»7ᵐᵉ exposition des artistes independants«
1882

Seventh exhibition 1882

1 - 31 March 1882
Paris, Rue St Honoré 251 (Salon du Panorama de Reischoffen)
203 works in the catalogue (8 out of catalogue) - 9 artists

Preparations for the next exhibition proved difficult, as the artists had very different views on who was a true Impressionist and should therefore be included in the exhibition. Caillebotte had already attempted to set clear guidelines for the sixth exhibition, but was unable to prevail with Pissarro and therefore decided not to participate in 1881.

The artists were almost exclusively in contact with each other by letter. For example, Caillebotte wrote to Pissarro in an attempt to persuade him, after he had already received a rebuff from Degas, to do without Raffaëlli.
In a letter to Pissarro in the winter of 1881, he wrote: "Degas will not give up Raffaëlli for the sole reason that he is asked to do so, and the more he is asked, the less he will give in."
Pissarro informed Gauguin of this news and received the following reply on 14 December 1881: "Yesterday Degas told me angrily that he would rather do without Raffaëlli himself than do without Raffaëlli!" And he went on to write: "When I look at your position after ten years of organising these exhibitions, I notice that the number of Impressionists has increased... On the other hand, from Degas' side - and only through his fault - the situation has deteriorated more and more; every year an Impressionist drops out and is replaced by some zero or a student from the École des Beaux-Arts. Two more years and you'll be standing alone among the worst kind of schemers. Despite my good will, I can no longer serve as the buffoon of Raffaëlli and his ilk. Please accept my resignation." This was certainly not an easy step for Gauguin to take, as the exhibitions were very important to him.

Pissarro, as the main organiser of the exhibitions, now found himself in a difficult position, as he had to realise that the Impressionist element was almost exclusively represented by him, and if he was lucky, by Berthe Morisot, who was travelling and whose participation was therefore not guaranteed. On the other hand, Degas' participation was very important to him. In the end, however, he decided in favour of Caillebotte's proposals. However, the desired participants had not yet agreed to take part.

So there was still a lot of convincing to do...

Caillebotte proposed the following list of participants: Pissarro, Monet, Renoir, Cézanne, Sisley, Berthe Morisot, Gauguin and Caillebotte himself. Perhaps Mary Cassatt should be added, if she would participate without Degas.

Berthe Morisot was in Nice and Pissarro endeavoured to secure her participation through her brother-in-law Manet. Monet had set conditions regarding the other artists, but did not yet want to agree. Renoir announced that he was ill and could not come. After no one really agreed, Caillebotte wanted to give up the plan of an exhibition.

But now Durand-Ruel, the gallery owner who had always championed the Impressionists and always helped out with the exhibitions, obviously took matters into his own hands. He was no doubt also driven by business considerations, as the last few years had been financially disastrous for his gallery.
Durand-Ruel wrote to Monet and Renoir to convince them to organise the exhibition. Renoir's response was largely positive, but he no longer wanted to negotiate with his colleagues himself. He was annoyed because the meetings were held without him and believed he was only acting as a stopgap.

Paul Durand-Ruel

Monet expressed similar views to Renoir and did not want to exhibit with artists like Raffaëlli who did not belong to the narrower group of Impressionists. However, as he was deeply indebted to Durand-Ruel as his patron, he could not refuse. His only condition was that Caillebotte would certainly take part, but from Monet's point of view Guillaumin, Gauguin and Vignon were to be excluded. Pissarro was very displeased about this and wrote to Monet again at the end of February 1882: "... because we never wanted to exclude Caillebotte from our group" and added the expected participants: "Monet, Renoir, Sisley, Pissarro, Caillebotte, Mme Morisot (if possible), Guillaumin, Vignon, Gauguin, Cézanne (if possible)."

Berthe Morisot, who was still travelling in the south of France, waited to make her decision until she knew for certain that Monet was going to take part. Cézanne wrote that he had nothing to exhibit. Now Monet made the condition that Renoir had to exhibit. Renoir finally agreed and authorised Durand-Ruel to show pictures. This meant that Monet finally agreed to an exhibition. Cézanne also agreed after all.

Degas finally declined, as his friends were excluded. Loyal to Degas, Mary Cassatt now also cancelled. Manet, who was also asked again, was again reluctant to accept, although he was later sorry for his decision.

