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»La 4ᵐᵉ exposition de peinture
faite par un groupe d'artistes indépendants«
1879
After the third exhibition in 1877
The painters who had previously met at the Café Guerbois moved to a new venue during these years: the Café Nouvelles-Athènes.
Café de la Nouvelles Athènes
It was already a meeting place for other writers, painters and many others, such as the old Courbet and the photographer Nadar. Among the Impressionists, Renoir was a very regular visitor, as was Pissarro. For Manet, the café was on the way from his flat to his studio. Monet and Sisley rarely came. Degas was often accompanied by his friends Raffaëlli and Zandomeneghi, some of whom would take part in upcoming Impressionist exhibitions.
Jean-Louis Forain - Le café de la Nouvelle Athènes
Edgar Degas - Le café de la Nouvelle Athènes
Cézanne only came very rarely. He was almost an attraction with the worn clothes in which he appeared: "in a blue work coat, a white linen waistcoat full of colour stains and a battered hat" wrote Duranty, a writer and art critic. Cézanne was still working with Pissarro in the same rooms in Pontoise, but increasingly felt the need to isolate himself and create "something solid and lasting" with his painting in the south of France (Aix and the surrounding area), away from the big city, alone and undistracted.
The original circle had loosened up a little, but there was still an opportunity for discussion in the Café de la Nouvelle Athènes.
Edgar Degas - Femme dans le café (Nouvelle Athènes)
1877 - 13 x 17 cm - Pastel over monotype
Private collection
The financial situation of the artist friends had not improved, and for some it had even deteriorated alarmingly. Some were struggling to survive, often not knowing how to pay for their daily bread. And there was no sign of a ray of hope.
It became difficult for Monet, whose wife was expecting another child. He repeatedly asked many friends for support. Manet then lent him 1000 francs, which Monet was supposed to pay back with paintings (which probably never happened). Caillebotte lent him a sum, so his better-off fellow artists helped the others. The physician Dr Gachet, who was later to treat Vincent van Gogh and had already supported the Impressionists in many ways, also received a letter from Monet asking him to help him a little. Despite his plight, Monet continued his artistic activities almost without restriction. The Monet family lived poorly and modestly over the years, getting through the difficult times with the support of their friends.
Dr. Gachet
Paul Cézanne - Dr. Gachet ca. 1874
Sisley had to seek help from friends and both Pissarro and Cézanne now found themselves in serious financial difficulties. Until then, Cézanne's father had supported his son with 200 francs a month. By chance, however, the father learnt of Paul Cézanne's marriage to Marie-Hortense Fiquet and of their son, which Paul flatly denied to his father despite all the evidence. Nevertheless, because the father was angry with his son, the monthly allowance was reduced to 100 francs. Emile Zola then took over the care of Hortense and their son for over a year, during which time they lived in Marseille.
Renoir also had to be modest, but tried to exhibit at the official Salon. The painting "The Chocolate Cup" was accepted.
Renoir - La tasse de chocolat
1878 - 100 x 81 cm - Oil on canvas
Louvre Abu Dhabi >
He also accepted the commission to paint Mme Hoschedé with her children. This picture is unusually solemn for Renoir, painted with great care "to capture the atmosphere of a noble house", as Renoir said. A painting for which he was paid 1000 francs.
Renoir - Madame Georges Charpentier et ses enfants
1878 - 153 x 190 cm - Oil on canvas
The Metropolitan Museum of Art, New York >
(This picture was shown at the official Salon de Paris in 1879).
In 1878, a world exhibition was held in Paris from May to October. The Impressionists discussed whether they should attempt a parallel exhibition with Durand-Ruel, who was also organising an exhibition of Barbizon painters that year. The important painters of this movement had died between 1874 and 1878: Millet, Corot, Diaz, Courbet and Daubigny.
However, the Impressionist painters were against organising an exhibition at the same time as the World Exhibition. So they agreed to organise it the following year, 1879.
Fourth Impressionist Exhibition Paris
10 April - 11 May 1879
Paris, Avenue de L'Opera 28
246 works in the catalogue (15 out of catalogue) - 16 artists
The following year, 1879, the painters remaining in the circle prepared the fourth exhibition. They found suitable rooms. Degas managed to ensure that the word "Impressionists" was once again omitted from the announcement; they agreed on a "group of independent artists"
Only 16 artists were represented this time: Marie Bracquemond and Félix Bracquemond, Gustave Caillebotte, Adolphe-Félix Cals, Edgar Degas, Claude Monet, Camille Pissarro, Ludovic Piette (who died shortly before the exhibition). Also present were Henri Rouart, Henry Somm, Charles Tillot and Albert Lebourg, as well as Degas' friends: Jean-Louis Forain and Frederico Zandomeneghi and, for the first time, the American Mary Cassatt. Shortly before the exhibition opened, a new artist joined them: Paul Gauguin, but he could no longer be included in the catalogue.
