Guillaumin, account

under construction

Armand Guillaumin (1841-1927)

Account

 

 

Introduction:

On this page you will first find an overview of where Guillaumin did paint, with links to Google maps (iR9). Than you will find an account of the works did exhibit at the 6 ‘impressionist’ expositions he joined. At last you will find an account of the works he exhibited at other expositions. See also the main page on Armand Guillaumin and also at the bottom of it the used sources.

 

 

Where did Guillaumin paint?

(I partly use the information in the Catalogue Raisonné of Serret & Fabiani from 1971 =R124,p561/2).
Guillaumin painted in Paris in 1865 + 1874-1893 almost yearly. (Note: this is strange because Guillaumin still had a house in Paris in 1904 and maybe also afterwards.)
Including from east to west on the left / south bank of the Seine the Quai de la Gare, the Quai d’Austerlitz, near Gare d’Austerlitz, the Quai Saint-Bernard, along the Sarbonne and at the end the Pont de Sully (note: some works are called Quai Sully). And at the opposite right / north bank of the Seine from east to west the Quai de Bercy,  near Gare de Lyon, the Quai de la Rapée, the Quai Henri IV, till the Pont de Sully, the Quai des Célestins, ending at the Pont Marie, which leads to Île Saint-Louis, the Quai de Gesvres, north of Île de la Cité. On the south side of Île Saint-Louis, the Quai d’Orléans,

Guillaumin painted in Île-de-France, the region around Paris.
Including from west to east: In Pontoise and close by Auvers-sur-Oise, about 35km north-west of Paris, from about 1873-79 (not mentioned in R124). In Sannois 25km north-west, in 1919. In Billancourt, west of Paris (not mentioned in R124). In Issy, south-west of Paris in 1874+77+78. In Clamart, south of Issy (not mentioned in R124). In Fontenay-aux-Roses, lies east of Clamart (not mentioned in R124). In Vanves, just south of Paris (not mentioned in R124). In Châtillon, lies a bit more south (not mentioned in R124). In Arcueil lies a little more to the east, in 1869+74. In Bercy lies just south-east of Paris, in 1871=85 (see also Quai de Bercy above). In  Ivry, lies a bit more south-east of Paris in 1869+73+87+ 91+1900; just east lies Alfortville, in 1873, In Charenton, just east of Paris from 1873-93 regularly +1903. In Palaiseau lies about 23km south of Paris (not mentioned in R124). In Epinay-sur-Orge lies about 25km south of Paris in 1880+84+88+89. In 1882+86+89+90 in Damiette which lies about 35km south of Paris and is a former village in the Chevreuse valley, now part of Saint-Rémy-de-Chevreuse, where he also painted in 1912. In Breuillet, about 43km south of Paris, in 1889+90. In Saint-Chéron, about 46km south of Paris, in 1885+90+92+93+1901. In Boigneville, about 70km south of Paris, in 1893+94. In Fleury-en-Bière , about 57km south-east of Paris (not mentioned in R124). In Samois(-sur-Seine), about 65km south-east, in 1898+1900+1902. In Moret, about 80km south-east, in 1896+1902. In Villiers-sur-Morin, about 46km east of Paris, in 1905.

Guillaumin painted in the Côte d’Azur.
From 1889-1923 he regularly painted in Agay, between Cannes and Saint-Tropez. From 1895-1919 he also painted regularly in Le Trayas, about 10km to the north-east. From 1892-1919 he also painted regularly in Saint-Palais, which must be at the Côte d’Azur, but which I could not find nearby. He would also paint in the surroundings: In Esterel, 6km east of Agay (not mentioned in R124). In 1919+20 in Roquebrune + Cap Martin, which lies about 100km north-east. In 1900+02+11 in Le Brusq, about 115km south-west of Agay. Close by is Le Gaou, which maybe is the same place as Lou-Gaou, where he painted in 1911.

1893 onwards Guillaumin partly lived in Crozant, in the Creuse department, 330km south of Paris, he paints here from 1891-1923. He also painted in the region, which is not mentioned in R124. In (the valley of) Sedelle, about 15km south of Crozant. In Bouchardon, about 18km south of Crozant. In Genetin and in Puy-Barriou, but I could not find places close by with these names.

Guillaumin painted in several places south(-east) of Paris:
Jouy, 95km south of Paris, in 1888+1901. In Poitiers, about 340km south-west of Paris, in 1895+1910. Pontcharraud, about 420km south of Paris, in from 1894-1920 regularly. About 50km to the east in Pontgibaud, near the Auvergne, in 1889+90+95+99. In Saint-Sauves, about 450km south of Paris, in 1900. In Saint-Julien-des-Chazes, about 510km south-east of Paris, in 1895. In Pontcharra, about 600km sout-east of Paris, in 1890+1900+01. I could not find Miregaudon, where he painted in 1892.

Guillaumin painted in Normandie and Brittany:
In Rouen, about 150km north-west of Paris, in 1898+1904. In Clézy(-sur-Orne), about 260km (south-)west of Paris, in 1891+1903 and also in 1903 in Vézalay-sur-Orne, which I could not find. In Carolles, about 350km (south-)west of Paris, in 1900+02. In Saint-Servan, about 400km (south-)west of Paris, in 1895. In Saint-Servant, about 430km south-west of Paris, in 1900. In Val-André, which maybe is about 440 (south-)west of Paris, in 1907.