Thus, after much toing and froing, perhaps the most unified Impressionist exhibition ever was held, which opened on 1 March 1882. The only nine participants were: Gustave Caillebotte, Paul Gauguin, Armand Guillaumin, Claude Monet, Berthe Morisot, Camille Pissarro, Pierre-Auguste Renoir, Alfred Sisley and Victor Vignon.
Durand-Ruel could be satisfied: some very favourable press articles appeared (the mood against the Impressionists among the population and critics was now changing after all) and more sales were recorded.

Organiser: Art dealer Paul Durand-Ruel

 

Examples from the exhibition

The numbers listed in the 1882 catalog are placed before the image title below. The art techniques or descriptions specified in detail in the catalogue are also listed.
The image titles correspond to those in the 1882 catalog. (Today, some titles are different.)

The provenance information lists those research sources
that provide reliable evidence for the respective work in the exhibition.
• = The sources for the 1882 exhibition suggest a possibility or assumption
that the painting may have been shown in the exhibition.

> Moffett = Charles S. Moffett: The New Painting, 1974
Catalogue with details of exhibited works in 1882
> Berson = Ruth Berson: The New Painting, 1996 (Volume 2)
Presentation of documented works exhibited in 1882
> Museum = Information in the museum's collection on the work's exhibition history
> Catalogue Raisonné = Artist's catalogue raisonné with exhibition details
> Newspaper reports 1882 = Ruth Berson: The New Painting, 1996 (Volume 1):
Related reports in (mostly) Parisian newspapers in 1882 on the exhibition

Gustave Caillebotte

17 Works in the catalogue

No. 1 - Partie de bézigue.
1881 - 121 x 161 - Oil on canvas
Le musée du Louvre Abou Dabi, United Arab Emirates >
Provenance: Moffett/Berson/Museum/Caillebotte Catalogue Raisonné Wildenstein No. 183/Newspaper reports from 1882

No. 2 - Homme au balcon
1880 - 116 x 89 cm - Oil on canvas
Private collection
Provenance: Moffett/Berson/Caillebotte Catalogue Raisonné Wildenstein No. 149/Christie's/Newspaper reports from 1882

No. 3 - Chemin montant.
1881 - 100 x 120 cm - Oil on canvas
Museum Barberini, Potsdam, Germany >
Provenance: Museum/Caillebotte Catalogue Raisonné Wildenstein No. 158/Christie's/Newspaper reports from 1882

No. 4 - Fruits.
ca. 1881/81 - 76 x 101 cm - Oil on canvas
Museum of Fine Art, Boston, USA >
Provenance: Moffett/Berson/Caillebotte Catalogue Raisonné Wildenstein No. 193/Newspaper reports from 1882

No. 5 - Portrait de M. G.
1881 - 97 x 116 cm - Oil on canvas
Nelson Atkins Museum of Art, Kansas City, USA >
Provenance: Moffett/Berson/Musem/Caillebotte Catalogue Raisonné Wildenstein No. 182/Newspaper reports from 1882

No. 8 - Marine.
1880 - 74 x 100 cm - Oil on canvas
Private collection
Provenance: Moffett/Berson/Caillebotte Catalogue Raisonné Wildenstein No. 167/Newspaper reports from 1882

No. 10 - Boulevard vu d'en haut.
1880 - 65 x 54 cm - Oil on canvas
Private collection
Provenance: Moffett/Berson/Caillebotte Catalogue Raisonné Wildenstein No. 154/Newspaper reports from 1882

No. 11 - Balcon.
1880 - 69 x 62 cm - Oil on canvas
Private collection
Provenance: Moffett/Berson/Caillebotte Catalogue Raisonné Wildenstein No. 146/Newspaper reports from 1882

No. 12 - Paysage (Environs de Trouville).
1882 - 60 x 82 cm - Oil on canvas
Private collection
Provenance: Moffett/Berson/Caillebotte Catalogue Raisonné Wildenstein No. 188/Newspaper reports from 1882

No. 15 - Pommiers.
1880 - 65 x 55 cm - Oil on canvas
Private collection
Provenance: Moffett/Caillebotte Catalogue Raisonné Wildenstein No. 173/•Christie's/Newspaper reports from 1882

No. 17 - Pêcheur.
1876 - 66 x 50 cm - Oil on canvas
Private collection
Provenance: Moffett/Berson

Paul Gauguin

13 Works in the catalogue

No. 18 - Fleurs, nature morte.
1881 - 130 x 162 cm - Oil on canvas
Nasjonalgalleriet, Oslo, Norway >
Provenance: Moffett/Berson/Gauguin - Catalogue Raisonné Wildenstein No. 50/Museum/Newspaper reports from 1882

