Английская Википедия:First Impressionist Exhibition
Шаблон:Short description Шаблон:Infobox event
The First Impressionist Exhibition was an art exhibition held by the Шаблон:Lang,Шаблон:Efn a group of nineteenth-century artists who had been rejected by the official Paris Salon and pursued their own venue to exhibit their artworks. The exhibition was held in April 1874 at 35 Boulevard des Capucines, the studio of the famous photographer Nadar. The exhibition became known as the "Impressionist Exhibition" following a satirical review by the art critic Louis Leroy in the 25 April 1874 edition of Le Charivari entitled "The Exhibition of the Impressionists". Leroy's article was the origin of the term Impressionism.
History
Background
In mid-19th century France, artists depended on public exhibitions to connect them with patrons willing to buy their artworks. The most prestigious exhibition was the Salon in Paris. From the earliest Salons in the 17th century until the French Revolution in 1789, only members of the Académie royale de peinture et de sculpture were permitted to exhibit artworks. Following the revolution and the abolishment of the Royal Academy in 1791, non-member artists were permitted to exhibit artworks in the Salon. With the exception of a short period of a few years following the French Revolution of 1848, the artworks displayed at the Salon were chosen by a jury consisting of members of the Académie des Beaux-Arts.Шаблон:Sfn Being accepted to the Salon was vital for artists because the jury's decision affected the public's perception of artworks. Paintings that had been accepted by the Salon were more likely to sell, and the public would often refuse to purchase paintings that had been rejected. Patrons would sometimes even return paintings that had been purchased beforehand if they had been rejected by the jury.Шаблон:Sfn Artists who were rejected by the jury often complained about corruption and unfairness.Шаблон:Sfn Disagreements among artists with the official standards of the Salon and the Académie des Beaux-Arts would lead to artists seeking alternative venues for promoting their art.
The Salon of 1863 was particularly controversial with artists. A new rule was established that limited artists to three artworks each. The jury was also stricter than it had been in previous years, rejecting three-fifths of all submissions. Even artists who had been regularly admitted were rejected. Louis Martinet, who had previously displayed artworks rejected from the Salon in his gallery, did not room to host all of the rejected artists.Шаблон:Sfn After hearing about the controversy, Emperor Napoleon III visited Palais de l'Industrie where the Salon was to be held and consulted with the president of the jury. Two days later, it was announced that there would be a second elective Salon, a Salon des Refusés ("Salon of the Refused"), to exhibit the rejected artworks.Шаблон:Sfn
The artwork to attract the most visitors at the Salon des Refusés was the painting Le Déjeuner sur l'herbe by Édouard Manet.Шаблон:Sfn Manet had painted it specifically for the Salon, and had hoped that it would bring him success.Шаблон:Sfn When it was rejected, Manet chose to display it at the Salon des Refusés in hopes that the public would side with him against the jury and prove the jury wrong.Шаблон:Sfn The painting proved to be controversial with among critics. Many critics criticized it for the indecency of its subject matter. Manet was also widely criticized for painting technique, which some critics considered sloppy. Despite this criticism, other critics lauded his technique, and described it as "fresh" and "lively".[1]Шаблон:Sfn The scandal surrounding Édouard Manet and the Salon des Refusés brought several younger artists into his social circle.Шаблон:Sfn
Manet was a frequent visitor at the Café Guerbois, located at 11 Grande rue des Batignolles in Paris. There he regularly met with many of his admirers, friends, and fellow artists. Some of the artists that regularly visited the café were Claude Monet, Pierre-Auguste Renoir, Frédéric Bazille, Edgar Degas, Camille Pissarro, and Paul Cézanne. Émile Zola and Edmond Maître were also occasional visitors. The famous photographer Gaspard-Félix Tournachon, better known by his pseudonym Nadar, also sometimes visited the café.Шаблон:Sfn The artists that frequented the Café Guerbois called themselves the Batignolles group. They chose to refer to themselves as a "group" rather than a "school" because, although they all had contempt for "official art", they all sought their own directions.Шаблон:Sfn
The members of the Batignolles group had differing opinions about the Salon. Manet and Renoir believed that the Salon offered them the best chance at gaining recognition. Cézanne, on the other hand, believed that they should always submit their most "offensive" pictures to the Salon as a means of challenging established customs.Шаблон:Sfn Despite their differing views, the members of the Batignolles group regularly submitted their artworks to that annual Salon. All members of the group except for Cézanne had been accepted into the Salon at least once.Шаблон:Sfn
The Exhibition of the Impressionists
Claude Monet and Frédéric Bazille first proposed that the Batignolles group hold their own exhibition at their own expense in 1867. The group was unable to hold an exhibition then due to a lack of funds. Following the Salon of 1873 and the Exposition artisique des oeuvres refusées, a second Salon des Refusés, Monet once again proposed that the group hold their own exhibition. Bazille, who had died in the Franco-Prussian War in 1870, did not live to participate in the exhibition that he and Monet had once envisioned.Шаблон:SfnШаблон:Sfn
Edgar Degas expressed concern that if the exhibition only consisted of members of their own group, their exhibition might be seen by the public and critics as being put on by refusés and suggested that they invite outside artists and artists who had previously had success in the salon.Шаблон:SfnШаблон:Sfn Some of the artists thought that inviting outsiders would change the character of the exhibition. Pierre-Auguste Renoir endorsed Degas's plan to invite outside artists, as a greater number of participating artists would result in a lower cost to each artist. The rest then agreed to Degas's plan.Шаблон:Sfn Some of the members of the group opposed Cézanne's participation in the exhibition, however they agreed after Monet supported his participation. Manet would ultimately not participate in the exhibition. He once told the others that it was because he would never participate in an exhibition with Cézanne, however, his main reason was that believed that the only way to succeed was to succeed at the Salon.Шаблон:Sfn
