Vignon, Victor

 

 

Impressionism, the partakers of the expositions:

 Victor Vignon 

(1847 – 1909)

A forgotten Impressionist

 

Was Victor Vignon an Impressionist?
In several works Vignon used many browns and/or greys. In several works his brushstroke was quite flat. So in several works his style is not impressionistic. Still in many other works Vignon used bright colours, lively, even juxtaposed brushstrokes, using blues and violets for the shades and also slightly unnatural colours. Though in his titles he didn’t often indicate the atmospherical influence, he depicted the effect of sunlight on the colours. So overall we can see that Vignon painted in an impressionist style.
Vignon wasn’t involved in the start of the ‘impressionist’ art-movement. He only started to join the ‘impressionist’ expositions in 1880. But he was one of the five artists who joined all the latest 4 ‘impressionist’ expositions. He also had many contacts with other Impressionists, especially those of the School of Pontoise. In 1903 and posthumous in 1911 many coleague impressionists supported him and his widowed wife. So, you can say that Vignon, after an delay, was part of the ‘impressionist’ art-movement.
During his life there had been 3 large solo exhibitions / sales, namely in 1878, 1894 and 1901. Many art-collectors posessed his paintings, see. Both signs of popularity, though his works were mostly sold for less than his coleague impressionists. Also posthumous there were solo exhibitions in 1921, 1923, 1927 and 1938. Than only in 2002 there was a next solo exhibition. For long time he had been forgotten. Moffett (R2) and Berson (R90) don’t render one suggestion of what work Vignon might have exhibited at the ‘impressionist’ expositions. Even in newer editions on Impressionism and impressionist artists Vignon is not or hardly mentioned (R4;R94;R116;R137;R181). I hope, that my pages on Vignon contribute to a rehabilition of this forgotten Impressionist.

Victor-Paul Vignon exhibited 1x at the Salon:
Vignon only exhibited at the Salon of 1878 (iR1;R9). He exhibited chestnut trees in winter and the Seine at Bougival in spring (iR1). Probably before and maybe in 1879 he was 1 or more times rejected (aR9;R88).

 

(Paul-)Victor Vignon joined the ‘impressionist’ expositions in 1880, 1881, 1882 and 1886:
At the 5th ‘impressionist’ exposition in 1880 Vignon showed 9 works (catalogue numbers 216-224; R2,p314). Many works were made west of Paris, in Chatou and surroundings. Silvestre saw more simularities with Lépine, than with Monet (R90I,p308;R88). Trianon called his landscapes more studies than paintings (R90I,p313).
At the 6th ‘impressionist’ exposition in 1881 Vignon showed 15 works (catalogue numbers 151-165; R2,p356). Vignon exhibited many works made in the Aisne region, where he was born and works made in the surroundings of Bougival, west of Paris. There was just one review of Paul de Charry, who wrote that Vignon ‘makes landscapes of perfect finish’ (R90I,p334). In the famous lettre (1881/01/24) of Caillebotte to Pissarro, where in he devides the partakers into two groups, Caillebotte doesn’t mention Vignon at all (R102,p275).
At the 7th ‘impressionist’ exposition in 1882 Vignon showed 15 works (catalogue numbers 189-203; R2,p394). Many works were made west of Paris, in Bougival and surroundings. Meurville wrote that Vignon ‘shows a sense of colour and a feeling for nature’ and links him to Corot. (R90I,p404). La Fare values him ‘more finely, more delicately’, than Pissarro (R90I,p401). Sallanches reviewed ‘M. Vignon is inspired by the same source as M. Pissarro, but he is less strong in composition but more brilliant in colour.’ (R90I,p412). Silvestre sees improvement in his ‘execution’ (R90I,p414). Monet had resistance against the participation of Vignon (R22I,p175;R1,p468;R3;R88). Eugène Manet wrote to his wife Berthe Morisot that the works of Vignon were ‘very mediocre’  and that he ‘has fallen back into his imitations of Corot‘ (R1,p472;R88;R5,p133). But Morisot replied ‘Friend Vignon (…) has a nice little success.’ (R88II,p78). Probably most of the works belonged to Durand-Ruel (R1,p471).
At the 8th ‘impressionist’ exposition in 1886 Vignon showed 18 works (catalogue numbers 218-234ter; R2,p447), no.234 counted 2 extensions, no. 233 was left out (so he didn’t exhibit 19 works as some sources indicate; R88;iR4). Most works were made in the Val d’Oise. In 7 of the titles he now indicates the season and atmospheral influences, something he had hardly done before. There were just a few reviews. Félix Fénénon reviewed that his works are ‘invariable and dull’ (R9;R90I,p442;R88). Fèvre appreciates his more retained painting style (R90I,p446). Geffroy calls him ‘an emotional and sincere landscaper’ (R90I,p450). Note: some sources wrongly mention that Vignon exhibited at the 4th ‘impressionist’ exposition (aR2). See link for his exhibited pictures in 1880, in 1881, in 1882 and in 1886. See link for an account.

