"A Revolution in Painting: Barbizon to Impressionism" (2012) by Franklin Bowles Galleries, Inc.

A Revolution in Painting:

Barbizon to Impressionism

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 ?? FRONT COVER:

A Revolution in Painting:

Barbizon to Impressionism

FRANKLIN BOWLES GALLERIES S a n F r a n c i s c o / N e w Yo r k

n the Woody Allen movie, “Midnight in Paris,” we are transported to Paris at the end of the 19th century and the beginning of the 20th where we meet Lautrec, Degas, Gauguin, and Picasso. In this catalog your Parisian guide, Dr. Jean Audigier, will take you back to an earlier part of the 19th century when the school of Barbizon painters and their contemporaries started 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 giant magnet. They came to Paris because that was the place to see art, create art and exhibit art. They came, in the words of Kathleen 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 of academic art. The rebel forces constantly tried to overcome its defenses: first the Romantics, then the school of Barbizon artists, 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 from salons that he earned the nickname, “le grand réfusé” – the great rejected. Now, ironically, one of the largest rooms in the Louvre is covered in Barbizon paintings, and is named the Théodore Rousseau room! After fierce struggles, many of the artists we are showing in this catalog were exhibited in the official salons and the universal exhibitions. They received awards: bronze, silver, gold medals and the Legion of Honor. These award ceremonies were followed by a passionate public with even more interest and intensity than the Academy Awards and the Super Bowl combined. Reading the history of this period, one is also struck by the amazing interaction between many of the artists. Creating art, defying the Academy, François Millet Les glaneuses - see page ?? and inventing new pictorial languages were not solitary delights, but a corporative venture. Together they forged ahead toward uncharted territories. A wall chart showing the connections between the school of Barbizon painters, and the Impressionists, would look like a very complex maze with many intersecting lines. Even the more academic painters, and we have a few of their works in this exhibition, were part of the explosion of creative activities that 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 “Midnight in 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.

OPPOSITE:

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

I hope with all my heart that there will be painting in heaven. â&#x20AC;&#x201C; Jean Baptiste Camille Corot

Plates with Commentary by Jean Audigier, Ph.D

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

Willem Bodeman Paysage animé au donjon en ruine Oil on panel 13 x 13.4 in.

â&#x20AC;&#x153;The Dutch masters of the 17th century were among the greatest painters of still life. This was the golden age of Amsterdam and rich people of the time wanted to show and celebrate their wealth; the still life with gorgeous objects and costly food was created for them. However there is another side to this painting; beyond the sumptuous painting treatment of each object, there is a symbolic meaning. The rind of the lemon that hangs from the table, the magnificent silver chalice that has fallen on its side, the knife at the edge of the table, and the extinguished oil lamp represent the passing of time, change, and the ultimate dissolution of our selves. These allegorical paintings, popular in the 16th and 17th centuries in northern Europe, were called vanitas; in Latin the word means emptiness and is meant to convey the meaninglessness of earthly life and the transient nature of vanity or worldly objects.â&#x20AC;?

Willem Claesz Heda (after) Still Life with Lemon Rind, 1635 Oil on canvas 31.3 x 41.5 in.

“What is remarkable about this painting by the Barbizon painter Edouard Hostein is how very good it is considering that he was a self-taught artist. Hostein participated in many of the salons from 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 Fontainebleau anchors the center of the painting, while the scale of the figures reinforces its dominance. Hostein had a wonderful understanding of color tones; notice how the tones of the peasants’ costumes harmonize with the tones of the painting itself. The little bits of blue in two of the figures are matched by a little bit of blue on the side of the tree trunk closest to the figures. That touch is the mark of an artist who knows what he is doing and has a great sense of what is called “echoes” throughout the painting.”

“We don’t know who painted this work. There is writing on the back of the canvas that states “Angelika Kauffman, Tribute to Marc Antonio.” It appears to be a fantastic variation of a work by Angelika Kauffman. Her biography reads like a novel that should be made into a movie. It is a remarkable story and she was one of the great painters of the time. Sir Joshua Reynolds, one of the co-founders of the Royal Academy of London, did her portrait three times. He felt that she was an absolutely amazing painter and appointed her a founder of the Royal Academy. This was remarkable honor for a woman at that time. She was a classically-trained artist who had contact with some of the greatest artworks around the world. Tribute to Marc Antonio is a very classical painting. The figures are composed into a triangle and both the light and composition pull your eye to the very center of the painting. The fall of the drapery indicates classical draftsmanship. The faces are serene with a haunting beauty. I particularly like the soldier in the background that is reminiscent of faces found in Rembrandt’s work. This is a superb example of a classical painting.”

Edouard Jean Marie Hostein

Angelika Kauffmann (after)

Sous le vieux chêne

Tribute to Marc Antonio, 1800

Oil on canvas 25.1 x 20.4 in. signed

Oil on canvas 14.5 x 12.4 in.

“A year ago, we had a lovely oil painting by Herminie Gudin. Her father and instructor, Théodore Gudin, created this impressive marine painting. Although he received classical training at the Ecole des Beaux-Arts in Paris, he was very much influenced by the romantic school as seen in this work. His ability to capture the light on the water is superb, but he suffuses the painting in a rosy glow which adds a note of patriotism and romanticism.”

Jean-Antoine Théodore Gudin Voiliers au crépuscule Oil on canvas 30 x 25.8 in. signed

“This striking painting by Hippolyte Camille Delpy, reminds me of Vincent van Gough with the drama of the composition, brushstrokes, and coloration. The brushwork is extremely varied and is quite different from the brushwork of the Impressionists; as with van Gogh the strokes are larger, broader, and more emphatic. The different direction of the brushstrokes, which are quite visible, also establishes interesting rhythms that echo the vertical lines of the large tree in the foreground. This is the most dramatic Delpy we’ve ever had in the gallery; the painting has extraordinary presence.”

Hippolyte Camille Delpy

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

“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 paintings that 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 that reflect 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 that you find in so many of the works of Delpy.” 16

Hippolyte Camille Delpy Paysannes au bord de la rivière Oil on canvas 24 x 19.7 in. signed

“We do not know anything about the artist Robert Zimmerman, but this painting, done in 1858, is spectacular. It reminds me of paintings by the great English painters J.M.W. Turner and John Constable, both of whom were renowned for their ability to paint stormy skies. Constable, in particular, would go out to simply “paint the weather.” He’d paint cloud formations and record the date and wind direction on the paintings that he would use later as studies. Here the dramatic storm cloud on the left dominates the space, light, and action (the horse racing to escape the storm) of the painting. The glimpse of blue sky and the reflection of clouds in the still pond contrast with the menace of the storm to produce a painting of exquisite sensibility. It is a moment of savage beauty in what will soon return to pastoral peace.”

Robert Zimmerman Horseman Under Stormy Sky, 1858 Oil on canvas 33 x 44.1 in. signed

Léon Victor Dupré

La tempête approche Oil on canvas 39.7 x 24.4 in. signed

“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 factory where 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 later canvases. 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 countryside fanning out to a distant village in the background. Although the scene is panoramic, the details are taut. The stormy sky is beautifully rendered over half the painting with a low horizon line that emphasizes the vast open space of the composition.” 20

Eugène Clary

La vanne en Gagny Oil on panel 17 x 22.75 in.

“Eugène Clary exhibited his art in Paris at the same time as the Impressionistic painters and clearly learned from them; however, he associated with the Normandy school artists. This landscape, of a lock on one of the rivers in Normandy, gives you a feel for the countryside in the northern part of France. The influence of John Constable, the famous English landscape artist, 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 brushwork is quick, lively and full of light – very reminiscent of the Impressionists.” 21

“The subject matter of a mother breastfeeding her child was popular with 19th century artists. A number of the great Impressionist painters, including Mary Cassatt and Berthe Morisot, painted the subject. This work by Madeleine Plantey displays great tenderness; there is no setting around the central figures, the whole focus is on the mother and her child. The eyes of the mother are on the child, the eyes of the child are on the mother and there is a marvelous connection between the two. The soft brushstrokes and tones of the painting add to the feeling of special intimacy. The subject matter of a mother breastfeeding her child was popular with 19th century artists. A number of the great Impressionist painters, including Mary Cassatt and Berthe Morisot, painted the subject. This work by Madeleine Plantey displays great tenderness; there is no setting around the central figures, the whole focus is on the mother and her child. The eyes of the mother are on the child, the eyes of the child are on the mother and there is a marvelous connection between the two. The soft brushstrokes and tones of the painting add to the feeling of special intimacy.”

Madeleine Plantey

“Eugène Selmy was a 3rd -generation Barbizon painter, but was also connected to the Impressionists through the subject matter that he chose, and that is what caught our attention with this painting. The young woman shading herself with an umbrella is almost like a close-up snapshot with two strong diagonals formed by the tilt of her body and the contrasting and opposite line of her umbrella. There is a little bit of asymmetry in the work as the diagonals do not cross in the center of the painting; that asymmetry combined with the almost off-balance pose of the young woman is extremely attractive and adds liveliness to the work. In the Impressionist style, Selmy beautifully captures light with highlights on the parasol, sunshade, dress, pond’s edge, and water. The brushstrokes are highly visible, adding drama and a sense of immediacy to the painting. The picture perfectly encapsulates a lazy summer afternoon.”

