Marie Bracquemond, account

 

 

Impressionism, a historical reconstruction:

(Mlle Marie Pasquiou-Quivoron)

Marie Bracquemond

(1840-1916)

Account

of her exhibited works

 

Introduction:
On this page you will find an account of the pictures Marie Bracquemond showed at the ‘impressionist’ expositions of 1879, 1880 and 1886, at the Salon, other exhibitions and the posthumous exhibition in 1919 (aR11). In her early years she used variations of the name Pasquiou-Quivoron. For the used sources see at the bottom of the main page about Marie Bracquemond. See link for the works exhibited in 1879+80+86 and an overview of her pictures.

 

The 4th ‘impressionist’ exposition 1879:

General overview:

  • catalogue numbers 1+2
  • Number 1 contained 3 large panels depicting 1 scene, so I will count it as 1 picture.
  • Marie was invited to also exhibited fans, but she failed to do so (R168,p235;R4,p203)
  • so in total Marie Bracquemond exhibited 2 art-works ;
    • 0x an indication of place
    • 0x an indication of time, season or weather
    • 0x a study
    • 1x a loan (no. 1)
  • Moffett (R2,p266+487) refers to the figures no. 13-17 in the catalogue of Joel Isaacson: ’the crises in Impressionism, 1878-1882′ (University of Michigan, Museum of Art) as options of what Marie Bracquemond did show at the 4th exposition.
  • Berson makes suggestions only for no.1 (R90II,p105+121).
  • See pictures 1879

Reviews:
Philip Burty as Ph. B. (1879/04/16) reviewed in La République française ‘In an adjoining room, we recognise another woman, whose entries are an unqualified success, Mme Marie Bracquemond. This artist, who attended the workshop of Ingres, has composed, for the occasion of the Exposition Universelle, three decorative cardboards, which her husband, Félix Bracquemond, transformed into paintings on earthenware. The cardboards are of a perfect invention, well weighted, of a sober richness and an engaging flexibility. La Danse is reminiscent in its most beautiful aspects of the modain and true work of Achille Deveria. Bracquemond had made, for the famous ceramic factory Haviland, a matt panel that could have been mistaken for a fresco, which filled the jury with wonder.’ (R90I,p210)
Louis Besson (1879/04/11) reviewed in L’Evénement ‘large cardboards with no author’s name decorating the back of one of the rooms‘ (R90I,p213)
Duranty (1879/04/19) reviewed in La Chronique des arts et de la curiosité ‘Mme Bracquemond has send in a large panel carboard for earthenware, she showed at the Exposition Universelle, among products of the Haviland factory.’ (R90I,p219)
Gérôme (1879/04/26) just mentioned in L’univers illustré ‘The drawings, of natural proportions, signed Mary Bracquemont (sic)’ (R90I,p221)
Henry Havard (1879/04/27) reviewed in Le Siècle ‘In the adjacent room, we find drawn cardboards by Mlle Braquemont (sic), for large ceramic tiles which M. Haviland had exhibited the year before at the Champ-de-Mars. These cardboards depict the Muses des arts; they have a great twist. The figure of La Danse deserves above all to be praised. It’s a charming study, with a soft gracious virginlike movement and a physique so pleasing to the eye, one is totally surprised to see it in such a dark place.’ (R90I,p223)
Ernest d’Hervilly (1879/04/11) reviewed in Le Rappel ’the drawings, so elegant in style, so graceful in execution, of Mme M. Bracquemond’ (R90I,p224)
Louis Leroy (1879/04/17) reviewed in Le Charivari ‘Finally Mlle Marie Bracquemond shows large charcoal cardboards in this temple of over-the-top comedy. La Jeune danseuse, who holds her dress, is as light and graceful as can be. It would only be worthy of inclusion on the condition that you beg M. Caillebotte to change it to blue.’ (R90I,p228)
In Le Petit Journal (1879/04/11) someone reviewed ‘large panels in a true style, by Mme Bracquemond.’ (R90I,p235)
Le Petit Moniteur universel (1879/04/11) remarked ‘a large and beautiful sketch signed Marie Bracquemond’ (R90I,p235)
La Petite République française (1879/04/13) reviewed ‘Mme Marie Bracquemond has exhibited three large decorative charcoals, with an elegant drawing and a beautiful arrangement. While remaining modern in the choice of her types, her spiritual and exuberant style is reminiscent of the painters of the 18th century. We advise certain members of the Institut to go and have a look at these cardboards, if only to give their pupils better lessons.’ (R90I,p236)
Armand Silvestre (1879/04/16) reviewed in L’Estafette ‘After having given justice to the large carboards of Mme Marie Bancquemond (sic)…’ (R90I,p239)
F.-C. de Syène (1879/05/01) reviewed in L’Artiste ‘Mme Marie Bracquemond composed with taste and draw a modern character a large decorative cardboard for earthenware, depicting les Muses des Arts.’ (R90I,p243)
Le Soir (1879/04/12) reviewed ‘In the midst of all this artistic extravaganza, a few out-of-place talents stand out, such as Mlle Marie Braquemond (sic), whose Muses des arts are correctly and elegantly drawn;’ (R90I,p241)
X (1879/05/09) reviewed in Le Journal des arts ‘Of Mme Braquemont (sic), one finds at the Avenue de l’Opéra, carboards she had exhibited at the Exposition Universelle, depicting with a lot of grace, charme and movement the Muses des Arts, which M. Braquemont (sic), …,  has reproduced on ceramic tiles exhibited at the Champs-de-Mars in the Haviland room.’ (R90I,p252)

The catalogue numbers (R2,p266):

