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Auvers, 1890: The Final Chapter That Secured Vincent van Gogh’s Place in Modern Art.

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FEATURE Image: Vincent Van Gogh (1853-1890), L’église d’Auvers-sur-Oise, vue du chevet (“The Church at Auvers”), June 1890, oil on canvas, 94 cm x 74 cm (37 in x 29.1 in), Musée d’Orsay, Paris. Vincent Van Gogh (1853-1890), staying in Auvers starting on May 20, 1890, liked the small farm town about 20 miles west of Paris with its artistic pedigree (Corot, Daubigny, Cézanne) and spoke of settling into permanent quarters in the village after renting an attic room in a local café. About his experience at Auvers Van Gogh wrote: “[C]es toiles vous diront ce que je ne sais dire en paroles, ce que je vois de sain et de fortifiant dans la campagne” (“[T]hese canvases will tell you what I can’t say in words, what I consider healthy and fortifying about the countryside.”) During his more than two months stay in Auvers, the artist made more than 100 drawings and paintings of local landscapes, gardens, and village scenes such as its Catholic church. On the evening of July 27, 1890, Van Gogh had acquired a pistol and shot himself in the chest near the Auvers chateau. After languishing in pain for two days, he died on the morning of July 29, 1890. Vincent Van Gogh was 37 years old. Public Domain.

Auvers-sur-Oise was the decisive final chapter of Vincent van Gogh’s life and career, where in just over two months he created an extraordinary body of work that secured his enduring place in artistic modernism, even as his life moved toward its tragic conclusion. In May 2005 I made a pilgrimage to the town where I visited the places associated with the artist’s final days, including Ravoux Inn, Dr. Gachet’s house, the church at Auvers, the wheat fields, and his grave.

Vincent van Gogh, Garden in Auvers, July 1890, oil on canvas, 64×80 cm, private collection. Though Van Gogh died in July 1890 his modernist artistic influence forged deep ties with the European avant-garde art movement throughout the 1890’s and beyond. Public Domain.

By John P. Walsh

Auvers-sur-Oise: Van Gogh’s Final Home

In a peripatetic life, the last place where Vincent Van Gogh (1853-1890) lived was Auvers-sur-Oise, a small commune, a short distance northwest of Paris. Since Auvers was on a rail line in the orbit of Paris, Van Gogh moved to the small town with its farming community so he could live independently yet remain close to his art dealer younger brother Theo Van Gogh (1857-1891) who lived with his wife and family in the hustle and bustle of Paris. After leaving Saint-Paul Asylum, Saint-Rémy, where Van Gogh had admitted himself as a patient since May 1889, he traveled to the French capital in May 1890 where he visited Theo and Jo. He was then onwards to Auvers where, by arrangement of Theo, the artist was under the supervision of Dr. Paul Gachet (1828-1909), a mental health physician who was also an avid modern art collector and had his house, family and practice in the town.

After leaving the asylum at Saint-Rémy in May 1890, Van Gogh settled in Auvers-sur-Oise under the supervision of Dr. Paul Gachet while remaining close to his brother Theo in Paris.

Author at the graves of Vincent Van Gogh (1853-1890) and his brother, Paris art dealer Theo Van Gogh (1857-1891). They have been side by side in the Auvers cemetery in France since 1914. Photo: Author’s collection. May 2005.

During his stay from May to July 1890, Van Gogh produced more than 100 drawings and paintings, making it one of the most prolific periods of his career.

Life at the Ravoux Inn

Vincent arrived to Auvers on May 20, 1890 and stayed in the Saint-Aubin hotel until he moved into a rented attic room in a café of Arthur Gustave Ravoux and his wife, Adeline Louise Touillet, who charged him three and a half francs per night for room and board. Located in Place de la Mairie, a 5-minute walk from the train station, the artist’s daily schedule involved rising at dawn and going outside to draw and paint.

Entrance to Vincent Van Gogh’s rented room in Ravoux’s inn in Auvers. It was here that the artist lived for two months in the town. This is the same room is where Van Gogh returned after he shot himself on July 27, 1890, and died two days later here surrounded by family and friends. Author’s photograph, May 2005.

After roaming the town where he made friends of villagers, visited Dr. Gachet’s, and journeyed into nearby farm fields, Van Gogh returned to Ravoux’s café for lunch that was served at noon. In the afternoon he might sometimes work in the “painters’ room” at the inn or visit with other painters staying at the inn, such as compatriot Anton Matthias Hirschig (1867-1939) and Spanish painter Martinez de Valdivielse. These acquaintances proved more significant for history insofar as they provided eyewitness testimony of Van Gogh’s death and funeral. Following dinner at Ravoux’s, Van Gogh climbed the inn’s simple staircase to his single room in the center of the attic landing and retired at about nine in the evening.

Vincent Van Gogh, View of Vessenots near Auvers, May 1890, oil on canvas, 55×65 cm, Thyssen-Bornemisza, Madrid, Spain. Public Domain.

Fields of Auvers. Author’s photograph, May 2005.

Vincent Van Gogh, Daubigny’s Garden, midJune 1890, oil on canvas, 51 cm x 51.2 cm, Van Gogh Museum, Amsterdam. Other versions of Daubigny’s Garden are in the Hiroshima Museum of Art in Japan. see – https://www.hiroshima-museum.jp/en/collection/eu/vangogh.html – retrieved March 11, 2024) and the Van Gogh Museum in Amsterdam (see – https://www.vangoghmuseum.nl/en/collection/s0104V1962 – retrieved March 11, 2024. The square-format flat decorative painting, painted on a simple tea towel that was mounted to canvas, became Van Gogh’s first painted attempt of the garden. It acts as a modernist talisman reminiscent of Paul Sérusier’s 1888 cigar box painting and looks ahead to the decorative landscapes of the Nabis in the 1890’s and of Gustave Klimt (1862-1918) 15 years later. Public Domain.

Vincent Van Gogh, Daubigny’s Garden, 1890, oil on canvas, 56 cm × 101 cm (22 in × 39.8 in), Kunstmuseum Basel, Basel, Switzerland. Van Gogh made three versions of the Auvers garden of Barbizon artist Charles-François Daubigny (1817-1878) between May and July 1890. Daubigny, who moved to Auvers in 1860. was a landscape artist who painted en plein aire. A short walk from the Ravoux inn, Daugigny’s widow still lived in the house in Auvers in 1890. For this painting Van Gogh stepped outdoors into Daubigny’s garden to look back towards the house (the Church of Auvers is distinctly drawn in the painting’s upper right corner). Van Gogh admired Daubigny since the 1870’s as he other Barbizon painters such as Jean-François Millet (1814-1875) and Camille Corot (1796-1875). see – https://www.vincentvangogh.org/garden-of-daubigny.jsp – retrieved March 11, 2024. Public Domain.

Van Gogh’s Auvers paintings reveal artistic innovations that anticipated later modernist movements and influenced future generations of artists.

Little has changed in appearance in Auvers from the time of Van Gogh’s stay in May-July 1890. Author’s photograph, May 2005.

