Meta-Impressionism / other exhibitions

Centennial exhibitions

continuous recognition

Introduction:
Already in 1889 and 1900 at the Exposition Universelle there had been Centennial exhibitions of French art, in 1889 covering the period from 1789-1889 and in 1900 from 1800-1889. There also have been Centennial exhibitions of French art inside and outside of France. This page will render some info and pictures on those exhibitions (as far as I have data).

Some preliminary conclusions:
Many partakers of the ‘impressionist’ expositions were well represented. Namely works of Renoir, Gauguin, Forain, Monet, Sisley, Degas and Cézanne. The same applies for the pre-impressionists, namely Corot, J.F. Millet and Rousseau. And for para-Impressionists, namely Courbet, Daumier and Manet. Of the more traditional artists namely Delacroix and Ingres were well represented. But, works of most awarded (former) members of L’Institut and important Néo-Classists like Bouguereau, Cabanel, Gérôme and Pils were (almost) absent!
Note: These preliminary conclusions are made only on the catalogues of the 1912 Saint-Petersburg and the 1914 Copenhagen catalogues. Of the other exhibitions I lack a catalogue.

Some reflections on art-history:
Art-history can have a focus on scandals, but than it downgrades itself to a sort of journalism (see Manet). Art-history can also have a focus on avant-garde painters: what artists were innovative, what artists stood at the beginning of new movements and styles? This seems to be inspired by the dialectic world view of the philosopher Hegel with his thesis vs antithesis (stanford.edu). We see this in the emphasize that is laid in many sources on Impressionism on the rejection of the ‘impressionist’ for the Salon and on comparing Impressionism with Néo-Classicism.
I like to plead for an art-history that (also) focusses on what art-works are consistently appreciated. When an art-work is exhibited at a Centennial exhibition (long after it was made), this could indicate that an art-work is consistently appreciated. So let’s look which artists were present at these Centennial exhibitions and what art-works were shown.

1907, Prague:
Wildenstein mentions that works of Monet were exhibited at this exposition: 1907/09/28 – 11/15, Société Manes: “Peinture française au XIXe siècle” (R22IV,p1020). It seems a centenial exposition. But this expostion is probably the same as the exhibition held in October and November called “Triadvacaté výsavy spolku výtvarných umelcu Mánes: Francouzsti impressionisté” (Twenty-third anniversary of the Mánes Association of Visual Artists: the French Impressionists), see link. The numbers and titles of the works exhibited by Monet correspond with this catalogue. All other sources don’t call it a centennial expo, so I assume Wildenstein is wrong.

1912, Saint Petersburg:
1912/01/28 onwards there was an exhibition called “Vy’stavka sto let franczuzskoj zhivopisi (1812-1912)” (100 years of French painting, 1812-1912; or Exposition centennale de l’art français) held in Saint Petersburg (R250=iR261;R106,p420). The exhibition showed 948 works by 199 artists. The emphasize was not on ‘official academic or salon painters’ but on artists that ‘opened up new paths’ (iR261). Several officials were involved like the French ambassador, curators (of Musée de Luxembourg, the Louvre) and also many (French) collectors.
Works of 23 of the 57 partakers of the ‘impressionist’ expositions were exhibited: Boudin (3x +3wc), Félix Bracquemond (5 engravings), Marie Bracquemond (1x), Cals (4x), Cézanne* (4x), Desboutin (1x; no engravings!), Degas (3x +1dr +6prints/lithos), Forain (!3x +5dr +1wc +7prints/lithos), Gauguin (20x! +2dr +1print/litho), Guillaumin (3x), Lebourg (2x), Legros (1x +1dr +6prints/lithos), Lépine (2x), Monet (9x), Morisot (4x), Pissarro (4x +2prints/lithos), J.F. Raffaëlli (2 drawings +1print/litho), Redon (2x +1dr +2prints/lithos), Renoir (23x! +1print/litho), Seurat (2x), Signac (2x); Sisley (7x), Vignon (1x). Note: for many this was done posthumously, see.
Works of Néo-Classicist painters: David (8x, including 4 portraits and 2 studies); Ingres (11x, including 6 portraits). Note: Works of most awarded (former) members of L’Institut and important Néo-Classists Cabanel and Gérôme were absent! Only of Bouguereau there was just 1 portrait and of Pils 1 painting.
Works of Romantic painters: Delacroix (21x!), Géricault (7x).
Many works of Barbizon painters: Corot (23x!); Decamps (7x, including 4x oils); Diaz (9x); Daubigny (7x); Huet (12x); Isabey (6x); Georges Michel (6x); J.F. Millet (11x); Rousseau (15x); Troyon (3x); Ziem (5x). Note: many works were just titled ‘paysage’.
Works of Para-Impressionists: Courbet (22x!); Daumier (12x); Manet (10x); Adolphe Monticelli (1824-1886) (5x); Gustave Moreau (6x); Puvis de Chavannes (5x).
Works of Neo-Impressionists: Cross (1x);
Works of Post-Impressionists like Bonnard (6x), Denis (5x), Roussel (5x), Vallotton (6x), Valtat (4x), Vuillard (4x).
And also works of François, Baron Gérard (1770-1837) (7x); Louis Léopold Boilly (1761-1845) (7x); Paul Gavarni / Paul Chevalier (1801-1876) (6x, including 4x caricatures); Constantin Guys (1805-1902) (13x, including 11x drawings); Jean-Baptiste Isabey (1767-1855) (6x, including 4x caricatures); Eugène Louis Lami (1800-1890) (4 oils + 2 watercolours); Manguin (2x); Albert Marquet (4 oils + 3 drawings); Meissonnier (4x); Henry Monnier (1805-1877) (5x); Pierre-Paul Prud’hon (1758-1823) (12x); Louis Gustave Ricard (1823-1872) ( ?8x); La Santinelle (12x); Fontaine de Swebach (1769-1823) (5x); Toulouse-Lautrec (3x).
Many loans came from art-dealers like Bernheim-Jeune, Beurdeley (Paris), Druet, Durand-Ruel, Paul Rosenberg, Vollard and art-collectors like Ackermann, Barbazanges, Duret, Victor Victorovich Goloubev, Alphonse Kahn, Pearson, Théodore Reinach, Mme Rouart and several collectors from Saint-Petersbourg. Just a few loans came from musea.
Note: the catalogue wasn’t allways accurate such as in the date of birth of Monet and the data of death of Pissarro.
Note: Works of most awarded (former) members of L’Institut and important Néo-Classists Bouguereau, Cabanel and Gérôme were absent!
Note*: another source claims that there were 18 art-works of Cézanne shown (iR194), see account.
Catalogue (iR261): “[Vy’stavka sto let franczuzskoj zhivopisi (1812-1912) : Exhibition 100 Years of French Painting (1812-1912)].” In Database of Modern Exhibitions (DoME). European Paintings and Drawings 1905-1915. Last modified Mar 1, 2023. http://exhibitions.univie.ac.at/exhibition/411 (note: partly unfinished).
Catalogue (iR40,bpt6k1421639x).

