Meta-Impressionism / Salons

Salon des Indépendants

1884 onwards

Introduction:
The Salons des Indépendants also were independant group exhibitions, just like the 8 ‘impressionist’ expositions from 1874-86. The Salon des Indépendants was much larger and lasted longer (even untill now). In some way they ‘stole’ the name ‘indépendants’ from the ‘impressionist’ expositions, who were more often called ‘indépendants’ then ‘impressionist’. The starting years 1884-86 were more irregular, but 1887 onwards the Salon des Indépendants was (almost) yearly organised. In the early years these exhibitions were an important vehical for Néo-Impressionist painters. Several ‘impressionists’ also joined these exhibitions. Paul Signac was one of the most important supporting members and exhibited from 1884-1936.

Salon des Indépendants; the starting years, 1884-86:
In the Spring of 1884 artists, of which ‘hundreds’ had been rejected for the Salon de la Société des Artistes Français (R2,p24;aR10), decided to form the ‘Groupe des Artistes Indépendants’ and organize their own independant exhibition. It started 1884/05/15 in Barrack B. in the Cour des Tuileries in Paris and closed the 30th of June (or the 1st of July; aR10). There were fights between the partaking artists. (R5,p139;R2,p24;R39,p40-42+325;R40,p93;aR3=iR387;aR4=iR40). H. Stupfler was president of the committee; there also was a ‘commission de comtabilité et de control’ and a ‘commission de placement’; in the last committee Cross was a member but all other members are unknown to me (aR4=iR40;aR3=iR387). There were 402 participants, who had to pay 10 francs contribution and that were aloud to exhibit a maximum of 2 art-works per genre, being painting, sculptures, drawings and etchings. The number of exhibited works varied from 1 till 7 with an average of 3. So there were about 1200 works exhibited. (aR4=iR40).

Albert Dubois-Pillet (1845-90): 1881, Dead child, xx, Musée Crozatier Le Puy-en-Velay (iR6;iR94;R9,p254;R235/R286) =GdAI-1884/05-32-3, L'Enfant mort — Albert Dubois-Pillet (1845-90): 1881, Dead child, xx, Musée Crozatier Le Puy-en-Velay (iR6;iR94;R9,p254;R235/R286) =GdAI-1884/05-32-3, L’Enfant mort

Paul Signac: 1884, CR61, opus 66, La Seine, Quai d'Austerlitz (soleil), 60x91, private Tokyo (iR135;iR10;R39,p74;R106,no61) =GdAI-1884/05-71 — Paul Signac: 1884, CR61, opus 66, La Seine, Quai d’Austerlitz (soleil), 60×91, private Tokyo (iR135;iR10;R39,p74;R106,no61) =GdAI-1884/05-71

Some rather tumultuous meetings took place, so a selection of the Groupe des Artistes Indépendants decided to part the ‘Groupe’ and founded the ‘Société des artistes indépendants’. This was 1884/06/11 as also mentioned in the 1892 + 1934 catalogues (aR10;iR40;R5,p140; some sources (wrongly) write this was 1884/07/29; aR3=iR387). Redon was president of the founding committee (aR10). Co-founders/members were (again) Schuffenecker, Seurat, Signac and also Guillaumin. Other co-founders / members were Néo-Impressionists like: Angrand; Cross; Dubois-Pillet; and also Henri-Laurant Jaudin (1851-1929/11/23), Auguste-André Lançon (1836-86), Arsène Séguin (?-1923/03/24), Louis Serendat de Belzim; Mlle Louise Landré. (aR10;R5,p140;R39,p41+299+695;R2,p422;R40,p93). The declaration of the Société was: ‘based on the principle of the abolition of admission juries, aims to allow artists to present their work freely to the judgement of the public; no jury, no awards (aR10;R5,p140;R39,p41). Still, sometimes works were rejected, there even was a selection committee (R39,p317+318).
The exhibitions of the Salon des Indépendants would become a catalysor for the Néo-Impressionist movement (R39,p41). Later on the exhibitions also were important for Fauvists and Cubists (R3,p694). The members held regular ‘Dîners du Rouge et du Bleu’ (R39,p41).
Jean Monneret in his articles presents these artists as refused by the Salon, “the only exhibiting Salon” and the “only one chance to make yourself known”. Describing it as a period with just “a few art-galleries”. (aR2=iR387) This denies the regional exhibitions, the upcoming international exhibitions and the various art-galleries that invested in avant-garde art.
Their first exhibition was held from 1884/12/10 till 1885/01/17. The inauguration was the 1st of December (aR3=iR387). The exhibition was at the Pavillon polychrome de la Ville de Paris, near the Palais de l’Industrie (now the Petit Palais) on the Champs-Élysées (R39,p41;aR3=iR387;aR10). It was also called “Salon d’hiver” and it included painters, sculpteurs, architects, engravers and draughtsmen (aR3=iR387). It was held as a benefit for the victims of cholera (aR10;R39,p299). Guinard (some say Redon) was the chairman and Dubois-Pillet the organizer. (R229,p67;R5,p140;R3;R39,p325;aR3=iR387;R3,p655).
1885/05/10 – 06/15 there was an exhibition of a rivalry groupe at the Tuileries (R358,p214).
The second exhibition, that was first postponed, was held from 1886/08/21 till 1886/09/21 in Building B near the Pavillon de Flore, rue des Tuileries. Denvier (wrongly) writes it opened the 3th of August. (R3;R5,p150;R39,p42+300). At the same time in another part of the building the Groupe des Artistes Indépendants held an exhibition (later on the Groupe would disappear (aR10,p11).
1887 onwards the Salon des Indépendants, or in full ‘Exposition de la Société des artistes indépendants’, became a yearly exhibition, except for 1915-19 + 1922 (R3;R39,p325/6;R106,p419-421). Even nowadays there is a Salon des Indépendants (aR2). The number of participants varied from 1884-1914 from 55 in 1900 till 1388 in 1911, with an average of 497. The number of catalogue entries varied from 165 in 1900 till 6745 in 1911, with an average of 2210. In the 1880s the numbers of partakers and catalogue entries were far below this average, from 1905-1914 it was far above this average (R229,p65+66;R39,p45). 1923/03/30 the Société was officially recognised as a ‘public benefit’ (aR10,p12+20). Still, in 1934 they coquetted with the term ‘refusé’ placing the independant art, that of the refused (from Corot till Seurat) opposite that of the academique art, the official art of the École des Beaux-Arts (aR10,p12). Even the Société National des Beaux-Arts was seen as ‘an attempt of liberalism that only created new tyrants’ (aR10,p13) Since 1903 there was competition with the Salon d’Automne (R39,p45). But the Salon d’Automne also helped to finally defeat the academic art (aR10,p14).

The name ‘Indépendants’:
You could say that the ‘Salon des Indépendants’ ‘stole’ the term ‘Indépendants’ from the Impressionists who called their expositions that way in 1882 and more or less in 1881, 1880 and 1879. Thus leaving the Impressionists with the term ‘impressionists’ whereas the term ‘Intransigeants’ already had faded out, see. Still in 1886 they represented themselves with the neutral term ‘8e exposition de…’.)
Note: Already in 1847 several Barbizon painters formed a Salon Indépendants (R290,p53).

Active members of the Salon des Indépendants:
Alfred-André Guinard was the president in 1884+85. Redon was vice-president in 1884 (though some claim he was the first chairman). Dubois-Pillet made the statutes and was vice-president from 1884-90. Lobstein indicates that M.-E. Honer was president in 1886-1888 (R229,p67), the 1934 catalogue indicates Honer was secretary in 1884, but doesn’t indicate who was the president from 1886-88. (Note: was this the same as Marie Edmond Honer?, a woman who at least exhibited in May 1884; iR40). Valton (Edmond Eugène) was president from 1889 till 1908, in 1909+10 he was honorary president. Signac was president from 1909-34 and had been vice-president in 1899 and from 1901-08. Luce was president from 1934-41 and had been vice-president from 1909-33 (aR10;aR3=iR387;R3,p694;R39,p41;R229,p67). But according to the 1934 catalogue Paul Chabas was president that year (aR10). Other vice-presidents were: Lechat (?-1890) in 1889, Tessier (in 1889+91), Davrigny (?-1910) from 1889-1903 (except in 1893), Cross in 1891, Travers (?-1897) from 1893-95, Pozier from 1896-98, Piet in 1905+06, de Gauteri in 1900+01, Paviot from 1907-14, Deltombe in 1914, L.A. Moreau from 1920-24, Léveillé (1925-34). Other secretaries were: Jaudin (in 1884), Perrot (in 1889), Contrepoid (?-1899) from 1889-96, Goubot (?-1897) from 1889-97, Ottoz in 1898, Séguin from 1899-1914, Hélis from 1901-03, Matisse in 1904, Paviot in 1906, Deltombe from 1908-13, Igounet de Villers from 1920-34, Jacquemot (1920-26), Carlos Reymond in 1920 + from 1926-34. Treasurers were Serendat de Belzim (?-1933) from 1889-98, Lescaffette in 1899, Morin in 1900, Ottoz in 1901, de la Rouchefoucauld in 1902, Boisgontier in 1903, Périnet from 1904-14, Léveillé (1920-23), Schreiber (1923-34). (aR10)

The Impressionists at the Salon des Indépendants:
The following partakers of the ‘impressionist’ expositions also joined the expositions of the Salon des Indépendants (SdI). I include the preceding exhibition of the Groupe des Artistes Independants in May 1884 (=GdI-1884/05). Note that artists that first joined the Salon des Indépendants, later joined for the first time at the 8th and last ‘impressionist’ exposition in 1886 (from the 15th of May till the 15th of June). These artists were: Redon, Schuffenecker, Seurat and Signac. Signac was often an important organiser, namely the retrospectives of Seurat in 1891 and Van Gogh in 1905 and a major retrospective in 1926; he had been member of the board, vice president and from 1934-41 he was the chairman (R39,p41+46+299). He would exhibit every exhibition from 1884-1935; in 1936 there was a posthumous exhibiton held for him (R106,p419-421). Gauguin (1889/06/10) refused to exhibit with ‘200 nobodies’ (R39,p42+48).

Well known partakers of the Salon des Indépendants:
Here below you will find an overview of what ‘impressionists’ joined the Salon des Indépendants and an overview of the most well known participants per year. Some of the participants were: Bracque (Georges), Chagall (Marc), De Chirico (Giorgio), Derain, Dunoyer de Segonzac (André), Gleizes (Albert), Goerg (Édouard-Joseph), Kupka (Frantisek), Léger (Fernand), Lhote (André), Marquet (Albert), Matisse. And also amateur painters like: Manet (Julie), Jacob (Max), Jamot (Paul), Van Ryssel (Paul = Dr. Paul Gachet).
The 1934 catalogue mentioned as famous participants: Cézanne, Redon, Seurat, Cross, Van Gogh, Toulouse-Lautrec, Guillaumin, Luce, Angrand, Bonnard, Vuillard, Roussel, Valtat, Sérusier, Denis, Valloton, Rouault, Mme Cousturier, Marquet, Matisse, De Segonzac, De la Fresnaye (aR10,p14).