Irises bloom along the side of a road in Auvers that leads to Dr. Gachet’s house. Author’s photograph, May 2005.

Vincent Van Gogh, Still Life Pink Roses, June 1890, oil on canvas, 32 x 40.5 cm, Ny Carlsberg Glyptotek, Copenhagen, Denmark. Public Domain.

Van Gogh, Dr. Gachet (second version), June 1890, Musée d’Orsay, Paris. As a token of friendship, Van Gogh painted two authenticated versions of Dr. Gachet’s portrait in June 1890 at Auvers. Van Gogh came to Auvers because of the role Dr. Gachet played as the artist’s therapist. The well-regarded physician was an avid modern art collector and painter who had participated in art circles since the 1850’s with Gustave Courbet (1819-1877). Dr. Gachet was instrumental in having Paul Cézanne come to Auvers to paint in 1873. In anticipation of Vincent’s arrival from Saint-Rémy, it was Camille Pissarro (1830-1903) living in Pontoise who recommended Dr. Gachet to Theo Van Gogh. Vincent Van Gogh thought fondly of Dr. Gachet as a brother. When Dr. Gachet visited Theo in Paris in early July 1890, he told him he believed that Vincent was “completely recovered” and “that there need be no fears of a further attack” (quoted in Complete Paintings, p. 718). Van Gogh saw Dr. Gachet as another brand of eccentric and painted him in these portraits as a deep thinker who reflected a sensitive nature tending to melancholy. Public Domain.

Van Gogh, Portrait of Adeline Ravoux, June 1890, oil on canvas, 52x 52 cm, Cleveland Museum of Art. In their therapeutic conversations, Dr. Gachet in June 1890 encouraged Van Gogh to make portraits of local sitters in Auvers. Van Gogh had done portraits of Arlesiens in the “Studio of the South” in 1888 and many self-portraits. Adeline Ravoux was the 15-year-old daughter of Van Gogh’s Auvers innkeepers. About one month after this portrait was made, the girl with her parents witnessed Vincent’s return to the café after he shot himself. Later, in a memoir she wrote: “Vincent walked bent, holding his stomach, again exaggerating his habit of holding one shoulder higher than the other. Mother asked him: “M. Vincent, we were anxious, we are happy to see you to return; have you had a problem?” He replied in a suffering voice: “No, but I have…” He did not finish, crossed the hall, took the staircase and climbed to his bedroom.” see –  http://www.vggallery.com/misc/archives/a_ravoux.htm – retrieved March 11, 2024. Public Domain.

Van Gogh, Young Girl Standing Against Wheat, late June 1890, 66.7 x 45.8 cm (26 1/4 x 18 1/16 in.), National Gallery of Art, Washington, D.C. The painting’s lack of horizon creates a flat wall behind the sitter who appears in close proximity to the picture plane as she fills the pictorial space. Van Gogh shadowed her face under her hat and gave her a “distant, unfocused” gaze. All of these elements contribute to the portrait’s emotional distance. see – Painting the Difference: Sex and Spectator in Modern Art by Charles Harrison, University of Chicago Press, 2006. Public Domain.

Van Gogh, Marguerite Gachet at the Piano, June 1890, chalk on paper, 30.5 cm x 23.8 cm, Van Gogh Museum, Amsterdam. Marguerite Gachet was the daughter of Dr. Gachet. In this sketch which resulted in a similarly composed painting, the sitter had recently turned 21 years old. For the painting that is today in the Kunstmuseum Basel, Van Gogh made two sketches in late June 1890. https://www.vangoghmuseum.nl/en/collection/d0427V1962r – retrieved March 11, 2024.  Public Domain.

Van Gogh, L’église d’Auvers-sur-Oise, vue du chevet (“The Church at Auvers”), June 1890, oil on canvas, 94 cm x 74 cm (37 in x 29.1 in), Musée d’Orsay. Public Domain.

As in Van Gogh’s 1890 painting above, the church at Auvers (“Notre-Dame-de-l’Assomption”), situated in a bright midday sun, sits in deep shadow. Author’s photograph, May 2005.

An Extraordinary Final Burst of Creativity

Van Gogh proved quite productive in Auvers, painting several notable canvasses in and around the town and countryside, particularly landscapes and other outdoor subjects en plein aire. In these two months, the painter produced 74 paintings and 33 drawings, including the portraits of Dr. Gachet and Adeline Ravoux, The Church of Auvers, and Field of Wheat with Crows. In a letter of around July 10, 1890, Van Gogh wrote to Theo and Jo that he painted three large canvases at Auvers since visiting them in Paris on July 6, 1890. During that visit the artist also met with Henri Toulouse-Lautrec (1864-1901) and art critic Gabriel-Albert Aurier (1865-1892). In addition to Daubigny’s Garden, these large canvasses likely included Wheatfield with Crows and Wheatfields Thunderclouds (both Van Gogh Museum Amsterdam). Van Gogh described them as “immense stretches of wheatfields under turbulent skies…searching to express sadness [and] extreme loneliness” (“immenses étendues de blés sous des ciels troublés… chercher à exprimer de la tristesse, de la solitude extreme”). See – https://vangoghletters.org/vg/letters/let898/print.html – retrieved March 11, 2024.

Vincent Van Gogh, Sorrowing Old Man (“At Eternity’s Gate”), 1890, 80 cm × 64 cm (31.5 in × 21.2 in), oil on canvas, Kröller-Müller Museum, Otterlo, The Netherlands. The painting was completed at St. Rémy shortly before Van Gogh moved to Auvers-sur-Oise. 

Van Gogh, Wheatfield with Crows. July 1890, oil on canvas, 50.2 cm × 103 cm (19.8 in × 41 in), Van Gogh Museum, Amsterdam. Many have claimed this to be Van Gogh’s last painting.

At the wheatfield in Auvers where Van Gogh painted “Wheatfield with Crows,” one of his last paintings, in July 1890. Author’s photograph, May 2005.

Van Gogh, Wheatfield Thunderclouds, July 1890, oil on canvas, 50.4 cm × 101.3 cm (19.8 in × 39.9 in), Vincent Van Gogh Museum, Amsterdam.

Auvers fields. Author’s photograph, May 2005.

The Tragic Events of July 1890

On July 27, 1890, Vincent, as he did each day, went into the fields to paint. Though the artist appeared to be in good spirits, the artist shot himself later that day near the chateau after going for a walk towards evening. Though able to walk the 10 minutes back mortally wounded to Ravoux’s inn, he told them nothing upon entering the café. The Ravoux’s, sensing something was wrong, called for Mazery, the village doctor and Dr. Gachet. Though these doctors bandage the wound, Van Gogh’s condition is inoperable. In the hot attic room, Van Gogh suffered into the next day, when Theo was sent for. He arrived immediately on July 28 from Paris to be by his brother’s side. Van Gogh died the next morning of July 29, 1890.

