Impressionism, a historical reconstruction:
Émile Schuffenecker
(1851-1934)
Account
of his exhibited works
Introduction:
On this page you will find a more extended account of the works that Claude-Émile Schuffenecker exhibited at the 8th ‘impressionist’ exposition in 1886. You will also find a less extended account of the works he exhibited at the Salon, it’s successor of the Société des Artistes Français (=SdAF), at the Salon des Indépendants (=SdI), at Café Volpini in 1889 (=V1889) and at the solo exhibition in 1896 (=solo1896). See link for the pictures exhibited in 1886 and at the other exhibitions.
The eight ‘impressionist’ exposition 1886:
- catalogue numbers 166-174.
- in total Émile Schuffenecker exhibited 9 works, including 3 snow views (no.169-171), 2 still lifes (no.172+173) and 1 pastel (no.174).
- 2x indication of place
- 2x indication of time, season or weather
- 2x a study (no.167+169)
- 0x loans (appartient à…),
- Moffett does not give one suggestion (R2,p443), nor does Berson (R90II,p251/2)
Reviews:
Jules Christophe (1886/06/13) reviewed ‘M. Emile Schuffenecker, of the Rue Boulard, amazing middle of pallbearers for J.-K. Huysmans, represents snow in perfection: “His garden”, le quai Montebello, the other study of the same reaches to perfection, a bit too wise.’ (R90I,p437).
Marcel Fouquier (1886/05/16) reviewed ‘The Misters Gauguin, Guillaumin, Schuffenecker, Vignon and Signac, newcomers to impressionism (sic), have, like all proselytes, devoured with a beautiful ardour, of the fiery desire to go further than anyone else and to leave M. Pissarro dreaming in front of their canvases. Neither of them lacks talent, as evidenced by (…) le Quai Montebello (now effect) by M. Schuffenecker … But they see nature with strange reflections through this open air which, in reality, mysteriously softens and harmonizes all things in the transparency or gold of the light; they all see nature in the perspective of a theory.’ (R90II,p448).
Gustave Geffroy (1886/05/26) reviewed ‘Two portraits, two snow studies, a Torse de femme, that testifies of a clear eye and a soft brush.’ (R90I,p450)
Emile Hennequin (1886/06/19) reviewed ‘Let’s also mention some delicate snow landscapes of M. Schuttenecher (sic)’ (R90I,p454)
1886 Catalogue: (R2,p446; iR1)
8IE-1886-166, A saute-mouton
Eng.: a jumping sheep or (playing) leapfrog. Berson refers to the review of Geffroy, which should mean this was a portrait, which a doubt. To compare I render a drawing: 1xxx, Enfants jouant, pencil, 36×47, A2008/12/10 (iR11;iR15). Note: the children depicted are playing leapfrog. There are similarities in drawing and theme with: 1884, SDbr, Partie de billes (Enfants jouant dans la rue), pencil, 28×35, A2018/03/14 (iR11;cpR54,no21) of which also an oil painting is known: 1884, SDbl, CR361, Children playing marbles, 55×66, A2018/05/08 (iR11;iR14;R54,no21;R209,no361). So I assume that the suggested drawing rendered to compare, also was made around 1884 and that there was a similar oil painting that was exhibited as 8IE-1886-166.
8IE-1886-167, Torse de femme, étude
Berson refers to the review of Geffroy: ’that testifies of a clear eye and a soft brush.’ (R90I,p450). As an uncertain option I render: 1885, SDtl, Nu accoudé, tête penchée (Woman Seated on the Corner of a Bed), 65×45, private (iR2;R54,no83;R3,p421;R2,p446). Note: this is the only Woman’s torso that I could find. The dating can be seen as an affirmation of my suggestion. (Still, Porro reads in the top left the date 1895; R54,p103). Monneret refers to a conversation in which Schuffenecker tolled his art-teacher Baudry, that his ‘Buste de filette’ was inspired by the impressionistes (R88I,p835), so maybe this (unknown) work is a better option. Schuffenecker also exhibited a ‘Torse de femme’ at the Salon des Indépendents in 1885 or 1886↓ (R88I,p835) and in 1926 at a retrospective (Torse de femme, 1885; no?4↓) (R54,p228). At the 1935 retrospective he exhibited a ‘Nu, 1885’ (?4) and a ‘Torse nu, étude’ (?23) and a ‘Étude de femme’ (?7)↓ (R54,p228).