For the location of the group exhibition, Manet suggest the studio of the photographer Félix Nadar at 35 Boulevard des Capucines, which was sometimes rented out for converts. Nadar had recently vacated his studio for a larger one at 51 rue d'Anjou nearby, so it was available for the group to use.[2] Nadar's studio was on the second floor of the building. A staircase led up to a series of large rooms on two floors which received light from the windows.Шаблон:Sfn While Nadar preferred more tradition styles of art, he sympathized with the group's anti-establishment stance.[2] According to Monet, Nadar allowed the group to use his studio for free.Шаблон:Sfn
On Pissarro's suggestion, the group formed a joint-stock company. The charter was signed on December 27, 1873. The initial signers of the charter were Moner, Renoir, Sisley, Degas, Berthe Morisot, Pissarro, Béliard, Guillaumin, Lepic, Levert, and Rourt.Шаблон:Sfn For the name of the group, Renoir and Degas wanted neutral name that would not be associated with a particular style or suggest a new "school" of art.Шаблон:SfnШаблон:Sfn Degas suggested that the group be called La Capucine after their exhibition space at 35 Bouleveard des Capucines, with a capucine flower as their logo.Шаблон:SfnШаблон:Sfn In the end, the members of group settled on the name Société anonyme des artistes peintres, sculpteurs, graveurs, etc.Шаблон:Sfn
The Première exposition of the Société anonyme opened on April 15, 1874. They chose to open the exhibition two weeks before the Salon of 1874 in hopes of emphasizing to the public that it was not another Salon des Refusés.Шаблон:Sfn The exhibition was open for one month, from ten in the morning to six in the evening. It was also open from eight to ten in the evening. The entrance fee was one franc, and the catalog was sold for fifty centimes.Шаблон:Sfn Throughout its entire duration, the exhibition received about 3,500 visitors in total. This was significantly fewer than the Salon of 1874, which received about 400,000 visitors in total.Шаблон:Sfn Most of the media coverage of exhibition came from left-wing and republican publications. Most of the conservative press chose not to provide platform to those who opposed official arts policy.Шаблон:Sfn
On April 25, the satirical magazine Le Charivari published a review of the exhibition by Louis Leroy titled Шаблон:Lang.Шаблон:Efn The satirical review was written in the form of a dialog between Leroy and a fictionalШаблон:Sfn academic landscape painter named Joseph Vincent. In the review, as Leroy guides Vincent through the exhibition, Vincent is shocked and aghast at style of the paintings. Leroy begrudgingly defends each painting by saying that, while they are not accurate depictions, they have an impression of what they are supposed to depict. Vincent repeatedly mocks Leroy's use of the word "impression", and begins to refer to the artists collectively as "impressionists". When Vincent finally reaches Cézanne's A Modern Olympia, he is driven mad at its sight and begins to hallucinate that the paintings are talking to him.Шаблон:Sfn Leroy's article was intended to be just as much of a spoof of the reactions of conservative academic painters to the "Impressionists" as it was a mockery of Impressionists themselves.Шаблон:Sfn
Louis Leroy's review was the first use of the term "Impressionists", a term that would come to refer to the artists who painted in style of Impressionism. Leroy's use of the word "impression" derived from the title of Claude Monet's painting Impression, Sunrise. Monet chose to call his painting an "impression" after Edmond Renoir (the brother of Pierre-Auguste Renoir), the editor of the exhibition catalog, complained that the titles of his paintings were too monotonous. Monet told him "Why don't you just put Impression!"Шаблон:Sfn Critics had sometimes previously used the term "impression" in reference to the landscape paintings of Camille Corot, Charles-François Daubigny, and Johan Jongkind. The members of the Batignolles group had also previously used the term "impression" in reference to creating "impressions of nature".Шаблон:Sfn
The First Impressionist Exhibition was a commercial failure. Money earned from entrance fees, catalog sales, commissions on painting sales, etc. amounted to 10,221.50 francs. Expenses from rent, decorations, insurance, wages, etc. amounted to 9,272.20 francs. The remaining 949.20 francs were added to 2,359.50 in outstanding shares. In December of 1874, Renoir called a meet where he announced that, after paying off all debts, the Société anonyme still owed over 3,700 francs in liabilities, but only had about 278 francs remaining. All of the members still owed about 185 francs each. The group was then liquidated, and members that had already paid their dues for the next year were refunded.Шаблон:Sfn
Legacy
Despite the commercial and critical failure of the First Impressionist Exhibition and the Société anonyme, the Impressionists would not be dissuaded from pursuing their own style and would hold seven more Impressionist Exhibitions. A second exhibition was held in 1876, a third 1877, a fourth in 1879, a fifth in 1880, a sixth 1881, a seventh in 1882, and an eight and final exhibition was held in 1886.Шаблон:Sfn
Participating artists
The exhibition catalog lists thirty artists as participated in the First Impressionist Exhibition in 1874.Шаблон:Sfn A thirty-first artist, the Comtesse de Luchaire, was mentioned as participating in the exhibition in a review by Marc de Montifaud, but is not listed among the participating artists in the catalog.Шаблон:Sfn[3]
List of artworks
The exhibition catalog for the First Impressionist Exhibition lists artworks as numbered 1 through 165. Several of these entries contain multiple artworks each, and there are no entries listed for numbers 71, 72, and 73.Шаблон:Sfn Three artworks were shown at the exhibition Шаблон:Lang ("out of catalog"), meaning that they were exhibited but were not listed in the catalog. These artworks have been identified as being displayed at the exhibition through references in contemporary reviews.Шаблон:SfnШаблон:Sfn These Шаблон:Lang artworks are numbered as "HC" in the list below.
