The Judgment of Paris (77 page)

22
Quoted in Hungerford,
Ernest Meissonier,
p. 35.

23
Zeldin,
Taste and Corruption,
p. 112.

24
La Presse,
June 2, 1965.

25
Edmond and Jules de Goncourt,
Pages from the Goncourt Journal,
p. 172.

26
Ibid.

27
See John Ingamells,
The Wallace Collection Catalogue of Pictures,
vol. 2,
French Nineteenth Century
(London: The Wallace Collection, 1986), p. 14.

28
For the prices paid for works at the Morny auction, see Hungerford,
Ernest Meissonier,
pp. 106-8; and Ingamells, op. cit., pp. 163, 168 and 172.

Chapter Seventeen: Maître Velázquez

1
Wilson-Bareau, ed.,
Manet by Himself,
p. 34.

2
Ibid.

3
Quoted in Wilson-Bareau, "Manet and Spain," in Tinterow et al., eds.,
Manet/Velázquez,
p. 230.

4
Quoted in ibid., p. 231.

5
Wilson-Bareau, ed.,
Manet by Himself,
pp. 34 and 36.

6
Quoted in Tinterow, "Raphael Replaced," in
Manet/Velázquez,
p. 56.

7
Quoted in Erika Langmuir and Norbert Lynton, eds.,
The Yale Dictionary of Art and Artists
(New Haven: Yale University Press, 2000), p. 711.

8
Quoted in Wilson-Bareau, "Manet and Spain," p. 235.

9
Wilson-Bareau, ed.,
Manet by Himself,
p. 36.

10
For Duret's account, see
Histoire de Édouard Manet et de son oeuvre,
pp. 44—7.

11
The Times,
October 5 1865.

12
See the reports in
The Times,
October 5 and 16, 1865.

13
Gazette des Hôpitaux,
October 31, 1865.

14
The Times,
November 4, 1865.

15
Wilson-Bareau, ed.,
Manet by Himself,
p. 37.

Chapter Eighteen: The Jury of Assassins

1
See Pasquier-Guignard, "L'Installation a Poissy," pp. 66-70; and Pasquier, "La Vie a la 'Grande Maison,' " p. 71—2.

2
Pasquier, "La Vie a la 'Grande Maison,' " p. 72.

3
"Extraits de l'agenda de Charles Meissonier," p. 73.

4
Ibid.

5
Journal,
vol. 3, p. 1180. A recent scholar is more cautious in her speculations about the early relationship between Meissonier and Elisa Bezanson. Hungerford calls her Meissonier's "attentive friend from the later 1860s"
{Ernest Meissonier,
p. 5) and his "intimate friend and confidante"
{Ernest Meissonier: Rétrospective,
p. 173).

6
Gréard,
Meissonier,
p. 253.

7
Quoted in Roos,
Early Impressionism and the French State,
p. 10.

8
Ibid., pp. 61 and 237, note 32.

9
Holtzapffel's suicide note was reproduced in several newspapers, including
La Petite Revue
(April 21, 1866).

10
Tabarant,
Manet et ses oeuvres,
p. 123.

11
L'Événement,
April 23, 1866.

12
L'Événement,
April 25, 1866.

13
Quoted in Rewald,
History of Impressionism,
p. 200.

14
Quoted in Frederick Brown,
Zola: A Life
(London: Macmillan, 1996), p. 124.

15
Quoted in ibid.

16
L'Événement,
April 30, 1866. The article is also reproduced in Zola,
Salons,
ed. F. W J. Hemmings and Robert J. Neiss (Geneva: E. Droz, 1959), pp. 53-60.

Chapter Nineteen: Monet or Manet?

1
Quoted in Madeleine Fidell-Beaufort and Janine Bailly-Herzberg,
Daubigny: La Vie et I'oeuvre
(Paris: Éditions Geoffroy-Dechaume, 1975), p. 45.

2
Quoted in ibid., p. 57.

3
Rewald,
The History of Impressionism,
p. 142.

4
Quoted in John Rewald,
The Ordeal of Paul Cézanne
(London: Phoenix House, 1950), p. 26.

5
The Ordeal of Paul Cézanne,
p. 38.

6
Ibid., p. 65.

7
Ibid., p. 39.

8
This letter is reproduced in Roos,
Early Impressionism and the French State,
p. 65.

9
The Ordeal of Paul Cézanne,
p. 40.

10
L'Événement,
May 7, 1866.

11
Wilson-Bareau, ed.,
Manet by Himself,
p. 38.

12
Quoted in Roos, op. cit., p. 56.

13
Vollard,
Recollections of a Picture Dealer,
p. 18.

14
Quoted in Bowness et al.,
Gustave Courbet,
p. 40; and Rewald,
The History of Impressionism,
p. 125.

15
Letters of Gustave Courbet,
pp. 267—8

16
The Correspondence of James McNeill Whistler,
no. 1131 o.

17
Quoted in Weintraub,
Whistler,
p.
116.

18
Quoted in Ibid., p. 118.

19
For Khalil Bey, see Francis Haskell, "A Turk and His Pictures in Nineteenth-Century Paris,"
The Oxford Art Journal,
vol. 5 (1982), pp. 40-47. Khalil Bey was also the owner, at this time, of Ingres's
Turkish Bath,
which he purchased in 1865.

