Piette, account

Ludovic Piette (1826-78)

Account

of his exhibited works

 

 

Introduction:
On this page you will find an account of the works that Ludovic Piette exhibited at the 3rd and 4th ‘impressionist’ exposition and at the Salon. See link for his pictures exhibited in 1877, in 1879 and at the Salon. For the used sources see at the bottom of the main page on Ludovic Piette.

 

General overview 1877:

  • catalogue numbers 132 – 162
  • so in total Piette (Ludovic) exhibited 31 works ; including 10 scenes of markets; 17 watercolours; 4 harvesting scenes (no. 155+160+161+162).
    • 18x an indication of place; 8x of Pontoise (no.132+133+134+138+141+148+152+154); 5x of Lassay (no. 135+139+142+147+150); 3x of Mans (no. 137+145+153); 2x of Paris (no. 136+151)
    • 6x an indication of time, season or weather
    • 0x a study
    • 0x a loan
  • Moffett gives just 3 suggestions of which actual works Piette exhibited, namely for no. 132, 133/4, 153 (R2,p205)
  • Berson gives 6 suggestions, namely for no. 132, 133/4, 140, 145, 153, 155/161 (R90II,p79/80+97/8)

Reviews:
Roger Ballu (1877/04/14+23) reviewed ‘Mr. Piette is by no means the first to arrive. His Cirque forain(n), his Rue de Cluny are amusing and picturesque studies: no. 156 called Jardin is surprisingly bright; but how many weaknesses and errors there are in his numerous submissions.’ (R90I,p125).
Bernadille (1877/04/13) mentions le Marché aux porcs together with works of other artists (R90I,p130/1).
C.D. (1877/04/08) reviewed in Le Petit Moniteur universel ‘Mr. Piette presented thirty-one of them. We must even note that there are about ten of them which are very good. We will especially point out a Cour de l’hôtel de Cluny, which has all the appearance of an excellent Isabey.’ (R90I,p142)
Gaston Vassy (1877/04/06) reviewed in L’Evénement ‘Very nice, le Marché aux légumes de Pontoise, of M. Piette! This is real painting.’ (R90I,p145).
Jacques (1877/04/11) reviewed ‘Mr. Piette’s score is more consistent. M. Piette has painted thirty canvases, no more and no less, which are very interesting because of the abundance of life they contain, the variety of characters, the singular precision of the sites. He has made a Marché de la place de l’Hôtel-de-Ville, at Pontoise; at Pontoise again, le Marché de la place du Grand-Martroy, twice this one; furthermore le Marché de Lassay; furthermore le Marché du Mans; furthermore other markets. Crowds of people moving around; objects in a heap; meticulous studies; a lot of good paintable truths. From time to time, M. Piette takes a break from the markets with a landscape, very colourful, or a photograph of Cluny, lavishing the light, like the sun itself, and brushing, without restraint, all the tones, de-leafing all the bushes. He draws from his palette a thousand shades of light that intertwine, dazzle – and charm. This does not prevent him, when he wants, from sacrificing to rigorous accuracy. The cathedral of Le Mans, in the Marché aux Vaches, it is a marvelous sight, sitting solidly in its austere mass in the distance, while below its multiple arches, a multitude of farmers with light caps and frightened looks move about.’ (R90I,p156).
Léon de Lora (1877/04/10 = Louis de Fourcaud (R2,p230;R89,p66) reviewed ‘One artist who has a sense of the swarming crowd is Ludovic Piette. He has a predilection for markets; I count up to ten in his exhibition: Poultry market, pig market, cow market, arrival at the market, departure from the market, etc. These paintings are picaresque and picturesque, while they are not too big nor too loose in treatment. Perhaps they are to be blamed for an excessive flickering of colours. As for Mr Piette’s landscapes, I honourably pass them by.’ (R90I,p162).
Georges Lafenestre  in Le Moniteur universel (1877/04/08) and Pierre Véron in La Petite Presse (1877/04/09) rendered the same review: ‘Mr Ludovic Piette is sometimes a little out of place among the impressionists. Among the canvases he exhibited, we noticed a very nice one Marché à Pontoise, on the place du Grand-Martroy, and some very nice flowers (Fleurs).’ (R90I,p169+175).
Paul Sébillot (1877/04/07) reviewed ‘There is a lot of light in Mr. Piette’s paintings, although his Marché de la place de l’Hôtel de Ville is very flickering; I like more his Marché aux vaches, very crowded and very fine, and his Petit marché à Pontoise, despite the poor foundation of the composition. Mr. Piette is, in short, a very serious artist, but he will do well not to exaggerate his impressionalism.’ (R90I,p190)

