a revolution in painting: barbizon to impressionism - 2012

A Revolution in Painting:Barbizon to Impressionism

FRONT COVER: Eugène Antoine Samuel Lavieille Le trou aux moines - Prairie de Morêt-sur-Loing (detail) - see page ??THIS PAGE: Henri Saintin Bergère et son troupeau à l’orée de la forêt (detail), 1873 - see page ??

A Revolution in Painting:Barbizon to Impressionism

F R A N K L I N B O W L E S G A L L E R I E S

San Fr a n c i s c o / New Yo r k

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In the Woody Allen movie, “Midnight in Paris,” we are transported to Paris at the end of the 19th century and the be-ginning of the 20th where we meet Lautrec, Degas, Gauguin, and Picasso. In this catalog your Parisian guide, Dr. Jean Au-digier, will take you back to an earlier part of the 19th century when the school of Barbizon painters and their contemporariesstarted the revolution which led to the creation of Impressionism. Here you’ll meet Millet, Diaz, Dupré, and Bonheur.

In the 19th century, Paris was a magical place which attracted artists from all over France, Europe and the world like a giantmagnet. They came to Paris because that was the place to see art, create art and exhibit art. They came, in the words ofKathleen Adler in the exhibition catalog Americans in Paris, “for the excitement and stimulus of the greatest city of the age –‘the capital of the 19th century’ as Walter Benjamin declared it in the twentieth.”

The Parisians were fascinated with art. The Academy, the Ecole des Beaux-Arts, and the Salons were the official bastions ofacademic art. The rebel forces constantly tried to overcome its defenses: first the Romantics, then the school of Barbizonartists, and then the Impressionists. Innovators had an extremely difficult task of getting accepted by the salon juries. Rousseau,the co-founder of the school of Barbizon, was rejected so many times fromsalons that he earned the nickname, “le grand réfusé” – the great rejected.Now, ironically, one of the largest rooms in the Louvre is covered in Bar-bizon paintings, and is named the Théodore Rousseau room!

After fierce struggles, many of the artists we are showing in thiscatalog were exhibited in the official salons and the universal ex-hibitions. They received awards: bronze, silver, gold medals andthe Legion of Honor. These award ceremonies were followed by apassionate public with even more interest and intensity than theAcademy Awards and the Super Bowl combined.

Reading the history of this period, one is also struck by the amazing inter-action between many of the artists. Creating art, defying the Academy,and inventing new pictorial languages were not solitary delights, but a cor-porative venture. Together they forged ahead toward uncharted territories. A wall chart showing the connections between theschool of Barbizon painters, and the Impressionists, would look like a very complex maze with many intersecting lines. Eventhe more academic painters, and we have a few of their works in this exhibition, were part of the explosion of creative activitiesthat dominated in the 19th century.

So, please join your Parisian guide as he takes you back to the Paris of the 19th century and the nearby Forest of Fontainebleau.His comments were recorded as he walked around these paintings, tape recorder in hand. Unlike Gil, the hero of “Midnightin Paris” who had to return to the present day empty-handed, you can bring home part of the magic of the 19th century;not just beautiful paintings from the school of Barbizon, but a piece of history as well.

François Millet Les glaneuses - see page ??

OPPOSITE: Narcisse Virgile Diaz de la Peña Fagotière en forêt (detail) - see page ??

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I hope with all my heart that there will be painting in heaven.– Jean Baptiste Camille Corot

Plateswith Commentary by Jean Audigier, Ph.D

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“Willem Bodeman, a Dutch painter from the beginning of the 19th century, studied under Barend Cornelius Koeckkoek, asuperb teacher who hailed from a long line of master landscape painters. Bodeman exhibited in London at the Royal Academyand at the British Institute. Many of his paintings were also engraved by H. J. Verbockhoven, which is significant as he was anengraver primarily of famous paintings. So Bodeman clearly enjoyed success in his own time. This is a charming landscape; theartist has deliberately chosen a vista that seems fantastical with the castle ruins and the valley winding away through the moun-tains. The result is a poetical mix of the mundane activities of country peasants and the awe of royalty and nature itself.”

Willem BodemanPaysage animé au donjon en ruine

Oil on panel13 x 13.4 in.

“The Dutch masters of the 17thcentury were among the greatestpainters of still life. This was thegolden age of Amsterdam and richpeople of the time wanted to showand celebrate their wealth; the stilllife with gorgeous objects and costlyfood was created for them. How-ever there is another side to thispainting; beyond the sumptuouspainting treatment of each object,there is a symbolic meaning. Therind of the lemon that hangs fromthe table, the magnificent silverchalice that has fallen on its side,the knife at the edge of the table,and the extinguished oil lamp rep-resent the passing of time, change,and the ultimate dissolution of ourselves. These allegorical paintings,popular in the 16th and 17th cen-turies in northern Europe, werecalled vanitas; in Latin the wordmeans emptiness and is meant toconvey the meaninglessness ofearthly life and the transient natureof vanity or worldly objects.”

Willem Claesz Heda (after)Still Life with Lemon Rind, 1635

Oil on canvas31.3 x 41.5 in.

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“What is remarkable about this painting by the Barbizon painterEdouard Hostein is how very good it is considering that he wasa self-taught artist. Hostein participated in many of the salonsfrom 1833-1859 and won several medals, including a first class.I love this painting because it has a lot of wall-power and impact.The magnificent old oak tree from the forest of Fontainebleauanchors the center of the painting, while the scale of the figuresreinforces its dominance. Hostein had a wonderful understand-ing of color tones; notice how the tones of the peasants’ costumesharmonize with the tones of the painting itself. The little bits ofblue in two of the figures are matched by a little bit of blue onthe side of the tree trunk closest to the figures. That touch is themark of an artist who knows what he is doing and has a greatsense of what is called “echoes” throughout the painting.”

“We don’t know who painted this work. There is writing onthe back of the canvas that states “Angelika Kauffman, Tributeto Marc Antonio.” It appears to be a fantastic variation of awork by Angelika Kauffman. Her biography reads like a novelthat should be made into a movie. It is a remarkable story andshe was one of the great painters of the time. Sir JoshuaReynolds, one of the co-founders of the Royal Academy ofLondon, did her portrait three times. He felt that she was anabsolutely amazing painter and appointed her a founder of theRoyal Academy. This was remarkable honor for a woman atthat time. She was a classically-trained artist who had contactwith some of the greatest artworks around the world. Tributeto Marc Antonio is a very classical painting. The figures arecomposed into a triangle and both the light and compositionpull your eye to the very center of the painting. The fall of thedrapery indicates classical draftsmanship. The faces are serenewith a haunting beauty. I particularly like the soldier in thebackground that is reminiscent of faces found in Rembrandt’swork. This is a superb example of a classical painting.”

Angelika Kauffmann (after)Tribute to Marc Antonio, 1800


Edouard Jean Marie HosteinSous le vieux chêne

Oil on canvas25.1 x 20.4 in. signed

“A year ago, we had a lovely oil painting byHerminie Gudin. Her father and instructor,Théodore Gudin, created this impressive ma-rine painting. Although he received classicaltraining at the Ecole des Beaux-Arts in Paris,he was very much influenced by the romanticschool as seen in this work. His ability to cap-ture the light on the water is superb, but hesuffuses the painting in a rosy glow whichadds a note of patriotism and romanticism.”

Jean-Antoine Théodore GudinVoiliers au crépuscule

Oil on canvas30 x 25.8 in. signed

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“This striking painting by Hippolyte Camille Delpy,reminds me of Vincent van Gough with the dramaof the composition, brushstrokes, and coloration.The brushwork is extremely varied and is quite dif-ferent from the brushwork of the Impressionists; aswith van Gogh the strokes are larger, broader, andmore emphatic. The different direction of thebrushstrokes, which are quite visible, also establishesinteresting rhythms that echo the vertical lines of thelarge tree in the foreground. This is the most dra-matic Delpy we’ve ever had in the gallery; the paint-ing has extraordinary presence.”

“Hippolyte Camille Delpy was a very lucky man because he had two of the greatest artists of the time as his teachers, Camille Corot and Charles Daubigny.Neither normally took students, so the combination of the two was remarkable, and he received a fantastic education. This is one of the very best of his paintingsthat I’ve seen. The composition is typical, but the dramatic and highly-contrasted colors and the very intense, rich coloration of the trees on the right side thatreflect in the water make the work special. The curve of the river and the resultant curve of the reflected color in the water is magical. I love the little ducks thatyou find in so many of the works of Delpy.”

Hippolyte Camille DelpyPaysannes au bord de la rivière


Hippolyte Camille Delpy Crépuscule à Damrémont Oil on panel 13.1 x 23.8 in. signed

“We do not know anything about the artistRobert Zimmerman, but this painting,done in 1858, is spectacular. It reminds meof paintings by the great English paintersJ.M.W. Turner and John Constable, bothof whom were renowned for their ability topaint stormy skies. Constable, in particu-lar, would go out to simply “paint theweather.” He’d paint cloud formations andrecord the date and wind direction on thepaintings that he would use later as studies.Here the dramatic storm cloud on the leftdominates the space, light, and action (thehorse racing to escape the storm) of thepainting. The glimpse of blue sky and thereflection of clouds in the still pond con-trast with the menace of the storm to pro-duce a painting of exquisite sensibility. Itis a moment of savage beauty in what willsoon return to pastoral peace.”

Robert ZimmermanHorseman Under Stormy Sky, 1858


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“Léon Dupré was the younger brother of Jules Dupré, one of the co-founders of the group of Barbizon artists. Their father owned a porcelain factorywhere Léon was taught to paint on porcelain. This was a tremendous technical skill which he put to good use by incorporating fine details in his latercanvases. This is a large work for Dupré and he paints a wide-ranging scene with villagers engaged in various tasks in the foreground and a countrysidefanning out to a distant village in the background. Although the scene is panoramic, the details are taut. The stormy sky is beautifully rendered over halfthe painting with a low horizon line that emphasizes the vast open space of the composition.”

“Eugène Clary exhibited his art in Paris at the same time as the Impressionistic painters and clearly learned from them; how-ever, he associated with the Normandy school artists. This landscape, of a lock on one of the rivers in Normandy, gives youa feel for the countryside in the northern part of France. The influence of John Constable, the famous English landscapeartist, is clearly visible here. Constable was fascinated by locks and watermills which represented man’s control over nature.I don’t think Clary was as interested in “domesticated nature,” but the subject matter and composition are similar. The brush-work is quick, lively and full of light – very reminiscent of the Impressionists.”

Léon Victor Dupré La tempête approche Oil on canvas 39.7 x 24.4 in. signed Eugène Clary La vanne en Gagny Oil on panel 17 x 22.75 in.

“The subject matter of a mother breastfeed-ing her child was popular with 19th centuryartists. A number of the great Impressionistpainters, including Mary Cassatt and BertheMorisot, painted the subject. This work byMadeleine Plantey displays great tenderness;there is no setting around the central fig-ures, the whole focus is on the mother andher child. The eyes of the mother are on thechild, the eyes of the child are on themother and there is a marvelous connectionbetween the two. The soft brushstrokes andtones of the painting add to the feeling ofspecial intimacy. The subject matter of amother breastfeeding her child was popularwith 19th century artists. A number of thegreat Impressionist painters, including MaryCassatt and Berthe Morisot, painted thesubject. This work by Madeleine Planteydisplays great tenderness; there is no settingaround the central figures, the whole focusis on the mother and her child. The eyes ofthe mother are on the child, the eyes of thechild are on the mother and there is a mar-velous connection between the two. Thesoft brushstrokes and tones of the paintingadd to the feeling of special intimacy.”

“Eugène Selmy was a 3rd -generation Barbi-zon painter, but was also connected to the Im-pressionists through the subject matter thathe chose, and that is what caught our atten-tion with this painting. The young womanshading herself with an umbrella is almost likea close-up snapshot with two strong diagonalsformed by the tilt of her body and the con-trasting and opposite line of her umbrella.There is a little bit of asymmetry in the workas the diagonals do not cross in the center ofthe painting; that asymmetry combined withthe almost off-balance pose of the youngwoman is extremely attractive and adds live-liness to the work. In the Impressionist style,Selmy beautifully captures light with high-lights on the parasol, sunshade, dress, pond’sedge, and water. The brushstrokes are highlyvisible, adding drama and a sense of immedi-acy to the painting. The picture perfectly en-capsulates a lazy summer afternoon.”

Madeleine PlanteyMère et enfantOil on canvas

25.5 x 21.2 in. signed

Eugène SelmyLa femme à l’ombrelle


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“This is a quintessential Barbizon painting by Jules Richard, inspired by the works of his predecessors, especially Narçisse Diaz de la Peña. It is a delightful paintingthat pulls you into the center of the composition by the wide path framed by trees and the light beckoning from the clearing at the end of the path. The little redcap on the head of the woman also captures attention; everything pulls toward the focal point.”

