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»La 2ᵉ exposition de peinture par MM...«
1876 - Paris
Second Impressionist exhibition in Paris in 1876
30 March - 30 April 1876
Gallery Paul Durand-Ruel, Rue le Peletier 11
252 works in the catalogue (4 out of catalogue) - 19 artists
The second Impressionist exhibition took place in Paul Durand-Ruel's gallery in Rue le Peletier. Paul Durand-Ruel, who is regarded as one of the founders of today's gallery business, had championed the Barbizon painters early on, thus giving them a place and recognition in the art world. He also represented Courbet and Corot as a gallery owner.
Paul Durand-Ruel
Now he stood up for the Impressionist painters. Initially, he gave them space to exhibit their works. His promotion of the group of painters was very intensive. A few years later, he also helped the painters achieve their breakthrough in America. Until the end of his life, he sold thousands of paintings from the Impressionist and post-Impressionist era for the artists. He organised around 200 exhibitions. His name is inextricably linked with the Impressionists and the art world owes him a great deal.
Marcellin Desboutin - Portrait Paul Durand-Ruel
At the second Impressionist exhibition in April 1876 at the Galerie Durand-Ruel, far fewer artists were represented than at the first. Many had cancelled because they did not want to be associated with artists such as Degas or Monet, who were so reviled by the public.
Once again, the term Impressionism was not included in the title of the exhibition. It was called: La 2ᵉ Exposition de Peinture.
Exhibition catalogue
Cézanne did not take part, as he now wanted to submit paintings to the official Salon of the Year. However, he was not surprised not to be accepted there again.
While 30 artists had taken part in the first group exhibition, only 19 now showed their works at Durand-Ruel, including some newcomers such as Gustave Caillebotte. The following artists took part: Edmond-Joseph Béliard, Pierre-Isidore Bureau, Gustave Caillebotte, Adolphe-Félix Cals, Edgar Degas, Marcellin Desboutin, Jacques François, Alphonse Legros, Ludovic-Napoleon Lepic, Jean-Baptiste Levert, Jean-Baptiste Millet, Claude Monet, Berthe Morisot, Léon-Auguste Ottin, Camille Pissarro, Pierre-Auguste Renoir, Stanislas-Henri Rouart, Alfred Sisley and Charles Tillot.
Well-known examples from the exhibition
The numbers given in the 1876 catalogue are placed in front of the picture titles below.
The picture titles correspond to those in the 1876 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
He was recommended to the group by Renoir. In addition to his paintings, which he contributed to five Impressionist exhibitions, he was also a financial supporter. At the age of 25, he had inherited an estate, which made him independent. He painted pictures, but also collected those of his colleagues. He helped where he could and rented exhibition rooms (including the one for the first exhibition in 1874 at the photographer Nadar).
8 pictures in the catalogue
No. 17 - Raboteurs de parquets.
1875 - 102 x 146 cm - Oil on canvas
Musée d'Orsay, Paris >
Provenance: Moffett/Berson/Museum/Caillebotte Catalogue Raisonné Wildenstein No.34
After an academic education, he was influenced by Degas, Monet and Renoir and, from 1875 onwards, harmonised his style with that of the Impressionists. He bequeathed his extensive collection of paintings by his fellow painters to the French state, which initially refused. Today, some of the paintings in his collection hang in the Musée d'Orsay.
No. 18 - Raboteurs de parquets.
1876 - 80 x 100 cm - Oil on canvas
Private collection
Provenance: Moffett/Berson/Caillebotte Catalogue Raisonné Wildenstein No.35
No. 19 - Jeune homme jouant du piano.
1876 - 81 x 116 cm - Oil on canvas
Artizon Museum, Tokyo >
Provenance: Moffett/Berson/Museum/Caillebotte Catalogue Raisonné Wildenstein No.36
No. 20 - Jeune homme à sa fenêtre.
1876 - 116 x 81 cm - Oil on canvas
The J. Paul Getty Museum, Los Angeles >
Provenance: Moffett/Berson/Getty Museum/Caillebotte Catalogue Raisonné Wildenstein No.32/Christies
No. 21 - Déjeuner.