4IE-1879-1, Les Muses des Arts (Carton ayant servi pour une peinture sur faïence); appartient à M. Haviland
Eng.: The muses of the Arts (cardboard which was used for a painting on earthenware / faience).
Probably exhibited the year before at the Exposition Universelle↓. Berson refers to several reviews. She suggests that Marie Bracquemond exhibited 3 works, that seem to be drawings: La Danse, La Comédie, La Sculpture, L’Architecture, La Peinture, La Poésie and La Musique. (R90II,p105+121). Pfeiffer (2008) renders the work: 1878, The Muses of the Arts, ceramic for Haviland, 300×700, xx (R168,p235;R88I,p77); it is now lost (iR201).
The reviews indicate it was made by charcoal on three large decorative panels ‘of natural proportions’, as Gérôme indicates. It was used by her husband Félix Bracquemond for a painting on ceramic tiles for the Haviland factory. It depicted the muses of the Arts, namely La Danse (or La jeune danseuse). It was exhibited the year before at the Exposition Universelle. They were exhibited at the back of one of the rooms. It is positively reviewed as an elegant drawing in line with Ingres and being misplaced at this exhibition. (R90I). The models in the left panel (La Comédie) and right panel (La Danse) were wearing contemporary costumes and the ones in the central panel more classical (R168,p235).
Later in 1894 Geffroy wrote ’the carton of 7 meters long by 3 meters high which was used to make the earthenware panels and which one could see, the previous year, at the Exposition Universelle.’  (R157III,p271).
It was meant for the exposition de l’Union centrale des beaux-arts appliqués à l’industrie, which was held in Paris in 1876. The set, the result of a collaboration with Félix who watercoloured the composition, was then presented by Haviland at the 1878 Universal Exhibition and acquired by the Museum of Fine Arts in Philadelphia, from where it has since disappeared. (iR201).
I will render a compilation: 1878, The Muses of the Arts, ceramic for Haviland, 300×700, private (R168,p235=no.5;R90II,p121+105;R90I;R88I,p77;aR11). See also the overview for other variations.
Note: the watercolour variation is also attributed to Félix Bracquemond: 1878ca, First study for The Muses of the Arts, decorative project for a door at the Exposition Universelle of 1878, wc + gouache, 48×64, A2024/04/30 (R168,p236=no.8; iR201; iR87).
Compare also:
EU-1878-hc, Les Muses des Arts (?)
BJ-1919-148, Les Beaux Arts, project de décoration, dessin; Appartient à M. Georges Haviland.
BJ-1919-158, Photographie: Cartons pour “Les Beaux Arts” exécutés en carreaux de faïence par la maison Haviland (actuellement au musée de Philadelphie).
BJ-1919-159, Photographie: La Poésie, la Musique, la Sculpture, l’Architecture, la Peinture.

4IE-1879-1-1, La Comédie
I render: 1878, La Comédie, carton peinture sur faïence, 300h, private (R90II,p121+105;R90I;R168,p235).

4IE-1879-1-2a, La Sculpture, L’Architecture et La Peinture
1878, La Sculpture + L’Architecture + La Peinture, carton peinture sur faïence, 300h, private (R168,p235;R90II,p121+105;R90I).

4IE-1879-1-2b, La Poésie et La Musique
1878, La Poésie + La musique, carton peinture sur faïence, 300h, private (R168,p235=no.7;R90II,p121+105;R90I).
Compare: Now: 18xx, Study for Poetry, muse of the arts, charcoal, 68×48, A2024/04/30 (iR87; iR201; R175,p60;R186,p235) =BJ1919-128, La Poésie, dessin.

4IE-1879-1-3, La Danse
1878, La Danse, carton peinture sur faïence, 300h, private (R168,p235;R90II,p121+105;R90I).

4IE-1879-2, Un plat de faïence (peinture maté)
Eng.: a plate of earthenware / faience (mate painting). Berson doesn’t make a suggestion. There were no reviews. I render two uncertain options: 1879, Reading for the dinner, plate, service with flowers and ribbons, d27, private (aR21;iR10;R168,p234=no.4)  and: 1879, Woman with flowerpots, plate service with flowers and ribbons, d27, Philadelphia MA (M28;iR10;iR64). Marie Bracquemond made at least 4 plates en the serie ‘service with flowers and ribbons’ for the Haviland factory. There are also other undated plates known of Marie (R168,p278+279).

4IE-1879-2+hc, éventails (not exhibited)
Sue Roe suggests that Marie Bracquemond also exhibited fans (R4,p203), but she doesn’t give an accounting for it. It is neither confirmed by the other sources, nor by the reviews. So I won’t follow her in this suggestion. Bouillon is more precise: Marie was invited by Pissarro and Morisot to do so, but failed to react to the proposal (R168,p235).

 

The 5th ‘impressionist’ exposition 1880:

General overview:

  • catalogue numbers 1-3
  • Moffett (R2,p310+317) indicates that Marie Bracquemond also showed a work that was not in the catalogue (=hors catalogue = hc); this is disputed by Berson and Bouillon (R168,p237), so I won’t follow Moffett.
  • so in total Marie Bracquemond exhibited 3 works ;
    • 1x an indication of place
    • 0x an indication of time, season or weather
    • 1x a study (no. 3)
    • 0x a loan
  • Note: on the poster (R2,p296) for the 5th ‘impressionist’ exposition the name Bracquemond was just one time mentioned, possibly more referring to her husband Félix than to her. The other two partaken women (Cassatt and Morisot) were also absent on the poster.
  • See the suggestions of Moffett (R2,p310+316+317) + Berson (R90II,p145+159).
  • See pictures 1880.

