Tillot account

Impressionism, a historical reconstruction:

Charles-Victor Tillot

(1825-1906)

Account

of his exhibited paintings

 

 

Introduction:
On this page you will find an account of the paintings that Tillot exhibited with the Impressionists, at the Salon and other exhibitions. I will also render the reviews that were given. For general information on Charles-Victor Tillot, his few pictures and the used sources see his main page. On the page with an overview of his pictures you will also find links to google-maps and other information.

 

The 2nd impressionist exposition of 1876:

General overview:

  • catalogue numbers 245-252
  • so in total Charles Tillot exhibited in 1876 eight works.
    • 7x time indication of place, 4 of Villers (no. 245, 246, 247, 250)
    • 0x indication of time, season or weather
    • 0x a study
    • 0x loans (appartient à…)
  • Moffett does not give one suggestion (R2,p165); Berson doesn’t mention him at all, which means there also were no reviews (R90II,p46)

Catalogue 1876: (R2,p165;iR1)

2IE-1876-245, Le Chaos de Villers
Eng.: the bayerd. Nl.: de baaierd of Villers. Probably Villers-sur-Mer, 50km south of Le Havre, see map.

2IE-1876-246, Vue prise des hauteurs du Chaos, à Villers
x

2IE-1876-247, Falaises, à Villers
x

2IE-1876-248, Falaises à marée basse
x

2IE-1876-249, Manoir de Graffard
Eng.: mansion in Graffard. Maybe in the Normandy pen insula, see map.

2IE-1876-250, Rochers et plage à Villers
Maybe: 18xx, The beach of Villers-sur-Mer (Calvados), on panel, 24×33, A2022/03/07 (iR11;iR18;R2)

2IE-1876-251, Plaine de Barbizon
x

2IE-1876-252, Intérieur du Bas-Bréau
Maybe the interieur of the Hôtellerie du Bas-Bréau in Barbizon, see maps. Compare 3IE-1877-229 ‘Le Bas-Bréan‘.

 

The 3rd impressionist exposition of 1877:

General overview:

  • catalogue numbers 228-241
  • so in total Charles Tillot exhibited in 1877 14 works, including 1 still life (no. 239), 2 figure painting / portraits (no. 240, 241).
    • 9x time indication of place, including 2x Villiers (no. 230, 238), 3x Barbizon (no. 232, 233, 234), 2x the forest of Fontainebleau (no. 228+236), 1x Chailly (no. 229) and 1x Rouen (no. 231)
    • 0x indication of time, season or weather
    • 1x a study
    • 0x loans (appartient à…)
  • Moffett does not give one suggestion (R2,p207), nor does Berson (R90II,p102), but she refers to reviews for the numbers 228 + 229 + 230 + 232 + 233 (R90II,p84).

Reviews:
C.D. reviewed in ‘Le Petit Moniteur universel’ (1877/04/08) ‘At the head of all these artists, I would place Tillot, who exhibited exquisite landscapes, among others: Maison et atelier de J.-F. Millet à Barbizon and Forêt de Fontainebleau. We don’t know if it’s the proximity of certain flashy paintings, but we were charmed by the works of Mr. Tillot, who, if not an impressionist, is certainly a clever one.’ (R90I,p142).
Marc de Montifaud (1877/05/01) reviews ‘Is it a sign of weakness, a state of exhaustion of the brush; is impressionism a sect or a phase of a moment? So, if impressionism is a school, what does Mr. Tillot, a landscape painter, asks for there, he whose work fits into the picture known to canvas dealers? It is a hidden place that his is; his Vue du Bas-Bréau and his Plage de Villers are struggling with their smooth skies, their varnished aspect in the middle of these rough-looking works; Mr Tillot looks like a man who washes his hands and puts on a white tie, while the others find it good to keep their dust. But, if he doesn’t like it, he is badly disguised as a maintenance teacher; by stripping himself of the desired convention, his colleagues can become painters, while I seem to see him washing his grounds, dusting his rocks, and presenting honest sheep that would have entered the Palais de l’Industrie without being discussed for a minute. Why be misunderstood? No one is fooled; the upper piece intended to illuminate the Vue du Bas-Bréau is copied from a church painting, it is the conventionally shaped cloud, from which the mystical dove escapes: this sky smells of its theologian. The three mossy rocks, drawn in the foreground of the picture of Bas-Bréau, are cut out of those of la Plage de Villers; it has been found that they would fit in well there. One will choose their use again for a third site; these rocks are of easy execution and their resemblance is unrecognizable; The artist must brush about fifteen at a time on fifteen different canvases; the same greenish tint simulates moss, with economy.’ (R90I,p170)