Mary Cassatt - Self-portrait
1878 - 60 x 41 cm - Watercolour and gouache on paper
Metropolitan Museum of Art, New York
Paul Gauguin - Self-portrait
Private property
Page of the 1879 catalogue
The numbers given in the 1877 catalogue are placed in front of the picture titles below.
The picture titles correspond to those in the 1877 catalogue.
The provenance information lists those research sources that indicate certain proof of the respective work in the exhibition or (•) a high probability.
Gustave Caillebotte
25 pictures in the catalogue
No. 7 - Canotiers.
1877 - 70 x 100 cm - Oil on canvas
Private collection
Provenance: Moffett/Berson/Caillebotte Catalogue Raisonné Wildenstein No. 83
No. 8 - Partie de bateau.
1876 - 90 x 117 cm - Oil on canvas
Musée d'Orsay, Pais >
Provenance: Moffett/Berson/Museum/Caillebotte Catalogue Raisonné Wildenstein No. 125
No. 9 - Périssoires.
1877 - 103 x 156 cm - Oil on canvas
Milwaukee Art Museum, Wisconsin >
Provenance: Moffett/Berson/Caillebotte Catalogue Raisonné Wildenstein No. 86/Museum
No. 10 - Périssoires.
1877 - 89 x 116 cm - Oil on canvas
National Gallery of Art, Washington DC >
Provenance: Moffett/Berson/Caillebotte Catalogue Raisonné Wildenstein No. 87/Museum
No. 12 - Vue de toits. (Effet de neige.)
1878 - 64 x 82 cm - Oil on canvas
Musée d'Orsay, Paris >
Provenance: Moffett/Berson/Museum/Caillebotte Catalogue Raisonné Wildenstein No. 96
No. 13 - Canotier ramenant sa périssoire
1878 - 74 x 93 cm - Oil on canvas
Virginia Museum of Fine Arts (VMFA), Richmond >
Provenance: Moffett/Berson/Caillebotte Catalogue Raisonné Wildenstein No. 123/Museum
No. 14 - Rue Halévy, vue d’un sixième étage.
1878 - 59 x 73 cm - Oil on canvas
Museum Barberini, Potsdam >
Provenance: Moffett/Berson/Caillebotte Catalogue Raisonné Wildenstein No. 100/Museum/Sothebys
No. 16 - Portrait de M. G...
1878 - 80 x 65 cm - Oil on canvas
Fondation de l’Hermitage, Lausanne >
Provenance: Moffett/Berson//Caillebotte Catalogue Raisonné Wildenstein No. 107
No. 17 - Portrait de M. D...
ca. 1878 - 47 x 38 cm - Oil on canvas
Private collection
• Provenance: Moffett/Caillebotte Catalogue Raisonné Wildenstein No. 106
No. 18 - Portrait de M. E. D...
1878 - 100 x 81 cm - Oil on canvas
Private collection
Provenance: Moffett/Berson/Caillebotte Catalogue Raisonné Wildenstein No. 109/Christie's
No. 19 - Portrait de M. R...
1877 - 105 x 81 cm - Oil on canvas
Private collection
Provenance: Moffett/Berson/Caillebotte Catalogue Raisonné Wildenstein No. 60/Sothebys
No. 21 - Portrait de Mᵐᵉ B...
1877 - 65 x 80 cm - Oil on canvas
Museum of Fine Arts, Houston >
Provenance: Moffett/Berson/Museum/Caillebotte Catalogue Raisonné Wildenstein No. 67
No. 22 - Portrait de Mᵐᵉ H...
1877 - 81 x 65 cm - Oil on canvas
Private collection
Provenance: Moffett/Berson/Caillebotte Catalogue Raisonné Wildenstein No. 59/Christie's
No. 23 - Pêche à la ligne. Panneau décoratifs.
1887 - 157 x 113 cm - Oil on canvas
Musée des Beaux-Arts, Rennes
Provenance: Moffett/Berson/Caillebotte Catalogue Raisonné Wildenstein No. 118
No. 24 - Baigneurs. Panneau décoratifs.