Funeral in the Wheat Fields

This suicide sent ripples of shock through the village, as some townspeople had witnessed these events. During my visit to Auvers in May 2005, after exiting Van Gogh’s room where he died, I told the innkeeper that the story was sad (“c’est triste”). She countered, “C’est emouvante” (“It’s moving”). Vincent was buried the next day, July 30, 1890, in Auvers’ new graveyard. His funeral was attended by Theo, Dr. Gachet, the Ravoux’s, assorted villagers, and friends from Paris. These last included artists Emile Bernard (1868-1941), Charles Laval (1862-1894), and Lucien Pissarro (1863- 1944), Camille Pissarro’s son. Petit boulevard art dealer and art materials supplier Julien (Père) Tanguy (1825-1894) was also in attendance. Van Gogh’s casket was strewn with yellow dahlias and sunflowers and Dr. Gachet gave remarks as did Theo Van Gogh. Later, in a letter to his wife, Theo wrote about the proceedings: “[Vincent] was buried in a sunny spot among the cornfields, and the cemetery does not have that unpleasant character of Parisian cemeteries.” (see- Kort geluk, 1999, p. 281). The mortal remains of Van Gogh were transported to the cemetery by a rented hearse from the next town because Auvers’ Catholic priest would not allow the community’s hearse to be used. A proposed church service was also cancelled. The homiletics were left to Dr. Gachet who said: “Vincent was an honest man and a great artist, and there were only two things for him – humanity and art. Art mattered to Vincent Van Gogh more than anything else and he will live on through it” (quoted in Complete Paintings, p. 719).

Graves of Vincent and Theo Van Gogh, Auvers-sur-Oise, France. Author’s photograph, May 2005.

Eyewitness Accounts of Van Gogh’s Last Days

Three days after the funeral, Emile Bernard wrote to Aurier about “our dear friend Vincent.” Aurier had written in January 1890 about the intense fixity of Van Gogh’s art. The art critic conjectured that it may be the catalyst for change in French art. In his essay entitled Les Isolés: Vincent van Gogh published in Mercure de France, Aurier prophesied for an artist-savior figure: “A man must come, a Messiah, a sower of Truth, to rejuvenate our geriatric art, indeed perhaps the whole of our geriatric, feeble minded, industrial society” (quoted in Complete Paintings, p. 698). Van Gogh, aware of these statements, did not think he was Aurier’s man. On August 2, 1890 Emile Bernard wrote to Aurier: “On Sunday evening [Vincent] went out into the countryside near Auvers, placed his easel against a haystack and went behind the chateau and fired a revolver shot at himself. Under the violence of the impact (the bullet entered his body below the heart) he fell, but he got up again, and fell three times more, before he got back to the inn where he was staying (Ravoux, place de la Mairie) without telling anyone about his injury. He finally died on Monday evening, still smoking his pipe which he refused to let go of, explaining that his suicide had been absolutely deliberate and that he had done it in complete lucidity…. On the walls of the room where his body was laid out all his last canvases were hung making a sort of halo for him and the brilliance of the genius that radiated from them made this death even more painful for us artists who were there. The coffin was covered with a simple white cloth and surrounded with masses of flowers, the sunflowers that he loved so much, yellow dahlias, yellow flowers everywhere. It was, you will remember, his favorite color, the symbol of the light that he dreamed of as being in people’s hearts as well as in works of art….The sun was terribly hot outside. We climbed the hill outside Auvers talking about him, about the daring impulse he had given to art, of the great projects he was always thinking about, and of the good he had done to all of us. We reached the cemetery, a small new cemetery strewn with new tombstones. It is on the little hill above the fields that were ripe for harvest under the wide blue sky that he would still have loved…perhaps.Then he was lowered into the grave…Then we returned. Theodore Van Ghog [sic] was broken with grief; everyone who attended was very moved, some going off into the open country while others went back to the station…” see – https://www.webexhibits.org/vangogh/letter/21/etc-Bernard-Aurier.htm – retrieved March 11, 2024.

Van Gogh, Two Women Crossing the Fields, July 1890, oil on paper on canvas, Marion Koogler McNay Art Museum, San Antonio, Texas.

By contrast, Anton Hirschig, the Dutch artist who roomed next door to Van Gogh at Ravoux’s, wrote a letter much later, in 1911, to Albert Plasschaert (1874-1941) in which he recounted a more terrible scene following Van Gogh’s shooting himself. Hirschig wrote: “He lay in his attic room under a tin roof. It was terribly hot. It was August. He stayed there alone for some days. Perhaps only a few. Perhaps many. It seemed to me like a lot. At night he cried out, cried out loud. His bed stood just beside the partition of the other attic room where I slept: Isn’t there anyone willing to open me up! I don’t think there was anyone with him in the middle of the night and it was so hot. I don’t think I ever saw any other doctor like his friend the retired army doctor: It’s your own fault, what did you have to go kill yourself for? He didn’t have any instruments this doctor. He lay there until he died.”

The Beginning of a Legacy

Theo Van Gogh died in Holland on January 25, 1891, nearly 6 months to the day after Vincent’s death. Theo was buried in Holland but exhumed and reinterred next to his older brother Vincent’s grave in Auvers cemetery in 1914. While Vincent Van Gogh, the man, was never larger than life, as an artist he produced an explosion of life on paper and canvas. Van Gogh came to art late (30 years old in 1883) and produced incessantly for the next 7 years. His oeuvre was beautifully powerful, and none of it more remarkably for the future of modernism than that done in Auvers-sur-Oise in May to July 1890.

SOURCES –

Harrison, Charles. Painting the Difference: Sex and Spectator in Modern Art. Chicago: University of Chicago Press, 2006.

Musée d’Orsay. “Van Gogh à Auvers-sur-Oise: Les derniers mois.” Accessed March 8, 2024. https://www.musee-orsay.fr/fr/agenda/expositions/van-gogh-auvers-sur-oise.

Van Gogh Letters. “Bibliography.” Van Gogh Museum / Huygens Institute. Accessed March 8, 2024. https://vangoghletters.org/vg/bibliography.html.

Van Gogh Museum. “Collection.” Accessed March 10, 2024. https://www.vangoghmuseum.nl/nl?page=3263&collection=451〈=en.

Van Gogh Museum. “Collection Item d0427V1962r.” Accessed March 11, 2024. https://www.vangoghmuseum.nl/en/collection/d0427V1962r.

Van Gogh Route. “Van Gogh in Auvers-sur-Oise.” Accessed March 8, 2024. https://vangoghroute.com/france/auvers-sur-oise/.

Van Gogh Route. “Van Gogh in Cemetery.” Accessed March 8, 2024. https://vangoghroute.com/france/auvers-sur-oise/cemetery/.

Vincent van Gogh Gallery. “Archives: Adeline Ravoux.” Accessed March 11, 2024. http://www.vggallery.com/misc/archives/a_ravoux.htm.

Walther, Ingo F., and Rainer Metzger. Vincent Van Gogh: The Complete Paintings. Cologne: Benedikt Taschen, 1996.

