Effet de neige à Petit-Montrouge

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Effet de neige à Petit-Montrouge
Édouard Manet , 1870
59.7 × 49.7 cm
Oil on canvas
National Museum Cardiff
St-Pierre de Montrouge , unknown artist, 19th century
Dedication, signature and dating by Manets

Effet de neige à Petit-Montrouge is a landscape painting created in 1870 by the French painter Édouard Manet . The 59.7 × 49.7 cm picture, painted in oil on canvas, shows a wintry view of Petit-Montrouge , a district in the 14th arrondissement of Paris . Manet created this painting as a national guard during the siege of Paris in the Franco-Prussian War from 1870 to 1871. Unlike the history painters of his time, Manet does not show a heroic battle but the gloomy mood of a war day. The picture reflects Manet's hopelessness with regard to the military situation, his perceived loneliness and the privations he suffered. It is one of the few landscape paintings in the artist's oeuvre and one of the first works that Manet painted in the wild. The painting is in the collection of the National Museum Cardiff .

Image description

Manet's painting Effet de neige à Petit-Montrouge shows a wintry landscape. The work, which is 59.7 × 49.7 cm in portrait format in oil on canvas , is divided horizontally into two halves. The upper half is taken up by the almost monochrome gray sky, while the lower part of the picture shows a snowy landscape executed in rough brushstrokes. The horizontal line outlined with buildings separates the two halves of the picture. In the center of the picture is a church tower that has been identified as the bell tower of the St-Pierre de Montrouge church, built in the 1860s in the Parisian district of Petit-Montrouge .

To the right of the bell tower rises the crossing tower of the church. The contours of the roof of the crossing tower with black paint are clearly set off from the gray of the building, while the bell tower lacks such boundaries and thin brushstrokes indicate the windows in the characteristic spire. The snow-covered roof of the nave can be seen between the two towers , cut through by a chimney in front of it. Further chimneys can be found to delimit the horizon line on the right edge of the picture and to the right of the residential building on the left edge of the picture, whose identity can no longer be determined today. Only the upper storey and the roof of the building cut from the edge of the picture are executed. In the gray-ocher facade, the windows are indicated by three black spots of color. On the upper area of ​​the black roof, the snow lying on it is sketched in a contrasting white color. Between this house and the church as well as directly in front of the church there are other dark roofs with snow on them, without these buildings being identifiable.

The lower half of the picture is reserved for the landscape in front of this city silhouette. With coarse brushstrokes, Manet made an undefined description of the place here in black, brown, ocher and white. The right area, with its calmer horizontal brushstrokes, may represent fields or another flat surface. In the left area, an earth wall painted in lighter ocher tones is indicated, which is also partially snow-covered on its left side. In keeping with the wintry landscape, Manet dispensed with any green in the painting. The gray-covered sky only throws a diffuse light onto the scene, so that there are no shadows in the picture.

The picture is signed, dated and dedicated in the lower left corner : “à mon ami H. Charlet” and “Manet 28 Xbre 1870” (“For my friend H. Charlet” and “Manet December 28, 1870”) . No H. Charlet is known from Manet's address book, so that art historians assume that this person is a comrade of Manet from the National Guard. It is also unclear whether Manet painted the picture on that date, or just added the signature on that day. The date of the signature, the possible comrade in the dedication and the earth wall in the left foreground indicate the Franco-Prussian War from 1870 to 1871. In addition to these few accents, the absence of war in the picture is striking. Neither cannons nor other military equipment are available and neither civilians nor military personnel populate the scene.

Image title

Manet himself has not given a description of the painting, so that authors and translators have come to very different solutions when it comes to the title. Especially for the publications in German, no uniform image title has prevailed. Most of the literature on this painting is in English, which is due to the fact that the picture has been in British possession since 1912. The artist's catalog raisonnés, on the other hand, are mostly in French, most recently in 1975 by Rouart / Wildenstein . Only the Italian edition by Sandra Orienti from 1967 is available in a German translation. All other publications on this painting in German are translations of foreign-language literature, including incorrect spelling of the place. The German titles vary between Landscape near Petit-Mont-Rouge , Snow Effects near Mont-Rouge , The Church of Petit-Montrouge, Paris , The Church of Petit-Montrouge in the Snow and Little Montrouge during the War . After the term Snow at Montrouge (snow at Montrouge) was repeatedly found in English-language literature in the 1980s, the term Effet de neige à Petit-Montrouge or Effect of Snow at Petit-Montrouge (snow effect at Petit -Montrouge) enforced. This picture title is also used by the National Museum Cardiff, which owns the picture.