1877 catalogue: (R2,p205/6; iR1)

3IE-1877-132, Le marché de la place de l’Hôtel-de-Ville, à Pontoise
Moffett suggests with a perhaps a work in the Musées de Pontoise (R2,p230): 1876, SDbl, (Le Marché aux volailles), place de l’Hôtel de Ville à Pontoise, (un jour de marché), 111×186, MTD Pontoise (iR6;iR23;iR2;iR77;R2,p230;R90II,p79+97;M173). Berson follows this suggestion without the perhaps. She refers to the reviews of Jacques (1877/04/11) and Sébillot (R90II,p79). Jacques doesn’t describe this work. Sébillot mentions it ‘very flickering’. Adler writes that Pissarro is represented with his long beard on the left, but I can’t discern him (R89,p66). Compare: HD1877/03/24-14, Marché de la place de l’Hôtel-de-Ville à Pontoise, aquarelle (aR12=iR40).

3IE-1877-133, Marché de Pontoise, place du Grand-Martroy
3IE-1877-134, Marché de Pontoise, place du Grand-Martroy
Moffett suggests with a perhaps a work in the Musées de Pontoise (R2,p230). Berson (probably) affirms this suggestion, without the perhaps: 1876, SDbr, Pontoise, le Marché, place du Grand-Martroy, 34×46, MTD Pontoise (iR23;R2,p230;R90II,p79+98). Berson refers to the reviews of Jacques (1877/04/11), at that of Georges Lafenestre in Le Moniteur universel and Pierre Véron in La Petite Presse (R90II,p79). Jacques doesn’t decribe these works, Lafestre and Véron just remarks it. Sébillot likes his Petit marché à Pontoise, despite the poor foundation of the composition; it is unclear if it refers to no. 133, 134 or 138. Note: I could find just one work made at the place du Grand-Martroy. See link for the location. Compare: HD1877/03/24-19, Place du Grand-Martroy à Pontoise (marché), aquarelle (aR12=iR40).

3IE-1877-135, Marché aux porcs à Lassay (effet de neige)
Eng.: Market of pigs at Lassay (snow effect). Compare: no.139+150. Moffett and Berson leave this work unidentified. Berson refers to the reviews of Bernadille and de Lora and also to the review of Jacques (1877/04/11) that also could refer to no.139. Bernadille, de Lora and Jacques don’t describe the work. Compare: HD1877/03/24-22, Marché aux porcs (Lassary), jour de neige, aquarelle (aR12=iR40;R90II,p79). Note: I could not find a pig market, nor a market at Lassay. Lassay-sur-Château lies about 249km south-west of Paris.

3IE-1877-136, Cour de l’hôtel de Cluny, à Paris
Compare no. 151. Moffett and Berson leave this work unidentified. Berson refers to the reviews of C.D. and  Jacques (1877/04/11) (R90II,p79). C.D. mentioned it had ‘all the appearance of an excellent Isabey.’ (R90I,p142). Jacques reviewed ‘lavishing the light, like the sun itself, and brushing, without restraint, all the tones, de-leafing all the bushes. He draws from his palette a thousand shades of light that intertwine, dazzle – and charm.’ Berson refers to HD1877/03/24-15, Cour de musée de Cluny (Paris), wc (aR12=iR40); and to HD1879/02/20+21,no.93, La Cour du musée de Cluny (aR13=iR40). Maybe?: 1876, Personnages dans la cour pavée du Hôtel (Musée) de Cluny, 54×38, A2005/04/29 (iR13). Note: this suggestion doesn’t fit the description of Jacques very much. See the link for the location.

3IE-1877-137, Marché aux volailles, au Mans
Eng.: Poultry market. Note: no. 132 is also a poultry market. Moffett and Berson leave this work unidentified. Berson refers to the reviews of Jacques (1877/04/11) and de Lora (R90II,p79). Jacques doesn’t describe this work, nor does de Lora. Berson also refers to HD1877/03/24-10, Marché aux volailles (au Mans, place de l’Eperon), wc (R90II,p79/80;aR12=iR40). See link for the location. To compare I render a work made in Mantes(-la-Jolie?): 18xx, Place du marché à Mantes, 54×41, A2008/02/15 (iR10;iR255;iR13;iR11;R2,p205).