8IE-1886-168, Portrait
Note: not mentioned by Porro (R54,p227). I render two uncertain options: Émile Schuffenecker: 8IE-1886-168, Portrait =?? 1884, SDtr, Le dernier paysan de Meudon, xx, MAH Meudon (iR380;iR10;R54,no81;R2,p446;M215) and: 1885-90ca, Portrait of Fernand Quignon (1854-1941), 81×66, NSM Pasadena (M43;iR10;R54,no193;R2,p446). I think the latter option is more uncertain, because I suppose the name of the sitter would be added to the tittle in the catalogue.
Berson refers to the review of Geffroy. Note: Geffroy writes about two portraits and later explicitly mentions Torse de femme; did he include this Torse de femme in these two portraits? Or was no. 166 a portrait, which I doubt? Or did Schuffenecker show another portrait outside the catalogue, or was the pastel (no.174) a portrait? I assume the last suggestion was the case.
8IE-1886-169, Étude de neige
Berson refers for no.169+170+171 to the reviews of Geffroy and Hennequin, who don’t describe these works. Christophe reviewed ’the other study of the same reaches to perfection, a bit too wise.’ (R90I,p437). As an uncertain option I render: 1886ca, CR350, Étude de neige (Snowy Landscape), 47×56 , A2021/03/30 (iR2;iR15;R54,no188;R209,no350;R2,p446). The date and the tittle would make it a quite certain option, but this painting doesn’t look like a study and I don’t know what the original tittle was, so I leave it uncertain. It was also exhibited at Volpini in 1889, no.72, Dans la neige↓ (aR1=iR19).
8IE-1886-170, Quai Montebello
Berson refers for no.169+170+171 to the reviews of Geffroy and Hennequin (who don’t describe these works) and for no. 170 also to Christophe (mentions the title) and Fouquier (le Quai Montebello (now effect). Note: Geffroy writes about two snow studies, but according to Fouquier no.170 also was a snow effect. Did Geffroy just look at the titles in the catalogue? Christophe clearly mentions 3 paintings representing snow. To compare I render: 1878+, Remorqueur sur la Seine aux bords du Trocadéro, 34×55, A2017/12/01 (iR11;iR2;R2,p446). This work must be made after 1878 when the Trocadéro palais was build for the Exposition Universelle; it was tore down in the 1930s (see link to a Dutch website). When I look at the divisionist style of the painting I assume it was made around 1886-89. The Trocadéro lies close to the Pont d’Iéna, which is more west then the Quai Montebello (iR9). To the left there could be snow discernable, but it is very vague and doubtfull, so I just render it to compare. I also render to compare: 1886-89ca (1903ca), Paris, the Seine, Île Saint-Louis, 28×41, private (iR2;R2,p446). This work is dated around 1903, but when I look at the divisionist painting style, I assume it was made around 1886-89. It also depicts a quai, but no snow.
8IE-1886-171, La neige dans mon jardin
Berson refers for no.169+170+171 to the reviews of Geffroy and Hennequin (who don’t describe these works) and for no.171 also to Christophe, who renders a part of the title. I couldn’t find a painting that came close. So to compare I render a snow landscape he made one year later: 1887, A Road in the Snow, 46×55, private (iR2;R2,p446).
8IE-1886-172, Nature morte
Berson doesn’t mention this work, which indicates that there were no reviews. As an uncertain option I render: 1886, Flowers with Japanese Fan (Bouquet de fleurs et éventail), 41×33, private (iR2;R54,no82;R2,p446). It is one of the few still lifes I know that were made in 1886. Maybe this work was also exhibited as: SdI-1886-1?, Pivoines (R88I,p835); V1889-62, Pivoines (aR1=iR19) and at the retrospectives: SdI-1926-?3, Pivoines (1886) +?? SdI-1935-?3, Nature morte (1886)↓ (R54,p228).