No. | Title | Image | Artist | Date | Technique | Dimensions | Current Location | Notes |
---|---|---|---|---|---|---|---|---|
1. | Le Bouquet à la Pénitente | (No image) | Zacharie Astruc | Watercolor | ||||
2. | La Leçon du vieux Torrero | (No image) | Zacharie Astruc | Watercolor | ||||
3. | Frame of figures containing:Шаблон:Ordered list | (No image) | Zacharie Astruc | |||||
(No image) | Zacharie Astruc | |||||||
(No image) | Zacharie Astruc | |||||||
(No image) | Zacharie Astruc | |||||||
Файл:Les Prèsents Chinois.jpg | Zacharie Astruc | Watercolor on paper | Шаблон:Convert | Private collection | Шаблон:Sfn | |||
Файл:Zacharie Astruc Intérieur Parisien.jpg | Zacharie Astruc | 1874 | Watercolor on vellum paper | Шаблон:Convert | Musée d'Évreux | Шаблон:Sfn[4] | ||
4. | Frame of landscapes containing:Шаблон:Ordered list | (No image) | Zacharie Astruc | |||||
(No image) | Zacharie Astruc | |||||||
(No image) | Zacharie Astruc | |||||||
(No image) | Zacharie Astruc | |||||||
5. | Les Poupées blanches (Japon) | (No image) | Zacharie Astruc | |||||
6. | Le Ménage mal assorti | (No image) | Zacharie Astruc | |||||
7. | Nature morte | (No image) | Antoine-Ferdinand Attendu | |||||
8. | Un fin Connaisseur | (No image) | Antoine-Ferdinand Attendu | |||||
9. | Quelques réflexions (au XIIIe arrondissement) | (No image) | Antoine-Ferdinand Attendu | |||||
11. | Nature morte: Cuisine | (No image) | Antoine-Ferdinand Attendu | Watercolor | ||||
12. | Nature morte: Cuisine | (No image) | Antoine-Ferdinand Attendu | Watercolor | ||||
13. | Le Fort de la Halle | (No image) | Édouard Béliard | |||||
14. | Saules | (No image) | Édouard Béliard | |||||
15. | Rue de l'Hermitage, à Pontoise | (No image) | Édouard Béliard | |||||
16. | Vallée d'Auvers | (No image) | Édouard Béliard | |||||
17. | Le Toulinguet, côtes de Camaret (Finistère) | (No image) | Eugène Boudin | |||||
18. | The Coast of Portrieux, Cotes-du-Nord | Файл:Eugène Boudin Cotenord.jpg | Eugène Boudin | 1874 | Oil on canvas | Шаблон:Convert | Private collection | Шаблон:Efn-lrШаблон:Sfn |
19. | The Coast of Portrieux, Cotes-du-Nord | (No image) | Eugène Boudin | See above. | ||||
20. | 4 Cadres (même numéro). Études de ciel ("4 Frames (same number). Sky studies") | (No image) | Eugène Boudin | Pastels | ||||
21. | 2 Cadres (même numéro). Études diverses ("4 Frames (same number). Various studies") | (No image) | Eugène Boudin | Pastels | ||||
22. | 4 Cadres (même numéro). Plage de Trouville ("4 Frames (same number). Trouville Beach") | (No image) | Eugène Boudin | Watercolors | ||||
23. | Portrait | (No image) | Félix Bracquemond | Drawing | ||||
24. | Frame of etchings: Portraits of MM.Шаблон:Ordered list | Файл:Portrait of Louis Robert MET DP814355.jpg | Félix Bracquemond | Etching | Шаблон:Convert | Шаблон:Sfn | ||
Файл:Félix Bracquemond - Meyer-Heine - 1966.163 - Cleveland Museum of Art.tif | Félix Bracquemond | Etching | Шаблон:Convert | Шаблон:Sfn | ||||
Файл:Hoschedé, d'après nature (NYPL b14504927-1129414).jpg | Félix Bracquemond | Etching | Шаблон:Convert | Шаблон:Sfn | ||||
Файл:Edwin Edwards by Félix Bracquemond.jpg | Félix Bracquemond | Etching | Шаблон:Convert | Шаблон:Sfn | ||||
Файл:Auguste Comte, fondateur de la religion de l'humanité (NYPL b14504927-1129364).jpg | Félix Bracquemond | Etching | Шаблон:Convert | New York Public Library | Шаблон:Sfn | |||
Файл:Félix Bracquemond - Charles Kean - 1922.354 - Cleveland Museum of Art.jpg | Félix Bracquemond | Etching | Шаблон:Convert | Шаблон:Sfn | ||||
Файл:Félix Bracquemond - Alphonse Legros - 2005.242 - Cleveland Museum of Art.tif | Félix Bracquemond | Etching | Шаблон:Convert | Шаблон:Sfn | ||||
Файл:Félix Bracquemond (French, 1833-1914), Gazette des Beaux-Arts - Charles Méryon - 2005.256 - Cleveland Museum of Art.jpg | Félix Bracquemond | Etching | Шаблон:Convert | Шаблон:Sfn | ||||
Файл:Théophile Gautier by Félix Bracquemond after Nadar.jpg | Félix Bracquemond | Etching | Шаблон:Convert | Шаблон:Sfn | ||||