WebExhibits. “Van Gogh’s Letters: Letter to Émile Bernard / G.-Albert Aurier.” Accessed March 8, 2024. https://www.webexhibits.org/vangogh/letter/21/etc-Bernard-Aurier.htm.

http://www.vincentvangogh.org. “Portrait of Dr. Gachet, 1890 by Vincent van Gogh.” Accessed March 10, 2024. https://www.vincentvangogh.org/portrait-of-dr-gachet.jsp.

Van Gogh, View of Auvers-sur-Oise, July 1890, oil on canvas, 34 x 42.1 cm (13 3/8 x 16 9/16 inches), Museum of Art, Rhode Island School of Design. See – https://risdmuseum.org/art-design/collection/view-auvers-sur-oise-35770?return=%2Fart-design%2Fcollection%3Fsearch_api_fulltext%3Dvan%2Bgogh%26op%3D#content__section–description–1567076 – retrieved March 11, 2024.

The Melody of Color and Symphony of Form: Albert Joseph Moore’s Art of Pure Beauty.

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FEATURE image: Albert Joseph Moore (1841-1893), READING ALOUD, 1884, oil on canvas, 42.24 x 81 in., Glasgow Art Gallery & Museum.

The artist: Albert Joseph Moore (1841-1893).

Albert Joseph Moore was one of the leading figures of the British Aesthetic Movement, creating meticulously crafted paintings that placed beauty, harmony, color, form, and decoration above narrative or moral instruction. His idealized female figures inhabit timeless settings that blend classical inspiration with Victorian artistic experimentation, making him a unique voice in nineteenth-century British art.

Albert Moore: Life and Artistic Legacy

Albert Joseph Moore was born in 1841 into a family of artists in North Yorkshire in England. Moore through his own advanced aesthetic experiments in the milieu of theoretical and practical advancements of mid-to-late 19th century modern art in England and France – such as a systematic analysis of nature, mathematical plotting, and principles for quintessential combinations of color, line and form – created art that was, in formal terms, in its conception and execution, on the cutting edge of abstraction that would continue to develop and blossom into early 20th century Cubism. Moore’s art gained the respect of other progressive artists (Moore was called “a painter’s painter”), patrons and collectors, if not always the critics and contemporaries who viewed Moore’s work as merely decorative. Moore was actively collected in his lifetime and exhibited regularly in major venues such as the Royal Academy. Unmarried and of a lifelong independent disposition, Moore died in 1893 at 52 years old, having just completed his last monumentally ambitious artwork (“The Loves of the Winds and the Seasons,” Blackburn Museum and Art Gallery, posted below) a handful of days before. Several of Moore’s pictures are now in public collection throughout the UK, including the Tate and the British Museum in London. 

Moore became a major representative of the Aesthetic Movement, often summarized by the ideal of “art for art’s sake.”

Azaleas (1867-1868)

Albert Joseph Moore (1841-1893), AZALEAS, 1867, Hugh Lane Municipal Gallery of Modern Art, Dublin, Ireland.

Azaleas was a popular artwork by Albert Moore for its harmonies of color and the “Greek refinement” that the artist infused into his work. This bigger-than-life-size canvas called Azaleas was painted in 1867, exhibited in 1868 and demonstrates the artist’s ability to represent the human figure on a grand scale.

The featured works depict idealized women in dreamlike environments that feel both classical and modern. His paintings emphasize decorative harmony, color relationships, pattern, and graceful composition rather than storytelling.

Geometry and Preparation

The 26-year-old artist had some architectural design experience in theory and practice and used this in his preparatory process. This artwork incorporated ideal geometry along with typical academic methods.

Moore’s process followed, first, making studies of the nude figure and draped figure. Moore next made a larger-than-life-sized full-scale nude figure cartoon which, at this stage, was informed by geometric abstraction of the figure in a setting guided by, or through, the milieu of the object in the artist’s hands.

The geometric quality guided the composition rather than was externally imposed by the artist. Moore’s “system of line arrangement” sought the directions of the prominent lines of the composition so to plot parallels of them throughout the drawing resulting in a statuesque yet corporeally vivacious figure.

Nature, specifically the landscape, ultimately served as the inspiration for the manifestation of line parallels and optical balance rather than the mathematically ideal. Moore’s geometric construct and its interplay determined every element of the composition – from the position and placement of the figure to the location of accessories, such as wall hangings, distribution of drapery folds, and architectural elements. The canvas’s shape and size also were ultimately determined by this idiosyncratic geometric arrangement.

Traces of Moore’s preparatory practice are in evidence in Azaleas’ full size nude cartoon with its vestiges of diagonal and horizontal lines through the midsection of the figure and near to her feet. Using these lines in the nude drawing it is apparent that Moore experimented with the placement of the figure’s head, the extended hand, and a raised heel which was ultimately hidden under opaque drapery. Moore used a live model for his figure.

Technique and Execution

The final nude cartoon was transferred to the canvas and this outline was built up with oil colors. A drapery cartoon was then transferred on top of the transferred, built-up nude figure cartoon. Using this method Moore rendered greater transparency of the fabric since the underlying nude cartoon showed through faintly. This painstaking preparation was masked by Moore’s fresh and free style of painting. For instance, the drape folds of the left shoulder are painted in long, fluent, and elegant strokes while the azaleas are rendered in energetic strokes. Moore’s objective was for the final painting to look like an impromptu and expressive sketch when, in fact, it was carefully planned and executed.

About painting Moore taught his students to think long about it but execute with quickness and determination. This technique aided in transforming oil painting into the manner of Graeco-Roman fresco in that Moore’s working method allowed for painting only what could be finished in a day.

Japonisme and Color Harmony

Moore’s careful planning, rapid execution, and brush technique also suggested the influence of Japonisme. Asian influences in Azaleas included the carp bowl held in the women’s arm (an actual studio prop) and the geometric pattern in the azalea pot whose symmetry Moore saw as part of both Greek and Japanese art. To integrate and transition the predominantly yellow figure in the predominantly white background Moore used a device taken from Japanese art of painting flitting butterflies around the azalea bush. Moore also painted russet blossoms in the woman’s hair and bowl and on the floor that further unites the monumental composition.

Moore’s observation of Japanese prints also likely influenced the English artist’s color scheme in Azaleas. This is identifiable in its limited schematic of hues. The color placement, however, was also subject to the geometric practices in the whole composition.

Critical Reception

When Azaleas was exhibited at the Royal Academy in 1868 it was consigned to an out of the way place on the wall of its North Room. It was observed that Moore’s canvas looked more like a tapestry than an oil painting. In this way, Moore anticipated James McNeill Whistler’s comment about color in that it should appear “embroidered” on the canvas, in the same way a thread is embroidered on fabric. Whistler attributed this color quality to Japanese art in that those artists looked for repetition in color application and not contrast.