Reviews:
Ph. Burty (1880/04/10) reviewed in La République française ‘Mme Marie Bracquemond, reinforced by serious study, also gracefully paints familiar scenes, a young woman in white posing for a painter in an orchard, the passengers on l’Hirondelle. Her portrait of her sister, modestly titled “Etude d’après nature”, forms the most harmonious arabesque.’ (R90I,p269)
Arthur d’Echerac using his initials (1880/04/05) reviewed in La Justice ‘Mme Bracquemont (sic) has, as it seems, left behind the ‘barbatine’ for the oil. We compliment her sincerely. It’s a masterful debut, and her “Femme en blanc” places her at one stroke at the head of her group.’ (R90I,p276;R168,p302)
Gustave Goetsch (1880/04/06) reviewed in Le Voltaire ‘Mme Bracquemond, who draws and paints delightful, shows a beautiful portrait and a charming study en plein air.’ (R90I,p283)
Ernest d’Hervilly using the pseudonym Un Passant (1880/04/03) reviewed in Le Rappel ‘Of Mme Marie Bracquemond, delicat painting; a beautiful portrait of a young girl en plein air; a landscape in a tone of pearl, in the morning, on the Seine, where two lovers watch from the deck of a boat (bateau-mouche) the first swallow skims the silvery water; next another springtime landscape, of a delicate harmony, in which, in the eyes of the artist, emerges from the flowering bushes a slender, white creature who seems the muse of fine tones herself.’ (R90I,p304).
André Michel (1880/04/09) reviewed in Le Parlement ‘M. Vidal also shows more correctness and style than is permitted to the good Impressionist. Likewise Mme Bracquemond. There is in her Portrait de femme and her étude d’après nature, enough distinction, finesse and poesy to make us hope that she will not compromise any longer in this neighbourhood a talent that gives far better than promises.’ (R90I,p299)
Armand Silvestre (1880/04/24) reviewed in La Vie Moderne ‘In an even brighter palette (than Morisot), Mme Marie Bracquemond realises a very harmonious effect in which tapestry backgrounds seem to be illuminated by an apotheosis. This art, is essentially more inspired by the landscapes of Boucher than by the real appearance of nature. But it is so lovely that I don’t have the courage to hold a grudge. I therefore will mention Étude d’après nature which has an adorable finesse of tone and the portrait of the blond woman in a white dress whose overall appearance is very pleasing to the eye.’ (R90I,p306;R2,p316)

The catalogue numbers:

5IE-1880-1, Portrait
Moffett (R2,p310+316) indicates this work is now known as ‘La dame en blanc’ (The woman in white), which is now in Musée de Cambrai. Walther affirms (R3,p222). Berson is more precise: La Dame en blanc, 180×100, Musée de Cambrai, she refers to several reviews (R90II,p145+159). The most convincing review is the one of Arthur d’Echerac, clearly mentioning “Femme en blanc” (R90I,p276;R168,p302). This is later confirmed by Geffroy (1919), who extensively praises the accuracy of delicate hands and calls it ‘a triumph of … feminine grace’ (aR11,p4;R157III,p272). Burty places this painting in an orchard as background, but this is not clear on the suggested painting and probably refers to no.3. Note that Marie Bracquemond depicted several Ladies in white dresses, see the overview.
Bouillon and Kane call this work a ’transitional work’; the colours are subdued and smoothly blended; still it was made en-plein-air and she used blues the render the shadow. (aR9,p23)

5IE-1880-2, L’Hirondelle
Eng.: the swallow. Moffett doesn’t give a suggestion. Berson does: 1880, SDbl, La promenade en bateau: M. et Mme Sisley, 42×55, A1970/04/03 (no.127) (R90II,p145+159). I will render her suggestion (in black and white). She refers to several reviews. Burty suggests the boat is called L’Hirondelle, d’Hervilly refers to a swallow watched by two lovers. To compare I render a work that looks more like a study and that is wrongly attributed to Félix Bracquemond: 1880ca (18xx), Boat on the Seine (Péniche sur la Seine) (study for L’Hirondelle), 23×30, A2013/11/15 (iR13;iR136;R310;R90II,p145+159;R168,p237). Note: the idea that the couple were the Sisleys first raised in 1962, but there are no grounds for it (R168,no236).

5IE-1880-3, Étude d’après nature
Moffett (R2,p310) suggests this work was perhaps illustrated in ‘La Vie Moderne’ (1880/04/24; no. 264) or (1880/05/01; no.276). Berson renders the titles of these drawings Étude de femme and Étude, but states they don’t related to this painting, which she leaves unidentified. Burty indicates it was a portrait of her sister, but according to Berson this should refer to no.1 (R90II,p145), I agree. He also described ‘a young woman in white posing for a painter in an orchard‘, which probably referred to no.3. (R90I,p269). D’Hervilly describes it as ‘springtime landscape, of a delicate harmony, in which, in the eyes of the artist, emerges from the flowering bushes a slender, white creature who seems the muse of fine tones herself.’ (R90I,p304) I assume these reviews refer to: 1880, SDbr, Study from nature (The painter (James Tissot ?) and his model), 42×55, A2024/04/30 (R168,p236=no.9;R90I,p269+304;R2,p310;iR201;iR87) =BJ-1919-40, Le Peintre. It is suggested that the model is her half-sister Louise (iR201).

