Meta-Impressionism / Other exhibitions

Exposition Universelle

1889

Art expositions

General info:
There were 5 art expositions at the Exposition Universelle in 1889 in Paris counted 9 groupes of exhibitions divided in 83 classes. Only 1 art exhibition was listed as group 1 (divided in 5 classes), this was the international Decennial exhibition, with more recent works, also called the Oeuvres d’Art (=EU-OdA-1889). This page is namely dedicated to this exposition. 8 of the 57 partakers of the ‘impressionist’ expositions showed here 21 paintings and 25 other art-works.
There were two other art exhibitions held in a special pavillion at the Champs-de-Mars, near the Palais des Beaux-Arts. An exhibition held by the French ‘Société de Pastellistes‘ and one held by the French ‘Société d’Aquarellistes‘.
There was an ‘Exposition Rétrospective de l’Art Français’ at the Trocadéro with French art-works made before 1800 (=EU-R-1889). See at the bottom of this page.
Most interesting is the Centennial exhibition (1789-1889) which represent the most high regarded art-works of the last 100 years (=EU-C-1889). In total there were 652 oil paintings exhibited, 558 drawings +pastels + watercolours, 465 engravings and 721 other art-works (see seperate page).
Probably at ‘Les industries d’art’ (Union centrale des Arts décoratifs) earthenware service (namely soup tureens and plates) of which the designs were made by Félix Bracquemond and Comte Lepic was shown (R276,p191).
See link for explanation of the subscriptions. Note: If you double click on the first picture (of a group) and then click on full screen, you can create a slideshow. Enjoy!

The Decennial exhibition:
At the Exposition Universelle in 1889 there was a Decennial exhibition. It showed more recent works.
On this page you will find the (highly) awarded art-works, then works of the partakers of the ‘impressionist’ expositions and then works of other artists. More at the bottom of this page you will find more info on the catalogue.

The jury:
Here you will find information on the juries for the Exposition Universelle in 1889 (R231-6,pIII-V;R231-12,p1+2). The focus is on painting. You will see that many jury members were also member of L’Institut.

The jury for classe 1 and 2 consisted of Meissonier* (president); Bouguereau* (vice-president); T. Robert-Fleury (rapporteur); Humbert (secrétaire) and the following members: Arago (Étienne) (conservateur du Musée national du Luxembourg); Barrias; Benjamin-Constant; Bernier; Bonnat*; Breton (Jules)*; Busson (Charles); Cabat*; Carolus-Duran; Cazin; Cormon; Dagnan-Bouveret; Delaunay*; Detaille; Duez; Français; Gérome*; Harpignies; Havard (Henry) (inspecteur des Beaux-Arts); Hébert*; Henner*; Laurens (J.-P.); Lefebvre (J.); Lenepveu*; Mantz (Paul) (directeur général honoraire des Beaux-Arts); Michel (André) (art-critic); Moreau (Gustave)*; Muller*; Pelouse; Proust (Antonin) (député, ancien Ministre des Arts); Puvis de Chavannes; Robert-Fleury (J.-N.)*; Roll; Signol*; Vayson; Vollon (Antoine).
Except when indicated otherwise the members were artists / painters.
Note*: Of the 41 members of the jury 14 were also member of L’Institut.

Classe 3 (sculpture) had 24 jury members of which 9 were also member of L’Institut. One of the members was (Philippe) Burty, inspecteur des Beaux-Arts (inspecteur principal de l’Exposition des Manufactures nationales) (R231-6,p.II).
Classe 4 (architecture) had 24 jury members of which 8 were also member of L’Institut.
Classe 5 (engraving) had 9 jury members of which 3 were also member of L’Institut.
3 of the 4 presidents of the juries were member of L’Institut.

Most awarded works:
31 artists received a Grand Prix for classe 1 (Peintures à l’huile). The 13 French artists were: Bernier*; Collin (Rahpaël); Cormon*; Dagnan-Bouveret* (1852-1929); Delaunay (Élie)?*; Detaille*; Dupré (Jules); Flameng (F.); Gigoux (J.); Hébert (E.)*; Lefebvre (Jules)*; Lhermitte; Morot (Aimé). (R231-12,p2+3)
Note*: these most awarded artists were also member of the jury.

Dagnan-Bouveret (1852-1929): 1880-81, Blessing of the young couple before marriage, 99x143, Pushkin (iR6;iR1;R231;R337;M96) =!? SdAF-1882-700, Bénédiction des jeunes époux avant le marriage; coutume de Franche-Comté; =EU-OdA-1889-369, La Bénédiction. (S.1882) (Grand Prix) — Dagnan-Bouveret (1852-1929): 1880-81, Blessing of the young couple before marriage, 99×143, Pushkin (iR6;iR1;R231;R337;M96) =!? SdAF-1882-700, Bénédiction des jeunes époux avant le marriage; coutume de Franche-Comté; =EU-OdA-1889-369, La Bénédiction. (S.1882) (Grand Prix)

Dagnan-Bouveret (1852-1929): 1887, Breton women at a Pardon, 125x141, CGM Lisbon (iR6;iR1;R231;R337;M103) =SdAF-1887-641, Le pardon, Bretagne; =EU-OdA-1889-370, Le Pardon (Grand Prix); =EU-D-1900-533, Bretonnes au Pardon (Grand Prix) — Dagnan-Bouveret (1852-1929): 1887, Breton women at a Pardon, 125×141, CGM Lisbon (iR6;iR1;R231;R337;M103) =SdAF-1887-641, Le pardon, Bretagne; =EU-OdA-1889-370, Le Pardon (Grand Prix); =EU-D-1900-533, Bretonnes au Pardon (Grand Prix)

