Rouart account

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. 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. 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. 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.)

 

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 (R87,p253); Moffett (R2,p122), who doesn’t give a single suggestion; Berson (R90II,p12+13), who leaves all the works unidentified; Rey (R92).

General reviews:
There were reviews by Burty (2), E.C., Chesnau, Drumont, Lepelletier, Leroy, de Lora, de Montifaud, Prouvaire, la République française.  (R87,p253;R90I,p9-43;R90II,p12+13)
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)
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)

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 1885ca, Sbr, Landscape with Farm, Brittany, 66×92, private Gallery London (iR13). The review of De Montifaud could apply to this work. He 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.

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). Compare: 18xx, Sbr~ HR~, Riverlandscape with fishermen in a boat, 22×27, A2009/03/28 (aR11;iR64;iR1) = option for: SdR1873-303: Souvenir de Bretagne (arrière automne).

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). 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 also was exhibited under this number, so does Rey, referring to the review of Leroy (R92,no12) and so does Joconde (iR23). When I compare this painting with the Leroy review, there is ‘something in the waters’ missing. The colours also are quite bright, whereas many impressionists used often more subdued tones in 1874. Others render this work as an option for 5IE-1880-182; so will I. 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), see above. Compare: 18xx, 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. Maybe HR4.2 gives an impression.

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 1874-148. 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). Compare: 18xx, xx (Farm, hillside, field) etch, xx, Nm Warsaw (aR20), an etch that partly matches the review of De Montifaud. Compare also: 18xx, Sbr, The apple trees at La Queue-en-Brie (Chemin de la Pompe), 21×35, A2020/12/19 (aR38;iR11;iR10;R2,p122).

1IE-1874-154, Route bretonne , aquarelle
153 + 154: Eng.: a road in Brittany; 154 being a water-colour. Berson refers to reviews of Drumont, de Montifaud, Lepelletier, de Lora, which more probably refer to no.148 (R90II,p13). See for the rest no.153.

1IE-1874-155, Maisons béarnaises , aquarelle
1IE-1874-156, Maisons béarnaises , aquarelle
155 + 156: Eng.: houses from Béarn; both indicated as water-colours. 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 refers to the Pyrenees, because Rouart made many works there. I render to compare an etch: 18xx, xx (Farm, hillside, field) etch, xx, Nm Warsaw (aR20). 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). Maybe: 18xx, xx (Two people in a wood), etch, xx, Nm Warsaw (aR20;R2,p122). Compare also: 18xx, xx (Farm, hillside, field) etch, xx, Nm Warsaw (aR20); and: 1879-1901, View on the lighthouse of Collioure, etch, ?cm, xx (aR20;R2,p122).

 

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).

General reviews:
There was just one review of Porcheron, referring to no.231 (R90I,p53-113).

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). Maybe: 18xx, Sbr, Paysanne dans les champs (peasant woman in the fields), 50×62, Marmottan (aR21;aR20;R92,no32;M2). Compare also: 18xx, Landscape at la Queue-en-Brie, 38×46, ?? (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). Compare: 1880ca, Farm buildings at the entrance to the Queue-en-Brie estate, ?cm, xx (iR6;aR20;iR64); and: 18xx, S-, Small tree in front of the house at La Queue-en-Brie, 37×44, private (iR10;iR132;aR33;R92,no22). Compair no.234 Manoir de Graffard.

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

2IE-1876-230, Bords de l’Indre
Eng.: the shore of the Indre; Indre is a department in central France named after the river Indre (see); did Rouart went here on a holiday? He also draw Crozant (see 4IE-1879-225) which lies along the Indre. He also painted ‘bords de Sédelle’ (see 2IE-1876-230) which is more to the south. And ‘bords de Loir’ (see 4IE-1879-209). Berson omits no.230, which means there were no reviews (R90II,p45). Maybe this is now known as ‘landscape with bathers’ (151×181) soled at auction in 2011/09/01 (?), which should have been exhibited at this second exposition (see). Rouart exhibited another riverside: S1868-2182.

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). Maybe: 1860s or 1870s, Chemin au Mée, Melun (Road at Mée, near Melun), 78×53, private (aR6;iR64;R92,no9). Compare also: 1875ca?, Jardin (The steps of Les Fourneaux at Melun), drawing + wc, ?cm, ?? (aR4;aR20).

2IE-1876-232, Vue de Melun
Berson omits this work, which means there were no reviews (R90II,p45). Maybe: 1861-96ca, View on Melun, etch after painting, ?cm, A1912/12/09-hc (aR10,p136++), a picture from the 1912 catalogue, that has the same title. Compare 1IE-1874-150 and 5IE-1880-182. And also 4IE-1879-221 and S1870-2479. Note: Rey (wrongly) mentioned Rouart exhibited 3 views on Melun (R92,p131).