Manet as a national guard - background to the creation of the painting

In the garden , 1870 - Manet's first painting in the great outdoors

The summer of 1870 began for Manet with an artistic innovation. With the painting In the Garden , he had completed a work en plein air for the first time , instead of just making sketches in nature, which later served as a template for working on oil paintings in the studio . When France declared war on Prussia on July 19, 1870 , Manet was with his family in Saint-Germain-en-Laye during the summer holidays . He only ended his vacation in August and returned to his Paris apartment. As a staunch republican, Manet stood both in the monarchy in general and in the politics of the French emperor Napoleon III. especially negative and in the following weeks initially acted with wait and see.

French soldiers 1870-71 (contemporary photography)

This changed after the defeat of the French troops in the Battle of Sedan . Manet welcomed the proclamation of the republic on September 4th, but saw the danger of the enemy armies advancing on Paris. On September 8, he sent his mother and wife with their son to Oloron-Sainte-Marie in the Pyrenees for safety . While some of Manet's artist friends - for example Claude Monet - had fled to London before the war , Manet stayed in Paris and enlisted in the National Guard. In the months that followed, leading up to the end of the war, Manet, who otherwise left few written testimonies, wrote numerous letters to his family and friends, which provided informative information about the changing everyday life in the capital and Manet's thoughts and emotional state. Since September 19, Paris was surrounded by enemy troops, so that his letters left the capital in balloon mail .

At the beginning of the siege, he reported on daily military exercises and his guard duty on the fortifications that surrounded Paris. There is still a certain patriotic confidence in victory in these letters. However, he soon complained about boredom and noted steadily rising prices for groceries. In addition, the 38-year-old Manet suffered from foot problems in October 1870. In November he wrote to his wife: “Here you are gradually dying of hunger” and three days later “There are now slaughterhouses for cats, dogs and rats in Paris.” Manet had these experiences based on the example of Goya's Desastres de la Guerra in the Etching processed by snake in front of the butcher's shop, which may only have arisen from memory after the war. The author Edward Lilley sees in this etching a representation of the "story from below", since it does not show a special historical event, but the great privation that war means for the mass of people.

Queue in front of the butcher's shop , 1870–71 - Manet's illustration of the suffering population in enclosed Paris
The interior of St-Pierre de Montrouge when it was used as a hospital in the war of 1870/71 (unknown artist)

Manet gives information on the creation of the painting Effet de neige à Petit-Montrouge in two letters dated November 19. He wrote to his wife, “My knapsack has everything you need for painting at the same time, and I will soon begin some studies of nature. Such memories will one day be valuable. "And to his friend Eva Gonzalès " My knapsack is equipped with my painting box and my field easel, with everything I need to avoid being idle. "

Since November 7th, Manet was stationed as a volunteer gunner with the artillery at the Porte de Saint-Quen . After he had again complained about boredom and also "torrential downpours" impaired his everyday life, he was deployed on December 1st in the Battle of Champigny , which he described with the words "The grenades fly around your ears from all sides" . Health impaired by the exertion, Manet switched to the regimental staff a little later. His confidence in victory in the first days of the war gave way to a realistic assessment of the military situation, which he described on December 18 with the words "I confess that I have little hope of a success for our weapons ...". In the same letter to his wife there is the sentence “I am dealing with a very important matter that I hope will succeed”, which is taken as an indication of the work on a painting. From another letter we learn that Manet's brother Eugène was staying in Montrouge , a southern suburb of Paris, at the time , and that the temperatures were meanwhile in winter. There is no evidence from his letters that Manet stayed in this area. However, it is possible that he visited the church of St-Pierre de Montrouge in Petit-Montrouge, a few kilometers away, in a military capacity, as it was used as a hospital during the war and its church tower as a guard post.

