22
Gréard,
Meissonier,
p. 316.
23
Quoted in Milner,
The Studios of Paris,
p. 155.
24
Home,
The Fall of Paris,
p. 273.
25
John Milner,
Art, War and Revolution in France, 1870—1871: Myth, Reportage and Reality
(New Haven: Yale University Press, 2000), p. 140.
26
Quoted in Home,
The Fall of Paris,
p. 265.
27
Wilson-Bareau, ed.,
Manet by Himself,
p. 161.
28
Quoted in Hungerford,
Ernest Meissonier,
pp. 144—5.
29
Quoted in Brombert,
Édouard Manet,
p. 288.
30
Le Rappel,
April 29, 1871; Marx, quoted in Zeldin,
Politics and Anger,
p. 372.
31
For the political persuasions of the Communards, see Zeldin,
Politics and Anger,
pp. 371-4.
32
For Blanc's political opinions, see Zeldin,
Politics and Anger,
p. 85.
33
Tableaux de siege: Paris 1870—1871
(Paris, 1871), p. 318.
34
Letters of Gustave Courbet,
p. 385.
35
Ibid., p. 388.
36
Quoted in Milner,
Art, War and Revolution in France,
p. 154.
37
Quoted in Stewart Edwards, ed.,
The Communards of Paris
(Ithaca: Cornell University Press, 1973), p. 148.
38
Journal officiel de la Commune,
April 28, 1871, quoted in Roos,
Early Impressionism and the French State,
p. 15 5.
39
Hungerford,
Ernest Meissonier,
p. 148;
Ernest Meissonier: Rétrospective,
p. 175.
40
Quoted in Home,
The Fall of Paris,
p. 3 51.
41
Quoted in Boime,
Art and the French Commune,
p. 205.
42
Quoted in Hungerford,
Ernest Meissonier,
p. 145.
43
Pages from the Goncourt Journal,
p. 209.
44
Zeldin,
Politics and Anger,
p. 380;
Journal officiel, May 25, 1871.
45
The Times,
May 31, 1871.
46
For speculation as to the numbers of the dead, see Home,
The Fall of Paris,
p. 418.
Chapter Thirty-three: Days of Hardship
1
Quoted in Rupert Christiansen,
Tales of the New Babylon
(London: Sinclair-Stevenson, 1994), P. 367.
2
Gautier,
Tableaux de siege,
p. 327;
Pages from the Goncourt Journal,
p. 212;
L'Illustration,
July 22, 1871.
3
On the commercialization of the ruins, see Alisa Luxenberg, "Creating
Désastres:
An-drieu's Photographs of Urban Ruins in the Paris of 1871,"
The Art Bulletin
80 (March 199s), PP-113-37.
4
Bicknell,
Life in the Tuileries under the Second Empire,
p. 85. For the balls in the Salle des Maréchaux during the Second Empire, see Vizetelly,
The Court of the Tuileries,
pp. 255-7.
5
Gréard,
Meissonier,
p. 266.
6
Ibid.
7
For a good discussion of
The Ruins of the Tuileries,
see Hungerford,
Ernest Meissonier,
pp. 145—8. For an argument that Meissonier's painting is profoundly anti-Commune, see Gen Doy, "The Camera Against the Paris Commune," in Victor Burgin, ed.,
Photography/ Politics
(London: Photographic Workshop, 1979), pp.
IT,—26.
Doy's argument is capably refuted in Luxenberg, "Creating
Désastres,"
pp. 130—1. Luxemberg points out that Meissonier's work cannot be seen as anti-Commune propaganda aimed at a bourgeois audience (as Doy claims) for the simple reason that he kept the work in his private possession, declining to exhibit the work until more than a decade after the Commune's suppression.
8
The precise date of Manet's return to Paris has never been reliably fixed, although Antonin Proust implies that he was present in Paris during the end of Bloody Week. He states—incorrectly—that Manet "spent the Commune in the Pyrenees" and then returned to Paris "before the last battle of May"
{ÉdouardManet: souvenirs,
p. 64).