3IE-1877-138, Marché aux légumes, à Pontoise
Moffett and Berson leave this work unidentified. Berson refers to the review in L’Evénement (R90II,p79) in which Gaston Vassy reviewed  ‘Very nice’ and ‘This is real painting.’ (R90I,p145). Sébillot likes his Petit marché à Pontoise, despite the poor foundation of the composition; it is unclear if it refers to no. 133, 134 or 138. Maybe: 1876, Pontoise, Le marché aux légumes, Place du Petit Martroy, 73×48, MTD Pontoise (aR27;iR6;iR23;R2,p205;M173); or: 1876, Pontoise, place du Petit Martroy, le marché aux légumes, 85×132, MTD Pontoise (iR10;iR23;R2,p205;M173). Berson also refers to a watercolour with the same subject HD1877/03/24-6 (aR12=iR40). Probably: 1877, Le Marché aux légumes, la Place du Petit Martroy à Pontoise, gouache, 39×48, MTD Pontoise (aR4;iR23;iR77). See link for the location of Place du Petit Martroy in Pontoise, note this is close to Grand Martroy, see no. 133/4.

3IE-1877-139, Fin de Marché, à Lassay
Eng.: the end of the market at Lassay. Moffett and Berson leave this work unidentified. Berson refers to the review of de Lora and to a review of Jacques that also could refer to no.135 (R90II,p79). Jacques doesn’t describe this work. De Lora calls it a departure from the market. Note: I could not find a market at Lassay. Lassay-sur-Château lies about 249km south-west of Paris. Compare: HD1875/03/24-8, Fin du marché (Lassay), aquarelle (aR12=iR40).

3IE-1877-140, L’Arrivée au marché (effet de neige)
Eng.: Arrival at the market (effect of snow). Moffett doesn’t give a suggestion. Berson suggests on the basis of subject and date: 1876, SDbr, L’arrivée au marché (effet de neige), ?cm, xx (R90II,p79); I render her picture. Berson refers to the review of de Lora (R90II,p79), who doesn’t describe the work.

3IE-1877-141, Fête de l’Hermitage, à Pontoise
Compare no. 154. Moffett and Berson leave this work unidentified. Berson leaves out this work, which means there were no reviews. See link for the location. To compare I render: 1873, Rue de l’Hermitage à Pontoise, xx, xx (iR94;iR10).

3IE-1877-142, Vieilles halles, à Lassay
Eng.: Old market, in Lassay. Moffett and Berson leave this work unidentified. Berson leaves out this work, which means there were no reviews. Note: I couldn’t find a work that comes close.  Lassay-sur-Château lies about 249km south-west of Paris.

3IE-1877-143, Fleurs
3IE-1877-144, Fleurs
Compare: S1861-2550 + S1865-1709. Moffett and Berson leave this work unidentified. Berson refers to the review of Georges Lafenestre in Le Moniteur universel and Pierre Véron in La Petite Presse (R90II,p79), who just call it ‘some very nice flowers’. I render two uncertain options: 1862, Bouquet de fleurs au chapeau de paille, 41×65, A2017/09/27; and: 18xx, Flower basket at the riverbank, 83×72, A2010/11/12 (iR13).

3IE-1877-145, Marché aux vaches, place des Jacobins, au Mans
Berson makes clear this work was an oil painting on canvas. Compare: HD1877/03/24-16, Marché aux vaches (au Mans, place des Jacobins), aquarelles (aR12=iR40). Berson refers to the reviews of Jacques (1877/04/11), de Lora and Sébillot (R90II,p79). Jacques reviewed ‘The cathedral of Le Mans (…) it is a marvelous sight, sitting solidly in its austere mass in the distance, while below its multiple arches, a multitude of farmers with light caps and frightened looks move about.’ (R90I,p156). Sébillot mentioned it ‘very crowded and very fine’ and less ‘flickering’. De Lora just mentions part of the title. Now: =18xx, Marché aux vaches place des Jacobins au Mans, ?cm, xx (iR10;R90II,p98;R2,p205). Compare: HD1879/02/20-1, La place de la cathédrale du Mans (aR13=iR40).