An exact date for the creation of Effet de neige à Petit-Montrouge is not certain, despite the date in the painting. The cold temperatures described by Manet on December 22nd limit the time of origin to the days around Christmas 1870. The gloomy mood of the picture is reflected in Manet's assessment of military hopelessness. In addition, Manet found himself in a strange environment in a double sense. This affects both the military, instead of the usual family and friends, as well as the fortifications on the southern outskirts of Paris on which he did his service. This area was rather unknown to Manet, who lived in the city center north of the Seine .

The author Edward Lilley has pointed out a possible symbolic meaning of the church building in the painting. The Petit-Montrouge district was only incorporated into the 14th arrondissement under Napoléon III's town planner, Baron Haussmann , and construction of the St-Pierre de Montrouge church did not begin until the 1860s - during the reign of Napoléon III. St-Pierre de Montrouge thus also stood for the policy of the deposed French emperor, who was largely responsible for the war that Manet suffered while working on the painting. After finishing the painting, Manet probably only took part in military operations to a limited extent, as he fell ill with the flu in January 1871. After the fighting ended, Manet left Paris on February 12 and drove to his wife in the Pyrenees.

Images from the war

History painting enjoyed the highest esteem in the Second Empire , to which other subjects such as portraits , genre scenes , landscape views or still lifes were subordinate. The traditional task of history painting included the representation of significant events from the past, with the aim of conveying heroism or virtue as an example as a pictorial message. Manet's contemporary Jean-Auguste-Dominique Ingres took the extreme point of view: "A history painter is someone who depicts heroic deeds, and heroic deeds of this kind can only be found in the history of the Greeks and Romans". Manet devoted himself twice to the subject of history painting in the 1860s. First, the naval battle between the Kearsarge and the Alabama arose in 1864 , depicting an episode of the American Civil War off the French coast. Manet's second historical painting from this period was The shooting of Emperor Maximilian of Mexico . Manet found out about both events from the newspapers, some of which provided the articles with illustrations.

Both pictures did not correspond to the traditional forms of history painting, as the topicality of the topic appeared to contemporaries as unsuitable for a history picture. The Battle of the Kearsarge and the Alabama presented Manet in the Second Empire twice privately organized exhibitions, where they did not have the desired effect. For The Execution of Emperor Maximilian of Mexico , Manet was not admitted to the Salon de Paris of 1869, and the printing of a lithograph based on the painting was banned by the authorities. Both attempts by Manet to find success with the genre of the history painting with the public and the critics failed and are possibly one of the reasons why he was reluctant to devote himself to this topic during the Franco-Prussian War. In Effet de neige à Petit-Montrouge there are few references to the war. It is not a history picture painted for the salon, but a spontaneously created landscape painting that expresses Manet's mood at this time.

Soldats se rendant aux avant-postes , 1870 - Manet's only known drawing from the time of the siege of Paris
La gare du chemin de fer de Sceaux - Second painting by Manet from the winter of 1870

In the catalog raisonné by Rouart / Wildenstein, Effet de neige à Petit-Montrouge is listed as the only painting by Manet that was created during the time of the siege of Paris. Furthermore, there is only one drawing from this period in this catalog raisonné. Under the designation Soldats se rendant aux avant-postes (soldiers move into an outpost) , Manet drew a man hunched over on a cannon next to a group of soldiers standing around. As in Effet de neige à Petit-Montrouge , Manet does not represent a heroic combat action here, but rather shows the monotony of war. The drawing illustrates the boredom and the grueling waiting described by Manet in his letters.

Manet's biographer Adolphe Tabarant also mentions another painting from the time of the siege of Paris in his catalog raisonné . This is La gare du chemin de fer de Sceaux , which shows the station on the railway line to Sceaux , not far from the church of St-Pierre de Montrouge , which is now the RER station Gare de Denfert-Rochereau . The whereabouts of this painting were considered unclear for several decades until it reappeared at an auction in Paris in 2005, so that Rouart / Wildenstein only knew this painting through descriptions by Tabarant and therefore did not include it in their catalog raisonné. La gare du chemin de fer de Sceaux also shows a snow-covered winter landscape on which, next to the central building in the center of the picture, the train station, only a few details can be seen in the otherwise sketchy version. The picture bears the signature “Manet” and is also provided with the place name “Paris” and the date “28 XII 1870”. According to Tabarant, Manet gave this picture away to a Mr. Lambert, who is also said to have been a comrade in the National Guard. The railroad can be read here as a symbol of the connection to his wife, who fled to the Pyrenees by rail before the war. The multiple parallels to Effet de neige à Petit-Montrouge are therefore clear . Both pictures show a landscape depiction in a similar color scheme and related picture structure, both works bear the same date, both pictures were probably given as a gift to a comrade and a similar symbolism can be read in both pictures.