The Salon des Indépendants per year:
Here you will find an overview of the well known partakers of the Salon des Indépendants and info on peculiarities per year from 1884-1936.

1884/05/15 – 06/30, exposition du Groupe des artistes indépendants (=GdAI-1884/05):
402 artists performed their works all having 1 catalogue number including 1-7 art-works. Note: the catalogue renders the artists in a none alphabetical order. Their were many women included. The exhibition included Lépine (2x), Redon (3 drawings + 6 lithographes), Schuffenecker (2x), Seurat (1x =Une baignade↓), and Signac (2 oils + 1 pastel), who would in 1886 join the 8th ‘impressionist’ exposition. Though several sources claim that Guillaumin joined this exhibition, he was not in the catalogue and this is not confirmed by Lobstein (R229). Other participents were Néo-Impressionists like: Angrand (2x), Cross (1x), Dubois-Pillet (3x; with large portraits); and Para-Impressionists like Arsène Gilles Séguin (2x), who would exhibited every year; and Post-Impressionists like Valtat (1x), Valton (2x). And also: Hubert de la Rochefoucault. In the 1934 catalogue Jaudin, Lauzet, Pata are (also) explicitly mentioned.

Paul Signac: 1884, CR58, opus 63, Rue Caulaincourt (Monmartre, à l'ami Cuvillier), 34x26, Carnavalet Paris (iR2;iR59;R39,no5;R106,no58;R3,p252;R16,p317;M8) =GdAI-1884/05 05-71 — Paul Signac: 1884, CR58, opus 63, Rue Caulaincourt (Monmartre, à l’ami Cuvillier), 34×26, Carnavalet Paris (iR2;iR59;R39,no5;R106,no58;R3,p252;R16,p317;M8) =GdAI-1884/05 05-71

Georges Seurat: 1883-84 (+1887), DR98 dH92, Bathing at Asnières, 201x300, NG London (iR6;iR2;R3,p254;R183,no98;R40,p93;R207,p122;M61) =GdAI-1884/05-261 =NY-AAG-1886-170 =8SdI-1892-1081 =RB1900-7 =21SdI-1905-4 — Georges Seurat: 1883-84 (+1887), DR98 dH92, Bathing at Asnières, 201×300, NG London (iR6;iR2;R3,p254;R183,no98;R40,p93;R207,p122;M61) =SdAF-1884-R =GdAI-1884/05-261 =NY-AAG-1886-170 =8SdI-1892-1081 =RB1900-7 =21SdI-1905-4

1884/12/10 – 1885/01/17, 1st exhibition (=1SdI-1884/12):
The catalogue rendered 104 partakers (1934: 103 partakers) and 280 numbers (R229,p65;aR10). Partakers were: Latouche (posthumously; 3x), Redon, Schuffenecker, Seurat (3x, including a study for La Grande Jatte↓) and Signac (4x), (R229;R5,p140;R3;R39,p325;R124,p565;) and also Neo-Impressionists like Angrand (2x), Cross (1x), Dubois-Pillet (7x); and Post-Impressionists like Valtat (aR3=iR387;R3,p655). Though several sources claim that Guillaumin joined this exhibition, he was not in the catalogue and this is not confirmed by Lobstein (R229), still the 1934 catalogue mentions him as founding member and having first exhibited in 1884 (aR10,p26).

Georges Seurat: 1884 (+188?), DR116 +dH131, Île de la Grande Jatte (study), 65x82, private (iR6;R3,p258;R183,no116;R229;iR283;iR19;R207,p122/3) =1SdI-1884/12-241 =NY-AAG-1886-112 =6XX-1889-2 — Georges Seurat: 1884 (+188?), DR116 +dH131, Île de la Grande Jatte (study), 65×82, private (iR6;R3,p258;R183,no116;R229;iR283;iR19;R207,p122/3) =1SdI-1884/12-241 =NY-AAG-1886-112 =6XX-1889-2

Paul Signac: 1884, CR80, opus 89, Rue de la Station, Asnières (à Mme Racine), 32x46, private (iRx;R106,no80) =1SdI-1884/12-251 =BJ1930-2 =PP1934-1 — Paul Signac: 1884, CR80, opus 89, Rue de la Station, Asnières (à Mme Racine), 32×46, private (iRx;R106,no80) =1SdI-1884/12-251 =BJ1930-2 =PP1934-1

1886/08/21 – 09/21, 2nd exhibition (=2SdI-1886):
The catalogue rendered 94 partakers and 404 numbers (R229,p65). Many Neo-Impressionists and Symbolists exhibited. Partakers were: Camille Pissarro?, Lucien Pissarro (10x), Redon, Seurat (10x, including La Grande Jatte↓) and Signac (10x); and also Neo-Impressionists like Angrand (6x), Cross (7x), Dubois-Pillet (10x), ; and also Post-Impressionists like Henri Rousseau (4x), and Van Gogh (Vincent). Henri Rousseau would go on exhibiting at the Salon des Indépendants. Adophe Albert started to exhibit (aR10). Signac was part of the hanging committee (R39,p301).

Georges Seurat: 8IE-1886-175, Un dimanche à la Grande-Jatte Now: 1884-86, DR139, A Sunday Afternoon 206x306, AI Chicago (iR2;R2,p420;R90II,p252+275;R207,p123;R183,no139) =2SdI-1886-353 =4XX-1887-1 =8SdI-1892-1082 =RB1900-18 — Georges Seurat: 8IE-1886-175, Un dimanche à la Grande-Jatte Now: 1884-86, DR139, A Sunday Afternoon 206×306, AI Chicago (iR2;R2,p420;R90II,p252+275;R207,p123;R183,no139) =2SdI-1886-353 =4XX-1887-1 =8SdI-1892-1082 =RB1900-18

Lucien Pissarro: 1886, CR9, The deaf womans house (La maison de la sourde / de L'Anglais), 58x72, Ashmolean Oxford (iR155;M66;iR11;aR3;aR4;R125,no9) =SdI-1886-311, La maison de la sourde — Lucien Pissarro: 1886, CR9, The deaf womans house (La maison de la sourde / de L’Anglais), 58×72, Ashmolean Oxford (iR155;M66;iR11;aR3;aR4;R125,no9) =SdI-1886-311, La maison de la sourde

Paul Signac: 1886, CR119, opus 133, Les Andelys, L'Île à Lucas, 66x44, private (iR10;iR64;R39,p123;R106,no119) =2SdI-1886-366 — Paul Signac: 1886, CR119, opus 133, Les Andelys, L’Île à Lucas, 66×44, private (iR10;iR64;R39,p123;R106,no119) =2SdI-1886-366

1887/03/26 -05/03, 3rd exhibition (=3SdI-1887):
The catalogue (= it’s supplement) rendered 102 partakers (1934: 105 partakers) and 489+5=494 numbers (R229,p65;aR10). Partakers were: Cordey (aR10), Lucien Pissarro (9x), Redon, Seurat (10x, several made in Honfleur↓ +12 studies), Signac (9 oils + 1 drawing); and Néo-Impressionists like: Angrand (4x), Cross (6x), Dubois-Pillet (10x), Gausson (7x), Luce (7x); and also Post-Impressionists like Maurin (10x), Henri Rousseau (3x), . Luce made his debut depicting fortifications of Paris (R56,p64; note: the titles doesn’t seem to affirm this suggestion; R229/1107/8).

Maximilien Luce (1858-1941): 1887, SDbr, Rue Championnet and Rue Damrémont, Montmartre (detail), xx, KMM Otterlo (HW;M72;R285,p1108) =!? 4SdI-1888-437, Terrain, rue Championnet.

Georges Seurat: 1886, DR162, Entrance to the Port of Honfleur, 54x64, Barnes Philadelphia (iR2;R207,p125;R183,no162;M25) =3SdI-1887-443 =9XX-1892-7 =8SdI-1892-1096 — Georges Seurat: 1886, DR162, Entrance to the Port of Honfleur, 54×64, Barnes Philadelphia (iR2;R207,p125;R183,no162;M25) =3SdI-1887-443 =9XX-1892-7 =8SdI-1892-1096

Lucien Pissarro: 1887, CR19, SDbl, Portrait of Georges Pissarro in Camille Pissarro's Studio, 64x80, Indianapolis MA (iR2;iR6;iR10;R125,no19;M165) =SdI-1887-366 — Lucien Pissarro: 1887, CR19, SDbl, Portrait of Georges Pissarro in Camille Pissarro’s Studio, 64×80, Indianapolis MA (iR2;iR6;iR10;R125,no19;M165) =SdI-1887-366

Paul Signac: 1886-87, CR136, opus 152, The dining room, 89x115, KMM Otterlo (iRx;R39,no24;R106,no136;M72) =3SdI-1887-449 =5XX-1888-1 — Paul Signac: 1886-87, CR136, opus 152, The dining room, 89×115, KMM Otterlo (iRx;R39,no24;R106,no136;M72) =3SdI-1887-449 =5XX-1888-1

1888/03/22 -05/03, 4th exhibition (=4SdI-1888):
The catalogue rendered 144 partakers and 692 numbers (R229,p65). One source mentions the exhibition lasted till the 3th of May (R306,p139). Partakers were: Lucien Pissarro (5x, including several studies), Seurat (10x: showing The models + Invitation to the Side-Show↓ + 8 drawings), Signac (10x); and Néo-Impressionists like: Angrand (3x), Cross (4x), Dubois-Pillet (10x), Gausson (9x), Luce (10x); and Post-Impressionists like Anquetin (8x), Maurin (10x), Henri Rousseau (10x), Séon (7x), Van Gogh (2x). Luce showed some portraits and some views of Montmartre.
(R40,p93;R56,p64;R306,p139).

Maximilien Luce (1858-1941): 1887, SDbr, Terrains à Montmartre, Rue Championnet, 46x81, KMM Otterlo (iR10;M72;R56,p65) =!? 4SdI-1888-437, Terrain, rue Championnet =XX-1889 Provenance: Camille Pissarro. — Maximilien Luce (1858-1941): 1887, SDbr, Terrains à Montmartre, Rue Championnet, 46×81, KMM Otterlo (iR10;M72;R56,p65) =!? 4SdI-1888-437, Terrain, rue Championnet =XX-1889 Provenance: Camille Pissarro.