1876 - 52 x 75 cm - Oil on canvas
Private collection
Provenance: Moffett/Berson/Caillebotte Catalogue Raisonné Wildenstein No.37
No. 23 - Jardin.
1875 - 65 x 92 cm - Oil on canvas
Private collection
• Provenance: Caillebotte Catalogue Raisonné Wildenstein No.25/Christies
Edgar Degas
Photo ca. 1874
24 pictures in the catalogue
No. 36 - Portraits dans un bureau (Nouvelle-Orléans).
1873 - 73 x 92 cm - Oil on canvas
Musée des beaux-arts de Pau, Pau >
Provenance: Moffett/Berson/Museum/Catalogue Raisonné Edgar Degas
No. 37 - Examen de danse.
1874 - 83 x 77 cm - Oil on canvas
Metropolitan Museum of Art >
Provenance: Moffett/Berson/Museum/Catalogue Raisonné Edgar Degas
No. 38 - Portrait de Mr E. M...
1874 - 65 x 81 cm - Oil on canvas
Private property
Provenance: Moffett/Berson/Sotheby's/Catalogue Raisonné Edgar Degas
No. 39 - Portrait de femme (ébauche).
1869 - 55 x 65 cm - Oil on canvas
The Metropolitan Museum, New York >
Provenance: Berson/Museum/Catalogue Raisonné Edgar Degas
No. 40 - Cour d’une maison (Nouvelle-Orléans, esquisse).
1873 - 60 x 73,5 cm - Oil on canvas
Ordrupgaard Museum, Charlottenlund bei Kopenhagen, Dänemark >
Provenance: Moffett/Berson/Museum/Catalogue Raisonné Edgar Degas
No. 41 - Blanchisseuses.
1875/76 - 82 x 75 cm - Oil on canvas
1882/86 revised
Norton Simon Museum, Pasadena, USA >
• Provenance: Berson/Museum/Catalogue Raisonné Edgar Degas
No. 43 - Portrait, le soir.
1869/1870 - 72 x 92 cm - Oil on canvas
National Gallery of Art, Washington D.C. >
Provenance: Moffett/Berson/Museum/•Catalogue Raisonné Edgar Degas
No. 44/45 - Salle de danse.
1870/72 - 41 x 55 cm - Oil on canvas
The Phillips Collection, Washington DC >
Provenance: Berson/Museum
No. 47/48 - Coulisses.
1874/76 - 73 x 59 cm - Oil on canvas
Art Institute of Chicago >
Provenance: Moffett/Berson/Museum/Catalogue Raisonné Edgar Degas
No. 49 - Blanchisseuse (silhouette).
1873 - 54 x 39 cm - Oil on canvas
The Metropolitan Museum, New York >
Provenance: Moffett/Berson/Museum/Catalogue Raisonné Edgar Degas
No. 51 a - Divers croquis de danseuses.
a) Danseuse rajustant son chausson
1874 - 40 x 32 cm - Brush sketch in petrol and oil, on pink paper
Private collection
Provenance: Berson
No. 51 b - Divers croquis de danseuses.
b) Danseuse debout, de dos
1873 - 38,8 x 25,7 cm - Brush sketch in petrol and oil, on pink paper
Musée d'Orsay, Paris >
Provenance: Berson/Catalogue Raisonné Edgar Degas
No. 56 - Petit Payssantes se beignant à la mer vers le soir.
ca. 1875 - 65 x 81 cm - Oil on canvas
Private collection
• Provenance: Moffett/Berson/• Catalogue Raisonné Edgar Degas
Listed in the catalogue (also in the 3rd exhibition 1877 - No. 51 Catalogue Raisonné Edgar Degas)
but probably never exhibited.
Claude Monet
Monet ca. 1871
Claude Monet showed 18 paintings in the exhibition, some of which are very well-known today, some of which he had borrowed, for example from Jean-Baptiste Faure, a singer, or from Victor Chocquet. The painting that attracted the most attention in the exhibition was "La Japonaise", depicting his wife Camille in a richly embroidered kimono. It was sold for the then high sum of 2000 francs.
18 pictures in the catalogue
Nr 149 - La Seine à Argenteuil.