No. 20 - Un morceau du jardin.
1881 - 65 x 54 cm - Oil on canvas
Private collection
Provenance: Moffett/Berson/Gauguin - Catalogue Raisonné Wildenstein No. 58

No. 21 - Le mur mitoyen.
1881 - 31 x 47 cm - Oil on canvas
Private collection
Provenance: Moffett/Berson/Gauguin - Catalogue Raisonné Wildenstein No. 56

No. 22 - La petite rêve. Etude.
1881 - 60 x 74 cm - Oil on canvas
Ordruppgaard Collection, Kopenhagen, Denmark >
Provenance: Moffett/Berson/Newspaper reports from 1882

No. 23 - À la fenêtre, nature morte
1881 - 19 x 27 cm - Oil on canvas
Musée d'Orsay, Paris, France >
Provenance: Moffett/Berson/Gauguin - Catalogue Raisonné Wildenstein No. 63/Museum

No. 24 - Fleurs et Tapis, nature morte.
1881 - 19 x 27 cm - Oil on canvas
Private collection
Provenance: Moffett/Berson/Gauguin - Catalogue Raisonné Wildenstein No. 64

No. 26 - Oranges, nature morte
1881 - 33 x 46 cm - Oil on canvas
Currently at the Musée des Beaux-Arts, Rennes on loan from the Musée d'Orsay, Paris, France >
Provenance: Moffett/Berson/Gauguin - Catalogue Raisonné Wildenstein No. 65/Museum/Newspaper reports from 1882

No. 27 - La petite s'amuse
1881 - 32 x 50 cm - Oil on canvas
Private collection
Provenance: • Moffett/Gauguin - Catalogue Raisonné Wildenstein No. 55/Newspaper reports from 1882

No. 29 - Un coin de Mur (Effet de nuit)
1881 - 22 x 31 cm - Oil on canvas
Private collection
Provenance: • Moffett/Berson/Christie's/Gauguin - Catalogue Raisonné Wildenstein No. 57

Armand Guillaumin

13 Works in the catalogue

No. 32/33 - Paysage d’automne / or: Paysage (fin octobre)
1876 - 180 x 123 cm - Oil on canvas
Nationalgaleriet, Oslo, Norway
• Provenance: Moffett

Claude Monet

35 Works in the catalogue

No. 57 - Fleurs de Topinambour.
1880 - 99 x 73 cm - Oil on canvas
National Gallery of Art, Washington, USA >
Provenance: Moffett/Berson/Museum/Monet - Catalogue Raisonné Wildenstein No. 629

No. 58 - Les glaçons.
1880 - 97 x 150 cm - Oil on canvas
Shelburne Museum, Vermont, USA
Provenance: Moffett/Berson/Monet - Catalogue Raisonné Wildenstein No. 568/Newspaper reports from 1882

No. 59 - Entrée du petit bras de la Seine à Vétheuil.
1880 - 67 x 90 cm - Oil on canvas
Private collection
Provenance: Moffett/Berson/Monet - Catalogue Raisonné Wildenstein No. 601/Newspaper reports from 1882

No. 61 - Sur la falaise à Greinval.
1881 - 68 x 90 cm - Oil on canvas
Private collection
Provenance: Moffett/Berson/Monet - Catalogue Raisonné Wildenstein No. 655/Newspaper reports from 1882

No. 62 - Soleil couchant, sur la Seine, effet d'hiver.
1880 - 100 x 152 cm - Oil on canvas
Musée de Petit Palais, Paris, France >
Provenance: Moffett/Berson/Monet - Catalogue Raisonné Wildenstein No. 576/Newspaper reports from 1882

No. 63 - Femme lisant dans un jardin.
1881 - 81 x 65 cm - Oil on canvas
Private collection
Provenance: Moffett/Berson/Monet - Catalogue Raisonné Wildenstein No. 681/Newspaper reports from 1882

No. 64 - Bateau échoué.
1881 - 80 x 66 cm - Oil on canvas
Private collection
Provenance: Moffett/Berson/Monet - Catalogue Raisonné Wildenstein No. 645/Newspaper reports from 1882

No. 65 - Eglise de Vétheuil.
1878 - 60 x 80 cm - Oil on canvas
Private collection
Provenance: Moffett/Berson/Monet - Catalogue Raisonné Wildenstein No. 473/Newspaper reports from 1882