8IE-1886-173, Oranges
Berson doesn’t mention this work, which indicates that there were no reviews. As a quite certain option I render: 1886, SDbl, Still Life with Bowl and Fruit, 65×54, KMM Otterlo (iR2;iR6;iR13;R2,p446;M72). This work is dated 1886 and mainly depicts oranges. Maybe also exhibited at Café Volpini (V1889-78, Nature morte: oranges (aR1=iR19) and at the retrospective at the Salon des Independants in 1935 (SdI-1935-?3, Nature morte (1886)↓ (R54,p228).
8IE-1886-174, Pastel
Berson doesn’t mention this work, which indicates that there were no reviews. As there are no reviews and the tittle doesn’t indicate anything except that it was a pastel, the identification of this work is almost impossible. But we can see that Geffroy mentions two portraits (R90I,p450), which I think most probably is referring to this pastel. So I render a pastel portrait made quite recently: 1885-86ca, Portrait de Mme Rigoin, pastel, 47×36, A2016/04/28 (iR11;R54,no244;R90I,p450;R2,p446).
Claude-Émile Schuffenecker at the Salon:
Schuffenecker exhibited at the Salon from 1877-79 and at it’s successor of the Société des Artistes Française in 1880+81 (iR1). He was rejected at the Salon of 1882 (iR3) and 1883 (R3;R9;iR3;R88). In 1883 ‘le soir’ and ‘portrait de femme en rose’ were rejected (R54,p47).
S1877-4300, Décoration d’un plafond de bibliothèque Architecture
Eng.: Decoration of a ceiling of the Architecture Library. Note: This work is not mentioned by Porro (R54,p227). Compare: 1xxx, Projet pour un plafond avec scène centrale, à sujet allégorique (Femme marchant portant un fardeau), wc, 47×37, Louvre (iR23;iR10;M5a;iR1;R54,no11) .
S1878- 3824, Portrait de Mlle M. G… ;
Additional information: Dessins, cartons, aquarelles, pastels, miniatures, vitraux, émaux, porcelaines, faïences (iR1). According to Porro this was an academic drawing and depicted Mette Gauguin (R54,p44+227; note he writes it as Mme M.G.). As an uncertain option I render: 18xx, Marie Grandcerre, dr, 25×16, MBA Brest (iR6;iR23;iR1).
S1879-4585, Portrait de Mme S…
According to Porro this was an academic drawing and depicting Mme Schuffenecker (R54,p44+227), but they only married in 1880, so she still was known as Louise-Virginie Lançon (R54,p19+35;iR3). As an uncertain option I render: 1887ca, CR195, Portrait de femme assise (Mme Schuffenecker; study for 1885-88, The Square at Luxembourg Park (Louise, Jeanne + Paul Schuffenecker), dr, 47×31, A2021/07/12 (iR14;iR11;iR15;R209,no195;cpR54,no247).
SdAF-1880-3485, Portrait de Mme S… ;
Additional info: H. 0m,56.- L. 0m,46. According to Porro this was a painting (R54,p227). Maybe also depicting Mme Schuffenecker, but I couldn’t find a work that comes close.
SdAF-1881-2148, Fleurs et fruits
According to Porro this was a painting (R54,p227). Probably now: 1880, SDtr, Fleurs et fruits (Flowers and Fruit), 65×54 (or 16×21), private (iR2;iR1;R54,no26+p227). Note: Porro suggests it was exhibited in 1889, but Schuffenecker didn’t exhibit in 1889 at the SdAF (iR1), nor at the Exposition Universelle (R231), so I assume this is a writing error (R54,p47). On the other hand the date depicted in the top at the right seems to be ‘1889’.
SdAF-1883-R1, Portrait de femme en robe rose
(R54,p47+270). Probably: 1883ca, Lady in Pink, 100×82, Orsay (iR2;R54,no25;M1). Probably the same as: SdI-1884-?2, Portrait de femme en rose (R54,p227) + SdI-1935-?2, Portrait de femme en rose, 1883↓.
SdAF-1883-R2, Le Soir.
(R54,p47).
SdAF-1891-, ??
Porro suggests that Schuffenecker exhibited in 1891 (pastels) at the Salon de la Société des Artistes Français (R54,p120), but this is not stated by the Salon database (iR1), so I won’t follow Porro in this suggestion.
