The Judgment of Paris (79 page)

17
Annual Register: A Review of Public Events at Home and Abroad, for the Year 1868
(London, 1869), p. 86.

18
The Illustrated London News,
August 8, 1868.

19
The Times,
July 30, and August 1, 1868.

20
Illustrated London News,
July 4, 1868.

21
Wilson-Bareau, ed.,
Manet by Himself,
p. 47.

22
Ibid.

Chapter Twenty-six: Mademoiselle Berthe

1
Quoted in Kathleen Adler and Tamar Garb,
Berthe Morisot
(Oxford: Oxford University Press, 1987), p. 10.

2
As noted above, forty-six women are listed in the Salon des Refusés catalogue reproduced in Wildenstein, "Le Salon des refusés de 1863," pp. 132—52. For the participation of women in the regular Salons, see Roos,
Early Impressionism and the French State,
pp. 18-19.

3
See
Oeuvres exposies au salon annuel organisé par le Ministere de la Maison de I'Empereur et des beaux-arts
(Paris, 1868).

4
For a skeptical treatment of this legend, see Margaret Shennan,
Berthe Morisot: The First Lady of Impressionism
(Stroud, Gloucestershire: Sutton Publishing, 1996), p. 5.

5
Quoted in ibid., p. 38.

6
Gazette des Beaux-Arts,
July 1865.

7
Wilson-Bareau, ed.,
Manet by Himself,
p. 49.

8
On these influences, see Tinterow and Lacambre et al., eds.,
Manet/Velázquez,
p. 499.

9
Quoted in Shennan, op. cit., p. 39.

10
The Correspondence of Berthe Morisot,
ed. Denis Rouart, trans. Betty W Hubbard (London: Lund Humphries, 1957), p. 31.

11
L'Événement illustré,
May 10, 1868.

12
The Correspondence of Berthe Morisot,
p. 29.

13
Brombert,
Édouard Manet,
p. 237. On the possible nature of the relationship between Manet and Morisot, see ibid., pp. 235—40; and Shennan, op. cit., pp. 90-1.

14
For this interpretation, see Shennan, op. cit., p. 90.

15
The distinguished lithographic printer Lemercier, born in 1802, winner of numerous international medals and an officer in the Legion of Honor, is identified as "Rémond-Jules Lemercier" in Pierre Larousse's
Grand Dictionnaire Universel du XIX
^e
Siècle,
vol. 10 (Paris, 1873); but ninety years later, in vol. 16 of the
Grand Larousse encyclopédique,
he has mutated into "Rose-Joseph Lemercier" (1802—1887) and become a student of Senefelder.

16
Wilson-Bareau, ed.,
Manet by Himself,
p. 50.

17
Chronique des arts et de la curiosité,
February 7, 1869.

18
Vollard,
Recollections of a Picture Dealer,
p. 54.

19
For this story, see ibid., p. 55. The remnants of this version are now in the National Gallery, London.

20
The Correspondence of Berthe Morisot,
p. 29.

Chapter Twenty-seven: Flying Gallops

1
Pasquier-Guignard, "L'Installation a Poissy," p. 68.

2
Gazette des Beaux-Arts,
May 1862.

3
Gréard,
Meissonier,
p. 78.

4
Émile Duhousset,
Le Cheval: Études sur les allures, Textirieur et les proportions du cheval
(Paris, 1874), p. 13, quoted in Gotlieb,
The Plight of Emulation,
p. 165. For Gotlieb's excellent discussion of Meissonier's studies of equine locomotion, see ibid., pp. 165—84.

5
On these matters, see Gréard,
Meissonier,
p. 77.

6
See Gotlieb,
The Plight of Emulation,
p. 165.

7
On these matters, see the essays in Ernest Gombrich,
The Image and the Eye: Further Studies in the Psychology of Pictorial Representation
(Oxford: Phaidon Press, 1982). Gombrich provides a brief account of the flying gallop on p. 44. See also his discussion of "minimum models" on pp. 78—9.

8
Yriarte, "E. Meissonier," p. 835.

9
Gréard,
Meissonier,
p. 78.

10
Yriarte, "E. Meissonier," p. 835.

11
See Marta Braun,
Picturing Time: The Work of Étienne-Jules Marey
(Chicago: University of Chicago Press, 1992), which also examines Marey's work with photography later in his career.

12
Yriarte, "E. Meissonier," p. 835.

13
Zeldin,
Taste and Corruption,
p. 289.

14
On these matters, see ibid., pp. 290-2.

15
Albert Wolff, quoted in Milner,
The Studios of Paris,
p. 102.

16
Yriarte, "E. Meissonier," p. 835; Gréard,
Meissonier,
p. 78; and Gérôme, quoted in Gotlieb, 77;e
Plight of Emulation,
p. 172. Yriarte claims that these studies began in 1869 (see p. 835).

17
Yriarte, "E. Meissonier," p. 835.

18
Gréard,
Meissonier,
p. 78.

19
Much work has been done on the flying gallop as it was ultimately captured on film by Ead-weard Muybridge in the late 1870s. For an interesting recent example, see Rebecca Solnit,
River of Shadows: Eadweard Muybridge and the Technological Wild West
(New York: Penguin, 2003), pp. 179—98. For the implications of Muybridge's photographs for Meissonier's work, see Gréard,
Meissonier,
p. 77; and more particularly Gotlieb,
The Plight of Emulation,
pp. 175-84.

