art-critics

 

 

Meta-Impressionism:

Art-Critics

journals and magazines

vehicles to become known

 

Introduction:
An important way of becoming known as an artist, was to be reviewed by art-critics, preferably in positive reviews. This also was the case for the partakers of the ‘impressionist’ expositions. To be ignored was the first step into oblivion. Of course these art-critics were related to journals and magazines, some of them more conservative, others more avant-garde.
Several art-critics defended the ‘impressionists’, like Alexis, Burty, Castagnary, Champfleury, Duranty, Geffroy, Huysmans, Mallarmé, Mirbeau, Rivière and Silvester. The impressionists were befriended with some of them and they met in Café Guerbois and Café Nouvelles Athènes and other meeting places. Some also wrote prefaces for exhibition catalogues or auction sales or even biographies. Other art-critics were important opponents of the ‘impressionists’.
I will mention all the known reviews on the 8 ‘impressionist’ expositions, as well the name of the art-critic (only here I will mention the title of the review) as the name of the journal or magazine it was published in. When known, I will render some additional information. The names are given in an alphabetical order. When available I will also render pictures of the art-critics. Being portrayed indicates a mutual connection. If they owned several works of the ‘impressionists’ you will also find them on the page on art-collectors, otherwise I will shortly notice on this page, what works they owned.
Note: This page is under construction, additional info will be added.

 

Overview per year:
In 1874 there were in January and February some reviews on the foundation of the Société Anonyme des Artistes… There were several announcements and also remarks in broader reviews on the 1st ‘impressionist’ exposition. Tucker writes there were more than 50 notices or articles (R2,p106). Berson renders in total 32 more extended reviews (R90I,p9-42).
In 1876

Adam, Paul (1862-1920):
Writer and art-critic. Developed a symbolist theory of knowledge. Attended the soirées of Signac, also had connections with Seurat. Owned at least 1 painting (DR163) and 2 studies of Seurat.
Review 1886 in La Revue contemporaine. (R90I,p477;R207,p41+44+49)

Adriani:
Short remark in Moniteur des arts↓ 1876/04/07 (R90I,p53).

Ajalbert, Jean (1863-1947):
Lawyer, novelist , columnist, art-critic. Owned at least 2 works of Seurat (DR132+134, studies for La Grande Jatte) (R207,p47).
Review 1886 in La Revue Moderne. (R90I,p477)

Alexandre, Arsène:
Also an art-collector. Arsène Alexandre wrote several publications and prefaces on catalogues. In 1888/08/13 publication of an article about Seurat’s Neo-Impressionism (R39,p302). Didn’t review the ‘impressionist’ expositions (R90I,p477).

Alexis, Paul (1847-1901):
Writer (naturalist nouvelist), dramatist, journalist, art-collector and art-critic. Wrote under the pseudonym Trublot articles in ‘Le Cri du peuple’ in 1886 and also 1887/09/02 on Vignon. Born in Aix-en-Provence; youth friend of Cézanne and Zola↓. 1869 moved to Paris. Took part at meetings with the Impressionists in Café Guerbois and Nouvelles Athènes. Defended the Impressionists. Was portrayed by Cézanne, Raffaëlli, Seurat and Zandomeneghi. He attended soirées held by Signac. Involved with the Théâtre Libre. Had anarchist sympathies. Portrayed by Seurat and Raffaëlli.
Sources: R3,p644;R90II,p285;R90I,p477;R207,p41+44.

René d’Alisy:
Review 1881 in Le Monde d’artiste. (R90I,p477)

Argus:
Pseudonym for M.L. Diguet↓.

Ariste:
Pseudonyme for Jules Claretie↓.

Arnoux, Chales-Albert (1820-82):
Illustrator, caricaturist. Published reviews under the pseudonym Bertall. A review called “Exposition des impressionnalistes, rue Lepeletier” and a review called “Les Impressionnalistes” both published in Le Soir and Paris-Journal 1876/04/15, the last review was also published in Les Beaux-Arts, 1876. (R90I,p55-59+477).

Auriol, George (1863-1938):
Painter, illustrator, journalist and writer. Review 1886 in Le Chat noir. (R90I,p477)

Bachaumont:
Review 1879 in Le Sportsman. (R90I,p477)

Baignères, Arthur:
Writer and art-critic. Review in L’Echo universel↓ 1876/04/13 called ‘Exposition de peinture par un groupe d’artistes, rue le Peletier, 11″ Review 1880 in La Chronique des arts et de la curiosité. (R90I,p54+55+477).

Ballu, Roger (1852-1908):
Art-critic and politician. Review 1877 in Les Beaux-Arts illustrés and La Chronique des arts et de la curiosité. (R90I,p477)

Banville, Théodore (1823-91):
Poet and art-critic. Used the pseudonym Baron Schop in his reviews. Review 1876 in Le National. 1877 2 reviews. (R90I,p477)

Bariolette:
Review 1877 in Le Sportsman. (R90I,p477)

Baudelaire, Charles (1821-67):
Poet, novelist, art-critic. Wrote reviews on the Salon. Contacts with Legros and para-impressionists like Fatin-Latour, Manet, Stevens and Whistler. Portrayed by Bracquemond. (R3,p646).

Bazire, Edmond (1846-93):
Journalist. Wrote reviews under the pseudonym Jacques. Reviews 1877 in L’Homme libre. (R90I,p477)

Bergerat, Emile (1845-1923):
Poet and art-critic. Review 1877 in Journal officiel de la république française. (R90I,p477)

Bernadille:
Pseudonym for François-Victor Fournel↓.

Bernard, Daniel:
Review 1879 in Revue du monde catholique. (R90I,p477)

Bertall:
Pseudonym for Charles-Albert d’Arnoux↑.

Besson, Louis:
Journalist and art-critic. Review 1879 in L’Evénement. (R90I,p477)

Biez, Jacques de (1852-1915):
Journalist, historian, art-critic. Review 1882 in Paris. (R90I,p477)

Bigot, Charles (1840-93):
Porfessor, historian, writer, journalist, art-critic. Reviews in La Revue politique et littéraire. Extended review 1876/04/08 called “Causerie artistique: L’Exposition des ‘intransigeants’ ” Review 1877. Review 1882. (R90I,p59-62+477).

Blavet, Emile-Raymond (1838-1924):
Journalist, teacher, playwriter, art-critic. Review 1876 in Le Gaulois. (R90I,p477).

Blémont, Emile:
Pseudonym for Emile Petitdidier↓.

Bonvoisin, Maurice (1849-1912):
Belgian, etcher and art-critic. Used in his reviews the pseudonym Mars. Review as Mars 1881 in Le Journal amusant. (R90I,p477)

Boubée, Simon (1846-1901):
Journalist, novelist, art-critic. Review 1876/04/05 in Gazette de France called “Beaux-Arts: Exposition des impressionnistes, chez Durand-Ruel”.  (R90I,p64+65+477).

Bouhélier, Edmond-Adolphe de :
Better known as E. Lepelletier. (R90I,p480)

Burty, Philippe (1830-90):
Art-critic, writer, art-historian and collector. Sometimes published as B., Ph. (R90I,p477) Supported the ‘impressionists’, especially Degas, Renoir and Manet. Saw them as a new form of Realism. (R3,p651) Wrote the introduction to the 1875 catalogue of the Drouot auction of the Impressionists (R3,p192). 1881: appointed inspector of Fine arts (R3,p651).
2 unsigned reviews in La République Française: 1874/04/16 “Chronique du jour”; 1874/04/25 “Exposition de la Société anynyme des artistes” (R2,p490;R90I,p36-38;R87,p256+261/2). 1 English review 1874/05/30 in The Academy (London)↓ “The Paris Exhibitions: Les Impressionnistes” (R90I,p9). A review in English 1876/04/15 (dated the 1st) in The Academy (London) called “Fine Art: The Exhibition of the ‘Intransigeants’ “. Portrayed by Desboutin. (R90I,p64-66).