 

Victor Vignon through a journalist’s eye:
In an article in ‘Le Cri du peuple’ (1887/09/02) the journalist ‘Trublot’ described his visit to Victor Vignon in Valmondois (later wrongly ospelled as ‘Vermondois’), . Vignon was living in a modest farme on the slope of a hill with a courtyard surrounded by high halls with chickens and rabbits. Trublot described Vignon as  ‘a nice impressionist painter (…) a frank, cheerful, expansive nature (…) a personality of sincerity, correctness and also gentleness, with deep, sometimes melancholic emotions.’ Trublot writes that in his early years Vignon knew poverty, selling his works often for less than 10 francs. I couldn’t identify the titles mentioned and made around 1867-70, but render to compare one suggestion (see below). Trublot wrongly mentioned that Vignon joined all the ‘impressionist’ expositions. He also mentions and shortly describes some recent works, which I neither could identify. Trublot hopes that Vignon’s success will break through after a solo exhibition. There is a reference to meetings in Café La Nouvelle Athène together with Cézanne, Cordey, Franc-Lamy, Pissarro and others, so this would mean that Vignon had has contacts with other Impressionists over there. (aR13=iR40). Other sources indicate that ‘Trublot’ was a pseudonym for Paul Alexis (R88;aR16). One source wrongly mentions that Trublot visited Vignon in Butry (aR16), which lies just south-east of Valmondais. This source also mentions the romantic struggle ‘following the Franco-Prussian war‘ (aR16), but this should be around 1867-70.

Victor Vignon at other exhibitions:
Vignon sometimes took part at regional exhibitions. In 1879 Vignon exhibited in Pau, together with Boudin, Caillebotte, Cals, Sisley (R272,p7+8;aR1). In 1880+81+96 Vignon exhibited with the ‘Société des Amis des Arts de Reims‘ (R272,p8). Vignon didn’t exhibit at the Salons of the Société des Artistes Français, nor at those of the Société National des Beaux-Arts (iR1). Sources neither mention that he exhibited at the Salon des Indépendents, nor at the exhibitions of Les Vingts in Brussels. Sources mention neither that works of Vignon were part of the important Durand-Ruel exhibitions in New York in 1886 (R88II,p496;R5,p153;R1,p531). From 1890-92 Vignon exhibited at the Expositions des Peintres-Graveurs français at the Durand-Ruel Gallery (R272,p8). In 1900 Vignon exhibited at the Centennale of the Exposition Universelle in a separate room for the Impressionist school (R116I,p294;R272,p8); he did so with 1 work and thanks to Docteur Viau (R88;aR1;aR5;iR3). At some other exhibitions in and outside France, Vignon was represented with mostly just one work (aR7=iR261). I mention:

  • 1907/12-10-31, Exposition ‘Exposition de Cent Vingt tableautins, peintures, aquarelles, pastels et dessins’ at the Galerie Eugène Blot in Paris, with 1 painting of Vignon (aR7=iR261).
  • 1911/04/? – 05/14: exhibition of the collection of Maurice Masson at the Paul Cassirer Gallery in Berlin, with 1 work of Vignon (aR7=iR261)
  • 1912: Exhibition of 100 years of French Painting in Saint-Petersburg, with 1 work of Vignon (aR7=iR261)
  • 1912: Exhibiton ‘Sommaire des Peintures et Sculptures de l’École Contemporaine exposées’ in Musée National du Luxembourg, with 1 work by Vignon (aR7=iR261)