 

The first ‘impressionist’ exposition 1874:

  • catalogue numbers 64-66
  • in total Guillaumin exhibited 3 works.
    • 1x indication of place
    • 3x indication of time, season or weather
    • 0x a study
    • 1x loans (appartient à…).
  • See for the suggestions Moffett (R2,p120), Dayez (R87,p238) and Berson (R90II,p8+22). They refer to the Catalogue Raisonné made by Serret & Fabiani (1971=R124).
1874 catalogue:

1IE-1874-64          Le Soir, paysage
Moffett doesn’t give a suggestion, nor does Dayez, nor Berson. Marc de Montifaud (1874/05/01) gives an extended review: ‘Le Soir, de Guillaumin, despite some dryness and while lacking clairity, comes from a finer sense and highly sensibel which, through contrast, pulls a vibration out of the colour, and manages to create an effect; so, thanks to the coldness of the foregrounds, the artist has redoubled all the intensity of the setting sun, whose masses are, we’re forced to admit it, ploughed by compact smoke, without dilation / expansion; now, the vaporous principle should merge with the purple of this furnace / oven, but, at least, we can see a bias of execution in the search for the real thing.’  (R90I,p30).

1IE-1874-65          Temps pluvieux, paysage
Moffett suggests with a perhaps 1871, CR10, La Seine à Paris, 126×181, MFA Houston (R2,p128;R124). Berson still calls the work unidentified. This work doesn’t depict any rain, so I doubt if this was a good suggestion, still I will render it as a suggestion. Armand Silvestre (1874/04/22) reviews: ‘I have received no richer impressions than those from Temps pluvieux by Guillaumin.’ (R2,p128)

1IE-1874-66          Soleil couchant à Ivry ; appartient à  M. le docteur Gachet
Moffett suggests CR20, so do Dayez and Berson: 1873, CR20, Soleil couchant à Ivry. Berson sugggests it was also shown as 8IE-1886-76. Marc de Montifaud (1874/05/01) praises him for his vibrant colours. He names ‘Le soir’, but describes ‘Soleil couchant’ by writing about ‘the intensity of the sunset’ and ‘dense smoke’. (R87,p267).

 

The 3rd ‘impressionist’ exposition 1877:

  • catalogue numbers 62-73
  • in total Guillaumin exhibited 12 works.
    • 11x indication of place
    • 1x indication of time, season or weather
    • 0x a study
    • 0x loans (appartient à…).
  • See for the suggestions of Moffett (R2,p204) and of Berson (R90II,p74+92). They refer to the Catalogue Raisonné made by Serret & Fabiani (1971=R124).
1877 catalogue:

3IE-1877-62          Le parc d’Issy en automne
Moffett doesn’t give a suggestion, Berson omits the work. Compare no. 67 + 72 with the same theme.

3IE-1877-63          Route de Clamart à Issy
Moffett suggest with a perhaps CR32, now: 1873-75, CR32, environs de Paris, 61×100, Birmingham CMAG (iR10;iR173;iR2;iR8;R17,162;R90II,p74). Bigot (1877/04/28) discribes it as ‘a panorama’ and adds that it is not without qualities. ‘But sadly it is cold; it lacks of air; it lacks also warmth and life.’ (R90I,p134).

3IE-1877-64          Viaduc de Fleury
Moffett suggests with a perhaps CR34, now: 1874ca, CR34, the Arcueil aqueduct at Sceaux, railroad crossing, 50×63, AI Chicago (iR10;iR6;iR30;R90II,p74), he follows Serret & Fabiani. Probably part of the ‘aqueduc de la Vanne’ which was recently finished. The Paris – Sceaux railroad line was inaugurated in 1844. (R17,p158+164;iR4) But there seems to be a geographical discrepancy between the Viaduc de Fleury and the Aqueduct at Arcueil (R90II,p74).

3IE-1877-65          Rue de Saint-Cloud, à Clamart
Moffett doesn’t give a suggestion, Berson omits the work. Compare no. 70 + 73 with the same theme.

3IE-1877-66          Lavoir, à Billancourt
Moffett doesn’t give a suggestion, nor does Berson.

3IE-1877-67          Le parc d’Issy
Moffett doesn’t give a suggestion, Berson omits the work. Note the same title as no. 72 and almost as no. 62.

3IE-1877-68          Le coteau de Mendon
Eng.: a hillside at Mendon. Moffett doesn’t give a suggestion, Berson omits this work. Mendon possibly is a place in Britany, see maps.

3IE-1877-69          Le Val Fleury
Moffett doesn’t give a suggestion, Berson omits the work.

3IE-1877-70          Rue de Trosy, à Clamart
Moffett doesn’t give a suggestion, nor does Berson. Compare no. 65 + 73 with the same theme.

3IE-1877-71          Femme couchée
Moffett and Berson suggest CR51, now: 1877ca, CR51, Femme couchée, 49×65, Orsay (iR59;R11,p337;R2,p204;R90II,p74).

3IE-1877-72          Le parc d’Issy
Moffett doesn’t give a suggestion, Berson omits the work.  Note: the same title as no. 67 and almost as no. 62.

3IE-1877-73          Rue, à Clamart
Moffett doesn’t give a suggestion, Berson omits the work. Compare no. 65 + 70 with the same theme.

 

The 5th ‘impressionist’ exposition 1880:

  • catalogue numbers 63-84
  • based on a review of Henry Trianon (1880/04/08) Guillaumin maybe also exhibited 4 works outside the catalogue (=hc=hors catalogue). This suggestion is not made by Moffett or Berson.
  • so in total Guillaumin exhibited 22+4hc=26 works, including 4 pastels, including 6 portraits.
    • 13+4hc=17x indication of place
    • 5+1hc=6x indication of time, season or weather
    • 0x a study
    • 5x loans (appartient à…), of Perrinet (no.64), Bonnet (no.70), Aguiar (no. 71), Parard (no.76), Mme G. (no.81) .
  • See for the suggestions of Moffett (R2,p311/2) and Berson (R90II,p150/1+166). They refer to the Catalogue Raisonné made by Serret & Fabiani (1971=R124).
1880 catalogue:

5IE-1880-63          Bords de la Marne
Moffett doesn’t give a suggestion. Berson omits this work.

