Ernest Hoschedé

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Ernest Hoschedé , etching by Marcellin Desboutin, 1875

Louis Ernest Jean Hoschedé (born December 18, 1837 in Paris ; died March 18, 1891 there ) was a French fabric wholesaler, art collector and art critic. He was one of the first to collect the works of the Impressionists .

Life

Ernest Hoschedé was born in Paris in 1837 as the only son of Casimir Joseph Édouard Hoschedé and his wife Eugénie Honorine, née Saintonge. The father had worked his way up from being a simple clerk to becoming a partner in the prestigious Cheuvreux-Aubertot textile trading company , and then owned his own cloth shop on Rue du Sentier. Accordingly, the family had a considerable fortune.

On April 16, 1861, Ernest Hoschedé married Alice Raingo, who also came from a wealthy family . Ernest Hoschedé received the enormous sum of 400,000 francs from his father for his wedding in order to set up his own company. Another 100,000 francs came from the wife's father as a dowry. However, Ernest Hoschedé did not develop any particular entrepreneurial ambitions, instead caring more for his private interests and leading a luxurious life. He and his wife lived in a city apartment on Parisian Boulevard Haussmann No. 56 and also used the country residence of their parents-in-law at Rottembourg Castle in Montgeron . The marriage to Alice Hoschedé resulted in a total of six children: Marthe (born 1864), Blanche (born 1865), Suzanne (born 1868), Jacques (born 1869), Germaine (born 1873) and Jean-Pierre (born . 1877). After the death of her father in 1870, Alice Hoschedé inherited Rottembourg Castle.

Ernest and Alice Hoschedé were both interested in art and knew several contemporary painters personally. In the etching Ernest Hoschedé , Felix Bracquemond portrayed his friend in 1870 and made another etching in the following year in which he shows Hoschedé as a member of the Garde nationale ( Bibliothèque nationale de France ). Marcellin Desboutin also created an etching by Ernest Hoschedé in 1875. Paul Baudry also painted an oil portrait of Hoschedé in 1876 (private collection) and in the same year Edouard Manet created the double portrait of Ernest Hoschedé and his daughter Marthe in the garden of Rottembourg Castle ( Museo Nacional de Bellas Artes , Buenos Aires ). Manet also created a portrait of his son Jacques, Émile Auguste Carolus-Duran portrayed Alice Hoschedé ( Museum of Fine Arts, Houston ) and daughter Marthe (private collection).

  • Paul Baudry: Portrait of Ernest Hoschedé ,
    1876

  • Érnest Hoschedé: Portrait of Ernest Hoschedé with his daughter Marthe ,
    1876

  • Émile Auguste Carolus-Duran: Portrait Alice Hoschedé
    1878

Hoschedé achieved importance primarily as an art collector, although the exact size of his collection is not documented. The various auctions of his collection found their way into art history. One of Hoschedé's earliest art acquisitions was the acquisition of a painting by Eugène Boudin , which he loaned to the Salon de Paris in 1870 . In 1873 he bought the painting Dance of the Nymphs from Jean-Baptiste Camille Corot . In addition, from 1873 onwards he acquired paintings from the art dealer Paul Durand-Ruel by the painters who were later referred to as Impressionists. For reasons that were not clear, he had these and other works auctioned again on January 13, 1874. In addition to works by established artists such as Narcisso Virgilio Díaz de la Peña , Jean-Baptiste Camille Corot, Antoine Vollon , Georges Michel and Charles Jacques , works by younger artists such as Eugène Boudin, Stanislas Lépine , Anton Mauve and Ludovic Piette were also up for auction. The peculiarity, however, consisted in a group of paintings by Edgar Degas , Claude Monet , Camille Pissarro and Alfred Sisley . Works by these artists could hardly be seen in public and were now shown together with established artists - thus declared as art of equal rank. This is all the more astonishing since these artists were rejected by the jury of the Salon de Paris in 1874 and in the same year they took part in the first group exhibition of the Impressionists and partly helped to organize it. The top lot of the auction was Hoschedé Degas' paintings false start ( Yale University Art Gallery , New Haven ), which for 1.1000 francs at the collector Henri Rouart went. Other works include, for example, Monet's The Blue House in Zaandam (private collection). The auction brought in a total of 35,000 francs. The sum was a little less than Hoschedé had paid for these works at Durand-Ruel. Art critic Théodore Duret saw these sales as an important step for artists in the art market. Such a market test may have been the intention of Hoschedé, but it may also have been in financial difficulties.