Manet's Effet de neige à Petit-Montrouge is one of the few paintings that were created during the siege of Paris. Most of the paintings that deal with the subject were created by artists only after the end of the Franco-Prussian War, sometimes after a considerable period of time. During the war, which is also documented through the medium of photography , artists mostly preferred graphic works that were used as illustrations in the newspapers. Created during the war, like Manet's paintings, they give a direct and unadulterated impression of the mood in besieged Paris. In addition to depictions of real war events, this also includes works by well-known caricaturists. For example , Amédée de Noé, who draws under the stage name Cham , shows a caricature of a French gunner looking for the enemy in a wintry scene. The figure of the soldier is clearly shown here with the facial features of Napoléon III. drawn. The caption alludes to the speedy victory promised by imperial propaganda, which had become a long way off in the winter of 1870. Honoré Daumier describes the consequences of the war for the individual soldier in his drawing of an aged soldier who is shown leaning on a cannon against the backdrop of the Invalides Cathedral. With an amputated lower leg and leaning on crutches, the old man illustrates the state of the army facing defeat. Another chronicler of the war was Manet's friend Félix Bracquemond , whose drawing Le bastion 84 shows the guard duty on the fortifications surrounding Paris. He also took up glorifying depictions of war by contemporary sculptors in his drawings. La Résistance , a sculpture by Alexandre Falguière modeled in 1870 , which shows a naked woman on a cannon and symbolizes the resistance, Bracquemond placed in a wintry landscape and has soldiers stand guard at her feet.

  • Amédée de Noé:
    Pas cinq minutes ... , 1870

  • Honoré Daumier:
    Pauvre vieux ... , 1870

  • Félix Bracquemond:
    Le bastion 84 , 1870

  • Félix Bracquemond:
    La statue de la Résistance, par Falguière , 1870

The representatives of history painting only turned to the subject in the years after the end of the war. One of the leading battle painters of the time was Alphonse de Neuville , who around 1880 chose the Battle of Champigny as his theme - the only battle in which Manet had actively participated. In Neuville's painting the roles are clearly divided; while killed enemy soldiers lie in the foreground, French soldiers victoriously stretch their rifles upwards. Four years later came the siege of Paris by Ernest Meissonier . His picture does not show a specific battle, but rather symbolically depicts the battle of the French army, which was costly. In front of a scene of fighting soldiers lie the victims of the war, but in the center of the picture Marianne stands as a symbol of France with the tricolor in her hand for the unbroken national pride . Although de Neuville and Meissonier, like Manet, took part in the war as soldiers, their history pictures do not show a realistic depiction of the war, but rather glorify what happened in retrospect. In their paintings, De Neuville and Meissonier corresponded to the contemporary expectations of a historical picture, unlike Manet, who in Effet de neige à Petit-Montrouge reproduced his personal mood during the siege.

  • Alphonse de Neuville: Battle of Champigny , 1880 (detail)

  • Ernest Meissonier: Siege of Paris , 1884

Landscape painting - an exception in Manet's oeuvre

A larger group of seascapes can be found in Édouard Manet's oeuvre , but the actual landscape painting, including cityscapes, is only represented sporadically in the artist's oeuvre. Representations of the landscape mostly served Manet as a background for figure pictures or to illustrate events. An early example of this is Music in the Tuileries Garden from 1862, one of Manet's first paintings in which he addressed his hometown Paris. However, the trees in the park are only a backdrop for a group portrait. In the painting The World Exhibition of 1867 Manet showed a panorama of Paris for the first time. The silhouette of the city, including the newly built exhibition halls, are again the background, while the open space with exhibition visitors and other figures form the foreground. At about the same time, Manet created another painting, The Burial , in which the Parisian silhouette serves as a background. It is believed that this painting shows the funeral of Manet's friend Charles Baudelaire , during which a thunderstorm, indicated by the dark sky in the picture, prevented many friends from participating.

