Impressionism, a historical reconstruction:

Henri Rouart

(1833-1912)

Account

of his exhibited works

 

Introduction:
In this account on the art-works that Henri Rouart exhibited, I will make an analyses of the works mentioned in the catalogues. I will start with the seven times he exhibited with the ‘impressionist’ expositions and later on will mention the works he showed at the Salon. There are not much works of Rouart known and many are not dated, some are not even signed. There neither is much known about his artistic development (R2,p332), which makes identification hard, see also. When possible I will do a suggestion what actual work might resemble the work exhibited. Mostly I will just compare the title in the catalogue with the actual title. Often to compare I will refer to pictures of other artists or even postcards. For the general references (=R) see For the general references to internet pages (=iR) see For the additional references (=aR) see at the bottom of the main page about Rouart.) See also a topographical and thematical overview of his works.

 

The first ‘impressionist’ exposition 1874:

Overview:
Catalogue numbers 148-158 (so Rouart exhibited 11 works).
6x oil painting; 3x aquarelle (=water-colour painting); 2x eau-forte (=etching)
6x an indication of place: 3x of Brittany (148, 153, 154), 2x close to the Pyrenees (155, 156), 1x of Melun
0x an indication of time, season or weather; 0x a study; 1x a loan of M. J.D. (150)
My main sources are Dayez / Adhémar (1974=R87,p253); Moffett (1986=R2,p122), who doesn’t give a single suggestion; Berson (1996=R90II,p12+13), who leaves all the works unidentified; Rey (2012=R92); Patry/Robbins (2024=R410,p272).
See link to his pictures and to a thematical overview.
short overview given suggestions + reviews:
Moffett (R2,p122), doesn’t give a single suggestion; Berson (R90II,p12+13) leaves all the works unidentified.
The identity of the loaner of no.150 M. J.D. stays unidentified (R90II,p288).
The following numbers are shortly described: no.148 (+154?); 150; 151?; 153;
The following numbers were shortly remarked: no.149;
The following numbers were not mentioned at all: no.152; 155; 156; 157; 158.
The two etchings have no title: no.157 + 158.

General reviews:
Philippe Burty reviewed in La Republique française (1874/04/25) ‘The more moderate and no less valiant works of MM. Rouart (and others); show how much is to be expected from this school.’ (R90I,p38;R87,p262)
As E.C. in Revue de France (vol.10, April 1874) Emile Cardon mentioned la Levée d’étang as one of the few works worthy to look at. (R90I,p11)
Ernest Chesnau (1874/05/07) reviewed more in general in Paris-Journal and Le Soir: ‘The school of plein air is presented at the Boulevard des Capucines by Mrs. Monet, Pissarro, Sisley, de Gas (sic), Rouart, Renoir and Mlle Morisot.’ (R90I,p18)
E. Drumont (1874/04/19) just sums up une Ferme Bretonne (R90I,p21).
E. Lepelletier (1874/04/19) summed up the principle works including ‘la route bretonne and la Ferme of M. Rouart’ (R90I,p24)
Louis Leroy (1874/04/25) rendered in his review a dramatic dialogue with a M. Vincent, writting firstly ”But look here a Vue de Melun by M. Rouart, where there is something in the waters. For example, the shadow in the foreground is quite comical. ‘ ‘It is the vibration of the tone that surprises you.’ ‘Mention the tone, and I will understand you better. ‘ ‘Ah, Corot, Corot, what crimes are committed in your name! You are the one who made this sloppy workmanship, these smears, these splashes, fashionable, in front of which the amateur has reared his head for thirty years, and which he only accepted under constraint and force by your quiet stubbornness. Once again the drop of water has pierced the rock! The poor man thus lapsed quite peacefully and nothing could make me foresee the unfortunate accident which was to result from his visit to this all-powerful exhibition.’ And later on: ‘I attempted to calm him by showing him the St. Denis Canal by M. Lépine and the Butte Montmartre by M. Ottin, both quite delicate in tone; but fate was strongest of all’ and later ‘In vain I tried to revive his expiring reason by showing him a Levée d’étang, of M. Rouart, which lacks a few things to be quite right; a study of a castle at Sannois, of M. Ottin, very bright and very fine; but he was drawn to the horrible.’ (R90I,p25+26;R1,p320;R87,p253)
Léon de Lora (1874/04/18) in his review in Le Gaulois summed up as one of the remarquable landscapes la route Bretonne. (R90I,p27)
De Montifaud (1874/05/01) reviewed ‘On the other hand, Mr Rouart stamps heavily. With serious qualities like those possessed by his Ferme bretonne, the surfaces remain solid, the shadow without transparency. In the one of his paintings entitled Route bretonne, note the plain right of the massif and the horizon line.’ (R90I,p30;R87,p253).
Le Phare de la Loire (1874/04/18) reviewed ‘The landscapes by Mr. Rouart, an amateur and main organizer of this exhibition, can be cited among the best canvases; Le Vue de Neulan (sic), La Ferme bretonne and Chaussée d’étang (sic) are of a very just tone.’ (aR17=iR437).
Jean Prouvaire (1874/04/20) reviewed ‘The landscapes of M. Rouart are evidence of a serious and methodical observation of nature. You will notice a dusty coastline (or hillside) that runs alongside brick-roofed houses and masses of over-green trees, fading away under a deep blue sky.’ (R90I,p35;R87,p253)
See the seperate pages on the reviews and on the art-critics.

The catalogue numbers: (R87,p253;R2,p122;R90I,p7;iR1)

1IE-1874-148, Ferme bretonne
Eng.: a farm in Brittany; see location of Brittany.
Berson refers to reviews of Drumont (who just mentioned it), Lepelletier , de Lora, de Montifaud, would could less likely also refer to no.154 (R90II,p12+13). Drumont, Lepelletier and de Lora just mentioned it (R90I,p21+24+27). De Montifaud (1874/05/01) reviewed ‘On the other hand, Mr Rouart stamps heavily. With serious qualities like those possessed by his Ferme bretonne, the surfaces remain solid, the shadow without transparency.’ (R90I,p30;R87,p253).
To compare I suggest a work dated later: 1885ca, Sbr, Landscape with Farm, Brittany, 66×92, private Gallery London (iR13). The review of De Montifaud could apply to this work. Rouart sold this work for 2200 francs (R92,p17).
Compare other pictures made in Brittany: 1IE-1874-153+154; 2IE-1876-229+233; 3IE-1877-207; 6IE-1881-125+127,+129+133+134+137+138; S1868-2069; SdR1873-303 (see also the topographcal overview).

1IE-1874-149, Levée d’étang
Eng.: dam (?) of a pond.
Berson refers to reviews of E.C., Chesneau and Leroy (R90II,p13). Chesnau calls it a nice landscape (R90I,p19). Leroy reviewed in a dialogue forme (…) ‘In vain I sought to revive his expiring reason by showing him a Levée d’étang, by M. Rouart, which lacks a few things to be quite good;’ (R90I,p26;R87,p253).
The meaning is unclear. It could mean a dam of a pond or lake. It also could mean a hunt at dawn near a lake (see; see; see).
To compare I render a painting of an unknown artist: Unknown artist: Sbr, Canards en levée d’étang à l’aube, 63×45, auctioned (iR116).
Compare also an oil painting of probably Rouart depicting a river (or lake): 18??, Sbr?, Riverlandscape with fishermen in a boat, 22×27, A2009/03/28 (aR11;iR64;iR1).

1IE-1874-150, Vue de Melun; appartient à  M. J.D.
Eng.: view of Melun; see location of Melun; Melun lies about 40km south-east of Paris along the Seine. His family-in-law had a property in Melun (R92,p58; note: not his own family as Moffett mentions, R2,p332),  it was situated at the Quai Fournaux (now Quai Lallia) in Mée-sur-Seine (aR8). (See also the topographcal overview).
Berson refers to reviews of Leroy and Burty in la République française, who just mentions it (R90II,p13). Leroy reviewed in a dialogue forme ‘But look here a Vue de Melun by M. Rouart, where there is something in the waters. For example, the shadow in the foreground is quite comical. ‘ ‘It is the vibration of the tone that surprises you.’ ‘Mention the tone, and I will understand you better. ‘ ‘Ah, Corot, Corot, what crimes are committed in your name! You are the one who made this sloppy workmanship, these smears, these splashes, fashionable, in front of which the amateur has reared his head for thirty years, and which he only accepted under constraint and force by your quiet stubbornness. Once again the drop of water has pierced the rock! The poor man thus lapsed quite peacefully and nothing could make me foresee the unfortunate accident which was to result from his visit to this all-powerful exhibition.’ (R90I,p25;R87,p253).
Moffett suggests that 1874-80ca, Terrace on the Banks of the Seine at Melun, 47×66, Orsay (aR2;iR23;R2,p352;R90II,p156+174;R89,no63;R87,p253;R92,no12;M1), possibly was exhibited under this number, so does Rey, referring to the review of Leroy (R92,no12), so do Patry/Robbins (R410,no144) and Joconde (iR23). The Musée d’Orsay dates it 1874, but suggests it was exhibited in 1880 (M1). Rey also suggests that the child depicted is Rouart his daughter Hélène, but she was born in 1863 and looks much younger than 11 years old.
When I compare this painting with the Leroy review I recognise clearly the ‘shadow in the foreground’, the ’there is something in the waters’ is not obvious, unless he refers to the reflections in the waters. So, it could fit this description.
Others render this work as an option for 5IE-1880-182, Melun. The colours also are quite bright, so stilistic I think this work fits more in 1880, than in 1874, when many Impressionists, still used subdued colours and greyish shadows.
I will render this work as uncertain option for both works.
Compare other pictures from Melun: 2IE-1876-232, 4IE-1879-229 (‘port’), 5IE-1880-182 and S1870-2479 (‘L’Île’).

1IE-1874-151, Village
Eng.: village; this very general title makes it hard to identify.
Berson mentions that maybe the review of Prouvaire refers to this number (R90II,p13): ‘You will notice a dusty coastline (or hillside) that runs alongside brick-roofed houses and masses of over-green trees, fading away under a deep blue sky.’ (R90I,p35;R87,p253).
As a very uncertain option I render: 18??, Sbr, The orchard and the village of La Queue-en-Brie, 50×60, private (R92,no13), a work that has similarities with the description of Prouvaire.

1IE-1874-152, Forêt
Eng.: forest; this very general title makes it hard to identify.
Berson omits this work, which means there were no reviews (R90II,p13).
Maybe: 18xx, La forêt, 60×73, A2010/04/21 (aR12;aR11;aR13;aR14;R2,p122).

1IE-1874-153, Route bretonne
See also no. 154, an aquarelle with the same title and no.148, Ferme bretonne.
Berson refers to reviews of Lepelletier, de Lora and de Montifaud (R90II,p13). Lepelletier and de Lora just mentioned it (R90I,p24+27). De Montifaud (1874/05/01) reviewed ‘In the one of his paintings entitled: Route bretonne, note the plain right of the massif and the horizon line.’ (R90I,p30;R87,p253).
To compare I render a painting by another artist: William Lamb Picknell (1854–97): 1881, Paysan breton sur la route par un ciel d’orage, 134×201, A?? (iR13).
To compare I also render a painting of Rouart: 18xx, Sbr, The apple trees at La Queue-en-Brie (Chemin de la Pompe), 21×35, A2020/12/19 (aR38;iR11;iR10;R2,p122); a painting that mainly depicts apple trees, but also a road, the Chemin de la Pompe in La Queue-en-Brie, so not in Brittany.
Compare also a painting by another artist: Michel Brion: Route bretonne, 60×73, A2017/01/12 (iR85;iR10).
Compare also a painting by another artist: Raymond Léon Auger (born 1883): Route de Bretagne, 118×89, A2021/03/30 (iR11).

1IE-1874-154, Route bretonne, aquarelle
153 + 154: Eng.: a road in Brittany; 154 being a water-colour. See for the rest no.153.
Berson refers to reviews of Drumont, de Montifaud, Lepelletier, de Lora, which more probably refer to no.148 (R90II,p13).
To compare I render a watercolour Rouart depicting a bridge being part of a road: 18xx, Sbr, Bridge over a river, wc, 16×27, A2024/09/23 (iR86;iR17).
To compare I also render a watercolour by an unknown artist depicting a road in Brittany: 1887, Dbl, Vallée de la Rance près de Dinan, Bretagne, aquarelle (iR387).
Compare also a watercolour by another artist depicting a road in Brittany: P. Kahlenberg: Route en Bretagne, aquarelle, 37×50, A2020/01/15 (see).

1IE-1874-155, Maisons béarnaises, aquarelle
1IE-1874-156, Maisons béarnaises, aquarelle
155 + 156: Eng.: houses from Béarn; both indicated as watercolours.
Berson omits these works, which means there were no reviews (R90II,p13).
Béarn is an old province near the Pyrenees, just east of the Basque region (see); there also is a Rue de Béarn in Saint-Cloud and in Paris; but I assume this work refers to the Pyrenees, because Rouart made many works there.
To compare I render for no. 155 an aquarelle depicting a house, but probably in another region: 18xx, Sbr, The house with hollyhocks, wc, 26×37, A2024/04/14 (iR86); note this watercolour depicts just one house.
To compare I also render for no.155 an oil painting depicting houses probably in the Basque region: 18xx, S-, Landscape in the Pyrenees (Pays Basque?), 42×60, private (R92,no38).
As a very uncertain option for no.156 I render: 1xxx, Sbr, House in the South of France, aquarelle, 26×23, A2023/11/21 (iR86;R2,p122); note this watercolour depicts just one house.
Other pictures made in the Pyrenees are: 3IE-1877-209; 4IE-1879-205+219; 5IE-1880-184; 6IE-1881-128+135; 8IE-1886-141+150+151+152.

1IE-1874-157, Eau-forte
1IE-1874-158, Eau-forte
157 + 158: two works without title; just the indication they are etchings.
Berson omits these works, which means there were no reviews (R90II,p13).
As a very uncertain option for no. 157 I render: 18xx, S-, River bank, etch, 20×29, A2023/11/21 (iR86;R2,p122).
As a very uncertain option for no. 158 I render: 1877ca, Sbl, unknown title (Banks of a river), etch (frontpage in Croquis à L’Eau-Forte 1877), 25×19, NM Warsaw (M269).

 

The second ‘impressionist’ exposition 1876:

Overview:

• catalogue numbers: 227-236
• so he exhibited 10 works
  • 1x Encre de chine (no.234; Eng. Chinese ink)
  • 1x sepia  (no. 235; Eng.: sepia (ink)
  • 7x an indication of place
    2x of Brittany (229, 233)
    2x of Normandy (227, 234)
    2x of Melun (231, 232)
    1x from the middle of France (230)
    
  • 0x an indication of time, season or weather
  • 1x a study (no.229)
  • 0 of them were loans
• My main sources are Moffett (R2,p164/5), who doesn’t give a single suggestion; Berson (R90II,p45+46), who leaves all the works unidentified; Rey (R92).
• See link to his pictures and to a thematical overview.