Maximilien Luce (1858-1941): 1887 (1897), Paysage de Paris, 46x65, KMM Otterlo (iR10;M72;R56,p68;R306,no18) =!? 4SdI-1888-434, Paysage (vue de Montmartre) — Maximilien Luce (1858-1941): 1887 (1897), Paysage de Paris, 46×65, KMM Otterlo (iR10;M72;R56,p68;R306,no18) =!? 4SdI-1888-434, Paysage (vue de Montmartre)

Georges Seurat: 1887-88, DR181 dH187, La Parade de cirque (Circus Sideshow), 100x150, Metropolitan (iR6;R3,p300;R183,no181;R207,p87+126;M23) =4SdI-1888-614 =9XX-1892-10 =8SdI-1892-1084 =RB1900-32 =EU-New York-1940-366 — Georges Seurat: 1887-88, DR181 dH187, La Parade de cirque (Circus Sideshow), 100×150, Metropolitan (iR6;R3,p300;R183,no181;R207,p87+126;M23) =4SdI-1888-614 =9XX-1892-10 =8SdI-1892-1084 =RB1900-32 =EU-New York-1940-366

Paul Signac: 1887, CR155, opus 167, Collioure, les balancelles, 46x59, private (iR10;iR39;R106,no155) =5XX-1888-12 =4SdI-1888-632 =EIS-1891-103 — Paul Signac: 1887, CR155, opus 167, Collioure, les balancelles, 46×59, private (iR10;iR39;R106,no155) =5XX-1888-12 =4SdI-1888-632 =EIS-1891-103

1889/09/03 – 10/04: (=5SdI-1889):
The catalogue rendered 120 partakers and 280 numbers (R229,p65). Partakers were: Lucien Pissarro (2x), Seurat (3x) and Signac (3x); and Néo-Impressionists like: Dubois-Pillet (3x), Gausson (2x), Hayet (3x), Luce (3x) (Cross was absent); and Post-Impressionists like Anquetin (3x), Filiger (2x), Osbert (2x), Henri Rousseau (3x), Séon (1x), Toulouse-Lautrec (3x), Van Gogh (2x). Toulouse-Lautrec would go on exhibiting for many years.
(R56,p70)

Louis Hayet (1864-1940): 1888ca, Blue hill, 51x73, Josefowitz coll (iR10;iR388;R56,p70) =? 5SdI-1889-140, Paysage. — Louis Hayet (1864-1940): 1888ca, Blue hill, 51×73, Josefowitz coll (iR10;iR388;R56,p70) =? 5SdI-1889-140, Paysage.

Georges Seurat: 1888, DR187, Le Pont et les quais à Port-en-Bessin, 65x82, Minneapolis IA (iR6;iR11;R183,no187;R207,p128/9;M155) =6XX-1889-5 =5SdI-1889-243 =8SdI-1892-1099 — Georges Seurat: 1888, DR187, Le Pont et les quais à Port-en-Bessin, 65×82, Minneapolis IA (iR6;iR11;R183,no187;R207,p128/9;M155) =6XX-1889-5 =5SdI-1889-243 =8SdI-1892-1099

1890/03/20 – 04/27: (=6SdI-1890):
The catalogue rendered 170 partakers and 858 numbers (R229,p65). Partakers were: Guillaumin: (9x), Lucien Pissarro (3x), Seurat (10x, Le Chahut↓) Signac (10x); and Néo-Impressionists like: Angrand (7x), Cross (5x), Dubois-Pillet (8x), Gausson (2x), Luce (10x), Théo van Rysselberghe (7x; 4 portraits and 3 landscapes); and Post-Impressionists like Anquetin (1x), Bonnard, Filiger (4x), Monfreid (7x), Osbert (10x), Henri Rousseau (9x), Toulouse-Lautrec (2x), Van Gogh (10x). De la Villéon started to exhibit (aR10).
Review in Journal des Artistes 1890/04/06, p101/2 (iR40). Sources: R40,p94;R124,p565;R68,p116;.

Maximilien Luce (1858-1941): 1889-90, La Rue Mouffetard (detail), 80x64, Indianapolis MA (M165;iR10;iR7;R56,p66) =6SdI-1890-493, La rue Mouffetard — Maximilien Luce (1858-1941): 1889-90, La Rue Mouffetard (detail), 80×64, Indianapolis MA (M165;iR10;iR7;R56,p66) =6SdI-1890-493, La rue Mouffetard

Paul Signac: 1888-90, CR197, Opus 201, Sunday, 150x150, private (iR2;R39,no40;R106,no197) =6SdI-1890-736 — Paul Signac: 1888-90, CR197, Opus 201, Sunday, 150×150, private (iR2;R39,no40;R106,no197) =6SdI-1890-736

Lucien Pissarro: 1888, CR25, SDbl, Plain of Thierceville (detail), 51x66, A2011/05/04 (iR2;iR11;R56,p53;R125,no25) =SdI-1890-623 — Lucien Pissarro: 1888, CR25, SDbl, Plain of Thierceville (detail), 51×66, A2011/05/04 (iR2;iR11;R56,p53;R125,no25) =SdI-1890-623

Georges Seurat: 1889-90, DR199, Le Chahut (Singers), 169x141, KMM Otterlo (iR2;R183,no199;R207,p128;M72) =8SdI-1890-726 =8XX-1891-1 — Georges Seurat: 1889-90, DR199, Le Chahut (Singers), 169×141, KMM Otterlo (iR2;R183,no199;R207,p128;M72) =8SdI-1890-726 =8XX-1891-1

Armand Guillaumin: 1888ca, 2CR, Village, Île-de-France, 46x38, A2018/03/23 (iR14;iR2;R229,p807) =? 6SdI-1890-420, Cour à Janville — Armand Guillaumin: 1888ca, 2CR, Village, Île-de-France, 46×38, A2018/03/23 (iR14;iR2;R229,p807) =? 6SdI-1890-420, Cour à Janville

1891/03/20 – 04/27: (=7SdI-1891):
The catalogue rendered 229 partakers and 1254 numbers (R229,p65). Partakers were: Guillaumin (10x), Lucien Pissarro (9x, most coloured engravings on wood), Seurat (5x; The circus + 4x Gravelines↓), Signac (9x); and Néo-Impressionists like: Angrand (4x), Cross (4x), Gausson (10x), Luce (10x), Petitjean (2x), Théo van Rysselberghe (7x); and Para-Impressionists like Paul van Ryssel (10x); and Post-Impressionists like Anquetin (10x), Bernard (6x), Bonnard (9x), Denis (10x), Ibels (4x), Monfreid (6x), Osbert (10x), Henri Rousseau (9x), Toulouse-Lautrec (9x), Valloton (10x), . There also was a retrospective of Dubois-Pillet (67x) and Van Gogh (10x). The following artists started to exhibit: Léon-George Dufrénoy, Charles Guilloux, de la Rochefoucauld (aR10).
Review in Journal des Artistes 1891/04/12, p100 (iR40). Sources: R40,p94;R124,p565;R68,p119;R312,p61.

Armand Guillaumin: 1886-1900, Breton landscape (Vaches en repos), 73x100, DM Wellesley (USA) (iR8;R227,p807) =!? 7SdI-1891-647, Vaches au repos — Armand Guillaumin: 1886-1900, Breton landscape (Vaches en repos), 73×100, DM Wellesley (USA) (iR8;R227,p807) =!? 7SdI-1891-647, Vaches au repos

Théo van Rysselberghe (1862-1926): 1890, July before noon (family-in-the-orchard), 115x163, KMM Otterlo (iRx;R68,p110/1+120;R229,p1523;M72) =7XX-1890 =7SdI-1891-1211 — Théo van Rysselberghe (1862-1926): 1890, July before noon (family-in-the-orchard), 115×163, KMM Otterlo (iRx;R68,p110/1+120;R229,p1523;M72) =7XX-1890 =7SdI-1891-1211

Maximilien Luce (1858-1941): 1890ca, The Louvre and Pont du Carrousel, Night Effect, 65x81, private (iRx;R306,no11) =7SdI-1891-790, La Seine, effet de nuit — Maximilien Luce (1858-1941): 1890ca, The Louvre and Pont du Carrousel, Night Effect, 65×81, private (iRx;R306,no11) =7SdI-1891-790, La Seine, effet de nuit

Georges Seurat: 1890, DR203, The Channel at Gravelines, Evening, 65x82, MuMa Le Havre (iR6;iR8;R183,no203;M15) =8XX-1891-7 =7SdI-1891-1106 =Anvers-ApA-1892-6 =9XX-1892-17 =8SdI-1892-1107 =11LE-1904-150 -21SdI-1905-3 — Georges Seurat: 1890, DR203, The Channel at Gravelines, Evening, 65×82, MuMa Le Havre (iR6;iR8;R183,no203;M15) =8XX-1891-7 =7SdI-1891-1106 =Anvers-ApA-1892-6 =9XX-1892-17 =8SdI-1892-1107 =11LE-1904-150 -21SdI-1905-3

Paul Signac: 1890, CR211, opus 217, Portrait of Félix Fénéon (Sur l'émail d'un fond rythmique de mesures et d'angles, de tons et de teintes), 74x93, MoMa New York (iR2;R39,no51;R106,no211;R3,p321;M41) =7SdI-1891-1107 =8XX-1892-1 =GP1893-347 =PP1934-11 — Paul Signac: 1890, CR211, opus 217, Portrait of Félix Fénéon (Sur l’émail d’un fond rythmique de mesures et d’angles, de tons et de teintes), 74×93, MoMa New York (iR2;R39,no51;R106,no211;R3,p321;M41) =7SdI-1891-1107 =8XX-1892-1 =GP1893-347 =PP1934-11

Maurice Denis (1870-1943): 1889, SDbr, Catholic Mystery, 97x143, MDMD Saint-Germain-en-Laye (iR6;iR2;iR23;R285,p521;M214) Expo: 7SdI-1891-356, Mystère Catholic, 89-90. — Maurice Denis (1870-1943): 1889, SDbr, Catholic Mystery, 97×143, MDMD Saint-Germain-en-Laye (iR6;iR2;iR23;R285,p521;M214) Expo: 7SdI-1891-356, Mystère Catholic, 89-90.

1892/03/19 – 04/27, 8th exhibition (=8SdI-1892):
The catalogue rendered 260 partakers and 1232 numbers (R229,p65). Partakers were: Lucien Pissarro (4x), Signac (6 oils + 1 fan); and Néo-Impressionists like: Angrand (7x), Cross (7x), Gausson (10x), Luce (8x), Petitjean (4x), Théo van Rysselberghe (7x); and Para-Impressionists like d’Espagnat (4x), Paul van Ryssel (5x); and Post-Impressionists like Anquetin (10x), Bernard (9x), Bonnard (7x), Denis (10x), Ibels (10x), Monfreid (6x), Osbert (8x), Ranson (8x), Henri Rousseau (6x), Toulouse-Lautrec (7x). There was a posthumous retrospective of Seurat with 27 paintings, 9 studies and 10 drawings. Sources: (R56,p58;M73).