Dagnan-Bouveret (1852-1929): 1877, SDbr, The grandpa of the artist (=M. Bouveret), 33x41, Orsay (iR6;M1) =? S1879-811, Portrait de M. G. B.. =EU-OdA-1889-372, Portrait de mon grand-père (Salon de 1879) — Dagnan-Bouveret (1852-1929): 1877, SDbr, The grandpa of the artist (=M. Bouveret), 33×41, Orsay (iR6;M1) =? S1879-811, Portrait de M. G. B.. =EU-OdA-1889-372, Portrait de mon grand-père (Salon de 1879)

Dagnan-Bouveret (1852-1929): 1885, Le pain bénit, 121x85, Orsay (iR6;iR1;R231;M1) =SdAF-1886-627 =EU-OdA-1889-373+1 (Grand Prix) — Dagnan-Bouveret (1852-1929): 1885, Le pain bénit, 121×85, Orsay (iR6;iR1;R231;M1) =SdAF-1886-627 =EU-OdA-1889-373+1 (Grand Prix)

Dagnan-Bouveret (1852-1929): 1884, Horses at the watering trough, 225x175, Orsay (iR2;iR6;iR1;R231;R337;M1) =SdAF-1885-667, Chevaux à l’abreuvoir (Médaille d’Honneur? + Chevalier LdH; bought by the State); =EU-OdA-1889-373+3 (Grand Prix); EU-D-1900-537, Lavoir en Bretagne. — Dagnan-Bouveret (1852-1929): 1884, Horses at the watering trough, 225×175, Orsay (iR2;iR6;iR1;R231;R337;M1) =SdAF-1885-667, Chevaux à l’abreuvoir (Médaille d’Honneur? + Chevalier LdH; bought by the State); =EU-OdA-1889-373+3 (Grand Prix); compare: EU-D-1900-537, Lavoir en Bretagne.

Dagnan-Bouveret (1852-1929): 1879, SDbr, Un accident, 91x131, WAM Baltimore (iR6;iR1;R231;R377;M24) =SdAF-1880-951, Un accident (-> golden medal) =!? EU-OdA-1889-373+4, L’Accident (Grand Prix) — Dagnan-Bouveret (1852-1929): 1879, SDbr, Un accident, 91×131, WAM Baltimore (iR6;iR1;R231;R377;M24) =SdAF-1880-951, Un accident (-> golden medal) =!? EU-OdA-1889-373+4, L’Accident (Grand Prix)

Pictures highly awarded works:
There were 111 golden medal distributed. Among the 59 French artists were: Béraud; Boudin; Brown (J.-L.); Goeneutte (Norbert); Jacque (Charles); Lépine; Raffaëlli; Tissot.

Eugène Boudin: 1887, CR2199, SDbr, Pleine mer (les lamaneurs), 92x132, A2021/04/14 (iR6;iR15;R231;R161,p92;R122,no2199) =EU-1889-OdA-155, Les Lamaneurs (-> golden medal) — Eugène Boudin: 1887, CR2199, SDbr, Pleine mer (les lamaneurs), 92×132, A2021/04/14 (iR6;iR15;R231;R161,p92;R122,no2199) =EU-1889-OdA-155, Les Lamaneurs (-> golden medal)

Stanislas Lépine: 1880ca, The Estacade Bridge, 32x46, WAM Baltimore (iR2;iR6;aR2;R21,p279;aR8;iR1;M48) Compare: SdAF-1885-1561, Le pont de l’Estacade, à Paris = EU-OdA-1889-905, Le pont de l'Estacade, à Paris -> 1st class medal — Stanislas Lépine: 1880ca, The Estacade Bridge, 32×46, WAM Baltimore (iR2;iR6;aR2;R21,p279;aR8;iR1;M48) Compare: SdAF-1885-1561, Le pont de l’Estacade, à Paris = EU-OdA-1889-905, Le pont de l’Estacade, à Paris -> 1st class medal

Jean-François Raffaëlli: SdAF-1886-1954, Chez le fondeur =1886, At the Foundry, 128x169, MBA Lyon (Orsay) (iR204;iR6;iR1;iR2;aR7;R231/iR40;R3;M217;M1) =EU-OdA-1889-...., Chez Gonon, le fondeur (-> golden medal) =EU-C-1900-540, Chez le fondeur (Musée de Lyon) — Jean-François Raffaëlli: SdAF-1886-1954, Chez le fondeur =1886, At the Foundry, 128×169, MBA Lyon (Orsay) (iR204;iR6;iR1;iR2;aR7;R231/iR40;R3;M217;M1) =EU-OdA-1889-…., Chez Gonon, le fondeur (-> golden medal) =EU-C-1900-540, Chez le fondeur (Musée de Lyon)

Jean-François Raffaëlli: 1884, Blacksmiths taking a Drink, 77x57, MC Douai (iR2;iR1;aR7,p224;R85XI,no15;R231;M176) =!? XX-1885-5 =!? SdAF-1885-3131, Forgerons =EU-OdA-1889-II-1599, Forgerons buvant (dessin rehaussé à l’huile) (-> golden medal) =EU-C-1900-541, Les Forgerons buvant — Jean-François Raffaëlli: 1884, Blacksmiths taking a Drink, 77×57, MC Douai (iR2;iR1;aR7,p224;R85XI,no15;R231;M176) =!? XX-1885-5 =!? SdAF-1885-3131, Forgerons =EU-OdA-1889-II-1599, Forgerons buvant (dessin rehaussé à l’huile) (-> golden medal) =EU-C-1900-541, Les Forgerons buvant

The exposition Oeuvres d’Art:
There also was the exhibition Oeuvres d’Art, with more recent works (=EU-OdA-1889). At the French section 2777 art-works were shown, including 1418 paintings. This included 21 paintings and 25 other art-works by 8 partakers of the ‘impressionist’ expositions. In total 30 other countries showed 3703 art-works.
Here below first you will find art-works shown by partakers of the ‘impressionist’ expositions. And next art-works by other artists.