Eugène Selmy

Mère et enfant

La femme à l’ombrelle

Oil on canvas 25.5 x 21.2 in. signed

Oil on canvas 19.5 x 23.5 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

Jules Richard

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

“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 painting that 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 red cap on the head of the woman also captures attention; everything pulls toward the focal point.” 25

Marie Rosalie Bonheur (called Rosa) Le taureau roi, 1862 Oil on canvas 20.1 x 31.9 in. signed

“Rosa Bonheur had an amazing understanding of animals. She learned a great deal from her early visits (dressed in men’s clothes to 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 leading to distant mountains; she captures the heights and distances with various subtle gradations of green. She has a modern touch in her brushwork in the background. This is a superb painting from one of the best artists of the 19th century.”

Constantin Leroux

Deux cygnes Oil on canvas 34.5 x 46.0 in. signed

“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 everything together, pulling the landscape elements inward around that single brilliant spot. Leroux clearly has a wonderful sense of composition and tone.” 28

Constantin Leroux

Le renard

Oil on canvas 35.2 x 46.0 in. signed

“This painting by Constantin Leroux is very dark and moody, and a bit frightening. In the middle of the path which pulls your eye through the dark trees on either side, is a wolf holding a chicken in his jaws. He has stopped and has turned around to 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.” 29

“When your first name is Michelangelo, can you be a bad painter? I don’t think so. Michelangelo Meucci specialized in painting animals, birds, and still lifes. He lived and worked in Florence, where he was surrounded by fantastic art from all the great masters of the Renaissance. His study of that art is clear in this painting. It is realistic in the sense that you feel you can put your hand in the painting and grasp a piece of fruit, whether grapes, a pear, plum, or pomegranate. Yet the composition is very contrived; a vertical “slice of life” from a larger scene. The dark background is a wonderful contrast to the paleness of many of the fruits.”

“The history of still life painting and especially the history of painting flowers has a long history that goes all the way back to Egypt . This painting is in the great tradition of the Dutch masters of the 16th century. Notice how Holstayn focuses both on the details, the unique shapes and colors of each flower, and on creating a dynamic and satisfying painting through the arrangement of the flowers. These paintings were not just still lifes of flowers, they convey a message about life, death, and resurrection. The eggs in the nest and the flower buds represent the potential of life, the snail eating the leaves of the flower symbolizes the process of decay that we all face, and the butterfly sends a powerful and uplifting message of a creature reborn and is a symbol of resurrection. During the golden age of Dutch painting, many genre paintings, which seemingly only depicted everyday life, actually illustrated Dutch proverbs and sayings, or conveyed a moralistic message. So although we do not know the artist of this gorgeous work, we can assume it was Dutch or Dutch-influenced and it certainly is telling us an interesting story about life, death and resurrection.”

Michelangelo Meucci

Josef Holstayn

Les fruits de l’été, 1893

Nature morte au nid d’oiseau

Oil on canvas 35.4 x 25.1 in. signed

Oil on canvas 19.6 x 15.7 in. signed

Ferdinand Michel Storelli

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

“In spite of his name, Ferdinand Storelli was a French artist who studied under his father, Felix Marie Ferdinand. In art history you will find many sons that have followed in their father’s footsteps and have become excellent painters because of their early education. In this complex composition the luminous late afternoon light strikes the whole landscape at an angle. The reflections of trees in the water create a 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.” 32

Eugène Ciceri

Les lavandières Watercolor/gouache on paper 8.9 x 12.4 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 is the renowned painter Eugène Isabey. Having these two people guide him during his learning process gave Ciceri a very special advantage. This watercolor and gouache painting demonstrates his mastery of the techniques imparted by his teachers. Watercolor is a very demanding medium as it is very difficult to 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 of color while building layers of paint in the central area to bring focus to the washerwomen diligently working on a beautiful stretch of river.” 33

“The tradition in French art of “luncheon on the grass” was made famous by Edouard Manet’s Dejeuner sur l’herbe. In 1863 Manet’s painting was refused 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. His painting comes from a tradition of people picnicking in the various forests around Paris. In this delightful painting, done just prior to Manet’s work, the setting appears to be the forest of Fontainebleau, with its beautiful oak trees. The people are well-dressed for a Sunday outing and have brought along great quantities of food and wine. The French, of course, picnicked in a very civilized way, and this painting perfectly captures the tradition.”

Ecole Française Un pique-nique dans la forêt, 19th Century 34

Oil on canvas 18.25 x 24 in.

Hippolyte Jean Gide Harmonie du soir 36

Watercolor and gouche 21.1 x 29.7 in. signed

Hippolyte Jean Gide

L’écluse #1, 1905

Watercolor 21.3 x 30 in. signed

Attributed to Georges Michel Retour à la tombée de la nuit Oil on canvas 19.6 x 23.6 in.

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

Arnold Marc Gorter

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

“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 Arts in Amsterdam. This painting shows that he understood composition on a grand scale, and particularly how to create layers of depth within the 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.” 39

“The works of George Michel are sometimes difficult to authenticate since he refused to sign his paintings; he felt that his signature was in his brushstroke, not in a signature that someone could apply at the bottom of the painting. This work, which is “attributed” to George Michel, has all of the 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 Rembrandt. 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 background of 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 is also 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 a strong sense of place and drama.” 41

“In 2010, the Musée d’Orsay sent a number of Impressionist paintings to San Francisco; they also sent paintings done by the academic painters of the 19th century. This painting by Felix Henri Giacomotti comes from the same academic style. Giacomotti displays his superb technical skills and a profound understanding of the human body. This is what the classical artists were taught in the 19th century. I feel that this image of the nymph, Echo, stands out as one of the most beautiful images of the period.”

Felix Henri Giacomotti La nymphe Echo Oil on canvas 59 x 37 in.

François Millet (son) Les glaneuses Oil on canvas 31.5 x 45 in.

“François Millet was the son and student of the co-founder of the school of Barbizon, Jean-François Millet. There is a sensational painting by Jean-Francois Millet, one of the key paintings of the 19th century called The Gleaners, hanging in the Musée d’Orsay in Paris. This is a copy of that painting by his son; most likely his father 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 it was 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 changed the 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 copies of his work. The Impressionists and post-Impressionists were able to use almost anything as subject matter after the break with academic tradition inspired by Millet. This is a superb copy done by the artist closest to the great innovator.” 44

Jean Ferdinand Chaigneau Le soleil couchant à Chailly Oil on canvas 15.1 x 18.3 in. signed

“The last time I talked to MarieThérèse Caille, the director of the museum in Barbizon, she was very excited that the museum had just received the complete archives of Jean Ferdinand and his son Paul Chaigneau. This painting shows a typical Chaigneau scene. Jean Ferdinand had academic training in Paris and developed a love of painting animals 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 big names 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 sheep and their shepherds coming back to the village at sunset. In many ways, Chaigneau represents, maybe more so than anyone else, the spirit of Barbizon: the communion of nature and man, and a superb appreciation of the beauty in Barbizon.” 45

“Edmond Marie Petitjean was a very successful artist who exhibited and received multiple medals at the Parisian salons. This work shows Petijean’s admiration for, and debt to, Claude Monet, the leading impressionist painter. The brushwork shows quick strokes that give life to the entire surface of the painting. The sky is painted with a slightly different technique and adds to the feeling of energy and excitement -- something the Impressionists were able to achieve with even the most static of subject matter!”

Edmond Marie Petitjean Maison dans la campagne Oil on canvas 35.4 x 52.3 in. signed

Amédée Rosier

Débarquement du poisson 1888 Oil on panel 6.7 x 12.2 in. signed

“Amédée Rosier studied with both Léon Coignet and Carolus Durand in Paris. Carolus Durand was a very interesting artist who taught many of the Americans who 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 right under 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 spent time 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 feeling of the difficulty that sailors and fisherman encountered in that hazardous environment.” 48

Amédée Rosier

Bateau de pêche près de la côte 1888 Oil on panel 6.7 x 12.2 in. signed

“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 way that 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 the outline of the buildings giving the painting a special quality of mystery that I love.” 49

“If the Eskimos have many different words to describe snow, then the artist Léon Tanzi must have had many different names to describe the color green. There are so many different variations and tones of green in this painting that the color is ultimately what the painting is all about. It depicts nature in spring at its most verdant with healthy plants, trees, shrubs, and reeds that create a symphony in green. This is an exquisite painting by a well-respected landscape artist.”

Léon Louis Antoine Tanzi Le printemps, bord de rivière à Villeneuve l’Etang Oil on canvas 6.5 x 66.1 in. signed

“Austrian Franz Pieler was primarily a painter of still lifes, and especially flowers. This painting depicts a beautiful profusion of flowers which create a well-balanced -- in both form and color -- composition. It also follows in the tradition of Dutch genre paintings which were often allegorical. Here the painted objects convey symbolic meaning about the transience of life. There is a mayfly, an insect that is born and dies in the same day, suggesting to all of us to “seize the day.” The ants attacking some of the petals and the dying flowers on the pedestal symbolize the decay of life. The bee pollinating the flowers, symbolizes resurrection, that there is life after death, a continuum of life.”