General reviews:
L’Audience (1876/04/09 =Rv34**; R90I,p53) sums up 17 partakers, but not Rouart. Later he remarks ‘M. Rouart shows locations in Bretagne and Normandie.’
Philippe Burty remarked (1876/04/01) ‘At last in the 3rd room landscapes by Tillot*, Pissarro*, Cals*, Rouard* (sic), Beliard* and Ottin*; the remarkable Natures mortes, by a lady who took the pseudonym of Jacques-François* and a serie of paintings by Degas*; no.36* and washerwomen and dancers.(R90I,p105-106;R2,p153 =Rv16**).
And later (1876/04/15 ) ‘The third room contains…; other studies of varied interest by Ottin*, Cals*, Ronard* (sic), Beliard*; some natures mortes by a woman of society who adopts the pseudonym of Jacques François**. (R90I,p64-66;R2,p153-155 =Rv43***)
Marius Chaumelin reviewed ‘The landscapes of Sysley* (sic) are a radical mess. Those of Rouart*, Ottin*, Béliard*, Bureau*, Tillot* will not frighten anyone.’ (Rv33***; R90I,p67-68;R2,p167).
Leroy 1: In Le journal amusant (Rv44**) remarked ‘There are some reasonable artists: landscapes of Rouart* and Tillot*; They are represented by landscapes that have turned their heads… I mean: all their leaves.’ (R90I,p88)
A. de L. (=Alfred de Lostalot) 1876/04/01 reviewed ‘…no.36** of Degas is also a good painting, which has nothing to do with the revolutionaire methods. In the same bourgeois range one finds honest landscapes of Lepic*, Rouart*, Tillot*, Cals* and Millet*. (R90I,p86-87;R2,p156+169; Rv10**). 3 days later he remarked ‘(Caillebotte) would be distinguished at the official Salon. Also Sisley*, Cals* and Rouart* are keen to demonstrate their knowledge. The honest paintings of Bureau*, Lepic*, Desboutin* and Millet* would not frighten even the most timid curator. (R90I,p87-88;R2,p156; Rv26**)
Un passant mentions 17 of the 19 partakers, including Rouard (sic) (R90I,p101; Rv19)
Le Petit Moniteur Universel remarks ‘There are works are not without merit of Lepic*, Rouart* and Sisley*.’  (R90I,p102;Rv14)
Emile Porcheron (1876/04/04) reviewed ‘In the last room… Among the works of M. Rouart*, there is one important one no.217 (=?no.231*); with a few well given touches, this landscape would be finished off nicely.’ (R90I,p103; Rv28***)
Note: This is the only review that explicitly refers to an exhibited art-work of Rouart (R90II,p45).
Alex Pothey (=Rv6***) 1876/03/31 ‘regrets he can’t give the attention the conscientious works of Cals*, Tillot*, Rouard* (sic), Bureau*, Millet* deserve.’ (R90I,p103+104;R2,p155/6).
Le Siècle (1876/03/29) mentions Rouart as one of the 8 explicitly mentioned organisers. (R90I,p109; Rv2).

The catalogue numbers: (R2,p164/5;R90I,p51/52;iR1)

2IE-1876-227, Chemin bordé d’Arbres (Normandie)
Eng.: road verged with trees in Normandie; see location of Normandie.
Berson omits this work, which means there were no reviews (R90II,p45).
To compare I render a painting probably made by Rouart depicting a small road verged with trees on an unknown location: 18xx, S-, Allee arboree (Road with trees), 30×45, unknown location (aR17).
To compare I also render a painting depicting a small road verged with trees on another location: 18xx, Landscape at la Queue-en-Brie, 38×46, unknown location (aR17;aR18;aR20).
Other works made in Normandie are: no234.

2IE-1876-228, Ancien manoir
Eng.: old mansion. ‘Maison ancienne pres d’un pont’.
Berson omits this work, which means there were no reviews (R90II,p45).
Compair no.234 Manoir de Graffard.
To compare I render buildings at the La Queue-en-Brie estate: 18xx, Sbr, The two houses at La Queue-en-Brie, 60×74, private (R92,no24)
To compare I also render an aquarelle depicting an (old) mansion: 1890, Sbc, Domaine du prieuré (La Commanderie), wc, xx, private (R397,p63).

2IE-1876-229, Vieille ferme bretonne (étude)
Eng.: old breton farm. Berson omits this work, which means there were no reviews (R90II,p45). Compare: 1IE-1874-148; 3IE-1877-207.
Compare an oil painting (that doesn’t look like a study) that is dated later depicting a (not so old) farm: 1885ca, Sbr, Landscape with Farm, Brittany, 66×92, private Gallery London (iR13).
Compare also an etch: 1877ca, Sbr, Old farm, print etch ps Croquis à L’Eau-Forte, 12×18, NM Warsaw (aR20;M269).

2IE-1876-230, Bords de l’Indre
Berson omits no.230, which means there were no reviews (R90II,p45).
Eng.: the banks of the Indre; Indre is a department in central France named after the river Indre (see). Rouart also did draw in Crozant (see 4IE-1879-225) which lies against the Indre department. He also painted ‘bords de Sédelle’ (see 3IE-1877-206) which flows west of Crozant.
Rouart exhibited other riversides: S1868-2182, Bords de la Voïse and 4IE-1879-209, Bords de Loir. The Loir partly flows parallel to the north of the Indre. When we look at pictures of the Indre river we see a quite flat undulating landscape (iR6).
To compare I render a painting by another artist depicting the banks of the river Indre: Pierre-Ernest Ballue (1882-1932): Bords de L’Indre (Automne), 53x72cm, A2015/06/25 (iR17;iR10).
To compare I also render an oil painting of Rouart depicting the banks of an unknown river: 18xx, Bord de rivière à la campagne, 50×65, A2005/12/16 (aR13).

2IE-1876-231, Chemin des Fourneaux (Melun)
Eng.: road of the ovens; maybe nowadays this is ‘chemin des Fours à Chaux’ (see). Chaux means lime; see also 3IE-1877-210 and 1IE-1874-150. Berson refers to a review of Pocheron, who notes it as no.217; maybe this was because the works of Léon Ottin were sent in later (R90II,p45+44). He reviewed ‘Among the works of M. Rouart, there is one important one no.217; with a few well given touches, this landscape would be finished off nicely.’ (R90I,p103).
To compare I render an oil painting depicting an unidentified road in Melun: 1860s or 1870s, Chemin au Mée, Melun (Road at Mée, near Melun), 78×53, private (aR6;iR64;R92,no9).
To compare I also render a watercolour made close to this location: 1875ca?, Jardin (The steps of Les Fourneaux at Melun), drawing + wc, ?cm, unknown location (aR4;aR20).

2IE-1876-232, Vue de Melun
Compare 1IE-1874-150 and 5IE-1880-182. And also 4IE-1879-221 and S1870-2479.
Berson omits this work, which means there were no reviews (R90II,p45).
To compare I render an etch after a painting with the same title: 1861-96ca, View on Melun, etch after painting, ?cm, A1912/12/09-hc (aR10,p136++), a picture from the 1912 catalogue.
To compare I also render the Orsay painting I also render for 1IE-1874-150 and 5IE-1880-182: 1874-80ca, Terrace on the Banks of the Seine at Melun, 46×65, Orsay (M1;aR2;R89,p77+69;R397,p43).

2IE-1876-233, Enfants bretons
Eng.: breton children. Berson omits this work, which means there were no reviews (R90II,p45). This is one of the few figure paintings Rouart  exhibited. See also 1IE-1874-148, for other works made in Brittany.
To compare I render an oil painting of another artist: William Henry Lippincott: 1878, Farm Interior: Breton Children Feeding Rabbits (iR155).
Rouart almost didn’t depict children. To compare I render a painting with some adult figures: 1860-70, Bathers under the trees, 131×163, A2013/06/26 (iR13;iRx).

2IE-1876-234, Manoir de Graffard (Encre de Chine)
Eng.: mansion of Graffard (chinese ink).
The Manoir de Graffard in an old mansion in Barneville-Carteret in the Normandy pen insula. See links for info in French (iR4; WikiManche.fr); photo’s (iR6; see; iR64); old postcards (see); a list of castles and mansions in Normandy (iR3); the location in Barneville-Carteret (iR9); it lies in the former commune of Barneville, in the Cotentin region, in the Manche département, in the Normandy region (iR4). It is also called Manoir de Barneville, see. In those days it was owned by Armand-Paul Desfriches, comte Doria (1824-1896) (iR4).
Berson omits this work, which means there were no reviews (R90II,p45).
At the same exposition Charles Tillot showed a painting depicting the Manoir de Graffard (no.249).
To compare I render an old postcard of this Manoir de Graffard (see).
To compare I also render a drawing (and watercolour) of Rouart depicting another mansion: 18xx, La Busardière (property of general Mélodion), near Mans, dr+wc, ?cm private (R92,p6).
For more works made in Normandy see topographical overview.

2IE-1876-235, Dans un parc (sépia)
Eng.: in a park (sepia). For information on sepia (blood red) drawings see link.
Berson omits this work, which means there were no reviews (R90II,p45).
To compare I render an etch with a scene in a parc: 1877ca, Sbr, Scene in a park, print in Croquis à L’Eau-Forte 1877, 16×13, NM Warsaw (aR20;M269;R2,p165).
To compare I also render an oil painting: 1880-90ca, Sbr, Élégante au parc, on panel, 73×92, A2020/06/04 (iR6;iR15;iR17;iR86).
Compare also: 18xx, Sbl, Day trippers on a summer’s day, park landscape, 19×24, A2022/01/29 (iR17)

2IE-1876-236, Chaumières
Eng.: thatched cottages /huts (covered with reed). Berson omits this work, which means there were no reviews (R90II,p45).
To compare I also render an etch depicting several thatched cottages: 18xx, S-, Thatched cottages, etch, 20×29, A2023/11/21 (iR86)
To compare I also render an oil painting probably made by Rouart probably also depicting thatched cottages: 18??, S-, Paysage bucolique (rural landscape), 45x54cm, unknown location.

 

The third ‘impressionist’  exposition 1877:

Overview:

• catalogue numbers: 206-210
• all containing one work
• according to Berson, Rouart also exhibited a work outside the catalogue (=hc)
• so in total Rouart showed 6 works
  • 1 of them was a portrait
  • 4x an indication of place
    1x from the middle of France (206)
    1x from Brittany (207)
    1x from the Pyrenees (209)
    1x of Melun (210)
    
  • 0x an indication of time, season or weather
  • 0x a study
  • 0 of them were loans
• My main sources are Moffett (R2,p206), who doesn’t give a single suggestion; Berson (R90II,p83), who leaves all the works unidentified; Rey (R92).
• See link to his pictures and to a thematical overview.

General reviews:
There were reviews of Bernadille, la Petite République française and Sébillot (R90I,p123-200). They mention the following works: no. 206 +see below.

The catalogue numbers: (R2,p206;R90I,p120;iR1)

3IE-1877-206, Bords de la Sédelle
La Sédelle is a river in the middle of France, see. Berson refers to the reviews of la Petite République française and Sébillot (R90II,p83), both just mention the title.
Maybe: 1875-77ca, Sbr, Les bords de la Sédelle (moulin et ruines du château), 48×60, private (iR10;R92,no34). On this painting he painted near Crozant, near the confluence of the Sédelle and the Creuse, depicting the watermill and the remnants of the castle, see. A scene later often painted by Guillaumin (R92,p102;R179). See also 2IE-1876-230.

3IE-1877-207, Ferme Bretonne
Compare 1IE-1874-148; 2IE-1876-229. Berson refers to the review of Bernadille and la Petite République française (R90II,p83). Bernadille suggests this work, which he only mentions, is interchangeable with la Marine de Sainte-Adresse, by Monet (3IE-1877-110). La Petite République française reviewed ‘and a Ferme Bretonne to make people love agriculture.’ (R90I,p176).
As a very uncertain option I render a painting probably of Rouart depicting probably cabbages and in that sense it could fit the review of La Petite République française: 18??, S-, Paysage bucolique (rural landscape), 45×54, unknown location.

3IE-1877-208, Portrait
Berson refers to the review of Bernadille (R90II,p83), who reviewed ‘The person painted by M. Rouart seems to be saying to himself: “My God! my God! how I would like to go away!’ (R90I,p130). Note: before and after these notes Bernadille talks about woman partakers, so maybe this indicates the portrait was of a woman.
As a very uncertain option I render: 1878-1880ca, Portrait d’Hélène, fille de l’artiste, 46×38, private.

3IE-1877-209, Vallée de Cauterets
For the location at the border of the Pyrenees see. See link for info on Cauterets (iR3); and pictures (iR6). See also 1IE-1874-155/6.
Berson refers to the review in la Petite République française (who just mentioned the title) (R90II,p83).
To compare I render a painting of another artist: Charles-François Daubigny (1817-78): Le Mahoura à Cauterets (iR108). See of the same artist: 1873ca, The cascade of Mahoura (at Cauterets), ?cm, MBB Rotterdam (M70).
To compare I also render a painting of Rouart depicting an unlocated mountainous landscape: 18xx, Sbr, Sous-bois en Montagne, 60×75, private (R92,no40;R2,p206).

3IE-1877-210, Quai des Fourneaux, à Melun
Eng.: Quay of the ovens at Melun; maybe this nowadays is the Quai Etienne Lallia, where you have a restaurant called ‘bars des fours à chaud’ (see); compare 2IE-1876-231; Berson omits this work, which means there were no reviews (R90II,p83).
As an uncertain option I render a painting depicting probably the Quai des Fourneaux: 1861-96 (1880), The bridge at Melun, 47×58, private (iR6;iR10;iR166;iR8;R92,no10).

3IE-1877-210+hc, La ferme
Referring to a review of Sébillot, Berson suggests that Rouart exhibited this work outside the catalogue = hc (R90II,p83+283?). Sébillot reviewed (1877) ‘La Ferme, the one that is not catalogued…’ (R90I,p190).
Compare an oil painting that is dated later: 1885ca, Sbr, Landscape with Farm, Brittany, 66×92, private Gallery London.
Compare also an etch: 18xx, S-, The Farm, etch, 20×29, A2023/11/21 (iR86)

 

The fourth ‘impressionist’  exposition 1879:

Overview:

• catalogue numbers: 205-227
• all containing one work
• so Rouart showed 23 works
  • 14 of them were drawings (214-227), according to Harvard they were partly sepia and partly watercolours (R90I,p223).
  • 4 of them rendered a castle (207, 208, 214, 217)
  • 17x an indication of place
    2x from around the Pyrenees (205, 219)
    6x from the environment of Clermont-Ferrand (206, 214, 215, 216, 217, 218)
    2 from Egypt (212+213)
    1x of Melun (221)
    
  • 0x an indication of time, season or weather
  • 0x a study
  • 0 of them were loans
• My main sources are Moffett (R2,p270), who doesn’t give a single suggestion; Berson (R90II,p119), who leaves all the works unidentified; Rey (R92).
• See link to his pictures and to a thematical overview.

General reviews:
There were reviews of Besson, Havard and X (1879/05/10) (R90I,p209-256).
Louis Besson (1879/04/11) just remarked ‘a painting of M. Rouart “Royat dans son nid” (R90I,p213)
Henry Harvard (1879/04/27) reviewed (the exposition) ‘occupies a first floor composed of five rooms. One of these rooms is dark, and this is unfortunate, because there are … pleasant drawings by M. Rouard (sic)… (…) As for M. Rouart’s drawings, they are reminiscent of those of the old masters, the outline drawn in ink is removed with a rare skill, the surfaces are accentuated by sepia highlights or by a few watercolour tones which are very deep, without sparkle, but full of charm.’ (R90I,p223).
X reviewed ‘… and the portrait of a Turk looking pleased. Probably the vice-king of Egypt considering his creditors, etc., etc.’ (R90I,p252), but it is unclear to which work he referred and if he even referred to Rouart.