 

Victor Vignon at solo exhibitions:
1878/02/15 there was a sale of 52 paintings and studies of Vignon at Pierre-Firmin (Père) Martin (iR26). In 1894 there was a large solo exhibition of Vignon at the Bernheim-Jeune Gallery in Paris, with 81 paintings, 1 pastel, and 12 catalogue numbers of etchings. In the catalogue there was a preface by Roger Marx (aR9=iR19;R3;R272,p7+8;R9;R88), see below. In 1901, 2-30 April, there was a large (sale) exhibition of works of Vignon at the Georges Petit Gallery; they were sold for higher prices than Pissarro’s works did in those days (R273;R272,p7+8;aR1;aR5;iR4). Posthumous there were some solo exhibitions: 1921/03/06 – 04/16 at the Bernheim-Jeune Gallery 47 works by Vignon were exhibited (R272,p8+31). In 1923 in New York at the Durand-Ruel Gallery works of Vignon were exhibited (iR24). 1927/03/19 – 04/15 at the Jacques Callot Gallery 30 works by Vignon were exhibited; the catalogue included a preface by Roger Marx and earlier texts by Roger Marx (1894) and Arsène Alexandre (1901) (R272,p8). 1938/03/15 – 04/15: 42 works of Vignon were exhibited at the art-dealer Huinck & Scherjon in Amsterdam (R273;iR24). Then over a period of more than 60 years there were no exhibitions dedicated to Vignon or with a substantial number of works by Vignon. Only in 2002 there was a solo exhibition of Vignon with 33 paintings, 9 drawings and 9 etchings at Musée Tavet Delaclour in Pontoise (R272;M173). This was the last solo exhibition untill now. Works of Vignon recently have been part of exhibitions. In 2007 at the exhibition ‘Impressionnisme dans la vallée d’Oise‘ in Pontoise (iR109;M173;M175). In 2012 at the exhibition ‘L’arbre dans la peinture de paysage, de Corot à Matisse, de 1850 à 1920′ in Musée Tavet-Delacour in Pontoise (aR1;M173). See for more info the account. See his pictures at the solo exhibitions.

 

Roger Marx on Victor Vignon:
Roger Marx wrote a preface for the 1894 solo exhibition (aR9). He diminished the influence of Corot and Cals, there is some influence of ’the old Dutch masters’, but most of all ‘you owe nothing but yourself’ (aR9,p4+3). So he doesn’t point out that there is a large resemblance to old Dutch Masters as some sources suggest, he neither uses this as argument why Vignon was rejected at the Salon (iR3;iR4;R88). He neither mentions Pissarro or other painters from the School of Pontoise.  Roger Marx describes the temperament of Vignon as ‘a tender, saddened confidence’ (aR9,p4). In comparison with the other Impressionists, Vignon made a more ‘slower work, tending towards a less immediate art, more inward-looking’ (aR9,p5). His way of painting ‘confesses the hatred of noise, of movement, the thirst for contemplation; it speaks of communion with nature, this communion that you want to be close and solitary in order to better penetrate the eternal model.’ (aR9,p5/6). Marx suggests that the winter is Vignon his favorite season, in which nature vibrates in unison with his soul, when ‘it appears, through the veil of mists, bleak and mournful’ (aR9,p6/7;R88). Note: When I look at Vignon his oeuvre, I doubt if this is true. Also the next description is quite sober ’through all these canvases, only shades of slate and lead, of rust and moss, shades of a bluish, purplish, ashen grey, which wonderfully exude the bitterness of your melancholy.’ (aR9,p7/8). Roger Marx also writes ‘by you the tone is pure, of a frank touch which disdains the literal shorthand of effects and aims at synthetic abbreviations, revealing the idea of the intimate feeling, of the higher truth.’ (aR9,p8). Making Vignon similar to Cézanne, Marx ends a bit heroic ‘you have been given the opportunity to serve as a link between two schools that have succeeded one another, fought one another, and to constitute, unbeknownst to you, a transition between what has been and what will be, between the art of yesterday and the art of tomorrow.’ (aR9,p9). Note: in 1914 there were 6 works of Vignon auctioned from the Roger Marx collection (R272,p30;R245;iR261;aR7=iR261), see below.