1878 - 157 x 117 cm - Oil on canvas
Private collection
Provenance: Moffett/Berson/Caillebotte Catalogue Raisonné Wildenstein No. 119
No. 25 - Périssoires. Panneau décoratifs.
1878 - 155 x 108 cm - Oil on canvas
Musée de beaux-arts, Rennes >
Provenance: Moffett/Berson/Caillebotte Catalogue Raisonné Wildenstein No. 120/Museum
No. 26 - Baigneurs. (Pastel.)
1877 - 69 x 88 cm - Pastel on paper
Musée d'Orsay Paris >
Provenance: Moffett/Berson/Museum/Caillebotte Catalogue Raisonné Wildenstein No. 89
No. 27 - Canotiers. (Pastel.)
1877 - 52 x 86 cm - Pastel on paper
Private collection
Provenance: Moffett/Berson/Caillebotte Catalogue Raisonné Wildenstein No. 84
No. 28 - Vallée de l'Yerres. (Pastel.)
1877 - 58 x 72 cm - Pastel on paper
Private collection
Provenance: Moffett/Berson/Sotheby's/Caillebotte Catalogue Raisonné Wildenstein No. 92
No. 29 - (Pastel.) Potager. (Pastel.)
1877 - 41 x 54 cm - Pastel on paper
Private collection
Provenance: Moffett/Berson/Christie's /Caillebotte Catalogue Raisonné Wildenstein No. 78
No. 31 - Prairie. (Pastel.)
1878 - 47 x 61 cm - Pastel on paper
Artizon Museum, Tokyo >
Provenance: Moffett/Berson/Caillebotte Catalogue Raisonné Wildenstein No. 127
(außer Katalog) hc. - Les Orangers
1878 - 154 x 116 cm - Oil on canvas
The Museum of Fine Arts, Houston >
Provenance: Berson/Caillebotte Catalogue Raisonné Wildenstein No. 114/Museum
(except catalogue) hc. - Autoportrait au chevalet
1878 - 90 x 115 cm - Oil on canvas
Private collection
Provenance: Berson
(except catalogue) hc. - La Place Saint -Augustin, Temps Brumeux
1878 - 54 x 65 cm - Oil on canvas
Private collection
Provenance: Caillebotte Catalogue Raisonné Wildenstein No. 103/Christie's
Mary Cassatt
Mary Cassatt: Self-portrait
ca. 1880 - 32,7 x 24,6 cm - Gouache and watercolour, graphite on paper
National Portrait Gallery,
Washington
Born into a family of bankers in Pittsburgh (USA), she began studying painting at the Pennsylvania Academy of Fine Arts in 1861. From 1874, she lived permanently in Paris and initially exhibited at the official Salon. When she met Edgar Degas, who had seen her paintings at the Salon, she joined the Impressionist group. "I accepted with joy," she later said, "At last I could work in complete freedom, without having to worry about the judgement of a jury."
Under the encouragement of Degas and Renoir in particular - even though she was never a pupil of either of them - her painting became brighter, more colourful and more self-confident. However, she kept away from the artists' meetings. She knew how to keep social life and painting strictly separate.Degas and Mary Cassatt share a love of drawing, unlike Monet. Mary Cassatt's paintings are characterised by a mixture of emotion and cool directness. Her favourite subject matter is women, especially mother and child.
She played a major role in popularising the Impressionist art movement in the USA.
11 pictures in the catalogue
No. 46 - Portrait de M. C...
ca. 1871 - 67 x 56 cm - Oil on canvas
Private collection
• Provenance: Berson
No. 47 - Portrait de petite fille.
1878 - 89 x 129 cm - Oil on canvas
National Gallery of Art, Washington DC >
Provenance: Moffett/Berson/Museum
No. 48 - Étude de femme avec éventail.
1878/79 - 85 x 65 cm - Oil on canvas
National Gallery of Art, Washington DC >
Provenance: Moffett/Berson/Museum
No. 49 - Femme dans une loge.
1879 - 81 x 59 cm - Oil on canvas
Philadelphia Museum of Art >
Provenance: Moffett/Berson/Museum
No. 52 - Femme lisant.
1879 - 81 x 60 cm - Oil on canvas
Joslyn Art Museum, Omaha >
Provenance: Moffett/Berson
No. 53 - Portrait de M. D... (Pastel.)
1879 - 80 x 63 cm - Pastel on coloured paper
Musée de Petit Palais, Paris >
Provenance: Moffett/Berson
No. 54 - Au théâtre. (Pastel.)