Catalogue 1877: (R2,p207;R90I,p120/1;iR1)

3IE-1877-228, Forêt de Fontainebleau
Berson refers to the review of C.D., who just mentions the title (R90I,p142).

3IE-1877-229, Le Bas-Bréan (sic) et la plaine de Chailly
Berson refers to the review of de Montifaud. She describes ‘sheep’, ‘smooth skies’, ’three mossy rocks’ (R90I,p170). Chailly-en-Bière lies just north of Barbizon, see map. Google maps doesn’t render something like Bas-Bréan in the surroundings of Chailly. Compare ‘Bas-Bréau‘, see 2IE-1876-229. Note: also De Montifaud writes ‘Bas-Bréau’, so I assume Bas-Bréan is a writting error.

3IE-1877-230, Plage de Villers
Berson refers to the review of Sébillot (who just mentions the title) and of de Montifaud, who described ‘smooth skies’, ’three mossy rocks’ (R90I,p170). Compare: 18xx, The beach of Villers-sur-Mer (Calvados), on panel, 24×33, A2022/03/07 (iR11;iR18;R2), this painting doesn’t clearly represent ’three mossy rocks’.

3IE-1877-231, Rouen
x

3IE-1877-232, Maison et atelier de J-F Millet, à Barbizon
Note: Tillot lived across the road. Berson refers to the review of C.D. (who just mentions the title) and Descubes who reviewed ‘The best landscape exhibited on rue Lepeletier, is a very small painting in which M. Millot (sic) has painted Millet’s house and studio in Barbizon; one can praise without restrictions this small canvas of a frank and sincere colour, and of a firm drawing.’ (R90I,p142+144).

3IE-1877-233, La rue de Barbizon
Berson refers to the review of Sébillot (who just mentions the title) and Maillard. The last one reviewed ‘M. Tillot (exhibits) a “chemin creux” (sunken path) that curses in a similar environment.’ (R90I,p165).

3IE-1877-234, Bout de village de Barbizon
x

3IE-1877-235, Meules dans la plaine
Eng.: (grinding) wheels in the plane.

3IE-1877-236, Vue prise des hauteurs des Forges d’Apremont
Note: Forges is a miswriting, what is meant is, Gorges d’Apremont which lies in the forest of Fontainebleau, see map. So: view taken from the highs of Gorges d’Apremont.

3IE-1877-237, Étude d’arbres
x

3IE-1877-238, Vue prise à Villers
x

3IE-1877-239, Fleurs
x

3IE-1877-240, Tête de femme
x

3IE-1877-241, Portrait de M. X…
x

 

 

The fourth impressionist exposition of 1879:

General overview:

  • catalogue numbers 231-241
  • no. 238 contained of 2 works
  • so in total Charles Tillot exhibited in 1879 12 works, including 7 still lives (no233-238-2), 2x figure painting (no. 239 + 240) .
    • 2x time indication of place, 1x Villers-sur-Mer (no. 232), 1x Barbizon (no. 241)
    • 0x indication of time, season or weather
    • 0x a study
    • 0x loans (appartient à…)
  • Moffett does not give one suggestion (R2,p270/1), nor does Berson (R90II,p120)