 

Supportive auction sales:
In 1903/06/04 there was an auction sale organised at Hôtel Drouot on behalf of Vignon, who lived in the most abject poverty; it was organised by Julie Manet-Rouart and Durand-Ruel; works were donated by Monet (CR1470), Pissarro (CCP1045), Renoir and Fantin-Latour (R116I,p315+CCP1045;R22,CR1470;aR1; note: Vignon referred to this sale to be held at Bernheim-Jeune; R116III,p670). In a letter (1903/02/15) Vignon expressed his gratitude to Pissarro: ‘In the bleakness of my life it is a precious consolation.’ (R116III,p670). Renoir wrote Durand-Ruel to choose among his smaller paintings something of equal value to those offered by his colleagues (R88). Posthumous in 1911/05/29 there was a sale at Hôtel Drouot on behalf of the widow of Victor Vignon. It contained 11 paintings of other artists, including one of Morisot, Pissarro (CCP612) and Renoir. It also contained 6 other works, including a pastel of Cassatt and a litho of Redon. There were also works of A. André, Bonnard, Chialiva, Maurice Denis, Dufrénoy, d’Espagnat, Flandrin, Lacoste, Laprade, Maufra, Roll and Vuillard. It also included 9 paintings of Vignon and 2 pastels and 2 drawings (aR6=iR40;R116,CCP612). Monneret indicates that Julie Manet-Rouart asked (in 1910) Renoir to send in a work (R88;iR4), but this doesn’t have to mean that they organised this sale as some sources indicate (iR3).

 

Victor Vignon in private collections (sold at auctions):
During the years at many sales of ’tableaux modernes’ (from private collections) at Hôtel Drouot there was 1 or 2 works of Vignon included. Some sales are worth mentioning because of the extended description of the works of Vignon and others or because they included more works of Vignon, namely: the collection of M. H. P… (1901/04/23) (aR11=iR40); the collections of Madame L*** and M. Adolphe T*** (1903/03/23)  (aR10=iR40;R241); the collection of George Freydeau (1903) (R272,p7); of Louis Flornoy (1905/04/10) (iR40;R240): of Albert Bernier (1910/11/22+23) (aR7=iR261); of Roger Marx (1914/05/11+12 and 1914/06/22+23) (R272,p30;R245;iR261;aR7=iR261).
Some collections contained more works of Vignon or are for another reason interesting: 1899/05/04+05 at the sale of the collection of M. le Comte Armand Doria at Georges Petit there were 22 works by Vignon offered. They were sold for an average of 458fr; this is more than 10x less than the works of Monet, Renoir and Sisley (aR14=iR40;R232;R154; note: Schurr & Cabanne (wrongly) mention there were 25 works of Vignon; R9). At the 1900/06/11 sale of the collection of M. Charles G. at Georges Petit there were 12 works of Vignon offered, that were sold for an average of 316 francs, which is more than 10x less than the works of Monet, Pissarro and Sisley (aR15=iR40). The 1903/05/18 sale of the collection of Arsène Alexandre at the Georges Petit Gallery included 8 works of Vignon (R272,p7+30). The 1906/05/07 sale of the collection of M. F. Stumpf at the Georges Petit Gallery included 14 works of Vignon (aR17=iR40;R232;R272,p30; a source mentions it included 15 works of Vignon; aR2). Stumpf had possessed 150 works of Vignon and was also a friend of Corot (R272,p5+7+30;aR1). The 1907/03/21+22 sale of the collection of George Viau at the Durand-Ruel Gallery included 7 works of Vignon (R272,p7+30;R244;iR261;iR272). In 1909 there was another sale of Viau his collection (iR4). In 1919/12/01+02+03 at the first sale of the collection of Hazard at the Georges Petit Gallery there were 35 works of Vignon offered; they were sold for an average of 1907fr; many were bought by art-dealers (aR17=iR40;R232;R272,p30); his real name was Honoré Daumier, being a historian (aR1). See for more info the account. See his pictures at the auction sales.

