel of Mlle Samary, 1877, Dauberville, vol. 1, pl. 644.
25
Renoir to Mme Charpentier, n.l., n.d. [1879], in ‘Renoir et la famille Charpentier’, p. 34.
26
Renoir, Acrobats of the Cirque Fernando, 1878–79 (Angelina and Francisca Wartenberg), and sketches of 1879, Dauberville, vol. 1, pls 251, 636–8, respectively. See also Le Coeur, Edmond Renoir, Pierre Auguste Renoir, p. 7.
27
Edmond Renoir, La Vie moderne 11 (19 June 1879), repr. in Venturi, Archives de l’impressionnisme, vol. 2, pp. 337–8.
28
Ibid., pp. 336–8.
29
Renoir to Mme Charpentier, n.l., c. 1879–80, in ‘Renoir et la famille Charpentier’, p. 35.
30
See Bailey, Renoir, Impressionism, and Full-Length Painting, pp. 146–8. See also Dauberville, vol. 2, pl. 1542.
31
Renoir, Wagner, 24 February 1883; Country Dance, 3 November 1883; Couple in Street for Lhôte’s short story, Un idéal, 8 December 1883; one of Edmond reading and Couple on a Hillside for his story ‘L’Étiquette’, 15 December 1883; two of The Dancer Rosita Mauri, 22 December 1883; copy of Manet’s Fifer, 12 January 1884; Country Dance, 26 January 1884. See Rewald, Renoir Drawings, pls 4, 5, 9–11, 17–20, 24, 27; see also Rewald, ‘Auguste Renoir and his Brother’, pp. 171–88.
32
Wildenstein, Monet: or the Triumph of Impressionism, vol. 1, pp. 158–9; Lavacourt was accepted and Floating Ice was rejected.
33
Dauberville, vol. 1, pls 215, 487, 605, 607, respectively. Durand-Ruel bought Mussel Fishers at Berneval for 2,500 francs in November 1880 and Sleeping Girl with Cat in January 1881 for 2,500; Bailey, Renoir’s Portraits, p. 18.
34
Cézanne to Zola, n.l. [Paris], 4 July 1880, in Cézanne, Paul Cézanne: Correspondance, p. 194.
35
For Cézanne’s copy see White, Renoir: His Life, Art, and Letters, p. 102.
36
At the Salon of 1879, he exhibited 4 portraits and received 14 commissions; at the Salon of 1880, he exhibited 2 and received 16 commissions; at the Salon of 1881, he exhibited 2 and received 8 commissions; at the Salon of 1882, he sent 1 and received 9 commissions; lastly, at the Salon of 1883, he sent 1 and received 5 commissions. See Dauberville, vols 1 and 2.
37
Distel, Impressionism: The First Collectors, p. 164.
38
See text and n. 10 above.
39
Dauberville, vol. 1, pl. 504.
40
Renoir to Caillebotte, n.l. [Paris], n.d. [June 1879]; excerpt in Hôtel Drouot sale catalogue, 5 June 1991, no. IX.
41
In 1879, he painted 9 portraits and 2 genre scenes; in 1880, 1 portrait; in 1881, 1 portrait; in 1883, 1 portrait; in 1884, 2 portraits and 1 genre.
42
Dauberville, vol. 1, pls 550, 240, 8, 10, respectively.
43
Painted at Wargemont for Durand-Ruel, Peaches and Grapes, 1881; Landscape at Wargemont, 1879; Water Scene (The Wave), 1879; Seaside at Wargemont, 1880, ibid., pls 46, 77, 152, 155, respectively.
44
Mme Blanche to Dr Émile Blanche, Dieppe, 18 September 1879, in Jacques-Émile Blanche, La Pêche aux souvenirs, pp. 440–41.
45
Dauberville, vol. 1, pls 241, 244, 245.
46
For the versions rejected by Blanche and sent to Durand-Ruel see ibid., pls 242, 243.
47
Roberts, Jacques-Émile Blanche, p. 29, citing Jacques-Émile Blanche, Propos de peinture: de David à Degas (Paris: Émile-Paul Frères, 1919), pp. 237, 83.
48
Legrand’s real name was Alma-Henriette Leboeuf. Bailey, Renoir’s Portraits, p. 13.
49
Homeopathy is a form of treatment based on the idea of serial dilution to cause less potent symptoms in a healthy person. In its advent in the late nineteenth century it became popular because, unlike other medical techniques of the time, it would at least do no harm.
50
Renoir to Dr Gachet, 35 rue Saint-Georges [Paris], n.d. [January 1879], in Gachet, Lettres impressionnistes, pp. 81–2.
51
Renoir to Dr Gachet, n.l. [Paris], n.d. [January 1879], ibid., p. 83.
52
Dr de Bellio, Le Comte Georges de Bellio, was a Romanian homeopathic doctor in Paris.
53
Renoir to Dr Gachet, Paris, January 1879, ibid., p. 84.
54
Renoir to Dr Gachet, n.l. [Paris], n.d. [January 1879], ibid., pp. 83–4. Later, Renoir gave Dr Gachet a profile portrait of Margot; Dauberville, vol. 1, pl. 337.
55
Renoir to Dr de Bellio, n.l. [Paris], n.d. [25 February 1879], ibid., p. 85.
56
Essoyes census, fr.wikipedia.org, accessed 12 December 2016.
57
For letters of 1867–74 about Aline and one from Aline see Pharisien, Les Célébrités d’Essoyes, ce village qui a conquis Renoir, pp. 19–56.
58
See ibid., p. 27. See also Pharisien and Chartrand, Victor Charigot, son grand-père.
59
Legal decision of 27 May 1862, in Pharisien, Célébrités d’Essoyes, p. 30.
60
Victor Charigot to Emilie Maire Charigot, Blythfield, 28 March 1884, in Pharisien, Célébrités d’Essoyes, pp. 34–7.
61
Victorine Charigot to Emilie Charigot, n.l. [Essoyes], 29 August 1870, in ibid., p. 45.
62
Victorine Charigot to
Emilie Charigot, n.l. [Essoyes], 24 October 1869, ibid., p. 47.
63
Ibid., pp. 49, 52.
64
Victorine Charigot to Emilie Charigot, n.l. [Essoyes], n.d., ibid., p. 54.
65
See Julie Manet, Journal, p. 130.
66
Victorine Charigot to Emilie Charigot, n.l. [Essoyes], 24 October 1869, in Pharisien, Célébrités d’Essoyes, p. 47.
67
Victorine Charigot to Emilie Charigot, n.l. [Essoyes], n.d., in ibid., p. 53.
68
Victorine Charigot to Emilie Charigot, n.l. [Essoyes], 1872, in ibid., p. 55.
69
Victorine Charigot to Emilie Charigot, n.l. [Essoyes], n.d., in ibid., p. 52.