5IE-1880-64          Port d’Austerlitz; appartient à M. Perrinet
Eng.: the harbour of Austerlitz. Probably a (former) harbour at the Quai d’Austerlitz. Moffett suggests with a perhaps CR53, Berson repeats this suggestion, but calls the work not identified. Probably now: 1877, CR63~, le Quai d’Austerlitz, 38×59, Indianapolis MA (iR6;iR8;iR22;R2,p311).

5IE-1880-65          Port d’Austerlitz, effet de neige
Moffett doesn’t give a suggestion. Berson calls the work not identified. Note: the same location as no.64. Henry Trianon (1880/04/08) mentions works which he titles ‘Vue de la Seine pendant le dernier hiver’ (R90I,p314; Eng.: Views on the Seine during the last winter). He comments: (these views) ‘are quick travel notes; it’s stenography; you must have taken them yourself to remind you of something’.

5IE-1880-66          Port d’Austerlitz, effet de neige
Moffett suggests with a perhaps CR43 now in the Musée d’Orsay, referring to Derbanne. Berson follows, now: 1872-3ca, CR43, Place Valhubert, 65×81, Orsay (iR2;iR23;iR59;iR35;iR6;R90II,p166). Note: the same title as no.65. See no.65 for the comment of Trianon.

5IE-1880-67          Quai de la Gare, effet de neige
Moffett suggests with a perhaps CR29 now in the Musée d’Orsay. Berson follows, now: 1873-5ca, CR29, Quai de la Gare (de Bercy), effet de neige, 51×61, Orsay (iR23;iR22;iR59;iR2;R90II,p150;R3,p154). See no.65 for the comment of Trianon.

5IE-1880-68          Rue des écoles à Fontenay-aux-Roses
Moffett doesn’t give a suggestion. Berson omits this work. Henry Trianon (1880/04/08) mentions a work titled ‘Rue d’Auteuil’, which maybe refers to this work or to a work exhibited outside the catalogue (R90I,p314).

5IE-1880-69          Fontenay-aux-Roses
Moffett doesn’t give a suggestion. Berson omits this work.

5IE-1880-70          La Marne à Ivry; appartient à M. Bonnet
Moffett doesn’t give a suggestion, nor does Berson. Armand Silvestre (1880/05/01) reviews ‘a fairly pure study and of a plausible harmony amongst his violent outbursts’. (R90I,p307).

5IE-1880-71          Portrait de M. A. ; appartient à M. Aguiar
Moffett doesn’t give a suggestion. Berson omits this work. Looking who is the owner I assume this depicts of portrait of M. Aguiar.

5IE-1880-72          Portrait de M. G.
Moffett doesn’t give a suggestion. Berson suggests CR55, now: 1878, CR55, selfportrait with easel, 60×50, VGM Amsterdam (iR77;iR2;iR6;R90II,p150+166). Henry Trianon (1880/04/08) reviews ‘This portrait of a painter who, palette in hand, turns around to look at the audience, is undoubtedly the portrait of Mr. Guillaumin. I think we need to spread some calm on all this.’ (R90I,p314) Armand Silvestre (1880/05/01) reviews ‘I don’t know anything more phony than his Portrait de M. G…‘  and earlies (1880/04/24): (this portrait) ‘is simply monstrous by the brutality of its models in a range that goes from one extreme to the other. (R90I,p307) Bertall (1880/04/07) reviews ‘A new one, Mr. Guillaumin, lives alone in a box that contains the most amazing things, including a gentleman who fell with his nose down on his pallet and looks furiously at the viewer, who is amazed to see gathered on a single face so many reds, greens, blues, violets and yellows. And what a horribly disturbed forehead from the fall, what hair bristling by agony!’ (R90I,p268)

5IE-1880-73          paysage, printemps
Moffett doesn’t give a suggestion. Berson omits this work.

5IE-1880-74          paysage à Fontenay
Moffett doesn’t give a suggestion. Berson omits this work.

5IE-1880-75          Fosse basin à Fontenay
Eng.: Pool pit at Fontenay. Moffett doesn’t give a suggestion. Berson omits this work. Compare 1882-52, Paysage à la fosse Bazin, pastel.

5IE-1880-76          Collégien; appartient à M. Parard
Eng.: Gymnasium student. Moffett suggests with a perhaps: ‘Parke-Bernete, New York, 8 April 1964, no. 100’, probably referring to an auction catalogue. Berson suggests ’18xx, CR-, the schoolboy, 54×45, Detroit IA (iR10;iR64;R90II,p150).

5IE-1880-77          Plaine de Châtillon
Moffett doesn’t give a suggestion. Berson omits this work.

5IE-1880-78          Plaine de Châtillon, automne
Moffett doesn’t give a suggestion. Berson omits this work.

5IE-1880-79          Carrière abandonnée
Eng.: Abandoned quarry. Moffett doesn’t give a suggestion. Berson omits this work.

5IE-1880-80          Pont-Marie
Moffett suggests with a perhaps CR85. Berson repeats this suggestion, but leaves the work not identified. Compare 6IE-1881-43 ‘Quai Sully’, that also depict the Pont-Marie. Armand Silvestre (1880/04/24) reviews ‘There are, however, strikingly accurate tone relationships in Pour Marie (sic) (no 80)’.  (R90I,p307).

5IE-1880-81          Mlle B; pastel; appartient à Mme. G. 
Moffett doesn’t give a suggestion. Berson omits this work.

5IE-1880-82          M. Martinez; pastel
Moffett suggests with a perhaps a work owned by J. Erwteman in Brussels. Berson suggests the same work, now: 1880, CR-, Portrait de M. Martinez, pastel, 44×34, A2007/05/23 (iR11;R90II,p150). Probalby also exhibited as 6IE-1881-52.

