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Masterpieces by Nineteenth Century French Painters : [Catalogue of the Exhibition at The] Knoedler Galleries, October-November

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Masterpieces by Nineteenth Century French Painters : [Catalogue of the Exhibition at The] Knoedler Galleries, October-November MASTERPIECES BY NINETEENTH CENTURY FRENCH PAINTERS OCTOBER—NOVEMBER, 1930 KNOEDLER GALLERIES 14 EAST 57th STREET, NEW YORK CATALOGUE CT3 FOREWORD N organising this exhibition, our one aim has been to bring together, chosen with the greatest care, and with all our powers of discrimination, a number of pictures by the great masters of the nineteenth century, of capital importance both from the aesthetic and historic point of view. If we were called on to classify the constituents of this exhibition, we should say that it comprised representative examples of every school of the nineteenth century, Corot and Delacroix those of the Barbizon School, Degas and Renoir of Impressionism (Puvis de Chavannes having a place apart as an independent)—and finally Cezanne, Seurat, Gauguin and Van Gogh, and later Lautrec for the school that is called Post- Impressionist, very completely represented here—a school that has not ceased to exercise for the last thirty years a decisive influence on the development of modern painting. May we add that with the exception of " La Parade " by Seurat—immortal masterpiece, the last of his six large canvases that is not yet in a public museum—none of these pictures has up till now been seen in the United States. To bring together paintings of such importance has neces­ sitated much work and preparation. We feel ourselves, how­ ever, well rewarded by the result of our toil, since it has enabled us to submit to the judgment of critics, students of art and collectors of this country a selection of pictures of the first order newly gathered from some of the most important private European collections. ETIENNE BIGNOU. PAUL CEZANNE (1839—1906) ATTACKED as few artists had ever been attacked before, ignored by the official powers and assailed with insults by the Press, Cezanne, ten years after his death, was the dominating influence in European painting. The effect of his work has been with­ out limits on modern art. He became the centre of reaction against Impressionism, driven by an inflexible resolution main­ tained to the day of his death to rediscover the laws that had produced the c/assic picture. This intense spirit of organisation that is our admiration in Egyptian, Grecian and Roman art, Cezanne introduced into modern painting. His pictures are Pyramids, solid at their base, organised in every detail of their construction. A worthy successor of Delacroix and of the French masters of colour, his own use of colour comes from the depths of his spirit, sober, shining, solemn. By his stern self-discipline he assured to the school of the present day his own unflinching adherence to that sense of organisation. Having prepared his house, the way was clear for its youthful inmates to give full expression to the lyrical freedom that is their dominant quality. French painting experienced an upheaval and regeneration at the hand of the Aix master, as, earlier, Delacroix had renewed its youth, and as twenty years later Matisse was to renew it again. "PORTRAIT D'HOMME" Canvas : 28 J x 23I inches. Painted about 1888-89. Reproduced in "Burlington Magazine," London, June, 1930. Reproduced in " Daily News and Chronicle," London, June, 1930. Reproduced in "Sphere," London, July, 1930. Exhibited at " Renoir and the Post-Impressionists," London, June—July, 1930. No. 9 of the catalogue. From the collection of Monsieur A. Vollard, Paris. "PORTRAIT DE MADAME CEZANNE, EN BLEU " Canvas : 29 x 24 inches. Painted about 1892. From the collection of Monsieur A. Vollard, Paris. From the collection of Mr. Halversen, Stockholm. JEAN BAPTISTE CAMILLE COROT (1796—1875) BORN in Paris, July, 1796. There is no need to dilate upon the supreme merit of this great artist, so well known throughout the world, whose whole life has been recorded by his friends Robaut and Moreau Nelaton in the very accurate catalogue of his works, " l'CEuvre de Corot." Nothing indeed can be added to his fame. He was the leader of the " Barbizon School" and perhaps the greatest Painter of the 19th century; it will suffice to quote the phrase which sums up his whole activity, " What he tried to paint was not so much Nature herself as the love he felt for Nature." (Gustave Collin.) He died in Ville d'Avray, near Paris, on the 22nd of February, 1875. 