Jules Richard Sous bois animé, c.1882 Oil on canvas 24.4 x 41.9 in. signed

Romantics have had their day.Henceforth we must seek the simple beauties of nature…

nature truly seen in all its variety, its freshness.–Eugène Boudin

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“Rosa Bonheur had an amazing understanding of animals. She learned a great deal from her early visits (dressed in men’s clothesto blend in) to slaughterhouses and cattle fairs. She beautifully paints the anatomy and fur textures of each animal to perfection.She was also a great landscapist. The animals are perched on a high plateau in the foreground which drops into a valley leadingto distant mountains; she captures the heights and distances with various subtle gradations of green. She has a modern touchin her brushwork in the background. This is a superb painting from one of the best artists of the 19th century.”

Marie Rosalie Bonheur(called Rosa)

Le taureau roi, 1862Oil on canvas


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“This painting by Constantin Leroux is very dark and moody, and a bit frightening. In the middle of the path which pullsyour eye through the dark trees on either side, is a wolf holding a chicken in his jaws. He has stopped and has turned aroundto look at the viewer. It is as if you have to get past the wolf and the woods before you can reach the peaceful meadow beyond.Leroux is brilliant at capturing mood; the colors, tones, and composition all add to the effect.”

“Although we know nothing about this artist other than his name, this painting struck us as extremely beautiful, and at the same time, very mysterious.

The dark grouping of trees and the hill looming up on the right create a moody atmosphere. In contrast, the two white swans are highlighted by the white

of their feathers, as they float in a small circle of light coming in from the rear of the painting. The swans, and their reflection in the water, create a very

strong focal point that draws your attention even though they are much smaller than the rest of the elements of the landscape. The focal point draws every-

thing together, pulling the landscape elements inward around that single brilliant spot. Leroux clearly has a wonderful sense of composition and tone.”

Constantin Leroux Deux cygnes Oil on canvas 34.5 x 46.0 in. signed Constantin Leroux Le renard Oil on canvas 35.2 x 46.0 in. signed

“The history of still life painting and especiallythe history of painting flowers has a long historythat goes all the way back to Egypt . This paint-ing is in the great tradition of the Dutch mastersof the 16th century. Notice how Holstayn focusesboth on the details, the unique shapes and colorsof each flower, and on creating a dynamic and sat-isfying painting through the arrangement of theflowers. These paintings were not just still lifesof flowers, they convey a message about life,death, and resurrection.

The eggs in the nest and the flower buds representthe potential of life, the snail eating the leaves ofthe flower symbolizes the process of decay that weall face, and the butterfly sends a powerful anduplifting message of a creature reborn and is asymbol of resurrection. During the golden age ofDutch painting, many genre paintings, whichseemingly only depicted everyday life, actually il-lustrated Dutch proverbs and sayings, or con-veyed a moralistic message. So although we donot know the artist of this gorgeous work, we canassume it was Dutch or Dutch-influenced and itcertainly is telling us an interesting story aboutlife, death and resurrection.”

“When your first name is Michelangelo, can you be a bad painter? I don’tthink so. Michelangelo Meucci specialized in painting animals, birds,and still lifes. He lived and worked in Florence, where he was surroundedby fantastic art from all the great masters of the Renaissance. His studyof that art is clear in this painting. It is realistic in the sense that you feelyou can put your hand in the painting and grasp a piece of fruit, whethergrapes, a pear, plum, or pomegranate. Yet the composition is very con-trived; a vertical “slice of life” from a larger scene. The dark backgroundis a wonderful contrast to the paleness of many of the fruits.”

Josef HolstaynNature morte au nid d’oiseau

Oil on canvas 19.6 x 15.7 in. signed

Michelangelo MeucciLes fruits de l’été, 1893


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“In spite of his name, Ferdinand Storelli was a French artist who studied under his father, Felix Marie Ferdinand. In art history you willfind many sons that have followed in their father’s footsteps and have become excellent painters because of their early education. In thiscomplex composition the luminous late afternoon light strikes the whole landscape at an angle. The reflections of trees in the water createa repetitive rhythm drawing your eye to the bridge at the very center of the painting; it happens to be one of the first suspended bridges!Storelli used a soft tonality throughout the painting; small notes of a contrasting red reinforce the sense of unity.”

Ferdinand Michel Storelli Rivière dans la vile on canvas 16.3 x 24 in. signed

“It is very nice when you are an artist and your father is a celebrated decorative painter as was the case for Eugène Ciceri; it is even better if your uncle isthe renowned painter Eugène Isabey. Having these two people guide him during his learning process gave Ciceri a very special advantage. This watercolorand gouache painting demonstrates his mastery of the techniques imparted by his teachers. Watercolor is a very demanding medium as it is very difficultto change what you are doing once you start. Ciceri’s touch is deft and controlled; he leaves large areas of the paper only lightly touched with a wash ofcolor while building layers of paint in the central area to bring focus to the washerwomen diligently working on a beautiful stretch of river.”

Eugène Ciceri Les lavandières Watercolor/gouache on paper 8.9 x 12.4 in. signed

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“The tradition in French art of “luncheon on the grass” was made famousby Edouard Manet’s Dejeuner sur l’herbe. In 1863 Manet’s painting wasrefused by the official salon, so the emperor decided to do a salon of the“refused;” Manet’s painting was the highlight of the emperor’s salon. Hispainting comes from a tradition of people picnicking in the variousforests around Paris. In this delightful painting, done just prior toManet’s work, the setting appears to be the forest of Fontainebleau, withits beautiful oak trees. The people are well-dressed for a Sunday outingand have brought along great quantities of food and wine. The French,of course, picnicked in a very civilized way, and this painting perfectlycaptures the tradition.”

Ecole FrançaiseUn pique-nique dans la forêt, 19th Century

Oil on canvas18.25 x 24 in.

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Hippolyte Jean GideHarmonie du soir

Watercolor and gouche21.1 x 29.7 in. signed

Hippolyte Jean GideL’écluse #1, 1905

Watercolor21.3 x 30 in. signed

Hippolyte Jean GideL’écluse #1, 1905

Watercolor21.3 x 30 in. signed

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“The ironic thing about the works of Hippolyte Gide is that we do not know anything about this artist except the factthat his father was a very good watercolorist. Apparently he taught his son well. Watercolor is a very demanding mediumbecause you cannot, unlike oil painting, make corrections and must do it right the first time. This requires great technicalexecution. In addition, Gide, especially in these three pieces, brings a tremendous understanding of the elements ofcomposition, creating a rhythmic movement that leads your eye throughout the painting. He creates a path for youreye to follow so you can explore the entire piece and all of its richness. He reminds me of Paul Cezanne in his abilityto create elements of structure which give strength and permanence to the paintings.”

“There is a long tradition in Holland of landscape painters. The Dutch masters of the 17th century were among the very best landscape painters;they took the genre to a different level. Arnold Gorter, a Dutch painter from the 19th century, attended the famous State Academy of Fine Artsin Amsterdam. This painting shows that he understood composition on a grand scale, and particularly how to create layers of depth withinthe composition. His brush technique, especially in the trees, shows similarity to the spontaneity of the brushwork in Impressionist paintings.There is also a beautiful realization of the reflections in the water of the trees and I love the way the landscape becomes lighter in the distance;it’s unusual to have a darker foreground. This complex composition shows a great deal of artistic experience on the part of the artist.”

Arnold Marc Gorter Vaches le long de la rive Oil on canvas 29.5 x 39.3 in. signed

“The works of George Michel aresometimes difficult to authenticatesince he refused to sign his paintings;he felt that his signature was in hisbrushstroke, not in a signature thatsomeone could apply at the bottom ofthe painting. This work, which is “at-tributed” to George Michel, has all ofthe characteristics of his style. He spent many hours in the Louvre copying great works by the Dutch masters of the 17th century, especially the works of Rem-brandt. His direct contact with these works honed his technique and made Michel one of the great painters of his time. There is a windmill in the backgroundof this painting which was then common in and around Paris as you might recall from the works of Camille Corot and Vincent Van Gogh. The stormy sky isalso characteristic of Michel’s work, as is the richness of the brown and golden tones. The combination of subject and tone create a beautiful painting with astrong sense of place and drama.”

Attributed to Georges MichelRetour à la tombée de la nuit


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“In 2010, the Musée d’Orsay sent a number of Impressionistpaintings to San Francisco; they also sent paintings done bythe academic painters of the 19th century. This painting byFelix Henri Giacomotti comes from the same academic style.Giacomotti displays his superb technical skills and a pro-found understanding of the human body. This is what theclassical artists were taught in the 19th century. I feel thatthis image of the nymph, Echo, stands out as one of the mostbeautiful images of the period.”

Felix Henri GiacomottiLa nymphe Echo

Oil on canvas59 x 37 in.

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“The last time I talked to Marie-Thérèse Caille, the director of the mu-seum in Barbizon, she was very excitedthat the museum had just received thecomplete archives of Jean Ferdinandand his son Paul Chaigneau. This painting shows a typical Chaigneau scene. Jean Ferdinand had academic training in Paris and developed a love of paintinganimals from one of his teachers, Jacques Bracassat. After art school, Chaigneau moved to the village of Barbizon where he came into contact with all the bignames and founders of the Barbizon school. In Barbizon, he connected to nature in a very unique way, and one of his favorite subjects was the flocks of sheepand their shepherds coming back to the village at sunset. In many ways, Chaigneau represents, maybe more so than anyone else, the spirit of Barbizon: thecommunion of nature and man, and a superb appreciation of the beauty in Barbizon.”

Jean Ferdinand ChaigneauLe soleil couchant à Chailly


“François Millet was the son andstudent of the co-founder of theschool of Barbizon, Jean-FrançoisMillet. There is a sensationalpainting by Jean-Francois Millet,one of the key paintings of the19th century called The Gleaners,hanging in the Musée d’Orsay inParis. This is a copy of that paint-ing by his son; most likely his fa-

ther helped and corrected him. The painting depicts three peasant women gleaning a field of stray grains after the harvest. It shows, in a very sympathetic way,the very tough life of the peasant class in rural society. Because of the sympathetic representation it was not well received by the French upper classes when itwas shown at the Salon in 1857. For the artists of the period the painting was a revelation and launched an entirely new style called “Realism,” which changedthe course of art. The Barbizon painters all looked at Millet as an inspiration. One of Millet’s biggest fans was Vincent Van Gough, who painted many copiesof his work. The Impressionists and post-Impressionists were able to use almost anything as subject matter after the break with academic tradition inspired byMillet. This is a superb copy done by the artist closest to the great innovator.”

François Millet (son)Les glaneusesOil on canvas31.5 x 45 in.

“Edmond Marie Petitjean was a very successful artistwho exhibited and received multiple medals at theParisian salons. This work shows Petijean’s admirationfor, and debt to, Claude Monet, the leading impres-sionist painter. The brushwork shows quick strokesthat give life to the entire surface of the painting. Thesky is painted with a slightly different technique andadds to the feeling of energy and excitement -- some-thing the Impressionists were able to achieve with eventhe most static of subject matter!”

Edmond Marie PetitjeanMaison dans la campagne


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“Amédée Rosier studied with both Léon Coignet and Carolus Durand in Paris. Carolus Durand was a very interesting artist who taught many of the Americanswho went to Paris, including quite a few women. In this lovely painting, Rosier displays his mastery of composition. The larger, bulkier subjects are on the rightunder stormy skies, while the single ship sails in from the left under a scintillating sky. Rosier was an excellent painter of the sea; he lived in Venice and spenttime in Egypt so he had time to study the water. Here the movement of the waves is very realistic and, combined with the stormy sky, creates a palpable feelingof the difficulty that sailors and fisherman encountered in that hazardous environment.”

“This Venetian seascape reminds me of paintings by Richard Parkes Bonington, J. M. W. Turner, and Eugène Isabey. Roster composed his picture in such a waythat although the boat is the only clear object, its mast leads your eye directly to the Venetian city in the background. Yet the foggy atmosphere gives only theoutline of the buildings giving the painting a special quality of mystery that I love.”

Amédée Rosier Débarquement du poisson 1888 Oil on panel 6.7 x 12.2 in. signed Amédée Rosier Bateau de pêche près de la côte 1888 Oil on panel 6.7 x 12.2 in. signed

“If the Eskimos have many different words todescribe snow, then the artist Léon Tanzi musthave had many different names to describe thecolor green. There are so many different varia-tions and tones of green in this painting that thecolor is ultimately what the painting is all about.It depicts nature in spring at its most verdantwith healthy plants, trees, shrubs, and reeds thatcreate a symphony in green. This is an exquisitepainting by a well-respected landscape artist.”

Léon Louis Antoine TanziLe printemps, bord de rivière à Villeneuve l’Etang


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“Austrian Franz Pieler was primarily apainter of still lifes, and especially flowers.This painting depicts a beautiful profusionof flowers which create a well-balanced -- inboth form and color -- composition. It alsofollows in the tradition of Dutch genrepaintings which were often allegorical. Herethe painted objects convey symbolic mean-ing about the transience of life. There is amayfly, an insect that is born and dies in thesame day, suggesting to all of us to “seize theday.” The ants attacking some of the petalsand the dying flowers on the pedestal sym-bolize the decay of life. The bee pollinatingthe flowers, symbolizes resurrection, thatthere is life after death, a continuum of life.”