No. 66 - Marée basse, vue prise sur les falaises de Fécamp.
1881 - 60 x 73 cm - Oil on canvas
Foundation Beyeler, Basel, Suisse
Provenance: Moffett/Berson/Monet - Catalogue Raisonné Wildenstein No. 650/Newspaper reports from 1882

No. 67 - La mer du haut des falaises.
1881 - 60 x 75 cm - Oil on canvas
Private collection
Provenance: Moffett/Berson/Monet - Catalogue Raisonné Wildenstein No. 648/Newspaper reports from 1882

No. 68 (od. 72) - Vetheuil, effet de neige.
1879 - 61 x 81 cm - Oil on canvas
Private collection
Provenance: Christie's/Monet - Catalogue Raisonné Wildenstein No. 509/Newspaper reports from 1882

No. 69 - Chrysanthèmes.
1880 - 82 x 65 cm - Oil on canvas
Private collection
Provenance: Moffett/Berson/Monet - Catalogue Raisonné Wildenstein No. 635/Newspaper reports from 1882

No. 70 - Un coin de jardin à Vetheuil.
1881 - 100 x 85 cm - Oil on canvas
Private collection
Provenance: Moffett/Berson/Monet - Catalogue Raisonné Wildenstein No. 683

No. 71 - Inodatation.
1881 - 60 x 100 cm - Oil on canvas
Private collection
Provenance: Moffett/Berson/Monet - Catalogue Raisonné Wildenstein No. 642

No. 73 - Falaises de petite dalles.
1880 - 59 x 75 cm - Oil on canvas
Museum od Fine Arts, Boston, USA >
Provenance: Moffett/Berson/Monet - Catalogue Raisonné Wildenstein No. 621/Newspaper reports from 1882

No. 75 - Château de la Roche-Guyon.
1881 - 60 x 80 cm - Oil on canvas
Private collection
Provenance: Moffett/Berson/Monet - Catalogue Raisonné Wildenstein No. 643

No. 77 - A Greinval, près Fécamp.
1881 - 61 x 80 cm - Oil on canvas
Private collection
Provenance: Moffett/Berson/Monet - Catalogue Raisonné Wildenstein No. 653/Newspaper reports from 1882

No. 78 - Bouquet de soleils.
1881 - 101 x 82 cm - Oil on canvas
Metropolitan Museum of Art, New York, USA >
Provenance: Moffett/Berson/Museum/Monet - Catalogue Raisonné Wildenstein No. 628

No. 79 - Vétheuil.
1880 - 66 x 81 cm - Oil on canvas
Metropolitan Museum of Art, New York, USA >
Provenance: Moffett/Berson/Museum

No. 81 - Glaïeuls.
1881 - 100 x 42 cm - Oil on canvas
Pola Art Museum, Kanagawa, Japan >
Provenance: Moffett/Berson/Monet - Catalogue Raisonné Wildenstein No. 694/Newspaper reports from 1882

No. 82 - Glaïeuls.
1881 - 99 x 42 cm - Oil on canvas
Pola Art Museum, Kanagawa, Japan >
Provenance: Moffett/Berson/Monet - Catalogue Raisonné Wildenstein No. 695/Newspaper reports from 1882

No. 82 - Gibiers, nature morte.
1879 - 68 x 90 cm - Oil on canvas
Minneapolis Institute of Arts, Minneapolis, USA >
Provenance: Moffett/Berson/Museum/Monet - Catalogue Raisonné Wildenstein No. 550/Newspaper reports from 1882

No. 83 - Le matin au bord de la mer.
1881 - 61 x 81 cm - Oil on canvas
Private collection
Provenance: Moffett/Berson/Monet - Catalogue Raisonné Wildenstein No. 651

No. 84 - Sur la Côte à Trouville.
1881 - 60 x 81 cm - Oil on canvas
Museum of Fine Arts, Boston, USA >
Provenance: Moffett/Berson/Monet - Catalogue Raisonné Wildenstein No. 687

No. 85 - Les glaçons.
1881 - 59 x 98 - Oil on canvas
Sammlung Oskar Reinhart - Am Römerholz, Winterthur, Suisse >
Provenance: Moffett/Berson/Newspaper reports from 1882

No. 86 - Les coquelicots.
1881 - 58 x 79 cm - Oil on canvas
Museum Boymans-van-Beuningen, Rotterdam, Netherlands >
Provenance: Moffett/Berson/Newspaper reports from 1882