C., André:
Review 1882 in Le Français. (R90I,p477)

C., E.:
Emile Cardon also published as E.C.

Callias, Mme Hector de:
Born as Marie Ann Gaillard, died in 1884. Poet. Maybe extended review as Pierre Dax 1876/05/01 in L’Artiste called “Chronique”, reprint of review Rivière. Review 1881 under the pseudonym Nina de Villars (sic) in Le Courrier du soir. (R90I,p70+71+478) She was portrayed by Desboutin. She also was an art-collector. Had contacts with Forain.

Cardon, Emile (1824-99):
Journalist and art-critic. Also published as E.C. (R90I,p478). Review as E.C. 1874/02/28 in Revue de France: “Beaux-Arts” referring to the Société anonymes des artistes … and naming Monet, Pissarro, Sisley, Degas (R90I,p11). Review as E.C. 1874/04/10 in Revue de France: “Chronique: Beaux-Arts: Expositions de peintures modernes” (R90I,p11) 2 Reviews in La Presse: 1874/04/28 “Avant le Salon”; 1874/04/29 “Avant le Salon: L’exposition des révoltés” (R2,p490;R90I,p11-14;R262/3). Reviews 1877+79+80+81.

Carjat, Etienne (1828-1906):
Caricaturist, photographer and art-critic. Review 1874/04/27 in Le Patriote français: “L’Exposition du boulevard des Capucines” (R90I,p14/5+478).

Castagnary, Jules Antoine (1830-1888):
Art-critic and also politician. Defender of impressionism and Realism. Befriended with Courbet and Baudelaire (writer). In 1863 Castagnary was the first to use the term ‘naturalists‘ for Courbet and his followers. (R3,p653;R90I,p478).
Review 1874/04/29 in Le Siècle: “Exposition du boulevard des Capucines: Les Impressionnistes” (R2,p490;R90I,p15-17;R87,p264/5). Castagnary is the explicit origin of the term ‘impressionism’ and not Leroy↓ as many state.
Review 1876/05/06 in Le Siècle called “Salon de 1876: Premier Article: Les Impressionnistes: MM. Claude Monet, Pissaro (sic), Sisley, Renoir, Caillebotte, Degas, Mlle Morizot (sic)”. Castagnary was portrayed by Bracquemond and Desboutin. (R90I,p66/7).

Challamel, Jean-Baptiste-Marie-Augustin (1819-94):
Writer, librarian. Was called Augustin. Used the pseudonym Jules Robert. Review 1877 as Jules Robert in Paris-Journal. (R90I,p478)

Cham:
Pseudonym for Amédée-Charles-Henry de Noé.

Champier, Victor (1851-1929):
Scholar and art-critic. Reviews in L’Année artistique in 1879+80+81. (R90I,p478)

Champfleury, Jules Husson (1821-1889):
Art-critic and writer. Connections with Courbet and Baudelaire (writer). 1857: book ‘Le Realisme’. Meunier connected him with a few impressionists, who’s work he started to collect. (R3,p654;R177,p22+216) He didn’t review the ‘impressionist’ expositions (R90I,p478)

Charry, Paul de:
Reviews in Le Pays in 1880+81+82. (r90I,p478)

Chaulier, Armand:
Born in 1855. Publisher, art historian and art-critic. Used the pseudonym La Fare, wrote as such 2 reviews in Le Gaulois in 1882. (R90I,p478).

Chaumelin, Marius (1833-92):
Journalist. Large review 1876/04/08 in La Gazette des étrangers called “Actualités: L’Exposition des intransigeants”. This was his only review on the ‘impressionist’ expositions. (R90I,p67+68+478)

Cherbuliez, Victor (1829-99):
Novelist, journalist. Review 1876/06/01 in Revue des deux mondes called “Le Salon de 1876: Les Impressionnistes, les tableaux de genre et les portraits”. This was his only review on the ‘impressionist’ expositions. (R90I,p69+478)

Chesnau, Ernest (1833-90):
Writer, art historian and art-critic. Friendship with Count Nieuwerkerke. 1869: became inspector of Fine Arts. Appreciated Manet. (R3,p654;R90I,p478).
Reviews in Paris-Journal: 1874/04/02 “Avant le Salon”; 1874/05/07 “A côté du Salon: II -Le plein air: Exposition du boulevard des Capucines” (=Le Soir); 1874/05/09 “Au Salon: Avertissement préalable” (=Le Soir). Review 1882 in Paris-Journal. (R90I,p17-20;R2,p490;R87,p268-270).

Chevalier, Frédéric:
Engraver, critic. Review 1877 in L’Artiste. (R90I,p478)

Christophe, Jules (1840-1929):
Writer. Review 1886 in Journal des artistes. (R90I,p478)

Claretie, Jules (1840-1913):
Born as Arsène-Arnaud Claretie. Novelist, playwriter, journalist, art-critic, art-collector. Also used the pseudonym Ariste. Reviews 1874+76+77+79 in L’Indépendance Belge: 1874/06/13 as Ariste “Salon de 1874 à Paris”; 1876/04/02 “Le Mouvement parisien: L’Exposition des intransigeants: M. Degas et ses amis”; 1877; 1879. Reviews in Le temps (with a variant in La Vie à Paris) in 1880+81+82. (R2,p490;R90I,p9+69/70+478) He was portrayed by Desboutin.

Cochin, Henry:
Born in 1854. Politician, writer. Review in 1879 in Le Français. (R90I,p478)

Coulombier, Gaston:
Review 1879 in La Civilisation. (R90I,p478)

D., C.:
Review 1877 in Le Petit Moniteur universel. (R90I,p478)

Dalligny, Auguste:
Publicist. Reviewed as Aug. Dalligny in Le Journal des arts in 1880+81. (R90I,p478)

Darcours, Charles:
Pseudonym for Charles Réty.

Dargenty, G.:
Pseudonym for Arthur d’Elchérac.

Darzens, Rodolphe (1865-1938):
Poet, writer, theater director. Review 1886 in La Pléiade. (R90I,p478)

Dax, Pierre:
Pseudonym used by various authors at L’Art and elsewhere, including by Arsène Housset and Hector de Callias. Extended review 1876/05/01 in L’Artiste called “Chronique”, reprint of review Rivière. (R90I,p70+71+478).

Delaville, Camille:
Review 1880 in La Presse. (R90I,p478)

Delpit, Albert (1849-93):
Born as Marc-Adrien Delpit. Poet, novelist, dramatist, art-critic. Used the pseudonym Le Sphinx in reviews in L’Evénement in 1874+79+80. Inserted remarks 1874/04/20 in a larger review called: “Echos de Paris” (R90I,p41+478).

Dénicheff:
Review 1877 in Le Bien public. (R90I,p478)

Desclozeaux, Jules:
Publicist. Review 1886 in L’Opinion. (R90I,p478)

Descubes-Desgueraines, Amédée:
Born in 1853, died after 1929. Politician, writer. Review 1877 as A. Descubes in Gazette des lettres, des sciences et des arts. (R90I,p478)

Diguet, M.L.:
Editor at Le Figaro. Review 1877 as Argus in La Semaine des familles.

Dolent, Jean:
Review published in 1877 on the 2nd exposition in 1876 in Le Livre d’art des femmes: Peinture, sculpture called “Visite de Madame Patoudret à une exposition particulière d’artistes dits ‘impressionnistes’ “. (R90I,p71/2+478).

Draner:
Pseudonym used by Jules Renard for his caricatures.

Drumont, E. (1844-1917):
Born as Edouard-Adolphe Drumont. Writer, journalist, politician. Review 1874/04/19 in Le Petit Journal: “L’Exposition du boulevard des Capucines” (R90I,p20/1+478).