20
Letters of Gustave Courbet,
p. 276.

21
Ibid.

22
Quoted in Rewald,
The History of Impressionism,
p. 144.

23
Quoted in Georges Jean-Aubry,
Eugène Boudin
(Paris: Bernheim-Jeune, 1922), p. 62. The word used by Boudin to describe the painting was
tartine,
which literally means a slice of bread and butter but also has the figurative sense of a long-winded discourse.

24
Monet by Himself: Paintings, drawings, pastels, letters,
ed. Richard Kendall, trans. Bridget Strevens Romer (London: MacDonald Orbis, 1989), p. 23.

25
Quoted in Joel Isaacson,
Monet: "Le Déjeuner sur I'herbe "
(London: Allen Lane, 1972), p. 30.

26
L'Événement,
May 11, 1866.

27
Monet by Himself',
p. 23.

28
On these sales, see Paul Hayes Tucker,
Claude Monet: Life and Art
(New Haven: Yale University Press, 1995), p. 24.

29
La Lune,
May 13, 1866.

30
L'Artiste,
June 15, 1866.

31
Paul Hayes Tucker claims that this story is probably apocryphal since "the trench would have to have been a veritable canal—the picture is eight feet tall! Even if he had done such excavation, we know that the unfinished painting was shipped to him after he left Sèvres for Honfleur in the later summer or early fall of 1866 and that he completed it in his studio there on the coast"
{Claude Monet,
p. 31).

Chapter Twenty: A Flash of Swords

1
For this episode, see "Extraits de l'agenda de Charles Meissonier," p. 73.

2
This damage was noted on December 4, 1894, by the American art restorer George H. Storey. For Storey's report on the condition of
Friedland
I am indebted to Charlotte Hale, Paintings Conservator at the Metropolitan Museum of Art, New York.

3
"Extraits de l'agenda de Charles Meissonier," p. 73.

4
I am grateful to Charlotte Hale for providing this information from Storey's 1894 report on
Friedland.

5
Quoted in Brombert,
Édouard Manet,
p. 353. This remark comes from 1875.

6
Quoted in Richardson,
Théophile Gautier: His Life and Times
(London: Max Reinhardt, 1958), p. 215.

7
La Revue du XIX
^e
Siècle,
January 1, 1867.

8
Wilson-Bareau, ed.,
Manet by Himself,
p. 41.

9
Quoted in Mainardi,
Art and Politics of the Second Empire,
p. 139.

10
L'Artiste,
May 1, 1867.

11
Brown,
Zola,
p. 315.

12
Wilson-Bareau, ed.,
Manet by Himself,
p. 12.

Chapter Twenty-one: Marvels, Wonders and Miracles

1
Quoted in Brian and J. M. Chapman,
The Life and Times of Baron Haussmann,
p. 202.

2
For the full catalogue, see
Paris Universal Exhibition, 1867: Complete Official Catalogue,
2nd edition (London and Paris, 1867).

3
Le Temps,
May 22, 1867.

4
The Times,
April 1, 1867.

5
La Liberté,
April i, 1867.

6
Le Figaro,
April 5, 1867.

7
Quoted in Rewald,
History of Impressionism,
p. 168.

8
Monet by Himself,
p. 20.

9
Quoted in Tucker,
Claude Monet,
p. 34.

10
Quoted in Rewald,
The History of Impressionism,
p. 150. For the various sources of this story, a number of which attribute Manet's remark to different paintings, see ibid., p. 193, note 19.

11
Quoted in Mainardi,
Art and Politics of the Second Empire,
p. 137.

12
Boime, "The Salon des Refusés and the Evolution of Modern Art," p. 418.

13
Quoted in Mainardi, op. cit., p. 136.

14
Tabarant,
Manet et ses oeuvres,
pp. 135—6.

15
Ibid., p. 132.

16
Revue libérale,
June 1867.

17
Wilson-Bareau, ed.,
Manet by Himself,
p. 42.

18
The text of this preface may be found in ibid., p. 43.

19
Monet by Himself,
p. 24.

20
L'Indipéndance beige,
June 15, 1867.

21
Revue libérale,
June 1867.

22
Le Journal amusant,
June 29, 1867.

23
Proust,
Manet: souvenirs,
p. 5 5.

24
This, at least, is the price quoted in
Le Journal amusant
for June 29, 1867.

25
Quoted in Courthion and Cailler, eds.,
Portrait of Manet,
trans. Michael Ross, p. 61.

26
Letters of Gustave Courbet,
p. 315.

27
Monet by Himself,
p. 24.

28
Pages from the Goncourt Journal,
p. 149.

29
Quoted in Gaunt,
The Pre-Raphaelite Tragedy,
pp. 82 and 140.

30
The Correspondence of James McNeill Whistler,
no. 11312.

31
Quoted in Weintraub,
Whistler,
p. 125. For Nieuwerkerke's admiration for Whistler's work, see
The Correspondence of James McNeill Whistler,
nos. 09216, 02644 and 09191.

32
Notes and Sketches of the Paris Exhibition
(London, 1868), p. 79.

33
La Situation,
July 1, 1867.

34
Charles Blanc, "Exposition Universelle de 1867," quoted in ibid.,
Les Artistes de mon temps
(Paris, 1876), p.
321; L'lllustration,
November 23, 1867;
Gazette des Beaux-Arts,
October 1, 1867;
L'Artiste,
May 1, 1867;
Salons de W. Burger,
quoted in Hungerford,
Ernest Meissonier,
p. 95;
Le Correspondant,
August 1867.