Edgar Degas: 1875ca, CR371, Madame Jeantaud in the mirror, 74x84, Orsay (iR2;aR23=MS1164;R26,no393;R114,no371;R47,p67;R11,p211;R2,p161;M1) Expos: compare: 2IE-1876-57, Modiste; =Saint-Petersbourg-1912-176. — Edgar Degas: 1875ca, CR371, Madame Jeantaud in the mirror, 74×84, Orsay (iR2;aR23=MS1164;R26,no393;R114,no371;R47,p67;R11,p211;R2,p161;M1) Expos: compare: 2IE-1876-57, Modiste; =Saint-Petersbourg-1912-176.

Paul Gauguin: 1899, SDbr, W592, Still life with flowers and cats, 92x71, NCG Copenhagen (iR185;R128,no592;R36,no413;M90) Provenance: 1900/10ca de Monfreid; 1905-1916ca Ambroise Vollard; Expos: Vienna-1907/03/15-59; Budapest-1907/05-37; =? London-GG-1910/11-31; Saint-Petersbourg-XIX-1912-120; Copenhagen-XIX-1914-105. — Paul Gauguin: 1899, SDbr, W592, Still life with flowers and cats, 92×71, NCG Copenhagen (iR185;R128,no592;R36,no413;M90) Provenance: 1900/10ca de Monfreid; 1905-1916ca Ambroise Vollard; Expos: Vienna-1907/03/15-59; Budapest-1907/05-37; =? London-GG-1910/11-31; Saint-Petersbourg-XIX-1912-120; Copenhagen-XIX-1914-105.

Georges Seurat: 1886, DR168 dH173, The Hospice and Lighthouse of Honfleur, 65x82, NGA Washington (iR2;iR6;R3,p272;R2,p468;R183,no168;R207,p124/5;M21) =Nantes-1886-968 =4XX-1887-5 =3SdI-1887-439 =Anvers-ApA-1892-2 =9XX-1892-6 =8SdI-1892-1095 =11LE-1904-146 =21SdI-1905-37 =Saint-Petersbourg-1912-593 — Georges Seurat: 1886, DR168 dH173, The Hospice and Lighthouse of Honfleur, 65×82, NGA Washington (iR2;iR6;R3,p272;R2,p468;R183,no168;R207,p124/5;M21) =Nantes-1886-968 =4XX-1887-5 =3SdI-1887-439 =Anvers-ApA-1892-2 =9XX-1892-6 =8SdI-1892-1095 =11LE-1904-146 =21SdI-1905-37 =Saint-Petersbourg-1912-593

Paul Signac: 1906, CR436, Steamboats, Rotterdam (Les Fumées), 73x92, Shimane AM (Japan) (iRx;R39,no119;R106,no436) =BJ1907-3 =17LE-1910-172 =Druet-1911-13 =Saint-Petersbourg-1912-599 — Paul Signac: 1906, CR436, Steamboats, Rotterdam (Les Fumées), 73×92, Shimane AM (Japan) (iRx;R39,no119;R106,no436) =BJ1907-3 =17LE-1910-172 =Druet-1911-13 =Saint-Petersbourg-1912-599

Claude Monet: 1882, CR797, SDbr, Les Fonds de Varengeville, 65x81, private (iR10;iR423;iR6;iR7;R22,no797) Provenance: 1882/10 Durenad-Ruel; 1883 Georges Petit; 1889ca Guillemard; Clapisson; sale HD1894/04/28-21; Montaignac; 1912ca Doucet. Expos: DR1883-34; 3XX-1886-3; GP1889-59; Saint-Petersbourg-Centennial-1912-441. — Claude Monet: 1882, CR797, SDbr, Les Fonds de Varengeville, 65×81, private (iR10;iR423;iR6;iR7;R22,no797) Provenance: 1882/10 Durenad-Ruel; 1883 Georges Petit; 1889ca Guillemard; Clapisson; sale HD1894/04/28-21; Montaignac; 1912ca Doucet. Expos: DR1883-34; 3XX-1886-3; GP1889-59; Saint-Petersbourg-Centennial-1912-441.