(5IE-1880-3+hc, Sur la terrasse à Sèvres)
Moffett (R2,p310+317) suggests this work perhaps now is ‘Sur la terrasse à Sèvres’ (La terrasse de la villa Brancas), which is now in the Petit Palais in Geneva. Moffett follows a suggestion of Gustave Geffroy done in 1919. Berson doesn’t follow this suggestion. None of the reviews refer to it. Bouillon dates this work more around 1887 and states that it couldn’t have been shown in 1880 (R168,p237). I will follow Berson and Bouillon. I think if this work was exhibited the remark of Michel that Marie Bracquemond shows to much correctness to be a good impressionist, wouldn’t fit.
Compare:
Saint-Petersbourg-1912-47, Sur la terrasse [On the Terrace]
BJ-1919-2, Sur la terrasse à Sèvres.
BJ-1919-18, Esquisse du tableau “Sur la terrasse à Sèvres”
BJ-1919-78, Esquisse de “Sur la terrasse à Sèvres”

 

The 8th ‘impressionist’ exposition 1886:

General overview:

  • catalogue numbers 1-6
  • so in total Marie Bracquemond exhibited 6 works ;
    • 0x an indication of place
    • 0x an indication of time, season or weather
    • 0x a study
    • 0x a loan
  • See for the suggestions of Moffett (R2,p443+448) and Berson (R90II,p239+257).
  • See pictures 1886.

Reviews:
Marcel Fouquier (1886/05/16) reviewed in Le XIXe Siècle ’the only militant “impressionists” are Marie Bracquemond, … Mme Bracquemond (…) are not linked by any of their many faults to the school of plein air, reflections, flat juxtaposed tints and extreme simplifications that characterise good impressionists. Mme Bracquemond draws with little confidence, judging by her charcoal group of three young girls; but she draws with only correction in mind. She paints with a touch that is fairly dry, thin and hard, if we are to refer to the Portrait de M. F. Bracquemond; but the quality of this painting would in no way prevent him from passing his baccalauréat, by which I mean competing for the Prix de Rome, if authorised by the regulations.’ (R90I,p447/8).
Gustave Geffroy (1886/05/26) reviewed in La Justice ‘A Portrait de M. F. Bracquemond, a Portrait de jeune garçon and two watercolours represent, with genuine distinction, the talent of Mme Marie Bracquemond.’ (R90I,p450).
Firmin Javel (1886/05/16) reviewed in L’Evénement ‘As to Mme Marie Bracquemont (sic), her charcoals (portrait of two young girls), her watercolours en her paintings are correct in a way that is anything but impressionistic.’ (R90I,p459)
The Moniteur des arts (1886/05/21) reviewed ‘Mme Marie Bracquemond, a large charcoal representing three young girls, very elegantly drawn and sheltering under their parasols; a Portrait de jeune garçon and the portrait of M.F. Bracquemond in his studio, very boldly presented.’ (R90I,p467)
La Petite République française (1886/05/21) reviewed ‘Mme Marie Bracquemont (sic) has a very interesting piece: the portrait of M. F. Bracquemont (sic) in his studio. Of an unpleasant colour, but taken from life.’ (R90I,p471)

The catalogue numbers (R2,p443;R90I,p421):

8IE-1886-1, Jeune filles (carton fusain)
Eng.: young girls (charcoal on cardboard). Moffett (R2,p443) doesn’t give a suggestion. Berson refers to the reviews of Fouquier (charcoal group of three young girls), Javel (portrait of two young girls) and namely the Moniteur des Arts (a large charcoal representing three young girls, very elegantly drawn and sheltering under their parasols). She suggests, following Bouillon a cartoon version of: 1880ca, The three graces, 139×89, private (R90II,p239+257;R175,p66). I think more appropriate is: Etudes d’une femme debout, d’une tête de femme, de mains et de pieds, mine de plomb, 31×39, DAG Louvre (iR10;aR14;iR127;iR2;M5). The drawing at first sight seems to depict three women, but looking closer the sketches in the middle belong to the woman on the left, so this leaves two as Javel points out. The parasols are only suggested in this drawing, but maybe the painting made around 1880 had been known by the art-critics. But the ‘mine de plomb’ the graphite, doesn’t correspond with the mentioned charcoal and the size doesn’t fit the ‘large charcoal’. So I render this work to compare. See also the overview for other variations.

8IE-1886-2, Portrait de jeune garçon
Eng.: portrait of a young boy. Moffett (R2,p443) doesn’t give a suggestion. Bouillon and Kane suggest a study of Pierre as a young boy (aR9,p24). Berson refers to the reviews of Geffroy and the Moniteur des Arts, but they only mention the title. She repeats the suggestion of Bouillon (1972,no59): 1881 (or 1887), SDbr, Pierre painting a bouquet of flowers, 55×46, A2011/05/13 (iR204;iR2;iR22;iR11;aR6;aR17;R168,p248;R90I,p239), but leaves it unidentified. Monneret also affirms this suggestion (R88I,p77). It looks like this work was signed and dated 1887 so it would not be a good option. But others read it was dated 1881 (aR17). At a photo dated 1886/08 Pierre looks much older, so probably this suggestion is right. Therefore I will follow the suggestion of Berson and Bouillon as an uncertain option. I think this is not a typical portrait. I think a better alternative is: =? 1881, SDbl, Portrait of Pierre Bracquemond as a child, 103×79, A2024/04/30 (iR87; iR201); another alternative, but older and therefore less likely, is: 1878, Portrait de Pierre Bracquemond (b.1870), 46×38, MBA Rouen (HW;iR2;iR22;aR6;R168,p249;M12).

8IE-1886-3, Les joueuses de jaquet (sic)
Eng.: the players of (backgammon); note ‘jaquet’ was a miswriting for jacquet. Moffett (R2,p443) doesn’t give a suggestion. There were no reviews. Berson suggests, following Bouillon: 1875-80ca, La Partie de jacquet (The Backgammon players), 56×78, A2024/04/30 (R168,p234=no.3;R90II,p239+257;aR11;iR201; iR87). The colours are quite subdued, Marie she used local tones, it has a delicate witty control of texture, is inspired by Alfred Stevens and maybe made in the early 1870s (R168,p234).
=BJ-1919-9, La Partie de jacquet.
Compare: BJ-1919-49, Etude pour “La Partie de jacquet”.