The catalogue numbers: (R2,p270;R90I,p207;iR1)

4IE-1879-205, À Gèdres, Basses-Pyrénées
Berson omits this work, which means there were no reviews (R90II,p119).
Maybe: 1878ca, Sbr, à Gèdres, basses Pyrénnées (or: la halte des promeneurs près d’un mur; près du hameau), 73×92, A2011/03/16 (aR11;iR14;iR13;iR41). Nowadays this work has the same title. Invaluable (aR11) and Sothebys suggest it was exhibited in 1879 under this number 205. But what strikes me, is that the title changed several times during the last years, that makes the suggestion more uncertain. For the location see. See also 1IE-1874-155/6.

4IE-1879-206, Royat dans son nid
Berson refers to the reviews of Besson and X (1879/05/10) (R90II,p119), they both just mention it.
For the location of Royat see , it lies in the middle of France in the department Puy-de-Dôme, close to Clermont-Ferrand. See also no.215, here I will render several drawings and engravings.
See links for info and pictures on Royat (iR4; iR6; )
See old photo: 1890-1905, Church and old town, Royat, Auvergne, colour photo lithograph (iR6).
Eng.: Royat in his nest / hole / residence.
See old postcards with this same title Royat dans son nid (iR42; iR42; iR42; iR42; iR42; iR10); all these photo’s have in common that they render an overall view on Royat from a high viewpoint.
To compare I render this next old postcard Royat-sur-Bains dans son nid (iR431).
To compare I also render on oil painting of Rouart depicting a waterfall in Royat, but not such an overall view: 18??, Waterfall at Royat, 92×76, private (aR21;R92,no41). This work was probably auctioned HD1912/12/09-275 (R45).

4IE-1879-207, Un coin du château de Monaco
Eng.: a corner of the castle of Monaco. I assume it refers to the palace of the Prince of Monaco (iR6; iR9).
Berson omits this work, which means there were no reviews (R90II,p119).
See link for info in English (iR3). See an etch by an English artist (iR155); an old black and white postcard (iR455) and a coloured one (iR455).
To compare I render a watercolour by an unknown artist in the 19th century depicting the château de Monaco (iR387).
To compare I also render an oil painting of Rouart depicting (the corner of) another castle: 1891ca, Sbr, The fortifications of Carcassonne, 60×73, private (R92,no37).

4IE-1879-208, Château de Fleury
There is a castle in Fleury-en-Bière (about 60km south-east of Paris) (iR4; iR9; iR6; see); in Fleury-la-Forêt (about 90km north-west of Paris) (iR9 ; iR4; see).
Berson omits this work, which means there were no reviews (R90II,p119).
See a print of the château de Fleury d’Argouges Blancheton made in 1828 depicting the castle in Fleury-en-Bière (iR387).
To compare I render a litho of this same castle by another artist: François Dupressoir: 18??, Chateau de Fleury d’Argouges, litho (iR42).
To compare I also render a watercolour of Rouart depicting another castle: 1890ca, Sbc, Domaine du prieuré (La Commanderie), wc, ?cm, private (R397,p63).

4IE-1879-209, Bords du Loir
Berson omits this work, which means there were no reviews (R90II,p119).
The Loir is a river in the middle in France, streaming from east to west in Nantes, see links for info (iR3), a map (iR3) and pictures (iR6).
Maybe?: 18xx, S-, Landscape with bridge, 37×46, Marmottan (iR155;M2;aR34;aR2;aR21;aR20;R92,no33).
For other riversides see: 2IE-1876-230, Bords de l’Indre; 3IE-1877-206, Bords de la Sédelle; S1868-2182, Bords de la Voïse.

4IE-1879-210, Paysanne
Eng.: peasant (female). Berson omits this work, which means there were no reviews (R90II,p119).
To compare I render a painting by Rouart in which faintly a peasant is depicted: 18xx, Sbr, Paysanne dans les champs (peasant woman in the fields), 50×62, Marmottan (aR21;aR20;R92,no32;M2).
To compare I also render a painting of another artist in which a peasant is more prominently depicted: Cals: 1846, Peasant Woman and Child, 46×38, BM Barnard Castle (iR2;iR35).
Jules Adolphe Breton: 1873, Paysanne au repos (iR433).

4IE-1879-211, Au Bas-Bréau
Berson omits this work, which means there were no reviews (R90II,p119).
Eng.: at Bas-Bréau. Bas-Bréau is a route in the forest Fontainebleau (see), but also a Hôtel (see location, see website).
To compare I render a painting by Claude Monet made in Bas-Bréau: 1865, CR60, The Bodmer oak (at Bas-Bréau), forest of Fontainebleau, 97×130, Metropolitan (iRx;R22)
To compare I also render a painting by Rouart probably depicting the Fontainebleau forest: 18xx, Sbr, Village at the the edge of the forest (near Fontainebleau?), on wood, 40×50, private (R92,no31).
Compare also: Narcisse Dìaz de la Peña: Bas Breau in the Forest of Fontainebleau (iR433).
Compare also: Léon Richet (1847-1907): Le carrefour en foret de barbizon au Bas-Breau, 55×80, A?? (iR13).

4IE-1879-212, Au vieux-Caire, Égypte
Berson omits this work, which means there were no reviews (R90II,p119). Maybe the review of X referred to this work: ’the portrait of a Turk looking pleased. Probably the vice-king of Egypt considering his creditors, etc., etc.’ (R90I,p252); in that case it (partly) was a figure painting; but it is most unsure to what work X referred and even if he referred to a work of Rouart. A source mentions Rouart has been in Egypt in 1869.
See links for info on old Cairo (iR3); info on it’s history (iR4); for pictures (iR6); for the location see; for a tour (see).
To compare I render 2 art-works of 2 other artists:
Compare: John Varley II (1850-1933): 1880, The Coptic Quarter, Cairo (iR7).
Compare: Amadeo Preziosi: 1862, Market Day on the Mu”izz id-Din li-Lah, old Cairo, pencil, watercolour and gouache (iR155).
See to compare also:
Compare: Angelo Solomon Rappoport (1871-1950), 1903-06, The old Egyptian capital, Fostat, aka Fustat, aka Misr, drawing (iR6).
Compare: Louis Comfort Tiffany  (1848–1933): 1872ca, On the Way between Old and New Cairo, Citadel Mosque of Mohammed Ali, and Tombs of the Mamelukes, oil painting, 105×173, Brooklyn Museum New York (iR6;M161).
Compare: Louis-Amable Crapelet (1822-67): 1853, Ruelle au Caire, 45×27, Galerie David Pluskwa Marseille (see).
Compare: Louis-Amable Crapelet (1822-67): Scène de souk au Caire, 20×13, A2019/04/13 (iR13).

4IE-1879-213, A Boulac, Égypte
Berson omits this work, which means there were no reviews (R90II,p119). Maybe the review of X referred to this work: ’the portrait of a Turk looking pleased. Probably the vice-king of Egypt considering his creditors, etc., etc.’ (R90I,p252); in that case it (partly) was a figure painting; but it is most unsure to what work X referred and even if he referred to a work of Rouart.
Boulac also is a quarter of Cairo (see), more north of old Cairo. See link for more info (iR3); for pictures (iR6). The museum of Egyptian antiquities is found at the border of this quarter (see).
To compare I render 2 art-works of 2 other artists:
Compare: John Varley II (1850-1933): 1881, Street in Boulaq near Cairo (iR7).
Compare: David Roberts (1796–1864): 1838, Principal mosque at Boulak (Mosque of Sultan Abu al-Ila) (iR6).
Compare also: John Varley II (1850-1933): 1881, The Market Place, Boulac, Cairo (iR7; iR10).

 

No. 214-227: Berson mentions that Havard refers to drawings (R90II,p119). He reviewed ‘As for M. Rouart’s drawings, they are reminiscent of those of the old masters, the outline drawn in ink is removed with a rare skill, the surfaces are accentuated by sepia highlights or by a few watercolour tones which are very deep, without sparkle, but full of charm.’ (R90I,p223). For the rest there are no descriptions in the reviews. All my suggestions are just to compare or very uncertain.

4IE-1879-214, Château de Tour-Noël, (dessin)
This castle lies in the middle of France, about 20km north of Clermont-Ferrand (see).
See link for info (iR3); for the own website;
To compare I render a contemporary photo of the Château de Tour-Noël.
To compare I also render an etch of Rouart depicting another castle / fortified city: 18xx, S-, Fortified city, etch, 20×29, A2023/11/21 (iR86)

4IE-1879-215, Royat, (dessin)
See also no.206.
See etch by another artist: Henri Gonnard (1834-1912): 1891, Vue de Royat et du Puy de Dôme, engraving, 48×100, Library Clermont-Ferrand (iR6)
See engraving by an unknown artist: End 19th century: gravue de l’église Saint-Léger de Royat (iR6).
See lithograph by another artist: Eugène Isabey (1803–86): 1831, Royat Groove, Lithograph, 21×31, Metropolitan (iR6; M23).
See drawing by another artist: Théodore Caruelle d’Aligny  (1798–1871): Moulin détruit, grottes et sources de Royat, drawing (iR6; iR40).
See drawing by another artist: Théodore Caruelle d’Aligny  (1798–1871): Royat, ink drawing (iR6; iR40).
See drawing by another artist: Alfred Coulon (1826-98): 1851, Royat, station termale du Puy de Dome, drawing, 29×45, A2023/12/21 (iR86;iR85;iR10).
To compare I render a drawing by another artist: Hubert Clerget (1818-99): Vue générale de Royat, drawing (iR40).
To compare I also render an oil painting of Rouart depicting a waterfall in Royat: 18??, Waterfall at Royat, 92×76, private (aR21;R92,no41). This work was probably auctioned HD1912/12/09-275 (R45)..

4IE-1879-216, Chateldon, (dessin)
This municipality lies in the middle of France (see), it lies 46km north-east of Clermont-Ferrand; 17km north of Thiers. See link for info (iR3); images (iR6);
To compare I render a drawing of another artist: Adrien Dauzats (1804-68), 1862, Vue de Châteldon, Auvergne, drawing, 24×32, Gallery Le Serbon (see).
To compare I also render an etch of Rouart depicting a village in a mountainous surrounding: 1870ca, Sbr, Town square (House in a (mountainous) landscape), etch (printed in Croquis à L’Eau-Forte 1877), 12×16 (or 15×18), NM Warsaw (aR20;M269;iR86).

4IE-1879-217, Château de Chateldon, (dessin)
For the location of the castle see. See link for images (iR6);
Compare: 1891ca?, Sbr, The fortifications of Carcassonne, 60×73, private (R92,no37).

4IE-1879-218, Thiers, (dessin)
Thiers lies in the middle of France, about 40km east of Clermont-Ferrand (see).
See links for info + photos (see; iR3; iR6);
See a contemporary drawing by another artist: Dai Wynn : Rue du Pirou in Thiers, drawing (iR114).
See a contemporary watercolour by another artist: unknown artist: 2014/06/02, À Thiers, drawing + watercolour (iR64;iR10)
See a drawing by an unknown artist (19th century) depicting the church of Saint-Jean (du Passet)in Thiers (see; iR9).
See a lithograph by another artist of the same church: Eugène Isabey (1803-86): 1831, Eglise Saint-Jean, Thiers, lithograph, ?cm, NGA Washington (iR373;iR10;M21).
See an old photo: French Photographer: 1900ca, Thiers, Château du Piroux, old photo (iR155).
See a drawing by another artist: Théodore Rousseau (1812-67): 1830, Houses and Mills at Thiers, drawing, 21×32, Harvard Cambridge (M32)
To compare I render a drawing by another artist: Auguste Jacques Régnier (1787-1860): Vue prise sur le pont du Moutier à Thiers (Puy de Dôme), drawing (iR40;iR10)
To compare I also render an unlocated drawing of Rouart: 1880-, Chaumière (à Cals), ink, 23×29, A2014/04/21 (iR86)

4IE-1879-219, Vue prise de Pau, (dessin)
Eng.: View taken from Pau, which lies about 45 km north of the Pyrenees (see). For other pictures from Pau see 6IE-1881-128, 8IE-1886-150. Other pictures in the Pyrenees see 1IE-1874-155/6.
To compare I render a watercolour by another artist rendering a view on Pau: Henri-Joseph Harpignies (1819-1916): 1861, Vue du château de Pau, aquarelle, 26×43, MBA Pau (see; M170).
To compare I also render an etch of Rouart depicting a view on Venice: 1879 or 1883ca, Sbr, View on Venice, the quays, etch + ps, 29×40, A2023/11/21 (iR86;iR127;iR64,M5a).
Compare also: Jean-Baptiste Butay (1759-1853): 1810ca, view on Pau, oil painting, 49×65, MBA Pau (M170;iR10).

4IE-1879-220, Sous les Frênes, (dessin)
Eng.: under the ash trees. Compare: no.224.
To compare I render an oil painting of Rouart depicting a woman sitting under a tree: 1880ca, Mme Rouart reading in the garden, La Queue-en-Brie, 50×61, xx (iR64); a theme he more often depicted.
To compare I also render an etch of Rouart depicting a dog sitting under some trees: 1890ca, S-, Undergrowth with dog, etch, 20×29, A2023/11/21 (iR86;R397,p64).

4IE-1879-221, Port de Melun, (dessin)
Eng.: the harbour of Melun.  See other pictures of Melun: 1IE-1874-150, 2IE-1876-232, 5IE-1880-182, S1870-2479.
To compare I render an oil painting of Rouart depicting a bridge (and the harbour) of Melun: 1868-96 (1880), Sbr, Le pont de Melun, 47×58, private (iR6;iR10;iR166;iR8;R92,no10).
To compare I also render an etch of Rouart depicting a bridge in Melun, but clearly not a harbour: 1890ca, S-, Bridge at Melun, etch, 30×21, A2023/11/21 (iR86;R397,p65).

4IE-1879-222, Cour de ferme, (dessin)
Eng.: farm yard.
To compare I render a drawing by another artist: Jean-Baptiste Millet: 18xx, S-, Cour de ferme (Farmyard), drawing, 21×28, A2015/10/06 (iR10;iR13).
To compare I also render a drawing of probably Rouart: 18xx, S-, unknown title (road, farm), dr, ?cm, unknown location (aR20)

4IE-1879-223, Plaine de Brie, (dessin)
Eng.: the plain of Brie. Brie is a region between the Marne and the Seine east of Paris (iR4). Brie-Comte-Robert lies between Melun and La Queue-en-Brie (see).
To compare I render an oil painting of another artist depicting the plain of Brie: Gustave Caillebotte: 1872-78ca, CR532, La Plaine de la Brie (étude de ciel), 31×43, private (iR2;iR10;R102,no532).
To compare I also render a drawing by Rouart depicting a rather flat landscape: 18xx, S-, Lake landscape with women, dr+wc, 25×34, A2024/02/15 (iR86)
Compare also paintings exhibited by Levert in 1880, also called Plaine de Brie (no.110+111).