“The tradition of painting still lifes, which is primarily painting inanimate objects, goes back to the Greeks and Romans; in France it was carried on inthe 18th century by one of the greatest masters of the genre – Jean Baptiste Siméon Chardin. In this still life by Alfred Arthur de Brunel de Neuville,there are many of the elements that you would find in a Chardin painting: the carefully balanced composition, the directed light source which allowsthe artist to highlight reflections on various objects, and at least one lovingly painted detail – in this case, the sliced peach. The viewpoint of the artist,looking straight on at almost eye level at the different fruits is fairly typical; this is what the still life is all about – a close-up of everyday objects in aneveryday setting. While the quality of the painting might make one believe this is simply a painter advertising his or her skills, in fact the idea was tocreate an image that celebrates everyday objects and brings them a higher level of appreciation. And I believe the artist has succeeded in doing just that.”

Alfred Brunel de Neuville Assiette aux pêches et aux raisins Oil on canvas 25.6 x 36.2 in. signed

Franz Xaver PielerVase de fleurs avec papillons

Oil on board23.6 x 19.6 in. signed

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“Pierre Julien Gilbert loved to paint seascapes. He was appointed official painter to the Algerian expedition of 1830 to commemorate the voyage and its achievements.He later taught painting and composition at the Royal Naval College. Gilbert spent quite a bit of time in and around boats and the sea and his appreciation forboth is apparent in this joyful painting of a small fishing village.”

“Jules Louis Phillippe Coignet demon-strates in this painting why he was ofsuch importance to so many otherartists. He had superb technical skills,an excellent understanding of compo-sition and had the ability to translatehis feelings about nature into beautifulpaintings. In 1831, he wrote and pub-lished a book titled: Principles andStudies of Landscape Drawn from Na-ture which he used in his teachings. Hehad a great impact as a teacher and hisstudio attracted many of the best land-scape painters of the time includingGustave Courbet. He taught artists toreally look at nature directly, not sim-ply copy paintings of the old mastersand their depictions of nature in thestudio. This had a revolutionary effecton landscape painting in the early andmid -- 19th century.”

Pierre Julien Gilbert Village au bord de la mer Oil on panel 10.6 x 5.9 in. signed

Jules Louis Phillippe CoignetBûcherons en forêt


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“Mariunus Adrianus Koekkoek comes from a very well-known family of artists in Holland; almost all the male members of the family wereartists. These two enchanting paintings have the quality of the Dutch landscape masters of the 17th century, revered by the Koekkoek. Thecompositions are carefully constructed and, while the foreground holds interest, the eye is always drawn into a distant background. Thecomposition allows a space for the artist to explore a deep vista; here Koekkoek placed a village in each painting at the end of sight line.” Marinus Adrianus Koekkoek La rivière en fin d’aprés-midi Oil on panel 9 x 13.5 in. signed

Marinus Adrianus Koekkoek Maison dans les arbres Oil on panel 9.25 x 12.75 in. signed

“One of the most important things toknow about Narcisse Diaz de la Peñais that he was kind and helpful toother painters of his time. When Au-guste Renoir was penniless, Diaz de laPeña took him by hand to open an ac-count at the art supply store so Renoirhad everything he needed to continuehis work. Here you have a paintingwhich has the spirit of Barbizon withbrushwork in the style of Impression-ists. You can almost feel neo-impres-sionism with some of the fine touches.Diaz was way ahead of his time in thispainting; he was a great innovatorwho could express himself in manyways and with many subjects.”

“I had a class in the gallery this morn-ing and showed them many of ourBarbizon paintings; all of my studentsfell in love with this particular paint-ing. They loved the mystery of thislandscape depicting the forest ofFontainebleau. The somber moodwith little light breaching the treesand the barely-visible figure arehaunting. Where the light breaksthrough in the small clearing and re-flected in the water serves to drawgreater attention to the overall shadecreated by the trees. The greens runthe full range of the color spectrumyet are harmonious overall. This is avery sophisticated painting.”

Narcisse Virgile Diaz de la PeñaLa cueillette du petit bois

Oil on panel 9.3 x 13.2 in. signed

Narcisse Virgile Diaz de la PeñaFagotière en forêt

Oil on panel13 x 16 in. signed

“This painting by Diaz de la Peña, called La ri-vale, shows the diversity of his talents; he mixesa classical subject matter with an Impressionistpalette, well before the Impressionists had usedit. There are several similar Diaz paintings inthe Louvre. One of the most difficult thingsfor artists to create is harmony of figures withina landscape; here, Diaz is very successful inadapting his figures to the setting.”

Narcisse Virgile Diaz de la PeñaLa rivale, 1852

Oil on panel12.8 x 9.5 in. signed

62

“The spirit of Barbizon is very much present in this painting which shows people harvesting apples; a subject that CamillePissarro also loved. It is most likely the landscape near Montmartre which had, at the time, many windmills. Only twoor three are left, like the Moulin Rouge, but it really gives the feeling for the countrified quality of the area around Parisin the mid 19th century. I love the composition of this painting with the path zigzagging from left to right into the dis-tance and the windmill and couple forming an opposite diagonal to the path. The Barbizon school painters celebratedlife in the countryside, people at work in the countryside, and the communion between man and nature.”

Étienne Maxime ValléeLa récolte des pommes


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“Like Paul Cézanne, Emile Loubon was from Aix-en-Provence and spent time in the drawing school there, where he received a good, classical training.The first of these two paintings depicts the typical terrain of rocks and pine trees typical to the south of France. The composition creates a vertiginousview of a steep hillside with boulders; the strong rhythm created by the trees and the rocks is striking and gives way to a peaceful view of the harbor.

The back of the panel is also a fully realized painting. This one is much more like Cézanne in terms of the subject matter, soft tones, and broad brush-strokes used to convey the solidity of the buildings. This is a very special painting; I’ve never seen the two sides done in this particular way before.”

Emile Charles Joseph Loubon Village méridional (verso) Oil on panel 9.8 x 14.7 in. Emile Charles Joseph Loubon Paysage provençal de bord de mer (recto) Oil on panel 9.8 x 14.7 in.

“Louis Henri Saintain had a great under-standing of painting large-scale and com-plex landscape compositions. This paintingcould almost be divided into several smallerpaintings, each of which could stand alone.However, it is skillfully united with arhythmic quality that goes from the left tothe right, following the line of trees, thepath, and the cows as they all head off intothe distance. This stretcher bar on the backof the painting has a red wax seal with thewords: “Vente H. Saintin 1900” (Sale H.Saintin 1900) indicating the painting wassold the year after the artist died.”

Henri SaintinBergère et son troupeau à l’orée de la forêt, 1873

Oil on canvas 63.4 x 98 in. signed

6968

“Maximilien Luce was a very interesting Impressionist artist; “luce” in Spanish means light. He was first interested in Pointillism, but eventually felt thatthe process (painting tiny dots of color that the eye would read as fields of color) was too restrictive. While the neo-Impressionists, including the Pointillists,wanted to calculate and control the composition, Luce preferred the freedom of Impressionism. This delightful watercolor, done on the spot, captures asimple scene with short, directed brushstrokes. Only a very talented artist, and Luce was certainly that, could make this simple monochromatic sketchportray so much: a soft valley, sturdy trees, distant mountains, and spring clouds.”

Maximilien Luce Paysage à Méricourt Watercolor on paper 13.3 x 22.0 in. signed

“Léon Coignet was a good painter himself, but he was a great teacher and Amédée Besnus was one of his students. Besnus was a very successfuletcher and painter. He was friends of many of the artists of the Barbizon School and published a very interesting memoir called My Relationshipswith Artists, in which he also demonstrated his skill as an etcher. His paintings reflect that contact with, and knowledge of Barbizon artists, but,unlike many of his contemporaries, his landscapes were more often of open spaces. In this painting, on the right side is a wheat field that has notyet been harvested, with all the typical flowers of the region, especially the red poppies. On the left side there is a meadow where the wheat has beencut; the contrast between the two sides of the work is interesting, and the dividing line is made clearer by the solitary figure walking away from theviewer on the road between the two fields. The brushwork is very lively; the combination of the brushwork and dynamism of the compositioncreate a sensation of a bigger space than the actual painting size itself should give you; this is certainly another exciting element of the painting.”

Amédée Besnus Le champ de blé Oil on canvas 9.8 x 14.9 in. signed

70

“Sense of tone is something that artists are born with;it cannot be taught. There are certain artists likeCamille Corot and Alfred Sisley who have this senseof tone to a remarkable degree. Albert Rigolet is an-other of these artists, and he is able, through thesebeautiful harmonic tones, to create specific moodsand feelings. In these two scenes, which are very sim-ilar in composition, the delicate variations in tonedistinguish between two seasons. One painting rep-resents autumn and the other represents winter.

Rigolet is adept at using natural boundaries to framehis compositions. The trees on both sides of eachpainting allow the viewer’s eye to follow the path to thewater and beyond into the distance. I love the hazy sunin the background of the winter scene that creates avery moody and almost romantic quality to the paint-ing; the use of small bits of contrasting color tones inthe snow enhances that feeling.”

Albert Gabriel RigolotHiver


Albert Gabriel RigolotAutomne


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“This painting, which is part of the French school of the 19th century, uses a beautiful full moon rising in a cloudy sky and its reflection in the water belowto create a “tunnel,” pulling your eye straight into and through the painting. The artist has placed two figures, one mounted on a horse, directly in thecenter of the bridge below the moon to give scale to the scene. The vista seems immense and the artist has skillfully created a romantic and nostalgic mood.”

“Laszlo Neogrady was a Hungarian artist who was born at the end of the 19th century and lived well into the 20th century. He was the son of anartist and, as is often true, benefitted greatly from it. Some of the best artists were taught by their fathers; I believe it is because they get instructionso early in their lives. He also studied at the Hungarian Academy of Fine Arts and then became an art teacher. This painting shows that Neogradydeveloped an excellent technique to capture the very special quality of the color of snow. Snow, of course, is not white. As a reflective surface,snow reflects the colors of the environment. Here, the warm tones and colors of the fading sunset in the background are reflected in the snow.In addition, there are some beautiful blues and purples picking up the shadows under the trees. Neogrady was also a master at capturing reflectionsin water. It is an intriguing painting with an overall feeling of coldness combined with a special sense of a known and cherished place.”

Laszlo Neogrady Soleil d’hiver Oil on canvas 23.6 x 31.4 in. signed

Ecole Française Pleine lune sur la rivière, 19th Century Oil on canvas 20 x 23.8 in.

72

“Lavieille was a superb painter and we have shownmany of his works in our galleries. He was a pupiland close friend of Camille Corot, and the years ofworking by great master’s side greatly enhancedLavieille’s technique. This is a very beautiful andcomplex painting which presages what the Impres-sionists would do later. Interestingly, the back ofthe painting has not only the location where it wasmade, but also a description of the weather; this issomething that the great artist, John Constable, did!As the inscription indicates, the scene depicts apond on a stormy day in Morêt, a village southeastof Paris later made famous by another great painterAlfred Sisley who spent many of the last years of hislife there. This is a beautifully structured paintingwith a series of lines leading the eye into the dis-tance and off to the right. I feel that the reflectionof the sky on the water is particularly successful.”

Eugène Antoine Samuel LavieilleLe trou aux moines - Prairie de Morêt-sur-Loing


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“Jan Hermann Barend Koekkoek was the son and pupil of Hermanus Koekkoek the elder. The Koekkoeks were a very famous family of painters in Holland.All of them had tremendous painting skills and an understanding and mastery of composition. Jan Hermann, the artist of this painting, came from a laterKoekKoek generation. He was born in 1840 and died in 1912, and this painting prefigures some of the works that would be done by later Dutch artists.There is a sense of the abstraction of the landscape that is reminiscent of the early landscapes by Mondrian. Although the colors here are much richer thanwhat you would find in a Mondrian, there is a very similar type of composition and a similar control of nature, which is extremely modern.”

Jan Hermann Barend Koekkoek L’après-midi d’or Oil on canvas 39.3 x 56.5 in. signed

“This unattributed painting which is by an artist of the school of Barbizon is a beautiful landscape with a group of large trees dominating the center of the com-position. The artist was clearly inspired by how Théodore Rousseau depicted old trees. The line of trunks under the foliage is visible as it marches across thehorizon line –opening the painting and giving greater depth to the landscape. I like the way the artist has set up a contrast between the brown and orange colorsof a dead tree in the foreground and the brilliant green of the living row of trees. The dichotomy between the two different aspects of nature adds excitementto the picture. The large sky, covering half the canvas, is reminiscent of vistas on the outskirts of the Ile de France (the area around Paris) during the period.”

Ecole Française Les chênes, 19th Century Oil on canvas 28 x 44.1 in.