Claude-Émile Schuffenecker at the Salon des Indépendants:
1884/06/11 Schuffenecker was one of the founders of ‘La Société des Artistes Indépendants’. Later that year (1884/12/02) they would organize their first Salon des Indépendants (R54,p36;R5,p140;R9;R56;iR70;R1,p510). Schuffenecker would exhibit there many times, even in the year of his death 1934 (R54,p37). In 1926 there was a retrospective exhibition of his works and also posthumous in 1935 (R54,p36).
SdI-1884-?1, Le premier meurtre
(R54,p227). Probably: 1884, The Death of Abel, 98×133, MGG Vesoul (iR2;R54,p174+227).
SdI-1884-?2, Portrait de femme en rose
(R54,p227). Probably: 1883ca, Lady in Pink, 100×82, Orsay (iR2;R54,no25;M1). Probably the same as: SdI-1935-?2, Portrait de femme en rose, 1883↓. This work was rejected for the Salon (SdAF) of 1883 (R54,p47).
SdI-1885-?1, Le Square.
(R88I,p835). 1885-88, The Square at Luxembourg Park, 85×100, A2005/11/03 (iR2;iR14;iR11;iR41;iR6). Probably also exhibited as V1889-69, Square (aR1=iR19) + SdI-1926-?2, Le Square, 1885 + SdI-1934-?1, Le Square + SdI-1935-?16, Au Luxembourg (R54,p228).
SdI-1885-?2, Torse de femme
(R88I,p835). Maybe not exhibited in 1885, but in 1886. See for a suggestion and other exhibitions 8IE-1886-167, Torse de femme, étude↑.
SdI-1886-?1, Pivoines
(R88I,p835). See for a suggestion and other exhibitions 8IE-1886-172, Nature morte↑.
SdI-1887-?1, Danseuse.
(R88I,p835). Probably: 1887, SDbr, Danseuse, pastel, xx, xx (R54,p73+no55). Probably also exhibited as: V1889-55, Danseuse, pastel (aR1=iR19) + SdI-1926-?6, + SdI-1935-?9, Danseuse, 1887 (R54,p228).
SdI-1900-?1, Le Voyageur.
(R54,p227). Compare solo1896-2, Le voyageur (aR2=iR19).
SdI-1900-?2, Neige.
(R54,p227). Compare: SdI-1934-?2, Neige (R54,p228) + SdI-1935-?5, Neige, 1920 (R54,p228). .
SdI-1900-?3, Portrait de Mme Suzanne A.
(R54,p227).
SdI-1901-?1, Maisons au matin.
(R54,p227).
SdI-1901-?2, Une rue
(R54,p227).
SdI-1901-?3, Portrait
(R54,p227).
SdI-1901-?4, Une tour
(R54,p227).
SdI-1901-?5, Automne.
(R54,p227).
SdI-1901-?6, Portrait
(R54,p227).
SdI-1903-?1, Jeune fille et fleurs de pommier
(R54,p227).
SdI-1903-?2, La Seine à l’Île-de-la-Jatte.
(R54,p227).
SdI-1904-?1, Portrait de Mme F.
(R54,p227).
SdI-1904-?2, Dans la neige.
(R54,p227). Compare: V1889-72, Dans la neige (aR1=iR19).
SdI-1904-?3, Sur la grève.
(R54,p227). Maybe: 1898, Femme sur la grève, 62×50, A2014/03/25 (iR11;R54,no307) .
SdI-1905-3723, Hymne au soleil
(R54,p227). =? SdI-1912-?, Hymne au soleil (R88I,p837) = SdI-1926-?1, Hymne au soleil, 1912 (R54,p228). Compare a pastel with the same tittle: 1xxx, Hymn to the Sun (Ramasseuses de Varech), pastel, 33×48, A2017/03/23 (iR2;iR11;R54,p141).
SdI-1905-3724, Matin.
(R54,p227).
SdI-1905-3725, Les falaises de Pantin
(R54,p227). =? 1903ca, Rochers en Bretagne (Cliffs at Pantin), 81×100, VGM Amsterdam (iR2;iR54,p166;M73)
SdI-1905-3726, Allées d’arbres.
(R54,p227).
SdI-1905-3727, La sablière
(R54,p227). Compare: SdI-1908-?3, La sablière
SdI-1908-?1, Matinée à Romainville.
(R54,p228).
SdI-1908-?2, Neige, Billancourt.
(R54,p228).