Alfred Sisley: 1889, SDbr, CR711=CCPP810, Autour de la forêt, matinée de juillet, 60x73, private (iR10;iR326;iR261;iR40;R129,no711;R396,no810) Provenance: Camentron; 1892/06/08 Durand-Ruel. Expos: SNBA-1896-1152, Autour de la forêt (le matin); =? Saint-Petersbourg-1912-601, Le matin en Juillet (Morning in July); DR1914-58. — Alfred Sisley: 1889, SDbr, CR711=CCPP810, Autour de la forêt, matinée de juillet, 60×73, private (iR10;iR326;iR261;iR40;R129,no711;R396,no810) Provenance: Camentron; 1892/06/08 Durand-Ruel. Expos: SNBA-1896-1152, Autour de la forêt (le matin); =? Saint-Petersbourg-1912-601, Le matin en Juillet (Morning in July); DR1914-58.

Alfred Sisley: 1874, SDbl, CR108=CCPP141, Paysage d'hiver, Louveciennes, 54x65, MA Avignon (iR6;iR10;R129,no108;R396,no141) Provenance: Jacques Doucet (before 1912); Expos: =? Saint-Petersbourg-1912-604, Paysage (Landscape) (loan Jacques Doucet in Paris); Zurich-1917-638; PR1922-91. — Alfred Sisley: 1874, SDbl, CR108=CCPP141, Paysage d’hiver, Louveciennes, 54×65, MA Avignon (iR6;iR10;R129,no108;R396,no141) Provenance: Jacques Doucet (before 1912); Expos: =? Saint-Petersbourg-1912-604, Paysage (Landscape) (loan Jacques Doucet in Paris); Zurich-1917-638; PR1922-91.

Alfred Sisley: 1873, SDbr, CR92=CCPP110, Les chasseurs, lisière de la fôret de Marly, automne, 46x65, private (iR10;iR94;iR261;iR40;R129,no92;R396,no110+p515;R88II,p451) Provenance: =?? HD1875/03/24-61, Lisière de bois (46x65) -> Arosa (aîné) (110fr); Dr. Viau; Barbazanges gallery; Expos: =? Saint-Petersbourg-1912-606, Champ de blé (Rye Field) (Barbazanges in Paris); GP1917-63. — Alfred Sisley: 1873, SDbr, CR92=CCPP110, Les chasseurs, lisière de la fôret de Marly, automne, 46×65, private (iR10;iR94;iR261;iR40;R129,no92;R396,no110+p515;R88II,p451) Provenance: =?? HD1875/03/24-61, Lisière de bois (46×65) -> Arosa (aîné) (110fr); Dr. Viau; Barbazanges gallery; Expos: =? Saint-Petersbourg-1912-606, Champ de blé (Rye Field) (Barbazanges in Paris); GP1917-63.

1914, Copenhagen:
1914/05/15 – 06/30 there was an “Exposition d’art français du XIXe siècle” (Fransk Malerkunst fra det 19nde Aarhundrede) in the Musée royale (Statens Museum for Kunst) organised by the Dansk Kunstmuseums Forening Copenhague.
Works were exhibited of 18 of the 57 partakers of the ‘impressionist’ expositions: Boudin (2x), Cals (1x), Cézanne (!7x +2dr +2wc?), Degas (4x +3p), Forain (!6x +3dr +1wc), Gauguin (9x), Guillaumin (4x), Legros (2dr), Monet (!10x), Morisot (3x +1wc +1dr), Pissarro (3x +1g), J.F. Raffaëlli (1x), Redon (1p), Renoir (!12x), Rouart (2x +1wc), Seurat (2x +3p +4dr), Signac (2x +1dr), Sisley (!11x).
And also works of Barye (2x +3wc +4dr); Besnard (1x); Bonnard (5x); Eugène Carrière (2x +2dr); Chassériau (1x); Chintreuil (2x); Corot (!11x +9dr) (iR23); Courbet (7x); Couture (4x); Cross (4x); Daubigny (4x +4dr); Daumier (!4x +7dr +2wc); David (6x); Delacroix (!10x +7wc +7dr); Diaz (1dr?); Dupré (1dr); Fantin-Latour (2x +2dr); Friesz (1x); Géricault (2x +2x5dr!); Eva Gonzalès (1x), Constantin Guys (2dr +4wc); Huet (4x +1dr); Ingres (4x +5dr); Jongkind (2x +2wc); Manet (6x +2dr); Albert Marquet (4x); Matisse (4x); J.F. Millet (5x +8dr!); Prud’hon (2dr); Jean Puy (2x); Rodin (!7wc +5dr); Rousseau (6x +12dr!); Toulouse-Lautrec (7x +2dr), Vuillard (2x).
Note: Works of most awarded (former) members of L’Institut and important Néo-Classists Bouguereau, Cabanel, Gérôme and Pils were absent!
Catalogue: gallica.bnf.fr//bpt6k323974m =iR40.
Sources: some websites render indirect information on exhibited works: now in Oslo (M92); of Gauguin (iR185). Some catalogues on partakers also render info: on Monet (R22), on Signac (R106); see also: R116;R398,p529.
Monet:
Copenhagen-1914-146 =CR279.
Copenhagen-1914-148 =CR792
Copenhagen-1914-149 =CR1284
Copenhagen-1914-150 =CR1358
Copenhagen-1914-151 =CR1361
Copenhagen-1914-152 =CR1442
Copenhagen-1914-153 =CR1622 or 1624
Copenhagen-1914-154 =CR1637

Signac:
Copenhagen-1914-193 =CR207
Copenhagen-1914-193 =CR472

Paul Cézanne: 1885-87ca, V1021=FWN1169, Mont Sainte-Victoire (recto and verso), wc+dr, 31x48 Harvard Cambridge (M32;R189,no1021;iR194,no1169) =Copenhagen-XIX-1914-233, Montagne Sainte-Victoire, lent by Eugen Blot. — Paul Cézanne: 1885-87ca, V1021=FWN1169, Mont Sainte-Victoire (recto and verso), wc+dr, 31×48 Harvard Cambridge (M32;R189,no1021;iR194,no1169) =Copenhagen-XIX-1914-233, Montagne Sainte-Victoire, lent by Eugen Blot.