Architecture critics in 1868 noticed and especially admired Moore’s Azaleas. Its systematic repetitions and geometric construction were labeled the only “decorative” painting in the 1868 English exhibition. Art critics were less generous. Straining with opera glasses just to see the work they recognized its beauty and Moore’s talent but called its design and execution eccentric. Others turned up their critical nose to the new decorative work as “curious” and little more than a luxurious indulgence of art for art’s sake. Art critics were unhappy with the paintings’ colors as they found they lacked the requisite black that marked contemporary French art and, instead, opted for a quiet and delicate dreamscape.

English writer William Michael Rossetti (1829-1919) declared Azaleas one of the most important English pictures of 1868 and decried those looking to judge it by way of actual historical pictures from Greek antiquity. With Algernon Swinburne (1837-1909), Rossetti compared Moore’s artwork to another painting in the 1868 exhibition: “The Wife of Pygmalion, A Translation from the Greek” by the older George Frederic Watts (1817-1904). In that work Watts sought to create a painterly equivalent of classical sculpture. William Gladstone (1809-1898) wanted to purchase Watts’ picture after seeing it at the Academy in 1868. In a letter to Gladstone in May 1868 Watts informed Gladstone that it had been “claimed” but invited Gladstone to visit him in his studio to see the cast of the fragmentary Greek original from which the painting was derived.

Swinburne saw the poetry and musicality of Moore’s artwork .While most art critics snubbed the painting (and by extension the painter) for its art for art’s sake qualities, Swinburne praised them. Of Azaleas, Swinburne wrote: “The melody of color, the symphony of form is complete: one more beautiful thing is achieved, one more delight is born into the world; and its meaning is beauty; and its reason for being is to be.”

Sea-gulls (1871)

Albert Joseph Moore (1841-1893), SEA-GULLS, 1870/71, oil on canvas, 27 x 61 inches (68.5 x 154.8 cm), Williamson Art Gallery & Museum, Birkenhead, UK.

The Whistler Controversy

Sea-gulls was accepted for the 1871 Royal Academy exhibition. It was the third painting for Albert Moore to exhibit at the Royal Academy. Moore was absorbed in painting Sea-gulls, a major work, for British shipping magnate Frederic Leyland (1831-1892) and this work occupied him up to the Royal Academy Exhibition that spring.

Its creation by the 36-year-old Moore was not without headaches owing to controversy. Moore’s friend and admirer, American ex-patriate artist, James Abbott McNeill Whistler (1834-1903), had learned of Moore’s preliminary work on the painting through Leyland, a major art collector and the artists’ mutual friend.

Whistler expressed concern that Moore’s work perhaps overlapped adversely with some of Whistler’s own preliminary sketches for a painting. Whistler saw a pair of sketches Moore had sent to Leyland as potential commissions. Whistler felt that Moore’s sketch may have been influenced by seeing one of Whistler’s sketches. Whistler feared that if Moore’s painting was exhibited first, it would reflect badly on Whistler as an imitator when in fact the artwork Whistler was working on ante-dated Moore’s conceptions. This was a mortifying prospect for Whistler who prided himself on originality.

Whistler’s anxiety may have also stemmed from the fact that with Sea-gulls, Moore would fulfill his second commission for Leyland, while Whistler who introduced them had yet to complete a picture for Leyland that had been commissioned in 1867.

To ease Whistler’s fears, the American artist proposed that Moore accompany another mutual friend, architect William Nesfield (1835-1888), to Whistler’s studio in Chelsea to inspect his older original sketch that Moore had seen.

Nesfield, acting as mediator, concluded in September 1870 that the recent work of the two artists shared themes, but each maintained their own artistic originality. The crisis was averted and led to Moore exhibiting Sea-gulls.

Completion and Artistic Development

During this crisis and shortly thereafter, Moore did not finish to his satisfaction his painting when it was time for its exhibition in April 1871. A major effort required to complete Sea-gulls had deeply undermined Moore’s health. After the exhibition the painting was returned to the artist, but he could not yet immediately set to work on it to completion. Months later it was finished and sold to Leyland.

Nature, Movement, and Surface Effects

In Sea-gulls Moore introduced obvious analogies between the liquid patterns of the sea and the rippling and splashing motion of the figure’s hair and drapery. Moore’s intention was to discern patterns inherent in nature. The drawings also suggest that he exaggerated the effect of air currents by employing the revolving fans that were simultaneously in use for Sea-gulls and another painting titled Shells.

Much of Moore’s work to complete the painting after the exhibition revolved around redressing the picture surface. Moore had been experimenting for some time with the surface quality of his paintings. In the early 1870s, Moore’s technique had developed to combine transparent and opaque fabrics that created unusual layering effects. Following the 1871 exhibition, Moore seemed to apply this technique in Sea-gulls that involved unusually thick paint layers.

Grosvenor Gallery and Lasting Friendship with Whistler

Much later, during the winter of 1880, Sir Coutts Lindsay (1824-1913) – the British artist and watercolorist founded Grosvenor Gallery on Bond Street as an alternative exhibition space to the Royal Academy which became a venue for avant-garde artists, particularly those associated with art for art’s sake – mounted a show on the subject of artists’ working sketches. Moore contributed the preparatory studies for Sea-gulls to the show that included his sketches of hands, heads, drapery, plants and flowers, as well as the painting’s cartoon.

Although biographers of Whistler and Moore have attached no importance to their friendship, particularly after the September 1870 controversy over Sea-gulls which they claim ended it, the artists in fact remained on intimate terms unbroken until Moore’s death in 1893. In the later 1870s they again were thrust together in a contentious situation but this time on the same side of sorts. When Whistler became involved in libel proceedings against Ruskin in later 1878 Albert Moore was the only artist who the American ex-patriate artist could rely on to both publicly attend the proceedings and actually give evidence on Whistler’s behalf. 

Albert Joseph Moore was highly admired by James McNeill Whistler, who regarded him as his favorite contemporary British artist.

Reading Aloud (1884)

Albert Joseph Moore (1841-1893), READING ALOUD, 1884, oil on canvas, 42.24 x 81 in., Glasgow Art Gallery & Museum.

Conception and Working Method

Reading Aloud was one of three large-format paintings Albert Moore completed in the 1880s. Completed in 1884, Moore had been working on Reading Aloud for years – at least since 1881. Moore had drawn a chalk sketch of the geometrically designed composition over which the artist would lay a piece of translucent glass. By painting directly on the glass, he could experiment with colors without redrawing the picture. He then could transfer the trial color experiment on glass (as well as a final drawing) onto tracing paper by which the final artwork was then made by pinning the tracing paper to the canvas. The artist then painted the composition directly to the canvas, section by section, working as he painted to unify color scheme and, as figural poses and other details are different in the final artwork than surviving preparatory materials, drawing. It was meticulous organizing and harmonizing creative work that helps to explain why Moore labored for years on the almost 7×4 foot oil on canvas.

Works such as Reading Aloud demonstrate his pursuit of beauty through carefully controlled arrangements of figures, fabrics, colors, and space.

