Eugène Vidal

Account

of his exhibited works

Introduction:
On this page you will find an account of the works Eugène Vidal exhibited with the Impressionists in 1880 + 1881, at the Salon, the Société des Artistes Français and at the Société Nationale des Beaux-Arts. For general information on Eugène Vidal and used sources see his main page.

The 5th impressionist exposition of 1880:

General overview:

catalogue numbers 207-215
in total Vidal exhibited in 1880 9 works, of which 8x figure painting, including 5x portraits.
- 0x time indication of place
- 0x indication of time, season or weather
- 1x a study
- 0x loans (appartient à…)
Moffett does not give one suggestion (R2,p314); Berson only renders a suggestion for no. 213 (R90II,p157).
see the link for his pictures.

Reviews:
Bertall (1880/04/07) reviewed ‘I ask you what Mr. Vidal is doing here with his wife at the bar (no.212), his naval officer (no.208), etc. There is a certain head bouzillée a propos, in order to have the air to be attached to the art which produced MM. Guillaumin and Forain. But this is not serious. Mr. Vidal is a fake brother. Let’s put in the same category M. Lebourg with his charcoals, M. Fillot (???), M. Rouart, M. and Mme Bracquemont. All these people are just painting, like those who clutter up the exhibitions on the Champs-Elysees. They don’t deserve the title of independents or impressionists.’ (R90I,p268/9).
Emile Cardon (1880/04/05) reviewed ‘M. Eugène Vidal is certainly not an impressionist either, he is at most an independent; he has a good portrait of M. J. S… (no.208), of which one can only criticize the very long length of the legs;’ (R90I,p171)
Aug. Dalligny (1880/04/16) reviewed ‘remarkable portrait that of Mr. Gaston B… (no.210) by Mr. Vidal.’ (R90I,p275).
A. E. (1880/04/05) reviewed ‘His neighbour (of Tillot), Mr. Vidal, does not yield to him in any way, although a little black and heavy of tone. His drawing for the portrait of Mr. Taillade (no.209) reminds, strangely enough, a lead pencil by Ingres. Who would have expected such a connection in such a place? ‘ (R90I,p276).
Charles Flor (1880/04/16) reviewed ‘a pretty portrait of a brunette woman by M. Vidal, who had the singular fantasy to place his graceful model in front of a beer mug. (no.212)‘ (R90I,p280).
Henry Havard (1880/04/02) reviewed ‘Mr. Eug. Vidal, who was absent last year, is exhibiting this year an excellent portrait of a woman, which also has nothing to do with impressionism. (no.211 or 212)‘ (R90I,p284).
Firmin Javel (1880/04/03) reviewed ‘Mr. E. Vidal is not as pure as his comrades. I even believe that he does not mean a word of what he says, when he calls himself an impressionist. His Jeune fille au bock (no.212) would be worthy of appearing, at the Salon, in the gallery reserved for members of the Institute! That’s a good one! But also what an attractive colour! M. Vidal also has a fine portrait of a naval officer. (no.208)‘ (R90I,p294).
J. L. (1880/04/06) reviewed ‘Among the exhibitors who seem to have come there as strollers, if I may put it that way, to see what is going on and who do not have a ’truly impressionist soul’, we must mention Mr. Vidal. His portrait of a naval officer (no.208), his sketch of Taillade (no.209) and his Femme dans un Café (no.212) continue to have very remarkable and highly regarded qualities. ‘ (R90I,p295).
Lancelot (1880/04/03) reviewed ‘Among the most remarkable paintings are the Jeune fille au bock (no.212), by M. E. Vidal, and a very successful portrait of a naval officer. (no.208)‘ (R90I,p296).
Paul Mantz (1880/04/14) reviewed ‘M. Eugène Vidal, who is not a very authentic independent, has sent moderate and interesting portraits. The author seems touched by the modern aspect of the physiognomies; he observes and he sees correctly. The painting entitled Au Café (no.212) is not without character. It is about a young woman whose virtue is not guaranteed and who, sitting in front of a table, waits for the providential stranger who will buy her dinner. Dressed in black, it is displayed on a grey background. Next to her, the bock, half empty, remains discreetly in the background with the modesty that suits the accessories. What a lesson for M. Caillebotte!’ (R90I,p298).