Reviews:
Gérôme (1879/04/26 reviewed ‘M. Charles Tillot is not an eccentric; he has exhibited flowers which one may find very beautiful, without being in the least a revolutionary in the field of art.’ (R90I,p221)
Henry Havard (1879/04/27) reviewed ‘The fourth salon shows us Une plage à marée basse, as well as flowers, peonies and poppies, all painted with a hand that may be a little heavy, by M. Ch. Tillot, but in sober and wise colours schemes, which cause some surprise.’ (R90I,p223)
Louis Leroy (1979/04/17) reviewed ‘A few fake brothers slipped in at the Avenue de l’Opéra exhibition: M. Tillot, with pleasant flowers and an excellent beach;’ (R90I,p227)
Le Petit Journal (1879/04/11) reviewed ‘… you will find true paintings that would certainly be noticed at the Salon. I will mention (…) the flowers of Mr. Tillot;’ (R90I,p235)
La Petite République française (1879/04/13) reviewed ‘Mr. Tillot, an outstanding flower painter, can without hesitation compete with the masters of the genre.’ (R90I,p237)
F.-C. de Syène (1879/05/01) reviewed ‘Mr. Tillot, who paints a luxuriant bloom of irises, cornpoppies, poppies and peonies;’ (R90I,p243).
J. de Tarade (1879/04/27) reviewed ‘We shall say the same to M. C. Tillot, who exhibits a number of studies of flowers, some of them quite good (no. 238).’ (R90I,p244).
X reviewed in Le Journal des arts (1879/05/09)  ‘M. Tissot has a Marée basse and several paintings of flowers that one looks at with pleasure.’ (R90I,p252).
Pierre Véron (1879/04/19) reviewed ‘Flowers signed Tillot are not without merit. But I did not understand how they were independent.’ (R90I,p250).

Catalogue 1879: (R2,p270/1;iR1)

4IE-1879-231, Plage à mare basse
Berson refers to the reviews of Havard, Leroy and X. None of them described this picture.

4IE-1879-232, Falaises à Villers-sur-Mer
Berson leaves out this work, which means there were no reviews (R90II,p120).

4IE-1879-233, Fleurs de printemps
Eng.: Spring flowers. Berson refers to the reviews of Gérôme, Havard, Leroy, Le Petit Journal, La Petite République française, de Syène, X and Véron (R90II,p120), but she forgets de Tarade. None of them described this picture.

4IE-1879-234, Pivoines et Iris
Eng.: peonies and irises. Berson refers to the reviews of Gérôme, Havard, Leroy, Le Petit Journal, La Petite République française, de Syène, X and Véron (R90II,p120), but she forgets de Tarade. None of them described this picture.

4IE-1879-235, Pivoines, coquelicots, etc.
Eng.: peonies and cornpoppies. Nl. pioenrozen en klaprozen. Berson refers to the reviews of Gérôme, Havard, Leroy, Le Petit Journal, La Petite République française, de Syène, X and Véron (R90II,p120), but she forgets de Tarade. None of them described this picture.

4IE-1879-236, Pavots et coquelicots
Eng. poppies and cornpoppies. Nl. papavers en klaprozen. Berson refers to the reviews of Gérôme, Havard, Leroy, Le Petit Journal, La Petite République française, de Syène, X and Véron (R90II,p120), but she forgets de Tarade. None of them described this picture.

4IE-1879-237, Fleurs dans un vase Persan
Berson refers to the reviews of Gérôme, Havard, Leroy, Le Petit Journal, La Petite République française, de Syène, X and Véron. She explicitly refers to the review of de Tarade. (R90II,p120). None of them described this picture.

4IE-1879-238-1, Printemps (et Automne)
4IE-1879-238-2, (Printemps et) Automne
(deux tableaux de fleurs sous le même numéro)
Berson leaves out these works, which means there were no reviews (R90II,p120).

4IE-1879-239, Jeune paysanne
Berson leaves out this work, which means there were no reviews (R90II,p120).

4IE-1879-240, Tête de jeune fille
Berson leaves out this work, which means there were no reviews (R90II,p120).

4IE-1879-241, Vue de la rue de Barbizon
Berson leaves out this work, which means there were no reviews (R90II,p120).