20
See James Elkins, "Michelangelo and the Human Form: His Knowledge and Use of Human Anatomy,"
Art History
(June 1984), pp. 176—85.

21
Gréard,
Meissonier,
p. 77.

22
Alfred Cobban,
A History of Modern France,
pp. 192—3.

23
For the political climate during the 1869 elections, see Zeldin,
The Political System of Napoléon HI,
pp. 139—40.

24
Monet by Himself,
p. 26.

25
Ibid.

26
Ibid., p. 27.

27
Morisot,
Correspondence,
p. 30.

28
Ibid., pp. 30-1.

29
Ibid., p. 31.

30
Ibid.

31
Ibid.

32
Armand Silvestre, quoted in Rewald,
The History of Impressionism,
p. 198.

33
Morisot,
Correspondence,
p. 39.

34
L 'Illustration,
May 15, 1869;
Gazette de France,
May 17—18, 1869;
Le Figaro,
May 20, 1869;
Le Siècle,
June 11, 1869.

35
Morisot,
Correspondence,
p. 35.

36
Ibid.

37
Bicknell,
Life in the Tuileries Under the Second Empire,
p. 201.

38
Quoted in Ridley,
Napoléon III and Eugénie,
p. 550.

Chapter Twenty-eight: The Wild Boar of the Batignolles

1
Quoted in Williams,
The French Revolution,
p. 61.

2
See Théodore Zeldin,
Émile Ollivier and the Liberal Empire of Napoléon III
(Oxford: Clarendon Press, 1963).

3
Quoted in ibid., p. 120.

4
See Roger L. Williams,
Henri Rochefort: Prince of the Gutter Press
(New York: Charles Scribner 's Sons, 1966).

5
Quoted in ibid., p. 130.

6
Illustrated London News,
July 28, 1888.

7
Zeldin,
Taste and Corruption,
p. 156.

8
For this duel, see E. A. Vizetelly,
The Court of the Tuileries, 1852—1870
(London: Chatto & Windus, 1907), pp. 218—19.

9
On the Noir case, see Roger L. Williams,
Manners and Murders in the World of Louis-Napoléon
(Seattle: University of Washington Press, 1975), pp. 127-150.

10
Bicknell,
Life in the Tuileries Under the Second Empire,
p. 63.

11
La Marseillaise,
January 11, 1870.

12
Quoted in Zeldin,
Politics and Anger,
p. 187.

13
Morisot,
Correspondence,
p. 37.

14
Ibid., p. 38.

15
Ibid., p. 39.

16
Ibid., p. 40.

17
Ibid., p. 38.

18
Ibid., p. 33.

19
Paris-Journal,
February 19, 1870.

20
Quoted in McMullen,
Degas,
p. 142.

21
Wilson-Bareau, ed.,
Manet by Himself,
p. 51; Vollard,
Recollections of a Picture Dealer,
p. 150.

22
See the official statement quoted in Courthion and Cailler, eds.,
Portrait of Manet,
p. 66.

23
Wilson-Bareau, ed.,
Manet by Himself,
p. 51.

24
Vollard,
Recollections of a Picture Dealer,
p. 150; Bernier,
Paris Café's,
p. 42.

25
Wilson-Bareau, ed.,
Manet by Himself',
p. 51.

26
Ibid., p. 12.

27
For La Rochenoire's proposal, see Roos,
Early Impressionism and the French State,
pp. 136-7.

28
Quoted in ibid., p. 136.

29
Quoted in ibid., p. 137.

30
Tabarant,
Manet et ses oeuvres,
p. 175.

31
Quoted in Roos,
Early Impressionism and the French State,
p. 135. For the election of Chennevières, with whom many of the artists had sympathy, see ibid., p. 138.

Chapter Twenty-nine: Vaulting Ambitions

1
Gréard,
Meissonier,
p. 58.

2
Ferdinand de Lasteyrie,
La Peinture a l'Exposition universelle de 1855
(Paris, 1863), p. 149.

3
Joseph C. Sloane,
French Painting Between the Past and the Present
(Princeton: Princeton University Press, 1951), p. 134. On this commission, see two other works by Sloane:
Paul-Marc Chenavard: Artist of 1848
(Chapel Hill: University of North Carolina Press, 1962); and "Paul Chenavard's Cartoons for the Mural Decoration of the Panthéon,"
The Art Bulletin
(December 1951), pp. 240—58; as well as Gotlieb,
The Plight of Emulation,
pp. 37-44.

4
Quoted in Gotlieb, op. cit., p. 44. According to Gotlieb: "The Panthéon offered Meissonier what even the Napoleonic subjects could not, a site whose appropriateness and manifest significance were beyond question. Here was a supreme opportunity to secure his position as leader of the French school" (ibid., p. 19). Gotlieb states that Meissonier made the offer to Chenavard "sometime around" 1874 (p. 44), but no doubt he had coveted the project for several years at least.

5
Yriarte, "E. Meissonier," p. 828.

6
Quoted in Rewald,
The History of Impressionism,
p. 246.

7
Quoted in Rewald,
The Ordeal of Paul Cézanne,
p. 68.

8
Monet by Himself,
p. 27.

9
Quoted in Rewald,
The History of Impressionism,
p. 226.

10
Now the îie de la Chaussee.

11
Eugène Chapu,
Le Sport a Paris
(Paris, 1854), p. 208; quoted in Herbert,
Impressionism: Art, Leisure and Parisian Society,
p. 211. For Herbert's account of Manet and Renoir at La Grenouillère, see ibid., pp. 202—19.