Marie Bracquemond pictures overview



Impressionism: a historical reconstruction

Marie Bracquemond


Most of her art-works

A thematical overview with pictures


What art-works did Marie Bracquemond made? What art-works did she exhibit at the ‘impressionist’ expositions and at the Salon? There are several pictures and other art-works known of Marie Bracquemond, but still it is limited. I will render them as much as possible on this page. I will render them in a thematical order and by form. When applicable I will indicate if a work was (probably) exhibited at the ‘impressionist’ expositions of 1879, 1880 or 1886, see link for a seperate page. And which works she exhibited at the Salon or other exhibitions and at the posthumous exhibition in 1919 (aR11), see also the account. Marie Bracquemond was born as Marie-Anne-Caroline Quivoron and was, before her marriage with Félix Bracquemond in 1869, known as Marie Pasquiou-Quivoron. See for the used sources at the bottom of the main page on Marie Bracquemond. Namely I like to mention the extended blog of Marie-Françoise Bastit-Lesourd on Marie Bracquemond, to whom I am much obliged (aR17=aR10). See the link for an explination of the subscriptions. Note: If you double click on the first (of a cluster of) pictures and then click on full screen, you can create a slideshow. Enjoy!


Copies of paintings:
After 1868 Marie Bracquemond was asked by Count de Nieuwekerke to make professional copies in the Louvre (iR3;aR9;aR17). Two copies she made were in the 1919 catalogue (aR11). She also made a copy of Leseur depicting Jesus appearing as a gardener to Marie-Magdalena for the churche St. Eloi (aR17). She made a copy of ‘Christ cruxifié’ by Vélasquez which is now in a chapel in Plouha, Britany (aR17). Maybe she also made copies of paintings depicting the empress Eugénie ‘à demi-corps’ (aR17). See the blog of Marie-Françoise Bastit-Lesourd (aR17).

BJ-1919-16, Esquisse d’après une aquarelle de G. Moreau.
BJ-1919-83, Bertrand et Raton, d’après Gustave Moreau.


Néo-Classical / traditional themes:
In her early days Marie Bracquemond depicted more traditional themes. At the Salon of 1867 she showed a work depicting the mythological figure of Tantalus. In 1868 she showed a scene from the novel Don Quichotte. She also depicted Medieval scenes, one was exhibited at the Salon of 1875. Around 1878 she depicted the Muses of art↓, also a Néo-Classical theme. Around 1880 she depicted ‘Three ladies with umbrellas’↓, a work that is also known as ’the three graces’, what would make it also a Néo-Classical theme, but I doubt if it was intended that way by Marie Bracquemond. 1879/12/06 a drawing of Marie was published in La Vie Moderne called ‘Sainte Cécile’ (aR17).

S1867-1186, Le supplice de Tantale
S1868-1927, Cervantès, dans sa prison, concevant son Don Quichotte
S1875-287, La lecture
BJ-1919-139, Sur la branche, dessin.


The Muses of art:
Marie Bracquemond made with charcoal three large decorative panels with a total size of 3×7 meters. 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, La Comédie, La Sculpture, L’Architecture, La Peinture, La Poésie and La Musique. Note: that this is a Néo-Classical theme exhibited with the ‘impressionists’ in 1879. 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). Note that in the watercolour study two of the muses are missing (I assume La Comédie and La Danse). According to Geffroy Marie already in these works searched for bright colours, harmony in the variety of whites, fine vision of whites in shadow.’ (R157III,p272)

EU-1878-hc, Les Muses des Arts (?)
4IE-1879-1, Les Muses des Arts (Carton ayant servi pour une peinture sur faïence); appartient à M. Haviland
BJ-1919-128, La Poésie, dessin.
BJ-1919-141, La Danse, dessin.
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.