Edgar Degas: 1875-80ca, CR390, La femme au chien, 39x48, Nm Oslo (M92;iR10;R114,no390) =Copenhagen-1914 — Edgar Degas: 1875-80ca, CR390, La femme au chien, 39×48, Nm Oslo (M92;iR10;R114,no390) =Copenhagen-1914

Paul Gauguin: 1901, SDbr, W602+S421, Tournesols sur un fauteuil (avec marine dans le fond), 68x76, Bührle Zürich (iR185;iR10;iR6;R128,no602;R36,no421;M85) Expos: London-GG-1910/11-81, Fleurs de soleil; =? Copenhagen-XIX-1914-98, Solsikker (Soleils =Sunflowers), loan of V. Goloubew. — Paul Gauguin: 1901, SDbr, W602+S421, Tournesols sur un fauteuil (avec marine dans le fond), 68×76, Bührle Zürich (iR185;iR10;iR6;R128,no602;R36,no421;M85) Expos: London-GG-1910/11-81, Fleurs de soleil; =? Copenhagen-XIX-1914-98, Solsikker (Soleils =Sunflowers), loan of V. Goloubew.

Paul Gauguin: 1901, SDbr, W599, Landscape with horses (Chevaux aux Îles Marquises), 95x61, private (iR185;R128,no599;R36,no427) Expos: 4SdA-1906-retro-202, Paysage, loan Ernest Rouart; =? Copenhagen-1914-99, Paysage de Haiti, loan Louis Rouart. — Paul Gauguin: 1901, SDbr, W599, Landscape with horses (Chevaux aux Îles Marquises), 95×61, private (iR185;R128,no599;R36,no427) Expos: 4SdA-1906-retro-202, Paysage, loan Ernest Rouart; =? Copenhagen-1914-99, Paysage de Haiti, loan Louis Rouart.

Paul Gauguin: 1893ca, Sbc, W505, Apatareo (Quartier de Papeete), 49x54, NCG Copenhagen (iR185;R128,no505;R36,no324;M90) =Copenhagen-XIX-1914-102, À Patareo (Tahiti), loan of Eugène Blot; — Paul Gauguin: 1893ca, Sbc, W505, Apatareo (Quartier de Papeete), 49×54, NCG Copenhagen (iR185;R128,no505;R36,no324;M90) =Copenhagen-XIX-1914-102, À Patareo (Tahiti), loan of Eugène Blot;

Paul Gauguin: 1892, SDbr, W480+S296, Landscape from Tahiti with four figures, 90x70, NCG Copenhagen (iR6;iR10;iR185;R128,no480;R36,no296;M90) =Copenhagen-XIX-1914-103, Paysage de la Martinique. — Paul Gauguin: 1892, SDbr, W480+S296, Landscape from Tahiti with four figures, 90×70, NCG Copenhagen (iR6;iR10;iR185;R128,no480;R36,no296;M90) =Copenhagen-XIX-1914-103, Paysage de la Martinique.

Paul Gauguin: 1899 (1892), SDbl, W593, Nature morte au panier carré, 74x62, Nm Oslo (M92;iR10;iR185;R128,no593;R36,no412) Provenance: de Monfreid; Vollard 1900; Levesque. Expos: Copenhagen-XIX-1914-104, Nature morte, loan Levesque Galerie. — Paul Gauguin: 1899 (1892), SDbl, W593, Nature morte au panier carré, 74×62, Nm Oslo (M92;iR10;iR185;R128,no593;R36,no412) Provenance: de Monfreid; Vollard 1900; Levesque. Expos: Copenhagen-XIX-1914-104, Nature morte, loan Levesque Galerie.

Georges Seurat: 1888, DR179 dH-184, Les Poseuses (small version), 39x49, private or NG London (iR6;R3,p301;R183,no179) =8SdI-1892-1083 =Armory-show-1913-455 =Copenhagen-1914-192 — Georges Seurat: 1888, DR179 dH-184, Les Poseuses (small version), 39×49, private or NG London (iR6;R3,p301;R183,no179) =8SdI-1892-1083 =Armory-show-1913-455 =Copenhagen-1914-192

Paul Signac: 1890, CR207, op211, Saint-Briac, La Garde Guerin, Saint-Lunaire, 65x81, Rau collection Zurich (iR10;iR233;R106,no207+93;R2,p446;M59) =8XX-1891 =7SdI-1891-1114, op. 211, Saint-Lunaire, Îlle-et-Vilaine, Juilliet 1890 (La Mer). =Copenhagen-1914-193. Compare: 8IE-1886-189, Du haut de la Garde Guérin, Saint-Briac. — Paul Signac: 1890, CR207, op211, Saint-Briac, La Garde Guerin, Saint-Lunaire, 65×81, Rau collection Zurich (iR10;iR233;R106,no207+93;R2,p446;M59) =8XX-1891 =7SdI-1891-1114, op. 211, Saint-Lunaire, Îlle-et-Vilaine, Juilliet 1890 (La Mer). =Copenhagen-1914-193. Compare: 8IE-1886-189, Du haut de la Garde Guérin, Saint-Briac.