“Some of the most famous images of the 20th centurywere paintings of Dora Maar by Pablo Picasso. The cry-ing woman in Guernica is based on one of his portraitsof her. She was introduced to him by the Surrealistpoet, Paul Eluard. At the time, she was a professionalphotographer with a wide circle of artistic and literaryfriends in Paris. After becoming involved with Picasso,she switched from photography to painting and wasquite successful. I was drawn to this painting becauseit combines an understanding of composition that shelearned from photography with a deliberate flatteningof the surface, an element of Picasso’s cubism. It feelsas if she’s placing almost everything in the picture onthe surface of the painting, yet the lovely, pastel color-ing yields something entirely unique.”

“Emile Bernard was an extremely interesting and in-novative artist who wrote extensively about art. Heknew many of the most important post-Impressionistartists including Vincent Van Gough, Paul Gauguin,Georges Seurat, and Henri Toulouse-Lautrec. Theseartists were all instrumental in changing the directionof art in late, 19th century France. Lautrec was histrue mentor – in fact he may have influenced the otherartists more than they did him – and it was from himthat he learned his superb print-making skills.

This print highlights many of the stylistic and techni-cal changes that took place in the art of the 20th cen-tury. The flatness of the design and the way thesurface of the image becomes the main focus of theartist were elements seen in various post-Impressionistmovements. There is no attempt to keep a realisticrendering of either distance or depth; the artist is cre-ating flat patterns on a flat surface. Bernard was in-fluenced by his mentor, Toulouse Lautrec, who was inturn influenced by Japanese woodblock prints. Yet,Bernard devised a unique and very powerful style.One of the most remarkable things I saw in the Im-pressionist exhibition on loan from the Musée d’Orsayin 2010 in San Francisco, were the paintings byBernard. Their powerful impact made it clear why hewas such an inspiration to other artists in the early20th century. He excelled at print-making, so it’s areal pleasure to have one of his works in that medium.”

Emile BernardBretons dans une Barque

Zincographie; 20/12512.2 x 9.7 in. signed

Dora MaarNature Morte

Gouache on cardboard10.6 x 7.8 in. singed

81

“Delfin Enjolras was an excellent craftsman who loved working in wa-tercolor and pastels. His specialty was painting young women goingabout their daily tasks. This painting is beautifully rendered with thesoft form of a woman matched by the soft quality of the light. Thehighlights that outline her arm, dress, and shoulder create a feeling ofintimacy and the pastel medium enhances the effect. There is a beautifulbalance of warm tones and cool tones that yield a balance which givesthe work stability, serenity, and timelessness. This is a remarkable tech-nical achievement both aesthetically and compositionally.”

Delphin EnjolrasFemme à son bureau

pastel on paper on canvas27.2 x 20.9 in. signed

8382

“This painting by Emmanuel Victor La Villéon re-minds me of a number of works by both CamillePissarro and Paul Cézanne; it is clear that La Vil-léon was well acquainted with their work. Thestrong vertical lines of the trees lead the eye intothe painting and are offset by the mass of branchesand the house at the end of the path. I love theimpressionist brushwork which is so rich in themiddle ground of the work and the tree trunks, inparticular, are painted with a great deal of mastery.The rhythmic shadows on the ground contrastwith the trees by their horizontal, brilliantturquoise shades of blue. The richness and con-trast of the colors animates the entire painting.This is one of the best paintings in the collection.”

Beauty in art is truth based on the impression we have received observing nature.–Camille Corot

Emmanuel Victor Auguste Marie de La VilléonDans l’Isle fleurie près de Nanterre

Oil on canvas43.25 x 26.4 signed

84

“This is the best painting I’ve everseen by Jules Scalbert. His academictraining is apparent in the skillfulcomposition. The boat is heading inone direction while the swans andthe faces of the women are headed inthe opposite diagonal. I also love thecolor scheme; the strong reds of twoof the figures’ dresses are picked upin a muted tone in the shadows ofthe boat and trees. Many Impres-sionists, including Mary Cassatt, Au-guste Renoir, and Claude Monet,loved to paint this popular subjectmatter. Scalbert’s brushstrokes, par-ticularly in the textiles and water,show the influence of the Impres-sionists, yet his own unique style isvery apparent and very pleasing.”

Jules ScalberPromenade en barque


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Biographies of theArtists

Bernard, Émile French, 1868-1941Émile Bernard plays a singular role in the history of painting in the late-19th century. Asdemonstrated by the important retrospective of his work mounted by the Fondation MonaBismarck in Paris in 1991, he was the often-overlooked originator of a number of highlyinnovative movements (Cloisonnism, Synthetism, even Symbolism), whose paternity heclaimed with vehemence in his writings, before he turned his back on them all with equalforcefulness later in life. He moved to the western Paris suburb of Asnières with his familyin 1881, and showed an early interest in painting, studying at the Atelier Cormon from theage of 16. Here he met his mentor, Henri Toulouse-Lautrec, and subsequently Vincent VanGogh. Expelled from the studio in 1886 for insubordination and lack of discipline (“showingexpressive tendencies in his paintings”), he travelled to Normandy and Brittany, where heencountered Paul Gauguin and his followers from the Pont-Aven School. In the same year,he painted the Yellow Christ, which he presented to Gauguin. Bernard had abandoned hisearlier interest in Pointilism following a conversation with its founder, Georges Seurat; from1887, he worked with his close friend Louis Anquetin to devise a new style, known as Cloi-sonnism (due to its use of flat patches of intense color separated by thick outlines, similarin appearance to cloisonn é enamelwork). The style was subsequently taken up by membersof the Nabi group. Inspired by the flat expanses of color in Japanese prints, Bernard’s questto achieve greater pictorial destiny in his works led to the development of Synthetism: real-istic form was now subordinated to the attempt to give visible expression to ‘invisible’ ideasand emotions. In this, Bernard may also be seen as one of the founders of Symbolism, andas such a central, revolutionary figure in the history of early 20th-century Western art – anassessment supported by his correspondence with his many friends and associates: amongthem, Toulouse-Lautrec,Van Gogh, Gauguin, Cezanne and Odilon Redon.

In 1889, Bernard took part in the exhibition mounted by the Groupe impressionniste et syn-thetiste at Café Volponi in Paris. Shortly afterwards, in 1891-1892, he broke with Gauguinfollowing what he saw as the latter’s ‘theft’ of Cloisonnism: ‘I was 20 years old, he was 40,’ heconfided to Renoir. ‘It was easy for him to pass himself off as the inventor of that which hehad merely snatched.’ A comparison of Bernard’s Yellow Christ, dated 1886, and Gauguin’spainting of the same name, dated 1889, would seem to confirm his objections. However, Gau-guin’s painting is clearly the culmination of his own artistic journey. Bernard’s painting seeksto unify flat areas of color through the use of outlines, while his body of Christ is modeled intraditional halftone chiaroscuro. In Gauguin’s picture, the modeling is achieved using a daringcontrast of blue and yellow. Bernard’s quarrel with Gauguin also marked a break with his ownearlier ideas. He exhibited once more with the Salon des Independants in 1891, and with theNabi group at Le Barc de Boutteville in 1891-1892. He painted his last Breton Synthetist pic-tures in the summer of 1892, and turned to more overtly religious subjects, as can be seen in

François Louis Lanfant was very aptly named; inFrench, l’enfant means “the child,” and he special-ized in painting children. He painted lives of chil-dren in a highly realistic style that skillfully expressedtheir personalities. In this painting, he captures adelightful moment in which an older sister is teach-ing two younger brothers how to read. The artist hascreated a very cozy atmosphere, and a beautiful ren-dering of space and light. The child teaching andthose learning perfectly point their attention to thecenter of the paiting. There is a very delicate har-mony of tones found in the pink of the dress, thesoft green of the wall, and the soft red of the floor.”

François Louis Lanfant de MetzLa lectureOil on panel


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Chaigneau, Jean Ferdinand French 1830 - 1906Jean-Ferdinand Chaigneau was born in the shipping center of Bordeaux on March 6th,1830. There he studied drawing under the academic painter Jean-Paul Alaux (1788-1858). In 1847, he moved to Paris to continue his studies with his uncle, a marinepainter. He exhibited at the Salon de Paris as early as 1848. In 1849, Chaigneau enteredthe prestigious Ecole des Beaux-Arts. There he studied under Francois Edouard Picot,Jules Coignet, and Jacques Brascassat. It was his studies with Brascassat that fueled hisdesire to paint landscapes and animals.

He received third prize in the Concours de Rome competition of 1854. In 1858 he moved tothe village of Barbizon where he came in contact with Jean Francois Millet (1814- 1875),Theodore Rousseau (1812- 1867), Jean-Baptiste-Camille Corot (1796- 1875), Jules Dupré(1811-1889), Charles-Francois Daubigny (1817- 1878), Charles-Emile Jacque, and otherartists then living and working in Barbizon. This group comprised the Barbizon School oflandscape art which became a viable alternative to the Academy.

Chaigneau's work, as the others, was rooted in nature. His landscape subjects includedscenes from Bordelais, Landes, Limousin and Normandy in addition to scenes from theforest of Fontainebleau, south of Paris. His shepherding and harvesting subjects havestrong echoes of Jean François Millet, Théodore Rousseau and Charles Jacque, his closestcolleagues among the older generation of Barbizon artists. From 1865 to 1881, he ex-hibited frequently in London, and was awarded a bronze medal at the Exposition Uni-verselle in 1889.

His work can be found at the following museums: Musée de Picardie, Amiens, France;Musée de Beaux-Arts, Bordeaux, France; Musée municipal de l’Ecole de Barbizon, Bar-bizon, France; Musée de Beaux-Arts, Rennes; Musée d’Orsay, Paris; Metropolitan Mu-seum of Art, New York; Art Institute of Chicago, Illinois; and at the Victoria and AlbertMuseum, London UK.

Ciceri, Eugène French, 1813 – 1890Eugène Ciceri was the nephew of the landscape painter Eugène Isabey, and the son andpupil of the celebrated decorative painter Pierre Luc Charles Ciceri (the organizer of of-ficial ceremonies following the Restoration of Louis XVIII). Ciceri first showed at theParis Salon in 1851 and was awarded a third-class medal the following year. He estab-lished himself as a decorative painter in his own right, executing theatrical scenery as wellas numerous works for the auditorium at Le Mans. He painted frequently at Barbizonand on the nearby banks of the Seine, the Marne and Loing, as well as in Normandy,North Africa, Switzerland and Germany. His dense, lush landscapes and vast skies arereminiscent of Eugène Isabey’s.

His works can be found in the following collections: Musée des Beaux-Arts, Chartres;Musée des Beaux-Arts Le Havre; museums in Limoges, Mulhouse, Perpignan, and Troyes,France; and Montreal, Canada.

Clary, Eugène French, 1856 – 1926Clary studied under the Belgian artist César de Cook, who was friends with Jean BaptisteCorot, Théodore Roussearu, Narcisse Diaz de la Peña, and Constant Troyon, and himselfstudied with Charles Daubigny and François Louis Français. Clearly, Clary had the best ofteachers and he showed early talent; he began exhibiting his work regularly at the Salon desArtistes Français at the age of 12; he went on to receive a gold medal there in 1890. Althoughborn in Paris, Clary spent much of his life in Les Andelys, near Giverny in northern France.The area “seduced” him and he settled there permanently in 1897 when he bought a largemanor on the square of Saint-Sauveur. During this period he was exhibiting his work regu-larly in London and between trips to London, he often held sumptuous receptions at thismanor which were attended by English artists. Unfortunately, his personal fortune did wasnot sufficient to support his lifestyle and he was forced to sell the manor and move with fam-ily to a smaller home near the Square.

Clary’s landscapes are delicate and well constructed; he had a very refined touch. One ofhis favorite subjects was the reflection of trees in river water and he achieved great successwith these images. He was interested in large panoramas and scenes along the Seine; heloved effects that were fluid and transparent. Examples of his work featured in the exhi-bition Autor de l’Impressionnisme: dix-neuf pieintres de l’école normande (Around Impres-sionism: Nineteen Painters from the School of Normandy) held in 2003 at the Maison desArts in Antony. He started to lose his sight in 1920 and died in 1926. Les Anelys is oneof the most beautiful places in the Seine valley and is famous for the fortified castle whichoverlooks the river. Writers such as Gustave Flaubert, Arthur Conan Doyle and the poetPaul Fort came for inspiration. And Clary was not the only painter to be seduced by thescenery. Other painters including Charles Daubigny, Claude Monet, and later Paul Signacpainted in Les Andelys; these artists span the artistic movements of the time – from theschool of Barbizon to Impressionism to Pointilism and modern art.

Clary made his own exhibition debut at the Paris Salon in 1878 and went on to show hiswork at the Salon de la Société Nationale des Beaux-Arts in addition to the Salon desArtistes Français. He was awarded an honorable mention in 1883 and 1890 and a bronzemedal at the 1900 Exposition Universelle. He aligned himself with the dissidents whofounded the Salon De la Société Nationale and became an associate member of that in-stitution in 1895 and a full member in 1920.