1875 - 60 x 80 cm - Oil on canvas
Private collection
Provenance: Moffett/Berson/Wildenstein Monet Vol II No. 373
No. 150 - Le Chemin d'Epinay. Effet de neige.
1875/76 - 83 x 124 cm - Oil on canvas
Albright-Knox Art Gallery, Buffalo >
Provenance: Moffett/Berson/Wildenstein Monet Vol II No. 389
No. 151 - La Plage à Saint-Adresse.
1867 - 76 x 103 cm - Oil on canvas
Art Institute of Chicago >
Provenance: Moffett/Berson/Museum/Wildenstein Monet Vol II No. 92
No. 152 - Le Pont du Chemin de fer (Argenteuil).
1873 - 60 x 99 cm - Oil on canvas
Private collection
Provenance: Berson/Christie's/Wildenstein Monet Vol II No. 279
Nr 153 - Japonnerie.
1876 - 231 x 142 cm - Oil on canvas
Museum of Fine Arts, Boston >
Provenance: Moffett/Berson/Museum/Wildenstein Monet Vol II No. 387
No. 154 - La Prairie.
1874 - 57 x 80 cm - Oil on canvas
Alte Nationalgalerie, Berlin >
Provenance: Moffett/Berson/Wildenstein Monet Vol II No. 311
No. 156 - Le Pont d'Argenteuil.
1874 - 60 x 80 cm - Oil on canvas
Musée d'Orsay, Paris >
Provenance: Moffett/Berson/Museum/Wildenstein Monet Vol II No. 311/Museum
No. 158 - Effet d'Automne.
1873 - 54 x 73 cm - Oil on canvas
High Museum of Art, Atlanta >
Provenance: Moffett/Berson/Wildenstein Monet Vol II No. 279
No. 159 - Les Dalhias.
1875 - 54 x 66 cm - Oil on canvas
Národní galerie Praha >
Provenance: Moffett/Berson
No. 160 - Les Bateaux d'Argenteuil
1875 - 62 x 83 cm - Oil on canvas
Harvard Art Museums, Cambridge >
• Provenance: Moffett/Berson/Museum/Wildenstein Monet Vol II No. 369
No. 161 - La Promenade.
1875 - 100 x 81 cm - Oil on canvas
National Gallery of Art, Washington D.C. >
Provenance: Moffett/Berson/Museum/Wildenstein Monet Vol II No. 382
No. 162 - Paneau décoratif.
vor 1873 - 160 x 201 cm - Oil on canvas
Musée d'Orsay, Paris >
Provenance: Moffett/Berson/Wildenstein Monet Vol II No. 281/Museum
Nr 163 - Le Printemps.
1872 - 59 x 73 cm - Oil on canvas
Union League Club of Chacago >
Provenance: Moffett/Berson/Wildenstein Monet Vol II No. 201
No. 164 - Les Bains de la Grenouillère.
1869 - 75 x 99 cm - Oil on canvas
Metropolitan Museum of Art, New York >
Provenance: Berson/Museum
(except catalogue) hc. - La Liseuse
1872 - 50 x 65 cm - Oil on canvas
The Walters Art Museum, Baltimore >
Provenance: Moffett/Berson/Museum/Wildenstein Monet Vol II No. 205
Berthe Morisot
Berthe Morisot - Foto ca. 1874
17 pictures in the catalogue
No. 166 - Au Bal.
1875 - 62 x 52 cm - Oil on canvas
Musée Marmottan, Paris >
Provenance: Moffett/Berson/Museum/Wildenstein Morisot No. 60
No. 168 - La Toilette.
1876 - 54 x 45 cm - Oil on canvas
Private collection
Provenance: Moffett/Berson/Wildenstein Morisot No. 61
No. 170 - Vue de Solent (Ile de Wight.)
1875 - 38 x 46 cm - Oil on canvas
Private collection
Provenance: Moffett/Wildenstein Morisot No. 53
No. 171 - West Cowes. (Ile de Wight.)
1875 - 24 x 51 cm - Oil on canvas
Virginia Museum of Fine Arts, Richmond >
Provenance: Moffett/Museum
No. 172 - Le bateau à vapeur
1875 - 32,4 x 46,5 cm - Oil on canvas
Private property
Provenance: Moffett/Berson/Sotheby's/Wildenstein Morisot No. 56
No. 173 - Plage de Fécamp.
ca. 1874 - 24 x 51 cm - Oil on canvas
Private collection
Provenance: Moffett/Berson/Wildenstein Morisot No. 30
No. 174 - Un Chantier.
