COURSE GUIDEBOOK

From Monet to Van Gogh: A History of lmpressionism Partll Lecture 13: The Third Exhibition Lecture 14 Edgar Degas Lecture 15: Gwtave Caillebotte Lecture 16: Mary Cassatt Lecture 17: Manet's La ter Works Lecture 18: Departures Lecture 19: Paul Gauguin Lecture 20: The Final Exhibition Lecture 21: T he Studio of the South: Van Gogh aod Gaugujo Lecture 22: Henri de Toulouse-Lautrec Lecture 23: The Nabis Lecture 24: La Fin

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Course No. 7186

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COURSE GUIDEBOOK

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From Monet to Van Gogh: A History of lmpressionism

Part 11 Professor Richard Brettell

Universiry ofTexas ar Dalias

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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 Lecture Fourteeo Lecture Fifteen Lecture Si,teen Lecture Se\enteen Lecture Eighteeo Lecture ~ineteen Lecture Twenty Lecture Twent) -One

The Third Exhibition ................................................. 3 Edgar De gas .............................................................. 6 Gusta ve Catllebotte ................................................... 9 Mary Ca, 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 Jean-Dominique 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. Pierre-Auguste 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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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 Cas in America, a popularity that !asted into the 20th Century and is still seen today in the tremendous interest Impressioni~t exhibitions generate.

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Lecture Thirteen 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 Da y ( 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 describeeems to ha ve 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 imagery was equally rnodem a'> that of Caillebotte or Monct but contained a whiff of scandal. of low-ltfe. and of the nighL

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 of a 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 of a 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 Y erres. Abrams, 1990.

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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?

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Lecture Fourteen

Edgar Degas

Scope: 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.

ll. Like Morisot, Degas began his investigations of human interaction using his family, then his friends. as models.

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A. E ven 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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2. 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.

3. 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.

4. 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.

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 ha ve 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.l860 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 F emando. J 879 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: Arrnstrong, Caro l. Odd Man Out: Readings of the Work and Reputation of Edgar De gas. 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. 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?

2. How does Degas reveal the process of making art in bis paintings? How does he connect himself with his subjects?

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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.

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 da y.

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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.

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 WindoK, 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) Gusta ve Caillebotte. Private Collection Essential Reading: Vamedoe, Kirk Gusta\'e Cail/ebotte. Y ale 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 Y erres. 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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Que~tions to Consider: l. How did Caillebotte 's Pars landscape)) dtffer from those of hi~

predecessors'? 2. How did Caillebotte 's background affect his role in 1he lmpre~~ioni~t gruup?

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lecture Sixteen Mary Cassatt

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.

Outline l . 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. A. She was bom into a wealthy farnily in Pennsylvania and was trained al

the Penns)'lvania Academy of Fine Arts. 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 the life of wealthy eJtpatriatc., and their French friends.

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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 cross-

influences that were 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.

B. 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.

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 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 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 M adame 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?

14 C 20021e Te the creator of a late mru,terpiece, A Bar at tire F ol es 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:;; Ni na 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. 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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--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 F olies-Bergere, 1882 by Edouard Manet, Courtauld lnstitute GaJleries --V ase 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. Y ale 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.

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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?

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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 . such as de Nittis, Forain, and Raphaelli, in the Impressionist group. Both lost and both won.

B. Reno ir 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 10 lheir sturm und drang.

Pa intings Discussed: --M adame 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. Y aJe University Press, 1986. Diste!, Anne. Renoir. London, 1985. White, Barbara Ebrlich. Renoir: His Lije. Art, and Letters. Abrams, 1984.

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?

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lecture Nineteen Paul Gauguin

Seo pe: A young banker-!.tockbroker named Paul Gauguin ( 1848-1903) met Camille Pissarro in lhe late 1870:. and be 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 1879-1883 and finally stopped worlmg in lhe financtal sector to devote himself fulltirne lo painting in 1883. 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, N y Carlsberg Glyptotek --Sti/1 Life with Flowers: Interior of tite Arti!>t' s Apartment, Rue Caree/, Poris, 1881 by Paul Gauguin, National Gallery, Oslo --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, Waition, 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.

Outline l. 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. A. In the real world, we don't see form; we see light. This painting is

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

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. This very large painting again reveaJs the rigorous rules of Egyptian art applied to modem subjects.

2. 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 Pisarro 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.