5IE-1880-83          Mme M.; pastel
Moffett suggests with a perhaps a work also owned by J. Erwteman in Brussels. Berson gives additional information, now: 1880, portrait of Madame Martinez, pastel, 43×35, private (iR2;R90II,p151+167).

5IE-1880-84          Mme G.; pastel
Moffett doesn’t give a suggestion. Berson suggests ‘Portrait de la femme de l’artiste’, auctioned at Sotheby’s 1985/12/05. She also suggests the 3 pastels no.82-84 were a serie. Now: 1888ca, CR-, Portrait of the Artist’s Wife, pastel, 46×39, A2011/05/04 (iR2;iR14;R90II,p151). The date given during the most recent auction by Sothebys contradicts the suggestion of Berson and Moffett, so I just render it to compare.

5IE-1880-84+hc1   Vue d’un bras de la Seine, à Paris, au soleil couchant

Henry Trianon (1880/04/08) mentions a work with this title (R90I,p314). As none of the paintings exhibited carry in their title nor ‘la Seine’, nor ‘Paris’, nor ‘soleil couchant’, I suppose this work was exhibited outside the catalogue.

5IE-1880-84+hc2  Rue d’Auteil

Henry Trianon (1880/04/08) mentions a work titled ‘Rue d’Auteuil’ and he adds ‘en plein soleil’, which maybe refers to no.68, but maybe to a work exhibited outside the catalogue (R90I,p314). 

5IE-1880-84+hc3 Environs de Paris

Henry Trianon (1880/04/08) mentions a work with this title (R90I,p314). It may refer to one of the  paintings depicting the surroundings of Paris that he exhibited. But as none of these works carry the title ‘Paris’ I suppose it was exhibited outside the catalogue. Trianon describes ‘where terrains tumbling down and up by a picturesque little house that pushes away the distance, are indicated and even rendered with great charm; 

5IE-1880-84+hc4 Bords de la Seine

Henry Trianon (1880/04/08) mentions a work with this title (R90I,p314). He describes ‘where a very lifelike path runs through natural lawns and along a line of light bushes with red leaves;’. 

 

The 6th ‘impressionist’ exposition 1881:

  • catalogue numbers 40-55
  • in total Guillaumin exhibited 16 works, including 5 pastels, 1 watercolour.
    • 9x indication of place
    • 0x indication of time, season or weather
    • 1x a study
    • 1x loans (appartient à…), of Gauguin (no.43).
  • See for the suggestions of Moffett (R2,p354) and Berson (R90II,p182+192). They refer to the Catalogue Raisonné made by Serret & Fabiani (1971=R124).
1881 catalogue:

6IE-1881-40          Paysage à Châtillon
Moffett doesn’t give a suggestion. Berson omits this work.

6IE-1881-41          Jardin à Châtillon
Moffett doesn’t give a suggestion. Berson omits this work.

6IE-1881-42          Quai des Célestins
Moffett doesn’t give a suggestion. Referring to the Valabrèque review Berson suggests CR151. Antony Valabrèque  (1881/04/15) reviews ‘one of his best submissions is the Quai des Célestins cluttering with ships of which half-naked dockworkers handle the load.’ (R90I,p369)

6IE-1881-43          Quai Sully; appartient à M. Gauguin
Moffett suggests CR54, Berson follows, now: 1878ca, CR54, pont Marie, Quai Sully, 59×71, MPP Geneva (iR2;iR59;R90II,p182+192;R2,p354) .

6IE-1881-44          Quai d’Austerlitz
Moffett suggest with a perhaps CR53. Berson repeats this suggestion, but cals the work not identified. Armand Silvestre (1881/04/11) reviews ‘his Quai d’Austerlitz is remarkable for hit tranparency of the water.’ and later (1881/04/16) ‘altogether successful’ (R90I,p365/6).

6IE-1881-45          Quai de la Râpée
Moffett and Berson suggest: 1881ca, CR-, Quai de la Rapée, 50×79, private Paris (iR2;R2,p365;R39,p74;R90I,p182). Huysmans (1883) writes about this and other works: ‘Guillaumin, too, is a colorist, and what is more, a ferocious one. At first sight his canvases are a confusion of battling tones and rough contours, a cluster of vermilion and Prussian blue zebra stripes. Step back and blink and everything falls into place; the planes become steady, and the strident tones calm. The hostile colors reconcile themselves, and you are astonished by the unexpected delicacy of certains parts of these paintings. His Quai de la Rapée above all is especially surprising from this point of view. ‘ (R2,p365).

6IE-1881-46          Quai Henri IV
Moffett doesn’t give a suggestion. Berson omits this work.

6IE-1881-47          Route de Vanves-à-Clamart
Moffett doesn’t give a suggestion, nor does Berson. 

6IE-1881-48          Portrait de Mlle B. en costume de page
Eng.: portrait of miss B. in a suite of a hangman. Moffett doesn’t give a suggestion, nor does Berson. Geffroy (1881/04/19) reviews ‘the children’s heads are delicate and well constructed,’ (R90I,p342), this may refer to no. 48 or 54.  

6IE-1881-49          Paysage
Moffett doesn’t give a suggestion. Berson omits this work.

6IE-1881-50          Quai Saint-Bernard, aquarelle ;
Moffett doesn’t give a suggestion. Berson omits this work.

6IE-1881-51          Portrait de M. J. A. , pastel
Moffett doesn’t give a suggestion. Berson omits this work.

6IE-1881-52          Portrait de M. Martinez, pastel
Moffett suggests a work owned by J. Erwteman in Brussels, probably the same work as 1880-82. Berson affirms this suggestion, now: 1880, Portrait de M Martinez, pastel, 45×35, A2007/05/23 (iR11;R90II,p182).