Paul Signac: 1908, CR472, Venise, le Rédempteur, 65x81, private (iR10;iR6;R106,no472) =25SdI-1909-1470 =BJ1913-15 =Copenhagen-1914-194, Il Redentore (Venedig) — Paul Signac: 1908, CR472, Venise, le Rédempteur, 65×81, private (iR10;iR6;R106,no472) =25SdI-1909-1470 =BJ1913-15 =Copenhagen-1914-194, Il Redentore (Venedig)

Alfred Sisley: 1873, SDbl, CR102 (Louveciennes, le chemin de Sèvres) =CCPP98, Chemin de la Machine, Louveciennes, 55x73, Orsay (iR2;iR4;iR40;R53,p74;R17,p171;R38;R166,p120;R129,no102;R396,no98;M1) Provenance: Dachery; sale HD1899/05/30-47, Route aux environs de Marly, effet d'automne -> Peytel 9.300fr. Expos: EU1900-616, L'Allée, à M. Peytel; Copenhagen-1914-126. Compare: 2IE-1876-239, Une route aux environs de Marly; Appartient à M. Martin. — Alfred Sisley: 1873, SDbl, CR102 (Louveciennes, le chemin de Sèvres) =CCPP98, Chemin de la Machine, Louveciennes, 55×73, Orsay (iR2;iR4;iR40;R53,p74;R17,p171;R38;R166,p120;R129,no102;R396,no98;M1) Provenance: Dachery; sale HD1899/05/30-47, Route aux environs de Marly, effet d’automne -> Peytel 9.300fr. Expos: EU1900-616, L’Allée, à M. Peytel; Copenhagen-1914-126. Compare: 2IE-1876-239, Une route aux environs de Marly; Appartient à M. Martin.

Alfred Sisley: 1IE-1874-162, Île de la Loge; appartient à M. Durand-Ruel = 1872, SDbl, CR21=CCPP50, Ferry to the Île-de-la-Loge, flood, 46x61, NCG Copenhagen (iR10;iR6;iR2;iR59;R166,p114;R87,p254;R90II,p29;R2,p123;R129,CR21;R396,CCPP50;M90,no1752) Provenance: 1873/01/21 Durand-Ruel; 1893 François Depeaux; sale GP1906/05/31-58; Expos: =London-DD-SdI-1883-45; =!? New York-1886-235, Le Bac de l'Île de la loge; =GP1899-68; Copenhagen-1914-177. — Alfred Sisley: 1IE-1874-162, Île de la Loge; appartient à M. Durand-Ruel = 1872, SDbl, CR21=CCPP50, Ferry to the Île-de-la-Loge, flood, 46×61, NCG Copenhagen (iR10;iR6;iR2;iR59;R166,p114;R87,p254;R90II,p29;R2,p123;R129,CR21;R396,CCPP50;M90,no1752) Provenance: 1873/01/21 Durand-Ruel; 1893 François Depeaux; sale GP1906/05/31-58; Expos: =London-DD-SdI-1883-45; =!? New York-1886-235, Le Bac de l’Île de la loge; =GP1899-68; Copenhagen-1914-177.

Alfred Sisley: SDbr, 1873, CR65=CCPP89, The furrows, Louveciennes, 46x65, NCG Copenhagen (iR155;iR10;iR2;R166,p14;R129,no65;R396,no89;M90) Provenance: Bernheim-Jeune; Berthier; Barbazanges. Expo: Copenhagen-1914-199. — Alfred Sisley: SDbr, 1873, CR65=CCPP89, The furrows, Louveciennes, 46×65, NCG Copenhagen (iR155;iR10;iR2;R166,p14;R129,no65;R396,no89;M90) Provenance: Bernheim-Jeune; Berthier; Barbazanges. Expo: Copenhagen-1914-199.

Alfred Sisley: 1873, SDbl, CR67=CCPP66, La Machine de Marly, 45x65, NCG Copenhagen (iR6;iR2;R53,p66;iR3;R90II,p29;R2,p109;R410,p172+272;R129,CR67;R396,CCPP66;M90) Expos: =??? 1IE-1874-163, La Seine à Port-Marly (sold for 1.000fr); =Copenhagen-1914-200. Provenance: At an unknown date bought by Bernheim-Jeune. — Alfred Sisley: 1873, SDbl, CR67=CCPP66, La Machine de Marly, 45×65, NCG Copenhagen (iR6;iR2;R53,p66;iR3;R90II,p29;R2,p109;R410,p172+272;R129,CR67;R396,CCPP66;M90) Expos: =??? 1IE-1874-163, La Seine à Port-Marly (sold for 1.000fr); =Copenhagen-1914-200. Provenance: At an unknown date bought by Bernheim-Jeune.

Alfred Sisley, 1880ca, Sbl, CR370=CCPP418, Construction site at Saint-Mammes, 65x92, A2014/11/05 (iR2;iR14;iR11;R129,no370;R396,no418) Provenance: Durand-Ruel. Expos: Saint-Petersbourg-1899-343; DR1902-8; Copenhagen-1914-201. — Alfred Sisley, 1880ca, Sbl, CR370=CCPP418, Construction site at Saint-Mammes, 65×92, A2014/11/05 (iR2;iR14;iR11;R129,no370;R396,no418) Provenance: Durand-Ruel. Expos: Saint-Petersbourg-1899-343; DR1902-8; Copenhagen-1914-201.

Corot (1796-1875): 1843, CR457, The gardens of the Villa d'Este at Tivioli, 44x61, Louvre (M5;iR6;iR23;R119,no457;R222,p83;R231-1+2) Provenance: Henri Rouart; sale MJ1912/12/09-114; Ernest Rouart. Expos: EdBA +sale 1875/05/31-95; EU-1900-C-126, Tivoli vu de la villa d'Este (à M. Henri Rouart); Copenhagen-XIX-1914-31; Paris-100-1922-?. — Corot (1796-1875): 1843, CR457, The gardens of the Villa d’Este at Tivioli, 44×61, Louvre (M5;iR6;iR23;R119,no457;R222,p83;R231-1+2) Provenance: Henri Rouart; sale MJ1912/12/09-114; Ernest Rouart. Expos: EdBA +sale 1875/05/31-95; EU-1900-C-126, Tivoli vu de la villa d’Este (à M. Henri Rouart); Copenhagen-XIX-1914-31; Paris-100-1922-?.