  • Edgar Degas: False start ,
    around 1869–1872

  • Claude Monet: The Blue House in Zaandam ,
    1871

  • Claude Monet: Impression, Rising Sun , 1872

  • Alfred Stevens: The Bath ,
    1873–1874

After his father died on May 29, 1874, Ernest Hoschedé had additional financial means. Shortly afterwards, after the first group exhibition of the Impressionists in 1874, Monet bought the painting Impression, Sunrise , from which the name of the new style derives , for 800 francs . In the following year, Hoschedé had part of his collection auctioned again. This time he sold 16 works by Corot, eleven paintings by Gustave Courbet , plus works by Charles-François Daubigny , Jean-François Millet , Stanislas Lépine and by Alfred Stevens the painting The Bath ( Musée d'Orsay , Paris). The sales proceeds of 200,000 francs initially brought the necessary liquidity to maintain the lavish lifestyle of the Hoschedés.

1876 ​​marked a high point in the relations between the Hoschedés and their artist friends. Baudry's portrait of Ernest Hoschedé was shown in the Salon de Paris, while Carolus-Duran and Manet visited Rottembourg Palace in the summer and created various portraits there. Then Claude Monet came as a guest and stayed - with interruptions - from July to December of that year. Hoschedé had befriended Monet and had supported him financially since 1875. At Rottembourg Castle, Monet was to paint four murals for the salon. These include the pictures Pond in Montgeron and Gartenecke in Montgeron (both Hermitage , Saint Petersburg ), turkeys (Musée d'Orsay, Paris) and The Hunt (private collection). He also created some views of the garden, which were also bought by Hoschedé. Various authors have assumed that Monet had started a love affair with Alice Hoschedé during his stay in Montgeron or the year before, although there is no evidence for this.

  • Claude Monet: Pond at Montgeron , 1876

  • Claude Monet: Garden Corner in Montgeron , 1876

  • Claude Monet: Turkeys , 1876

  • Claude Monet: The Hunt , 1876

In January 1877, Hoschedé bought another 27 paintings from Durand-Ruel, including works by Monet, Manet, Sisley, Pissarro and Berthe Morisot . However, he owed the gallery owner the invoice for this. In the spring he continued to present himself as an art lover and loaned Paul Baudry's portrait of his daughter Blanche to the Salon de Paris. He also made several works of art available for the third group exhibition of the Impressionists under the initials M. H. In the summer he got more and more into financial difficulties and on August 24, 1877 his insolvency was determined. Around 150 creditors had debts of around 2,000,000 francs. These resulted only in part from his art purchases; large parts were based on wrong entrepreneurial decisions and the overall lavish lifestyle of the Hoschedés. He fled from his creditor to Belgium, his wife traveled with the children - the sixth was born during the trip - to her sister in Biarritz . The furniture and other household items in the apartments in Paris and Montgeron were auctioned, and Rottembourg Castle, owned by Alice Hoschedé, also had to be sold to pay off the debt.

On June 6, 1878, the Hoschedé art collection was auctioned at the Hôtel Drouot auction house . More than 100 lots were called up, including Monet's Impression, Sunrise , which went to collector Georges de Bellio for just 210 francs . The prices were very low overall, which not only interested the creditors and the Hoschedés, but was also important for the artists and for the art market as a whole. Well-known works at the auction included, for example, the paintings The Thames near Westminster ( National Gallery , London) and Camille in Japanese costume ( Museum of Fine Arts, Boston ) by Monet, The Street Singer (Museum of Fine Arts, Boston) and Woman with a Parrot ( Metropolitan Museum of Art , New York City) by Édouard Manet, Woman with a Cat ( National Gallery of Art , Washington, DC ) by Pierre-Auguste Renoir and boat during the flood at Port-Marly ( Musée d'Orsay , Paris ) by Alfred Sisley . The auction brought in a total of 70,000 francs, of which only 7,500 francs fell on works by the Impressionists.