6IE-1881-53          Portrait de C. G. , pastel
Moffett doesn’t give a suggestion. Berson omits this work.

6IE-1881-54          Portrait de Mlle M. L., pastel
Moffett doesn’t give a suggestion, nor does Berson. Geffroy (1881/04/19) reviews ‘the children’s heads are delicate and well constructed,’ (R90I,p342), this may refer to no. 48 or 54.  

6IE-1881-55          Etude de bateaux, Pastel
Moffett doesn’t give a suggestion. Berson omits this work.

 

The 7th ‘impressionist’ exposition 1882:

  • catalogue numbers 31-56
  • in total Guillaumin exhibited 26 works, including 13 pastels.
    • 13x indication of place
    • 2x indication of time, season or weather
    • 5x a study
    • 1x loans (appartient à…), of M. P. (no.45).
  • See for the suggestions of Moffett (R2,p395) and Berson (R90II,p203/4). They refer to the Catalogue Raisonné made by Serret & Fabiani (1971=R124).
1882 catalogue:

7IE-1882-31          Le côteau de Chatillon
Moffett doesn’t give a suggestion, nor does Berson. Armand Sallanches (1882/03/03) reviews ‘ <Côteau de Châtillon>, why paint so red?’ (R90I,p412)

7IE-1882-32          Paysage d’automne
For no. 32 or 33 Moffett suggests with a perhaps 1876ca, CR49,  Autumn landscape (landscape end of October, 180×123, Ng Oslo (R2,p400). Berson repeats this suggestion, but notes that Bodelsen (1970,no.16) does not affirm this suggestion. Berson calls this work not identified.

7IE-1882-33          Paysage (fin octobre)
See no. 32.

7IE-1882-34          Paysage à Chatillon
Moffett doesn’t give a suggestion, nor does Berson.

7IE-1882-35          Pont-Louis-Philippe
Moffett doesn’t give a suggestion, nor does Berson.

7IE-1882-36          Abreuvoir (quai de Célestins)
Moffett doesn’t give a suggestion, nor does Berson. Jean de Nivelle (1882/03/04) reviews ‘M. Guillaumin, he does wonders of value, that is to say that he has trained, on purpose, horses made of cardboard or wood, to get them to drive at l’abreuvoir des Célestins by men who look like they have all the trouble in the world to deal with them.’ (R90I,p406).

7IE-1882-37          Avant-port (Dieppe)
Moffett doesn’t give a suggestion. Probably a harbour in Dieppe, see map. The meaning of ‘avant’ is not clear. Armand Silvestre (1882/03/11) reviews ‘I like very much the transparent waters of his Avant-port de Dieppe (no 37) and his Voltigeur (no28; sic)’. (R90I,p414)

7IE-1882-38          Le voltigeur
Eng.: the acrobat or the outfielder or the hunter. Moffett doesn’t give a suggestion, nor does Berson. Armand Silvestre (1882/03/11) reviews ‘I like very much the transparent waters of his Avant-port de Dieppe (no 37) and his Voltigeur (no28; sic)’. (R90I,p414) Huysmans (1883) reviews ‘but the eye of M. Guillaumin stays peculiarly restless when he contemplates the human face; his rainbow colours that he once provided reappear in his portraits and then brutally explode from top to bottom in his canvases.’ (R90I,p397), but it is not clear to which work he refers.

7IE-1882-39          La pointe d’Ailly
Moffett doesn’t give a suggestion, nor does Berson. There are a few places called Ailly in the surroundings of Amiens and one about 100km east of Paris, see maps. Jean de Nivelle (1882/03/04) reviews ‘Bleach of who knows what is stored there on the grass, at the water’s edge: they look like so many crocodiles stretched out in the sun and opening the jaw to grasp prey.’ (R90I,p406) To compare I render: 1880ca, La pointe D’Ivry, 55×66, A20060208 (iR11;iR2).

7IE-1882-40          Lavoirs (Pont-Marie)
Moffett doesn’t give a suggestion. Berson omits this work.

7IE-1882-41          Chemin du Clos-Montholon
Moffett doesn’t give a suggestion. This road lies in Vanves, which lies south of Paris. Armand Silvestre (1882/03/11) reviews ‘Mr. Guillaumin’s greens don’t seem right to me, in his Chemin du clos Montholon, for example (no. 41).’ (R90I,p414)

7IE-1882-42          Étude
Moffett doesn’t give a suggestion. Berson omits this work.

7IE-1882-43          Marine, étude
Moffett suggests with a perhaps a work auctioned at Sotheby’s in London 1985/06/26. Berson adds it is called ‘Falaise aux environs de Dieppe‘. Now:

Pastels :

7IE-1882-44          étude dans un jardin, pastel
Moffett doesn’t give a suggestion. Berson omits this work.

7IE-1882-45          Étude dans un jardin, pastel, appartient à M. P.
Moffett doesn’t give a suggestion. Berson omits this work.

7IE-1882-46          Le pont Louis-Philippe, pastel
Moffett doesn’t give a suggestion. Berson omits this work.

7IE-1882-47          Petite fille, pastel
Moffett doesn’t give a suggestion. Berson omits this work. Huysmans (1883) reviews ‘but the eye of M. Guillaumin stays peculiarly restless when he contemplates the human face; his rainbow colours that he once provided reappear in his portraits and then brutally explode from top to bottom in his canvases.’ (R90I,p397), but it is not clear to which work he refers.

7IE-1882-48          Étude , pastel
Moffett doesn’t give a suggestion. Berson omits this work.