No. 88 - Sentier dans les blés.
1881 - 65 x 82 cm - Oil on canvas
Museum Barberini, Potsdam, Germany >
Provenance: Moffett/Berson/Museum/Monet - Catalogue Raisonné Wildenstein No. 676/Newspaper reports from 1882

No. 89 - Sentier dans l’île Sᵗ Martin.
1880 - 80 x 60 cm - Oil on canvas
Metropolitan Museum of Art, New York, USA >
Provenance: Moffett/Berson/Museum

No. 90 - Paysage d’été, île Sᵗ Martin.
1881 - 73 x 60 cm - Oil on canvas
Museum Barberini, Potsdam, Germany >
Provenance: Moffett/Berson/Museum/Monet - Catalogue Raisonné Wildenstein No. 679

Berthe Morisot

9 Works in the catalogue

No. 92 - A la campagne.
1881 - 80 x 100 cm - Oil on canvas
Private collection
Provenance: Moffett/Berson/Christie's/Morisot - Catalogue Raisonné Wildenstein No. 110/Newspaper reports from 1882

No. 93 - Blanchisseuse.
1881 - 46 x 67 cm - Oil on canvas
Ny Carlsberg Glyptotek, Kopenhagen, Denmark
Provenance: Moffett/Berson/Morisot - Catalogue Raisonné Wildenstein No. 105/Newspaper reports from 1882

No. 94 - Baby.
1881 - 50 x 42 cm - Oil on canvas
Wallraff-Richards Museum, Köln, Germany
Provenance: Moffett/Berson/Morisot - Catalogue Raisonné Wildenstein No. 107/Newspaper reports from 1882

No. 96 - Port de Nice.
1882 - 41 x 55 cm - Oil on canvas
Private collection
Provenance: Moffett/Berson/Museum/Morisot - Catalogue Raisonné Wildenstein No. 113/Newspaper reports from 1882

No. 97 - Port de Nice.
1882 - 46 x 56 cm - Oil on canvas
Private collection
Provenance: Moffett/Berson/Sotheby's/Morisot - Catalogue Raisonné Wildenstein No. 116/Newspaper reports from 1882

(except catalogue) hc. - La Nourrice/Le Balcon
1882 - 38 x 46 cm - Oil on canvas
Private collection
Provenance: Moffett/Berson

(except catalogue) hc. - Femme au jardin (Villa Arnulphi à Nice)
1882 - 56 x 33 cm - Oil on canvas
Fondation Bemberg, Toulouse, France >
Provenance: Moffett/Berson/Morisot - Catalogue Raisonné Wildenstein No. 117

Camille Pissarro

36 Works in the catalogue

No. 101 - Causerie, étude.
ca. 1880/82 - 35 x 27 cm - Oil on canvas
Private collection
• Provenance: Moffett/Berson/Newspaper reports from 1882

No. 103 - Etude de figure en plein air, temps gris.
1881 - 81 x 65 cm - Oil on canvas
Private collection
Provenance: Moffett/Berson/Catalogue Raisonné Wildenstein: Pissarro Vol II Nr 654/Newspaper reports from 1882

No. 104 - Etude de figure en plein air, effet de soleil.
1881 - 81 x 65 cm - Oil on canvas
Toledo Museum of Art, Toledo, USA >
Provenance: Moffett/Berson/Museum/Catalogue Raisonné Wildenstein: Pissarro Vol II Nr 655/Newspaper reports from 1882

No. 107 - Laveuse, étude.
1880 - 73 x 59 cm - Oil on canvas
Metropolitan Museum of Art, New York, USA >
Provenance: Moffett/Berson/Museum/Catalogue Raisonné Wildenstein: Pissarro Vol II Nr 640/Newspaper reports from 1882

No. 108 - Le berger et les laveuses.
1881 - 65 x 81 cm - Oil on canvas
Private collection
Provenance: Moffett/Berson/Catalogue Raisonné Wildenstein: Pissarro Vol II Nr 665/Newspaper reports from 1882

No. 110 - Jeune fille faisant de l’herbe.
1881 - 116 x 90 cm - Oil on canvas
Private collection
Provenance: Moffett/Berson/Catalogue Raisonné Wildenstein: Pissarro Vol II Nr 657/Newspaper reports from 1882