André Michel (1880/04/09) reviewed ‘In his portrait of a naval officer (no. 208) and in his woman seated at a café table (no.212), M. Vidal also shows more correctness and style than is permitted to the good impressionist.’ (R90I,p299).
Elie de Mont. (1880/04/20) reviewed ‘Why does M. Vidal, who exhibits a very reasonable portrait of a naval officer (no.208), a small woman in a café no less reasonable (no.212), a drawing (for the portrait of M. Taillade) (no.209) which one would believe to be by a pupil of Ingres, show his dementia in the portrait, with punches, of a M. Gaston (no.210) who is really very pitiful?’ (R90I,p302).
H. Mornand (1880/05/01) reviewed ‘I will say the same of M. Vidal, a true artist, very modern, whose sincere and frank manner rejoices in the midst of so much pretentious nonsense. He has at this exhibition some portraits of a fine style, among others, that of M. J. S. (no.208) in the costume of a naval officer, which is an excellent piece. Some studies of women and girls are of great interest.’ (R90I,p303).
Armand Silvestre (1880/05/01) reviewed ‘M. Vidal, too, who treated the portrait of Madame Georges Grand as a good student, and only acted intranigently by not painting her hands, which she must nevertheless have. It is really not enough to leave things in a state of preparation to regenerate the paint. M. Bougereau himself, on this account, would have his moment of impressionism. This reservation being made, I willingly acknowledge that M. Vidal has great qualities and a real talent. There are some very interesting paintings in his exhibition. What I like best in M. Vidal’s work is his study of Femme lisant (no.214?), in pastel. It is fine and distinguished. ‘ (R90I,p308).
M. de Thémines (1880/04/07) reviewed ‘Here and there, a few paintings that look like they’ve wandered into these sheds: one in particular, a warm-toned brunette woman, agathized, signed Vidal, who would have been admitted, hands down, to the Salon. (no.212?) This painter also has a naval officer (no.208) who is a little more in the impressionist style, but who is not without merit either. Then he sacrifices himself to the taste of his friends.’ (R90I,p310).
Henry Trianon (1880/04/08) reviewed ‘Mr Vidal’s, whom we almost all know, his contributions include a full-length portrait of a naval officer (no.208); a young woman drinking beer, seated, elbows on table (no. 212)‘ (R90I,p313).
Marius Vachon (1880/04/03) reviewed ‘The picturesque portrait of a young woman (no.211?, 212?), the portrait of a naval officer, by M. Vidal, show a preoccupation with aesthetics and forms, alien to the Impressionists;’ (R90I,p315).
Eugène Véron reviewed in L’Art ‘The same observation must be made for a female figure of M. Vidal, who is drinking a beer (no.212). She is also a café-goer like M. Caillebotte’s character. It is the same type, in female, but with a certain distinction. The first is naturally and unconsciously mischievous. This one has become so by habit, by frequentation. There is in the face and attitude of this unhappy woman a moral expression which is very rare in the midst of all these dull and frozen works, and which is unfortunately not to be found elsewhere in the exhibition of M. Vidal.’ (R90I,p317).

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

5IE-1880-207, Portrait de Georges Grand
(R9). Silvestre (1880/05/01) reviewed ‘M. Vidal, too, who treated the portrait of Madame Georges Grand as a good student, and only acted intranigently by not painting her hands, which she must nevertheless have.’ (R90I,p308). Maybe: 1879, Portrait of a woman in Ermine, 85×54, A2019/11/20 (iR13;R2,p314;R90I,p308), the model wears cloves, so Vidal didn’t paint her hands.