7IE-1882-49          Étude au bord de l’eau , pastel
Moffett doesn’t give a suggestion, nor does Berson. Armand Silvestre (1882/03/11) reviews ‘His pastel are almost all nice, particulairy those carrying the numbers 49 and 51.’ (R90I,p414)

7IE-1882-50          Quai des Célestins , pastel
Moffett doesn’t give a suggestion. Berson omits this work.

7IE-1882-51          Carrière , pastel
Eng.: a quarry or stone pit. Moffett doesn’t give a suggestion, nor does Berson. Note: the same title as no.53. Armand Silvestre (1882/03/11) reviews ‘His pastel are almost all nice, particulairy those carrying the numbers 49 and 51.’ (R90I,p414) Henri Rivière (1882/04/08) reviews ‘the impression has serieus qualities’. (R90I,p409)

7IE-1882-52          Paysage à la fosse Bazin , pastel
Eng.: landscape with a bazin pit / ditch / gorge. The meaning of ‘bazin’ is obscure, maybe bazaar. I can’t find a location on Google maps. Compare 1880-75, Fosse basin à Fontenay. Moffett doesn’t give a suggestion. Berson omits this work.

7IE-1882-53          Carrière , pastel
Moffett doesn’t give a suggestion, nor does Berson. Note: the same title as no.51. Henri Rivière (1882/04/08) reviews ‘the impression has serieus qualities’. (R90I,p409)

7IE-1882-54          Parc d’Issy , pastel
Moffett doesn’t give a suggestion. Berson omits this work.

7IE-1882-55          Jardin, pastel
Moffett doesn’t give a suggestion. Berson omits this work.

7IE-1882-56          Bateaux sur la Seine, pastel
Moffett suggests with a perhaps a work in a private collection in Copenhagen. Berson adds it is called Quai Henri IV and is suggested in Bodelsen, 1970,no.22.

 

The 8th ‘impressionist’ exposition 1886:

  • catalogue numbers 61-81
  • in total Guillaumin exhibited 21 works, including 8 portraits / figure paintings, 4 pastels.
    • 10x indication of place
    • 6x indication of time, season or weather
    • 1x a study
    • 4x loans (appartient à…), of M. Mendez (no.68), M. Z(acharie) Astruc (no. 74), M. Berend (no. 75), m. Nunès (no.79).
  • See for the suggestions of Moffett (R2,p445). And for Berson (R90II,p244/5+264). They refer to the Catalogue Raisonné made by Serret & Fabiani (1971=R124).
  • Note: there are many reviews on Guillaumin and many with detailled decriptions of the paintings. It’s strange that Moffett and Berson didn’t suggest more works. I will try and start to repair this omission.

Some unidentified reviews: 
Fénénon (1886/06/13-20) reviews ‘Huge skies: overcast skies, where clouds collide in the battle of greens, crimsons, violets and yellows; others, still in twilight, where from the horizon rises the huge ammorphic mass of low clouds that are streaked by sloping winds. Beneath these heavily overcast skies, hunchbacked, painted by violent and wide impastoes of the purple countryside alternating farming fields and pastures; trees clinging to slopes running down to houses surrounded by vegetable gardens, to courtyards and farms where the arms of the carriages stand.’ (R90I,p443)
Henry Fèvre in La Revue de demain reviews ‘Quite otherwise powerful in its sunny madness, in its congested coloration, Mr. Guillaumin’s painting is prismatic, everything shimmers, everything sweats with light. The lawn is golden, the shadow is of an intense purple; a vineyard tumbles down a hillside topped with fir trees, like a bishop’s robe. ‘  (R90I,p447).
Maybe these descriptions refer to no. 61, 69/70 or 77, four works that are not identified.

1886 catalogue:

8IE-1886-61                Paysage d’été à Damiette
Moffett suggests with a perhaps CR125 or CR141. Berson repeats this suggestion, but leaves the work not identified. This work is not descriped by one of the critics (R90I).

8IE-1886-62                Crépuscule à Damiette
Eng.: twilight / sunset at Damiette. Moffett suggests with a perhaps 1885, CR144, Twilight at Damiette, 72×139, Petit Palais Geneva (R2,p459). Berson affirms this suggestion. Paul Adam (1886/04) reviews ‘Under such a twilight with purple clouds, such a hillside could not be subject to any other tint than the one posed; and yet the special nature of the soil and its fundamental colour shines through to reveal its particular reality.’ (R90I,p428) Emile Hennequin (1886/06/19) reviews ‘while, up to the frieze is hung a crépuscule, purple clouds on a clear green sky, which is one of the most strident harmonies of colour we know.’ (R90I,p454;R2,p459).

8IE-1886-63                Paysage, fin de l’hiver
Moffett doesn’t give a suggestion, nor does Berson. Jean Ajalbert (1886/06/20) reviews ‘<Un paysage d’hiver> (A winter landscape) offers a gorge, with trees half uprooted, the reddish branches, the trunks twisted by the turmoil on the cracked earth…’ (R90I,p432).  

8IE-1886-64                Chaumières à Damiette
Eng.: Thatched cottages in Damiette. Moffett suggests with a perhaps CR 105, 117 or Gray no. 74. Berson repeats this suggestion, but leaves the work not identified. This work is not descriped by one of the critics (R90I).

8IE-1886-65                Portrait
Moffett doesn’t give a suggestion.  Berson suggests CR191, which is dated 1889 by Serret & Fabiani, but was in the possession of Theo van Gogh before February 1888, now: 1886ca, CR191 (1889), portrait of a young girl, 65×54, VGM Amsterdam (iR2;R90II,p244). Paul Adam (1886/04) reviews ‘Against a cotton curtain with bouquets of roses a lady has posed; she’s got deep brown and intelligent eyes, the skin’s a little rough; her mouth is going to smile. ‘ (R90I,p428) I think another work is a better option: 1885ca, the model (L’Italienne), 81×65, private (iR2), the model smiles, while the model of CR191 doesn’t seem to do so.
Fénénon (1886/06/13-20) (maybe referring to no. 67, 66 and/or 65) reviews ‘Amidst trees and flowers, under garden hats, cheerful maffles (maybe: rounded cheeks) read, sleeping, squeezing their flesh into willow armchairs.’ (R90I,p443)  Jean Ajalbert (1886/06/20) reviews ‘Many portraits; unfortunately the artist’s vigour is sometimes exaggerated to the point of brutality.’ (R90I,p432). Note: this review doesn’t seem to apply to CR191.