The three graces / Three ladies with umbrellas:
Around 1880 Marie Bracquemond made a painting called ’the three graces’. Another title is ‘Three ladies with umbrellas’. The three graces is a mythological theme depicting 3 goddesses. Mostly they are depicted naked or hardly clothed. Marie renders them with comtemporary dresses (aR11,p5). Mostly at least one of the three isn’t seen in front (en face). Never are they depicted with umbrella’s. At the 8th ‘impressionist’ exposition they are just called ‘Young girls’. So, maybe this title ’the three graces’ is added later and maybe by Gustave Geffroy who owned it in 1919 and who wrote the introduction of that catalogue (aR11). Though the 1919 catalogue called it ‘Les Trois Grâces de 1880’, there is no evidence that it was realy painted in 1880 (R168,p237). Marie Bracquemond made many studies for this painting and the one exhibited in 1886 is still lost. Note the details rendered in most drawings and the more sketchy rendering in the other works, where the principal subject is the effect of the light traversing the parasols (R168,p237;aR11,p5). Bastit-Lesourd suggests that the woman in the middle is a self-Portrait (aR17).

8IE-1886-1, Jeune filles (carton fusain)
BJ-1919-87, Les Trois Grâces de 1880; Appartient à M. Gustave Geffroy.



Self-Portraits / Portraits of Marie Bracquemond:
Marie Bracquemond made several self-portraits and also was portrayed by others. The dating often is unsure. Note: the litho portrait of Félix Bracquemond isn’t mentioned by Beraldi (R85III+XIII); the dating (1897-99) suggest that the litho was made after an earlier drawing or etch when Marie was younger. Note that Marie looks more blond and a bit put in the 1888ca etch that is in The Philadelphia museum of art, so I think it must be dated much later than the family photo of 1886/08. I suggest 1888-95ca. Geffroy describes the ‘spanish’ look and the ‘dentelles noires’ (black lace) of the etch in the 1919 catalogue (aR11,p8).

BJ-1919-11, Portrait de Marie Bracquemond.
BJ-1919-134, Portrait de Marie Bracquemond, dessin.
BJ-1919-135, Portrait de Marie Bracquemond, dessin.
BJ-1919-154, Portrait de Marie Bracquemond, eaux-forte.
BJ-1919-160, Photographie de Marie Bracquemond.
BJ-1919-161, Portrait de Marie Bracquemond, par Félix Bracquemond.

Portraits of her sister Louise Quivoron:
Of Marie Bracquemond her (half) sister Louise Quivoron is her favorite model. She also appears in several paintings. Bastit-Lesourd mentions a ‘Portrait de jeune fille’ probably depicting Louise looking self-assured and probably made 1862/63 and also an oval portrait of her in 1898 (aR17).
BJ-1919-137, Portrait de Mlle Quivoron, dessin.
BJ-1919-138, Portrait de  Mlle Quivoron, dessin.
BJ-1919-153, Portrait de Mlle Quivoron, eaux-forte.


Portraits of her family:
Marie Bracquemond several times depicted her family. According to Bouillon Pierre and his aunt Louise in the garden can be dated with certainty to 1886, probably based on a photograph made around 1886 (R168,p237+303). On the portrait where Pierre is painting he looks younger, but it is often dated 1887. Bouillon mentions a big portrait of Pierre at his work table made in 1881 (R168,p239), which could refer to this painting. Bastit-Lesourd states that the date given in this painting is 1881, which could correspond the remark of Bouillon. In that case it becomes a good possibility for 8IE-1886-2, Portrait de jeune garçon. But then, the etch where Pierre is lying sick, must be dated earlier than 1883ca. I suggest 1878-1881ca. Bastit-Lesourd (rightly) remarks that on the portrait dated 1878 Pierre looks younger than 8 years old (aR17). 

S1859-2328, Portrait de la famille de l’auteur
8IE-1886-2, Portrait de jeune garçon
BJ-1919-5, Portrait de Pierre Bracquemond.
BJ-1919-14, Portrait de Pierre Bracquemond.
1886-4, Portrait de M. F. Bracquemond
BJ-1919-12, Portrait de Félix Bracquemond.
BJ-1919-10, L’Aquarelliste.

Other portraits:
Marie Bracquemond made many portraits in various media. Mme Béraldi was born as Mathilde Gavet (1857-1940); Mme Pierre Guy-Pellion was born 1845/12/31 as Louise Frébault (aR17). For the names I am much obliged to Marie-Françoise Bastit-Lesourd, see her extended blog (=aR17).