5IE-1880-208, Portrait de M. J. S.
This work is mentioned in 11 reviews (R90II,p157). Bertall writes about ‘his naval officer’, according to Berson referring to no. 208 (R90I,p268). Cardon finds it a good portrait ‘of which one can only criticize the very long length of the legs;’ (R90I,p171). Javel calls it ‘a fine portrait of a naval officer’ (R90I,p294). Michel calls it a ‘portrait of a naval officer’ (R90I,p299), so does de Mont. (R90I,p302). Mornand reviewed ‘M. J. S. in the costume of a naval officer, which is an excellent piece.’ R90I,p303). De Thémines remarks ‘a naval officer who is a little more in the impressionist style, but who is not without merit either.’ (R90I,p308). Trianon mentions ‘a full-length portrait of a naval officer’ (R90I,p313). I don’t have a suggestion.

5IE-1880-209, Dessin pour le portrait de M. Taillade
It reminds A. E. of a lead pencil by Ingres (R90I,p276) and de Mont. reviewed ‘one would believe to be by a pupil of Ingres’ (R90I,p302). J.L. just mentions ‘his sketch of Taillade’ (R90I,p295). I don’t have a suggestion.

5IE-1880-210, Portrait de M. Gaston B.
Dalligny (1880/04/16) reviewed it was a ‘remarkable portrait’ (R90I,p275). De Mont. writes that Vidal ‘show his dementia in the portrait, with punches, of a M. Gaston who is really very pitiful?’ (R90I,p302). Maybe?: 1877, Man sitting with a cigarette, 36×27, Collection Frank Meissner Germany (aR1;iR11;R2,p314;R90I,p302). Note: this painting is painted quite roughly by Vidal, which maybe resembles the ‘punches’ mentioned by De Mont.

5IE-1880-211, Femme en blanc
There were 2 reviews that could refer to this work or no. 212. Havard reviewed ‘an excellent portrait of a woman, which also has nothing to do with impressionism. (no.211 or 212)‘ (R90I,p284). Vachon reviewed of a ‘picturesque portrait of a young woman’, which could refer to no.211 or 212 (R90I,p315). Maybe: 18xx, The lady in white, 83×58, A2000/11/18 (iR13), there is a clear match between the titles.

5IE-1880-212, Au café
The same title as 6IE-1881-150. There were probably 13 reviews of this work. Bertall describes it as ‘wife at the bar / at the beer’ (R90I,p268). Flor (1880/04/16) reviewed ‘a pretty portrait of a brunette woman by M. Vidal, who had the singular fantasy to place his graceful model in front of a beer mug.’ (R90I,p280). Havard reviewed ‘an excellent portrait of a woman, which also has nothing to do with impressionism. (no.211 or 212)‘ (R90I,p284). Javel calls it ‘worthy of appearing, at the Salon’, and also ‘That’s a good one! But also what an attractive colour!’ (R90I,p294). Mantz reviewed ‘It is about a young woman whose virtue is not guaranteed and who, sitting in front of a table, waits for the providential stranger who will buy her dinner. Dressed in black, it is displayed on a grey background. Next to her, the bock, half empty, remains discreetly in the background with the modesty that suits the accessories.’ (R90I,p298). Michel describes it as a ‘woman seated at a café table’ (R90I,p299). De Mont. calls it ‘woman in a café’ (R90I,p302). De Thémines remarks ‘a warm-toned brunette woman, agathized, signed Vidal, who would have been admitted, hands down, to the Salon.’ (R90I,p308). Trainon described ‘a young woman drinking beer, seated, elbows on table’ (R90I,p313). Vachon reviewed of a ‘picturesque portrait of a young woman’, which could refer to no.211 or 212 (R90I,p315). Véron judges ‘There is in the face and attitude of this unhappy woman a moral expression.’ (R90I,p317). Now: 18xx, L’attente, xx, xx (iR10;iR94;iR64;R2,p314;R90I,p298+313), This picture clearly fits the descriptions of the reviews.