Dujardin, Edouard (1861-1949):
Key figure within symbolist circles. Organised exhibitions at La Revue Indépendante. (R207,p43)

Durand:
Review 1882 in La Presse. (R90I,p478)

Duranty, Louis-Emile-Edmond (1833-1880):
See seperate page.

Duret, Théodore (1838-1927):
See seperate page.

E., A.:
Abbreviation for Arthur d’Echérac.

E., C.:
Abbreviation for Charles Ephrussi.

Echérac, Arthur(-Auguste) d’:
Born in 1832. Sculptor, writer, civil servant, art-critic. Review 1880 as A.E. in La Justice. Review 1886 as G. Dargenty in Courrier de l’art. (R90I,p479)

Ego:
Pseudonym for an unknown art-critic. Review 1879 in L’Illustration.

Enault, Louis (1824-1900):
Lawyer, journalist, writer, art-critic. Inserted remarks in a larger review 1874/04/13 in Le Constitutionnel: “Mouvement artistique” (R90I,p21). Extended review 1876/04/10 in Le Constitutionnel called “Mouvement artistique: L’Exposition des intransigeants dans la galerie de Durand-Ruelle (sic)”. Reviews in Moniteur des arts in 1880+81. (R90I,p81-83+479)

Enjoiras:
Pseudonym for an unknown art-critic. Review 1881 in L’Intransigeant. (R90I,p479)

Ephrussi, Charles (1849-1905):
Banker, art-collector, owner of La Gazette des beaux-arts. Review 1880 in Gazette des beaux-arts. 2 reviews as C. E. in 1881 in La Crhonique des arts et de la curiosité. (R90I,p479)

Esmond, Henri:
Review 1880 in L’Europe artiste. (R90I,p479)

Eyriès, Patrice:
Review 1886 in La Nation. (R90I,p479)

F.:
An unknown art-critic. Review 1886 in Le Gaulois. (R90I,p479)

F., E.:
Abbreviation for Ernest Fillonneau.

Fénéon, Félix (1861-1944):
Writer, journalist, publisher, art-critic and civil servant. Promoted Symbolism. 1884: co-founder two magazines. His La Revue Indépendant↓ organised small exhibitions. 1886: started the term neo-impressionists while defending pointillism. 1886/06/13-20 article in La Vogue called “Les Impressionnistes”. 1890: portrayed by Signac↓. 1894: had to appear in court for his anarchist sympathies. Till 1903 editorial secretary of La Revue Blanche↓, owned by T. Natanson. 1906-1925: director art-dealer Bernheim-Jeune. Worked on an oeuvre catalogue of Seurat. Owned at least 1 painting of Seurat (DR162). Portrayed by Signac. (R3,p661;R207,p43+47;R90I,p441-445+479)

Fèvre, Henry (1864-1937):
Writer, art-critic. Review 1886 in La Revue de demain. (R90I,p479)

Fichtre:
Pseudonym for Gaston Pérodeaud. (R90I,p479)

Fillonneau, Ernest:
Born in 1838. director of Moniteur des arts. Reviews in Moniteur des arts: 1876/04/21 as E.F. called “Le Groupe d’artistes de la rue Le Peletier”; in 1877 …. (R90I,p83+84+479).

Flor, Joseph-Charles (1830-90):
Journalist, writer, art-critic. Was called Charles. Review 1877 using the pseudonym Ch(arles) Flor O’Squarr in Le Courrier de France. Reviews in Le National in 1880 + 1882. (R90I,p479)

Fouquier, Henry-Jacques-François (1838-1901):
Called Henry. Journalist, politician, art-critic. Reviews in Le XIXe Siècle in 1879 and 1880. (R90I,p479)

Fouquier, Michel-Louis-Marcel:
Born in 1866, died after 1961. Was called Marcel. Civil servant, writer, art-critic. Review 1886 in Le XIXe Siècle. (R90I,p479)

Fourcaud, Jean-Louis-Olivier-Marie (1853-1914):
Art-critic, journalist. Was called Louis and Louis de Boussès. Review 1877 using the pseudonym Léon de Lora in Le Gaulois. (R90I,p479)

Fourès, Auguste (1848-91):
Journalist, poet, art-critic. (R90I,p479) Extended review 1874/04/20 as Jean Prouvaire in Le Rappel: “L’exposition du boulevard des Capucines” (R90I,p34-36;R2,p499). Extended reviews of Renoir, Degas, Morisot, Sisley, Monet, Cézanne, Bureau and Rouart (R90I,p34/5;R2,p490;R87,p258/9). Note: according to Moffett Jean Prouvaire was the pseudonym of Pierre Toloza (R2,p499)

Fournel, (François-)Victor (1829-94):
Journalist, writer and art-critic. Was called Victor. Sometimes used the pseudonym Bernadille; in 1877 review as such in Le Français. Reviews in Le Correspondant in 1876+77+79+80+81+82+86. Inserted review 1876/04/10 called “Les Oeuvres et les hommes: Courrier du théâtre, de la littérature et des arts”. (R90I,p84+479)

Frac, Sir:
Review 1876/04/02 in Le Courrier de France called “Chronique”. (R90I,p84+85+479).

G., G.:
Abbreviation for Gustave Geffroy. (R90I,p479)

G., L.:
Unknown art-critic. Review 1877 in La Presse. (R90I,p479)

Gantès, F. de:
Reviews in La Semaine parisienne: 1874/03/26 “Courrier artistique: Contre-Exposition” and 1874/04/23 “Courrier artistique: L’Exposition du boulevard” (R90I,p22+479).

Gastyne, Jules de:
Review 1877 in Le Nain jaune. (R90I,p479)

Gauchez, Léon:
Belgian. Art-critic, founder of L’Art, art-dealer, art-collector. Reviews as Léon Mancino in L’Art in 1876 and 1877. Review 1882 as Paul Leroi in L’Art. (R90I,p479)

Gazette de France:
Review 1876/04/05 by Simon Boubée. (R90I,p64+65).

Geffroy, Gustave (1855-1926):
See seperate page.

Gérôme:
Pseudonym for various authors working for L’Univers illustré. Review 1874/05/09 in L’Universe illustré: “Courrier de Paris” republished 1874/05/11 in l’Entre’acte↓: “Courrier du lundi”. Reviews in L’Univers illustré in 1877, 1879 and 1882. (R90I,p23+479).

Gille, Philippe-Emile-François (1831-1901):
Dramatist, art-critic. Reviews using the pseudonym Le Masque de Fer. Reviews in Le Figaro in 1874 and 1876. Inserted remarks in larger reviews called “Echos de Paris” 1874/04/24 and 1874/04/28.  (R90I,p28+479)

Girard, Paul:
Pseudonym for Pierre Véron.

Goetschy, Gustave:
Died in 1902. Art-critic. Reviews in Le Voltaire in 1880+81. (R90I,p479)

Goncourt, Edmond (1822-96):
Older brother of Jules (1830-70). Writers in a Naturalist style. In 1888 their Journal des Goncourt was published, which gave an inside in the lives and views of artists, namely Degas. Edmond didn’t review the ‘impressionist’ expositions. Portrayed by Bracquemond, Desboutin and Raffaëlli. (R3,p666).
In 1890 for Edmond and Jules de Goncourt for their book ‘Germinie Lacerteux’ Raffaëlli made 10 works (Delteil 142-151; Beraldi 13).

Gonzague-Privat:
Born 1843. Painter, art-critic. Review 1877 in L’Art français. Reviews in L’Evénement in 1881+82. (R90I,p479)

Grimm, Baron:
Pseudonym for Albert Millaud.

Grimm, Thomas:
Pseudonym for Pierre Véron.

Guillemot, Jules:
Born in 1835, died after 1910. Art-critic, dramatist. Review 1877 in La Nation. (R90I,p479).