 

The 5th impressionist exposition of 1880:

General overview:

  • catalogue numbers 193-206
  • no. 204+205 each contained a frame with, I assume, at least 4 works
  • so in total Charles Tillot exhibited in 1880 at least 20 works, including 5 landscapes (no.193-197), 5 still lives (no. 199-203), 2 figure painting (no. 198+206) and at least 8 non specified studies.
    • 4x time indication of place, including 3x Villers(-sur-Mer) (no. 193-5)
    • 1x indication of time, season or weather
    • 5x a study
    • 0x loans (appartient à…)
  • Moffett does not give one suggestion (R2,p314), nor does Berson (R90II,p156/7)

Reviews:
Emile Cardon (1880/04/05) reviewed ‘There are also flowers of M. Charles Tillot with a good decorative feeling, very broadly painted and of a great truth of colour.’ (R90I,p271).
Aug. Dalligny (1880/04/16) reviewed ‘The flowers of M. Tillot are especially truthful painting.’ (R90I,p275)
A.E. in La Justive (1880/04/05) reviewed ‘M. Tillot is not an impressionist; he is a wise and excellent painter: charming l’Eglise de Lavardin, l’Allée de forêt au Printemps and the view from the heights of Auberville.’ (R90I,p276).
Charles Flor (1880/04/16) reviewed ‘a portrait of a woman by M. Tillot’ (R90I,p280).
Henry Fouquier (1880/04/10 reviewed ‘Mr. Tillot himself, whose flowers are as if made of dough, whose landscapes are correct, and whose portraits – proh pudor! – have an undeniable character of classical archaism. It is really not worth calling yourself an impressionist to paint according to the masters, following them from afar, it is true, but under their yoke.’ (R90I,p281)
André Michel (1880/04/09) reviewed ‘Mr. Tillot, who seems to be making improvements, has good flower studies.’ (R90I,p300)
Elie de Mont. (1880/04/20) reviewed ‘M. Tillot, who makes very beautiful flowers, broadly and richly painted, not to mention one or two landscapes and one or two studies of heads, is he really in his place?’ (R90I,p302).
Armand Silvestre (1880/05/01) reviewed ‘Mr Tillot, too, does not seem to me to be impressionistic at all. He is not lacking in talent, but his talent does not indicate any rebellion against the work of previous landscape artists. His Plage de Villers (no 195) resembles some of Guillemet’s sketches, with infinitely less power. It’s a very pleasant ragout of colours and quite accurate. His Tête de jeune fille (no 158) (sic) could pass for a sketch of Fantin. His Pivoines, his Giroflées and his Chrysanthèmes are good flower paintings of the kind that are being done a lot these days. All in all, M. Tillot is a very wise independent.’ (R90I,p308).
A critic of the Gaulois (Toute Paris, 1880/04/02) mentioned that he rather would be quiet about the admissions of Pissarro, Rouart, Tillot and Zamdomeneghi (sic) (R90I,p312;R22I,p159).

Catalogue 1880: (R2,p314;R90I,p263;iR1)

5IE-1880-193, Falaises de Villers, marée basse
Berson leaves out these works, which means there were no reviews (R90II,p156).

5IE-1880-194, Vue prise des hauteurs d’Auberville, Villers-sur-mer
Auberville lies just south of Villers-sur-mer, see map. Berson refers to the review of A.E. (R90II,p156), who rendered just a part of the title ’the view from the heights of Auberville.’ (R90I,p276).

5IE-1880-195, Plage de Villers
Berson refers to the review of Silvestre (R90II,p156), who reviewed ‘ His Plage de Villers (no 195) resembles some of Guillemet’s sketches, with infinitely less power. It’s a very pleasant ragout of colours and quite accurate.’ (R90I,p308). Maybe: 18xx, The beach of Villers-sur-Mer (Calvados), on panel, 24×33, A2022/03/07 (iR11;iR18;R2).

5IE-1880-196, Église de Lavardin, Loir-et-Cher
Probably the church Saint Genest in Lavardin in the Loir-et-Cher region, about 200km south of Paris, see map. Berson refers to the review of A.E. (R90II,p156), who doesn’t describe this picture.