Gustave Courbet (1819-77): 1850, CR107, Peasants from Flagey (returning from the fair), 209x276, MBAA Besançon (Orsay) (iR6;iR23;iR40;M246;M1). Provenance: 1871-89 Durand-Ruel; Dreyfus gallery. Expos: S1850/51-662; EU-1855-3; EU-1867-4; ENSBA-1882-5; Copenhagen-XIX-1914-43. — Gustave Courbet (1819-77): 1850, CR107, Peasants from Flagey (returning from the fair), 209×276, MBAA Besançon (Orsay) (iR6;iR23;iR40;M246;M1). Provenance: 1871-89 Durand-Ruel; Dreyfus gallery. Expos: S1850/51-662; EU-1855-3; EU-1867-4; ENSBA-1882-5; Copenhagen-XIX-1914-43.

1914, Dresden:
1914, April – May, Ernste Arnold, “Französische Malerei des 19. Jahrhunderts. Works were exhibited of Monet (10x; R22). There were at least 2 work of Lebourg exhibited (iR261).

Monet:
1914-Dresden-71 =CR755
1914-Dresden-72 =CR
1914-Dresden-73 =CR1177
1914-Dresden-74 =CR1004
1914-Dresden-75 =CR409
1914-Dresden-76 =CR109
1914-Dresden-77 =CR1744
1914-Dresden-108a =CR1546
1914-Dresden-108b =CR1691
1914-Dresden-108b =CR1433

Paul Cézanne: 1867-70ca, V121=FWN613, S-, The Murder, 65x80, Liverpool WAG (iR2;iR6;R48,no28;R34,p24;R189,no121;iR194,no613;M185) =Dresden-XIX-1914-8, Der Mord, lent by Vollard. — Paul Cézanne: 1867-70ca, V121=FWN613, S-, The Murder, 65×80, Liverpool WAG (iR2;iR6;R48,no28;R34,p24;R189,no121;iR194,no613;M185) =Dresden-XIX-1914-8, Der Mord, lent by Vollard.

Albert Lebourg: 1xxx, Sbr, Le Port (Bassin) de Dieppe et le Pollet, 36x65, A2012-01-26 (iR15;iR78;iR11;iR10;iR261) =!? =DR1907/03/02-33, Le Port de Dieppe. (Viau sale) =Dresden-1914-2162 — Albert Lebourg: 1xxx, Sbr, Le Port (Bassin) de Dieppe et le Pollet, 36×65, A2012-01-26 (iR15;iR78;iR11;iR10;iR261) =!? =DR1907/03/02-33, Le Port de Dieppe. (Viau sale) =Dresden-1914-2162

1917, Stockholm:
1917, National Museum, Art français du XIXe siècle, with works of Monet (1x).
Monet:
Stockholm, 1917-73 = CR792.

1918, Geneva:
1918/04/15 – 05/16: in Geneva at the Musée d’Art et d’Histoire called ‘Tableaux, dessins et sculptures de l’École française du XIXe siècle.
Including Monet CR 233 (103) +285 (105) +?470 (106) +660 (99) +1115 or 1118 (101) (R22IV,p1022).
Including 5 works of Pissarro (no.108-112), including CCP 602 (109) +827 (110) (R116I,p371).
Including Sisley CCPP629.
Note: several works came from the accepted Caillebotte bequest and were loans from the Musée du Luxembourg.

Claude Monet: 1872, Sbr, CR233, Regatta at Argenteuil, 48x75, Orsay (iRx;R22,no233;M1) =1894, Caillebotte bequest. Expo: Geneva-1918=103. — Claude Monet: 1872, Sbr, CR233, Regatta at Argenteuil, 48×75, Orsay (iRx;R22,no233;M1) =1894, Caillebotte bequest. Expo: Geneva-1918=103.

Claude Monet: 2IE-1876-162, Panneau décoratif = 1873, CR285, Le Déjeuner, (Monet's garden in Argenteuil), 162x203, Orsay (iRx;R2,p163;R90II,p58;R22+R127,CR285;M1,RF2774) =1894, Caillebotte bequest. Expo: Geneva-1918-105. — Claude Monet: 2IE-1876-162, Panneau décoratif = 1873, CR285, Le Déjeuner, (Monet’s garden in Argenteuil), 162×203, Orsay (iRx;R2,p163;R90II,p58;R22+R127,CR285;M1,RF2774) =1894, Caillebotte bequest. Expo: Geneva-1918-105.

Camille Pissarro: CCP602, 1879, The Chemin des Mathurins climbing through the fields, Pontoise, 54x65, Orsay (iR10;iR66;R116,CCP602;M1) Provenance: Caillebotte bequest -> Musée du Luxembourg. Expo: Geneva-1918-109. — Camille Pissarro: CCP602, 1879, The Chemin des Mathurins climbing through the fields, Pontoise, 54×65, Orsay (iR10;iR66;R116,CCP602;M1) Provenance: Caillebotte bequest -> Musée du Luxembourg. Expo: Geneva-1918-109.

Alfred Sisley: 1885, SDbl, CR629=CCPP629, The Seine at Saint-Mammès, 55x74, Orsay (M1;iR10;iR39;R129,no629;R396,no629) Caillebotte bequest. Expo: Geneva-1918-132. — Alfred Sisley: 1885, SDbl, CR629=CCPP629, The Seine at Saint-Mammès, 55×74, Orsay (M1;iR10;iR39;R129,no629;R396,no629) Caillebotte bequest. Expo: Geneva-1918-132.