Guillemot, Maurice:
In 1897 the reporter Maurice Guillemot wrote that Monet ‘only worked in the open‘. Nature is his studio and his actual studio must be called his salon (R22I,p318).

Guymon, Camille:
Review 1879 in L’Illustration. (R90I,p479)

H.:
Unknown art-critic. Review 1886 in Le Journal des arts. (R90I,p479)

H., E. d’:
Abbriviation for Ernest d’Hervilly. (R90I,p479)

Hadol:
Illustrator. Illustration 1874/04/26 in L’Eclipse “La Semaine comique, par Hadol”. (R90I,p24+43+479).

Hardy, Henry (born 1850):
Poet. Used the pseudonym Henri Polday. Review 1874/05/03 in La Renaissance littéraire et artistique↑: “Les Intransigeants” (R90I,p32/3+480).

Havard, Henry (1838-1921):
Writer, art-critic, art-historian, Inspecteur Général des Beaux-Arts. Reviews 1879 +80 +81 +82 +86 in La Siècle. (R90I,p480)

Hennequin, Emile (1859-88):
Theorist, critic, journalist. Review 1882 in La Revue littéraire et artistique. Review 1886 in La Vie Moderne. (R90I,p480)

Hepp, Alexandre (1857/59 – 1924):
Journalist, novelist. Review 1882 in Le Voltaire. (R90I,p480)

Hermel, Maurice:
2 reviews in 1886 in La France Libre. (R90I,p480)

Hervilly, Ernest-Marie d’:
Humorist, playwriter, poet. Review 1874/04/17 as E.d’H in Le Rappel: “L’exposition du boulevard des Capucines” Reviews in Le Rappel as Un Passant in 1876 +79 +80 (2 reviews) +82 +86. (R2,p490;R90I,p23/4+480;R87,p256/7).

Homme de quart, L’:
Pseudonym. Review in 1886 in Le Radical. (R90I,p480)

Hoschedé, Ernest (1837-91):
Department-store owner, art-collector, art-critic. Review 1881 in L’Art de la mode. (R90I,p480)

Houssaye:
Nickname for Arsène Housset.

Housset, Arsène (1815-96):
Writer, art-collector, director of L’Artiste. Used as nickname Houssaye. Maybe review 1876 as Pierre Dax in L’Artiste. Maybe extended review as Pierre Dax 1876/05/01 in L’Artiste called “Chronique”, reprint of review Rivière. Review 1879 as F.-C. de Syène in L’Artiste. (R90I,p480+478)

Hustin, Louis-Arthur (born 1850):
Art-critic, politician, writer. Also called Arthur. Review 1882 as A. Hustin in L’Estafette. Review 1886 as A. Hustin in Moniteur des arts. (R90I,p480)

Huysmans, Joris-Karl (1848-1907):
Officially: Charles Marie Georges Huysmans. Symbolist novelist, art-collector and art critic. Defender of impressionists. Admired especially Caillebotte, Cézanne, Degas, Forain, Gauguin, Manet and Raffaëlli; criticised the use of blues and purples for rendering shadows; admired German realists like Max Liebermann (1847-1935) and Adolph von Menzel (1815-1905). 1881: positive review about Pissarro (R3,p669/670+227/8).
Reviews in 1876 +80 +81 +82 in L’Art moderne. The 1876 review was partially reprinted in Gazette des amateurs. The extended review “L’Expositon des indépendants en 1880” of course reviewed the 5th exposition in 1880, but also included remarks on the 2nd exposition in 1876, that has disappeared (R90I,p285-293 + 85/86) Extended reviews in 1881 and 1882 (R90I,p348-355 + 396-398). These reviews were later republished in L’Art moderne by Georges Charpentier in 1883 (=R144). In Oeuvres complètes. which was published in 1929, remarks on the 1886 exposition can be found. (R90I,p457/8+480). Converted to Roman Catholicism in 1892 (R43,p25/6;R50,p52).
In 1880 Raffaëlli illustrated his ‘Croquis Parisiens’ (aR9); and in 1909 his ‘Les Coeurs Vatard’ he made 28 works (Delteil 154-181). (R138XVI=aR2;R85XI=aR1;aR7,p164).

Hyenne, Robert:
1876 review in Le Moniteur de la mode. (R90I,p480)

Il Giornale artistico (Florence):
Review in Italien by Giuseppe de Nittis 1874/07/01 (dated 1874/06/10) (R90I,p31+32).

Jacques:
Pseudonym of Edmond Bazire↑.

James, Henry, jr. (1843-1916):
American novelist. Review 1876 in New-York Daily Tribune. (R90I,p480)

Japy, George:
Novelist. Review 1880 in Le Soir. (R90I,p480)

Javel, Firmin (born 1842):
Review 1880 in L’Evénement. Review 1881 in L’Europe artiste. Review 1886 in L’Evénement. (R90I,p480)

Kahn, Gustave (1859-1936):
Poet, art-critic, theoretician of Symbolism. Close contact with Seurat, wrote a necrology in L’art moderne 1891/04/05 and a 2 volumes overview of his drawings in 1928. Owned at least 2 studies of Seurat. (R207,p43+47+193).

Katow, Paul de (1834-97):
Painter. Review 1882 in Gil Blas (R90I,p480).

L., A. de:
Abbreviation for Alfred de Lostalot. (R90I,p480).

L., J.:
Unknown art-critic. Review 1880 in L’Ordre. (R90I,p480).

Labruyère, Georges-Poidebard (1857-1914):
Journalist, writer. 2 Reviews 1886 in Le Cri du peuple. (R90I,p480).

La Chronique des Arts et de la Curiosité:
Review 1874/01/17: “Société anonyme coopérative d’artistes -peintres, sculpteurs, etc., à Paris” (R2,p490;R90I,p20). Announcements 1874/03/28 + 1874/04/18 “Expositions” (R90I,p20).

La Fare:
Pseudonym for Armand Chaulieu↑. (R90I,p480).

Lafenestre, George (1837-1916):
Art-historian, poet, curator, member of the Académie des Beaux-Arts. Unsigned review 1877 in Le Moniteur universel; parts were republished in La Petite Presse 1877/04/09. Review 1879 in Revue des deux mondes. (R90I,p480). He was portrayed by Desboutin.

Laforgue, Jules (1860-87):
Poem and art-critic. Contacts with Kahn↑, Dujardin↑ and Seurat. He didn’t review the ‘impressionist’ expositions.

La France:
Review 1874/04/17: “Chronique”, partly copying the review of E.d’H.↑ (R90I,p22). Inserted review 1876/04/04 by Marius Vachon called “Carnet de la journée”. (R90I,p85)

La Gazette des Beaux Arts:
In their Annuaire the Gazette rendered essential information on artists like received prices.
See link to publication: 1870/04:  https://gallica.bnf.fr/ark:/12148/bpt6k6207923z; =iR40=R259.

La Gazette des étrangers:
Review by Marius Chaumelin 1876/04/08. (R90I,p67+68)

La Liberté:
Review 1874/04/20: “Nos informations: Le Salon du boulevard des Capucines” (R2,p499;R90I,p26).

Lancelot:
Pseudonym of an unknown art-critic. Reviews in La Liberté in 1880 (2 reviews) and 1882. (R90I,p480).

La Patrie:
Review 1874/04/21 by A.L.T. (R90I,p41).

La Petite Presse:
Inserted remarks 1874/04/18 in a larger review called “Les Nouvelles” (R90I,p32).

La Presse:
Review 1874/04/28 and 1874/04/29 by Emile Cardon↑ (R90I,p11-14).

La Renaissance littéraire et artistique:
Review 1874/01/25 called “Gazette des beaux-arts” (R90I,p35/6) and 1874/05/03 by Henri Polday↓ (R90I,p32).