Файл:Théophile Gautier (NYPL b14504927-1129400).tiff | Félix Bracquemond | Etching | Шаблон:Convert | Шаблон:Sfn | ||||
Файл:Charles Baudelaire (NYPL b14504927-1129348).tiff | Félix Bracquemond | Etching | Шаблон:Convert | Шаблон:Sfn | ||||
Файл:Madame Granger, d'après Ingres (NYPL b14504927-1129409).tiff | Félix Bracquemond | Etching | Шаблон:Convert | Шаблон:Sfn | ||||
25. | Frame of etchings:Шаблон:Ordered list | Файл:The Locomotive MET DP814342.jpg | Félix Bracquemond | Etching | Шаблон:Convert | Шаблон:Sfn | ||
Файл:Félix Bracquemond (French, 1833-1914) - The Hare (Le Lièvre) - 2016.142 - Cleveland Museum of Art.jpg | Félix Bracquemond | Etching | Шаблон:Convert | Шаблон:Sfn | ||||
Félix Bracquemond | Etching | Шаблон:Convert | Шаблон:Sfn | |||||
Файл:Un tournoi, d'après Rubens (NYPL b14693583-1153430).jpg | Félix Bracquemond | Etching | Шаблон:Convert | Шаблон:Sfn | ||||
Файл:La source, d'après Ingres (NYPL b14504923-1130986).tiff | Félix Bracquemond | Etching | Шаблон:Convert | Шаблон:Sfn | ||||
Файл:La servante, d'après Leys (NYPL b14504923-1130994).tiff | Félix Bracquemond | Etching | Шаблон:Convert | Шаблон:Sfn | ||||
26. | Frame of etchings:Шаблон:Ordered list | Файл:Les saules des Mottiaux (NYPL b14506647-1128843).jpg | Félix Bracquemond | Etching | Шаблон:Convert | Шаблон:Sfn | ||
Félix Bracquemond | Etching | Шаблон:Convert | Шаблон:Sfn | |||||
(No image) | Félix Bracquemond | Etching | ||||||
Файл:À droite, trois bouleaux sans feuilles.. (NYPL b14506647-1128765).jpg | Félix Bracquemond | Etching | Шаблон:Convert | Шаблон:Sfn | ||||
Файл:Félix Bracquemond, The Road Leading to Bellevue, 1873, NGA 57860.jpg | Félix Bracquemond | Etching | Шаблон:Convert | Шаблон:Sfn | ||||
Félix Bracquemond | Drypoint | Шаблон:Convert | Шаблон:Sfn | |||||
Файл:Bachots au bords de la Seine MET DP814345.jpg | Félix Bracquemond | Drypoint | Шаблон:Convert | Шаблон:Sfn | ||||
27. | Frame of engravings:Шаблон:Ordered list | Файл:Le Chemin des Coutures, à Sèvres (NYPL b14506647-1128863).tiff | Félix Bracquemond | Etching and aquatint | Шаблон:Convert | Шаблон:Sfn | ||
Файл:Unpublished frontispiece for Baudelaire's Les Fleurs du Mal MET DP814149.jpg | Félix Bracquemond | Etching | Шаблон:Convert | Шаблон:Sfn | ||||
Файл:Margot la Critique MET DP814024.jpg | Félix Bracquemond | Etching | Шаблон:Convert | Шаблон:Sfn | ||||
Файл:Le Bois de Boulogne MET DP814034.jpg | Félix Bracquemond | Etching | Шаблон:Convert | Шаблон:Sfn | ||||
Файл:The Death of Matamore MET DP814032.jpg | Félix Bracquemond | Etching | Шаблон:Convert | Шаблон:Sfn | ||||
28. | Frame of engravings:Шаблон:Ordered list | Файл:Érasme, d'après Holbein (NYPL b14504927-1129389).tiff | Félix Bracquemond | Etching | Шаблон:Convert | Unknown | Шаблон:Sfn | |
Файл:Hans Holbein - Erasmus (Didier Erasme) - 2016.137 - Cleveland Museum of Art.tif | Félix Bracquemond | Etching | Шаблон:Convert | Шаблон:Sfn | ||||
29. | Scene in a Synagogue | Файл:Scene in a Synagogue (1868-1870).jpg | Jacques Émile Édouard Brandon | 1869-70 | Oil on canvas | Шаблон:Convert | Philadelphia Museum of Art | Шаблон:Sfn |
30. | Portrait de M. A. Z. | (No image) | Jacques Émile Édouard Brandon | |||||
31. | Watercolors | (No image) | Jacques Émile Édouard Brandon | Watercolors | ||||
32. | Exposition du corps de Sainte-Brigitte à Rome, en 1392 | (No image) | Jacques Émile Édouard Brandon | |||||
32b. | Le Maître d'ecole | Jacques Émile Édouard Brandon | Lithograph | Шаблон:Convert | Cabinet des estamps, Bibliothèque nationale de France | Шаблон:Sfn | ||
33. | Le Clocher de Jouy-le-Comte | (No image) | Pierre-Isidore Bureau | |||||
34. | Près de l'étang de Jouy-le-Comte | (No image) | Pierre-Isidore Bureau | |||||
35. | Moonlight on the banks of the Oise in Isle-Adam | Файл:Pierre-Isidore Bureau - Clair de lune sur les bords de l'Oise à l'Isle-Adam, 1867.png | Pierre-Isidore Bureau | 1867 | Oil on canvas | Шаблон:Convert | Musée d'Orsay | Шаблон:Sfn |