4IE-1879-224, Sous les châtaigniers (dessin)
Eng.: under the chestnut-tree. See no.220.
To compare I render an oil painting of Rouart depicting a woman sitting under a tree: 18xx, Sewing lady under the big trees, 73×60, A2020/07/16 (iR13); a theme he more often depicted.
To compare I also render an etch of Rouart depicting old trees: 1877ca, Sbr, Old trees, (drypoint) etch (print in Croquis à L’Eau-Forte 1877), 17×13, NM Warsaw (M269),

4IE-1879-225, Crozant (dessin)
Crozant is a town in the middle of France, see, along the Indre (and Creuse) (see 2IE-1876-230, Bords de l’Indre) and the river Sédelle (see 3IE-1877-206, Bords de la Sédelle). It is namely known for it’s castle ruin (Les Ruines de Château). Armand Guillaumin yearly painted here from 1891-1923.
To compare I render an oil painting of Rouart depicting the castle ruin and the river Sédelle: 1875-77ca, Sbr, Les bords de la Sédelle (moulin et ruines du château), 48×60, private (iR10;R92,no34).
To compare I also render a drawing by another artist: Eugène Alluaud: 1891, Croquis des ruines de Crozant, drawing, private (see; iR10).

4IE-1879-226, – (dessin)
4IE-1879-227, – (dessin)

There are hardly drawings known of Henry Rouart. So I render just two  of them of very uncertain suggestions.
As a very uncertain suggestion I render for no. 226: 1860ca, Seated woman reading, preparatory dr, 29×20, A2023/11/21 (iR86).
As a very uncertain suggestion I render for no. 227: 1880-, Chaumière (à Cals), ink, 23×29, A2014/04/21 (iR86).

 

The fifth ‘impressionist’  exposition 1880:

Overview:

• catalogue numbers: 181-192
• all containing one work
• so Rouart showed 12 works
  • 8 of them were watercolours made in Venice (185-192)
  • 10x an indication of place
    1x of Melun (182)
    1x from the Pyrenees (184)
    8x from Venice (185-192)
    
  • 0x an indication of time, season or weather
  • 1x a study (183)
  • 0 of them were loans
• My main sources are Moffett (R2,p314), who gives just one suggestion, namely for no.182; Berson (R90II,p156+174), who leaves all the works unidentified, except no.182; Rey (R92).
• See link to his pictures and to a thematical overview.

General reviews:
There were reviews of Flor, Havard, Mantz, un Passant, Silvestre (1880/05/01), Vachon and Véron (R90I,p265-322;R2,p333).
Charles Flor (1880/04/16) reviewed: ‘Let’s mention among the good paintings of the independant artists: A nice landscape of M. Rouart, with women bathers…‘ (R90I,p280)
Henry Havard (1880/04/02) reviewed: ’the venician studies of M. Rouart, precise, lively, alert, and in which the reminiscences of Guardi are much more noticeable than the influence of Messrs Monnet (sic) and Pissaro (sic). (R90I,p284).
Paul Mantz (1880/04/14) reviewed ‘The other artists we have to talk about are not extremists. In a series of watercolours that tell the glory of Venice and the poetry of its lonely corners, Mr Henri Rouart is linked to the true tradition of painters who believe that watercolours should be light and let the white background and the texture of the paper play in their transparencies. This is the old method, the method which does not insist and which allows the brush to run quickly into the light. ‘ (R90I,p298).
Un Passant (1880/04/03) just mentioned in ‘Le Rappel’: ’the views on Venice of M. Rouard’ (sic) (R90I,p304).
Silvestre (1880/05/01) reviewed: ‘You might ask what Rouart is doing here. His watercolours are pleasing, but attempt nothing beyond what has already been done. His Paysage (no.181) shows a certain gift for colour, but you would have te be extremely clever to find in it any revolutionary or reforming instincts. His Vue de Melun has very fine and distinguished tone.’ (R2,p332;R90I,p308;R89,p69).
Marius Vachon (1880/04/03) reviewed: ‘In the watercolours and drawings of M. Rouart, that depict views on Venice, the influence of M. Jacquemar and the English watercolourists is it not more obvious than that of MM. Manet and Pissaro’ (sic) (R90I,p315).
Eugène Véron (1880) reviewed: ‘We will not discuss Rouart and Tillot, who have no visible relationship to the milieu in which they find themselves. If their works were sent to the official Salon, they would blend in very easily with the respectable mediocrity that constitutes the majority.’ (R2,p332;R90I,p318).

The catalogue numbers: (R2,p314;R90I,p263;iR1)

5IE-1880-181, Paysage
Eng.: Landscape. Compare also 5IE-1881-133.
This very general title makes it hard to identify. Berson refers to reviews of Flor and Silvestre (1880/05/01) (R90II,p156): ‘His Paysage (no.181) shows a certain gift for colour, but you would have te be extremely clever to find in it any revolutionary or reforming instincts.’ (R90I,p308). Flor reviewed ‘A nice landscape of M. Rouart, with women bathers‘ (R90I,p280), but it is unclear if it refers to no. 181.
As an uncertain option I render: 1876ca, Lisière de Bois (Landscape with Bathers), 151×181, Gallery London (iR13;aR4;iR134;iR24).

5IE-1880-182, Melun
Moffett (R2,p314+332) suggests this work exhibited is perhaps now: 1874-80ca, Terrace on the Banks of the Seine at Melun, 47×66, Orsay (aR2;iR23;R2,p352;R90II,p156+174;R89,no63;R87,p253;R92,no12;M1). It is the only picture of Rouart that Moffett and also Walther (R3,p203) render. Moffett doesn’t give further arguments why he indicates this work. Berson just follows Moffett (R90II,p157+174). So does Adler (R89,p69). Moffett also writes that ‘it is not known if this is the same work that was exhibited … as ‘View of Melun’ (1IE-1874-150). Berson refers to a review of Silvestre (1880/05/01) (R90II,p156): ‘His Vue de Melun has very fine and distinguished tone.’ (R2,p332;R90I,p308). Rey (and Joconde; iR23) suggest this work was exhibited in 1874 (R92,no12). The Musée d’Orsay dates it 1874, but suggests it was exhibited in 1880 (M1). Stilistic I think this work fits more in 1880, than in 1874, when many Impressionists, still used subdued colours and greyish shadows. But, there are also good argument that it was (also) exhibited in 1874. So, I will render this work as uncertain option for both works.

To compare I render: 1861-96 (1880), Sbr, Statues dans le jardin de Melun, oil, 46×37, private (R397,p59;R92,no.11)
To compare I also render an etch depicting a bridge in Melun: 1890ca, S-, Bridge at Melun, etch, 30×21, A2023/11/21 (iR86;R397,p65)

5IE-1880-183, étude
Eng.: study. This most general title doesn’t give a clou what it represents.
Berson omits this work, which means there were no reviews (R90II,p156).
A very uncertain option is: 18xx, Trees at dusk, on wood, 22×15, private (R92,no42;iR10;R2,p314+446).
Compare also: 18xx, S-, Allee arboree (Road with trees), 30×45, A2017/11/22 (aR17=iR44); a work that I suggest for 8IE-1886-141, étude, which is interchangeable.

5IE-1880-184, Belchenia, Pyrénées
Berson omits this work, which means there were no reviews (R90II,p156). See also 1IE-1874-155/6.
I couldn’t find a village called Belchenia or anything alike (iR4). I could find a bed and breakfast called Belchenia in Ascain (37, Rue Oletako Bidea), in the Basque region close to the Pyrenees, about 9km east of Ciboure (see; streetview).
Joconde (iR23) mentions a farm called “Belchenia” (or Betchenia), located 171 chemin de Pendichenia, Urrugne; close to Saint-Jean de Luz, where Colin often was active. Google view renders the name Beltzenia instead of Belchenia (iR9). This farm also profides a Bed & Breakfast (see).
Note: the Belcheneia or Betchenia spelling doesn’t provide any suitable suggestions.
For links for more info on Urrugne (iR4) and on Ascain (iR4).
Old postcards on Urrugne (iR10) and on Ascain (iR10) don’t profide suitable suggestions for Belchenia.
Colin made a painting of an old oak in Belchenia (or: Belcheneia), near Saint-Jean de Luz (see). Which probably refers to the same hamlet. This picture I will render to compare: Gustave Colin, 1884(?), The old oak of Belchenia in Urrugne, xx, MBA Arras (iR10;iR94;M174;iR1).
To compare I also render a painting of Rouart made in the Pyrenees:
1878ca, Sbr, à Gèdres, basses Pyrénnées (or: la halte des promeneurs près d’un mur; près du hameau), 73×92, A2011/03/16 (aR11;iR14;iR13;iR41)

5IE-1880-185, Venise (Aquarelle)
5IE-1880-186, Venise (Aquarelle)
5IE-1880-187, Venise (Aquarelle)
5IE-1880-188, Venise (Aquarelle)
5IE-1880-189, Venise (Aquarelle)
5IE-1880-190, Venise (Aquarelle)
5IE-1880-191, Venise (Aquarelle)
5IE-1880-192, Venise (Aquarelle)
No.185-192: Berson refers to reviews of Havard, Mantz, un Passant, Silvestre (1880/05/01), Vachon (R90II,p156), who mostly don’t describe the works. I render 8 works that are interchangeable. Works that are (probably) made later I render to compare.
Compare: 1883ca, Quay in a port, at ebb tide (Venice), wc, 24×29, DAG Louvre (M5a;iR23;iR64).
Compare: 1883/08, S- Dbl, Bateaux de pèche à Venise, wc, xx, private (R397,p47;R2,p446)
Compare: 1883/08/19, Sbr+Dbl, The Canal at Venice, wc, 16×26, DAG Louvre (M5a;iR23;iR9).
Compare: 1883/08/16, Dbl+Sbr, View of a church on an island in the Venetian lagoon, wc, 16×26, DAG Louvre (M5a;iR23;iR64).
Maybe / compare: 1879 or 1883ca, Sbr, Venice, wc, 10×16, Marmottan (iR155;M2;iR6;aR3).
Compare: 1883/08, SDbr, View on Venice (corner Rio de la Guerra and Fondamente Nove on Cannaregio), wc, xx, private (R397,p46;R90II,p275).
Compare an oil painting: 1880ca, The church of San Michele in Isola, near Venice, 73×92, private (iR10;iR132;aR20;R92,no39).
Compare an etch: 1879 or 1883ca, Sbr, View on Venice, the quays, etch + ps, 29×40, A2023/11/21 (iR86;iR127;iR64,M5a) 

Compare also the suggestions made at 8IE-1886, nos.152-163.

 

The sixth ‘impressionist’  exposition 1881:

Overview:

• catalogue numbers: 125-139
• all containing one work
• so Rouart showed 15 works
  • 15x an indication of place
    7 from Brittany (125, 129, 133, 137, 138), including 2 from Portrieux (127, 134)
    6 from the Riviera, (132, 139), including 4 from Antibes (126, 130, 131, 136); compare S1868-2181
    2 from the Pyrenees (128, 135)
  • 0x an indication of time, season or weather
  • 0x a study
  • 0 of them were loans
• My main sources are Moffett (R2,p356), who gives just one suggestion, namely for no.132; Berson (R90II,p186+187+197), who leaves all the works unidentified, except no.132; Rey (R92).
• See link to his pictures and to a thematical overview.

General reviews:
There was just one review by Silvestre (1881/04/11): ‘The Cimetière de chouans by M. Rouart also interested me’. (R90I,p365). (R90I,p364/5)

The catalogue numbers: (R2,p356;R90I,p328;iR1)

6IE-1881-125, Cimetière de Chouans en Bretagne
Eng.: graveyard of Chouans in Brittany. Berson refers to a review of Silvestre (1881/04/11) (R90II,p186), who reviewed ‘The Cimetière de chouans by M. Rouart also interested me. (R90I,p365). See also 1IE-1874-148.
In Muzillac in Brittany there is a ‘Allée des Chouans’; a further away there is a graveyard (see), what is a possible location.
The Chouan brothers, were leaders of a royalist counter-revolution against the First Republic during the years 1794-1800 (iR3). Chouan was used as a nickname (iR3). I couldn’t find a graveyard called ‘Chouans’ or where many Chouans are burried.
To compare I render a painting of another graveyard by another artist: Johan Barthold Jongkind (1819-91): 1888, Le cimetière de Balbins, 23×36, musée Faure, Aix-les-Bains (iR6;M13).
Unknown artist: 1865-75ca, Le cimetière de Saint-Pierre-de-Montmartre, 71×48, Carnavalet Paris (iR195;M8)
To compare I also render a painting of Rouart depicting a church (and maybe a graveyard): 18xx, S-, Paysage à l’église, 20×38, A2017/06/22 (iR86;iR18).

6IE-1881-126, Vue d’Antibes
Eng.: view of Antibes. Antibes lies in the french Riviera (see).
Berson omits this work, which means there were no reviews (R90II,p187).
Compare: Louis Français (1814-97): 1894, Vue d’Antibes, ?cm, MBA Strasbourg (iR458;M212).
Compare also a painting of Rouart depicting a southern (unidentified) town: 1883?, A view of a southern town with pine trees, 27×54, A2004/12/21 (aR16;aR18;iR14;iR6).
Compare: Henri Lebasque (1865-1937): Vue d’Antibes, ?cm, (see).
Compare: Henri Joseph Harpignies (1819–1916): View of Cap d’Antibes, 46×38, Gallerie Ballesteros (see).
Compare: Eugène Boudin (1824-98): View of Antibes (iR108)

6IE-1881-127, Entrée du port de Portrieux
Eng.: entrance of the harbour in Portrieux. See location. See also no.134, Portrieux. See also no.131, Port d’Antibes. For Brittany see 1IE-1874-148.
Berson omits this work, which means there were no reviews (R90II,p187).
To compare I render a painting of Rouart depicting an unlocated harbour: 1870-80ca, Sbr, Harbour scene, 49×64, A2023/12/29 (iR82;R2,p356).
To compare I also render: Eugène Boudin (1824-98): 1873, SDbl, Portrieux, entrée du port, marée basse, 37×58, A2008/03/06 (iR14).
Compare also: Eugène Boudin (1824-98): 1873, SDbl, Portrieux, le port, (iR7)
Compare also: Eugène Boudin (1824-98): 1874, SDbl, Portrieux, le port, 37×58, A2020/10/08 (iR6;iR15).
Compare also: Eugène Boudin (1824-98): 1871-73ca, Portrieux, stranded ships, 36×58, MNBA Rio de Janeiro (iR6)

6IE-1881-128, Environs de Pau
Eng.: Surroundings of Pau.
For Pau near the Pyrenees see 4IE-1879-219. Other pictures from the Pyrenees see 1IE-1874-155/6.
Berson omits this work, which means there were no reviews (R90II,p187).
To compare I render an oil painting of Rouart made 85km south-east of Pau: 1878ca, Sbr, à Gèdres, basses Pyrénnées (or: la halte des promeneurs près d’un mur; près du hameau), 73×92, A2011/03/16 (aR11;iR14;iR13;iR41); a work I suggest for: 4IE-1879-205, À Gèdres, Basses-Pyrénées
To compare I also render: Henri-Joseph Harpignies (1819-1916): Environs De Pau, aquarelle, 24×37, A2008/03/06 (iR17;iR14;iR13).
Compare also: Henri-Joseph Harpignies (1819-1916): 1861, Le Château de Pau vu du sud-est, aquarelle, 15×20, MBA Pau (see; M170)
Compare also: Henri-Joseph Harpignies (1819-1916): 1861, Vue du château de Pau, aquarelle, 26×43, MBA Pau (see; M170).