Maximilien Luce (1858-1941): 1889ca, Banks of the Seine at Herblay, sunset, 50x65, private (iRx;R306,no7) =!? 8SdI-1892-723 — Maximilien Luce (1858-1941): 1889ca, Banks of the Seine at Herblay, sunset, 50×65, private (iRx;R306,no7) =!? 8SdI-1892-723

Théo van Rysselberghe (1862-1926): 1891-92, Emile Verhaeren in His Study (rue du Moulin), 86x75, BRB Brussels (iRx;R68,p85+111;R229,p1523) =SdI-1892-1198 — Théo van Rysselberghe (1862-1926): 1891-92, Emile Verhaeren in His Study (rue du Moulin), 86×75, BRB Brussels (iRx;R68,p85+111;R229,p1523) =SdI-1892-1198

Georges Seurat: 1888, DR188, Port-en-Bessin, The outer harbour, high tide, 65x81, Orsay (iR2;iR6;R183,no188;R207,p129;M1) =6XX-1889-6 =6SdI-1890-730 =9XX-1892-12 =8SdI-1892-1100 RB1900-30 — Georges Seurat: 1888, DR188, Port-en-Bessin, The outer harbour, high tide, 65×81, Orsay (iR2;iR6;R183,no188;R207,p129;M1) =6XX-1889-6 =6SdI-1890-730 =9XX-1892-12 =8SdI-1892-1100 RB1900-30

Paul Signac: 1890, CR210, Herblay, coucher de soleil, éventail, 34x69, private (iR10;R106,no210) =8SdI-1892-1133 — Paul Signac: 1890, CR210, Herblay, coucher de soleil, éventail, 34×69, private (iR10;R106,no210) =8SdI-1892-1133

Émile Bernard (1868-1941): 1888, SDbl, Bord de mer en Bretagne, Saint-Briac, 70x91, MBA Brest (iR10;iR94;iR23;iR6;R285,p200;M213) Expo: =?? SdI-1892-105, La mer sauvage, St-Briac (1891). — Émile Bernard (1868-1941): 1888, SDbl, Bord de mer en Bretagne, Saint-Briac, 70×91, MBA Brest (iR10;iR94;iR23;iR6;R285,p200;M213) Expo: =?? SdI-1892-105, La mer sauvage, St-Briac (1891).

Émile Bernard (1868-1941): 1888/08, L114, SDbl, Breton Women in the Meadow (Le Pardon de Pont-Aven), 74x93, Orsay (M1;iR10;iR104;iR6;R181II,p458) Expo: =!? Volpini-1889-14, Les Bretonnes, Appartient à Mme Berthe; SdI-1892-98, Pardon à Pont-Aven (1888). Provenance: Arsène Alexandre; 1903ca Vollard; 1903+ Denis. — Émile Bernard (1868-1941): 1888/08, L114, SDbl, Breton Women in the Meadow (Le Pardon de Pont-Aven), 74×93, Orsay (M1;iR10;iR104;iR6;R181II,p458) Expo: =!? Volpini-1889-14, Les Bretonnes, Appartient à Mme Berthe; SdI-1892-98, Pardon à Pont-Aven (1888). Provenance: Arsène Alexandre; 1903ca Vollard; 1903+ Denis.

1893/03/18 – 04/27, 9th exhibition (=9SdI-1893):
The catalogue rendered 312 partakers and 1324 numbers (R229,p65). Partakers were: Attendu, Lucien Pissarro (5x), Signac (3x= 2 oils + 2 aquarelles); and Para-Impressionists like Agard, d’Espagnat (6x), Paul van Ryssel (5x); and Néo-Impressionists like: Angrand (6x), Cross (3x), Gausson (6x), Laugé (3x), Lebasque (6x), Luce (6x), Petitjean (2x), Théo van Rysselberghe (4x, 1 portrait + 3 landscapes;R68,p123); and Post-Impressionists like Anquetin (6x), Bonnard (4x), Denis (6x), Ibels (6x), Monfreid (5x), Osbert (6x), Ranson (4x), Henri Rousseau (5x), Toulouse-Lautrec (4x), Valloton (5x), Valtat (6x), . Agard exhibited 1893 onwards (R16,p62). The following artists started to exhibit: Paul Baignères, Gustave Loiseau, Félix Massoul (aR10).

Maximilien Luce (1858-1941): 1893, SDbr, The Port of Saint-Tropez, 74x91, private (iRx;R306,no15) =9SdI-1893-824 =11LE-1904-75 — Maximilien Luce (1858-1941): 1893, SDbr, The Port of Saint-Tropez, 74×91, private (iRx;R306,no15) =9SdI-1893-824 =11LE-1904-75

Paul Signac: 1892, CR232, Opus 237, Maisons du port (Saint-Tropez), 46x55, private (iR10;iR6;R39,no62;R106,no232) =9SdI-1893-1215 — Paul Signac: 1892, CR232, Opus 237, Maisons du port (Saint-Tropez), 46×55, private (iR10;iR6;R39,no62;R106,no232) =9SdI-1893-1215

Maurice Denis (1870-1943): 1893, Orchard of the wise virgins, 104x104, private (iR10;R298,no35) Expos: =9SdI-1893-365; =1LE-1904. — Maurice Denis (1870-1943): 1893, Orchard of the wise virgins, 104×104, private (iR10;R298,no35) Expos: =9SdI-1893-365; =1LE-1904.

Maurice Denis (1870-1943): 1891, Soir d'octobre (October Night), 38x61, Orsay (M1;iR2;iR10;R285,p521) Expos: 9XX-1892-5, Soir d'octobre; 8SdI-1892-355, Octobre. — Maurice Denis (1870-1943): 1891, Soir d’octobre (October Night), 38×61, Orsay (M1;iR2;iR10;R285,p521) Expos: 9XX-1892-5, Soir d’octobre; 8SdI-1892-355, Octobre.

1894/04/07 – 05/27 (=10SdI-1894):
The catalogue rendered 223 partakers and 823 numbers (R229,p65). Partakers were: Lucien Pissarro (5x), Signac (5x: 1 oil, 2 lithos, 2 aquarelles); and Néo-Impressionists like: Angrand (3x), Cross (1x), Gausson 4x), Laugé (5x), Lebasque (4x), Luce (4x), Petitjean (2x); and Para-Impressionists like d’Espagnat (5x); and Post-Impressionists like Denis (5x), Monfreid (4x), Osbert (1x), Henri Rousseau (4x), Toulouse-Lautrec (1x), Valtat (5x), . The following artists started to exhibit: Albert André (aR10).

Paul Signac: 1892, CR228, Opus 235, Portrait de ma mère (Héloïse Signac), 65x81, private (iR10;iR64;R106,no228) =10XX-1893 =Anvers ApA-1883 =1LE-1894-401 =10SdI-1894-766, Effigie — Paul Signac: 1892, CR228, Opus 235, Portrait de ma mère (Héloïse Signac), 65×81, private (iR10;iR64;R106,no228) =10XX-1893 =Anvers ApA-1883 =1LE-1894-401 =10SdI-1894-766, Effigie

1895/04/09 – 05/26 (=11SdI-1895):
The catalogue rendered 289 partakers and 1564 numbers (R229,p65). Partakers were: Signac (10x: 7 oils + 3 aquarelles); and Néo-Impressionists like: Angrand (7x), Cross (2x), Gausson (1x), Laugé, Lebasque (6x), Luce (7x), Petitjean (7x), Théo van Rysselberghe (1x); and Para-Impressionists like d’Espagnat (10x), Peské (3x); and Post-Impressionists like Lacombe (10x), Monfreid (5x), Osbert (8x), Henri Rousseau (10x), Sérusier (4x), Toulouse-Lautrec (4x), .

Paul Signac: 1893-95, CR253, In the time of Harmony (The Golden Age is not in the past, it Is still to come), 300x400, Townhall of Montreuil (iRx;R39,no75;R106,no253) =11SdI-1895-1401 =3LE-1896-389 =SdI-R-1926-2367 — Paul Signac: 1893-95, CR253, In the time of Harmony (The Golden Age is not in the past, it Is still to come), 300×400, Townhall of Montreuil (iRx;R39,no75;R106,no253) =11SdI-1895-1401 =3LE-1896-389 =SdI-R-1926-2367

1896/04/01 – 05/21 (or 31) (=12SdI-1896):
The 1924 + 1934 catalogue mentions it lasted till the 31th (aR10), Lobstein that it lasted till the 21th (R229,p65). The catalogue rendered 198 partakers and 1171 numbers (R229,p65). Partakers were: Signac (6x: 3 oils + 3 aquarelles); and Néo-Impressionists like: Cross (3x), Lebasque (5x), Luce (8x), Petitjean (6x); and Para-Impressionists like d’Espagnat (10x); and Post-Impressionists like Monfreid (3x), Henri Rousseau (10x), Valtat (10x Dans la baie); and foreign artists like Edvard Munch (10x). The following artists started to exhibit: Georges Barwolf (aR10).

Paul Signac: 1895, CR289, Woman in Pink, 81x65, private (iRx;R106,no289) =12SdI-1996-1061 — Paul Signac: 1895, CR289, Woman in Pink, 81×65, private (iRx;R106,no289) =12SdI-1996-1061

1897/04/03 – 05/31 (=13SdI-1897):
The catalogue (and it’s supplement) rendered 223 partakers and 1200+24=1224 numbers (R229,p65). Partakers were: Signac (10x: 4 oils, 5 aquarelles, 1 litho); and Néo-Impressionists like: Cross (8x), Luce (5 oils + 5 lithos); and Para-Impressionists like d’Espagnat (1x); and Post-Impressionists like Monfreid (1x), Henri Rousseau (10x), Toulouse-Lautrec (7x), Valtat (10x); and foreign artists like Edvard Munch (10x). The following artists started to exhibit: Henri Beau (aR10).

Paul Signac: 1895, CR281, Saint-Tropez, Fontaine des Lices, 65x81, private (iRx;R106,no281) =13SdI-1897-1092 =Berlin-1927-3 =BJ1930-131 — Paul Signac: 1895, CR281, Saint-Tropez, Fontaine des Lices, 65×81, private (iRx;R106,no281) =13SdI-1897-1092 =Berlin-1927-3 =BJ1930-131

1898/04/19 – 06/12 (=14SdI-1898)
The catalogue (and it’s supplement) rendered 194 partakers and 645+2=647 numbers (R229,p65). Partakers were: Signac (5x: 2 oils, 3 aquarelles); and Néo-Impressionists like: Cross (3x), Luce (5x); and Post-Impressionists like Henri Rousseau (5x), . The following artists started to exhibit: Henri Joly (aR10).

Paul Signac: 1896, CR293, Le Port de Volendam, 65x81, private (iR10;iR160;R106,no293) =14SdI-1998-574 =DR1899-115 =Druet-1911-9 =BJ1930-14 — Paul Signac: 1896, CR293, Le Port de Volendam, 65×81, private (iR10;iR160;R106,no293) =14SdI-1998-574 =DR1899-115 =Druet-1911-9 =BJ1930-14

1899/10/21 – 11/26 (=15SdI-1899)
The catalogue (and it’s supplemet) rendered 87 partakers and 193+10=203 numbers (R229,p65). Due to the Exposition Universelle of 1900, the Salon des Indépendants had to take refuge in a miserable small location at the Rue du Colisée (aR10,p11). Partakers were: Cézanne (3x; a landscape and 2 still lifes), Signac (1x); and Néo-Impressionists like: Cross (1x), Luce (2x); and Post-Impressionists like . The following artists started to exhibit: Berthe Zuricher (aR10).

