Impressionism, a historical reconstruction

Correspondence

from year to year

an overview

 

Introduction:
On this page you will find an overview year by year of the correspondence of the partakers of the ‘impressionist’ expositions and the people related to them, like other artists, art-collectors, art-critics and namely the artdealer Durand-Ruel. I hope this overview will give some view on the mutual relationships. You will find namely the correspondence of Cézanne, Degas, Gauguin, Monet, Morisot, Piette, (Camille) Pissarro and Renoir and also of (Edouard) Manet. But, I hope this will put some extra light on many unknown partakers. I will concentrate on the years 1874-1886, remarks on other artists and related people, indications of their dwellings, information on exhibitions and views on paintings, for the rest I refer to the complete letters you can find in the sources I used.
Note: some notes will be added below the letter by an *; some at the end of the year by an #.
Note: many correspondence still has to be added, namely after 1877.

 

1859:

1859/05/19, Monet from Paris to Boudin:
Monet shares in an extended letter his impressions of Paris, namely of the Salon: ’the landscapists are in a majority’. He calls the quality of the Troyon paintings ‘superbe’, a painting of Daubigny depicting Honfleur ‘sublime’, Corot ‘pretty’, Diaz ‘ugly’, Gautier ‘very pretty, calme and a grey range of an intense sadness’. … Monet writes, that he visited several painters, namely Gautier, Lhuiller (and Becq de Fouquières), Troyon. The last one reacted on his still lifes* ‘you have colour’, but adviced him ‘enter an art-workshop… learn to draw; … from time to time go into the country to paint some studies… Make some copies in the Louvre… Come to me often, and show me what you have made…’ He also adviced to stay a month or two to draw, go back to Le Havre to make studies in the country and then come back in the winter. His parents agreed with that.’  (R127I,no1)
Note*: =CR3+4.

1859/06/03, Monet from Paris (35, rue Rodier) to Boudin:
In another extended letter Monet mentions his encounters with Troyon and Gautier. He again shares what he saw at the Salon, namely works of Yvon (not beautiful), Troyon (Retour à la ferme his a marvelous stormy sky; Départ pour le marché has a mist effect at the rising of the sun, very bright; Vue prise à Suresnes with cows in all sorts of poses; a magnificent painting of a dog with in his mouth a partridge ‘you can feel the fur’); Joseph Stevens, Rousseau (Les Chiens is very large), Pils, Morel Fation, Monginot, Adolphe Leleu, Armand Leleu, Lambinet, Jadin, Hamon, Théodore Frère, Delacroix, Daubigny (a blook who understands nature), Corot (simply marvelous). He also mentions an encounter with Monginot, who’s studio he may use from time to time. He urges Boudin to haste to come ‘Just another 8 hours to see l’Exposition.’ (R127I,no2)

1860:

1860/02/20, Monet from Paris to Boudin:
Monet writes ’there is an exposition of modern paintings which contains works from the school of 1830 and which proof that we are not that decadent as they say’. There are works of Delacroix (18, including Barque de Don Juan), Decamps, Rousseau (12), Dupré, Marilhat (7 or 8). ‘It’s splendid…’ Later he adds Courbet, Corot and Millet. He also mentions works of Troyon and Bonheur. ‘You know the only good marine painter that we have, Jongkind, is death to art; he is completely mad.’ Monet mentions that he is surrounded by a group of young landscape painters, who like to meet Boudin. ‘Jacque, who has a studio in the same where I work, also wants to do some buisiness with you.’ He also mentions encounters with Gustave Mathieu and Amand Gautier. Monet also mentions that Couture totaly abandonned painting and that the small Daubigny painting hangs in his chambre. (R127I,no3)

1860/04/21, Monet from Paris to Boudin:
In this shorter letter, Monet invites Boudin to come to Paris and see the Salon ’they already changed a large amount of paintings’. Monet announces that he will go to Champigny-sur-Marne with two of his comrades to paint in the landscape. He also mentions that Gautier is going to make an engraving of his small Daubigny painting. (R127I,no4)

1860/08/11, Monet from Paris to Amand Gautier:
Monet mentions he has several ‘charges’, which maybe means assignments, namely of ‘Pierre Petit in le Gaulois and in Charivari. (R127I,no5)

1861:

 

1862:

 

1863:

1863/05/23, Monet from Chailly près Fontainebleau to Amand Gautier:
Monet mentions he had the intention of staying here 8 days and again later in the Spring. He had received a letter of Mme Lecadre from Le Havre, who had seen Toulmouche, who had the message for me that I shouldn’t stay any longer in the country and shouldn’t have left the atelier. Monet assures Gautier that he hadn’t left the atelier, but he hopes that he understands that he couldn’t resist the 1000 charmes he finds here. (R127I,no6)

1863, Winter, Piette to Camille Pissarro:
‘I had hoped to spend the winter with you … working on our forthcoming exhibition together. … Pissarro the elusive… I miss you a lot…’ (R116I,p116;R436,p21)

1864:

1864/? (or 1863), Edouard Manet to Félix Bracquemond:
Manet remarked on the etch* Bracquemond made of a painting of his (=RW59): ‘I thought I would see you at the Café de Bade to discuss the etching proof you sent me. I think a background is needed, the sofa should be treated rather more vigorously, the curtain removed, and perhaps the whole should be reworked a little more freely.’ (R213,p30)
Note*: Bracquemond exhibited this etch as 1IE-1874-25-3. It is dated 1863, while Wilson Bareau dates this letter 1864.

1864/03/07, Monet from Paris (20, rue Mazarine) to Amand Gautier:
Monet assures that he worked alot since his last visit, because ‘I saw that you were not happy and that I had lost in your esteem by being less accurate than I have been’. He invites him to lunch to see his studies ‘because it is almost a year since you have seen them’. (R127I,no7)

before 1864/05, Edouard Manet to Félix Bracquemond:
Manet did some suggestions for suitable moments ’to finish my portrait for the exhibition*‘. Later on Manet remarked ‘I’m only sorry that you didn’t work up the hands as much as you have the head, which is really very good…’ (R213,p30)
Note*: Félix Bracquemond didn’t exhibit a portrait of Manet at the Salon of 1864; I don’t know to which painting this remark refers to.

1864/07, Monet from Honfleur to Bazille:
‘My desire to paint everything is enough to drive me mad, my head is bursting with it.’ He invited Bazille to come over. I have exactly a month left in Honfleur; in fact I’ve almost finished my studies… my studies are far from what I’d like them to be. … I want to struggle, to scrape off, to start again, because one can only what one sees and what one understands, and it seems to me when I see nature, that I’m going to be able to do everything, and then, blast it, when one actually starts doing it… It is by observation and reflection that one succeeds. … but I’m also sure that you’re not working hard enough and not in the right way. … It’s better to work alone, … Have you done your life-size figure? … Your good friend, Claude Monet. (R368,p54; R127I,no8)

1864/07/17, Edouard Manet to Félix Bracquemond:
‘… I miss our discussions on Art… Give my warm regards to Lejosne, Fioupou, Stevens, all the Café de Bade crowd.’ (R213,p31)

1864/08/26, Monet from Honfleur to Bazille:
Monet writes he just have been in Sainte-Adresse and now is still at Saint-Siméon, where he works alot. There are many other painters (also bad onces) Rozias, Charpentier, Jongkind, Boudin, Ribot (will probably come). ‘It’s a pity you are still not there… I think I will stay still for a long time in Honfleur. …sometimes we go to Trouville.’ Monet announces that he will send his flower painting to the Exposition in Rouen. He mentions that their friend Barry has lost his father. He ends by sending the greetings of Mme and Mlle Toutain and of M. Vivien. (R127I,no9)

1864/09/13, Monet from Honfleur to Boudin:
Monet excuses not being able to come to him in Villerville. He also excuses Mme Fesser and passes friendly wishes from Jongkind. (R127I,no10)

1864/10/14, Monet from Sainte-Adresse to Bazille:
Monet wrote that he received his ‘kind letter’and anounced that he would send 3 framed pictures. ‘… a picture gains a 100% by being in a good frame. One of them is a simple study …, it’s entirely done from nature.’ The ‘calm, hazy effect’ produce a likeness with Corot. (…) The two other canvases are the small boatyard below St-Siméon (CR26), and the road in front of the farm (CR24? or CR28). These are two of my best studies, but it’s not the studies I’m sending you, it’s two paintings which I’m in the process of finishing on the bases of my studies.’ (R368,p54; R127I,no11)

1864/10/16, Monet from Rouen to Bazille:
Monet writes he visited the Exposition with their friend Barry ‘I’ve never seen an assembly of such bad taste… apart from 3 pictures of Ribot. …I am appallingly badly hanged in false daylight.’ (…) Yesterday evening he was in Sainte-Adresse. Monet writes ‘breaking up with my family is going to happen to me any day now. …I even fear not receiving money anymore….’ This evening he returns to Le Havre and the next day to Saint-Siméon. (R127I,no12)

1864, end of October or early November, Monet from Honfleur to Boudin:
Monet writes he is alone in Honfleur, ‘Jongkind has left 3 weeks ago’. Monet hopes to spend a day with Boudin, before going to Paris. He mentions he had been a few days in Le Havre, ‘I had to make two panels at Gaudibert; Gautier also has done him 4 or 5. (R127I,no13)

1864/11/06, Monet from Honfleur to Bazille:
Monet reproaches Bazille for not coming to Honfleur and writing short letters, ‘you’re the most despicable sloth I’ve ever met’. He also (playfully?) calls him a ‘large watchdog’. (R127I,no14)

1865:

1865 or 1864, Monet from Paris to Bazille:
‘Could you come another time to my rescue? I have used the money I received 3 days ago to pay (debts) here and there. …I most absolutely pay a debt to a friend, it lacks me 10fr. (…) tomorrow we go to Carjat, Eugénie and I, to take photographs.’ (R127I,no15)

1865/02/14 Tuesday, Edouard Manet to Baudelaire:
‘Bracquemond will probably be going to Brussels to engravbe some pictures by Leys (compare 1IE-1874-25-6).’ (R213,p31)

1865, March or April, Edouard Manet to Félix Bracquemond:
‘… Should I go and see Petit? Would it be better to call on Chesnau who has shown some sympathy for me and might be able to ward off the hostility of that rotten old de N*. Why don’t you come to the Café de Bade before dinner on Tuesday… I’ve had a letter from Baudelaire who sends his regards.’ (R213,p32)
Note*: Count Nieuwerkerke.

1865/04/09, Monet from Chailly to Bazille:
Monet expects Bazille for diner next Sunday and he asks to take his letters from his caretaker. He advices to take the train of 3 o’clock to Bourbonnais, ‘it corresponds with the carriage’. (R127I,no17)

1865/04/28, Monet from Chailly to Bazille:
Monet invites him to come ’tomorrow Saturday with the gentlemen, who still have the intention of staying here a Sunday, as they promissed me. We will return Monday together to see the Exposition.’ (R127I,no18)

1865/05/04?, Monet from Chailly to Bazille:
‘You know that this time I await you without failure Saterday evening for diner with these gentlemen. … The young Gabrielle will arrive Monday… you are waisting your time in Paris, here it is superb; … what I need even more, is a bit of money…’ (R127I,no19)

1865/07/03, Renoir from ‘Sisley, avenue de Neuilly 31, Porte Maillot (now: Avenue de la Grande Armee) to Bazille:
Renoir invites Bazille to join a trip by sailboat to the regattas at Le Havre with M. Henri Sisley and little Grange. ‘We’ll have ourselves towed as far as Rouen by the Paris et Londres, and from then on we’re on our own.’ (R430,p18/9)
Note: Bazille wouldn’t join.

1865, July or early August, Monet from Chailly to Bazille:
Monet reproaches Bazille not to have written him, ‘you seem to have left me aside completely. … All my studies are marvelous, the only thing lacking are the men. …I think of nothing else than my painting.’ (R127I,no20)

1865/08/16, Monet from Chailly to Bazille:
‘I am desperate, I’m afraid you’ll make it unable for me to finish my painting and that would be very bad of you, after promising to come and pose for me.’ (R127I,no21)

1865/08/23?, Wednesday, Edouard Manet to Astruc (at Fontainebleau):
‘… you are the only companion I would have wished for. … I can’t wait to see all those wonderful things and go to Maître Velasquez for advice. Your itinerary seems escellent; I’ll follow it precisely…’ (R213,p34)

1865/09/03 Sunday, Edouard Manet to Fantin-Latour, from Grand Hôtel de Paris, Puerta del Sol, Madrid:
‘The day I arrived in Madrid I met a Frenchman* who is interested in art and who knew me.’ (R213,p34/5)
Note*: Manet met Thédore Duret, an art-collector and art-critic who would write books on Manet.

1865/09/13, Guillemet to Camille Pissarro:
Guillemet proposes another stay at La Roche-Guyon at the end of September, ‘Cézanne will probably come with us’. (R116I,p119)

1865/09/17, Edouard Manet to Astruc from Château de Vassé:
‘I’m back from my Spanish tour… Your advice and excellent instructions guided me during my stay… What thrilled me the most in Spain … were the works of Velasquez. He’s the greatest artist of all … I discovered in his work the fulfilment of my own ideals in painting. … There were only two painters, apart from the Master, who attracted me: Greco … and Goya… the Prado … was absolutely delightul (…) … bullfight. I saw a magnificant one, and when I get back to Paris I plan to put a quick impression on canvas.’ (R213,p36/7)

1865/10/14,t Monet from Paris to Bazille:
Monet informs Mme Rolina is furious on Bazille, ‘you have till Tuesday afternoon to pay. … As for the subject of the studio I have already written you … Sent me immediately the 125 francs for the term’. (R127I,no22)

1865/12/14,  Camille Pissarro to Oller:
‘Guillemet has brought back some very fine studies from La Roche(-Guyon).’ (R116I,p119;R434III,no.1090)

 

1866:

1866/03/27, Manet to Baudelaire:
‘Mme Meurice … her portrait by Braquemond will be in the Salon…’ (R213,p38)

1866/04/06, Marie le Coeur on Renoir:
‘M. Renoir … has been rejected (for the Salon). … he had done two pictures: a landscape with two figures … the other was done at Marlotte in two weeks…, he calls it a sketch. (…) M. Daubigny … telling him (=Renoir): ‘We did all we could to prevent that (rejection)…, there were six of us in favor of it against all the others. … ask for an exhibition of rejected paintings.’ (…) his Marlotte painting was accepted.’ (R430,p21;R31,p179;R460,p84)

1866, early April, Monet from Place Pigalle 1 to Amand Gautier:
‘My aunte has finely decided to stop my pension… I’m very upset. It seems decidedly that a certain person is trying to damage me in her eyes.’ Monet ask Gautier to intervene, ‘you know… how (hard) I work’. (R127I,no23)
Probably shortly afterwards Monet writes to thank him, bacause his aunt ‘agrees to let me paint’. She is also content that Monet was accepted for the Salon. (R127I,no24)

1866, the second half of April, Monet from chemin des Closeaux, Sèvres (near the station of Ville-d’Avray) to Amand Gautier:
‘I have retired in a little house near Ville-d’Avray. …I leave aside my large entreprices for this moment… I can’t attend your marriage…’ Monet asks Gautier to recommend him to Détrimont, because he needs a certain som of money for the 1st of May. He also asks to render some information on the exposition in Lille. (R127I,no25)

1866/05/22, Tuesday,t Monet from chemin des Closeaux, Sèvres to Amand Gautier:
Monet thanks Gautier for complimenting his Aunt with the success of Monet at the Salon (mentioned in l’Evénement). This made him sell several canvases for 800 francs. Monet hopes to see him Thursday in Paris. (R127I,no26)

1866/05/07, Monday, Manet to Zola:
‘I’m at the Café de Bade, 26 boulevard des Italiens, every day from 5.30 to 7 o’clock.’ (R213,p38)

1866/07/03, Tuesday, Monet from chemin des Closeaux, Sèvres to Amand Gautier:
Monet writes  he just saw Courbet, who said that Gautier was furious on Monet and thinks he is incapable. Monet opposed that Gautier had helped him in several circumstances. ‘So, write me to reassure me…’ (R127I,no27)

1866/08/31, Camille Pissarro to his wife Julie from Paris:
‘You cannot imagine how difficult it is to find lodgings… Because of the Exposition Universelle…’ (R116I,p121;R343I,no.2)

1866/10/23, Cézanne, to Camille Pissarro, from Aix-en-Provence:
You are completely right, grey is the dominant colour within nature. But it is very hard to get. (R48,p141)

late 1866, Saturday, Manet to Zola:
‘… my friend Zacharie Astruc has asked me to find out whether you could persuade Hachette to publish a book of his verse?’ (R213,p40)

1866/12/01, Monet from Saint-Siméon to Bazille:
‘You have to send me my picture from the Salon, Camille (CR65), together with the other picture of the Femme blanche… I will make at the backside of the last one an important marine (?CR77)… Send me the small reduction of Camille (CR66)…which I will finish after I’ve been paid… and also an almost square picture. … Send it to M. Chasle, Hôtel du Cheval-Blanc, where I have my studio. (…) I have just received a payment order of Mme Rolina…’ (R127I,no29)

1866/12/22, Monet from Honfleur to Z. Astruc:
‘Has Bazille given you my canvasses… I’m very pressed cause I’ve received a letter from Luquet who reclaims it… before the 26th…’ (R127I,no30)

 

1867:

1867/02/19? Tuesday, Edouard Manet to Fantin-Latour:
‘Bracquemond told me yesterday that you’re counting on doing my portrait (for the Salon) this week…’ (R213,p42)

1867, around May, Monet from Paris to Bazille:
Monet passes on the request of Courbet to ask of M. Bruyas all his paintings. (R127I,no31)

1867/05/20, Monet from Paris to Bazille:
On the solo exhibitions Monet remarks: ‘Manet opens within two days… Courbet opens next Monday at eight.’ He mentions that Courbet has send 3000 invitations (to all artists of Paris). He ends with ‘The young Renoir is at Chantilly‘. (R127I,no32)

1867/06/25, Monet from Chemin des Phares, Sainte-Adresse to Bazille:
‘For the Salon I make a large steamboat. …before I left Paris I sold a small marine to Cadart, and one of my views on Paris to Latouche. (…) The 25th of July Camille will give birth.’ Money asks Bazille for extra money. (…) You don’t know of the expostions of Courbet and Manet.  (R127I,no33)

1867/07/03, Monet from Sainte-Adresse to Bazille:
Monet hasn’t hard anything yet from Bazille, ‘I’m bothered about Camille being penniless’. (R127I,no34)

1867/07/09,t Monet from Chemin des Phares, Sainte-Adresse to Bazille:
‘You are not very nice to me, not to write… I’m very worried about Camille… I haven’t got anything… (…) Guillemet arrived this week. Sisley is in Honfleur.’ (R127I,no35)

1867/07/16, Monet from Sainte-Adresse to Bazille:
‘I received your letter yesterday… You say nothing about sending other money, like I asked you… I have send the 50 frans to Camille. … this will not do, and I have nothing to leave (to Paris). (…) I have seen Guillemet, he is in Honfleur.’ (R127I,no356a)
The same day he wrote: ‘… send me at once 150 or 200 franc as soon as possible… (…) I work constantly.’ (R127I,no356b)

1867/08/12, Monet from Sainte-Adresse to Bazille:
‘…you’ve been so stubborn not to answer me… For the last time I will ask you a favour… Camille… has given birth to a large, beautiful son. …(she) doesn’t have enough to eat. (…) Send me the money real soon…’ (R127I,no37)

1867/08/20, Monet from Sainte-Adresse to Bazille:
‘At least, if yo don’t want to send me money, it would be polite to answer me and don’t always let me waiting. … I am ill…’ (R127I,no38)

1867, Summer, Guillemet to Camille Pissarro:
Guillemet stayed with Monet in Sainte-Adresse and invited Pissarro to come. ‘We like to have you with us.’ They found a house for him, ‘It’s already been baptised the château Pissarro’, but Pissarro didn’t go. (R116I,p124)

 

1868:

1868/01/01, Monet from Paris toBazille:
‘My dear Bazille, I haven’t received anything from you, I am without a penny.’ (R127I,no39)

1868/01/19, Camille Pissarro to ?:
Pissarro made his will: ‘I have decided to bequeath … all goods I possess to Mlle Julie Vellay.’ (R116I,p124;R434I,no3)

1868/01/24, Camille Pissarro to his wife Julie:
‘If you need money, please don’t hesitate to ask Alfred (Camille his brother).’ (R116I,p124;R434I,no.4)

1868/06/29, Monet from Paris to Bazille:
‘I’ve just been thrown out of the inn where I was staying… I’ve housed Camille and poor little Jean somewhere safe in the country for a few days.’ (…) … let me know if you can do anything for me; … Write me at Le Havre, poste restante, because ym family refuse to do anything more for me; … I was so upset yesterday that I had the stupid idea of throwing myself into the water…’ (R368,p58; R127I,no40)

1868/07/29, Manet to Degas from Boulogne-sur-mer:
‘I’m planning to make a little trip to London…; do you want to come along? … I will write and tell Legros what day we’ll be arriving… If you can persuade Fantin to come with you, that would be delightful.’

1868/08/06, Monet from Fécamp toBazille:
‘I was so content to leave Havre, I hoped to receive money from you…’ (R127I,no41)

1868/08/10? Sunday, Manet to Fantin-Latour from Boulogne-sur-mer:
‘I wanted to write to you from London but was so busy during my two days… de Gas was really silly not to have come with me… Legros was very kind and helpful. … Wisthler (sic) wasn’t in London…’ (R213,p47)

1868/08/05-16, Manet to Zola from Boulogne-sur-mer:
‘Tell me .. about our young friend Guillemet. I would be pleased if he could ask Monet how my exhibition is going at Le Havre.’ (R213,p48)

1868/08/26, Manet to Fantin-Latour from Boulogne-sur-mer:
‘I envy your being able to discuss with that famous aesthetician Degas the question of whether or not it is advisable to put art within reach of the lower classes, by turning out pictures for sixpence apiece. (…) the young Morisot girls are charming (…) I’ve had a letter from Braquemond who is going to Balleroy to do a painting, I wonder if it’s the portrait of the countess? The lucky fellow is quite capable of that. Tell Degas it is about time he wrote to me, I gather from Duranty he’s becoming a painter of ‘high life’… Have you heard anything about the Stevens…’ (R213,p49)

1868/09/03,t Monet from Fécamp to Bazille:
‘I’ve received your letter containing 40 francs.’ Monet had received a commission from someone* in Le Havre to portray his wife. He again asked for money, ‘I will be without a penny being at this gentleman. …write to … Mme Monet, rue des Coudriers… I don’t ask you very much… ‘ (R127I,no42)
Note*: later in the letter Monet mentions M. Gaudibert (see CR121).

1868, the end of October or early November, Monet from Montivilliers to Bazille:
‘I am withheld here to do a portrait. I am in a castle near Le Havre. …the painting doesn’t work… Money is always short. Disappointments, insults, hopes, receptions, that’s all there is to it, my dear friend. At the exposition in Le Havre, I haven’t sold anything. I received a silver medal (worth: 15 francs), superb articles in the local press, that’s it; a bit of nourishing. … I sold la Femme vert to Arsène Houssaye, who came to Le Havre, who is enthosiast and wants to get me started… You who has nothing to hope for and nothing to regret…’ (R127I,no43)

1868/12/?, Monet from Étretat to Bazille:
‘… I’m in a state of enchantment. … I spent my time in the open air on the beach … Then in the evening, my dear friend, I find a good fire in my little house, and a nice little family. … your godson… it is a delight to watch this little boy growing up, … I’m very lucky to have him. This year I’m going to do two figure pictures, an interior with a baby and two women, and some sailors outdoors… I hardly miss the meetings (at the Café Guerbois)… don’t you feel that one is better off alone in direct contact with nature? … what I am doing here … will simply be the expression of what I personally feel. … The further I go, the more I realize that one never farnkly dares to express what one feels. … I don’t think I’ll be spending much time in Paris from now on, a month a year at most… Greetings to M. Maître. Send the canvasses to Le Havre, rue Fontenelle 13. Don’t forget.’ (R368,p58; R127I,no44)

1868, the end of December or early January 1869, Monet from Étretat to Bazille:
Monet ask Bazille to send him ad once the following paintings: ‘The two main avenues of Fontainebleau of the same size (CR19+57). The chinese painting where there is a flag (‘drapeaux’) (CR107); next the rose tree that is with Guillemet, the totally white snow effect and a more small one on which there is a raven, the marine with the blue canoes and at last a certain painting where one sees Le Havre in the distance with little cabins and the sea with white waves. To all this add any canvas you can find that I can use… Send it to M. Monet, rue Fontenelle, 13, Le Havre.’ (R127I,no45)

1869:

1869/01/11, Monet from Étretat to Bazille:
‘I haven’t got any credit with Deforge… So, if you can, please be so kind to take on your account a certain amount of colours with Hardy…’ Monet sums up the colours he needs. He (again) urges Bazille to send the paintings. ‘…I will not return to Paris for a long time. (…) Send the canvasses and the colours to my address in Étretat via Fécamp.’ (R127I,no46)

1869, the end of January or early February, Monet from Le Havre to Bazille:
‘You are not really friendly’ Monet complains Bazille hasn’t send the paintings yet, ‘I have an unique occasion to place two or three of them.’ (R127I,no47)

1869/02/10, Monet from Étretat to Bazille:
‘I received the 50 francs, I heard at the same time of the arrival of my paintings. I’m very disappointed to find out you have kept the little onces. I received today a letter from Le Havre, one requires them at once, they find the others to big. … So, send them ad once this afternoon to Le Havre.’ (R127I,no48)

1869/05/02, Berthe Morisot to her sister Edma:
The first thing we beheld as we went up the big staircase was Puvis’s painting. It looked well. Jacquemard was standing in front of it and seemed to admire it greatly. What he seemed to admire less was my person. There is nothing worse than a former admirer. … However, we next met Carolus-Duran… He is showing a portrait of her, … although it is quite vulgar. …, I find it mannered and flat. … There I found Manet, … looking dazed. He begged me to go and see his painting… I have never seen such an expressive face as his; he was laughing, then had a worried look, assuring everybody that his picture was very bad, and adding in the same breath that it would be a great success. I think he has a decidedly charming temperament, I like it very much. … I am more strange than ugly. It seems that the epithet of femme fatale has been circulating… I did look for our friend Fantin. His insignificant little sketch was hung incredibly high, and looked extremely forlorn. … M. Degas seemed happy… I was beginning to find all this rather dull. For about an hour Manet, in high spirits, was leading his wife, his mother, and me all over the place, when I bumped headlong into Puvis de Chavannes. He seemed delighted to see me… ‘ (R368,p63/4)

1869/06/02, Monet from Paris to Arsène Houssaye:
‘While I had the honnour of seeying you and asking your support in obtaining a permission to work at the Salon, you gave me the advice to settle in Paris…’ Gaudibert* also adviced him to bring back my little family. Monet writes he did so. Still, at the end of the letter we find: St.-Michel, commune de Bougival (Seine-et-Oise). Monet also refers to his rejection at the Salon.  (R127I,no49)
Note*: Gaudibert had given him several commissions and bought some of his paintings (namely 1868/69), see CR120-123 +77 +109.

1869/08/09, Monet from St-Michel to Bazille:
‘…ask Renoir who has brought us bread from his place so we didn’t starve. Since eight days without bread, without wine, without fire for the kitchen, without light. … It is really bad of you to forget us…’  (R127I,no50)

1869/08/17, Monet from St-Michel to Bazille:
‘…I’m not very satisfied of you… sending me those misserable 50 francs’ (R127I,no51)

1869/08/25, Monet from St-Michel to Bazille:
Money again describes the poor circumstances they are in. ‘Often you turn your back… If I don’t get any help, we will die of hunger. I can’t paint, having no colours for the shades…’ (R127I,no52)

1869, late August, Renoir from Ville d’Avray to Bazille:
Renoir writes he came from Batignolles and renders the measurements for the curtains. He only very rarely comes in Batignolles, ‘I don’t always have enough to eat in Paris’. He ends with ‘I’m not putting a stamp on the letter, I have only 12 sous in my pocket, and that’s for going to Paris when I need to.’ (R430,p30)
A bit later he writes: ‘Your Salon painting is in the studio. … I’m waiting for your masterpieces. I intend to criticize them mercilessly when they arrive. I haven’t seen anybody. I’m staying with my parents and I’m almost always at Monet’s… They don’t eat every day. But I’m happy just the same because as far as painting is concerned, Monet is good company. I’m doing almost nothing because I don’t have many colours.’ (R430,p32)

1869/09/25, Monet from St-Michel to Bazille:
‘… I’ve been a bit happier this month than during the previous ones, because I’m always in a desperate state. I sold a still life… I’m obstructed for lack of colours. … I shall have achieved nothing this year… I have a dream of doing a picture, the bathing-place at la Grenouillère, for which I have done some rather poor sketches… Renoir, who has just spent two months here, wants to do the same picture. …’ There is some reproach against Bazille in this letter: ‘This is to inform you that I have not followed your (inexcusable) advice to walk to Le Havre. … You tell me that neither 50 nor 100 frans would get me out of trouble…’ and later asks to send some wine. (R368,p62/3; R127I,no53; R430,p32)

1869/10, Renoir to Bazille:
Renoir asks Bazille to greet his family in Montpellier. (R340,p32)

1869/12/08, Monet from St-Michel to Bazille:
Monet writes he couldn’t come Sunday, because he wanted to make some studies of the snow. ‘I will come tomorrow or afterwards, I hope that M. Lejosne will not have demanded that you return the still life to him straight away.’ (R127I,no54)

1870:

1870, January or February, Wednesday, Manet to Eva Gonzalès:
Manet suggests to reschedule ’tomorrow’s sitting’, because Astruc broad forward his visit to Thursday.

1870/03/11, Manet to Zola:
‘Could you gave a short note published in Le Rappel and La Cloche in more or less these terms: ‘The project put forward by the committee presenting the following list for the jury is quite unbiased. All artists should vote for the following names – the list follows.’ I’v received notice to attend this evening a meeting of 150 artists…’ (R213,p53)

1870/03/20, Manet to Jules de la Rochenoire:
‘I am inclined … putting the following notice in all the papers …: All those who are afraid of being rejected should vote for the following persons who believe in the right of every artist to show his work in the most favourable conditions.’ (R213,p53)

1870/06/30, Camille Pissarro to Duret:
Pissarro asked Duret for lunch, when he would ‘bring along (his) little painting’. (R116I,p127;R434I,no8)

1870/09/09, Friday, Monet from Le Havre (HW: Trouville) to Boudin:
Monet writes that that boat to Morlaix leaves (only) on Saturdays. He hasn’t finished his buisiness yet at Hôtel Tivoli in Trouville. He describes that hundreds of people flee to England. His wife is not with him, ‘You’re in charge of the letter for my wife…’ (R127I,no55)

1870/09/10, Manet to Eva Gonzalès (in Dieppe):
‘My mother and my wife left on Thursday, I sent them off with Léon to the Basses-Pyrénées where I hope they will be quite safe. I think we poor Parisians are going to be caught up in a terrible drama – death and destruction, looting and carnage will be inevitable… A lot of people are leaving… Mme Stevens is in Brussels, Mme and Mlle Morisot are staying, I believe… Champfleury has left, it’s a debacle and people are storming the railway stations…*‘ (R213,p55)
Note*: the French-Prussian war started 1870/09/19.

1870/09/15 or 16, Manet to Duret:
‘I am sending you the pictures you have kindly offered to shelter during the siege… In the event of my death, you can take your choice of (3 works mentioned).’ (R213,p56)

1870/09/30 Friday, Edouard Manet to his wife Suzanne:
‘I’ve seen the Morisot ladies who are probably going to make up their minds to leave Passy which is likely to be bombarded.’ (R213,p58)

1870/10/18, Mme Morisot to ?:
The mother of Berthe Morisot wrote about one of the visits Degas and Manet they paid at her house in Passy. ‘Degas was so under the impression of the death of his friend, the sculptor Cuvelier, that he was unbearable. Manet and he almost flew into each other’s hair… Degas serves with the Artillery…’ (R423,p107;R438,p48)

1870/11/19, Manet to Eva Gonzalès (in Dieppe):
‘Degas and I are in the artillery… my brothers and Guillemet are in the National Guard battle units… A lot of cowards have left, among them… our friends Zola, Fantin, etc… I don’t think they’ll be very well received on their return.’ (R213,p60)

1870/11/19, Edouard Manet to his wife Suzanne from Paris:
‘Smallpox is spreading… I’ll soon be starting to make studies out of doors…’ (R213,p60)

 

1871:

1871/01/21, Durand-Ruel to Camille Pissarro:
Society of French Artists; 168, New Bond Street, London W.
Tell me the price for your charming painting. ‘Your friend Monet has asked for your address. … He himself dwells Bath Place no.1, Kensington.’ (R435II,p247/8=3)

1871/03/01, Renoir from Vic-Bigorre (Hautes-Pyrénées) to Charles le Coeur:
‘Kiss everyone for me, the little children, Mme. Charles, Mlle Louise, your mother, whom I’ll be very glad to see again, and your sister. I’ll be so happy when I can shake your hand. If you only knew how anxious I am to get back. … I was really scared during the siege, I who was stuffing myself with good thing, while you wer starving. (…) I was so bored to death, it was impossible to eat or sleep. Finally I treated myself to dysentery, and  I’d just about have kicked the bucket if it hadn’t been for my uncle who came to get me in Libourne and took me to Bordeaux. …recover fast. … my comrades. … There are a lot of them lying in the shade of the Libourne cemetery. … I’m waiting to hear from Jules. In case the letter I’m writing ot my brother doesn’t reach him, please share this one with him.’ (R430,p39)

1871/01/04, Edouard Manet to his wife Suzanne from Paris:
‘We went with Eugène to see the Morisot ladies – they’re ill and having difficulty coping with the hardships of the siege…’ (R213,p63)

1871/02/09, Manet from Paris to Zola in Bordeaux:
‘I only heard yesterday of poor Bazille’s death and am deeply upset about it.’ (R213,p65)

1871/03/1865, Manet from Arcachon to Félix Bracquemond:
A correspondence about sending in works to the International Exhibition in London#. (R213,p160)

1871/05/27, Monet from London, 1 Bath Place Kensington to Pissarro:
He invites Pissarro to visit, for he will still be in London the whole month. ‘You have without doubt heard about the death of pour Courbet executed without judgement*.’ (R127I,no56)
Note*: In fact Courbet was sentenced, not put to death, so probably there was a false rumour.

1871/06/02, Monet from Zaandam to La Commission Française de l’International Exhibition de Londres#:
‘Please return to the bearer my two marines and their frames.’ (R127I,no57)

1871/06/02, Monet from Hôtel de Beurs, Zaandam to Pissarro:
Monet writes he at last arrived at his destination after a long and bad trip. ‘In Zaandam… there’s painting to do for life. … The Dutch seem to be very friendly and full of hospitality.’ Monet asks extendly Pissarro for a favour to attend to the paintings he had left behind at the exposition. To sell back the frames to ‘Jos.h J. Flack et C.y frame manufactory, 21 Green Street, Leicester Square’ and to hand the canvases to Mme Théobald. In some way Legros and Filloneau are also involved. He also asks for news from France, namely of his brother and his friend. (R127I,no58)

1871/06/17, Monet from Hôtel de Beurs, Zaandam to Pissarro:
Monet answers a second letter and excuses not to have replied earlier, cause he is ‘in the heat of work’. He also excuses that he has caused so much trouble to Pissarro with his request, he will now ask Durand-Ruel to look after it. He informs Pissarro if he will return to Paris or to Louveciennes. Monet writes he will stay the Summer for ‘it is splendid here to paint … the colourful houses, mills by the hundreds and delightful boats, the Dutch are very friendly and almost all speak French’. He mentions that he met the painter Lévy. He ends by asking to retrieve a book of Edgar Poe at Mme Théobald. (R127I,no59)

1871/06/10, Manet to Morisot in Cherbourg:
‘Eugène went to see you at Saint-Germain but you were not in that day. I was glad to hear that your house in Passy has been spared.’ (R213,p161)

1871, early June,  Camille Pissarro to Duret, from London:
‘I shan’t stay here… where one meets with nothing but scorn, indifference and even rudeness; among colleagues there is the most self-centred jealousy and mistrust. Here, there is no art, everything is a question of business. Regarding sales, I’ve not had a single one, apart from Durand-Ruel who bought two small pictures from me…’ (R116I,p132;R434I,no9)

1871, June,  Camille Pissarro to Duret, from London:
Learning from a letter of Duret that his is coming to London, Pissarro wrote ‘I have few paintings, three of four at most; should any of them prove suitable, I should be happy to sell them to you.’ (R116I,p133;R434I,no10)

1871/08/22, Manet from Paris to Duret:
‘You mentioned Courbet. He behaved like a coward at his court-martial and doesn’t deserve any further attention.’ (R213,p162)

1871/08/27, Piette to Camille Pissarro:
‘… one has to live among wolves; living in a prejudiced country…’ (R116I,p133;R436,p34/5)

1871/11/19, Monet to Camille Pissarro :
Writing from his studio 8, Rue d’Isly, near the Saint-Lazare station. Making clear he stays at the ‘hôtel de Londres et de New York’. Asking if Camille (Monet) could meet Pissarro his wife. (R127I,no60)

1871/12/21, Monet:
Writing from ‘Maison Aubry near the hospice, Porte St.-Denis at Argenteuil. Hoping to meet Pissarro soon in Louveciennes. Inviting him at the studio he is bount to use at 8, Rue d’Isly, near the Saint-Lazare station. Congratulating him with his 3^rd child, a son. (R127I,no61)

Note#: Referring to the International Exhibition of Fine Arts held in South-Kensington (London) in May, see London 1870-75.

1872:

1872, January, Camille Pissarro to ?:
‘I went into Durand-Ruel‘s: he… told me he wanted to buy some paintings from me…’ (R116I,p134;R434I,no14)

1872/02/17, Camille Pissarro to Dr. Gachet:
Writing on the health of his son Georges (born 1871/11/22) ‘The attacks remained very strong.’ (R116I,p134;R434I,no.15;R218) As far known, this is the first letter of Camille to Dr. Gachet. His mother Rachel, also had been a patient of Dr. Gachet (R218)

1872/02/23, Monet to Camille Pissarro:
Writing that his brother being in Paris only for a few days. Asking if Pissarro his child is recovering. Sending in 100fr.  (R127I,no62)

1872/02/25, Monet to Camille Pissarro:
His brother L. Monet at Rouen wants to admit a painting he has of Pissarro to an exposition in Rouen*. Monet asks for details on this picture and also for the 100fr. (R127I,no63)
Note*: CCP222 was exhibited at the 23th Exposition Municipale des Beaux-Arts in the Musée de Rouen as a loan by Léon Monet (R116I,p135).

1872/04/01,  Camille Pissarro to Dr. Gachet:
‘I’ve brought your two canvases, The Sunrise and The Snow Effect, as well as the one by Gautier.’ (R218)

1872/04/22, Monet to Camille Pissarro, from Argenteuil:
“I’ve just received your letter: I’ll be expecting your cousin on Sunday and I’ll make sure that I get ‘le Sisley‘ in the house, but I hope that you and your cousin will come for breakfast. I’m counting on it, and you’ll let me know if you’ve seen Béliard, and if we can get together to finalise things. I will go to Rouen; I also have a subscriber who won’t have any room at the shows. It’s my brother. Decidedly, everyone thinks it’s a good idea, only Manet is against it. Yours truly and nd compliments to your wife. Claude Monet.” (R127I,no64)

1872/08/30, Friday, Guillaumin to Dr. Gachet:
Guillaumin writes he looks forward to his visit next Saturday. (R218)

1872/09/03, Antoine Guillemet to Camille Pissarro:
Guillemet mentions he is the ‘godfather’ of Jeanne-Rachel Pissarro. (R116I,p118)

1872/09/?,  Camille Pissarro to Guillemet:
‘… Béliard is still with us. He’s doing very serious work at Pontoise, he will be someone. Guillaumin comes to spend a few days with us; he’s still working at painting in the daytime and (digging) ditches at night, what courage! We have high hopes for our (friend) Cézanne, and I have seen some paintings; I have at home a painting of remarkable vigour and power. If, as I hope, he stays a while at Auvers, where he’s going to live, he will asthonish a lot of artists who were too quick to condomn him. In a word, my dear Guillemet, the only one missing is you…’ (R116I,p137;R434I,no18)

1872/?/?, Piette to Camille Pissarro:
‘I hope to see your nice home, your rabbits, your henhouse, your pigeons’. (R116I,p137;R436,p79)

1872/09/23, Mme Julien Tanguy to Camille Pissarro:
The wife of Père Tanguy asked Pissarro, Béliard and the other gentlemen mentioned to ‘sign a petition on behalf of her husband, to be sent to the Commission des Grâces’. (R116I,p137)

1872/11/27, Degas from New Orleans to Lorens Fröhlich:
(Lorens Fröhlich is a Swiss painter living in Paris.) Degas writes he has seen much and has many plans, but it will take him 10 lifes to fullfill them. ‘Everything attracks me … Most of all I like the Negro Women…’ He doesn’t work much, but complains doing family portraits ’that one should make neatly according the taste of the family, under impossible lighting conditions’. Degas also writes about the book “Confessions” of J.J. Rousseau. (R439,p55/6)

1872/11/29, Sisley to Camille Pissarro:
Sisley invited Pissarro for a dinner held at Durand-Ruel with a small group of painters, initiated by Manet. (R116I,p137)

1872/12/05, Degas from New Orleans to Henri Rouart:
‘I’m working on a family portrait; but the major part will be done after I have returned. … The light is so strong, that I haven’t worked yet along the river. My eyes are in need of care, and I don’t want to risk anything. … Manet would have found here, unlike me, much what he would have liked. … As soon as I get home, I will lead a exemplary regular life, just like now only Bouguereau does…’ (R423,p63;R439,p57)

1873:

1873/?, Degas to Tissot:
‘With my eyes it goed reasonably well… I will stay in the row of the infirm, till I will switch to the row of the blind.’ (R423,p64;R440,p34ca)

1873/02/02,  Camille Pissarro to Duret:
Pissarro is optimistic about the future, because of the support of Durand-Ruel and the growing presence of collectors. (R116I,p138;R434I,no.20)

1873, early May, Piette to Camille Pissarro:
Piette expresses his doubts about an independent exhibition. ‘Perhaps the statutes … make me change my way of seeing. … You and a few other ardent, generous, honest souls will provide a rightful impetus. But who will follow you? The band of blunderers and never do wells? … if they know how to wangle something at the official Salon, they will go there and become your enemies. Add to that your responsibilities… the frauds perpetrated by dishonest employees…’ (R116I,p139;R436,p86)

1873/05/07, Monet to Paul Alexis:
‘A group of painters gathered at my house read the article* with pleasure (…) We’re all delighted to see you defending our ideas.’ Expressing the hope on support for ‘la Société’ we are in the process of forming. (R127I,p428)
Note*: Paul Alexis had published 1873/05/05 an article in L’avenir National encouraging the formation of artistic syndicates that would organize their own exhibitions without a jury. Alexis published Monet his letter in L’avenir National (1873/05/12) and added ‘We know already that it will have several artists of great merit among its members, MM Pissarro, Jongkind, Siseley (sic), Belliard (sic), Armand Gautier, Guillaumin, Authier, Numa Coste, Visconti, etc.’ (R127I,no65). See also the page on the Société… .

1873?/07/26,  Monet to Duret:
Thanking for 100fr. Writing he is lacking 4 à 500fr. Asking for other lenders. (R127I,no66; iR23)

1873/08/07, Monet to Camille Pissarro, from Argenteuil:
After Pissarro had left him, Monet received an unsuitable letter from Duret and he wants to stop his buisiness with him; ‘I’m not his obligation when I sell a painting to him’. Monet also writes about a picture for Pissarro his cousin. ‘Communicate this thing to M. Nunès, render the answer when you come for lunch.’ (R127I,no67)

1873/08/08, Degas to Rouart:
‘I don’t succeed finishing my paintings, pastels,etc. … I often cry over my poor life.’ (R439,p57/8)

1873?/08/29,  Monet to Duret:
Asking for money and hoping to meet him in Argenteuil. (R127I,no68)

1873/09/06, Guillaumin to Dr. Gachet:
Guillaumin informs after the health of his wife and also asks for a sample of his etching ‘I will give you those of wich I have made at your place’ (…) ‘I received a visit of Martin, who seemed as pleased with the new studies as I am. … I would like to have your advice and that of Pissarro and of Paul.’ (R218)

1873/09/12, Monet to Camille Pissarro, from Argenteuil:
‘I’ve suggested some improvements to the phrasing of certain articles which are not sufficiently clear and which absolutely must be better formulated, because I’ve found people interpreting things differently.’ Monet was hoping to meet Pissarro the next day. Renoir would not be there, so the spare bed was free. ‘Tomorrow evening a man will come a member very well informed about the thing that has to give us the best formulation*.’  (R127I,no69;R116I,p140;R430,p47)
Note*: probably for the statutes of the Société… .

1873/09/23, Monet to Camille Pissarro, from Argenteuil:
My wife received a sad announcement on returning from Pontoise: her father died yesterday.’ … ‘I would be very satisfied if you obtain the payment of M. Duret.’ (R127I,no70)

1873/10/23,  Camille Pissarro to Dr. Gachet:
Pissarro writes on the health of his daughter Jeanne (born 1865/05/18) ‘… we fear it might be more serious this time…’ (R116I,p140;R434I,no24)

1873/10/28,  Camille Pissarro to Dr. Gachet:
‘…I almost certainly expected our friend Cézanne who seems to have forgotten us. … Duret accompied by Mr. Baudry came to by pictures of mine; they wanted an effet de neige … could you send it (back) to me by Cézanne when he comes, anyway, I will come to Auvers within a few days.’ (R218;R434I,no25)

1873/10/30,  Camille Pissarro to Dr. Gachet:
‘Please bring me a large copper plate.’ (R218;R434I,no26)

1873/10/31,  Camille Pissarro to Duret:
Pissarro championed the work of Monet to Duret. (R116I,p141;R434I,no27)

1873/11/08ca, Monet to Camille Pissarro, from Argenteuil:
Enclosed the receipt requested. This November 8th, 73. (R127I,no71)

1873/11/08,  Monet (letter 72) to Duret, from Argenteuil:
Received from M. Duret through M. Pissarro 200fr for balance of account. (R127I,no72; iR23)

1873/11/30, Monet to Camille Pissarro, from Argenteuil:
I haven’t forgotten ‘la société‘. I went several times to meet Carjat; at last he has promised me the signature of Gill and Lançon. (R127I,no73)

1873/12/05, Monet to Camille Pissarro, from Argenteuil:
Carjat yesterday has sent back the statutes*, writing that Lançon and others ask me to wait for their signatures until later, I don’t know why. In short, it seems to me, that it is more difficult to obtain these five signatures than the first 15*. I have seen Lévy today, who is afraid of compromising himself. La Rochenoire doesn’t want to be involved anymore. Another doesn’t want to oppose the state, because he is not a French citizen. I will go to the other side of the water to meet Los Rios and Solari; … Renoir will see Guillemet tomorrow. I think it is good to meet Robert to let him come and sign. I have written Feyen-Perrin to meet.’ (R127I,no74;R116I,p140)
Note*: Probably of the Société…; it seems that for the foundation there were at least 20 subscribers needed.

1873/12/08,  Camille Pissarro to Duret:
‘If you’re seeking the impossible, I believe that Cézanne could satisfy you, for he has some very strange studies in a unique manner.’ (R116I,p141;R434I,no.29)

1873/12/11, Monet to Camille Pissarro, from Paris:
‘Have you written Robert, like it told you in my last letter? Renoir went to Guillemet, we don’t know yet if he will sign. (…) Feyen-Perrin hasn’t answered me yet. (…) The best is to approach people we know.’ (R127I,no75;R116I,p140)

 

1874:

1874/01/16,  Camille Pissarro to Dr. Gachet:
‘I am pleased to announce that the sale of our paintings at Drouot was fairly auspicious for a first showing, the hall was full.’ (R116I,p142;R434I,no31;R218)

1874/01/27, Monet to Camille Pissarro, from Le Havre:
Monet congratulates Pissarro with the sell of his paintings, which Renoir already had wrote him. He regretted, that he couldn’t buy back his own painting Maison blue. ‘I also knew from the newspaper L’Événement that the board of directors was doing its job; the announcement of the formation of ‘la société‘ is proof of this.’ (…) ‘I work, but once you’ve stopped working on a marine, it’s the devil afterwards – very difficult; it changes all the time and here the weather varies several times in the same day. And the business, how are they, what do they say at Durand?’ … tell me where we are with ‘la société‘. (R127I,no76;R116I,p142)

1874/02/01,  Camille Pissarro to Duret:
‘The effects of the Drouot sale*… People are very surprised that a canvas of mine can go for as much as 950f’ (R116I,p142;R434I,no32)
Note*: this concerned the Hoschedé sale 1874/01/13 that included 6 paintings of Pissarro including PV37+?158+195.

1874/02/20,  Camille Pissarro to Dr. Gachet:
Pissarro wrote again on the health of his daughter Jeanne* (born 1865/05/18) ‘… she is very weak … Of necessity we follow the treatment you prescribed…, but I don’t see any real change in the patient’s overall state’. (R116I,p143;R434I,no34;R218) Camille had written Dr. Gachet several time concerning her health.
Note*: Jeanne would die 1874/04/06 so just 9 days before the opening of the 1st ‘impressionist’ exposition. Piette also signed the death certificate. Zola and Rouart offer their condolences. (R116I,p143)

1873, last days of March*, Degas to Félix Bracquemond:
‘A ticket from Burty tells me that, he has made out of you, yesterday, a new follower… and that you want a meeting to discuss things. First of all: we open the 15th. So one also has to hurry. At the 6th or the 7th, or even a bit later, but in time, so the catalogue can be delivered to be finished before the opening day.’ Degas suggests a meeting on Thursday and assures ‘you will give us joy’. Adding ‘Manet, stirred up by Fantin and upset by himself, is still straining, but from this site nothing seems definitiv.’ (R439,p58/9)
Note*: Graber dates this letter at the start of April, but as this Thursday must by the 2nd of April (the 9th would be to late) and Degas isn’t talking about tomorrow, it probably was written 30 or 31 of March.

1874/04/01, Monet to Manet, from Argenteuil:
Monet asks for 100fr to pay Mme Aubry. (R127I,no77)

1874/04/02, Manet from Paris to Duret:
‘Here’s the letter I’ve had from Monet. My rent has cleaned me out and I can’t do anything to help him -can you give the 100 francs to the bearer of the picture?’ (R213,p169)

before 1874/04/15, Renoir to Philippe Burty:
‘… I’m not yet finished with this complicated hanging*.’ (R430,p50)
Note*: Renoir was in the hanging committee of the 1st ‘impressionist’ exposition.

1874/05/05,  Camille Pissarro to Duret:
‘Our exhibition is going well. It’s a succes. The critics slate us and accuse us of not studying.’ (R116I,p144;R434I,no36)

1874/05/27 Wednesday, Monet to Manet, from Argenteuil:
Monet pays back the 100fr. The two large marines are with Faure: on the first day I will carry le Déjeuner. (R127I,no78)

1874/06/01,  Camille Pissarro to Duret:
Pissarro writes how hard it is to find buyers, ’the rare man who likes modern painting…’ (R116I,p144;R434V,no.2087)

1874/06/24, Cézanne to Camille Pissarro:
Cézanne apoligised for leaving Paris in such a hurry and not to visit Pissarro in Pontoise before leaving. (R116I,p144;R437,p119/120)

1874/07/16, Auguste de Molin to Camille Pissarro:
Auguste de Molin wrote ‘On receipt of your last letter but one, I wrote at once to Mr. Arosa … he is entirely under the influence of G.* and only acts on his advice…’ (R116I,p145)
Note*: G. stands probably for Paul Gauguin.

1874/07?, Piette to Camille Pissarro:
‘What do you mean, ‘you’re on the point of fleeing to Belgium?’ (R116I,p145;R436,p114)

1874/08/22, Baudry to Camille Pissarro:
The collector Étienne Baudry wrote Pissarro, promising to help him find buyers for his works. (R116I,p144+CCP306)

1874/09/26, Cézanne to his mother, from Paris:
I have to work all the time. (…) People generally appreciate more a work that is finished, … than it is … no art. (R48,p141)

1874/10/05: Alfred Meyer to Camille Pissarro:
‘I’ve been working for 3 days, consulting documents and drawing up the statutes for the cooperative society we talked about. (…) You will compare it with the little book of statutes of our defunct society and you will get an idea of the organisation that must underlie a serious society if it is not to founder. (…) We will take whatever steps you feel need to be taken to gather up the debris of our ex-association, which is unlikely to come together again for quite some time.’ (R116I,p145/6)
Note: Alfred Meyer started the ‘Union‘ as an alternative for the Société… .

1874/12/11,  Camille Pissarro to Duret from Montfoucault:
‘I’ve received a letter from Baudry here, asking me whom he might address to see my paintings at the rue Berthe. I asked him to write to my friend Guillaumin, whom I have entrusted with my little affairs. I’ve done quite a lot of work here, I’ve been tackling figures and animals. I have several projects for genre paintings…’ (R116I,p146/7;R434I,no38)

1874/12/?, Duret to Camille Pissarro:
‘I urge you to push further and further along the path you’ve been exploring lately, teh association of man and animals in an open-air landscape. That is the modern path, and it is there that you will find the best use for your distinctive qualities.’ (R116I,p147)

1874/12/14, Duret to Camille Pissarro:
‘As for the public and the tide of collectors, dilettantes and critics, it’s always the same old love of mediocrity, banality, dexterity. You have to put up with human stupidity and make do with the approval and clientele of a small, restricted nucleus. I know it’s annoying when the question arises of the need to balance one’s budget.’ (R116I,p147)

 

1875:

1875,letters of Berthe Morisot to her sister Edma:
‘… it is the prettiest place for painting, …, but it is difficult. People come and go on the jetty, and it is impossible to catch them. It is the same with the boats. There is extraordinary life and movement, but how is one to render it? … I shall have to make a watercolour of it, for I shall never have the courage to set up my easel to do it in oil. … I set out with my sack and portfolio, determined to make a watercolour on the spot, but when we got there I found the wind was frightful, … these people who live on the water do not even see it. That has made me give up whatever illusions I had about the possibility of success in England.’ (…) ‘… we are only humble folk, too insignificant to mingle with this fashionable society. … the little I have seen of it, seems to be as dull as it is wealthy. … I am horribly depressed tonight, tired, on edge, out of sorts, having once more the proof that the joys of motherhood are not meant for me. … My work is going badly, … I don’t know where to start. I made an attempt in a field, but the moment I had set up my easel more than 50 boys and girls were swarming about me, shouting and gesticulating. … On a boat one has another kind of difficulty. Everything sways, there is an infermal lapping of water; one has the sun and the wind to cope with, the boats change position every minute, etc… I always forget to tell you that Eugène has a great feeling for you; …’ (R368,p105-107)

1875?, Renoir to Duret:
Fragments from several undated letters, maybe written in 1875 (R430,p54)
‘Everybody is letting me down for my rent. I’m extremely annoyed.’
‘I am in trouble this morning for 40 francs, which I don’t have. Do you have them or a part?’
‘I am completely broke.’
‘Can you give me a little money…’

1875/01/03,  Camille Pissarro at Montfoucault:
Pissarro drew up a will in which Cézanne, Guillaumin and Piette are named as executors. (R116I,p147;R434I,no39)

1875?/01/23, Monet to Manet, from Argenteuil:
Monet asks to lend him at least 50fr. His wife will come by tomorrow and he hopes to sell a work to the dentist Verdier. (R127I,no79)

1875/03/24ca, Piette to Camille Pissarro:
‘You were wise, Pissarro, to have held aloof from these struggles which tear one’s heart to pieces and empty one’s purse – for the benefit of the auctioneers at the Hôtel Drouot*.’ (R116I,p148;R436,p119)
Note*: 1875/03/24 Renoir, Monet, Morisot and Sisley had auctioned  73 of their works at Hôtel Drouot. They received very low prices.

1875/05/07, Monet to ? from Argenteuil:
Have you done the business with M. Hoshedé concerning the sale of the white painting? It is possible that the law summons me to pay 500 francs. (R127I,no80)

1875/06/02, R. Pissarro from Paris to Dr. Gachet:
Probably the mother of Camille expresses her sympathy to Dr. Gachet for the loss of his wife and mother of his children at the age of 32. (R218)

1875? summer, Wednesday, Edouard Manet to Duret:
‘I went to see Monet yesterday and found him in despair and absolutely broke. He asked me to find someone who would take between ten and twenty pictures of their choice for 100 francs apiece. Shall we do the deal ourselves, putting up 500 francs each?’ (R213,p175)

1875? summer, Friday, Edouard Manet to his brother Eugène:
‘I’ve seen Monet recently and he’s absolutely broke; he wants to get hold of a 1000-franc bill and for that he’s offering 10 pictures of one’s choice. If you have 500 francs at your disposal we could do the deal together… I know that with 5 paintings that I could dispose of for a profit of at least 100 francs…’ R213,p175)

1875/10/01,  Camille Pissarro to Duret:
‘I’m in a real financial quandary, as I am every year around this time. I’d be very grateful if you would send me the remainder of what you owe me – it’s my only source of income while waiting to sell a painting when the collectors return to Paris.’ (R116I,p148;R434I,no42)

 

1876:

1876??, Renoir to Victor Chocquet:
Renoir cancelled a country excursion. ‘I suddenly get a portrait of a girl to do, someone leaving in 10 days.’ (R430,p57)

1876, Monet from Argenteuil to Durand-Ruel:
Monet asks help concerning 3 pictures ’that I had at Nittis and that I was told belonged to M. Portier are with Heiman, Nittis’s son-in-law, who wants to sell them’. (R435I,p219=no1)

1876/02/05, Renoir and Rouart to Caillebotte (letter 1), from Paris:
It seemed right to us to renew the common attempt for a private exposition, for this case we have consulted M. Durand-Ruel, who will lend us two rooms including the largest one. We would be very glad to see you associate with us in this new attempt.
Fees: 120fr per exhibitor, to be paid till 23 February to M. Durand-Ruel. Opening: next 20th of March. Duration: one month. For further information you can address to M. Durand-Ruel. We urge you to answer in return to one of us if you want to be one of us. (R102,p273)

1876/02/07,  Camille Pissarro to Duret:
‘I haven’t managed to make enough this month to pay my rent in Paris*… If you could possibly give me the 150 francs on the picture you bought from me… Unfortunately, I’m not selling enough to live on.’ (R116I,p149;R434I,no44)
Note*: Pissarro rented a pied-à-terre in 21, rue Berthe from July 1873 till the Autumn of 1876 (R116II,p54).

1876, April,  Camille Pissarro to Murer:
Pissarro wrote on the 2nd ‘impressionist’ exposition ‘… a group of artists have come together to exhibit their work because the juries were systematically preventing them from showing their pictures to art-lovers and to the public. As a matter of principle, we didn’t want a school: we like Delacroix, Courbet, Daumier and all those who have guts, and (we love) nature, the open air, the different impressions we feel, all the things we are concerned with.’ (R116I,p150/1;R434I,no615)

1876/07/02, Cézanne to Camille Pissarro:
‘If I may say so, your letter is tinged with sadness. The painting business is at a satndstill, I rather fear that this has cast a shadow over your morale, but I’m convinced it’s only momentary.’ (R116I,p151;R437,p126)

1876, July, Cézanne to Camille Pissarro:
Cézanne wrote about L’Union, the co-operative society initiated by Alfred Meyer of which they were both member. ‘I hope the exhibition of our cooperative will be a flop if we have to exhibit with Monet. … Meyer, who doesn’t have in hand the elements needed to succeed with the members of the cooperative, seems to me to be becoming a nasty little squirt who, in overtaking the Impressionist exhibition, is trying to do it harm. He could tire public opinion and cause confusion. For one thing, too many successive exhibitions strike me as a bad thing; for another, people who may think they are going to see the Impressionists will only see members of the cooperative. A cooling-off. But Meyer must be very set on harming Monet. … By Monet I mean the Impressionists.’ (R116I,p151;R437,p127/8)

1876, July, Tuesday, Edouard Manet from Rottembourg Montgeron to Eva Gonzalès:
‘I’ve started lots of things that I probably won’t be able to finish. – a portrait of the master of the house and his daughter, but I can never get him to sit for it, he’s always in Paris. A portrait of Carolus Duran who is our neighbour in the country.’ (R213,p180)
Note*: Manet stayed at the estate of Ernest Hoschedé. He refers to the portrait of Ernest and his daughter (RW246) and of Carolus Duran (RW245).

1876/07/23, Guillaumin to Camille Pissarro:
‘Why are you always doubting yourself, you should rid yourself of this affliction. I know very well that times are hard… The utmost anarchy reigns in the opposite camp, and the time is nigh when our enemies will be overthrown.’ (R116I,p151)

1876/08/12, Guillaumin from Paris to Dr. Gachet:
Guillaumin writes he has problems with an old creditor and he still lacks 50fr. ‘could you advance it to me?’, he promised to pay it back 2 or 3 times at the end of the year. (R218,G4)

1876/09, Eugène Manet to Berthe Morisot:
Eugène speaks of a ‘gang of painters in dire straits’, including Pissarro. ‘The dealers are glutted… Let’s hope the buyers will return.’ (R116I,p151)

1876/09/02, Guillaumin from Paris to Dr. Gachet:
Guillaumin confides his problems with Murer, which started since the feast of his sister Melle Marie and who didn’t come to his aid: ‘So I won’t be going to see him for some time…’ He also confided ‘I realised in time that I was seeing Melle* with to much pleasure, that I was not far from being torn apart… you understand it is better being firmly resolved to observe complete celibacy…’ (R218,G5)
Note*: maybe Miss Marie Meunier, the sister of Murer or maybe a Miss W.
Before or afterwards Guillaumin writes to Murer:
‘I return the gift you have send me; you have to know that I can’t except it.’ (R218,G9)

1876/10/05, Thursday,  Cézanne to Dr. Gachet:
Cézanne apologizes that he can’t come to the invitation ‘of this nice reunion’. ‘Guillaumin who you will see this evening, and whom I did meet yesterday Wednessday at Issy, can tell you about my condition.’ (R218)

1876, Autumn, Camille Pissarro to Murer:
‘Last night I talked to you about a painting I have at Pontoise representing a seated … robust peasant woman … studied at length (CCP480) … I should be only too happy to sell it to you, being in urgent need … of money to send to Pontoise. (…) I’m throwing all my ballast overboard, for these studies were dear to me.’ (R116I,p152+CCP480;R434,no46)

1876, Autumn?, Camille Pissarro from 18bis, Rue de l’Ermitage to Murer:
Pissarro informed Murer his pictures were now stored at his mother’s appartement 42, rue de Paradis. Murer wanted to exhibit some in his pastry shop. Pissarro wrote ‘I think you’d be better-off showing everything, even the big paintings… if something is missing needed to make up the 10 paintings, others can be brought along. (…) I reserve the right to exhibit any paintings that might be sold.’ (R116I,p152+156;R434I,no47)

1876/11/26, Caillebotte (letter 2) to Camille Pissarro:
It goes without saying that everything I have of you is always and entirely at your disposal. … your painting will be sent with mine. You can count on me. (…) I would like to visit you in Pontoise, Thursday or Friday for example. I will take the train of 11.25h. (R102,p273)

end of 1876??, Guillaumin from Ile St.-Louis in France to Dr. Gachet:
Guillaumin again and again hoped for a bargain to be able to pay back Dr. Gachet, but ‘I seem to be counting too much on Providence’. He suggested to pay it of in small portions of 15fr. (R218,G7)

 

1877:

1877?, Piette to Camille Pissarro:
‘I received your painful letter yesterday, … I .. see if I can scrape a few pennies together in Paris… It’s not possible that your work be seized by creditors…’ (R116I,p153;R436,p132/3)

1877?, Piette to Camille Pissarro:
‘I think that with your skill you should succeed admirably in making decorated pottery – rapid, lively, like your drawings with highlights or your watercolours.’ (R116I,p152;R436,p133)

1877??, Renoir to Georges Charpentier:
Renoir sent Charpentier numerous pleas for money. ‘I will ask you … for the sum of 300 francs… it is the last time… be kind enough to thank Mme. Charpentier very much on behalf of her most devoted artist, and tell her that I will never forget that if one day I finally make it, I will owe it to her…’ (R430,p64)

1877/01/24, Caillebotte (letter 3) to Camille Pissarro:
‘I take your large painting (CR123=CCP207) at the price you asked. Unfortunately I can’t give nothing for the small one… Do you want me to take it in exchange of the one of Paris. … We are very annoyed regarding our exposition. The location at Durand-Ruel is rented entirely for a year… But we do not despair; already several combinations offer opportunities. The exposition wíll take place…’ (R102,p273;R116I,p153+CCP207)

1877?, Caillebotte (letter 4) to Duret:
‘I’ll be at home tomorrow Monday at 5 o’clock… but I will depart tomorrow evening for London…’ (R102,p273)

1877/02?, Caillebotte (letter 5) to Camille Pissarro:
Would you come next Monday for dinner at my home? I’ve been in  London and I want to tell you certain things concerning a possible exposition. You will encounter at my home Degas, Monet, Renoir, Sisley and Manet. I count absolutely on you.’ (R102,p273;R116I,p153/4)

1877/?, Piette to Camille Pissarro:
‘I was pleased to learn that M. Caillebotte bought some paintings from you…’ (R116I,p153;R436,p135)

1877?/02/19, Renoir to Murer:
Concerning the portrait of his sister Marie. (R218,no49)

1877/02/25, Renoir to Murer:
Renoir cancelled his attention ’tomorrow’ to the next dinner at Murer on Wednessday the 26th. He mentioned the death of Margot (1877/02/23 or 24) a model of Renoir (R218,no50, see also no.52). Renoir often wrote letters to cancel these dinners, see no.51, 55/52, 56/53. Several times this was because he visited his mother in Louveciennes.

1877/02/24, Guillaumin from Paris to Dr. Gachet:
‘… We all count on our next exhibition#. … Which will take place the 1st of April … the assumed location will be at the site of the old Opera in a specially build baraque, but that’s all I can tell you. … the expenses … will be done be 2 or 3 capitalitst from the gang. … It will be payed back by the entrance fees, and when there is a loss, this will be satisfied by the exhibitors.’ He makes clear that the exposition is ‘manufactured’ at Renoir‘s, 35, rue St.-George. ‘Cézanne always works at him and a lot. (…) You know that the exposition of the Société l’Union is open at the Grand Hôtel. We were supposed to be present, Pissarro, Cézanne and I; at that last moment we have given our resignation’  (R218,G6; R430,p74)

(Spring) 1877, Renoir and Caillebotte (letter 6) to Berthe Morisot:
Madame, We hury to announce you that we are going to rent an appartement, 6 rue de Lepelletier, for our exposition#. We are pleased to think that you would well like to take part as normal. We will keep you informed on everything that will be down. In any case, we will make you part of the reunion we will hold Monday at 5 o’clock at M. Legrand, 22bis rue Lafitte. Yours faithfully, Madame, be assured of our deepest respect.’ (R102,p273)

1877/03/19, Edouard Manet to Albert Wolff:
My friends Messrs Monet, Sisley, Renoir and Mme Berthe Morisot are going to hold an exhibition# and sale at the Salle Drouot. One of these gentlemen will bring you a catalogue and invitation, and has asked me for this letter of introduction. You may not care for this kind of painting yet, but some day you will. Meanwhile it would be nice of you to say something about it in Le Figaro.’ (R213,p181)

1877/03/25, Guillaumin to Dr. Gachet:
‘The exposition# is the 5th of April, each one takes a part of 350fr as a guarantee. The offices reste with Renoir, who is at the head together with Caillebotte.’ (R218,G8)

1877/03/26, Piette to Camille Pissarro:
‘It’s Monday, then, that we shall go to our salons*. (…) I fear it will be rather difficult to have anything other than dark corners; the nice spots will be taken by Renoir and Monet. … I’d be in favour of giving pride of place to works of capital importance by Renoir, Monet and Pissarro. But I wouldn’t want all the nice spots going to Renoir and Monet: if they put all their works there, they should also put some in the darker rooms; that way, there will be a place in the sun for everyone.’ (R116I,p154;R436,p137)
Note*: meaning the 3rd ‘impressionist’ exposition in which Piette did join for the first time.

1877/04/21, Rivière to the women in L’Impressionniste, no.3:
‘You attended, Madame, the exhibition of the Impressionists#… you saw there portraits of women, I am too gallant to insiuate that they are flattering… and you would like to have in your own home a ravishing portrait in which the charm that floods your dear person would be found. But you have a husband… who may be a Republican, becomes enraged at a revolutionary* who sows discord in the field of art…’ (R430,p74+78; R435II,322)
Note*: Rivière is referring to Renoir.

after 1877/05/28, Piette to Camille Pissarro:
‘It pained me to see in your letter about your run of ill-luck, particularly that of your auction at Drouot*. If Drouot chimes in -if … the undecided public also becomes indifferent to auctions of paintings- all that will remain for us is to head for the open sea.’ (R116I,p155;R436,p141)
Note*: Pissarro had auctioned works at Hôtel Drouot; Piette himself had done so several times, including 1877/03/24.

1877/06, Monet to de Bellio:
‘I am as unhappy as could be, they are going to sell up my possessions… with 500 francs, I could save the situation. I have about 25 canvasses at my place and at M. S’s. I will sell them to you for this price. By buying them, you will save me.’ (R368,p239)

1877/09/30, Dr. Gachet from Auvers-sur-Oise to Murer:
Paul Gachet presents himself as artist painter and art columnist. ‘I’d like to take this opportunity to say again the pleasure it has been to meet you…’ Gachet refers to the ‘Rosette d’Officier de la Légion d’Honneur‘ that will be given to Murer. (R218)

1877/10/08, Murer from Paris to Dr. Gachet:
‘And now let me observe, with a certain pleasure, and our friend Guillaumin, that you are one of the rarest persons, in times of difficulties or ambarrasments, on which one can always count upon. … I render to you 2 canvases of Pissarro… I have seen Sisley, he asked me to tell you to see his paintings at Legrand and to visit him. (…) Reassure yourself in case of Paul and my pack; the devastation the last time wrought on your home obliges me to leave them at home from now on; … don’t forget you have Boulevard Voltaire…’ (R218)
Note: In another undated letter to Murer from Sisley (7, avenue de Bellevue at Sèvres (Seine-et-Oise), he regrets he can’t attend his invitation and neither can’t except his proposition, hoping to make a more beneficial deal. He asks Murer to pass unto Dr. Gachet that he can see his paintings at Legrand. (R218,S4)

1877/10/22, Murer from Paris to Dr. Gachet:
‘Pissarro has left Saterday to search canvases of which you can chose one for your brother… At his departure, he asked me 50fr which is the price for the painting … he couldn’t return to Pontoise, without money for the furnishers. … I took from him a painting for this price. … I bravely discussed the painting that Pissarro owes you… It is … a bank of a water with boats and some houses in the background. … It’s a work of which he is dissatisfied, wanting it to distroy… Leave it with me for some time… I want to show you my lastest Sisley, further on an extraordinairy drawing of master Cézanne and another of Delacroix.’ (R218)

1877/10/24, Wednessday, Dr Gachet to Murer:
Dr Gachet complained about a painting that Pissarro was supposed to have deliverd to him for over a year now. ‘Pissarro told Cézanne: The doctor needn’t worry about my painting. I’ll give it to him, but I can’t do it now because of my wife. …… and I don’t ever want to hear about this Jewishness again.’ (R116I,p156; R218)

1877/11/05, Murer from Paris to Dr. Gachet:
‘Thursday one o’clock the drawing of the lottery will be revealed.’ Murer invites Gachet for the lunch, where Sisley, Pissarro and Guillaumin also will be present. He also wants to show him,  and Mr. Laurant-Richard, some magnificant Sisley’s. (R218)

before 1877/11/08, Murer to Camille Pissarro:
Murer announced the sending of 4 canvasses and announced to send an extra 2 small canvasses tomorrow. He suggested to put ‘cheap frames round them so that they’re presentable.’ The works were meant for a lottery. (R116I,p156)

1877/10/13, Camille Pissarro from 18bis, rue de l’Ermitage Pontoise to Murer:
Pissarro informed that most of the ‘lottery tickets’ were sold by his relatives, namely Louis Estruc and Jules Cardoze. (R116I,p156;R434I,no49)

1877/12/18, Tuesday, Monet to Murer?:
He hoped to see Murer? tomorrow at 17, rue Moncey ‘maybe you will find something after your taste’ (R218,M1) In another undated letter Monet announced his visit the next day. (R218,M6)

1877/12/20, Monet to Murer:
‘Receipt of M. Murer of the sum of 200fr, price for 4 canvasses of 10 or 15.’ (R218,M5)

1877/12/23, Père Martin to Camille Pissarro:
Père Martin asks the support of Pissarro for an auction organised by M. Dollfus on behalf of the poor in the 6th arroundissement. (R116I,p156)

Note#: the 3rd ‘impressionist’ exposition.

 

1878:

1878/?, Wednessday, Camille Pissarro from Paris to Murer:
‘I don’t know if I can come this evening, I will do my best, anyway, so come tomorrow to see the paintings that I have brought with me.’ (R218XIX)

1878/?, Wednessday, Camille Pissarro from Pontoise to Murer:
‘I regret I can’t profit from the occasion to see my friend Cézanne.’ (R218XX)

1878/01/08,  Monet to Murer?:
‘…we have to move the 15th without knowing where to go… can I come to see you? … My best greetings to Mademoiselle your sister…’ (R218,M7)

1878/02/09, Saturday,  Monet from 17, rue Moncey to Dr. Gachet:
‘… we don’t have a penny, and we lack several primairy nessicities. … Would you send me again 100fr and soon visit me in Paris, so I can pay you with a picture…’ (R218,M2)

1878/02/15,  Monet to Dr. Gachet:
‘I received your letter and also your sending of 50 francs. … Every Friday, you can surely find me in my studio 17, rue Moncey. Also you can meet me the other days, 26, rue d’Edimbourg, at our home; it is close to the rue de Rome.’ (R218,M3) In another undated letter Monet asked again for 100fr to pay the remover. (R218,M4)

1878/02/15, Sisley from Sèvres to Murer:
Sisley wrote about a painting Murer took from the art-dealer Legrand. ‘This painting is much more important than the one I wanted to give you, to repay the advance payment of 100fr that you have given me. It was agreed for two canvanses of 8.’ (R218,S2)

1878/02/27, Wednessday,  Monet to Dr. Gachet?:
‘Don’t forget that we have appointed to meet, the day after tomorrow, Friday, 8 o’clock, point Ste Eustache, at least when it doesn’t rain to much.’ (R218,M9)

1878/04/11,  Monet from 26, rue d’Edimbourg to Murer:
‘… in my situation, one doesn’t do what one wants. (…) my wife gave birth to a beautiful son*‘. Monet explains he now he to look after his son who is ill, which makes it impossible to paint. (R218,M10)
Note*: their son Michel was born 1878/03/17.

1878/06/27, Murer to Dr. Gachet:
Murer invites Gachet for a lunch ‘under an arbour’ and than wants to show him a new picture of Renoir, quite nice as Pissarro said. (R218)

1878, September or October, Edouard Manet to Duret in England:
‘I met several Impressionists yesterday and your great expectations have filled them with hope which they can certainly do with, because the press is still undecided. Monet arrived yesterday with many excellent canvases…’ (R213,p182)

1878/10/24, Sisley from Sèvres to Murer:
Sisley announces he doesn’t sign the paper Murer included in his letter, because they seem to obtain terms he hasn’t seen yet. (R218,S3)
In another undated letter he declines a meeting because he is ill. (R218,S5)

1878/10/27, Murer from Paris to Dr. Gachet:
Murer wrote a short letter on this Sunday in which he was very busy. (R218)

1878/12/16,  Monet from Vétheuil to Murer:
A letter about encounters with Murer and Dr. Gachet and about them choosen pictures from Monet. He also writes ‘… at these conditions, I’d need it for sure, to re-sign myself to starvation…’ (R218,M11)

1879:

around 1879, Degas to Félix Bracquemond:
‘You might have thought, that I did draw a lot in the city; but I work in my studio at least 2 or 3 hours a day.’ (R423,p108;R439,p44?)

1879*, Sunday, Degas to Caillebotte (letter 16):
I had contact with Rouart this morning – Gare d’Orléans, deal completed with Dupont 3200. Wait for my return. Rouart.
Well, master Caillebotte, isn’t it working? Tell me seriously!??! Sisley renounced. I have seen Pissarro this morning. Cézanne will arrive within a view days. Guillaumin will see him straight away. Monet knows only one thing, that he will not submit the Salon. Manet has persuaded a lady whom Forain portrayed, that Forain has no place with us… Amen for the little Forain. Mlle Cassatt sees Mlle (sic) Morisot tomorrow and will learn her decision. So, we will be almost sure: Caillebotte, Pissarro, Mlle Cassatt, Mlle Morisot, Monet, Cézanne, Guillaumin, Rouart, Tillot, Levert, Raffaelli (sic), Zandomeneghi, Maureau, Bracquemond, Cazin, Degas, Mme Cazin**. If you have time, come to me tomorrow or, if you don’t got it, come to May’s house tomorrow evening and we’ll have a chat. Write to Bellair when you think that we can’t get anything cheaper. ‘ (R102,p274)
Note*: I assume it was written before the start of the 4th ‘impressionist’ exposition that started the 10th of April.
Note**: Cézanne, Levert, Maureau, Raffaëlli and M+Mme Cazin didn’t join in 1879.

shortly before 1879/01/09, Renoir from 35, Rue St.-George to Dr. Gachet:
Renoir argues Gachet to come next Thursday. (R218,no41)

after 1879/01/17, Renoir to Dr. Gachet:
Shortly after Gachter had a train accident. (R218,no45)

1879/01/?, Renoir to Dr. Gachet:
Renoir informed that Dr. de Bellio had visited him concerning an illness. (R218,no46)

End of 1879, Degas to Félix Bracquemond:
Degas mentions that Ernest May wants to pay 1.500 instead of 2.000fr for the old drawing of Bracquemond (now in the Louvre). Degas mentions that May is married and bought a new home and wants to arrange his small collection in a gallery. Degas asks Bracquemond to tell Haviland that Cassatt asks 300fr for her small painting. ‘Pissarro is charming in his eagerness and trust…*‘ (R439,p59)
Note*: Degas refers to the project ‘Le Jour et la Nuit’.

End of 1879, Degas to Pissarro:
Degas describes a new printing technique on thin copper plates, to ‘print the uncovered parts with porous, in watercolour soaked wood’. (R439,p59/60)

1880:

1880/03/08,  Monet to Théodore Duret from Vétheuil:
‘Since you are one of those who have often advised me to expose myself once more to the judgement of the official jury, I must tell you that I am indeed going to subject myself to that very test. I am working on 3 large canvases, only tow of which are for the Salon, as one of the three is too much a thing of my own taste for me to send it and have it rejected, so in its place I’ve had to do somthing more sensible, more bourgeois. I’m taking a considirable risk, and I’m being treated as a turncoat by the group… but I think I’ve made the right decision, since I’m more or less certain to do some deals, particularly with Petit, once I have forced open the door of the Salon: I’m not doing this because I want to… our little exhibitions, which are highly preferable to this tawdry official affair. … can you come to my aid? A 100fr would be a great help… I know that you will be coming soon and because I shall have something for you.’ (R368,p240; iR23)

1880, end of March, Degas to Félix Bracquemond:
Degas informs Bracquemond on the 5th ‘impressionist’ exposition, which would start the first of April. He mentions he had a quarrel with the stubborn Caillebotte to put names on the posters or not. Cassatt and Morisot didn’t want to be mentioned on it and he finds it idiotic that the name of Mme Bracquemond isn’t mentioned. Degas mentions that the names of Bracquemond and his wife can be put on the second 1000 posters during the exhibition. With despite Degas refers to the exhibitions of de Nittis and Monet at La Vie Moderne. ‘Probably one will place to large partition panels, one in the middle of the room with the four windows and the other one in the entrance room. On them you can spread your entire inventory of engravings.’ (R439,p60/1)
Probably in this same letter, Degas mentions he tries to improve older works. (R423,p109;R440,p42ca)

before 1880/05/23, Renoir to Murer:
Renoir writes he leaves tomorrow for a week to Nogent-sur-Marne to make a portrait. He also refers to a project on the reglementation of the Salon he did with Murer and which appeared 1880/05/23 in La Chronique des Tribunaux. (R218,no57)

 

1881:

1881/01/17,  Camille Pissarro to Duret:
‘You know full well that the English have never appreciated anything by us!’ (R116I,p132;R434I,no85)

1881/01/24, Caillebotte (letter 23) to Camille Pissarro:
‘What is to become of our exhibitions#? … a show should be composed of all those who contributed real interest to the subject, that is , you, Monet, Renoir, Sisley, Mlle (sic) Morisot, Mlle Cassatt, Cézanne, Guillaumin, if you want Gauguin, maybe Cordey and me. That’s all, since Degas refuses a show on such a basis. … Degas introduced disunity into our midst. It is unfortunate for him that he has such an unsatisfactory character. He spends his time haranguing at the Nouvelle-Athènes or in society. He would do much better to paint a little more. (…) this man has gone sour. (…) He claims that he wanted to have Raffëlli and the others because Monet and Renoir had regeged and that there had to be someone. But for three years he has been after Raffaëlli to join us, long before the defection of Monet, Renoir, and even Sisley. He claims that we must stick together and be able to count on each other (for God’s sake!): and whom does he bring us? In 1876 Lepic and Legros and Mme de Rambure*, 1877 Moreau (sic Maureau) and Mme de Rambure again. Yet he didn’t rage against the defection of Lepic and Legros, while Lepic for example has no talent at all. He has forgiven him, no doubt, Sisley, Monet and Renoir have talent, he will never forgive them. In 1878: Zandomeneghi, (Félix) Bracquemond, Mme (Marie) Bracquemond. In 1879: Raffaëlli, Vidal… The list goes on**, what a fighting squadron in the great cause of realism!!!!’
‘…, you have experienced the same practical demands as they and you haven’t weakened. (…) You know that there is only one reason for all this, the needs of existence. … Although Degas denies the validity of such fundamental reasons… the very one who has talked so much and wanted to do so much has always been the one who has personally contributed the least… The person who shifted the question to another level is Degas… He has tremendous talent… he doesn’t have a great character. … do you want an exclusively artistic exhibition? … If Degas wants to take part, let him, but without the crowd he drags along. The only ones of his friends who have any right are Rouart and Tillot…’ (R368,p171/2;R102,p275/6)
Note*: probably under the pseudonyme Jacques François.
Note**: Caillebotte left out Forain, Lebourg, Levert, Rouart, Somm, Tillot and Vignon and also Cals and Piette who had already died.

1881/01/27, Camille Pissarro to Caillebotte (letter 24):
‘… your letter … concerning the request from Renoir and Monet to be brought back into our exhibition#… I had to take time to reflect. … I must declare myself wholly against your idea of considering the affair purely from an artistic point of view, which is … bound to divide us all. … The only practicable principle, …, is not to abandon colleagues whom one has … accepted… You know me well enough to be convinced that I would like nothing more to have Monet and Renoir, … having left us … not having been successful at the Officiel, making a return to us with conditions laid down… remember that it was he (Degas) who brought us Mlle Cassatt, Forain and yourself: he will be forgiven a great deal. … I haven’t shown your letter but to Mlle Cassatt who shares my view. I will talk tomorrow with Gauguin and Guillaumin.’ (R368,p173/4;R102,p276;R434I,no86)

1881/01/28, Caillebotte (letter 25) to Camille Pissarro:
‘I’am disappointed to see you persist in the view of Degas… Allow me to rectify some points. Renoir and Monet do not impose any conditions… Renoir and Monet … are completely unaware of what’s going on. (…)’ On the remark ‘not to abandon colleagues whom one has .. accepted’, Caillebotte opposes against it that they were imposed. (…) ‘I believe we have enough sense to recognise the talent of those who are most opposed to us in terms of their sentiments, way of seeing things and so on. I don’t know what I will do, I don’t think an exposition# is possible this year. But surely I will not do again such one as last year. The Degas showcase isn’t enough for me.’ (R102,p276)

1881/01/26, Boudin to Durand-Ruel:
Rendering a list of 6 of his works and additional prices varying from 100 till 200fr, starting with no.2. (R435II,p77=no1)

1881/02/15, Monet from Vétheuil to Durand-Ruel:
Monet writes he hasn’t been in Paris for 2 months, but he will arrive the next day and suggests an appointment at his house, 20, rue de Vintimille. (R435I,p219=no2)

1881/02/17, Boudin to Durand-Ruel:
Rendering a list of 8 of his works and additional prices varying from 150 till 250fr. (R435II,p77=no2)

1881/03, Renoir to Durand-Ruel, from Algiers:
‘I shall now try to explain why I am sending to the Salon. There are in Paris scarcely fifteen art-lovers capable of liking a painting without Salon approval. There are 80.000 who will not buy an inch of canvas if it is not in the Salon… I want to make you splendid paintings which you will be able to sell for very high prices. … I have stayed in the sun… to reflect at lenght. I think I have reached my aim… soon I hope to give you the proof that one can send work to the Salon and do good paintings. I therefore beg you to plead my case with my friends. My submitting to the Salon is entirely a business matter. (…) I shall be here for another month. ” (R368,p174/5;R435I,p115/6=no1;R2,p308;R5,p20/1).

1881/03/04,  Camille Pissarro to Durand-Ruel:
First letter of Pissarro to  Durand-Ruel in the second Volume of Venturi 1938/1968. Rendering a list with paintings, gouaches and pastels Pissarro wants to exhibit the 1st of April (at the 6th ‘impressionist’ exposition). (R435II,p9=no1;R434I,no87)

1881/03/08, Monet from Vétheuil to Durand-Ruel:
‘I will leave tomorrow to Fécamp where I will make some marines. At once after my return -that’s within 3 weeks- I will return to Paris and will take the pictures for you…’ (R435I,p220=no3)

1881/03/23, Monet from Fécamp to Durand-Ruel:
Monet asks to send 6 à 700fr to M. Lemarrois, Grand-Quai, Fécamp (Seine-Inf.) (R435I,p220=no4)

1881/05/19, Monet from Vétheuil to Durand-Ruel:
Monet asks to send 500fr to MM. Vieille and Troisgros, merchants in colours, 35, rue de Laval. (R435I,p222=no8)

1881/06/06, Sisley from Ryde, Ile de Wight to Durand-Ruel(?):
Writing on his holiday (R435II,p55=no1)

1881/10/28, Boudin from Trouville to Durand-Ruel:
A more extended letter. ‘I’ve done my best to awaken my colour and most of all to complete my studies on animals. I have forcely neglected the marines.’ Boudin is obliged to Durand-Ruel when he is able to find a more spacious studio with housing. (R435II,p77/8=no3)

1881/11/20,  Camille Pissarro to Durand-Ruel:
‘My merchant in colours, Tanguy, 14, rue Clauzel, has asked me money; would you be obliged to render him the som of 1.300fr…’ (R435II,p10=no2;R434I,no95)

1881/11/21, Renoir to Durand-Ruel, from Naples:
‘… I am still bogged down in experiments – a malady. I’m not satisfied, so I clean things off, again and again. I hope the mania will come to an end; … I do not think I shall bring back very much from my travels. But I think I shall have made progress, which always happens after experimenting for a long time. One always comes back to one’s first love, but with a note added. (…) I’m still making blots… I went to ook at the Raphaels in Rome. … They are full of skill and wisdom. … I prefer Ingres for oil paintings. But the frescoes are admirable in their simplicity and nobility. … I am beginning something. I won’t tell you what…’ (R368,p196; R435I,p116/7=no3)

1881/12/17, Monet from Villa Saint-Louis, Poissy to Durand-Ruel:
‘At last I’ve installed here…’ (R435I,p226=no15)

Note#: This refers to the preparations for the 6th ‘impressionist’ exposition.

 

1882:

1882, January/February, Renoir to Mme Charpentier from L’Estaque:
‘In Naples I received a letter from Deudon, who told me that you had talked a lot about me… the longer I take, the better the portrait will be. … I have perpetual sunshine and I can rub out and begin again as much as I like. That is the only way to learn… I have spent a lot of time in the museum at Naples… Although Raphael did not work out of doors, he definitely studied sunlight because his frescoes are full of it. So all this looking at the outdoors has meant that I now see only the large harmonies, without any longer concerning myself with the small details which put out the sun instead of setting it aflame. (…) I hope to be back at the end of the month. At the latest. I have done several studies of Italy which I will show to you on my return.’ (R368,p197)

1882/01/23, Monday, Renoir from L’Estaque, Hôtel des Bains, to Durand-Ruel:
‘I’ve met Cézanne and we have worked together.’ (R435I,p118=no6)

1882/02/06, Monet from Hôtel Victoria, Dieppe to Durand-Ruel:
‘You must have, or you will receive the two larges paintings that I promised’ (R435I,p226/7=no17)

1882/02/10, Monet from Dieppe to Durand-Ruel:
Concerning the plans for an exposition#, Monet finds it must be done good or not at all. He finds it necessary to be ‘entre nous’. Monet refuses to join when certain persons are involved. First he wants to go on painting in this neighbourhood (he prefers Fécamp above Dieppe), only then he can pick his own paintings and take care of the hanging. He had written Caillebotte yesterday a letter with the same message. (R435I,p227=no18)

1882/02/21, Monet from Pourville to Durand-Ruel:
‘I hope that if you are still angry with me for not having wanted to take part in the exhibition# in the rue Saint-Honoré…’ I work hard and will bring many pictures. Monet asks to send 400fr to Mme Hoschedé, villa Saint-Louis (Poissy) and 3 à 400fr to himself. (R435I,p228=no19)

1882/02/23, Monet from Pourville to Durand-Ruel:
Concerning the plans for an exposition#, Monet mentions that the composition of the exhibitants is the most delicat part. Monet want Renoir and Caillebotte included. ‘Caillebotte… did a lot for the success of our exhibitions…’. He mentions some works he wants to show, namely the ‘chrysanthèmes rouges‘ owned by Caillebotte, a large winter landscape with a setting sun and the large painting with icicles bought by Mme Charpentier at the exposition at La Vie Moderne. (R435I,p228-230=no20)

1882/02/24, Monet from Pourville to Durand-Ruel:
‘… I would like it more to have Caillebotte, than MM. Guillaumin, Vignon and Gauguin reunited…’ (R435I,p230=no21)

1882/02/24, Auguste Renoir from L’Estaque to Durand-Ruel *:
‘Unfortunately I have one aim in my life, which is to raise the value of my paintings. … To exhibit# with Pisarro, Gauguin and Guillaumin is like exhibiting with any old rabble. For two pins Pissarro would invite the Russian Lavrof (the anarchist), or some other revolutionary to join in. The public does not like anything that smacks of politics and at my age I do not want to be a revolutionary. To associate with the Israelite Pissarro is tantamount to revolution. Furthermore, these gentlemen know that I have taken a great step forward because of the Salon. They are in a hurry to make me lose what I have gained. … Get rid of these people and present me with artist’s like Monet, Sisley, Morisot etc., …’ (R368,p175; R435I,p119/8=no9)
Note*: his brother Edmond send it the 26th for him to Durand-Ruel, while Auguste was (ill) in bed.

1882/02/26, Renoir from L’Estaque to Durand-Ruel:
On the preparations of an exposition# Renoir remarks ‘I don’t subscribe in any way to the Pissarro–Gauguin combination’. He refuses to join, but accepts it when Durand-Ruel shows the paintings of Renoir he owns. ‘I’m not going to be “Indépendants”. (R435I,p120/1=no10)

(early) 1882, Renoir to Durand-Ruel:
‘I hope indeed that Caillebotte will exhibit#, and I also hope that these gentlemen will drop this ridiculous title “Indépendants“. I would like you to tell these gentlemen that I am not going to give up exhibiting at the Salon. This is not for pleasure, as I told you, but so as to dispel the revolutionary taint which frightens me… Delacroix was right to say that a painter ought to obtain all honours possible at any cost.’ (R368,p175)

1882, March, Renoir from Alger to Durand-Ruel:
‘There are hardly fifteen connoisseurs in Paris capable of liking a painter without the Salon. There are 80.000 of them who won’t even buy a nose (of a potrait) if a painter is not in the Salon… My submitting to the Salon is entirely a business matter.” (R2,p308;R5,p20/1;R430,p15)

1882/03/14, Monet from Pourville to Durand-Ruel:
Monet informs after the sale at the exposition# and mentions the good article of Chesnau. (R435I,p231=no22)

1882/04/04, Renoir from Alger to Durand-Ruel:
‘I am in need this month of around 2.000 francs’ (R435I,p125=no14)

1882/09/14, Sisley from Moret to Durand-Ruel:
‘I have installed at Moret.’ (R435II,p55/6=no2)

1882/09/19, Monet from Pourville to Durand-Ruel:
(Monet had returned with his family to Pourville the 28 of June, see no.28) He thanks Durand-Ruel for the 1.500fr he send and asks to send his regards to Renoir. (R435I,p236/7=no32)

1882/09/27, Renoir from Guernesey to Durand-Ruel:
‘I hope to return soon, around 8 or 9 October…’ (R435I,p125/6=no15)

1882/11/05, Sisley from Moret to Durand-Ruel:
Sisley mentions his arguments against ‘a series of individual expositions‘. ‘In my view, our interests and yours do not lie in showing a lot of pictures… a joint exhibitionn would be far more effective’. He also mentions ’the public of the Impressionists’.  (R166,p40;R435II,p56/7=no3)

1882/11/10, Monet from Poissy to Durand-Ruel:
Concerning the idea of Durand-Ruel to hold solo-exhibitions, Monet refers to a discussion they had including Sisley, who later wrote Monet. The last one writes that the group expositions are to often repeated, but solo-exhibitions will last endlessly. Monet proposes two exhibitions: one with landscapers and another with Renoir or Degas. (R435I,p240/1=no39)

1882/11/12-14, Monet from Poissy to Durand-Ruel:
‘…I’ve met Pissarro, whom I haven’t seen for a long time. … we spent the evening at the exposition internationale at Petit‘ (where Pissarro exhibited). Most of the works were according to Monet ’trivial and of low value’. (R435I,p241/2=no40)

1882/11/24, Monet from Poissy to Durand-Ruel:
Monet excuses to aks for money again, but his brother, whom he owes 1.500fr since 10 or 15 years, now reclaims it. (R435I,p243/4=no42)

1882/12/18, Durand-Ruel from Paris to Pissarro:
‘I’m sorry that I can’t give you at this moment the money you asked for … I’m completely broke.’ (R435II,p248=no4)

Note#: the 7th ‘impressionist’ exposition.

1883:

1883?, Degas from Paris to Durand-Ruel:
Degas announces that he will receive Saturday 7 drawings, more or less enriched with pastel, and a small painting. (R435II,p98=no2) In other (small) letters he announces he will receive it later ‘I still have to make some necessairy adjustments’. (letter 4) He also asks to send some money.

1883, Camille Pissarro from Osny (près Pontoise) to Durand-Ruel:
Pissarro renders a list of works intended for the exposition in London. ‘Degas is the leader of the Impressionists, if he only knew it! ‘ (R435II,p11/12=no5)

1883/02/15, Monet from Étretat to Durand-Ruel:
(Monet had gone to the Hôtel Continental in Le Havre the end of January (no44) and the 31th lodged at Hôtel Blanquet in Étretat (no.46). ‘I was very pleased to hear that you are satisfied of the Boudin exposition. … I aspect to leave the 21th, because I want to choose myself some pictures at Fauré and at M. de Bellio, in the meanwhile if you could send me the address of a Monsieur Delius, -he has two still lifes that are nice to show.’ There also is a relative of M. Basch, who has a nice little figure painting, that will come out nicely. The brother of Michel Lévy, the painter, has a nice view on Rouen. Monet also mentions a work of his at M. Hayem.  (R435I,p247=no50)

1883/03/26, Sisley to Durand-Ruel:
‘I received the 200 francs from you this morning. Thank you. I am not at my wit’s end, just concerned about my bills at the end of the month.’ (R166,p40)

1883/04/05, Monet from Poissy to Durand-Ruel:
(Monet had returned in Poissy the 5th of March, letter 51.) Monet asks to send 2x 2.000fr. (R435I,p252/3=no54)

1883/05/01, Monet from Giverny to Durand-Ruel:
‘I just heard the terrible news of the departure of our poor friend Manet. His brother counts on me to hold one of the cords…’ (R435I,p254=no58)

1883/05/04, Camille Pissarro to his son Lucien from Paris:
‘I am leaving for Pontoise this afternoon, and am bringing a maid with me. … You will see in L’Intransigeant the account of the burial of our lamented Manet. Antonin Proust said some words full of emotion… Duret left today for London. He promised to look you up… my exhibition. It goes without saying that I received not a few compliments. The ones I value most came from Degas who said he was happy to see my work becoming more and more pure. the etcher Bracquemond, a pupil of Ingres, said … that my work shows increasing strength. … I am much disturbed by my unpolished and rough execution; I should like to develop a smoother technique which, while retaining the old fierceness, would be rid of those jarring notes which makes it difficult to see my canvases clearly except when the light falls in front. … ‘ (R368,p216/7;R434I,no144)

1883/05/09, Camille Pissarro to his son Lucien:
‘I remember only too well, around 1874… Duret telling me with every possible precaution that I was on the wrong path, that everyone thought so… I had reproached myself for the same faults…’ (R116I,p147;R434I,no145)

1883/05/26,  Camille Pissarro to Dr. Gachet:
‘Sisley wants to have his painting depicting le Canal St.-Martin’. Sisley needed it for his solo exhibition at Durand-Ruel and earlier showed it at the Salon in 1870 (no.2651=R396,no17). Gachet bought it for 170fr. (R218;R434I,no154)

1883/05/31, Monet from Giverny to Durand-Ruel:
‘I hope the exposition of Sisley opened with success.’ (R435I,p255=no59)

1883/06/05, Monet from Giverny to Durand-Ruel:
‘I was obliged to build a construction on the banks of the Seine, a hangar to shelter my boats and deposit my easels and canvasses.’ (R435I,p255=no60)

1883, early June, Monet to Pissarro:
‘How goes the Sisley exhibition? I have the feeling that in this magnificent weather everyone must have escaped from Paris’ (R166,p40+52;R127II,p229)

1883/06/12, Pissarro to Monet:
‘Nobody came to my exhibition… As for the Sisley exhibition, it was worse still. Nothing, nothing.’ He also wrote ‘A consignment of our paintings has been sent to an exhibition in Boston… it was an experiment… (…) there was talk of an exhibition in Holland. Durand is constantly active. He is in a hurry to push us forward at all costs… In London, for instance, Durand did a deal with a contractor (Dowdeswell &  Dowdeswell) who simply stacked our canvases up in a room like the Hôtel des Ventes Paris auction rooms.’ (R166,p40+42+52;R434I,letter158,p216/7)
Note: Pissarro refers to the solo exhibitions at Durand-Ruel of himself and Sisley; to international exhibitions in Boston and Rotterdam and to an exhibition in London.

1883/06/12, Murer from Auvers to Dr. Gachet:
Murer asked Gachet if he could lent 3 chambers to Mme Gauguin and her children ‘I think, you know her husband’. Her address was 8, rue Carcelle, Vaugirard, Petit Hôtel – Jobé-Duval. (R218)

1883/06/13, Camille Pissarro to his son Lucien:
‘On your plan, to follow drawing lessons at Legros, I have talked with Degas.’ (R423,p108;R269,p36;R434I,no159)

1883/07/15, Sisley from Moret to Durand-Ruel:
Sisley writes he renders a box with 3 paintings. ‘I count for (the 3) canvases size 10# 250fr, the canvas size that is with you 400fr. And the canvas size 20# that I send you 300fr. … 31 Oct. 1882 I owed you 1.000fr. The 31 Oct. 1882 I send you for 2.700fr in paintings, I received untill 20 December 1.800fr, so there still rests in my favour 900fr.’ (R435II,p57=no4)

1883/07/31, Sisley to Durand-Ruel:
‘I am sending you a crate containing two size 10# canvases and one size 20#. I am counting on 250 francs each for the size 10s, 400 for the size 20 that you have, and 300 for the size 20 that I am sending you now.’ (R166,p40)

1883/08/24, Sisley to Durand-Ruel:
Sisley announced that he was about to leave Moret for Les Sablons ‘a quarter of an hour away from here, where I shall be in better air’ (R166,p40)

1883/09/05, John-Louis Brown to Durand-Ruel:
In this short letter he asks ‘Why is Renoir discouraged?’ (R435II,p97=no1)

1883/10/19, Camille Pissarro to his son Lucien from Rouen:
‘Yesterday I received your letter in which you mention the various works you have begun. let me urge you to complete whatever you begin. … the difficulties that beset one unexpectedly when working outdoors. Here the weather is always changing… I am working on nine canvases… I started a new painting at Le Cours-la-Reine, in the afternoon in a glow of sun (CR602=CCP725*), and another in the morning by the water below St. Paul’s Church. These two canvases are fairly well advanced, but I still need one sessin in fine weather without too much mist to give them a little firmness. Until now I have not been able to find the effect I want, I have even been forced to change the effect a bit, which is always dangerous. I have also an effect of fog, another, same effect, from my window (?CCP731), the same motif in the rain (CR608=CCP732), several sketches in oils, done on the quays near the boats (CR610=CCP733, CR611=CCP734); the next day it was impossible to go on, everything was confused, the motifs no longer existed; one has to realize them in a single session.’ (R368,p217;R434I,no181)
Note*: CR = Catalogue Raissoné of 1939 (=R126); CCP = Critical Catalogue of Paintings of 2005 (=R116)

1883/11/21, Camille Pissarro from Rouen to Durand-Ruel:
‘I hope to leave Saturday morning together with M. Monet de Déville to make a small trip to Petite Dalle, a hamlet that is near to Fécamp…’ (R435II,p13=no8;R434I,no191)

1883/11/21, Sisley to Durand-Ruel:
‘I know business is not exactly booming; but then, again, you have to admit that I don’t make excessive demands… But I have to be sure of getting 500 francs by the end of the month.’ (R166,p40)

1883, December, Renoir from Gênes(?) to Durand-Ruel:
‘We have (almost) seen everything between Marseille untill Gênes. All is superb. … Saint-Raphaël, Monte-Carlo and Bordighera are pure landscapes…’ (R425I,p126/7=16)

1883/12/01, Monet from Giverny to Durand-Ruel:
‘… your paintings are finished. (…) It seems that Pissarro has worked nicely in Rouen.’ (R435I,p264=no79)

1883/12/08, Monet from Giverny to Durand-Ruel:
‘Tell Pissarro that I will be very happy to encounter him in Paris.’ (R435I,p264/5=no80)

1883/12/12, Sisley to Durand-Ruel:
‘I have received the 200 francs you sent me. This is not nearly enough. At the moment I am buying canvases and paints. I have nothing left, and … I shall have to repay what I have borrowed, not to mention my liabilities here. How can you expect me to work? From my point of view, things cannot go on like this.’ (R166,p40)

Note#: size 10 = 38x55cm; size 20 = 54×73; 1883/07/31 Sisley sent The boatyard at Matrat, Moret; view of Moret; Towpath, Loing canal  (R166,p52,note53)

1884:

1884/01/12, Monet from Giverny to Durand-Ruel:
Monet asks 500fr for he will part to Italy, to stay a month in Bordighera, ‘one of the niced places we have in our country. … Please don’t tell anyone of this journey… I want to do it alone: As pleasant as it was for me to make the trip as a tourist with Renoir, it would be just as embarrassing for me to make it as a couple and work there, I’ve always worked better in solitude and from my impressions alone. … Renoir knowing of me departure, would without doubt have the desire to join me and this would be very bad for both of us.’ (R435I,p267/8=no84)

1884/01/21, Camille Pissarro (letter 211) to his son Lucien:
‘I’m also sending you … a book by Proudhon, De la Justice dans la Révolution. … It’s more beautiful than all the crossed bibles!’ (R116I,p117;R434I,no211)

1884/01/23, Monet from Bordighera to Durand-Ruel:
‘There are now a lot more people than I was here with Renoir.’ Monet sends his regards to Renoir, Pissarro and Sisley. (R435I,p269/270=no87)

1884/02/07, Sisley to Durand-Ruel:
‘I have received the 300 francs you sent me. I was counting on more…’ (R166,p42)

1884/02/09, Monet from Bordighera to Durand-Ruel:
‘I don’t know if you are satisfied with the Manet sale, but the little I have heard of it doesn’t seem favourable.’ (R435I,p272=no90)

1884/02/17, Camille Pissarro (letter 219) to his son Lucien:
‘… the new is to be found, not in the subject, but in the way it’s expressed… That’s what Guillemet used to say: after Corot, Daubigny and Jongkind, there’s nothing more to be done. It’s ridiculous!’ (R116,p122;R434I,no.219)

1884/03/09, Sisley from Sablons to Durand-Ruel:
‘I have received the 200fr that you have send me. There is nothing more desagreable that asking for money…’ (R435II,p59=no8)

1884/03/17, Sisley to Durand-Ruel:
‘I have quite a lot of paintings undere way… In ten days or so, I shall bring you some paintings… finished ones, for on that fateful day, 1 April, I shall need a thousand francs or so.’ (R166,p42)

1884/04/08, Monet from Menton to Durand-Ruel:
Monet writes about problems to take his paintings from Bordighera. (R435I,p276/7=no97)

1884/04/13, Sisley to Durand-Ruel:
‘Knowing the difficulty you have in getting paid, I am very sorry to be asking you for money, but after paying my rent I have no penny.’ (R166,p42)

1884/05/03, Monet from Giverny to Durand-Ruel:
‘I can’t wait to hear what you and Mr Petit have decided. …I come to Paris tomorrow, before the lunch with Renoir and M. Clapisson…’ (R435I,p278=no100)

1884/05/15, Monet from Giverny to Durand-Ruel:
‘Renoir wrote me he had given you the advice to sell our paintings cheaply. If that’s going to help you get out of trouble, don’t hesitate.’ (R435I,p278=no101)

1884/05/15, Camille Pissarro from Eragny to Durand-Ruel:
‘I’ve forgotten to ask you if Gauguin hasn’t left some papers concerning my assurance.’ (R435II,p15/16=no11)

1884/06/06, Sisley to Durand-Ruel:
‘I would like to be able to take your advice and just wait. But unfortunately, here as elsewhere, it is impossible to live without money, and I have none left.’ (R166,p42)

after 1884/06/04, Boudin to Durand-Ruel:
Rendering a lists of works and additional prices mostly varying from 200 till 400fr, starting with no.102. 10 livered in December 1883, 35 in January (including 2 large works both priced 2.000fr), 4 June he delivered 10 numbers, but several contained several studies. (R435II,p78-80=no4)

1884/06/09, Durand-Ruel to Pissarro:
‘I would like to be free to go off into the desert.’ (R166,p42)

1884/06/10, Monet from Giverny to Durand-Ruel:
‘I will be in Paris after tomorrow morning with a box with pictures. If Pissarro is in Paris, will you tell him that I will come. I have received a pastel of Manet, but I had preferred something more caracteristic of Manet.’ (R435I,p280/1=no105)

1884/06/21, Monet from Giverny to Durand-Ruel:
‘I’ve seen indeed M. Petit who didn’t hide to me the bad state of the general buisiness…’ (R435I,p282=no107)

1884, Summer, Degas from Chateau du Menil-Hubert, près Gacé (Orne) to Durand-Ruel:
‘I’m going to fill you up with my products from this winter, and you on your turn will fill me up with money.’ (R435II,p100=no6; =no77)

1884, Summer, Renoir from La Rochelle to Durand-Ruel:
‘I beg you to send 200 francs to hôtel d’Angoulême, La Rochelle.’ (R435I,p129/130=no19)

1884/08/29, Pissarro to M. Heymann:
‘I know all too well, alas, that business is at a low ebb; but it is still sad to see how low Sisley has sunk.’ (R166,p42;R434I,no251,p312/3)

1884/10/?, Degas from Dieppe to Durand-Ruel:
‘Every day a make a promenade in the surroundings, which in the end will turn me into a landscapist. But my sadfull eyes refuse this transformation. … Saterday always with Halévy, rue de la Grève, Dieppe’ (R435II,p100=no7; =no78)

1884/10/02, Monet from Giverny to Durand-Ruel:
‘Since 3 July, that’s 3 months ago, you have given me 1.100fr. That’s a lot less than I earned in a single month. … I heard something that worries me, one would have told Pissarro that one had paintings of mine at ridiculously low prices.’ (R435I,p286/7=no113)

1884/10/07, Boudin from Trouville to Durand-Ruel:
A more extended letter mentions he is hindered to go to Paris. He asks to ‘pay off our term due on current 15th (510 francs)’ (R435II,p80/1=no5)

1884/11/10, Monet from Giverny to Durand-Ruel:
‘… I’m busy to modificate some work which I want to give you, and also a large decorative pannel which I promised a long time ago to Mme Manet-Morizot (sic). … Would you be so kind to send me the article on Chavannes and also the one on Degas…’ (R435I,p288=no117)

1885:

1885, J.F. Raffaëlli from Paris to Durand-Ruel:
‘I want to introduce my friend, M. Octave Maus, from Brussels. M. Maus is the secretary and organisator of the nice expositions of Les XX… He’d like to have for next Februar Monet and Renoir to be partakers. … He is passionate for our impressionists.’ (R435II,p139=no1)
Note: At another moment he introduces M. Verhaeren from Brussels, a great admirer of Degas, Monet and Renoir (letter 2).

1885/01/14, Gauguin to Emile Schuffenecker, from Copenhagen:
Note: info will follow (R36,p132)

1885/01/20, Monet from Giverny to Durand-Ruel:
‘I’m in the snow untill my neck, I’m completely into making a serie, I have only one fear, that the weather will change, so I haste myself to work firmly.’ (R435I,p289=no118)

1885/06/09, Durand-Ruel from Paris to Pissarro:
‘I’m always worried about business. Annoyance, that’s all there is to it. I want to be free and go in the desert…’ (R435II,p248=no5)

1885/06/10ca, Monet from Giverny to Durand-Ruel:
‘Concerning Portier and Degas, without doubt you don’t remember, but several times I’ve expressed my desire to have some.’ (R435I,p292=no125)

1885/06/12, Sisley from Sablons to Durand-Ruel:
‘Guillemet is here in Sablons’ (R435II,p60=no9)

1885/06/18, Monet from Giverny to Durand-Ruel:
‘I’m going to be absent for 3 days with Caillebotte, who is in the neighbourhood.’  (R435I,p292/3=no126)

1885/06/20, Monet from Giverny to Durand-Ruel:
‘In line with your wish I haven’t done anything wit Heyman and Portier, in spite of their desire.’  (R435I,p293=no127)

1885, July, Renoir from Wargemont to Durand-Ruel:
‘Hereby my address: Renoir, at Château de Wargemonet, Commune de Graincourt near Dieppe (S.-L.) (R435I,p130=no20)

1885/07/23, Durand-Ruel to Sisley:
Durand-Ruel asks Sisley to make and send small canvasses, size 5 (27×35) or 6 (27×41) (R166,p42+52,note65)

1885, August, Renoir from La Roche-Guyon to Durand-Ruel:
‘I beg you, don’t visit me again. I work alot…’ (R435I,p131/2=no21)

1885, August, Degas from Paramé to Durand-Ruel:
Degas asks to send him some money to ‘Grand Hôtel de Paramé, near Saint-Malo’. (R435II,p101=no9)

1885/09/16, Monet from Giverny to Durand-Ruel:
‘I’m leaving for Rouen and from there we will go to Etretat (to maison Faure).’  (R435I,p295/6=no133)

1885, September or October, Renoir from Essoyes to Durand-Ruel:
Renoir again asks for some money and promises to take some paintings. (R435I,p132=no23)

1885, October, Renoir from Essoyes to Durand-Ruel:
‘… isn’t it preferrable for the Americans, to send some older works, such as les Canotiers, La Loge, and les Pêcheurs de moules.’ (R435I,p133=no24)

1885/10/02, Boudin from Deauville to Durand-Ruel:
A more extended letter, responding the letter of 4 September. ‘And then the public is so hard to convince, it’s become so hesitant in the midst of this diffusion of talent and schools!’ In the P.s. Boudin writes ‘You have I think had a visit form my friend Ribot…’ (R435II,p81/2=6)

1885/10/28, Monet from Hôtel Blanquet, Etretat to Durand-Ruel:
‘What surprises me is that Petit is always against you, especially when it comes to us.’ (R435I,p297=no135)

1885, November, Renoir from Wargemont to Durand-Ruel:
‘I’ve reread your letter to l’Evénement.’ (R435I,p134=no26)

1885/11/05, Durand-Ruel ‘letter on the false paintings’ to the director of ?:
A letter published in l’Evénément, the last in a serie discussions between art-dealers. (R435II,p249-252=no6)

1885/11/05, Monet from Etretat to Octave Maus:
Monet gladly accepts the invitating for exhibiting with Les XX, ‘I would like to show 5 works’. (R435II,p223=no1)

1885/11/07, Sisley to Durand-Ruel:
‘Your two letters in L’Evénement are very good.’ (R166,p43)

1885/11/17, Sisley to Durand-Ruel:
Sisley writes that with the received 200fr he can’t pay of his buther and grocer. ‘I am at my wit’s end.’ (R166,p42/43)

1885/11/30, Renoir from Paris, 37, Rue de Laval, to Octave Maus:
Renoir writes he eagerly accepts the invitating for the next exposition of Les XX. He promises to render the titles of his paintings. (R435II,p227=no1)

1885, around December, Pissarro to Monet:
Pissarro writes he saw Sisley last Monday. He proposed to organise an exhibition ‘selling over Durand’s head’. (…) ‘But the expense of organising it all!’ (R166,p43;R434I,p357/8=no298)

1885/12/10, Monet from Etretat to Durand-Ruel:
‘I’m terrified in learning that several of his fellow enemies have offered M. Petit to sell them all he posesses of our paintings so to put them unframed in a public sale as a reprisal against you… Petit has assured me saying that more than ever he counts for me to join his exposition in the month of May*… For the rest I think it’s not bad in the eyes of the public and the art-lovers we don’t give the impression of being completely under your guardianship and in your hands… That’s not only my advice, but also that of Pissarro and of Sisley who have talked to me about it… (…) On the exposition of the 20 in Brussels**, it’s better for you to stay outside and for me to do it in my name, asking you 1 or 2 paintings that lack, and in the same way Petit.’ (R435I,p300-302=no140)
Note*: meaning the 5th Exposition Internationale des Peinture (et de Sculpture). Renoir also joined in 1886, Pissarro and Sisley in 1887 for the first time.
Note**: meaning the 3rd Salon of Les Vingts (=Les XX) in 1886. Renoir also joined in 1886. Pissarro in 1889 and Sisley in 1891 for the first time.

1885/12/17, Monet from Giverny to Durand-Ruel:
‘I have never had the intention of leaving you nor my friends… our interests are the same… but I have never said that Pissarro, Sisley and I, want to operate on our own.’ (R435I,p302-304=no141)

1885/12/21, Murer from Auvers to Dr. Gachet:
Murer writes about Loutte being ill and about the animals in his house of which Murer takes care in the winter. As he even does he informs after Mlle Chevalier. (R218)

 

1886:

1886/01/03, Renoir to Octave Maus:
Renoir mentions 7 paintings as his sendings (for Les XX) and hopes for an additional 2 more works. (R435II,p227)
The next day he sends a correction. (p228) And later another one (p229)

1886/01/03, Renoir from Paris to Octave Maus:
Renoir renders the titles of 7 works for the exposition of Les XX and mentions two additional works. (R435II,p227/8=no2)
Note: the next day he makes an adjustement and renders 8 titles (letter 3). A bit later he again made some adjustments (letter 4).

1886/01/11, Monet from Giverny to Octave Maus:
Monet sends a catalogue of his works (for the exhibition at Les XX), that will be send afterwards by M. Petit and Durand-Durel, ’10 pictures maybe is a bit much’. He urges to exhibit anyway the work owned by Fauré. (R435II,p224=no2)

1886/01/11, Gauguin from Copenhagen to Schuffenecker:
To the great artist ‘flow the most subtle, and therefore the least tangible sensations and messages tot the brains’. (…) The straight line renders the infinite, the curved line bounds creation… There are noble tones (of colour) and every day tones, calm, conforting and also because of there boldness tantalizing harmonies. (…) Cézanne, the uncomprehended… loves something mysterious in form and of the heavy rest of a human who has layed down to dream; his colour is heavy…’ (R36,p132)

1886/01/21, Renoir from Paris to Octave Maus:
Renoir informs that a box with 3 small portraits are on the way. He asks to return it to: M. Paul Bérard, 20, rue Pigalle, Paris. (R435II,p229=no5)
Note: in the next letter he corrects this, all paintings can be send to Durand-Ruel (letter 6).

1886/03/26, Monet from Giverny to Octave Maus:
Monet mentions he is not able to visit the exposition in Brussels (of Les XX) and asks how it was. ‘I will not be surprised when it was a failure, knowing by a long experience how much trouble we had to make ourselves accepted here by a very small number; so it is very courageous of you to show our works…’ (R435II,p224/5=no3)

1886/04/17, Monet from Giverny to Durand-Ruel fils:
‘I’ve asked your father several times to set up my account… The latest account statement he gave me stops at 2 July 85.’ (R435I,p310=no150)

1886/05/28,  Camille Pissarro from Éragny-sur-Epte par Gisors (Eure) to Dr. de Bellio:
Pissarro writes about his health and that of his daughter Jeanne. Ending with ‘I will soon have the pleasure of meeting you in Paris, I can’t wait to see the effect of the painting of Monet at Petit, that must be splendid.’ (R218)

1886/06/21, Monet from Giverny to Durand-Ruel fils:
‘Since a very long time already M. Troisgros, my colour merchand, asks me to pay his bill of the year 85. Your father always takes care of this… thanks to the exposition at Petit, I could have done very good buisiness…’ (R435I,p314=no155)

1886/06/25, Boudin from Deauville to Durand-Ruel fils?:
In a shorter letter Boudin asks if it is ‘possible to fit us into any sum of money’. (R435II,p82=7)

1886, July, Gauguin from Pont-Aven to his wife Mette (in Copenhagen):
‘One sees me as the greatest artist of Pont-Aven. But I don’t earn an extra penny with it.’ (R36,p132)

1886/07/07, Camille Pissarro from Paris to Durand-Ruel:
Pissarro renders the price list he hopes to receive for his art-works, varying from 3.000fr to 200fr for a drawing. (R435II,p21/2=no27)

1886/07/13, Renoir from La Roche-Guyon to Durand-Ruel:
‘I won’t return to Paris but the 14th or even the 19th.’ (R435I,p134/5=no27)

1886, August, Renoir from Saint-Briac to Durand-Ruel:
‘I’m here for two months. … Maison Perrette, at La Chapelle-Saint-Briac (Ile-et-Vilaine)’ (R435I,p135=no29)

1886, August, Renoir from Saint-Briac to Durand-Ruel:
‘… returning around the 25th of September, I can render excellents works at last the 19th of October.’ (R435I,p136=no30)

1886/08/21, Durand-Ruel to Fantin-Latour:
‘Don’t think the Americans are savages. … I have a lot of success with the paintings one had appreciated in Paris for 20 years. I have sold works of Monet, Renoir, Brown and several others… Now I am organising my new exposition that will open the 15th of October…’ (R435II,p252=no7)

1886, September, Renoir from Saint-Briac to Durand-Ruel:
‘I’m busy finishing two figure paintings, canvas of 15. I think I have finished before the 27th and to render it to you the 28th… I have begged you to send me 300 frans for my return… the 15th of October.’ (R435I,p137=no32)

1886/09/10ca, Monet from (Hôtel de France) Le Galais, Belle-Île-en-Mer (Morbihan) to Durand-Ruel:
‘…they have always been delivered by M. Dubourg at Potier for the exposition at Grenoble. …I was sent a painting which I know belongs to Mme Manet.’ (R435I,p318=no161)

1886/09/25, Monet from Kervilahen, Belle-Île-en-Mer (Morbihan) to Durand-Ruel:
‘I’ve settled in this little hamlet… the surroundings are very beautiful and very wild, but the sea is incomparatively beautiful with fantastic rocks. … I’am working here 8 à 10 hours a day or more. …Renoir has written me…’ (R435I,p318/9=no162)

1886/09/15, Wednessday, Vignon from Jouy-le-Comte to Murer:
Vignon wrote ‘I need 100fr…’ (R218,V1)

1886/10/15, Boudin from Deauville to Durand-Ruel:
Boudin refers to his trip to America and is glad to have been of help. He mentions he will  be in Paris only by the end of the month. ‘Concerning my animal paintings, I have put them aside since two years because the sale his stopped, but I will try to resume some…’  (R435II,p83=8)

1886/11/06, Camille Pissarro from Éragny to Durand-Ruel:
Pissarro writes about an article of Félix Fénéon and modern art theories. (R435II,p24/5=no29a)

End of 1886, Pissarro from Éragny to Octave Maus:
‘I gladly accept your kind invitation for the exposition of les Vingt in Brussels.’ (R435II,p232=no1)

1887:

1887?, Degas from Paris to Durand-Ruel:
‘I send you the large one (La femme devant la glace) this afternoon.’ He asks to send 1.500fr ‘for my terms (’termes’) of the 15th… I’ve made a pastel for Delorière, the merchant that has assigned me the Gavarni.’ (R435II,p102=no11; =p208)

1887/01/03, Camille Pissarro from Éragny par Gisors (Eure) to Murer:
‘So, what has become of these famous visits and these long conversations in the corner near the fire…’ (R218XXI;R434II,no373)

1887/01/10, Camille Pissarro to Octave Maus:
Pissarro mentions 3 paintings as his sendings (for Les XX). (R435II,p232=no2;R434II,no376)

1887/01/14,  Camille Pissarro from Paris to Durand-Ruel:
‘The 15th ends the exposition in Nantes, I’ll be receiving these canvases shortly, one of 15, of 20 and of 25.’ (R435II,p25/6=no31;R434II,no380)

1887/01/21, Camille Pissarro to his son Lucien:
‘At the moment I see only one possibility: to sell mine pastel of Degas. I find it hard to separate from it…’ Camille hoped to receive 500 or 800fr for it. (R423,p109;R269,p104;R434II,no385)

1887/01/25, Camille Pissarro to his son Lucien:
Refering to the pastel of Degas Camille writes ‘… Signac thinks it worth at least 1000fr.’ (R423,p109;R269,p107;R434II,no388)

1887/02/04, Camille Pissarro to his son Lucien:
‘I saw Sisley… He told me that Durand had to sell all the Impressionist pictures to Mr. Robinson…’ On the Exposition Internationale of 1887 he writes ’the Monets, the Renoirs, the Sisleys … (are) very much grouped together’. (R166,p44+46;R434II,p161-3,no421)

1887/03/03, Lucien Pissarro from 42, rue des petites Ecuries, Paris to Murer:
Lucien Pissarro wrote about the drawing he made for a novel of Murer ‘Pauline Lavinia’. (R218)

1887/03/15, Tuesday, Vignon to Murer:
‘I thank you for the readiness that you have send me 50fr. … I have signed, dedicated your setting sun…’ (R218,V2)

1887, early April, Gauguin from Panama (?) to his wife Mette (in Copenhagen):
‘My fame as an artist is growing day by day, but meanwhile sometimes 3 days pass without food…’ (R36,p132)

1887/04/26, Pissarro from Éragny to Octave Maus:
Pissarro apologises not to have informed him of the return in perfect state of his works.  (R435II,p232/3=no3;R434II,no417)

1887/05/12, Renoir from Paris to Durand-Ruel:
‘The exposition at Petit is open and is quite successful.’ (R435I,p137/8=no33)

1887/05/13, Monet to Durand-Ruel:
‘I am convinced that you would have done better to stay here, where you deserved to succeed. (…) More or less all of us are at the Exposition Internationale, where the buying public is giving us a decidedly warmer reception… The firm of Boussod now has works by Degas and Monet, and … will also have Sisleys and Renoirs… Sisley is having a great success with old work.’ (R166,p46)

1887/07/25, Boudin from Deauville to Durand-Ruel:
Boudin congratulates Durand-ruel with his Salon in the United States. (R435II,p83/4=9)

1887/09/12, Vignon to Murer:
‘I have received your very friendly letter … in a language of which the affection sparkles… Paul Alexis has decidedly worked wonders… tell him I await tomorrow the journal he has promised me. (…) The pleasure to be united with you in my barraque in Jouy. For the moment, I work alot, sadly in the mornings, the weather is sad in the evenings. … See here my address: Monsieur Victor Vignon, painter, au Moulin de Morcourt par Crespy-en-Valois (Oise)’ (R218,V3)

1887/09/19, Boudin from Deauville to Durand-Ruel:
Boudin hopes that his paintings will charm the clients of Durand-Ruel (also in New York). He has done some animal paintings in the same measurements as Troyon. He asks to ’to pay our October term’. (R435II,p84/5=10)

1887/10/15, Camille Pissarro to Dr. Gachet:
Pissarro requested Dr. Gachet to visit a sick child in Pontoise. ‘I offer you a small study for the effort.’ (R218XIV)

1887/11/09, Puvis de Chavannes from Paris to Durand-Ruel:
Puvis renders a list with titles and the prices varying from 500 till 12.000 and an average of about 6.000fr. (R435II,p95=5)

1887/12/01, Sisley to Octave Maus:
Sisley writes he doesn’t doubt his liberal ideas on art, but he can’t accept his invitation (for Les XX). (R435II,p241=no1)

1888:

1888/01/?, Saturday, Degas from Paris to Octave Maus:
‘Last year you have invited me and I couldn’t accept; let me do the same again this year’. (R435II,p243=no1)

1888, the End of January, Renoir from Jas-de-Bouflan, Aix-en-Provence to Charles Durand-Ruel:
Can you send me 200 or 300 francs? (R435I,p138/9=34)

1888, end of February, Renoir from Hôtel Rouget, Martigues (Bouches-de-Rhône) to Durand-Ruel fils:
‘I need 500 francs…’ (R435I,p139=no35)

1888, March, Renoir from Martigues to Durand-Ruel:
‘… I received a letter from Louveciennes. Ma mother has a chest inflammation…’ (R435I,p139/140=no36)

1888/03/12,  Camille Pissarro from Éragny par Gisors (Eure) to Murer:
Pissarro reacts on the book of Murer ‘Un quart d’heure d’amour’. (R218,XXV)

1888/03/30, Boudin to Durand-Ruel:
Boudin renders a list of 14 paintings and 9 sized 6. He also notes 6 pannels size 5 and 12 size 3 (studies), all marines. (R435II,p85/6=no11)

1888, April, Monet from Château de la Pinede, near Antibes to Durand-Ruel:
‘Concerning your question on the exposition, I haven’t told anymore in regard of the rue de Sèze…’ (R435I,p326/7=no172)

1888/05/06, Monet from Giverny to Durand-Ruel:
‘…I withdraw from all exhibition projects on rue Lafitte. (…) You have mentioned to me a price for the location of 5.000fr and I learned from Renoir that you have payed but 4.000fr. to M. Van Beers.’ (R435I,p327=no173)

1888/05/17, Sisley from Sablons to Durand-Ruel:
Summing up the list of paintings and pastels for his exposition 1888/05/25 till 06/25 (also with works of Renoir and Pissarro). (R435II,p62=no14)

1888/07/20, Boudin from Deauville to Durand-Ruel:
Boudin writes on his animals paintings which he has left softly, but will retake it more later. (R435II,p86=no12)

1888/09/01, Renoir from Gennevilliers to Murer:
‘I came back from la Champagne to see my son and I return to Argenteuil to finish a lot of things started. (…) I read your booklet… I delivered your book to Catulle-Mendèz, like you wished.’ (R218,no.64)

1888/12/08, Degas from Paris to Octave Maus:
‘Allow me to decline your proposition (to exhibit with Les XX)’. (R435II,p243=no2)

1888/12/10, Renoir from Essoyes to Durand-Ruel:
‘I will return by the end of the month and I will take care of this exposition. … who are the exhibitants?’ (R435I,p140=no37)

1888/12/26, Desboutin from Geneva Durand-Ruel:
Extended letter also referring to his ‘séries de Fragonard’, the bankruptcy of Maison Cadart in 1881, during his first year in Nice. He announces to return to Paris next Spring. (R435II,p72-74=no1)

1888/12/31, Renoir from Essoyes to Durand-Ruel:
‘I think I will return Thursday evening, if my neuralgia allows it. Half my face feels like it’s paralyzed. I can’t sleep nor eat. Friday morning I will bring my belongings to the rue de Rome. … I assume you are closed at rue Laffitte’ (R435I,p140/1=no38)

1889:

1889/01/14, Camille Pissarro to Octave Maus:
Pissarro mentions 6 paintings as his sendings (for Les XX). And shortly afterwards he sends a correction (letter 5). (R435II,p233/4=no4)

1889/02/28, Desboutin from Geneva to Durand-Ruel:
Again an extended letter, also referring to 180 prints now to be seen in a room of the Musée des Arts décoratifs in Geneva. ‘It’s the first time, that I … show this body of my engraving oeuvre…’. (R435II,p74/75=no2)

1889, March, Vincent van Gogh from place Lamartine 2, Arles to Signac:
‘… Thanks again for your visit, which gave me much pleasure.’ (R218,vG2)

1889/04/24, Renoir to Dr. Gachet:
Renoir thanks him for the curation of a bronchitis and also mentions an intended meeting with Murer. (R218,no48)

1889/04/30, Vignon to Murer:
‘I haven’t finished my painting yet… I ask you to send me the 30fr…’ He asks to pass over his thanks for the medication to the ‘docteur’ (Gachet?). (R218,V4)
Vignon also send to undate letters to Murer his sister Mlle Marie Meunier: ‘You have send us a very friendly letter… it is still in Paris at our address rue d’Amsterdam… sadly I’m again suffering. Always the same thing: my heart. Ah! how it makes me feel misserable! .. As usually we stay at Aincourt… I love the country: I’d like it to be old, away from all noise, still full of the past… I also had other reasons to settle here… The winter is quite cold and the business quite bad. … your last letter I received when I find myself Rue de la Glacière 38 at Paris where I have an appartement. After that I left for Britanny; the next year in Normandie … we were near to you in Pourville. The last year we were in Champagne and this year in Aincourt, for a long time I think. (R218,V5) Later he send her a route description to Aincourt. (R218,V6)

1889/05/01, Monet from Fresselines (Creuse) to Durand-Ruel:
‘It is now two months since I enterred this countryside… (…) It concerns an exposition I have excepted to do at Petit, me the only painter and Rodin the sculptor. It’s a big thing. An exposition lasting 3 months during the exposition universelle and in view of the foreign public that will be in Paris.’ (R435I,p330/1=no178)

1889/10/07, Boudin from Deauville to Durand-Ruel:
‘… I’m laying my last hand on several animal paintings… I would be grateful if you would pay my term of the 15th, i.e. 510 francs, which I will credit to your account. I haven’t much news on our exposition. M. Van der Velde only … has acquired two small drawings. … I hope that our success is not limited to this.’ (R435II,p86/7=no13)

1889/10/09, Sisley from Moret to Georges Petit:
Sisley asked for money because he wanted to move to the Rue de l’Eglise in Moret-sur-Loing (R166,p47+53,note91)

1889/10/10, Degas from Darcey (Côte-d’Or) to Durand-Ruel:
‘I will be back in Paris Saturday or Sunday… It seems that the poor Brown wants to revive.’ (R435II,p103=no13)

1889/10/17, Monet from Givery to Henri Charles Guérard:
This letter contained an overview of the contributions people wanted to make to buy the painting ‘Olympia’ of Edouard Manet to be placed in the Musée du Luxembourg. A total of 15.025fr. It included gifts of 1.000fr of de Bellio, Caillebotte, Duret, Monet, Rouart, Sargent. Other gifts were of Bracquemond (90fr), Durand-Ruel (200fr), G. Geoffrey (25fr), G. Petit (200fr), Puvis de Chavannes (300fr), Raffaëlli (100fr).  (iR14, A2011/12/13)

1889/11/20, Sisley from Moret to Octave Maus:
‘You can count that I will show 5 paintings’ (for Les XX). (R435II,p241=no2)

1889/11/20, Renoir from Paris to Octave Maus:
Renoir informs that he rejects the invitation, because he hasn’t ‘enough interesting to show’. (R435II,p230=no7)
Note: a bit later Wyzewa corrects this on behalf of Renoir and informs ‘He is already preparing the works he wants to send to you’.

1889/11/17, Cézanne to Octave Maus:
(R437,p214)

1889/12/21, Cézanne from Paris to Octave Maus:
‘I have addressed at Tanguy to know which of my studies he had soled to M. de Bonnières.’ He mentions 3 titles to exhibit with Les XX: “Etude de paysage” “Une Chaumière à Auvers-sur-Oise“‘, which is not framed, sized 15 and a loan of M. Chocquet and “Esquisse de Baigneuses“. (R435II,p244=no1)

1889/12/25, Renoir to Octave Maus:
Renoir mentions 5 paintings as his sendings for the exposition in Brussels (for Les XX). (R435II,p230/1=no8)

1890:

1890/01/09, Renoir to Murer:
‘I’ve visited your sister.’ (R218,no66)

1890/01/17, Renoir from Paris to Octave Maus:
‘I’m so late because of the dark times that it’s impossible for me to accept your kind invitation.’ (R435II,p231=no9)

before 1890/01/23, Sisley from Moret to Octave Maus:
‘Having agreed on 6 paintings (for Les XX) I am not able to accept to send 2 paintings that I did not even know.’ He had asked Georges Petit to take care of the sending. (R435II,p241=no2)
Note: In the next letter of the 23th Petit hadn’t send anything yet. Sisley is quite annoyed on him. (letter 4)

1890/02/02, Sisley from Moret to Durand-Ruel:
‘You can count on me for the exposition of peintres-graveurs*.’ (R435II,p63=no15)
Note*: the 2nd exposition where Sisley showed 3 paintings and 1 etch.

1890/02/15, Cézanne from Paris to Octave Maus:
‘I thank you for sending me the catalogue of the Exposition of Les XX‘. (R435II,p244=no2)

1890/06/04, Durand-Ruel from Paris to Pissarro:
‘I bought today at the sale of May, 5 of your paintings.’ and sums them up including the prices varying from 100 till 2100fr. ‘I also bought 3 works of Monet and of Manet ‘Femme à la Guitare‘. (R435II,p253=8)

1890/07/04, Boudin from Berck to Durand-Ruel:
Boudin refers to an exposition in Le Havre. (R435II,p87=no14)

1890/08/30, Thursday, Renoir to Murer:
Renoir seems to have moved. He renders his addresses: ‘(Atelier) Villa des Arts (Impasse Hélène) (Avenue de Clichy) and appartment: 13, rue Girardon.’ (R218,no68a)

1890/09/17, Wednessday, Renoir to Dr. Gachet:
Renoir wrote from “la Butte” 13, rue Girardon, l’Allée des Brouillards. (R218,no67)

1890/11/15, Camille Pissarro to Durand-Ruel:
‘I received a letter from the Ministère des Beaux-Arts concerning the engravings sold by intermediation of Burty. It seems that the administration only owes me 89fr. for the following two prints: 1. Prairies et Moulin; 2. Vue de Pontoise. I answered M. Laronnet that I have written M. Burty that the price for the 3 prints is 150fr and that I maintain my price.’ (R435II,p29/30=no39)

1890/11/30, Camille Pissarro to Durand-Ruel:
Pissarro mentions he is ending 5 fans which are priced 200fr each. (R435II,p30=no40)

1891:

1891, Cassatt from Château de Bachevilliers, near Chaumont-en-Vexin (Oise) to Durand-Ruel:
Cassatt asks if a Miss Paget, an English writer, could see his private collection and the one of Fauré. ‘(She) is most anxious to see some of Degas‘ pictures.’ (R435II,p114=no1)

1891, February, Renoir from Villa des Roses, Tamaris-sur-Mer (Var) to Durand-Ruel:
‘I’ve installed myself in this delicious landscape for a month… I am here with Wyzewa.’ (R435I,p142=no41)

1891/03/06, Renoir to Murer:
‘I received your letters … but you didn’t say how long you will stay in Alger. Now is the best time… Here our route planner: we will rest at Tamaris till the 20th, from there we will probably go to Cassis (1 hour from Marseille), till the end of the month. Next at Martigues (hôtel Rouget). At Cassis, there is just one hotel, I suppose. From Martigues, where I will leave my wife, I will go to Miramas to see what’s there. From there to Nîmes, and furtheron to the valley of the Rhône. (…) Tamaris-sur-Mer (Var) till the 20th of March, or the 5th of April, if we can. P.S. -For going to Martigues, the railway at Pas-des-Lanciers.’ (R218,no69) A bit later Renoir wrote a letter how to meet him in Tamaris. (R218,no70)

1891/03/21, Renoir from Tamaris-sur-Mer to Durand-Ruel:
‘My case will be with you Monday morning. I haven’t paid the portal. There are in it 8 paintings, of which only two are possible.’ (R435I,p144/5=no46)

1891/03/21, Renoir from Tamaris-sur-Mer to Durand-Ruel:
‘I’ve seen Fréjus, which one says is quite nice. … can you send me money till the 15th or the 20th of April at last.’ (R435I,p145=no47)

1891, early April, Renoir from Le Lavandou to Durand-Ruel:
‘I have come to Lavandou invited by a letter of Mme Adam, who has an estate here. … I will send you a small heas of a child, for the Brown sale…’ (R435I,p146=no49)
Note: the 15th he gives as address: Lavandou, via Bormes (Var.), Hôtel des Etrangers (letter 50).

1891/04/13, Monet from Giverny to Durand-Ruel:
‘So it are 12 frames that you must have before the 2nd or 3rd of May: 6 frames of 30 bass, 92 by 65, of which one white; 5 frames messuring 1 meter by 60, of which one white; 1 frame messuring 1 meter by 65.’ (R435I,p336=no189)

1891/04/13,  Camille Pissarro (letter 653) to his son Lucien:
‘Yesterday I met Sisley, whom I hadn’t seen for at least two years. He is glad if he can keep his head above water. He told me that Durand was our greatest enemy; he treid to do Monet down, and Monet, without hesitating, want straight to Van Gogh*, and never looked back from that moment on. Durand then became as pliant as a kid glove, and from being ferocious turned as gentle as a lamb…. not being able to support all the Impressionists, Durand has every interest in beating them down as soon as he feels he has stocked up enough… He behaves like a modern specumlarot, for all that angelic sweetness of his. Sisley… caonnot forgive him for his lack of good faith, for we were trusting and believed his promises.’ (R166,p47;R434III,p61-65).
Note*: Theo van Gogh, who worked at the Boussod et Valadon gallery.

1891/04/23, Renoir from Le Lavandou to Durand-Ruel:
Renoir asks him to send 100fr to Nîmes (Gard.). He expects to return the 29th, thinking the sale of Brown is the 2nd of May. He stays another two days to finish an interesting study, but maybe he has to finish it in Paris. (R435I,p148=no52)

1891/04/28, Monet from Giverny to Durand-Ruel:
‘As I have said, there are 22 paintings which I will have exhibited, including a serie of 15 pictures (Meules). I hope that my Geffroy has also given you his preface… I also like you to take the painting to M. Paul Gallimard and another to M. G. Clemenceau, 12, rue Clément-Marot.’ (R435I,p337/8=no191)

1891/05/12, Lucien Pissarro from 28, Cornwall Road, Bayswater, London to Dr. Gachet:
‘I have some friends here, artists, who are interested very much in the works of your pour friend Vincent van Gogh; they have seen an etch he has made.’ Lucien suggests a transaction with a work of himself. ‘I have seen in our catalogue that you have had a quite complete exhibition – the “Indépendants*” must have been quite interesting this year. I’ve been quite satisfied with the little succes with my wood(cuts)…’ (R218)
Note*: they both exhibited that year at the Salon des Independants.

1891/07/08,  Camille Pissarro (letter 617) to his son Lucien:
‘I’m reading P.J. Proudhon at the moment, he’s in absolute agreement with our ideas.’ (R116I,p117;R434III,no.671)

1891/07/28, Monday, Renoir to Murer:
‘We will leave again for Argenteuil tomorrow morning. When I say Argenteuil, I mean Petit Gennevilliers. We will stay till Saturday. So, … write us at Caillebotte…’ (R218,no82/76)

1891/08/07, Murer from Auvers to Dr. Gachet:
Murer asked Gachet to bring some vegetables and greets Mr Goeneutte. (R218)

1891/08/07, Wednessday, Guillaumin to Murer:
Guillaumin makes clear that he hoped to see Murer, so he could see his paintings. This is still possible on a Wednessday, the other days he is in the woods. He wonders ‘When do you leave for Alger?’ (R218,G10)

1891/08/12, Renoir to Mlle Marie Meunier:
Renoir excused for not being able to visit her (in Meulan?), he is working in the day and in the evenings goes to Louveciennes to see his mother who is ill. He invites her to come to Montmartre. ‘I resign to my studio without having been able to start any project to execute. …but I will be ruined of I don’t take my palette, even in the studio. (…) I leave working en plein air behind, it costs me too much.’ (R218,no81)

1891/08/18, Sisley from Moret to Durand-Ruel:
I his last letter to Durand-Ruel Sisley wrote: ‘I have heard in a completely accidental way that there is a painting of mine at an exposition in Munich. Is it you that send it?’ (R435II,p63=no16)

1891/09/?, Degas from Paris to Durand-Ruel:
Degas asks to send 570fr to M. Chéramy, ‘it’s for a term of 550…’ (R435II,p104=no15)

1891/10/19, Monet from Giverny to Durand-Ruel:
‘I therefore urge you to take messures to render me the som of 20.000fr which I need to pay 25% of the purchase of my house.’ (R435I,p340=no195)

1892:

1892/01/13, Camille Pissarro to Durand-Ruel:
Pissarro mentions paintings meant for his solo-exposition in February. (R435II,p32=no44) The 19th he renders a more extended list (=no46). the 21th of March he adds some prices for a lady Monjon, living 18, rue Meslay, being an painter, who has connections with interested Americans (=no47); Pissarro knows here for a long time.

1892/02/18, Cassatt from Villa Sainte-Anne, Cap d’Antibes to Durand-Ruel:
Cassatt writes about a misunderstanding on the sale of her engravings. ‘But I am still very much disappointed that my compatriots have so little liking for any of my work. (…) We don not return to Paris until April. I hope to come here next winter and do some etchings. It is such a lovely place.’ (R435II,p114/5=no2)

1892/02/21, Monet from Giverny to Durand-Ruel:
‘Without doubt you assumed I was fully at work at Rouen. Indeed I’ve been there… but I returned sick here 8 days ago. …the small exposition of the Poplars. …I hope that the exposition of Pissarro ended well…’ (R435I,p341/2=no198)

1892/02/21, Monet from Giverny to Durand-Ruel:
‘I will leave tomorrow morning for Rouen (hôtel d’Angleterre) untill Saturday.’ (R435I,p342=no199)
Note: in fact Monet would stay longer, the 13th of April he send his last letter from Rouen (no.202).

1892/05/04, Monet from Giverny to Durand-Ruel:
‘I will be Friday in Paris for the exposition of Renoir of which I treat myself.’ (R435I,p345=no203)

1892/06/10, Camille Pissarro from London to Durand-Ruel:
‘I am very busy right now at Kew Garden where I have fond a serie of magnificent motifs…’ (R435II,p35=no48)

1892/08/02, Camille Pissarro from Kew Green, 1 Gloucester Terrace to Durand-Ruel:
‘I expect to leave England the 12th…’ (R435II,p36/7=no51)

1892/08/21, Guillaumin from 20, Rue Servanóloni to Murer:
Guillaumin invites Murer for lunch with Portier (and Personnaz) next Thursday. ‘I’ve worked a lot this year; the largest part of my canvases are at this moment at Goupil‘ (19, Boulevard Montmarte)  (R218,G11)

1892/08/21, Guillaumin Wednessday  to Murer:
Guillaumin excuses Portier, Personnaz and himself of not being able to come. ‘I assume that yoy have already received the invitation for the exposition at Goupil?’ (R218,G12)

1892/08/29, Renoir from Châlet des Rochers, Pornic (Loire-Inférieure) to Durand-Ruel:
Renoir asks to send 1.000fr. (R435I,p148=no53)

1892/09/15, Alfred Stevens from Paris to Durand-Ruel:
In the only letter known of Stevens to Durand-Ruel, he presents M. R. de Groux, a young befriended painter, 15, avenue Frochot. (R435II,p76)

1892/10/13, Renoir from Hôtel des Voyageurs, Pont-Aven (Finistère) to Durand-Ruel:
Renoir writes he will return soon and asks for 500fr. (R435I,p149=no54)

1892/10/16, Pissarro from Eragny to Durand-Ruel:
Pissarro renders a list with paintings meant for a solo exposition (March 1893). (R435II,p37=no52)

1892/11/23, Pissarro from Eragny to Durand-Ruel:
‘Rouart has written me concerning the subscription of Lépine; would you send him 50fr from me; is that sufficiant?’ (R435II,p38=no53)

1892/11/29, Guillaumin Tuesday from 20, Rue Servanóloni to Murer:
Guillaumin in vain tried to visit Murer ‘not to remind you of your debt, but to propose an exchange. You give me back … a canvas size 10, a quarry in the Parc of Issy, with Paris in the background. I will give you a more modern painting of the same size and a drawing…’ (R218,G13)

1892/12/12, Monet from Giverny to Durand-Ruel:
‘Pissarro wrote me that I’ll be able to get 7.000fr from him on a sum I lent him. I’ll be happy to get my hands on them.’ (R435I,p347=no207)

1892/12/16, Guillaumin to Murer:
‘I have no objection at all in gaining q.q. … Let’s don’t talk anymore, I will rest hoping you will find prosperity with your enterprices.’ (R218,G14)

1893:

1893/03/23, Monet from Rouen to Durand-Ruel:
‘Here the notes and indications that I have give M. Sargent.’ Monet renders 2 titles for an exposition. (R435I,p348=no209)

1893/03/30, Monet from Rouen to Durand-Ruel:
‘You would be very kind to send me my Cézanne and the flower painting that M. Martial Caillebotte had to deposit with you for me.’ (R435I,p349=no210)

1893/04/10, Boudin from Antibes to Durand-Ruel:
He had finished less for the Salon, than he hoped for. (R435II,p88/9=15)

1893/04/30, Renoir from Beaulieu to Durand-Ruel:
Renoir mentions he will return within a few days. ‘I find my studies both good and bad.’ (R435I,p149=no55)

1893/04/10, Boudin from Deauville to Durand-Ruel:
‘I will make a trip on the Seine and at the coast of Dieppe. (R435II,p89/90=16)

1893/06/03, Monet to Georges Petit:
Monet mentioned a ‘Portrait of Ch.F. Lapierre’ (=CR78) a work that is now lost. It was exhibited at Petit 1893/06-559 and owned by Ch. F. Lapierre. (R22,CR78).

1893/08/31, Renoir from (Hôtel des Voyageurs), Pont-Aven (Finistère) to Durand-Ruel:
‘I will be back in Paris Sunday to vote.’ (R435I,p151=no59)
Note: Renoir was a large part of August in Pont-Aven and did send another 3 letters to Durand-Ruel (no.56+57+58)

1893/12/04, Camille Pissarro from Eragny to Octave Maus:
Pissarro writes he can’t join the exposition of La Libre Esthétique, because he has this Winter an exposition at Durand-Ruel. But he sugggests that his son Georges could show a modern artistic furniture. (R435II,p234/5=6)

1894:

1894/01/04, Pissarro from Eragny to Octave Maus:
Pissarro writes that his son Georges is not able to show his furniture (at the exposition of La Libre Esthétique). Instead he ‘will send you a serie of watercolours and of etchings’. (R435II,p235=7)
Note: Later that month he suggests to invitate his son Lucien also and renders his address: Eragny House, Hemmal Street, Epping, Essex (Angleterre). (letter 8)

1894/04/12, Monet from Giverny to Durand-Ruel:
‘… what worries me is the exposition of Caillebotte, his brother had written me it would take place at the end of May. What to do, because it will hardly be possible for me to be ready earlier?’ (R435I,p350=no213)

1894/05/27, Monet from Giverny to Durand-Ruel:
‘I expect to go to Paris to help Renoir and Martial Caillebotte with the hanging of the paintings, and I would like to know when I arrive Thursday the 31th I will still be able to see the exposition of Manet. (R435I,p353/4=no219)

1894/09/15, 11h. P.M, Renoir to Mlle Marie Meunier:
Renoir anounced the birth of his son Jean ‘a large boy’. (R218,no.77)

after 1894/10/09, Renoir to Dr. Gachet:
Renoir regrets he couldn’t pay his last respects to Norbert Goeneutte, who died 1894/10/09 in Auvers. (R218,no50)

1894/11/09, Pissarro from Eragny to Octave Maus:
Octave Maus had stored some of his paintings, the 3rd Pissarro had asked him to send them to Eragny-Bazincourt (letter 9), now he renders this address: M. A. Portier, 54, rue Lepic, Paris. ‘I find an occasion to sell my paintings of Knocke…’ (R435II,p236=10)

1894/11/24, Degas from Paris to Durand-Ruel:
‘You haven’t forget that next Friday 30 Nov. M. de Montauzan comes to receive 1.000 francs with you (affair of Delacroix).’ (R435II,p104=no16)

1894/12/07, Monet from Giverny to Octave Maus:
Monet writes it’s again impossible to take part in his exposition this year. (R435II,p225=no4)

1894/12/30, Pissarro from Eragny to Octave Maus:
After some misunderstanding expressed in his letter of the 6th (no.11), Pissarro now mentions as his sending two fans. He writes he has to keep the limited works he has made, because here he has more changes to sell them. (R435II,p237=12)
Note: Probably for the Salon de la Libre Esthétique of 1895. The undated letter no14 contains a list of 25 engravings and 6 pastels, with prices which are not final yet.

1895:

1895?, Lucien Pissarro to Octave Maus:
Lucien writes he gladly accepts the invitation for La Libre Esthétique and wants to send the engravings of his small book which is bound to be printed. (He also mentions an invitation for the Société Anonyme l’Art.) He mentions he is working with his father on a portefeuille of coloured wood engravings titled “Travaux des champs” (first serie). (R435II,p239=15)

1895/?/?,  Camille Pissarro (letter 1175) to his son Lucien:
‘… (Cézanne) was under my influence in Pontoise, and I his. … you can see the affinity that exists between some of his landscapes of Auvers or Pontoise and my own. Heavens, we were always together!’ (R116I,p136;R434I,no1175)

1895/01/21, Monet from Giverny to Durand-Ruel:
‘…I will leave next Monday for Norway. (R435I,p355=no222)

1895/02/24, Camille Pissarro (letter 1115) to his son Lucien:
‘I am left with Sisley as the tail-end of Impressionism.’ (R166,p47;R434IV,p37-39)

1895/04/24, Camille Pissarro to Octave Maus:
Pissarro mentions 25 paintings and 6 pastels as his sendings (for La Libre Esthétique). (R435II,p238/9)

1895/05/05, Monet from Giverny to Durand-Ruel:
Monet reminds Durand-Ruel to collect some paintings of his at several art-collectors. (R435I,p357=no225)

1895/06/07, Monet from Giverny to Durand-Ruel:
Monet asks Durand-Ruel to return paintings to several art-collectors. (R435I,p358/9=no227)

1895/09/29, Boudin from Deauville to Durand-Ruel:
In this extended (and last) letter, Boudin mentions he was in Venice ‘painting in a warm climate during two great months. …I have no desire to enlargen my reputation. …. I know that you have always thought to reduce or better to limit my production, and to do what you did with Monet and some others, but our temparements are different. My production is quite large… Your project to organise an exposition with my paintings is very praiseworthy. …but haven’t you already successfully shown me? …haven’t we tired the public enough with my sketches and studies?’. (R435II,p90-92=17)

1895/12/20, Pissarro from Eragny to Octave Maus:
‘Impossible to join the Exposition of la Libre Esthetique. I exhibit this year with Durand-Ruel…’ (R435II,p240=16)

1896:

1896/02/25, Monet from Pourville via Offranville to Durand-Ruel:
‘…you will be send a box containing 3 paintings of Mme Manet-Morizot (sic), which I have promised for the exposition that will take place in March. I have installed here since a few days…’ (R435I,p360/1=no229)

1896/12/30, Monet from Giverny to Durand-Ruel:
‘… regarding the exposition in Stockholm, because having received a letter from Prince Eugène whom I acquinted in Christiania and who is the patron of this exposition…’  (R435I,p363/4=no232)

1897:

1897/01/18, Monet to Octave Maus:
He mentions 3 paintings of the Rouen Catheadral for the exhibition of La Libre Esthétique. (R435II,p226=no5)

1897/01/19, Camille Pissarro from Paris to Octave Maus:
‘I don’t exhibit at l’Esthétique, I have renounced expositions that all in all, are not encouraging and only cause me trouble and annoyance.’ (R435II,p240=17)

1897/01/29,  Camille Pissarro from Paris to Murer:
Pissarro writes that he never got back a painting depicting a mechanical or harvesting engine, that he entrusted to Murer 15 years ago ‘without a single right and against all justice’. (R218XXVI)

1897/02/04, Renoir from 64, rue La Rochefoucauld to Murer:
Renoir congratulated Murer with the coming marriage of his sister. He also mentioned Jean was quite ill. (R218,no84)

1897/04/01, Monet from Pourville to Durand-Ruel:
Monet asks to send his 4 works of Morizot (sic), 3 of Cézanne and a painting bought back at the sale of Gauzet. He hopes to return home on Sunday. (R435I,p366=no236)

1897/05/10, Pissarro from 62, Bath road, Bedford square, London to Durand-Ruel:
‘I’ve send you two boxes with paintings from Eragny.’ (R435II,p42=no64)

1897/12/03, Sisley from Moret to Octave Maus:
‘Your invitation is very gracious but I only exhibit at G. Petit and the Société Nationale des Beaux-Arts.’  (R435II,p242=no5)

1898:

1898/05/28, Camille Pissarro from Eragny-Bazincourt to Durand-Ruel:
Pissarro sends a list of persons to be invited for his exposition (starting the 1st of June). (R435II,p43=no65)

1898/08/30, Degas from Paris to Durand-Ruel:
‘Don’t deprive me of the little copy of Ingres.’ (R435II,p105=no18;  p222)

1899:

1899/02/21, Renoir from (Hôtel Savournin), Cagnes to Durand-Ruel:
‘All’s well apart from that nagging rheumatism. I think… that when I return, we can all cry out: Vive Loubet.’ (R435I,p151=no60)

1899, Februar, Renoir from Nice to Durand-Ruel:
‘I went to see Deudon.’ Renoir invites him to come, together with Bérard. (R435I,p152=no62)

1899/03/02, Renoir from Cagnes to Durand-Ruel:
‘I have received a letter from Bérard; Duret has received from him a word for Deudon, – for the Bernheim-Jeunes. He would have preferred Dreyfus…’ (R435I,p153=no63)
Note: Renoir later (the 5th) renders the address of Deudon: Villa des Palmiers, avenue Auber, Nice (=no64).

1899/03/17, Monet from Giverny to Durand-Ruel:
Monet refers to the benefit sale the 1st of May at Galerie Petit for the children of Sisley. He asks Durand-Ruel to also invite Degas to contribute. He ends with ‘I hope you have good news of Renoir‘. (R435I,p368=no240)

1899/08/02, Degas from Paris to Joseph Durand-Ruel:
‘I’m worried about Berthe Morisot.’ (R435II,p105=no19; R440,p222)

1899/08/29, Renoir from Acqui(?) to Durand-Ruel:
Renoir espects to be in Saint-Cloud within 12 days. (R435I,p155=no68)

1899/11/25, Monet from Giverny to Durand-Ruel:
‘M. Pierre Sisley will deliver you a carton containing a pastel and drawing of Renoir, a pastel of Jongkind, a study of Fantin and an old pastel of mine. … in the carton I will also put a pastel of Sisley. It is this one who is a bit torn.’ (R435I,p369/370=no242)

1899/12/29, Renoir from hôtel Muraour, Grasse to Durand-Ruel:
Renoir asks to send his head of Jean Renoir, which is in his house 33, rue de la Rochefoucauld, to Musée de Limoges. (R435I,p156=no69)

1900:

1900/01/04, Renoir from Grasse to Durand-Ruel:
Renoir asks to take care for the entry of his paintings to the centennial exposition#. Adrien Marx has spoken with Gallimard who is the commissioner of this exposition. He suggests Mme Charpentier and her children and Femme à la tasse de café, a painting in the Museum of Limoges. (R435I,p156/7=no71)
Note: Renoir notes the 13th as address Villa Raynaud, near Magagnosc (no72); 1900/03/16 he specifies it is 3km from Grasse on the road to Nice and mentions the he will stay till May, than will do a cure in Aix-les-Bains and then will return to Paris (no76).

1900/01/23, Monet from Giverny to Durand-Ruel:
Monet writes he sends a box and a package containing several pictures and sums them up. (…) Pissarro has, like me, written to M. Roger-Marx, informing him that we both oppose to the exposition#. You should tell Renoir to do the same. I expect to receive an invitation for his exposition at Bernheim.’ (R435I,p373/4=no247)

1900/02/17, Monet from Savoy Hôtel in London to Durand-Ruel:
‘… this satanic exposition#‘. Monet asks Durand-Ruel to inform if they are free to organise their own exposition in our own taste. ‘Next I would like to know the opinion of Renoir and Pissarro.’ (R435I,p374/5=no248)

1900/03/28, Camille Pissarro from 204, Rue de Rivoli Paris to Durand-Ruel:
Pissarro asks to send the 4 paintings he had chosen for the exposition centennale# to M. Roger Marx, Grand Palais, porte C, avenue d’Antin. (R435II,p44=no66)

1900/04/10, Monet from Giverny to Durand-Ruel:
‘I’ve returned since 3 days… I had to leave my work in London, at first because the atmosphere and the light had changed to much, but also because I was at the end of my strength…’ He asks Durand-Ruel to pay MM. Bernheim 6.000fr for the figure painting of Renoir. (R435I,p375/6=no249)

1900/05/24, Renoir from Hôtel Crillon, Avignon to Durand-Ruel:
‘I wait for my linen returns from the launderer and will leave for Aix.’ (R435I,p160/1=no79)

1900/06/12, Renoir from Saint-Laurent-les-Bains to Durand-Ruel:
‘Soon… I return to Paris.’ (R435I,p161=no80)

1900/06/27, Monet from Giverny to Durand-Ruel:
‘I’m in a phase of great discouragement. … I haven’t stopped working since my return from London, but without being able to finish anything according to my taste. I have nothing interesting to look for and even less to sell…’ (R435I,p377=no252)

1900/07/12, Pissarro from Grand Hotel, Berneval near Dieppe to Durand-Ruel:
‘…there are beautiful motifs in this countryside, and at the beach there are superb Monet! I will stay in the hotel till my family arrives, around the 17th.’ (R435II,p45/6=no69)

1900/08/20, Renoir to Monet:
‘I have allowed myself to be decorated*… this little ribbon shoud not get in the way of our long friendship. So feel free to insult me…’ (R368,p274)
Note*: Renoir was appointed as Chevalier in the Légion d’Honneur in July 1900.

1900/08/20 Renoir from Louveciennes to Durand-Ruel:
‘Also I hope that the house of Durand-Ruel will contribute to award me a chair pierced with honor.’ (R435I,p161=no81)

1900/08/23, Monet to Geffroy:
‘… You have probably heard that Renoir is to be decorated; I am greatly saddened by this…’ (R368,p275)

1900/10/19, Monet from Giverny to Durand-Ruel:
‘I have done a serie of views on Vétheuil…’ (R435I,p378=no254)

1900/11/14, Renoir from Grasse to Durand-Ruel:
‘I am attacked by letters of Madame Rambaud…’ (R435I,p161/2=no82)

1900/11/23, Pissarro to Durand-Ruel:
Pissarro sends an overview of 10 paintings with the total sum of 20.500fr. The prices varied from 1.500 till 2.500fr, also depending on the size. (R435II,p46=no70)

Note#: (probably) refering to the Centennial exhibition at the Exposition Universelle.

1901:

1901/01/09, Monet from Giverny to Octave Maus:
Monet writes it’s impossible to take part in his exposition because he is bound to travel to England. (R435II,p226=no6)

1901/01/25, Renoir from Grasse to Durand-Ruel:
Renoir asks to send La Femme à la Guitare to Musée de la ville de Lyon, rue Paul-Chenavard, 23. (R435I,p162=no84)

1901/02/09, Monet from Savoy Hôtel in London to Durand-Ruel:
‘… I’m full of passion, but it is difficult, so changeable above all…’ (R435I,p379/380=no256)

1901/03/05, Pissarro from 28, Place Dauphine, Paris to Durand-Ruel:
‘For several days now, I’ve been undergoing minor operations on my sick eye, which prevents me from working and forces me to stay at the apartment.’ (R435II,p46=no71)

1901/05/14, Pissarro from Moret to Durand-Ruel:
‘I leave Moret tomorrow…’ (R435II,p47=no72)

1901/05/17, Pissarro from 28, Place Dauphine, Paris to Durand-Ruel:
Pissarro renders a list of 9 paintings with their prices varying from 1.000 till 3.500fr and a total of 24.000fr. ‘I have raised (the price) with 500fr…’ (R435II,p47=no73)

1901/03/12, Renoir from Grasse to Durand-Ruel:
‘I will leave my studio at last next October.’ (R435I,p163/4=no87)
1901/04/13 Renoir wrote from Le Trayas (St-Raphael) (no.89), the 17th he wrote from Grasse, that he was returning to Magagnosc (no.90). In April he writes that he wife has returned to Essoyes and that Bérard is with him (no.91).

1901/04/25, Renoir from Grand Hôtel des Colonies et des Negociants, Cannes to Durand-Ruel:
‘It seems to me that last year I was paid enough to rest for a year. …I can’t supply you with 60 canvases a month.’ He writes that soon he will be in Aix-les-Bains. (R435I,p166/7=no92)

1901/07/12, Renoir from Essoyes to Durand-Ruel:
‘I think I will go some days to Paris around the 24th or the 25th.’ (R435I,p167=no94)

1901/08/28, Degas from Paris to Durand-Ruel:
‘I want to show you also a washerwoman which I am about to finish.’ (R435II,p106=no21)

1901/09/07, Renoir from Fontainebleau to Georges Durand-Ruel:
Renoir writes he is with ‘les Bernheim’ or beter with Adler, 4, rue Saint-Hororé at Fontainebleau. He will be in Paris around the 24th. (R435I,p168=no95)

1901/11/04, Pissarro to Durand-Ruel:
Pissarro renders a list of 6 paintings (serie 1901) with their prices varying from 3.000 till 4.000fr and a total of 21.000fr.  (R435II,p48=no75)

1901/12/23, Monet from Giverny to Durand-Ruel:
‘I’m still busy with the views on London…’ (R435I,p383=no263)

1902:

1902/02/03, Renoir from Villa Printemps Le Cannet to Durand-Ruel:
‘I have installed myself… A streetcar runs between Cannes and Le Cannet every quarter of an hour. … Ma wife has arrived yesterday in good health with the two little ones. … Albert André is extremely pleasant…’ (R435I,p168/9=no96)

1902/02/03, Renoir from Le Cannet to Durand-Ruel:
‘You have seen my large painting of Louveciennes… the torso I have made two years ago in Magagnosc… If you good send me 1.000 francs…’ (R435I,p169/170=no98)

1902/02/16, Monet from Giverny to Durand-Ruel:
Monet renders 3 titles of his Vétheuil paintings. ‘Their price is 8.000fr, just like I have sold them to M. Bernheim, and like M. Valadon.’ (R435I,p384=no264)

1902/05/23, Pissarro from Moret-sur-Loing, 28, Rue de la Pecherie, to Durand-Ruel:
‘I am here in Moret for some time…’ (R435II,p49=no78)

1902/06/13, Renoir from 43, rue Caulaincourt, Paris to Durand-Ruel:
Renoir asks to send 2.500fr to M. Gérot Félicien, contractor at Bar-sur-Seine (Aube). (R435I,p171=no100)

1902/07/18, Pissarro from Hotel du Commerce, Dieppe, to Durand-Ruel:
‘I am working now on the quays de la Poissonnerie…’ (R435II,p49/50=no79)

1902/09/01, Pissarro from Dieppe, to Durand-Ruel:
‘There is now desperate weather, but gladly I have a window on the Bassins that permit me to work anyway.’ (R435II,p50=no80)

1902/09/01, Pissarro from Dieppe, to Durand-Ruel:
‘My son has written me that you have made an agreement with the Bernheims and chosen the following works (he sums up 4 paintings). The prices are the same as last year… canvases size 25 for 3.500fr and the small canvases size 15 for 2.000fr.’ ‘ (R435II,p50=no81)

1903:

1903/01/18, Pissarro from Paris, to Durand-Ruel:
In his last letter to Durand-Ruel Pisarro wrote that he didn’t accept the price given (for the Dieppe serie. (R435II,p52=no86)

1903/02/12, Renoir from Le Cannet to Durand-Ruel:
‘I’ve forgotten to render something for the sale of Vignon.’ (R435I,p171/2=no102)

1903/03/11, Monet from Giverny to Durand-Ruel:
‘When should I send in for the Vignon sale?’ (R435I,p387/8=no271)

1903/03/31, Renoir from Le Cannet to Durand-Ruel:
‘I send Pierre next Thursday looking for 200 francs from you, so he can come and join the feast of Easter with us.’ (R435I,p172=no103)

1903/05/19, Renoir from Cagnes to Durand-Ruel:
Renoir asks for 2.000fr. ‘I’m going to leave Cagnes within 18 days, I will stay a while with Albert André at Laudun and will be in Paris the 15th of June, I think.’ (R435I,p173=no107)

1903/11/13, Renoir from Grand Hôtel Beauvau, Marseille to Durand-Ruel:
‘I have a superb and warm time…’ (R435I,p174=no108)

1903/12/28, Monet from Giverny to Durand-Ruel:
‘Concerning the exposition of Pissarro, until further notice I’ll take care of it, in agreement with Mme Pissarro and his son Lucien…’ (R435I,p390/1=no276)

1904:

1904, Cassatt from Mesnil-Beaufresne, near Fresneaux-Montchevreuil (Oise) to Durand-Ruel:
Cassatt ask on behalf of M. Havemeyer for a photograph and the price of the head by Degas. ‘They liked the Goyas very much…’ (R435II,p116=no4)
Note: in letter 5 and 6 she also writes on behalf of the Havemeyers.

1904/01/13, Renoir from Cagnes to Durand-Ruel:
‘I don’t know if you have any news on my complaint to the Prosecutor.’ (R435I,p177=no117)

1904/04/15, Monet from Giverny to Durand-Ruel:
‘I think I can exhibit 35 à 40 and we might be able te open the exposition the 6th of May. … I hope the good exposition of Pissarro had been successful.’ (R435I,p392=no279)

1904/04/29, Monet from Giverny to Durand-Ruel:
‘I’m busy to send you 3 boxes containting 16 paintings…’ As postscriptum he wrote: ‘Mister Claude Monet asks you to render the honour to come to see his recent works -a serie of views on the Thames in London (of 1900 à 1904)- exhibited Monday 9 May till Saterday 4 June in the galleries of MM. Durand-Ruel, 16, rue Lafitte.’ (R435I,p393/4=no280)

1904/08/10, Degas from Paris to Durand-Ruel:
Degas asks for 4.000fr, 3.500fr is for ’the person to whom little Brame had to sell his claim on me.’ (R435II,p106=no22)

1904/08/11, Renoir from Essoyes to Durand-Ruel:
‘I will leave tomorrow for Bourbonne-les-Bains.’ (R435I,p181=no127)

1904, September, Renoir from Essoyes to Durand-Ruel:
Renoir asks to replace the two nude torsos for two still-lifes: “prunes” and “melon” for the Salon d’Automne. (R435I,p183=no132)

1904/12/08, Monet from Savoy Hôtel in London to Durand-Ruel:
‘I must admit I’m surprised that I decided to expose my London here…’ (R435I,p398/9=no289)

1905:

1905/07/03, Murer from 45, rue Grétry, Liège to Dr. Gachet:
Murer wrote an extended letter at the end of his trip. (R218)

1905/07/20, Murer from Liège to Dr. Gachet:
Murer writes about an exposition of Jordaens and refers to an exposition of Rembrandt in 1897. He refers to his return to Auvers.

1905/11/10, Cassatt from Mesnil-Beaufresne to Durand-Ruel:
Cassatt asks the remaining 7.000 of the 15.000fr for delivered paintings. She also writes about an article by M. Manzi. (R435II,p118/9=no7)

1905/12/26, Cassatt from Mesnil-Beaufresne to Durand-Ruel:
As in the letters 8 and 9 Cassatt mediates for M. Havemeyer and other American art-collectors, as she will do in letter 11 and 12. (R435II,p121=no10)

1906:

1906/06/13, Monet from Giverny to Durand-Ruel:
Monet asks to send a cheque of 60.000fr. ‘I see in the newspapers that you had bad sales at the Depeaux sale.’ (R435I,p406=no301)

1906/09/20, Renoir from Essoyes to Durand-Ruel:
‘I send you a box with a painting for the Salon d’Automne.’ (R435I,p186/7=no141)

1906/10/12, Degas from Paris to Durand-Ruel:
‘I again count on you for Monday, the sacred term (2.000).’ (R435II,p107=no25)

1906/10/29, Renoir from Paris to Durand-Ruel:
‘I received from M. Gustave Cohen, 61, rue des Petits-Champs, a request for the price of the nude no.1469 at the Salon d’Automne; will you see what it is.’ (R435I,p187=no142)

1906/11/30, Mary Cassatt to Durand-Ruel:
‘I know that Whistler and Rodin are presidents of the Exposition Internationale in London.’ In an earlier letter (no.13) she asked ‘not to exhibit my paintings at the Internationale. … most exhibitants are member of the Société National‘. (R435II,p123/4=14)

1906/12/09, Renoir from Cagnes to Durand-Ruel:
‘If you want another torso for the same price: 8.000 and the landscape 4.000, you can take them.’ (R435I,p187/8=no144)

 

1907:

1907/04/27, Monet from Giverny to Durand-Ruel:
‘How I am disappointed not being able to exhibit a serie of Waterlelies this year.’ (R435I,p409/410=no307)

1907/05/31, J.F. Raffaëlli from Paris Durand-Ruel:
Raffaëlli thanks for the disposal of one of his rooms for a benefit sale for widows and children of artists, organised by Miss Cassatt, Mme Pissarro and M. Vollard. The number of works was still very large. (R435II,p140=no3)

1907/09/20, Monet from Giverny to Durand-Ruel:
‘…you will receive a box of paintings which I take to the Salon d’Automne. Knowing: the “Negro” of Cézanne and four B. Morizot (sic): “Le bain”, “La jatte de lait”, “Jeune fille au chien” and “Bateau de plaisance à Cower”.’ (R435I,p410/1=no309)

1907/12/21, Renoir from Cagnes to Durand-Ruel:
‘I have given autorisation to M. Davaut (?). 9, rue Ampère, to take 3 paintings from you for an exhibition in London.’ (R435I,p189=no149)

 

1908:

1908/01/23, Monet from Giverny to Durand-Ruel:
‘I received a long and very friendly letter of M. Dubufe, vice-president of the Comité de l’Exposition Franco-anglaise, insisting me to exhibit 3 of my best paintings. But before I answer I liked to know what you think, if you send in works of Renoir…’ (R435I,p411=no311)
Note: In this letter Monet identifies Victor Jacquemont as being portrait in CR54 (R22).

1908/03/24, Renoir from Cagnes to Durand-Ruel:
‘I don’t know if I should accept a new honour to be part of the Société Royale de Bruxelles.’ (R435I,p191=no153)

1908/04/13, Degas from Paris to Durand-Ruel:
‘As always I count on you for the 15th. Will you be so kind to reserve 2.000fr and to send it tomorrow Tuesday.’ (R435II,p107/8=no26)

1908, Autumn, Cassatt from Mesnil-Beaufresne to Durand-Ruel:
Cassatt writes on her solo exhibition at Durand-Ruel from 3-28 November, where 23 paintings and 45 pastels were exhibited. She mentions suitable works and who owns them. (R435II,p125=no15)

1908/10/19, Monet from Grand Hotel Britannia in Venice to Durand-Ruel:
‘I’m in awe of Venice…’ (R435I,p417=no320)

 

1909:

1909/01/06, Renoir from Cagnes to Georges Durand-Ruel:
‘Would you tell your father to send nothing to the Libre Esthétique…’ (R435I,p193=no159)

1909/02/11, Renoir from Cagnes to Durand-Ruel:
‘At the Libre Esthétique they only like works of Van Gogh and Gauguin.’ (R435I,p193/4=no160)

1909/02/11, Monet from Giverny to Durand-Ruel:
‘I have announced MM. Bernheim that, in agreement with you, the exposition of the serie of Waterlelies will definitedly will take place the 5th of May…’ (R435I,p419/420=no324)

1909/02/09, Octave Maus to Renoir:
‘I would be greatly obliged if you didn’t refuse M. Durand-Ruel the autorisation to exhibit one or two of your paintings for the Salon de la Libre-Esthétique which will open in Bruxelles early March (1910) and which this year will be devoted to figure paintings and portraits.’ (R435I,p194=note to no160)

1909/02/11, Renoir from Cagnes to Durand-Ruel:
‘I admire Monet that he can make in such a short time interesting things.’ (R435I,p194=no161)

1909/06/08, Monet from Giverny to Durand-Ruel:
‘If M. Cassirer is going to organise an exposition with my water landscapes, that he gets along with you and MM. Bernheim and buying the others; … I refuse absolutely to send in my paintings here and there…’ (R435I,p423/4=no330)

 

1910:

1910/02/20, Renoir from Cagnes to Durand-Ruel:
Renoir asks to render 500fr to Mme Julie Manet-Rouart on behalf of the widow Mme Vignon. (R435I,p196=no165)

1910/03/01, Renoir from Cagnes to Durand-Ruel:
‘Would you choose 3 beautiful pictures for the Exposition in Brussels*. The reclining nude woman, among others. I have been urged by everyone to send in to this exposition: Dujardin-Beaumetz, etc.’ (R435I,p196=no166)
Note*: probably for the 17th exposition de la Libre Estétique called “L’Évolution du paysage”; 3 works of Renoir were exhibited.

1910/10/22, Renoir from Paris to Durand-Ruel:
Renoir asks to hand over 40.000fr to the Société La Marseillaise, 4, rue Aubert, Paris. (R435I,p198=no170)

1911:

1911/01/11, Renoir from Cagnes to Durand-Ruel:
‘We will have for some days the son of Cézanne and his mother.’ (R435I,p199=no173)

1911/02/25, Renoir from Cagnes to Durand-Ruel:
Renoir asks to hand over 19.000fr to the Société La Marseillaise, to make an investment. ‘I’m going to rent a car for a month.’ (R435I,p200/1=no175)

1911/05/11, Monet from Giverny to Durand-Ruel:
Monet announces in a telegram that his wife (???) 4AM. (R435I,p428=no338)

1911/08/28, Monet from Giverny to Durand-Ruel:
‘I was very pleased to spend some time with Renoir…’ (R435I,p428=no339)

1911/12/26, Cassatt from Grasse to Durand-Ruel:
‘The sight of poor Renoir really made me sad…’. (R435II,p127/8=no19)

1912:

1912/01/08, Cassatt from Grasse, Villa Angeletto to Durand-Ruel:
Cassatt writes that Duret thinks that Manet’s “La Leçon de musique” is a ‘not very nice painting. (…) I have seen the nieces of Degas…’.  (R435II,p128=no20)

1912/02/24, Monet from Giverny to Durand-Ruel:
‘I’ve received your letter and the portrait of Carolus-Duran.’ He also mentions the thread of a lawsuit for the restitution of a painting by Manet, catalogued by Duret as Enfant dans les fleurs dessus de porte (JW253), which is a portrait of Jacques Hoschedé. (R435I,p430/1=no344)

1912/03/02, Renoir from Nice to Durand-Ruel:
‘I’m getting better and better, apart from my legs, which don’t want to move any more.’ (R435I,p202=no179)

1912/05/20, Renoir from Cagnes to Durand-Ruel:
Renoir writes about an exhibition of works not earlier exhibited next year. ‘There is also a head of Mallarmé, Sisley, a pastel of madame Corday.’ (R435I,p203=no181)

1912/06/05, Monet from Giverny to Durand-Ruel:
‘I hope you will continue to be satisfied with the exposition of my Venice paintings, as well of the one of Renoir.’ (R435I,p433/4=no347)

End of 1912, Cassatt from Grasse to Durand-Ruel:
Cassatt writes to sell a portrait of Degas has made of her, but to skipp her name. She also writes about a fan of Degas ’that must be valued 40.000fr’.  (R435II,p129=no21)

1913:

1913/04/09, Cassatt from Grasse to Durand-Ruel:
Cassatt writes Vollard had visited Renoir and than she talked him on the painting of Degas (of her portrait) and he announced he would buy it.  (R435II,p130/1=no23)

1913/04/?, Cassatt from Grasse to Durand-Ruel:
Cassatt writes Jacques Blanche did visit Renoir, ‘who gave him a description of the way the brushes were attached to the hands of Renoir… Next Blanche wrote in an article in le Gaulois a description of the sad state of health Renoir is in. God keep me away from people like that. I expect to leave for Paris around the 10th or 12 of May. (…) a war with Mexico will change all…’ (R435II,p132/3=no25)

1913/11/21, Renoir from Cagnes to Durand-Ruel:
Renoir asks to send 10.000fr to 1, place de l’Eglise-du-Voeu in Nice. (R435I,p204=no184)

1914:

1914/02/12, Cassatt from Grasse to Durand-Ruel:
‘Concerning the benefit exposition of pastels and paintings of Degas for the suffering of women, it is a quite spicy, if Degas would have known it. … Concerning my painting “La Barque”, I don’t want you to sell it, I promised it my family, it was made in Antibes 20 years ago, when my niece was born. (…) I haven’t seen Renoir, but going to Nice this aftternoon I saw that his villa in Cagnes was open, so without doubt he is there now.’ (R435II,p133/4=no26)

1914, Spring, Cassatt from Grasse to Durand-Ruel:
‘Mme Havemeyer is very interested in the Degas sale. (…) I have seen M. Renoir and have the impression he is feeling quite well. The great statue moves forward.’  (R435II,p134/5=no27)

1914/10/29, Renoir from Cagnes to Durand-Ruel:
Renoir writes his wife is going to visit Pierre in Carcassonne and Jean in Luçon. (R435I,p206=no189)

1915:

1915/02/17, Cassatt from Grasse to Durand-Ruel:
‘I have seen Renoir this afternoon, he is doing very well and is painting…’ (R435II,p135/6=no28)

1915/03/25, Renoir from Cagnes to Georges Durand-Ruel:
‘Here is the address of Jean: sous-lieutenant au 6e Chasseurs Alpins, 2e Compagnie, Nice. … Pierre is to be operated today by Gosset.’ (R435I,p207=no191)

1916:

1916/12/18, Renoir from Cagnes to Georges Durand-Ruel:
‘I’ll send you a small painting for the Union des Familles Françaises, 9, rue Lafitte.’ (R435I,p210=no199)

1917:

1917/10/29, Monet from Giverny to Durand-Ruel:
‘I’ve returned here, delighted of my little trip… Honfleur, le Havre, Etretat, Yport, Pourville and Dieppe…’ (R435I,p448=no376)

1918:

1918/02/09, Cassatt from Grasse to Durand-Ruel:
‘Since I have no means of transport, I was not able to see Renoir.’ (R435II,p136/7=no29)

1918/03/13, Cassatt from Grasse to Durand-Ruel:
Cassatt writes she wants to send her paintings of Degas to America. ‘I have seen M. Renoir who told me that he has superb things in wax of which M. Vollard showed him photographs.’ (R435II,p137=no30)

1918/04/04, Monet from Giverny to Durand-Ruel:
Monet mentions the dates of 3 paintings, each of them priced 15.000fr. (R435I,p450=no382)

1918/05/25, Monet from Giverny to Jospeh Durand-Ruel:
‘I hope you are content with the Degas sale, … hope you have good news on Renoir.’ (R435I,p451=no384)

1919:

1919/08/26, Renoir from Paris to Durand-Ruel:
‘I ask Monsieur Durand-Ruel, 16, rue Laffitte, to pay the stockbroker Monsieur Brault, 24, rue le Peletier, 100.000fr on my behalf.’ (R435I,p215=no213)

1920:

1920/01/20, Cassatt from Grasse to Durand-Ruel:
In this last letter Cassatt wrote: ‘The pastel is the portrait of Mme Gaillard and her daughter made in 1897. … It is Paulin (a friend of Degas) who had asked me to do this portrait and I think that they never liked it.’ (R435II,p138=no31)

1920/03/27, Monet from Giverny to Jospeh Durand-Ruel:
‘… but I am not capable of telling you who are the models who posted for Renoir. His brother Edmond or his friend Rivière might be the only ones who can enlighten you with certainty.’ (R435I,p456=no392)

1921:

1921/06/07, Monet from Giverny to Georges Durand-Ruel:
’this painting has been been in 1872 in Argenteuil, at my place. The persons are my first wife and friend, the man is a neighbour. There must be 2 paintings with the same theme.’ (R435I,p458=no397)

1921/11/22, Monet from Giverny to Jospeh Durand-Ruel:
‘…the donation of my decoration to the State is now a fait accompli, the location will be ready in Spring, I have but just enough necessary time to complete this work.’ (R435I,p459/460=no400)

1922:

 

1923:

 

1924:

 

1925:

 

1926:

1926/05/04,  Monet from Giverny to Joseph Durand-Ruel:
In his last letter, Monet described how Renoir, Sisley and Manet visited him in Argenteuil and painted there. ‘I don’t know any portrait of Sisley made by Renoir’. (R430,p51; R435I,p464/5=no411)

1927:

1927/11/04, Lucien Pissarro from “the Brook” Standford Brook London w.6, to Paul Gachet:
Lucien is writing his memories on his father Camille and Dr. Gachet. ‘I can’t remember to have met A. Gautier, meanwhile I know he was a friend of my father. I’m almost certain that it was at his place that my father met your father. (…) It was in 1871, my brother Manzana, a few weeks old had convulsions, and my father  very worried had requested your father to come and see the baby. … this took place in Louveciennes, but it is certain that my father must have met your father long before this time.’ He also writes about a painting of his father that Cézanne had copied. ‘My father started to make bright paintings, he had banned black, the ochres etc. from his palette…’ (R218)

 

1928:

1928/01/26, Lucien Pissarro from Terras Hôtel, 12+14 rue de Maistre Paris, to Paul Gachet:
Lucien recollecting memories of the friends of his father Camille: ‘… I’ve well known de Bellio, a Romanian, he was a homeopathic physician, but he didn’t exercise it -still, he gave advice to my father and to Monet– he was very close to my father and had a very good collection of their paintings and had so many that his appartement had become to small to house them, so he had lent a shop in which he put shelves on which he placed the paintings.’ On Vincent van Gogh he wrote: ‘One day my father and I have met him in the rue Lepic, he came back from Asnières with his canvases, which he had made on motiv… (R218)

 

Note##:
In the correspondance with Durand-Ruel sizes of canvases are mentioned (for landscapes).
Size 10 measures 38x55cm; size 20 54x73cm; size 5 (27×35) or 6 (27×41)
(R166,p52,note53+65).

Sources:
My most important sources are:
*Berhaut, Marie: Gustave Caillebotte; catalogue raisonné des peintures et pastels. Revised edition. Paris, 1994 (R102)
*Pissarro, Joachim and Claire Durand-Ruel Snollaerts: Pissarro, critical Catalogue of Paintings, vol.1, Milan 2005 (R116I)
*Bailly-Herzberg, Janine (ed.): Correspondance De Camille Pissarro, 1865-1885; Vol.I-V. Paris, 1980. (R434)
*Bailly-Herzberg, Janine: Mon cher Pissarro; letters de Ludovic Piette à Camille Pissarro. Paris, 1985. (R436)
*Rewald, John: Paul Cézanne; Correspondance. Paris, 1937 / Oxford, 1876. (R437)
*Wildenstein, Daniel: Claude Monet: Biographie et catalogue raisonné, Vol I. Lausanne: La Bibliothèque des Arts, 1874-1991 (R127I)
Online: wpi.art.com/Monet1974-1991 =iR187. These volumes include letters:
1859 onwards in Tome I, page 419 onwards (view.publitas.com//tome I)
1882 onwards in Tome V, page 183 onwards (view publitas.com//tome V)
*Wilson-Bareau, Juliet (ed.): Manet by himself; correspondence & conversation. London / Sydney, 1991. (R213)
*Rouart, Denis (ed.): The correspondence of Berthe Morisot. London, 1957. (=R438)
*Graber, Hans: Edgar Degas; Nach eigenen und fremden Zeugnissen. Basel, 1942. (=R439)
*Guerin, Marcel (ed.): Degas letters. Oxford, 1947. (=R440)
*Gachet, Paul: Lettres impressionnistes au Dr. Gachet et à Murer. Grasset, Paris, 1957. (online: WPI/168272/12345951; see iR180) (=R218). This includes 18 letters of Camille Pissarro to Dr. Gachet and also some of his mother; partly they concern health problems; 8 letters of Camille Pissarro to Murer; 14 letters of Guillaumin; 43 of Renoir (most undated many concern (announced) dates; some letters were addressed to his sister); 11 of Monet; 6 of Sisley; 5 of Vignon; several of Vincent and Theo van Gogh; some correspondance between Gachet and Murer and some other letters.
*Venturi, Lionel: Les Archives de l’Impressionisme; lettres de Renoir, Monet, Pissarro, Sisley et autres. Mémoires de Paul Durand-Ruel. Documents. Vol. 1 + 2. Durand-Ruel, New York, 1939 / 1968. (option to borrow vol. I iR19, vol.2 iR19; iR24) (=R435)
Vol.I: Les Peintres Impressionnestes et Durand-Ruel p1-112; 213 Letters of Renoir p113-215;
411 letters of Monet p216-465; The letters are from the Durand-Ruel archive.
Vol.II: letters of Pissarro (86), Sisley (16), Dupré (3), Stevens (1), Boudin (17), Puvis de Chavannes (6), John-Louis Brown (1), Degas (27), Victor Huguet (3), Auguste Rodin (3), Mary Cassatt (31), J.F. Raffaëlli (3). The second part consists of the memories of Durand-Ruel (p143-219?). The 3rd part contains documents: Letters to Octave Maus by Monet (6), Camille (15) and Lucien (1) Pissarro, Sisley (5), Degas (2), Cézanne (2); 8 letters of Durand-Ruel (4 of them to Pissarro); on the 8 impressionist expositions, namely rendering (incomplete) the catalogues; critics on Impressionism from 1863 – 1880 (including Zola (p274-280); Astruc (p281/2); Silvestre (p284-287); Burty (p287-296); Pothey (p.301-304); Rivière (p.305-329, including publications of ‘L’Impressionniste’ in 1877); Edmond Renoir (p.334-338); it ends with a name index (p.343-355) and a table of illustrations.
*Kapos, Martha (ed.): Impressionism. Könemann, 1994. (R368)
*Joconde renders brief descriptions of letters of Monet (iR23//Monet)

Other important sources are:
On Cézanne: Braun/Dony (1876=R48).

 

 

 

Recommanded citation: “Impressionism: Correspondence between the impressionists from year to year; an overview. Last modified 2025/04/18. https://www.impressionism.nl/correspondence/”

Note1: additional letters will be added, namely after 1877.

Note2: I’ve cited quite extensive several sources. When this is too much, please let me known, than I will adjust it. It is my goal to give an overall view of the known correspondance and I hope that the interested reader will consult the sources I used.