No. 111 - Jeune paysanne prenant son café.
1881 - 65 x 55 cm - Oil on canvas
Art Institute of Chicago, USA >
Provenance: Moffett/Berson/Museum/Catalogue Raisonné Wildenstein: Pissarro Vol II Nr 662/Newspaper reports from 1882

No. 112 - Les Sarcleuses.
1882 - 63 x 77 cm - Oil on canvas
Private collection
Provenance: Moffett/Berson/Catalogue Raisonné Wildenstein: Pissarro Vol II Nr 671/Newspaper reports from 1882

No. 114 - La bergère.
1881 - 81 x 65 cm - Oil on canvas
Musée d'Orsay. Paris, France >
Provenance: Moffett/Berson/Museum/Catalogue Raisonné Wildenstein: Pissarro Vol II Nr 653/Newspaper reports from 1882

No. 117 - Paysanne et enfant revenant des champs.
1881 - 45 x 55 cm - Oil on canvas
National Gallery Prague, Czech Republic
Provenance: Moffett/Berson/Catalogue Raisonné Wildenstein: Pissarro Vol II Nr 649/Newspaper reports from 1882

No. 118 - Jeune paysanne au chapeau.
1881 - 73 x 60 cm - Oil on canvas
National Gallery of Art, Washington, USA >
Provenance: Moffett/Berson/Museum/Catalogue Raisonné Wildenstein: Pissarro Vol II Nr 661/Newspaper reports from 1882

No. 119 - Paysanne bêchant la terre.
1882 - 40 x 55 cm - Oil on canvas
Private collection
Provenance: Catalogue Raisonné Wildenstein: Pissarro Vol II Nr 646/Newspaper reports from 1882

No. 120 - La gardeuse de chèvres.
1881 - 81 x 65 cm - Oil on canvas
Private collection
Provenance: Moffett/Berson/Sothebys/Catalogue Raisonné Wildenstein: Pissarro Vol II Nr 656

No. 122 - La conversation.
ca. 1881 - 65 x 54 cm - Oil on canvas
National Museum of Western Art, Tokyo, Japan >
Provenance: Moffett/Berson/Museum/Catalogue Raisonné Wildenstein: Pissarro Vol II Nr 658

No. 124 - Repos dans les bois
1878 - 65 x 54 cm - Oil on canvas
Hamburger Kunsthalle, Hamburg, Germany >
Provenance: Moffett/Berson/Catalogue Raisonné Wildenstein: Pissarro Vol II Nr 573

No. 125 - Vue de la nouvelle prison à Pontoise.
1881 - 60 x 74 cm - Oil on canvas
Private collection
Provenance: Moffett/Berson/Christie's/Catalogue Raisonné Wildenstein: Pissarro Vol II Nr 643

No. 136 - La moisson. Détrempe
1882 - 70 x 126 cm - Tempera on linen
National Museum of Western Art, Tokyo, Japan >
Provenance: Moffett/Catalogue Raisonné Berson/Museum

Pierre-Auguste Renoir

25 Works in the catalogue

No. 137 - Jeune fille au chat.
1880 - 120 x 92 cm - Oil on canvas
The Clark Art, Williamstown, USA >
Provenance: Moffett/Berson/Catalogue raisonné: Fezzi: Pierre-Auguste Renoir, 1972 Nr. 408/Newspaper reports from 1882

No. 138 - Les deux sœurs.
1881 - 100 x 80 cm - Oil on canvas
Art Institute of Chicago, USA >
Provenance: Moffett/Berson/Museum/Catalogue raisonné: Fezzi: Pierre-Auguste Renoir, 1972 Nr. 471/Newspaper reports from 1882

No. 139 - Une loge à l’Opera.
1880 - 99 x 81 cm - Oil on canvas
The Clark Art, Williamstown, USA >
Provenance: Moffett/Berson/Museum/Catalogue raisonné: Fezzi: Pierre-Auguste Renoir, 1972 Nr. 401/Newspaper reports from 1882

No. 140 - Un déjeuner à Bougival.
1880 - 130 x 173 cm - Oil on canvas
The Phillips Collection, Washington, USA >
Provenance: Moffett/Berson/Catalogue raisonné: Fezzi: Pierre-Auguste Renoir, 1972 Nr. 468/Newspaper reports from 1882

No. 142 - Femme cueillant des fleurs.
ca. 1874 - 65 x 54 cm - Oil on canvas
Private collection
Provenance: Moffett/Berson/Catalogue raisonné: Fezzi: Pierre-Auguste Renoir, 1972 Nr. 87