Art-Works of the ‘impressionists’ at the Oeuvres d’Art:
Some partakers of the ‘impressionist’ expositions showed art-works at the Decennial exhibition of the Exposition Universelle in 1889, also called the Oeuvres d’Art (=EU-1889-OdA). The following partakers showed paintings: Boudin (2); Colin (2); Franc Lamy (2); Lépine (2); J.F. Raffaëlli (8).
The following partakers (also) showed other art-works: Astruc showed 1 aquarelle and 2 sculptures; Félix Bracquemond showed 13 engravings (within 10 numbers); Desboutin showed 1 engraving; Auguste Ottin showed 1 sculpture; J.F. Raffaëlli showed 5 enhanced drawings and 2 pastels. At the Italian section Zandomeneghi showed 5 untitled paintings and 3 untitled pastels (=EU-1889-OdA-Italie-184 + 221).
So, in total 8 of the 57 partakers of the ‘impressionist’ expositions showed 21 paintings and 25 other art-works.
Several of them received awards (iR488 =R231-12). Within classe 1 (peinture à l’huile) Boudin , Lépine and J.F. Raffaëlli received a golden medal↑ (p4); Colin a médaille d’argent (p5); Franc Lamy a mention honorable (p13). Within classe 2 (Peintures diverses et dessins) Zandomeneghi received a mention honorable (p16). Within classe 3 (sculpture) Auguste Ottin received a bronze medal and Zacharie Astruc a mention honorable (p17). Within classe 5 (gravure et lithographie) Félix Bracquemond was part of the jury and Desboutin received a médaille d’argent (p25).

Note: The Latouche who received a golden medal (classe 1) was Gaston Latouche. The Mlle Morizot who received a mention honorable (classe 2) was Mlle Henriette Morizot (R231-6).

Zacharie Astruc: 1901, SD, Hamlet, scène des comédiens (L'homme blessé) (detail), sculpture ronde-bosse en marbre, 193x91, MBA Bordeaux (iR10;iR1;iR489;R231-6+12;M11) =SdAF-1901-2959, Hamlet (scène des comédiens); statue, marbre; appartient à l’Etat. Compare: EU-1889-OdA-1657, Hamlet (scène des Comédiens), statue, plâtre (M.I.P. et B.A.; S.1887) -> mention honorable; =SdAF-1887-3595, Hamlet; scène des comédiens / (Shakespeare) sculpture. — Zacharie Astruc: 1901, SD, Hamlet, scène des comédiens (L’homme blessé) (detail), sculpture ronde-bosse en marbre, 193×91, MBA Bordeaux (iR10;iR1;iR489;R231-6+12;M11) =SdAF-1901-2959, Hamlet (scène des comédiens); statue, marbre; appartient à l’Etat. Compare: EU-1889-OdA-1657, Hamlet (scène des Comédiens), statue, plâtre (M.I.P. et B.A.; S.1887) -> mention honorable; =SdAF-1887-3595, Hamlet; scène des comédiens / (Shakespeare) sculpture.

Zacharie Astruc: 1901, SD, Hamlet, scène des comédiens (L'homme blessé), sculpture ronde-bosse en marbre, 193x91, MBA Bordeaux (iR10;iR1;iR489;R231-6+12;M11) =SdAF-1901-2959, Hamlet (scène des comédiens); statue, marbre; appartient à l’Etat. Compare: EU-1889-OdA-1657, Hamlet (scène des Comédiens), statue, plâtre (M.I.P. et B.A.; S.1887) -> mention honorable; =SdAF-1887-3595, Hamlet; scène des comédiens / (Shakespeare) sculpture. — Zacharie Astruc: 1901, SD, Hamlet, scène des comédiens (L’homme blessé), sculpture ronde-bosse en marbre, 193×91, MBA Bordeaux (iR10;iR1;iR489;R231-6+12;M11) =SdAF-1901-2959, Hamlet (scène des comédiens); statue, marbre; appartient à l’Etat. Compare: EU-1889-OdA-1657, Hamlet (scène des Comédiens), statue, plâtre (M.I.P. et B.A.; S.1887) -> mention honorable; =SdAF-1887-3595, Hamlet; scène des comédiens / (Shakespeare) sculpture.

Félix Bracquemond: 1882, Sbr, B54-8, (Portrait d') Edmond de Goncourt (la main droite tenant une cigarette), etch 8th state, 55x40, A2024/10/23 (iR15;iR10;iR1;iR19;R84,p237;R85,no54-8;R2,p310+318) =!? SdAF-1881-4603, Une gravure: Edmond de Goncourt; EU-OdA-1889-cl.5-2374, Une gravure (eau-forte): Portrait de M. Edmond de Goncourt (S.1881); EU-C-1900-2275, Portrait d'E. de Goncourt; eau-forte originale. Compare the drawing exhibited as: 5IE-1880-4, Portrait de M. Ed. de Goncourt. Compare also: 2XX-1885-1, Edmond de Goncourt. — Félix Bracquemond: 1882, Sbr, B54-8, (Portrait d’) Edmond de Goncourt (la main droite tenant une cigarette), etch 8th state, 55×40, A2024/10/23 (iR15;iR10;iR1;iR19;R84,p237;R85,no54-8;R2,p310+318) =!? SdAF-1881-4603, Une gravure: Edmond de Goncourt; EU-OdA-1889-cl.5-2374, Une gravure (eau-forte): Portrait de M. Edmond de Goncourt (S.1881); EU-C-1900-2275, Portrait d’E. de Goncourt; eau-forte originale. Compare the drawing exhibited as: 5IE-1880-4, Portrait de M. Ed. de Goncourt. Compare also: 2XX-1885-1, Edmond de Goncourt.