1874 - 33 x 41 cm - Oil on canvas
Musée Marmottan, Paris >
Provenance: Moffett/Berson/Wildenstein Morisot No. 39
No. 175 - Un Percher de Blanchisseuse.
1875 - 33 x 41 cm - Oil on canvas
National Gallery of Art, Washington DC >
Provenance: Moffett/Berson/Museum/Wildenstein Morisot No. 45
No. 176 - Vue d’Angleterre.
1875 - 44 x 55 cm - Oil on canvas
Private collection
• Provenance: Moffett/Sotheby's/Wildenstein Morisot No. 52
No. 177 - Vue d’Angleterre.
1875 - 41 x 51 cm - Oil on canvas
Private collection
Provenance: Wildenstein Morisot No. 48
No. 178 - Figure de Femme.
1875 - 57 x 31 cm - Oil on canvas
National Museum of Western Art; Tokio >
Provenance: Moffett/Berson/Christie's/Museum
No. 179 - Avant d’un Yacht. (Aquarelle.)
1875 - 20,7 x 26,8 cm - Aquarell über Graphit auf cremefarbenem Velin
Clark Art Institute, Williamstown >
Provenance: Moffett/Berson/Museum/Wildenstein Morisot No. 630
No. 180 - Entrée de la Midina, Ile de Wight. (Aquarelle.)
1875 - 19 x 17,4 cm - Aquarell über Graphit auf cremefarbenem Papier
Harvard Art Museum, Cambridge (Massachusetts) >
Provenance: Moffett/Berson/Wildenstein Morisot No. 632
No. 181 - Vue de la Tamise. (Aquarelle.)
1875 - 17 x 23 cm - Aquarell auf Papier
Musée Marmottan Monet, Paris >
Provenance: Moffett/Berson/Wildenstein Morisot No. 631
Of course, the leading critic of the time, Albert Wolff, who was one of the few people to completely slate the first exhibition in 1874, also had to speak out about this exhibition: "A new disaster has befallen the Rue Peletier. Five or six madmen, including a woman, have exhibited their works here, blinded by ambition. Many visitors have fits of laughter at these works of art. My heart contracts at the sight of them. These so-called artists call themselves subversives and impressionists. They take canvas, paint, brushes, put a few colours next to each other, depending on their mood, and believe they have already achieved something great. The whole thing is reminiscent of Ville Evrard (the name of an insane asylum), where the confused patients pick up stones and imagine they have found diamonds. [...] Horrible examples of human vanity. How to explain to Pissarro that trees are not purple and the sky is not the colour of fresh butter, that the things he painted cannot be seen in any country and that no intelligent person can accept such confusion. Labour lost." (3 April 1876 - Le Figaro). Berthe Morisot's husband Eugène Manet is said to have found it difficult to stop himself from challenging the vituperative "critic" to a duel.
This article, quoted here in excerpts, is contrasted by increasingly positive reactions such as those of Emile Zola or Georges Rivières, who were much more concerned with the new painting and the individual artists. Although Zola found Caillebotte's works unimaginative, he praised Berthe Morisot, Pissarro, Renoir and Sisley in particular, and especially Monet. Degas, however, was sharply criticised, whose painting Zola described as powerless and deplorable.
However, most of the reviews published at the time also regarded Degas, who rejected the open-air painting style of the others, as an acceptable artist. The still young August Strindberg also commented in an article on the Impressionists: "We saw marvellous pictures,..."
The critic in the salon (Daumier)
However, some also noted in their articles that an influence was noticeable in the official Salon: "... what characterises this year's Salon is the urge for light and truth. Everything reminiscent of tradition, artificiality and falsity no longer counts ... Well, the Impressionists have contributed to this development. Anyone who has been to Durand-Ruel and seen the real and true landscapes ... will no longer doubt this," wrote Castagnary in Le Siecle on 6 May 1876.