1879 - 65 x 81 cm - Pastel with gold metallic paint on canvas
Philadelphia Museum of Art >
Provenance: Moffett/Berson
No. 55 - Au théâtre. (Pastel.)
1879 - 65 x 54 cm - Gouache and pastel
Private collection
Provenance: Moffett/Berson/Christie's
(außer Katalog) hc. - Coin de loge
1879 - 43 x 61 cm - Oil on canvas
Private collection
Provenance: Moffett/Berson
Edgar Degas
25 pictures in the catalogue
No. 57 - Portrait de M. Diego Martelli.
1879 - 110 x 99 cm - Oil on canvas
National Galleries of Scotland, Edinburgh >
Provenance: Moffett/Berson/•Catalogue Raisonné Edgar Degas
No. 58 - Portrait de M. Duranty. (Détrempe.)
1879 - 100 x 100 cm - Gouache, pastel and charcoal on linen
(Not issued)
The Burell Collection, Glasgow >
Provenance: Moffett/Berson/Museum/Catalogue Raisonné Edgar Degas
No. 59 - Portrait, après un bal costumé. (Détrempe.)
1879 - 86 x 75 cm - Pastel, tempera and oil on canvas
Art Institute Chicago >
Provenance: Moffett/Berson/Museum/Catalogue Raisonné Edgar Degas
No. 60 - Portrait d'amis, sur la scène. (Pastel.)
1879 - 79 x 58 cm - Tempera and pastel on paper
Musée d'Orsay, Paris >
Provenance: Moffett/Berson/Museum/Catalogue Raisonné Edgar Degas
No. 61 - Portraits, à la Bourse.
Also shown at the 5th exhibition in 1880 (No. 35)
1878/79 - 100 x 81 cm - Oil on canvas
Musée d'Orsay, Paris >
Provenance: Moffett/Berson/Museum
No. 62 - Miss Lola, au Cirque Fernando.
1879 - 117 x 77 cm - Oil on canvas
The National Gallery, London >
Provenance: Moffett/Berson/Museum/Catalogue Raisonné Edgar Degas
No. 63 - Chevaux de course. (Essence.)
1879 - 107 x 74 cm - Oil, essence, pastel on paper
The Barber Institute of Fine Arts, Birmingham >
Provenance: Moffett/Berson/Museum/Catalogue Raisonné Edgar Degas
Nr 64 - Blanchisseuses portant du linge en ville. (Esquisse à l'essence.)
ca. 1879 - 46 x 61 cm - Oil colours on paper, laminated on canvas
Private property
Provenance: Moffett/Berson/Catalogue Raisonné Edgar Degas
Nr 65 - École de danse. (Détrempe).
ca. 1879 - 53 x 72 cm - Pastel and ink on cream-coloured wove paper mounted on canvas
Metropolitan Museum of Art, New York >
Provenance: Berson/Museum/•Catalogue Raisonné Edgar Degas
No. 66 - École de danse.
1878/79 - 48 x 61 cm - Oil on canvas
The Frick Collection, New York >
Provenance: Moffett/Berson/Museum/Catalogue Raisonné Edgar Degas
No. 69 - Portrait d'un peinter dans son Atelier.
ca. 1878 - 48 x 28 cm - Oil on canvas
Caluste Gulbian Fondation, Lissabon >
Provenance: Moffett/Berson/Catalogue Raisonné Edgar Degas
No. 70 - Chanteuse de café. (Pastel.)
1878 - 53 x 41 cm - Pastel on canvas
Harvard Art Museum, Cambridge, Massachusetts >
Provenance: Moffett/Berson/Museum/Catalogue Raisonné Edgar Degas
No. 71 - Loge de danseuse. (Pastel.)
ca. 1879 - 60 x 40 cm - Pastel on paper
Sammlung Oskar Reinhart, Winterthur >
Provenance: Moffett/Berson/Catalogue Raisonné Edgar Degas
No. 72 - Danseuse posant chez un photographe.
1875 - 65 x 50 cm - Oil on canvas
Puschkin Museum, Moskau >
Provenance: Moffett/Berson/Catalogue Raisonné Edgar Degas
No. 73 - Grand air, apres un ballet. (Pastel.)
1879 - 60 x 75 cm - Pastel over monotype on paper
Dallas Museum of Art >
Provenance: Moffett/Berson/Museum/Catalogue Raisonné Edgar Degas
No. 74 - Portrait de danseuse, à la leçon. (Pastel.)
ca. 1879 - 64 x 56 cm - Pastel and black chalk on wove paper
Metropolitan Museum of Art, New York >
Provenance: Moffett/Berson/Museum/Catalogue Raisonné Edgar Degas
No. 77 - Eventail.