Alfred Brunel de Neuville

Assiette aux pêches et aux raisins Oil on canvas 25.6 x 36.2 in. signed

“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 in the 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 allows the 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 an everyday 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 to create 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.” 52

Franz Xaver Pieler Vase de fleurs avec papillons Oil on board 23.6 x 19.6 in. signed

“Jules Louis Phillippe Coignet demonstrates in this painting why he was of such importance to so many other artists. He had superb technical skills, an excellent understanding of composition and had the ability to translate his feelings about nature into beautiful paintings. In 1831, he wrote and published a book titled: Principles and Studies of Landscape Drawn from Nature which he used in his teachings. He had a great impact as a teacher and his studio attracted many of the best landscape painters of the time including Gustave Courbet. He taught artists to really look at nature directly, not simply copy paintings of the old masters and their depictions of nature in the studio. This had a revolutionary effect on landscape painting in the early and mid -- 19th century.”

Pierre Julien Gilbert

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

Jules Louis Phillippe Coignet “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 for both is apparent in this joyful painting of a small fishing village.” 54

Bûcherons en forêt Oil on canvas 17.9 x 17.9 in. signed

Marinus Adrianus Koekkoek

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

“Mariunus Adrianus Koekkoek comes from a very well-known family of artists in Holland; almost all the male members of the family were artists. These two enchanting paintings have the quality of the Dutch landscape masters of the 17th century, revered by the Koekkoek. The compositions are carefully constructed and, while the foreground holds interest, the eye is always drawn into a distant background. The composition 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.” 56

Marinus Adrianus Koekkoek

La rivière en fin d’aprés-midi Oil on panel 9 x 13.5 in. signed 57

“One of the most important things to know about Narcisse Diaz de la Peña is that he was kind and helpful to other painters of his time. When Auguste Renoir was penniless, Diaz de la Peña took him by hand to open an account at the art supply store so Renoir had everything he needed to continue his work. Here you have a painting which has the spirit of Barbizon with brushwork in the style of Impressionists. You can almost feel neo-impressionism with some of the fine touches. Diaz was way ahead of his time in this painting; he was a great innovator who could express himself in many ways and with many subjects.”

“I had a class in the gallery this morning and showed them many of our Barbizon paintings; all of my students fell in love with this particular painting. They loved the mystery of this landscape depicting the forest of Fontainebleau. The somber mood with little light breaching the trees and the barely-visible figure are haunting. Where the light breaks through in the small clearing and reflected in the water serves to draw greater attention to the overall shade created by the trees. The greens run the full range of the color spectrum yet are harmonious overall. This is a very sophisticated painting.”

Narcisse Virgile Diaz de la Peña

La cueillette du petit bois

Fagotière en forêt

Oil on panel 9.3 x 13.2 in. signed

Oil on panel 13 x 16 in. signed

“This painting by Diaz de la Peña, called La rivale, shows the diversity of his talents; he mixes a classical subject matter with an Impressionist palette, well before the Impressionists had used it. There are several similar Diaz paintings in the Louvre. One of the most difficult things for artists to create is harmony of figures within a landscape; here, Diaz is very successful in adapting his figures to the setting.”

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

Narcisse Virgile Diaz de la Peña

Étienne Maxime Vallée

La rivale, 1852

La récolte des pommes

Oil on panel 12.8 x 9.5 in. signed

Oil on canvas 25.6 x 36.2 in. signed

Emile Charles Joseph Loubon Village méridional (verso)

Oil on panel 9.8 x 14.7 in.

“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 vertiginous view 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. 64

Emile Charles Joseph Loubon

Paysage provençal de bord de mer (recto) Oil on panel 9.8 x 14.7 in.

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 brushstrokes 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.” 65

“Louis Henri Saintain had a great understanding of painting large-scale and complex landscape compositions. This painting could almost be divided into several smaller paintings, each of which could stand alone. However, it is skillfully united with a rhythmic quality that goes from the left to the right, following the line of trees, the path, and the cows as they all head off into the distance. This stretcher bar on the back of the painting has a red wax seal with the words: “Vente H. Saintin 1900” (Sale H. Saintin 1900) indicating the painting was sold the year after the artist died.”

Henri Saintin Bergère et son troupeau à l’orée de la forêt, 1873 Oil on canvas 63.4 x 98 in. signed

Amédée Besnus Maximilien Luce

Paysage à Méricourt

Watercolor on paper 13.3 x 22.0 in. signed

“Maximilien Luce was a very interesting Impressionist artist; “luce” in Spanish means light. He was first interested in Pointillism, but eventually felt that the 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 a simple scene with short, directed brushstrokes. Only a very talented artist, and Luce was certainly that, could make this simple monochromatic sketch portray so much: a soft valley, sturdy trees, distant mountains, and spring clouds.” 68

Le champ de blé Oil on canvas 9.8 x 14.9 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 successful etcher and painter. He was friends of many of the artists of the Barbizon School and published a very interesting memoir called My Relationships with 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 not yet 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 been cut; 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 the viewer on the road between the two fields. The brushwork is very lively; the combination of the brushwork and dynamism of the composition create a sensation of a bigger space than the actual painting size itself should give you; this is certainly another exciting element of the painting.” 69

â&#x20AC;&#x153;Sense of tone is something that artists are born with; it cannot be taught. There are certain artists like Camille Corot and Alfred Sisley who have this sense of tone to a remarkable degree. Albert Rigolet is another of these artists, and he is able, through these beautiful harmonic tones, to create specific moods and feelings. In these two scenes, which are very similar in composition, the delicate variations in tone distinguish between two seasons. One painting represents autumn and the other represents winter.

Rigolet is adept at using natural boundaries to frame his compositions. The trees on both sides of each painting allow the viewerâ&#x20AC;&#x2122;s eye to follow the path to the water and beyond into the distance. I love the hazy sun in the background of the winter scene that creates a very moody and almost romantic quality to the painting; the use of small bits of contrasting color tones in the snow enhances that feeling.â&#x20AC;?

Albert Gabriel Rigolot

Automne

Hiver

Oil on canvas 24.4 x 18.5 in. signed

Laszlo Neogrady

Ecole Française

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

“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 below to 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 the center 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.” 72

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

“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 an artist 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 instruction so early in their lives. He also studied at the Hungarian Academy of Fine Arts and then became an art teacher. This painting shows that Neogrady developed 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 reflections in water. It is an intriguing painting with an overall feeling of coldness combined with a special sense of a known and cherished place.” 73

“Lavieille was a superb painter and we have shown many of his works in our galleries. He was a pupil and close friend of Camille Corot, and the years of working by great master’s side greatly enhanced Lavieille’s technique. This is a very beautiful and complex painting which presages what the Impressionists would do later. Interestingly, the back of the painting has not only the location where it was made, but also a description of the weather; this is something that the great artist, John Constable, did! As the inscription indicates, the scene depicts a pond on a stormy day in Morêt, a village southeast of Paris later made famous by another great painter Alfred Sisley who spent many of the last years of his life there. This is a beautifully structured painting with a series of lines leading the eye into the distance and off to the right. I feel that the reflection of the sky on the water is particularly successful.”

Eugène Antoine Samuel Lavieille Le trou aux moines - Prairie de Morêt-sur-Loing Oil on canvas 21.3 x 28.7 in. signed

Ecole Française

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

“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 composition. 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 the horizon 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 colors of 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 excitement to 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.” 76

Jan Hermann Barend Koekkoek

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

“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 later KoekKoek 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 than what you would find in a Mondrian, there is a very similar type of composition and a similar control of nature, which is extremely modern.” 77

“Some of the most famous images of the 20th century were paintings of Dora Maar by Pablo Picasso. The crying woman in Guernica is based on one of his portraits of her. She was introduced to him by the Surrealist poet, Paul Eluard. At the time, she was a professional photographer with a wide circle of artistic and literary friends in Paris. After becoming involved with Picasso, she switched from photography to painting and was quite successful. I was drawn to this painting because it combines an understanding of composition that she learned from photography with a deliberate flattening of the surface, an element of Picasso’s cubism. It feels as if she’s placing almost everything in the picture on the surface of the painting, yet the lovely, pastel coloring yields something entirely unique.”

Dora Maar Nature Morte Gouache on cardboard 10.6 x 7.8 in. singed

“Emile Bernard was an extremely interesting and innovative artist who wrote extensively about art. He knew many of the most important post-Impressionist artists including Vincent Van Gough, Paul Gauguin, Georges Seurat, and Henri Toulouse-Lautrec. These artists were all instrumental in changing the direction of art in late, 19th century France. Lautrec was his true mentor – in fact he may have influenced the other artists more than they did him – and it was from him that he learned his superb print-making skills. This print highlights many of the stylistic and technical changes that took place in the art of the 20th century. The flatness of the design and the way the surface of the image becomes the main focus of the artist were elements seen in various post-Impressionist movements. There is no attempt to keep a realistic rendering of either distance or depth; the artist is creating flat patterns on a flat surface. Bernard was influenced by his mentor, Toulouse Lautrec, who was in turn influenced by Japanese woodblock prints. Yet, Bernard devised a unique and very powerful style. One of the most remarkable things I saw in the Impressionist exhibition on loan from the Musée d’Orsay in 2010 in San Francisco, were the paintings by Bernard. Their powerful impact made it clear why he was such an inspiration to other artists in the early 20th century. He excelled at print-making, so it’s a real pleasure to have one of his works in that medium.”