5IE-1880-213, Tête de fillette
Berson suggests: 18xx, Tête de fillette, pastel, 52×36, private collection New York (R90II,p157+174), based on an annotation on the reverse indicating that this work was exhibited as no. 213 in the fifth impressionist exhibition. There were no reviews. To compare I also render another pastel: 18xx, Jeune fille au chapeau, pastel, 73×52, xx (iR10;iR93;iR140;R2,p314).

5IE-1880-214, étude de femme
Probably referring to this number Silvestre remarks ‘his study of Femme lisant, in pastel. It is fine and distinguished.’ (R90I,p308). To compare I render an oil study of a woman that is not reading: 18xx, Portrait d’une élégante, 42×33, A2015/12/07 (iR13;R2,p314).

5IE-1880-215, Portrait de M. S.
There were no reviews. Maybe?: 1877, Man sitting with a cigarette, 36×27, Collection Frank Meissner Germany (aR1;iR11;R2,p314;R90I,p302), both a portrait of a man.

The 6th ‘impressionist’ exposition of 1881:

General overview:

catalogue number 150
Vidal exhibited in 1881 just 1 work.
- 0x time indication of place
- 0x indication of time, season or weather
- 0x a study
- 0 loans (appartient à…):
see the link for his pictures.

Reviews:
Paul de Charry (1881/04/22) reviewed ‘But what are Messrs Vidal, Raffaëlli and Forain doing here? Is it to contrast with the others and to appear first among them. They would have a good place at the Salon and would not need to make an exaggerated display. What could be more charming than the three women exhibited by Mr Eugène Vidal? The first, all in black, is putting her veil back on, and the other is rearranging it. This one is in full light, the rays of the sun filtered by the curtains of the shop play in her hair and on her face with a delicate and spiritual expression. (no.150) What could be finer, too, than this graceful creature veiled in a smooth black silk mourning veil, in a felt hat, in a velvet bodice, who looks cute, with her blond hair, that lymphatic skin tone of the Parisian women, and her little naughty eyes? (hc)‘ (R90I,p334).
Aug. Dalligny (1881/04/08) reviewed ‘Au Café by Mr. Eugène Vidal is a charming motif; the young woman smiling behind her black veil is worthy of all praise.’ (hc or no.150) (R90I,p335).
Louis Enault (1881/04/15) reviewed ‘But the pearl of this Exhibition, and it is, I swear to you, of a rather beautiful nature, has been sent to the Boulevard des Capucines by M. Eugène Vidal. It is called: Au Café (no.150). Two young girls, two friends – blonde and brunette – are about to leave the table where they have just savoured the sweet aroma of mocha. One is smoothing her rebellious hair, while the other is adjusting a bonnet on her cute and mutinous head, which must have come from the good manufactioner. All this is really very beautifully painted; the feminine types are delicious, the pose full of naturalness and grace; the excellent execution further enhances these very real qualities, which I am in no way exaggerating in praising them as I do. If I am taken back to the Independents’ Exhibition, I authorise you, ladies, to tell everyone that it is for you that I have returned. ‘ (R90I,p339).
Gustave Geffroy (1881/04/19) reviewed ‘M. Vidal, on the other hand, arranges the contours and specifies, without any mannerism, the facial expressions and the indications of costumes. His two Parisian women at the café make an excellent picture (no.150). His portrait of a woman is very seductive. (hc)‘ (R90I,p343).
G. G. La Justice (1881/04/04) just mentions ’the painting of M. Vidal’ and other works ‘were also remarked’ (R90I,p342).
Gonzague-Privat (1881/04/05) reviewed ‘at last a picture by M. Eugène Vidal: Au café, studied with real sincerity. (no.150) ‘ (R90I,p346)
Henry Havard (1881/04/03) reviewed ‘When we have said that M. Vidal has exhibited a charming painting entitled Au Café and representing two graceful women very correctly painted and consequently a little surprised to find themselves in such a turbulent milieu; (no.150)‘ (R90I,p347).
Comtesse Louise wrote in La France nouvelle (1881/05/01-02) ‘M. Vidal, whose real talent is neither brutal nor eccentric, has exhibited women in mourning with a very successful effect. (no.150 or hc)‘ (R90I,p356).
André Michel (1881/04/05) reviewed ‘M. Vidal has sent a painting: Au Café, in the same style as last year’s, where the blacks and greys are very skilfully treated. (no.150)‘ (R90I,p359).
Elie de Mont. (1881/04/21) reviewed ‘When it comes to Mr. E. Vidal, whose painting ‘Au café‘ (no.150) is as well executed as three quarters of the so-called genre paintings that pass unnoticed every year at the Palais de l’Industrie? I prefer the little veiled woman who is not in the Catalogue, although she doesn’t have much under her clothes. (hc)‘ (R90I,p361).
In la Petite Press (1881/04/03) is reviewed ‘Among the paintings that are sure to attract the public’s attention are portraits of women signed by Mr. Vidal. (no.150 or hc)‘(R90I,p364).
In la Petite République française (1881/04/14) is reviewed ‘Next to the detestable paintings, which only present a shapeless waste of colours, there are remarkable works. Under this title: Au café (no.150), M. Eugène Vidal has painted two very lively young women; but it seems to us that impressionism has little to do with this painting.’ (R90I,p364).
Vernay (1881/04/04) reviewed ‘We would also like to point out a work that does not belong in this exhibition, it is the painting by Mr. Eugène Vidal, which has the title: Au café (no.150). This is art, Mr Vidal! Your painting is charming. Two ladies are seated near a table; one puts on her hat, and her face is half hidden by a veil; the other looks at her. The figure of the latter is excellently painted; the artist has been able to add to it a very fine and well-found nuance of expression.'(R90I,p370).
Nina de Villars (1881/04/23) reviewed ‘and a spiritual genre painting by Vidal, under this title: Au café (no.150)‘ (R90I,p371).