La République française:
Reviews by Philippe Burty↑ 1874/04/16+25 (R90I,p36-38;R87,p261/2).

La Revue Blanche:
One of the most important magazines for avantgardistic literature and art. It included picture prints. 1889: founded by Paul Leclercq and Auguste Jeune-homme. 1891: acquisition by the brothers Natanson. Exhibitions of modern art at the editorial offices. Important body for the promotion of impressionist art. 1903: stop of the publications. (R3,p692;R207,p51)

La Revue Illustré:
In 1886 Lucien Pissarro contributed engravings (R312,p41)

La Revue Indépendante:
Magazine for Naturalism, Symbolism and Impressionism. 1884: founded by Georges Chevier and Félix Fénéon↑. Later acquisition by Edouard Dujardin, who let it from 1886-89 together with the editors Teodor de Wyzewa and Gustave Kahn. It was located at 11, Rue de la Chaussée d’Antin. Didn’t appear several periods and stopped in 1895. Mallarmé↓ was one of the art-critics. Exhibitions (of impressionist art) were held at the editorial offices. It also was a meeting place for several artists. (R3,p692;R207,p41+50)

La Revue politique et littéraire:
Extended review by  Charles Bigot 1876/04/08 (R90I,p59-62).

Laroche, André:
Pseudonym for Henri Maigrot.

L’Artiste:
Extended review of ‘Marc de Montifaud’↓ 1874/05/01 (R90I,p28-31) Extended review 1876/05/01 by Pierre Dax. (R90I,p70+71).

L’Art Moderne:
Belgian periodically on art and litterature let by Octave Maus and later by Émile Verhaeren. Voice for avant-garde artitst, namely for Les XX. In 1891 Kahn published a necrology on Seurat. (R207,p50)

La Semaine parisienne:
Reviews by F. de Gantès↑ 1874/03/26 + 1874/04/23 (R90I,p22+23).

La Siècle:
Review 1874/04/29 by Castagnary↑ (R90I,p15-17).

L’Audience:
Review 1876/04/09 called “l’Exposition des intransigeants” (R90I,p53).

Lauzières, de Thémines, Achille de:
Reviews signed as M. de Thémines in La Patrie in 1880 and 1882. (R90I,p480).

La Vie Moderne:
Illustrated weekly (Journal Illustré hebdomadaire) that was established 1879/04/10. Georges Charpentier (1846-1905) was the publisher. He also was an art-collector supporting the Impressionists. The director was Émile Bergerat (1879-1928). Armand Silvestre↓ and Edmond Renoir↓ led the art section which was quite extended. There was a gallery at the editorial offices where monthly (small) exhibitions were held, organised by Edmond Renoir, who was the editor of La Vie Moderne in 1884 +85). Marie Bracquemond published 2 drawings around the 5th ‘impressionist’ exposition in 1880. (R3,p702+220;R31;R90I,p320).

La Vogue:
Magazine on poetry and art. It appeared from 1886-87 and in 1889 and from 1899-1901. Gustave Kahn was a central figure. Fénéon and Adams rendered contributions. (R207,p51)

Le Charivari:
Review 1874/04/25 by Louis Leroy↓ (R90I,p25+26).

Le Correspondant:
Inserted review 1876/04/10 by Victor Fournel. (R90I,p84)

Le Courrier de France:
Review 1876/04/02 by Sir Frac. (R90I,p84+85). Forain illustrated for them.

L’Echo universel:
Review by Arthur Baignères↑ 1876/04/13 (R90I,p54).

L’Eclipse:
Illustration by Haldol↑ (R90I,p24+43).

Le Constitutionnel:
Short remark by Louis Enault↑ 1874/04/13, extended review 1876/04/10 (R90I,p21+81-83).

Le Figaro:
Inserted remarks by ‘Le Masque de fer’↓ 1874/04/24+28 (R90I,p28). Forain illustrated for them.

Le Gaulois:
In Le Gaulois of 1874/11/10 there was a discription of Édouard Brandon and his studio (aR6).
Review 1874/04/18 by ‘Léon de Lora’↓ (R90I,p26+27).

Le Griffon vert:
Pseudonym for an unknown art-critic. Review 1879 in Le Voltaire. (R90I,p479)

Le Journal amusant:
Review 1874/04/25 by Pierre Véron↓ (R90I,p41+42).

Le Journal illustré:
Short review by Charles Darcours↑ 1874/05/24 (R90I,p20).

Le Livre d’art des femmes: Peinture, sculpture:
Review by Jean Dolent published in 1877 on the 2nd exposition in 1876. (R90I,p71/2)

Le Magasin des demoiselles:
Short remark by Le vicomte de Saint-Leu↓ 1874/04/25 (R90I,p38).

Le Masque de fer:
Pseudonum for Philippe-Emile-François Gille. (R90I,p481)

Le Monde artiste:
Inserted remarks in a larger reviews called “Beaux-Arts” 1874/04/11-18  by N. Olivetti and 1874/04/18-25 (R90I,p32+28).

Le Moniteur universel:
Review by Emile Blémont 1876/04/11, also published 1876/04/09 in Le Rappel. (R90I,p62-64).

L’Entr’acte:
Inserted remarks in a larger reviews called “Nouvelles” 1874/04/13 and 1874/04/20 (R90I,p21). Review by Gérôme↑ 1874/05/11, also published in L’Univers illustré↓ (R90I,p23).

Le Patriote français:
Review 1874/04/19 by E. Lepelletier↓ (R90I,p24). Review 1874/04/27 by Etienne Carjat↑ (R90I,p14+15).

Lepelletier, E. (1846-1913):
Born as Edmond-Adolphe de Bouhélier. Writer, politician. Review 1874/04/19 in Le Patriote français: “Chronique parisienne: L’Eposition libre du boulevard des Capucines”. Review 1877 in Le Radical. (R90I,p24+480).

Le Père siffleur:
Pseydonym of an unknown art-critic. Inserted remarks 1874/04/26 in a larger review in Le Sifflet↓: “Coups de sifflet” (R90I,p38+482).

Le Petit Journal:
Review 1874/04/19 by E. Drumont↑ (R90I,p20+21).

Le Rappel:
Extended review 1874/04/20 by ‘Jean Prouvaire’↓ (R90I,p34+35). Review by Emile Blémont 1876/04/09, also published 1876/04/11 in Le Moniteur universel. (R90I,p62-64).

Leroi, Paul:
Pseudonym for Léon Gauchez. (R90I,p480)

Leroy, Louis(-Joseph) (1812-18?):
Leroy was born in 1812. The date of his death is obscure: 1882 or 85 or 95. Painter, print maker, writer, dramatist, journalist and art-critic. 1835-1881 exhibited at the Salon. 1864: harsh critic on Manet at the Salon. (R3,p675).
Review 1874/04/25 in ‘Charivari’: “L’exposition des impressionnistes” (R2,p490;R90I,p25/6;R87,p259-261). Many emphasize that he was the first to use the term ‘impressionism’, but this is part of a myth, see link.
In 1876 review in Le Charivari and Le Journal amusant. Reviews in Le Charivari in 1877 (2x), 1879 and 1882. (R90I,p480)

Les Beaux-Arts:
The review “Les Impressionnalistes” by Bertall was also published in Les Beaux-Arts, 1876 (R90I,p57-59).

Le Sémaphore de Marseille:
Review by Emile Zola↓ 1874/04/18 (dated 1874/04/16) (R90I,p38).

Le Siècle:
Review of Castagnare 1876/05/06. (R90I,p66/7).

Le Sifflet:
Inserted remarks 1874/04/26 by ‘Le Père siffleur’ (R90I,p38)

Le Soir:
Reviews 1874/05/07 + 1874/05/09 by Ernest Chesneau↑, also published in Paris-Journal↓ (R90I,p17-20). 1876/04/15 two reviews by Bertall, also published in Paris-Journal, the second also in Les Beaux-Arts, 1876 (R90I,p55-59).