8IE-1886-4, Portrait de M. F. Bracquemond
Moffett (R2,p443+448) suggests the painting that is now known as ‘Portrait de Félix Bracquemond dans son atelier’ (Portrait of Félix Bracquemond in his studio), which is now in a private collection in Paris. He refers to number 57 in the exhibition catalogue of Jean-Paul Bouillon ‘Félix et Marie Bracquemond’ (Mortagne-Chartres, 1972). Berson follows and refers to reviews of Fouquier, Geffroy, the Moniteur des arts and La Petite République française (R90II,p239+257)

8IE-1886-5, Cueilleuse de pommes (aquarelle)
Eng.: a woman plucking apples (watercolour). Moffett (R2,p443) doesn’t give a suggestion, nor does Berson, who refers to a review of Geffroy, who only mentions two watercolours (R90II,p239).
Compare: BJ-1919-125, Cueillette des pommes, aquarelle.

8IE-1886-6, Dans le jardin (Aquarelle)
Eng.: In the garden (watercolour). Moffett (R2,p443) doesn’t give a suggestion, nor does Berson, who refers to a review of Geffroy, who only mentions two watercolours (R90II,p239).

 

 

Marie Bracquemond at the Salon:
Marie Bracquemond exhibited several times at the Salon. First she did so with variations of her maiden name. From 1866-68 she exhibited as Mlle Marie Pasquiou-Quivoron.
In 1874+ 1875 her adres was: à Sèvres (Seine-et-Oise), rue de Brancas, 3 bis, villa Brancas, 11 (iR1,n/214178).

S1859-2328, Portrait de la famille de l’auteur (peinture)
Pasquioux, Mlle Antonine-Marie; née à Alby (Tarn) ; à Etampes, rue Saint-Jacques, 72 ; à Paris, chez M. Faubonne, rue de l’Arbre-Sec, 6 ; de MM. Vassort et Ingres (iR1). Bouillon and Kane describe it as ‘a drawing of her mother, sister, and old teacher posed in the studio she had arranged in the family room’ (aR9,p22), but the Salon database clearly mentions it was a painting. They wrongly suggest this was exhibited in 1857.

S1863
Some sources suggest that Marie exhibited two works at the Salon of 1863, but this is not confirmed by the Salon database (iR1). She would have exhibited “Portrait” and “Portrait de femme”; the source suggest it maybe was: 1860ca, Portrait of Aline Pasquiou-Quivoron, 96×80, private (R168,p233;aR17). I won’t follow this suggestion.

S1864-1482, Deux soeurs; portraits
Pasquioux, Mlle Marie-Antoine; née à Albi ; de M. Laugée.

S1865-1655, Portrait de Mme D…
Pasquioux, Mlle Marie-Antoine; née à Albi; boulevard d’Enfer, 1 ; de M. Laugée

S1865-1656, Fleur de lin
Pasquioux, Mlle Marie-Antoine; née à Albi; boulevard d’Enfer, 1 ; de M. Laugée
Eng.: Flax flower; Nl.: Vlasbloem.

S1866-1500, Portrait de M ***
Pasquiou-Quivoron, Mlle Marie; boulevard d’Enfer, 1 ; de MM. Signol, Laugée et Merle

S1867-1186, Le supplice de Tantale
Pasquiou-Quivoron, Mlle Marie; boulevard d’Enfer, 1 ; de MM. Signol, Laugée et Merle.
Eng.: The torment of Tantalus. Note: a Néo-Classical theme.

S1868-1927, Cervantès, dans sa prison, concevant son Don Quichotte
Additional info: Appartient à M. Damas-Hinard.
Pasquiou-Quivoron, Mlle Marie; boulevard d’Enfer, 1 ; de MM. Signol et Laugée.
This was a commission from the court of the empress Eugénie de Montijo (iR3;iR5;aR9,p23;R168,p232). Pothey rendered a print and calls her a teacher in drawing on schools in Paris (R265,no.15)
Marie-Françoise Bastit-Lesourd (see her extended blog = aR17) suggests a work with the same title was rendered under number 418, suggesting this one was an oil painting and no.1927 an etch. She also indicates that probably the same painting was auctioned 1909/10 at Paris from the feuve Charles Poussielgue collection.

S1869-3028, Portrait de Mlle L… ; dessin
Pasquiou, Mlle Marie; rue de l’Université, 19 ; de MM. Laugée et Signol.
Compare: BJ-1919-149, Germinie Lacerteux, etch.

S1874-249, Marguerite
Bracquemond, Mme Marie; à Sèvres (Seine-et-Oise), rue de Brancas, 3 bis, villa Bruncas, 11. A portrait.
According to one source it was a flower painting (aR9,p23). Bastit-Lesourd (aR17) cites a review of Frédéric Régamey who describes it as ‘a figure in white lying under blossoming trees, dazzlingly bright’; she defines the dress as medieval and suggests it is now: 18xx, Sbr MB, Young girl lying under an apple tree in bloom, 73×100, A2021/12/10 (aR18;iR85;iR10;iR11;aR17;iR1). I follow here suggestion.