8IE-1886-66                Intérieur à Damiette
Moffett doesn’t give a suggestion, nor does Berson. Jean Ajalbert (1886/06/20) reviews ‘Elsewhere, Mr. Guillaumin seems to have healed himself in his own dark and abrupt way: I’m talking about two canvases where women read and sew; the hills are littered with colourful reflections; here and there, red heads of dahlias, peonies swaying. It’s perfectly composed, and warm in tone, without excess. ‘ (R90I,p432). Paul Adam (1886/04) reviews (this or another work) ‘another sewing by a window illustrated by the straw thatched rustic roofs and a piece of sky that’s about to rain. Wonderful, the glow from the street and occupied the appartment; but you can sense it’s so low and dark.’ (R90I,p428). Fénénon (1886/06/13-20) (maybe referring to no. 67, 66 and/or 65) reviews ‘Amidst trees and flowers, under garden hats, cheerful maffles (maybe: rounded cheeks) read, sleeping, squeezing their flesh into willow armchairs.’ (R90I,p443)  

8IE-1886-67                Jeune fille lisant
Moffett suggests with a perhaps CR89. Berson repeats this suggestion, but leaves the work not identified. Jean Ajalbert (1886/06/20) reviews ‘Elsewhere, Mr. Guillaumin seems to have healed himself in his own dark and abrupt way: I’m talking about two canvases where women read and sew; the hills are littered with colourful reflections; here and there, red heads of dahlias, peonies swaying. It’s perfectly composed, and warm in tone, without excess. ‘ (R90I,p432). Paul Adam (1886/04) reviews ‘To the portraits of this artist one would undoubtedly reproach the stiffness; … Women reading in front of apoplectic dahlias;’ (R90I,p428) Fénénon (1886/06/13-20) (maybe referring to no. 67, 66 and/or 65) reviews ‘Amidst trees and flowers, under garden hats, cheerful maffles (maybe: rounded cheeks) read, sleeping, squeezing their flesh into willow armchairs.’ (R90I,p443) 

8IE-1886-68                Prairie à Damiette; appartient à M. Mendez
Moffett doesn’t give a suggestion, nor does Berson. Paul Adam (1886/04) reviews ‘Green and purple skies. In the full sunshine, a depth between the spines of the mountainous lands. Green-black lay rough silhouettes of trees; she carves on the green-yellow of the sunny grass. In the distance, pink scratches of humus lay down. Shredded foliage sometimes scorched. ‘ (R90I,p428) Henry Fèvre in La Revue de demain (maybe referring to no. 68) reviews ‘A landscape, above all, an excellent fence, trees cut a dark green shadow on a bright yellow meadow; an almost red path, so chalky, it goes down winding; at the bottom, in the greenery of a valley, a patch of sand in the side of a hill gleaming with an orange, mahogany clarity; and the sky sparkles like a great chandelier, as if every breath of oxygen was a crystal flake, and reflects and multiplies the sun’s radiation tenfold. ‘ (R90I,p447)

8IE-1886-69                Jardin à Damiette
Moffett (repeated by Berson) suggests with a perhaps CR110, Jardin en Île-de-France, xx or: CR67, Jardin et vieilles maisons en Île-de-France, NCG Copenhagen. But this last work already was brought to Copenhagen in 1884. Berson leaves no 69+70 not identified. This work is not descriped by one of the critics (R90I).

8IE-1886-70                Jardin à Damiette
See no. 69.

8IE-1886-71                Les pêcheuses
Moffett doesn’t give a suggestion. Berson suggests a work 73×100, auctioned 1919/03/28 at Hôtel Drouot in Paris. Ajalbert (1886/06/20) reviews ‘Lets cite <les Pêcheuses> on the edge of a clear stream flowing between piles of bluish foliage in a rageful day.’ (R90I,p432). ‘The Bat’ (1886/05/25) reviews ‘a picture representing two women fishing in a park. The water is full of violet from the skies and green from the landscape; the night is in the trees, and stamps their ebony leaves upon a sky of infinite light and dying magnificence.’ (R90I,p436) . Fénénon (1886/06/13-20) reviews ‘Embedded in grassy meadows, men and women are fishing; and in the shade of tree-like bushes, the moors of the little river grow in ellipses that the water carries away, and are reborn.’ (R90I,p443) 

8IE-1886-72                étude
Moffett doesn’t give a suggestion. Berson omits this work. This work is not descriped by one of the critics (R90I).

8IE-1886-73                Bords de l’Yvette, le matin
Moffett doesn’t give a suggestion. Berson omits this work. This work is not descriped by one of the critics (R90I). The Yvette is a river south of Paris, see (iR4), it flows (from west to east) along Yvelines and Damiette and at Epinay-sur-Orge it flows in the Orge (iR9).

8IE-1886-74                Damiette, paysage du matin; appartient à M. Astruc
Moffett doesn’t give a suggestion, nor does Berson. This work is not descriped by one of the critics (R90I).