Maximilien Luce (1858-1941): 1898, SDbr, Gisors Cathedral, view from Rue du Fossé-aux-Tanneurs, 92x73, private (iRx;R306,no21) =DR1899-103 (solo) =15SdI-1899-98 — Maximilien Luce (1858-1941): 1898, SDbr, Gisors Cathedral, view from Rue du Fossé-aux-Tanneurs, 92×73, private (iRx;R306,no21) =DR1899-103 (solo) =15SdI-1899-98

Paul Signac: 1898, CR324, Le vieux port, La Tour Saint-Jean (Marseille), 65x81, private (iR10;iR135;R106,no324) =15SdI-1899-171 =20LE-1913-227 =SdI-R-1926-2368 =BJ1930-17 — Paul Signac: 1898, CR324, Le vieux port, La Tour Saint-Jean (Marseille), 65×81, private (iR10;iR135;R106,no324) =15SdI-1899-171 =20LE-1913-227 =SdI-R-1926-2368 =BJ1930-17

1900/12/05 – 25 (=16SdI-1900)
The catalogue rendered just 55 partakers and 164 numbers (R229,p65). Due to the Exposition Universelle, the Salon des Indépendants had to take refuge in a miserable small location at the Rue du Colisée (aR10,p11). Partakers were: Signac (1x); and Néo-Impressionists like: Luce (2x) (note: Cross was absent); and Post-Impressionists like . The following artists started to exhibit: Jean Puy (aR10).

Paul Signac: 1897, CR314, Saint-Tropez, route de la foux, 65x81, Worcester AM (iR35;iR10;R106,no314;M221) =7LE1900-371 =16SdI-1900-157, La route du Golfe — Paul Signac: 1897, CR314, Saint-Tropez, route de la foux, 65×81, Worcester AM (iR35;iR10;R106,no314;M221) =7LE1900-371 =16SdI-1900-157, La route du Golfe

1901/04/20 – 05/21 (=17SdI-1901)
The catalogue (and it’s supplement) rendered 162 partakers and 1008+4=1012 numbers (R229,p66). Partakers were: Cézanne (2x), Signac (7x); and Néo-Impressionists like: Angrand (10x), Cross (10x), Lebasque (8x), Luce (7x), Petitjean (10x), Théo van Rysselberghe (1x); and Para-Impressionists like d’Espagnat (7x), Guérin (9x), Laprade (10x); and Post-Impressionists like Bonnard (9x), Denis (8x), Ibels (9x), Lacombe (6x), Ranson (7x), Henri Rousseau (7x), Roussel (3x), Sérusier (7x), Valloton (9x), Valtat (2x), Vuillard (9x); and Fauvists like Matisse (10x), Marquet. The following artists started to exhibit: Benoni-Auran, Bernard-Lemaire, Eugène Kissling, Charles Lacoste, Roux-Champion, Louis Soull’ard, Louis Sue (aR10).
In the Artist (vol.31; 1901/11/01) there was a review (iR19). The Salon was held in the conservatories of the Cours-la-Reine. The article states that 60% of the art-works were made by incapable artists. Six rooms of the Salon were taken up by the exhibition of the posthumous works of Count Le Marcis showing 28 very large oil paintings, illustrating Dante’s Inferno, Purgatorio, and Paradiso, and of some sketches for the canvases.

Paul Signac: 1897-99, CR336, The wrecker (Le démolisseur, panneau pour une Maison du Peuple), 250x152, Nancy MBA (iRx;R39,no88B;R106,no336;M218) =17SdI-1901-925 — Paul Signac: 1897-99, CR336, The wrecker (Le démolisseur, panneau pour une Maison du Peuple), 250×152, Nancy MBA (iRx;R39,no88B;R106,no336;M218) =17SdI-1901-925

1902/03/29 – 05/05 (=18SdI-1902)
The catalogue and it’s supplement rendered 276 partakers and 1819+5=1824 numbers (R229,p66). Partakers were: Cézanne (3x), Signac (8x: 6 oils, 2 aquarelles); and Néo-Impressionists like: Cross (10x), Lebasque (10x), Luce (9x), Petitjean (8x), Théo van Rysselberghe (8x); and Para-Impressionists like Guérin (10x), Laprade (10x); and Post-Impressionists like Bernard (10x), Bonnard (7x), Denis (10x), Ibels (10x), Ranson (9x), Henri Rousseau (10x), Roussel (10x), Valloton (8x), Valtat (2x), Vuillard (8x); and Fauvists like Matisse (6x).

Paul Cézanne: 3IE-1877-18, Nature morte. Option: 1877-79 (1873-77), V197=FWN745, The desert (Still life with bottle glass fruit and dessert), 59x73, Philadelphia MA (iR10;iR94;iR6;iR59;iR194,no745;R189,no197;R90II,p87;R2,p194;R48,no196;M28) =London-GG-1905-39, Dessert (1878); =18SdI-1902-321, Nature morte. — Paul Cézanne: 3IE-1877-18, Nature morte. Option: 1877-79 (1873-77), V197=FWN745, The desert (Still life with bottle glass fruit and dessert), 59×73, Philadelphia MA (iR10;iR94;iR6;iR59;iR194,no745;R189,no197;R90II,p87;R2,p194;R48,no196;M28) =London-GG-1905-39, Dessert (1878); =18SdI-1902-321, Nature morte.

Paul Signac: 1901, CR359, Saint Tropez, 131x162, Tokyo MAO (iRx;R39,no97;R106.no359) =18SdI-1902-1633 =11LE-1904-153 =BJ1907-17 — Paul Signac: 1901, CR359, Saint Tropez, 131×162, Tokyo MAO (iRx;R39,no97;R106.no359) =18SdI-1902-1633 =11LE-1904-153 =BJ1907-17

1903/03/20 – 04/25 (=19SdI-1903)
The catalogue rendered 394 partakers and 1462 numbers (R229,p66). Partakers were: Forain, Signac (7x); and Néo-Impressionists like: Angrand (3x), Cross (8x), Lebasque (8x), Luce (8x), Metzinger (7x), Petitjean (7x), Théo van Rysselberghe (5x); and Para-Impressionists like Guérin (8x), Laprade (2x), Murer (8x), Manzana Pissarro (7x), Ernest Rouart (3x), Paul van Ryssel (4x); and Post-Impressionists like Bonnard (6x), Denis (8x), Ibels (7x), Ranson (4x), Henri Rousseau (8x), Roussel (2x), Valloton (6x), Vuillard (2x); and Fauvists like Matisse (8x); and foreign artists like Edvard Munch (8x).

Paul Signac: 1901-02, CR363, Leaving the harbour of Saint-Tropez, 89x116, private (iR10;iR6;iR39;R106,no363) =? 19SdI-1903-2242 =11LE1904-155 =BJ1907-19 =PP1934-18 — Paul Signac: 1901-02, CR363, Leaving the harbour of Saint-Tropez, 89×116, private (iR10;iR6;iR39;R106,no363) =? 19SdI-1903-2242 =11LE1904-155 =BJ1907-19 =PP1934-18

Paul Signac: 1902, CR379, Sisteron, 89x117, private (iRx;R106,no379) =19SdI-1903-2240 =BJ1930-21 =47SdI-1936-3054 — Paul Signac: 1902, CR379, Sisteron, 89×117, private (iRx;R106,no379) =19SdI-1903-2240 =BJ1930-21 =47SdI-1936-3054

1904/02/21 – 03/24 (20SdI-1904)
The catalogue and it’s supplemnet rendered 406 partakers (1934: 466 partakers) and 2381+14=2395 numbers (R229,p66;aR10). Partakers were: Signac (5x); and Néo-Impressionists like: Cross (6x), Lebasque (6x), Luce (6x), Metzinger (6x), Petitjean (6x), Théo van Rysselberghe (2x); and Para-Impressionists like d’Espagnat (1x), Guérin (6x), Laprade (5x), Ludovic-Rodo Pissarro (3x), Ernest Rouart (1x), ; and Post-Impressionists like Bonnard (3x), Denis (6x), Ranson (4x), Henri Rousseau (4x), Roussel (3x), Sérusier (5x), Valloton (6x), Valtat (3x), Vuillard (2x); and Fauvists like Matisse (6x); and foreign artists like Edvard Munch (6x).

Paul Signac: 1904, CR413, Laguna, voile jaune (Venise), 73x92, Besançon MBAA (iR10;iR64;R106,no413) =BJ1930-24 =PP1934-20 =47SdI-1936-3071 — Paul Signac: 1904, CR413, Laguna, voile jaune (Venise), 73×92, Besançon MBAA (iR10;iR64;R106,no413) =BJ1930-24 =PP1934-20 =47SdI-1936-3071

1905/03/24 – 04/30 (21SdI-1905)
The catalogue and it’s supplement rendered 667 partakers and 4235+34=4269 numbers (R229,p66). There were 46 partakers showing 377 works. Vice-président: Signac. Président de placement: Henri Matisse (iR261). Partakers were: Cézanne (?), Schuffenecker (no.3723-7), Signac (7x: 3 oils, 4 aquarelles); and Néo-Impressionists like: Angrand (4x), Cross (1x), Lebasque (8x), Luce (1x), Metzinger (8x), Petitjean (7x), Théo van Rysselberghe (4x); and Para-Impressionists like Guérin (8x), Laprade (3x), Murer (4x), Ludovic-Rodo Pissarro (8x), Ernest Rouart (2x), Paul van Ryssel (3x) ; and Post-Impressionists like Bernard (1x), Bonnard (2x), Denis (8x), Lacombe (8x), Henri Rousseau (4x), Roussel (7x), Sérusier (6x), Valloton (1x), Valtat (3x), Vuillard (3x); and Fauvists like Matisse (8x); and foreign artists like Edvard Munch (8x). There also was a retrospective of Van Gogh with 45 works (seperate numbering) and of Seurat with 44 works (seperate numbering).