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.

2IE-1876-234, Manoir de Graffard (Encre de Chine)
Eng.: mansion of Graffard; See in a list of castles and mansions in Normandy. It lies in Barneville-Carteret, see. Maybe it is now called Manoir de Barneville, see. Berson omits this work, which means there were no reviews (R90II,p45). Compare: 18xx, La Busardière (property of general Mélodion), near Mans, dr+wc, xx, private (R92,p6). For more works made in Normandy see thematical overview.

2IE-1876-235, Dans un parc (sépia)
Eng.: in a park. Berson omits this work, which means there were no reviews (R90II,p45). Compare: 18xx, La Busardière (property of general Mélodion), near Mans, dr+wc, xx, private (R92,p6), maybe a sépia drawing.

2IE-1876-236, Chaumières
Eng.: a hut (covered with reed). Berson omits this work, which means there were no reviews (R90II,p45). Other huts see thematical overview.

 

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).

General reviews:
There were reviews of Bernadille, la Petite République française and Sébillot (R90I,p123-200). 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). Compare: 18xx, HR?, Paysage bucolique (rural landscape), 45×54, xx.

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 Bernadille talks about woman partakers, so maybe this indicates the portrait was of a woman. Maybe: 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 . Berson refers to the review in la Petite République française (who just mentioned the title) (R90II,p83). Maybe?: 18xx, Sbr, Sous-bois en Montagne, 60×75, private (R92,no40;R2,p206). See also 1IE-1874-155/6.

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). Compare: 1880-85ca, On the Fourneaux terrace at Melun, etch after painting, ?cm, A1912/12/09-hc (aR10,p136+;cpR92,no7).
HR3.4 ‘Sur la terrasse des Fourneaux, à Melun‘.

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: 18xx, HR?, Paysage bucolique (rural landscape), 45×54, xx.

 

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).

General reviews:
There were reviews of Besson, Havard and X (1879/05/10) (R90I,p209-256).
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.
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).

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, A20110316 (aR11;iR14;iR13;iR41). Nowadays this work has the same title. Invaluable (aR11) suggests it was exhibited in 1879 under this number 205. But what strikes me, is that the title changed several times during the last years. For the location see. See also 1IE-1874-155/6.

4IE-1879-206, Royat dans son nid
Eng.: Royat in his nest. (The meaning is not clear to me.) Berson refers to the reviews of Besson and X (1879/05/10) (R90II,p119), they both just mention it. Compare: 18xx, Waterfall at Royat, 92×76, private (aR21;R92,no41). This work was probably auctioned HD1912/12/09-275 (R45). For the location of Royat see , it lies in the middle of France close to Clermont-Ferrand. See also no.215.

4IE-1879-207, Un coin du château de Monaco
Eng.: a corner of the castle of Monaco. Berson omits this work, which means there were no reviews (R90II,p119). For the location in the French Riviera, see .

4IE-1879-208, Château de Fleury
For the (uncertain) location of this castle about 90km north-west of Paris see . Berson omits this work, which means there were no reviews (R90II,p119). Compare: 1891ca?, Sbr, The fortifications of Carcassonne, 60×73, private (R92,no37).

4IE-1879-209, Bords du Loir
The Loir is a river in the middle in France, streaming from east to west in Nantes, see for info. Berson omits this work, which means there were no reviews (R90II,p119). Maybe?: 18xx, S-, Landscape with bridge, 37×46, Marmottan (iR155;M2;aR34;aR2;aR21;aR20;R92,no33). Compare also: 1875-80ca, Sbr, Boats on the Seine near Rouen, 36×52, MPP Paris (iR308;aR4;aR9;iR6;R92,no35;M4). For other riversides see: 2IE-1876-230, 3IE-1877-206; 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). Compare: 18xx, Sbr, Paysanne dans les champs (peasant woman in the fields), 50×62, Marmottan (aR21;aR20;R92,no32;M2) = option for 2IE-1876-227.

4IE-1879-211, Au Bas-Bréau
Eng.: at Bas-Bréau. Bas-Bréau is a route in the forest Fontainebleau (see), but also a Hôtel (see location, see website). Berson omits this work, which means there were no reviews (R90II,p119). Maybe?: 18xx, Sbr, Village at the the edge of the forest (near Fontainebleau?), on wood, 40×50, private (R92,no31).

