Bulletin 19, 1972

Home
Français
Introduction
History
Annual Index
Author & Subject
Credits
Contact

Cézanne, Vollard, and Lithography: The Ottawa Maquette for the "Large Bathers" Colour Lithograph

by Douglas W. Druick

Pages  1  |  2  |  3  |  4  |  5  |  6  |  7  |  8  |  9  |  10  |  11  

            12  |  13  |  14  |  15  |  16  |  17  |  18

Notes

19 Pissarro comments upon the success of the show in the letters to Lucien of 22 June and 1 July 1896. Cf. John Rewald (ed.), Camille Pissarro: lettres à son fils Lucien (Paris: Editions Albin Michel, 1950), pp. 409, 410.

20 Serial publications had the advantage of a more continuous exposure to the public eye. Both the Mercure de France and the Chronique des arts et de la curiosité often listed and commented upon the contents of the recent fascicules of the serial publications. Unlike the latter, the Vollard albums were not listed in the Annuaire de la presse française et du monde politique.

21 Mellerio, "La rénovation de l'estampe: L'estampe en 1896," p. 6. In a letter to Lucien, Paris, 13 April 1897, Pissarro writes: "On ne s'occupe ici que d'estampes, c'est une rage, les jeunes ne font plus que cela" (Rewald, op. cit., p. 436).

22 Letter to Lucien, Paris, 3 July 1896 (Rewald, op. cit., p. 411). Pissarro also notes that "Tous les marchands, Sagot, Dumont, etc. ...lui font une guerre acharnée, car il vient déranger leur petit commerce."

23 These included: Georges Auriol, Pierre Bonnard, Eugène Carrière, Maurice Denis, Henri Fantin-Latour, Georges de Feure, Eugène Grasset, Alexandre Lunois, Charles Maurin, Puvis de Chavannes, Odilon Redon, Auguste Rodin, Ker-Xavier Roussel, Édouard Vuillard, T. P. Wagner, and James McNeill Whistler.

24 Executed by Bonnard (J. 17).

25 André Mellerio, "Exposition de la deuxième année de L'album d'estampes originales; galerie Vollard, 6, rue Lafitte," L'estampe et l'affiche, vol. 2 (1anuary 1898), p. 10. Also Mellerio, La lithographie originale en couleurs, p. 31.

26 Letter to Lucien, Paris, 28 April 1896 ( Rewald, op. cit., p. 407).

27 André Mellerio, "La rénovation de l'estampe: causes du renouveau-conditions de son progrès," L'estampe et l'affiche, vol. I (April 1897), p. 45.

28 Ibid.

29 Cf. letters to Lucien, Paris, 26 April 1896 and Eragny, 22 June 1896 ( Rewald, op. cit., pp. 407, 409).

30 The term estampes murales, current in the second half of the nineties, specifically referred to the colour print which was executed on a large scale and meant to be framed. For a discussion of the aesthetics of this class of prints, cf. Raymond Bouyer, "L'estampe murale," Art et décoration, vol. 4 (July-December 1898), pp. 185-191. Bouyer defined the estampe murale as "l'intermédiare entre la gravure et l'affiche" to be used to "décorer les murs." He specified colour lithography as the true medium for this genre. Unlike Vollard, however, Bouyer believed that the intrinsic qualities of the medium should be developed, that colour lithography should not "courir après les virtuosités alléchantes du facsimile" (p. 191) and thereby attempt to compete with work in other media.

31 Claude Roger-Marx notes that the success of Renoir's colour lithograph Baigneuses debout (J. 142) of 1896 led Vollard to commission works of vaster dimensions which would be better able to "tenir le mur" (Les lithographies de Renoir [Monte Carlo: André Sauret, 1951], p. 18).

32 Johnson, op. cit., p. 16.
 
33 Letter to Lucien, Paris, 4 September 1896 ( Rewald, op. cit., pp. 414, 415).
 
34 Ibid., p. 415. Pissarro uses the word "harcelait." 

35 Letter to Lucien, Paris, 3 July 1896 ( Rewald, op. cit., p. 411).

36 Letter to Lucien, Paris, 12 July 1896 ( Rewald, op. cit., p. 412).

37 Vollard, Recollections of a Picture Dealer, p. 170.
                    
38 Roger Marx, "Preface to estampe originale, L'estampe originale, Album VI (1894). Trans. by Judith Colton in Stein, op. cit., p. 15.

39 Bonnard himself printed the twelve colour lithographs comprising Quelques aspects de la vie de Paris (J. 14, p. 58).

40 Johnson, op.cit., p. 33.

41 Arsène Alexandre, "La vie artistique, petites expositions," Le Figaro (6 December 1897), p. 5, col. I.

42 Mellerio, "Exposition de la deuxième année de L'album d'estampes originales; galerie Vollard, 6, rue Lafitte," p. 11.

43 Ibid. 

44 Ibid.

45 Mellerio, "Le rénovation de l'estampe: causes du renouveau-conditions de son progrès," p. 47.

46 Vollard, Recollections of a Picture Dealer, p. 248.

47 Vollard states that the price for the second album was 150 francs (Recollections of a Picture Dealer, p. 248). However, the January 1898 issue of L'estampe et l'affiche listed the price as 400 francs (cf. "Les estampes et les affiches du mois," L'estampe et l'affiche, vol. 3 January 1898], p. 19). High prices alone would not, however, have discouraged buyers. By 1898 the edition of L'estampe originale had been exhausted; the going price was 600 francs, and a set complete with trial proofs had sold for 1,500 francs (cf. Mellerio, La lithographie en couleurs, p. 27, n.).

48 Vollard, Recollections of a Picture Dealer, p. 247.

49 Mellerio, "Exposition de la deuxième année de L'album d'estampes originales; gallerie Vollard, 6, rue Lafitte," p. 10.

50 André Fontainas, "Momento," Mercure de France, vol. 25 (January 1898), p. 506.

51 John Rewald, Paul Cézanne: A Biography (New York: Schocken Books, 1968), pp. 172, 173.

Next Page | Notes 52 to 70

  1  |  2  |  3  |  4  |  5  |  6  |  7  |  8  |  9  |  10  |  11  

12  |  13  |  14  |  15  |  16  |  17  |  18

Top of this page