35b. | Clair-de-Lune | (No image) | Pierre-Isidore Bureau | |||||
36. | Portrait de Madame Ed. G. | (No image) | Adolphe-Félix Cals | |||||
37. | Le Bon Père Pêcheur à Honfleur | Adolphe-Félix Cals | 1874 | Oil on canvas | Шаблон:Convert | Unknown | Шаблон:Sfn | |
38. | Vieux pêcheur | Файл:Adolphe-Félix Cals, Le Vieux pêcheur, 1873.jpg | Adolphe-Félix Cals | 1873 | Oil on canvas | Шаблон:Convert | Private collection | Шаблон:Sfn |
39. | Paysage | (No image) | Adolphe-Félix Cals | |||||
40. | Bonne Femme tricotant | (No image) | Adolphe-Félix Cals | |||||
41. | La Fileuse bleue | Adolphe-Félix Cals | 1860 | Oil on canvas | Шаблон:Convert | Unknown | Шаблон:Sfn | |
42. | The Hanged Man's House | Файл:La Maison du pendu, Auvers-sur-Oise, par Paul Cézanne, FWN 81.jpg | Paul Cézanne | 1873 | Oil on canvas | Шаблон:Convert | Musée d'Orsay, Paris | Шаблон:Sfn |
43. | A Modern Olympia | Файл:Paul Cezanne, A Modern Olympia, c. 1873-1874.jpg | Paul Cézanne | 1873-74 | Oil on canvas | Шаблон:Convert | Musée d'Orsay, Paris | Шаблон:Sfn |
44. | Étude: Paysage à Auvers | Файл:Paul Cézanne - Quartier Four, Auvers-sur-Oise.jpg | Paul Cézanne | 1873 | Oil on canvas | Шаблон:Convert | Philadelphia Museum of Art | Шаблон:Sfn |
45. | Haurra-Maria | (No image) | Gustave-Henri Colin | |||||
46. | La Maison du Charpentier | (No image) | Gustave-Henri Colin | |||||
47. | L'Étang aux poules d'eau | (No image) | Gustave-Henri Colin | |||||
48. | Marchandes de poissons de Fontarabie (Espange) | (No image) | Gustave-Henri Colin | |||||
49. | Entrée du port de Pasages (Espange) | (No image) | Gustave-Henri Colin | |||||
50. | Un Paysan | (No image) | Louis Debras | |||||
51. | Une Nature morte | (No image) | Louis Debras | |||||
52. | San Juan de la Rapita (Espagne) | (No image) | Louis Debras | Drawing | ||||
53. | Rembrandt dans son atelier | (No image) | Louis Debras | |||||
54. | Examen de danse au théâtre | (No image) | Edgar Degas | |||||
55. | The Dancing Class | Файл:Edgar Degas - Chasse de danse.jpg | Edgar Degas | 1871 | Oil on wood | Шаблон:Convert | Metropolitan Museum of Art, New York | Шаблон:Sfn |
56. | Intérieur de coulisse | (No image) | Edgar Degas | Destroyed by artist | Шаблон:Sfn | |||
57. | Blanchisseuse | (No image) | Edgar Degas | |||||
58. | Départ de Course | (No image) | Edgar Degas | Sketch drawing | ||||
59. | Faux Départ | (No image) | Edgar Degas | Drawing | ||||
60. | Ballet Rehearsal on Stage | Файл:Edgar Degas - Ballet Rehearsal on Stage - Google Art Project.jpg | Edgar Degas | 1874 | Oil on canvas | Шаблон:Convert | Musée d'Orsay, Paris | Шаблон:SfnШаблон:Efn-lr |
61. | Une Blanchisseuse | Файл:Degas La Repasseuse Musee dOrsay.JPG | Edgar Degas | 1869 | Charcoal, white chalk, and pastel on paper | Шаблон:Convert | Musée d'Orsay, Paris | Шаблон:Sfn |
62. | Après le bain | (No image) | Edgar Degas | Drawing | ||||
63. | At the Races in the Countryside | Файл:Edgar Degas - At the Races in the Countryside - Google Art Project.jpg | Edgar Degas | 1869 | Oil on canvas | Шаблон:Convert | Museum of Fine Arts, Boston | Шаблон:Sfn |
64. | View of the Seine, Paris | Файл:Armand Guillaumin - View of the Seine, Paris - Google Art Project.jpg | Armand Guillaumin | 1871 | Oil on canvas | Шаблон:Convert | Museum of Fine Arts, Houston | Шаблон:Sfn |
65. | Temps pluvieux (landscape) | (No image) | Armand Guillaumin | |||||
66. | Soleil couchant à Ivry | Файл:Armand Guillaumin - Soleil couchant à Ivry - 1869.jpg | Armand Guillaumin | 1869 | Oil on canvas | Шаблон:Convert | Musée d'Orsay | Шаблон:Sfn |
67. | Clocher de Berk (pas-de-Calais) | (No image) | Louis Latouche | |||||
68. | Vue des Quais (Paris) | (No image) | Louis Latouche | |||||
69. | La Plage, marée basse à Berck (Pas-de-Calais) | (No image) | Louis Latouche | |||||
70. | Sous bois | (No image) | Louis Latouche | |||||
74. | L'Arrivée de la marée à Cayeux | (No image) | Ludovic-Napoléon Lepic | Watercolor | ||||
75. | La pêche | (No image) | Ludovic-Napoléon Lepic | Watercolor | ||||