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.

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A. Y el 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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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. Y ale 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 Avant-Garde. 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 : l. What Matements about "-Omen were the Neo-lmpre~s1onists attempting to

make in their work? 2. What new ideas and teclmiques did Seura1 bring 10 lmpressionism that

cau!>ed a splil in the movement'?

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

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.

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 sun-drenched landscape with brilliant hues and radtcally simple compositions to give added vigor to art.

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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 of two books, Mil ton~ Paradise Lo~t and Thomas Carlyle's Sartor Resartus.

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 Reading: 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

Impressiontst partnerships in northem France? 2. In what way:-. did Gauguin rebel agrunst the lmpressionist esthetic?

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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.

V. Lautrec also followed Degas into the brothels, many of which he vi

lecture Twenty-Three The Nabis

Seo pe: 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.

Outline l. The esthetic mpetus for Nabis wanal 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.

B. The Swiss Protestan! Flix Vallotton Jlso painted these slices of life, allowing the viewer to reimagine Parihington, 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'Oray

Essential Reading: Easton, Eli1abeth Wynne. The lntimate lnteriors of Edouard v uillard. Smithsonian lnstitution Press, Washington, 1989. Freches-Thory, Claire and Antoine Terrasse. The Nabis. Harry Abrarns. 1991. Groom, Gloria. Edouard Vuillard: Painter Decorator. Y ale University Press, 1994. Groom. Gloria, et al. Beyond the Eose/ Decorati1e Paintings of\'uillartl, Bomwrd, Roussel and Denis. Y ale. 2001. Terrasse, Antoine. Bonnard. Gallimard, Paris, 1994.

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

lmpressionists ? 2. What principies of working with color did the Nabis leam from Gauguin,

and ho\o\ were these applied in their painting ?

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lecture Twenty-Four La Fin

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.

Outline 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 enabled him 10 perceive change in relative stability.

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 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.

IV. Degas devoted the 1890s. his last mtensely productive decade,to series of his own.

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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 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 ), 1890-91 by Claude Monet. The Art Institute of Chicago --Stack ofWheot, 1890-91 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 Y ale University Press. 1993. Kendall. Richard. Degas Bemnd Jmpress10nism. Y ale Universtty Pre\S, 1997. ---. Degas Londscopes. Yale Univer-,ity Pre

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?

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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

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 De gas. 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 -Edgar Degas. L'Absimhe, 1876. Muse d'OTh, The MillineiJ Shop. 1884-90, The Art lfutitute of Chicago Francis G. Mayer/CORBlS

Lecture Fifteen

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

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

-Gusta ve Caillebotte, The Floor Scrapers, 1876, Muse d 'Orsay Erich Lessing 1 Art 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 ~ te11. 1878. Anonymous Colle~.:uon. Dalias, Tex:t'> -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.

38 C21XI:!le Te .... hing Comp.m} Limted P..rtnen.hip

Courtesy. Museum of Fine Arts. Boston. Reproduced with permission. 20 Museum of Fine Arts, Boston. All Rights Reerved

-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

-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

Lecture se,enteen

-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 1 Art 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 1 Art 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, V ase ofWhite Lilacs and Roses, 1883, oil on canvas The Dalias Museum of Art

Lecture Eighteen

-Pierre-Auguste Renoir, M adame Georges Charpentier and her Chi/dren, 1878. The Metropolitan Museum of Art Metropolitan Museum of Art, New York. USNBridgeman Art Library

--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 1 Art Resource, NY

40 C2002 The Teaching Company Limited Partnen.hip

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

-Pierre-Auguste Renoir, 8/onde Bather. 1881. oil on canvas, 1955.609. Sterling and Francine Clark Art lnstitute, Williarnstown. Massachusens

-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

Lecture Twenty

-Camille Pi~sarro, Landscape ar Chaponral (\'al d'Oise). 1880, Muse d'Orion of the 1 rustees of the National Gallery. London/CORBIS

-Georges Seur.u, A Sunday Aftemoon 011 the f!,land of La Grande Jatte, 1884-86, The Art Institute of Clucago Bettmann/C'ORBIS

-Camille Pis~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 ofF lix 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 1 ADAGP, Pars Lecture T\\enty-One

- Paul Gauguin, Self-portrait (Les Misrables). 1888, oil on canvas, Anbterdam. Van Gogh Mu~um (Vincent Van Gogh Fouodation), s0224 V/1962.