Although the buildings in the background can be identified relatively clearly, it is not them but the events in the foreground that are the actual subject of the picture. The real thunderstorm underscores the gloomy mood of the funeral. This shows a clear parallel to the painting Effet de neige à Petit-Montrouge , in which the diffuse light of the wintry sky highlights the desolate situation of Manet and the looming defeat. By dispensing with the depiction of acts of war in the foreground in Effet de neige à Petit-Montrouge as in La gare du chemin de fer de Sceaux , however, the view of the city is no longer just a background silhouette of an event image, but rather, as a sketchy representation of an impression, one of his earliest impressionist landscapes. Years before the first group exhibition of the Impressionists in 1874, Manet shows in these war pictures how much he and his fellow painters felt connected to the new painting style, both in the choice of motifs and in the manner of the loose brushstrokes, although the pictures were those for impressionism there is no characteristic positive mood.

Just a few months after the creation of Effet de neige à Petit-Montrouge , the Bay of Arcachon and the lighthouse on Cap Ferret Manets were in a persistent gloomy mood. The painting, created at the time of the Paris Commune , is also predominantly painted in dark brown tones and, as a deserted atmospheric image, points to an uncertain future. Possibly during this stay in southern France the painting Landscape with a Village Church was also created . As in Effet de neige à Petit-Montrouge , a church tower here forms the striking focal point of a horizon line. Winter scenes, as they can often be found in Monet's work, remained the exception for Manet. Effet de neige à Petit-Montrouge is, besides La gare du chemin de fer de Sceaux, Manet's only treatment of the winter landscape. Views of Paris are also rare in Manet's work. In 1878 the sketchy At Place Clichy in Paris and the series with three paintings of Rue Mosnier were created . These pictures of a Paris street can be found in a similar execution in Monet's work and in artists such as Camille Pissarro or Gustave Caillebotte , but in Manet they are more than the reproduction of light effects or the description of city life. Especially in the version of the painting Rue Mosnier with flags in the J. Paul Getty Museum , Manet once again takes up the theme of the lost war as an accent through the man with crutches in the foreground, while the street decorated for the national holiday provides the framework for the plot. The rue Mosnier with flags , like Effet de neige à Petit-Montrouge, is not just a view of the city, but also illustrates Manet's critical attitude towards the political events of his time.

  • Édouard Manet:
    The World's Fair of 1867 , 1867

  • Édouard Manet:
    The funeral , around 1867

  • Édouard Manet:
    The Bay of Arcachon and the lighthouse on Cap Ferret , 1871

  • Édouard Manet:
    Landscape with a Village Church , around 1871

  • Édouard Manet:
    Rue Mosnier with flags , 1878

Provenance

Effet de neige à Petit-Montrouge is not mentioned in Manet's sales documents. It is possible that shortly after its completion he gave the painting to H. Charlet, mentioned in the dedication of the picture. The authors Rouart / Wildenstein assume, however, that Manet gave the painting to the journalist Pierre Giffard (1853–1922), who sold the picture in 1905 to the Durand-Ruel art dealer . This kept Effet de neige à Petit-Montrouge in their inventory until October 1912, when it was acquired by the Welsh art collector Gwendoline Davies . After her death, the painting was donated to what is now the National Museum Cardiff, along with her important art collection .

literature

Picture descriptions

  • Richard R. Brettell: Impression: Painting quickly in France 1860-1890 . Exhibition catalog London, Amsterdam, Williamstown, Yale University Press, New Haven and London 2000, ISBN 0-300-08447-1 .
  • Marco Goldin : Gli impressionisti e la neve: la Francia e l'Europa . Exhibition catalog Turin, Linea d'Ombra Libri, Conegliano 2004, ISBN 88-87582-85-8 .
  • Peter Hughes, Penny Stamp: French Art from the Davies Legacy . National Museum of Wales, Cardiff 1982, ISBN 0-7200-0237-0 .
  • Edward Lilley: Manet's "modernity" and "Effet de neige à Petit-Montrouge" in Gazette des Beaux-Arts , September 1991
  • Juliet Wilson-Bareau : Manet, Monet, and the Gare Saint-Lazare , Yale University Press, New Haven 1998, ISBN 0-300-07510-3 .
  • Michael Wilson: Manet at Work . Exhibition catalog National Gallery, London 1983, ISBN 0-901791-87-3 .