Emile Bernard Bretons dans une Barque Zincographie; 20/125 12.2 x 9.7 in. signed

â&#x20AC;&#x153;Delfin Enjolras was an excellent craftsman who loved working in watercolor and pastels. His specialty was painting young women going about their daily tasks. This painting is beautifully rendered with the soft form of a woman matched by the soft quality of the light. The highlights that outline her arm, dress, and shoulder create a feeling of intimacy and the pastel medium enhances the effect. There is a beautiful balance of warm tones and cool tones that yield a balance which gives the work stability, serenity, and timelessness. This is a remarkable technical achievement both aesthetically and compositionally.â&#x20AC;?

Delphin Enjolras Femme Ă son bureau pastel on paper on canvas 27.2 x 20.9 in. signed

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

“This painting by Emmanuel Victor La Villéon reminds me of a number of works by both Camille Pissarro and Paul Cézanne; it is clear that La Villéon was well acquainted with their work. The strong vertical lines of the trees lead the eye into the painting and are offset by the mass of branches and the house at the end of the path. I love the impressionist brushwork which is so rich in the middle ground of the work and the tree trunks, in particular, are painted with a great deal of mastery. The rhythmic shadows on the ground contrast with the trees by their horizontal, brilliant turquoise shades of blue. The richness and contrast of the colors animates the entire painting. This is one of the best paintings in the collection.”

Emmanuel Victor Auguste Marie de La Villéon Dans l’Isle fleurie près de Nanterre 82

Oil on canvas 43.25 x 26.4 signed

“This is the best painting I’ve ever seen by Jules Scalbert. His academic training is apparent in the skillful composition. The boat is heading in one direction while the swans and the faces of the women are headed in the opposite diagonal. I also love the color scheme; the strong reds of two of the figures’ dresses are picked up in a muted tone in the shadows of the boat and trees. Many Impressionists, including Mary Cassatt, Auguste Renoir, and Claude Monet, loved to paint this popular subject matter. Scalbert’s brushstrokes, particularly in the textiles and water, show the influence of the Impressionists, yet his own unique style is very apparent and very pleasing.”

Jules Scalber Promenade en barque 84

Oil on canvas 51.2 x 80.7 in. signed

Bernard, Émile

François Louis Lanfant was very aptly named; in French, l’enfant means “the child,” and he specialized in painting children. He painted lives of children in a highly realistic style that skillfully expressed their personalities. In this painting, he captures a delightful moment in which an older sister is teaching two younger brothers how to read. The artist has created a very cozy atmosphere, and a beautiful rendering of space and light. The child teaching and those learning perfectly point their attention to the center of the paiting. There is a very delicate harmony of tones found in the pink of the dress, the soft green of the wall, and the soft red of the floor.”

François Louis Lanfant de Metz La lecture Oil on panel 10.6 x 8.3 in. signed

Biographies of the Artists

French, 1868-1941

Émile Bernard plays a singular role in the history of painting in the late-19th century. As demonstrated by the important retrospective of his work mounted by the Fondation Mona Bismarck in Paris in 1991, he was the often-overlooked originator of a number of highly innovative movements (Cloisonnism, Synthetism, even Symbolism), whose paternity he claimed with vehemence in his writings, before he turned his back on them all with equal forcefulness later in life. He moved to the western Paris suburb of Asnières with his family in 1881, and showed an early interest in painting, studying at the Atelier Cormon from the age of 16. Here he met his mentor, Henri Toulouse-Lautrec, and subsequently Vincent Van Gogh. Expelled from the studio in 1886 for insubordination and lack of discipline (“showing expressive tendencies in his paintings”), he travelled to Normandy and Brittany, where he encountered 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 his earlier interest in Pointilism following a conversation with its founder, Georges Seurat; from 1887, he worked with his close friend Louis Anquetin to devise a new style, known as Cloisonnism (due to its use of flat patches of intense color separated by thick outlines, similar in appearance to cloisonn é enamelwork). The style was subsequently taken up by members of the Nabi group. Inspired by the flat expanses of color in Japanese prints, Bernard’s quest to achieve greater pictorial destiny in his works led to the development of Synthetism: realistic form was now subordinated to the attempt to give visible expression to ‘invisible’ ideas and emotions. In this, Bernard may also be seen as one of the founders of Symbolism, and as such a central, revolutionary figure in the history of early 20th-century Western art – an assessment supported by his correspondence with his many friends and associates: among them, Toulouse-Lautrec,Van Gogh, Gauguin, Cezanne and Odilon Redon. In 1889, Bernard took part in the exhibition mounted by the Groupe impressionniste et synthetiste at Café Volponi in Paris. Shortly afterwards, in 1891-1892, he broke with Gauguin following what he saw as the latter’s ‘theft’ of Cloisonnism: ‘I was 20 years old, he was 40,’ he confided to Renoir. ‘It was easy for him to pass himself off as the inventor of that which he had merely snatched.’ A comparison of Bernard’s Yellow Christ, dated 1886, and Gauguin’s painting of the same name, dated 1889, would seem to confirm his objections. However, Gauguin’s painting is clearly the culmination of his own artistic journey. Bernard’s painting seeks to unify flat areas of color through the use of outlines, while his body of Christ is modeled in traditional halftone chiaroscuro. In Gauguin’s picture, the modeling is achieved using a daring contrast of blue and yellow. Bernard’s quarrel with Gauguin also marked a break with his own earlier ideas. He exhibited once more with the Salon des Independants in 1891, and with the Nabi group at Le Barc de Boutteville in 1891-1892. He painted his last Breton Synthetist pictures in the summer of 1892, and turned to more overtly religious subjects, as can be seen in

the paintings submitted that year to the first Salon de la Rose-Croix. His celebrated picture of the Burial of Vincent Van Gogh dates from 1893, when he organized the first posthumous retrospective of Van Gogh’s work. After this, he left France for Italy and Egypt, where he remained for the next 10 years. Overwhelmed by the masterpieces of the Italian Renaissance and Venetian School, Bernard abandoned his earlier artistic experiments, prompting Cezanne to observe that ‘he has completely turned his back on the ideas set out in his writings’. Bernard himself gave a different assessment of his evolution towards a more classically inspired, deeply religious art: ‘In the first part of my life, I surrendered myself to colour; I believed its radiance was all. I was a sensual mystic. Later, I understood that the appeal of colour lies not in its radiance, but in its sensitivity, and I reduced my palette to just two colors, preferring to work in variations of tone: no more complementary colors, but rather the 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, including decorative features on furniture of his own design. He also produced illustrations for Cantilenes by Moreas (1892), L’Ymangier by Remy de Gourmont (1895-1896), Les Fleurs du Mal (The Flowers of Evil) by Baudelaire, Homer’s Odyssey, Ronsard’s Les Amours and Villon’s Poesies. In addition to his extensive correspondence with Van Gogh, Gauguin and Redon, he wrote poetry and criticism, published in the highly doctrinaire review La Rénovation esthétique, which he edited from 1905 to 1910. Bernard was indeed something of a Renaissance man, a catalyst in the evolution of modern art who produced his key works early in 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 Carlsberg Glyptotek, Copenhagen; Musée d’Art Moderne de la Ville de Paris, Paris; Musée des Beaux-arts, Quimper; and in museums in Algiers and Lille.

Besnus, Amédée

Bonheur, Marie Rosalie (called Rosa)

French, 1822 – 1899

Rosa Bonheur’s first teacher was her father; she later became a pupil of Léon Cogniet. At a young age she showed an extraordinary talent for drawing people and animals, outlining them with great skill. She also showed an independence of mind and strong will from an early age; she ran away from school and then from a workshop where she was apprenticed declaring that she wanted to be an artist. She overcame her father’s opposition to the idea and persevered. She made her first studies in the Bois de Boulogne, which was still fairly wild in her youth. At this time, the French philosopher Félicité Robert de Lamennais (1782-1854) and the author George Sand, both had a decisive influence on freeing her from prejudicial thinking. She wore men’s clothes to visit local slaughterhouses and fairs and mingled with horse-dealers and cattle men. She first exhibited at the Salon of 1841 with two animal paintings. At the next exhibition, alongside her paintings, she exhibited a terracotta sculpture of sheep and in 1843 in addition to paintings, she sent a plaster sculpture of a bull. In 1843 she won a third-class medal. She won a first-class medal in 1848 with Ploughing in the Nivers and it was clear that her talent was fully mature. At the Salon of 1853 she exhibited Horse Market which, popularized byh an engraving, placed her among the foremost painters of her time. She was made a Chevalier of the Légion d’Honneur in 1865 and an Officer in 1894. She was also a Commander of the Order of Catholic Isabella and the Order of Léopold of Belgium. She was a great friend and protégée of Queen Victoria 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 end of her brilliant success she changed her palette entirely to give her works the powerful coloration of the Impressionists. In 1997 the Musée des Beaux-Arts, Bordeaux gave a retrospective exhibition of her works which traveled to the Dahesh Museum in New York in 1998. In 2001 some of her sculptures were included in the exhibition held at the Musée des Arts Decoratifs, Bordeaux (Around Barye and Pompon – Animal Sculptures of the 19th and 20th Centuries).