His work can be found the following collections: Musée des Beaux-Arts; and museumsin Lisieux and Eure, France

Coignet, Jules Louis Phillippe French, 1798-1860Coignet was a pupil of Victor Bertin, from whom he learned a sense of classical order.However, Coignet added to his landscapes a transcription of reality and is important inFrench art as his work marks the transition between the classical and naturalist landscape.He traveled extensively in Switzerland, Germany and Italy. In 1820, he published Pic-turesque Views of Italy Drawn From Nature. His landscapes of Europe, Egypt and Syria,and Greece are romantic in tone and very ordered in their composition. He debuted atthe Salon in 1824 and showed art there until 1854. To aid his numerous followers, in

the paintings submitted that year to the first Salon de la Rose-Croix. His celebrated pictureof the Burial of Vincent Van Gogh dates from 1893, when he organized the first posthumousretrospective of Van Gogh’s work. After this, he left France for Italy and Egypt, where heremained for the next 10 years. Overwhelmed by the masterpieces of the Italian Renaissanceand Venetian School, Bernard abandoned his earlier artistic experiments, promptingCezanne to observe that ‘he has completely turned his back on the ideas set out in his writ-ings’. Bernard himself gave a different assessment of his evolution towards a more classicallyinspired, deeply religious art: ‘In the first part of my life, I surrendered myself to colour; Ibelieved its radiance was all. I was a sensual mystic. Later, I understood that the appeal ofcolour lies not in its radiance, but in its sensitivity, and I reduced my palette to just twocolors, preferring to work in variations of tone: no more complementary colors, but ratherthe juxtaposition of hot and cold tonalities, which comprise all colors within themselves.Finally, in my third period, I have allowed myself to be guided as far as possible by form;noble, grave, austere tones have become my ideal, like organ music in place of the violin(my first period).’ In 1908, he pinned the following declaration of faith to his front door:‘Enter not here all ye who do not believe in God, Raphael and Titian.’

Bernard’s artistic output embraced painting, printmaking, tapestry and wood-carving, in-cluding decorative features on furniture of his own design. He also produced illustrations forCantilenes by Moreas (1892), L’Ymangier by Remy de Gourmont (1895-1896), Les Fleursdu Mal (The Flowers of Evil) by Baudelaire, Homer’s Odyssey, Ronsard’s Les Amours and Vil-lon’s Poesies. In addition to his extensive correspondence with Van Gogh, Gauguin andRedon, he wrote poetry and criticism, published in the highly doctrinaire review La Réno-vation esthétique, which he edited from 1905 to 1910. Bernard was indeed something of aRenaissance man, a catalyst in the evolution of modern art who produced his key works earlyin his career and subsequently left it to others to put his theories into practice.

His work can be found in the following collections: Musée d’Orsay, Paris; Art Institute,Chicago; Museum of Modern Art, New York; Van Gogh Museum, Amsterdam; Ny Carls-berg Glyptotek, Copenhagen; Musée d’Art Moderne de la Ville de Paris, Paris; Musée desBeaux-arts, Quimper; and in museums in Algiers and Lille.

Besnus, Amédée French, 1831-1909Besnus was a pupil of Léon Cogniet and showed at the Paris salon from 1859 to 1890.In 1898 he published a memoir, Mes relations d’artistes (My Relationships with Artists), inwhich he demonstrated his talent as an etcher. He was a friend of many artists of theBarbizon School, especially Jules Dupré, and painted landscapes around Paris, Brittany,Italy, and the English countryside. His pictures were freely drawn and have a feeling forwide-open spaces.

His work can be found in museums in Grenoble, Switzerland; Sens and Rouen in France;and the Victoria and Albert Museum, London, England.

Bodeman, Willem Dutch, 1806 – 1880

Willem Bodeman was the puple of B.-C. Koekkoek. In 1847 he exhibited at the RoyalAcademy and the British Institute, in London. His paintings have been engraved by H.-J. Verbockhoven.

Bonheur, Marie Rosalie (called Rosa) French, 1822 – 1899Rosa Bonheur’s first teacher was her father; she later became a pupil of Léon Cogniet. Ata young age she showed an extraordinary talent for drawing people and animals, outliningthem with great skill. She also showed an independence of mind and strong will from anearly age; she ran away from school and then from a workshop where she was apprenticeddeclaring that she wanted to be an artist. She overcame her father’s opposition to theidea and persevered. She made her first studies in the Bois de Boulogne, which was stillfairly wild in her youth. At this time, the French philosopher Félicité Robert de Lamen-nais (1782-1854) and the author George Sand, both had a decisive influence on freeingher from prejudicial thinking. She wore men’s clothes to visit local slaughterhouses andfairs and mingled with horse-dealers and cattle men. She first exhibited at the Salon of1841 with two animal paintings. At the next exhibition, alongside her paintings, she ex-hibited a terracotta sculpture of sheep and in 1843 in addition to paintings, she sent aplaster sculpture of a bull.

In 1843 she won a third-class medal. She won a first-class medal in 1848 with Ploughingin the Nivers and it was clear that her talent was fully mature. At the Salon of 1853 sheexhibited Horse Market which, popularized byh an engraving, placed her among the fore-most painters of her time. She was made a Chevalier of the Légion d’Honneur in 1865and an Officer in 1894. She was also a Commander of the Order of Catholic Isabellaand the Order of Léopold of Belgium. She was a great friend and protégée of Queen Vic-toria and this made her works much sought after by the British aristocracy.

Bonheur was a serious artist who devoted the whole of her life to her work. At the endof her brilliant success she changed her palette entirely to give her works the powerfulcoloration of the Impressionists. In 1997 the Musée des Beaux-Arts, Bordeaux gave aretrospective exhibition of her works which traveled to the Dahesh Museum in New Yorkin 1998. In 2001 some of her sculptures were included in the exhibition held at theMusée des Arts Decoratifs, Bordeaux (Around Barye and Pompon – Animal Sculptures ofthe 19th and 20th Centuries).

Her works can be found in the following collections: Musée des Beaux-Arts, Bourdeaux;Museum of Brighton, Brighton, England; Albright-Knox, Buffalo, New York; MuséeCondé, Chantilly, France; Wallace Collection, London, England; National Gallery, Lon-don, England; Bilbao Fine Arts Museum, Bilbao, Spain; Art Gallery of Ontario, Toronto,Canada; Metropolitan Museum of Art, New York, New York; Art Institute, Chicago; De-troit Institute of Arts, Michigan; Albright-Knox Art Gallery, Buffalo, New York; Louvre,Paris; Musée d’Orsay, Paris; as well as museums in the following French cities: Boulogne,Grenoble, Langres, Lille, and Rouen.

de Brunel de Neuville, Alfred ArthurFrench, 1852 – 1941

Alfred Arthur de Brunel de Neuville painted still lifes of flowers, fruits and vegetables,but owed his success to his numerous paintings of cats. He regularly exhibited at theSalon des Artistes Français in Paris from 1879, becoming a member in 1907.

His work can be found in the museums of Béziers, Château-Thierry, and Louviers, France.

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1831 he published Principles and Studies of Landscape Drawn from Nature. He had agreat impact as a teacher and his studio attracted numerous students interested in his nat-uralistic approach to landscape; Gustave Courbet was one of his students. In 1848 pub-lished Complete Course on Landscape. In 2001, he was represented at the exhibition “AnEnchanted Country, Italy; Depicted by Artists from Thomas Jones to Corot” at the In-ternational Center for Art and Culture at the Palazzo Tè in Mantua, Italy.

His works can be seen in the Musée des Beaux-Arts, Musée des Beaux-Arts, Rennes;Musée de Compiègne; Musée de Strasbourg; Musée de Château-Thierry; Musée Rolin,Autun; Chambéry; Musée Magnin, Dijon; Musée des Augustins, Toulouse; Trainon, Ver-sailles; Musée du Louvre; France; Trianon, Versailles; Fitzwilliam Museum at the Univer-sity of Cambridge, UK; National Gallery of Art, Washington D.C. (2); The Museum ofFine Arts, Houston; The Metropolitan Museum of Art, New York; National Gallery, Lon-don, UK; and the Neue Pinakothek, Munich, Germany.

Delpy, Hippolyte Camille French, 1842 – 1910A landscape painter in the tradition of the Barbizon artists, Hippolyte Delpy had the op-portunity to study under two of the most well-respected landscape painters of the nine-teenth century, Camille Corot and Charles François Daubigny. Daubigny was actually afamily friend, who recognized Delpy’s precocious talent and took him on as a student—an exceptional act for this artist, who rarely if ever trained other students. In 1863, it wasDaubigny that introduced Delpy to Corot. In the years that followed, Delpy developedan itinerant pattern, dividing his time between his two masters. The first part of the yearwas spent in Ville d’Avray with Corot; he then moved on to Auvres with Daubigny wherethe two of them traveled along the river in Daubigny’s small boat which served as a homeand studio for several weeks at a time. Those years working under both Corot andDaubigny were seminal in establishing Delpy’s individual style. One critic of the timewrote that “Mr. Delpy has revealed himself as a young landscape painter combiningCorot’s poetical style with Daubigny’s more naturalistic style in a way that does not ex-clude his own personality.” Delpy uniquely brought color to his work in a way unlikethe Barbizon School painters had in the past. After meeting Paul Cezanne and CamillePisarro at Auvers, Delpy brought a more vigorous touch and greater intensity of color tohis work while remaining faithful to the technique Daubigny had taught him. Delpy re-alized the important role of color in landscapes and used it to achieve a brighter “truth”in his paintings. His 1869 debut began a career at the Salon marked by many honorsand awards that would last over 40 years. A friend and art connoisseur wrote in Delpy’sobituary how he had wanted to be remembered; “He asked that his art—of which Corotand Daubigny had been his godfathers—provide comforting joy.”

His works are featured in the Musée des Beaux-Arts, Chambéry, France; Musée Car-navalet, Paris; Musée de Louviers, Louviers, France; Beziers Museum, France; PhoenixArt Museum, Phoenix; Winnipeg Art Gallery, Manitoba, Canada; and the Brigham YoungUniversity Fine Arts Collection, Utah.

Diaz de la Peña, Narcisse VirgileFrench, 1807 – 1876Born to Spanish political refugees in Bordeaux, France, Narcisse Diaz de la Peña foundhimself orphaned and penniless at ten years old. While still a child, he lost his leg froma viper bite and he gained local recognition for both his wooden leg and his exceptionalskill as a painter. He taught himself composition and color by studying the great worksin the Louvre, and then when he felt he was ready, he moved outdoors to paint nature atlarge. In 1836, he met Théodore Rousseau and the two became friends, neighbors, andfellow artists in the village of Barbizon. Rousseau had a strong influence on Diaz, evengiving him lessons on how to paint trees. Diaz went regularly to the forest ofFontainebleau to paint; he composed minutely detailed studies reminiscent of Dutchpainting on the spot, and then used these studies to compose finished pictures in the stu-dio. A friend who witnessed him at work recalled, “I saw Diaz paint in the forest magicaleffects that are surprising, true, sun-drenched. The trunks and leaves of beech trees suf-ficed for the most brilliant poems suffused with the rays of the most enchanting fairy-land." Although he is considered a leading member of the Barbizon School, Diaz neverconfined himself to landscape painting. He followed his own instinct—sometimes creat-ing Orientalist compositions and figurative works in his studio, sometimes painting natureen plein air. Although Diaz never settled permanently in Barbizon, like Jean FrançoisMillet or Charles Jacque, he spent most summers there and visited often throughout theyear. He also painted at Etretat (in the late 1850s), Le Havre and Honfleur, and muchlater, near the end of his life, in the south of France. These sites became standard forother landscapists, and the Impressionists learned a great deal from where Diaz and hisfriends worked. His first Salon success was in 1844 when he exhibited four paintings(only one was a pure landscape) and won a third-class medal. The noted critic, ThéophileThoré, praised Diaz’s work for his use of light and found him to be an important colorist.By 1845, Diaz had active followers and was creating works for private patrons; some well-known aristocrats asked him to paint their portraits. His second Salon medal, a second-class award, was received in 1846. Diaz remained popular throughout his career. Becauseof his financial success Diaz was able to help friends in need and Troyon, Rousseau andMillet all benefited from his generosity. In 1851, he established a studio in Paris wherehe entertained and lived prosperously with his wife and sons. Diaz reached the height ofhis fame in 1855 and was regarded as a master landscapist who fully understood and usedthe lure of the forest of Fontainebleau. His work continued to appreciate in skill andvalue into his last years. In 1863, Diaz met Claude Monet, Auguste Renoir, Alfred Sisleyand Frédéric Bazille, who admired his brilliant colors; his late landscapes very likely in-fluenced the Impressionists.

His works are in the collections of the Musée du Louvre, Paris (16 paintings); Metropol-itan Museum of Art, New York; Hermitage Museum, St. Petersburg, Russia (7); Muséed’Orsay, Paris (13); National Gallery, London; Wallace Collection, UK; Fine Arts Muse-ums of San Francisco; and the Museum of Fine Arts, Boston.