  • Claude Monet: The Thames at Westminster , 1871

  • Claude Monet: Camille in Japanese Costume , 1875

  • Édouard Manet: The street singer , around 1862

  • Édouard Manet: Woman with a Parrot , around 1866

  • Pierre-Auguste Renoir: Woman with a Cat , around 1875,

  • Alfred Sisley: Boat during the high tide at Port-Marly , 1876, Musée d'Orsay, Paris

In the summer of 1878, Ernest Hoschedé moved with his wife and six children to the Monet family in Vetheuil. Monet lived there with his wife Camille and their two sons in simple circumstances, the twelve people from now on in a very cramped living situation. The Hoschedés initially received financial support from Ernst Hoschedé's mother. In the meantime he began to work as a journalist and art critic in Paris and wrote for newspapers such as Le Voltaire , and later for other papers as well. While Ernest Hoschedé was often in Paris, his wife Alice cared for the sick Camille Monet, who died in 1879 at the age of 32. From then on, Alice took care of the Monet's two sons in addition to her six children. After the death of Hoschedé's mother in 1880, there were more and more conflicts between Ernest and Alice Hoschedé, revolving around his frequent absence, lack of financial support and, increasingly, about Alice Hoschedé's relationship with Claude Monet. There was also a dispute between Ernest Hoschedé and Monet. At the end of 1881, Claude Monet, Alice Hoschedé and their eight children moved to Poissy . At least since then, Ernest and Alice Hoschedé lived separately. He did visit his family occasionally, mostly when Claude Monet was not in the house. In 1883 Alice Hoschedé and Claude Monet finally moved to Giverny with their children. The coexistence of the two was considered a wild marriage that was not widely respected . Ernest Hoschedé lived the following years in Paris in modest circumstances, visited meeting places for artists such as the Café Riche , but no longer built up an art collection. During the last months of his life he was looked after by the doctor Paul Gachet . He died in Paris in 1891. His grave is in the Giverny cemetery in the common burial place of the Monet-Hoschedé families. His wife Alice, who had remained married to him until his death, married Claude Monet in 1892. His daughter Blanche married Monet's son Jean in 1897.

literature

Web links

Commons : Ernest Hoschedé  - album with pictures, videos and audio files

Individual evidence

  1. ^ A b c d e Anne Distel: Impressionism, the first collectors , p. 95.
  2. ^ Anne Distel: Impressionism, the first collectors , pp. 98-99.
  3. ^ A b c Anne Distel: Impressionism, the first collectors , p. 98.
  4. ^ Anne Distel: Impressionism, the first collectors , p. 96.
  5. ↑ John Rewald: The History of Impressionism , p. 221.
  6. ↑ John Rewald: The History of Impressionism , p. 214.
  7. ^ Anne Distel: Impressionism, the first collectors , pp. 100-103.
  8. ↑ John Rewald: The History of Impressionism , p. 225.
  9. ↑ Dorothee Hansen sees no evidence of a relationship between Alice Hoschedé and Claude Monet in 1876. See Dorothee Hansen: Monet and Camille - Biography of a Relationship in Dorothee Hansen, Wulf Herzogenrath: Monet and Camille - Women Portraits in Impressionism , p. 34. Jill Berk Jiminez: Dictionary of artists' models , p . 34 suspect such a relationship as early as 1875 . 165 and Edward Lucie-Smith: Impressionist Women , p. 40. Ruth Butler contradicts this: Hidden in the Shadow of the masters: the model-wives of Cézanne, Monet and Rodin , p. 190.
  10. ^ Anne Distel: Impressionism, the first collectors , p. 100.
  11. ^ A b c Anne Distel: Impressionism, the first collectors , p. 101.
  12. ↑ a b c d e f g Anne Distel: Impressionism, the first collectors , p. 104.
  13. ^ Sue Roe: The private life of the Impressionists , p. 324.
  14. ^ Sue Roe: The private life of the Impressionists , p. 323.
  15. ^ A b Anne Distel: Impressionism, the first collectors , p. 106.
personal data
SURNAME Hoschedé, Ernest
ALTERNATIVE NAMES Hoschedé, Louis Ernest Jean (full name)
BRIEF DESCRIPTION French entrepreneur, art collector and art critic
DATE OF BIRTH December 18, 1837
PLACE OF BIRTH Paris
DATE OF DEATH March 18, 1891
Place of death Paris