DOI issue:
Nr. 168 (March 1907)
DOI article:Frantz, Henri: The Moreau Collection at the Louvre museum
DOI Page / Citation link:https://doi.org/10.11588/diglit.20774#0160
The Moreau Collection at the Louvre
and the great Flemish masters, and from the
Prise des Croises there breathes forth the spirit
of the painter of history. Finally, let us stop
a moment before this piece of still life, which
is, perhaps, one of the great painter’s finest bits
of colour.
It gives one pleasure to find Fantin-Latour
represented by a work of the first importance and
absolutely final like his Hommage a Delacroix. In
his capacity of forceful portrait - painter, Fantin
bequeaths to us here the precious and characteristic
presentments of Manet, Bracquemond, de Balleroy,
Whistler, Legros, Cordier, Baudelaire, Duranty,
Champfleury, and the artist himself. At the same
time, the great painter of the nude is discovered
once more in a lovely study.
So Jongkind, the grand inccmpris, is at last in
the Louvre! We greet respectfully his ruins of
Rosemont, and may expect to meet him again
among the water-colours.
Manet, figure painter,
delineator of still life and
flowers, is represented by
four canvases, the most
important of which, Le
Dejeuner sur /’Herbe, was,
in its day, a sort of revolu-
tionary manifesto. To-day
it looks to our eyes almost
like a classic, and we may
perhaps be allowed to prefer
some of the artist’s other
works; in any case it is
impossible to deny its very
great artistic interest.
Claude Monet, that other
great prototype of Impres-
sionism, and, like Manet,
one over whom was great
disputation, is present with
a series of landscapes,
limpid, broadly conceived,
seductive in colour, and in
no wTay clashing with the
Corots hard by. Time has
wrought its work, and
those who years ago, at the
Exposition des Refuses,
hissed these works are now
able to comprehend the
loftiness of their character.
It is indeed a triumph for
those who, like Theodore
Duret, struggled so long “ folles filles ” by n. diaz
138
beside Monet and Manet to witness at last this
hour of victory.
M. Moreau-Nelaton has done well in finding
a place for Monet’s sister-in-law, Mme. Berthe
Morizot, whose Chasse aux Papillons is instinct
with the precious qualities of delicacy and charm.
The other impressionist master, Alfred Sisley,
has seven landscapes, varying greatly in Ikey, and
all of the highest interest.
Ricard and Troyon take us several years further
back. The woman’s head, by Ricard, lacks,
perhaps, the rich savour of certain of his works,
such as the female portrait in the PetWPalais, but
Troyon could not possibly be represented better
than by so strong and luminous a work as his
Passage du Gue.
The water-colours and drawings form an im-
portant part of the collection. It is good to find
in the Louvre after all this time a master like
and the great Flemish masters, and from the
Prise des Croises there breathes forth the spirit
of the painter of history. Finally, let us stop
a moment before this piece of still life, which
is, perhaps, one of the great painter’s finest bits
of colour.
It gives one pleasure to find Fantin-Latour
represented by a work of the first importance and
absolutely final like his Hommage a Delacroix. In
his capacity of forceful portrait - painter, Fantin
bequeaths to us here the precious and characteristic
presentments of Manet, Bracquemond, de Balleroy,
Whistler, Legros, Cordier, Baudelaire, Duranty,
Champfleury, and the artist himself. At the same
time, the great painter of the nude is discovered
once more in a lovely study.
So Jongkind, the grand inccmpris, is at last in
the Louvre! We greet respectfully his ruins of
Rosemont, and may expect to meet him again
among the water-colours.
Manet, figure painter,
delineator of still life and
flowers, is represented by
four canvases, the most
important of which, Le
Dejeuner sur /’Herbe, was,
in its day, a sort of revolu-
tionary manifesto. To-day
it looks to our eyes almost
like a classic, and we may
perhaps be allowed to prefer
some of the artist’s other
works; in any case it is
impossible to deny its very
great artistic interest.
Claude Monet, that other
great prototype of Impres-
sionism, and, like Manet,
one over whom was great
disputation, is present with
a series of landscapes,
limpid, broadly conceived,
seductive in colour, and in
no wTay clashing with the
Corots hard by. Time has
wrought its work, and
those who years ago, at the
Exposition des Refuses,
hissed these works are now
able to comprehend the
loftiness of their character.
It is indeed a triumph for
those who, like Theodore
Duret, struggled so long “ folles filles ” by n. diaz
138
beside Monet and Manet to witness at last this
hour of victory.
M. Moreau-Nelaton has done well in finding
a place for Monet’s sister-in-law, Mme. Berthe
Morizot, whose Chasse aux Papillons is instinct
with the precious qualities of delicacy and charm.
The other impressionist master, Alfred Sisley,
has seven landscapes, varying greatly in Ikey, and
all of the highest interest.
Ricard and Troyon take us several years further
back. The woman’s head, by Ricard, lacks,
perhaps, the rich savour of certain of his works,
such as the female portrait in the PetWPalais, but
Troyon could not possibly be represented better
than by so strong and luminous a work as his
Passage du Gue.
The water-colours and drawings form an im-
portant part of the collection. It is good to find
in the Louvre after all this time a master like