Dupré, Léon Victor French, 1816-1879Léon Victor Dupré was taught by his older brother, the painter Jules Dupré. He alsoworked in his father’s porcelain factory, learning the exacting skills necessary in the paint-ing of porcelain. These talents greatly increased his technique in rendering minute detail.His canvases are seldom very large and the human and animal figures are usually quitesmall in relation to the grand, luminous skies of which he was fond. Like his brother, heoften painted river banks under stormy skies. He won a third-class medal in 1849. Hisbest works include Village in the Berry, Banks of the Oise and Pool in the Landes.

His works can be found in the Metropolitan Museum of Art in New York, the Fine ArtsMuseums of San Francisco, the Minneapolis Institute of Art, the Museum of Fine Artsin Boston and the Rijksmuseum in Amsterdam among others.

Ecole Française French, 19th CenturyThis umbrella term, meaning “French School,” refers to works of art characterized by aclassical French academic style

Enjolras, Delphin France, 1857 – 1945Delphin Enjolras was a pupil of the watercolorist Gaston Gérard at the École des Dessinsde la Ville de Paris. He also studied with Jean Léon Gérôme at the Ecole des Beaux-Artsin Paris. From 1901, he exhibited at the Salon des Artistes Français, of which he was amember. He was very prolific, especially in watercolors and pastels, and although hepainted mainly landscapes early in his career, he later made a specialty of painting youngwomen, often while dressing or at their daily tasks. The pastel medium was ideally suitedfor the intimate and charming works he produced.

His work can be found at the Musée Calvet in Avignon, France; and the museum in LePuy-en-Velay, France

Giacomotti, Felix Henri Italian, 1828 – 1909Originally from Italy, Felix Henri Giacomotti arrived in Paris when he was very young,and studied at the École des Beaux-Arts in the studio of François-Édouard Picot. Hecame second in the painting Grand Prix in 1851, and won the Prix de Rome in 1854.He travelled to Italy, where he mostly studied the Old Masters – notably Raphael andLeonardo da Vinci, whom he particularly admired. He exhibited at the Paris Salon from1859 to 1909, and won medals in three consecutive years: 1864, 1865 and 1866. From1881 onwards, he exhibited at the Salon of the Société des Artistes Français. He was ap-pointed curator of the museum in Besançon, eastern France.

He produced a variety of religious compositions for the churches in Paris: for the chapelof St. Joseph in the church of Notre-Dame-des-Champs; and a painting of Christ withthe Lictors for the church of St-Étienne-du-Mont, among others, Giacomotti also paintedhistorical and genre scenes, but had a particular preference for portraits. His works includePortrait of Jules David; Portrait of Edmont About; Agrippina at the Camp of Ahaseurus; andCapture. The Glory of Rubens was commissioned by the French state for the ceiling of theMusée du Luxembourg in Paris; it is now in the town hall in Bourges, central France. In

terms of technique, the opulent nudes that adorn a large number of his canvases recallthose painted by William Adolphe Bouguereau and Alexandre Cabanel.

His work can be found at museums in: Besançon, Lille, Paris, and Rouen, France.

Gide, Hippolyte Jean French, 1852 – 1921Almost nothing is really known about Hippolyte Gide except that he was one of the greatmasters of watercolor and he most likely was taught by his father François Théophile Eti-enne, who was also an accomplished painter.

Gilbert, Pierre Julien French, 1783 – 1860Pierre Gilbert studied initially under Nicolas Marie Ozanne, then under Louis PhilippeCrépin. He exhibited at the Paris Salon between 1822 and 1859, receiving a silver medalin 1833. He was appointed official painter to the Algerian Expedition of 1830 and sub-sequently taught painting and composition at the royal naval college. Pierre Gilbert wasmade a Chevalier of the Légion d’Honneur in 1833.

His work can be found at museums in: Brest, France; Cherbourg, France; Nancy, France;Paris, France; St-Brieuc, France; Versailles, France.

Gorter, Arnold Marc Dutch, 1866 – 1933Arnold Marc Gorter attended the Rijksakademie van Beeldende Kunsten (the NationalAcademy) in Amsterdam. He received an honorable mention in 1904, a second placeaward in 1915, and a medal in Munich in 1905. He worked in Amsterdam, Almelo(where he was born) and in Norway. He painted in the style of the Barbizon schoolpainters, although it does not appear he ever travelled to France. He became famous forhis paintings of vast landscapes; he died in Amsterdam in 1933.

His work can be found in museums in Amsterdam, the Netherlands.

Gudin, Jean-Antoine Théodore French, 1802 – 1880Théodore Gudin, as he is usually known, studied at the École des Beaux-Arts underGirodet-Trioson. He was subsequently influenced by the Romantic School and exhibitedat the London Royal Academy. He was awarded medals in 1824, 1848 and 1855 and theLégion d’Honneur in 1828, becoming an Officer of the Légion in 1841 and Commanderin 1855. He specialized in painting seascapes.Gudin executed many paintings for the king’s household and worked for the Duke ofOrleans and many other notables in France and elsewhere.

His work can be found at the Louvre and the Musée d’Orsay in Paris, the Wallace Col-lection in London, as well as museums in: Amsterdam, Netherlands; Berlin, Germany;Brussels, Belgium; Helsinki, Finland; Kaliningrad, Russia; Leipzig, Germany; Moscow,Russia; Stuttgart, Germany; The Hague, Netherlands; Wroclaw, Poland and Avignon,Bagnères-de-Bigorre, Bayonne, Blois, Bordeaux, Bourges, Brest, Caen, Chambéry, Chan-tilly, Clamecy, Dijon, Morez, Nantes, La Fère, Le Mans, Paris, Perignan, Troyes, and Ver-sailles, all in France.

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Heda, Willem Claesz Dutch, 1594 – 1680/2Willem was the brother of Cornelis Claesz. Heda. He occupied an important place amongthe painters of Haarlem. His pupils were Maerten Boelema of Louvain, Arnoldus Beeren-steyn, Hendrik Herschoop of Haarlem and his son Gerrit Willemsz. Heda. Arnold deBray painted his portrait in 1678. Heda was ignored for a long time by art-lovers: whilepainters of the same school such as David de Heem, Jan Fyt or Kalf, attracted high pricesat public auctions, the paintings signed by Willem Heda were left unbought. Today, how-ever, his merit as a painter is recognized and appreciated. His works are included in thebig museums and the most famous private collections.

Heda specialized in still-life, however, it has also been claimed that he treated historicalsubjects. The exceptional precision of his execution never suffered from the technical dry-ness or preciosity of lesser painting. His paint was firm without being heavy; it was lively,witout being trivial, despite the astonishing rendering of nature. His color was sober, in-tentionally remaining within a similar range of tones, yet with a brilliant quality of light.The composition of his rich still-lifes, the sobriety of his use of color, the smooth richnessof his paint, all of these contribute to Heda being one of those 17th century Dutch painterswhose art most calls to mind that of Chardin. It is quite possible that Chardin saw Heda’swork. He would have recognized the qualities that distinguished Heda from many con-temporary artists who sought to depict arbitrary picturesque groups of individuals ratherthan evoke a human environment. Rubens possessed two of his paintings. In short, he wasa magnificent painter, whose standing was finally recognized in the 19th century. In thatcentury, too, copies were made of his collections of dishes of various metals, glassware andbaskets of citrus or velvety fruits, from amongst which would stand out the splash of redof a lobster, of particular grouping of books, of the shiny wing-cases of an insect, or bou-quets of flowers on whose leaves glisten precisely painted drops of dew.

His work can be found at museums in: Antwerp, Belgium; Berlin, Germany; Besançon,France; Budapest, Hungary; Châteauroux, France; Cologne, Germany; Darmstadt, Ger-many; Douai, France; Dublin, Ireland; Frankfurt, Germany; Hamburg, Germany;Leipzsig, Germany; London, United Kingdom; Mainz, Germany; Munich, Germany;Oslo, Norway; Madrid, Spain; Paris, France; St. Étienne, France; Stockholm, Sweden;The Hague, Netherlands; Toledo, Ohio, United States

Holstayn, Josef German, 1930 – unknownLittle is known about the German painter Josef Holstayn. He painted primarily still lifes,particulary flowers.

Hostein, Edouard Jean Marie French, 1804-1889Edouard Hostein was a bank employee who also worked as an illustrator in Paris between1827 and 1833. He was a self-taught artist. His work was regularly featured at the ParisSalon from 1833 to 1859 and he won several medals: a third-class in 1835, a second-class in 1837, and a first-class in 1841. He was honored with the title of Chevalier ofthe Légion d’Honneur in 1846. Hostein was an indefatigable traveler and a prolific artist,who produced many paintings and lithographs of views of the various regions of France.He also worked on several publications including France in Ancient Times by Baron Taylor;

Stony Arabia by M. Delaborde; and Tour of the World and Journey to Simplon by Dumontd’Urville. He traveled throughout Europe and also exhibited at provincial Salons outsideParis. His style indicates a strong respect for nature; he favored painting what he saw, indistinct preference to simplification, synthesis or stylization. Several of his drawings wereshown at the Musée de Toulon in 1971.

His work can be found in the following collections: Musée d’Aurillac, Musée d’Avranches,Musée de Blois, Musée Calvet, Musée de Château-Thierry, Musée des Beaux-Arts, Lyons;and Musée de Saint-Brieuc, as well as museums in the following cities: Amiens, Avignon,Dieppe, Lyons, Toulon, and Versailles, all in France.

Kauffman, Angelika Swiss/Austrian, 1741 – 1807Angelika was born in Switzerland, but grew up in Austria. She was a precocious child andwas taught painting by her father, a skilled artist. There is a story that Kauffman’s father hadboy’s clothing made for her so that she could attend courses at the Austrian Academy of art.In 1754, she went to Milan with her family and set up as a painter of portraits. She stoodout with her beauty, grace and talent. She spoke German, French, Italian and English; shealso sang, and played several musical instruments. The young English painter NathanielDance, fell in love with her. For nine years he followed her from city to city, attempting invain to persuade her to marry him.

In 1757, after the death of her mother, Angelica and her father set off for Florence. In 1759,they went to Rome, and afterwards to Venice in 1764, with Angelica’s reputation growingall the time. The wife of the English ambassador, Lady Wentworth, carried her off to Londonand presented her at court. In 1768, when the Royal Academy was founded, Angelica waslisted as one of the founding members. Sir Joshua Reynolds, another co-founder of the RoyalAcademy, had a great partiality for her, and painted her portrait three times.

A sad episode marred this brilliant career when a young stranger claiming to be Count Fred-erick Horn of Sweden paid court to her and Angelica agreed to marry him in secret. Afterthe ceremony, she discovered to her mortification that she had fallen victim to a fraudster,and her husband was just a servant to the count. After suffering ill treatment at the hands ofthe impostor, she managed to get rid of him at the cost of 7,500 francs. In 1781, after thedeath of this first husband, she contracted a happier marriage with a Venetian painter,Antononio Zucchi, and shortly after left London for Italy. In 1782 her father, who had con-tinued to live with her, died and she and Zucchi moved to Rome. Zucchi died in 1785 andAngelica remained in Rome until her death.

Kauffman had a second reason for returning to Italy in 1781. History painting was herstrength and it was the most elite and lucrative category of academic painting in Europe dur-ing the 18th century. But, although the Royal Academy in London made a strong effort topromote history painting, the British were more interested in commissioning and buyingportraits and landscapes.

In addition to painting, Kauffman also engraved about 50 prints in a vigorous style. A greatmany of her works were reproduced as engravings. An exhibition of her works was organizedby the Haus der Kunst in Munich in 1999.

Her work can be found in the following collections: Holburne Museum of Art in Bath,Hove Museum and Art Gallery in Brighton, and Hampton Court, all in the United King-dom; The Uffizi Gallery in Florence, Italy; Alte Pinakothek, Munich, Germany; the NationalPortrait Gallery, the Royal Academy of Arts, the Victoria and Albert Museum and the TateGallery in London, United Kingdom; Louvre Museum in Paris, France; Museum of FineArts in Richmond, Virginia in the United States; Hermitage in St. Petersburg, Russia; andin museums in the following cities: Leipzig, Frankfurt, Dresden, Berlin and Munich, Ger-many; Bern, Switzerland; Bregenz, Innsbruck, and Vienna, Austria; Budapest, Hungary;Dublin, Ireland; London, United Kingdom; Valenciennes, France

Koekkoek, Jan Hermann Barend (also known as Johannes Hermanus) Dutch, 1840 – 1912Jan Hermann Barend Koekkoek was the son and pupil of Hermanus Koekkoek the Elder(1815 – 1882). He was born in Amsterdam but mostly lived and worked in Hilversum, wherehe died in 1912. He was a descendant of a long line of renowned Dutch landscape painters.

His work can be found in museums in the Netherlands.