Maximilien Luce (1858-1941): 1903-05, SDbr, A Paris street in May 1871 (The Commune), 150x226, Orsay (iRx;R306,no49) =21SdI-1905-2565 =BJ1907-1 =36SdI-1926-1616 — Maximilien Luce (1858-1941): 1903-05, SDbr, A Paris street in May 1871 (The Commune), 150×226, Orsay (iRx;R306,no49) =21SdI-1905-2565 =BJ1907-1 =36SdI-1926-1616

Paul Signac: 1904, CR409, Brume rose, Isola di San Giorgio (Venise), 46x56, A2022/06/29 (iR10;iR14;R106,no409) =21SdI-1905-3771 — Paul Signac: 1904, CR409, Brume rose, Isola di San Giorgio (Venise), 46×56, A2022/06/29 (iR10;iR14;R106,no409) =21SdI-1905-3771

Georges Seurat: 1890, DR202, Gravelines, an evening, study, on wood, 16x25, MA Saint-Tropez (iR6;R183,no202;M219) =21SdI-1905-25 — Georges Seurat: 1890, DR202, Gravelines, an evening, study, on wood, 16×25, MA Saint-Tropez (iR6;R183,no202;M219) =21SdI-1905-25

Georges Seurat: 1888, DR184, Port-en-Bessin, The Outer Harbor (Low Tide), 54x66, Saint Louis AM (iR6;iR11;R356;R183,no184;R207,p128/9;M157) =6XX-1889-7 =6SdI-1890-729 =9XX-1892-13 =8SdI-1892-1101 =21SdI-1905-38 =SdI-R-1926-3219 — Georges Seurat: 1888, DR184, Port-en-Bessin, The Outer Harbor (Low Tide), 54×66, Saint Louis AM (iR6;iR11;R356;R183,no184;R207,p128/9;M157) =6XX-1889-7 =6SdI-1890-729 =9XX-1892-13 =8SdI-1892-1101 =21SdI-1905-38 =SdI-R-1926-3219

1906/03/20 – 04/30 (22SdI-1906)
The catalogue and it’s supplements rendered 842 partakers and 5229+323=5552 numbers (R229,p66). Partakers were: Signac (7x); and Néo-Impressionists like: Angrand (3x), Cross (7x), Herbin (8x), Laugé (6x), Lebasque (8x), Luce (8x), Metzinger (8x), Petitjean (1x), Théo van Rysselberghe (7x); and Para-Impressionists like d’Espagnat (8x), Guérin (7x), Laprade (7x), Peské (7x), Manzana Pissarro (8x), Ludovic-Rodo Pissarro (5x), Ernest Rouart (2x), Paul van Ryssel (2x); and Post-Impressionists like Bernard (8x), Bonnard (1x), Denis (7x), Lacombe (8x), Ranson (8x), Henri Rousseau (5x), Roussel (7x), Sérusier (8x), Valloton (1x), Valtat (8x), Vuillard (3x); and Fauvists like Matisse (1x); and foreign artists like Edvard Munch (6x). (R56).

Paul Signac: 1905, CR419, Bragozzo (Venise), 47x55, private (iR10;iR155;iR64;R106,no419) =22SdI-1906-4629 =BJ1907-14 =Vienna-1925-51 =BJ1930-26 =PP1934-22 — Paul Signac: 1905, CR419, Bragozzo (Venise), 47×55, private (iR10;iR155;iR64;R106,no419) =22SdI-1906-4629 =BJ1907-14 =Vienna-1925-51 =BJ1930-26 =PP1934-22

Paul Signac: 1904, CR412, Venise, La Dogana, 71x89, A2008/02/05 (iR11;R106,no412) =22SdI-1906-4627 =BJ1923-8 — Paul Signac: 1904, CR412, Venise, La Dogana, 71×89, A2008/02/05 (iR11;R106,no412) =22SdI-1906-4627 =BJ1923-8

1907/03/20 – 04/30 (23SdI-1907):
The catalogue and it’s supplements rendered 1039 partakers and 5129+277=5406 numbers (R229,p66). Partakers were: Signac (5x: 4x oil, 1 aquarelle); and Néo-Impressionists like: Angrand 6x), Cross (4x), Herbin (6x), Lebasque (4x), Luce (6x), Metzinger (6x), Petitjean (1x); and Para-Impressionists like Guérin (3x), Laprade (3x), Peské (6x), Manzana Pissarro (6x), Ludovic-Rodo Pissarro (6x), Ernest Rouart (4x), Paul van Ryssel (5x); and Post-Impressionists like Ranson (6x), Henri Rousseau (6x), Séon (5x), Sérusier (6x), Valloton (1x); and Fauvists like Matisse (6x); and foreign artists like Gabriele Munter (6x). One source states that Lantoine made his debut and would exhibit more often (R56,p176), but Lobstein doesn’t affirm he exhibited in 1907 (R229,p1003).

Paul Signac: 1906, CR446, The Harbour, Red Sunset (St. Tropez), 65x81, private Chicago (iRx;R106,no445) =BJ-1907-23 =23SdI-1907-4540 — Paul Signac: 1906, CR446, The Harbour, Red Sunset (St. Tropez), 65×81, private Chicago (iRx;R106,no445) =BJ-1907-23 =23SdI-1907-4540

Paul Signac: 1907, CR448, Rotterdam (the harbour), 87x114, MBvB Rotterdam (iR6;iR8;R39,p70;R106,no448;M70) =23SdI-1907-4538 — Paul Signac: 1907, CR448, Rotterdam (the harbour), 87×114, MBvB Rotterdam (iR6;iR8;R39,p70;R106,no448;M70) =23SdI-1907-4538

1908/03/20 – 05/02 (24SdI-1908)
The catalogue and it’s supplements rendered 1320 partakers and 6337+364=6701 numbers (R229,p66). Partakers were: Signac (5x: 1 oil, 4 aquarelles); and Néo-Impressionists like: Angrand (1x), Cross (1x), Herbin (6x), Lantoine (4x), Lebasque (6x), Luce (6x), Metzinger (5x), Petitjean (1x); and Para-Impressionists like Guérin (3x), Laprade (3x), Peské (1x), Manzana Pissarro (6x), Ludovic-Rodo Pissarro (6x), Ernest Rouart (4x), Paul van Ryssel (6x); and Post-Impressionists like Henri Rousseau (4x), Séon (4x), Sérusier (5x), Valloton (1x); and Fauvists like ; and foreign artists like Edvard Munch (4x), Gabriele Munter (6x).

Paul Signac: 1907, CR457, La Corne d'or, matin, 73x92, MC Marseille (iR10;iR6;R106,no457) =24SdI-1908-5608 =PP1934-24 — Paul Signac: 1907, CR457, La Corne d’or, matin, 73×92, MC Marseille (iR10;iR6;R106,no457) =24SdI-1908-5608 =PP1934-24

1909/03/25 – 05/02 (25SdI-1909)
The catalogue and it’s supplement rendered 837 partakers and 1637+66=1703 numbers (R229,p66). Partakers were: Signac (2x); and Néo-Impressionists like: Angrand (2x), Cross (2x), Herbin (4x), Lebasque (2x), Luce (2x), Metzinger (2x), Petitjean (2x); and Para-Impressionists like Guérin (2x), Laprade (2x), Peské (2x), Manzana Pissarro (2x), Ernest Rouart (2x), Paul van Ryssel (2x); and Post-Impressionists like Bonnard (2x), Denis (1x), Henri Rousseau (2x), Roussel (2x), Séon (1x), Sérusier (2x), Valloton (1x), Valtat (4x), Vuillard (2x); and Fauvists like Matisse (4x).

Paul Signac: 1909, CR477, Le marché au Vérone, la place aux herbes, 89x116, A2010/05/04 (iR2;iR11;R106,no477) 25SdI-1909-1469 — Paul Signac: 1909, CR477, Le marché au Vérone, la place aux herbes, 89×116, A2010/05/04 (iR2;iR11;R106,no477) 25SdI-1909-1469

1910/03/18 – 05/01 (26SdI-1910)
The catalogue and it’s supplements rendered 1182 partakers and 5321+348=5669 numbers (R229,p66). Partakers were: Signac (5x: 4x oil, 1 aquarelles); and Néo-Impressionists like: Angrand (4x), Cross (4x), Lantoine (6x), Lebasque (5x), Luce (6x; note: some sources leave out this entrance; R306,p139), Metzinger (6x), Petitjean (4x); and Para-Impressionists like d’Espagnat (6x), Laprade (3x), Peské (2x), Manzana Pissarro (5x), Ludovic-Rodo Pissarro (6x), Ernest Rouart (2x), ; and Post-Impressionists like Bonnard (1x), Denis (2x), Henri Rousseau (1x), Roussel (1x), Séon (6x), Sérusier (4x), Valtat (2x), Vuillard (1 pastel); and Fauvists like Matisse (1x); and foreign artists like Edvard Munch (5x).

Paul Signac: 1909, CR478, The Pine Tree at Saint- Tropez, 72x92, Pushkin (iR2;R3,p388;R106,no478;M96) =26SdI-1910-4753 — Paul Signac: 1909, CR478, The Pine Tree at Saint- Tropez, 72×92, Pushkin (iR2;R3,p388;R106,no478;M96) =26SdI-1910-4753

Paul Signac: 1909, CR480, Avignon, morning, 74x92, A2002/02/04 (iR10;iRx;iR11;iR15;R106,no480) =26SdI-1910-4755 =? EU-Ghent-1913-366 — Paul Signac: 1909, CR480, Avignon, morning, 74×92, A2002/02/04 (iR10;iRx;iR11;iR15;R106,no480) =26SdI-1910-4755 =? EU-Ghent-1913-366

1911/04/21 – 06/13 (27SdI-1911)
The catalogue and it’s supplement rendered 1388 partakers and 6481+264=6745 numbers (R229,p66). Partakers were: Signac (6x, incl. 2 aquarelles); and Néo-Impressionists like: Angrand (4x), Cross (6x; note: posthumous), Lantoine (5x), Lebasque (3x), Léveillé, Luce (2x), Petitjean (3x); and Para-Impressionists like Laprade (1x), Peské (1x), Manzana Pissarro (6x), Ludovic-Rodo Pissarro (6x), Ernest Rouart (2x), ; and Post-Impressionists like Lacombe (3x), Séon (6x), Sérusier (3x); and Fauvists like Matisse (2x); and Cubist like Delaunay, Henri le Fauconnier, Albert Gleizes, Fernand Léger and Metzinger (4x); and foreign artists like Piet Mondriaan (1x). There was a posthumous retrospective with 47 works of Henri Rousseau (le douanier). (R56,p170;R229,p1502/3;) and also of Valton (aR10).

Paul Signac: 1910-11, CR488, La passe de Marseille, 82x65, A2018/11/12 (iR11;R106,no488) =27SdI-1911-5638 =BJ1923-6 — Paul Signac: 1910-11, CR488, La passe de Marseille, 82×65, A2018/11/12 (iR11;R106,no488) =27SdI-1911-5638 =BJ1923-6

1912/03/20 – 05/16 (28SdI-1912)
The catalogue and it’s supplement rendered 1264 partakers and 3384+178=3562 numbers (R229,p66). Partakers were: Signac (3x); and Néo-Impressionists like: Angrand (1x), Lantoine (3x), Lebasque (3x), Léveillé (3x), Luce (3x), Metzinger (3x); and Para-Impressionists like Guérin (2x), Laprade (2x), Peské (3x); and Post-Impressionists like Séon (3x), Sérusier (3x); and Fauvists like ; and foreign artists like Piet Mondriaan (3x), Edvard Munch (3x), Gabriele Munter (2x).

Maximilien Luce (1858-1941): 1912, SDBR, Building site, 60x81, MBA Rouen (HW;R306,no46) =28SdI-1912-2073, Chantier en construction. 1913 bought by the State. — Maximilien Luce (1858-1941): 1912, SDBR, Building site, 60×81, MBA Rouen (HW;R306,no46) =28SdI-1912-2073, Chantier en construction. 1913 bought by the State.