1879 - 15,6 x 54 cm - Watercolour, ink, silver and gold on silk (fan)
Metropolitan Museum of Art, New York >
Provenance: Moffett/Berson/Museum
No. 78 - Eventail.
1878/79 - 28 x 58 cm - Watercolour, enhanced with silver and gold paint on cream-coloured silk
Private collection
Provenance: Berson
No. 79 - Eventail.
ca. 1878/79
- 19 x 60 cm - Gouache on silk
Musée d'Orsay, Paris >
• Provenance: Berson
No. 80/81 - Eventail.
1879 - 19,1 x 57,8 cm - Watercolour, silver and gold on silk
Metropolitan Museum of Art, New York >
Provenance: Berson/Museum
No. 80/81 - Eventail.
ca. 1879 - 30,5 x 58 cm - Pastel on silk
Private collection
Provenance: •Moffett/•Christie's/Catalogue Raisonné Edgar Degas
(außer Katalog) hc. - Danseuses derrière la toile.
ca. 1879 - 32,4 x 25,4 cm - Pastel on paper
National Gallery of Art, Corcoran Collection (William A. Clark Collection), Washington DC >
Provenance: Berson
(außer Katalog) hc. - École de danse.
ca. 1879 - 43 x 57 cm - Oil and tempera on canvas
Shelburne Museum, Shelburne >
Provenance: Berson/Museum/Catalogue Raisonné Edgar Degas
Paul Gauguin
Paul Gauguin - Self-portrait 1878
Gauguin began painting around 1873 alongside his work as a bank employee. In 1876, he was admitted to the Salon for the only time during his artistic career. His models were Courbet, Delacroix and Corot, whom he was able to study in his family's collection. In 1879, he visited Pissarro to learn from him. He also met Degas, Renoir and Manet. This is how he was invited to take part in the fourth exhibition.
His paintings from this period are still clearly influenced by Barbizon painters, but the Impressionist element is already very evident. This early phase in the painting style and choice of subject matter of his work as an artist is less well known, but already of some quality. It is not certain which paintings Gauguin showed in the fourth exhibition apart from the marble bust, as none of his works were mentioned in the catalogue.One of the very few sculptures in an Impressionist exhibition
(except catalogue) hc. - Portrait of Emile Gauguin
1877/78 - 43 x 23 x 20 cm - White marble, 19 kg
Metropolitan Museum of Art, New York >
Provenance: Moffett/Berson/Museum
Claude Monet
As Monet himself did not want to come, the works were contributed or borrowed from others, e.g. Caillebotte or Victor Chocquet.
29 pictures in the catalogue
No. 138 - Habitation bourgeoise, à Zaandum (Holande).
1871 -
45 x 60 cm - Oil on canvas
Private collection
Provenance: Moffett/Berson/Wildenstein Monet Vol II No. 184
Nr 139 - Paysage à Courbevoie.
1878 - 50 x 61 cm - Oil on canvas
Private collection
Provenance: Moffett/Berson/Wildenstein Monet Vol II No. 456
No. 140 - Marine (1875).
ca. 1867/68 - 49 x 65 cm - Oil on canvas
Metropolitan Museum of Art, New York >
Provenance: Moffett/Berson/Museum
No. 141 - Vétheuil, vu de Lavacourt.
1879 - 60 x 81 cm - Oil on canvas
Musée d’Orsay, Paris >
Provenance: Moffett/Berson/Museum/Wildenstein Monet Vol II No. 528
No. 142 - Fleurs.
1869 - 100 x 81 cm - Oil on canvas
J. Paul Getty Museum, Malibu/Los Angeles >
Provenance: Moffett/Berson/Museum/Wildenstein Monet Vol II No. 139
No. 143 - Pommiers.
1878 - 100 x 81 cm - Oil on canvas
Private collection
Provenance: Moffett/Berson/Wildenstein Monet Vol II No. 490
No. 144 - Effet de neige à Vétheuil.
1878/79 - 53 x 71 cm - Oil on canvas
Musée d'Orsay >
Provenance: Moffett/Berson/Museum/Wildenstein Monet Vol II No. 506
No. 145 - La rue Montorgueil, fête de 30 juin.