Catalog raisonnés

  • Sandra Orienti: Edouard Manet . Ullstein, Frankfurt am Main 1981, ISBN 3-548-36050-5 .
  • Sandra Orienti: The complete paintings of Manet . Penguin Books, Harmondsworth 1985, ISBN 0-14-008651-X .
  • Denis Rouart, Daniel Wildenstein: Edouard Manet: Catalog raisonné . Bibliothèque des Arts, Paris and Lausanne 1975.

Complementary works to Édouard Manet

Individual evidence

  1. ^ A b c d e Edward Lilley: Manet's Modernity and Effet de Neige à Montrouge . Page 107
  2. ^ A b Marco Goldin: Gli impressionisti e la neve: la Francia e l'Europa . Page 377.
  3. ↑ a b Sandra Orienti: Edouard Manet , Volume I, Ullstein Art Book, page 74
  4. ↑ Peter Hughes, Penny Stamp: French Art from the Davies Legacy . Page 26
  5. ^ Exhibition catalog Paris, New York 1983. German edition, page 260
  6. ^ François Cachin: Manet . Page 151
  7. ↑ Juliet Wilson-Bareau: Manet by himself . Page 156
  8. ↑ Michael Wilson: Manet at Work . Page 35
  9. ^ Denis Rouart, Daniel Wildenstein: Edouard Manet: Catalog raisonné . Volume I, page 144. Here referred to as Effet de Neige à Montrouge , although not the nearby town of Montrouge, but the church of Petit-Montrouge is shown in the picture.
  10. ↑ Marco Goldin: Gli impressionisti e la neve: la Francia e l'Europa . Page 376. Here only the Italian name Effetto di neve a Petit-Montrouge .
  11. ^ Juliet Wilson-Bareau: Manet, Monet and the Gare-Lazare . Page 31
  12. ↑ See the description of the painting on the website of the National Museum Cardiff [1]
  13. ↑ " Bazire , Tschudi , Meier-Graefe and Moreau-Nélaton assume that in the garden as the first work of Manet en plein air was started and finished." Charles S. Moffett: In the garden . In the exhibition catalog Paris / New York 1983, German edition 1984, page 319
  14. ↑ a b c Hans Graber: Edouard Manet, page 152
  15. ↑ “What do you say ... about the appointment of Louis Napoleon? Above all, do not go so far as to make him emperor, that would be more than strange. ”Earliest documented statement by Manet against Napoléon III. in a letter dated March 11, 1849 from Rio de Janeiro to his cousin Jules Dejouy in Hans Graber: Edouard Manet page 54
  16. ^ "Military retreats are made in every street" Letter dated September 12, 1870 to his wife. In Hans Graber: Edouard Manet page 152
  17. ↑ "I haven't written to you in the last few days because I was on duty in the fortress" Letter of September 20, 1870 to his wife. In Hans Graber: Edouard Manet page 158
  18. ↑ "We very much hope to beat the Prussian guys." Letter of September 30, 1870 to his wife. In Hans Graber: Edouard Manet page 161
  19. ↑ “How bored one is in Paris these days !” Letter of September 17, 1870 to his wife. In Hans Graber: Edouard Manet page 157
  20. ^ "A head of cabbage would cost twenty francs." Letter of December 18, 1870 to his wife. In Hans Graber: Edouard Manet page 171
  21. ↑ "Today I was on duty, but my foot complaint prevented me from going." Letter dated October 16, 1870 to his wife. In Hans Graber: Edouard Manet page 164
  22. ^ Letter of November 16, 1870 to his wife. In Hans Graber: Edouard Manet page 167
  23. ↑ a b Letter of November 19, 1870 to his wife. In Hans Graber: Edouard Manet page 168
  24. ↑ "Nevertheless, there is hardly anything to suggest that Manet actually made his etching at the time of the siege." Juliet Wilson-Bareau: Queue in front of the butcher shop . In the exhibition catalog Paris / New York 1983, German edition 1984, page 322
