TTC - From Monet to Van Gogh, History of Impressionism (Brettell) - Guidebook 2

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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, 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 realí~tic treatment of the líve~ 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 Cézanne. 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. 11

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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 Société 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.

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 exhíbition was also the fm.t one in whích the artists called themselves " lmpress10nists." C. The pamters contributing lo the exhibition were reduced to the bare mínimum 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 have had a kind of "theme... A. One room dealt with sununer "leisure" in the gardens and sailing landscapes desígned 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 Moulín 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

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:

--París 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. Musée 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 Cézanne. Philadelphia Museum of Art --The Bathers, 1877 by Paul Cézanne, The Bames Foundation --The Garden at Pontoise, 1877 by Camtlle Pic;sarro. Prívate Collection --The Turkeys, 1877 by C1aude Monet. Musée 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 café in the eve11ins:. 1877 by Edgar Degas. Musée 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 Publíshers, 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 París. 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.

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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, Musée d'Orsay --The Racecourse: Amateur Jockeys Near a Carriage, 1876-1887 by Edgar Degas, Musée 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:

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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 París. 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 París 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 París. 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 café. 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. Musée d'Orsay -On tite Europe Bridge. 1876-77 by Gu:.tave Caillebotte. Kimbell Art Museum -Rue Halé~}', Sixtlt Floor Vie1~. 1878 by Gusta ve Caillebotte. Prívate Collection -A Man Docking his Skifl. 1878 by Gustave Caillebone. The Virginia Museum ofFine Arts -In a Café, 1880 by Gustave Caillebotte. Musée 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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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 Musée 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. Í!> 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 makíng 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 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 Parí'>.

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 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 Gírl in a Green House by Berthe Morisot -Chi/dmr P/ayíng 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 Lífe. New York. 1994.

- - - . Mary Cassatt: A Retrospectil·e. New York. 1996. Pollock. Griselda. Mary Cassau: Paimer of Modem Women. Thames and Hudson, 1998. Question!> to Consider :

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How drd Cassau depict the prívate world of wornen?

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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 Folíes Bergere ( 1882). Thrs view is incorrect and undervalues the 1mponance of hü. 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 w¡c, 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 . 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 e¡•enrail:;; 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 actívate the viewer.

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C 20021ñe Te«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.

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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. Musée du Petit Palai!> --Tite Bar at the Moulin de la Galette, 1877 by Pierre-Augu!'>te Renoir, Musée 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, Musée 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, Musée d'Orsay --Tite Manneporte (Érretot), 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 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 subrnissíons 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-idealízed air, separaüng it from the esthetic of SaJon paintíng.

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 café 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 20

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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, Wasionist 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 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.

Pa intings D~cussed :

--LandJcape at Clzapom·al (Val d'Oise ), 1880 by Camille Pissarro, Musée d'Orsay --The Bathers. 1887 by Pierre-Auguste Reno1r. Phlladelphia Mu~urn of Art --Bathers at Asnieres, 1883 by Georges Seurat, Natíonal 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 Han·estJ, 1886 by Camille Pissarro, Ohara Museurn of Art, Kurashilu, Japan --Les modistes. 1885 by Paul Signac. Sammlungen E.G. Buhrle. Zurich --Portrait of Felix Fénéon. 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 Fénéon. 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 París 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 París 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 Misérables and van Gogh representing himself as a ''brother'' or ascetic monJe B. At Aries, van Gogh rented and decorated a small hou 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 Café, 1893 by Henrt Toulouse-Lautrec, The Clcveland MuOt '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 aÍIIst 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. 34

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\. Cézarme. 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'iée 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

-- Avénue de l'Opéra, Paris, 1898 by Carrulle Pissarro --La Place du Tlzétitre 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. Musée 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 Úll'e!.. c.l900 by Pau1 Cé1arme. 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 FoundationT'1 AH Rights Reserved - Camille Pi, 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, 105.7 x 130.8 cm. Kimbell Art Museum. Fort Worth, Texas -Gu.,tave Crullebone. Rue Ha/él), Sixth F/oor Colle~.:uon. Dalias, Tex:t'>

~ te11.

1878. Anonymous

-Gustave Caillebotte,/n a Café. 1880. Musée des Beaux-Arts, Rouen © Réunion des Musées 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 Cate Reno ir, The Bathers. 1887, Philadelphia Museum of Art Philadelphm M~um of Art/CORBIS

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-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, París -Paul Signac, Portrait ofFélix F énéon, 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, París

-Paul Gauguin, Se/f-portrait, 1889. oil on cam·as. 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 Rightsociates/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 Cézanne, 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, 01·ercast 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 Acquis•llons Centennial Endowment; through prior acquisition.'> of the Mr. and Mrl>. Martín 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. Cézanne. 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 Félix is bom Cézanne: 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 tús 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

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Uves and works in Pontot'>e With Cézanne and Guillaumin. founds artists' association. L' Union Cézanne: 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 Pontoiley shows 70 paintings at Duraod Ruers . Seurat exhíbits one work at Salon; beg10s work on Une 801gnade

1884 Contempora r y Eveot. 1988.

- . Jmpressionists Side by Side. Alfred Knopf. 1996. Wittmer, Pierre. Caillebotte and His Gardens at Yerres. 11arry Abrams. 1990. 7.eldin. Theodore. Tlze Polillcal System ofNapoleonlll. London. 1958.

z1mmerman. Michae1 F. Seurat and the Art Tlleory of His Time. Ani\\Crp. 1991.

- - - . Manet and Modem Paris. National Gallery of Art, Washington, 1982. Reid, Benedict. Pissarro in London. Rewald. John. The 1/istol) of lmpresi>ionism. York, 1973.

Mu~eum

of Modem Art, New

Rubín, James H. Courbet. Phaidon Press, 1997. Ruther, Berson. The Ne~' Paiming·Jmpresswmsm, 1874-1886. Vo1s. 1-II. hne Arts Museums of San Francisco. 1996. Schivelbusch. Wolfgang. The Rail•wy Joumey: The Jndustriali:ation ofTime and Space inthe ¡ejh Cemury Univer..ity of Cahfomaa Pre~s. 1997. Shiff, Richard. Cé:anne and the End of Jmpressionism. University of Chicago Pre~l>, 1984. Shalo.es. Ralph E. Pissarro Hü Lije and ~tork. Horizon Pre~s. 1980. Stud..e). Charles, and Walliam P. Scott. Berthe Morisot,lmpressíonist. Nauonal Gallery of Art. 1987. Sweetman, David. E.\plosire Acts: Toulouse-I.Awrec, Osear Wilde, Feli.r Fénéon and the Art and Anarchy of the Fm de Siecle. Simon and Schuster, 2000.

- - - . Paul Gauguin: A Complete Lije. Hodder and Stoughton, 1995. Terrasse, Antoine. Bonnard. Gallimard. París, 1994. Thompson_ Rachard. Seurat. Phaidon. 1985.

- - - . Toulouse-Lawrec. London. 1977. Tomb:., Robert. The Pam Commune, 1871. Longman, 1999. 60

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