6IE-1881-129, Chaumières bretonnes
Eng.: Breton huts (covered with reed).
Berson omits this work, which means there were no reviews (R90II,p187).
Compare 2IE-1876-236. For Brittany see 1IE-1874-148.
Compare an oil painting that is dated later: 1885ca, Sbr, Landscape with Farm, Brittany, 66×92, private Gallery London.
Compare also an etch: 18xx, S-, Thatched cottages, etch, 20×29, A2023/11/21 (iR86)

6IE-1881-130, Près d’Antibes
Eng.: Close to Antibes. See also no.126.
Berson omits this work, which means there were no reviews (R90II,p187).
To compare I render a work by another artist: Eugène Boudin (1824-98): 1893, Près d’Antibes, ? cm, (see).
To compare I also render a painting of Rouart depicting a southern (not identified) town: 1883(?), A view of a southern town with pine trees, 27×54, A2004/12/21 (aR16;aR18;iR14;iR6). This suggestion is not affirmed by Sothebys (iR14).

6IE-1881-131, Port d’Antibes
Eng.: the harbour of Antibes. For the location see. See also no.126.
Berson omits this work, which means there were no reviews (R90II,p187).
To compare I render a painting of another artist: Eugène Boudin (1824-98): 1893, Vue du port d’Antibes, 46x66cm, Md’ Orsay (iR155;M1)
To compare I also render a painting of Rouart depicting part of the harbour of Marseille: 1891ca (or 1877-), S-, Fort Saint-Jean of Marseille (not Collioure!), 58×72, private (iR64;aR21;R92,no36+p134;R397,p55;R2,p356;M269). This work depicts the Fort Saint-Jean at Marseille (iR3 ;iR9) as old postcards (iR42; iR10) indicate and not the lighthouse of Collioure as often indicated; this lighthouse looks slightly but clearly different (iR139).
Note: Rouart also made an etch of this painting: 1877-, Sbr, Fort Saint-Jean of Marseille (not Collioure!), etch, 13×17 (or 17×19), A2023/11/21 (iR86;aR20;cpR92,no36). This etch is part of the Print portfolio Croquis a L’Eau-Forte printed in 1877 and now in NM Warsaw (M269). So, Rouart must have visited Marseille before 1877 and not only in 1891 (R92,p134), or he must have made this etch after an existing picture.

6IE-1881-132, Escalier du château des Grimaldi à Cagnes
Eng.: Staircase of the Grimaldi castle at Cagnes. Cagnes-sur-Mer lies in the french Riviera (see). In the castle there nowadays is a museum (see location, see info; see pictures).
Moffett, following Rey, suggests with a perhaps a watercolour, which is now in Musée d’Orleans (R2,p356). Berson follows and adds more info: 1880, Escalier du château des Grimaldi à Cagnes près Antibes, wc 25×27, MBA Orléans (R90II,p187+197;iR457;iR64;aR20;R2,p356).
Note1: there were no reviews (R90II,p187).
Note 2: the building in the Rouart picture is build of white stones, while the Grimaldi castle is build of red stones. When I look at pictures and at streetview I don’t recognise the staircase depicted by Rouart. Still, Rouart noted this exact title on the bottom.
So, I will render this watercolour (not an oil painting!) to compare.
To compare I also render an old postcard depicting the old castle of Grimaldi (including a staircase) (iR431).

6IE-1881-133, Paysage breton
Eng.: landscape in Brittany.
Berson omits this work, which means there were no reviews (R90II,p187).
For Brittany see 1IE-1874-148 and the topographical overview. See also 5IE-1880-181 ‘paysage’.
As a very uncertain suggestion I render: 18xx, S-, Landscape in Brittany, 60×73, Md Grenoble (M198;iR424;iR23).

6IE-1881-134, Portrieux
Portrieux is a harbour town in the north of Brittany (see). See also 6IE-1881-127. For Brittany see 1IE-1874-148.
Berson omits this work, which means there were no reviews (R90II,p187).
To compare I render: Eugène Boudin (1824-98): 1874, SDbr, Portrieux, 54×89, HNG Budapest (M143).
To compare I also render a painting of Rouart depicting the Brittany coast: 18xx, S-, Landscape in Brittany, 60×73, Md Grenoble (M198;iR424;iR23), a work I also suggest for no.133.

6IE-1881-135, Saint-Jean-de-Luz
Saint-Jean-de-Luz is a harbour town close to the Pyrenees, in the French Basque region (see).
Berson omits this work, which means there were no reviews (R90II,p187).
Gustave Colin often painted in Saint-Jean-de-Luz depicting mostly the estuary. I render a painting of him made in the surroundings of Saint-Jean-de-Luz: 1860, Retour de Chasse aux Environs de Saint-Jean-de-Luz, 75×100, private (iR113;iR10).
To compare I also render a painting by Rouart, probably depicting a mountainous landscape probably in the Basque region: 18xx, S-, Landscape in the Pyrenees (Pays Basque?), 42×60, private (R92,no38).

6IE-1881-136, Bateau à sables, Antibes
Eng.: boat in the sand, Antibes. For Antibes see no.126.
Berson omits this work, which means there were no reviews (R90II,p187).
To compare I render a painting of another artist depicting one boat in the (unlocated) sand: Ludovic Lepic, 18xx, Barque échouée sur une plage, 60×90, A2013/10/04 (iR13;iR11)
To compare I also render a detail of a watercolour of Rouart depicting several boats (in the water) in Venice: 1883, S- Dbl, Bateaux de pèche à Venise, wc, xx, private (R397,p47)
Compare also: Eugène Boudin (1824-98): 1871-73ca, Portrieux, stranded ships, 36×58, MNBA Rio de Janeiro (iR6).

6IE-1881-137, Village Breton
Eng.: A breton village.
Berson omits this work, which means there were no reviews (R90II,p187). See for Brittany 1IE-1874-148.
To compare I render an oil painting of Rouart depicting several houses, so you could say a small village: 18??, Sbr, unknown title (river, houses, mill?, field, trees), ?cm, unknown location (aR20).
To compare I also render an etch depicting a small village: 1877ca, Sbr, Rural (animated) landscape, (drypoint) etch (print in Croquis à L’Eau-Forte 1877), 12×18, NM Warsaw (M269;iR68).

6IE-1881-138, Chemin en Bretagne
Eng.: a road in Brittany.
Berson omits this work, which means there were no reviews (R90II,p187). For Brittany see 1IE-1874-148.
As a very uncertain option I render: 18??, Sbr, Paysanne dans les champs (peasant woman in the fields), 50×62, Marmottan (aR21;aR20;R92,no32;R2,p356;M2).

6IE-1881-139, Tour Constance à Aigues-Mortes
Eng.: the Constance tower in Aigues-Mortes. Aigues-Mortes lies in the French Riviera. For the location see. See for info in french (iR4) ; for pictures (iR6).
Berson omits this work, which means there were no reviews (R90II,p187).
Compare a watercolour by Paul Huet depicting this tower: Paul Huet (1803-69): La Tour de Constance à Aigues-Mortes, aquarelle, 18x26cm, A2021/03/24 (R456;iR17;iR15).
To compare I also render an oil painting by Rouart depicting another old fortress with a tower: 1891ca (or 1877-), S-, Fort Saint-Jean of Marseille (not Collioure!), 58×72, private (iR64;aR21;R92,no36+p134;R397,p55;R2,p356;M269).

 

The eighth ‘impressionist’  exposition 1886:

Overview:

• catalogue numbers: 139-165
• all containing one work
• so Rouart showed 27 works
  • 23 of them were watercolours (143-165)
    11 of them from Venice (153-163)
  • at least 22x with an indication of place
    11x in Venice (153-163)
    4x near the Pyrenees (141, 150, 151, 152)
    2x in (Le) Mans (164+165)
    
  • 0x an indication of time, season or weather
  • 1x a study (142)
  • 5 of them were loans, all belonging to ‘M…’  (139; 142; 144; 146; 163)
• My main sources are Moffett (R2,p446), who gives just two suggestions, namely for no. 161+163; Berson (R90II,p251+274+275), who leaves all the works unidentified, except no. 161+163; Rey (R92).
• See link to his pictures and to a thematical overview.

General reviews:
There were reviews of Fèvre, Fouquier, Geffroy, H., Havard, Hennequin, Moniteur des arts (R90I,p427-475).
Henry Fèvre (1886/05+06) reviewed ‘With a quieter conviction, a more serene painting, but more subdued, less revolutionary, M. Rouart offers us a woodland edge  (‘une lisière de bois, no.140) and a mountain range (no.141?). The fall of the sun behind the clearing of the branches is only ordinary, no longer falling in a burst of light as with others (no.140?); Its mountain perspective is very beautiful, very spacious, with a skilful dimensioning, a microscopic shrinking of things, trees, houses, lost on the giant slopes, like blades of grass and grains of sand. These mountains, though majestic, have the aerial lightness which the flight of air in the distant sky gives to the heaviest massifs (no.141?). Of Mr. Rouart’s watercolours, all but one or two, like a house in Venice (no.164?), remain discoloured.’ (R90I,p446)
Marcel Fouquier (1886/05/16) reviewed ‘(on Tillot): But the whole thing doesn’t have any great significance. The same can be said of the four paintings by M. Rouard (sic) and his small Salon of watercolours (twenty-three views of France and Italy) which can be glanced through without boredom.’ (R90I,p448).
Gustave Geffroy (1886/05/26) reviewed ‘M. Henri Rouart has painted more than twenty watercolours taken in the fields and in the cities, in Sologne, in Blois, in Pau, in Le Mans, in Venice. There is hardly a more delicate reproducer of architecture.’ (R90I,p450).
H. (R1886/06/11) reviewed in Le Journal des arts: ‘M. Rouart exhibits a serie of pen-and-ink sketches, enhanced with watercolour, which are nice to see…’ (R90I,p452).
Henry Harvard (1886/05/17) reviewed ’to contemplate the series of pen-and-ink sketches, enhanced with watercolour, that M. Rouart has drawn in Venice, Murano and Le Mans. But we are forced to note that these various works would not lose their value if they were placed in another environment and under another label.’ (R90I,p453).
Emile Hennequin (1886/06/19) just mentions ‘and the nice watercolours of M. Renard’ (sic) (R90I,p454).
The Moniteur des arts (1886/05/21) reviewed ‘M. Henri Rouart is an excessive landscaper: Blois, Pau, Venice, the Pyrenees, everything is violet all the same.’ (R90I,p467)

The catalogue numbers: (R2,p446;R90I,p424;iR1)

8IE-1886-139, Intérieur; appartient à M…
Note: it is unclear who M… is, who did loan nos. 139 +142 +144 +146 +163.
Eng.: interior. Berson omits this work, which means there were no reviews (R90II,p251).
Rouart made some interiors which I render as options:
1880-84ca, Salon-atelier at rue de Lisbonne, on wood, 69×90, MPP Paris (iR10;iR308;M4;cpR92,no28)
18xx, Interior at La Queue-en-Brie, 56×46, private (aR20;aR21;R92,no25).

8IE-1886-140, Lisière de bois
Eng.: the border of the wood.
Berson refers to a review of Fèvre: ‘The fall of the sun behind the clearing of the branches is only ordinary, no longer falling in a burst of light as with others’ (R90II,p251).
Compare: 18xx, Sbr, The trees (in the parc), La Queue-en-Brie, 73×92, private (aR6;aR21;aR2;R92,no18). This suggestion lacks the sunset Fèvre descripes.
Compare also: 18xx, Sbr, Village at the the edge of the forest (near Fontainebleau?), on wood, 40×50, private (R92,no31;R2,p270+314).

8IE-1886-141, Pyrénées
See other pictures made in the Pyrenees 1IE-1874-155 +156.
Berson refers to a review of Fèvre (R90II,p251), who maybe describes no.141 with ‘Its mountain perspective is very beautiful, very spacious, with a skilful dimensioning, a microscopic shrinking of things, trees, houses, lost on the giant slopes, like blades of grass and grains of sand. These mountains, though majestic, have the aerial lightness which the flight of air in the distant sky gives to the heaviest massifs’. (R90I,p446)
To compare I render two oil paintings of Rouart that both depict the Pyrenees, but don’t fit in the description of Fèvre:
1878ca, Sbr, à Gèdres, basses Pyrénnées (or: la halte des promeneurs près d’un mur; près du hameau), 73×92, A2011/03/16 (aR11;iR14;iR13;iR41).
and: 18xx, S-, Landscape in the Pyrenees (Pays Basque?), 42×60, private (R92,no38;R2,p446).

8IE-1886-142, Étude; appartient à M…
Note: it is unclear who M… is, who did loan nos. 139 +142 +144 +146 +163.
Berson omits this work, which means there were no reviews (R90II,p251).
Compare 5IE-1880-183, Étude.
To compare I render a work that is probably made by Rouart: 18xx, S-, Allee arboree (Road with trees), 30×45, A2017/11/22 (aR17=iR44).
Compare also: 18xx, Trees at dusk, on wood, 22×15, private (R92,no42;iR10).

8IE-1886-143, Jarde de l’Évêché à Blois; (aquarelle)
Eng.: Garden of Évêche at Blois (watercolour). Maybe it is the (rose) garden ‘Jardin de l’Évêche’ in Blois (see), along the Loire.
Compare no.145, also made in Blois. Compare also no.149+150, which are also garden / parc views.
Berson refers to reviews of Fèvre, Fouquier, Geffroy, H., Havard, Hennequin, Moniteur des arts, who refer in general to watercolours (R90II,p251).
To compare I render an old postcard (1913/07/27): Blois, General view on the Jardin de l’Évêche.
To compare I also render an oil painting of Rouart depicting a garden: 1875ca, Sbl, Massif de fleurs, 51×61, private (aR6;R92,no29).

8IE-1886-144, Château du Moulin, Sologne; (aquarelle); appartient à M…
Note: it is unclear who M… is, who did loan nos. 139 +142 +144 +146 +163.
The castle lies in the middle of France (see), more close to Lassay-sur-Croisne. For information in french see.
Berson refers to reviews of Fèvre, Fouquier, Geffroy, H., Havard, Hennequin, Moniteur des arts, who refer in general to watercolours (R90II,p251).
To compare I render an oil painting (that looks a bit like an aquarelle) of another artist depicting this castle: Bernard Buffet (1928-99): 1969, Château du Moulin de Lassay, oil on panel, 54×65, private (see).
To compare I also render a watercolour of Rouart depicting another castle: 1890ca, Sbc, Domaine du prieuré (La Commanderie), wc, xx, private (R397,p63).
Compare also a drawing by another artist: Ernest Peixotto (1869-1940): 1900-1935ca, Chateau de Moulin, drawing (iR6).