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

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

-Edouard Vuillard, Lorge illlerior u ith Six Figures. Kunsthaul., Zurich Erich LeS!>tng 1 Art Re!>Ource, r-.,ry ; 2002 Art1~~ Right~ Soc1ety (ARS), Ney. York 1 ADAGP, 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 1 ADAGP, Pars -P1erre Bonnard, The Big Enclosed Gurden, Muse d'Or::.ay Ench Lessing 1 Art Resource. NY; 2002 Artists Rights Society (ARS), New York 1 ADAGP, 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 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

0211112 The T~ac.hmg Company Limled P. .nner..hip

--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 /'O pira. 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. 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

()2tKI2 The Teac..hmg Compan) L.imited Partner-hp 45

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 Morisot: 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

Contemporar} E~en~: Dealh of Corol and Millel Manet:

1875

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' U nion 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

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

1877 Cootemporary 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 Part~n.h1p

A void~ Salon; a~sists Monct Oegru.: Prunts c ircus scenes Czanne: Receives financia! help from Zola; rejected at Salon

~fonet: Son Michel is bom; wife, Camille. fall 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 M me. Charpentier and Her Children

~teet'> wife-to-be Atine Charigot Morisot: Pregnant. she does not exhibit at group show

Gau~uin:

C>ZOII:! The Teaching Compan) Limited Partner.hip

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 ethow 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 C20U2 The Teachmg Company l.imited Pannel'lhip

1881 ('ontemporary E,eots: Si,th Impre~sonist group show E,h1btors include Degac,, Pssarro, Morisot, Gauguin, and Cas'>att f)orir des Artistes Fronrms created Clcmenceau founds La Justice .Manet: Two painting'> accepted at Salon Nominated for Legion of Honor by Prouegas: E'hibits statuette of danccr and pa

1882 Contemporary Events: Sevenlh lmpre~sionisl group show Exhibnors include PJ'>sarro, Monel, Ren01r, Momol, Gauguin, Caillcbotte, and Ssley L 'Eco le 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 oriw 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 Contempora ry Events: 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

52 C2U02 1be Teaching Company Limoted P..nner-tup

Czanne: Works near Aix; meets wth Renoir and Monet ,\tonel: Doc., one man show at Durand-Ruers Renoir:

E~h 1bits 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 Artists: Si'>ley shows 70 paintings at Duraod Ruers . Seurat exhbits one work at Salon; beg10s work on Une 801gnade

1884 Contempora r y Eveot

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 Renoir:

Wor~ ~ith Czanne; marries Atine Charigot; binh of son Pierre Ga uguin : 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

1886 Contempora ry E\ eots: Eighth and ftnal Impresstonist group

1919 Pierre-August Renoir dies

1926 Mary C'assatt and Claude Monetl.lie

1935 Paul Signac dies

Sources: John Rewald, Tite Hisrory oflmpressionism. New York: The Museum of Modem Art, 1973 (see Re\\ald for more detailed tirneline); and The Dicrionary of Arr, ed., Jane Tumer, Ma~.:m11lan, 1996.

56 C2002lllc T~achmg Comp~n) Lmit~d Panner-.hip

Bibliography

Adler. Kathleen. and Tamar Garb. Berthe Morisot. Phaidon. 1987. Ander..cn. Wayne. Gauguin's Paradise Lost. Viking, 1974. Armstrong. Carol. Odd Man Out Readings of the n ork and Reputation of Edgar DeKas. University of Chicago Press. 1991. Boyer, Christine. The City ofCollectie Memor): lts HistoricallmaKeFY and Architectural Emertainments. MIT Press. 1996. Bames. Albert C.. and Violette de Mazzia. Tlze Art of Renoir. Marion. 1935. Beaudcla1re, Charles. Art in Paris,J845-1862: Re~iew ofSalons and Otlzer Exhibitions. Phaidon, 1981. -. The Painter of Modem Life'and Other Essays (translatcd and edited by Jonathan Mayne). Phaidon, 1965. de la Bdoliere. Histoire des E.mirons de Pars. (Publication infonnation not available.) Boggs. Jcan Sutherland. Degm, at tlle Roces. National Gallery of Art. Washington, 1998. Brettell, Richard R .. et al. The Art of Po uf Gouguin. National Gallery of An. Washmgton. 1988. Brettell, R1chard R .. et al. A Doy in the Country: lmpressionism and the Frenc/1 Landscape. New York. 1984. Brettell. R1chard R., and Joachim Pissarro. The lmpressionist and tht Cuy: Pil.\Clrro s Series Paintings. Y ale Univer.ity Press. 1993. Brettell, Richard R.lmpression: Pamting Quickly in Fronce, 1860 1890. Y ale Univcrs1ty Press, 2000. -. Pissarro and Pontoise: The Painter in a Landscape. Y ale University Press, 1990. Brombert, Beth Archer. Edouard Manet: Rebel in a Frock Coot. Linte Brown, 1996.