4IE-1879-212, Au vieux-Caire, Égypte
Eng.: At old Cairo, Egypt. For info on old Cairo see. For the location see. Berson omits this work, which means there were no reviews (R90II,p119). A source mentions Rouart has been in Egypt in 1869.

4IE-1879-213, A Boulac, Égypte
At Boulaq, Egypt. Boulac also is a quarter of Cairo (see). The museum of Egyptian antiquities is found at the border of this quarter (see). Berson omits this work, which means there were no reviews (R90II,p119).

4IE-1879-214, Château de Tour-Noël, (dessin)
This castle lies in the middle of France, about 20km north of Clermont-Ferrand (see). Compare: 1891ca?, Sbr, The fortifications of Carcassonne, 60×73, private (R92,no37).

4IE-1879-215, Royat, (dessin)
See also no.206.

4IE-1879-216, Chateldon, (dessin)
This municipality lies in the middle of France, about 20km north-east of Clermont-Ferrand (see).

4IE-1879-217, Château de Chateldon, (dessin)
For the location of the castle see . 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).

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.

4IE-1879-220, sous les Frênes, (dessin)
Eng.: under the ash trees. Compare: no.224. Compare: 18xx, Sewing lady under the big trees, 73×60, A2020/07/16 (iR13); and: 18xx, Sbr, Woman knitting in the garden at La Queue-en-Brie, 50×60, private (iR10;aR28;R92,no23;aR24); and: 1880ca, Mme Rouart reading in the garden, La Queue-en-Brie, 50×61, xx (iR64).

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.

4IE-1879-222, Cour de ferme, (dessin)
Eng.: farm yard. Maybe: 18??, unknown (road, farm), dr, ?cm, xx (aR20).

4IE-1879-223, Plaine de Brie, (dessin)
Eng.: the plain of Brie. Brie-Comte-Robert lies between Melun and La Queue-en-Brie (see). Compare: 18??, A girl with her petdog in a meadow (Enjoying the first days of spring), on panel, 25×35, A1999/02/09 + A2015/11/04 (aR19;aR13).

4IE-1879-224, Sous les châtaigniers (dessin)
Eng.: under the chestnut-tree. See no.220.

4IE-1879-225, Crozant (dessin)
Crozant is a town in the middle of France, see, along the Indres (see 2IE-1876-230), not far from the river Sédelle (see 3IE-1877-206).

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

No. 214-227: Berson mentions that Havard refers to drawings (R90II,p119). Compare HR19.1 as example of a drawing by Rouart.

 

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).

General reviews:
There were reviews of Flor, Havard, Mantz, un Passant, Silvestre (1880/05/01), Vachon and Véron (R90I,p265-322;R2,p333).
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. 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. A work that resembles this riview is: 18??, Sbr, unknown title (baigneuses), 66×82, ?? (aR20). Compare also 5IE-1881-133.

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) renders. 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). Rey also suggests that the child depicted is his daughter Hélène, but she was born in 1863 and looks much younger than 11 years old. Stilistic I think this work fits more in 1880, than in 1874, when many Impressionists, still used subdued colours and greyish shadows.

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, S-, Allee arboree (Road with trees), 30×45, xx (aR17). Compare 8IE-1886-141, étude.

5IE-1880-184, Belchenia, Pyrénées
I only could found a bed and breakfast called Belchenia, close to the Pyrenees, about 9km east of Ciboure (see). Berson omits this work, which means there were no reviews (R90II,p156). See also 1IE-1874-155/6.

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. Maybe: 1883, The Canal at Venice, wc, 16×26, DAG Louvre (M5a;iR23). Compare: 18xx, View on Venice, dr, xx, DAG Louvre (iR127;iR64;M5a); and: 1880ca, The church of San Michele in Isola, near Venice, 73×92, private (iR10;iR132;aR20;R92,no39); and: 1880ca, The church of San Michele in Isola, near Venice, 73×92, private (iR10;iR132;aR20;R92,no39). See also 8IE-1886-152-163.

 

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).

General reviews:
There was just one review by Silvestre (1881/04/11) (R90I,p329-374)

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.

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: HR8.5 ‘a view of a southern town with pine trees‘.

6IE-1881-127, Entrée du port de Portrieux
Eng.: entrance of the harbour in Portrieux. See location. Berson omits this work, which means there were no reviews (R90II,p187). See also no.134. Compare: 1879-1901ca, S-, View on (the lighthouse of) Collioure, 58×72, private (iR64;aR21;R92,no36). For Brittany see 1874-148.

6IE-1881-128, Environs de Pau
Eng.: Surroundings of Pau. Berson omits this work, which means there were no reviews (R90II,p187). For Pau near the Pyrenees see 4IE-1879-219. Other pictures from the Pyrenees see 1IE-1874-155/6.