3IE-1877-146, Prairie; crépuscule (aquarelle)
Eng.: Meadow; twilight (watercolour). Moffett and Berson leave this work unidentified. Berson leaves out this work, which means there were no reviews. I have no suggestion.

3IE-1877-147, Rue, à Lassay; neige fondante (aquarelle)
Eng.: Street, in Lassay; melting snow (watercolour). Moffett and Berson leave this work unidentified. Berson refers to HD1879/02/20+21, no.26, Chemin de Lassay, hiver; see also no.85, Rue à Lassay (aR13=iR40). There were no reviews. I couldn’t find a work that comes close.  Lassay-sur-Château lies about 249km south-west of Paris.

3IE-1877-148, Fête des Fossés, à Pontoise (aquarelle)
Moffett and Berson leave this work unidentified. Berson refers to HD1879/02/20+21, no.16bis, La Fête des fossés, à Pontoise and to no.109, Fête de Pontoise; see also no.16bis, La fête des Fossés à Pontoise (aR13=iR40). There were no reviews. (R90II,p79). Compare: 1877, Fête, boulevard des Fossés, Pontoise, 85×125, MTD Pontoise (iR6;iR77;iR23), probably this work is an oil painting; note the large measurements, maybe it was intended for the Salon of 1877 and rejected?

3IE-1877-149, Cirque forain (aquarelle)
Eng.: Fairground circus. Moffett and Berson leave this work unidentified. Berson refers to HD1877/03/24-11, Cirque Bazola (Foire de Mans), wc (R90II,p79/80;aR12=iR40), compare also no. 3, Foire du Mans. Berson refers to the review of Ballu (1877/04/14) (R90II,p79), who calls this and another work ‘amusing and picturesque studies’. Maybe: 1875, SDbr, La Foire, Le Mans, 38×55, Axx (iR136).

3IE-1877-150, Marché aux porcs, à Lassay (aquarelle)
Eng.: Pig market at Lassay. Compare: no.135. Moffett and Berson leave this work unidentified. Berson refers to HD1877/03/24-22, Marché aux porcs (Lassary), jour de neige, aquarelle (aR12=iR40); and to HD1879/02/20+21,no.69, Marché aux porcs; compare also no.23, Marché à Lassay (aR13=iR40). There were no reviews. (R90II,p79). Note: I could not find a pig market, nor a market at Lassay. Lassay-sur-Château lies about 249km south-west of Paris. 

3IE-1877-151, Vue de Cluny, à Paris (aquarelle)
Compare: no.136. Moffett and Berson leave this work unidentified. Berson refers to HD1877/03/24-15, Cour de musée de Cluny (Paris), wc (aR12=iR40); and to HD1879/02/20+21,no.93, La Cour du musée de Cluny (aR13=iR40). Berson refers also to the review of Ballu (1877/04/14) (R90II,p79), who calls this and another work ‘amusing and picturesque studies’. I could find a work that comes close.

3IE-1877-152, Vue de Pontoise (aquarelle)
Moffett and Berson leave this work unidentified. Berson leaves out this work, which means there were no reviews. =?? HD1877/03/24, no.36,+40, Vue de l’Hermitage (Pontoise), aquarelle (aR12=iR40). Maybe: 1875, Vue prise en haut de la rue du Château, gouache, 63×43, MTD Pontoise (iR94;iR23;iR10;iR64).

3IE-1877-153, Jardin de la Ville, au Mans (aquarelle)
Moffett suggests with a perhaps a work auctioned at Christie’s in London 1979/12/04, no. 209 (R2,p205). Berson follows, adding more info: 1875, SDbr, Personnages au jardin public, gouache on paper, 31×61, A1979/12/04 (R90II,p79/80;iR15;R2,p205). I follow their suggestion. She also refers to HD1877/03/24-1, Vue de Mans, prise du jardin de la ville (Salon 1876) (R90II,p79/80;aR12=iR40).