8IE-1886-75                Pêcheurs ; appartient à M. Berend
Moffett and Berson suggest with a perhaps CR122 in Musée d’Orsay. Fénénon (1886/06/13-20) reviews ‘Embedded in grassy meadows, men and women are fishing; and in the shade of tree-like bushes, the moors of the little river grow in ellipses that the water carries away, and are reborn.’ (R90I,p443) Henry Fèvre in La Revue de demain reviews ‘the shade is as cool as the sun burns; the wheat is on fire; line-fishers, the Hettéma household, blue and prominent, are shaped at the water’s edge with a relief of material. ‘ (R90I,p447)

8IE-1886-76                Soleil couchant
Moffett doesn’t give a suggestion. Berson mentions a suggestion for CR20 = 1IE-1874-66, but leaves the work not identified. Jean Ajalbert (1886/06/20) reviews ‘Look at his < soleil couchant>, liquefied in a windy sky, where copper clouds linger; not a breath stirs the treetops; the slumber of a hot day continues to weigh on the hamlet, and over there the paths descend into the imminent night. It falls like silence…’ (R90I,p432). Note the contradiction of the ‘windy sky’ and ‘not a breath stirs the treetops’. I think CR20 fits this description of Ajalbert quit good; I miss the ‘paths’. Paul Adam (1886/04) reviews ‘Behind the foliage pushed back in the distance, as if by a vigorous release of the trunks, the bloody crimsons spread out in the overhanging starry sky. From there, down a red trail, where thick peasant women’s bodies move; and the darkness of their clothing catches wine-like reflections.’ (R90I,p428) I think this description does fit more ‘1885, Road at Damiette, 65×81, TBM Madrid’ (Mx;iR10;iR48;iR22), still I miss the stars and the clouds are less ‘copper’. ‘The Bat’ (1886/05/25) reviews ‘… we have a hill side full of peasant life. There are the apple-trees, there are the cottages, and all is bathed in the violet shadows of the evening; and the glory of the sunset is a sort of benedicion for the day’s work done.’ (R90I,p436). This discription contradicts CR20, where there is no hill or peasant life and affirms the Madrid painting. Henry Fèvre in La Revue de demain reviews ‘A sunset burst into an iridescent spray like a collapsing vat of wine, into a clash of intricate colours that reverberate and repercut each other.'(R90I,p447) Emile Hennequin (1886/06/19) reviews ‘He exposes above a fireplace an immense landscape of farmland, taken at sunset that truly casts a yellow and red light;’ (R90I,p454). I think these reviews also affirm the Madrid painting better then CR20. 

8IE-1886-77                Paysage à Damiette
Moffett doesn’t give a suggestion, nor does Berson. This work is not descriped by one of the critics (R90I).

8IE-1886-78                Portrait (pastel)
Moffett doesn’t give a suggestion. Berson omits this work. Jean Ajalbert (1886/06/20) reviews ‘Many portraits; unfortunately the artist’s vigour is sometimes exaggerated to the point of brutality.’ (R90I,p432)

8IE-1886-79                Tête de jeune fille (pastel) ; appartient à M. Nunès
Moffett doesn’t give a suggestion. Berson omits this work. Jean Ajalbert (1886/06/20) reviews ‘Many portraits; unfortunately the artist’s vigour is sometimes exaggerated to the point of brutality.’ (R90I,p432)

8IE-1886-80                Enfant endormi (pastel)
Moffett doesn’t give a suggestion, nor does Berson. Jean Ajalbert (1886/06/20) reviews ‘The very successful < l’Enfant endormi> whose heavy head comes off powerfully on the pillow. ‘ (R90I,p432). Rodolphe Darzens (1886/05) calls it a ‘lovely pastel’ (R90I,p439). 

8IE-1886-81                Travesti (pastel)
Moffett doesn’t give a suggestion. Berson omits this work. This work probably depicts a woman dressed as a man. Jean Ajalbert (1886/06/20) reviews ‘Many portraits; unfortunately the artist’s vigour is sometimes exaggerated to the point of brutality.’ (R90I,p432)

 

 

Guillaumin at other exhibitions:

Guillaumin never exhibited at the Salon. The Salon database indicates that he exhibited at other expositions. In 1877 there was a Mlle Pauline-Octavie Guillaumin who exhibited porcelain. (iR1)

Salon des Refuses:

SdR1873-333 Effet de neige par un beau temps

SdR1873-334 Temps couvert

Salon de la Société nationale des Beaux-Arts

SNBA1897-1862 Marine à A gay (lithographie) ; (Appartient à la galerie Vollard)

London, International Society of Sculptors, Painters and Gravers

L1898-3 Child’s Head ; lithographie en couleurs

L1898-9 The Red Rock; lithographie en couleurs

Salon d’Automne:

SdA1904- 571 Ile Besse (Agay)

SdA1904- 572 Moulin de la Folie
Eng.: Mill of madness. Moulin de la Folie is a street in different places in France. Probably it is ment to be a mill in Crozant, see maps.

SdA1904- 573 Le gouffre Saulnier en hiver ; Appartient à M. Blot
Eng.: The Saulnier abyss in winter.

SdA1904- 574 Gelée blanche

SdA1904-575 Barrage des protestants
Eng: protestant roadblock.

SdA1904- 576 Bords de la Cure
La Cure is a river in France, see (iR4).

SdA1904- 577 Zandaam

SdA1904- 578 Zandaam

SdA1904- 579 Zandaam; Appartient à M. Personnaz

SdA1904- 580 Bords de la Creuse
La Creuse is a river in France, see (iR4).

SdA1904- 581 Zandaam

SdA1904- 582 Zandaam

Toulouse, Salon de l’Union artistique

T1906-222 Paysage à Zaandum (sic) (Hollande) ; 1000 [francs]

T1906-223 Ruines de Crozant, fin d’automne ; 800 [francs]

T1907-238 Pêcheuse ; 1000 [francs]

T1907-239 Quai d’Austerlitz ; 1000 [francs]