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. Maybe HR4.5 .

6IE-1881-130, Près d’Antibes
Eng.: Close to Antibes. Berson omits this work, which means there were no reviews (R90II,p187). Maybe?: 1883(?), A view of a southern town with pine trees, 27×54, A2004/12/21 (aR16;aR18;iR14;iR6). See also no.126.

6IE-1881-131, Port d’Antibes
Eng.: the harbour of Antibes. Berson omits this work, which means there were no reviews (R90II,p187). See also no.126. Compare: 1879-1901ca, S-, View on (the lighthouse of) Collioure, 58×72, private (iR64;aR21;R92,no36). For the location see.

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, ). 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). 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.

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. See also 5IE-1880-181 ‘paysage’.

6IE-1881-134, Portrieux
Portrieux is a harbour town in the north of Brittany (see). Berson omits this work, which means there were no reviews (R90II,p187). See also 6IE-1881-127. For Brittany see 1IE-1874-148.

6IE-1881-135, Saint-Jean-de-Luz
Saint-Jean-de-Luz is a harbour town close to the Pyrenees (see). Berson omits this work, which means there were no reviews (R90II,p187).

6IE-1881-136, Bateau à sables, Antibes
Eng.: boats in the sand, Antibes. Berson omits this work, which means there were no reviews (R90II,p187). For Antibes see no.126.

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.

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.

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. For info in french see. Berson omits this work, which means there were no reviews (R90II,p187).

 

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).

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).
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…
Eng.: interior. Berson omits this work, which means there were no reviews (R90II,p251). Rouart made some interiors which I render as options:
Compare HR2.1 ‘Intérieur de la Queue-en-Brie‘

8IE-1886-140, Lisière de bois
Eng.: the border of the wood. Berson refers to a review of Fèvre (R90II,p251), see above. 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.

8IE-1886-141, Pyrénées
See other pictures made in the Pyrenees 1IE-1874-155/6. Berson refers to a review of Fèvre (R90II,p251).

8IE-1886-142, Étude; appartient à M…
Eng.: Study. Berson omits this work, which means there were no reviews (R90II,p251). Compare 5IE-1880-183. Compare: 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. Berson refers to reviews of Fèvre, Fouquier, Geffroy, H., Havard, Hennequin, Moniteur des arts, who refer in general to watercolours (R90II,p251). Compare: 1875ca, Sbl, Massif de fleurs, 51×61, private (aR6;R92,no29), which is not a watercolour. Compare no.145, also made in Blois. Compare also no.149+150, which are also garden / parc views.

8IE-1886-144, Château du Moulin, Sologne; (aquarelle) ; appartient à M…
The castle lies in the middle of France (see). 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). I couldn’t find a suggestion.

8IE-1886-145, Porte du château de Blois; (aquarelle)
Eng.: door of the castle of Blois. 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). Compare no.143.

8IE-1886-146, Ruines de Bury; (aquarelle) ; appartient à M…
Eng.: the ruins of Bury. Bury lies about 50km north of Paris, see. I couldn’t find information about ruins in Bury, see. 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 suggestion.

8IE-1886-147, Village de Moulineux; (aquarelle)
Eng.: the village of Moulineux, about 50km south of Paris (see). 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 suggestion.

8IE-1886-148, Belle-Croix; (aquarelle)
It is unclear what it means, maybe a chapelle. 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 suggestion.

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)
For the location near the Pyrenees see. Berson refers to reviews of Fèvre, Fouquier, Geffroy, H., Havard, Hennequin, Moniteur des arts, who refer in general to watercolours (R90II,p251). Compare the garden of no.143 and the parc of no.149. Compare: 1880-90ca, Elegant woman in a park, on panel, 73×92, A2020/06/04 (iR6;iR15), which is not a watercolour and made in La Queue-en-Brie. See also 4IE-1879-219; 6IE-1881-128, which also are made in Pau. Other pictures from the Pyrenees see 1IE-1874-155/6.

8IE-1886-151, A Jurançon (aquarelle)
Jurancon lies just south of Pau, more towards the Pyrenees (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 made (probably) in the Pyrenees: 18xx, S-, Landscape in the Pyrenees (Pays Basque?), 42×60, private (R92,no38;R2,p446). For other pictures from the Pyrenees see 1IE-1874-155/6.

8IE-1886-152, Place de Jurançon; (aquarelle)
Eng.: square at Jurancon. Compare: 18xx, xx (village, square, mountains), etch, xx, Nm Warsaw (aR20), an etch which also represents a square. See no.151, also made in Jurançon.