76. | Golfe de Naples | (No image) | Ludovic-Napoléon Lepic | Watercolor | ||||
77. | Le Départ pour la pêche du hareng | (No image) | Ludovic-Napoléon Lepic | Etching | ||||
78. | L'Escalier du château d'Aix en Savoie | Ludovic-Napoléon Lepic | 1863 | Etching | Шаблон:Convert | Шаблон:Sfn | ||
79. | César, Portrait de chien | Файл:Ludovic Lepic - Cesar.jpg | Ludovic-Napoléon Lepic | 1861 | Etching | Шаблон:Convert | Шаблон:Sfn | |
80. | Jupiter, Portrait de chein | Файл:Ludovic-Napoléon Lepic - Jupiter, 1861.jpg | Ludovic-Napoléon Lepic | 1861 | Etching | Шаблон:Convert | Шаблон:Sfn | |
81. | Le canal Saint-Denis | (No image) | Stanislas Lépine | |||||
82. | La rue Cortot | (No image) | Stanislas Lépine | |||||
83. | Bank of the Seine | Файл:Stanislas Lépine - Paysage (Landscape), 1896.jpg | Stanislas Lépine | 1869 | Oil on canvas | Шаблон:Convert | Musée d'Orsay | Шаблон:Sfn |
84. | Bords de l'Essonne | (No image) | Léopold Levert | |||||
85. | Le Moulin de Touiaux | (No image) | Léopold Levert | |||||
86. | Près d'Auvers | (No image) | Léopold Levert | |||||
HC1 | Lieutenant des lanciers | (No image) | Comtesse de Luchaire | Шаблон:Efn-lrШаблон:Sfn | ||||
87. | Estienne Marcel, prévôt des marchands | (No image) | Alfred Meyer | Enamel | ||||
88. | Doña Maria Pacheco, épouse de Don Jaun de Padilla, chef de l'insurrection, qui avait pris le nom de Sainte Ligue des communes sous Charles-Quint | (No image) | Alfred Meyer | Enamel | ||||
89. | Le Firmament | (No image) | Alfred Meyer | Enamel | ||||
90. | Figure d'après Raphaël | (No image) | Alfred Meyer | Enamel | ||||
91. | Figure d'après Raphaël | (No image) | Alfred Meyer | Enamel | ||||
91b. | Idylle | (No image) | Alfred Meyer | Drawing | ||||
92. | The Comming Storm | Auguste de Molins | 1874 | Oil on panel | Шаблон:Convert | Private collection, Lausanne | Шаблон:Sfn | |
93. | Rendez-Vous de chasse | Auguste de Molins | Oil on canvas | Шаблон:Convert | Private collestion | Шаблон:Efn-lrШаблон:Sfn | ||
94. | Relai de chiens | (No image) | Auguste de Molins | |||||
94b. | Rendez-Vous de chasse | (No image) | Auguste de Molins | |||||
95. | Poppies at Argenteuil | Файл:Claude Monet - Poppy Field - Google Art Project.jpg | Claude Monet | 1873 | Oil on canvas | Шаблон:Convert | Musée d'Orsay, Paris | Шаблон:Sfn |
96. | Fishing Boats Leaving the Port of Le Havre | Файл:Claude Monet, Fishing Boats Leaving the Harbor, Le Havre.jpg | Claude Monet | 1874 | Oil on canvas | Шаблон:Convert | Private collection | Шаблон:Sfn |
97. | Boulevard des Capucines | Файл:Claude Monet 009.jpg | Claude Monet | 1873 | Oil on canvas | Шаблон:Convert | Pushkin Museum, Moscow | Шаблон:SfnШаблон:Efn-lr |
98. | Impression, Sunrise | Файл:Monet - Impression, Sunrise.jpg | Claude Monet | 1872 | Oil on canvas | Шаблон:Convert | Musée Marmottan Monet, Paris | Шаблон:SfnШаблон:Sfn |
99. | Deux croquis ("Two sketches") | (No image) | Claude Monet | Pastel | ||||
100. | Deux croquis ("Two sketches") | (No image) | Claude Monet | Pastel | ||||
101. | Deux croquis ("Two sketches") | (No image) | Claude Monet | Pastel | ||||
102. | Un croquis ("A sketch") | (No image) | Claude Monet | Pastel | ||||
103. | The Luncheon | Файл:Claude Monet - The Luncheon - Google Art Project.jpg | Claude Monet | 1868-69 | Oil on canvas | Шаблон:Convert | Städel Museum, Frankfurt | Шаблон:Sfn |
104. | The Cradle | Файл:Berthe Morisot 008.jpg | Berthe Morisot | 1872 | Oil on canvas | Шаблон:Convert | Musée d'Orsay, Paris | Шаблон:Sfn |
105. | The Mother and Sister of the Artist | Файл:Berthe Morisot 006.jpg | Berthe Morisot | 1869-70 | Oil on canvas | Шаблон:Convert | National Gallery of Art, Washington, DC | Шаблон:Sfn |
106. | Hide-and-Seek | Файл:Morisot - hide-and-seek.jpg | Berthe Morisot | 1873 | Oil on canvas | Шаблон:Convert | Private collection, New York | Шаблон:Sfn |
107. | The Harbor at Lorient | Файл:Berthe Morisot The Harbor at Lorient.jpg | Berthe Morisot | 1869 | Oil on canvas | Шаблон:Convert | National Gallery of Art, Washington, DC | Шаблон:Sfn |