Félix Bracquemond: 1882, B342, The evening (after Rousseau), etch, 45x43, NYPL (iR61;iR1;R341-6;R85III,no342) =!? SdAF-1882-5210, Le soir, d’après Th. Rousseau; =EU-OdA-1889-cl.5-2375, Une gravure (eau-forte): Le soir, d’après Th. Rousseau (S.1882) — Félix Bracquemond: 1882, B342, The evening (after Rousseau), etch, 45×43, NYPL (iR61;iR1;R341-6;R85III,no342) =!? SdAF-1882-5210, Le soir, d’après Th. Rousseau; =EU-OdA-1889-cl.5-2375, Une gravure (eau-forte): Le soir, d’après Th. Rousseau (S.1882)

Félix Bracquemond: 1882, SDbl, B222, The Old Cock, etch 4/5, 48x36, NGA Washington (M21;iR10;iR1;R231/iR40;R85III,no222) =? SdAF-1882-5209a, Deux eaux-fortes: Le coq; 2XX-1885-4a; EU-OdA-1889-2376a, Le vieux coq. — Félix Bracquemond: 1882, SDbl, B222, The Old Cock, etch 4/5, 48×36, NGA Washington (M21;iR10;iR1;R231/iR40;R85III,no222) =? SdAF-1882-5209a, Deux eaux-fortes: Le coq; 2XX-1885-4a; EU-OdA-1889-2376a, Le vieux coq.

Félix Bracquemond: 18xx, B221, Ebats de canards (Flock of ducks), etch, 33x24, Metropolitan (M23;iR10;iR1;R231/iR40;R85III,no221) =? SdAF-1882-5209b, Deux eaux-fortes: Ebats de canards; 2XX-1885-4b; EU-OdA-1889-2376b. — Félix Bracquemond: 18xx, B221, Ebats de canards (Flock of ducks), etch, 33×24, Metropolitan (M23;iR10;iR1;R231/iR40;R85III,no221) =? SdAF-1882-5209b, Deux eaux-fortes: Ebats de canards; 2XX-1885-4b; EU-OdA-1889-2376b.

Félix Bracquemond: 1882, B778, Surprised ducks, etch, 38x27, Metropolitan (iR6;M23;R85XIII,no778;R231/iR40;iR19) =!? EU-OdA-1889-2377a, (Deux gravures eau-fortes:) Canards surpris; SNBA-1907-171-122. — Félix Bracquemond: 1882, B778, Surprised ducks, etch, 38×27, Metropolitan (iR6;M23;R85XIII,no778;R231/iR40;iR19) =!? EU-OdA-1889-2377a, (Deux gravures eau-fortes:) Canards surpris; SNBA-1907-171-122.

Félix Bracquemond: 1882, B779, Morning mist (with pheasants), etch, 24x35, xx (iR10;iR1;iR19;R88;R85III,no779) =!? EU-OdA-1889-2377b, (Deux gravures eau-fortes:) Brumes du matin; SNBA-1907-171-129, Brumes du matin. — Félix Bracquemond: 1882, B779, Morning mist (with pheasants), etch, 24×35, xx (iR10;iR1;iR19;R88;R85III,no779) =!? EU-OdA-1889-2377b, (Deux gravures eau-fortes:) Brumes du matin; SNBA-1907-171-129, Brumes du matin.

Félix Bracquemond: 1882, B345, Labor (Man with a Hoe; after Millet), etch, 23x28, FAM San Francisco (iR10;M30;iR1;R85III,no345;R88) =!? SdAF-1883-4576, Une gravure: Labor, d'après Millet; 2XX=1885-6, Labor (ou l'homme à la houe), d'après Millet; EU-OdA-1889-2378, Une gravure eau-forte: Labor, d'après Millet (Salon 1883). — Félix Bracquemond: 1882, B345, Labor (Man with a Hoe; after Millet), etch, 23×28, FAM San Francisco (iR10;M30;iR1;R85III,no345;R88) =!? SdAF-1883-4576, Une gravure: Labor, d’après Millet; 2XX=1885-6, Labor (ou l’homme à la houe), d’après Millet; EU-OdA-1889-2378, Une gravure eau-forte: Labor, d’après Millet (Salon 1883).

Félix Bracquemond: 1884, B348, David, d’après Gustave Moreau, etch, 71x45, A2012/11/29 (iR10;iR105;iR13;iR1;iR19;R85III,no348;R341-6+1) =!? SdAF-1884-4250, Une gravure : David, d’après M. Gustave Moreau; 2XX-1885-5, David, d'après Gustave Moreau; EU-OdA-1889-2379, Une gravure eau-forte: David, d'après M. G. Moreau (Salon 1884); EU-C-1900-2272, David, d'après Gustave Moreau; eau-forte. — Félix Bracquemond: 1884, B348, David, d’après Gustave Moreau, etch, 71×45, A2012/11/29 (iR10;iR105;iR13;iR1;iR19;R85III,no348;R341-6+1) =!? SdAF-1884-4250, Une gravure : David, d’après M. Gustave Moreau; 2XX-1885-5, David, d’après Gustave Moreau; EU-OdA-1889-2379, Une gravure eau-forte: David, d’après M. G. Moreau (Salon 1884); EU-C-1900-2272, David, d’après Gustave Moreau; eau-forte.