 

Victor Vignon as an artist:
Around 1869 Vignon was a pupil of Corot (aR9;iR69;iR24;iR60;R9;R3;R16;R273;R272,p5+7;R89,p60;aR1;iR3). Vignon also received instructions from Cals (aR9;R3;R9;iR69;R272,p5;aR1;iR3), with whom he painted in Honfleur in 1874 (R272,p7). Some sources state that, the earlier works of Vignon had much resemblance with those of Corot (for example a ‘feathery brushstroke’), but after 1880 this influence disappeared (R273;R89,p60). But, I hardly see any resemblance with Corot in Vignon his works. Still in 1882 Eugène Manet, the husband of Morisot, accused him of ‘imitations of Corot’ (R89,p60). In the 1870s Vignon painted with Pissarro, Cézanne (and Guillaumin) in Pontoise, Auvers-sur-Oise and surroundings. Some write this was from 1874-76 (iR69;R16;R3;R9;R89,p46;aR20), others mention this was around 1878 (aR16), others mention he worked with Pissarro from 1878-80 (iR41;iR4). In the Critical Catalogue of Pissarro there is no mention at all of this working together (R116). Still, Belloli includes Vignon to the School of Pontoise, including also Béliard and Gauguin (and Guillaumin) (R17,p179). He states, that sometimes it is hard to discern what work is made by whom (R17,p190). Anyway they painted the same motives (R88). In a letter to Pissarro (1903/02/15) Vignon mentioned they have known each other for close to 30 years (R116I,p315+CCP1045). This remark indicates a start of this friendship around 1873, a year that is affirmed by Adler (R89,p60). 1891/04/22 Vignon soled a work of Pissarro to Durand-Ruel (R116,CCP638). Vignon would for over 20 years dwell and live in the surroundings of Auvers-sur-Oise and Nesles-la-Vallée (R272,p5). From 1878-83 the influence of Pissarro and Cézanne on his work is clearly perceptable (R272,p5). Probably around  1881 Vignon and Gauguin did meet and around 1888-90 they exchanged a painting (R181,p585+51). Vignon also was befriended with Cordey and Renoir (iR4); Cordey also made many paintings along the Oise. Between 1885-1900 his cachet / seal and use of colour had become very personal and recognizable (R273). Still, a development is hard to trace, because Vignon didn’t date many of his works (R272,p5). Before 1874 Vignon used many earth tones (R272,p5). Later on he often used bright colours and regularly used juxta-posed brushstrokes. Still in later works greys and browns can be dominant.

Vignon was befriended with Dr. Paul Gachet, the art-collector Murer and Vincent van Gogh and Théo van Gogh (R88;R3;R272,p5;aR16;aR5;iR3;iR4). In 1883 Théo van Gogh bought ‘Jeune femme dans les vignes’ for 200fr, which is now in the Rijksmuseum in Amsterdam (R272,p7) or in the Vincent van Gogh Museum in Amsterdam (aR1;M73). This work and another of Vignon hung in his dining room, where his brother Vincent van Gogh probably saw it between 1886/03 and 1888/02 (aR16). 1888/06/25 Vincent wrote to his brother that he hoped that Vignon (and/or Bernard, Gauguin or someone else) would join him in Arles. In later letters (1888/09/26 and 1889/11-12) Vincent informed after him (aR21;aR16;R88). In a letter 1889/09/10 Vincent informed after the possibility to live with Pissarro or the Vignon’s (aR21). Note: in extended books on Vincent van Gogh, Vignon is not mentioned (R37;R70). Eugène Murer bought 4 (or 5) paintings of Vignon (R88;aR5), probably two of them were seen by Trublot in 1887 (aR13, see account). In 1888 Murer dedicated to Vignon a short story called ‘La Mère nom de Dieu’, whose heroine is a fish merchant in the market of Pontoise (R272,p7;R88).
Vignon also had contacts with Comte Armand Doria and in 1888 dedicated a work to him (R272,p7). There were several art-collectors who collected Vignon his work and this gave him many years without financial worries (R272,p5; Rouart is also mentioned as a collector (aR5), but in the 1912 sale there was no work of Vignon). Some claim that Vignon was a protégé of Degas (R5,p125;R4,p238), but others oppose him to the faction of Degas (R1,p449), looking at his painting style this seems correct. In his early years Vignon had contacts with the art-dealers Père Martin and Père Tanguy (R88). Later on also with Bernheim-Jeune, Durand-Ruel and Georges Petit.