8IE-1886-145, Porte du château de Blois; (aquarelle)
Eng.: door or gate of the castle of Blois. For the location see. Compare no.143.
Berson refers to reviews of Fèvre, Fouquier, Geffroy, H., Havard, Hennequin, Moniteur des arts, who refer in general to watercolours (R90II,p251).
To compare I render an aquarelle of another artist: J. Suain: Château de Blois (Loir et Cher), aquarelle on a postcard (see).
To compare I also render an oil painting of Rouart depicting the gate of the La Queue-en-Brie estate: 1885-90ca, Entrance at La Queue-en-Brie (figure by a gate of a country house), 44×37 (or 61×51), private (aR28;aR18;aR20;R397,p15)

8IE-1886-146, Ruines de Bury; (aquarelle); appartient à M…
Note: it is unclear who M… is, who did loan nos. 139 +142 +144 +146 +163.
Berson refers to reviews of Fèvre, Fouquier, Geffroy, H., Havard, Hennequin, Moniteur des arts, who refer in general to watercolours (R90II,p251).
Bury lies about 50km north of Paris, see. I couldn’t find information about ruins in Bury, see. But more likely is meant the Ruins of the château Bury in Valencisse near Blois (see). To compare I render the postcard from this website.
To compare I also render an aquarelle of Rouart depicting a (little) fortress: 1890, Sbr, Fortin sur la mer, wc, xx, private (R397,p56).
Compare also an oil painting of other artists:
Alain Guilbaud (born 1938): 1974, Ruines du château de Bury, 20×36, oil on panel, A2024/03/28 (iR362).
René Chocquet (1872-1958): 1908, Les Ruines à Bury, oil on carton, 26×35, A2019/04/28 (see).

8IE-1886-147, Village de Moulineux; (aquarelle)
Eng.: the village of Moulineux, about 50km south of Paris (see).
Compare also the village Issy-les-Moulineaux (just south-west of Paris) and Moulineux-sur-Oise, where Maximilien Luce (1858-1941) often painted (I couldn’t locate this village, which probably must be situated along the river the Oise).
Berson refers to reviews of Fèvre, Fouquier, Geffroy, H., Havard, Hennequin, Moniteur des arts, who refer in general to watercolours (R90II,p251).
To compare I render an oil painting of another artist: Roger Schardner (1898-1981): 1933, Moulineux, chemin de l’étang, 50×65, A2024?/03/19 (see).
To compare I also render an oil painting of Rouart depicting a village: 18xx, Sbr, Village at the the edge of the forest (near Fontainebleau?), oil on wood, 40×50, private (R92,no31).

8IE-1886-148, Belle-Croix; (aquarelle)
Berson refers to reviews of Fèvre, Fouquier, Geffroy, H., Havard, Hennequin, Moniteur des arts, who refer in general to watercolours (R90II,p251).
It is unclear what Belle-Croix means. There is a hamlet in Belgium called Belle-Croix (iR9), but it is not likely this is meant. More likely is a monumental cross called Croix de Belle Croix near Fontainebleau (iR9), also called La croix de Tappereau (see), which now looks different than on old postcards (see; iR42); this cross is situated on a plain called plateau de Belle Croix and it included also a pond. To compare I render an old postcard that depicts this all (iR431). There also is a typical stone to be seen, the Morille de Belle Croix (see). See also an old card / hiking map made in 1918 of this region (see); this website renders much more info and photo’s (see).
Compare also etchings made around here: now in the Clark (M26); in Cleveland (M27); in Wellington (see).
Compare also paintings made around here and more recently auctioned: by Charles Ferdinand Ceramano (1829-1909) (iR11; iR13; see; and also see); a painting by Jules Dupré (iR94).
To compare I also render an etch by Rouart depicting a pool maybe in the Fontainebleau forest: 18xx, S-, Undergrowth (at a pool), etch, 15×20, A2023/11/21 (iR86)

8IE-1886-149, Intérieur de parc; (aquarelle)
Eng.: interieur of a parc. A quite general title.
Berson refers to reviews of Fèvre, Fouquier, Geffroy, H., Havard, Hennequin, Moniteur des arts, who refer in general to watercolours (R90II,p251).
Maybe??: 1875-85ca, Garden view, wc, 25×18, AI Chicago (iR30;M20), a work maybe made at the estate in Mée, near Melun.
Compare also no.143+150, which are also garden / parc views.

8IE-1886-150, Jardins Beaumont, à Pau; (aquarelle)
Compare the garden of no.143 and the parc of no.149.
See also 4IE-1879-219; 6IE-1881-128, which also are made in Pau. Other pictures from the Pyrenees see 1IE-1874-155/6.
Berson refers to reviews of Fèvre, Fouquier, Geffroy, H., Havard, Hennequin, Moniteur des arts, who refer in general to watercolours (R90II,p251).
For the location near the Pyrenees see. For information in French on this parc see and (iR4), for touristique info and photos see. This parc includes a palace and a lake (see; see).
See also an old postcard of the lake and the palace of the parc Beaumont (iR42).
See also an old postcard depicting a corner of the Beaumont parc (iR42).
To compare I render a recently made aquarelle by another artist of the Beaumont palace with part of the parc: Cécile Van Espen: 2021, Palais Beaumont, Pau, aquarelle, ?cm, private (see).
To compare I render an oil painting by Rouart, depicting the garden of the estate in La Queue-en-Brie: 18xx, S-, The lawn (with a statue) at La Queue-en-Brie, 60×72, private (iR10;R92,no20;R397,p50).

8IE-1886-151, A Jurançon (aquarelle)
For other pictures from the Pyrenees see 1IE-1874-155/6.
Berson refers to reviews of Fèvre, Fouquier, Geffroy, H., Havard, Hennequin, Moniteur des arts, who refer in general to watercolours (R90II,p251).
Jurancon lies just south of Pau, more towards the Pyrenees (see). See link for information in French (iR4).
See an old postcard depicting a view on Jurançon with the river Néez and a bridge (iR42).
See other postcards depicting Jurançon, which lies quite flat; only in the background the Pyrenees are visible (R454).
Jurançon is also known for it’s wine slopes (see).
See an aquarelle by another artist: ?: 1950, Sbr, Pont D’oli, Jurançon, aquarelle (see).
See an aquarelle by another artist: Cécile Van Espen: Sur les coteaux du Jurançon, aquarelle, 24x32cm (see).
To compare I render an aquarelle by another artist: Nicole Peyrelasse: Vignes en Jurançon, aquarelle, 40×30 (see).
To compare I also render an oil painting made (probably) in the Pyrenees: 18xx, S-, Landscape in the Pyrenees (Pays Basque?), 42×60, private (R92,no38;R2,p446).

8IE-1886-152, Place de Jurançon; (aquarelle)
Eng.: square at Jurançon. See no.151, also made in Jurançon.
Old postcards render the Place du Junqué in Jurançon and also a Place de l’église (R454).
To compare I render one of these postcards depicting the Place du Junqué.
To compare I also render: 1870ca, Sbr, Town square (House in a (mountainous) landscape), etch (printed in Croquis à L’Eau-Forte 1877), 12×16 (or 15×18), NM Warsaw (aR20;M269;iR86), an etch which also represents a square.

 

The following 11 works depict aquarelles made in Venice. Compare: 5IE-1880-185-192, Venise (Aquarelle). Rouart visited Venise in 1879 + 1883 (R92,p131). In 1892 he made several engravings depicting scenes from Venice (R397,p66+67)

8IE-1886-153, Fondamenta Nuove, Venise; (aquarelle)
For the location near the water see. For general information about Venice see.
Berson refers to reviews of Fèvre, Fouquier, Geffroy, H., Havard, Hennequin, Moniteur des arts, who refer in general to watercolours (R90II,p251).
Probably: 1883/08, SDbr, View on Venice (corner Rio de la Guerra and Fondamente Nove on Cannaregio), wc, xx, private (R397,p46;R90II,p275).
Maybe Fèvre refers to this watercolour ‘Of Mr. Rouart’s watercolours, all but one or two, like a house in Venice, remain discoloured.’ (R90I,p446)
Compare: expo-1933-36, Pondamenta vecchie, Venise; aquarelle.

8IE-1886-154, Barques de Coggia, Venise; (aquarelle)
Eng.: boats of Coggia, Venice. Maybe it is meant Chioggia, see.
Berson refers to reviews of Fèvre, Fouquier, Geffroy, H., Havard, Hennequin, Moniteur des arts, who refer in general to watercolours (R90II,p251).
Maybe the same as: DR-1951-a9, Bateaux à Chioggia; aquarelle.
=? 1883/08, S- Dbl, Bateaux de pèche à Venise, wc, xx, private (R397,p47;R2,p446).

8IE-1886-155, Palli, Venise; (aquarelle)
The meaning is unclear, but Probably it are the poles on which the boats are attached and also spelled as ‘pali’ (R23,p143). Berson refers to reviews of Fèvre, Fouquier, Geffroy, H., Havard, Hennequin, Moniteur des arts, who refer in general to watercolours (R90II,p251).
To compare I render: 1892/01/23, SDbl, Canal at Venice, the Pali, etch 2nd state, 23×15, A2023/11/21 (iR86;R397,p66;iR127;iR64;M5a); an etch which also depicts the ‘pali’. The Louvre has a slightly different version (M5a). Bona renders an etch that is dated 1892/01/23 (R397,p66); but the etch could have been made after an aquarelle that was made earlier.
Probably depicted is the tower of the Basilica minore di san Giacomo Apostolo seen from the Canal Vena at Choggia (iR9).

8IE-1886-156, Bateaux de foin, Venise; (aquarelle)
Eng.: boats with hay, Venice. Berson refers to reviews of Fèvre, Fouquier, Geffroy, H., Havard, Hennequin, Moniteur des arts, who refer in general to watercolours (R90II,p251).
I couldn’t find a work of Rouart depicting boast with hay, so to compare I render an aquarelle of another painter: Edmund Thornton Crawford: 1870, Un Barge de foin Hollandaise, aquarelle (iR155).
To compare I also render an etch of Rouart depicting some boats: 1892, S-, Venice, Soto Portico, etch 2nd state, 29×20, A2023/11/21 (iR86;R397,p67).

8IE-1886-157, Giudecca, Venise; (aquarelle)
For the location of this island see. Rouart depicted this island in nos. 157 +160 +162.
Berson refers to reviews of Fèvre, Fouquier, Geffroy, H., Havard, Hennequin, Moniteur des arts, who refer in general to watercolours (R90II,p251).
To compare I render a watercolour of another artist: John Singer Sargent: 1913, Giudecca, aquarelle.
To compare I also render a black and white picture of a watercolour by Rouart: 18xx, Sbr, (incorrectly titled:) Pont St.Zanni et Paolo (Venise), aquarelle, xx, private (R90II,p274); a work suggested by Berson for no.161.

8IE-1886-158, Derrière le Redemptore, Venise; (aquarelle)
Eng.: behind the Redemptore, Venice. For the location of the church Il Redentore, see.
Berson refers to reviews of Fèvre, Fouquier, Geffroy, H., Havard, Hennequin, Moniteur des arts, who refer in general to watercolours (R90II,p251).
Maybe?: 1883, View of a church on an island in the Venetian lagoon, wc, 16×26, DAG Louvre (M5a;iR23;iR64); this work seems to depict the Redemptore.

8IE-1886-159, Près la Dogana, Venise; (aquarelle)
Eng.: Near the Dogana, Venice. For the location see.
Berson refers to reviews of Fèvre, Fouquier, Geffroy, H., Havard, Hennequin, Moniteur des arts, who refer in general to watercolours (R90II,p251).
To compare I render a watercolour of another artist depicting Dogana: Henri-Edmond Cross: 1903, La Dogana, aquarelle (iR7;iR10).
Dogana is the tip of an island with view on the other islands of Venice. To compare I render a watercolour of Rouart from another location that also render a view on the islands of Venice: 1883, S-, Quay in a port, at ebb tide (Venice), wc, 24×29, DAG Louvre (M5a;iR23;iR64).

8IE-1886-160, Un soir dans la Giudecca, Venise; (aquarelle)
Eng.: An evening in the Giudecca, Venice. For the location of this island see. Rouart depicted this island in nos. 157 +160 +162.
Berson refers to reviews of Fèvre, Fouquier, Geffroy, H., Havard, Hennequin, Moniteur des arts, who refer in general to watercolours (R90II,p251).
To compare I render an oil painting by another artist depicting Giudecca at an evening: Felix Francis Georges Philibert Ziem: Venice, Giudecca with the Chiesa dei Gesuati in the evening, oil painting.
To compare I also render a watercolour by Rouart depicting a twilight in Venice: 1879ca (or 1883), Venice, wc, 10×16, Marmottan (iR155;M2;iR6;aR3).

8IE-1886-161, Pont St-Zanni et Paolo, Venise; (aquarelle)
Eng.: Bridge of Saint-Zanni and Paolo, Venice. Probably meant is the bridge near the Basilica of Saint John and Paul in Venice.
Moffett, following Rey, suggests with a perhaps a work in a private collection in Paris (R2,p446). Probably Berson follows, specifying: 18xx, Sbr, Pont st-Zanni et Paolo (Venise), wc, xx, private collection Paris (R90II,p251). But when I look at the Google street / canal view I can’t locate this picture.
I think another picture is a better option: 1883, Sbr Dbl, The Canal at Venice, wc, 16×26, DAG Louvre (M5a;iR23;iR9). It looks like the Basilica is on Rouart his right hand, looking at the Ponte del Calvallo (iR9); but the second bridge is now not that close by; was it removed or was this artistic freedom?
This watercolour probably is the same as: expo-1933-35, Pont de San Giovanni e Paolo, Venise; aquarelle. Musée du Luxembourg.

8IE-1886-162, Dans la Giudecca, Venise; (aquarelle)
Eng.: In the Giudecca, Venice. For the location of this island see. Rouart depicted this island in nos. 157 +160 +162.
Berson refers to reviews of Fèvre, Fouquier, Geffroy, H., Havard, Hennequin, Moniteur des arts, who refer in general to watercolours (R90II,p251).
As an uncertain option I render: 18??, Vue d’un canal, prise depuis l’île de la Giudecca à Venise, aquarelle, ?cm, MAH Orléans (iR457).

8IE-1886-163, A Murano, Venise; (aquarelle) ; appartient à M…
Note: it is unclear who M… is, who did loan nos. 139 +142 +144 +146 +163.
For the location of this island see.
Probably this watercolour is the same as: expo-1933-40, Murano; aquarelle and: DR-1951-a17, Venise (Murano); aquarelle..
Moffett, following Rey, suggests with a perhaps a work in a private collection in Paris (R2,p446). Probably Berson follows, specifying: 1883, Sbr, A Murano (Venise), wc, xx, private collection Paris (R90II,p251), this work is rendered by Bona in colour (R397,p46), calling it ‘Vue de Venise’. But this picture depicts the corner of the Rio de la Guerra canal and the street Fondamente Nove on Cannaregio (iR9). In the distance on the left you can discern the Isle Murano. I will render to compare a detail of the Bona picture.
See: 8IE-1886-153, Fondamenta Nuove, Venise; (aquarelle).

