Impressionism, a historical reconstruction
Correspondence
1855ca – 1873
an overview
Introduction:
On this page you will find an overview year by year from around 1855 till 1873 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 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. So, you will not find summaries of the letters.
Note: some notes will be added below the letter by an *; some at the end of the year by an #.
This page concentrates on the correspondance between 1855ca till 1873.
At the bottom of this page you will find an overview of the sources.
Note: there are seperate pages for the correspondence between 1874-86, 1887-1900, 1901-1927ca.
Note: there is a seperate page on the correspondence of the art-dealer Durand-Ruel with the impressionists. Maybe, this correspondence will be (partly) deleted from the other pages.
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)
1864, November or December, Bazille to his father:
I work all days with Monet. Could you send my paintings and those of Monet, because the art-lovers in Paris are more generous than in Montpellier. (R127I,doc.1)
1864/12/22, Thursday, Bazille to his mother:
Please send the paintings, if you haven’t done yet, to 6, Rue Furstenberg. (R127I,doc.2)
1865:
1865 or 1864, Monet 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 or 1864, Monet from Paris to Bazille:
‘It is not worht the effort to send my study of Honfleur, just send one of the photographs of M. Jacob. … I don’t have a penny. (R127I,no16)
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)
1865/05/05, Friday, Bazille to his mother from Paris:
Monet has a lot of success (at the Salon). (R127I,doc.3)
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.
1865/07/17, Friday, Bazille to his father from Paris:
It will take another 12 days to finish my paintings. Next I have to dwell 5or 6 days in Chailly, because I model for a large painting of Monet. (R127I,doc.4)
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)
1865/08/18, Friday, Bazille to his mother from Paris:
Tomorrow I leave for Chailly. (R127I,doc.5)
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)
1865/08/24, Thursday evening, Bazille to his father from Chailly:
I arrived last Saturday. Monet needs me another 3 or 4 days. (R127I,doc.6)
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, 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)
1865/11/13, Le Havre F. Martin to Boudin:
I visited young Monet, busy with his large painting. (R127I,doc.7)
1865/11, Thursday evening, Bazille to his mother from Paris:
Monet is in full progress with his painting. The last days he sold paintings for 1.000fr. He received 1 or 2 small commissions. (R127I,doc.8)
1865/12/14, Camille Pissarro to Oller:
‘Guillemet has brought back some very fine studies from La Roche(-Guyon).’ (R116I,p119;R434III,no.1090)
1865/12/20, Boudin to his brother:
I’ve seen Courbet and others who dare to work on large canvasses. Young Monet has 20 feet to cover. (R127I,doc.9)
Winter 1865/1866, Boudin to his brother:
Monet is ending his large painting. (R127I,doc.10)
1865/12, Sunday, Bazille to his brother Marc:
Courbet gave me compliments for my painting for the Salon. He also came to visit and see the painting of Monet, that is far from finished. (R127I,doc.11)
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, 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, May or June, Bazille to his family from Paris:
Monet has success (at the Salon), his painting and that of Courbet are the best. (R127I,doc.12)
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?, Monet to Bazille:
Monet asks Bazille to take one of his canvasses to Cadart tomorrow. ‘I’ll be waiting for you also always Friday at Theulin (=? Emile Teulon)’. (R127I,no28)
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:
1867/02/02, Honfleur, Doubourg to Boudin:
Monet is working here on large canvasses. In one of 3 meters high, the women picking flowers in a garden are a bit to small; it is started en-plein-air; the colours are vigorous. He also works on a large Marine and on snow effects. (R127I,doc.13)
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)
1867/03, Wednessday, Bazille to his mother from Paris:
Monet has a collection of canvasses that will be a success at the Exposition (= the Salon). (R127I,doc.14)
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,no36a)
The same day he wrote: ‘… send me at once 150 or 200 franc as soon as possible… (…) I work constantly.’ (R127I,no36b)
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 to Bazille:
‘My dear Bazille, I haven’t received anything from you, I am without a penny.’ (R127I,no39)
1868/01/02, from Paris Bazille to Monet:
I have paid every month 50fr as agreed for the painting with the price of 2.500fr. So, I kept my promesses. (R127I,doc.15)
1868, first half of January, Saturday, Bazille to his mother from Paris:
I purchased by M. Lejosne a very beautiful still life of Monet. (R127I,doc.16)
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)
1868/03/01, Le Havre F. Martin to Boudin:
Monet plans to leave for Paris on Thursday. (R127I,doc.17)
1868/03/22, a bit after, Bazille to his father from Paris:
Probably my entrie for the Salon has been refused, like the two paintings of Monet. (R127I,doc.18)
1868/05/04, Chanlevrier F. Martin to Boudin:
Monet would be satisfied if one of his paintings was accepted for the Salon. This would help the sale to Gaudibert. (R127I,doc.19)
1868/05/04, Paris Boudin to F. Martin:
I met Monet at the Salon, where one of his paintings is accepted and causes a scandal. (R127I,doc.20)
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, Summer, Renoir to Bazille:
Monet has taken his large paintings, which causes an emptiness. (R127I,doc.21)
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 to Bazille:
‘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, 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).