Vignon wanted to reason the visual impression, to prevail the feeling over the sensation (R9). Vignon constitutes a tenuous link between Corot, the Impressionists and the Barbizon school (iR69). Vignon paintings are bright and well constructed (R9). Some judge that Vignons works show little personality (R1,p522) and are not original (R9). His landscapes became repetitious (R9). His works were more popular with the art-collectors, than with the art-critics (iR41). Vignon rendered a realistic, but also a pittoresque and poetic representation of the motif (R272,p6). The branches of the trees often compartmentalize his paintings, the horizon is mostly high and curving paths create a perspectival effect (R272,p6;R89,p60). He included a figure to give scale and to indicate the human prensence (R89,p60). Vignon paints close to the style of Pissarro, but with a more intimist sentiment (R88).
Vignon also was an engraver (iR24;iR60;iR69;R88;iR4). Vignon painted many small landscapes (R273), besides that he did some figure painting and some still-lifes, but overall he is merely a landscapist, roads in or near villages being his main theme. See also the thematical overview of the titles of his pictures.
Vignon made most works in villages along the Oise. He painted in Auvers-sur-Oise from 1881-87 (maybe even from 1877-89), in Jouy-le-Comte from 1884-87, in Champagne-sur-Oise from 1883-87, in Nesles-la-Vallée from 1886-89. Vignon also painted west of Paris in Chatou, Bougival and surroundings from 1877-82. South of Paris in the surroundings of Clamart from 1872-92. In his birth region of Aisne at least in 1872. Closeby in Orrouy where Comte Armand Doria lived at least in 1884. In Honfleur in 1874, In Penmarc’h (Britanny) in 1871 and / or 1891. At the Normandy coast around Varengeville-sur-Mer from 1887-92 and probably also earlier. In the surroundings of Meulan, where Vignon died in 1909. (R9;R273;R272,p7;iR41). Note: I doubt if a succession of places where he worked, as is suggested in some sources (R88;iR5;iR4), give a good picture of where and when he painted. I doubt if such a sequence can be drown, because most of his works are not dated. See also the topographical overview of the titles of his pictures. His works are displayed in musea in Amsterdam, Bayonne, Aix-les-Bains, Reims and in musée d’Orsay (R9;aR2).

 

Victor-Alfred-Paul Vignon, a short biography:

  • 1847/12/25: Victor-Alfred-Paul Vignon was born in Villers-Cotterêts (Aisne) (iR69;iR24;iR26;iR60;R3;R9;iR1;R273;R89,p60;aR1;iR3;iR4), about 84km north-east of Paris (iR9); Joconde 1x mentions he was born the 20th (iR23).
  • his father, born in 1818, was a trader in spices (R272,p7;aR1)
  • his mother was Catherine-Anastase-Apolline Bouchard, born 1826 (iR69;R272,p7;aR1);
  • some sources (wrongly) say his mother was the sculptor Marie-Noémi Cadiot (or: Marie-Cadiot Naomi; 1832-1888), also named Mme Claude Vignon (R88;iR41;R89,p60;aR1;aR5;iR3;iR4).
  • Vignon came from a wealthy / comfortable background (iR41;iR4)
  • 1867: his father died when Victor was 20 years old (aR16;aR13)
  • 1877-86: Vignon his correspondance address was 29, rue Saint-Georges, Paris (iR1;R2), where Père Martin had his residence (R272,p7)
  • late 1870s / early 1880s Vignon lived in L’Isle-Adam (aR20=iR317).
  • 1880: dwelled in Le Valhermeil near Auvers-sur-Oise and in Montmartre (R272,p7); other sources mention he moved in 1880 to Nesles-la-Vallée and shortly after settled in L’Isle-Adam (iR3)
  • 1886: Vignon lived at Jouy-le-Comte (aR2;aR1;aR5;iR4)
  • 1887: Vignon lived at the Morcourt mill in Jouy-le-Comte (R272,p7)
  • 1889: Vignon had heart problems (R272,p7)
  • 1890: Vignon gave as his correspondance address 4, Avenue Frochot, Paris, residence of the etcher Henri Guérard (R272,p7), just south of Montmartre
  • 1898: Vignon began to loose sight, which also caused him ‘cruel pains’ (R272,p7)
  • 1900: Vignon lived at 109, Rue de Paris, Clamart (R272,p7)
  • 1900: Vignon participated in a writing of Arsène Alexandre on Cals (R272,p7)
  • 1902: lived in Mareil-sur-Maudre (44km west of Paris) and in Aincourt (R272,p7;aR1)
  • 1903/06/04: there was a benefit auction sale at Hôtel Drouot for Vignon. It included works of Pissarro (no.15=CCP1045). (R116I,p429;aR22)
  • 1909/03/17: Vignon died in his house 17, Rue de Beauvais, Meulan (-en-Yvelines, Seine et Oise; also Île-de-France) (R272,p7;iR24;iR69;iR60;R9;R3;aR1), 44km west of Paris and 20km south of Pontoise (iR9). Other sources mention he died the 15th (iR26;iR3;iR4). Joconde 1x (wrongly) mentions he died in 1906 (iR23).
  • 1909: Vignon was burried at the cemetary of Meulan (R272,p7;aR1)
  • 1911/05/29 sale at Hôtel Drouot ‘Au profit de Madame Veuve Vignon’, it included a painting of Pissarro (R116,CCP612)

 

Sources:
In many works on Impressionisme Vignon is not mentioned at all (R6;R8;R19;R21;R39;R86;R94;R95;R102;R166). Vignon also is not mentioned in the circuit Pontoise (R137). My main sources are the exposition catalogues from Amsterdam 1938 (R273) and Paris 2002 (R272) and ’the unknown Impressionists’ by Adler (1998=R89), who dedicates less than 1 page to Vignon. Other sources are Rewald (1973=R1), Moffett (1986=R2), Walther (2013, R3,p702), Denvir (1993, R5), Schurr&Cabanne (2008=R9,p726), Spiess (1992=R16,p362), Belloli (1990=R17), Wildenstein (1996=R22I,p175), Monneret (1978-81=R88II,p77-79), Crussard (2002=R181,p51+585), the Salon database (iR1), Wikipedia (iR3;iR4), RKD (iR24), ULAN (iR60), Bénézit (iR69) and the additional references. For other general references (=R) see. There are not many pictures of Vignon in musea (aR1). My main sources (for the pictures) from the internet are Wikimedia (iR6), mutualart (iR11), artnet (iR13), Sothebys (iR14), Christies (iR15), invaluable (iR17), Joconde (iR23), askart (iR41), Pinterest (iR64), Flickr (iR94) and Google images (iR10). For other references to internet sites (=iR) see. For other additional references (=aR) see below. See links for practical hints and abbreviations and for the subscription of the paintings.
For further reading:
Bénézit (1976,vol.10,p507=R75;1999,vol.14,p234=R76); Witt (1978,p317=R78); Thieme/Becker (vol.34,p358=R79); Allgemeines Künstlerlexicon (1999-2000,vol.10,p262=R81) (iR24)
Zeiger-Viallet, Edmond H.: Le Centenaire de la naissance de Victor Vignon. Le journal de Montreux, no.227, 1947/09/29.
Bailly-Herzberg, Janine: Correspondance de Camille Pissarro (1865-1903); Vol. I-V. Paris, 1980-1991.  (R272,p6+8)
Venturi, L.: Les Archives de l’Impressionnisme; Vol.I. 1939 (R272,p8)
Spiess, Jacques: Catalogue Raisonné de l’Oeuvre Peint de Victor Vignon (in preparation). (R272,p8); M. Stéphane Kempa is also involved in a similar undertaking (aR16=iR316) and so is Matthew Vignon (iR10).
Pillement, Georges: Victor Vignon, l’impressionniste méconnu . L’Amateur d’Art, n° 51619, April 1973 (aR1;iR3;iR4)
Astic, S.: Victor Vignon, un peintre du XIXè siècle à découvrir. Vivre en Val d’Oise, n° 74 (aR1;iR4)

