Color in The Age of Impressionism

LIST OF ILLUSTRATIONS

1 Cham (Amédée Charles Henri de Noé), sketch depicting a woman and an “Impressionist artist,” in Le Charivari, April 22, 1877. FOL-LC2-1328, Bibliothèque nationale de France, Paris.

2 Cover image of Paint with the Impressionists: A Step-by-Step Guide to Their Methods and Materials for Today’s Artists (2010), by Jonathan Stephenson. Courtesy of Thames & Hudson, London.

3 Conservators and scientists use a high-power microscope and X-rays to examine the pigment particles and individual brushstrokes of Renoir’s Madame Léon Clapisson, 1883. Art Institute of Chicago, Chicago, Ill. Photo: Art Institute of Chicago.

4 Agnolo Bronzino, Eleonora di Toledo, ca. 1560. Oil on panel. Samuel H. Kress Collection, National Gallery, Washington, D.C. Courtesy of the National Gallery of Art, Washington, D.C.

5 Fabric swatches in Le Bon Marché department store catalogue, April 1889. Bibliothèque Forney, Paris. Photo: Bibliothèque Forney, Paris/Roger-Viollet.

6 Eugène Atget, Rue des Ursins, ca. 1900–1903. Albumen print. Département des Estampes et de la photographie, Bibliothèque nationale de France, Paris.

7 Félix Nadar, four photographic portraits of Michel-Eugène Chevreul, with handwritten note by Chevreul, in Le Journal illustré, September 5, 1886. Département des Estampes et de la photographie, Bibliothèque nationale de France, Paris.

8 Michel-Eugène Chevreul, “Four Disks: Red, Green, Orange, Blue (pl. 2),” in De la Loi du contraste simultané des couleurs: Atlas (Paris: Pitois-Levrault, 1839). Réserve des livres rares, Bibliothèque nationale de France, Paris.

9 Michel-Eugène Chevreul, “Assortment of Simple and Secondary Artists’ Colors with White, Black, and Gray (pl. 5-6-7),” in De la Loi du contraste simultané des couleurs: Atlas (Paris: Pitois-Levrault, 1839). Réserve des livres rares, Bibliothèque nationale de France, Paris.

10 Michel-Eugène Chevreul, “Hemispheric Chromatic Construction (pl. 39),” in De la Loi du contraste simultané des couleurs: Atlas (Paris: Pitois-Levrault, 1839). Réserve des livres rares, Bibliothèque nationale de France, Paris.

11 Color wheel showing the seventy-two “pure colors” (couleurs franches) of Chevreul’s system, 1864, similar to the one exhibited at the 1851 Great Exhibition in London. The sculpture depicts the famed chemist. Photo: Collection of the Mobilier National (Isabelle Bideau).

12 Michel-Eugène Chevreul, “Color Wheel by Chevreul Featuring Pure Colors (couleurs franches),” in Cercles chromatiques de M. E. Chevreul, reproduits au moyen de la chromocalcographie, gravure et impression en taille douce combinées par R.-H. Digeon (Paris: Digeon, 1855). Réserve des livres rares, Bibliothèque nationale de France, Paris.

13 Woman in dress, Paris, 1880s. New York Public Library, New York, N.Y. Photo: Picture Collection, The New York Public Library, Astor, Lenox and Tilden Foundations.

14 Catalogue of the Grand Dépôt (Paris), La céramique moderne par le Grand Dépôt (Paris: published by the firm, ca. 1885 [1889?]). Winterthur Library, Winterthur, Del. Photo: The Winterthur Library, Printed Book and Periodical Collection.

15 Henri-Joseph Harpignies, A Potted Fuchsia with Children’s Toys, 1877. Watercolor. National Gallery of Art, Washington, D.C. Ruth and Jacob Kainen Memorial Acquisition Fund, National Gallery of Art, Washington, D.C. Courtesy of the National Gallery of Art, Washington, D.C.

16 Pierre Lamith Petit, Carré creux, ca. 1889. Photograph. Muséum national d’histoire naturelle, Paris. Photo: RMN-Grand Palais/Art Resource, N.Y.

17 Charles Naudin, Nouvelles recherches sur l’hybridité dans les végétaux (Mémoire présenté à l’Académie des sciences en décembre 1861), vol. 1 (Paris: s.n., 1862), plate 3.

18 Claude Monet, Woman in the Garden, Sainte-Adresse, 1867. Oil on canvas. The State Hermitage Museum, St. Petersburg. Photo: Scala/Art Resource, N.Y.

19 Eugène Atget, Luxembourg boulevard St. Michel (marchand de fleurs), in Vie et métiers à Paris series, 1898–1900. Photograph. Département des Estampes et de la photographie, Bibliothèque nationale de France, Paris.

20 Mosaiculture butterfly garden featured at the 1878 Universal Exposition, Paris. Revue horticole 50 (1878): 467. Courtesy of the Library of the Gray Herbarium, Harvard University, Cambridge, Mass.

21 Women’s toque with blue cornflowers, ca. 1890–99. Musée des arts décoratifs, Paris. Photo: © Les Arts décoratifs, Paris.

22 Claude Monet, The Artist’s Garden at Giverny, 1902. Oil on canvas. Öesterreichische Galerie Belvedere, Vienna. Photo: Nimatallah/Art Resource, N.Y.

23 Claude Monet, Women in the Garden, ca. 1866. Oil on canvas. Musée d’Orsay, Paris. Photo: Erich Lessing/Art Resource, N.Y.

24 Claude Monet, Poppies at Argenteuil, 1873. Oil on canvas. Musée d’Orsay, Paris. Photo: Erich Lessing/Art Resource, N.Y.

25 Edgar Degas, Entrance of the Masked Dancers, ca. 1879. Pastel on gray wove paper. Sterling and Francine Clark Art Institute, Williamstown, Mass. Photo: Sterling and Francine Clark Art Institute, Williamstown, Mass.—USA/Bridgeman Images.

26 Hadol, “Le salon comique,” L’Éclipse, May 30, 1875. Wood engraving. Département des Estampes et de la photographie, Bibliothèque nationale de France, Paris. Detail.

27 Pierre-Auguste Renoir, The Couple, ca. 1868. Oil on canvas. Wallraf-Richartz-Museum—Fondation Corboud, Cologne. Photo: Art Resource, N.Y.

28 Edgar Degas, Portrait of Mme Edmondo de Morbilli, née Thérèse De Gas, 1869. Pastel on cardboard. Private collection.

29 Claude Monet, Camille, or The Woman in a Green Dress, 1866. Oil on canvas. Kunsthalle, Bremen. Photo: Erich Lessing/Art Resource, N.Y.

30 Edgar Degas, Madame Camus, 1869–70. Oil on canvas. National Gallery of Art, Washington, D.C. Courtesy of the National Gallery of Art, Washington, D.C.

31 Marie-Augustin Zwiller, L’Industrie en Alsace: Le Laboratoire, 1898–99. Location unknown.

32 Edgar Degas, Sketch of the Cirque Fernando, in Sketchbook no. 23, n.d. Drawing. Département des Estampes et de la photographie, Bibliothèque nationale de France, Paris.

33 Edgar Degas, The Jockeys, ca. 1882. Oil on canvas. Yale University Art Gallery, New Haven, Conn. Courtesy of Yale University Art Gallery, New Haven, Conn.

34 Edgar Degas, Woman Ironing, ca. 1869. Oil on canvas. Neue Pinakothek, Berlin. Photo: Neue Pinakothek/Art Resource, N.Y.

35 Edgar Degas, A Woman Ironing, 1873. Oil on canvas. H. O. Havemeyer Collection, Bequest of Mrs. H. O. Havemeyer, 1929. The Metropolitan Museum of Art. Photo: The Metropolitan Museum of Art/Art Resource, N.Y.

36 Edgar Degas, Woman Ironing, begun ca. 1876, completed ca. 1887. Oil on canvas. Collection of Mr. and Mrs. Paul Mellon, National Gallery of Art, Washington, D.C. Courtesy of the National Gallery of Art, Washington, D.C.

37 Edgar Degas, Women Ironing, ca. 1884–86. Oil on canvas. Musée d’Orsay, Paris. Photo: Erich Lessing/Art Resource, N.Y.

38 Edgar Degas, Little Milliners, 1882. Pastel on paper. The Nelson-Atkins Museum of Art, Kansas City, Mo. Purchase: acquired through the generosity of an anonymous donor, F79-34.

39 Edgar Degas, At the Milliner’s, 1882. Pastel on paper. Museo Thyssen-Bornemisza, Madrid. Photo: Museo Thyssen-Bornemisza/Scala/Art Resource, N.Y.

40 Edgar Degas, The Millinery Shop, 1879–86. Oil on canvas. Art Institute of Chicago, Ill. Photo: Erich Lessing/Art Resource, N.Y.

41 Edgar Degas, The Milliners, ca. 1882–before 1905. Oil on canvas. Getty Art Institute, Los Angeles, Calif. Courtesy of the Getty Art Institute, Los Angeles, Calif.

42 Edgar Degas, At the Milliner’s, 1882. Pastel on pale gray wove paper, laid down on silk bolting. H. O. Havemeyer Collection, Bequest of Mrs. H. O. Havemeyer, 1929. The Metropolitan Museum of Art, New York, N.Y. Photo: The Metropolitan Museum of Art/Art Resource, N.Y.

43 Edgar Degas, At the Millinery Shop, ca. 1905–10. Pastel. Musée d’Orsay, Paris. Photo: Hervé Lewandowki—RMN-Grand Palais/Art Resource, N.Y.

44 Pierre-Auguste Renoir, La Parisienne, 1874. Oil on canvas. National Museum of Wales, Cardiff. Photo: HIP/Art Resource, N.Y.

46 Pierre-Auguste Renoir, Dance at Le Moulin de la Galette, 1876. Oil on canvas. Musée d’Orsay, Paris. Photo: Hervé Lewandowski—RMN-Grand Palais/Art Resource, N.Y.

47 Pierre-Auguste Renoir, The Swing, 1876. Oil on canvas. Musée d’Orsay, Paris. Photo: Erich Lessing/Art Resource, N.Y.

48 Pierre-Auguste Renoir, Washerwomen, ca. 1888. Oil on canvas. The Baltimore Museum of Art: The Cone Collection, formed by Dr. Claribel Cone and Miss Etta Cone of Baltimore, Md., BMA 1950.282. Photo: Mitro Hood.

49 Claude Monet, Rouen Cathedral: Setting Sun (Symphony in Grey and Pink), 1892–94. Oil on canvas. National Museum of Wales, Cardiff. Photo: HIP/Art Resource, N.Y.

50 Claude Monet, Rouen Cathedral: The Portal, Grey Weather, Grey Harmony, 1892. Oil on canvas. Musée d’Orsay, Paris. Photo: Erich Lessing/Art Resource, N.Y.

51 French silk sample book, ca. 1895–1905. Clark Art Institute Library, Williamstown, Mass. Courtesy of Mary Ann Beinecke Decorative Art Collection, Clark Art Institute Library, Williamstown, Mass.

52 French silk sample book, ca. 1895–1905. Clark Art Institute Library, Williamstown, Mass. Courtesy of Mary Ann Beinecke Decorative Art Collection, Clark Art Institute Library, Williamstown, Mass.

53 Claude Monet, The Robec Stream in Rouen (Le Ruisseau de Robec), 1872. Oil on canvas. Musée d’Orsay, Paris. Photo: Alfredo Dagli Orti/The Art Archive at Art Resource, N.Y.

54 Claude Monet, Boating on the River Epte (En canot sur l’Epte), 1890. São Paulo Museum of Art, São Paulo. Photo: Gianni Dagli Orti/The Art Archive at Art Resource, N.Y.

55 Claude Monet, Essay on the Figure en Plein-Air: Woman with Umbrella Turned Towards the Left, 1886. Oil on canvas. Musée d’Orsay, Paris. Photo: Hervé Lewandowski—RMN-Grand Palais/Art Resource, N.Y.

56 James Abbott McNeill Whistler, Nocturne in Black and Gold, the Falling Rocket, 1875. Oil on panel. Detroit Institute of Arts, Detroit, MI. Photo: Detroit Institute of Arts, USA. Gift of Dexter M. Ferry Jr./Bridgeman Images.

57 “Fête du 15 août à Paris,” Nouvelle Imagerie d’Épinal, no. 459, 1863. Département des Estampes et de la photographie, Bibliothèque nationale de France, Paris. Detail.

58 Charles-Nicolas Cochin (1715–1790) after M. Debonneval, Dessein de l’illumination et du feu d’artifice donné à Monseigneur le Dauphin à Meudon le 3^e septembre 1735, ca. 1735. Brock Fireworks Collection, Getty Research Institute, Los Angeles, Calif. Courtesy of the Getty Research Institute, Los Angeles, Calif.

59 Napoleonic set piece, created by the Ruggieri Company, ca. 1869. Courtesy of Lacroix-Ruggieri archives, Muret, France.

60 “The Emperor’s Fête in Paris: Display of Fireworks from the Arc de Triomphe,” Illustrated London News, August 29, 1868. Dupee Fireworks Collection, John Hay Library, Brown University, Providence, R.I.

61 Honoré Daumier, “Le Bouquet.—On n’y voit que du feu, et c’est ce qui en fait le charme!,” Le Journal amusant, September 16, 1865. Robert D. Farber University Archives and Special Collections Department, Brandeis University, Waltham, Mass.

62 Henri Fantin-Latour, Homage to Delacroix, 1864. Oil on canvas. Musée d’Orsay, Paris. Photo: Hervé Lewandowski—RMN-Grand Palais/Art Resource, N.Y.

63 “July 14th Celebrations, Fireworks on the Eiffel Tower (Drawing by Parys, After a Photograph by Albert Londe),” Le Monde illustré (1888). VA275C-(1)—FOL, Département des Estampes et de la photographie, Bibliothèque nationale de France, Paris.

64 Georges Garen, The Lighting of the Eiffel Tower During the Exposition Universelle of 1889, 1889. Musée d’Orsay, Paris. Photo: René-Gabriel Ojeda—RMN-Grand Palais/Art Resource, N.Y.

65 Ruggieri catalogue, n.d. (after 1893). Courtesy of Lacroix-Ruggieri Company archives, Muret, France.

66 Georges Seurat, The Eiffel Tower, ca. 1889. Oil on panel. Fine Arts Museums of San Francisco, Museum Purchase, William H. Noble Bequest Fund, 1979.48.

67 Jules Chéret, Exposition universelle de 1889: Le pays des fées, 1889. Département des Estampes et de la photographie, Bibliothèque nationale de France, Paris.

68 Jules Chéret, Bal du Moulin Rouge, 1889. Département des Estampes et de la photographie, Bibliothèque nationale de France, Paris.

69 Henri de Toulouse-Lautrec, Ambassadeurs: Aristide Bruant, ca. 1892. Smith College Museum of Art, Northampton, Mass. Courtesy of the Smith College Museum of Art, Northampton, Mass.

70 Eugène Atget, Rue de l’Abbaye, Saint-Germaindes-Prés, 1898–1900. Photograph. Département des Estampes et de la photographie, Bibliothèque nationale de France, Paris.

71 Portrait After Greuze, in Godefroy Engelmann, Album chromolithographique, ou Recueil d’essais du nouveau procédé d’impression lithographique en couleurs (Mulhouse: by the author, 1837). British Museum, London. Courtesy of the British Museum, London.

72 Master Lambton (after Thomas Lawrence), in Godefroy Engelmann, Album chromolithographique, ou Recueil d’essais du nouveau procédé d’impression lithographique en couleurs (Mulhouse: by the author, 1837). British Museum, London. Courtesy of the British Museum, London.

73 Eugène-Emmanuel Viollet-le-Duc, frontispiece in Prosper Mérimée, Peintures de l’église de Saint Savin (Paris: Imprimerie royale, 1845). Département des Estampes et de la photographie, Bibliothèque nationale de France, Paris.

74 Franz Kellerhoven, The Baptism of Christ (After Gerard David), printed by Lemercier & cie, ca. 1854. Oleograph. British Museum, London. Courtesy of the British Museum, London.

75 Label printed by Godefroy Engelmann’s firm, ca. 1850. 19TT 2G, Société Godefroy Engelmann, Mulhouse City Archives, Mulhouse, France.

76 R. Engelmann, Diaphanie: Catalogue de feuilles (n.p.: R. Engelmann firm, 1876). Canadian Center for Architecture, Montreal. Courtesy of the Canadian Center for Architecture, Montreal.

77 Jules Chéret, Valentino: Mi-carême, grand bal paré, masqué travesti, printed by Imp. Chéret (Paris), 1866. Collection Dutailly, Les Silos, Maison du livre et de l’affiche, Chaumont, France.

78 Imprimerie Camis, printed by Imp. Camis (Paris), 1896. Bibliothèque des arts graphiques collection, Bibliothèque Forney, Paris. Photo: Bibliothèque Forney/Roger-Viollet.

79 Trade card depicting the place de la Bastille and entrance to the rue Saint-Antoine, printed by L’Héritier & Dupré, 1875–1900. 6.5 cm × 10.2 cm. Musée des civilisations de l’Europe et de la Méditerranée, Marseille. Photo: Yves Inchierman—RMN-Grand Palais/Art Resource, N.Y.

80 Trade card featuring asphyxiated children lying on a slice of cheese, printed by Appel, 1875–1900. 6.8 cm × 10.8 cm. Musée des civilisations de l’Europe et de la Méditerranée, Marseille. Photo: Yves Inchierman—RMN-Grand Palais/Art Resource, N.Y.

81 Stock trade card with woman’s head, bottles, and paint palette among other items, overprinted with the name of the Parisian department store La Samaritaine, printed by Appel, 1875–1900. 7.2 cm × 10.6 cm. Musée des civilisations de l’Europe et de la Méditerranée, Marseille. Photo: Yves Inchierman—RMN-Grand Palais/Art Resource, N.Y.

82 Stock trade card with woman’s head, bottles, and paint palette among other items, overprinted with the name of the Chocolat du Para firm, printed by Appel, 1875–1900. 7.2 cm × 10.6 cm. Musée des civilisations de l’Europe et de la Méditerranée, Marseille. Photo: Yves Inchierman—RMN-Grand Palais/Art Resource, N.Y.

83 Series of six trade cards published by the Liebig company, depicting the production of trade cards, ca. 1906. Courtesy of the Rare Books Division, McGill University, Montreal, Canada.

84 “A Little Color Never Hurts” (Un peu de couleur ne nuit pas), trade card, printed by Bognard, 1875–1900. 8.2 cm × 11.2 cm. Musée des civilisations de l’Europe et de la Méditerranée, Marseille. Photo: Yves Inchierman—RMN-Grand Palais/Art Resource, N.Y.

85 Trade card showing the interior of a printshop, printed by Dessain, 1875–1900. 7 cm × 10.1 cm. Photo: Yves Inchierman—RMN-Grand Palais/Art Resource, N.Y.

86 Jules Chéret, Fumar el papel Job, 1895. Kurt J. Wagner, MD, and C. Kathleen Wagner Collection, Los Angeles County Museum of Art, Los Angeles, Calif. Photo: Digital Image © 2015 Museum Associates/LACMA. Licensed by Art Resource, N.Y.

87 Jules Chéret, Papier à cigarettes Job, 1895. Département des Estampes et de la photographie, Bibliothèque nationale de France, Paris.

88 Eugène Grasset, A New Life of Napoleon, 1894. Département des Estampes et de la photographie, Bibliothèque nationale de France, Paris.

89 Paul Gauguin, Vision of the Sermon (Jacob Wrestling with the Angel), 1888. Oil on canvas. National Galleries of Scotland. Photo: National Galleries of Scotland, Dist. RMN-Grand Palais/Art Resource, N.Y.

90 Jules Gervais-Courtellemont, autochrome depicting freshly dyed textiles drying on rooftop terraces, in Damascus, “Visions d’Orient” lecture series, reprinted in L’Illustration: Journal universel, November 26, 1910.

91 Antonin Personnaz, Factories, River, Barges, 1907–15. Autochrome. Société française de photographie, Paris. Photo: Collection Société française de photographie (coll. SFP).

92 Georges Seurat, A Sunday Afternoon on the Island of the Grande Jatte, 1884–86. Oil on canvas. Helen Birch Bartlett Memorial Collection, Art Institute of Chicago, Ill. Photo: Album/Art Resource, N.Y.

94 Pierre-Auguste Renoir, The Large Bathers, 1884–87. Oil on canvas. The Mr. and Mrs. Carroll S. Tyson Jr. Collection, 1963, Philadelphia Museum of Art, Philadelphia, Pa. Photo: Philadelphia Museum of Art, Pa./Bridgeman Images.

95 Alvin Langdon Coburn, Vortograph, 1917 (printed in 1947). Gelatin silver print. George Eastman House, Rochester, N.Y. Photo: © George Eastman Museum.

96 “Color Photography,” L’Illustration: Journal universel, June 15, 1907, supplement.

97 F. Honoré, “Le Paradis des roses,” L’Illustration: Journal universel, December 7, 1907. Photographs by Léon Gimpel.

98 Detail of F. Honoré, “Le Paradis des roses.”

99 F. Honoré, “Le Paradis des roses.”

100 F. Honoré, “Le Paradis des roses.”

101 Example of a halftone color print, Les Élégances de 1907: Au Pesage, à Longchamp (d’après L. Sabbatier), in L’Illustration: Journal universel, July 13, 1907.

102 Detail of Les Élégances de 1907: Au Pesage, à Longchamp (d’après L. Sabbatier).

103 Example of a chromotypograph, Le Vieux Garçon (d’après Worms), in L’Illustration: Journal universel, December 5, 1885.

104 Léon Gimpel, Place de la Madeleine on a Sunday Morning, 1914. Autochrome. Société française de photographie, Paris. Photo: Collection Société française de photographie (coll. SFP).

105 “Le Printemps à Paris,” cover of Le Petit Journal, supplement illustré, April 4, 1891. Bibliothèque nationale de France, Paris.

106 Jacques-Henri Lartigue, Fishing Party in Rouzat, 1913. Autochrome. Photo: Jacques Henri Lartigue © Ministère de la Culture—France/AAJHL.

107 Suzanne, eldest daughter of Louis Lumière, costume scene, 1910. Autochrome Lumière plate. 13 cm × 18 cm. Collection Institut Lumière, Lyon.

108 Auguste Léon, Women from Smilevo, Macedonia, 1913. Albert-Kahn musée et jardin départementaux, Boulogne-Billancourt, France.

109 Auguste Léon, Place de la République, Paris, 1918. Albert-Kahn musée et jardin départementaux, Boulogne-Billancourt, France.

110 Antonin Personnaz, Haystack at Sunset, 1907–15. Autochrome. Société française de photographie, Paris. Photo: Collection Société française de photographie (coll. SFP).

111 Antonin Personnaz, Resting by the Wayside, 1907–15. Autochrome. Société française de photographie, Paris. Photo: Collection Société française de photographie (coll. SFP).

112 Camille Pissarro, The Shepherdess, also known as Young Girl with a Stick, 1881. Oil on canvas. Musée d’Orsay, Paris. Photo: Hervé Lewandowski—RMN-Grand Palais/Art Resource, N.Y.

113 Léon Gimpel, A Family of Acrobats at the Fête de Saint-Cloud, 1909. Autochrome. Société française de photographie, Paris. Photo: Collection Société française de photographie (coll. SFP).

114 Léon Gimpel, The Alchemist, 1912. Autochrome. Société française de photographie, Paris. Photo: Collection Société française de photographie (coll. SFP).

115 Stéphane Passet, Faubourg and Porte Saint-Denis, 1914. Albert-Kahn musée et jardin départementaux, Boulogne-Billancourt, France.

116 Paul Signac, In the Era of Harmony (L’Âge d’or n’est pas dans le passé; il est dans l’avenir), 1893–95. Marie de Montreuil, France. Photo: Erich Lessing/Art Resource, N.Y.

117 Pantone-brand mug. Photo: Dick Fish, Northampton, Mass.