COURSE GUIDEBOOK

COURSE GUIDEBOOK
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From Monet to Van Gogh:

A History of lmpressionism
Part 11
Professor Richard Brettell
Universiry ofTexas ar Dalias

From Monet to Van Gogh:

A History of lmpressionism
Partll
Lecture 13:
Lecture 14
Lecture 15:
Lecture 16:
Lecture 17:
Lecture 18:
Lecture 19:
Lecture 20:
Lecture 21:
Lecture 22:
Lecture 23:
Lecture 24:

The Third Exhibition

Edgar Degas
Gwtave Caillebotte
Mary Cassatt
Manet's La ter Works
Departures
Paul Gauguin
The Final Exhibition
T he Studio of the South: Van Gogh aod Gaugujo
Henri de Toulouse-Lautrec
The Nabis
La Fin

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T able of Contents
From Monet to Van Gogh :
A History of lmpressionism

Part 11
Professor Biograpby............................................................................................ i
Course Scope ....................................................................................................... 1
Lecture Thirteen
The Third Exhibition ................................................. 3
Lecture Fo urteeo

Edgar Degas .............................................................. 6

Lecture Fifteen

Gusta ve Catllebotte ................................................... 9

Lecture Si,teen

Mary Ca<;satt ............................................................ 12

Lecture Se\enteen

Manet's Later Work!> ............................................... 15

Lecture Eighteeo

Departures ............................................................... 19

Lecture ~in eteen

Paul Gaugum ........................................................... 21

Lecture Twenty
Lecture Twent) -One

The Final Exhibition ................................................ 23

The Studio ofthe South: Van Gogh
and Gauguin............................................................. 26

Lecture Twenty-Two

Henri de Toulouse-Lautrec ...................................... 28

Lecture Twenty-Three

The Nabis ................................................................ 30

Lecture T\\ ent) -Four

La Fin ...................................................................... 33

Cr edit Lines for Paintings Discussed .............................................................. 37

Timeline ............................................................................................................. 46
llibliography ..................................................................................................... 57

Tite tilles of the 1\'0rks of art in this course hove clwnged often O\'er time ami
betweenlan~uages. During tltis lecture series, Dr Brette/1 often refers to
paimings by their original titles or by their commonly kno11 n historical title.\. In
order to honor copyright la11 s and reproduction agreements, 11 e ho\'e clw.\ell to
title the works according to the wishes of the currem copyright holder.

From Monet to Van Gogh :

A History of lmpressionism
Seo pe:
This course of l\\-enty-four lectores will analyze an era within the history ot art
that, with the help of contemporary events, philosophies, and ideal>, launched the
birth of modematy and changed the way Y. e see the world. We begin with a look
at the troubled state of art in France in the l850s. At this time, French art was
reliant on the govemance of the Academy of Fine Arts and the govemment~ponsored art exhibitioru. known as "the Sa1ons. At mid-century. there wru. a
~trong rivalry between two competing traditions-the Classical, lead by JeanDominique lngres, wbich was rooted m idealized, Greco-Roman culture, and the
Romantic, lead by Eugene Delacroix, which was influenced by the painterly style
and vivid color~ of the nonhem European Baroque movement. To further
complicate matters was the anception ol Realism, which had a ~trong interest an a
real~tic treatment of the lve~ and expenences of ordmary people.
11 wa~ with these tensions that the stage was set for a new artislic movement.
Before delving anto the development of lmpressioni-.m, the course first examines
the city of Paras during the Second Empire, the reagn of Napoleon m, and its
emergence ru. a modem metropolis. The birth of the modem city brought with it
the birth of modem thought from such people as poet and art crittc Charles
Baudelaire. Hts ideas were illustrated in such work~ as The Paimer ofModem
Life and were embodied by the painter Edouard Manet, who applied a number of
ae~thetic and representational strategie~ put fonh by Baudelatre.
The course clo'>ely examine~ Manet, both his wor~ and his influence on a group
of young painters wanting to push painting further and further mto modem life, a
group that will cometo be known as the lmpressionists. We will take a
chronologicaJ, and often ttmes biographical, approach to studying the artist~
mther than Iooking at each career separately. Thh is due in Large part to the fact
that there wru. a certain amount of collectivity among them, visible not only in
the lmpressiont'>t exhibitton'>, but in the arti~tic tours/retreats that pairs of
painters tooJ... in order to ~tudy modern life and it~ environs. A major focus will
be on the key painters of the Jmpressiont'>t Movement: Claude Monet. PierreAuguste Renoar, Camille Pissarro, Paul Czanne. Berthe Morisot, Gustave
Caillebotte, Mary Cassatt, and Edgar Dega~. We wall also look at those arti~ts
whose work carne out of the Impressionist Movement: Paul Gauguin, Vincent
van Gogh, Henri de Toulouse-Lautrec, and the Nabas.
A~

the Iife and career of each painter unfolds. we are introduced to their families,
fnends, and colleagues, all of whom become subjects in and influences on their
work. The carccrs of many of the arti~ts are discussed from thetr early exposure
to art, their teat.hers, travel'>, and later stylistic influences.
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Lecture Thirteen
It is worth noting that two of the prominent Impressionist painters happen to be
\\-Omen. 8oth Berthe Morisot and Mal) Ca~an will be discu~ed in their own
right. first as artists and also as women-a fact which affected their approach to
painting and subject matter. Their presence in the lmpressionist group added
much to its reputation as a thoroughly modem movement.

A lecture is devoted to each of the major nhibitions of works by the Socit

Anonyme des Artistes <The Anonymous Society of Painten.. Sculptors, and
Prinlmakers), from the first one at Nadar's studio on the Boulevard des
Capucines in 1874 to the final one in 1886. We will view some ofthe paintings
that were shown at each and hear the various responses of critics lO the
exhibitions. which would come to be known as the exhibitions of
''impressionists.'' This term ma) have derived from a painting by Monet in thc
first e;r;hibition entitled lmpresson Sunrse, which was executed in a painterly.
'impressionistic" fashion. It will become apparent that many of the
Impressionist arttsts worked within the realm of both the avant-garde and
mainstream society, showmg works at both the above-named exhibittons and at
the official Salon.
When the artists were not involvcd in the formality of exhibitions, they were
often working collectively in the outskirts of Pars. where severa! arti\ts would
paint the same subject, and individual artists returned again and again to capture
the ever-<;hanging effects. We will spend severallectures examining these
country retreats. from Manet, Monet, and Renoir in Argenteuil to Phsarro and
Czanne at Pontoi!>C to Gauguin and van Gogh at lhe "Sludio of the South And
while many of these artists spent time studying nature in bucolic settings, an
equal number were attracted to the modemity and urbanism of the city.
Attention will be given to the street scenes of Gustave Caillebone and the night
life to which Toulouse-Lautrec was so attracted.
Over time the group began 10 dismantle. sorne favonng a more academic
treatment of painting, wbile others grew old or disabled. lronically, the
lmpressionist movement was simultaneously gaining popularity on the
Continent. in Great Britain. and ovef!>Cas in America, a popularity that !asted into
the 20th Century and is still seen today in the tremendous interest Impressioni~t
exhibitions generate.

The Third Exhibition

Seo pe : In 1877. a relative newcomer to the group. Gusta ve Caillebotte ( 1848
1894 ), organized the third Impresstonist ellhibition. He solicued the
help of Edouard Manet and may actuaJiy have come close to persuading
the reluc1ant pamter to exhibit. UnJorrunately. Manet didn'l choose to
do so. and one of bis greatest canvases of 1he l870s, Nana, was rejected
by the Salon jury and, thus. went unexhibited that year.

Outline
1.

C:ullebotte had recently finished a sene\ of very large canvases describing

the landscape around the Pont de I'Europe jusi nortb and a little eas1 of the
St. Lazare Train Stalion, then being painled in series b) Monet.
A. Paris Street, Ramy Day ( 1877) is representattve of these pruntings,
showing urban. bourgeo1s Parisians as they go about 1heir business in
the modero city.
B. Such modem and 1horoughly urban worh anchored 1he exlubllton thal
can now be called the single most tmportanl of all eighl lmpressionist
exhibittons. The third exhbition was also the fm.t one in whch the
artists called themselves " lmpress10nists."
C. The pamters contributing lo the exhibition were reduced to the bare
mnimum of oulstanding artists. each of whom submined a greater
number of works 1han m earlier exhtbitions. The goal was 10 give
viewers a greater ~ense of lhe artists by showing a large number of their
work!..
D. The arttsts also arranged publicity and secured an "msider" critic.
Georges Riviere, to produce a booklet that describe<! the roorns of the
exhibition and ou1lined the anisls' concepts for it.

II. The exhibition was hung in a series of rooms in a new, empty apartmenl in a
truddle-clas~ neighborhood in Pars. Each of the rooms '>eems to have had a
kind of "theme...
A. One room dealt with sununer "leisure" in the gardens and sailing
landscapes desgned for 1he wealthy bourgeois urbanites and nouveaux
riches 1ha1 the arttsts hoped to sohcil for clients. Thts room tncluded
Reno ir'~ The Bar at the Mouln de la Ga/eue ( 1877). a daytime scene
of the urban workmg cla.\s at play and a hallmark of lmpresstonism.
B. Some of the rooms showed large-scale "decorations" designed to be
hung into paneling like etghteenlh-century painlings. Monet's The
Turkey~ ( 1877). showing a large country house anda delica1e gathering
of turkeys, was one such "decoratton..,

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C. Another "theme" was the relationship between older and younger

painters-with Renoir acting a<; the mentor of Morisot, and Pissarro
acting as that for Czanne.

D. One large room contained paintings by Caillebotte and Monet that

immersed the viewer in the ever-changing, ever-moving world of the
city just outside the apartment's doors.

E. Degas wa~ the only artist given his own room, in which exquisite pastel
and gouache paintings outnumbered oil pamting~ on can va<,. Hi.'>
imagery was equally rnodem a'> that of Caillebotte or Monct but
contained a whiff of scandal. of low-ltfe. and of the nighL

Moffett, Charle!> et al. Tire New Pointing: lmpres:.ionism, 1874-1886. Fine Arts
Museurns ol San Franci~co, 1986.
Ruther. Berson. The New Paiming lmpressionism. 1874- 1886. Fine Arts
Museurns of San Franct..co, 1996. 2 volumes.
Qu~tions

to Consjder :

J.

How was the third exhibition different from the two that preceded it?

2.

What were the aru~ts' atms in the vanous themed roorns of the exhibition?

U l. The exhibition received a number of critical notices-many of them

supportive of the atrns of the painters. lt launched thc movernent finally.
defining the major artists for the next several generations.
Pa intings Discussed:

--Pars Street.Rainy Doy, 1877 by Gustave Caillebotte. The Art Institute of

Chicago
--Nana, 1877 by Edouard Manet. Kunsthal1e. Hamburg
--The Bar at the Moulin de la Galette, 1877 by Pierre-Auguste Renoir. Muse
d'Orsay
--In a\ 'illa at the Seaside, 1874 by Berthe Morisot, The Norton Simon
Foundation
--The Cote des Boeufs at I'Hermitage near Pontoise, 1877 by Camille Pissarro.
National Gallery. London
--Sti/1 LiJe uith a Dessert, 1877 by Paul Czanne. Philadelphia Museum of Art
--The Bathers, 1877 by Paul Czanne, The Bames Foundation
--The Garden at Pontoise, 1877 by Camtlle Pic;sarro. Prvate Collection
--The Turkeys, 1877 by C1aude Monet. Muse d'Orsay
--The Gare Saim-LA:are: Arrival ofa Train. 1877 by Claude Monet. Fogg Art
Museum. Harvard University
--The Arrival ofthe Normandy Train , Gare Saint-LA:are, 1877 by Claude
Monet, The Art Institute of Chicago
--Women 011 the terrace ofa caf in the eve11ins:. 1877 by Edgar Degas. Muse
d'Orsay
--Sea BathinR: A young girl and her maid, 1876-77 by Edgar Deg~. National
GaUery, London
Essential Reading:
Varoedoe. Kirk. Gustare Caillebotte. Yate UniveT:>ity Press, 1987.
Diste!, Anne. Douglas Druick. Gloria Groom. and Rodolphe Rapetti. Gustare
Caillebotte: Urba11fmpressionism. Abbeville Publshers, 1995.
Winmer, Pierre. Caillebotte and His Gardens at Yerres. Abrams, 1990.

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Lecture Fourteen

2.

Edgar Degas
3.
Scop e: One artist more than any other represented the modero urban condition
as a psychological. as well as a social. condition. Edgar Degas exhibited
in the lmpressionist exhibitions throughout the l870s. often in his own
space. creating a body of work in various mediums that defme Parisian
modemism through the interaction of figures in their settings.

Outline
l.

Degas was boro into a wealthy and importan! farnily of French and Italian
origins. He was deeply educated about art and was rebellious and somewhat
eccentric.
A. During the 1870s and 1880s, Degas was closely involved with the
lmpressionists, bringing such young artists as Cassatt and Caillebone
into the group.
B. He also believed strongly that if an artist exhibited with the
Impressionists, he or she could not exhibit at the Salon.

4.

He also painted bankers, factory owners, gentlemen fanners, and

intellectuals in their appropriate settings. His portrait of Diego
Martelli shows us an act critic in the throes of writer's block.
Degas was fascinated by the urban working classes. He never
painted factory workers; rather. he preferred to paint women in the
'"entertainment industry," which carne to be a dominating economic
force in Third Republic Pars.
a. He was among the first artists to look seriously into the realm
of urban prostitution for modero subjects that raised powerful
moral and psychological issues for his viewers.
b. His depiction of A Woman lroning (1873) makes connections
between the work of Degas and Zola and between the manual
labor of the laundress and that of the painter.
Finally, Degas depicted the 'down and out." sometimes using his
friends as models for low-life characters. as we see in L' Absimhe
( 1876).

lll. Degas's two favorite subjects were the racecourse and the ballet
A. He used the racecourse to make a statement about temporal instability.