108. | Portrait of Madeleine Thomas | Berthe Morisot | 1873 | Oil on canvas | Шаблон:Convert | Private collection, New York | Шаблон:Sfn | |
109. | Le village de Maurecourt | Berthe Morisot | Pastel on paper | Шаблон:Convert | Private collection, New York | Шаблон:Sfn | ||
110. | Sur la falaise | Файл:Morisot - Sur la falaise, RF 3429, Recto.jpg | Berthe Morisot | Watercolor on paper | Шаблон:Convert | Musée d'Orsay | Шаблон:Sfn | |
111. | Jeune Femme et enfant sur un banc | Berthe Morisot | Watercolor on paper | Шаблон:Convert | Musée d'Orasy | Шаблон:Sfn | ||
112. | Femme et enfant assise dans un pré | Berthe Morisot | Watercolor on paper | Шаблон:Convert | Private collection | Шаблон:Sfn | ||
HC2 | Portrait of Madame Pontillon | Файл:Morisot - Portrait de Madame Pontillon, soeur de l'artiste, assise, sur un canapé, RF 5262, Recto.jpg | Berth Morisot | 1871 | Pastel on paper | Шаблон:Convert | Musée d'Orasy | Шаблон:Efn-lrШаблон:Sfn |
113. | Barques à plomb | (No image) | Mulot-Durivage | |||||
114. | La Rampe | (No image) | Mulot-Durivage | |||||
115. | Paysage près de Blois | (No image) | Giuseppe De Nittis | |||||
116. | Lever de Lune. Vésuve | (No image) | Giuseppe De Nittis | |||||
117. | Campagne du Vésuve | (No image) | Giuseppe De Nittis | |||||
118. | Études de femme | (No image) | Giuseppe De Nittis | |||||
118b. | Route en Italie | (No image) | Giuseppe De Nittis | |||||
119. | Amour et Psyché | (No image) | Auguste-Louis-Marie Ottin | Marble group | ||||
120. | Acis et Galathée | Файл:Paris 6e - Jardin du Luxembourg - Fontaine Médicis - Acis et Galatée.jpg | Auguste-Louis-Marie Ottin | Bronze reduction | Unknown | Шаблон:Efn-lrШаблон:Sfn | ||
121. | Jeune Faune | Файл:Pan par Auguste Ottin - Fontaine de Médicis.jpg | Auguste-Louis-Marie Ottin | Bronze reduction | Unknown | Шаблон:Efn-lrШаблон:Sfn | ||
122. | Nymphe chasseresse | Файл:Diane par Auguste Ottin - Fontaine de Médicis.jpg | Auguste-Louis-Marie Ottin | Bronze reduction | Unknown | Шаблон:Efn-lrШаблон:Sfn | ||
123. | Jeune Femme portant un vase | (No image) | Auguste-Louis-Marie Ottin | Terracotta | ||||
124. | Jeune Femme portant un vase | (No image) | Auguste-Louis-Marie Ottin | Terracotta | ||||
125. | Buste | (No image) | Auguste-Louis-Marie Ottin | Terracotta | ||||
126. | Buste de Ingress | (No free image)Шаблон:Efn-lr | Auguste-Louis-Marie Ottin | 1840 | Plaster reduction | Шаблон:Convert | Musée Ingres, Montauban | Шаблон:Sfn |
127. | Le Dernier Mousse du Vengeur | (No image) | Auguste-Louis-Marie Ottin | Plaster | ||||
128. | Buste de M. B*** | (No image) | Auguste-Louis-Marie Ottin | Terracotta | ||||
129. | Après la messe à la campagne | (No image) | Léon-Auguste Ottin | |||||
130. | Au Château (sannois) | (No image) | Léon-Auguste Ottin | |||||
131. | La Butte Montmartre, versant sud | (No image) | Léon-Auguste Ottin | |||||
132. | La Fête chez Thérèse | (No image) | Léon-Auguste Ottin | Watercolor | ||||
133. | Une Bergerie sans moutons | (No image) | Léon-Auguste Ottin | Lithograph | ||||
134. | At home | (No image) | Léon-Auguste Ottin | |||||
135. | Marette | (No image) | Léon-Auguste Ottin | |||||
136. | Orchard in Bloom, Louveciennes | Файл:Camille Pissarro, Le verger (The Orchard), 1872.jpg | Camille Pissarro | 1872 | Oil on linen | Шаблон:Convert | National Gallery of Art, Washington, DC | Шаблон:Sfn |
137. | Hoarfrost | Файл:Camille Pissarro - Gelée blanche, ancienne route d´Ennery, Pontoise - 1873.jpg | Camille Pissarro | 1873 | Oil on canvas | Шаблон:Convert | Musée d'Orsay, Paris | Шаблон:Sfn |
138. | The Chestnut Trees at Osny | Файл:Pissarro, Camille, Les chataigniers a Osny (The Chestnut Trees at Osny), 1873.jpg | Camille Pissarro | 1873 | Oil on canvas | Шаблон:Convert | Private collection, New York | Шаблон:Sfn |