Camille Pissarro
Pissarro ca. 1877
Permanent entrance ticket for Pissarro to the second exhibition
To quote Zola again from the article: "Pissarro is even more revolutionary than Monet. His brushwork is even simpler and more naive. A glance at the landscapes and the colourful range can confuse the uninitiated..."
12 pictures in the catalogue
No. 198 - Un étang à Montfoucoult (Mayenne).
1874 - 54 x 66 cm - Oil on canvas
Private collection
• Provenance: Moffett/Berson/Sotheby's
No. 199 - Gelée blanche avec Brouillard.
1874 - 54 x 65 cm - Oil on canvas
Private collection
Provenance: Moffett/Berson/Wildenstein: Pissarro Vol II Nr 338
No. 200 - Neige. Coteaux de l'Hermitage (Pontoise).
1874 - 55 x 66 cm - Oil on canvas
Private collection
Provenance: Moffett/Berson/Wildenstein: Pissarro Vol II Nr 327
No. 201 - Ferme à Montfoucault.
1874 - 60 x 73 cm - Oil on canvas
Musée d'Art et d'Histoire, Genève >
Provenance: Moffett/Berson/Museum/Wildenstein: Pissarro Vol II Nr 377
No. 202 - Les Coteaux du Choux.
1874 - 55 x 93 cm - Oil on canvas
Metropolitan Museum of Art, New York >
• Provenance: Berson
No. 205 - Effet de neige. Coteaux d’Osny.
1873 - 52 x 81 cm - Oil on canvas
The National Museum of Western Art, Tokyo >
• Provenance: Museum/Wildenstein: Pissarro Vol II Nr 286
Auguste Renoir
Augste Renoir ca. 1875
18 pictures in the catalogue
No. 210 - Sur la Terasse.
ca. 1876 - 67 x 54 cm - Oil on canvas
Pushkin Museum, Moskau >
Provenance: Berson
No. 212 - Étude.
1876 - 81 x 65 cm - Oil on canvas
Musée d'Orsay, Paris >
Provenance: Moffett/Berson/Museum
No. 213 - Liseuse.
1876 - 65 x 55 cm - Oil on canvas
Private collection
Provenance: Moffett/Berson
No. 214 - Tête d’Homme.
ca. 1875 - 53 x 43 cm - Oil on canvas
Harvard Art Museums, Cambridge >
• Provenance: Moffett/Berson/Museum
No. 217 - Tête de Femme.
ca. 1876 - 35 x 27 cm - Oil on canvas
Arp Museum Bahnhof Rolandseck, Remagen >
Provenance: Moffett/Berson
No. 219 - Femme au Piano.
1875/76 - 93 x 74 cm - Oil on canvas
Art Institute of Chicago >
Provenance: Moffett/Berson/Museum
No. 220 - Portrait de M. M...
(Portrai de Claude Monet)
1875 - 85 x 60 cm - Oil on canvas
Musée d’Orsay >
Provenance: Moffett/Berson/Museum
No. 221 - Déjeûner chez Fournaise.
1875 - 55 x 66 cm - Oil on canvas
Art Institute of Chicago >
Provenance: Moffett/Berson/Museum
No. 223- Portrait de jeune Fille.
1875 - 81 x 60 cm - Oil on canvas
Philadelphia Museum of Art >
Provenance: Moffett/Berson
No. 224 - Frédéric Bazille, peintre tué à Beaune-la-Rolande.
1867 - 106 x 74 cm - Oil on canvas
Musée d'Orsay, Paris >
Provenance: Moffett/Berson/Museum
No. 225 - La Promenade.
1875/76 - 170 x 108 cm - Oil on canvas
The Frick Collection, New York >
Provenance: Moffett/Berson/Museum
(außer Katalog) hc. - Autoportrait
1875 - 39 x 32 cm - Oil on canvas
The Clark Art Institute, Williamstown >
Provenance: Moffett/Berson/Museum
Alfred Sisley
Alfred Sisley
Sisley had submitted eight landscape paintings. Emile Zola, who had written about the 1876 Salon and the group's exhibition in a newspaper published in Russia, commented: "Other artists have rebelled against the tyranny of the jury (- the Salon - ). A group of young painters vowed not to send paintings to the official exhibition, whose doors had been closed to them for several years. These innovative artists decided to rent space in a gallery in the spring for an independent exhibition of their work and to open it to the public." And further: "... There is no doubt that we are witnessing the birth of a new school. In this group we recognise a revolutionary ferment that will gradually win over the Academy of Fine Arts, and in twenty years the appearance of the Salon will be transformed..."
