Mad Enchantment: Claude Monet and the Painting of the Water Lilies (61 page)

75
   Adolphe Tabarant,
Manet et ses oeuvres
(Paris: Gallimard, 1947), p. 358. The paintings are now in the Kimbell Art Museum in Fort Worth and the Musée d’Orsay.

76
   
La Justice
, May 20, 1895.

77
   WL 2287.

CHAPTER TWO: DU CÔTÉ DE CHEZ MONET

1
    
Claude Monet
, p. 327.

2
    
Je sais tout
, January 15, 1914.

3
    WL 2642.

4
    
Gil Blas
, March 20, 1906.

5
    Hoschedé,
Claude Monet
, vol. 1, p. 92. For a good assessment of Blanche Hoschedé-Monet’s career as well as her relationship to Monet, see Janine Burke, “Monet’s ‘Angel’: The Artistic Partnership of Claude Monet and Blanche Hoschedé-Monet,”
Colloquy: text theory critique
22 (2011), pp. 68–80.

6
    For Michel’s wheeling and dealing, see
Revue Mensuelle du Touring-Club de France
, September and December 1906, April 1907, January and December 1913, and April 1914. The “Offres et Demandes” columns of this publication reveal Jean-Pierre Hoschedé to have been equally active.

7
    Jean Martet,
Clemenceau: The Events of His Life as Told by Himself to His Former Secretary
, trans. Milton Waldman (London: Longmans, Green & Co., 1930), p. 220. Michel Monet was indeed destined to die at the wheel of a fast car, although not until 1966, when, a few weeks shy of his eighty-eighth birthday, he would crash on the bridge in Vernon that bore Clemenceau’s name.

8
    
La Presse
, August 1, 1910. For the garage and cycle shop in Vernon (Moché & Hoschedé):
La Croix
, July 19, 1906; and
Guide Michelin
(1912), p. 35. This garage, at 105 route de Paris, later became Hoschedé & Veilleux (
L’Ouest-Éclair
, October 22, 1922).

9
    Hoschedé,
Claude Monet
, vol. 1, p. 123. Hoschedé’s work appears as early as his 1898 publication, “Flore de Vernon et de la Roche-Guyon,” in the
Bulletin de la Société des amis des sciences naturelles de Rouen
. For his membership of the Linnean Society, see
Bulletin de la Société Linnéenne de Normandie
(Caen: Lanier, 1901), p. x. For his Irish water spaniel:
L’Ouest-Éclair
, July 24, 1913.

10
   
L’Art dans les Deux Mondes
, March 7, 1891.

11
   
Je sais tout
, January 15, 1914.

12
   See Muriel Giolkowska, “Memories of Monet,”
Canadian Forum
(March 1927), reprinted in George T. M. Shackleford et al.,
Monet and the Impressionists
(Sydney: Art Gallery of New South Wales, 2008), p. 203; and Geffroy,
Claude Monet
, p. 1.

13
   Geffroy,
Claude Monet
, p. 122.

14
   Quoted in John M. Merriman,
The Margins of City Life: Explorations on the French Urban Frontier, 1815–1851
(Oxford: Oxford University Press, 1991), p. 216. For Ingouville’s unsavory reputation (which Merriman points out was not entirely deserved), see pp. 210–17.

15
   Geffroy,
Claude Monet
, p. 5.

16
   Ibid. For Monet’s earliest sketches, see Charles F. Stuckey,
Claude Monet, 1840–1926
(London: Thames & Hudson, 1995), p. 186.

17
   Armand Silvestre,
Au Pays des souvenirs: mes maîtres et mes maîtresses
(Paris: La Librairie Illustrée, 1892), p. 161.

18
   Evan Charteris,
John Sargent
(New York: Charles Scribner’s Sons, 1927), p. 129

19
   Hoschedé, vol. 1, p. 36.

20
   Clemenceau,
Claude Monet
, p. 15.

21
   Hoschedé, vol. 1, p. 37.

22
   
La Revue de l’art ancien et moderne
, June 1927.

23
   See Maloon, “Meeting Monsieur Monet,” in
Monet and the Impressionists
, p. 194; and Alphant,
Claude Monet
, p. 649.

24
   
La Revue de l’art ancien et moderne
, June 1927.

25
   Gimpel,
Diary of an Art Dealer
, p. 8.

26
   Gimpel, p. 60; Hoschedé, vol. 1, p. 53.

27
   
Gil Blas
, August 31, 1911. André Arnyvelde describes the progress up the stairs of the Japanese prints (
Je sais tout
, January 15, 1914).

28
   Sacha Guitry tells this story about Renoir in his commentary for the 1952 version of his film
Ceux de chez nous
.

29
   Hoschedé, vol. 1, p. 80.

30
   Gimpel, p. 8.

31
   Hoschedé, vol. 1, p. 82. For Monet’s food and recipes, see Claire Joyes,
Monet’s Table: The Cooking Journal of Claude Monet
(New York: Simon & Schuster, 1989).

32
   Hoschedé, vol. 1, p. 61.

33
   
La Revue de l’art ancien et moderne
, June 1927.

34
   Quoted in Tucker,
Claude Monet: Life and Art
, p. 177.

35
   On these matters, see Hoschedé, vol. 1, pp. 45–8.

36
   Albert Cim, “Un homme de lettres messin: Albert Collignon,”
Le Pays Lorrain et Le Pays Messin: Revue mensuelle illustré
(1922), p. 476.

37
   WL 2319.

38
   Monet’s complete order can be found in the website for Latour-Marliac:
http://www.latour-marliac.com
.

39
   
La Revue illustrée
, March 15, 1898.

40
   For the cost of the garden: Philippe Jullian,
Jean Lorrain ou le satiricon de 1900
(Paris: Fayard, 1974), p. 244. For Monet’s interest payments: Virginia Spate,
Claude Monet: The Colour of Time
(London: Thames & Hudson, 1992), p. 331, n. 3.

41
   Paul Hayes Tucker,
Monet in the ’90s: The Series Paintings
(Boston: Museum of Fine Arts, in association with Yale University Press, 1989), p. 37.

42
   Ibid., p. 148.

43
   Quoted in Tucker, “Revolution in the Garden,” p. 17.

44
   Geffroy,
Claude Monet
, p. 314.

45
   For the Dreyfus Affair and Monet’s responses to it, see Tucker,
Monet in the ’90s
, pp. 253–6; and idem, “Revolution in the Garden”, pp. 20–3.

46
   WL 1397. Monet’s letter, which predates the appearance of “J’Accuse,” was in support of Zola’s journalistic efforts on Captain Dreyfus’s behalf in
Le Figaro
in November and December 1897.

47
   
L’Aurore
, January 13, 1898.

48
   
Claude Monet
, p. 314.

49
   
Gazette des Beaux-Arts
, June 1909;
L’Art et les Artistes
, July 1909.

50
   Tucker,
Claude Monet: Life and Art
, p. 197.

51
   
L’Art et les Artistes
, November 1905.

52
   Valéry C. O. Gréard,
Meissonier: His Life and Art
, trans. Lady Mary Loyd and Miss Florence Simmonds (London: William Heinemann, 1897), p. 345. I discuss the rise and fall of Meissonier in
The Judgment of Paris: The Revolutionary Decade that Gave the World Impressionism
(New York: Walker, 2006).

53
   
Gil Blas
, January 31, 1912.

54
   Gimpel,
Diary of an Art Dealer
, pp. 12 and 15.

55
   Paul Valéry,
Degas Manet Morisot
, trans. David Paul, ed. Jackson Mathews (New York: Bollingen, 1960), p. 99.

56
   Quoted in Judith A. Barter, ed.,
Mary Cassatt: Modern Woman
, exhibition catalogue (Chicago: Art Institute of Chicago, 1998), p. 350.

57
   
La Chronique des Arts et de la Curiosité
, June 25, 1898.

58
   Maurice Denis (in 1907) and Émile Bernard (in 1904), quoted in Robert Herbert, “Method and Meaning in Monet,”
Art in America
67 (September 1979), pp. 90 and 92.

59
   Quoted in Harry E. Buckley,
Guillaume Apollinaire as an Art Critic
(Ann Arbor: UMI Research Press, 1969), p. 55.

60
   
André Salmon on Modern French Art
, ed. and trans. Beth S. Gersh-Nesic (Cambridge, UK: Cambridge University Press, 2005), p. 83.

61
   
Archives Claude Monet
, p. 74.

62
   
Gil Blas
, January 25, 1914.

63
   WL 2076.

64
   Paul Reboux,
Mes mémoires
(Paris: Éditions Haussmann, 1956), p. 195.

65
   
Gil Blas
, September 3, 1913.

66
   
Archives Claude Monet
, p. 83. For Monet’s work at Les Zoaques, see WL 2112 and 2115.

67
   
Gil Blas
, September 3, 1913.

68
   
Je sais tout
, January 15, 1914.

69
   WL 2050.

70
   Martet,
Clemenceau
, p. 237.

71
   Ibid. In 1927 Clemenceau would tell Gaëtan Sanvoisin: “I gave him the idea for the
Water Lilies
. ‘What if you paint for some wealthy patron,’ I told him, ‘a circular ensemble of large canvases?’” (
Le Gaulois
, May 18, 1927).

72
   WL 2116.

73
   Clemenceau,
Claude Monet: Les Nymphéas
(Paris: Plon, 1928), pp. 19 and 18.

CHAPTER THREE: LANDSCAPES OF WATER

1
    Charteris,
John Sargent
, p. 131.

2
    Quoted in Wildenstein,
Monet, or the Triumph of Impressionism
, p. 259.