5IE-1880-197, Allée de forêt au printemps
Berson refers to the review of A.E. (R90II,p156), who doesn’t describe this picture.

5IE-1880-198, Tête de jeune fille
Berson refers to the reviews of Flor and Silvestre (R90II,p157). The last one reviewed ‘His Tête de jeune fille (no 158) (sic) could pass for a sketch of Fantin.’ (R90I,p308). Charles Flor (1880/04/16) reviewed ‘a portrait of a woman by M. Tillot’ (R90I,p280), which could refer to no.198 and also to no.206.

5IE-1880-199, Pivoines dans une corbeille
Berson refers to the reviews of Cardon, Dalligny, Fouquier, Michel, de Mont and Silvestre (R90II,p157). None of them described this picture.

5IE-1880-200, Pivoines et Iris dans un vase de Delft
Berson refers to the reviews of Cardon, Dalligny, Fouquier, Michel, de Mont (R90II,p157). None of them described this picture.

5IE-1880-201, Giroflées
Eng.: wallflower. Berson refers to the reviews of Cardon, Dalligny, Fouquier, Michel, de Mont and Silvestre (R90II,p157). None of them described this picture.

5IE-1880-202, Chrysanthèmes
Berson refers to the reviews of Cardon, Dalligny, Fouquier, Michel, de Mont and Silvestre (R90II,p157). None of them described this picture. Maybe: 1877ca, Floral still life in blue vase, 81×67, A2008/11/20 (iR10=aR15;iR6;iR18;iR17;aR14=iR258;R89,p19). Compare 8IE-1886-207 with the same title.

5IE-1880-203, Soucis et chrysanthèmes
Berson refers to the reviews of Cardon, Dalligny, Fouquier, Michel, de Mont (R90II,p157). None of them described this picture.

5IE-1880-204, Un cadre d’études et esquisses
5IE-1880-205, Un cadre d’études et esquisses
Berson leaves out these works, which means there were no reviews (R90II,p157). I assume that each frame contained at least 4 works.

5IE-1880-206, Tête d’étude
Berson leaves out these works, which means there were no reviews (R90II,p157). Charles Flor (1880/04/16) reviewed ‘a portrait of a woman by M. Tillot’ (R90I,p280), which could refer to no.198 and also to no.206.

 

The 6th ‘impressionist’ exposition of 1881:

General overview:

  • catalogue numbers 140-149
  • I assume that no. 149 contained at least 4 studies
  • so in total Charles Tillot exhibited in 1881 at least 13 works, including 3 landscapes, 3 still lives (no. 140-2), 3 figure painting (no 143-4).
    • 3x time indication of place, including 1x Villers (no. 146), 2x Saint-Malo (no.147+148)
    • 0x indication of time, season or weather
    • 5x a study
    • 0 loans (appartient à…):
  • Moffett does not give one suggestion (R2,p356 ), nor does Berson (R90II,p187)

Reviews:
Paul de Charry (1881/04/22) reviewed ‘Nothing is as pretty as Mr. Tillot’s wallflowers and narcissi.’ (R90I,p334)
Louis Enault (1881/04/15) reviewed ‘I found in the last room of the Exposition des Indépendants some flowers by M. Charles Tillot, Giroflées and Fleurs de Printemps, of a power of relief and of a brightness of colour which show a real skill of hand. There is also a lot of truth and a very intimate and collected feeling in the head of his Jeune Italienne, which would be noticed everywhere. Mr. Tillot is certainly not independent of knowledge and taste.’ (R90I,p339).
Enjoiras (1881/04/12) reviewed ‘M. Tillot’s landscape studies are very accurate in tone and happy in feeling; his flowers are painted with a vigorous brush, very masterful, and he uses a brilliant colouring.’ (R90I,p341).
G.G. in La justice (1881/04/04) reviewed ’the nice flowers of M. Tillot’ (R90I,p342).
Gustave Geffroy (1881/04/19) reviewed ‘M. Tillot exhibits flowers which have, especially the X’s, the brightness and velvetiness of living flowers.’ (R90I,p343)
Elie de Mont. (1881/04/21) reviewed ‘What particular characteristics, what boldness of invention or process do the paintings and studies of M. Ch. Tillot present, which do not emerge from an honest average? I like his flowers very much; I find them broadly and richly painted; but it is certain that they would look very good in any other environment.’ (R90I,p361).