Besnus 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), in which he demonstrated his talent as an etcher. He was a friend of many artists of the Barbizon School, especially Jules Dupré, and painted landscapes around Paris, Brittany, Italy, and the English countryside. His pictures were freely drawn and have a feeling for wide-open spaces.

Her works can be found in the following collections: Musée des Beaux-Arts, Bourdeaux; Museum of Brighton, Brighton, England; Albright-Knox, Buffalo, New York; Musée Condé, Chantilly, France; Wallace Collection, London, England; National Gallery, London, England; Bilbao Fine Arts Museum, Bilbao, Spain; Art Gallery of Ontario, Toronto, Canada; Metropolitan Museum of Art, New York, New York; Art Institute, Chicago; Detroit 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.

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

de Brunel de Neuville, Alfred Arthur

Bodeman, Willem

French, 1852 – 1941

French, 1831-1909

Dutch, 1806 – 1880

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

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 the Salon des Artistes Français in Paris from 1879, becoming a member in 1907.

Chaigneau, Jean Ferdinand

French 1830 - 1906

Jean-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 (17881858). In 1847, he moved to Paris to continue his studies with his uncle, a marine painter. He exhibited at the Salon de Paris as early as 1848. In 1849, Chaigneau entered the 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 his desire to paint landscapes and animals. He received third prize in the Concours de Rome competition of 1854. In 1858 he moved to the 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 other artists then living and working in Barbizon. This group comprised the Barbizon School of landscape art which became a viable alternative to the Academy. Chaigneau's work, as the others, was rooted in nature. His landscape subjects included scenes from Bordelais, Landes, Limousin and Normandy in addition to scenes from the forest of Fontainebleau, south of Paris. His shepherding and harvesting subjects have strong echoes of Jean François Millet, Théodore Rousseau and Charles Jacque, his closest colleagues among the older generation of Barbizon artists. From 1865 to 1881, he exhibited frequently in London, and was awarded a bronze medal at the Exposition Universelle 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, Barbizon, France; Musée de Beaux-Arts, Rennes; Musée d’Orsay, Paris; Metropolitan Museum of Art, New York; Art Institute of Chicago, Illinois; and at the Victoria and Albert Museum, London UK.

Ciceri, Eugène

French, 1813 – 1890

Eugène Ciceri was the nephew of the landscape painter Eugène Isabey, and the son and pupil of the celebrated decorative painter Pierre Luc Charles Ciceri (the organizer of official ceremonies following the Restoration of Louis XVIII). Ciceri first showed at the Paris Salon in 1851 and was awarded a third-class medal the following year. He established himself as a decorative painter in his own right, executing theatrical scenery as well as numerous works for the auditorium at Le Mans. He painted frequently at Barbizon and 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 are reminiscent 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 – 1926

Clary studied under the Belgian artist César de Cook, who was friends with Jean Baptiste Corot, Théodore Roussearu, Narcisse Diaz de la Peña, and Constant Troyon, and himself studied with Charles Daubigny and François Louis Français. Clearly, Clary had the best of teachers and he showed early talent; he began exhibiting his work regularly at the Salon des Artistes Français at the age of 12; he went on to receive a gold medal there in 1890. Although born 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 large manor on the square of Saint-Sauveur. During this period he was exhibiting his work regularly in London and between trips to London, he often held sumptuous receptions at this manor which were attended by English artists. Unfortunately, his personal fortune did was not sufficient to support his lifestyle and he was forced to sell the manor and move with family to a smaller home near the Square. Clary’s landscapes are delicate and well constructed; he had a very refined touch. One of his favorite subjects was the reflection of trees in river water and he achieved great success with these images. He was interested in large panoramas and scenes along the Seine; he loved effects that were fluid and transparent. Examples of his work featured in the exhibition Autor de l’Impressionnisme: dix-neuf pieintres de l’école normande (Around Impressionism: Nineteen Painters from the School of Normandy) held in 2003 at the Maison des Arts in Antony. He started to lose his sight in 1920 and died in 1926. Les Anelys is one of the most beautiful places in the Seine valley and is famous for the fortified castle which overlooks the river. Writers such as Gustave Flaubert, Arthur Conan Doyle and the poet Paul Fort came for inspiration. And Clary was not the only painter to be seduced by the scenery. Other painters including Charles Daubigny, Claude Monet, and later Paul Signac painted in Les Andelys; these artists span the artistic movements of the time – from the school 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 his work at the Salon de la Société Nationale des Beaux-Arts in addition to the Salon des Artistes Français. He was awarded an honorable mention in 1883 and 1890 and a bronze medal at the 1900 Exposition Universelle. He aligned himself with the dissidents who founded the Salon De la Société Nationale and became an associate member of that institution in 1895 and a full member in 1920. His work can be found the following collections: Musée des Beaux-Arts; and museums in Lisieux and Eure, France

Coignet, Jules Louis Phillippe

French, 1798-1860

Coignet 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 in French 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 Picturesque 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 at the Salon in 1824 and showed art there until 1854. To aid his numerous followers, in

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

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

French, 1807 – 1876

A landscape painter in the tradition of the Barbizon artists, Hippolyte Delpy had the opportunity to study under two of the most well-respected landscape painters of the nineteenth century, Camille Corot and Charles François Daubigny. Daubigny was actually a family 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 was Daubigny that introduced Delpy to Corot. In the years that followed, Delpy developed an itinerant pattern, dividing his time between his two masters. The first part of the year was spent in Ville d’Avray with Corot; he then moved on to Auvres with Daubigny where the two of them traveled along the river in Daubigny’s small boat which served as a home and studio for several weeks at a time. Those years working under both Corot and Daubigny were seminal in establishing Delpy’s individual style. One critic of the time wrote that “Mr. Delpy has revealed himself as a young landscape painter combining Corot’s poetical style with Daubigny’s more naturalistic style in a way that does not exclude his own personality.” Delpy uniquely brought color to his work in a way unlike the Barbizon School painters had in the past. After meeting Paul Cezanne and Camille Pisarro at Auvers, Delpy brought a more vigorous touch and greater intensity of color to his work while remaining faithful to the technique Daubigny had taught him. Delpy realized 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 honors and awards that would last over 40 years. A friend and art connoisseur wrote in Delpy’s obituary how he had wanted to be remembered; “He asked that his art—of which Corot and Daubigny had been his godfathers—provide comforting joy.”

Born to Spanish political refugees in Bordeaux, France, Narcisse Diaz de la Peña found himself orphaned and penniless at ten years old. While still a child, he lost his leg from a viper bite and he gained local recognition for both his wooden leg and his exceptional skill as a painter. He taught himself composition and color by studying the great works in the Louvre, and then when he felt he was ready, he moved outdoors to paint nature at large. In 1836, he met Théodore Rousseau and the two became friends, neighbors, and fellow artists in the village of Barbizon. Rousseau had a strong influence on Diaz, even giving him lessons on how to paint trees. Diaz went regularly to the forest of Fontainebleau to paint; he composed minutely detailed studies reminiscent of Dutch painting on the spot, and then used these studies to compose finished pictures in the studio. A friend who witnessed him at work recalled, “I saw Diaz paint in the forest magical effects that are surprising, true, sun-drenched. The trunks and leaves of beech trees sufficed for the most brilliant poems suffused with the rays of the most enchanting fairyland." Although he is considered a leading member of the Barbizon School, Diaz never confined himself to landscape painting. He followed his own instinct—sometimes creating Orientalist compositions and figurative works in his studio, sometimes painting nature en plein air. Although Diaz never settled permanently in Barbizon, like Jean François Millet or Charles Jacque, he spent most summers there and visited often throughout the year. He also painted at Etretat (in the late 1850s), Le Havre and Honfleur, and much later, near the end of his life, in the south of France. These sites became standard for other landscapists, and the Impressionists learned a great deal from where Diaz and his friends 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, Théophile Thoré, 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 wellknown aristocrats asked him to paint their portraits. His second Salon medal, a secondclass award, was received in 1846. Diaz remained popular throughout his career. Because of his financial success Diaz was able to help friends in need and Troyon, Rousseau and Millet all benefited from his generosity. In 1851, he established a studio in Paris where he entertained and lived prosperously with his wife and sons. Diaz reached the height of his fame in 1855 and was regarded as a master landscapist who fully understood and used the lure of the forest of Fontainebleau. His work continued to appreciate in skill and value into his last years. In 1863, Diaz met Claude Monet, Auguste Renoir, Alfred Sisley and Frédéric Bazille, who admired his brilliant colors; his late landscapes very likely influenced the Impressionists.

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

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

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, Versailles; Musée du Louvre; France; Trianon, Versailles; Fitzwilliam Museum at the University of Cambridge, UK; National Gallery of Art, Washington D.C. (2); The Museum of Fine Arts, Houston; The Metropolitan Museum of Art, New York; National Gallery, London, UK; and the Neue Pinakothek, Munich, Germany.