Paul Signac: 1909, CR481, Le Château (palais) des Papes à Avignon, evening, 74x93, Orsay (iR2;R106,no481;R39,no131;R16,p322;R3,p366;M1) =28SdI-1912-2999 =!?EU-Ghent-1913-366 =PP1934-27 — Paul Signac: 1909, CR481, Le Château (palais) des Papes à Avignon, evening, 74×93, Orsay (iR2;R106,no481;R39,no131;R16,p322;R3,p366;M1) =28SdI-1912-2999 =!?EU-Ghent-1913-366 =PP1934-27

1913/03/19 – 05/18 (29SdI-1913)
The catalogue and it’s supplement rendered 1015 partakers and 3180+188=3368 numbers (R229,p66). Partakers were: Signac (3x); and Néo-Impressionists like: Angrand (3x), Léveillé (3x), Luce (3x), Metzinger (3x), Petitjean (3x); and Para-Impressionists like Laprade (3x), Peské (3x); and Post-Impressionists like Séon (3x), Sérusier (3x), Valtat (1x); and foreign artists like Piet Mondriaan (3x). Note: except 1926 and the retrospective in 1942, it seems this was the last time that Luce was present (R106,p139), but this contradicts the fact that he was president from 1934-41 (R3,p694).

Paul Signac: 1912, CR494, Arc-en-ciel, La Rochelle, le port, 70x99, A2011/06/21 (iR10;iR325;iR11;R106,no494) =29SdI-1913-2804 =SdI-R-1926-2370 — Paul Signac: 1912, CR494, Arc-en-ciel, La Rochelle, le port, 70×99, A2011/06/21 (iR10;iR325;iR11;R106,no494) =29SdI-1913-2804 =SdI-R-1926-2370

1914/03/01 – 04/30 (30SdI-1914)
The catalogue and it’s supplement rendered 1320 partakers and 3527+99=3626 numbers (R229,p66). Partakers were: Signac (3x); and Néo-Impressionists like: Angrand (2x), Lantoine (3x), Lebasque (3x), Léveillé (3x), Metzinger (3x), Petitjean (3x); and Para-Impressionists like Laprade (2x), Peské (3x); and Post-Impressionists like Bonnard (1x), Séon (3x), Valtat (1x); and foreign artists like Piet Mondriaan (2x).
Reviews: in L’Amour de l’art (=R356=iR40).

Paul Signac: 1913, CR497, (Notre Dame de Paris vue du) Pont-Neuf, 89x117, A1999/06/29 (iR10;iR6;iR11'R106,no497) =BJ1913-1 =30SdI-1914-3087 =Venice-1920-63 — Paul Signac: 1913, CR497, (Notre Dame de Paris vue du) Pont-Neuf, 89×117, A1999/06/29 (iR10;iR6;iR11’R106,no497) =BJ1913-1 =30SdI-1914-3087 =Venice-1920-63

1920/01/28 – 02/28 (31-SdI1920)
There were 1141 partakers, including: Signac; and Néo-Impressionists like: .

Paul Signac: 1918-20, CR543, Le port de Marseille, 117x162, Orsay -> MC Marseille (iR10;iR94;iR6;R106,no543;M1) =31SdI-1920-4128 =PP1934-28 — Paul Signac: 1918-20, CR543, Le port de Marseille, 117×162, Orsay -> MC Marseille (iR10;iR94;iR6;R106,no543;M1) =31SdI-1920-4128 =PP1934-28

1921/01/23 – 02/28 (32SdI-1921)
There were 1017 partakers, including: Signac; and Néo-Impressionists like: .

Paul Signac: 1920, CR544, Le Mont Blanc (orangé rose), 75x100, NCG Copenhagen (iR10;iR94;M90;R106,no544) =32SdI-1921-3209 =BJ1923-17 — Paul Signac: 1920, CR544, Le Mont Blanc (orangé rose), 75×100, NCG Copenhagen (iR10;iR94;M90;R106,no544) =32SdI-1921-3209 =BJ1923-17

1922/01/28 – 02/28 (33SdI-1922)
There were 1330 partakers, including: Signac; and Néo-Impressionists like: .

Paul Signac: 1921, CR549, Entry to the port of La Rochelle, 130x162, Orsay (iR2;R16,p329;R106,no549;M1) =33SdI-1922-3225 =BJ1923-1 =PP1934-34 =47SdI-1936-3059 — Paul Signac: 1921, CR549, Entry to the port of La Rochelle, 130×162, Orsay (iR2;R16,p329;R106,no549;M1) =33SdI-1922-3225 =BJ1923-1 =PP1934-34 =47SdI-1936-3059

1923/02/10 – 03/10 (34SdI-1923)
There were 1660 partakers, including: Signac; and Néo-Impressionists like: .

Paul Signac: 1923, CR558, La Dogana, Venise, 72x91, A2011/05/03 (iR10;iRx;iR11;R106,no558) =34SdI-1923-4300 =BJ1923-8 — Paul Signac: 1923, CR558, La Dogana, Venise, 72×91, A2011/05/03 (iR10;iRx;iR11;R106,no558) =34SdI-1923-4300 =BJ1923-8

1924/02/09 – 03/12 (35SdI-1924)
There were 1700 partakers, including: Signac; and Néo-Impressionists like: .

Paul Signac: 1923, CR557, Les Andelys, matin, été, 70x89, A2010/06/23 (iR11;R106,no557) =35SdI-1924-2811 =BJ1930-38 — Paul Signac: 1923, CR557, Les Andelys, matin, été, 70×89, A2010/06/23 (iR11;R106,no557) =35SdI-1924-2811 =BJ1930-38

1925/03/21 – 05/03 (36SdI-1925)
There were 1891 partakers, including: Signac; and Néo-Impressionists like: .

Paul Signac: 1925, CR569, Pont des Arts, Paris, 89x116, A2014/06/27 (iRx;iR11;R39,no156;R106,no569) =36SdI-1925-3127 =BJ1930-42 =PP1934-38 — Paul Signac: 1925, CR569, Pont des Arts, Paris, 89×116, A2014/06/27 (iRx;iR11;R39,no156;R106,no569) =36SdI-1925-3127 =BJ1930-42 =PP1934-38

1926/02/20 – 03/21 (SdI-R-1926):
Exposition Rétrospective des Oeuvres des Membres inscrits des trente premières Expositions de la Société” called “Trente ans d’art indépendant 1884-1914“, held at the Grand Palais des Champs-Elysées, Avenue Alexandre III under the presidency of Léon (Paul), Monet and Signac. There were 567 partakers, including Seurat and Signac; and Néo-Impressionists like: Théo van Rysselberghe.
Sources: (R39,p46;aR3=iR387;R68,p112).
Reviews: in L’Amour de l’art (=R356=iR40).

Paul Cézanne: 1879-82, V366=FWN451, S-, Self-portrait (with hat), 65x51, Km Bern (iR3;iR194,no451;R48,no503;R189,no366;M88) Expos: =2SdA-1904-SPC-5, Portrait de l’auteur par lui-même avec chapeau (loan by Vollard); =SdI-retro-1926-2874, Portrait de Cézanne par lui-même, lent by Kapferer. — Paul Cézanne: 1879-82, V366=FWN451, S-, Self-portrait (with hat), 65×51, Km Bern (iR3;iR194,no451;R48,no503;R189,no366;M88) Expos: =2SdA-1904-SPC-5, Portrait de l’auteur par lui-même avec chapeau (loan by Vollard); =SdI-retro-1926-2874, Portrait de Cézanne par lui-même, lent by Kapferer.

Georges Seurat: 1888, DR185, Seascape at Port-en-Bessin, Normandy (Les grues et la percée), 65x81, NGA Washington (iR6;R40,p74;R183,no185;R207,p129;M21) =6SdI-1890-732 =8SdI-1892-1102 =SdI-R-1926-3218 — Georges Seurat: 1888, DR185, Seascape at Port-en-Bessin, Normandy (Les grues et la percée), 65×81, NGA Washington (iR6;R40,p74;R183,no185;R207,p129;M21) =6SdI-1890-732 =8SdI-1892-1102 =SdI-R-1926-3218

Paul Signac: 8IE-1886-185, La Berge, Asnières =1885, CR109, opus 122, La Berge, Asnières, 73x100, private (iR135;R106,no109;R90II,p252+276;R2,p446+470) =2SdI-1886-371 =BJ1907-34 =SdI-R-1926-2365 =PP1934-3 =47-SdI-1936-3051 — Paul Signac: 8IE-1886-185, La Berge, Asnières =1885, CR109, opus 122, La Berge, Asnières, 73×100, private (iR135;R106,no109;R90II,p252+276;R2,p446+470) =2SdI-1886-371 =BJ1907-34 =SdI-R-1926-2365 =PP1934-3 =47-SdI-1936-3051

Paul Signac: 1905, CR415, Basin of San Marco, Venice, 129x163, Norfolk CM (iRx;R39,no113;R106,no415;M169) =21SdI-1905-3770 =BJ1907-8 =SdI-R-1926-2369 =BJ1930-25 =PP1934-23 =47SdI-1936-3066 — Paul Signac: 1905, CR415, Basin of San Marco, Venice, 129×163, Norfolk CM (iRx;R39,no113;R106,no415;M169) =21SdI-1905-3770 =BJ1907-8 =SdI-R-1926-2369 =BJ1930-25 =PP1934-23 =47SdI-1936-3066

1926/03/20 – 05/02 (37SdI-1926)
There were 2000 partakers, including: Signac; and Néo-Impressionists like: .

Paul Signac: 1926, CR572, The flood at the Pont Royal, 89x116, private (iR10;iR135;R39,no158;R106,no572) =37SdI-1926-3325 =47SdI-1936-3058 =EU-New York-1939 — Paul Signac: 1926, CR572, The flood at the Pont Royal, 89×116, private (iR10;iR135;R39,no158;R106,no572) =37SdI-1926-3325 =47SdI-1936-3058 =EU-New York-1939

1927/01/21 – 02/27 (38SdI-1927)
There were 2183 partakers, including: Signac; and Néo-Impressionists like: .
Reviews: in L’Amour de l’art (=R356=iR40).

Paul Signac: 1926-27, CR575, Le Pont de Bourg-Saint-Andéol, 73x92, private (iR10;iR108;iR401;R106,no575) =38SdI-1927-3398 =BJ1930-44 — Paul Signac: 1926-27, CR575, Le Pont de Bourg-Saint-Andéol, 73×92, private (iR10;iR108;iR401;R106,no575) =38SdI-1927-3398 =BJ1930-44

1928/01/20 – 02/29 (39SdI-1928)
There were 2400 partakers, including: Signac; and Néo-Impressionists like: . There were posthumous retrospectives of Sérusier and Max Giran (?-1927).

Paul Signac: 1927-28, CR577, Le Thonier entrant à la Rochelle (couchant), 72x91, A2014/11/04 (iR11;R106,no577) =Lyon-1927-110 =39SdI-1928-3967 =BJ1930-46 =PP1934-40 — Paul Signac: 1927-28, CR577, Le Thonier entrant à la Rochelle (couchant), 72×91, A2014/11/04 (iR11;R106,no577) =Lyon-1927-110 =39SdI-1928-3967 =BJ1930-46 =PP1934-40

Paul Signac: 1927, CR574, La Seine à Boulogne, 46x65, private London (iR10;iR64;R106) =39SdI-1928-3968 =BJ1930-43 — Paul Signac: 1927, CR574, La Seine à Boulogne, 46×65, private London (iR10;iR64;R106) =39SdI-1928-3968 =BJ1930-43

1929/01/18 – 02/28 (=40SdI-1929)
There were 2381 partakers, including: Signac; and Néo-Impressionists like: .