SdI-1908-?3, La sablière
(R54,p228). Compare: SdI-1905-?5, La sablière
SdI-1908-?4, Le piton rouge
(R54,p228).
SdI-1909-?1, Méditation.
(R54,p228). Compare: solo1896-17, Méditation.
SdI-1909-?2, Rochers sur l’eau
(R54,p228).
SdI-1912-?, Hymne au soleil
(R88I,p837). =SdI-1926-?1, Hymne au soleil, 1912 (R54,p228) =? SdI-1905-?1, Hymne au soleil (R54,p227).
SdI-1917, Au bord de l’étang
(R88I,p837). =? SdI-1926-?5, Au bord de l’étang, 1917 (R54,p228).
SdI-1934-?1, Le square
(R54,p228). See SdI-1885-?1, Le Square.
SdI-1934-?2, Neige.
(R54,p228). Compare: SdI-1900-?2, Neige. (R54,p227) + SdI-1935-?5, Neige, 1920 (R54,p228).
Retrospective 1926:
SdI-1926-?1, Hymne au soleil, 1912
(R54,p228). =? SdI-1912-?, Hymne au soleil (R88I,p837) =? SdI-1905-?1, Hymne au soleil (R54,p227).
SdI-1926-?2, Le Square, 1885.
(R54,p228). See SdI-1885-?1, Le Square.
SdI-1926-?3, Pivoines, 1886.
(R54,p228). See 8IE-1886-172, Nature morte.
SdI-1926-?4, Torse de femme, 1885.
(R54,p228). See 8IE-1886-167, Torse de femme, étude.
SdI-1926-?5, Au bord de l’étang, 1917
(R54,p228). =? SdI-1917, Au bord de l’étang (R88I,p837).
SdI-1926-?6, Danseuse, 1887.
(R54,p228). See SdI-1887-?1, Danseuse.
Retrospective 1935:
SdI-1935-?1, Le soir, 1883
(R54,p228).
SdI-1935-?2, Portrait de femme en rose, 1883.
(R54,p228). =SdI-1884-?2, Portrait de femme en rose.
SdI-1935-?3, Nature morte, 1886.
(R54,p228). See 8IE-1886-172, Nature morte and 8IE-1886-173, Oranges.
SdI-1935-?4, Nu, 1885
(R54,p228). See 8IE-1886-167, Torse de femme, étude.
SdI-1935-?5, Neige, 1920
(R54,p228). Compare: SdI-1900-?2, Neige. (R54,p227) + SdI-1934-?2, Neige (R54,p228).
SdI-1935-?6, Vincennes, 1930
(R54,p228).
SdI-1935-?7, Étude de femme
(R54,p228). See 8IE-1886-167, Torse de femme, étude.
SdI-1935-?8, Rochers en Bretagne, 1886
(R54,p228). Maybe: 1886, SDbl, Côte Rocheuse en Bretagne, 50×61, MBA Quimper (iR2;iR6;M208).
SdI-1935-?9, Danseuse, 1887.
(R54,p228). See SdI-1887-?1, Danseuse.
SdI-1935-?10, Paysage, 1912
(R54,p228).
SdI-1935-?11, Clairière, 1915
(R54,p228).
SdI-1935-?12, Trois pages de croquis.
(R54,p228).
SdI-1935-?13, Étude d’atelier: l’Incroyable
(R54,p228).
SdI-1935-?14, Page de croquis.
(R54,p228).
SdI-1935-?15, À la musique
(R54,p228).
SdI-1935-?16, Au Luxembourg.
(R54,p228). See SdI-1885-?1, Le Square.
SdI-1935-?17, Retour des champs, eau-forte
(R54,p228).
SdI-1935-?18, Eau-forte de l’étude d’atelier
(R54,p228).
SdI-1935-?19, Eau-forte du soir.
(R54,p228). Compare: no.1.
SdI-1935-?20, Ramasseuses de varech, 1888
(R54,p228). =? V1889-61, Ramasseuses de varech, Yport.
SdI-1935-?21, Homme à la pipe, d’après Van Gogh
(R54,p228).
SdI-1935-?22, Christ, de Prudhon
(R54,p228).
SdI-1935-?23, Torse nu, étude
(R54,p228). See 8IE-1886-167, Torse de femme, étude.