8. We see horses moving at various cates of speed anda train rushing by

in the background. The paintings are ''about" motion and speed.

ll. Like Morisot, Degas began his investigations of human interaction using his
family, then his friends. as models.
A. Even in paintings made for the Salon from classical subjects, Degas
challenged nonns.
1. A prime example of this artificial atmosphere is seen in Young
Spartans Exercising (c. 1860).
2. This painting is somewhat subversive, because it is classical in
style, but its subject matter is not a great moment in history.
Instead, it depicts a group of pubescen! girls taunting a group of
boys.
3. The viewer is forced to ask what the painting means and to think
about the connections between the lives ofthe ancients and those of
the modems.
B. Such works are part of a larger collective examination of the modero
individual in society, not unlike those of Balzac, Flaubert, and Zola.
C.

Degas's project was to create a total portrait of his country, to depict

the anxieties, hopes, fears. and habits of French people of aJI ages and
typeS and both genders.
l. For example, he painted bourgeois women arnidst theic possessions
with a haunting combination of precision and ambiguity. as we see
in Madame Camus (1869-70).

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IV. Even when he was "slumrning," Degas was admired by critics for his
extremely skillful compositions and effects of light. Among the most
detailed and "artificial" of the Impressionists, he created 'natural'' worlds
with such skill and control of his medium that everyone seems to have
marveled at his confections.
A. In 1881, Degas exhibited the single work of sculpture he allowed to be
publicly displayed in his long lifetime. The Little Dancer of Fourteen
Years was among the most perplexing works of sculpture ever shown.
B. Made of colored waxes with real clothing, haic ribbon, and ballet shoes,
it looked more like a scientific specimen or a study in ..natural history'
than a work of art, and had it not been slightly reduced in scale, many
viewers rnight well have thought that the young girl was real." Degas's
only work of sculpture was, thus, more radical than any of his paintings,
drawings, oc pastels.

Paintings Discussed :
--Young Spartans Excercising, c.l 860 by Edgar Degas, National Gallery.
London
--Madame Camus, 1869-70 by Edgar Degas, National GaJiery of Art,
Washington, D.C.
--Portrait of Diego Martelli by Edgar Degas. National Gallery of Scotland
--A Woman lroning, 1873 by Edgar Degas, The Metropolitan Museum of Art

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--L'Absinthe, 1876 by Edgar Degas, Muse d'Orsay

--The Racecourse: Amateur Jockeys Near a Carriage, 1876-1887 by Edgar
Degas, Muse d'Orsay
--Miss Lata attlte Cirque Femando. J879 by Edgar Degas, NationaJ GaJlery,
London
--Little Dancer of Fourteen Years by Edgar Degas. Pbiladelphia Museum of Art
--Tite Millinery Shop, 1884-90 by Edgar Degas, The Art lnstitute of Chicago
Essential Reading:

Lecture Fifteen
Gustave Caillebotte
Scope: Gustave Caillebone was the weaJthiest of all the artists associated with
Impressionism. Long known as a collector and patron of the group,
Caillebotte was recognized as a painter in his own right on1y after
World War 11, when works from the family collection began to be
acquired by major museums.

Arrnstrong, Carol. Odd Man Out: Readings of the Work and Reputation of
Edgar Degas. University of Chicago Press, 1991.
Boggs. Jean Sutherland. Degas at the Roces. NationaJ Gallery of Art,
Washington, 1998.
Callen, Anthea. The Spectacular Body: Science, Method, and Meaning in the
Work of Vegas. Y aJe University Press. 1995.
KendaJI, Richard. Vegas by Himse/f. New York Graphic Society, 1987.

- - -. Degas and the Little Vancer. Y aJe University Press, 1998.

Reff. Theodore. Degas: The Artist' s Mind. Harvard University Press, 1987
(reprint of 1976 edition).
Recommended Reading:
Dumas, Ann, and David A. Brenneman. Vegas and America: The Early
Collectors. Rizzoli InternationaJ, 2001.
Questions to Consider:

l.

2.

How was Degas's project similar to that ofZola, Balzac. and other
nineteenth-century novelists? In what ways must his paintings be 'read" like
no veis?
How does Degas reveal the process of making art in bis paintings? How
does he connect himself with his subjects?

Outline
l.

Boro into a family with landholdings in botb country and city, Caillebotte
was trained as an engineer. His fascination witb technicaJ drafting and
machinery was. therefore, greater than tbat of any other anist of the group.
A. Caillebotte was brought into the movement in 1876 by Edgar Degas,
whose motivations for doing so are unknown, but who must have
recognized that Caillebone could play an importan! role in tinancing the
group's projects.
B. The paintings by Caillebotte in the 1876 exhibition included works that
deaJt with maJe urban workers-a subject unassayed by bis fellow
Impressionists to that date-and weaJthy bourgeois families. His use of
the window both as a metaphor for the picture and as a psychologicaJ
device is remarkable.
C. Caillebotte's works figured largely in one of the most important critica!
essays about lmpressionism ever written, Edmund Duranty's 'The New
Painting. ''

O. Although Caillebotte never fmished the Kimbell Museum's On the

Europe Bridge in time for the 1877 exhibition, it is the boldest and
mo~t powerful representation of modemism and techno1ogy painted by
any of the anists.

E. Caillebotte's paintings were considered to be "academic" in many ways

by critics-their smooth surfaces. clear perspectiva! space, and careful
compositions were unlike the roughly ftnished, quickly painted, and
informal works by Monet, Renoir, Morisot, and Pissarro.

II. Throughout the remainder of his active career as an Impressionist,

Caillebotte concentrated on figuraJ compositions that dealt primarily with
upper-dass life and, with few exceptions. the world of men.
A. His rare nudes--more roen than women-seem not to have been
exhibited. But their frankness-he included femaJe pubic hair and maJe
scrotums when no other lmpressionists dared-remains shocking to this
day.

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B. He painted importan! "'view'> from above'" in the newly created

boulevard neighborhoods of Second Empire and Third Republic Pars.
creating a body of urban "'landscapes that were the most modem and
the most experimental of any lmpressionists.

Que~tions

l.
2.

to Consider:

How did Caillebotte 's Pars landscape)) dtffer from those of hi~
predecessors'?
How did Caillebotte 's background affect his role in 1he lmpre~~ioni~t gruup?

C. He also created \\.hat might be called 'commerciar' stilllifes.

representing fruits. meats. and poultry not as they were arranged by the
pamter in his studio. but as they were displayed in the food shops of
Pars.
D. Caillebotte also painted the world of maJe bonhomie. His maJe sittef'>
sail, row, play cards. drink. walk dogs, and stroll through landscapes
they appear to O\\.n.
lll. Perhaps his most startltngly original painting is a study of a single male
figure in a relatively ne\\. Parisian caf. Completed in 1880, the work was
shown in the ImpressioruSI exhibition of that year. It is perhaps the first
great French painting lo deal with the mirror. both as a metaphor for the
picture and as a powerfully ambiguous psychological device.

Paiotiogs Discussed:
--Paris Street, Rainy Doy, 1877 by Gustave Caillebotte, The Art Tnstitute of
Chicago
--Young Man at Iris Windo K, 1875 by Gustave Caillebotte. Private Collection
-Tite Floor Scrapers. 1876 by Gustave CailJebotte. Muse d'Orsay
-On tite Europe Bridge. 1876-77 by Gu:.tave Caillebotte. Kimbell Art Museum
-Rue Hal~}', Sixtlt Floor Vie1~. 1878 by Gusta ve Caillebotte. Prvate Collection
-A Man Docking his Skifl. 1878 by Gustave Caillebone. The Virginia Museum
ofFine Arts
-In a Caf, 1880 by Gustave Caillebotte. Muse des Beaux-Arts. Rouen
-Fruit Disp/ayed on a Stand, c. J881-82 by Gustave CailJebotte, Museum of
Fine Arts. Boston
-Reclining Nude, 1882 by Gu'>tave Caillebotte. The Minneapolis Tnstitute of
Arts

--Portrait of M. Richard Gallo. 1884 b) Gustave Caillebotte. Private Collection

Essential Reading:
Vamedoe, Kirk Gusta\'e Cail/ebotte. Yale University Press, 1987.
Distel, Anne, Douglas Druick, Gloria Groom. and Rodolphe Rapetti. Gustove
Cail/ebotte: Urbanlmpressionism. AbbeviiJe Publishers, 1995.
Wittmer, Pierre. Caillebotte and !lis Gardens at Yerres. Abrams, 1990.
Moffett, Charles et al. Tite New Paiming: lmpressionism, 1874-1886. Fine Arts
Museurns of San Francisco. 1986.
Ruther, Berson. Tite Ne~t Paillfing: lmpressionism, 1874-1886. Fine Art'>
Museum.s of San Francisco. 1996. 2 volumes.

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l.

lecture Sixteen
Mary Cassatt

2.
Scope: Mary Cassatt was a well-bom American painter who had \\Orked
exteru.1vely in Europe before she rnet Edgar Dega5 in 1876. He
introduced her into the lmpressionisl circle, into which only one other
American, J. A. M. WhiMier. had ties. and she became lhe onJy
American painter who became a major force in the movement. Because
Cassatt was an American, most of her works were purchased by
American clients and can be found 1oday in American museums. The
Muse d 'Orsay has a paltry colleclion of her works, in -;pite of the fa~.:l
thal she was. in effect, a Parisian painter.

Ln the Jmpre!>l>ioni'>t exhibition of 1879 was as

imponant and ausp1cious as had been Caillebotte'!> m 1876. And,like
Caillebotte, she brought new frnancial resources into play for the artists.

111. Many of Cassatt's painting!> represent wealthy women (there are few rnen.
and, in tht!>, ~he is the opposite ofCadlebotte and comparable to Moriwt).
A. Her ponraits show women who are inlelligent, self-confident, and
alone. They make a powerful political statement that these modem,
upper-class women are !.elf-sufticient.

Cassatt added 1he second "t'' to her sumame. perhaps in an effon to make il
seem more "French,'' bul she never altered the decidedly Anglo-American
spelling of her first name, Mary. Thus, her nationality and her gender were
not disguised.

Her paintings are gendered in term~ of both their subjects and their
maker. MaJe lmpre'>sionist anis~ treated similar subjec~ but in
d1fferent ways. Cassatt was able to document the dr.una, beauty, and
intimacy of priva te moments of women in ways thal mal e artists never
could. She was the tir~t anist who treated women's bodies and minds
equally in her painlmg.

A. She was bom into a wealthy farnily in Pennsylvania and was trained al
the Penns)'lvania Academy of Fine Arts.

C. Cassan 's world was abo colored by her identifica!Ion asan expatria te
Amencan. A Cup ofTea ( 1880). for example. !> a v1sual analy!>ts of

B. She eventually went to Europe to conlinue her educalion and work as an

anist. S he Ji ved frrst in Spain. where she studied Old Masters and
painled "eJtolic" contemporary Spanish Ji fe.
C. In lhe 187(}.,, she moved 10 Paris, a wealthy and sophic;ucated woman.
as we see in the one self-ponrail we have. The portrait looks somewhal
unftnished and unresolved, as if Cassatt wanted people to lhink aboul
the process of making art.

11. Through her friendship with Degas, she began lo paint modem life and to
concentrate on the world that she new best
and their French friends.

the life of wealthy eJtpatriatc.,

A . Cassatt was very interested in fashion and its use as a form of disguise
or armor for women. She pru.sed this intereM along lo Dega'>. as we .,ec
in his painting of a young milliner makng a hat.
l . Agam, we note that Degas's piece is a work of art aboul the
process of making a work of art, similar lo Cassatt's self-ponrait.
2. Degas and Cassatt were a powerful duo, highlighting the crossinfluences that were <;O mucha pan of lmpressionism.

B. Cassatt s first importan! pamting. Little Girl in a Blue Armehair ( J87R l.

has often been considered to be a collaborative work in which Dega:.
actively panicipated.

12

C. Ca:.">att's ..debut"'

B.

Outline
l.

Its '>Weep of tloor. eccentric placernent of fumilure, and

ac;ymmetrical composition all have affinities with Degas's earlier
work.
Yet it is fully signcd and looks in facture and palette like a painting
by Cassan.

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upper-class expatrwte life in the international anisuc capital of Par'>.

D. Although she did paint children in the 1870s and early 188&, she d1d
not hn on the ..mother and child" theme that dorninates her work until
the 189<b, after the Impressionist movernent was largely dead as a
colle~.:t ve phenomenon.

IV. One ofCassatt's most moving and difficult projects was the patient
documenlation of the last years in the life of her sister. Lydia, who died m
her twenues in 1882.
A. We see earlier ponralls ofLydia ""hile she is still healthy, again as a
beautiful, independcnl, and self-aware young woman.

B. Latcr. we see Lydia's decline in such paintings as Lydia Crocheling in

the Garden at Marly. a work that 1!> suffused with color and was lauded
by CflllC'>.

Paintings Discussed:
--Se/f-portrait, c.l878 by Mary Cassatt, The Metropolitan Museum of Art
--The Millinef} Shop, 1884-90 by Edgar Degas. The Art lnstitute of Chicago
--Little Girl m a Blue Armchair, 1878 by Mal) Cassan, Nauonal Gallef} of Art,
Washington. D.C.

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--Young Woman in Block (Portrait of Madame 1), 1883 by Mary Cassatt.