Félix Bracquemond: 1885, B349, La Rixe (after Meissonier), etch, 55x65, FAM San Francisco (iR10;M30;iR1;iR19;R231-6;R85III,no349) =!? SdAF-1886-4493, Une gravure: La rixe, d’après M. Meissonier; EU-OdA-1889-2380, Une gravure eau-forte: La Rixe, d'après M. Meissonier (Salon 1886); SNBA-1907-171-97, La Rixe, d'après M. Meissonier (appartient à M. le baron Vitta). — Félix Bracquemond: 1885, B349, La Rixe (after Meissonier), etch, 55×65, FAM San Francisco (iR10;M30;iR1;iR19;R231-6;R85III,no349) =!? SdAF-1886-4493, Une gravure: La rixe, d’après M. Meissonier; EU-OdA-1889-2380, Une gravure eau-forte: La Rixe, d’après M. Meissonier (Salon 1886); SNBA-1907-171-97, La Rixe, d’après M. Meissonier (appartient à M. le baron Vitta).

Félix Bracquemond: 1885-86, B796, The Dream of an Inhabitant of Mongolia, etch, 39x28, NMWA Tokyo (M127;iR10;iR1;R231/iR40;R85,no795) =!? SdAF-1887-4899, (Six gravures:) D’après les aquarelles de M. G. Moreau (1826-98); =? EU-OdA-1889-2381, Deux gravures eau-fortes: Fables de La Fontaine, d'après M. G. Moreau (Salon 1887) — Félix Bracquemond: 1885-86, B796, The Dream of an Inhabitant of Mongolia, etch, 39×28, NMWA Tokyo (M127;iR10;iR1;R231/iR40;R85,no795) =!? SdAF-1887-4899, (Six gravures:) D’après les aquarelles de M. G. Moreau (1826-98); =? EU-OdA-1889-2381, Deux gravures eau-fortes: Fables de La Fontaine, d’après M. G. Moreau (Salon 1887)

Félix Bracquemond: 1886, B795, Le Singe et le chat, etch, 43x29, Metropolitan (M23;iR10;iR1;R231/iR40;R85,no795) =!? SdAF-1887-4899, (Six gravures:) D’après les aquarelles de M. G. Moreau (1826-98); =? EU-OdA-1889-2381, Deux gravures eau-fortes: Fables de La Fontaine, d'après M. G. Moreau (Salon 1887) — Félix Bracquemond: 1886, B795, Le Singe et le chat, etch, 43×29, Metropolitan (M23;iR10;iR1;R231/iR40;R85,no795) =!? SdAF-1887-4899, (Six gravures:) D’après les aquarelles de M. G. Moreau (1826-98); =? EU-OdA-1889-2381, Deux gravures eau-fortes: Fables de La Fontaine, d’après M. G. Moreau (Salon 1887)

Félix Bracquemond: 1885, B785, Puiseuses d'eau (after Millet), etch, 56x41, NYPL (iR6;iR61;iR1;R231-6;R85XIII,no785) =SdAF-1887-4900-1, (Deux gravures:) D'après les dessins de F. Millet; =EU-OdA-1889-2382, Une gravure eau-forte: Puiseuses d'eau, d'après Millet (Salon 1887) — Félix Bracquemond: 1885, B785, Puiseuses d’eau (after Millet), etch, 56×41, NYPL (iR6;iR61;iR1;R231-6;R85XIII,no785) =SdAF-1887-4900-1, (Deux gravures:) D’après les dessins de F. Millet; =EU-OdA-1889-2382, Une gravure eau-forte: Puiseuses d’eau, d’après Millet (Salon 1887)

Félix Bracquemond: 18xx, B341, Boissy d'Anglas présidant la Convention le 1er Prairial An III, etch+ps, 41x51, NGA Washington (iR6;iR1;R231/iR40;M21) =!? SdAF-1881-4602, Une gravure: Séance de la Convention du 20 mai 1795, présidée par Boissy-d’Anglas, d’après E. Delacroix (appartient à la préfecture de la Seine); =EU-OdA-1889-..., Une gravure eau-forte: Boissy d'Anglas, d'après Eug. Delacroix (Exp. spéciale de la ville de Paris; Salon 1881); — Félix Bracquemond: 18xx, B341, Boissy d’Anglas présidant la Convention le 1er Prairial An III, etch+ps, 41×51, NGA Washington (iR6;iR1;R231/iR40;M21) =!? SdAF-1881-4602, Une gravure: Séance de la Convention du 20 mai 1795, présidée par Boissy-d’Anglas, d’après E. Delacroix (appartient à la préfecture de la Seine); =EU-OdA-1889-…, Une gravure eau-forte: Boissy d’Anglas, d’après Eug. Delacroix (Exp. spéciale de la ville de Paris; Salon 1881);

Gustave Colin: 1881, SDbr, Basque skiffs in the bay; Saint Jean de Luz; heavy weather from NW, 270x382, MC Le Puy-en-Velay (iR23;iR1;R231-6;M178) = SdAF-1881-502, Lamaneurs basques en rade ; Saint-Jean de Luz; gros temps de N.-O.; =!? EU-1889-Oda-321, Les Lamaneurs basques; rade de St-Jean-de-Luz (Musée du Puy; S. 1861) — Gustave Colin: 1881, SDbr, Basque skiffs in the bay; Saint Jean de Luz; heavy weather from NW, 270×382, MC Le Puy-en-Velay (iR23;iR1;R231-6;M178) = SdAF-1881-502, Lamaneurs basques en rade ; Saint-Jean de Luz; gros temps de N.-O.; =!? EU-1889-Oda-321, Les Lamaneurs basques; rade de St-Jean-de-Luz (Musée du Puy; S. 1861)