Cachin, Fran)oise. and Charles Moffett. Edouord Manet,l832-J883. Harry Abrams. 1983. Cachin, Fran)oise. Manet, 1832-1883. Metropolitan Museum of An. New York. 19R3.

-. Paul Signac. New York Graphic Society, 1971. Callen. Anthea. The lmpressionws in London. Catalogue of an e~hibition at the Hayward Gallery in London, January to March 1973. -. The Spectacular Bod). Science, ~ethod, and Meaning in the Work of Degas. Y ale University Press. 1995.

C2002lllc T~aching Compan) Limited Partner.hip 57

du Camp, Maxime. Paris: Ses Organes et ses Fonctiom. Pars, 1869; reprinted 1975. Champa, Kennit Swiler. Studiej in Eurh lmpres:.ionism. llacker An Books, 1985. Charnpfleury, Ju1es. u Ralme: Textes Choi!. et Prums par Generihe et lean Lecambre. Pars, 1973. Clairet, Alain, Delphine Montalent, ami Yves Rouan. Berthe Morisot,/841-1895: Catalogue Raisonn de I'Oeurre Peinte. Pars, 1997. Clark T. J. lmage of the People: Gustaw Courbet and tite /848 Revolution. 1973 (Reissued Princeton Uruversity Pre~s, 1981 ). ---. Tite Paiming of Modcm Lije: Pars in the Art of Manet ami His Followers. Princeton Univer!>ity Pre!>..\, 1989. Collins, Bradford R. 12 ~ 'iews of Manet' s Bar. Pnnceton Univer:.lly Pres!>, 1996. D1stel, Anne, Douglas Druick, Gloria Groom, and Rodolphe Rapelli. Gustave Cailleboue. Urban lmpressionsm. Abbeville Publisher~. 1995. ---. Renoir. Harry Abrams, 1985. Druick, Douglas. and Peter Zegers. Gauguinlvun Gogh. The Art Jnstitute of Crucago, 200 t. Dumas, Ann, and David A. Brenneman. Degas and America: The Early Collectors. Rizzoli lntemational, 2001.

~ton, Elizabeth Wynne. The lntimate lmeriors of Edouard ~'uillard. Sn11thsonian lnstirution Pre!>S, 1989. Edwards, Ste\.\an. The Paris Commune. 1871. Quadrangle Book.!>, 1995. Greer. Gennaine. The Obstac lt Roce Tite F orwnes of n-omen Panters and Their WorJ.:s Noonda} Press. 1982. Groom, Gloria. Edouard Vutllard: Pailller!Decorator. Y ale Urver!>ity Press, 1994. Groom, Glona. et al. Beyond the Easel: Decorathe Pamtings by Bomzard, Vuil/ard. Roussel and Denis. Y ale Urver;ty Press. 2001. Han~n. Anne Coffin. Manetand the Moclem Tradition. Y aJe Umvefl>ity Pre~~. 1977. Harding. Klaus. Courbet: To ~'enture lndependence. Y ale Urvefl>ity Pre~s. 1991.

511 021M12111e Tea.:hing Ct>mpan} m1ted Partncr.-h1p

Hauser. Arnold. Tire Socialllistory of Art. Vol. IV. Routledge. 1999. Heller. Remhold. Toulouse-Lautrec The S m/ of.\luntmartre. Prestel. 1997. Herbert. Robert L. Monet on the Normand) Coast: Tourism and Paintings. IS67-HR6. Yate Univel"iity Press. 1996. -.lmpressionism: Art, Leisure ond Purisian Society. Y ale Urvcf'iity

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C2(1()21e Teaching Cmpan) Limite\! Part~r-hip 61