Courtesy of the Maryland Commission on A.rtistic Property of the Maryland
State Archives, on loan to the Baltimore Museum of Art
-Atthe Opera, 1879 by Mary C~tt. Museum of Fine Arts. Boston
--lnthe Box. 1879 by Mary Cru,satt
--Lydia in a Loge Wearing a Peor/ NecJ..Iace. 1879 by Mary Cassatt.
Philadelphia Museum of A.rt
--A Cup ofTea, 1880 by Mary Cassatt. Museum of Fine Arts, Boston
--Lydia Crochering in tlze Garden al Mar/y, 1880 by Mary Ca">satt. The
Metropolitan Museum of Art
--Young Grl in a Green House by Berthe Morisot
-Chi/dmr P/ayng on rlze Beach. 1884 by Mary Cassatt. National Gallery of
A.rt, Wru,hington, D.C.
-Gir/ Arranging Her Hair, 1886 by Mary Cassatt, National Gallery of Art.
Washington. D.C.
Essentia l Reading:
Mathews. Nancy Mowll.

Mm~v

Ca:;sau: A Lfe. New York. 1994.

- - - . Mary Cassatt: A Retrospectile. New York. 1996.

Pollock. Griselda. Mary Cassau: Paimer of Modem Women. Thames and
Hudson, 1998.
Question!> to Consider :

l.

How drd Cassau depict the prvate world of wornen?

2.

What evidence do we see in Cru,sau's work ofthe restrictions ofher gender"?

How was her work enriched by her gender?

Lecture Seventeen
Manet' s Later Works
Seo pe: Edouard Manet is chiefly known toda y as a painter of maJOr Salon
paintings in the 1860:. anda'> the creator of a late mru,terpiece, A Bar at
tire Foles Bergere ( 1882). Thrs view is incorrect and undervalues the
1mponance of h. lmpressronrst experiments. In fact, he is among the
few great painters'" in the hbtory of art who adapted hls style to that of
younger artists as a mature painter.

Outline
l.

After.Manet's summer with Monet and Renoir in 1874, he worked

increasingly with the young anists, ~haring many friends and clients and
introducing them to a higher Jevel of French society.
A. Manet 's career during thi!. period is often characterized as a lackluster
denouement to bis early and middle career.

B. In fact, his later career seems to have been falsely underrated precisely
because he painted smaller p1ctures that were more aligned with the
lmpre&sionists and not for the Salon.

C'. Hh later career wc, abo deepl) affected by the pictonal experiments of
the younger artists with \\hom he \\.Orked in the

1870~

and 1880s.

II. Hrs last major Salon painting of the 1860!>, The Ba/cony <1868-69>.
approxrmates urban life and its physical interpenetrations and social
inequaliries more fully than any painting to that date.
A. The Balcony depicLs a group of people on a balcony in an upper-class
Parisian apartment. The central figure. whom we know to be Morisot,
seems to be bored and is lookmg to the viewer to be amused.
8 . This picture would have been hung in the gallef) at almo'>t the height of
a real balcony. transforming the interior ofthe museum into the exterior
of the city. As viewers. we get the sense that the painting is viewing us,
rather rhan the other way around.

lll. In the 1870s, Manet's works range widely in subject and style, but are, in
the main, faithful to Parisian genre and ponraiture. \Ve begin to '>ee an
energy and a quickness in hh work that prompts us to think about the
proces'> of painting.
A. Ll1 Dame orce eenrail:;; Nina de Collios (The Womon l\ uh Fans)
( 1873-74) shows usa middle-aged woman in a Spamsh costume. She is
not glamorous. but sbe ., in control of herself. Her pose seems to
provoke the viewer into panicipating in lhe painting. to actvate the
viewer.

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B. Manet's portraits also include major writers and political figures in

startlingly di verse .,ituations and poses.
l. Manet was close lo lhc poet Stephanc Mallarm, who wrote that
the Jmpressionist movement used art as a means or dcmocratizing
France and carrying the country into a newer realm.
2. Manet's portrait of Mallarrn shows the relaxed intmacy of French
nlelleclual life.
3. Manci also painled Mallarm's mistrcss in a genrc sccne of thc
leminine boudoir, similar to those assayed by Morisot and Degas.
Ths work is a sensuous, irnrncdiate, and playfullook at the artiticc
ofwomen.
4. Wc ~ee this sarne mmediacy in a painting of a singer atan outdoor
caf. She is holding her hand out to invite applause, and we get thc
sense that Manet is also inviting our applause for his performance.
5. Finally, Manet conveys his own poltica! views in his somewhat
my~terious portraits of poltica! figures. We see, for example,
Rochefort paintcd as he escape~ in a rowboat from Devil's Island.
We feel that this scene, of a tone man trying to c~cape authority, is
a personal emblem lor Manet.
C. At this time, Manet became obsessed with the public caf, where people
meet both habitual! y and occasionally without any invasion of privacy.
Manet explored the relationship between social classes and between
servers and served in these subtle works. lle also explored the nature of
sexual desire in a public place, as we see in his picture of a prostitute
waiting to initiate an encounter in a caf.
IV. In the early 1880s Manet began work on his final masterpiece, A Bar at tht
Folies Bergere, sent to the Salon of 1883, the year of his death.
A. The work deals with lhe impossibilities of human desire across class
divides-a familiar themc in French literature of the Rcalist and
Naturalist schools. It al~o deals with the "impossibility of the picture..
accurately to represent the world. This is achieved through the device of
the mirror with its "skewed" reflection.

B.

--Nana, 1877 by Edouard Manet, Hamburg Kunsthalle

--Tite Balcony, 1868-69 by Edouard Manet, Muse d'Or!>ay
--La Dame aux eventails: Nina de Callias, 1873-74 by Edouard Manet, Muse
d'Orsay

--Portrait ofStphane Mal/arm, 1876 by Edouard Manet, Muse d'Orsay

- Before the Mirror, 1876 by Edouard Manet, Solomon R. Guggenheim
Museum, New York

--Caf Concert, 1879 by Edouard Manet, Prvate Collection

--Escape of Rochefort, 1880-8 1 by Edouard Manet
--Plum Brcmdy, c.l877 by Edouard Manet, National Gallery of Art, Washington,
D.C.
--A Bar at the Folies-Bergere, 1882 by Edouard Manet, Courtauld lnstitute
GaJleries
--Vase of White Lilacs and Roses, 1883 by Edouard Manet, Dalias Museum of
Art

Essential Reading:
Brettell, Richard.lmpression: Painting Quickly in France, 1860- 1890. Y ale
University

Prcs~.

2000.

Brombert, Beth Archer. Edouard Manet: Rebel in a Frock Coat. New York,
1996.
Cachin, Fran9oise, and Charles Moffett. Edouard Manet, 1832- 1883. New
York, 1983.
Collins, Bradford R. 12 Views of Manet' s Bar. Princeton University Press, 1996.
Hanson, Anne Coffm. Manet and the Modem Tradition. Yale University Press,
1977.
Rand, Harry. Manet' s Contemplation at the Ca re St.Lazare. University of
California at Berkeley, 1987.
Reff, Theodore. Manet and Modem Paris. National Gallery of Art, Washington,
1982.

The themes of isolation in a public place, loneliness, and repressed

desire are major ones in this painting.

V. Manet became wracked by tertary syphilis in 1882 and spent a good deal of
the lac;t months of his life in bcd. Here, he created a serie., of fresh, rapidly
painted, and small stilllifes of the fresh t1owers brought to him by his
friends and admirers, including Berthe Morisot, who was with him almo~t
continuously in the final days.

Paintings Discussed:
--The Railway, 1873 by Edouard Manet, National Gallery of Art, Washington.
D.C.
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Questions to Consider:
l.

In what way!> does Manet bnng the viewer tnto his paintmgs? What is the
point of our participation?

2.

How does Manet's obsession with caf life relate to one of the Iarger atm'
of the lmpressionist movement, to democratize art?

lecture Eighteen
Departures
Scope: August Renoir and Claude Monet became increasingly successfuJ as
arti~h in the early 1880s and, perhaps as a result, increasingly
d!>!>atisfied with the group dynamics and politics of the Impressiontsts.
They also became reMive about Paris and its suburbs as the sole subject
of their art.

Outline
l.

Renoir started his rebellion from the rebels by submiuing a major portral! of
the wife, children, and dogs of the great publisher Gusta ve Charpentier to
the Salon of 1879. It w;c, accepted and created a pubhc <.ensation, both
because of 1ts pictonaJ bnlhance and because of the po'-"er and media-savvy
of the Charpentier family.
A. Degas wanted to maintain a rule that no artist could be in both the Salon
and the lmpressionist exhibition, effectively disqualifying Renoir.
Renoir "'as upset by Degas's willingness to include minor urban
reahsl'>. such as de Nittis, Forain, and Raphaelli, in the Impressionist
group. Both lost and both won.

B. Renoir carne to loo k away from the group for his mpetus and actually
took the ftrSt major trip away from Pars in 1881, "'hen he went to
Provence (france), haly. and Algena-the landscape~ of ..great art" in
the case ofIta! y and of his hero Delacroix in the case of Algeria.

C. These trips resulted in a new style of painting, smoother, more fully

accepttng of the physical integrity of the body, and more classically
composed than his earlier art. The signa! for this ne\.\ style is Luncheon
of the Boating Party ( 1880-81 ).
11. Monet's wtle. CamiJie, dted a painfuJ death ata young age late in 1879. and
the painter's entire life and mode of wort.ing changed simultaneously.
A. Rather than sticking close to home and painting peopled suburban
landscapes, Monet began to range further and further on bis houseboat,
prefernng isolated '>pots even on the Seine and weather effects that
tended toward the extremes.
B. lle also experienced symptoms of a psychological condition that Freud
wru. later to caJI a fugue state, in which the sufferer repeats and repeats
a theme in various places in search of a break from trauma. Monet lled
"home" and sought motifs in remote Jandscapes-tirst in Normand},
where he had grown up, and later, through Renoir's urgings, in the
south of France and the ltalian Riviera.

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C. His works carne increasingly to be wild, distant, and late Romantic

lheir sturm und drang.

10

lecture Nineteen
Paul Gauguin

Pa intings Discussed:

--Madame Georges Cltorpentier and /ter Cltildren. 1878 by Pierre-Auguste

Renoir, The Metropolitan Museum of Art
-Tite Seine at Lavacourt, 1880 by Claude Monet, DalJac Museum of Art
-Selting Sun O\'er tite Seine ut I..Aracourt, Winter Effect. 1880 b} Claude Monet.
Muse du Petit Palai!>
--Tite Bar at the Moulin de la Galette, 1877 by Pierre-Augu!'>te Renoir, Muse
d'Orsay
-8/onde Bather, 1881 by Pierre-Auguste Renoir. Sterling and Francine Clark
Art lnstitute
-Tite Mosque (Arab Holiday), 1881 by Pierre-Auguste Renoir, Muse d'Orsay
--Luncheon of tite Boating Party, 1880-1881 by Pierre-Auguste Reno ir. The
Phillips Collection
-Tite Regolfo al Argemeui/, c. 1872 b:r Claude Monet, Muse d'Orsay
--Tite Manneporte (rretot), 1883 by Claude Monet. The Metropolitan Museum
ofArt
-Bordighera. 1884 by Claude Monet. The Art lnstitute of Chicago
Essential R eading:
Isaacson, Joel. The Crisis of lmpressionism, 1878-/882. Univer:.ity of Michigan
Pres!>, 1979.
House. John. Monet: Art into Nature. YaJe University Press, 1986.
Diste!, Anne. Renoir. London, 1985.

Seo pe: A young banker-!.tockbroker named Paul Gauguin ( 1848-1903) met

Camille Pissarro in lhe late 1870:. and be<.ame, lhereafter, a major
coUector of lmpressionism. He abo embarked on a career ac; an amateur
painter and sculptor and euubJted with lhe lmpres:.ionists in their la:.t
four exhibilion:..

Outline
l.

Gauguin 's teacher in painting was Pi!i~arro. who Wa!> himself beginning an
adventure an painting in which he carne increa:.ingly to pamt the human
figure. Yet, in contrru.t to Renoir, Degas, and Manet, who painted modem,
urban subjects, Pissarro painted thoroughly modero" paintings of
traditional rural workers. Hi'> fascinauon with pre-modem populations hada
great effect on the subsequent career of Gauguin.
A.

Pissarro's figure:. were designed to compete with those of Renoir and

Dega:. m the Impressioni!.t exhibitJons of the early 1880:..

R. Pissarro 's landscapes increasingly became tightly controlled

compositio~ wtth geometric sub!>tructures and carefully placed figures.
Gone, for him, was the informality of 1870:. Impressionism. He carne to
prefer various syste~ of order to the c~ual pictorial aesthetic that had
dommated the earlier decade.

ll. Gauguin pamted frequently with Pissarro and Degas m the years around

White, Barbara Ebrlich. Renoir: His Lije. Art, and Letters. Abrams, 1984.

1879-1883 and finally stopped worlmg in lhe financtal sector to devote

himself fulltirne lo painting in 1883.

Questions to Consider :
l. l low did the work of Reno ir and Monet change as they became more
successful'?
2. How did travel affect lhe lmpressionist movement. and how did it begin to
change toward the end of the century?

A.

His subrnissons to lhe Impres!>tonist exhtbition of 1880 included a

major painting of a nude that stirred extraordinary cnticism. The sheer
ugliness of the woman 's body and the fact tbat she seems to be sewing
while posing gave lhe painting a di:.tinctly un-idealzed air, separang it
from the esthetic of SaJon paintng.

8. Gaugum's sculpturaJ ~ubmission wa!> equall:r surpn!.ing. lle chose a

Renai-.sance tondo. or circular shape, for his repre~entation of a caf
singer. :.imilar to those that had been portrayed m paint and p~tel by
Deg~ and Manet, but he carved her in \\-ood, very much like a northem
RenaJ'>'>ance or even a "prirnitive" object.
C. Just before and definittvely after the breakup wilh his w1fe in 1883.
Gauguin made a series of works of art that deal fonhrightly wilh hl!>
own marital dtscords and with lhe anxieues of modem bourgeois lite.
Perhap'> the strongest of these t'> Still Life With Flm' ers, Interior of the
Arri.\t'.\ Apurtmem, Rue Caree/. Paris of 1881. in which Gauguin 's wife
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is cut off in the act of playing the piano and his friend. the paintcr Emile
Schuffenecker, watches. Gauguin's own absence from the painting is
overt-expressed by the cmpty chair and the strange spaces of the
room.