Claude-Émile Schuffenecker at Georges Petit:
In 1886 Schuffenecker exhibited at the Exposition internationale at the Georges Petit Gallery (R88I,p835). So at the 5th ‘exposition internationale de peinture et de sculpture’ held in June and July (R22IV,p1017). I don’t know which works he exhibited.
Claude-Émile Schuffenecker at Café Volpini:
In 1889 Schuffenecker organised an exhibition at Café Volpini of a group Impressionnistes et Synthétistes (R54,p36;aR1=iR19).
V1889-55, Danseuse, pastel
See SdI-1887-?1, Danseuse.
V1889-56, Nature morte.
V1889-57, Notre-Dame par la neige.
Probably: 1889, SDbl, Notre-Dame de Paris, 73×54, private (iR6;iR2;iR10).
V1889-58, Paysage de neige.
V1889-59, Coin de plage à Concarneau; Appartient à M. Gautereau
V1889-60, Coucher de soleil à Concarneau.
Probably: 1887, SDbl, Coucher de soleil à Concarneau (Goémon), 38×55, private (iR10;iR381;iR6;iR19;R54,no172)
V1889-61, Ramasseuses de varech, Yport.
=? SdI-1935-?20, Ramasseuses de Varech, 1888 (R54,p228). =1889, Les Ramasseuses de varech (seaweed gatherers), 82×66, Axx (iR6;iR41;iR10;iR35;aR1=iR19)
V1889-62, Pivoines; Appartient à M. Choquart
See 8IE-1886-172, Nature morte.
V1889-63, Falaises, Yport.
V1889-64, Cirque de Fécamp.
V1889-65, Rochers, Yport.
Maybe: 1889, SDbl, Rocks at Yport, 81×59, MCA Fécamp (iR2;iR19;iR6). Compare: solo1896-16, Les Rochers à Yport (aR2=iR19).
V1889-66, Au parc de Montsouris.
Maybe: 1889, SDbl, Children in the Montsouris Parc, 73×55, A2021/03/30 (iR15;iR13)
V1889-67, Paysage parisien.
V1889-68, Nature morte, Oranges.
Note: miswritten as no. 78. See 8IE-1886-173, Oranges.
V1889-69, Square.
See SdI-1885-?1, Le Square.
V1889-70, à Vanves.
V1889-71, Matinée à Yport.
V1889-72, Dans la neige.
= 8IE-1886-169, étude de neige.
V1889-73, Effet de neige.
V1889-83, Portrait de Monsieur B***; peinture pétrole.
Claude-Émile Schuffenecker at the Salon de la Rose+Croix:
Schuffenecker participated in 1892 at the Salon de la Rose+Croix, but the Salon database doesn’t indicate with which works he did so (iR1).
Solo exhibition of Émile Schuffenecker in 1896:
From 1896/02/24 – 03/16 there was a small solo exhibition showing 17 paintings and 3 pastels in the ‘Librairie de l’Art Indépendant’ (aR2=iR19).
solo1896-1, Les grands arbres violets sur la route.
solo1896-2, Le voyageur.
Compare: SdI-1900-?1, Le Voyageur (R54,p227).
solo1896-3, Dans la neige, soir.
solo1896-4, Arbres verts au matin.
solo1896-5, Sur la route dans la neige.
solo1896-6, Ceux qui passent derrière la haie.
solo1896-7, Au bord de l’étang.
solo1896-8, dans le vieux parc, matin.
solo1896-9, Au pied du gros arbre.
solo1896-10, Fleurs.
solo1896-11, Portrait du chef de gare.
solo1896-12, La Parisienne.
solo1896-13, Matinée au bord de l’eau.
solo1896-14, Un Vallon.
solo1896-15, Arbre su bord de la mer.
solo1896-16, Les Rochers à Yport.
=? V1889-65, Rochers, Yport (aR1=iR19)
solo1896-17, Méditation.
Compare: SdI-1909-?1, Méditation. (R54,p228).
solo1896-18, Les grands arbres rouges, pastel.
solo1896-19, Près de la vieille maison, pastel.
solo1896-20, Dans les roches; une Sainte, pastel.
Recommanded citation: Émile Schuffenecker, account of his exhibited art-works. Last modified 2023/03/18. https://www.impressionism.nl/schuffenecker-account/”