No. 143 - Champs de bananiers près d’Algier.
1881 - 51 x 63 cm - Oil on canvas
Musée d'Orsay, Paris, France >
Provenance: Moffett/Berson/Museum/Catalogue raisonné: Fezzi: Pierre-Auguste Renoir, 1972 Nr. 461/Newspaper reports from 1882

No. 144 - Assiette de prunes.
ca. 1882 - 56 x 46 cm - Oil on canvas
Private collection
Provenance: Berson

Nr 145 - Lilas.
1878 - 46 x 55 cm - Oil on canvas
Private collection
Provenance: Berson/Sotheby's/Catalogue raisonné: Fezzi: Pierre-Auguste Renoir, 1972 Nr. 326/Newspaper reports from 1882

No. 146 - Vue de Venise (grand canal)
1881 - 55 x 46 cm - Oil on canvas
Museum oƒ Fine Arts, Boston, USA >
Provenance: Moffett/Berson/Catalogue raisonné: Fezzi: Pierre-Auguste Renoir, 1972 Nr. 482/Newspaper reports from 1882

No. 147 - Vue de Venise
1881 - 54 x 65 cm - Oil on canvas
Clark Art Institute, Williamstown, USA >
• Provenance: Moffett/Berson/Museum/Catalogue raisonné: Fezzi: Pierre-Auguste Renoir, 1972 Nr. 483/Newspaper reports from 1882

No. 148 - Jeune fille endormie
ca. 1880 - 49 x 60 cm - Oil on canvas
Private collection
Provenance: Moffett/Berson/Newspaper reports from 1882

No. 149 - La lecture.
1880 - 57 x 47 cm - Oil on canvas
Städel Museum, Frankfurt am Main, Germany >
Provenance: Moffett/Berson/Catalogue raisonné: Fezzi: Pierre-Auguste Renoir, 1972 Nr. 431/Newspaper reports from 1882

No. 151 - Les canotiers.
1879 - 81 x 100 cm - Oil on canvas
National Gallery of Art, Washington, USA >
Provenance: Moffett/Berson/Museum/Catalogue raisonné: Fezzi: Pierre-Auguste Renoir, 1972 Nr. 370/Newspaper reports from 1882

No. 153 - Femme assise sur l’herbe
1880 - 32 x 41 cm - Oil on canvas
Private collection
Provenance: Moffett/Berson/Catalogue raisonné: Fezzi: Pierre-Auguste Renoir, 1972 Nr. 407/Newspaper reports from 1882

No. 154 - La Seine à Chattou.
1881 - 74 x 93 cm - Oil on canvas
Museum of Fine Arts, Boston, USA >
Provenance: Moffett/Berson/Catalogue raisonné: Fezzi: Pierre-Auguste Renoir, 1972 Nr. 443

No. 155 - Marroniers en fleurs.
1881 - 71 x 89 cm - Oil on canvas
Alte Nationalgalerie, Berlin, Germany >
Provenance: Berson/Catalogue raisonné: Fezzi: Pierre-Auguste Renoir, 1972 Nr. 447/Newspaper reports from 1882

No. 156 - Géraniums.
1881 - 91 x 73 cm - Oil on canvas
Private collection
Provenance: Berson/Newspaper reports from 1882

No. 157 - Jardin Desaix à Alger
1872 - 81 x 65 cm - Oil on canvas
Private collection
Provenance: Berson/Newspaper reports from 1882

No. 158 - Pivoines.
ca. 1880 - 55 x 65 cm - Oil on canvas
Clark Art Institute, Williamstown, USA >
Provenance: Berson/Museum/Catalogue raisonné: Fezzi: Pierre-Auguste Renoir, 1972 Nr. 448/Newspaper reports from 1882

No. 159 - Les pêches.
1881 - 53 x 65 cm - Oil on canvas
Metropolitan Museum of Art, New York, USA >
Provenance: Berson/Museum/Catalogue raisonné: Fezzi: Pierre-Auguste Renoir, 1972 Nr. 472/Newspaper reports from 1882

No. 160 - Femme à l'eventail.
ca. 1881 - 65 x 50 cm - Oil on canvas
Hermitage Museum, St. Petersburg, Russland
Provenance: Moffett/Berson/Catalogue raisonné: Fezzi: Pierre-Auguste Renoir, 1972 Nr. 409/Newspaper reports from 1882