S1875-287, La lecture
Bracquemond, Mme Marie; à Sèvres (Seine-et-Oise), rue de Brancas, 3 bis, villa Brancas, 11.
It is described by Bouillon, citing Pierre Bracquemond (1925), as a medieval scene: ‘a page sitting on a bench reading from a big book, with the lady of the manor at his side wearing a tall conical headdress; at the far end of the room was a huge fireplace whose dying flames and thin curl of smoke brought a touch of melancholy to the distintive gentleness of the scene’ (R168,p232) Bastit-Lesourd adds citing a review of Besnus, that it depicted the time of Charles VII and that it was a small painting. She describes ‘a woman in a hennin reclining in front of a large Renaissance-style fireplace from which a wisp of smoke rises. She listens to a young page read to her. The colours are warm, and the page’s darker clothes add depth.’ Following Bouillon she suggests that this picture probably was made around 1869. (aR17).
Now: 1870ca, La Lecture, 42×38, A2024/04/30 (iR87; iR201)
There also is a preparotary study known: 1870ca, La Lecture, esquisse, ob, 27×22, A2024/04/30 (iR87; iR201)
To compare see also: 1869ca, Fauconnerie, 65×54, MBA Rouen (iR23;iR10;iR64;iR1;R168,p232;M12).
Compare: BJ-1919-139, Sur la branche, dessin.

 

Marie Bracquemond at regional exhibitions:
Marie exhibited at some regional exhibitions. See also the blog of Marie-Françoise Bastit-Lesourd (=aR17).

Rouen-1869/08-no.288, Fauconnerie.
Exposition Municipale de Beaux-Arts in Rouen (aR17).
1869ca, Fauconnerie, 65×54, MBA Rouen (iR23;iR10;iR64;iR1;R168,p232;M12).

Vichy-1870/08, La Mandarine.
exhibited at the Salon de Vichy
=1867, SD, La Japonaise (aR17).

 

Marie Bracquemond at the Exposition Universelle:
Marie Bracquemond exhibited at the Exposition Universelle of 1878 in Paris and in 1893 of the show of French Women Painters at the World Fair in Chicago (iR414).

EU-1878-hc, Les Muses des Arts (?)
In 1878 Marie Bracquemond exhibited at the Exposition Universelle large carton panels depicting the ‘muses des Arts’ (iR3). The next year she exhibited the same at the 4th ‘impressionist’ exposition as 4IE-1879-1, Les Muses des Arts (Carton ayant servi pour une peinture sur faïence).

EU-Chicago-1893-?, Gustave Geffroy, eau-forte.
=

EU-Chicago-1893-?, Madame Béraldi, eau-forte.
=

Marie Bracquemond in La Vie Moderne:
La Vie Moderne was an illustrated weekly magazine (Journal Illustré hebdomadaire) that was established 1879/04/10 and published by Georges Charpentier. In several editions works / drawings of Marie Bracquemond were published. (aR9,p24;aR17)

LVM-1879/12/06: Sainte Cécile, drawing (aR17)

LVM-1880/04/24: Étude de femme (R90I,p320)

LVM-1880/05/01: Étude (R90I,p320)

LVM-1882/08/26: La Pêche aux écrevisses, reproduction du dessin (aR17)

 

Marie Bracquemond at Centennial exhibitions:
A work of Marie Bracquemond was exhibited at the Centennial exhibition in Saint-Peterbourg in 1912.

Saint-Petersbourg-1912-47, Sur la terrasse [On the Terrace]

 

Marie Bracquemond at other exhibitions:
Marie Bracquemond also exhibited at some other exhibitions, but I have no additional information. In 1919 there was a large posthumous exhibition.

  • 1876: exhibited at the ‘Exposition de l’Union centrale des arts décoratifs’ (R3)
  • 1881: exhibited 5 works at the Dudley Gallery in London (iR5;iR22;aR9,p24).
  • 1890: exhibited 9 etchings at the 2nd exhibition of the ‘Société des Peintres-graveurs français’ at Durand-Ruel (iR3), according to another source she made 9 etchings, exhibited 4 in 1890 including 4 of her paintings (aR9,p23), this is affirmed by a review of Geffroy (aR17). It included, according to a review 1890/01/18, studies of children which was bought by the state (aR17). She also exhibited an etch depicting a scene from Germinie Lacerteux.
  • Marie Bracquemond also made bookillustrations for Victor Hugo; 1 was exhibited in 1891 at the Georges Petit gallery.
  • 1919/05/19 – 31: posthumous exhibition at the Bernheim-Jeune Gallery, showing 89 paintings + 1 pastel + 1 earthenware panel, 35 watercolours, 23 drawings, 9 etchings and 4 other works; the introduction was written by Gustave Geffroy (aR11;iR19;iR4).

 

Marie Bracquemond at the postumous exhibition in 1919:
1919/05/19 – 31: posthumous exhibition at the Bernheim-Jeune Gallery, showing 89 paintings + 1 pastel + 1 earthenware panel, 35 watercolours, 23 drawings, 9 etchings and 4 other works; the introduction was written by Gustave Geffroy (aR11;iR19;iR4). Here below you will find the titles from the catalogue. On the page thematical overview you will find these titles arranged in a thematical way and when possible with additional information and/or suggestions of what works it were.