Koekkoek, Marinus AdrianusDutch, 1807 – 1868 or 70Marinus Adrianus Koekkoek was born in Middelburg in 1807 and lived most of his lifein Hilversum where he died. He was the son and pupil of Johannes Hermanus Koekkoekand came from a long line of well respected Dutch landscape painters. He often includedfigures in his landscapes and, like many of his kin, enjoyed painting winter scenes.

His work can be found in the Coutrai Museum in Belgium.

Lanfant, François Louis French, 1814 - 1892(also known as Lenfant, or François Lanfant de Metz)François Lanfant was born near Metz (Moselle) in France, hence the name he was oftenknown by – de Metz. He studied under Ary Scheffer in Paris. He travelled to Africa andtook part in the Algerian campaign led by General Bugeaud and the duke of Aumale.After being discharged in 1842, he was hired as a draftsman by the Swiss naturalist Agassizand traveled from Naples, Italy to Mulhouse, France. Later he set up a studio on theBoulevard des Italiens in Paris and took as a student, Mlle. Ségalas, the daughter of thesurgeon to Napoleon III. He lived for a time in England and then in Barbizon. In 1868,he went to Rennes where he met Gustave Courbet and the two travelled together to Trou-ville. He also visited Le Havre where he met a former actress friend and decided to settle.He sold his work to the rich merchants who congregated in the port city.

He exhibited at the Paris Salon between 1843 and 1866 and won a gold medal in 1847.A retrospective of his work was held at the museum in Le Havre in 1926.

He specialized in genre scenes involving children, for example, mischievous children inthe home, at nursery school, or on the street, sometimes accompanied by animals. His

Marinus Adrianus Koekkoek La rivière en fin d’aprés-midi (detail) - see page ??

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played a part in establishing Neo-Impressionist technique outside of France. For manyyears, Luce was a strict Pointillist, but he then adopted a more relaxed, more fluid ap-proach, which can be seen in his landscapes of Rolleboise, departing from the rigor ofNeo-Impressionism and returning to a late-Impressionist style.

The majority of Luce’s works are landscapes, and primarily of France. He painted asmaller number of urban landscapes, often of working class districts, and often paintedat night, providing a snapshot of the world of work at that time. His figures set himapart from his Neo-Impressionist contemporaries, as he genuinely wanted to share thecares and troubles of the people, and showed this in the attitudes of the road workers,the dockers and the builders going about their daily travails.

It was only when Luce returned to impressionism from the divisionist movement that histalent and voice fully matured. Just as he was an independent thinker in the realms ofpolitics and religion, so too was he independent in his artistic language. Luce’s maturestyle is a true blending of theories. The rigid guidelines and painstaking process of divi-sionism were too confining and slow moving for him. However, the divisionist rules ofstructure, harmony, and strong composition paired with his graphic skills helped to defineand better communicate the unruly freedom of Impressionism that he originally rejected.Ironically, it was his 15-year involvement with neo-impressionism that ultimately madehim a better impressionist.

In a sense, Luce’s artistic language is an entity unto itself, devised by a man who valuednothing more than independent thought, freedom, humanity, and the beauty and vitalityof life and love. Those values are what shine through in his paintings, creating an inde-pendent spirit and freedom from frivolity, pretentiousness, and social constraint.

Harmony was Luce’s goal in all aspects of his life—as a political activist he sought a moreharmonious social order; as a neo-impressionist he strove for a theory of color harmonies;and later as a mature painter he saw each canvas as an opportunity to achieve total har-mony in mood, color, and composition. He died in Paris in 1941.

As art historian Robert Bernier wrote, “Maximilien Luce is one of those who will contributeto ending the misunderstanding between artists and the people. He is one of those who willhelp us to reach complete harmony.”

Luce’s work can be found in the following major public collections: Musée d’Orsay, Paris;Musée du Petit Palais, Paris; Metropolitan Museum of Art, New York; National Galleryof Art, Washington, D.C.; The Fine Arts Museums of San Francisco; Museum of FineArts, Boston; Minneapolis Institute of Arts; Museum of Fine Arts, Dallas; and the LosAngeles County Museum of Art, California.

Maar, Dora French, 1907-1997Dora Maar spent her youth in Argentina with her father, an architect of Yugoslavian ori-gin. On returning to France in 1925, she studied in Paris at the Union des Arts Décoratifs,at the Académie Julian and under André Lhote. However, perhaps because she was oftenused as a model by the great photographers of the time, Man Ray and Laure Albin-Guil-lot, she chose photography as her primary means of expression. She met Henri Cartier-

Bresson, worked with Emmanual Sougez and set up her own studio. She came into con-tact with the Surrealists, and in 1934, with Georges Bataille and André Breton, she tookpart in the Union des Intellectuels Contre le Fascism.

As a photographer, she produced advertisements for Petrole Hahn and photographs ofnudes; in 1931 she illustrated a book by Germain Bazin on the Mont St-Michel; she pro-duced photographs of Barcelona in 1931 and of London in 1934. Her photographsdemonstrates a social awareness: the retrospective exhibition held in 2002 in the Centrede la Vielle Charité in Marseilles underlined not only the Surrealist dimension of herphotograph work, but also its realism, with her photographs of the excluded and thoseon the fringes of society, in cities such as Paris, London and Barcelona.

In 1935, Paul Éluard introduced her to Picasso, during the first showing of Jean Renoir’sfilm, M. Lange’s Crime, the set of which she had photographed. She found him the studioat 7 Rue des Grands Augustins, next door to her own. She influenced his political thoughtand his decision to join the Communist Party in 1944, and was his companion untilabout 1945. She was also his model for affectionate portraits, for the terrible series of theWeeping Women in red and green, for the central figure of Geurnica, who holds out alamp to light up the horror, and for the sculpture in the square of St-Germain-des-Présthat became the monument to Apollinaire.

She took part in group exhibitions in 1934, at the Galrie de Beanue, Paris 1936; the Museumof Modern Art, New York, 1948; The Galerie Denise René, Paris 1987-1988, the MuséeContonal des Beaux-Arts, Lausanne, 1989, the Plazao Reale, in Milan 1989-1990, the SchirnKunsthalle, Frankfurt. She has been the subject of thematic exhibitions relating to Picasso,including 1994, Picasso and the Weeping Women: The Years of Marie-Thérèse Walter and DoraMaar, a touring exhibition in the USA, at the Los Angeles County Museum of Art; 2002Elles de Montparnasse (Women of Montparnasse) at the Musée du Montparnasse in Paris, anexhibition on the emancipation of female artists between the two wars.

She showed her work in solo exhibitions, including: 1944 the Galerie Jeanne Bucher, inParis; 1945, Galerie Vendôme, Paris: 1957 the Galerie Berggruen, Paris; 1958, the Leices-ter Galleries, London: 1990, the Galerie 1900-2000, Paris: 1995 in a retrospective at theBancaixa Foundation, Barcelona. In 2002, the Centre de la Vielle Charite in Marseillesorganized the first significant retrospective of her photographic work in France.

Abandoning photography for painting, she was influenced by Picasso, of whom shepainted two portraits in 1938. In her landscapes she painted from life, providing a simpleconstruction through backgrounds and foregrounds, in which each element, a post, a treeor a house, corresponds with a different color, in the Cubist spirit. There is also a touchor poetic subjectivity, and at the end of her life she painted spontaneous landscapes, no-man’s-lands, laden with color applied with a knife or trowel.

Her work can be found at museums in Paris, France.

Meucci, Michelangelo Italian, 1840 – 1900Meucci was an Italian painter who specialized in paintings of animals, birds and still lives,including flowers, fruit, and game. He was also known for his trompe-l’oeil paintings.He lived and worked in Florence.

works are usually small in size and have a style similar to that of Louis Léopold Boilly.He painted some religious pictures including that of Saint Barbara, painted in Rennes in1868. Lanfant also painted scenes of Paris and its artisans at work. These subjects wereso popular that he was often encouraged to paint them in pairs in order to complementthe décor of a room. In the later years of his career, he began producing colored litho-graphs of his own work.

His work can be found at the Musée des Beaux-arts in Rheims.

Lavieille, Eugène Antoine Samuel French, 1820-1889Eugène Antoine Samuel Lavieille was the younger brother of Jacques Adrien Lavieille andstudied under Camille Corot and Justin Lequien. After living in Barbizon, he moved toLa Ferté-Milon and then to Montmartre. Lavieille and his close friend Antoine Chintreuilwere among Corot’s finest pupils. He is said to have preferred painting nature in a spiritof mourning and sadness; however, this is not representative of many of his paintings.He is best known for having sought, like Charles François Daubigny, to convey the mys-terious charm of evening, often with great success. Lavieille was a three-time medal win-ner in the Paris Salon: in 1849, 1864, and 1870. He exhibited in the first Salon desRefusés in 1863 and was elected Chevalier de la Légion d’Honneur in 1878.

His works are in the collections of the Musée du Louvre, Paris; Musée des Beaux-Arts,Lille; Musée Magnin, Dijon; Musée des Beaux-Arts, Troyes; Musée des Beaux-Arts,Rouen; Musée des Beaux-Arts, Marseille; Musée Condé, Chantilly; and the Musée Ingres,Montauban. In addition, his works can be found in museums in the following Frenchcities: Alençon, Barbizon, Le Mans, Lille, Marseilles, Montpellier, Moulins, Nantes, Nar-bonne, Rouen and Tourcoing.

Leroux, Constantin French, 1850 – 1909Little is known about the background of the artist Constantin Leroux. He painted land-scape and genre paintings.

Loubon, Emile Charles Joseph French, 1809 – 1863Loubon was a student of Jean Antoine Constantin, the director of the school of drawingin Aix-en-Provence, and later of François Marie Granet; the latter took him to Rome in1829. In 1831 he went to Paris, where he associated regularly with the painters of theBarbizon School, including Narcisse Diaz de la Peña and Théodore Rousseau. Their in-fluence encouraged him to turn to landscape painting. He travelled in Italy, Algeria andEgypt, gathering images and themes for landscapes as he went. He was director of theEcole des Beaux-Arts in Marseilles from 1845 to 1863. He exhibited at the Paris Salonbetween 1833 and 1863. He won a third-class medal in 1842 and was made a Chevalierof the Légion d’Honneur in 1855. Having settled into southern France, he concentratedon portraying provençal landscapes and his style and colors were well-suited to the ter-ritory. His sketches were widely admired and collected; he also engraved etchings. In2001, his work appeared the collective exhibition: Le Femme en Provence et en Mediter-ranee (Women in Provence and the Mediterranean), at the Château de Borely, Marseilles.

His work can be found in museums in: Aix-en-Provence, Chalon-sur-Saône, Le Puy-en-Velay, Marseilles, Perpignan, Rouen –all in France; as well as in the Musée des Beaux-Arts, Chambéry, and the French Ministry of the Interior.

Luce, Maximilien French, 1858-1941Maximilien Luce, the agnostic, anarchist painter (whose name means ‘light’ in Italian),was a fascinating member of the impressionist and neo-impressionist movements. Hismasterful grasp of tone, color, and composition make his works especially desirable andimportant to the movements of his time. However, it is his apparent independence fromboth the impressionist and neo-impressionist movements that truly makes him intriguing.

Luce was born in Paris, 1858, to a poor family and brought in the working-class sur-roundings of Montparnasse. He began an apprenticeship with the wood engraver HenriThéophile Hildibrand in 1872, and simultaneously studied drawing at night school. In1876, having qualified as an engraver, he joined a workshop where illustrations were en-graved for many French magazines and some foreign periodicals. He went to London in1877, where he sold some drawings to the magazine Graphic. When he returned toFrance, he was called for military service in 1879, first in Brittany, and later in Paris,where he was able to pursue his career as an engraver. During his time in the army, hestudied under Carolus Duran, probably at the Académie Suisse, where Courbet andCezanne studied, and worked at the École de Dessin in Les Gobelins. He was mostlyself-taught from his observation of nature, and also received guidance from his friendCamille Pissarro. In 1887 he joined the Société des Artistes Indépendants and took partin their exhibitions, which were considered avant-garde at the time. He also exhibitedwith the Groupe de Vingt in Brussels in 1889 and 1892.

During his youth, the events of the Paris Commune had made a significant impression onhim and he later worked on anarchist publications such as Le Père Peinard, founded in1889, whose cover he designed. He also worked on Les Hommes d’aujourd hui, L’Illustra-tion, La Révolte and Les Temps Nouveaux. In 1894 he was indicted in the Trial of theThirty for being a subversive anarchist and he served a prison sentence as a result. Theseevents inspired a collection of lithographs entitled Mazas. Upon his release, he took refugein Charleroi in Belgium, but returned to France, settling in Rolleboise, near the Seine river,in 1920. He became president of the Société des Artistes Indépendants, as successor tohis friend Paul Signac after that artist’s death in 1935. He renounced his presidency, how-ever, at the beginning of the German occupation as a protest against Jewish artists beingforbidden to exhibit. He corresponded with many other painters, including Charles An-grand, Georges Seurat, Théo Van Rysselberghe and his friend Louis Valat.