9
Wilson-Bareau, ed.,
Manet by Himself,
p. 161.
10
Ibid.
11
Histoire de Édouard Manet et de son oeuvre,
p. 166.
12
For a good study of Manet's lithograph, see Jacquelynn Baas, "Édouard Manet and Civil War,"
Art Journal
(Spring 1985), pp. 36-42, which points out Manet's debt to Gérôme's
Dead Caesar.
Rosenblum and Janson argue that other artistic precedents for Manet's
Civil War
include Goya's
Disasters of War,
Meissonier's
Remembrance of Civil War,
and Daumier's
Rue Transnonain {Art of the Nineteenth Century,
p. 327).
13
Rewald,
The Ordeal of Paul Cézanne,
p. 72.
14
Jean-Paul Bouillon, ed., "Les Lettres de Manet à Bracquemond,"
Gazette des Beaux-Arts,
series 6 (April 1983), p. 151.
15
The Correspondence of Berthe Morisot,
p. 63.
16
Quoted in Zeldin,
Politics and Anger,
p. 251. For Gambetta and his political ideology, see ibid., pp. 246-57.
17
Morisot,
Correspondence,
pp. 63 and 71.
18
Thomas Mayne Reed,
Croquet: A Treatise and Commentary
(London, 1863). For the game's history, see D. M. C. Prichard,
The History of Croquet
(London: Cassell, 1981).
19
Souvenirs d'un directeur des beaux-arts,
vol. 1, p. 88.
20
Grammaire des arts du dessin
(Paris, 1867), p. 7. Blanc originally published this work in serial form in the
Gazette des Beaux-Arts.
For discussions of his aesthetics, see Misook Song,
The Art Theories of Charles Blanc
(Ann Arbor: University of Michigan Press, 1984); and Shaw, "The Figure of Venus: Rhetoric of the Ideal and the Salon of 1863," pp. 549-53.
21
Grammaire des arts du dessin,
p. 10.
22
Gazette des Beaux-Arts,
October 1871. For discussions of the patriotic injunctions to artists in the early Third Republic, as well as of the artistic responses themselves, see Paul Hayes Tucker, "The First Impressionist Exhibition and Monet's
Impression, Sunrise:
A Tale of Timing, Commerce and Patriotism,"
Art History
7 (December 1984), pp. 465—76; and Christopher Robinson, "The Artist as 'Renovateur': Paul Baudry and the Paris Opéra,"
Art Journal
46 (Winter 1987), pp. 285—9.
23
Journal officiel,
December 19, 1871.
24
For reactionary responses to the Commune, see Christiansen,
Tales of the New Babylon,
pp. 380-7.
25
Quoted in Ridley,
Napoléon III and Eugénie,
p. 580.
26
Ibid., p. 584.
27
Quoted in Christiansen,
Tales of the New Babylon,
p. 162.
28
Quoted in ibid., p. 386.
Chapter Thirty-four: The Apples of Discord
1
Reports in
The Illustrated London News,
January 6, 1872; February 3, 1872; and February 17, 1872.
2
L'Avenir nationale,
May 15, 1873. For Blanc's Museum of Copies, see Albert Boime, "Le Musée des copies,"
Gazette des Beaux-Arts,
series 6, 64 (1964), pp. 238—47; and Duro, " 'Un Livre Ouvert a 1'Instruction,' " pp. 44—58.
3
Quoted in Roos,
Early Impressionism and the French State,
p. 168. For Blanc's intransigence in 1872, see ibid., pp. 165—9.
4
For Vollon's career, see Carol Forman Tabler et al.,
Antoine Vollon, 1833—1900: A Painter's Painter
(New York: Wildenstein & Co., 2004).
5
Gréard,
Meissonier,
pp. 195, 290.