3IE-1877-154, Fête de l’Hermitage à Pontoise (aquarelle)
Compare no. 141. Moffett and Berson leave this work unidentified. Berson refers to HD1877/03/24-4, Fête de l’hermitage (Pontoise), wc (aR12=iR40); and to HD1879/02/20+21,no.111, Fête de l’hermitage, wc (aR13=iR40). There were no reviews. (R90II,p80). Compare: 18xx, Marché à Pontoise, gouache, 27×53, A2017/12/06 (iR10;iR89); and: 1871/09/01, Jour de marché à Pontoise, gouache, 49×35, A2012/07/01 (aR4;iR10;R2,p205).

3IE-1877-155, Fenaison (aquarelle)
Eng.: Haymaking (watercolour). Compare no. 161. Moffett doesn’t make a suggestion. Berson suggests on the basis of subject for no.155 or 161: 18xx, Sbr, Après la moisson, gouache on paper, 30×35, A1980/07/01 (R90II,p80;iR15). There were no reviews. Maybe: HD1874/02/21, no.4+23, Fenaison, aquarelle (aR10=iR40); and: HD1875/03/23-44, Fenaison, aquarelle (aR11=iR40).

3IE-1877-156, Jardin (aquarelle)
Eng.: garden. Compare no.153. Moffett and Berson leave this work unidentified. Berson refers to the review of Ballu (1877/04/14) (R90II,p79), who calls it ‘surprisingly bright‘. A very uncertain suggestion: 18xx, Puits et dépendance d’un château sous la neige (le jardin sous la neige), gouache, 12×20, A2007/06/27 (iR13;iR10).

3IE-1877-157, Bois en automne (aquarelle)
Eng.: forest in autumn. Moffett and Berson leave this work unidentified. Berson leaves out this work, which means there were no reviews. Maybe: HD1875/03/23-53, Bois en automne, aquarelle (aR11=iR40). An uncertain suggestion: 1873, La marché dans la forêt (a walk in the forest), gouache, 12×29, A2006/03/23 (iR13;iR11).

3IE-1877-158, Chute des feuilles (aquarelle)
Eng.: Falling leaves. Moffett and Berson leave this work unidentified. Probably: HD1875/03/23-23 (aR11=iR40). Berson also refers to HD1879/02/20+21,no.57, La Chute des feuilles, wc (aR13=iR40). There were no reviews. (R90II,p80). A very uncertain suggestion: 1872, Paysage, mix, 24×34, A2014/02/26 (iR13;iR10).

3IE-1877-159, Givre (aquarelle)
Eng.: Frosting. Moffett and Berson leave this work unidentified. Berson leaves out this work, which means there were no reviews. I con’t have a suggestion.

3IE-1877-160, Battage du grain à la mécanique (aquarelle)
Eng.: Mechanical grain threshing. Moffett and Berson leave this work unidentified. Probably: HD1875/03/23-19, Battage de blés à la mécanique (aR11=iR40). Berson also refers to HD1877/03/24, no.41, Battage de blés à la mécanique (Mayenne); and to no.48, Battage de blés à la mécanique (R90II,p80;aR12=iR40). There were no reviews. (R90II,p80). Compare: Pissarro, 1876, The Threshing Machine, xx, private (iR2;R17,p243).

3IE-1877-161, Fenaison (aquarelle)
Eng.: Haymaking (watercolour). Compare no. 155. Moffett doesn’t make a suggestion. Berson suggests on the basis of subject for no.155 or 161: 18xx, Sbr, Après la moisson, gouache on paper, 30×35, A1980/07/01 (R90II,p80;iR15). There were no reviews. Maybe: HD1874/02/21, no.4+23, Fenaison, aquarelle (aR10=iR40); and: HD1875/03/23-25 (aR11=iR40). Maybe: 1876, La fenaison (haymaking), gouache, 28×47, A2017/06/30 (iR10;R2,p206). 

3IE-1877-162, Fauche des foins (aquarelle)
Eng.: Hay mowing. Moffett and Berson leave this work unidentified. Berson refers to HD1879/02/20+21, no.80+97, Les Foins (aR13=iR40). There were no reviews. (R90II,p80). Maybe: 1876ca, Haymakers at Montfoucault (La fauche des foins), 30×36, A2011/03/16 (iR2;iR11;iR6;R2,p206).

 

 

 

General overview 1879:
At the 4th ‘impressionist’ exposition in 1879 there were posthumous works exhibited of Piette. He was mentioned in 6 reviews. Some suggest there were probably a dozen or so watercolours exhibited of Piette (R2,p260). But Havard writes about ‘some interesting watercolours’, de Syène of ‘several watercolours’, which doesn’t suggest a large number like 12. Duranty just writes about ‘watercolours’, which neither suggest a large amount. De Tarade writes ‘Among the watercolours of M. L. Piette, some are very finely touched and very powerful’ and than mentions 3 titles, which suggest far more than 3 watercolours. Moffett renders two titles (R2,p271), Berson renders 6 titles (R90II,p117). None of the works are identified. I suggest 8 works.

Reviews:
Duranty (1879/04/19) reviewed ‘Watercolours by the late Piette remind us of the loss of this sensitive, fine and sharp artist, whose talent was developing day by day.’ (R90I,p219)
Henry Havard (1879/04/27) reviewed ‘some interesting watercolours by a hopeful artist, M. Piette, death has just taken him away from his friends.’ (R90I,p223).
Paul Sébillot (1879/05/15) mentioned ’the late M. Piette in his very crowded Marchés (markets) (R90I,p239).
Armand Silvestre (1879/04/24) reviewed ‘I don’t like very much the blue tones of the late M. Piette, but his Verger en fleurs is however a pleasant piece.’  (R90I,p240)
F. C. de Syène (1879/05/01) reviewed ‘The best tribute one can pay to the memory of a talented artist is to make his work known. This is why we find here several watercolours by M. Ludovic Piette, who died since the last exhibition, where his qualities as a harmonious colourist had been very much noticed. A Marché de petite ville is stamped with a fair and exquisite sense of nature; the splendours of summer stream over a flower constellation on a lawn / flower-bed (parterre), and a corner of the orchard (coin de verger), all perfumed with the scents of April, is dazzling with light.’ (R90I,p243). Note: de Syène in his ‘last exhibition’ is probably referring to the 3rd ‘impressionist’ exposition, while Piette didn’t exhibit at the Salon in 1878.
J. de Tarade (1879/04/27) reviewed ‘Among the watercolours of M. L. Piette, some are very finely touched and very powerful: a Clairière, a Marché aux environs and les Blés, very warm in tone and largely removed (enlevés).’ (R90I,p244).

1879 catalogue hc: (R2,p271;R90II,p117)

4IE-1879-hc1, Verger en Fleurs, aquarelle
Eng.: blossoming orchard. Probably a watercolour (R2,p271). Silvestre calls it ‘a pleasant piece.’  (R90I,p240). De Syène mentions a ‘coin de verger’ =hc2, which refer to the same work. Maybe?: 18xx, Personnage dans un verger (Les jardins à Éragny), 21×30, A2003/12/14 (iR13;R90I,p240).

4IE-1879-hc2, Coin de verger, aquarelle.
Eng.: corner of an orchard. Watercolour. Berson refers to the reviewof de Syène, who reviewed of this and other works ‘all perfumed with the scents of April, is dazzling with light.’ (R90I,p243). Berson also refers to the review of Silvestre, who mentioned a ‘verger en fleurs’, this can be the same, but also another work, see hc1. Maybe?: 18xx, Les-pommiers, gouache, 26×39, A2017/11/27 (iR10;iR44;R90I,p243).

4IE-1879-hc3, Marché de petite ville, aquarelle
Probably a watercolour (R2,p271). Berson renders it as HC20 and refers to a review of de Syène, who calls it ‘stamped with a fair and exquisite sense of nature’. Berson also remarks that this work may be identical as Marché aux environs HC25 = 4IE-1879-hc4. But Sébillot (1879/05/15) mentioned ‘his very crowded Marchés (markets)’ (R90I,p239), which suggests that there were several markets exhibited of Piette. So I suggest, these were seperate works. Maybe?: 18xx, Pontoise, le marché, wc gouache, 19×34, A2013/11/15 (iR13).

4IE-1879-hc4, Marché aux environs, aquarelle
Eng.: Market in the neighbourhood. Watercolour. Berson refers to the review of de Tarade, who just adds to this and other titles ‘very finely touched and very powerful’ and ‘very warm in tone and largely removed (enlevés).’ (R90I,p244). Berson suggests that de Tarade may refer to the same work as de Syène called ‘Marché de petite ville’ = hc3. Berson therefor remarks that this work may be identical as HC20 = 4IE-1879-hc3. But Sébillot (1879/05/15) mentioned ‘his very crowded Marchés (markets)’ (R90I,p239), which suggests that there were several markets exhibited of Piette. So I suggest, these were seperate works. Maybe?: 1875ca, Jour de marché, gouache, 36×48, A2011/12/04 (aR4)

4IE-1879-hc5, Marché grouillants, aquarelle
Eng.: crowded market. Sébillot (1879/05/15) mentioned ’the late M. Piette in his very crowded Marchés (markets) (R90I,p239). The plural suggest more than 2 markets, that is why I add another one. Maybe?: 1877, Le Marché aux légumes, la Place du Petit Martroy à Pontoise, gouache, 39×48, MTD Pontoise (aR4;iR23;iR77;R90I,p239;M173) =? HD1877/03/24-6 (aR12=iR40). Compare: 3IE-1877-138.

4IE-1879-hc6, Parterre, aquarelle
Eng.: lawn. Watercolour. Berson refers to the review of de Syène, who reviewed ’the splendours of summer stream over a flower constellation on a lawn / flower-bed’.

4IE-1879-hc7, Clairière, aquarelle
Eng.: Clearing. Watercolour. Berson refers to the review of de Tarade, who just adds to this and other titles ‘very finely touched and very powerful’ and ‘very warm in tone and largely removed (enlevés).’ (R90I,p244). To compare I render an earlier painting: 1862, Children playing in the woods (Jeux d’enfants dans le bois), 57×81, A2005/12/19 (iR43;iR10;iR13).

4IE-1879-hc8, Les Blés, aquarelle.
Eng.: the wheat. Watercolour. Berson refers to the review of de Tarade, who just adds to this and other titles ‘very finely touched and very powerful’ and ‘very warm in tone and largely removed (enlevés).’ (R90I,p244). Maybe?: 1873, La Moisson, gouache, 12×34, MTD Pontoise (iR23)

 

 

Ludovic Piette-Montfoucault at the Salon:
The Salon database indicates that Ludovic Piette(-Montfoucault) was born in Niort. Montfoucault is sometimes written as Monfoucault.
Piette was a pupil of Faustin Besson.
A Mlle Marie Piette exhibited (porcelain) at the Salon of 1884 and probably also in 1882 and 1883.

Overview: 

  • in total Piette (Ludovic) exhibited 24 works at the Salon; including 8 watercolours (from 1870-76 he only exhibited watercolours).
    • 7x an indication of place; 4x of Mans
    • 6x an indication of time, season or weather
    • 0x a study
    • 0x a loan

S1857-2160, L’épine fleurie
Eng.: The flowering thorn. Former MBA Rouen collection (aR2;aR5;aR27). I couldn’t find a suggestion.

S1859-2445, Fantômes
(aR2) I couldn’t find a suggestion.

S1859-2446, Fruits
I couldn’t find a suggestion.

S1861-2547, L’apparition des sorcières à Macbeth (Macbeth, Shakespeare)
Eng.: The appearance of witches in Macbeth. =HD1882/02/17-9, L’Apparition des Sorciers de Macbeth, salon 81 (aR14=iR40). Acquired by the Prussian king Guillaume 1er (=William the first; 1897-1888; iR3); now in the palace Sans-Souci in Potsdam (iR4;R88;aR2;aR27). I couldn’t find a suggestion.

S1861- 2548, Faust et Marguerite
Probably from the book ‘Faust’ of Goethe. =? HD1882/04/14-5, Faust et Marguerite (aR15=iR40). I couldn’t find a suggestion.

S1861- 2549, Les loisirs de la paix
Eng.: The leisure of peace. An uncertain option: 1860, Paysans se réchauffant près d’un feu (Peasants warming themselves by a fire), wc, 21×11, A2019/12/22 (iR11;iR13;iR2;iR17), this work was made the year before and renders a peaceful leasure.

S1861- 2550, Fleurs
To compare I render a work made one year later: 1862, Fleurs, 100×81, A2017/11/27 (iR10;iR85;iR1). Compare: S1865-1709 + 3IE-1877-143/4. Note: some sources mention that Piette was commissioned by the emporer Napoléon III to paint a decoration of flowers for the appartments of his wife Eugénie, but there is no official verification (aR27).

S1864- 1537, Le gué de Chevier (Orne)
Eng.: The ford (or: crossing point) of Chevier (Orne). I couldn’t find a suggestion.

S1864- 1538, Le matin
An uncertain option: 1864, Landscape with Laundress, 37×52, private (iR2;iR6); this work was also made in 1864 and seems to depict the morning sun.

S1865-1709, Fleurs des champs
Additional info: see image. Now: 1865, Fleurs des champs (Meadow flowers), 180×112, A1998/03/18 (iR22;iR1;iR13). Compare: S1861-2550 + 3IE-1877-143/4. 

S1865-1710, Paysage
Compare: S1866-1551. An uncertain option: 1865, Chemin aux environs du Maine (retour au village du promeneur), 92×73, A2000/03/13 (iR13). This work was made in the same year and the measures are rather large.

S1866- 1551, Paysage
Compare: S1865-1710. An uncertain option: 1866, La Rue des Vallés, 34×25, A1994/06/19 (iR13;iR11;iR22;iR10). 

S1867- 1219, Clair de lune; paysage
Eng.: Moonlight, landscape. I couldn’t find a suggestion.

S1868-1998, Une ferme dans le Maine
Le Maine is a provence in France containing the region Mayenne in which Piette lived and to the east Sartre (iR3). I render two  very uncertain options: 18xx, Sbl, La ferme de Boulay près de Moutfoucault, 12×21, Axx (iR85;iR10;iR11;iR1); and: 18xx, Coin de village de Montfoucault, gouache, 16×25, A2020/11/05 (iR319;iR10;iR1).

S1868-1999, Neige
Additional info: (Voir aux Dessins, etc.). I couldn’t find a suggestion.

S1868-3220, Deux aquarelles, môme numéro :
S1868-3220-1°, Vue de Montmartre.
Maybe?: 1868/02/10, La Rue Lepic à Montmartre (Moulin de la Galette), wc, 24×25, Louvre (iR6;iR23).
S1868-3220-2°, L’hiver ; paysage
(Voir à la Peinture). I couldn’t find a suggestion.

S1869-1935, *Dans les bois
Additional info: (Voir aux Dessins, etc.). I couldn’t find a suggestion.

S1870-3941, Quai du vieux Mans; aquarelle
=HD1872/03/11-1, Quai du vieux Mans (Salon de 1870), aquarelle. I couldn’t find a suggestion.

S1870-3942, Vieux moulins au Mans ; aquarelle
Additional info: (Appartient à M. le comte de Contades). Maybe: HD1872/03/11-26, Vieux Moulins au Mans, aquarelle (aR8=iR40). I couldn’t find a suggestion.

S1872-1244, Le marché aux fruits, au Mans; aquarelle
(iR1;aR2). Probably: 18xx, Market scene, gouache, 33×25, A1994/06/27 (iR13;iR1) =? HD1877/03/24-20, Marché aux fruits, place de l’Éperon (au Mans), aquarelle (aR12=iR40). Compare: 1875, SDbl, Market scene, Le Mans, 38×56, Axx (iR136;iR10;iR13;iR1).

S1872-1245, *Paysage; printemps; aquarelle
=HD1973/04/03-1, Paysage, Printemps, aquarelle (Salon de 1872) (aR9=iR40). To compare I render a painting made one year later depicteing a farm in the Spring: 1873/04/01, SDbl, Cerisiers en fleurs près de la ferme, wc gouache, 17×21, A2010/07/02 (aR27;aR4;iR13)

S1876-2835, Printemps; aquarelle
Probably: HD1877/03/24-2, Jardin bourgeois (Salon de 1876). I couldn’t find a suggestion.

S1876-2836, Vue du Mans; aquarelle
(iR1;aR2) =? 3IE-1877-153, Jardin de la Ville, au Mans (aquarelle), now: 1875, SDbr, Personnages au jardin public, gouache on paper, 31×61, A1979/12/04 (R90II,p79/80;iR15;R2,p205). Berson also refers to HD1877/03/24-1, Vue de Mans, prise du jardin de la ville (Salon 1876) (R90II,p79/80;aR12=iR40).

 

 

Recommanded citation: “Ludovic Piette, an account of his exhibited works. Last modified 2021/11/30.  https://www.impressionism.nl/piette-account/.”