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SOCIE* TE_0 ANONYME
DES ARTISTES PEINTRES, SCL'LPTEURS, GRAVEURS, ETC.
PREMIERE
EXPOSITION
1874
35 boulevard des Capucines^ 35
y
-*>»»«<•-
CATALOGUE
Prix 50 centimes
:
L'Exposition est ouverte du i5 avril au i5 mai 1874,
de 10 heures du matin ^ 6 h. du soir et de 8 h. k 10 heures du soir»
Prix d'entree franc
: i
PARIS
IMPRIMERIE ALCAN-LfiYY"
61, &UE DE LAFAYBTtB
1874
New
The
Painting
Impressionism
i8^zf-i8S6
An exhibition organized by
The Fine Arts Museums of San Francisco
with the
National Gallery of Art, Washington
Directed and coordinated by
Charles S. Moffett
with the assistance of
Ruth Berson
and
Barbara Lee WilUams
Fronia E. Wissman
The Fine Arts Museums of San Francisco
TheNew Painting
Impressionism: 1874-1886
NationalGalleryofArt,Washington
i7january-6 April 1986
TheFineArtsMuseumsofSan Francisco
M. H.deYoungMemorial Museum
19 April-6July 1986
Thisexhibitionismadepossiblebyat&t.
Published byTheFineArts MuseumsofSan Francisco, 1986.
All rights reserved.
PrintedinSwitzerland.
Thisbook may notbe reproduced,in wholeorin part,inany form
(beyondthatcopyingpermitted bySections 107and 108 ofthe U.S.
CopyrightLawandexceptbyreviewersforthepublicpress),without
writtenpermission from thepublisher.
Ahardcoveredition ispublishedby RichardBurton, s.A.,i placedela
Taconnerie,Geneva,Switzerland.
Translationsofextractsfroma review by LouisLeroyin LeCharivari,
25 April 1874,appearingwithcat. nos. 7, 9, 15,and 17,arefrom
John Rewald, TheHistoryofImpressionism. © 1946 byThe
Museum ofModern Art, New York, and renewed in 1973. All rights
reserved. Reprinted bypermissionofTheMuseumofModern Art
andJohn Rewald.
Photo Credits: Reproductionsofworksin theexhibition arebyper-
missionofthelenders,whosuppliedthecolortransparenciesexceptfor
the following:
A. C. Cooper, Ltd., London 29; D.JamesDee i; Photo Routhier,
Paris 136; EricPollitzer, New York 10,43, ^2.; Schopplein Studio,
San Francisco 107; Malcolm Varon,New York 152.
LibraryofCongressCatalogingin Publication Data
Mainentry undertitle:
TheNewPainting: Impressionism 1874-1886.
Exhibition heldNationalGalleryofArt,Washington, 17January-
6 April 1986,andThe Fine ArtsMuseumsofSan Francisco,
M. H. de YoungMemorial Museum,19April-6July 1986.
Bibliography: p.497
Includesindex.
I. Impressionism (An)-France-Exhibitions. 2. Painting,French-
Exhibitions. 3. Painting, Modern-19thcentury-France-
Exhibitions. I. Moffett,CharlesS. II. The FineArtsMuseumsof
San Francisco. III. National GalleryofArt (U.S.)
ND547.5.14N38 1986 759.4'o74'oi53 85-24537
ISBN 0-88401-047-3 (pbk.)
Frontcover: EdgarDegas, Portraitsdansunbureau (Nouvelle-
Orleans), 1873. Detail. Cat. no.22
Backcover: ClaudeMonet, Lapromenade{WomanwithaParasol-
MadameMonetandHer.So«), 1875. Cat.no.32
Frontispiece: CoverofthecataloguefortheFirstImpressionist
Exhibition.
DEDICATED TO
Mr. and Mrs. Paul Mellon
in recognition oftheir extraordinary achievement
as collectors of Impressionist art
Mr.John Rewald
whose The History ofImpressionism is the
cornerstone ofthe study ofthe Impressionist movement
Mr. Charles Durand-Ruel (1905— 985)
1
whose knowledge of Impressionism was exceeded only
by the kindness and generosity with which he greeted
scholars for more than halfa century
Note to the Reader
The catalogue section ofthis book is divided into eight beneath the color plates ofthese works, are arranged as
parts, representing the original eight Impressionist exhi- follows: catalogue raisonne, institution catalogue, and
bitions. Each part contains an essay, a reproduction of recent exhibition catalogues or other references, in
the original exhibition catalogue, and color plates of chronological order. These selected references have been
works in the present exhibition. The works exhibited in chosen to direct the reader to the most recent sources of
The New Painting have been identified as accurately as complete cataloging and bibliographical information.
possible as works that appeared in the original Full citations for these references are also located in the
exhibitions. Appendix under Abbreviated References.