Delpy, Hippolyte Camille

Diaz de la Peña, Narcisse Virgile

French, 1842 – 1910

Dupré, Léon Victor

French, 1816-1879

Léon Victor Dupré was taught by his older brother, the painter Jules Dupré. He also worked in his father’s porcelain factory, learning the exacting skills necessary in the painting 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 quite small in relation to the grand, luminous skies of which he was fond. Like his brother, he often painted river banks under stormy skies. He won a third-class medal in 1849. His best 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 Arts Museums of San Francisco, the Minneapolis Institute of Art, the Museum of Fine Arts in Boston and the Rijksmuseum in Amsterdam among others.

terms of technique, the opulent nudes that adorn a large number of his canvases recall those 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 – 1921

Almost nothing is really known about Hippolyte Gide except that he was one of the great masters of watercolor and he most likely was taught by his father François Théophile Etienne, who was also an accomplished painter.

Gilbert, Pierre Julien

French, 1783 – 1860

This umbrella term, meaning “French School,” refers to works of art characterized by a classical French academic style

Pierre Gilbert studied initially under Nicolas Marie Ozanne, then under Louis Philippe Crépin. He exhibited at the Paris Salon between 1822 and 1859, receiving a silver medal in 1833. He was appointed official painter to the Algerian Expedition of 1830 and subsequently taught painting and composition at the royal naval college. Pierre Gilbert was made a Chevalier of the Légion d’Honneur in 1833.

Enjolras, Delphin

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

Ecole Française

French, 19th Century

France, 1857 – 1945

Delphin Enjolras was a pupil of the watercolorist Gaston Gérard at the École des Dessins de la Ville de Paris. He also studied with Jean Léon Gérôme at the Ecole des Beaux-Arts in Paris. From 1901, he exhibited at the Salon des Artistes Français, of which he was a member. He was very prolific, especially in watercolors and pastels, and although he painted mainly landscapes early in his career, he later made a specialty of painting young women, often while dressing or at their daily tasks. The pastel medium was ideally suited for the intimate and charming works he produced. His work can be found at the Musée Calvet in Avignon, France; and the museum in Le Puy-en-Velay, France

Giacomotti, Felix Henri

Italian, 1828 – 1909

Originally 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. He came 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 and Leonardo da Vinci, whom he particularly admired. He exhibited at the Paris Salon from 1859 to 1909, and won medals in three consecutive years: 1864, 1865 and 1866. From 1881 onwards, he exhibited at the Salon of the Société des Artistes Français. He was appointed curator of the museum in Besançon, eastern France. He produced a variety of religious compositions for the churches in Paris: for the chapel of St. Joseph in the church of Notre-Dame-des-Champs; and a painting of Christ with the Lictors for the church of St-Étienne-du-Mont, among others, Giacomotti also painted historical and genre scenes, but had a particular preference for portraits. His works include Portrait of Jules David; Portrait of Edmont About; Agrippina at the Camp of Ahaseurus; and Capture. The Glory of Rubens was commissioned by the French state for the ceiling of the Musée du Luxembourg in Paris; it is now in the town hall in Bourges, central France. In

Gorter, Arnold Marc

Dutch, 1866 – 1933

Arnold Marc Gorter attended the Rijksakademie van Beeldende Kunsten (the National Academy) in Amsterdam. He received an honorable mention in 1904, a second place award 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 school painters, although it does not appear he ever travelled to France. He became famous for his 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 – 1880

Théodore Gudin, as he is usually known, studied at the École des Beaux-Arts under Girodet-Trioson. He was subsequently influenced by the Romantic School and exhibited at the London Royal Academy. He was awarded medals in 1824, 1848 and 1855 and the Légion d’Honneur in 1828, becoming an Officer of the Légion in 1841 and Commander in 1855. He specialized in painting seascapes. Gudin executed many paintings for the king’s household and worked for the Duke of Orleans 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 Collection 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, Chantilly, Clamecy, Dijon, Morez, Nantes, La Fère, Le Mans, Paris, Perignan, Troyes, and Versailles, all in France.

Heda, Willem Claesz

Dutch, 1594 – 1680/2

Willem was the brother of Cornelis Claesz. Heda. He occupied an important place among the painters of Haarlem. His pupils were Maerten Boelema of Louvain, Arnoldus Beerensteyn, Hendrik Herschoop of Haarlem and his son Gerrit Willemsz. Heda. Arnold de Bray painted his portrait in 1678. Heda was ignored for a long time by art-lovers: while painters of the same school such as David de Heem, Jan Fyt or Kalf, attracted high prices at public auctions, the paintings signed by Willem Heda were left unbought. Today, however, his merit as a painter is recognized and appreciated. His works are included in the big museums and the most famous private collections. Heda specialized in still-life, however, it has also been claimed that he treated historical subjects. The exceptional precision of his execution never suffered from the technical dryness 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, intentionally 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 richness of his paint, all of these contribute to Heda being one of those 17th century Dutch painters whose art most calls to mind that of Chardin. It is quite possible that Chardin saw Heda’s work. He would have recognized the qualities that distinguished Heda from many contemporary artists who sought to depict arbitrary picturesque groups of individuals rather than evoke a human environment. Rubens possessed two of his paintings. In short, he was a magnificent painter, whose standing was finally recognized in the 19th century. In that century, too, copies were made of his collections of dishes of various metals, glassware and baskets of citrus or velvety fruits, from amongst which would stand out the splash of red of a lobster, of particular grouping of books, of the shiny wing-cases of an insect, or bouquets 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, Germany; 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 – unknown

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

Hostein, Edouard Jean Marie

French, 1804-1889

Edouard Hostein was a bank employee who also worked as an illustrator in Paris between 1827 and 1833. He was a self-taught artist. His work was regularly featured at the Paris Salon from 1833 to 1859 and he won several medals: a third-class in 1835, a secondclass in 1837, and a first-class in 1841. He was honored with the title of Chevalier of the 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 Dumont d’Urville. He traveled throughout Europe and also exhibited at provincial Salons outside Paris. His style indicates a strong respect for nature; he favored painting what he saw, in distinct preference to simplification, synthesis or stylization. Several of his drawings were shown 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 – 1807

Angelika was born in Switzerland, but grew up in Austria. She was a precocious child and was taught painting by her father, a skilled artist. There is a story that Kauffman’s father had boy’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 stood out with her beauty, grace and talent. She spoke German, French, Italian and English; she also sang, and played several musical instruments. The young English painter Nathaniel Dance, fell in love with her. For nine years he followed her from city to city, attempting in vain 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 growing all the time. The wife of the English ambassador, Lady Wentworth, carried her off to London and presented her at court. In 1768, when the Royal Academy was founded, Angelica was listed as one of the founding members. Sir Joshua Reynolds, another co-founder of the Royal Academy, 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 Frederick Horn of Sweden paid court to her and Angelica agreed to marry him in secret. After the 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 of the impostor, she managed to get rid of him at the cost of 7,500 francs. In 1781, after the death 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 continued to live with her, died and she and Zucchi moved to Rome. Zucchi died in 1785 and Angelica remained in Rome until her death. Kauffman had a second reason for returning to Italy in 1781. History painting was her strength and it was the most elite and lucrative category of academic painting in Europe during the 18th century. But, although the Royal Academy in London made a strong effort to promote history painting, the British were more interested in commissioning and buying portraits and landscapes. In addition to painting, Kauffman also engraved about 50 prints in a vigorous style. A great many of her works were reproduced as engravings. An exhibition of her works was organized by 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 Kingdom; The Uffizi Gallery in Florence, Italy; Alte Pinakothek, Munich, Germany; the National Portrait Gallery, the Royal Academy of Arts, the Victoria and Albert Museum and the Tate Gallery in London, United Kingdom; Louvre Museum in Paris, France; Museum of Fine Arts in Richmond, Virginia in the United States; Hermitage in St. Petersburg, Russia; and in museums in the following cities: Leipzig, Frankfurt, Dresden, Berlin and Munich, Germany; 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 – 1912

Jan 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, where he 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 Adrianus Dutch, 1807 – 1868 or 70 Marinus Adrianus Koekkoek was born in Middelburg in 1807 and lived most of his life in Hilversum where he died. He was the son and pupil of Johannes Hermanus Koekkoek and came from a long line of well respected Dutch landscape painters. He often included figures 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 often known by – de Metz. He studied under Ary Scheffer in Paris. He travelled to Africa and took 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 Agassiz and traveled from Naples, Italy to Mulhouse, France. Later he set up a studio on the Boulevard des Italiens in Paris and took as a student, Mlle. Ségalas, the daughter of the surgeon 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 Trouville. 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 in the 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 ??

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 in 1868. Lanfant also painted scenes of Paris and its artisans at work. These subjects were so popular that he was often encouraged to paint them in pairs in order to complement the décor of a room. In the later years of his career, he began producing colored lithographs of his own work. His work can be found at the Musée des Beaux-arts in Rheims.