Composition and Symbolism

While these three reclining figures are static their contrasting drapery folds whether they are swirls, zigzags or sweeping diagonals – with the sofa’s swags to unite them – enliven the picture. As classicism revivalists are noted for their mere realism and moralistic anecdote, Moore’s evocation of classicism, though containing allegorical qualities, belies a modernity by way of its abstract combination of line and form in the depiction of languid female figures in a neutral setting. The black-and-white owl vase that Moore included in the lower right corner of the painting had been absent from previous studies (originally it was a seated cat) and provides a narrative sign. It connotes the quality of wisdom as well as perhaps the goddess Athena with which the owl is associated so to apply it to the various states of the readers though the overall picture with its fascination with repose is more subtly mysterious than anecdotal. Yet the classicism/modernity enigma continues as the honey bee which Moore paints on the face of the owl vase was the symbol used by the picture’s purchaser, pig iron industrialist William Connal (1819-1898), for himself.

Moore, Albert Joseph; William Connal; York Museums Trust; http://www.artuk.org/artworks/william-connal-8009

William Connal and the Painting’s Patronage

After his wife of 25 years Emelia Jessie (Campbell) Connal died in 1877, 56-year-old industrialist William Connal faced life alone at Solsgirth, his Scottish country manor. Connal turned his attention to the arts and, in addition to Moore, became an avid collector of contemporary art by such painters as Edward Burne Jones (1833-1898), Edward Poynter (1836-1919), Frederick Sandys (1829-1904), Roddam Spencer Stanhope (1829-1908), Fernand Knopff (1858-1921) and Adolphe Monticelli (1824-1886) along with the Old Masters. Connal owned Symphony in Silver and Grey by American artist James McNeill Whistler (1834-1903) who greatly admired Moore. In 1883, Connal invited Moore to stay at Solsgirth House in Perthshire for a month allowing the artist to recuperate after a serious illness. It was during this stay that Connal commissioned Moore to paint his portrait that shows him wearing a honeybee brooch, the emblem that Connal used on his personal items (Connal’s portrait today is in York Art Gallery).

Geometry, Abstraction, and Critical Response

Moore’s pictorial methodology which he continued to develop over his artistic career is in evidence in Reading Aloud. Moore works out and unifies various and moving parts depicting a scene’s animating personality based in psychology with its physical forms that are mathematically contrived by way of lines and curves and, ultimately, color and texture, and whose impact on the viewer of the completed artwork is allowed to be emotional rather than cerebral. In Reading Aloud Moore constructed the image based on two pairs of diagonals that intersect into a pattern. Though the geometric system is visually subdued, it is evident in the figure on the right whose arms coincide with a set of diagonals. It is obvious also in the picture’s overall use of contrasting bold colors – the fabrics’ pinks and creams are integrated to, though angularly distinct from, the charcoal greys of the covered limbs and book cover. The edges of the book cover also coincide with some of the complex design of diagonal lines whose subliminal quality is an intrinsic expression of the psychic nature of the artwork. This angularity based on diagonals was a deliberate strategy for Moore when he painted the final artwork. There is also the horizontal lines component in the painting manifested in the outstretched arms of the crouching figure at left and the table and vase. Moore’s design strategies were innovative in 1884 startling contemporary viewers approaching to what Cubism would accomplish 25 years later. Critics when viewing Reading Aloud, being neither particularly understanding nor sympathetic to Moore’s methods or intentions, praised the picture’s overall gracefulness but impugned his drawing skills and identified the painting as mostly static decoration. Yet the static figures form part of a complex array of abstract and naturalistic patterns that fill every inch of canvas. Reading Aloud is a testament to the artist’s ability to translate such natural phenomena into a stylized form. Most prominent among them is a fabric effect found in other of Moore’s paintings of the period, in which white lace is layered over cloth of a darker color. Reading aloud was exhibited at the Royal Academy where, starting in 1883, Moore chose to exhibit annually.

The Loves of the Winds and the Summer (1893)

Albert Joseph Moore (1841-1893), The Loves of the Winds and the Seasons, 1893, oil on canvas, Blackburn Museum and Art Gallery, Blackburn, UK.

Moore’s Final Masterpiece

The Loves of the Winds and the Summer was English artist Albert Moore’s final and largest artwork of his career. It is 6 feet tall and 7 feet wide and is the jewel in the crown of the Blackburn Museum and Art Gallery near Manchester, England. It is the result of Moore’s study of the psychology of his subject matter, that of love. Love begins to manifest formally for Moore by the expression of soft bodily postures, changing and harmonious curves, and piercing gazes expressed in deep coral colors. The male figure of the Wind is flanked by the spurned female figure of Summer to the left and the embraced female figure of Autumn to the right. Moore was so enveloped in his amorous themes that while working on this picture he was writing poetry about what the human face was like when in love – and it is found in his picture. The Love of the Winds and the Seasons is Moore’s fullest expression of animating personality united to depicted physical forms that are first lines, curves and color, with the result being an emotional impact on the viewer who encounters the artwork.

Moore drew inspiration from ancient Greek sculpture and classical forms but was not attempting archaeological reconstruction.

Art in the Face of Terminal Illness

This exquisite artistic sensitivity by Moore is made more remarkable since the artist was dying in 1893. In the company of his young and attractive live models in his new capacious art studio, Moore worked day after day on this work. Moore had cancer (a tumor on his thigh) and had submitted to three operations to keep ahead of it. When his doctors told him they could operate no more, and that the cancer continued to spread throughout his body, Moore was resigned to his situation. He is reported to have said: “Well, there’s an end of it.” In the limited time left to him Moore intended to finish his painting of love, The Loves of the Winds and the Seasons. The artist did not want to lose any time. His legs had swollen to twice their size and had to be drained. In acute pain he worked around the clock for the next six months. His friends thought the intense work as well as the cancer was killing Moore but as the painting progressed to completion, they observed that the artist’s personal tranquility and happiness became apparent.

Geometry, Design, and Creative Process

The project was monumental – numerous preparatory studies, drapery studies, full scale and life-sized cartoons (i.e., 4’ 9” tall by 1’4” wide for Autumn) , nude studies – all technically meticulous and versatile- and that underwent the artist’s elaborate and idiosyncratic geometric platting system that he began in the late 1870s. Moore was the consummate auteur that slightly older American ex-patriate painter James Abbott McNeill Whistler (1834-1904) most admired in England. Moore conceived his paintings from start to finish – and The Loves of the Winds and the Seasons was at once its pinnacle and completion. Moore, as Whistler aspired to be, was sole master of his work. In 1893 Moore now expanded this mathematical process to amalgamate his diagonals with horizontals so that his creative process could not suffer the critique that Ruskin hurled at Whistler of “ask(ing) 200 guineas for flinging a pot of paint in the public’s face.” The painting was a commission for the Australian mine-owner George McCulloch (1848-1907). Moore’s calculations included various adjustments of the models’ natural poses to submit to the mathematical formulas on the canvas. This formal submission of subjects to linear construction extended to each detail in the entire composition, such as the flowers for which also study drawings were made. Within these design rigidities, the preparatory drawings of the live models and subjects were transferred to the artwork with little idealization though slight but important adjustments were made, such as to Summer’s hairstyle. Knowing his own time was short, Moore made his cartoons in color so that his transfer to the canvas was as efficient as possible as he painted the final artwork. Critics have observed that despite the intense planning and preparation, the final artwork is executed unevenly – parts are meticulous and vigorous, mostly in the foreground, while others in the background are loose and crude. To what degree this is the artist’s intention or the result of his declining health, is a matter for speculation. During the artistic process the terminally ill artist isolated himself mostly. His handful of visitors remarked that the artist was cheerful, cracked jokes, told funny stories, and smoked his pipe. These select parties knew, however, that their social calls were in the context of final good-byes. In those last days and months of Moore’s life, the artist’s mind, by evidence of the art from his past that he referenced in 1893, stretched back to an earlier career which shared long-held important aspects with The Loves of the Winds and the Summer.