1868/10/06, Le Havre F. Martin to Boudin:
Probably Monet will receive a silver medal, due to influence of Arsène Houssaye, who bought La femme à la robe vert (=CR65). He now is busy with the portrait of Mme Gaudibert (CR121), after having done the one of her husband (CR120). I went to see it. The execution is vulgar. The family is furieus. (R127I,doc.22)
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)
1869/01/18, Paris Boudin to F. Martin:
Daubigny told me that he has fought to let one painting of Monet be accepted for the last Salon. Daubigny preferred the refused Jetty (CR109). His Vue de Paris is to be seen at a dealer in the rue Lafayette (!? CR83). It is a pitty you haven’t seen the portraits of Mme and M. Gaudibert (CR121 +122). (R127I,doc.23)
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)
1869/04/09, Friday evening, Bazille to his father from Paris:
Monet is completely refused (for the Salon) (CR126+133). M. Gérôme treats us as a bunch of mad people. (R127I,doc.24)
1869/04/25, Paris Boudin to F. Martin:
They refused the two paintings of Monet (for the Salon) (CR126+133). But, he exhibits at Latouche a study of Sainte-Adresse (=? CR69; R1,p193+214). (R127I,doc.25)
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, around August, Renoir to Bazille:
Nivard has the painting of Monet, Le Japonais aux petits drapeaux (=CR107). (R127I,doc.26)
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, Spring, A. Houssaye to K. Bertrand:
I have in my gallery the La femme à la robe vert (=CR65), which I intend to give one day to the Musée du Luxembourg. (R127I,doc.27)
1870/05/29, Paris Boudin to F. Martin:
They have refused Monet (for the Salon) (R127I,doc.28)
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)
1870/09/17, from 20 rue Neuve de Capucinnes in Paris, Duret to Pissarro:
I have a dispute with Monet. As you have introduced him to me, I ask you to mediate. I bought him the 24th of May a painting for 1.000fr, but according to him 1.200fr. He offered me two paintings for 1.500 and 1.200fr, which I refused. Later he reduced them to 1.200 and 1.000fr. I agreed on the latter (=!? CR94). Manet bought the first for 1.200fr. (R127I,doc.28bis)
1870/09/20, from Paris, Duret to Pissarro:
I will pay the other 200fr. (R127I,doc.28ter)
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 3rd 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,no65/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)
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. Lausanne: La Bibliothèque des Arts, 1874-1991 (R127I)
Online: wpi.art.com/Monet1974-1991 =iR187. These volumes include letters:
Tome I, 1974: 1859-81; page 419-443; letters 1-226; 1859/05/19 till 1881/11/02 (=R127I; =iR19tI-l=aR19; view.publitas.com//tome I)
Tome II, 1979: 1882-86; page 213-292; letters 227-766; 1881/12/17 till 1886 (=R127II; =iR19tII-l=aR19)
Tome III, 1979: 1887-98; page 221-298; letters 767-1433 (=R127III; =iR19tIII-l=aR19)
Tome IV, 1985: 1899-1926; page 337-426; letters 1434-2685 (=R127IV; =iR19tIV-l=aR19)
Tome V, 1991: 1882-1914; page 183-218; letters no.252-3106 (note: part of the letters from the earlier volumes); (=R127V; =iR187V-l=aR10; =iR19tV-l=aR19; 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 (1855ca-1873); an overview. Last modified 2026/07/27. https://www.impressionism.nl/correspondence/”
Note1: additional letters will be added.
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.