Catalogue 1881: (R2,p356;R90I,p328;iR1)

6IE-1881-140, Fleurs de printemps
Berson refers to the reviews of de Charry, Enault and also to Enjoiras, G.G. and de Mont. (R90II,p187) None of them described this picture.

6IE-1881-141, Giroflées
6IE-1881-142, Giroflées
Eng.: wall-flowers. Berson refers to the reviews of de Charry, Enault, Geffroy and also to Enjoiras, G.G. and de Mont. (R90II,p187) None of them described this picture.

6IE-1881-143, Portrait d’enfant
Berson leaves out these works, which means there were no reviews (R90II,p187). 

6IE-1881-144, Tête de jeune fille
Berson leaves out these works, which means there were no reviews (R90II,p187). 

6IE-1881-145, Jeune Italienne
Berson refers to the review of Enault (R90II,p187), who reviewed ‘There is also a lot of truth and a very intimate and collected feeling in the head of his Jeune Italienne, which would be noticed everywhere.’ (R90I,p339).

6IE-1881-146, Plage de Villers
Berson leaves out these works, which means there were no reviews (R90II,p187). Maybe: 18xx, The beach of Villers-sur-Mer (Calvados), on panel, 24×33, A2022/03/07 (iR11;iR18;R2).

6IE-1881-147, Rade de Saint-Malo, étude
6IE-1881-148, Rade de Saint-Malo, étude
Eng.: the bay of Saint-Malo (study). NL.: de zeearm. Saint-Malo lies north of the Brittany peninsula, see map. Berson leaves out these works, which means there were no reviews (R90II,p187). 

6IE-1881-149, Etudes et esquisses d’après nature
Berson leaves out these works, which means there were no reviews (R90II,p187). Enjoiras mentioned ‘landscape studies’, but that could also refer to his exhibited landscapes (no.146-148). 

 

The 8th ‘impressionist’ exposition of 1886:

General overview:

  • catalogue numbers 202-217
  • no. 210 contained of 2 works
  • no. 217 contained a collection of studies with Chinese ink, so I guess it contained at least 4 works
  • so in total Charles Tillot exhibited in 1886 at least 20 works, including 3 landscapes (no. 202-204), 9x still lives (no. 205-212), 4x figure painting / nudes (213-216).
    • 2x time indication of place, including 1x Villers (no. 204), 1x Annecy (no.202)
    • 1x indication of time, season or weather
    • 8x a study
    • 0 loans (appartient à…):
  • Moffett does not give one suggestion (R2,p447), nor does Berson (R90II,p253/4)