D. Gauguin also used fables and other literary texts, such a~ La Fontaine's
!ron Pot and Clay Pot, as the subject matter of certain of his works of
art. For him, the visionary carne to rcplace vision.

Paintings Discussed :

--Study of aNude, 1880 by Paul Gauguin, Ny Carlsberg Glyptotek

--Sti/1 Life with Flowers: Interior of tite Arti!>t' s Apartment, Rue Caree/, Poris,
1881 by Paul Gauguin, National Gallery, Oslo

Lecture Twenty
The Final Exhibition
Scopc: In 1885, Camille Pissarro went to visita young, academically trained
painter narned Georges Seurat ( 1859-1891 ). Thi!> meeting changed both
men 's careers and the ~ubsequcnt history of art, bringing a scientific
rigor into the conception, compo!>ition, and execution of thc modcm
work of art. Their collaboration finally brought an end to thc
lmpressionist experiment when they dominated the critica! discourse
around what was to become the finallmpressionist exhibition in April
of 1886.

--Cioy Jug ond !ron Jug, 1880 by Paul Gauguin, The Art Institute of C'hicago
--Peasant Womon, 1880 by Camille Pis~arro, National Gallery of Art,
Wa<;hington, D.C.

Outline
l.

--Young Peasont Woman Drinking her Caf au Loit, 1881 by Carnille Pissarro,
The Art Institute of Chicago

--Landscope at Chaponval (Val d'Oise), 1880 by Camille Pissarro, Muse

Pissarro~ Londscape at Chapomal: (Val d'Oise) (1880) signals a new

tendency in painting: the creation of an abstract pictoriallanguage to
represen! the real world in a new way.

d'Orsay

A. In the real world, we don't see form; we see light. This painting is
structured to reflect that concept.

Essen tia l Reading:

B. This notion, combined with the idea that artists had to fix the freid of

Brettell, Richard, et al. The Art of Pau/ Gauguin. National Gallery of Art,
Washington, 1988.
Sweetman, David. Paul Gauguin: A Complete Life. London, 1995.
Mathewc, Nancy Mowll. Paul Gauguin: An Erotic Life. Y ale Univeri~ty Press,

2001.
Recornmended Reading :
Merles, Vctor. Correspondance de Paul Gauguin,

1873-1888. Pars, 1984.

Questio ns to Consider :
l . How was Gauguin affected by the mentorship of Pissarro?
2. In what ways did Gauguin 's early career differ from that of most of the
lmpres~ionists?

visioo--give it structur~o that it could become art, formed the basis

of a new idea of Impres~ionism in the 1880s.

11. 1 hese two ideas carne together in Georges Seurat, an acadermcally trained
artist who treated modern Parisian life, but in a new and highly structured
manner.
A. Seurat had inaugurated his career through the public exhibition in 1884
of a monumental painting called Bathers at Asrzieres ( 1883).
1. The painting represents working-class men on the beach, posed in a
deliberare manner reminiscent of Egyptian art. Seurat was
fascinated with injecting into modemity the time-tested art of
Egypt.
2. This hieratic work, with it') carefully considered and geometrically
ordered composition and neatly painted surface, seemed
antithetical to the working-class subject.
3. Seurat, like the older Impre!>sionist Renoir, began to paint in
opposition lo the informality of Impressionism.

8. In 1884, Seurat began a work that, when completed in the spring of

1886, was a "pair" to the earlier Bathers at Asnieres. This work, A
Sunday Afternoon 011 the lsland of La Grand Jatte, (1884-86)
represents the island in the Seine opposite the shores of Asnieres; the
same boat race in the Seine is ~een in both paintings.

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l.
2.

This very large painting again reveaJs the rigorous rules of

Egyptian art applied to modem subjects.
The men m the painting are "types"; their costumes 1ell us lheir
idenlilies, and they are interesting lo us onJy in their inleraclions
wi1h the "-Omen. In contrast. women are represented in all stages of
life. The scene is a gendered drama in \vhich men play subsidiill)
roles.

C. While workmg on this painting. Seurat learned more about color thcory
and met Pis.~o. He repainted the work with many small dols lo get
brillianl new colors in lo his representation of brighl sunshine. Mo~l of
lhese colors "'ere chemically unstable. and the painting dulled from
yellow~ 10 dull greens and from brilliant orange to browns shortly after
it was exhibiled.
D. The "-Ork uses a thoroughJy 'scientific theory of light. color. and
composition derived from Seurat's systematic reading of lexts in
physics, optics, lighl and color theory. and psychology. This resulted in
a new kind of painling called scienlific Impressionism" by certain
artists and 'Neo-lmpressionism'' by others. The style was never referred
10 as "pointillism" by its makers or their critics.
E. Seurat's painling appeared between two others in the final Impressionist
exhibition, one by Pissarro and the other by their young friend Paul
Signac, each of which dealt with distinctly separate social realms- rural
workers for Pi<>sarro and urban workers for Signac. All three of lhe
painlings show an equal obsession with female figures and lhe role of
women in modem sociely.
l. The painling caused a major splil in the Impressionisl movement.
Gauguin haled il; Monet and Renoir refused to exhibil w1th Seurat.
2. Seural 's work carne to be thought of as having replaced the
lmpressionist experiment with art that was more rigorous and
structured and conveyed reverberations from the entire history of
art.

Pa intings D~cussed :

--LandJcape at Clzapomal (Val d'Oise ), 1880 by Camille Pissarro, Muse

d'Orsay
--The Bathers. 1887 by Pierre-Auguste Reno1r. Phlladelphia Mu~urn of Art
--Bathers at Asnieres, 1883 by Georges Seurat, Natonal Gallery. London
--A Sunday Aftemoon on the /stand of La Grande Jatte, 1884-86 by Georges
Seurat, The Art lnstitute of Chicago
-La Cueil/ette des pommes (The Apple HanestJ, 1886 by Camille Pissarro,
Ohara Museurn of Art, Kurashilu, Japan
--Les modistes. 1885 by Paul Signac. Sammlungen E.G. Buhrle. Zurich
--Portrait of Felix Fnon. against the Enamel of Background Rhythmic with
Beats and Angles, Tones and Colours, 1890 by Paul S1gnac, Private Collection
E~ential

Reading:

Herbert, Robert L. Seurat Paintings and Drawings. Yale University Press, 2001.
Ratliff, Floyd. Paul Signac and Color in Neo-lmpressionism. New York, 1992.
Thomson, Richard. Seurat. Phaidon, Oxford, 1985.
Ward, Martha. Pissarro: Neo-lmpressionism and the Spaces of the AvantGarde. University of Chicago Press, 1996.
Zimmennann, Michael F. Seurat and the Art Tlzeory of His Time. Antwerp,
1991.
Cachin, Fran~oise. Paul Signnc. New York, 1971.
Hutton, John. Neo-Jmpressionism and the Searchfor So/id Ground. University
of Louisiana Press, 1994.
Qu~tions

to Consider :
Neo-lmpre~s1onists

l.

What Matements about "-Omen were the

make in their work?

2.

What new ideas and teclmiques did Seura1 bring 10 lmpressionism that
cau!>ed a splil in the movement'?

attempting to

m. A young writer, Felix Fnon. became the strongest critica! voice for the
Neo-lmpressiomsls. Using clear and simple prose, he created verbal
equivalents for their complex ideas and their systematic technique.
A. Yel the death of Seural in 1891 was a blow to the movement-its
slrongest practitioner was no longer at the center of its practice and
theorizing.

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Lecture Twenty-One
The Studio of the South: Van Gogh and Gauguin

I V. Gauguin's subsequent work, before his departure to Tahiti late in 1890,

dealt with the one area of subject matter that had been effectively bamshed
from modemtst painttng in France for more than a geoeratton-religion.

A. His rarnous The ~'ision after the 5ermon ( 1888) wa:. painted for the
Scope: A young Dutch painter, Vincent van Gogh, carne to Pars in February of
1886 and was in the city to see the fmallmpressionist exhibition. With
his art dealer and brother. Theo van Gogh. as his guide. he befriended
many of the artists but carne increasingly under the spell of Paul
Gauguin.

parish church in Pont A ven and rejected by the priest.

B. His extraordinary Self- portrait ( 1889), representing the artist as both

Eve and Christ m a world of pure color. was one of a pair of cupboard
doors in the inn where Gaugutn stayed. The paired door had another
paintmg by Gaugum with copte'> of two books, Mil ton~ Paradise Lo~t
and Thomas Carlyle's Sartor Resartus.

Outline
l.

Gauguin 's contributtons to the lmpressionist exhibition of 1886 were so

overshadowed by the painting of the Neo-lrnpressionists that he was forced
complete! y to reconsider his career. Never systematic and always interested
in literary subjects and the exotic. Gauguin fled Paris for the remole and
culturally complex landscapes of Brinany in the summer of 1886 and.
henceforth, sought an anti-modem and anti-urban world as the subject for
his art.

11. By 1888. Gauguin had created a "school" of artists, all much younger than
hirnself. in the I0\\-11 of Pont A ven in Brittany. These artists sought to
exaggerate color, to create highly decorative compositions, and to take art
further and further from the realm of sight or optical reality. Hence. they
became anti-lmpressionist and anti-Neo-Impressionist at once.

111. Early in 1888, van Gogh moved to the south of France in Aries and
succeeded in convincing Gauguin to join him in the creation of an artistic
brotherhood in \\ohat he called the "Studio of the South. Far from Pars and
far from the theorizing and gosstp of the rnetropolis. they worked in a sundrenched landscape with brilliant hues and radtcally simple compositions to
give added vigor to art.
A. The brotherhood began with an exchange of self-portraits--Gauguin
portra);ng himself as Jean Valjean from Hugo 's Les Misrables and
van Gogh representing himself as a ''brother'' or ascetic monJe
B. At Aries, van Gogh rented and decorated a small hou<,e that he
christened the "Yellow House." Here. Gauguin and he had adjacent
bedrooms and shared cooking and cleanmg.

Pain tings Discussed:

--Self-portrait (Les Misrables), 1888 by Paul Gaugutn, Van Gogh Museum
--Self-portrait. 1888 by Vincent van Gogh, The Fogg Art Museum, Harvard
Univer:-.ity Art Museums
--The Hanest, 1888 by Vincent van Gogh. Van Gogh Museum
--The Bedroom al Aries, 1888 by Vincent van Gogh, The Art Institute of
Chicago
--The Night Caf (Le caf de nuit). detail. 1888 by Vincent van Gogh, Yale
University Art Gallef}
--Landscape near Aries. 1888 by Paul Gauguin, Indianapolis Museum of Art
--The Arlsiennes (Mistral), 1888 by Paul Gaugum, The Art Institute of Chicago
--Self-portrail, 1889 by Paul Gauguin, National Gallef) of Art. Washington,

D.C.
--Tite ~'ision after rlze Sermon (Jacob Wrestling with the Angel), 1888 by Paul
Gauguin, National Gallery of Scotland
Essential R eading:
Anderson, Wayne. Gaugum's Paradue Lost. New York, 1971.
Druick, Douglas, and Peter Zegers. Gauguinhan Gogh. The Art lnstitute of
Chicago. 2001.

Questions to Consider :
l. How did the coUaboration in the Studio of the South differ from the
2.

Impressiontst partnerships in northem France?

In what way:-. did Gauguin rebel agrunst the lmpressionist esthetic?

C. Van Gogh also painted the '"hell"' of the Night Caf, where he ate and
drank late into the night. All these worl...s used Seurat's complementary
color., but for e:-<pressive rather than opltcal reasons.

D. 8oth men entered the same landscape:-. and parks. but their styles were
so divergent that it is easy lo tell who painted which work.
E.

26

After van Gogh sustained a breakdo\\on-whose nature seems to have

been both physical and psychological-Gauguin fled to the north.
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lecture Twenty-Two
Henri de T oulouse-lautrec
Seo pe: Henri de Toulouse-Lautrec (1864-190 1). the only son of the Comte de
Toulouse. was the wealthiest and most nobly bom painter in the history
of French art. Because he had a hereditary bone dic;ease (his parents
were first cousins). he suffered 111 health all his life and was, thus,
allowed to becorne a painter. Following in the manner of Edgar Degas.
he investigated the city of Paric; at night with a single-rninded devotion
unprecedenled in French art.

Outline
l.

Lautrec started his career with an independent studio in Montmartre, the

Parisian neighborhood with the highest concentration of bolh artists and
cafs and nightclubs

n.

Toulouse-Lautrec had drawn since he was a young child and used the
medium as a mode of underslanding his environment, which. when he wac;
able lo conquer the night world of Montmartre. carne mto full flower.

111. All of Toulouse-Lautrec 's early subjecls ha ve their origins in the art of
Manet and Edgar Degas. with whom Lautrec had a distan! relalionship.
Hence. Lautrec can be considered a ..second-generation'' Impressionist.
A.

His earliest investigations of the circus used lhe composilional devices

of Japanese prinls and of the posters of such artists as Jules Chret
( 1836-1932) 10 impart a legibilit} and rhythrnic urgency 10 the subject.