 

Additional references:

  1. www.victorvignon.free.fr (website about Vignon, with biography and many pictures; in French; not secured; sometimes leading to a completely different website)
  2. www.ville-parmain.fr (Vignon was active in Parmain and surroundings, close to Pontoise)
  3. www.renefer.org (PDF of the exhibition ‘Impressionnisme dans la vallée d’Oise’ in MCP Pontoise in 2007 = iR109)
  4. nesleslavallee.fr (reference that Vignon painted in Nesles-la-Vallee; as did Bureau; note: the link is not active anymore)
  5. artexpertise (biography on Vignon)
  6. gallica.bnf.fr//Victor_Vignon (posthumus catalogue of 1911; =iR40)
  7.  “Victor Alfred Paul Vignon.” In Database of Modern Exhibitions (DoME). European Paintings and Drawings 1905-1915. Last modified Oct 28, 2019. http://exhibitions.univie.ac.at/person/ulan/500001372  =iR261; overview of contributions of Vignon in exhibitions and auctions from 1905-1915
  8. pictures of Vignon rendered by others
  9. archive.org//ark:/13960/t6551bd6h (Catalogue of the solo exhibition in 1894 at Bernheim Jeune, including a preface by Roger Marx; =iR19)
  10. gallica.bnf.fr//1247852d (catalogue auction of several collections at Hôtel Drouot 1903/03/23, with 3+2=5 works of Vignon; =iR40)
  11. gallica.bnf.fr//1247566d (catalogue auction of the collection of M. H. P… at Hôtel Drouot 1901/04/23, with 2 works of Vignon; = iR40)
  12. gallica.bnf.fr//1250746f (catalogue of the sale of the collection of Arsène Alexandre at Georges Petit, with 8 works of Vignon; =iR40+R232)
  13. gallica.bnf.fr//4682174q (article in ‘Le cri du peuple’ about Vignon, 1887/09/02; =iR40)
  14. gallica.bnf.fr//1248291r (catalogue sale of the collection of M. le Comte Armand Doria at Georges Petit 1899/05/04+05, with 22 works by Vignon; =iR40;R232;R154)
  15. gallica.bnf.fr//4580231f (article in Journal des Artistes (1900/07/22) of the sale of the collection of M. Charles G. at Georges Petit 1900/06/11, with 12 works of Vignon; =iR40)
  16. www.bonhams.com//25251 (short biography accompanying a sale of a work by Vignon; =iR316)
  17. gallica.bnf.fr//1246919t (catalogue of the former Stumpf collection, sale at Georges Petit 1906/05/07; =iR40;R232;R272,p30).
  18. archive.org//1a803105 (PDF of catalogue of the former Hazard collection, sale at Georges Petit 1919/12/01+02+03 ; =iR19;R232;R272,p30)
  19. data.bnf.fr//victor-vignon (info about Vignon in the Bibliotheque National de France; =iR26)
  20. leightonfineart.co.uk//vignon (works of Vignon at the Leighton Gallery in Marlow; including a small biography; =iR317)
  21. vangoghletters.org//vignon (Vignon is mentioned 5x in lettres of Vincent van Gogh, all in 1888; not secured)
  22. gallica.bnf.fr//6pt6k1249725s  (catalogue benefit auction for Vignon in 1903/06/04; =iR40)

 

 

Recommanded citation: “Victor Vignon, a forgotten Impressionist. Last modified 2023/11/25. https://www.impressionism.nl/vignon-victor/.”