Reviews:
Félix Fénénon reviewed ‘Mr. Charles Tillot, who treads peonies, chrysanthemums, anemones and naked women with dark stubbornness.’ (R90I,p442).
Henry Fèvre (1886 May/June) reviewed ‘Mr. Tillot takes the plough, leans the brush like a ploughshare, ploughs his canvases where cauliflowers grow instead of flowers. His lac d’Annecy is, on the other hand, of a chromolithographic design. His little naked women are bloody, cannibalistic, too Herculean, stewed in a butcher’s bleeding / stewed in a Boucher like bleeding. Vigorous and lively, however, a woman’s portrait, though also a nosebleed.’ (R90I,p446).
Gustave Geffroy (1886/05/26) reviewed ‘Mr. Charles Tillot is above all a painter of flowers. Peonies and irises, roses and chrysanthemums, bulwarks and anemones. The backgrounds are uniformly dark, and the flowers are usually in cloth. The flower is definitely the painter’s test.’ (R90I,p450).
H. reviewed in Le journal des arts (186/06/11) ‘Mr. Tillot’s flowers have a remarkable grace and freshness.’ (R90I,p452).
Henry Havard (1886/05/17) reviewed ‘We note, in the flowers of M. Charles Tillot, a rare feeling of that fragility of nuance which is one of the characteristic features of nature.’ (R90I,p453).
Firmin Javel (1886/05/16) reviewed ‘M. Charles Tillot, in his figures, is directly inspired by Fragonard; but he is personal in his landscapes.’ (R90I,p459).
J.M. Michel (1886/05/18) reviewed ‘First of all, here is Mr Charles Tillot with a Baigneuse (213) kind of village Suzanne with lively and fresh flesh, all painted neatly in a summer landscape, on the banks of a cheerful stream. Of the other three nude studies by the same painter one would conceive a fairly good impression if it were not for 215, une femme couchée which offers us a rather too loose unpacking of flaccid flesh, something like a practical school subject after a session of operative medicine and disarticulation.’ (R90I,p464).
The Moniteur des Arts (1886/05/21) reviewed ‘M. Charles Tillot exhibits flowers and nude women à la Fragonard: he is a classic among these rebellions.’ (R90I,p467).
Though suggested by Berson, La Petit République Française (1886/05/21) doesn’t seem to review Tillot (R90I,p470/1).
La République Française (1886/05/17) reviewed ‘of Tillot’s nude women, bathed in a reddish sauce and looking as if they were taken from an 1830 Salon; they are “Impressionist” in name only;’ (R90I,p472)
X reviewed in La Liberté (1886/05/18) ‘Mr. Tillot has not yet found the secret of giving the flowers their full brilliance, but there is careful work on the part of this painter which may one day bear fruit. His studies of women are inspired by Fragonard, and such a master is well capable of making a good student.’ (R90I,p474).

Catalogue 1886: (R2,p447;R90I,p425;iR1)

8IE-1886-202, Le lac d’Annecy
Annecy lies about 50km south of Geneva, see map. Berson refers to the reviews of Fèvre, H. and Javel (R90II,p253). None of them described this picture.

8IE-1886-203, L’Approche de l’Orage
Compare: ‘1886, Orage sur mer’ (aR6). Berson refers to the reviews of H. and Javel (R90II,p253). None of them described this picture.

8IE-1886-204, Falaises, à Villers-sur-Mer
Berson refers to the review of Javel (R90II,p253). None of them described this picture.

8IE-1886-205, Pivoines et Iris
Berson refers to the reviews of Geffroy, H., Havard, Moniteurs des Arts and X (R90II,p254). None of them described this picture.

8IE-1886-206, Pivoines blanches
Berson refers to the reviews of Geffroy, H., Havard, Moniteurs des Arts and X (R90II,p254). None of them described this picture.

8IE-1886-207, Chrysanthèmes
Berson refers to the reviews of Geffroy, H., Havard, Moniteurs des Arts and X (R90II,p254). None of them described this picture. Maybe: 1877ca, Floral still life in blue vase, 81×67, A2008/11/20 (iR10=aR15;iR6;iR18;iR17;aR14=iR258;R89,p19). Compare 5IE-1880-202 with the same title.

8IE-1886-208, Chrysanthèmes blanches et dahlias
Berson refers to the reviews of Geffroy, H., Havard, Moniteurs des Arts and X (R90II,p254). None of them described this picture.

8IE-1886-209, Roses
Berson refers to the reviews of Geffroy, H., Havard, Moniteurs des Arts and X (R90II,p254). None of them described this picture.

8IE-1886-210-1, Anémones (2 études)
8IE-1886-210-2, Anémones (2 études)
Berson refers to the reviews of Geffroy, H., Havard, Moniteurs des Arts and X (R90II,p254). None of them described this picture.

8IE-1886-211, Roses dans un vase de Chine
Berson refers to the reviews of Geffroy, H., Havard, Moniteurs des Arts and X (R90II,p254). None of them described this picture.