B. By 1889, he began to deal syslematically with the Moulin de la Galette

and the Moulin Rouge. both within an easy walk of his homes and
studios. These places push Degas's esthettcs further tnto whal one
mighl callthe underbelly of Paris at night. with portraiLc; of indtviduals.
either profoundly alone in a public place or gathered in gaiety. These
works are the heirs of Manel's lasl work and of Degas.
IV. Lautrec's oeuvre, like that of Degas. contains a high pen;entage of portraib.
many of which he set in the public realm, ratJ1er than in the prvate spaces of
the sitters.

represented the softness of a woman 's skin in sandpaper, forcing the

viewer's own sense oftouch into wrenching contradictions.

VI. Lautrec W'> mucb better known to the Parisian public as a graphic arust-of
posters. theater programs, illustrations m the press. and other "public" artthan he was as a painter. His works in the traditional rnediurns becarne better
kno\\n after his death in 1900.
Pa intings Dbcussed:

--Equestrienne (At the Cirque Fernando), 1887/88 by Henri Toulou~-Lautrec,

The An lnstitute of Chicago
-- Moulin de la Galette, 1889 by Henri Toulouse-Lautrec, The Art Jnstitute of
Chicago
-Al 1he Moulin Rouge, 1892-93 by Henri Toulouse-Lautrec, The Art Institute of
Chicago
--Traming of 1he New Girls by Valelllin al 1he Moulin Rouge. 1889-90 by Henri
Toulouse-Lautrec., Philadelphia Mu~um of Art
--Monsieur Boileau al lhe Caf, 1893 by Henrt Toulouse-Lautrec, The
Clcveland Mu<,eum of Art
--The Soja, 1894-95 by Henri Toulouse-Lautrec, The Metropollan Museum of

Art
--Pros1itutes ( Femmes de Maison ), c.l894 by Henri Toulouse-Lautrec, Dalias
Museum of Art
E~ntial

Reading:

Frey. Julia. Toulouse-Lautrec: A Lije. New York, 1994.

Thompson. Rtchard. Toulouse-Lautrec. London. 1977.
Hellcr, Reinhold. Toulouse-Lautrec: The Soul of Mommarrre. Munich and New
York, 1997.
Sweetman. David. Explosire Acts Toulouse-Lautrec, Osear Wilde, Fe/ir
Fnon and the Art and Anarchy of the Fin de Siecle. New York, 1999.
Q uestions to Consider :
l . How does Toulo~-Lautrec':; version of '"Pars by night'' both resemble and
differ from Degas's'!
2. Whal is today's popular stereotype ofToulouse-Lautrec's work and how
does it dtJler from hts actual oeuvre?

V. Lautrec also followed Degas into the brothels, many of which he vi<,ited and
sorne of which he actually inhabited for longer periods, developing a
complex sense of intimaq with prostitutes thal was unknown to Degas.
A. The Elles series of lithogrnphs ts perhaps the fmt sympathetic
investigalion of the life of the prostitute in the history of art.
B. The paintings, paslels, and gouaches of prostitutes continue this theme.
sornetimes with fascinating uses of materials-in certain cases. Lautrec
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lecture Twenty-Three

seamstress, and he had lived in a \\'Orld of abstract color, created by the

fabrics with which he was surrounded, from childhood.

The Nabis
Seope: In the lru.t years of the 188(}..,, a ~>mall group of young men joined
together to form a ''brotherhood'' of artists called Nabis (the Hebrev.
word for "prophet"'). Edouard Vuillard and Pierre Bonnard. the most
important arttsts of the group. took the informal art of Impressionism
into the interiors of 1890:. Paris-a realm relatively unexplored by the
lmpressionists themselves.

8 . Vuillard's work is a deepl} peN>nal record of his ov.n env1ronment,

and it is complete! y abstract. emphru.1zing color. arrangement, and
form. The style was called "lnUml'>m...
IV. Pierre Bonnard tended to turn h1s 'Nabs eye" on the public and outdoor
realms of Paris, painting the ne1ghborhoodc, of the Batignolles and
Montmartre like a truffle-snufler of the city's byway'>. He also painted
gardens and parks.
A. These paintings are ''big" scenes of Paris, similar to those of the earlier
lmpressionists, but they seem to show just a slice of the larger Parisian
life, as if even the outdoors or the city could be made intimate.

Outline
l.

The esthetic mpetus for Nabis wa<; Paul Gauguin, who with his own
brotherhood of young artists in Pont Aven. had stressed the artificiality of
art. The signa! painting for this teacher was Paul Serusiers The Talisman
( 1888), which was a representation of a pond near Pont Aven in a way that
would have been foreign to the Impressionists.

B. The Swiss Protestan! Flix Vallotton Jlso painted these slices of life,
allowing the viewer to reimagine Pari<o through the eyes of an artist
trained in Gauguin's principies of exaggerated color.
C. Both Vuillard and Bonnard joined together in a project to produce
large-scale paintings that were intended to be hung as "panels" in
domestic interiors. These often represent other mteron. or the country
properties of their friends and fam1lies.
l . Vuillard made two huge paintmg~ of the house of his brother-inlaw and fellow Nabis, Ker-Xav1er-Roussel, for the house of Adam
Natanson. the father of Thadee Natanson and publisher of La
Rerue Blanche ('The lVhite Joumar').
2. Bonnard created a kind of "Eden" from the home and garden of his
grandmother in a large ~eries of green decorations that were
probably intended to be grouped in a smgle room.

A. Serusier exaggerated all the colors according to principies he received

from Gauguin. The idea was that to capture the power of reality on
canvru., the artist must exaggerate it. Approximating the colors of nature
in a painting will not recreate the original experience of nature.
B. Serusier also organized the composition into slabs of color or patches of
color rather than representational forms; the art of painting wac seen as
fundamental/y abstract.

C. Maurice Denis took this idea one step further by asserting that before
becoming a batlle scene, a portrait, ora stilllife. a painting is an
arrangement of color on a flat surface. In other words, the subject is
secondary to the succe~s of the painting.

11. Pierre Bonnard began to apply this theory to earlier Jmpressionist ~ubjects.
as y,-e see in Dw.k, ora Game ofCroquet ( 1892).
A. This pamting shows usan upper-class group of figures ata lawn party
playing the new game of croquet.
R. The leavec; on the trees in the garden are tapestry-1ike. They appear to
have been pieced together from fabric. In the same way, the clothes of
the figures are absolutely planar. as ifthey were cut out of fabric and
"collapsed" to the picture surface.

m. Following the principals of Gauguin, another Nabis artist. Edouard Vuillard.

worked in the real m of the domes tic or private interior, describing with a
single-minded obsession the apartments of his family and elose friend'>.
A. These works are oen painted on panels or pieces of cardboartl and
show a fascination with pattem and color. Vuillard's mother wao; a

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V. Baudelaire had given penrussion" to artists to paint the streets and the outof-doors. and the Nabis celebrated the artificmlity of that act. After a little
more than a decade of interaction. however. the group fell nto disarray. as
the Impressionists had done before them.
Paintings Discussed:

--The Tali!.man, 1888 by Paul Serusier, Muse d'Orsay

--Sunlight onthe Terrace, 1890 by Maurice Denis, Muse d'Orsa}
--Dusk, ora Game ofCroquet, 1892 by Pierre Bonnartl, Muse d'Orsay
-- The Suitor, 1893 by Edouard Vut!Jard, Smith College Art Museum
--Large lmerior with Six Figures by Edouard Vuillard, Kunsthaus, Zurch
--The Cab Horse, c.l895 by Pierre Bonnard. National Gallery of Art,
Wa!>hington, D.C.
--Street Scene in Paris, 1895 by Flix Vallotton, The Metropolitan Museum of
Art

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--Landscope. Windo" Olerlooking the Woods. 1899 by Edouard Vuillard. The

Art Lnstitute of Chicago
--The Big Enclosed Garden by Pierre Bonnard. Muse d'Or<>ay

lecture Twenty-Four
La Fin

Essential Reading:
Easton, Eli1abeth Wynne. The lntimate lnteriors of Edouard vuillard.
Smithsonian lnstitution Press, Washington, 1989.
Freches-Thory, Claire and Antoine Terrasse. The Nabis. Harry Abrarns. 1991.
Groom, Gloria. Edouard Vuillard: Painter Decorator. Yale University Press,

1994.

Groom. Gloria, et al. Beyond the Eose/ Decorati1e Paintings of\'uillartl,

Bomwrd, Roussel and Denis. Yale. 2001.

Scope: After lheir final group exhibilion. which W.t'> boycotted by Renor and
Monel, the Impressionists worked more or less independenlly. The
sense of radicali-.m and soctal experirnenlalion thal had been assoctaled
wilh lhe movement began to wane as the artists aged and becarne
successful. Each of the men and women tended their later caree~ with
great care, often playing dealcrs off again~t one another and flirting
with critics and \o\riters. Most of them worked assiduouo;ly with Paul
Durand-Ruel. the most important and intemationall) c,avvy dealer of the
late nmeteenth and early twenlieth centuries.

Terrasse, Antoine. Bonnard. Gallimard, Paris, 1994.

Outline

Questions to Consider:
l . What characteristics dt!.linguish Nabis painungs from tho-.e of the earher
lmpressionists ?
2.

l.

Monel devoted a large part of the 1890s to the development of his own
house and garden m Giverny.
A. The growth of the farmhouse garden and the development of the \o\aler
garden were a.\ much obses<.,ions of the painter in the 1890s as were his
painungs.

What principies of working with color did the Nabis leam from Gauguin,
and ho\o\ were these applied in their painting ?

B. In focusing on borne. Monet began to look al the same subjects over

and over again. rather than always pain1ing new things and trying new
tricks. In doing so. he observed lhe transforrnation of lhe'>e subjew.. in
light and time. The stability of his molif'> enabled him 10 perceive
change in relative stability.

'
J

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C. Monet first exhibiled his new and emotionally satisfying extension of

lmpressionism in 1891. The e~hibition was the flfSI m the history of art
in which all the paintings represented the ~ame subject.
l. In this senes of paintings, we see haystacks in a field near Givemy.
The haystacks remain lixed. but color and light shtft around them.
2. Monet was not painting form, but the "'envelope of light" thal
surrounds form.
D. Monet's pictorial produclion of 1he 1890'> was dominaled by lhe
concep1 of "'series.. painting~.
l. In his series of poplar trees ( 1892) and Rouen Cathedral far;ade~
( 1894 ). Monet made ""subject" and "'composition.. a constant and
varied color and facture to recreate the sensations of short moments
of time and light.
2. These paintings were imtially perceived by Monet's compeutors
(including Pissarro) as a marketing device akin 10 industrial
production.

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11. Pissarro spent the ftrSt year. of the 189<b working out his Neo-Impressioni~t
expenment, but in 1894, he began a proJect of .,eries pamting based loosely
on the example of Monet.
A. Becaw.e of pef'!)t~tent eye problerru., Pissarro was unable to paint
dtrectly out-of-doors, a'> he had in the past. This meant that his "through
the window" ptcture:.. both urban and rural. have a deta\..hment lacking
m the tactile and intimare pamtings of the previous decades.
B. The mo~t ~ucce'>sful ol' these paintings repre~nt cities, and Pis~o
painted more urban views than any other Impressionist between 1894
and bis death in 1903. These represent Pans, Rouen, and the port cities
of Normandy. In his painting of the Avnue de 1'Opra, for example,
we see the light shifting, as in the senes by Monet, but the world is one
of movement and rraflic: the -.ubject is not fixed.
111. Renoir and Morisot kept in close touch throughout the 1890:., before
Mori'>Ot 's death in 1895. They worked to develop a late style based on
mellinuous hnear contour'>, rounded fomlS, and re1atively smoothed and
thinned facture.
A. Renoir continued to paint pictures that are rooted in the ligure; he was
thought 10 be the greatest figura! arti'>t of the late nineteenth century.
B.

Renoir was the executor of Caillebotte's will, in which Caillebotte

bequeathed to the French govemment a number of Impressionist
masterpieces from the 1870s and 1880s. Renoir was also involved in
the ~tate of Morisot.

I V. Degas devoted the 1890s. his last mtensely productive decade,to series of
his own.
A. Degas preferred the human figure-and the female nude-to 1andscapes
and began to work concertedl) on a !>eries of bather compositions in
pastel. These v.:ere based on hb 1886 Suite of Nudes but with
drarnaticaJiy enlarged figures. arranged and rearranged using tracing
paper as a support.
B.

Degas also experimented with pov.:dered pa.'>lels painted on paper with

ether and v.:ith layered effecb using fixatives that create color
sensations not unlike the oil surfaces of Monet. He wanted to be
remembered as a great clas~11.:al aIIst and colonst, and h1~ late \\.Ork ~~
suffused with color.

C. Beca~C>e of Degas's increasing anti-Semitbm and irascibility. he had

less and less to do with his former friends and colleagues among the
lmpresstonists. Eventually, ht<, sight deteriorated and he could no 1onger
make art.
D. lle began a serious vocation a'> a collector, building up a massive
collection of painting~. drawings. and prints by In gres, Delacroix,
Goya, El Greco. and others. He also owned major work'> by Gauguin.
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\. Czarme. the last of the initiallmpressl(>nist group. v.:orked in the ~lUth of

France alone. away from his fellow artists.
VI. After Gustave Catllebotte's death in 1894. the French govemment received
the fu~t maJOT bequest of lmpres.,ionist painting'>. Alter sorne delay and
negotiations with the arti'>t's he ir'>, a group of these v.:orks wa'> in.,talled at
the Mu'ie du Luxembourg, Fran~e s mu~eum of contemporary art. Here. the
lmpressionists were enshrined with their long-time adversaries. the
academic painters that the state had collected throughout the nineteenth
century.
Paintings Discussed:

-- Stack of\Vheot (End ofSummer}. 1890-91 by Claude Monet. The Art lnstitute
ofChicago

--Stocks ofWJzeat (End of Da). Autwml). 1890-91 by Claude Monet. The Art
lnstitute of Chicago

--Stacks ofWheat (Sumet, SnoM' Effect). 1890-91 by C1aude Monet. The Art
lnstitute of Chicago

--Stock of Wheat (Snow Effect, Overcast Day), 1890-91 by Claude Monet, The
Art lnstitute of Chicago

--Stock ofWheat (Thaw, Sunset ), 1890-9 1 by Claude Monet. The Art Institute of
Chicago

--Stack ofWheot, 1890-9 1 by Claude Monet, The Art lnstitute ofChicago

--The Four Trees. 1892 by Claude Monet, The Metropolitan Museum of Art
--Rouen Cathedral. Sun/ight. 1894 by Claude Monet, Sterling and Francine
Clark Art lnstitute

-- Avnue de l'Opra, Paris, 1898 by Carrulle Pissarro

--La Place du Tlztitre Framrais, 1898 by Camille Pissarro, Los Angeles County
\4uc;eum of Art
--The Loul're: Moming, 1901 by Camille Ptssarro, St. Louis Art Museum
--Girls ot tite Pwno. 1892 by Pterre-Augu~te Renotr. Muse d'Orsay
--After the Bath, c.l893 by Edgar Degas, The Norton Simon Foundation
--A Maid Combing a Young Womon's Hair. 1892-95 by Edgar Degas. National
Gallery. London

-- Mont Sainte-Victoire seenfrom Les ll'e!.. c.l900 by Pau1 C1arme.