Le Sphinx:
Pseudonym used by Albert Delpit. (R90I,p482)

Leude, Jean de la:
Review 1879 in La Plume. (R90I,p480)

L’Evénement:
Short inserted remark by ‘Le Sphinx’ 1874/04/20 (R90I,p41).

L’Impressionniste:
Art-journal that appeared every Thursday during the 3rd ‘impressionist’ exposition in 1877. Publisher and head editor was Georges Rivière↓. (R3,p670+206;R2,p192)

L’Indépendance belge:
1874/06/13: review of Ariste↑ (R90I,p9). Review 1876/04/02 by Claretie, Jules. (R90I,p69/70)

Liquier, Gabriel (1843-87):
Caricaturist. Review 1881 using the pseudonym Trock in La Caricature. (R90I,p480)

L’Opinion nationale:
Reviews by Armand Silvestre↓ 1874/01/25 + 1874/04/22 (R90I,p38-40). Short review 1874/05/02 called “Causerie parisienne” (R90I,p32).

Lora, Léon de:
Pseudonym used by Louis de Fourcaud and Félix Pothey↓.

Lostalot, Alfred de (1838-1909):
Editor of the Gazette des Beaux-Arts. Review as A. de L. 1876 in Le Bien Public and La Chronique des arts et de la curiosité. Review 1879 in Les Beaux-Arts illustrés. (R90I,p480)

Louise, Comtesse:
Review 1881 in La France Nouvelle. (R90I,p480)

L’Univers illustré:
Review 1874/05/09 by Gérôme↑, also published in L’Entr’acte↑ (R90I,p23).

M., Ph.:
Unknown art-critic. Review 1877 in Reveu des idées nouvelles. (R90I,p480)

M., R.:
Unknown art-critic. Review 1876 in Swedish journal called Post-och Inrike Tidningar (Stockholm). (R90I,p480)

Magen, Auguste:
Journalist. Review 1880 using the pseudonym Zadig in Le Voltaire. (R90I,p480)

Maigrot, Henri:
Was born in 1857 and died after 1890. Artist, caricaturist, director of Le Charivari. Reviews in Le Charivari using the pseudonym PIF in 1880 +1881 (3 cartoons) +1882. In 1882 also a review using the pseudonym André Laroche. (R90I,p481)

Maillard, Georges:
Reviews in Le Pays in 1876 + 1877. (R90I,p481)

Mallarme, Stéphane (1842-1898):
See seperate page.

Malte, C. de:
Pseudonym of Auguste Villiers de l’Isle-Adam↑.

Mancino, Léon:
Pseudonym for Léon Gauchez. (R90I,p481)

Mantz, Paul (1821-95):
Art-historian and art-critic. 1882: director of the Academie des Beaux-Arts. Admired Monet and Morisot. Reviews in Le Temps in 1877 +1880 +1881. (R90I,p481)

Marcello:
Review 1882 in L’Artiste. (R90I,p481)

Mars:
Pseudonym for Maurice Bonvoisin↑.

Martelli, Diego (1838-96):
Italian writer. Two articles in 1879 in Roma artistica. Portrayed by Zandomeneghi and Degas. (R90I,p481)

Marx, Roger (1859-1913):
Art-collector, writer, art-critic, Inspecteur Général au Ministère des Beaux-Arts. Review 1886 in Le Voltaire. (R90I,p481)

Guy de Maupassant:
Guy de Maupassant described in 1883 how Monet worked en-plein-air on 5 or 6 paintings to catch the different light effects of the different times of day (R22I,p211).

Maus, Octave (1856-1919):
Belgian. Lawyer. Co-founder of Les XX in 1883 and founder of La Libre Esthétique in 1893. Art-critic for L’art Moderne in Brussels since 1881. (R68,p39-51)

Merson, Olivier (1846-92+):
Luc-Olivier Merson was born in 1846 and died after 1892. Painter, member of L’Institut des Beaux-Arts. Review 1882 in Le Monde illustré. (R90I,p481)

Meurville:
Review 1882 in Gazette de France. (R90I,p481)

Michel, André (1853-1925):
Honary curator at the Musées nationaux, professor at the Collège de France, member of the Académie des Beaux-Arts. Reviews in Le Parlement in 1880 +1881 +1882. (R90I,p481)

Michel, J.M.:
Review in 1886 in La Petite Gazette. (R90I,p481)

Millaud, Albert (1844-92):
His full name was Arthur-Paul-Albert-David-Samuel Millaud. Playwriter, journalist. Review 1877 in Le Figaro using the pseudonym Baron Grimm. (R90I,p481)

Mirbeau, Octave (1848-1917):
Writer, journalist, art-critic, member of the Académie Goncourt. Review 1886 in La France. Acquainted with most impressionists. Befriended with Monet and Pissarro. Wrote about Gauguin. Defended the impressionists. In 1886 Lucien Pissarro made 5 woodcut illustrations for a novel of Octave Mirbeau called ‘Mait’Liziard’, they were exhibited at the 8th ‘impressionist’ exposition in 1886 and in June published in La Revue Illustrée (R90II,p249;R89,p68; note Adler states it were 4 woodcuts). 1889: presentation of a big Monet exhibition in Gallery Georges Petit. 1891: study about Pissarro in ‘L’Art dans les deux mondes’. (R3,p681;R90I,p481). In 1894 for Octave Mirbeau for his ‘Contes de ma chaumière’ Jean-François Raffaëlli made two works (Delteil 152+153).

Moniteur des arts:
Short remark by Adriani↑ 1876/04/07 (R90I,p53). Review 1876/04/21 by E.F. (R90I,p83+84).

Mont, Elie de:
Pseudonym for Baron Elisée-Louis de Montagnac. (R90I,p481)

Montagnac, Baron Elisée-Louis de (1835-95):
Writer. Reviews in La Civilisation using the pseudonym Elie de Mont in 1880 + 1881. (R90I,p481)

Montifaud, Marc de:
Pseudonym for Emilie (or Marie-Amélie) Chartroule de Montifaud, later known as Mme Jean-Francis-Léon de Quivogne. She was born in 1850. Journalist and with her husband founder of L’Art Moderne. She was a friend of Villiers de L’Isle-Adam (R88II,p235). Reviews in L’Artiste as Marc de Montifaud in 1874 + 1877. Extended review 1874/05/01: “Exposition du boulevard des Capucines”, also describing a work of comtesse de Luchaire. Review 1877. (R90I,p28-31+481;R2,p490;R87,p266-268)

Montjoyeux:
Pseudonym for Jules Poignard. (R90I,p481)

Moore, Georges (1852-1933):
Irish writer and art-critic. 1873: moved to Paris. Met impressionists in Café Nouvelle Athènes. 1879: Manet maked 3 portraits of Moore. 1880: returned to England. Supported the New English Art Club. One source states that in 1886 he wrote a review on the 8th ‘impressionist’ exposition (R3,p683), but this isn’t confirmed by Berson (R90I,p481).

Mornand, Henri:
Review 1880 in La Reveu littéraire et artistique. (R90I,p481)

Mortier, Arnold (1843-85):
Born as Adolphe Mortjé. Journalist, dramatist, art-critic. Used the pseudonym Un domino in reviews in Le Gaulois in 1879+1881. (R90I,p481)

Nazim, Georges:
Two articles in Le Tintamarre in 1879. (R90I,p481)

Nélesque, F.:
Review in 1882 in L’Europe artiste. (R90I,p481)

Nittis, Giuseppe de (1846-84):
Joseph de Nittis was partaker of the 1st ‘impressionist’ exposition. Review in Italian 1874/07/01 (1874/06/10) in Il Giornale artistico (Florence): “Corrispondenze: Londra” (R90I,p31/2+481;R2,p490).