(except catalogue) hc. - Acrobates au Cirque Fernando
1879 - 131 × 99 cm - Oil on canvas
Art Institute Chicago, USA >
Provenance: Moffett/Berson/Museum/Catalogue raisonné: Fezzi: Pierre-Auguste Renoir, 1972 Nr. 333/Newspaper reports from 1882

(except catalogue) hc. - La petite Pêcheuse
1879 - 60 × 45 cm - Oil on canvas
Private collection
Provenance: Moffett/Berson/Catalogue raisonné: Fezzi: Pierre-Auguste Renoir, 1972 Nr. 346/Newspaper reports from 1882

Alfred Sisley

27 Works in the catalogue

No. 162 - Prairie de Veneux-Nadon.
1881 - 60 x 81 cm - Oil on canvas
Museum Barberini, Potsdam, Germany >
Provenance: Moffett/Berson/Museum

No. 163 - Après-midi d’Août.
1881 - 54 x 73 cm - Oil on canvas
Private collection
Provenance: Moffett/Berson/Catalogue raisonne Daulte - Sisley Nr. 436/Newspaper reports from 1882

No. 164 - Au bord de Loing.
ca. 1880 - 60 x 81 cm - Oil on canvas
Johannesburg Art Gallery, South Africa
Provenance: Moffett/Berson/Newspaper reports from 1882

No. 167 - Pâle soleil d'automne.
1879 - 73 x 54 cm - Oil on canvas
Private collection
Provenance: Moffett/Berson/Catalogue raisonne Daulte - Sisley Nr. 335/Newspaper reports from 1882

No. 169 - Saint-Mammès, temps gris.
1880 - 55 x 74 cm - Oil on canvas
Museum of Fine Art, Boston, USA >
Provenance: Moffett/Berson/Sotheby's/Catalogue raissone Daulte - Sisley Nr 374/Newspaper reports from 1882

No. 170 - La prairie, le matin.
1881 - 50 x 65 cm - Oil on canvas
Private collection
Provenance: Moffett/Berson/Newspaper reports from 1882

No. 172 - Paysage, temps orageux.
1881 - 55 x 73 cm - Oil on canvas
Musée d'Orsay, currently Musée de beuax arts, Nice, France
Provenance: Moffett/Berson

No. 173 - Les petits près à By.
1881 - 55 x 73 cm - Oil on canvas
Private collection
Provenance: Moffett/Berson/Catalogue raissone Daulte - Sisley Nr 428

No. 176 - Soleil d’hiver à Veneux.
1879 - 50 x 65 cm - Oil on canvas
Private collection
Provenance: Moffett/Berson/Christie's/Catalogue raisonne Daulte - Sisley Nr. 341/Newspaper reports from 1882

No. 183 - La berge de la prairie de Veneux-Nadon
1880 - 49 x 65 cm - Oil on canvas
Private collection
Provenance: Moffett/Berson/Catalogue raisonne Daulte - Sisley Nr. 384/Newspaper reports from 1882

No. 186 - Après-midi de septembre en bateau.
1882 - 46 x 55 cm - Oil on canvas
Private collection
Provenance: Moffett/Berson/Sotheby's/Catalogue raisonne Daulte - Sisley Nr. 473/Newspaper reports from 1882

The reception of the exhibition by the public had not been so negative towards the painters for a long time. Durand-Ruel, who had ultimately organised this seventh exhibition and from whose holdings the exhibits largely came, was able to report some sales. Financially, the costs were more or less cancelled out, but the art dealer, who had always represented the Impressionists, was facing ruin. It is said that he was a million francs in debt at the time. Especially as other dealers offered the painters their own opportunities, such as Petit and Theo van Gogh, who represented a large gallery.

With the seventh exhibition, the cohesion of the Impressionist painters changed for good. Pissarro moved in the direction of the now emerging Pointillism, which was viewed with suspicion by other members of the Impressionists. The scientific orientation of the new style of painting did not fit in at all with their intuitive way of painting. The dispute with Degas also contributed to the disintegration. Durand-Ruel did not want to organise any more collective Impressionist exhibitions in the following years; he now preferred solo exhibitions, which were, however, rejected by some painters such as Sisley and Monet.

After the seventh exhibition, Impressionist painters largely went their own ways. Some left the path they had once taken to try out new things, while others, like Monet, would remain faithful to Impressionism for the rest of their lives. From time to time they met at various exhibitions to which they were invited, but personal contact often broke off.