Gustave Colin: 18xx, Sbl, Mass, 65x81, A2007/10/03 (iR14;iR13;iR11;iR1;R231-6) =?? SdAF-1886-553, La messe du matin; Navarre =EU-1889-OdA-322, La messe du matin en Navarre (M.I.P. and B.A.; S. 1886). — Gustave Colin: 18xx, Sbl, Mass, 65×81, A2007/10/03 (iR14;iR13;iR11;iR1;R231-6) =?? SdAF-1886-553, La messe du matin; Navarre =EU-1889-OdA-322, La messe du matin en Navarre (M.I.P. and B.A.; S. 1886).

Marcellin Desboutin: 1879, Bs1 +CJ63, L'homme à la pipe (autoportrait), ps, 44x36, A2021/12/14 (iR17;iR11;iR195;iR1;aR10,no62;R158,no63+p147;R85XIII,p33+no1;R231-1) =!? S1879-5638-1. "Mon portrait" (>3rd class medal) =? EU-OdA-1889-2454, Une gravure, pointe sèche, Portrait de M. Desboutin (->2nd class medal) = !? EU-1900-C-2308, L'homme à la pipe (portrait de l'auteur); pointe sèche (à M. Beurdeley). — Marcellin Desboutin: 1879, Bs1 +CJ63, L’homme à la pipe (autoportrait), ps, 44×36, A2021/12/14 (iR17;iR11;iR195;iR1;aR10,no62;R158,no63+p147;R85XIII,p33+no1;R231-1) =!? S1879-5638-1. “Mon portrait” (>3rd class medal) =? EU-OdA-1889-2454, Une gravure, pointe sèche, Portrait de M. Desboutin (->2nd class medal) = !? EU-1900-C-2308, L’homme à la pipe (portrait de l’auteur); pointe sèche (à M. Beurdeley).

Auguste-Louis-Marie Ottin: 1882ca, La Fraternité, projet d'un monument à la Revolution de 1848 (left), plaster, 123x143x15, Dépôt des sculptures de PP Paris (aR16;iR1;iR195;R231-6+12;M4) =!? SdAF-1882-4719, Triomphe de la République; bas-reliefs, plâtre: 1. Le peuple amené à la République par l’éducation; 2. La jeunesse sème des fleurs sur le chemin; =!? SdAF-1885-4067, Marche triomphale de la République; =EU-1889-OdA-cl3-2069, Marche triomphale de la République; bas-relief, plâtre (S.1885) -> bronze medal. — Auguste-Louis-Marie Ottin: 1882ca, La Fraternité, projet d’un monument à la Revolution de 1848 (left), plaster, 123x143x15, Dépôt des sculptures de PP Paris (aR16;iR1;iR195;R231-6+12;M4) =!? SdAF-1882-4719, Triomphe de la République; bas-reliefs, plâtre: 1. Le peuple amené à la République par l’éducation; 2. La jeunesse sème des fleurs sur le chemin; =!? SdAF-1885-4067, Marche triomphale de la République; =EU-1889-OdA-cl3-2069, Marche triomphale de la République; bas-relief, plâtre (S.1885) -> bronze medal.

Auguste-Louis-Marie Ottin: 1882ca, La Fraternité, projet d'un monument à la Revolution de 1848 (middle section), plaster, 123x139x15, Dépôt des sculptures de PP Paris(aR16;iR1;iR195;R231-6+12;M4) =!? SdAF-1882-4719, Triomphe de la République; bas-reliefs, plâtre: 3. Le travail humain; =!? SdAF-1885-4067, Marche triomphale de la République; =EU-1889-OdA-cl3-2069, Marche triomphale de la République; bas-relief, plâtre (S.1885) -> bronze medal. — Auguste-Louis-Marie Ottin: 1882ca, La Fraternité, projet d’un monument à la Revolution de 1848 (middle section), plaster, 123x139x15, Dépôt des sculptures de PP Paris (aR16;iR1;iR195;R231-6+12;M4) =!? SdAF-1882-4719, Triomphe de la République; bas-reliefs, plâtre: 3. Le travail humain; =!? SdAF-1885-4067, Marche triomphale de la République; =EU-1889-OdA-cl3-2069, Marche triomphale de la République; bas-relief, plâtre (S.1885) -> bronze medal.

Auguste-Louis-Marie Ottin: 1882ca, La Fraternité, projet d'un monument à la Revolution de 1848 (right section), plaster, 108x181x15, Dépôt des sculptures de PP Paris (aR16;iR1;iR195;R231-6+12;M4) =!? SdAF-1882-4719, Triomphe de la République; bas-reliefs, plâtre: 4. La République protectrice des faibles est consacrée par le suffrage universel; 5. La Liberté brûle les armes de guerre et la hache du bourreau; 6. Acclamations de tous les peuples à la République Universelle; =!? SdAF-1885-4067, Marche triomphale de la République; =EU-1889-OdA-cl3-2069, Marche triomphale de la République; bas-relief, plâtre (S.1885) -> bronze medal. — Auguste-Louis-Marie Ottin: 1882ca, La Fraternité, projet d’un monument à la Revolution de 1848 (right section), plaster, 108x181x15, Dépôt des sculptures de PP Paris (aR16;iR1;iR195;R231-6+12;M4) =!? SdAF-1882-4719, Triomphe de la République; bas-reliefs, plâtre: 4. La République protectrice des faibles est consacrée par le suffrage universel; 5. La Liberté brûle les armes de guerre et la hache du bourreau; 6. Acclamations de tous les peuples à la République Universelle; =!? SdAF-1885-4067, Marche triomphale de la République; =EU-1889-OdA-cl3-2069, Marche triomphale de la République; bas-relief, plâtre (S.1885) -> bronze medal.