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

6IE-1881-150, Au café
Compare 5IE-1880-212. Moffett doesn’t give a suggestion. There were many reviews: Dalligny, Enault, Geffroy, G.G., Gonzague-Privat, Havard, Michel, de Mont., la Petite République française, Vernay, de Villars (R90II,p187). Paul de Charry described ‘The first, all in black, is putting her veil back on, and the other is rearranging it. This one is in full light, the rays of the sun filtered by the curtains of the shop play in her hair and on her face with a delicate and spiritual expression.’ (R90I,p334). Enault described ‘Two young girls, two friends – blonde and brunette – are about to leave the table where they have just savoured the sweet aroma of mocha. One is smoothing her rebellious hair, while the other is adjusting a bonnet on her cute and mutinous head, which must have come from the good manufactioner.’ (R90I,p339).Vernay described ‘Two ladies are seated near a table; one puts on her hat, and her face is half hidden by a veil; the other looks at her.’ (R90I,p370). I don’t have a suggestion.

6IE-1881-150+hc, La petite femme voilée
According to Berson Vidal exhibited this work outside the catalogue (=hc) (R90II,p187+283). She leaves it unidentified, though there are several reviews referring to this work: de Charry, Dalligny, Geffroy, de Mont., la Petite République française, Vernay, de Villars. Maybe also: comtesse Louise, la Petite Press (but they can also refer to no.150). Paul de Charry described ’this graceful creature veiled in a smooth black silk mourning veil, in a felt hat, in a velvet bodice, who looks cute, with her blond hair, that lymphatic skin tone of the Parisian women, and her little naughty eyes?’ (R90I,p334). Aug. Dalligny (1881/04/08) reviewed ‘Au Café by Mr. Eugène Vidal is a charming motif; the young woman smiling behind her black veil is worthy of all praise.’ (R90I,p335), I assume it referred to this hc work and not to no.150. Elie de Mont. reviewed ‘I prefer the little veiled woman who is not in the Catalogue, although she doesn’t have much under her clothes.’ (R90I,p361). Maybe: 18xx, Élégant assise, 65×32, A1999/06/16 (iR14;iR13), this picture partly matches the discriptions of the reviews.