S1864-1482, Deux soeurs; portraits
S1866-1500, Portrait de M ***
S1869-3028, Portrait de Mlle L… ; dessin
(compare Anne Mélanie Sophie Laisné (=Mme Charles Jacquin); aR17)
BJ-1919-149, Germinie Lacerteux, eaux-forte.
S1865-1655, Portrait de Mme D…
BJ-1919-90, Portrait de Mme Th. Haviland; Appartient à Mme Haviland.
(=Julie Dannat; aR17)
BJ-1919-90bis, Paul et Virginie (plaque de faïence); Appartient à M. Georges Haviland.
BJ-1919-136, Portrait de Mme Chaudesaigues, dessin.
BJ-1919-93, Portrait de la Comtesse de Bony de Lavergne, aquarelle.
(This is a miswriting for Comtesse de Bony de Lavigne; aR17)
BJ-1919-152, Portrait de Gustave Geffroy, eaux-forte.
BJ-1919-155, Portrait de Mme Béraldi, eaux-forte.
BJ-1919-71, Femme et fleurs.
(Maybe related to Femme respirant le parfum d’une rose; aR17)
BJ-1919-156, Portrait de Mme Guy Pellion, eaux-forte.



S1874-249, Marguerite
Marie-Françoise 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 was ‘Young girl lying under an apple tree in bloom’, a painting that was put to auction by a descendent of the family. Note that the colours are more bright than in the backgammon players↓ and Étude d’après nature↓, works that are probably made later. The brushstroke in the sky is quite lively and the colours a bit unnatural. In that sense it doesn’t fit the style of Marie Bracquemond. But again the central object is a white dress with all it’s folds and variations of colour, which is typical for her. I couldn’t find the ‘MB’ signature at the bottom right.


The backgammon players:
Marie Bracquemond depicted two women playing backgammon (jacquet) in the grass near a lake. The one wearing a white the other a pink dress (compare Sur la terrasse à Sèvres). At a shallow sight the woman in the white dress could be an autoportrait and the woman in pink her sister Louise. Bastit-Lesourd opposes the idea of a selfportrait (aR17). Marie made at least one study for this painting.

8IE-1886-3, Les joueuses de jaquet (sic)
BJ-1919-9, La Partie de jacquet.
BJ-1919-49, Etude pour “La Partie de jacquet”.


Ladies in white:
Marie Bracquemond depicted several paintings of women, mostly her sister Louise Quivoron↑, in a white dress. Often located in a garden. One is dated 1877. In this painting Louise has a peculiar twist in her body and dress. All the other works are not dated and often are dated around 1880. (Quite many works of her her small oeuvre are dated around 1880.) Bouillon writes that Étude d’après nature was signed and dated 1880, but I can’t find this signature and the picture rendered is dated 1880ca (R168,p236). So, I will suggest alternate dating for Étude d’après nature and also for La dame en blanc, namely 1877-80ca.
This dating has a lot of influence on the interpretation of Marie Bracquemond her development. Silvestre suggests that Marie was inspired by the landscapes (pastoral scenes) of François Boucher (1703-70) (see his pictures on WikiMedia). Anyway there is a certain similar atmosphere and rendering in The backgammon players↑, Étude d’après nature , Woman in the garden and La dame en blanc. On the other hand we have impressionist masterpieces in Le gôuter and Sur la terrasse à Sèvres↓. Maybe there was a chronological order, when the first group was made between 1877-1880 and the second group around 1880. But, when there was no chronological order and Mary Bracquemond made most of these paintings around 1880, this would mean 1. she had been very productive around 1880 and 2. her style in painting did vary much within one year. This last conclusion will make it harder to disclude paintings from her oeuvre, because it doesn’t match her style. Bouillon suggests another solution: Le gôuter and Sur la terrasse à Sèvres↓ were made after 1886 (R168,p237/8).

5IE-1880-3, Étude d’après nature

5IE-1880-1, Portrait
BJ-1919-1, La Dame en blanc.