1920, Cent Ans de Peinture Française.
Held at la Ville-l’Evêque ? at .

1922, Paris:
1922/03/15 – 04/20, in the Chambre Syndicale de la Curiosité et des Beaux-Arts at 18, Rue de la Ville-l’Evêque: Cent ans de peinture française.
Among the partakers were Cézanne (Rochers du Mont St. Victoire; badly represented), Degas (with inferieur works), Redon (1x), Renoir (well represented), Seurat (including Le Port-en-Bessin, 1888, now in Saint-Louis). And also: Bastien-Lepage, Besnard, Bonnat, Braque (2 works made in 1920), Carolus-Duran, Chassériau, Corot, Daubigny, David, Delacroix, Diaz, Fatin-Latour, Géricault, Ingres, Manet, Henry Martin, Th. Rousseau, ; Fauves like Friesz, Matisse, de Vlaminck (all with more recent works). Monet, Pissarro and Sisley were absent; and also Courbet, Derain; and also foreigners like Bonington, Jongkind, Picasso and Van Gogh.
Including works of Monet (4x); Pissarro 1x (R116,no235); Sisley? (R396,p529). And also of Corot (iR23).
Sources: review in L’Amour de l’art, 1922/01 (p101-104=R356=iR40);R22;R116;R396; iR23.
Question: also shown at the Musée de Strasbourg ?
Monet:
Paris-100-1922-118 =? CR1090
Paris-100-1922-119 =CR163
Paris-100-1922-120 =CR229
Paris-100-1922-179 =CR643
Pissarro:
Paris-100-1922-124 = CCP235.

Alfred Sisley: 1874, CR148=CCPP139, SDbr, Snow at Louveciennes, 65x92, private (iR2;iR40;R129,no148;R396,no139;R88II,p452) Provenance: =?? HD1875/03/24-70, Route Louveciennes, neige (65x92) -> Durand-Ruel (210fr); 1891/08/25 Durand-Ruel; Paul Rosenberg; Expos: GPR-1904-38; GP1917-92; PR1922-90. — Alfred Sisley: 1874, CR148=CCPP139, SDbr, Snow at Louveciennes, 65×92, private (iR2;iR40;R129,no148;R396,no139;R88II,p452) Provenance: =?? HD1875/03/24-70, Route Louveciennes, neige (65×92) -> Durand-Ruel (210fr); 1891/08/25 Durand-Ruel; <1893/01/14 Henri Vever; GP1897/02/01-103; Depeaux; GP1906/05/31-61 -> Paul Rosenberg; Expos: PR-1904-38; GP1917-92; PR1922-90.

Alfred Sisley: 1874, SDbr, CR146=CCPP140, Chemin de l'Étarché, Louveciennes, effet de neige, 56x46, Philips Washington (R8,p191;iR10;R129,no146;R396,no140+p517;R88II,p451;M29) Provenance: Compare: HD1875/03/24-57, Temps de neige (56x46) -> Dubourg (135fr); Paul Rosenberg; Expo: PR1904-37; PR1922-89. — Alfred Sisley: 1874, SDbr, CR146=CCPP140, Chemin de l’Étarché, Louveciennes, effet de neige, 56×46, Philips Washington (R8,p191;iR10;R129,no146;R396,no140+p517;R88II,p451;M29) Provenance: Compare: HD1875/03/24-57, Temps de neige (56×46) -> Dubourg (135fr); Paul Rosenberg; Expo: PR1904-37; PR1922-89.

1922, Paul Rosenberg gallery, Paris:
1922/05/03 – 06/03, Paul Rosenberg: Exposition d’Oeuvres de grands maîtres du XIXe siècle (=PR-XIX-1922).
Including: Monet 5x (R22IV,p1023), Pissarro 5x (R116III,p373); Sisley 5x? (R396).
Monet:
PR-XIX-1922-56 =CR401
PR-XIX-1922-57 =CR584
PR-XIX-1922-58 =CR442
PR-XIX-1922-59 =CR561
PR-XIX-1922-60 =CR797
Pissarro:
PR-XIX-1922-64, =CCP321
PR-XIX-1922-65, =CCP355
PR-XIX-1922-66, =? CCP429
PR-XIX-1922-67, =? CCP430
PR-XIX-1922-68, =CCP629
Sisley:
PR-XIX-1922-89, =CCPP140 =CR146
PR-XIX-1922-90, =CCPP139=CR148
PR-XIX-1922-91, =CCPP141 =CR108
PR-XIX-1922-92, =CCPP?
PR-XIX-1922-93, =CCPP256 =CR243

Claude Monet: 3IE-1877-98, Le pont de Rome (Gare St-Lazare) =!? CR442, 1877, Le Pont de l'Europe, Saint-Lazare Station, 64x81, Marmottan (iR2;R22=R127,no442;R2,p224;R90II,p94;R321-1;M2,no.4015) Provenance: 1877/03 de Bellio; 1894 Donop de Monchy. Expos: DR1883-17; GP1889-M+R-34; EU-1900-C-480, Le Pont de l'Europe (appartient à M. Donop de Monchy); PR-XIX-1922-58. — Claude Monet: 3IE-1877-98, Le pont de Rome (Gare St-Lazare) =!? CR442, 1877, Le Pont de l’Europe, Saint-Lazare Station, 64×81, Marmottan (iR2;R22=R127,no442;R2,p224;R90II,p94;R321-1;M2,no.4015) Provenance: 1877/03 de Bellio; 1894 Donop de Monchy. Expos: DR1883-17; GP1889-M+R-34; EU-1900-C-480, Le Pont de l’Europe (appartient à M. Donop de Monchy); PR-XIX-1922-58.

1923, London:
1923/06/26 -07/21, Knoedler: 19th century French painters, with Monet (6x).
Monet:
London-100-1923-31 =CR903
London-100-1923-32 =CR678
London-100-1923-33 =CR1754
London-100-1923-34 =CR1146
London-100-1923-35 =CR1192
London-100-1923-36 =CR124

1924, London:
1924, May + June: Lefevre Gallery: Important pictures by 19th Century French Masters, including Monet (5x); Sisley.
R22IV,p1023+CR76+158+497+656+1310.

1924, New York:
1924/05/12 -29, Fearon: French painters of the 19th Century, including Monet (x).
Monet:
New-York-1924-3 =CR680
New-York-1924-6 =CR1171
New-York-1924-9 =CR385

Alfred Sisley: 1894, SDbl, CR834=CCPP939, The old church of Moret-sur-Loing in the rain (transept side), 73x60, Birmingham MAG (iR155;iR2;iR1;R38;R129,no834=CCPP939;M182) Expo: =SNBA-1894-1064, Une vieille église; par la pluie. Provenance: sale atelier Sisley GP1899/05/01-15 -> Bernheim-Jeune. — Alfred Sisley: 1894, SDbl, CR834=CCPP939, The old church of Moret-sur-Loing in the rain (transept side), 73×60, Birmingham MAG (iR155;iR2;iR1;R38;R129,no834=CCPP939;M182) Expo: =SNBA-1894-1064, Une vieille église; par la pluie. Provenance: sale atelier Sisley GP1899/05/01-15 -> Bernheim-Jeune.

1924, Paris, Knoedler:
1924/05/12 -?, Galerie Knoedler: Peintres de l’école française du XIXe siècle (=GKn-XIX-1924).
Including Monet (12x): CR124+244+245+293+560+678+903+1146+?1367+1541+1721+1754 of Monet (R22IV,p1023).
Including Pissarro 4x: CCP 129 +351 +488 +? (R116I,p373)
Including Sisley: CCPP: ? +? +939 +943 +951 of Sisley (R396).
GKn-XIX-1924-3, =Sisley =CCPP951 =CR826
GKn-XIX-1924-4 =Pissarro =CCP488
GKn-XIX-1924-5 = Monet =CR1754
GKn-XIX-1924-6 = Pissarro =CCP351
GKn-XIX-1924-7 = Monet =CR678
GKn-XIX-1924-8 = Pissarro =CCP129
GKn-XIX-1924-17, =Monet =CR245
GKn-XIX-1924-18, =Sisley =CCPP939 =CR834
GKn-XIX-1924-19, =Monet =CR244
GKn-XIX-1924-20, =Monet =CR1541
GKn-XIX-1924-22, =Monet =CR1721
GKn-XIX-1924-23, Bords de rivière Pissarro
GKn-XIX-1924-24, =Monet =? CR1367
GKn-XIX-1924-29, =Monet =CR560
GKn-XIX-1924-34, =Monet =CR1146
GKn-XIX-1924-36, =Monet =CR903
GKn-XIX-1924-41, =Sisley =CCPP943 =CR831
GKn-XIX-1924-42, =Monet =CR293
GKn-XIX-1924-45, =Monet =CR124
GKn-XIX-1924

1925, Paris, Paul Rosenberg:
1925/01/15 – 02/17, Paul Rosenberg: Les Grandes Influences au XIXe siècle (d’Ingres à Cézanne), with Monet.
R22IV,p1024+CR608.

1925, Vienna:
In March and April 1925 the “82e Ausstellung der Sezession” was dedicated to “Die Führenden Meister der französischen Kunst im neunzehnten Jahrhundert” (The Leading Masters of French Art in the Nineteenth Century). Works were exhibited of Monet and Signac.
Monet:
Vienna-1925-35 =CR29
Vienna-1925-41 =? CR474
Vienna-1925-70 =?CR501

Signac:
Vienna-1925-51 =CR419

Paul Signac: 1905, CR419, Bragozzo (Venise), 47x55, private (iR10;iR155;iR64;R106,no419) =22SdI-1906-4629 =BJ1907-14 =Vienna-1925-51 =BJ1930-26 =PP1934-22 — Paul Signac: 1905, CR419, Bragozzo (Venise), 47×55, private (iR10;iR155;iR64;R106,no419) =22SdI-1906-4629 =BJ1907-14 =Vienna-1925-51 =BJ1930-26 =PP1934-22

Sources:
My main sources are the catalogues in the Salon database (iR1) and other catalogues (R250;iR261); the catalogues raisonnée of Monet (R22IV,p1016-1022), Signac (R106,p420/1), Pissarro (R116); catalogues of Renoir (R31,p315), Sisley. Other sources are Denvir (R5). For other general references (=R) see. For other references to internet sites (=iR) see. See links for practical hints and abbreviations and for the subscription of the paintings.

Catalogues:
1912, Saint-Petersbourg: iR40,gallica.bnf.fr//bpt6k1421639x =iR40.
In Database of Modern Exhibitions (DoME). European Paintings and Drawings 1905-1915. Last modified Mar 16, 2021. http://exhibitions.univie.ac.at/exhibition/411 (iR261) (note: partly unfinished);
1914, Copenhagen: gallica.bnf.fr//bpt6k323974m =iR40.

Recommanded citation: Meta-Impressionism / other exhibitions: centennial exhibitions, continious recognition. Last modified 2025/09/16. https://www.impressionism.nl/centennial-expos/”

Note: additional info and pictures will be added.