Poetry and Meaning

For his last artwork. Albert Moore glossed the picture’s narrative in verses he wrote to accompany it:

Lo! fickle Zephyr chaseth wayward Spring,
It is a merry race;
Flowers laugh to birds that sing,
Yet frequent tears shall cloud her comely face.
The South Wind shall with blushing Autumn mate,
Contented with her lot;
Summer sigheth – such her fate
She and her burning kisses are forgot.
Two lovers rough for shudd’ring Winter strive,
Beneath a shroud of snow;
Heaven haply shall contrive
Their violence she may not further know.

Legacy and Death

Through its figural and intellectual prism of ancient classical mythology, Moore worked in his career to update the complex equation of the natural world’s varying and transitory seasons to human life’s copious physical, emotional, and spiritual expressions and contradictions. With their immersion in Moore’s modern art, the painter achieved a graciously-contrived visual dramatic interplay of nature and humanity, ancient and present-day, whose quest is eternal in time and space.

Albert Joseph Moore passed away in the middle of the night on September 25, 1893. He died 9 days after finishing his last painting, The Loves of the Winds and the Summer. Moore was 52 years old.

Albert Joseph Moore’s art transformed Victorian classicism into a sophisticated decorative vision that influenced later developments in modern art and design.

SOURCES: ALBERT MOORE, Robyn Asleson, Phaidon, 2000, pgs. 70, 97-100, 104, 108. 164, 166-168, 177, 179, 185, 199-202; https://houseandheritage.org/2017/05/19/solsgirth-house/ – retrieved September 5, 2023.

“King of the Skies!”: Eugène Boudin, Monet’s Mentor, and the Origins of French Impressionism.

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FEATURE image: Eugène Boudin, The Beach at Villerville, 1864, Oil on canvas, 18 × 30 1/16 in. (45.7 × 76.4 cm), National Gallery of Art, Washington, D.C.

Eugène Boudin was far more than a painter of Normandy beaches. He was a pioneering observer of light, atmosphere, sky, and modern life whose artistic innovations helped lay the groundwork for Impressionism, even though he remained independent of the movement and received full recognition only late in life.

Return to Normandy: Boudin’s Final Coastal Masterpieces

In 1893, in the last years of his long and successful art career, 69-year-old Eugène Boudin returned to the Normandy coast for which this French painter of skies and beaches is rightly associated. It was at this time that he painted Sunset on the Beach (below) in a private collection. After Boudin began to be widely collected in the 1870’s and 1880’s he traveled and lived and worked far away from the region where he was born and grew up and had embarked on a career as an artist. Yet, as soon as the mid-to-late 1850’s, important artists and writers were already appreciating the sensitivity to which Boudin painted artwork in nature. Charles Baudelaire (1821-1867) believed he could identify with precision the season and hour of Boudin’s subject matter. Realist painter Gustave Courbet (1819-1877) who once said “show me an angel and I will paint him” called Boudin a “seraph.” Remarkably, Barbizon painter Camille Corot (1796-1875) exclaimed: “Boudin, you are king of the skies!”

Eugène Boudin (1824-1898), Sunset on the Beach, oil on canvas, 1893, private collection. 

Painter of Sky, Sea, and Modern Life

Throughout the mid-to-late nineteenth century, Boudin’s subject matter was timeless land, sea and skyscapes which he sometimes populated with contemporary human figures in modern bourgeois costume and dress. Often, the landscapes are devoid of human presence excepting the artist’s gaze.

Eugène Boudin, White Clouds over the Estuary, c.1857.
Eugène Boudin, Crinolines on the Beach, 1863.
Eugène Boudin, Douarnenez, Fishing Boats at Dockside, 1855.
Eugène Boudin, Deauville, Low Tide, c.1863.
Eugène Boudin, The Beach at Villerville, 1864, Oil on canvas, 18 × 30 1/16 in. (45.7 × 76.4 cm), National Gallery of Art, Washington, D.C.

Boudin and the Impressionists

Boudin was a friend of the Impressionists and exhibited in their first exhibition in Paris in 1874. Claude Monet (1840-1926), born in Paris, also grew up in Normandy. Boudin and Monet painted together en plein aire as each sought, discovered, and honed their artistic styles.

Boudin did not think of himself primarily as an avant-garde artist and did not exhibit in the Impressionist exhibitions after 1874. Yet, with these Impressionists, Boudin’s artwork depicted light and its reflections, especially its darker filaments, in preference to volumes and forms.

Eugène Boudin ,Seascape with Large Sky, 1860.

Expanding Subjects and Artistic Development

In addition to beach scenes, skies, sea, and countryside, Boudin painted still life, animals, and a few portraits. In the 1870s Boudin painted harbors and ships. In his subject matter his pictures presented a complete and even-handed depiction, evocative of eighteenth-century genre paintings.

Slightly older Dutch painter Johan Jongkind (1819-1891) had encouraged Boudin to paint outdoors. Boudin, now surrounded by nature, became increasingly spontaneous in his artwork and used brighter colors.1

Eugène Boudin, Spray of Flowers – Hollyhocks, 1858.
Eugène Boudin, study of cows, c. 1860.
Eugène Boudin, Vue de Trouville, 1873.
Eugène Boudin, Entrance to the Harbor, Le Havre, 1883, National Gallery of Art, Washington, D.C.
Eugène Boudin, Trouville, Shore and Rocks, c.1862.

Debut at the Paris Salon

In 1859, 35-year-old Eugène Boudin, the painter of seascapes and beaches, made his debut at the Salon. The annual Salon began in the late 17th century (1667). It was sponsored by the monarchy and highlighted artwork of members of the Academie royale de peinture et de sculpture. The all-important Salon operated in this basic form for almost 200 years. It was held  irregularly at first (frequently there would be no exhibition held for years) though between 1774 to 1792 the Salon was held biennially.