Federico Zandomeneghi, 8IE-1886-237, Peinture (Portrait d'homme; portrait de vieil homme à barbe grise) = 1881, CG81, SDtr, Portrait of the Doctor, 66x54, private (iR204;iR6;R90II,p254+278;R204,no81), former Durand-Ruel collection = EU1889 = Venice 1914-22. — Federico Zandomeneghi, 8IE-1886-237, Peinture (Portrait d’homme; portrait de vieil homme à barbe grise) = 1881, CG81, SDtr, Portrait of the Doctor, 66×54, private (iR204;iR6;R90II,p254+278;R204,no81), former Durand-Ruel collection = EU1889 = Venice 1914-22.

Art-Works of other artists at the Oeuvres d’Art:
I will render some art-works (mainly paintings) of some other artists that were exhibited at the exhibition Oeuvres d’Art in 1889. I will do so in alphabetical order, which also is the catalogue order. This will not give you an overall impression (that is outside the scope of this website). Namely works of pre-impressionist, para-impressionist and other related artitsts will be shown. Namely the following artists showed paintings: Jean Béraud (4); Albert Besnard (6); Léon Bonnat (10 portraits); Bouguereau (10); Jules Breton (10); John-Lewis Brown (4); Cabat (5); Carolus-Duran (10); Charles Cazin (9); Marie Cazin (1); Cormon (9); Elie Delaunay (10); Jean Desbrosses (5); Dupré (4); Fantin-Latour (5); Louis Français (10); Henri Gervex (9); Norbert Goeneutte (4); Antoine Guillemet (7); Henri Harpignies (10); Jean-Jacques Henner (8); Jacque (3); Jean-Paul Laurens (8); Jules Lefebvre (9); Léon Lhermitte (6); Meissonier (10); Louis Mettling (1); Puvis de Chavannes (6); Tony Robert-Fleury (4); James Tissot (5).
Note: the awarded (9) works of Dagnan-Bouveret you will find at the top of this page.

Bouguereau (1825-1905): 1888, SDbl, The First Mourning, 203x250, MBA Buenos Aires (iR6;iR1;R231-6;M114) =SdAF-1888-328 =EU-OdA-1889-157, Premier Deuil. — Bouguereau (1825-1905): 1888, SDbl, The First Mourning, 203×250, MBA Buenos Aires (iR6;iR1;R231-6;M114) =SdAF-1888-328 =EU-OdA-1889-157, Premier Deuil.

Jean-Charles Cazin (1840-1901): 1876, Sbr, L'Orage (The storm), 90x117, Orsay (M1;iR10;R231-iR3+4+6+13) =!? EU-1889-OdA-276 (à M. H. Adam) -> Officier LdH; =? EU-1900-C-84, (1874) (à Mme Bartet); =?? EU-1900-D-398 (à Mme Bartet) -> Grand Prix. — Jean-Charles Cazin (1840-1901): 1876, Sbr, L’Orage (The storm), 90×117, Orsay (M1;iR10;R231-iR3+4+6+13) =!? EU-1889-OdA-276 (à M. H. Adam) -> Officier LdH; =? EU-1900-C-84, (1874) (à Mme Bartet); =?? EU-1900-D-398 (à Mme Bartet) -> Grand Prix.

Henri Gervex (1852-1929): 1885, A session of the painting Jury, 299x419, Orsay (iR6;iR10;R231-6;R5,p20;M1) =EU-OdA-1889-648, Les membres du Jury du Salon de Peinture. — Henri Gervex (1852-1929): 1885, A session of the painting Jury, 299×419, Orsay (iR6;iR10;R231-6;R5,p20;M1) =EU-OdA-1889-648, Les membres du Jury du Salon de Peinture.

Bouguereau (1825-1905): 1889, Chansons de printemps, 149x100, private (iR6;iR155;iR10;R231) =EU-OdA-1889-161 — Bouguereau (1825-1905): 1889, Chansons de printemps, 149×100, private (iR6;iR155;iR10;R231) =EU-OdA-1889-161

Art-Works of foreign artists:
In total 30 countries showed 3703 art-works. The following countries showed larger amounts of art-works:
The USA (572), including paintings of William Chase (8); Elizabeth Jane Gardner (2); Childe Hassam (4); Melgers (J.-Gari)*; John S. Sargent* (6); Louis C. Tiffany (1). Note: Mary Cassatt was not included.
Great-Brittain (552), including paintings of Alma Tadema* (3); E. Burne-Jones** (1); Sir John-Everett Millais (6); Moore (H.)*; Walter Sickert (1); Whistler** (2).
Italie (327), including paintings of Jean Boldini* (5); Giovanni Segantini (3). And also 5 paintings and 3 pastels of Federico Zandomeneghi.
The Netherlands (288), including paintings of Louis Apol (3); Breitner (3); Joseph Israels* (3); Jacob Maris** (5); Willem Maris (3); Anton Mauve (5); Willem Mesdag** (3).
Danmark (248), including Peter Severin Kröyer*;
Sweden (228), including Bergh*;
Russia (205), including Chelmonski (Joseph)*;
Spain (179), including Jimenez (L.)*; and 8 engravings by Ricardo de los Rios.
Switserland (168), including works of Ferdinand Hodler and Félix Valloton.
Austria (165), including Joseph Hoffmann; Munkacsy*;
Norway (143), including paintings of Edvard Munch (1); Fritz Thaulow (3); Werenskiold*.
Germany (101), including Max Liebermann*; Ad. Menzel; Uhde*;
All the other countries showed a total of 527 art-works. This included works of Edelfelt* (Finland);
The exhibition of Belgian art had a seperate catalogue. It included works of Claus (Émile)**; Courtens (Frantz)*; Stevens (Alfred)*; Wauters (Émile)*.