With Seurat and Signac, he was one of the founders of the Neo-Impressionist school, whichwas based on the scientific study of light and the analysis of the decomposition of colors.As such, he used the technique known as Divisionism or Pointillism, employing individualpoints of color to interpret the complexity of the composition of colors, while preservingtheir vibrancy and defining the light and shadow of elements in the picture. The techniqueinvolved applying tiny dots or short, quick dashes of pure juxtaposed colors to the canvaswithout blending. This allows the creation of secondary colors to occur through the opticalblending that takes place when a viewer looks at a painting. During his stay in Belgium he

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Michel, Georges French, 1763 – 1843Georges Michel was a delicate artist who was born into a poor family; little is knownabout his life. He was married twice, first at the age of 16 to a girl the same age whodied very young, and again in 1827. Under the patronage of several people, he was ap-prenticed in 1755 to the studio of a landscape painter called Leduc. He soon becamedisenchanted with the fantastic and mannered landscapes of the 18th century, and re-turned to the idea of nature as perceived by Salomon van Ruysdael and the great Dutchlandscape artists, taking his inspiration entirely from nature. He exhibited at the Salonfrom 1796 to 1814, working hard but selling little. He did not actively seek success, andremained unknown and poor. He was supported by Baron d’Ivry, who kept Michel’s en-tire works by the devious subterfuge of passing the painter off as dead. Michel did notsign or date his paintings, arguing that the artists of antiquity did not sign theirs.

Lazare Bruandet, before his death in 1804, taught Michel in the woods around Paris, inBoulogne and in Meudon, where he learned to depict the nostalgic character of these ruralsites. He was the earliest of the Montmartre painters. His skies, while painted using thetraditional methods that often played on the contrast of leaden clouds with areas of stronglight, herald the skies of Eugène Boudin. He appears to have adhered to John Constable’sdeclaration that “nothing is ugly in nature.” To justify working almost entirely in the areaaround Paris, he declared that “anybody who is unable to spend his whole life paintingwithin four areas is but a fool.” It is with good reason that he has been called the fatherof modern landscape. Scorning classical locations, he drew his subjects from the surround-ings of Montmartre and the plain of St.-Denis. On several occasions he worked with Nico-las-Antoine Taunay, who painted figures in some of his landscapes. In 1812 he developedhis later style, which was characterized by accentuation of contrasts. His liberation fromearlier influences corresponded with the blossoming of his style from 1830 onwards. After1843 his influence on several painters, especially Charles Emile Jacque and Jules Dupré,was of particular importance. Although he achieved little fame during his lifetime, Michelis now considered a major precursor to the Barbizon School painters.Michel’s work is in many museum collections including the following: Musée du Louvre,Paris (3 paintings, 80 drawings); Hermitage Museum, St. Petersburg, Russia; Museum ofFine Arts, Boston; Metropolitan Museum of Art, New York; Musée des Beaux-Arts, Lyon,France; Thyssen-Bornemisza Museum, Madrid, Spain.

Millet, François French, 1851 – 1917François Millet was the son and student of the renowned artist, Jean-François Millet. Hemade his debut at the Salon in 1870.

His work can be found in museums in Darmstadt, Germany and Guéret, France.

Neogrady, Laszlo Hungarian, 1896 – 1962Laszlo Neogrady, was born in Budapest, Hungary in 1896. He was the son of the artistAnatal (Laszlo) Neogrady and he studied painting at the Hungarian Academy of FineArts under the artist Ede Ballo. Returning to Budapest, he became an art teacher, spe-cializing in watercolor techniques.

Starting in 1922 Neogrady exhibited his work at the Hungarian Art Gallery. He special-ized in painting naturalistic landscapes many of which depicted forest scenes in the snow.The artists extensive use of impasto creates an almost three dimensional effect in theseworks. His use of light is usually dramatic and his landscapes are very atmospheric. The artist died on 27th August, 1962 in Budapest.

Petitjean, Edmond Marie French, 1844-1925Born in Les Vosges, France, Edmond Petitjean was a painter of seascapes and landscapes.He is best known for his boating harbor scenes and landscapes painted in an impression-istic style. His first exhibited works appeared at the Salon of 1874. In 1883 he became amember of the Salon of French Artists. There he received a first place medal in 1884. Inthe 1889 exposition Universelle he received a silver medal, and in 1900 he received a goldmedal. In 1892 he was made a Chevalier of the Legion of Honor. He was eventuallyawarded the highest honor at the Exposition Universelle, the ‘Hors Concours’, meaningthat he was no longer required to compete for placement in the exhibit. In addition toshowing a large body of work in France, Petitjean also exhibited work in the early 1890sin Munich. Towards the end of his career he was especially interested in the Atlantic, andhe painted many scenes of ocean ports. Petitjean greatly admired the work of Monet andhis influence can be seen in Petitjean’s light quick brushstroke and sun-drenched palette.Petitjean was a respected Impressionist in his own right and his work influenced the gen-eration of American painters who had come to Paris during the last years of the 19th cen-tury. He died in 1925 in Paris, where he had kept his studio almost all his life.

His work can be seen in the following collections: Musée du Louvre, Paris; Musée d’Or-say, Paris; Musée des Beaux-Arts, Lille; Musée des Beaux-Arts, Dijon; Musée des Beaux-Arts, Bordeaux; Musée des Beaux-Arts, Marseille; Musée des Beaux-Arts, Chambéry; andthe Musée du vieux château, Laval – all in France.

Pieler, Franz Xaver Austrian, 1876 - 1952Franz Xavier Pieler was a painter, primarily of still lives with flowers and fruit.

Plantey, MadeleineAlmost nothing is known about Madeleine Plantey.

Richard, Jules Gédéon French, born 19th centuryJules Richard was born in Paris; he exhibited at the Salon des Indépendents in Paris from1891 on. He primarily painted landscapes and flowers.

Rigolot, Albert Gabriel French, 1862 – 1932Albert Rigolot was born in Paris; his son, who used the name Yves Rouvre, was also apainter. Rigolot studied at the Parisian School located in the 16th district and then stud-ied under Leon G. Pelouse and Auguste Allongé.

He exhibited at the Salon des Artistes Français beginning in 1886. He became a memberof the society in 1888 and received an honorable mention in 1889, a third-class medal in

1891 and a second-class medal in 1892. He won a silver medal in 1900 at the ExpositionUniverselle. He was made a member of the Société des Peintres Orientalistes Françaisand Chevalier of the Légion d’Honneur in 1901. Rigolot was appreciated for his land-scapes of water, lakes and river banks, and for his views of Algeria. He shared many ofthe goals of the Barbizon painters, using a naturalistic approach to his subjects and con-centrating on the effects of light as it shined through foliage or onto water.

His work can be found in the following museums: Musée des Beaux-Arts, Nancy; Muséed’Art Moderne, Paris; and the Musée des Beaux-Arts, Rouen, as well in collections inCambrai and Saint-Quentin, all in France.

Rosier, Amédée French, 1831 – 1898Amédée Rosier was born in Meaux, France. He studied with Léon Cogniet and CarolusDurand in Paris. He first exhibited at the Paris Salon in 1857 and received a third-classmedal in 1876. He received a bronze medal at the Exposition Universelle in 1889. He livedin Italy, working in particular in Venice; he also spent time in northern Africa includingEgypt. In addition, he painted in Holland, Constantinople, Bretagne, Saint-Pierre-et-Miquelon, and in the Midi.

His work can be found in the following collections: Musée des Arts et de l’Enfance, Fé-camp, France; and in museums in Bernay, Compiêgne, Mulhouse, Niort, and St-Etienne,all in France.

Saintin, Louis Henri French, 1845 - 1899Henri Saintin was born in Paris and studied under Isidore-Alexandre-Augustin Pils,Alexandre Ségé, and Charles Edme Saint-Marcel. He was considered an excellent land-scape painter, particularly of forests, river banks, and ponds. In 1873, he discovered Brit-tany and executed many paintings, particularly watercolors in the area. He also travelledto Venice and painted there.

He made his Salon debut in 1867 and won a third-class medal in 1862.

His work can be found in the Musée de Montpellier, the Musée de Rennes, and museumsin Auxerre, Bayonne, Besançon, Tarbes, and Tourcoing, all in France.

Scalbert, Jules French, 1851 - 1928Jules Scalbert was a student of Isidor Pils and Henri Lehmann. He exhibited at the Salonde Paris from 1876. He also exhibited at the Salon des Artistes Français of which he be-came a member in 1883. He was awarded an honorable mention in 1889 and third-classmedals in both 1891 and 1901.

Selmy, Eugène French, 1874 - unknownEugène Selmy was a student of Léon Bonnat, Léon Glaize, and Albert Maignan. From1900 he was a member of the Salon des Artistes Français in Paris and he exhibited thereregularly. He received an honorable mention in 1900, a third-class medal and the PrixMarie Bashkirtseff in 1902, a travel bursary in 1904, and a second-class medal in 1906.He was made Chevalier of the Légion d’Honneur in 1919.

His work can be found in the The National Museum of Art of Romania in Bucharest.

Storelli, Ferdinand Michel French, 1805-unknown

Storelli, who was born in Paris, was the son and pupil of Felix Marie Ferdinand andthe father of André. He exhibited at the Salon from 1831 to 1877 and was awarded athird-class medal in 1839 and a second-class medal in 1840.

Tanzi, Léon Louis Antoine French 1846-1913Léon Tanzi studied under Benjamin Constant, William Adolphe Bouguereau and Jules Lefeb-vre. He painted primarily landscapes, particularly of Provence; he also painted some worksof a symbolist nature. He exhibited at the Paris Salon from 1877 and later at the Salon desArtistes Français. He received numerous awards, including a commendation in 1886, abronze medal in 1887, a silver medal at the Exposition Universelle of 1889 and another silvermedal for the Exposition Universelle in 1900. He was made a Chevalier of the Légion d’Hon-neur in 1901.

His work can be found in museums in Algiers, Algeria and Marseilles, France.

Vallée, Étienne Maxime French, 1850 – unknownÉtienne Vallée studied under Auguste Péquégnot and exhibited at the Paris Salon from 1873to 1881. He painted views of Paris and the countryside of Bretagne, Normandy, and theforest of Fontainebleau. His favorite subjects included wooded sites, seasides, and images offishermen returning from work. His later work shows the influence of the Impressionists:the volumes are indicated in wide swathes of color and contours and mass are created solelyby colored values.

His work can be found at museums in: Chambéry and Dunkirk, France.

La Villéon, Emmanuel Victor Auguste Marie deFrench, 1858 – 1944In 1880, Emmanuel de la Villéon went to Paris to study at the Académie Julian anderRoll and Damage. He lived in Brittany, Switzerland and Paris, where found the themesfor his landscapes.

In 1884, he started to paint from life, making the leap to Impressionism around 1890.He also illustrated legends and tales from Brittany. His work is characterized by its lumi-nous shades.

He made his debut at the Salon des Indépendants in 1888 and from 1890 exhibited atthe Salon de la Société Nationale des Beaux-Arts, of which he was an associate memberfrom 1908; he also showed at the Salon d’Automne from 1903.

Zimmerman, RobertAlmost nothing is known about Robert Zimmerman.

Bernard, Emile

Besnus, Amédée

Bodeman, Willem

Bonheur, Marie Rosalie (called Rosa)

Brunel de Neuville, Alfred

Chaigneau, Jean Ferdinand

Ciceri, Eugène

Clary, Eugène

Coignet, Jules Louis Phillippe

Delpy, Hippolyte Camille

Diaz de la Peña, Narcisse Virgile

Dupré, Léon Victor

Ecole Française

Enjolras, Delphin

Giacomotti, Felix Henri

Gide, Hippolyte Jean

Gilbert, Pierre Julien

Gorter, Arnold Marc

Gudin, Jean-Antoine Théodore

Heda, Willem Claesz (after)

Holstayn, Josef

Hostein, Edouard Jean Marie

Kauffmann, Angelika (after)

Koekkoek, Marinus Adrianus

Koekkoek, Jan Hermann Barend

Lanfant de Metz, François Louis

Lavieille, Eugène Antoine Samuel

Leroux, Constantin

Loubon, Emile Charles Joseph

Luce, Maximilien

Maar, Dora

Meucci, Michelangelo

Michel, Georges (attributed to)

Millet, François (son)

Neogrady, Laszlo

Pieler, Franz Xaver

Plantey, Madeleine

Petitjean, Edmond Marie

Richard, Jules

Rigolot, Albert Gabriel

Rosier, Amédée

Saintin, Henri

Scalbert, Jules

Selmy, Eugène

Storelli, Ferdinand Michel

Tanzi, Léon Louis Antoine

Vallée, Étienne Maxime

La Villéon, Emmanuel Victor Auguste Marie de

Zimmerman, Robert

Index by Artist

OPPOSITE: Amédée Rosier Débarquement du poisson (detail), 1888 - see page ??99

PROJECT MANAGERS: Laura Anderson & Matt Geary CATALOG DESIGN: D. Lee Myers ART PHOTOGRAPHY: Scott Saraceno

BACK COVER: Jules Scalber Promenade en barque (detail) - see page ??

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