3. "PORTRAIT DE MADEMOISELLE DE FOUDRAS" Canvas : 34 x 23 inches. Signed on the right. Painted in 1872. Described and reproduced in " l'CEuvre de Corot" by A. Robaut (Floury, Paris, 1905), Vol. III., No. 2,133, Page 292. Reproduced in " Cahiers d'Art," Paris, July, 1930. Reproduced in " Founes," Paris, July, 1930. Reproduced in J. Meier-Graefe "Corot" (B. Cassirer und Klinkhardt und Biermann, Publishers, Berlin, 1930), Plate 143. Exhibited at the " Centenaire de Corot," Galliera Palais, Paris, 1895. No. 59 of the catalogue. Exhibited at the McLellan Galleries, Glasgow, 1920. Exhibited at "Cent Ans de Peinture Fran9aise," Galeries Georges Petit, Paris, June, 1930. No. 3 of the catalogue. From the collection of Mr. Emile Dekens, Bruxelles. EDGAR DEGAS (1834—1917) EDGAR DEGAS was born on 19th July, 1834, and died on the 26th September, 1917. He began his career with the pleiades of young artists whose names—Manet, Monet, Renoir and Sisley—are now famous throughout the whole world. Classified by certain people with the "Impressionist" school, whose cause and struggles he partly espoused, Degas remained, in spite of all, a " Classic " ; following, with a more modern vision, the great French tradition of the 18th Century. An unerring draughtsman, with a clear incisive line, he interested himself especially in the study of the human form, searching in its attitudes and silhouettes for the expression of life without which no work of art can ever endure. Nothing more apt has been written about Degas than the following remarks by Roger Marx, one of the leading French Art Critics and an intimate friend of the master :— "... A hatred of falsehood, artificiality and vagueness, that exacts from every work the quintessence of life and reality ; a pessimist, uncompromising and cruel, and master of the subtlest reduction of colours ; the purest science in the service of the boldest invention, a robust talent accessible to the lightest indications of refinement and degradation that this ancient civilisation can show; a sense of the modern, so sharpened that it reveals in its penetration something beyond the moment it sets forth, ' leternel du transitoire.'—These characteristics, contrasts and gifts cause Degas (a bizarre artist in the eyes of the vulgar) to be recognised as the most classic of the national masters of the end of the nineteenth century." 4. "PORTRAIT DE DIEGO MARTELLI" Canvas : 43^ x 39^ inches. Signed on the right. Painted in 1879. Mentioned in " Degas " by Paul Lafond (H. Floury, Paris, Mentioned in "Degas" by G. Coquiot (Ollendorf, Paris, 1924), page 218. Reproduced in colour in " Edgar Degas" by J. B. Manson (Geoffrey Holme, Publisher, London, 1927), Plate 37. Exhibited at the McLellan Galleries, Glasgow, 1920. Exhibited at" Exhibition of Paintings, Drawings and Sculpture of the French School of the last hundred years," Burlington Fine Arts Club, London, 1922 (No. 38 of the catalogue). Exhibited at " The Kirkcaldy Art Gallery Inaugural Loan Exhibition," 1925. Exhibited at the "Tate Gallery," London, 1926-7. Exhibited at " Cent Ans de Peinture Francaise," Galeries Georges Petit, Paris, June, 1930, No. 14 of the catalogue. From Degas' Sale, Paris, May, 1918 (No. 58 of the catalogue). From the collection of Mrs. R. A. Workman, London. EUGENE DELACROIX (1798—1863) ONE is born either a visionary or a realist. Delacroix only believed in poetry, and dramatic poetry at that. It was an age when the sublime was the comrade always by the painter's side ; the painter's, the playwright's and the poet's. This romantic crisis, a reaction in itself, against the Roman classicism, what form was it going to take with the painters ? Delacroix amongst living painters was assuredly the most essentially a painter. He was a handsome man with black hair, violent, proud, cultivated, with just that desperation in his soul that makes it forever a field of strife. He was noble of spirit and noble of stature, with the artist's anxious heart. So much for the man ; what of his Art. He dreamt of war and found it amongst the wild beasts that he hunted in Africa, horses that paw the air, the proud bearing of the Moroccan Arab, the echoing dramas of the past, the whirl of great events, the sufferings of mighty spirits. His colour is the most sumptuous in French Art. His influence still holds its sway over generations of the young, and Baudelaire very rightly placed him amongst the greatest in his celebrated poem, " Les Phares." 5. "CHEVAUX A L'ABREUVOIR" Canvas : 29 x 36J inches. Signed on the left. Dated 1862. Described and reproduced in "Eugene Delacroix" by A. Robaut (Paris 1885) No. 1442 of the catalogue. Reproduced in " Delacroix " by J. Meier-Graefe (R. Piper und Co., Munich, 1922). Page 236. Exhibited at "Cent Ans de Peinture Francaise," Galeries Georges Petit, Paris, June, 1930. No. 7 of the catalogue. Exhibited at "Exposition Eugene Delacroix," Louvre Museum, Paris, July-September, 1930. From the collection of Prince de Wagram, Paris. IT is only a few years since Gauguin's name was revealed to the general Public. This belated recognition is mainly due to the master's life-long passionate independence. His nature, with its savage but magnificent atavism, always pushed him towards' an unrealisable dream of space, ruggedness and domination. He was upheld by the power of a wonderful faith . ("Gauguin" by Robert Rey.) Gauguin was born in Paris in 1848.
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