Nivelle, Jean de:
Pseudonym for Charles-Alfred Canivet↑.

Noé, Amédée-Charles-Henry de (1818/19 – 1879):
Caracaturist. Used the pseudonym Cham. Cartoons in Le Charivari, in 1877 6, in 1879 3; In La Revue comique in 1877 1; in Le Monde illustré in 1879 1. (R90I,p195-198+255+481)

Olby, G. de:
Review 1876 in Le Pays. (R90I,p481)

Olivetti, N.:
Inserted remarks 1874/04/11-18 in a larger review in Le Monde artiste↑ called “Beaux-Arts” (R90I,p32+481).

O’Squarr, Charles-Flor:
Pseudonym for Charles Flor. (R90I,p481)

P., A.:
Abbreviation for Alexandre Pothey. (R90I,p481)

P., J.:
Review 1882 in Le Petit Parisien. (R90I,p481)

PAF:
Pseudonym used by Jules Renard for his caricatures.

Pallette:
A pseudonym for an unknown art-critic. Review 1881 in Paris-Moderne. (R90I,p481)

Parfait, Paul (1841-81):
Novelist, journalist. Reviews in Le Charivari in 1877 + 1879. (R90I,p481)

Paris à l’eau-forte:
Review 1874/04/19 by C. de Malte↑ (R90I,p27).

Paris-Journal:
Reviews 1874/04/02, 1874/05/07 and 1874/05/09 by Ernest Chesneau↑ also published in Le Soir (R90I,p17-20). 1876/04/15 two reviews by Bertall, also published in Le Soir, the second also in Les Beaux-Arts, 1876 (R90I,p55-59).

Paulet, Alfred:
Review 1886 in Paris. (R90I,p481)

Paulon, A.:
Review 1876 in Le Tintamarre. (R90I,p481)

Père Peinard:
Lucien Pissarro made drawings for the anarchist paper Père Peinard (R312,p40)

Pérodeaud, Gaston (1847-85):
Journalist, art-critic. His nickname was (Gaston) Vassy. Used the pseudonyms Fichtre and Punch. Reviews in L’Evénement, two in 1876 as Punch and 1 not signed in 1877. Review 1882 as Gaston Vassy in Gil Blas. Review 1882 as Fichtre in Le Réveil. (R90I,p481)

Petitdidier, Emile (1839-1927):
Poet and art-critic. Review as Emile Blémont called “Les Impressionnistes” published 1876/04/09 in Le Rappel and partially reprinted 1876/04/11 in Le Moniteur universel. (R90I,p62-64+482).

PIF:
Pseudonym for Henri Maigrot. (R90I,p482)

Poignard, Jules (1851-93+):
Jules Poignard was born in 1851 and died after 1893. Review 1879 using the pseudonym Montjoyeux in Le Gaulois. (R90I,p482)

Polday, Henri:
Pseudonym for Henry Hardy. (R90I,p482)

Porcheron, Emile (1845-?):
Review 1876 in Le Soleil. (R90I,p482)

Pothey, Alexandre (1820-95):
Writer, engraver. Review 1876 as Alex. Pothey in La Presse. Review 1877 as A.P. in Le Petit Parisien. (R90I,p482)

Pothey, Félix:
Writer. Review 1874/04/18 as Léon de Lora in Le Gaulois: “Petites Nouvelles artistiques: Exposition libre des peintres” (R90I,p26/7+482;R2,p490;R87,p257).

Privat, Gonzague:
Gonzague-Privat was known as Gonzague Privat. (R90I,p482)

Prouvaire, Jean:
Pseudonyme of Pierre Toloza↓ (R2,p499) or of Auguste Fourès (R90I,p479).

Punch:
Pseudonym for Gaston Pérodeaud.

R., E.:
Abbreviation for Edmond Renoir. (R90I,p482)

R., G.:
Abbreviation for Georges Rivière. (R90I,p482)

Raffaëlli, Jean-François (1850-1924):
Raffaëlli was partaker of the 5th and 6th ‘impressionist’ exposition in 1880 and 1881. Reviews in 1880 in L’Art, Gazette des beaux-arts and 2 drawings in La Vie Moderne. Review in 1881 in La Vie Moderne. (R90I,p482)

Ravier, A.:
Review 1886 in La France. (R90I,p482)

Raymond, Jean:
Review 1876 in L’Art français. (R90I,p482)

Renard, Jules (1833-1900ca):
Belgian. Artist, lithographer, caricaturist. Used as pseudonym Draner and PAF. 1 caricature in 1879 in Le Charivari. 4 caricatures in 1882 published in La Caricature, Le Charivari (2x) and Revue comique. 1 caricature in Le Charivari in 1886 (R90I,p256+417+418+475+482)

Renoir, Edmond (1848/49 – 1944):
Younger brother of Pierre-August Renoir (R30). Journalist, art-critic; worked for La Vie Moderne, which was published by Charpentier . Reviews in La Presse in 1879 (as E. R.) and 1880. (R30;R3;R90I,p482).

Renoir, Pierre-Auguste (1841-1919):
Auguste Renoir was an important partaker of the ‘impressionist’ expositions. Review 1877 in L’Impressionniste. (R90I,p482)

Réty, Charles:
Theater and music critic. Inserted remarks in a larger review 1874/05/24 in Le Journal illustré using the pseudonym Charles Darcours: “Beaux-Arts et théâtres” (R90I,p20+482).

Revue des deux mondes:
Review 1876/06/01 by Victor Cherbuliez. (R90I,p69)

Revue de France:
Review 1874/02/28 by E.C.↑ (R90I,p11). Review 1874/04/10 by E.C.↑ (R90I,p11).

Rivière, Georges (1855-1943):
Writer and art-critic. Friend of Renoir. Publisher and editor of ‘l’Impressionniste’↑. 1877/04/06 he wroted: ‘To treat a subject for the colours and not for the subject itself, that is what distinguishes the Impressionist from other painters. 1920 and later: published books on Renoir, Cézanne and Degas. Review 1876 as Gustave Rivière in L’Esprit Moderne; it was reprinted in Dax. In 1877 as G. Rivière in L’Artiste; 7 articles in L’Impressionniste, 3 as G. R.  and 4 as G. Rivière. (R3,p692;R2,p192+201;R90I,p482).

 

Rivière, Henri (1864-1951):
Born as Benjamin-Jean-Pierre-Henri Rivière. Theater and music critic. Review 1882 in Le Chat Noir. (R90I,p482)

Robert, Henry:
Review 1882 in La Petite Presse. (R90I,p482)

Robert, Jules:
Pseudonym for Jean-Baptiste-Marie-Augustin Challamel. (R90I,p482)

Rolland, Arthur:
Review 1879 in L’Ordre. (R90I,p482)

Saint-Just:
Review 1882 in Le Soir. (R90I,p482)

Saint-Leu, Le vicomte de:
Reviews in Le Magasin des demoiselles in 1874 + 1876 + 1877 + 1879 + 1882. A few remarks 1874/04/25 in a larger article called “Causerie” (R90I,p38+482).

Sallanches, Armand:
Review 1882 in Le Journal des Arts. (R90I,p482)

Sartène, Henri de:
Review 1877 in La Nation. (R90I,p482)

Schop, Baron:
Pseudonym for Théodore de Banville. (R90I,p482)

Sébillot, Paul (1843-1918):
Painter, journalist, director of the Revue des traditions populaires. Review 1877 in Le Bien public. Review 1879 in La Plume. (R90I,p482)

Silvester, (Paul-)Armand (1837/38-1901):
Poet, dramatist, novelist, Inspecteur Général des Beaux-Arts. Regular visitor of the ‘Café Guerbois’ and the ‘Café de la Nouvelle Athènes‘. One of the first defenders of the impressionists. 1879: editor at La Vie Moderne↑. (R3,p697+220).
2 Reviews in L’Opinion nationale: 1874/01/25 “Chronique des beaux-arts: Une Nouvelle Société coopérative” and 1874/04/22 “Chronique des beaux-arts: Physiologie du refusé – L’Exposition des révoltés”. Also a review in 1876. Reviews in La Vie Moderne in 1879 (2 articles), 1880 (2 articles), 1881 and 1882. Reviews in L’Estafette in 1879 + 1881. (R90I,p38-40+482;R2,p490). He was portrayed by Desboutin.