Identification ofWorks Titles
Annotations to the reproductions ofthe original cata- Works in The New Painting retain the titles they were
logues, which follow each essay, document these identifi- given in the original exhibitions. Beneath color plates of
cations. The full citations for the annotations appear in these works are English translations ofthe original titles.
the Appendix under Abbreviated References. Contribu- Ifthere is an alternate, current title, it is noted as well.
tions by scholars and other authorities, including the Figure captions for the essays also include in parenthe-
authors of these essays, are noted. ses the works' current titles, in English, ifthey vary from
the original title. No English title is given, however, in
Catalogue Entries cases where an owner in an English-speaking country
In addition to the catalogue numbers for works in this retains a French title.
exhibition, works that were in the original exhibitions
are identified by a two-part number. A Roman numeral Quotations from Reviews
designates the original show, i through viii, in which the Contemporary journalism and art criticism have been
work appeared. An accompanying Arabic number is the especially important in the identification ofworks in the
same one by which works were listed in the original exhi- original exhibitions. The color plates in this catalogue
bition catalogue. Thus, our cat. no. 39, Caillebotte's Le are accompanied by translations of relevant quotations
pant de I'Europe, also bears the number 111-2, indicating from the nineteenth-century reviews and criticism ofthe
that it was no. 2 in the Third Impressionist Exhibition in original exhibitions. Spelling, capitalization, and punc-
1877. Works that were neither numbered nor listed in an tuation have been standardized, and other minor errors
original catalogue, but which were shown in an original have been corrected, exceptwhere noted. Full citations
exhibition, are referred to as HC {hors catalogue). Abbre- for these reviews, organized by exhibition, are found in
viations ofselected references for identification, found the Appendix under Contemporary Reviews.
Contents
Note to the Reader 6 TheThird Exhibition 1877 189
Sponsor's Statement 8 The "First" Exhibition of Impressionist Painters
Acknowledgments 9 Richard R. Brettell
Lenders to the Exhibition 12
The Fourth Exhibition 1879 243
Directors' Preface 13 Contemporary Popularity and Posthumous Neglect
Ian McKibbin White, CarterBrown Ronald Fickvance
J.
Introduction 17 The Fifth Exhibition 1880 293
Charles S. Moffett Disarray and Disappointment
Charles S. Moffett
The Impressionists and Edouard Manet
2-7
Stephane Mallarme The Sixth Exhibition 1881 337
Realists among the Impressionists
The New Painting 37 Fronia E. Wissman
Louis Emile EdmondDuranty
The Seventh Exhibition 1882 375
The Intransigent Artist The Painters Called Impressionists
or How the Impressionists GotTheir Name 51 Joel Isaacson
Stephen F. Eisenman
The Eighth Exhibition 1886 421
The End of Impressionism 61 The Rhetoric of Independence and Innovation
RichardShift Martha Ward
The First Exhibition 1874 93 Appendix
The First ImpressionistExhibition in Context La nouvelle peinture 477
Paul Tucker Louis Emile EdmondDuranty
Abbreviated References 485
The Second Exhibition 1876 145 Contemporary Reviews 490
A Failed Attempt Bibliography 497
Mollis Clayson Index ofArtists 506
Sponsor's Statement
This magnificentexhibition and its catalogue-recreating
the original eight Impressionist shows-are major
contributions to the study ofa pivotal moment in the
art ofthe western world, at&t is honored to sponsor this
exhibition on the occasion ofthe looth anniversary of
We
the eighth and final Impressionists' show. trust it
will stimulate both the intellect and emotions ofall who
view
it.
The Fine Arts Museums ofSan Francisco deserve
praise fororganizing this extraordinary exhibition of
Impressionistpaintings, an exhibition that allows us to
sense the wonder the paintings provoked when first seen
more than a century ago. Special thanks, too, go to
Charles S. Moffett, exhibition curator, who assembled
the works from museums and private collections around
the world, and to the directors and staffs of both The
Fine Arts Museums ofSan Francisco and the National
Gallery ofArt, Washington. Because oftheir efforts,
many ofus can experience-with a fresh perspective-the
beauty and insights of Impressionism.
C. L. Brown
Chairman ofthe Board
AT&T