8IE-1886-153, Fondamenta Nuove, Venise; (aquarelle)
For the location near the water see. For general information about Venice see. Compare: 1883, Quay in a port, at ebb tide (Venice), wc, 24×29, DAG Louvre (M5a;iR23;iR64), which also is a quay, but it looks different than the Fondamenta Nuove. See also 5IR-1880-185-192. Berson refers to reviews of Fèvre, Fouquier, Geffroy, H., Havard, Hennequin, Moniteur des arts, who refer in general to watercolours (R90II,p251).

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). I couldn’t find a suggestion.

8IE-1886-155, Palli, Venise; (aquarelle)
The meaning is unclear, but maybe it are the poles on which the boats are attached and also spelled as ‘pali’ (R23,p143) means. Berson refers to reviews of Fèvre, Fouquier, Geffroy, H., Havard, Hennequin, Moniteur des arts, who refer in general to watercolours (R90II,p251). Compare: 18xx, Canal at Venice, dr, xx, DAG Louvre (iR127;iR64;M5a), a drawing which also depicts the ‘pali’.

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 suggestion.

8IE-1886-157, Giudecca, Venise; (aquarelle)
For the location of this island see. See also no.160. 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 suggestion.

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), which 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). I couldn’t find a suggestion.

8IE-1886-160, Un soir dans la Giudecca, Venise; (aquarelle)
Eng.: An evening in the Giudecca, Venice. See also no.157. Berson refers to reviews of Fèvre, Fouquier, Geffroy, H., Havard, Hennequin, Moniteur des arts, who refer in general to watercolours (R90II,p251). Maybe?: 18xx (1875-76ca), Venice, wc, 10×16, Marmottan (iR155;M2;iR6;aR3), a work that depicts a twilight.

8IE-1886-161, Pont St-Zanni et Paolo, Venise; (aquarelle)
Eng.: Bridge of Saint-Zanni and Paolo, Venice. I can’t make out which two bridges are meant. 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). Compare the bridge suggested for 5IE-1880-185-192.

8IE-1886-162, Dans la Giudecca, Venise; (aquarelle)
Eng.: In the Giudecca, Venice. See no.157. 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 suggestion.

8IE-1886-163, A Murano, Venise; (aquarelle) ; appartient à M…
For the location of this island see. 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).

8IE-1886-164, Maison des Morets, Mans; (aquarelle)
Eng.: the house of the Morets, Le Mans (see). 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 suggestion.

8IE-1886-165, La grabaterie, Mans; (aquarelle)
Eng., the meaning is uncertain, maybe: the (poor) bed, Mans. 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). I couldn’t find a suggestion.

 

 

Henri Rouart at the Salon:

My main source is aR1. Henri Rouart exhibited at the Salon in 1868, 1869, 1870 and 1872. In 1873 he was refused at exhibited at the Salon des Réfusés. 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 exhibits at the Salon / SNBA. So there is no indication, neither in other sources that Rouart after joining the ‘impressionist’ expositions 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)

S1868-2182, Bords de la Voïse
Eng.: at the boarders of the Voïse. For info of this river see. Maybe?: 18xx, Bord de rivière à la campagne, 50×65, A2005/12/16 (aR13). For other riversides see 2IE-1876-230, 3IE-1877-206, 4IE-1879-209. See also the thematical overview under riverviews.


1869:

S1869-2069, Chaumière au milieu des arbres, en Bretagne
Eng.: huts (with reed) in the middle of trees, in Brittany. See for Brittany 1IE-1874-148. See for other huts 2IE-1876-236, 6IE-1881-129. 

1870:

S1870-2479, L’île de Melun
Eng.: The island of Melun. Compare: 1868-96 (1880), Sbr, Le pont de Melun, 47×58, private (iR6;iR10;iR166;iR8;R92,no10). See also 1IE-1874-150.

S1870-2480, Rue de village
Eng.: Village road. A very general title which makes it hard to identify. Maybe?: 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
Maybe: 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.

1873 Salon des Réfusés:

SdR1873-303: Souvenir de Bretagne (arrière automne)
Eng.: a souvenir from Brittany (late autumn). (R92,p130) Maybe?: 18xx, Sbr~ HR~, Riverlandscape with fishermen in a boat, 22×27, A2009/03/28 (aR11;iR64;iR1). Note: Rey wrongly mentions that Rouart exhibited two landscapes (R92,p24). For other pictures from Brittany see 1IE-1874-148.

 

 

Recommanded citation: “Henri Rouart, an account of his exhibited works. Last modified 2023/08/11.  https://www.impressionism.nl/rouart-account/.”