Lavieille, Eugène Antoine Samuel

French, 1820-1889

Eugène Antoine Samuel Lavieille was the younger brother of Jacques Adrien Lavieille and studied under Camille Corot and Justin Lequien. After living in Barbizon, he moved to La Ferté-Milon and then to Montmartre. Lavieille and his close friend Antoine Chintreuil were among Corot’s finest pupils. He is said to have preferred painting nature in a spirit of 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 mysterious charm of evening, often with great success. Lavieille was a three-time medal winner in the Paris Salon: in 1849, 1864, and 1870. He exhibited in the first Salon des Refusés 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 French cities: Alençon, Barbizon, Le Mans, Lille, Marseilles, Montpellier, Moulins, Nantes, Narbonne, Rouen and Tourcoing.

Leroux, Constantin

French, 1850 – 1909

Little is known about the background of the artist Constantin Leroux. He painted landscape and genre paintings.

Loubon, Emile Charles Joseph

French, 1809 – 1863

Loubon was a student of Jean Antoine Constantin, the director of the school of drawing in Aix-en-Provence, and later of François Marie Granet; the latter took him to Rome in 1829. In 1831 he went to Paris, where he associated regularly with the painters of the Barbizon School, including Narcisse Diaz de la Peña and Théodore Rousseau. Their influence encouraged him to turn to landscape painting. He travelled in Italy, Algeria and Egypt, gathering images and themes for landscapes as he went. He was director of the Ecole des Beaux-Arts in Marseilles from 1845 to 1863. He exhibited at the Paris Salon between 1833 and 1863. He won a third-class medal in 1842 and was made a Chevalier of the Légion d’Honneur in 1855. Having settled into southern France, he concentrated on portraying provençal landscapes and his style and colors were well-suited to the territory. His sketches were widely admired and collected; he also engraved etchings. In 2001, his work appeared the collective exhibition: Le Femme en Provence et en Mediterranee (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-enVelay, Marseilles, Perpignan, Rouen –all in France; as well as in the Musée des BeauxArts, Chambéry, and the French Ministry of the Interior.

Luce, Maximilien

French, 1858-1941

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

played a part in establishing Neo-Impressionist technique outside of France. For many years, Luce was a strict Pointillist, but he then adopted a more relaxed, more fluid approach, which can be seen in his landscapes of Rolleboise, departing from the rigor of Neo-Impressionism and returning to a late-Impressionist style. The majority of Luce’s works are landscapes, and primarily of France. He painted a smaller number of urban landscapes, often of working class districts, and often painted at night, providing a snapshot of the world of work at that time. His figures set him apart from his Neo-Impressionist contemporaries, as he genuinely wanted to share the cares 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.

Luce was born in Paris, 1858, to a poor family and brought in the working-class surroundings of Montparnasse. He began an apprenticeship with the wood engraver Henri Théophile Hildibrand in 1872, and simultaneously studied drawing at night school. In 1876, having qualified as an engraver, he joined a workshop where illustrations were engraved for many French magazines and some foreign periodicals. He went to London in 1877, where he sold some drawings to the magazine Graphic. When he returned to France, 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, he studied under Carolus Duran, probably at the Académie Suisse, where Courbet and Cezanne studied, and worked at the École de Dessin in Les Gobelins. He was mostly self-taught from his observation of nature, and also received guidance from his friend Camille Pissarro. In 1887 he joined the Société des Artistes Indépendants and took part in their exhibitions, which were considered avant-garde at the time. He also exhibited with the Groupe de Vingt in Brussels in 1889 and 1892.

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

During his youth, the events of the Paris Commune had made a significant impression on him and he later worked on anarchist publications such as Le Père Peinard, founded in 1889, whose cover he designed. He also worked on Les Hommes d’aujourd hui, L’Illustration, La Révolte and Les Temps Nouveaux. In 1894 he was indicted in the Trial of the Thirty for being a subversive anarchist and he served a prison sentence as a result. These events inspired a collection of lithographs entitled Mazas. Upon his release, he took refuge in 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 to his friend Paul Signac after that artist’s death in 1935. He renounced his presidency, however, at the beginning of the German occupation as a protest against Jewish artists being forbidden to exhibit. He corresponded with many other painters, including Charles Angrand, Georges Seurat, Théo Van Rysselberghe and his friend Louis Valat.

Harmony was Luce’s goal in all aspects of his life—as a political activist he sought a more harmonious 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 harmony in mood, color, and composition. He died in Paris in 1941.

With Seurat and Signac, he was one of the founders of the Neo-Impressionist school, which was 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 individual points of color to interpret the complexity of the composition of colors, while preserving their vibrancy and defining the light and shadow of elements in the picture. The technique involved applying tiny dots or short, quick dashes of pure juxtaposed colors to the canvas without blending. This allows the creation of secondary colors to occur through the optical blending that takes place when a viewer looks at a painting. During his stay in Belgium he

In a sense, Luce’s artistic language is an entity unto itself, devised by a man who valued nothing more than independent thought, freedom, humanity, and the beauty and vitality of life and love. Those values are what shine through in his paintings, creating an independent spirit and freedom from frivolity, pretentiousness, and social constraint.

As art historian Robert Bernier wrote, “Maximilien Luce is one of those who will contribute to ending the misunderstanding between artists and the people. He is one of those who will help 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 Gallery of Art, Washington, D.C.; The Fine Arts Museums of San Francisco; Museum of Fine Arts, Boston; Minneapolis Institute of Arts; Museum of Fine Arts, Dallas; and the Los Angeles County Museum of Art, California.

Maar, Dora

French, 1907-1997

Dora Maar spent her youth in Argentina with her father, an architect of Yugoslavian origin. 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 often used as a model by the great photographers of the time, Man Ray and Laure Albin-Guillot, 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 contact with the Surrealists, and in 1934, with Georges Bataille and André Breton, she took part in the Union des Intellectuels Contre le Fascism. As a photographer, she produced advertisements for Petrole Hahn and photographs of nudes; in 1931 she illustrated a book by Germain Bazin on the Mont St-Michel; she produced photographs of Barcelona in 1931 and of London in 1934. Her photographs demonstrates a social awareness: the retrospective exhibition held in 2002 in the Centre de la Vielle Charité in Marseilles underlined not only the Surrealist dimension of her photograph work, but also its realism, with her photographs of the excluded and those on 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’s film, M. Lange’s Crime, the set of which she had photographed. She found him the studio at 7 Rue des Grands Augustins, next door to her own. She influenced his political thought and his decision to join the Communist Party in 1944, and was his companion until about 1945. She was also his model for affectionate portraits, for the terrible series of the Weeping Women in red and green, for the central figure of Geurnica, who holds out a lamp to light up the horror, and for the sculpture in the square of St-Germain-des-Prés that became the monument to Apollinaire. She took part in group exhibitions in 1934, at the Galrie de Beanue, Paris 1936; the Museum of Modern Art, New York, 1948; The Galerie Denise René, Paris 1987-1988, the Musée Contonal des Beaux-Arts, Lausanne, 1989, the Plazao Reale, in Milan 1989-1990, the Schirn Kunsthalle, 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 Dora Maar, a touring exhibition in the USA, at the Los Angeles County Museum of Art; 2002 Elles de Montparnasse (Women of Montparnasse) at the Musée du Montparnasse in Paris, an exhibition on the emancipation of female artists between the two wars. She showed her work in solo exhibitions, including: 1944 the Galerie Jeanne Bucher, in Paris; 1945, Galerie Vendôme, Paris: 1957 the Galerie Berggruen, Paris; 1958, the Leicester Galleries, London: 1990, the Galerie 1900-2000, Paris: 1995 in a retrospective at the Bancaixa Foundation, Barcelona. In 2002, the Centre de la Vielle Charite in Marseilles organized the first significant retrospective of her photographic work in France. Abandoning photography for painting, she was influenced by Picasso, of whom she painted two portraits in 1938. In her landscapes she painted from life, providing a simple construction through backgrounds and foregrounds, in which each element, a post, a tree or a house, corresponds with a different color, in the Cubist spirit. There is also a touch or poetic subjectivity, and at the end of her life she painted spontaneous landscapes, noman’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 – 1900

Meucci 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.

Michel, Georges

French, 1763 – 1843

Georges Michel was a delicate artist who was born into a poor family; little is known about his life. He was married twice, first at the age of 16 to a girl the same age who died very young, and again in 1827. Under the patronage of several people, he was apprenticed in 1755 to the studio of a landscape painter called Leduc. He soon became disenchanted with the fantastic and mannered landscapes of the 18th century, and returned to the idea of nature as perceived by Salomon van Ruysdael and the great Dutch landscape artists, taking his inspiration entirely from nature. He exhibited at the Salon from 1796 to 1814, working hard but selling little. He did not actively seek success, and remained unknown and poor. He was supported by Baron d’Ivry, who kept Michel’s entire works by the devious subterfuge of passing the painter off as dead. Michel did not sign 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, in Boulogne and in Meudon, where he learned to depict the nostalgic character of these rural sites. He was the earliest of the Montmartre painters. His skies, while painted using the traditional methods that often played on the contrast of leaden clouds with areas of strong light, herald the skies of Eugène Boudin. He appears to have adhered to John Constable’s declaration that “nothing is ugly in nature.” To justify working almost entirely in the area around Paris, he declared that “anybody who is unable to spend his whole life painting within four areas is but a fool.” It is with good reason that he has been called the father of modern landscape. Scorning classical locations, he drew his subjects from the surroundings of Montmartre and the plain of St.-Denis. On several occasions he worked with Nicolas-Antoine Taunay, who painted figures in some of his landscapes. In 1812 he developed his later style, which was characterized by accentuation of contrasts. His liberation from earlier influences corresponded with the blossoming of his style from 1830 onwards. After 1843 his influence on several painters, especially Charles Emile Jacque and Jules Dupré, was of particular importance. Although he achieved little fame during his lifetime, Michel is 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 of Fine Arts, Boston; Metropolitan Museum of Art, New York; Musée des Beaux-Arts, Lyon, France; Thyssen-Bornemisza Museum, Madrid, Spain.