Philadelphia Muc;eum of Art
Essential Reading:
Brettell, Richard, and Joachtm Pissarro. The lmpressiomst and the Clf):
Pissarro's Series Paintings Yale University Press. 1993.
Kendall. Richard. Degas Bemnd Jmpress10nism. Yale Universtty Pre\S, 1997.

- - - . Degas Londscopes. Yale Univer-,ity Pre<..s, 1993.

Tucker. Pau1 Hayes. Monel inthe 90's: Tire Senes Pointings. Y ale University
Press. 1990.
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Questio ns to Consider:

l.

Ho"' d1d the lrnpressioni!.t movement evolve as the artists grew older'?

2.

Wh1ch Impressionists developed distinct late styles in their painting, and

Y.hich extended the work the) had done in the earlier Impresstomst heyday?

Credit Unes for Paintings Discussed

Lecture Thirteeo
-Gustave CaiUebotte, Pars Street, Rainy Doy. 1877. The Art lnstitute of
Chicago Burstein Collection/CORBIS
- Edouard Manet, Nana, 1877,

Kun~thalle,

Hamburg Photo: AKG London

- Picrre-Auguste Renoir. The Bar at the Moulin de la Galette, 1877. Muse

d'O~ay Wood River Gallery
- Berthe Morisot,/n a \'illa at the 5ea.side. 1874. oil on canva~. 19 ~ x 24 l/8
m, Norton Simon Art Foundalion. Pa,adena. CA
- Carmlle Pissarro. The Cote de.s Bneufs at J'Hermitage near Pnmoe. 1877.
National Gallery, London Nallonal Gallery Collection: By kind permission of
the Trustees of the National Gallery. London/CORBIS
- Paul Czanne. Still Life ~' ith a Desurt, 1877, Philadelphia Mu~eum of Art:
The Mr. and Mrs. Carroll S. Tyson. Jr. Collection. 1963-116-5
- Paul Czanne. The Bathers. 1877 The Barnes Foundation, Reproduced with
the Permission ofThe Barne'> FoundationT'1 AH Rights Reserved
- Camille Pi<,sarro. The Carden at Pontoise. 1877. Private Collection. courtesy
of The Wildenstein lnstitute
-Ciaude Monet, Tite Turkeys. 1877. Mu'>e d'Orsay Archivo lconografico.
S.A./CORBIS
-Claude Monet, The Gare Saiiii-La:are: Arrival o/ a Train, 1877. Fogg Art
Museum, Harvard University Fogg Art Museum, Harvard Umversity Art
Museums, USNBequest from the Collection of Maurice Wertheim, Class of
1906!Bridgeman Art Library
- Ciaude Monet. The Arriml ofthe Nornwndy Train, Gare Samt-La:are. 1877.
oil on canvas, 59.6 x 80.2 cm. Mr. And Mrs. MartinA. Ryer-.on C'ollection,
1933.1158 The Art Institute of Chicago, All Rights Reserved
- Edgar Degas,Women on the terrace of a caf in the e\'ening. 1877, Muse
d'Orsay Archivo lconografico. S.A./CORB IS
- Edgar Degas, Sea Bathing: A young Rirl and her maid, J 876-77. National
Gallery, London National Gallery Collection: By kind permission of the
Trustees of the National Gallery. London/CORBIS

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Lecture Fourteen
-Edgar Degil!>, Young .f)partam Excercising, c.1860. Nauona1 Gallery, London
National Gal1ery Collection; By kind permission of lhe Trustees of the
Nationa1 Gallery, London/CORBIS
-Edgar Degas. Madame Camus. 1869-70, oil on canvas, 72.7 x 92.1 cm,
Chester Dale Collection. 1963.10.121, Photograph 200 1 Board of Trustees.
National Gallery of Art. Washmgton
-Edgar Degas. Portratt of Dtego Martelli. The National Gallery of Scotland
-Edgar Degas, A Womanlroning, 1873. The Metropotan Museum of Art.
H. O. Havemeyer CollectJOn, Bequest of Mrs. H.O. Havemeyer, 1929
(29.100.46). Photograph 1985 The Metropolitan Museum of Art

Courtesy. Museum of Fine Arts. Boston. Reproduced with permission. 20<X>

Museum of Fine Arts, Boston. All Rights Re<>erved
-Gustave Caillebotte, AMan Docking Ju:. Skijf(Canotier romenunt .m
pri:.soire). 1878. oil on canvas. 73.7 x 92.7 cm .. Virginia Museum of Fine Arts.
Richmond. Collection of Mr. And Mrs. Paul Mellon. Virginia Museum of
Fine Arts
-Gu<,tave Caillebotte. Reclining Nude. 1882 The Minneapolis lnstitute of
Arts
-Gu.,tave Caillebotte. Portrait of A1. Rtclwrd Gallo. 1884. Prvate Collection
Lecture Six teen

-Edgar Degas. L'Absimhe, 1876. Muse d'OTh<ly Francis G. Mayer/CORBIS

-Mary Cassatt. Se/f-portrait. <..1878. The Metropo1itan Museum ol Art

Geoffrey Clements/CORBIS

-Edgar De gas, The Racecourse Amateur Jockeys near a Carriage. 1876- J887,
Muse d 'Orsay Erich Lessing 1Art Re..ource, f\. Y

-Edgar Degas. The Millinery Slwp. 1884-90. The Art In.,titute of Chicago
Francis G. Mayer/CORBIS

-Edgar Degas. Mis:. .lla at the Cirque Fernando, 1879, National Gallery.
London National Gallery Collection: By kind permission of the lrustees of
the :-.iauonal Gallery, London/CORBIS

- Mary Cassatt. Little Girl in a Blue Armchair. 1878. oil on canva\, 89.5 x
129.8 c m. Collection of Mr. and '\lfrs. Paul Mellon. 1983.1.18, Photograph
2001 Board ofTrustees. National Gallery of Art. Washington

-Edgar Degas, Little Dancer of Fourteen Years, Philade1phia Museum of Art

Phi1adelphia Museum of Art/CORBIS

-Mary Cassatt, Young Woman 111 Block ( Portrait of Madame J). 1883, oil on
canva<;, 80.8 x 64.8 cm. Courtesy of the Maryland Commission on Artistic
Property of the Maryland State Archives, on loan to the Baltimore Museum of
Art. The Peabody Art Collection. MSA SC 4680-10-0010. BMA L. 1964.018

-Edgar Dega'>, The MillineiJ Shop. 1884-90, The Art lfutitute of Chicago
Francis G. Mayer/CORBlS
Lecture Fifteen

-Mary Cassatt. At the Opera, 1879, Museum of f-Ine A.rts. Boston Burstem
Collection/CORBIS

-Gu.,tave Caillebone. Paris Street, Rainy Doy. 1877. The Art lnstitute of
Chicago BuNein CollectiorvCORBIS

- Mary Ca<;satt. lt1 tite Box. 1879 Francis G. Mayer/CORBIS

-Gustave Caillebotte, Young Manar hi::. Willdow, 1875. Prvate Collection

-Mary Cassatt. Lydia in a Loge Wearin,~ a Peor/ Necklace. 1879. Philadelphia

Mu.:;eum of Art Philade1phia Museum of Art/CORBIS

-Gusta ve Caillebotte, The Floor Scrapers, 1876, Muse d 'Orsay Erich

Lessing 1Art Resource, NY
-Gustave Crullebone. On the Europe Bridge, 1876-77. oil on canv:t'>, 105.7 x
130.8 cm. Kimbell Art Museum. Fort Worth, Texas
-Gu.,tave Crullebone. Rue Ha/l), Sixth F/oor
Colle~.:uon. Dalias, Tex:t'>

~ te11.

1878. Anonymous

-Gustave Caillebotte,/n a Caf. 1880. Muse des Beaux-Arts, Rouen

Runion des Muses Nationaux 1 Art Resource. NY
-Gusta ve Caillebotte, Fruit Displayed 0 11 a Stand, 188 J -82, oil on can vas. 76.5
x 100.5 cm, Fanny P. Mason Fund in Memory of Alice Thevin. 1979.196.

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- Mary Ca<;satt, A Cup ofTea. J 880, Museum of Fine Arts. Boston Bun.tem
Collection/CORBIS
-Mary Cassatt, Lydia Crochetmg in tite Garden at Mar/y, 1880, The
Metropo1itan Museum of Art. Gift of Mrs. Gardener Cassatt. 1965 (65.184).
Photograph 1993 The Metropolitan Museum of Art
-Berthe Morisot, Young Girl in a Green llouse Corel Stock Photo Library
-Mary Ca'isatt. Children Playm ~ on the Beach. 1884. oil on can\ a-.. 97.4 x
74.2 cm. Ailsa Mellon Bruce Collection. 1970.17.19, Photograph 2001 Board
ofTrustees, National Gallery of Art, Washington

C20<12le T~hing O>mpany Lim1ted

P~r-hip

39

-Mary Cassatt, Girl Arranging her Hair, 1886, oi1 on canvas, 75.1 x 62.5 cm,
Chester Dale Collection, 1963.10.97, Photograph 2001 Board ofTrustees,
National Gallery of Art, Washington

-Pierre-Auguste Reno ir, Tlze Bar at the Mou/in de la Galette, 1877, Muse
d'Orsay Wood River Gallery

Lecture se,enteen

-Pierre-Auguste Renoir, 8/onde Bather. 1881. oil on canvas, 1955.609.

Sterling and Francine Clark Art lnstitute, Williarnstown. Massachusens

-Edouard Manet, The Rai/way, 1873, oil on canvas, 113 x 132.7 cm, Gift of
Horace Havemeyer in memory of his mother, Louisine W. Havemeyer,
1956.10.1, Photograph 2001 Board ofTrustees, National Gallery of Art,
Washington
-Edouard Manet, Nana, 1877, Kunsthalle. Hamburg Photo: AKG London
-Edouard Manet. The Balcony, 1868-69, Muse d'Orsay Francis G.
Mayer/CORBIS
-Edouard Manet, La Dame aux Eventails: Nina de Callias, 1873-74, Muse
d'Orsay Runion des Muses Nationaux 1Art Resource, NY
-Edouard Manet, Portrait ofStphane Mal/arm, 1876, Muse d'Orsay
Edimdia/CORBIS
-Edouard Manet. Before the Mirror, 1876, oil on canvas, 92.1 x 71.4 cm,
Solomon R. Guggenheim Museum, New York, Thannhauser Co11ection, Gift,
Justin K. Thannhauser, 1978,78.2514.27, Photograph by David Heald The
Solomon R. Guggenheim Foundation, New York
-Edouard Manet, Caf Concert, 1879. Privare Collection Giraudon 1Art
Resource, NY
-Edouard Manet, Escape of Rochefort . 1880-81 Photo: AKG London
-Edouard Manet, Plum Brandy, c.1877, oil on canvas, 73.6 x 50.2 cm,
Collection of Mr. and Mrs. Paul Mellon, 197 L.85.1, Photograph 2001 Board
ofTrustees, National Gallery of Art, Washington
- Edouard Manet, A Bar at the Folies-Bergere, 1882, Courtau1d Institute
Galleries Wood River Gallery
-Edouard Manet, Vase ofWhite Lilacs and Roses, 1883, oil on canvas The
Dalias Museum of Art
Lecture Eighteen
-Pierre-Auguste Renoir, Madame Georges Charpentier and her Chi/dren,
1878. The Metropolitan Museum of Art Metropolitan Museum of Art, New
York. USNBridgeman Art Library

-Pierre-Auguste Renoir. The Mosque (Arab Holiday), 1881. Muse d'Orsay

Runion des Muses Nationaux 1 Art Resource. NY
-Picrre-Auguste Renoir, Luncheon ofthe Boating Party. 1880-1881, The
Phillips Collection Francis G. Mayt!r/CORBIS
--Ciaude Monet. The Regatta at Argenteuil, c. 1872, Muse d'Orsay Corel
Stock Photo Library
--Claude Monet, Tlze Manneporte (tretat), 1883. The Metropolitan Museum of
Art, Bequest of William Church Osbom. 1951 (51.30.5 ). Photograph 1989
The Metropolitan Museum of Art
--Claude Monet, Bordighera, 1884, oil on canva<;, 64.8 x 81.3 cm, Poner
Palmer Collection, 1922.426 The Art Institute of Chicago. All Rights
Reserved
Lecture Nineteen
-Paul Gauguin, Study of aNude, 1880, N y Carlsberg Glyptotek Erich
Lessing 1 Art Resource, NY
-Paul Gauguin, S ti// Life with Flo~~-ers: fllleror of the Artist' s Apartmellt, Rue
Caree/, Paris, 1881, National Gallery, Oslo Erich Lessing 1Art Resource, NY
-Paul Gauguin, Clay Jug and /ron Jug, 1880, oil on canvas, 82.6 x 94 cm, A
Millennium Gift of Sara Lee Corporation. 1999.362 The Art Institute of
Chicago, AU Rights Reserved
-Camille Pissarro, Peasant Woman, 1880, oil on canvas, 73 x 60.4 cm, Chester
Dale Collection, 1963.10.199. Photograph 2001 Board ofTrustees, National
Gallery of Art, Washington
-Camille Pissarro. Young Peasant Woman Drinking lzer Caf au Lait, 1881, oil
on canvas, 65.3x 54.8 cm, Potter Palmer Collection, 1922.433 The Art
Institute of Chicago, All Rights Reserved
--Carnille Pissarro, Landscape at Chaponval (Val d'Oise), 1880, Muse d'Orsay
Erich Lessing 1Art Resource, NY