6
Quoted in Bowness et al.,
Gustave Courbet,
p. 188.
7
Letters of Gustave Courbet,
p. 416.
8
Ibid., p. 409. For a full list of Courbet's reforms, see ibid., pp. 410-11.
9
Ibid., p. 443.
10
Ibid., p. 440.
11
Le Figaro,
April 10, 1872. For discussions of Meissonier's role in Courbet's exclusion, see Roos,
Early Impressionism and the French State,
pp. 171—4; and Hungerford,
Ernest Meissonier,
pp. 152—5.
12
Quoted by Jules-Antoine Castagnary in
Le Siècle,
April 9, 1872.
13
Le Journal amusant,
May 18, 1872.
14
Letters of Gustave Courbet,
p. 459.
15
Le Figaro,
April 11, 1872.
16
For samples of how the newspapers rose to defend Courbet, see Roos, op. cit., pp. 173—4 and p. 267, notes 56—61; and Hungerford,
Ernest Meissonier,
pp. 154—5.
17
Le Siècle,
April 9, 1872. On Castagnary, see Palomba Paves-Yashinsky, "Castagnary, le Naturalisme et Courbet,"
Nineteenth-Century French Studies
(Spring 1976), pp. 332—43.
18
Breton,
The Life of an Artist,
trans. M. V. Sefrano (London, 1891), p. 188.
19
Quoted in Roos, op. cit., p. 175. On these demands, see also Boime, "The Salon des Refusés and the Evolution of Modern Art," p. 421.
20
Quoted in Tabarant,
Manet et ses oeuvres,
p. 191.
21
Quoted in ibid., p. 196.
22
For a recent study of Durand-Ruel, see Pierre Assouline,
Grâces lui soient rendues: Paul Durand-Ruel, le marchand des impressionistes
(Paris: Gallimard, 2004).
23
Quoted in Tabarant, op. cit., p. 196.
Chapter Thirty-five: A Ring of Gold
1
La Cloche,
May 12, 1872.
2
The Illustrated London News,
May 25, 1872;
La Revue de France,
May 30, 1872;
L'Opinion nationale,
May 11, 1872.
3
Le Rappel,
May 11, 1872;
L'Opinion nationale,
June 29, 1872;
Le Gaulois,
July 3, 1872;
Le Figaro,
June 16, 1872.
4
Tabarant,
Manet et ses oeuvres,
p. 202.
5
Le Figaro,
December 25, 1873. The visitor was Léon Duchemin, who used the pseudonym Fervacques. For a description and photographs of the studio, see Juliet Wilson-Bareau,
Manet, Monet, and the Gare Saint-Lazare
(Washington, D.C.: National Gallery of Art, 1998), pp. 145-6.
6
For this unfavorable reaction, see Perruchot,
Manet,
p. 190.
7
Gréard,
Meissonier,
p. 325.
8
For Meissonier's dealings with the Pereire brothers, who owned two of his paintings, see Hungerford,
Ernest Meissonier,
pp. 102—3. The transformation of the Batignolles into one of Paris's most fashionable districts is discussed—albeit with no reference to the Pereire brothers—in Milner,
The Studios of Paris,
pp. 171—2. On the Pereire brothers' lives, careers and speculative venmres, see Jean Autin,
Les Frères Pereire: Le Bonheur d'entrepren-dre
(Paris: Perrin, 1983).
9
Quoted in Hungerford,
Ernest Meissonier,
p. 160.
10
For the Raphael sale, see
The Illustrated London News,
May 10 and August 2, 1873. This work,
God the Father Blessing among the Angels,
a fresco transferred to canvas, is now thought to have been the work of Raphael's collaborators rather than of the master himself.
11
Henry James,
The Painter's Eye: Notes and Essays on the Pictorial Arts,
ed. John L. Sweeney (London: Rupert Hart-Davis, 1956), pp. 67 and 75.