Syène, F.-C. de:
Pseudonym for Arsène Housset.

T., A.L.:
Review 1874/04/21 in La Patrie: “Chronique” (R90I,p41+482).

The Academy (London):
Review 1874/01/31 “Postscript” on the co-operative society of artists (R90I,p9). Reviews of Philippe Burty↑ 1874/05/30 + 1876/04/15 (R90I,p9+64-66).

Thémines, M. de:
Pseudonym for Achille de Lauzières de Thémines. (R90I,p482).

Tizzier, G.:
Review 1879 in Le National. (R90I,p482).

Toloza, Pierre:
According to Moffett he wrote a review 1874/04/20 as Jean Prouvaire in Le Rappel: (R2,p499). But according to Berson Jean Prouvaire was the pseudonym of Auguste Fourès. I will follow here suggestion as here publication was later and focused more on the reviews. (R90I,p479)

Tout-Paris:
Pseudonym of an unknown art-critis. Two reviews 1880 in Le Gaulois of which one was a partial reprint from a review in L’Artiste (1880/01/02). (R90I,p482).

Trianon, Henry:
Henry Trianon was born in 1811 and died after 1889. Art-critic, librarian, writer. Reviews in Le Constitutionnel in 1880 and 1881. (R90I,p482).

Trock:
Pseudonym for Gabriel Liquier. (R90I,p482).

Trublot:
Pseudonym of Paul Alexis↑. (R90I,p482).

Un Domino:
Pseudonym of Arnold Mortier.

Un Domino rose:
Pseudonym of un unknown person. Review 1877 in Le Nain jaune. (R90I,p478)

Un Passant:
Pseudonym for Ernest d’Hervilly. (R90I,p481)

Un Vieux Parisien:
Pseudonym of un unknown person. Review 1879 in L’Evénement. (R90I,p483)

V., M.:
Abbreviation for Marius Vachon. (R90I,p482).

Vachon, Marius (1850-1928):
Historian, art-critic. Reviews in La France, two unsigned ones in 1876 + 1877 and three signed as M. V. in 1879 + 1880 + 1882. Inserted review 1876/04/04 in La France called “Carnet de la journée”. (R90I,p85+482)

Valabrèque, Antony (1844-1900):
Poet. Review 1881 in La Revue littéraire et artistique. (R90I,p483).

Vanivet, Charles-Alfred (1839-1911):
Journalist, poet, novelist. Review 1882 under the pseudonym Jean de Nivelle in Le Soleil. (R90I,p478)

Vassy, Gaston:
Pseudonym for Gaston Pérodeaud. (R90I,p483).

Verhaeren, Émile (1855-1916):
Belgian. Poet and art-critic. Wrote reviews on the exhibitions of Les XX. Friend of Théo van Rysselberghe. Bought works of Seurat, at least DR165. (R207,p44+49)

Vernay:
Review 1879 in Le Soir. (R90I,p483).

Véron, Pierre (1831/33 – 1900):
Writer, journalist, director of Le Charivari, art-critic. Reviews in Le Journal amusant in 1874+77+79. Review 1874/04/25 : “Chronique parisienne”. Review in L’Evénement in 1879. Reviews in Le Monde illustré in 1879+80. 3 Reviews in 1877 using several pseudonyms: in Le Charivari as Paul Girard; in Le Petit Journal as Thomas Grimm. In La Petite Presse (not signed). (R90I,p41/2).

Vert-Vert:
Annoucements 1874/04/25-30 and 1874/05/01 in “Nouvelles” (R90I,p42;R2,p290).

Vidal, Jules:
Review 1886 in Lutèce. (R90I,p483).

Villars, Nina de:
Miswriting for Nina de Villard pseudonym for Mme Hector de Callias↑. (R90I,p483)

Villiers de l’Isle-Adam, Auguste, comte de (1838/40 – 1889):
Writer. Review 1874/04/19 as C. de Malte in Paris à l’eau-forte: “Exposition de la société anonyme des artistes peintres, sculpteurs, graveurs et lithographes” (R90I,p27/8+483;R2,p490). He was portrayed by Desboutin.

Vassy, Gaston:
Pseudonym for Gaston Pérodeaud.

Wolff, Albert (1835-91):
Journalist, art-collector, dramatist, art-critic for Le Figaro. Reviews in Le Figaro in 1876 + 1879 + 1880 + 1881 + 1882. (R90I,p483)

Wyzewa, Téodor de (1862-1917):
Key figure within symbolist circles. Contacts with Seurat. (R107,p43) 1890/11/06: published an essay on Renoir in ‘L’Art dans les deux mondes’ (R31). Spring 1891: Renoir stayed with the Wyzewa in the Villa des Roses, Tamaris-sur-Mer (R31). No reviews on the ‘impressionist’ expositions. (R90I,p483)

X.:
Unknown art-critic or art-critics. Review 1876 in L’Illustration. Review 1879 in Le Journal des arts and in La Vie Parisienne. Review 1881 in La Chronique des arts et de la curiosité. Review 1886 in La Liberté. (R90I,p483)

Zadig:
Pseudonym for Auguste Magen. (R90I,p483)

Zola, Emile (1840-1902):
Writer and art critic (R3,p705). Schoolfriend of Cézanne in Aix-en-Provence. 1858: moved to Paris. 1862-66: worked with the publisher ‘Hachette’. Took part at meetings with the Impressionists in Café Guerbois and Nouvelles Athènes . 1866: defended Manet in a pamphlet. 1870: started writing social realist novels. He saw the Impressionists as Realists. Worked for ‘l’Evenement’, a newspaper with articles on modern movements. 1872-96: published daily news on art. 1877: bought a second house in Médan. 1878: Zola was pushing Cézanne to submit to the Salon (R2,p245). 1879/06/19: Zola criticized the Impressionists of having a bad technique, a hasty production and being satisfied with approaches (R5,p113/4). 1880: his art-critics are published in ‘Mes Haines’. 1886/April: wrote the novel ‘l’Oeuvre’ (the master piece), a critical typification of Impressionism. The main character of Claude Lantier is based on Cézanne, Manet, Monet, others and Zola himself. Shortly after the publication Cézanne ended all contact with Zola.  Others emphasize that their relationship already had drifted apart (R292,p466). L’Oeuvre is part of a cycle of 20 novels about de Rougon-Macquart family, which Zola started in 1871 and continued till his death. Zola is seen as the most important representative of Naturalism in literature. 1898: Zola was the main defender of Dreyfus. Sources: R3,p705;R5,p53+149;R292,p463-466;R2,p245.
Unsigned reviews in Le Sémaphore de Marseille↑ in 1874 + 1876 (2x) + 1877. 1874/04/18 called “Lettre de Paris (1874/04/16)”. Also reviews in Le Messager de l’Europe in 1876 and 1879. (R90I,p38+483). He was portrayed by Desboutin.

Sources:
As main sources I use the overview Berson (R90I,p477-483) and Moffett (R2,p490-496) render and the reviews rendered by Berson (R90I) and Adhémar (R87,p255-270). Additional sources are the Lexicon of Walther (R3,p642-705), Monneret (R88), Denvir (R5), Berger (R207). Additional sources / general references (=R) you’ll find in the references, references to internet pages (=iR) you’ll find here.

 

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