  25. ^ "History from the bottom" Edward Lilley: Manet's Modernity and Effet de Neige à Montrouge . Page 107
  26. ^ Letter of November 19, 1870 to Eva Gonzalès. In Hans Graber: Edouard Manet page 169
  27. ^ Letter of November 19, 1870 to his wife. In Hans Graber: Edouard Manet page 166
  28. ↑ “One is bored to die here.” Letter dated November 23, 1870 to his wife. In Hans Graber: Edouard Manet page 169
  29. ↑ "Here we have torrential downpours." Letter of November 29, 1870 to his wife. In Hans Graber: Edouard Manet page 170
  30. ^ Letter of December 2, 1870 to his wife. In Hans Graber: Edouard Manet page 170-1
  31. ^ Letter of December 2, 1870 to his wife. In Hans Graber: Edouard Manet page 171
  32. ↑ a b Letter of December 2, 1870 to his wife. In Hans Graber: Edouard Manet page 172
  33. ↑ "It freezes here so that the stones burst." Letter of December 22, 1870 to his wife. In Hans Graber: Edouard Manet page 172
  34. ^ Edward Lilley: Manet's Modernity and Effet de Neige à Montrouge . Page 108
  35. ^ A b Edward Lilley: Manet's Modernity and Effet de Neige à Montrouge . Page 110
  36. ↑ "I currently have the flu and have to keep the room." Letter of January 16, 1871 to his wife. In Hans Graber: Edouard Manet page 175
  37. ↑ Hans Graber: Edouard Manet, page 183
  38. ↑ a b John House: About history painting, censorship and delusion in Faith / Germer: Manet: Moments of History, page 23
  39. ^ A b Denis Rouart, Daniel Wildenstein: Edouard Manet: Catalog raisonné . Volume I, page 144.
  40. ^ Denis Rouart, Daniel Wildenstein: Edouard Manet: Catalog raisonné . Volume II, page 124.
  41. ↑ a b Adolphe Tabarant: Manet et ses œuvres , page 184
  42. ↑ The painting La gare du chemin de fer de Sceaux is also noted by Sandra Orienti under catalog number 427 as a possible further work by Manet. It is also with Edward Lilley: Manet's Modernity and Effet de Neige à Montrouge . Page 108 and by Marco Goldin: Gli impressionisti e la neve: la Francia e l'Europa . Page 377 noted as Manet's work.
  43. ↑ A picture and description of the Falguières sculpture can be found on the website of the Los Angeles County Museum of Art: Archivlink ( Memento from October 24, 2011 in the Internet Archive )
  44. ↑ See Juliet Wilson-Bareau, David Degner: Manet and the Sea . Yale University Prees, New Haven and London 2003, ISBN 0-87633-175-4 .
  45. ^ Exhibition catalog Paris, New York 1983. German edition, pages 122–126
  46. ^ Ina Conzen: Edouard Manet and the Impressionists , pp. 29–32
  47. ^ Exhibition catalog Paris, New York 1983. German edition, pp. 260–261
  48. ^ Richard R. Brettell: Impression , page 82
  49. ^ John Leighton: Edouard Manet: Meeresimpressionen , page 61
  50. ↑ The painting is missing in the Rouart / Wildenstein directory, but is noted in Orienti as a work ascribed to Manet (catalog no. 431 titled as Paysage / Arcachon [?] ). See also the description of the picture on the website of the Ashmolean Museum, Oxford: [2]
  51. ↑ See Charles S. Moffett: Impressionists in winter: effets de neige . Exhibition catalog Washington DC and San Francisco, Philip Wilson, London 1998, ISBN 0-85667-495-8 .
  52. ↑ Ina Conzen: Edouard Manet and the Impressionists , pages 111–114
  53. ↑ Marco Goldin: Gli impressionisti e la neve: la Francia e l'Europa . Page 376.
This article was added to the list of excellent articles on November 2, 2008 in this version .