 

8IE-1886-164, Maison des Morets, Mans; (aquarelle)
Eng.: the house of the Morets, Le Mans (see). General info on Le Mans (iR3).
Berson refers to reviews of Fèvre, Fouquier, Geffroy, H., Havard, Hennequin, Moniteur des arts, who refer in general to watercolours (R90II,p251).
To compare I render a watercolour of another artist: Yves de Saint Jean: House in Le vieux Mans, aquarelle (see).
To compare I also render a watercolour by Rouart of an house, but probably painted somewhere else: 18xx, Sbr, The house with hollyhocks, wc, 26×37, A2024/04/14 (iR86)

8IE-1886-165, La grabaterie, Mans; (aquarelle)
See also no.164.
Berson refers to reviews of Fèvre, Fouquier, Geffroy, H., Havard, Hennequin, Moniteur des arts, who refer in general to watercolours (R90II,p251).
Eng., the meaning is uncertain, maybe: the (poor) bed, Mans. Grabataire means bedridden, so maybe it means: a place where one is bedridden.
Probably it refers to the Palais du Grabatoire (iR6), 1 Place du Cardinal Grente, Le Mans (iR9); in the past this has been a hospital (iR4), so here is a connection with ‘bedridden’.
To compare I render an engraving by an unknown artist (Sbl), dated 1885, showing the Maison du Grabatoire, near the bishop’s residence in Le Mans (iR6).
To compare I also render a watercolour of Rouart depicting another estate: 1890, Sbc, Domaine du prieuré (La Commanderie), wc, xx, private (R397,p63)

 

Henri Rouart at the Salon:

Henri Rouart exhibited at the Salon in 1868, 1869, 1870 and 1872. In 1873 he was refused at exhibited at the Salon des Réfusés. See link to his pictures and to a thematical overview.
My main source is aR1. In 1894, 1895 and 1909 the name Rouart appears in the Salon database, but I can’t find his name in the list. In 1899, 1903, 1906 and 1907 his son Ernest-Henri exhibited at the Salon de la Société National des Beaux-Arts. So there is no indication, neither in other sources that Rouart after joining the ‘impressionist’ exposition in 1874 exhibited again at the Salon. In 1850 there also was a Rouart who exhibited at the Salon.
Rouart is called a pupil of L. Levert, Brandon and Véron. Véron is not mentioned in 1868 and in 1873 is spelled as Déron.

Overview:

• in total Rouart showed 8 works at the Salon and the Salon des Réfusés
• 2 of them were still lives
• 5x an indication of place; 4x vague; 1x more precise
• 1x an indication of time, season or weather
• 0x a study

1868:

S1868-2181, Souvenir des Aliscamp, à  Arles
Eng.: Souvenir from Aliscamp, at Arles. For the locationat the French Riviera see. (iR1;R92,p129)
To compare I render painting in another (post-Impressionist) style: Vincent van Gogh (1853-90): 1888/11/01, F487=JH1621, Les Alychamps, Autumn (Falling leaves), 72×91, private (iR202;R37,no.27).
To compare I also render a detail of a painting by Rouart depicting a bit similar view: 1885ca, Sbr, Landscape with farm, Brittany, 66×92, private Gallery London (iR13;iR1;R2).

S1868-2182, Bords de la Voïse
Eng.: at the banks of the Voïse. See link for info on this river (iR4; see), a map with it’s catchment area (iR4) and for pictures (iR6). This river partly streams parallel with the L’Eure (canal) (iR9).
To compare I render an old postcard: Bords de la Voïse et Moulin des Grés (Yermenonville) (see).
To compare I also render a painting of Rouart rendering an unlocated river: 18xx, Bord de rivière à la campagne, 50×65, A2005/12/16 (aR13).
For other riversides see 2IE-1876-230, Bords de l’Indre; 3IE-1877-206, Bords de la Sédelle; 4IE-1879-209, Bords du Loir. See also the thematical overview under riverviews.

1869:

S1869-2069, Chaumière au milieu des arbres, en Bretagne
Eng.: huts (with reed) / thatched cottage in the middle of trees, in Brittany. See for Brittany 1IE-1874-148. See for other huts 2IE-1876-236, 6IE-1881-129.
To compare I render a later dated painting of Rouart, depicting a farm that looks like a thatched cottage with trees in the background and located in Brittany: 1885ca, Sbr, Landscape with farm, Brittany, 66×92, private Gallery London (iR13;iR1;R2).
To compare I also render an etch of Rouart depicting houses in the woods: 18xx, Sbr, Houses in the woods, etch, 20×29, 2023/11/21 (iR86).

1870:

S1870-2479, L’île de Melun
Eng.: The island of Melun. See also 1IE-1874-150.
To compare I render a painting with a view on the Île Saint-Etienne, which is part of Melun : 1868-96 (1880), Sbr, Le pont de Melun, 47×58, private (iR6;iR10;iR166;iR8;R92,no10).
To compare I also render another painting maybe with a view on the same island: 1880ca, Sbr, Figures river, 35×28, private A2018/06/10 (aR26;aR20;iR42).
Compare also an etch depicting a bridge in Melun: 1890ca, S-, Bridge at Melun, etch, 30×21, A2023/11/21 (iR86;R397,p65)

S1870-2480, Rue de village
Eng.: Village road. A very general title which makes it hard to identify.
As a very uncertain option I render: 1870-1897ca, A road at La Queue-en-Brie, 60×73, MBA Pau (aR20;aR21;R92,no14;M170).

1872:

S1872-1342, Officiers de canonniers volontaires
As an uncertain option I render: 18??, Mobilising the canons, 60×92, A2008/05/08 (iR94;iR6;aR13;aR20).
Note: this is a completely other theme rendered by Rouart.

S1872-1343, Chaumine
Eng.: little hut. See for other huts S1869-2069, 2IE-1876-236, 6IE-1881-129.
To compare I render an etch of Rouart depicting a little hut of a fisherman: 18??, S-, The Fisherman’s House, etch, 20×29, A2023/11/21 (iR86).
To compare I also render an oil painting of Claude Monet: 1867, CR94, A hut at Sainte-Adresse, (the Cabin), 52×62, MAH Geneva (iR2;R22+R127,CR94;R2,p205;R90II,p95;M141,no.1990-45).

1873 Salon des Réfusés:

SdR-1873-303, Souvenir de Bretagne (arrière automne)
Eng.: a souvenir from Brittany (late autumn).For other pictures from Brittany see 1IE-1874-148.
Note: Rey (wrongly) mentions that Rouart exhibited two landscapes (R92,p24).
Compare an aquarelle of Rouart depicting a landscape late autumn / early winter: 18xx, Sverso, Property entrance in the snow, wc, 23×25, A2024/09/23 (iR86;iR17).
Compare also an oil painting probably by Rouart depicting a marine in an autumn landscape:  18??, Sbr?, Riverlandscape with fishermen in a boat, 22×27, A2009/03/28 (aR11;iR64;iR1).
Both works are not located.

 

Henri Rouart at the Exposition Universelle:

Henri Rouart did loan several works that were exhibited at the Centennial exposition alongside the Exposition Universelle of 1900. He himself showed 1 aquarelle.

EU-1900-C-1296, Venise, sortie du canal sur Murato; aquarelle (appartient à M. Henri Rouart).
Murato is probably a writting error for Murano, which is one of the many islands of Venice. There is one main canal through it and some smaller canals. (see maps). Probably this aquarelle showed a boat leaving one of these canals. Some of the works I know of Rouart show a canal in Venice, but as far as I know none of them depict one of the canals of Murano, nor boats leaving a canal.
There were some other works of Rouart exhibited with Murano in the title:
8IE-1886-163, A Murano, Venise; (aquarelle) ; appartient à M…
expo-1933-40, Murano; aquarelle
DR-1951-a17, Venise (Murano); aquarelle.
None of them refer to a leaving of the canal.
Some titles refer to boats, but none explicitly to a boat leaving a canal.
To compare I render an aquarelle depicting another canal: 18??, Vue d’un canal, prise depuis l’île de la Giudecca à Venise, aquarelle, ?cm, MAH Orléans (iR457;R2,p446)

 

Retrospectives:
After his death (1912/01/02) there were 3 mayor retrospectives, namely in 1912, 1933 and 1951 (R92,p139+143).

1912, retrospective at Durand-Ruel:
From the 16th till the 30th of March 1912 there was a retrospective organised called ‘Peintures et aquarelles par Henri Rouart’ at the Durand-Ruel gallery in Paris (=DR1912/03). In total 144 art-works were shown*, including 58 paintings, 83 aquarelles, 2 lavis** (no.102+104) and 1 sépia (drawing) (no.101). In the titles 105x there is a location mentioned; 58 of the works were loans. The catalogue contained a preface of Arsène Alexandre. (R450; iR24; see).
Note*: there also was a no.70bis.
Note**: lavis is a pictorial technique (with watercolour or Chinese ink) in which a single color is used (iR4).

Tableaux:

DR1912/03-1, Femme nue couchée sur une peau de panthère

DR1912/03-2, Femme nue couchée sur une étoffe rose

DR1912/03-3, Antibes.

DR1912/03-4, La Terrasse, à Melun.

DR1912/03-5, Un Pavillon, à La Queue-en-Brie.

DR1912/03-6, Portrait

DR1912/03-7, Intérieur, à Melun.

DR1912/03-8, La lecture

DR1912/03-9, Jeune fille lisant

DR1912/03-10, Le jardin de Melun.

DR1912/03-11, Deux roses dans un vase.

DR1912/03-12, Venise.

DR1912/03-13, Venise.

DR1912/03-14, Royat. Appartient à Mme Lacasse.

DR1912/03-15, Portrait de M. Jacob-Desmalter. Appartient à Mme. Lacasse.

DR1912/03-16, La Seine à Melun. Appartient à Mme. Lefuel.

DR1912/03-17, Un vallon près de Portrieux. Appartient à Mme. Callou.

DR1912/03-18, Le port de Portrieux. Appartient à M. Léon Callou.

DR1912/03-19, Moulin sur une rivière. Appartient à M. Fréret.

DR1912/03-20, Environs de Portrieux. Appartient à M. Fontanille.

DR1912/03-21, Paysage dans les Pyrénées. Appartient à M. Fontanille.

DR1912/03-22, La Grand’route, à La Queue-en-Brie. Appartient à M. le général Mercier.

DR1912/03-23, Un coin de l’atelier. Appartient à Mme Sellier.

DR1912/03-24, Le Presbytère d’Argelès. Appartient à M. Charles Morel d’Arleux.
Argelès-sur-Mer lies at the Meditarrenean sea and close to the Pyrenees.

DR1912/03-25, La Grille sous les arbres à La Queue-en-Brie. Appartient à M. Charles Morel d’Arleux.
Eng.: The grid (iron gate) under the trees.

DR1912/03-26, La Château de Fleury. Appartient à Mme la Marquise de Ganay.

DR1912/03-27,  Campagne à la fin de l’hiver. Appartient à Mme. E. Renié.

DR1912/03-28,  Vase de fleurs. Appartient à M. Paul Lafond.

DR1912/03-29,  Vue de Melun. Appartient à M. Paul Lafond.

DR1912/03-30, Jardin, à La Queue-en-Brie. Appartient à M. Albert Morel d’Arleux.

DR1912/03-31, Moulin sur le Cher. Appartient à Mme Brandon.

DR1912/03-32, Nature Morte. Appartient à Mme. Alphen-Salvador.

DR1912/03-33, Figure dans un paysage. Appartient à Mme. Esnault-Pelterie.

DR1912/03-34, Cerisier de Sainte-Lucie, à La Queue-en-Brie. Appartient à M. H.-L. Rouart.

DR1912/03-35, Jeune Femme écrivant. Appartient à Mme. Degouy.

DR1912/03-36, Statue dans le jardin de La Queue-en-Brie. Appartient à Mme. Degouy

DR1912/03-37, Paysage à La Queue-en-Brie. Appartient à M. Baillehache.

DR1912/03-38, Figure assise sur un banc. Appartient à Mlle. Fontaine.

DR1912/03-39, Jeune femme en train de modeler. Appartient à Mlle de Labouret.

DR1912/03-40, La Grand’route à La Queue-en-Brie. Appartient au Musée de Pau.

DR1912/03-41, Baigneuses. Appartient au Musée de Limoges.

DR1912/03-42, Baigneuses dans une prairie bordée de grands arbres. Appartient à Mme. Grimault.

DR1912/03-43, Figures dans le jardin de Melun.

DR1912/03-44, Baigneuses sous de grands arbres.

DR1912/03-45, Le potager, à La Queue-en-Brie.

DR1912/03-46, Intérieur, à La Queue-en-Brie.

DR1912/03-47, L’atelier.

DR1912/03-48, L’Hôtel d’Alginy, à Autun.

DR1912/03-49, Le parc de La Queue-en-Brie.

DR1912/03-50, Le chemin de Pontault.

DR1912/03-51, Les Sapins, à La Queue-en-Brie.

DR1912/03-52, Géraniums.

DR1912/03-53, Figure drapée en train de lire.

DR1912/03-54, Leg grands arbres, à La Queue-en-Brie.

DR1912/03-55, Marseille.

DR1912/03-56, Femme nue assise dans l’herbe.

DR1912/03-57, Figure en violet assise et lisant.

DR1912/03-58, Femme nue accroupie.

Aquarelles:

DR1912/03-59, Vue de Venise; aquarelle.

DR1912/03-60, Vue de Venise; aquarelle.

DR1912/03-61, Vue de Venise; aquarelle.

DR1912/03-62, Vue de Venise; aquarelle.

DR1912/03-63, Vue de Venise; aquarelle.

DR1912/03-64, Vue de Venise; aquarelle.

DR1912/03-65, Vue de Venise; aquarelle.

DR1912/03-66, Vue de Venise; aquarelle.

DR1912/03-67, Vue de Venise; aquarelle.

DR1912/03-68, Vue de Venise; aquarelle.

DR1912/03-69, Vue de Venise; aquarelle.

DR1912/03-70, Vue de Venise; aquarelle.

DR1912/03-70bis, Vue de Venise; aquarelle.

DR1912/03-71, Paysage dans les Pyrénées; aquarelle. Appartient à M. E. Degas.

DR1912/03-72, Fontaine de Jean de Bologne, à Florence; aquarelle.

DR1912/03-73, Le pont Saint-Benezet, à Avignon; aquarelle. Appartient à M. Henri Lerolle.

DR1912/03-74, Le château Aurélien, à Fréjus; aquarelle. Appartient à Mme Lacasse.

DR1912/03-75, Jardin à Melun; aquarelle. Appartient à Mme Lacasse.

DR1912/03-76, La terrasse de Melun; aquarelle. Appartient à Mme. Lefuel.

DR1912/03-77, Environs de Rome (vue de Rome); aquarelle. Appartient à M. A. Beurdeley.

DR1912/03-78, La mer à Saint-Raphaël; aquarelle. Appartient à M. A. Beurdeley.

DR1912/03-79, Moulin sur l’Indre, près de Tours; aquarelle. Appartient à Mme. Brandon.

DR1912/03-80, Un rue de village, en Bretagne; aquarelle. Appartient à Mme. Alphen-Salvador.

DR1912/03-81, Le Château d’Azay-le-Rideau; aquarelle.

DR1912/03-82, Le Palais des Papes, à Avignon; aquarelle.

DR1912/03-83, Le Colleone, à Venise; aquarelle.

DR1912/03-84, Barque de pêche, à Saint-Raphaël; aquarelle.

DR1912/03-85, Un coin d’atelier; aquarelle.

DR1912/03-86, Un Cloître, à Angers; aquarelle. Appartient à M. Paul Lafond.

DR1912/03-87, Le Port de Marseille; aquarelle.

DR1912/03-88, Bouquet d’arbres aux environs de Pau; aquarelle.

DR1912/03-89, La vieille Somme, près d’Amiens; aquarelle. Appartient à M. le général Mercier.

DR1912/03-90, La Rue-Loye, près Portrieux; aquarelle. Appartient à Mme Callou.

DR1912/03-91, La plaine de  La Queue-en-Brie; aquarelle. Appartient à M. Léon Callou.

DR1912/03-92, La Seine, à Melun; aquarelle. Appartient à Mme. E. Renié.

DR1912/03-93, La moisson; aquarelle. Appartient à Mme. E. Renié.

DR1912/03-94, Figures dans un paysage; aquarelle. Appartient à Mlle Henriette Renié.

DR1912/03-95, Vallée de Pau, en hiver; aquarelle. Appartient à Mlle Henriette Renié.

DR1912/03-96, Amiens; aquarelle. Appartient à M. H.-L. Rouart.

DR1912/03-97, Porte du château de Blois; aquarelle. Appartient à M. H.-L. Rouart.

DR1912/03-98, Saint-Jean-de-Luz; aquarelle. Appartient à M. H.-L. Rouart.

DR1912/03-99, Roses dans un vase; aquarelle. Appartient à Mlle Fontaine.

DR1912/03-100, La Commanderie de Ballan; aquarelle.
This mansion lies in Ballan-Miré.

DR1912/03-101, Intérieur d’église (sépia).

DR1912/03-102, Maisons dans un vallon, au milieu des arbres (lavis). Appartient à M. Fontanille.

DR1912/03-103, Moulin sur le Cher; aquarelle. Appartient à M. Fontanille.

DR1912/03-104, Un chemin creux (lavis).

DR1912/03-105, Porte de l’église de Luz (Pyrénées); aquarelle. Appartient à M. Cherfils.

DR1912/03-106, La Seine, à Melun; aquarelle. Appartient à M. Cherfils.

DR1912/03-107, Paysage, à La Queue-en-Brie; aquarelle. Appartient à M. Cherfils.

DR1912/03-108, Saint-Raphaël; aquarelle. Appartient à M. le Dr. Dussaussay.

DR1912/03-109, Bouquet d’arbres, à La Queue-en-Brie; aquarelle. Appartient à Mme. Martin.

DR1912/03-110, Montreuil-Bellay; aquarelle. Appartient à M. G. Viau.

DR1912/03-111, Carcassonne; aquarelle.

DR1912/03-112, Fleurs; aquarelle.

DR1912/03-113, Maisons à Tavernay, près d’Autun; aquarelle.

DR1912/03-114, Vénus accroupie, dans le jardin de Melun; aquarelle.

DR1912/03-115, Église de Luz (Pyrénées); aquarelle.

DR1912/03-116, Château, en Auvergne; aquarelle.

DR1912/03-117, Route d’Antibes, à Grasse; aquarelle.

DR1912/03-118, Portrait du général Méliodon; aquarelle.

DR1912/03-119, Le Château; aquarelle.

DR1912/03-120, Modèle lisant; aquarelle.

DR1912/03-121, Lac de Lugano; aquarelle.

DR1912/03-122, Statue, dans le jardin de Melun; aquarelle.

DR1912/03-123, Village de Serres (Pyrénées); aquarelle.

DR1912/03-124, Gênes; aquarelle.
Gênes = Genua, Italy.

DR1912/03-125, Campagne romaine; aquarelle.

DR1912/03-126, Un vapeur, à Saint-Raphaël; aquarelle.

DR1912/03-127, Bateau, à Bayonne; aquarelle.

DR1912/03-128, Un quai, à Saint-Tropez; aquarelle.

DR1912/03-129, Vallée d’Argelès; aquarelle.

DR1912/03-130, La Queue-en-Brie; aquarelle.

DR1912/03-131, Saint-Tropez; aquarelle.

DR1912/03-132, Bateau, à Saint-Raphaël; aquarelle.

DR1912/03-133, Mercure (Villa Médicis, à Rome); aquarelle.

DR1912/03-134, Parc de Versailles; aquarelle.

DR1912/03-135, Environs de Pau; aquarelle.

DR1912/03-136, Chioggia; aquarelle.

DR1912/03-137, Autun; aquarelle.

DR1912/03-138, Ruines de Coucy; aquarelle.

DR1912/03-139, Saint-Raphaël; aquarelle.

DR1912/03-140, Cloitre de Santa Maria Novella, à Florence; aquarelle.

DR1912/03-141, Ferme des plaines, aux environs d’Autun; aquarelle.

DR1912/03-142, Maisons de Sainte Chantal, près d’Autun; aquarelle.

DR1912/03-143, Vase de fleurs; aquarelle.

 

1933, retrospective at Paul Rosenberg:
In 1933, 100 years after his birth, there was a retrospective held. It was called ‘Peintures et aquarelles par Henri Rouart 1833–1912’. It was held from the 20th of March till the 12th of April at the Paul Rosenberg gallery, 21, Rue la Boétie in Paris. In total 95 art-works were shown, including 32 paintings, 60 aquarelles, 2 sépia (drawings) and 1 lavis. In the titles 64x there is a location mentioned; 7 of the works were loans. The catalogue included a preface by Paul Valéry. (R451; iR24).

Peintures:
expo-1933-1, Vue de Venise. Musée du Louvre.

expo-1933-2, Baigneuses. Musée de Limoges.

expo-1933-3, Paysage en Bretagne. Appartient à M. Fontanille.

expo-1933-4, La famille sur la terrasse à Melun.

expo-1933-5, Nu couché sur fond bleu.

expo-1933-6, Nu debout.

expo-1933-7, Portrait de la fille de l’artiste.

expo-1933-8, Le chemin de Pontault à La Queue-en-Brie.

expo-1933-9, Environs de Melun.

expo-1933-10, Petit portrait de Mme. H. Rouart.

expo-1933-11, Bouquet d’arbres dans les champs.

expo-1933-12, Eglise dans les Pyrénées.

expo-1933-13, Le village de La Queue à travers les arbres.

expo-1933-14, Figure drapée assise à terre.

expo-1933-15, Intérieur de Melun.

expo-1933-16, Les ponts sur la rivière.

expo-1933-17, Pont sur un canal à Venise.

expo-1933-18, La maison de La Queue-en-Brie.

expo-1933-19, Troncs d’arbres.

expo-1933-20, Nu couché.

expo-1933-21, Jeune femme regardant des gravures.

expo-1933-22, La lecture.

expo-1933-23, Le jardin de Melun.

expo-1933-24, La terrasse au bord de la Seine à Melun.

expo-1933-25, La Seine près de Melun.

expo-1933-26, Eglise de village dans la montagne.

expo-1933-27, Le salon de Melun.

expo-1933-28, Portrait de Mme. H. Rouart.

expo-1933-29, Le petit bras de la Seine à Melun.

expo-1933-30, Le Sainte-Lucie.

expo-1933-31, Vallée de la Seine.

expo-1933-32, Intérieur d’atelier.

Aquarelles:

expo-1933-33, Un quai à Venise; aquarelle. Musée du Louvre.

expo-1933-34, Les Zattere et la Salute; aquarelle. Musée du Louvre

expo-1933-35, Pont de San Giovanni e Paolo, Venise; aquarelle. Musée du Luxembourg.

expo-1933-36, Fondamenta vecchie, Venise; aquarelle
Eng.: Old foundation?

expo-1933-37, San Giorgio Maggiore, Venise; aquarelle

expo-1933-38, Voilier devant la piazzetta; aquarelle
Eng.: Sailing boat before the small square.

expo-1933-39, Canal à Venise; aquarelle

expo-1933-40, Murano; aquarelle

expo-1933-41, Le Colleone, Venise; aquarelle

expo-1933-42, Venise; aquarelle

expo-1933-43, Bateaux chargés de foin, Venise; aquarelle

expo-1933-44, Bateau à Venise; aquarelle

expo-1933-45, Voilier à quai, Venise; aquarelle

expo-1933-46, Maison sur la lagune, Venise; aquarelle

expo-1933-47, Cloitre de Santa Maria Novella, Florence; aquarelle

expo-1933-48, Fontaine de Jean de Bologne, Florence; aquarelle

expo-1933-49, Chioggia; aquarelle

expo-1933-50, Gênes; aquarelle

expo-1933-51, Vestibule de la Villa Médicis, Rome; aquarelle

expo-1933-52, Pau l’hiver; aquarelle

expo-1933-53, Statue dans les tamaris; aquarelle
Eng.: Statue in the tamarisk trees.

expo-1933-54, Intérieur; aquarelle

expo-1933-55, Maison de Sainte Chantal; aquarelle

expo-1933-56, Environs d’Autun; aquarelle

expo-1933-57, La pointe de l’île à Melun; aquarelle

expo-1933-58, La maison de La Queue; aquarelle

expo-1933-59, En Touraine; aquarelle

expo-1933-60, Bateaux à Bayonne; aquarelle

expo-1933-61, Nature morte; aquarelle

expo-1933-62, L’atelier; aquarelle

expo-1933-63, Modèle lisant; aquarelle

expo-1933-64, Fleurs dans un vase; aquarelle

expo-1933-65, La Vénus à contre-jour; aquarelle

expo-1933-66, Bords de la Seine; aquarelle

expo-1933-67, Moulin sur le Cher; aquarelle

expo-1933-68, Bateau en Méditerranée; aquarelle

expo-1933-69, Palais des Papes à Avignon; aquarelle

expo-1933-70, La terrasse de Melun; aquarelle

expo-1933-71, Environs de Pau; aquarelle

expo-1933-72, Portrieux; aquarelle

expo-1933-73, Statue de Vénus; aquarelle

expo-1933-74, Eglise de Serres, Pyrénées; aquarelle

expo-1933-75, Route d’Antibes; aquarelle

expo-1933-76, Eglise de Luz, Pyrénées; aquarelle

expo-1933-77, Château de Coucy; aquarelle

expo-1933-78, Portrait du général Méliodon; aquarelle

expo-1933-79, Bords du Cher; aquarelle

expo-1933-80, Barque sur la Méditerranée; aquarelle

expo-1933-81, Vue de Melun en amont; aquarelle

expo-1933-82, Effet de neige en Tourraine; aquarelle

expo-1933-83, Fleurs sur un fond de paysage; aquarelle

expo-1933-84, La Seine à Melun; aquarelle

expo-1933-85, La Vénus de marbre; aquarelle

expo-1933-86, Saint-Jean-de-Luz; aquarelle

expo-1933-87, Environs de Chartres; aquarelle

expo-1933-88, Entrée du Château de Blois; aquarelle

expo-1933-89, La Vénus parmi les arbres; aquarelle

expo-1933-90, Arbres à La Queue-en-Brie; aquarelle

expo-1933-91, Statuette de Tanagra; aquarelle
DR-1951-a27, Tanagra; aquarelle. (more info: iR3; and pictures: iR6)

expo-1933-92, Intérieur d’église (lavis).

expo-1933-93, Vannes (sépia).

expo-1933-94, Arbres au bord d’un étang (sépia).

expo-1933-95, Un rue de Luz, Pyrénées; aquarelle; à M. C. Alphen-Salvador.

 

1951, retrospective at Durand-Ruel:
In 1951 there was a retrospective held of Henri Rouart and his son Ernest Rouart (1874-1942). It was held at the Durand-Ruel gallery, 37, Avenue de Friendland in Paris. In total 68 art-works of Henri Rouart were shown, including 28 paintings, 37 aquarelles, 1 sépia (drawing), 1 drawing and 1 etch. In the titles 49x there is a location mentioned; none of the works were loans, probably they were all owned by the Durand-Ruel gallery. (R452; iR24).

DR-1951-1, Madame Henri Rouart.

DR-1951-2, Vue de Melun.

DR-1951-3, Intérieur à Melun.

DR-1951-4, Jardins au Mée.

DR-1951-5, Vue d’Antibes.

DR-1951-6, Bord de Seine.

DR-1951-7, Quai des Fourneaux, Melun.

DR-1951-8, Venise.

DR-1951-9, Paysage.

DR-1951-10, Nature morte.

DR-1951-11, Madame Henri Rouart, écrivant.

DR-1951-12, Madame Henri Rouart, lisant.

DR-1951-13, Madame Henri Rouart, lisant.

DR-1951-14, S. Michele (Venise).

DR-1951-15, S. Michele (Venise).

DR-1951-16, Jardin d’automne au Mée.

DR-1951-17, La Queue-en-Brie.

DR-1951-18, Hélène Rouart, écrivant.

DR-1951-19, Hélène Rouart, lisant.

DR-1951-20, Modèle en blanc.

DR-1951-21, Nu.

DR-1951-22, Nu aux cheveux noirs.

DR-1951-23, Intérieur au Mée.

DR-1951-24, Intérieur à La Queue-en-Brie.

DR-1951-25, Grande-Rue à La Queue-en-Brie.

DR-1951-26, Rosiers à La Queue-en-Brie.

DR-1951-27, La prairie à La Queue-en-Brie.

DR-1951-28, Jardins à La Queue-en-Brie.

Aquarelles:

DR-1951-a1, Port de Bayonne; aquarelle.

DR-1951-a2, Bateaux à Bayonne; aquarelle.

DR-1951-a3, Église de Luz (Pyrénées); aquarelle.

DR-1951-a4, Église dans la montagne (Pyrénées); aquarelle.

DR-1951-a5, Paysage; aquarelle.

DR-1951-a6, Rivièra Italienne; aquarelle.

DR-1951-a7, Canal à Venise; aquarelle.

DR-1951-a8, Pont d’Avignon; aquarelle.

DR-1951-a9, Bateaux à Chioggia; aquarelle.

DR-1951-a10, Prison de Melun; aquarelle.

DR-1951-a11, Entrée du vieux port à Marseille; aquarelle.

DR-1951-a12, Barques en Méditerranée; aquarelle.

DR-1951-a13, Cloitre de Sta Maria Novella (Florence); aquarelle.

DR-1951-a14, Fontaine du Nettuno (Florence); aquarelle.

DR-1951-a15, Fleurs; aquarelle.

DR-1951-a16, Bords du Cher; aquarelle.

DR-1951-a17, Venise (Murano); aquarelle.

DR-1951-a18, Arbres; aquarelle.

DR-1951-a19, La Seine; aquarelle.

DR-1951-a20, Le Colleone (Venise); aquarelle.

DR-1951-a21, Bateaux à Venise; aquarelle.

DR-1951-a22, Jardins au Mée; aquarelle.

DR-1951-a23, Moulin en Touraine; aquarelle.

DR-1951-a24, Moulin en Touraine; aquarelle.

DR-1951-a25, Château des Papes à Avignon; aquarelle.

DR-1951-a26, Bateaux au Portrieux; aquarelle.

DR-1951-a27, Tanagra; aquarelle.
Tanagra could refer to a town in Greece, but probably it referred to ancient Greece terracotta statues from this town (iR3); (pictures: iR6). Compare: expo-1933-91, Statuette de Tanagra; aquarelle.

DR-1951-a28, Arbres dans la prairie; aquarelle.

DR-1951-a29, Maisons sur la lagune à Venise; aquarelle.

DR-1951-a30, Brouillard sur la Seine à Melun; aquarelle.

DR-1951-a31, Pont d’Avignon; aquarelle.

DR-1951-a32, Vue de Venise; aquarelle.

DR-1951-a33, Bois sous la neige; aquarelle.

DR-1951-a34, Bateaux en Méditerranée; aquarelle.

DR-1951-a35, Jardins au Mée; aquarelle.

DR-1951-a36, Maisons dans les arbres; aquarelle.

DR-1951-a37, Rue à Luz; aquarelle.

DR-1951-a38, Intérieur d’église, sépia.

DR-1951-a39, Sur la terrasse au Mée, dessin.

DR-1951-a40, Vue de Venise, eau-forte.

 

 

 

Recommanded citation: “Impressionism: Henri Rouart, an account of his exhibited works. Last modified 2026/03/09.  https://www.impressionism.nl/rouart-account/.”