The Salon’s Importance in the Art World

This elite Salon was a competitive platform for artists to display their work where the goal was to gain public and private commissions. The Salon was the sole venue in France for contemporary fine art and was popular to visit by a cross-section of society where many purchased the livret, the Salon’s official catalogue. In 1795 during the French Revolution the historically royal venue was opened to all artists. This more inclusive Salon experience led to the extension of official French art’s influence throughout Europe. In the Salon of 1800, American artists exhibited for the first time.2

Recognition Comes Slowly

Between 1864 and 1879 Boudin exhibited in the Salon every year.3 However, important critics, such as the influential Albert Wolff (1835-1891), ignored Boudin for much of this time. It was in 1881, 22 years after Boudin’s Salon debut, that M. Wolff published an article in Le Figaro that led to Boudin’s greater official recognition.4 

In the last decades of the 19th century, Boudin exhibited yearly from 1880 to 1889 at the Salon des Société des Artistes Français5 and, with a single exception, from 1890 to 1897 at the Société National des Beaux-Arts.6  Some of Boudin’s works were bought by the State in the late 1880’s and early 1890’s.7 Ernest Chesneau (1833-1890) had written on Boudin in Paris-Journal that while the painter was ignored by official art world critics he was a “real talent” among the Salon’s “latest banalities.”

The Rise of Independent Exhibitions

In 1881 control of the Salon was ceded to the Société des Artistes Français. In the 1880’s and 1890’s there were several groups outside the Salon who mounted exhibitions. These included the one-time Salon des Refusés in 1863, the Société des Artistes Indépendants or Salon des Indépendants, beginning in summer 1884, and the salons of the Société nationale des beaux-arts, from 1890. These types of independent, unofficial exhibitions, continued into the 20th century with the Salon d’automne in 1903.8

Eugène Boudin, Elegant Women on the Beach, 1863.

Praise from Courbet, Corot, and Baudelaire

In 1859 Boudin met Gustave Courbet who introduced Boudin to the poet and art critic Charles Baudelaire. Courbet, painting at Boudin’s side, exclaimed: “Mon Dieu, you are a seraph, Boudin! You are the only one of us who really knows the sky!” In 1861 Boudin met Camille Corot who called Boudin the “king of the skies.”

Charles Baudelaire noted in 1859 that  he had seen in Boudin’s studio “hundreds of pastel studies improvised before the sea and the sky.” Baudelaire described these artworks as “the prodigious magic of air and water.”9 The economy of Boudin’s artwork with its summary figures of modern life attracted Baudelaire’s praise during the 1859 Salon. Baudelaire became convinced, when looking at a Boudin painting, that he could identify the season, hour and wind direction of the subject matter depicted in pastel or paint.10

Eugène Boudin, Near Honfluer, c.1856.

Growing Reputation and Market Success

At the Impressionist Exhibition of 1874, the critic Castagnary (1830-1888), author of “The Triumph of Naturalism” in 1868, wrote on Boudin in Le Siècle. He cited “the very high prices” that Boudin was experiencing as collectors “fought over” his beach scenes and seascapes. Castagnary concluded in 1874 that the 50-year-old Boudin had “commanded respect for years.”11 In 1868 Boudin’s auction of 40 paintings and 100 watercolors and pastels at the Hôtel Drouot had been quite successful. That same year Boudin won a silver medal at the Exposition maritime international exhibiting with Courbet, Charles-François Daubigny (1817-1878), Monet and Édouard Manet (1832-1883).

In 1874, Marc de Montifaud (Marie Amélie Chartroule, 1850-c.1912), art critic for L’Artiste and soon to found L’Art modern magazine in 1875 (and which merged with Les Beaux-Arts in 1877) cited the titles of a few paintings by Boudin out of the 13 works he exhibited which included watercolors and pastels. Yet De Montifaud’s placement of Boudin’s work under the category of “marine paintings,” did little to elucidate exact canvasses when the time came later to identify such.12

Travel, Patronage, and Durand-Ruel

In the 1860’s Paris dealers such as Martin, Hagerman and Gauchez were regularly buying his work. Boudin’s growing reputation and financial security enabled him to travel extensively in the 1870s and 1880s. Boudin, who married Marie-Ane Guédès in 1863, painted in Belgium, the Netherlands and southern France in that period. From 1892 to 1895 he regularly visited Italy, traveling to Venice. In addition to being awarded medals at the Salon, the Exposition Universelle in 1889, and other exhibitions, Boudin, in 1881, became represented by Paul Durand-Ruel (1831-1922).

Eugène Boudin, Place Ary Scheffer, Dordrecht, 1884, oil on panel 27×21.5 cm Dordrecht Museum, Netherlands.

Solo Exhibitions and International Success

In the late 1870s Boudin, then without dealer representation, held several auctions of his artwork which produced varying sales results. In 1881, Durand-Ruel bought all of Boudin’s studio inventory. In 1883 Boudin had a solo exhibition at Durand-Ruel’s that featured 150 paintings, and pastels and watercolors and in 1886 an exhibition of 23 works at Durand-Ruel’s in New York City. From July 8 to August 14, 1889 – the year Boudin’s wife died – the artist staged a one-man exhibition in Paris at Durand-Ruel’s featuring 98 pictures.13 In 1890 Boudin held an exhibition at Durand Ruel’s in Boston featuring 13 paintings and a solo exhibition in Paris at Durand-Ruel’s with 34 paintings, and as many pastels and several drawings in 1891.

Eugène Boudin, Le port d’Antibes, 1893, Musée d’ Orsay.

Boudin’s reputation grew steadily from overlooked Salon painter to respected master, championed by figures such as Baudelaire, Courbet, Corot, Monet, Durand-Ruel, and later generations of critics.

Final Years and Return to Normandy

As a refuge for his ill-health, Boudin lived in the south of France for many years but finally returned to Deauville. In 1898 Boudin died at 74 years old under the skies of La Manche which he had been inspired to paint often.

Honors and Legacy

In 1892 Eugène Boudin was made a knight of the Légion d’honneur which recognized the artist’s talent and influence on the art of his contemporaries. Today, the Société Nationale des Beaux-Arts gives the Eugène Boudin Prize.

After Boudin’s death, his artistic reputation continued to grow. In 1899, The École des Beaux Arts held a major retrospective with 457 works (including 364 paintings, 73 pastels, and 20 watercolors). Boudin was praised by art critics Roger Marx (1859-1913), Arsène Alexandre (1859-1937), and Guillaume Apollinaire (1880-1918), among others,

Eugène Boudin, Étretat 1891,Chazen Museum of Art, Madison, Wisconsin.

An Overlooked Pioneer of Modern Art

Despite the artist’s modest consideration for his art, Boudin was viewed in retrospect by 20th century’s critics as an initiator of the avant-garde, though he did not quite ascend to the turbulent aesthetic heights of Manet and Monet.14. 

In 1872, art critic Louis Duranty (1833 -1880) published a short story that included fictional and historical characters including artists such as Boudin, Manet, Corot, Jean-François Millet (1814-1875), Edgar Degas (1834-1917), and Courbet. Of Boudin, Duranty wrote: “Here is a simple, sagacious, conscientious mind who puts forward (the artwork’s) feeling in gray, fine, fair notes.” 

Eugène Boudin by Pierre Petit.

NOTES: