Mad Enchantment: Claude Monet and the Painting of the Water Lilies (69 page)

18
   
La Renaissance de l’art français et des industries de luxe
, May 1927.

19
   
Le Bulletin de la Vie Artistique
, August 15, 1921.

20
   Ibid., May 1, 1920.

21
   “Bertha Palmer: Curatorial Entry,” in Gloria Groom and Jill Shaw, eds.,
Monet: Paintings and Drawings at the Art Institute of Chicago
(Chicago: Art Institute of Chicago, 2014), para. 6.

22
   
Bulletin de la vie artistique
, April 15, 1921. For the Impressionist paintings in the Luxembourg, see Léonce Bénédite,
Le Musée du Luxembourg: Les Peintures, École Française
(Paris: H. Laurens, 1923),
passim
.

23
   For the presence of the curator and architect, see
Le Temps
, October 14, 1920.

24
   
Chicago Daily Tribune
, December 6, 1926. In 1920 the US dollar was worth 15 francs.

25
   
Alumni Directory: University of Chicago
(Chicago: University of Chicago Press, 1920), pp. xiv–xv.

26
   WL 2335a.

27
   Alphant,
Claude Monet: une vie dans le paysage
, p. 675.

28
   
La Revue de l’art ancien et moderne
, January–May 1927.

29
   
Chicago Daily Tribune
, December 6, 1926.

30
   WL 578.

31
   
La Revue de l’art ancien et moderne
, January–May 1927.

32
   WL 2358.

33
   WL 2359.

34
   WL 2355 and 2358.

35
   WL 2362.

36
   WL 2326 and 2355.

37
   
Georges Clemenceau à son ami Claude Monet
, p. 80.

38
   Ibid.

39
   Duroselle,
Clemenceau
, p. 898.

40
   Quoted in Duroselle,
Clemenceau
, p. 899.

41
   
Georges Clemenceau à son ami Claude Monet
, p. 84.

42
   WL 2366.

CHAPTER FIFTEEN: A GRAND DONATION

1
    Paul Léon,
Du Palais-Royal au Palais-Bourbon: souvenirs
(Paris: Albin-Michel, 1947), p. 207.

2
    For Léon’s activities in Reims, see Camille Bidaud, “Paul Léon et la restauration monumentale: l’exemple de Saint-Remi de Reims,” Diplôme Propre aux Écoles d’Architecture, directed by Jean-Philippe Garric, École Nationale Supérieure d’Architecture de Paris-Belleville (2012); and idem, “Des expérimentations légitimées par le traumatisme: Paul Léon à Saint-Remi de Reims,”
In Situ: Revue des patrimoines
, no. 23 (2014), available online at
http://insitu.revues.org/10974
.

3
    I am grateful to Camille Bidaud (personal e-mail correspondence, July 29, 2015) and Yann Harlaut (August 6, 2015) for having confirmed the lack of evidence for Paul Léon having been involved in Monet’s Reims commission.

4
    
Diary of an Art Dealer
, p. 150.

5
    Quoted in Charles Lortsch,
La Beauté de Paris et la Loi
(Paris: Librairie de la Société du Recueil Sirey, 1913), p. 205. For the architectural changes wrought by Bonnier’s 1902 regulations, see Andrew Ayers,
The Architecture of Paris
(Stuttgart and London: Axel Menges, 2004), p. 400.

6
    
Le Cri de Paris
, June 8, 1913.

7
    Alan Sheridan,
André Gide: A Life in the Present
(Cambridge, MA: Harvard University Press, 1998), p. 217.

8
    Quoted in Wildenstein,
Monet, or the Triumph of Impressionism
, p. 414.

9
    Quoted in Sheridan,
André Gide
, p. 223.

10
   Wildenstein,
Claude Monet: Biographie et catalogue raisonné
, vol. 4, p. 97, n. 887.

11
   Ibid., vol. 4, p. 98, n. 902; and p. 99, n. 912.

12
   Ibid., vol. 4, p. 97, note 887.

13
   
Le Petit Parisien
, October 14, 1920.

14
   
L’Opinion
, October 16, 1920.

15
   WL 2380.

16
   WL 2391.

17
   
Le Temps
, October 14, 1920.

18
   
La Revue de l’art ancien et moderne
, February 1927.

19
   
Le Temps
, October 14, 1920.

20
   
Le Populaire
, October 20, 1920.

21
   
L’Humanité
, October 29, 1920.

22
   
Le Figaro
, October 21, 1920.

23
   
La Renaissance de l’Art Français et des Industries de Luxe
, January 1921. This article, like Alexandre’s in
Le Figaro
and all other contemporary documentation, including references by Monet himself, calls the work
Dames cueillant des fleurs
(
Women Picking Flowers
).

24
   
Diary of an Art Dealer
, p. 153.

25
   “Normand,” in Centre National de Ressources Textuelles et Lexicales, available online at
www.cnrtl.fr
.

26
   WL 2384.

27
   
Le Figaro
, November 14, 1920.

28
   Ibid., October 21, 1920.

29
   
La Renaissance de l’art français et des industries de luxe
, January 1920.

30
   
La Revue de l’art ancien et moderne
, January–May 1927.

31
   
Le Populaire
, November 23, 1920.

32
   
Le Journal
, September 26, 1911.

33
   Elder,
À Giverny, chez Claude Monet
, loc. 641.

34
   Camille Mauclair,
L’Impressionnisme: son histoire, son esthétique, ses maîtres
(Paris: Librairie de l’Art Ancien et Moderne, 1904), p. 220. Monet’s paintings are listed in
Exposition universelle de 1900: Catalogue officiel illustré de l’exposition centennale de l’art français de 1800 à 1889
(Paris: Lemercier, 1900), p. 211.

35
   Adolphe Tabarant,
Manet et ses oeuvres
(Paris: Gallimard, 1947), p. 316.

36
   
Claude Monet, ce mal connu
, vol. 1, p. 40.

37
   Quoted in Roger Peyrefitte,
L’Illustre écrivain
(Paris: Albin Michel, 1982), p. 197.

38
   
Le Bulletin de la vie artistique
, December 1, 1920.

39
   
Le Figaro
, January 30, 1921.

40
   Ibid., December 31, 1920.

41
   
Illustrated London News
, February 26, 1921.

42
   Quoted in Wildenstein,
Monet, or the Triumph of Impressionism
, p. 415.

43
   Quoted in Simon Kelly,
Monet’s Water Lilies: The Agapanthus Triptych
(St. Louis: St. Louis Art Museum, 2011), pp. 30–31.

44
   Quoted in Kelly,
Monet’s Water Lilies
, p. 30.

45
   Quoted in Paul Léon,
La Renaissance des ruines: maisons, monuments
(Paris: H. Laurens, 1918), p. 44.

46
   WL 2406.

47
   WL 2398.

48
   WL 2402.

49
   WL 2400 and 2402.

50
   Quoted in Duroselle,
Clemenceau
, p. 914.

51
   The
Times
, November 28, 1929.

52
   
Georges Clemenceau à son ami Claude Monet
, p. 85.

53
   Ibid., p. 101.

54
   
Le Matin
, April 8, 1921.

55
   
Georges Clemenceau à son ami Claude Monet
, p. 87.

56
   WL 2418.

57
   
Le Matin
, April 8, 1921.

58
   WL 2419 and 2421.

59
   WL 2422.

60
   WL 2424.

61
   WL 2426.

62
   Monet complained to Arsène Alexandre that the Orangerie did not provide “the necessary distance” for viewing the paintings (WL 2437).

63
   WL 2426.

CHAPTER SIXTEEN: A MOST ARDENT ADMIRER

1
    On Clemenceau’s friendship with Prince Saionji, see Séguéla, “Le Japonisme de Georges Clemenceau,” p. 12; and on Clemenceau’s bonsai tree and gardener, see ibid., p. 35.

2
    
Archives Claude Monet
, p. 78.

3
    
Le Bulletin de la vie artistique
, November 15, 1921. This article mentions visits recently made by the artists Yamagata and Hashimoto.

4
    
Le Bulletin de la vie artistique
, December 15, 1922.

5
    
L’Homme Libre
, March 16, 1924. I date the visit of Matsukata to Giverny to June on the basis of Monet’s letter of June 19 to Arsène Alexandre (WL 2442).

6
    
Le Bulletin de la vie artistique
, December 15, 1922.

7
    Ibid.

8
    See Libby Horner, “Brangwyn and the Japanese Connection,”
Journal of the Decorative Arts Society 1850–the Present
, No. 26,
Omnium Gatherum: A Collection of Papers
(2002), pp. 72–83.

9
    WL 2341a.

10
   Octave Mirbeau,
La 628-E8
(Paris: Charpentier, 1910), pp. 207–9. Hoschedé also tells the story of the
épicier
in Holland (vol. 1, p. 54).