1878 - 81 x 50 cm - Oil on canvas
Musée d'Orsay, Paris >
Provenance: Moffett/Berson/Museum/Wildenstein Monet Vol II No. 469
No. 146 - Effet de Brouillard, impression.
1872 - 48 x 63 cm - Oil on canvas
Musée Marmottan, Paris >
Provenance: Moffett/Berson/Museum/Wildenstein Monet Vol II No. 263
No. 147 - Estacade de Trouville, marée basse.
1870 - 54 x 66 cm - Oil on canvas
Szépművészeti Múzeum, Budapest >
Provenance: Moffett/Berson/Wildeinstein Monet Vol II No. 154
No. 148 - Paysage de Vétheuil.
1879 - 60 x 73 cm - Oil on canvas
Musée d’Orsay, Paris >
Provenance: Museum
No. 149 - Lavacourt.
1878 - 53 x 72 cm - Oil on canvas
Private collection
Provenance: Moffett/Berson/Wildenstein Monet Vol II No. 474
No. 150 - La Seine à Lavacourt, (soleil couchant).
1879 - 60 x 81 cm - Oil on canvas
Frick Collection, Pittsburgh >
Provenance: Moffett/Berson
No. 152 - Parc, Monceaux.
1878 - 73 x 54 cm - Oil on canvas
The Metropolitan Museum of Art, New York >
Provenance: Moffett/Berson/Museum/Wildenstein Monet Vol II No. 468
No. 153 - Bords de la Seine, environs de Paris.
1878 - 76 x 52 cm - Oil on canvas
Private collection
Provenance: Moffett/Berson/Wildenstein Monet Vol II No. 456
No. 154 - La rue Saint-Denis, fête de 30 juin 1878.
1878 - 76 x 52 cm - Oil on canvas
Musée des Beaux-Arts, Rouen >
Provenance: Moffett/Berson/Museum/Wildenstein Monet Vol II No. 470
No. 155 - Un jardin. (1867).
1867 - 80 x 101 cm - Oil on canvas
Hermitage Museum St. Petersburg >
Provenance: Moffett/Berson/Wildenstein Monet Vol II No. 68
No. 156 - Église de Vétheuil.
1878 - 65 x 55 cm - Oil on canvas
National Galeries of Scotland, Edinburgh >
Provenance: Moffett/Berson/Wildenstein Monet Vol II No. 474
No. 157 - Jardin à Sainte-Adresse (1867).
1867 - 98 x 130 cm - Oil on canvas
Metropolitan Museum of Art, New York >
Provenance: Moffett/Berson/Wildenstein Monet Vol II No. 95/Museum
No. 158 - Les Charbonniers (1875).
ca. 1875 - 54 x 66 cm - Oil on canvas
Musée d'Orsay, Paris >
Provenance: Moffett/Berson/Wildenstein Monet Vol II No. 364/Museum
No. 160 - La Mare, effet du neige (1875).
1875 - 60 x 81 cm - Oil on canvas
Private collection
Provenance: Moffett/Berson/Christie's
No. 162 - Chemin de halage a Lavacourt.
1878 - 60 x 74 cm - Oil on canvas
Private collection
Provenance: Moffett/Berson/Wildenstein Monet Vol II No. 496
No. 163 - Étude de mer.
1868 - 60 x 82 cm - Oil on canvas
Carnegie Museum of Art, Pittsburgh >
Provenance: Moffett/Berson
• No. 164 - Coucher du soleil.
1875 - 55 x 64 cm - Oil on canvas
Musée Marmottan, Paris >
Provenance: Moffett/Berson/Wildenstein Monet Vol II No. 184
No. 165 - Paysage d'hiver.
1875 - 59 x 78 cm - Oil on canvas
Musée Marmottan, Paris >
Provenance: Moffett/Berson
No. 166 - Le petit bras à Vétheuil.
1878 - 50 x 61 cm - Oil on canvas
Private collection
Provenance: Moffett/Berson
(außer Katalog) hc. - Argenteuil, la berge en fleurs.
1877 - 54 x 65 cm - Oil on canvas
Pola Museum of Art, Hakone Kanagawa, Japan >
Provenance: Moffett/Berson
Camille Pissarro
38 pictures in the catalogue
No. 167 - Le pont de Pontoise.
1878 - 73 x 60 cm - Oil on canvas
Yamagata Art Museum, Yamagata, Japan >
Provenance: Moffett/Berson/Wildenstein: Pissarro Vol II Nr 551
• No. 168 - Lisière d'un bois.