--Claude Monet, The Seine at Lal'acourt, 1880, Dalias Museum of Art

Dalias Museum of Art, Texas, USNBridgeman Art Library
--Claude Monet. Setting Sun over the Seine at ll'acourr, Winter Effect, 1880,
Muse du Petit Palais Runion des Muses Nationaux 1Art Resource, NY
40

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02002 The Teaching Company Limiled Partner.hip

41

Lecture Twenty
-Camille Pi~sarro, Landscape ar Chaponral (\'al d'Oise). 1880, Muse d'Or<.ay
Erich Lessmg 1Art Resource, NY
-Pierre-Augu'>te Reno ir, The Bathers. 1887, Philadelphia Museum of Art
Philadelphm M~um of Art/CORBIS

-Georges Seurat, Bathers at A~nieres, 1883, National Gallery, London

National Gallery Collection; By kind perrnis'>ion of the 1 rustees of the
National Gallery. London/CORBIS
-Georges Seur.u, A Sunday Aftemoon 011 the f!,land of La Grande Jatte, 188486, The Art Institute of Clucago Bettmann/C'ORBIS
-Camille Pi s~arro, La Cuei/leue des pommes (The Apple Harvest), 1886, Ohara
Museum of Art, Kurashiki. Japan Giraudon 1 Art Resource, NY
- Paul Signac, Les modiste!>, 1885, oil on camas. The Foundatioo E.G.
Buhrle Collectton, Zurich 2002 Artists Rtghts Society CARS>. New York
ADAGP, Pars
-Paul Signac, Portrait ofFlix F non, agamst the Enamel of Backgrou11d
Rhythmic with Beats and Angle!>, Tones and Colours, 1890, Private Collection
Private Collection/Giraudon-Bridgemao Art Library; 2002 Artists Rights
Society CARS), New York 1ADAGP, Pars

-Paul Gauguin, Se/f-portrait, 1889. oil on camas. 79.2 x 51.3 cm. Che~ter Dale
Collection, 1963.10.150. Photograph 2001 Board ofTru-.tee~. National
Gallery of Art, Washington
-Paul Gauguin. The \'ision after the Sermon (Jacob 1\UStlint?. Hith the Ant?,e/),
1888, National Gallef) of ScotJand Nattonal Gallery of Scotland. Edinburgh.
ScotJand/Bridgeman Art Library

Lecture Twenty-Two
-Heori Toulouse-Lautrcc. Equesrrienne (At rhe Cirque Fernando). 1887/88, oil
on canvas. 100.3 x 161.3 cm. Joseph Winterbotham Collection, 1925.523
The Art lnslltute of Chicago. All Right<, Reserved
-Henri Toulouse-Lautrec. Moulin de la Galette, 1889, oi l on canvas, 88.5 .x
lO 1.3 cm. Mr. and Mrs. Lewts Lamed Cobum Memorial Collection. 1933.458
The Art In~utute of Chicago. All Rights Reserved
-Herui Toulouse-Lautrec. Ar rhe Mou/111 Rouge. 1892-93, The Art lnstitute of
Chicago Francis G. Mayer/CORBIS
-Henri Toulouse-Lautrec. Training of the Ne" Girls by ~'alemin at the Moulin
Rouge. 1889-90, Philadelphia Museum of Art Philadelphia Museum of
Art/CORBIS

Lecture T\\enty-One

-Henri Toulouse-Lautrec, Monsieur Bmleau atthe Caf, 1893, The Cleveland

Museum of Art Francis G. Maye r/CORBI S

- Paul Gauguin, Self-portrait (Les Misrables). 1888, oil on canvas,

Anbterdam. Van Gogh Mu~um (Vincent Van Gogh Fouodation), s0224
V/1962.

-Henri Toulouse-Lautrec, Thc SoJa. 1894 95. The Metropolitan Museum uf

Art, Roger.- Fund, 1951 C5 1.33.2). Photogmph by Malcolm Varon. Photograph
1984 The Metropolitan Mu!>eum of Art

-Vincent van Gogh, Se/f-portrait, 1888, The Fogg Art Museum, Harvard
University Art Museums BurMein Collection/CORBIS

-Henri Toulouse-Lautrec, Prostitutes ( F emmes de Maison), c.l894, oil on

canvas The Dalias Museum of Art

-Vincent van Gogh, The Hane~t. 1888. oil on canvas. Am.\terdam, Van Gogh
Museum (Vincent Van Gogh Foundatioo), !>0030 V/1962

Lecture Twenty-Tbree

- Vincent van Gogh, The Bedroom at Aries, 1888, The Art Institute of Chicago
Francis G. Mayer/CORBIS
-Vincent van Gogh. Niglu Caf (Le caf de 11uil). detail. Yale Univen.ity Art
Gallery, Beques! of Stephen Carlton Clark. B.A. 1903
-Pau1 Gaugum, mdscape near Aries, 1888, oil on can vas, 36 x 28 ~ in.,
lndianapolis Mu'>eum of Art, Gift in memory of William Ray Adams, IMA44.1 O
-Paul Gauguin, The Arlsie11nes (Mistral). 1888, The Art Iru.titute of Chicago
FrancC. G. Mayer/CORBIS

42

C20CI:Z The Tea.:hing Compan)' umned Pilftner.h1p

-Paul Seru<,ier, The Talisman, 1888, Mu'>e d'Orsay Runion des Mu..,es
Nationaux 1Art Resource. NY
-Maurice Denis, Sunliglu on the Terrace. 1890. Muse d'Orsa) Runion
des Muses Nationaux 1Art Resource. NY; 2002 Arusts Rtghts Soctety
IARS), Nev. York 1 ADAGP. Pars
-Pierre Bonnard, Dusk, ora Game ofCroquet, 1892. Muse d'Orsay
Erich Lessing 1Art Resource, NY; 2002 Artists Rights Society CARS), New
York 1ADAGP. Pars
-Edouard Vuillard, The Suitor. (also called The Wor/...shop; formerly lntaior at
1' Etang-la-Vil/e). 1893, oil on millboard panel. 31.8 x 37.9 cm, Smith College
Museum of Art, Northampton. Massachusetts, Purchased. Drayton Hillyer Fund,
1938; 2002 Artists Rights Society (ARS>. New York/ ADAGP. Paris.
C2002 The Tea.:hing Compan} mited Partner.hip

43

-Edouard Vuillard, Lorge illlerior u ith Six Figures. Kunsthaul., Zurich

Erich LeS!>tng 1Art Re!>Ource, r-.,ry ; 2002 Art1~~ Right~ Soc1ety (ARS),
Ney. York 1ADAGP, Pars
-P1erre Bonnard, The Cab Horse. c.1895, oil on canvru., 29.7 x 40 cm. Ail~
Mellon Bruce Collecuon. 1970.17.4, Photograph 200 l Board of Trustee~.
Na110nal Gallcry of Art, Washington; 2002 Arti!.tS Rights Society (ARS), New
Yorl / ADAGP. Paris
-Fehx Vallotton, Street Scene in Pari::., 1895, The Metropolitan Museum of
Art, Robert Lehman Collection, 1975 ( 1975.1.736). Photograph 1985 The
Metropolitan Museurn of Art
-Edouard Vuillard, Londscape: Window Overlooking the Woods, 1899, oil on
cama~. 249.2 x 378.5 cm. L.L. and A.S. Cobum. Martha E. Leverone, and
Charle~ Norton Owen funds, restricted gi ft of an anonymou~ donor, 1981.77
The Art Institute of Chicago, All Rights Reserved; 2002 Artists Rights Society
(ARS). Ne" York 1ADAGP, Pars
-P1erre Bonnard, The Big Enclosed Gurden, Muse d'Or::.ay Ench Lessing 1
Art Resource. NY; 2002 Artists Rights Society (ARS), New York 1ADAGP,
Pari~

Lecture T wenty-Four
-Ciaude Monet, Stock of~~heat (End of Summer), 1890-9 1. oil on canv~. 60 x
100 cm, Gift of Arthur M. Wood in memory of Pauline Palmer Wood,
1985. 1 103 The Art lnstitute of Chlcago, AlJ Rights Reserved
-Ciaude Monet, StacJ. ofWheat (End ofDaJ, Autumn). 1890-91, oll on canvas,
65.8 x 101 c m, Mr. and Mrs. Lewis Lamed Coburn Memorial Collection,
1933.444 l he Art lnstitute of Chicago, AlJ Rights Re~rved

--Ciaude Monct, The Four Tree:;, 1892. Thc Metropolitan Museum of Art. H.O.
Haverneyer Collection. Beques! of Mrs. 11.0. Havemeyer. 1929 (29. 100.110).
Photograph by Malcolm Varon. Photograph 1984 The Metropolitan Musuem
of Art
-Ciaude Monet, Rouen Cathedral, Sunli~ht, 1894. Sterling and Francine Clarl.:
Art In~titute Clark Im.titute, Williamstown, MA, USA/Bridgeman Art Library
--Can11llle Pissarro. Avnue de /'Opira. Pars, 1898 Alexander
Burkatowski/CORBIS
--Camille Pissarro. La Place du Thtre Franr;ais. 1898. oil on canvas. 72.39 x
92.71 cm, Los Angeles County Museum of Art, Mr. And Mr'>. George Gard De
Sylva Collection, M.46.3.2 Photograph 2002 Museum A'>sociates/LACMA
--Camille Pissarro, The Louvre Momin~. 1901. 011 on canva<., 73.7 x 92.7 cm.
The Saint Loms Art Museum. Purchase
- Pierre-Auguste Renoir,Gir/s atthe Piano, 1892. Muse d'Orsay Archivo
lconografico. S.A./COR BIS
-Edgar Degas, After the Bath, c.l890-93 (dated in error by another hand:
1885). pastel on paper. 26 x 20 3/4 in, l'orton Simon Art Foundation. Pasadena,
CA
-Edgar Degru.. A Maid Combing a Young Woman's Hair. 1892-95 by Edgar
Dega'>. National Gallery. London National Gallery Collect10n; By kind
penni~sion of the Trustees of the National Gallery. London/CORBIS
- Paul Czanne, Mont Saime-\tctoire seenfrom Les La\es. c.l900.
Philadelphia Museum of Art Philadelphia Museum of Art/CORBIS

-Ciaude Monet, Stock of Wheat (Sumet, Sno1t Effect), 1890-91, oi 1 on can vas,
65.3 x 100.4 cm, Poner Palmer Collection, 1922.431 The Art lnstitute of
Chicago, AlJ Rights Reserved
-Ciaude Monet, StacJ. ofWheat (Snow Effect, 01ercast Day), 1890-91, oil on
camas. 66 x 93 e~ Mr. and Mr~. Martm A. Rye~on Collection, 1933.1155
The Art ln~lltute ot Chicago, All R1ghts Reserved
-Ciaude Monet, StacJ. ofWheat (Thaw, Sunset), 1890-91, oil on canvas, 64.9 x
92.3 cm, Gdt of Mr. and MTh. Daniel C. Searle, 1983.166 The Art lnsutute of
Chicago, All Rightl> Rel>erved
-Ciaude Monet, StacJ. of l~hcat. 1890-9 1. oil on canv~. 65.6 x 92 cm,
Restncted gift of the Searle Family Tru~t; Major Acquisllons Centennial
Endowment; through prior acquisition.'> of the Mr. and Mrl>. Martn A. Ryer.,on
and Poner Palmer collections: through pnor beque~t of Jerome Friedman,
1983.29 The Art ln~tllute of Clucago. AlJ Rights Re::.erved

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Timeline

1874
Contempora ry Events:
Fi.n.l group exhibuion of lmpressionisls, at Nadar's on Boulevard de~ Capucine~
Exhibilors include Degas, Pi~sarro. Czanne. Monet, Ren01r, Sisley, and Morisot
Manet:
Rejecl~ idea of participating in group show

Degas:
Exrublt~ ten \vorks at group show
Death of his father in Naples
Pissarro:
Refuse-. to exhibit al Salon
Daughter Jeanne dies; son Flix is bom
Czanne:
At Pi~sarro's behest, exhibits in group show; landscapes and Modern 0/ympia
greeted with demton
Monet:
Shows lmpression Sunrise, among 12 works exhibiled al group show
Wom wtth Manet and Renotr in Argenteuil
Renoir:
Establishes friendship with Caillebotte
Death ot ts father
M orisot:
Father dies; marrtes Eugene Manet, Edouard's brother
Gauguin:
Birth of Emil, his first cluld
Caillebotte:
Death of rus father, Martial
Cassatt:
SettJes m Paris
Other Artists:
Seurat makes his tirst drav.ing
Sis1ey visits England