Millet, François

French, 1851 – 1917

François Millet was the son and student of the renowned artist, Jean-François Millet. He made his debut at the Salon in 1870. His work can be found in museums in Darmstadt, Germany and Guéret, France.

Neogrady, Laszlo

Hungarian, 1896 – 1962

Laszlo Neogrady, was born in Budapest, Hungary in 1896. He was the son of the artist Anatal (Laszlo) Neogrady and he studied painting at the Hungarian Academy of Fine Arts under the artist Ede Ballo. Returning to Budapest, he became an art teacher, specializing in watercolor techniques.

Starting in 1922 Neogrady exhibited his work at the Hungarian Art Gallery. He specialized 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 these works. 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, 1844-1925

Born 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 impressionistic style. His first exhibited works appeared at the Salon of 1874. In 1883 he became a member of the Salon of French Artists. There he received a first place medal in 1884. In the 1889 exposition Universelle he received a silver medal, and in 1900 he received a gold medal. In 1892 he was made a Chevalier of the Legion of Honor. He was eventually awarded the highest honor at the Exposition Universelle, the ‘Hors Concours’, meaning that he was no longer required to compete for placement in the exhibit. In addition to showing a large body of work in France, Petitjean also exhibited work in the early 1890s in Munich. Towards the end of his career he was especially interested in the Atlantic, and he painted many scenes of ocean ports. Petitjean greatly admired the work of Monet and his 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 generation of American painters who had come to Paris during the last years of the 19th century. 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’Orsay, Paris; Musée des Beaux-Arts, Lille; Musée des Beaux-Arts, Dijon; Musée des BeauxArts, Bordeaux; Musée des Beaux-Arts, Marseille; Musée des Beaux-Arts, Chambéry; and the Musée du vieux château, Laval – all in France.

Pieler, Franz Xaver

Austrian,

1876 - 1952

Franz Xavier Pieler was a painter, primarily of still lives with flowers and fruit.

1891 and a second-class medal in 1892. He won a silver medal in 1900 at the Exposition Universelle. He was made a member of the Société des Peintres Orientalistes Français and Chevalier of the Légion d’Honneur in 1901. Rigolot was appreciated for his landscapes of water, lakes and river banks, and for his views of Algeria. He shared many of the goals of the Barbizon painters, using a naturalistic approach to his subjects and concentrating 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; Musée d’Art Moderne, Paris; and the Musée des Beaux-Arts, Rouen, as well in collections in Cambrai and Saint-Quentin, all in France.

Rosier, Amédée

French, 1831 – 1898

Amédée Rosier was born in Meaux, France. He studied with Léon Cogniet and Carolus Durand in Paris. He first exhibited at the Paris Salon in 1857 and received a third-class medal in 1876. He received a bronze medal at the Exposition Universelle in 1889. He lived in Italy, working in particular in Venice; he also spent time in northern Africa including Egypt. In addition, he painted in Holland, Constantinople, Bretagne, Saint-Pierre-etMiquelon, and in the Midi. His work can be found in the following collections: Musée des Arts et de l’Enfance, Fécamp, France; and in museums in Bernay, Compiêgne, Mulhouse, Niort, and St-Etienne, all in France.

Saintin, Louis Henri

French, 1845 - 1899

Henri Saintin was born in Paris and studied under Isidore-Alexandre-Augustin Pils, Alexandre Ségé, and Charles Edme Saint-Marcel. He was considered an excellent landscape painter, particularly of forests, river banks, and ponds. In 1873, he discovered Brittany and executed many paintings, particularly watercolors in the area. He also travelled to Venice and painted there. He made his Salon debut in 1867 and won a third-class medal in 1862.

Plantey, Madeleine Almost nothing is known about Madeleine Plantey.

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

Richard, Jules Gédéon

Scalbert, Jules

French, born 19th century

Jules Richard was born in Paris; he exhibited at the Salon des Indépendents in Paris from 1891 on. He primarily painted landscapes and flowers.

Rigolot, Albert Gabriel

French, 1862 – 1932

Albert Rigolot was born in Paris; his son, who used the name Yves Rouvre, was also a painter. Rigolot studied at the Parisian School located in the 16th district and then studied under Leon G. Pelouse and Auguste Allongé. He exhibited at the Salon des Artistes Français beginning in 1886. He became a member of the society in 1888 and received an honorable mention in 1889, a third-class medal in

French, 1851 - 1928

Jules Scalbert was a student of Isidor Pils and Henri Lehmann. He exhibited at the Salon de Paris from 1876. He also exhibited at the Salon des Artistes Français of which he became a member in 1883. He was awarded an honorable mention in 1889 and third-class medals in both 1891 and 1901.

Selmy, Eugène

French, 1874 - unknown

Eugène Selmy was a student of Léon Bonnat, Léon Glaize, and Albert Maignan. From 1900 he was a member of the Salon des Artistes Français in Paris and he exhibited there regularly. He received an honorable mention in 1900, a third-class medal and the Prix Marie 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 and the father of André. He exhibited at the Salon from 1831 to 1877 and was awarded a third-class medal in 1839 and a second-class medal in 1840.

Tanzi, Léon Louis Antoine

French 1846-1913

Léon Tanzi studied under Benjamin Constant, William Adolphe Bouguereau and Jules Lefebvre. He painted primarily landscapes, particularly of Provence; he also painted some works of a symbolist nature. He exhibited at the Paris Salon from 1877 and later at the Salon des Artistes Français. He received numerous awards, including a commendation in 1886, a bronze medal in 1887, a silver medal at the Exposition Universelle of 1889 and another silver medal for the Exposition Universelle in 1900. He was made a Chevalier of the Légion d’Honneur in 1901. His work can be found in museums in Algiers, Algeria and Marseilles, France.

Vallée, Étienne Maxime

French, 1850 – unknown

Étienne Vallée studied under Auguste Péquégnot and exhibited at the Paris Salon from 1873 to 1881. He painted views of Paris and the countryside of Bretagne, Normandy, and the forest of Fontainebleau. His favorite subjects included wooded sites, seasides, and images of fishermen 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 solely by colored values. His work can be found at museums in: Chambéry and Dunkirk, France.

La Villéon, Emmanuel Victor Auguste Marie de French, 1858 – 1944 In 1880, Emmanuel de la Villéon went to Paris to study at the Académie Julian ander Roll and Damage. He lived in Brittany, Switzerland and Paris, where found the themes for 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 luminous shades. He made his debut at the Salon des Indépendants in 1888 and from 1890 exhibited at the Salon de la Société Nationale des Beaux-Arts, of which he was an associate member from 1908; he also showed at the Salon d’Automne from 1903.

Zimmerman, Robert Almost nothing is known about Robert Zimmerman.

Index by Artist

Koekkoek, Jan Hermann Barend

Bernard, Emile

Lanfant de Metz, François Louis

Besnus, Amédée

Lavieille, Eugène Antoine Samuel

Bodeman, Willem

Leroux, Constantin

Bonheur, Marie Rosalie (called Rosa)

Loubon, Emile Charles Joseph

Brunel de Neuville, Alfred

Luce, Maximilien

Chaigneau, Jean Ferdinand

Maar, Dora

Ciceri, Eugène

Meucci, Michelangelo

Clary, Eugène

Michel, Georges (attributed to)

Coignet, Jules Louis Phillippe

Millet, François (son)

Delpy, Hippolyte Camille

Neogrady, Laszlo

Diaz de la Peña, Narcisse Virgile

Pieler, Franz Xaver

Dupré, Léon Victor

Plantey, Madeleine

Ecole Française

Petitjean, Edmond Marie

Enjolras, Delphin

Richard, Jules

Giacomotti, Felix Henri

Rigolot, Albert Gabriel

Gide, Hippolyte Jean

Rosier, Amédée

Gilbert, Pierre Julien

Saintin, Henri

Gorter, Arnold Marc

Scalbert, Jules

Gudin, Jean-Antoine Théodore

Selmy, Eugène

Heda, Willem Claesz (after)

Storelli, Ferdinand Michel

Holstayn, Josef

Tanzi, Léon Louis Antoine

Hostein, Edouard Jean Marie

Vallée, Étienne Maxime

Kauffmann, Angelika (after)

La Villéon, Emmanuel Victor Auguste Marie de

Koekkoek, Marinus Adrianus

Zimmerman, Robert

OPPOSITE:

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

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

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