1879 - 125 x 163 cm - Oil on canvas
Cleveland Museum of Art >
Provenance: Moffett/Berson/Museum/Wildenstein: Pissarro Vol II Nr 597
No. 169 - Chemin sous bois.
1877 - 81 x 66 cm - Oil on canvas
Musée d'Orsay, Paris >
Provenance: Moffett/Berson/Museum/Wildenstein: Pissarro Vol II Nr 520
No. 170 - Effet de neige. (Côté du Palais-Royal.)
1879 - 46 x 39 cm - Oil on canvas
Private collection
Provenance: Sothebys/Wildenstein: Pissarro Vol II Nr 394
No. 174 - Le Verger de Maubuisson.
1876 - 41 x 49 cm - Oil on canvas
Private collection
Provenance: Moffett/Berson/Wildenstein: Pissarro Vol II Nr 442
No. 175 - Château des Mathurins. (Soleil couchant.)
1877 - 73 x 60 cm - Oil on canvas
Private collection
Provenance: Moffett/Berson/Christie's/Museum/Wildenstein: Pissarro Vol II Nr 507
No. 178 - Paysage en février. (Femme revenant de la Fontaine.)
1878 - 71 x 52 cm - Oil on canvas
Ny Carlsberg Glyptotek, Kopenhagen >
Provenance: Moffett/Berson/Wildenstein: Pissarro Vol II Nr 579
No. 183 - Printemps. Pruniers en fleurs.
1877 - 65 x 81 cm - Oil on canvas
Musée d'Orsay, Paris >
Provenance: Moffett/Berson/Museum/Wildenstein: Pissarro Vol II Nr 494
No. 184 - Petit bois de peupliers en plein été.
1878 - 63 x 83 cm - Oil on canvas
Private collection
Provenance: Christie's/Wildenstein: Pissarro Vol II Nr 564
No. 187 - Petit bois. (Poules et canards.)
1878 - 73 x 60 cm - Oil on canvas
Private collection
Provenance: Moffett/Berson/Christie's/Wildenstein: Pissarro Vol II Nr 578
No. 188 - Côte des Brouettes. (Temps gris.)
1875 - 54 x 65 cm - Oil on canvas
Private collection
Provenance: Moffett/Berson/Sothebys/Wildenstein: Pissarro Vol II Nr 414
No. 189 - L'Hiver. Retour de la foire. (Éventail.)
1879 - 25 x 54 cm - Gouache and watercolour on silk
Private collection
Provenance: Moffett/Berson
No. 190 - L'Hiver. Environs de Lower Norwood (Londres). Éventail.
ca. 1870/79 - 25 x 54 cm - Gouache and watercolour on silk, laminated on cardboard
D’Amour Museum of Fine Arts, Springfield >
Provenance: Moffett/Berson
No. 191 - Laveuses. (Éventail.)
ca. 1879 - 15 x 53 cm - Gouache and watercolour on silk, laminated on cardboard
Private collection
Provenance: Moffett/Berson
No. 192 - Soleil couchant. (Éventail.)
ca. 1879 - 14,5 x 53,3 cm - Gouache on silk
Private collection
Provenance: Moffett/Berson
No. 193 - Meule (Semeur).
1879 - 25,5 x 54,2 cm - Gouache on silk, laminated on cardboard
Private collection
Provenance: Moffett/Berson/Christie's
No. 197 - Pommiers en fleurs.
1878 - 27,8 x 56,5 cm - Gouache, pastel on silk
Musée d'Orsay, Paris >
Provenance: Berson
No. 200 - Cueillette de petits pois.
ca. 1878/79 - 16,5 x 52 cm - Gouache on vellum
Private property
Provenance: Moffett/Berson/Sotheby's
No. 201 - Portrait de Mˡˡᵉ E. E... (Pastel)
1877 - 30 x 23 cm - Pastel on paper
Private collection
Provenance: Moffett/Berson
No. 203 - Le Pâtissier.
1877 - 65 x 88 cm - Pastel on paper
Private collection
Provenance: Moffett/Berson
(außer Katalog) hc. - Saules inondés en hiver.
1879 - 54 x 65 cm - Oil on canvas
Private collection
Provenance: Moffett/Berson/Wildenstein: Pissarro Vol II Nr 586
Other exhibitors:
Marie Bracquemond - No. 1 - Les Muses des arts. Carton ayant servi pour une peintre sur faïence.