8IE-1886-212, Pivoines et Pavots
Compare: ‘1886, Bouquet de Pivoines et Pavots’ (aR6). Berson refers to the reviews of Geffroy, H., Havard, Moniteurs des Arts and X (R90II,p254). None of them described this picture.

8IE-1886-213, Baigneuse
Berson refers to the reviews of Michel and also to Fèvre, Javel, La Petite République française, La République française and X  (R90II,p254). Michel reviewed ‘a Baigneuse (213) kind of village Suzanne with lively and fresh flesh, all painted neatly in a summer landscape, on the banks of a cheerful stream.’ (R90I,p464). Some reviews mention a exaggerated redness in the painting.

8IE-1886-214, Jeune fille dans un paysage
Berson refers to the reviews of Fèvre, Javel, Moniteurs des Arts, La Petite République française, and X (R90II,p254). Michel suggests this was a nude (R90I,p464). Some reviews mention a exaggerated redness in the painting.

8IE-1886-215, Femme couchée, étude
Berson refers to the reviews of Michel and also to Fèvre, Javel, La Petite République française, La République française and X  (R90II,p254). Michel reviewed ‘215, une femme couchée which offers us a rather too loose unpacking of flaccid flesh’; he suggests this was a nude (R90I,p464). Some reviews mention a exaggerated redness in the painting. Maybe: 1880s, Nude on the couch (Nue couche), 38×46, A2012/01/29 (iR10;iR17;iR11).

8IE-1886-216, Étude de femme nue
Berson refers to the reviews of Fèvre, Javel, La Petite République française, La République française and X  (R90II,p254). Some reviews mention a exaggerated redness in the painting.

8IE-1886-217, Recueil de croquis à l’encre de Chine
Eng.: Collection of studies with Chinese ink. Note: probably this number contained several ink studies, I assume it were at least 4. Berson leaves out these works, which means there were no reviews (R90II,p254).

 

 

Charles Tillot and the Salon:

 

S1846-1696, Portrait de l’auteur
Debut with a self-portrait (iR1;aR4;aR5;aR7;iR4;iR3;R9)

S1848-4271, Portrait de Mme T…
(iR1;aR5)

S1849-1909, Suzanne, étude
(iR1;aR4;aR5;aR7)

S1849-1910, Portrait de M. CH. de Matharel
(iR1;aR4;aR7)

S1849-1911, Portrait de Mme A…
(iR1;aR5)

S1855-4061, Lisière de forêt
This was during the Exposition Universal (iR1;aR4;aR5)

S1855-4062, Intérieur de forêt
This was during the Exposition Universal (iR1;iR4;iR3;aR4;aR7)

S1855-4063, Souvenir de Pyrénées
This was during the Exposition Universal (iR1;aR4;aR5;aR7). Some wrongly indicate this was exhibited in 1849 (iR4;iR3) 

S1859-2852, Un lac en Savoie
(iR1;aR4;aR5). Probably also the ‘Lac d’Annecy’.

S1859-2853, Le lac d’Annecy (Savoie)
(iR1;aR5;aR4;aR7). See 8IE-1886-202. 

S1859-2854, Chemin de Sévrier, près du lac d’Annecy (Savoie)
(iR1;aR4;aR5;aR7). Sévrier lies just south of Annecy, see map.

S1861-2959, Dessous de forêt
(iR1;aR4;aR5;aR7)

SdR1863-759, Souvenir d’Honfleur (paysage)
(iR1)

S1870-2740, Dormoir des Gorges d’Apremont; forêt de Fontainebleau
(iR1;aR4;aR5;aR7)

S1870-2741, Portrait d’enfant
(iR1;aR5)

 

Exposition Universelle:
1900, Centennale de l’Art français de 1789 à 1889 (R231/iR40)

EU-C-1900-633, Fleurs (à M. Henri Rouart)
Note: This work was not in the posthumous 1912 auction catalogue of the Henri Rouart collection (R45,p112).

 

 

 

Recommanded citation: “Charles-Victor Tillot, account of his exhibited paintings. Last modified 2022/08/21.  https://www.impressionism.nl/tillot-account/”