Zola wrote of Sisley: "Sisley is also a landscape painter of great talent, much more balanced than Pissarro. He knows how to depict snow with remarkable accuracy and precision. His painting "Flooding in Port-Marly" is dominated by broad brushstrokes and delicate colouring." (Emile Zola, "Deux Expositions d'art mois de mai" in the "Messager de L'Europe" June 1876)
8 pictures in the catalogue
No. 240 - L'Abreuvoir de Marly, en hiver.
1875 - 49 x 65 cm - Oil on canvas
The National Gallery, London >
Provenance: Moffett/Berson
No. 242 - Le Chemin des Aqueducs.
1874 - 54 x 81 cm - Oil on canvas
Toledo Museum of Art >
Provenance: Moffett/Berson
No. 244 - Inondations à Port-Marly.
1876 - 60 x 81 cm - Oil on canvas
Musée d'Orsay, Paris >
Provenance: Moffett/Berson/Museum
There were fewer visitors than at the group's first exhibition. For all the artists, however, this exhibition was at least not a financial loss. Durand-Ruel was able to use the proceeds to ensure that everyone got back the money they had invested and even made a profit of 3 francs each. At a meeting after the end of the exhibition, it was decided to organise another exhibition the following year in 1877. Cézanne, among others, was again proposed and accepted as a member. Manet was also asked, but he again declined.
Other artists in the second exhibition
Édouard Béliard - No. 1 - Bords de l’Oise.
1875 - 74 x 94 cm - Oil on canvas
Musée d’Etampes
Provenance: Moffett/Berson
Adolphe-Felix Cals - No. 25 - Soleil couchant.
1875 - 36 x 60 cm - Oil on canvas
Musée d’Orsay, Paris >
Provenance: Moffett/Museum
Adolphe-Felix Cals - No. 30 - A la Ferme de Saint-Siméon.
1876 - 60 x 120 cm - Oil on canvas
Private collection
Provenance: Berson
Marcellin Desboutin - No. 62 - Portrait de M. F.
1876 - 41 x 37 cm - Oil on canvas
Private collection
Provenance: Moffett/Berson
Marcellin Desboutin - No. 63 - Les Premiers Pas.
1876 -19,8 x 28 cm - Etching
Provenance: Berson
Marcellin Desboutin - No. 69-72 - Portraits et Etudes. (Gravure à la pointe sèche).
(-Portrait Nerie Rouart-)
1875 - 27,2 x 20 cm - Etching
Provenance: Moffett/Berson
Marcellin Desboutin - No. 69-72 - Portraits et Etudes. (Gravure à la pointe sèche).
(-Portrait Norbert Goeneutte-)
1875 - 25,5 x 15,7 cm - Etching
Provenance: Moffett/Berson
Alphonse Legros - No. 81d - Promenade. (pointe sèche)
ca. 1876 - 28 x 20 cm - Drypoint
Provenance: Moffett/Berson
Alphonse Legros - No. 81f - Cours de médizine. (pointe sèche)
ca. 1876 - 24 x 31,5 cm - Drypoint
Provenance: Berson
Alphonse Legros - No. 83a - Les Vagabonds.
1860 - 26,7 x 36,9 cm - Etching
Bibliothèque Nationale de France
Provenance: Moffett/Berson
Alphonse Legros - No. 91 - La Communion.
1876 - 36 x 30,5 cm - Oil on canvas
Private collection
Provenance: Moffett
Ludovic-Napoléon Lepic - No. 134 - La Ballade des Pendus. (Eau-forte.)
1869 - 13,1 x 27,8 cm - Etching
Provenance: Moffett/Berson
Ludovic-Napoléon Lepic - No. 136 - Canal en Hollande, lever de Lune. (Eau-forte.)
1870/76 - 45,5 x 81,5 cm - Etching
Baltimore Museum of Art >
Provenance: Berson