BJ-1919-1, La Dame en blanc.
BJ-1919-2, Sur la terrasse à Sèvres.
BJ-1919-3, Près de la fenêtre.
BJ-1919-4, Avenue de Bellevue sous la neige.
BJ-1919-5, Portrait de Pierre Bracquemond.
=? 1881, SDbl, Portrait of Pierre Bracquemond as a child, 103×79, A2024/04/30 (iR87; iR201)
BJ-1919-6, Chrysanthèmes.
BJ-1919-7, Roses.
= 18xx, Bouquet de roses blanches dans un vase sur un chevalet, 41×33, A2024/04/30 (iR87; iR201)
BJ-1919-8, Le Goûter.
BJ-1919-9, La Partie de jacquet.
Now: 1875-80ca, La Partie de jacquet (The Backgammon players), 56×78, A2024/04/30 (R168,p234=no.3;R90II,p239+257;aR11;iR201; iR87) =8IE-1886-3, Les joueuses de jaquet .
BJ-1919-10, L’Aquarelliste.
BJ-1919-11, Portrait de Marie Bracquemond.
BJ-1919-12, Portrait de Félix Bracquemond.
BJ-1919-13, On vient d’allumer la lampe.
BJ-1919-14, Portrait de Pierre Bracquemond.
=? 1881, SDbl, Portrait of Pierre Bracquemond as a child, 103×79, A2024/04/30 (iR87; iR201)
BJ-1919-15, Bouquet.
BJ-1919-16, Esquisse d’après une aquarelle de G. Moreau.
Now: 1886ca, Snake head and tail after Gustave Moreau, 35×23, A2024/04/30 (iR87;iR201)
BJ-1919-17, Dans le jardin.
BJ-1919-18, Esquisse du tableau “Sur la terrasse à Sèvres”
BJ-1919-19, Vue du haut Sèvres.
= 18xx, View of Sèvres (Vue du haut Sèvres), 34×55, A2024/04/30 (iR87; iR201)
BJ-1919-20, Vue de Paris.
= 18xx, View of Paris (Vue de Paris des hauteurs de Sèvres), 38×56, A2024/04/30 (iR87; iR201)
BJ-1919-21, Etude d’arbres en fleur.
BJ-1919-22, Bouquet près de la fenêtre.
= 18xx, Bouquet of flowers by the window, 41×33, A2024/04/30 (iR87; iR201)
BJ-1919-23, Fleurs dans un vase.
BJ-1919-24, Panier de fraises.
= 18xx, The basket of wild strawberries, 27×33, A2024/04/30 (iR87; iR201)
BJ-1919-25, Etude: Coteau de Sèvres.
BJ-1919-26, La Route des Jardies.
BJ-1919-27, Etude à Sèvres.
BJ-1919-28, Au soleil.
BJ-1919-29, Pêches.
BJ-1919-30, Etude d’arbres.
BJ-1919-31, Etude pour “Le Goûter”.
BJ-1919-32, Etude pour “Près de la fenêtre”.
BJ-1919-33, Etude de matin.
BJ-1919-34, Femme lisant.
= 18xx, Jeune femme lisant à l’ombre des arbres devant une cascade, 27×21, A2024/04/30 (iR87; iR201)
BJ-1919-35, L’Allée de rhododendrons.
BJ-1919-36, La Pêche aux écrevisses.
= 18xx, Crayfish fishing (verso Henriot), 24×19, A2024/04/30 (iR87; iR201)
BJ-1919-37, Etude: Femme cousant.
BJ-1919-38, Etude de femme.
BJ-1919-39, Etude pour “La Tasse de café”.
= 18xx, Study for ’La Tasse de café’, 25×17, A2024/04/30 (iR87; iR201)
BJ-1919-40, La Peintre.
Now: 1880, SDbr, Study from nature (The painter (James Tissot ?) and his model), 42×55, A2024/04/30 (R168,p236=no.9;R90I,p269+304;R2,p310;iR201;iR87) =5IE-1880-3, Étude d’après nature.
BJ-1919-41, Etude d’homme.
BJ-1919-42, Au bord du ruisseau.
BJ-1919-43, Dans un jardin.
BJ-1919-44, Verger à La Chabanne.
BJ-1919-45, Terrasse à La Chabanne.
BJ-1919-46, Le Pilote.
BJ-1919-47, Etude d’homme.
BJ-1919-48, Au bord de la Seine.
BJ-1919-49, Etude pour “La Partie de jacquet”.
= 18xx, Study for ’La partie de jacquet’, 25×33, A2024/04/30 (iR87; iR201)
BJ-1919-50, La Tricoteuse.
BJ-1919-51, Femme en rose.
Now: 18xx, Study for ’La vue de Divonne’, 37×29, A2024/04/30 (iR87; iR201)
BJ-1919-52, Une Allée à La Chabanne.
BJ-1919-53, Sur l’étang.
BJ-1919-54, Portrait de jeune femme.
BJ-1919-55, Anémones.
BJ-1919-56, Etude.
BJ-1919-57, Etude.
BJ-1919-58, Etude.
BJ-1919-59, Projet de tableau: “Le Jet d’eau”.
BJ-1919-60, Projet de tableau: “Le Bain”.
BJ-1919-61, Projet de tableau.
+ 18xx, Study for an unrealized triptyque called ‘L’anniversaire’, ob, 20×23, A2024/04/30 (iR87; iR201)
BJ-1919-62, Projet de tableau.
BJ-1919-63, Projet de tableau.
BJ-1919-64, Projet de tableau.
BJ-1919-65, Projet de tableau.
BJ-1919-66, Projet de tableau.
BJ-1919-67, Projet de tableau.
= 18xx, Three women lying on the lawn (Trois femmes étendues sur la pelouse), 21×30, A2024/04/30 (iR87; iR201)
BJ-1919-68, Etude de fleurs.
=??? 18xx, Study of flowers, dr+oil, 58×58, A2024/04/30 (iR87; iR201)
BJ-1919-69, Roses.
BJ-1919-70, Pivoines.
BJ-1919-71, Femme et fleurs.
= 18xx, Study of woman and flowers, 20×14, A2024/04/30 (iR87; iR201)
BJ-1919-72, Etude pour le portrait blanc.
BJ-1919-73, Petite femme rose.
BJ-1919-74, Première communion.
BJ-1919-75, Sur la terrasse de La Chabanne.
BJ-1919-76, Etude pour “Le Goûter”.
BJ-1919-77, La Tasse de café.
BJ-1919-78, Esquisse de “Sur la terrasse à Sèvres”
BJ-1919-79, Crevettes.
BJ-1919-80, Narcisses et anémones.
BJ-1919-81, Esquisse de “L’Arbre de Noël”.
BJ-1919-82, Projet de tableau.
BJ-1919-83, Bertrand et Raton, d’après Gustave Moreau.
BJ-1919-84, Etude de tête, pastel.
BJ-1919-85, La Promenade.
BJ-1919-86, Au soleil.
BJ-1919-87, Les Trois Grâces de 1880; Appartient à M. Gustave Geffroy.
BJ-1919-88, Reines-marguerites; Appartient à M. Gustave Geffroy.
BJ-1919-89, Chrysanthèmes; Appartient à M. le docteur Batuaud.
BJ-1919-90, Portrait de Mme Th. Haviland; Appartient à Mme Haviland.
BJ-1919-90bis, Paul et Virginie (plaque de faïence); Appartient à M. Georges Haviland.

Aquarelles:
BJ-1919-91, Le Mont-Dore, aquarelle.
Now: 18xx, Pierre and Louise Bracquemond on a horse ride, wc, 32×48, A2024/04/30 (iR87;iR201)
BJ-1919-92, Solitude, aquarelle.
Now: 1872, Self-Portrait (sitting), wc, 33×48, A2024/04/30 (iR87;iR201)
BJ-1919-93, Portrait de la Comtesse de Bony de Lavergne, aquarelle.
BJ-1919-94, Etude pour le Mont-Dore, aquarelle.
BJ-1919-95, Le Jardin de l’École Normale à Sèvres, aquarelle; Appartient à M. Georges Haviland.
BJ-1919-96, Une Allée de l’École Normale, aquarelle.
BJ-1919-97, Quatre petites études de femme, aquarelle; Appartient à M. Georges Haviland.
BJ-1919-98, Au bord du ruisseau, aquarelle; Appartient à M. Georges Haviland.
BJ-1919-99, L’Echarpe violette, aquarelle.
BJ-1919-100, Etude, aquarelle.
BJ-1919-101, L’Allée fleurie, aquarelle; Appartient à M. Georges Haviland.
BJ-1919-102, Femme en deuil, aquarelle.
Eng.: woman morning.
BJ-1919-103, Etude, aquarelle.
BJ-1919-104, Etude, aquarelle.
BJ-1919-105, Etude de fillette, aquarelle.
BJ-1919-106, Etude de femme, aquarelle.
BJ-1919-107 à 123, Vues de Divonne, aquarelle.
BJ-1919-124, Au bord du ruisseau, aquarelle.
BJ-1919-125, Cueillette des pommes, aquarelle.
Compare: 18xx, Apple picking, dr, 56×38, A2024/04/30 (iR87; iR201)

Dessins:
BJ-1919-126, Le Mur du parc, dessin.
BJ-1919-127, La Crèche, dessin.
BJ-1919-128, La Poésie, dessin.
Now: 18xx, Study for Poetry, muse of the arts, charcoal, 68×48, A2024/04/30 (iR87; iR201; R175,p60;R186,p235)
BJ-1919-129, La Foire de St-cloud, dessin.
BJ-1919-130, Etude pour “Les Gants”, dessin.
BJ-1919-131, Etude, dessin.
BJ-1919-132, Etude, dessin.
BJ-1919-133, Etude de jeune homme, dessin.
=?? 18xx, Full-length portrait of Pierre Bracquemond, dr, 32×18, A2024/04/30 (iR87;iR201)
BJ-1919-134, Portrait de Marie Bracquemond, dessin.
BJ-1919-135, Portrait de Marie Bracquemond, dessin.
BJ-1919-136, Portrait de Mme Chaudesaigues, dessin.
BJ-1919-137, Portrait de Mlle Quivoron, dessin.
BJ-1919-138, Portrait de  Mlle Quivoron, dessin.
BJ-1919-139, Sur la branche, dessin.
BJ-1919-140, Etude de visage, dessin.
BJ-1919-141, La Danse, dessin.
BJ-1919-142, Etude de robe, dessin.
BJ-1919-143, Page d’album, dessin.
BJ-1919-144, Page d’album, dessin.
BJ-1919-145, Projet pour un plat, dessin.
BJ-1919-146, Croquis, dessin.
BJ-1919-147, Près de la fenêtre, dessin.
BJ-1919-148, Les Beaux Arts, project de décoration, dessin; Appartient à M. Georges Haviland.

Eaux-fortes:
BJ-1919-149, Germinie Lacerteux, eaux-forte.
BJ-1919-150, Le Petit malade, eaux-forte.
BJ-1919-151, Le Tableau, eaux-forte.
BJ-1919-152, Portrait de Gustave Geffroy, eaux-forte.
BJ-1919-153, Portrait de Mlle Quivoron, eaux-forte.
BJ-1919-154, Portrait de Marie Bracquemond, eaux-forte.
BJ-1919-155, Portrait de Mme Béraldi, eaux-forte.
BJ-1919-156, Portrait de Mme Guy Pellion, eaux-forte.
BJ-1919-157, Les Ballons, eaux-forte.

(other works):
BJ-1919-158, Photographie: Cartons pour “Les Beaux Arts” exécutés en carreaux de faïence par la maison Haviland (actuellement au musée de Philadelphie).
BJ-1919-159, Photographie: La Poésie, la Musique, la Sculpture, l’Architecture, la Peinture.
BJ-1919-160, Photographie de Marie Bracquemond.
BJ-1919-161, Portrait de Marie Bracquemond, par Félix Bracquemond.
=Félix Bracquemond, 18xx, Portrait of Marie Bracquemond, charcoal, 32×24, A2024/04/30 (iR87;iR201;R168,p303)

 

Recommanded citation: “Impressionism: Marie Bracquemond (Marie Pasquiou-Quivoron), account of her exhibited works. Last modified 2024/04/22.  https://www.impressionism.nl/bracquemond-marie-account/