Eugène Vidal and the Salon:
Here below you will find an account of the works that Eugène Vidal exhibited at the Salon (=S), at the salon de la Société des Artistes Français (=SdAF) and at the salon de la Société Nationale des Beaux-Arts (=SNBA). See the link for his pictures.
Other Vidals at the Salon:
There was a Vincent Vidal (1811-87), born in Carcassonne, who exhibited at the Salon from 1843-87; he exhibited most of the time ‘hors concours’ (iR1;iR3;R9,p725). At the Salon des Refuses in 1873 there was a Pierre Vidal de Solares who exhibited. There also was a Henri Vidal, born in Charenton, exhibiting at the Salon of 1887/ 88/ 89/ 90/ 91/ 92/ 93/ 94/ 96/ 99/ 1900/ 01/ 02/ 03/ 05. There was a Marie-Louis-Pierre, born in Tours, exhibiting in 1887. A Louis Vidal in 1891. A Mlle Ellena Vidal, a sculptor, exhibiting in 1895. A Ernest Vidal in 1905. And at the SNBA of 1907/ 10 a Paul Vidal. (iR1)

S1873-1443, Portrait de Mme Martin ; fusain
x

S1874-1788, Marabouts dans la mosquée de Constantine
Now: 18xx, Le Marabout dans la mosquée de Constantine, xx, Musée de Tours (R9). Maybe: 18xx, Marabouts dans la mosquée de Constantine, xx, xx (iR10;iR48;R9)

S1875-1954, Genouns (mauvais esprits)
Femmes de la province de Constantine dansant la danse dite des Genouns, pour chasser les mauvais esprits dont elles se croient possédées. Maybe: 1875, A harem dancer, 95×120, A1999/03/18 (iR13;iR2;iR11).

S1876-2020, Portrait de Mgr Lavigerie, archevêque d’Alger
Portrait du cardinal Lavigerie (R9,p725).

S1878-2230, Une rue de la Haute-Ville (Casbah), à Alger
Maybe now: 18xx, Jeune femme dans la Kasbah, 85×52, A2018/06/25 (iR11;iR41;R9).

Eugène Vidal at the Salon de la Société des Artistes Français (=SdAF):

SdAF-1882- 2619, Portrait de Mlle N. H…
Compare: 1895-1908ca, Portrait of a young girl, 36×25, A2017/12/12 (iR11;iR10;iR1). Note: because of the hairdress I assume this work was dated between 1895-1908, see Rouart.

SdAF-1882- 2620, Femme vue de dos
Maybe: 18xx, Femme nue de dos, 102×56, A2013/06/29 (iR11;iR10;iR41). Note: the difference between ‘woman seen on the back’ and ‘back of a naked woman’.

SdAF-1883- 2380, Portrait de Mlle M. C…
x

SdAF-1883- 2381, Portrait de Mlle Z. A…
Maybe: 18xx, Portrait of Mademoiselle Z.A., 118×75, A1994/02/16 (iR13).

SdAF-1885- 3244, *Les nouvelles ; pastel
Eng.: The news.

Eugène Vidal at the Salon de la Société Nationale des Beaux-Arts (=SNBA):

SNBA-1892-1030, Deux amis.

SNBA-1892-1029, Fleur de Montmartre (Appartient au Cercle Volney)
Compare: SNBA-1908- 1146, Fleur de Montmartre

SNBA-1892-1429, Portrait de Mme de B. (pastel)

SNBA-1892-1430, Portrait de Mlle de C. (pastel)

SNBA-1893- 1444, Figure assise : Jeune Fille ;
Dessins, aquarelles, pastels, miniatures, émaux, porcelaines, faïences

SNBA-1893- 1445, Figure debout : Jeune Fille ;
Dessins, aquarelles, pastels, miniatures, émaux, porcelaines, faïences

SNBA-1893- 1446, Tête de jeune Fille ;
Dessins, aquarelles, pastels, miniatures, émaux, porcelaines, faïences

SNBA-1893- 1447, Petite fille de la Campagne (dessin)
Compare: SNBA-1897- 1768, Petite fille de la campagne

SNBA-1894- 1148, Femme qui se coiffe.

SNBA-1894- 1149, Portrait de Mme E. V…
As a very uncdertain option I render: 18xx, Lady in a Pink Dress and a Green Hat with Plumes, on wood, 32×24, A2016/01/26 (iR13;iR17;iR10;iR1)

SNBA-1894- 1678, Mon modèle ;
Dessins – aquarelles, pastels, miniatures, émaux, porcelaines, faïences

SNBA-1894- 1679, Portrait de M. de N … (pastel)

SNBA-1895-1223, La fille du menuisier
Eng.: The carpenter’s daughter.

SNBA-1895-1224, Ma voisine
Eng.: My neighbour.

SNBA-1895-1225, Portrait de Mlle Louise G…
Maybe: 1895ca, Portrait of a young woman with flowers, 50×33, A2013/09/22 (iR11;iR2;iR1); note the date fits.

SNBA-1895-1728, Portrait de Mme Marg. M… ;
Dessins, aquarelles, pastels, miniatures, émaux, porcelaines, faïences

SNBA-1895-1729, Portrait de Mlle L… ;
Dessins, aquarelles, pastels, miniatures, émaux, porcelaines, faïences

SNBA-1896-1221, Profil.

SNBA-1896-1222, Etendeuse de linge
Eng.: Laundry spreader

SNBA-1896-1223, Etude.

SNBA-1896-1642, Portrait de Mme M… (pastel)

SNBA-1896-1643, Portrait de M. H… (pastel)

SNBA-1897- 1220, Jeune fille au corset bleu.
Compare: 18xx, Girl in Corset, postcard after Vidal’s painting, ?cm, Museum of Luxembourg (iR42;iR10;iR1). Compare also: SNBA-1897- 1770, Jeune fille mettant son corset .

SNBA-1897- 1221, Portrait d’homme.

SNBA-1897- 1767, Portrait d’enfant (pastel)

SNBA-1897- 1768, Petite fille de la campagne ;
Dessins – aquarelles, pastels, miniatures. Compare: SNBA-1893- 1447, Petite fille de la Campagne (dessin).

SNBA-1897- 1769, Figure de face ;
Dessins – aquarelles, pastels, miniatures

SNBA-1897- 1770, Jeune fille mettant son corset ;
Dessins – aquarelles, pastels, miniatures. Compare: SNBA-1897- 1220, Jeune fille au corset bleu.

SNBA-1898-1235 ??

SNBA-1898-1236, Etude demi-teinte.

SNBA-1898-1237, Profil.

SNBA-1898-1238, Portrait de Mme B…
Maybe?: 1895ca, The Blue Fan, 41×23 (or 51×33), private (iR2;iR41;iR1).

SNBA-1898-1866, Portrait de Germaine M... ;
Dessins, aquarelles, pastels, miniatures

SNBA-1898-1867, Nature morte (pâté)
Eng.: still-life (ink stain or pastry)

SNBA-1898-1868, Ménagère de Soulignac ;
Dessins, aquarelles, pastels, miniatures. Eng.: Housekeeper of Soulignac.

SNBA-1898-1869, Petite fille de la campagne ;
Dessins, aquarelles, pastels, miniatures

SNBA-1899-1425, Portrait de Mme H…

SNBA-1899- 1426, Portrait de M. H…

SNBA-1899- 1427, Etude.

SNBA-1899- 2091, Portrait de Mlle Claire G… (pastel)

SNBA-1899- 2092, Portrait de Mlle Simone G… (pastel)

SNBA-1902- 540, Nu;
Dessins, Aquarelles, Pastels, Miniatures

SNBA-1902- 541, Portrait de Mme veuve B... ;
Dessins, Aquarelles, Pastels, Miniatures

SNBA-1902- 542, Portrait de Mlle Ch. V... ;
Dessins, Aquarelles, Pastels, Miniatures

SNBA-1902- 1158, Repos.
Maybe: 18xx, Le Repos, xx, xx (iR6;iR10;iR1). Compare: SNBA-1903- 576, Repos.

SNBA-1902- 1159. Portrait de Mme D...
Compare: SNBA-1908- 1147, Portrait de Mme D…

SNBA-1903- 574, Femme de la campagne,
Dessins, aquarelles, pastels, miniatures. Maybe?: 18xx, Paysanne aux champs, 56×46, A19930705 (iR13).

SNBA-1903- 575, Paysage,
Dessins, aquarelles, pastels, miniatures

SNBA-1903- 576, Repos ;
Dessins, aquarelles, pastels, miniatures

SNBA-1903- 577, Jeune fille au bord de la mer ;
Dessins, aquarelles, pastels, miniatures. Note: the same title as: SNBA-1907-1643, pastel?. Compare: 18xx, Girl by the Sea, 100×62, A2017/07/ 13 (iR2;iR11); note: this work seems to be an oil painting.

SNBA-1903- 1297, Amiral D...
x

SNBA-1903- 1298, Femme nue.

SNBA-1906- 1201, Etude (fillette en robe rouge).

SNBA-1906- 1202, Jeune fille en chapeau noir.
Maybe: 18xx, Young girl in a black hat (femme au chapeau), 64×43, A1998/11/05 (iR13).

SNBA-1906- 1203, Portrait de M. Ch...
x

SNBA-1906- 1688, Jeune fille lisant ;
Dessins, Aquarelles, Pastels, Miniatures

SNBA-1906- 1689, Jeune fille assise dans un jardin ;
Dessins, Aquarelles, Pastels, Miniatures. Maybe: 1904ca, Ernestine Vidal, pastel, xx, MPP Paris (iR6)

SNBA-1906- 1690, Jeune fillette rêvant ;
Dessins, Aquarelles, Pastels, Miniatures

SNBA-1907-1191, Françoise
x

SNBA-1907- 1643, Fillette au bord de la mer ;
Dessins, aquarelles, pastels, miniatures et cartons. Note: the same title as: SNAB-1903-577. Compare: 18xx, Girl by the Sea, 100×62, A2017/07/13 (iR2;iR11); note: this work seems to be an oil painting.

Posthumous:
SNBA-1908- 1146, Fleur de Montmartre
Compare: SNBA-1892-1029, Fleur de Montmartre (Appartient au Cercle Volney)

SNBA-1908- 1147, Portrait de Mme D…
Compare: SNBA-1902- 1159. Portrait de Mme D…

SNBA-1908- 1148, Petite fille au bonnet
Maybe?: 18xx, Jeune fille à la poupée, 83×67, MdJ Poissy (iR23;iR1;Mx); this girl also wears a narrow closing head.

SNBA-1908- 1731, Portrait de Mme M… ;
Dessins, aquarelles, pastels, miniatures et cartons

SNBA-1908- 1732, Léa ;
Dessins, aquarelles, pastels, miniatures et cartons

SNBA-1908- 1733, Portrait de M. D… ;
Dessins, aquarelles, pastels, miniatures et cartons

SNBA-1908- 1734, Jeune fille ;
Dessins, aquarelles, pastels, miniatures et cartons

SNBA-1908- 1735, Portrait de Simone ;
Dessins, aquarelles, pastels, miniatures et cartons

SNBA-1908- 1736, Etude de jeune fille ;
Dessins, aquarelles, pastels, miniatures et cartons

SNBA-1908- 1737, Jeune fille en noir ;
Dessins, aquarelles, pastels, miniatures et cartons

SNBA-1908- 1738, Rêverie ;
Dessins, aquarelles, pastels, miniatures et cartons

Recommanded citation: “Eugène Vidal, an account of his exhibited works. Last modified 2021/12/19. https://www.impressionism.nl/vidal-account/ .”