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Impressionism
Mutual connections
Owning each others art-works
Introduction: The partakers of the ‘impressionist’ expositions sometimes owned each others art-works. Some were real art-collectors like Caillebotte, Degas and Rouart. Others more incidentally bought each others works or exchanged them. This owning each others works is an indication of mutual connections and so an indirect indication of belonging to the same circle of friends and an indication of how involved they were in the impressionist art-movement. On this page you will find several examples of the works the ‘impressionists’ owned of each other. The focus is on the period till 1890. All the loans for the 8 ‘impressionist’ expositions will be rendered. The pictures will be rendered by form and in some chronological order.
Edgar Degas: 1IE-1874-55, Classe de dance; appartient à M. Brandon = 1870-72ca, CR297, The Dancing Class (Le Foyer), 20×27, Metropolitan (iR2;iR59;R90II,p7+22;R2,p120;R90I,p29+37;R26,no296;R47,p50;M23)
Armand Guillaumin, 8IE-1886-74, Damiette, paysage du matin; appartient à M. Z. Astruc =?? 1884ca (or 1887ca), CR114, Chemin à Damiette (apple trees), 54×81 (or 61×100), Orsay (iR2;iR22;R3,p351;R124,no114;R2,p445;M1), former Personnaz collection.
Paul Signac: 8IE-1886-201, L’Île des Ravageurs, appartient à M. Seurat =1885-86ca, Regattas on the Seine (at Argenteuil), dr, 20×30, Louvre (iR10;iR223;R39,no12;R90II,p253+278+294;R2,p446;M5)
Georges Seurat: 1884-85, DR120 PC119, Sections du centre et de gauche (la fillette blanc), ow, 15×25, Barnes Merion (iR6;R183,no120;R207,p48+122;M25) =? NY-AAG-1886-133, 12 studies. Former collection of Camille Pissarro.
Georges Seurat: 1885, DR156, Fort Samson in Grandcamp (study), 15×24, private (iR6;R183,no156;R207,p47;R229,p1584) =? 21SdI-1905-24, Étude: Grandcamp (1885). Former Signac collection.
Georges Seurat: 8IE-1886-179, La Seine, à Courbevoie =1885, DR161, The Seine at Courbevoie, 81×65, private (iR6;iR11;R183,no161;R207,p122-5;R2,p446;R90II,p252+275) =2SdI-1886-356 =9XX-1892-2 =8SdI-1892-1089 =21SdI-1905-21. Provenance: Signac.
Edgar Degas, 1878ca, CR488, Dancer in green (in the wings), pastel, 46×30, New Orleans MA (iR377;R26,no522;R2,p120;R90II,p7) Compare: 1IE-1874-56, Intérieur de coulisse; appartient à M. Rouart
Edgar Degas, 1IE-1874-57, Une blanchisseuse; appartient à M. Brandon =?? 1870-73ca (1882-86ca), CR276, The Laundress Ironing (La Blanchisseuse Repassant), 70×71, Reading PM (iR8;iR10;R26,no366;R2,p120)
Edgar Degas, 1IE-1874-57, Blanchisseuse; appartient à M. Brandon =?? 1873ca, CR329, La blanchisseuse, 22×18, private NY (iR10;iR335;iR90;iR22;R26,no367;R2,p120)
Edgar Degas, 1898-1900ca (1870-86ca), CR277, Woman Ironing, pastel+drawing, 71×48, A2021/11/11 (iR2;iR15;iR10;iR13;R26,no365;R2,p120) =? 1IE-1874-61, Une blanchisseuse, pastel; appartient à M. Brandon
Edgar Degas, 1869ca, CR1984supp62, La Repasseuse, dr+pastel, 74×61, Orsay (iR6;iR8;iR10;iR23;R2,p161+120;R90II,p7+22;R206,no62;R87,p237) =?? 2IE-1876-59, Blanchisseuse (dessin) =?? 1IE-1874-61, Une blanchisseuse, pastel; appartient à M. Brandon
Later collections:
Many of the ‘impressionists’ became more wealthy at the end of their lifes. So at posthumous auctions there were several works in their collections. After the death of his wife the collection of Camille Pissarro was auctioned in 1928+29. It contained works of Cassatt, Cézanne, Gauguin, Guillaumin, Monet, Piette, Seurat, Signac, Sisley. And also of Le Bail, Delacroix, Dufeu, Blanche Hoschedé, Jongkind, Luce, Manet, and Van Rysselberghe. (R312,p200).
Sources: My main sources are the Catalogues Raisonné on Monet (1996=R22), ; the catalogues of the ‘impressionist’ expositions (R2;R90I;iR1); other main sources are Berger (R207,p47+48). For other general references (=R) see. For other references to internet sites (=iR) see. For other additional references (=aR) see below.