BJ-1919-8, Le Goûter.
BJ-1919-31, Etude pour “Le Goûter”.
BJ-1919-76, Etude pour “Le Goûter”.


Sur la terrasse à Sèvres:
Marie Bracquemond made at least two oil studies for Sur la terrace à Sèvres and at least two preparatory drawings. Probably Louise sat for both the female figures. It is disputed if the male figure was Fantin-Latour, but likely not (aR9,p23+note 17;R168,p238). Geffroy later (1894) described ‘The white dress becomes golden and bluish, the pink dress is in some places faint and in others burning.’ (aR9,p23;aR11,p4;R157III,p274). The suggestion by Moffett (R2,p310+317) that this work was exhibited outside the catalogue in 1880, probably isn’t correct. The dating probably is more towards 1887 than 1880 (R168,p237).
Her husband, Félix made an etch of Marie painting her sister Louise sitting on the terrace with an umbrella. I couldn’t find a picture of Marie that depicts her sister with an umbrella. Note that in this etch dated 1876 Félix clearly depicted the effect of sunlight filtered through the umbrella on the dress of Louise. This does (probably) mean that Marie at this early date already was occupied with this impressionist theme (R168,p238). Bouillon suggests that this work was made after 1886, which makes it impossible to have been exhibited in 1880 (R168,p237). I will alter the dating to 1880-87ca.
Marie lived from 1871 till maybe her death in 1916 in the villa Brancas, 3bis, Rue de Brancas, Sèvres (Seine-et-Oise).

(5IE-1880-3+hc, Sur la terrasse à Sèvres)
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”


Figure paintings / studies:
Marie Bracquemond made several figure paintings. She also made several studies of people.

BJ-1919-34, Femme lisant.
BJ-1919-10, L’Aquarelliste.
BJ-1919-40, La Peintre.
BJ-1919-46, Le Pilote.
BJ-1919-50, La Tricoteuse.
BJ-1919-51, Femme en rose.
BJ-1919-54, Portrait de jeune femme.
BJ-1919-71, Femme et fleurs.
BJ-1919-73, Petite femme rose.
BJ-1919-74, Première communion.
BJ-1919-85, La Promenade.
BJ-1919-92, Solitude, aquarelle.
BJ-1919-102, Femme en deuil, aquarelle.
BJ-1919-127, La Crèche, dessin.
BJ-1919-37, Etude: Femme cousant.
BJ-1919-38, Etude de femme.
BJ-1919-97, Quatre petites études de femme, aquarelle; Appartient à M. Georges Haviland.
BJ-1919-106, Etude de femme, aquarelle.
BJ-1919-105, Etude de fillette, aquarelle.
BJ-1919-41, Etude d’homme.
BJ-1919-47, Etude d’homme.
BJ-1919-133, Etude de jeune homme, dessin.
BJ-1919-72, Etude pour le portrait blanc.
BJ-1919-84, Etude de tête, pastel.
BJ-1919-140, Etude de visage, dessin.
BJ-1919-130, Etude pour “Les Gants”, dessin.
BJ-1919-142, Etude de robe, dessin.


The Sisley couple ???:
It is said that Marie Bracquemond made 2 paintings representing Alfred and Marie Sisley. Between 1877-80 Alfred Sisley and his family lived close by in Sèvres. It is said that Marie portrayed them around 1880 in ‘L’Hirondelle’, but there are no grounds for this idea that first raised in 1962 (R168,no236). It is also said that later in 1887 Marie depicted Alfred and Marie Sisley in ‘Sous la lampe’ (R4,p201;iR5;aR1;R38). But note that the woman depicted on ‘Sous la lampe’ looks more like a younger version of Marie Bracquemond, than the Mme Sisley that Cassatt depicted. There is similarity between the portrait that Renoir made of Alfred Sisley in 1868 and 1876 and the man depicted on ‘Sous la lampe’. Some sources date this work 1877. If it is Marie Bracquemond who was depicted, this would fit this date. But the work is signed and dated in the top right corner, so this seems to affirm the 1887 date. But this is a second signature, the other is at the bottom left. The 1887 signature resembles very much the same signature in the picture Crevette↓. Was it original or was it added? For now I assume it was original. Bastit-Lesourd suggest the man was Félix Bracquemond, this based on a photo taken August 1886 (aR17). Geffroy (1919) points out that this work was the same as no.13 in the catalogue (aR11,p5).

5IE-1880-2, L’Hirondelle
BJ-1919-13, On vient d’allumer la lampe.


Marie Bracquemond made some interiors. Pres de la fenêtre and La Tasse de café seem to have been important paintings for which Marie made studies. I couldn’t find any picture that represents these themes.

BJ-1919-3, Près de la fenêtre.
BJ-1919-32, Etude pour “Près de la fenêtre”.
BJ-1919-147, Près de la fenêtre, dessin.
BJ-1919-39, Etude pour “La Tasse de café”.
BJ-1919-77, La Tasse de café.
BJ-1919-81, Esquisse de “L’Arbre de Noël”.

Marie Bracquemond made many still lifes. Just a few are still known today. According to Bastit-Lesourd the painting Les Crevettes at first depicted jewellery in a seashell (aR17).

S1865-1656, Fleur de lin
BJ-1919-88, Reines-marguerites; Appartient à M. Gustave Geffroy.
BJ-1919-6, Chrysanthèmes.
BJ-1919-89, Chrysanthèmes; Appartient à M. le docteur Batuaud.
BJ-1919-7, Roses.
BJ-1919-69, Roses.
BJ-1919-15, Bouquet.
BJ-1919-22, Bouquet près de la fenêtre.
BJ-1919-23, Fleurs dans un vase.
BJ-1919-55, Anémones.
BJ-1919-80, Narcisses et anémones.
BJ-1919-70, Pivoines.
BJ-1919-68, Etude de fleurs.
BJ-1919-24, Panier de fraises.
BJ-1919-29, Pêches.
(Bastit-Lesourd mentions that Marie made a ‘Still-life with fishes’ in 1889 and that it was sold by Musée d’Orsay; aR17)
BJ-1919-36, La Pêche aux écrevisses.
(A drawing appeared in La Vie Moderne 1882/08/26; aR17)
BJ-1919-79, Crevettes.
BJ-1919-99, L’Echarpe violette, aquarelle.

Garden scenes:
Marie Bracquemond made some art-works depicting a garden.

8IE-1886-5, Cueilleuse de pommes (aquarelle)
BJ-1919-125, Cueillette des pommes, aquarelle.
(There also is a drawing called Cueillette de fruits, 1880, SD, 31×23, ; aR17)
8IE-1886-6, Dans le jardin (Aquarelle)
BJ-1919-17, Dans le jardin.
BJ-1919-35, L’Allée de rhododendrons.
BJ-1919-101, L’Allée fleurie, aquarelle; Appartient à M. Georges Haviland.
BJ-1919-43, Dans un jardin.
BJ-1919-126, Le Mur du parc, dessin.
BJ-1919-139, Sur la branche, dessin.


Landscapes in Sèvres:
Marie Bracquemond depicted several scenes in Sèvres where she lived from 1871 till maybe her death in 1916 in the villa Brancas, 3bis, Rue de Brancas, Sèvres (Seine-et-Oise).

BJ-1919-19, Vue du haut Sèvres.
BJ-1919-25, Etude: Coteau de Sèvres.
BJ-1919-27, Etude à Sèvres.
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.


La Chabanne:
Marie Bracquemond made several pictures around Chabanne. The ‘Château Chabanne‘ lies in the Auvergne (R168,p240;aR17;iR9), in Saint-Fréjoux (aR17). Bastit-Lesourd adds that it belonged to friends of the family and in 1894 Louise inhereted it and later Pierre (aR17).

BJ-1919-44, Verger à La Chabanne.
BJ-1919-45, Terrasse à La Chabanne.
BJ-1919-75, Sur la terrasse de La Chabanne.
BJ-1919-52, Une Allée à La Chabanne.


Mont Dore:
Mont Dore lies in the department Puy-the-Dome in the Auvergne (iR9). These works were mentioned by Clément-Janin (1919/05/30) mentioned also these two aquarelles in Moniteur du Puy-de-Dôme (aR17;iR40).

BJ-1919-91, Le Mont-Dore, aquarelle.
BJ-1919-94, Etude pour le Mont-Dore, aquarelle.


Marie Bracquemond made a serie of watercolours at Divonne, where she went for a treatment. This is Divonne-les-Baines in the Haut-Jura, near Geneva (R168,p240;iR9).

BJ-1919-107 à 123, Vues de Divonne, aquarelle.

Other locations:
Marie Bracquemond made some works in which a location was mentioned, other than those mentioned above.

BJ-1919-20, Vue de Paris.
BJ-1919-129, La Foire de St-Cloud, dessin.


Marie Bracquemond depicted some riverscenes.

BJ-1919-42, Au bord du ruisseau.
BJ-1919-48, Au bord de la Seine.
BJ-1919-98, Au bord du ruisseau, aquarelle; Appartient à M. Georges Haviland.
BJ-1919-124, Au bord du ruisseau, aquarelle.

Marie Bracquemond depicted some roads.

BJ-1919-4, Avenue de Bellevue sous la neige.
BJ-1919-26, La Route des Jardies.
BJ-1919-52, Une Allée à La Chabanne.
BJ-1919-101, L’Allée fleurie, aquarelle; Appartient à M. Georges Haviland.


Atmospheric indications:
It is typical for the impressionist painting style to render atmospheric indications, like season, wheather, time of day. Marie Bracquemond hardly did so.

BJ-1919-4, Avenue de Bellevue sous la neige.
BJ-1919-28, Au soleil.
BJ-1919-86, Au soleil.
BJ-1919-33, Etude de matin.

General landscapes:
Marie Bracquemond made some other landscapes, than as indicated above.

BJ-1919-21, Etude d’arbres en fleur.
BJ-1919-30, Etude d’arbres.
BJ-1919-53, Sur l’étang.


For many paintings Marie Bracquemond made preparatory works. Many of the works of Marie Bracquemond are called studies (in the posthumous 1919 catalogue =BJ-1919). See also above. In the 1919 catalogue many studies are untitled, like the following paintings (no.56+57+58), the following watercolours (no.100+103+104) and the following drawings (no.131+132+146). I assume her ‘Page d’album (no.142+143) also were studies. Note: this is not in line with the impressionist conviction that a fleeting moment is best kept in a sketch.


Projet de tableau:
Marie Bracquemond made several ‘project de tableau’ (painting projects). Most of them are untitled in the 1919 catalogue (no.61-67+82) and according to Geffroy unfinished (aR11,p8).

BJ-1919-59, Projet de tableau: “Le Jet d’eau”.
BJ-1919-60, Projet de tableau: “Le Bain”.


Other themes:



In 1890 Marie Bracquemond showed 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 of them in 1890 including 4 of her paintings (aR9,p23). I will render here below all the etchings I could find of Marie Bracquemond.

BJ-1919-149, Germinie Lacerteux.
(It concerns a representation at the O’déon, where Mlle de Varandeuil and the poor Germinie, feverish on her bed encased in white curtains, are really surrounded by successive shots of gray and black, the atmosphere of a hospital ward. (aR11,p8) Bastit-Lesourd indicates that it was also exhibited in 1890 at Durand-Ruel and probably was auctioned as L’Hôpital or Une visite à l’Hôpital (aR17).
BJ-1919-152, Portrait de Gustave Geffroy.
=EU-Chicago-1913 (aR17;aR20)
BJ-1919-153, Portrait de Mlle Quivoron.
BJ-1919-154, Portrait de Marie Bracquemond.
BJ-1919-155, Portrait de Mme Béraldi.
=!? EU-Chicago-1913 (aR17;aR20)
BJ-1919-156, Portrait de Mme Guy Pellion.
(Born as Louise Berault; aR17)
BJ-1919-150, Le Petit malade.
BJ-1919-151, Le Tableau.
(Maybe 1880ca, Jeune femme devant son chevalet (aR17)
BJ-1919-157, Les Ballons.


Other techniques:
In 1871 Marie her husband Félix Bracquemond was artistic director at the ‘Manufacture de Sèvres’ (R73,p9) and from 1872-81 at the faïence studio at Auteuil owned by Charles Haviland (R73,p9;iR3;iR24;aR9,p23). Marie designed plates for dinner services and large faience tile panels depicting the muses, which were shown at the Exposition Universelle in 1878 (aR9,p23;iR3). Marie exhibited them at the 4th ‘impressionist’ exposition in 1879 (R2,p266;R90II,p105; and not in 1880 as Denvir mentions; R8,p356). According to Clara Erskin Clement (1904) Marie ‘produced a clearness and richness not attained by other artists. The progress in the Haviland faience in the 70s was very largely due to Madame Bracquemond’ (aR9,p23). Beraldi indicates that Félix and Marie both designed for the ‘fleurs et rubans’ service for the Haviland factory (R85III,no.674-720). Marie had composed and engraved ’12 subjects for plates, depicting Parisian scenes with great decorative fantasy’ (R85III,p152;R168,p235). Mary also designed undated plates with flower motives (R168,p278/9).

4IE-1879-2, Un plat de faïence (peinture maté)
BJ-1919-145, Projet pour un plat, dessin.
BJ-1919-90bis, Paul et Virginie (plaque de faïence); Appartient à M. Georges Haviland.


Disputable works:
There are several works attributed to Marie Bracquemond, but that are disputed if they are hers. Still, these works are included in auction sites and websites without additional info and discussion. This pollutes the understanding of Marie Bracquemond and I hope these auction sites and website will be more reluctant in the future.
I will also use the discussion rendered by Marie Françoise Bastit-Lesourd at the website ellesaussi (=aR17=aR10).
Portrait du Professeur Demons was signed and dated (bottom right) ‘MarieB 1886’. On the frame there is written with a pencil ‘Demons par Marie Bracquemond Sèvres 1886. Bastit-Lesourd mentions, rightly, that the style doesn’t correspond other works of Marie. This Professeur Demons was probably born in 1842 (and wouldn’t look that old as in the picture) and lived since 1869 in Bordeaux (how did they meet?). Still, the notations makes me find it a possible work of Marie Bracquemond. This would open the possibility that Marie applied several styles during the years.
The picture ‘The woman reading‘ could be the same as BJ-1919-34, Femme lisant. But on the other hand, Marie Bracquemond depicted several women reading and so did other artists. The style neither is recognisable as that of Marie. The picture is not signed. But Bastit-Lesourd (aR17)  mentions it was auctioned in 2021 and came from the collection of a descendend of Marie Bracquemond. But looking at the painting style, she remarks, it could well be a work of Pierre. Untill there is more substantual prove I will render it as disputable.
The small work ‘Le peintre à son chevalet‘ doesn’t have a signature nor date. Bastit-Lesourd dates it between 1890-95 because of the dress the painter is wearing was very popular in those days. This date (when Marie hardly did paint) and the classic column we see at the picture, makes the attribution doubtfull, though Bastit-Lesourd suggests it was made at the Château de la Chabanne (aR17). Untill there is more substantual prove I will render it as disputable.


No works of Marie Bracquemond:
There are several works attributed to Marie Bracquemond that are made by her son Pierre or other artists. They are as such auctioned (even by Christies) and as such included in overviews of her works (aR6+aR7+aR8+iR10). This pollutes the understanding of Marie Bracquemond and I hope these auction sites and website will be more accurate in the future.
Of some pictures it is clear that it was made by another artist or at least by someone else than Marie Bracquemond. Of some pictures there is more discussion. I will also use the discussion rendered by Marie-Françoise Bastit-Lesourd at her blog ellesaussi (=aR17=aR10).
The signature and the style of the painting ‘Aspasia’ is not that of Marie Bracquemond.
The signature of the painting ‘Melancholy’ clearly is not that of Marie Bracquemond, neither is the style.
The picture depicting elegant ladies is not signed and clearly not in the style of Marie Bracquemond.



Recommanded citation: “Impressionism, a historical reconstruction: Marie Bracquemond, most of her pictures, a thematical overview. Last modified 2024/03/18.”