139. | The Public Garden at Pontoise | Файл:Camille Pissarro - La Jardin de la Ville, Pontoise - 1874.jpg | Camille Pissarro | 1874 | Oil on canvas | Шаблон:Convert | Metropolitan Museum of Art | Шаблон:Sfn |
140. | June Morning at Pontoise | Файл:June Morning at Pontoise - Camille Pissarro - Google Cultural Institute.jpg | Camille Pissarro | 1873 | Oil on canvas | Шаблон:Convert | Staatliche Kunsthalle Karlsruhe | Шаблон:Sfn |
141. | The Dancer | Файл:Pierre-Auguste Renoir, Danseuse.jpg | Pierre-Auguste Renoir | 1874 | Oil on canvas | Шаблон:Convert | National Gallery of Art, Washington, DC | Шаблон:Sfn |
142. | La Loge, ("The Theatre Box") | Файл:La Loge de P.-A. Renoir (Fondation Vuitton, Paris) (46499625955).jpg | Pierre-Auguste Renoir | 1874 | Oil on canvas | Шаблон:Convert | Courtauld Gallery, London | Шаблон:Sfn |
143. | La Parisienne | Файл:Pierre-Auguste Renoir 089.jpg | Pierre-Auguste Renoir | 1874 | Oil on canvas | Шаблон:Convert | Amgueddfa Cymru – Museum Wales | Шаблон:Sfn[5] |
144. | Harvesters | Файл:Pierre-Auguste Renoir - Les Moissonneurs.jpg | Pierre-Auguste Renoir | 1873 | Oil on canvas | Шаблон:Convert | Private collection | Шаблон:Sfn |
145. | Mixed Flowers in an Earthenware Pot | Файл:Pierre-Auguste Renoir - Mixed Flowers in an Earthenware Pot - Google Art Project.jpg | Pierre-Auguste Renoir | 1869 | Oil on canvas | Шаблон:Convert | Museum of Fine Arts, Boston | Шаблон:Sfn |
146. | Croquis | (No image) | Pierre-Auguste Renoir | Pastel | ||||
147. | Tête de femme | Pierre-Auguste Renoir | Oil on canvas | Шаблон:Convert | Unknown | Шаблон:Sfn | ||
148. | Ferme bretonne | (No image) | Henri Rouart | |||||
149. | Levée d'étang | (No image) | Henri Rouart | |||||
150. | Vue de Melun | (No image) | Henri Rouart | |||||
151. | Village | (No image) | Henri Rouart | |||||
152. | Forêt | (No image) | Henri Rouart | |||||
153. | Route bretonne | (No image) | Henri Rouart | |||||
154. | Ferme bretonne | (No image) | Henri Rouart | Watercolor | ||||
155. | Maisons béarnaises | (No image) | Henri Rouart | Watercolor | ||||
155. | Maisons béarnaises | (No image) | Henri Rouart | Watercolor | ||||
157. | Eau-forte | (No image) | Henri Rouart | |||||
158. | Eau-forte | (No image) | Henri Rouart | |||||
159. | Jeunes filles dans les foins en fleurs | (No image) | Léopold Robert | |||||
160. | Cadre | (No image) | Léopold Robert | Watercolor | ||||
161. | The Route from Saint-Germain to Marly | Файл:The Route from Saint-Germain to Marly by Alfred Sisley.jpg | Alfred Sisley | 1872 | Oil on canvas | Шаблон:Convert | McNay Art Museum | Шаблон:Sfn[6] |
162. | The Ferry of the Ile de la Loge Flood | Файл:Le Bac de l'île de la Loge, inondation.jpg | Alfred Sisley | 1872 | Oil on canvas | Шаблон:Convert | Ny Carlsberg Glyptotek, Copenhagen | Шаблон:Sfn |
163. | The Machine at Marly | Файл:Alfred Sisley 043.jpg | Alfred Sisley | 1873 | Oil on canvas | Шаблон:Convert | Ny Carlsberg Glyptotek, Copenhagen | Шаблон:Sfn |
164. | Orchard | Alfred Sisley | 1873 | Oil on canvas | Шаблон:Convert | Private collection, Paris | Шаблон:Sfn | |
165. | Port Marly, soiré d'hiver | (No image) | Aldred Sisley | |||||
HC3 | Autumn: Banks of the Seine near Bougival | Файл:Alfred Sisley, L'automne - Bords de la Seine pres Bougival (Autumn - Banks of the Seine near Bougival), 1873.jpg | Alfred Sisley | 1873 | Oil on canvas | Шаблон:Convert | Montreal Museum of Fine Arts | Шаблон:Efn-lrШаблон:Sfn |
Catalog notes
See also
- Salon des Indépendants — an annual art show held in Paris that began in 1884.
- Salon d'Automne — an annual art show held in Paris that began in 1903.
Notes
References
Bibliography
- Шаблон:Cite book
- Шаблон:Cite book
- Шаблон:Cite book
- Шаблон:Cite book
- Шаблон:Cite book
- Шаблон:Cite book
- Шаблон:Cite book
- Шаблон:Cite book
External links
- The Exhibition catalog (in French) for the Première Exposition 1874 at the Bibliothèque nationale de France's Digital Library.
- Louis Leroy's review L'Exposition des impressionnistes (in French) at the Bibliothèque nationale de France's Digital Library.