1930/01/17 – 03/02 (=41SdI-1930)
There were 2246 partakers, including: Signac; and Néo-Impressionists like: .

Paul Signac: 1929, CR590, L'Odet à Quimper, 43x56, A2007/06/20 (iR11;R106,no590) =41SdI-1930-3953 =47SdI-1936-3064 — Paul Signac: 1929, CR590, L’Odet à Quimper, 43×56, A2007/06/20 (iR11;R106,no590) =41SdI-1930-3953 =47SdI-1936-3064

1931/01/23 – 03/01 (=42SdI-1931)
The 1931 + 1934 catalogue indicate that the exposition started the 23th. Cachin (wrongly) writes that it started the 24th (R106,p421). There were 2190 partakers, including: Signac; and Néo-Impressionists like: .

1932/01/22 – 02/28 (43SdI-1932):
There were 1950 partakers, including: Signac; and Néo-Impressionists like: .

Paul Signac: 1931, CR596, (Le Port de) Barfleur, 73x92, A2011/02/08 (iR10;iR94;iR11;R106,no596) =43SdI-1932-3741 =PP1934-43 — Paul Signac: 1931, CR596, (Le Port de) Barfleur, 73×92, A2011/02/08 (iR10;iR94;iR11;R106,no596) =43SdI-1932-3741 =PP1934-43

1933/01/20 – 02/26 (=44SdI-1933)
There were 1946 partakers, including: Signac; and Néo-Impressionists like: .

1934/02/02 – 03/11 (=45SdI-1934)
1884-1934, Exposition du cinquantenaire de la société des artistes indépendants (aR10). Signac wrote the preface and was president of the committee and Luce one of the vice-presidents and also president of the hanging committee. There were 2000 partakers, including: Schuffenecker (2x); Signac; and Néo-Impressionists like: Lebasque; Luce (2x); Post-Impressionists like: Denis, Valtat (2x), Vuillard (2x); Fauves like: Friesz; Jean Puy; de Vlaminck; and others like Charles Camoin; Marc Chagall; Robert + Sonia Delaunay; Kees van Dongen; Raoul Dufy; Georges d’Espagnat; Charles Guérin; Blanche Hoschedé-Monet; Antoine de la Rochefoucauld.

Paul Signac: 1934, CR609, La cité, Paris, 60x73, A2013/05/07 (iR11;R106,no609) =45SdI-1934-4108 — Paul Signac: 1934, CR609, La cité, Paris, 60×73, A2013/05/07 (iR11;R106,no609) =45SdI-1934-4108

1935/01/18 – 03/03 (46SdI-1935)
Partakers were: Signac; and Néo-Impressionists like: .

1936/02/07 – 03/08 (47SdI-1936)
There was a posthumous exposition of Signac.

Paul Signac: 1893, CR248, Les Platanes (place des lices, Saint-tropez), Opus 242, 65x81, Pittsburgh Carnegie (iR6;iR10;R39,no68;R106,no248;M222) =1LE-1894-400 =11SdI-1895-1406 = 47SdI-1936-3074 — Paul Signac: 1893, CR248, Les Platanes (place des lices, Saint-tropez), Opus 242, 65×81, Pittsburgh Carnegie (iR6;iR10;R39,no68;R106,no248;M222) =1LE-1894-400 =11SdI-1895-1406 = 47SdI-1936-3074

Paul Signac: 1931, CR595, Trois-mâts terre-neuvas, voiles au sec, Saint-Malo, 73x92, MuMa Le Havre (iR10;M15;R106,no595) =PP1934-41 =47SdI-1936-3061 — Paul Signac: 1931, CR595, Trois-mâts terre-neuvas, voiles au sec, Saint-Malo, 73×92, MuMa Le Havre (iR10;M15;R106,no595) =PP1934-41 =47SdI-1936-3061

Sources: R229; 1934 catalogue; R39,p40vv+45vv;R106,p419-421;R3,p645;R306,p139.

Locations of the Salon des Indépendants:
Here you will find an overview of the locations where the Salon des Indépendants were held from 1884-1936.

1884/05: at the baraquement B., cour des Tuileries (entre les Pavillons de Flore et de Marsan)
1884/12+1887+88+90+91+92+93: at the pavillon de la Ville de Paris at the Champs-Élysées
1886: at the bâtiment B near pavillon de Flore at the Rue des Tuileries
1889: salle de la Société d’horticulture, 84, Rue de Grenelle, Saint-Germain.
1894+95+96+97: palais des Arts libéraux, Champ-de-Mars
1898: Palais de Glace, Champs-Élysées
1899+1900: Garde-meuble du Colisée, 5, Rue du Colisée (aux Champs-Élysées)
1901+02+03+04: Grandes Serre de l’Alma (de l’Exposition Universelle) au Cours-la-Reine
1905+06+07+08: Grandes Serres de l’Alma + des Invalides au Cours-la-Reine
1909: Grandes Serre de l’Orangerie au jardin des Tuileries
1910: Baraquements du Cours-la-Reine (au Pont des Invalides)
1911+12+13: Baraquements du quai d’Orsay au pont de l’Alma
1914: Baraquements du Champs-de-Mars (Avenue la Bourdonnais, près de l’École Militaire)
1920-24: Grand Palais des Champs-Élysées, avenue Victor Emmanuel III.
1925+26: palais de Bois, avenue de la Grande-Armée, porte Maillot.
1926R-1936+: Grand Palais des Champs-Élysées, avenue Alexander III (Avenue d’Antin)

Sources: catalogue 1934 (=aR10);R229,p65+66;R302,p213-220;R106,p419-421;R39,p299-323;R306,p139.

Sources:
My main sources are the 1934 catalogue (aR10=iR40), Wardwell-Lee (1988=R56), Ferretti-Bocquillon (2001=R39), Cachin (2000=R106), Ferretti-Bocquillon (2010=R306,p139), Coquiot (1920=R302=aR7)
Dominique Lobstein: Dictionnaire des Indépendants (1884-1914); 3 Vol. Dijon, 2003. (=R229)
Monneret, Jean: Catalogue raisonné du Salon des Indépendants 1884-2000: Les Indépendants dans l’histoire de l’art. Paris, 2000 (=R285;compare aR3)
Catalogues of the Salon des Indépendants (R235;R286;aR4)
Angrand, Pierre: Naissance des Artistes indépendants 1884. Paris, 1965. (=R301)
WikiPedia (in English =iR3; in French=iR4 + iR4😉
For other general references (=R) see. For other references to internet sites (=iR) see.

additional references (=aR):

kiamaartgallery.wordpress.com//salon-des-independants (article; =iR427)
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Catalogues:
Here you will find links to websites rendering catalogues of the Salon des Indépendants (=R235). Most of them you will find on gallica.bnf (=iR40); libmma (iR271); DoME (Database of Modern Exhibitions (DoME). European Paintings and Drawings 1905-1915. Last modified Mar 13, 2021. http://exhibitions.univie.ac.at/organizer/422 =iR261; note: the 1906-1914 catalogues, 22e-30e exposition have no entries).

1884/05: (iR40,bpt6k1503986x).
1884/12:
1886:
1887:
1888:
1889:
1890: (iR40,bpt6k933463t)
1891:
1892: (iR40,bpt6k1269951h)
1893:
1894:
1895
1896
1897
1898
1899
1900
1901: (iR40,bpt6k326416k)
1902:
1903: (iR40,bpt6k3264156)
1904: (iR40,bpt6k326414t)
1905: (iR40,bpt6k322068q) +
In Database of Modern Exhibitions (DoME). European Paintings and Drawings 1905-1915. Last modified Mar 13, 2021. http://exhibitions.univie.ac.at/organizer/422 =iR261
1905/03/24-04/30, 21e exposition, with a retrospective of Georges Seurat and Vincent Van Gogh: “Société des Artistes Indépendants.” In Database of Modern Exhibitions (DoME). European Paintings and Drawings 1905-1915. Last modified Mar 13, 2021. http://exhibitions.univie.ac.at/organizer/422 =iR261 (incomplete); .
1906: (iR40,bpt6k9687742d)
1907: http://library.metmuseum.org/record=b1271785 (=iR271)
1908: (iR40,bpt6k96564798)
1909: (iR40,bpt6k96915476)
1910: (iR40,bpt6k133418b)
1911: (iR40,bpt6k1193730c) Note: the PDF gives a download error.
1912: (iR40,bpt6k1501955r)
1913: (iR40,bpt6k8892045)
1914:
1920: (iR40,bpt6k889200n)
1921: (iR40,bpt6k8892011)
1922: (iR40,bpt6k889203s)
1923: (iR40,bpt6k889198g)
1924: (iR40,bpt6k889196q)
1925: (iR40,bpt6k889202d)
1926: (iR40,bpt6k851641q) + (iR40,bpt6k9656486d)
1927: (iR40,bpt6k8891973)
1928: (iR40,bpt6k889206x)
1929: (iR40,bpt6k889199v)
1930: (iR40,bpt6k889205j) + (iR40,bpt6k9351745)
1931: (iR40,bpt6k1421882m)
1932: (iR40,bpt6k1270034c)
1933:
1934: (iR40,bpt6k1270028n)
1935: (iR40,bpt6k1423039g)
1936: (iR40,bpt6k1265794b)
Note: gallica.bnf also renders catalogues of exhibitions held after 1936.

Additional references:

fr.wikisource.org/art_moderne (article of Fénéon in L’Art Moderne of 1885-1886 (p. 728-730) titled ‘L’Impressionnisme aux Tuileries’ on the exposition de Groupe des Artistes Indépendants April 1884.)
www.artistes-independants.fr (website with many articles by Jean Monneret; with info on actual and recent exhibitions; =iR387)
www.artistes-independants.fr//histoire-de-salon-sdai (article by Jean Monneret about the history of the Salon des Artistes Indépendants; =iR387)
gallica.bnf.fr/bpt6k1503986x (catalogue of the Groupe des (artistes) Indépendants of 1884; =iR40=R286=R235).
archive.org/salon_des_independants (Review on the Salon des Indépendants in The Artist, volume 31, 1901/11/01; =iR19)
archive.org/salon_des_independants_2 (Review on the Salon des Indépendants in The Art World, volume 2, 1917/05/01; =iR19)
gallica.bnf.fr/6pt6k11703612 (Gustave Coquiot: Les Indépendants; 1884-1920. Paris; =iR40=R302)
catalogue.bnf.fr (list of catalogues which can be downloaded or bought; =iR26)
musba.bordeaux.fr (Catalogues starting 1928 of the Salon des Indépendants Bordelais; =M11)
iR40,bpt6k1270028n (link to the 1934 catalogue that renders a lot of information; =iR40)
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Recommanded citation: “Meta-Impressionism / other exhibitions: Salon des Indépendants, 1884 onwards. Last modified 2025/09/16. https://www.impressionism.nl/salon-des-independants/”

Note: additional info and pictures will follow.