1875
Contemporar} E~en~:
Dealh of Corol and Millel
Manet:
Scandalizes Salon with Argenteuil painting

Degas:
Lives in Montmartre
Pissarro:
46

C2002 The Teaching Compan} Limled Partner~hip

Uves and works in Pontot'>e

With Czanne and Guillaumin. founds artists' association. L' Union
Czanne:
Join'> C Union
Monet:
In financial stratls, ask.s Manel for help; wife falls ill
Renoir:
Rejecled al Salon; sells painlings for pirlance
~1oriwt:

Worb in England and on the Isle of Wighl; oblains higher prices al auction for
her works than Monet, Renoir, and Sisley
Gauguin:
Patnh in spare time
Caillebotte:
Rcjected at Salon
Van Gogh:
Tran.,fers to Goupil & Co. 's Paris office
Other Artis~:
Seurat works in Municipal Art School

1876
Contemporary Events:
Nineteen parttctpants exhibit at the sccond lmpressionic,l eJthibition. including
Degas, Pissarro. Monet. Renoir. Sislcy. and Monsot
Rivtere writcs first article on Impressionist')
Duranty publishes La Nourelle Peinture
Manet:
After Salon rejec1s two paintings. he displays 1hem to public in rus ~ludio

Degas:
Exhibtts 24 canva..-.es at group show: sacrifice~ much of hic; fortune to help his
brothcr financially
Pissarro:
Exlubtts 12 paintings at group show: v.orks in Pontoi<;e
Monet:
Exhibits 18 pamtings at group show; starts Gare St. Lazare series
Has financial difficulties
Renoir:
Exhtbils 15 painlings al group show; paints Balan;oire, Moulin de la Galette
Morisot:
Her mother dies
Gauguin:
Exhibils landscape at lhe Salon; buy~ collection oflmpressionisl paintings
Caillebotte:
Exhtbits eight works al group show; buys severa! painlings from Monet

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Van Gogh:
Fired by Goupil & Co.; goel. to England to teach
Otber Artists:
Sisley exhibits eght landscapes and ~pends time in Louveciennes
Seurat works in Municipal Art School and makc~ his fir:,t painting

Avoid~ Salon; a~sists Monct

Oegru.:
Prunts c ircus scenes
Czanne:
Receives financia! help from Zola; rejected at Salon
~fonet:

1877
Cootempor ary E\ents:
Eighteen participants in thtrd Impre~l.ionist exhtbition, including Dega~.
P~o. Czanne, Monet, Renoir, Sbley, Mori~ot. and Caillebotte
Death of Courbet
Manet:
One pamting accepted, another rejected at Salon
Dega~:

Exhibits 22 works at group ~how: invites Cassatt to join 1mpressioni~t group

Pissarro:
Restgn~ from L" Un ion; works with Czanne in Pontoise; exhibits 22 works at
group ~how
Czanne:
Also restgns from L' Union; exhibil!> 16 works at group show
~fonct:

Exhibits 30 paintings at group show; severely l.lrapped linancially

Renoir:
Exhibits 22 works at group show
Morisot:
Exhibits 19 works at group show
Gauguin:
Makes acquaintance of Pissarro
Cassatt:
Joins the Imprel.stonists, no longer exhibits at Salon
Cassan's parents and sister, Lydi~ settle in Paris with the artist
Caillebotte:
Exhibit~ severa! works at group show
Take:. part in auction of paintings at Hotel Drouot
Van Gogh:
Goes to Amsterdam to begin srudies for the ministry
Otber Artists:
Seurat copies great master..; reads de Goncourt \ novels
Sisley exhibitl. 17 landscapes at group show

1878
Cootemporary Events:
Paris World's Fatr
Publication of Duret's Les lmpressionies
:\1aoet:
02002 The Teachin Company Limned

Son Michel is bom; wife, Camille. fall<. ill again

Renoir:
Exhibtts at Salon; paints portraits
Caillebotte:
Faib to exhibit at Paris Universal Exhibition
Finances Monet's move from Rue Moncey
Receives large disrribution from family estate
Van Gogh:
Moves to Belgium, where he begins work as a lay preacher in mimng community
Other Artists:
Seurat adrnitted to Ecole des Beaux Art'>
Sbley, like Renoir. exhibit'> again at Salon

1879
Contemporary Events:
Fourth Impressionist group show in Pars
Exhibitors include Degas. Ptssarro, ~1onet. Gauguin, and Cassatt
Death of Daurmer, Couture
Zola criticizes lmpressionists in Salon review
\tanet:
Two paintings showo at Salon; exhibtts Execution ofMaximilien in America.
with little success
Oega'>:
ExhibJts fewer works at group show than promi..ed; inntes Mary Ca'>satt to
partJCipate in group show
Pissarro:
Exlubtls 38 works at group show and invites Gauguin to participate
Cz.anne:
Rejected at Salon
~lonet:

Exhibits 29 painttngs at group show: exhibit!> again at Salon

Wife. Carnille, dies; beset by more financia! problern:.
Renoir:
Find., success at Salon with Mme. Charpentier and Her Children
~teet'> wife-to-be Atine Charigot
Morisot:
Pregnant. she does not exhibit at group show
Gau~uin:

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Exhibit!> M:ulpture at group show; works with p.,.,arro in Pontoise

Caillebotte:
Exhibit!> at group !>how
Continues to underwrile Monet
Cassatt:
Makes public debut with Impre!>!>ionsts by exhibiting in group show
Begins modeling for Degas
Van Gogh:
Despondl!nt at losing another job, makes pilgrimage to France to vi~it Jules
Breton
Other Artists:
Sisley rejected at Salon; evicted from apartment in Sevre!>
Seurat adm1res group show: stud1es Renoir's work; Jeave~ Ecole des Beaux Arts;
begins military serv1ce

1880
Contemporary EHnts:
Fifth Jmpressionist group show
Exhibitor.. include Degas, Pissarro, Morisot. Gauguin. and Cru,satt
lmpre~iom!ots anacked b) Huy:.mans
Economc crash
Manet:
Show!> portrait of Prou.,t at Salon. where hi:. pupil Eva Gonzales ha!> !>uccess
First sigru. of fatal illne:.:.
Degas:
Exhibit:. eight paintrngs and pastel!> at group !>how; travels in Spain

Pissarro:
Show:. pamtings and et<.hings at group show
Mooet:
Gives one-man show at La Vie Modeme
Renoir:
Shows two paintings at Salon. dbpute:. their pla,;;ement
~torisot:

1881
('ontemporary E,eots:
Si,th Impre~sonist group show
E,h 1btors include Degac,, Pssarro, Morisot, Gauguin, and Cas'>att
f)orir des Artistes Fronrms created
Clcmenceau founds La Justice
.M anet:
Two painting'> accepted at Salon
Nominated for Legion of Honor by Prou<,t; falls senously ill
J>egas:
E'hibits statuette of danccr and pa<;tels at group show
Pio,sarro:
Exhibits 11 landscapes at group show
Daughter Jeanne is bom; \\Orks in Pontoi<>e
C1anne:
Join~ Pissarro and Gauguin in Pontoise
Monet:
Moves to Poissy; decides to forego Salon in future
Renoir:
E'hibits severa! portraits at Salon; travels to Italy
Morisot:
Exhibits sevcn works at group show; spends winter in N ice
Gauguin:
E'h1bits eight paintings and two sculpture~ at group c,how
Summers in Pontoise; birth of fourth child
Caillebotte:
Performs rnilitary service
Buy~ propert) across from ArgeoteUJI
Van Gogh:
Moves to Hague and studies art
Other Artists:
S1sley exhibib 14 paintings at La \'ie ~foderne: travels to lsle of Wight
Seurat draws, studies color theory, takes notes on Delacroix

Exhibit:. 15 paintings and watercolors at group !>how

Gauguin:
Exhib!!> seven paintrngs at group :.how. sorne of which were done in Pontoise
Caillebotte:
Exhibits l 1 works at group show
Toulou!.e-Lautrec:
After severa! bone breaks, has become permanently crippled
Other Artists:
Seurat completes miJitary service m Brest; returru. 10 Pari:.

50

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51

1882
C ontemporary Events:
Sevenlh lmpre~sionisl group show
Exhibnors include PJ'>sarro, Monel, Ren01r, Momol, Gauguin, Caillcbotte, and
Ssley
L 'Ecole de::. Beaux Arts ho'>IS retro~pect1ve of Courbel
Manet:
Exhibn~ Bar aux Folies-Bergere al Salon
Pissarro:
Works in Ponloise; exhibits 36 paintings and gouaches at group show
Czanne:
Admitted to Salon; cares for Renoir
M onet:
Exhibils 35 painting'> al group show
Renoir:
Exhibils 25 works al group show and onc portrail at 1he Salon
Falls ill with pneumonia; relurns to AJgie~
M ori w t :
Exhibits nine paintings and pastels at group show
Gauguin:
Exhibils busl of son and 12 paintings at group show
Caillebotte:
Exhibns 17 works al group show
TouJo use-Lautrec:
Moves 10 Par1s 10 sludy painting
Other Artists:
Ssley shows 27 landscapes at group shov..; resisl'> Durand-Ruel's suggestion of
one-man shows
Seurat works 10 Paris suburbs: draY.s laborers and pea.,ants

1883
Contempor a ry E vents:
Boston exhibitJoo inc.lude'> lmpressooisls
L' Art Modeme of Huysmans appears
french ecooomy recovers
M a net:
Left leg arnputated, he die::. on April 30
His y,.ork appears in New York at Pedestal Exhibition

Oegas:
Shoy,.s seven paintings in London; shows 10 New York at Pedestal Exhibition
Pissarro:
Does one-man show at Durand-Ruel's

Czanne:
Works near Aix; meets wth Renoir and Monet
,\tonel:

Doc., one man show at Durand-Ruers

Renoir:
E~h 1 bits at Salon: does one-man sho"' at Durand-Ruers
Morisot:
.
.
~1oves to Paris: prepares the Manet retrospecllve and settles hs e .. tate
Gauguin:
.
.
.
Birth of son Po la: gives up bank JOb; works w1th PJS..arro
Caillebotte:
Summers and sails at Trouville
Draw., up will ghing h.Js collection to the State
Other A rtists:
Si'>ley shows 70 paintings at Duraod Ruers
.
Seurat exhbits one work at Salon; beg10s work on Une 801gnade

1884
Contempora r y Eveot<i:
Founding of Groupe des Artistes lndpendants
Fnon appointed editor of Reme lndpendonte
~l a net:

ShoY. in hs memory at Ecole des Beau)( Arts

Sale of his studio and over 100 worh
Pi.,'iarro:
B.nh of ...on Paul-Emile
Czanne:
Rejected at Salon
Monet:
Exhibits at Third Exposition lntemationale
Renoir:
Works in Paris, grows disenchanted wilh lmpressionism
\torisot:
Works in the Bos de Boulogne
Gauguin:
Exhibits m Oslo
Toulou<;e-Laut rec:
Moves mto studio in Montmartre
Other Artists:
Seurat 1s reJected at Salon; helps found SoCit des lndpendants; beg10s La
Grand Jatte

1885
Contemporary E"ents:

52

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53

Ecole des Beaux Arts shows Delacrox retrospec!ive

Zola publishes Germinal
Degas:
Travels m northem France; mee~ Gauguin
Pbsarro:
Meets Theo Van Gogh and Seurat
.Monet:
Works in Givemy; paints llora! decorations; exhtbits at Fourth Expo~ition
lntemationale
Re no ir:
Wor~ ~ith Czanne; marries Atine Charigot; binh of son Pierre
Ga ug uin :
Exhibttion in Copenhagen fails; retums to Pars
Caillebotte:
Becomes godfather to Renoir's fmt son, Pierre
Van Gogb:
Paints The PotCJto-eaters
M ove~ to Antwerp to devote himself to dra\\ tng
Other Artists:
Seurat finishes La Grand Jatte; meets Pissarro

Gauguin:
Meeh Van Gogh in Paris; extbits 19 paintings at group -.how
Caillebotte:
Exhtbth at Durand-Ruel's show in New York
Toulouo,e-Lautrec:
E:dubll~ at the Salon des lncohrenl\
Work goes on dtsplay at Montmartre cabaret Le Mirton
Van Gogh:
Moves to Paris, where he shares an apartment with his brother Theo

Other Artists:

1890
Vincent van Gogh dies

1891
Georges Seurat dies

1895

1886
Contempor a ry E\ eots:
Eighth and ftnal Impresstonist group <,how
Exhibitors include Dega-., Pi~arro, Morisot, Gauguin, Ca<;satt, and Seurat
Durand-Ruel has success ...,h American exhibtton
Fnon publishe~ Les lmpressioniste!>
Degas:
Exhibits series of pastel nudes at group show
Pissarro:
Meets Van Gogh; exhibits 20 worJ...s at group ~how
Ctanne:
Marrie~ Hortense Fiquet: inherits fonune from his father

Seurat exhibits La Grand Jatte to scandal at group show; quarrels wtth Gaugutn
Signac exhibits with Seurat; adopts divisioni~m

Benhe :'viori~ot die~

1901
Henn de Toulouse-Lautrec dies

1903
Camille Pissarro dies

1906
Paul Czanoe dies

~1o net :

Show~

at Fifth Exposition Intemationale; shown by Durand-Ruel in New Yorl-.

Renoir:
Exhtbits in Bru~..els and al Fifth Expo~ition Intemationale
Morisot:
Organizes Eighth Impresstonist group show, \\here she exhibits 14 works; shows
in New York

54

C2002l'he Tea<:htng Compilll)' um1ted Panncr.hp

1917
Edgar Degas dtes

0:!11112 The Teaching Compan) L.mited P..utner.hip

55

Bibliography

1919
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Pierre-August Renoir dies

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1935

Bames. Albert C.. and Violette de Mazzia. Tlze Art of Renoir. Marion. 1935.

Paul Signac dies

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60

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C2(1()21e Teaching C<>mpan) Limite\! Part~r-hip

61