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MONET CLAUDE: (1840-1926) Monet to Petit, just days before the International Exhibition of 1885
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MONET CLAUDE: (1840-1926) French Impressionist painter. A.L.S., Claude Monet, two pages (written to the first and third sides of the bifolium), 8vo, Giverny par Vernon, Eure, 9th May 1885, to [Georges] Petit (´Cher Monsieur Petit´), in French. Monet states that he has received his correspondent´s letter, which had given him great pleasure, and continues ´Je serai venu dès demain vous voir mais j’ai quelque chose à terminer qui ne se peut pas remettre, mais mardi matin, je prendrai le premier train et serai chez vous dans la matinée vers 10 h.´ (Translation: ´I would have come to see you tomorrow, but I have something to finish that cannot be postponed. However, on Tuesday morning, I will take the first train and will be at your place around 10 a.m´). One light central vertical fold, VGGeorges Petit (1856-1920) French art dealer, a key figure in the Paris art world and an important promoter of Impressionist artists.Despite the relatively routine nature in the content of Monet´s letter, it is not without some significance, and evidently relates to a meeting with Petit to finalise details around the International Exhibition, which would open less than a week later. As Daniel Wildenstein states in his biography of Monet, ´Ever since 1882, when [Monet] had seen Paris society crowding around the paintings at the International Exhibition, he had been attracted to the very beautiful Georges Petit Gallery at 8 Rue de Sèze. At the time, there had been no question of Monet taking part in this important event, which had been confined to twelve artists, including the inevitable (three) members of the Institut de France. In 1885.....connections, which played an important part in this self-elected assembly, worked in Monet´s favour; he was supported by Cazin, who seems to have been on excellent terms with Georges Petit. On the other hand, Georges Petit´s interest in Monet might equally explain how the latter came to be invited to take part in the fifth International Exhibition. Of the ten works of Monet´s listed in the catalogue, five were of the Normandy coast, three were views from the Giverny area and two were souvenirs of his Mediterranean trip. The exhibition was opened to the public on 15 May, on which date appeared the review most feared by the critics, that of Albert Wolff of Le Figaro......the famous critic devoted his last paragraph to Claude Monet, whom he acknowledged to have "much talent" as a landscape artist......It was seascapes, however, at which Monet particularly excelled, in Wolff´s view, the best of his selection being a view from Étretat and another from Cap Martin......The International Exhibition made it clear to everyone that Monet was of interest to a major art dealer other than Durand-Ruel, namely Georges Petit´ (from Monet - The Triumph of Impressionism, 2023 edition published by Taschen, pp. 258-259). It is also worth noting events between Monet and Petit (as well as Durand-Ruel) that occurred towards the end of 1885. To return to Monet´s biography, Wildenstein writes ´After 1st of November 1885, Monet was alone at Étretat. But even now he could not devote all his time to painting, as he had to attend to his correspondence.....His relations with Georges Petit were closer now....and Monet was the more tempted by a policy of sharing his production between Durand-Ruel and Petit as "Durand" had set out on a veritable crusade against forged pictures and was making many enemies among his fellow art dealers. His isolation meant that he was selling some paintings at a loss, and Monet was furious with him, accusing him of making "one blunder after another"......On 10 December 1885, some days before returning to Giverny, Monet had to sit down and write a very awkward letter; he had to inform Durand-Ruel that he was defecting to Georges Petit. Petit had brought him to this by a discreet form of blackmail, proposing to buy several paintings immediately and then offering Monet a place in the next International Exhibition on the express condition that no paintings belonging to Durand-Ruel be included. By accepting Petit´s dictate, Monet quite simply betrayed the man to whom he owed his living for the past five years´. (ibid, pp. 264-266).
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MONET CLAUDE: (1840-1926) French Impressionist painter. A.L.S., Claude Monet, two pages (written to the first and third sides of the bifolium), 8vo, Giverny par Vernon, Eure, 9th May 1885, to [Georges] Petit (´Cher Monsieur Petit´), in French. Monet states that he has received his correspondent´s letter, which had given him great pleasure, and continues ´Je serai venu dès demain vous voir mais j’ai quelque chose à terminer qui ne se peut pas remettre, mais mardi matin, je prendrai le premier train et serai chez vous dans la matinée vers 10 h.´ (Translation: ´I would have come to see you tomorrow, but I have something to finish that cannot be postponed. However, on Tuesday morning, I will take the first train and will be at your place around 10 a.m´). One light central vertical fold, VGGeorges Petit (1856-1920) French art dealer, a key figure in the Paris art world and an important promoter of Impressionist artists.Despite the relatively routine nature in the content of Monet´s letter, it is not without some significance, and evidently relates to a meeting with Petit to finalise details around the International Exhibition, which would open less than a week later. As Daniel Wildenstein states in his biography of Monet, ´Ever since 1882, when [Monet] had seen Paris society crowding around the paintings at the International Exhibition, he had been attracted to the very beautiful Georges Petit Gallery at 8 Rue de Sèze. At the time, there had been no question of Monet taking part in this important event, which had been confined to twelve artists, including the inevitable (three) members of the Institut de France. In 1885.....connections, which played an important part in this self-elected assembly, worked in Monet´s favour; he was supported by Cazin, who seems to have been on excellent terms with Georges Petit. On the other hand, Georges Petit´s interest in Monet might equally explain how the latter came to be invited to take part in the fifth International Exhibition. Of the ten works of Monet´s listed in the catalogue, five were of the Normandy coast, three were views from the Giverny area and two were souvenirs of his Mediterranean trip. The exhibition was opened to the public on 15 May, on which date appeared the review most feared by the critics, that of Albert Wolff of Le Figaro......the famous critic devoted his last paragraph to Claude Monet, whom he acknowledged to have "much talent" as a landscape artist......It was seascapes, however, at which Monet particularly excelled, in Wolff´s view, the best of his selection being a view from Étretat and another from Cap Martin......The International Exhibition made it clear to everyone that Monet was of interest to a major art dealer other than Durand-Ruel, namely Georges Petit´ (from Monet - The Triumph of Impressionism, 2023 edition published by Taschen, pp. 258-259). It is also worth noting events between Monet and Petit (as well as Durand-Ruel) that occurred towards the end of 1885. To return to Monet´s biography, Wildenstein writes ´After 1st of November 1885, Monet was alone at Étretat. But even now he could not devote all his time to painting, as he had to attend to his correspondence.....His relations with Georges Petit were closer now....and Monet was the more tempted by a policy of sharing his production between Durand-Ruel and Petit as "Durand" had set out on a veritable crusade against forged pictures and was making many enemies among his fellow art dealers. His isolation meant that he was selling some paintings at a loss, and Monet was furious with him, accusing him of making "one blunder after another"......On 10 December 1885, some days before returning to Giverny, Monet had to sit down and write a very awkward letter; he had to inform Durand-Ruel that he was defecting to Georges Petit. Petit had brought him to this by a discreet form of blackmail, proposing to buy several paintings immediately and then offering Monet a place in the next International Exhibition on the express condition that no paintings belonging to Durand-Ruel be included. By accepting Petit´s dictate, Monet quite simply betrayed the man to whom he owed his living for the past five years´. (ibid, pp. 264-266).
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