31 artists received a Grand Prix for classe 1 (Peintures à l’huile). Among the 13 foreign artists were the above mentioned indicated with * (all are mentioned).
There were 111 golden medal distributed. Among the 52 foreign artists were the above mentioned indicated with ** (just a few are mentioned).

Rejected pictures:
Durand-Ruel did sent 55 paintings for the Pavillon de la Presse. They were returned 1889/11/14 to the gallery. 1889/06/19 he had received a receipt for the reception of 40 paintings. It included 4 paintings of Sisley, which were all not exhibited. (R166,p46+53,note90)

Catalogue of the Oeuvres d’art:
The works of art were catagorised within the first volume and the first group called ‘Oeuvres d’art’. The works were divided within 5 classes:
Classe 1: Peintures à l’huile.
Classe 2: Peintures diverses et dessins.
Classe 3: Sculptures et gravures en médailles.
Classe 4: Dessins et modèles d’architecture.
Classe 5: Gravure et lithographies.
The French section was divided in the following numbers:
Classe 1: 1-1418
Classe 2: 1419-1632.
Classe 3: 1633-2193.
Classe 4: 2194-2332.
Classe 5: 2333-2777.
The sections of the colonies and countries also were divided in these classes and started again and again with number 1. In total 30 countries showed 3703 art-works.
Catalogue: 1889, Paris. Catalogue exposition Decennale ‘oeuvres d’art‘ classe 1 à 5 (link gallica.bnf.fr/bpt6k12657842; =iR40=R231-6)

Exposition de la Société d’Aquarellistes Français:
There also was an exhibition held by the French ‘Société d’Aquarellistes’. It was held in a special pavillion at the Champs-de-Mars, near the Palais des Beaux-Arts. Among the artists who showing a total of 463 art-works (aquarelles) were: Jean Béraud (12); Albert Besnard (9); John-Lewis Brown (5); Charles Cazin (6); Max Claude (32!); François-Louis Français (9); Henri Harpignies (11); Léon Lhermitte (31!); Louis Maurice Boutet de Monvel (35!)
Catalogue: 1889, Paris. Catalogue exposition Decennale ‘oeuvres d’art‘ classe 1 à 5 (link gallica.bnf.fr/bpt6k12657842; =iR40=R231-6); page 311 onwards.

Exposition de la Société de Pastellistes Français:
There also was an exhibition held by the French ‘Société de Pastellistes’. It was held in a special pavillion at the Champs-de-Mars, near the Palais des Beaux-Arts. Among the artists who showed their art-works (pastelles) were: Jean Béraud (6); Paul-Albert Besnard (7); Jacques-Emile Blanche (8); John-Lewis Brown (7); Mme Marie Cazin (4); Charles-Jean Cazin (5); Dagnan-Bouveret (2); Henri Gervex (13); Léon-Augustin Lhermitte (6); Puvis de Chavannes (3).
Catalogue: 1889, Paris. Catalogue exposition Decennale ‘oeuvres d’art‘ classe 1 à 5 (link gallica.bnf.fr/bpt6k12657842; =iR40=R231-6); page 323 onwards.

Exposition retrospective:
At the Exposition Universelle Internationale of 1889 there also was held an ‘Exposition Rétrospective de l’Art Français’ at the Trocadéro. It was also called the ‘Exposition Rétrospective du XIIIe au XVIIIe siècle’. Members of the organising committee were Philip Burty and Champfleure.
The catalogue was divided in several periods:
Epoque Mérovingienne;
Epogue Carolingienne;
Épogue du Moyen-Age;
Epogue de la Renaissance;
17e et 18e siècles.
Catalogue: gallica.bnf.fr/ark:/12148/btv1b116000139 =iR40.

Sources:
My main sources the catalogues mentioned here below at the additional references. See also the sources mentioned at the bottom of the main page on the Expositions Universelle.

Additional references (=aRx):

1889, Paris. Exposition Centennale de l’art Français 1789 – 1889 (link gallica.bnf.fr/bpt6k1265784z; = iR40/R231-5)
1889, Paris. Catalogue exposition Decennale ‘oeuvres d’art‘ (link gallica.bnf.fr/bpt6k12657842; =iR40/R231-6)
1889, Paris. Liste des Récompenses; Exposition Universelle de 1889 à Paris. (link CNUM//8xAE372 =iR488=R231-12).
1889, Paris. (link to several catalogues on gallica.bnf.fr; iR40)
1889, Paris, Exposition Retrospective de L’art Français au Trocadéro (link to catalogue on gallica.bnf.fr//btv1b116000139. (iR40/R231)
Beaux-Arts et les arts décoratifs; L’art français rétrospectif (1789-1889) au Trocadéro; Exposition Universelle de 1889, edited by Louis Gonse et Alfred de Lostalot. Paris, 1890. (iR40,bpt6k3115558).
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Recommanded citation: “Meta-Impressionism / other expositions: Exposition Universelle 1889 in Paris. Last modified 2025/09/16. https://www.impressionism.nl/exposition-universelle-1889/”

Note: additional info and pictures will follow.