1877/78 - 22,1 × 52,3 cm - black pencil on paper
Private collection
Design for an approximately 3 x 7 metre ceramic wall - shown in the exhibition as a cardboard box in original size
Provenance: Moffett/Berson
Félix Bracquemond - No. 3 - Au Jardin d’acclimatation. (Eau forte imprimée en clouleurs.)
1879 - 19 x 20,1 cm - Colour etching
Provenance: Moffett/Berson
Felix Bracquemond - No. 4 - La nuée d'orage. (Eau-forte.)
ca. 1870/79 - 25,9 x 34,7 cm - Etching
Provenance: Moffett/Berson
Félix Bracquemond - No. 5 - Une terrasse de Sèvres.
(Eau forte publiée par le journal l'Art.)
1876 - 25,4 x 35,4 cm - Etching
Provenance: Moffett/Berson
Félix Bracquemond - No. 6 - Une vue du Pont des Saints-Pères.
(Eau forte publiée par le journal l'Art.)
1877 - 19,6 x 24,7 cm - Etching
Provenance: Moffett/Berson
Adolphe-Felix Cals - No. 32 - L'heureuse mère.
1878 - 105 x 85 cm - Oil on canvas
Private collection
Provenance: Berson
Adolphe-Felix Cals - No. 45 - La Mère Doudoux. Dessin.
1878 - 21,2 x 18 cm - Oil on canvas
Private collection
Provenance: Moffett/Berson
• Jean-Louis Forain - No. 86 - Intérieur de café.
ca. 1879 - 33,3 × 25,7 cm - Watercolour and gouache on paper
Dixon Gallery and Gardens, Memphis >
Provenance: Moffett
Jean-Louis Forain - No. 88 - Loge d'actrice.
ca. 1877/79 - 20,3 × 15,2 cm - Oil on canvas
The Museum of Fine Arts, Houston >
Provenance: Moffett/Berson
• Jean-Louis Forain - No. 92 - Pourtour des Folies-Bergère
ca. 1878 - 22,7 × 32,8 cm - Watercolour and gouache on paper
Wadsworth Athenaeum, Hartford >
• Provenance: Moffett
Jean-Louis Forain - No. 97 - Femme au café.
ca. 1879 - 31,8 x 19,7 cm - Opaque colours/watercolour with graphite underdrawing on paper
Brooklyn Museum, New York >
• Provenance: Moffett
Jean-Louis Forain - No. 101 (-104) - Un éventail.
1878 - 27,6 × 59,1 cm - Gouache, pencil, chalk on vellum
Dixon Gallery and Gardens, Memphis >
Albert Lebourg - No. 130 - La lecture (le soir).
ca. 1879 - 43,5 x 28,3 cm - Charcoal and graphite heightened with white on paper
British Museum, London >
Provenance: Berson
Albert Lebourg - No. 131 - La Veillée Dessin.
ca. 1879 - 31,8 x 48,5 cm - Conté chalk and charcoal and white gouache on brown discoloured laid paper
Cleveland Art Museum >
Provenance: Berson/Museum
Albert Lebourg - No. 134 - Femme jouant aux échecs.
1879 - 30,5 x
43,5 cm - Charcoal heightened with white on paper
Private property
Provenance: Berson
Frederico Zandomeneghi - No. 242 - Portrait de M. Diego Martelli.
1879 - 72 x 92 cm - Oil on canvas
Galleria d’Arte Moderna, Palazzo Pitti, Firenze >
Provenance: Moffett/Berson
Frederico Zandomeneghi - No. 246 - Violettes d’hiver.
1879 - 135 x 63 cm - Oil on canvas
Private collection
Provenance: Moffett/Berson
At the end of the exhibition, it turned out that despite the costs involved in organising the exhibition, there was still a surplus of over 6000 francs. As only a few pictures had been sold, it was decided to divide the sum between the artists. Each received 439 francs. Mary Cassatt bought a painting by Degas and one by Monet from the exhibition for this amount.
Sisley and Cézanne were rejected at the official Salon. The year 1879 was a financial disaster for Sisley. Manet and Renoir were accepted at the Salon; Renoir was favourably received by the critics. However, Renoir also mourned the death of a loved one: Marguerite Legrand, known as Margot, she had modelled for him for many paintings.
Claude Monet's wife Camille died at the beginning of September after 15 years together. She gave him two sons. Camille's death also marked a human and economic low point in Monet's life. Monet painted Camille many times, most recently on the morning after her death.
Claude Monet - Camille sur son lit de mort
1879 - 90 x 68 cm - Oil on canvas
Musée d’Orsay, Paris >
