exhibition

Manet and the Post-Impressionists


ID: 324, Status: proof read
Exhibition period:
Nov 8, 1910‒Jan 15, 1911
Type:
group
Organizing Bodies:
Currency:
s (Great Britain Pound (in Shilling))
Quickstats
Catalogue Entries: 233
Artists: 26
Gender: female: 0, male: 26
Nationalities: 4
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Date Title City Venue Type
Date Title City Venue # of common Artists
Feb‒Mar 1910 XXXI. výstava S. V. U. Manes. Les indépendants [XXXI. Exhibition of the Union of Fine Artists Manes. Les Indépendants] Prague [Pavilion in Kinsky Garden] 11 artists
May 20‒22, 1911 Vente au bénéfice du Monument Cézanne Paris Hôtel Drouot 12 artists
Oct 1‒Nov 1, 1908 VIII. Serie Französische Impressionisten Zurich Zurich (exact location unknown) 20 artists
May 1‒15, 1912 Salon de Mai 1912, Première Exposition Marseille Ateliers du Quai Rive-Neuve 13 artists
Apr 28‒May 19, 1913 International Exhibition of Modern Art [Armory Show] Boston Copley Hall 18 artists
May 15‒16, 1908 Tableaux Modernes. Aquarelles, Dessins et Pastels Paris Hôtel Drouot 11 artists
Jun 8‒16, 1914 Le Paysage du Midi Paris MM. Bernheim-Jeune & Cie 10 artists
Jul 3‒20, 1908 Exposition De Tableaux Modernes Paris Galerie Druet 10 artists
Jun 26‒Jul 13, 1911 L'Eau Paris MM. Bernheim-Jeune & Cie 12 artists
Mar 15‒Apr 28, 1907 Paul Gauguin [und französische Postimpressionisten] Vienna Galerie Miethke 7 artists
May 17‒28, 1910 Nus Paris MM. Bernheim-Jeune & Cie 12 artists
Dec 4‒17, 1910 Exposition Annuelle, 1er Groupe Paris Galerie Druet 7 artists
Oct 6‒Nov 5, 1911 Internationale Tentoonstelling van Moderne Kunst. Moderne Kunst Kring Amsterdam Stedelijk Museum 10 artists
Jul 20‒Aug 5, 1911 La Montagne Paris MM. Bernheim-Jeune & Cie 8 artists
Nov 13‒Dec 4, 1909 Natures Mortes et Fleurs (Peintures) Paris Galerie Eug. Blot 9 artists
Apr 18‒30, 1910 D'après les maîtres Paris MM. Bernheim-Jeune & Cie 12 artists
Nov 25‒Dec 7, 1912 Exposition Annuelle, 1er Groupe Paris Galerie Druet 6 artists
Nov 27‒Dec 9, 1911 Exposition Annuelle, 1er Groupe Paris Galerie Druet 6 artists
Dec 19‒30, 1910 La Faune Paris MM. Bernheim-Jeune & Cie 11 artists
Oct 5‒Dec 31, 1912 Second Post-Impressionist Exhibition. British, French and Russian Artists London Grafton Galleries 11 artists
Jun 10‒13, 1908 Collection Thadée Natanson Paris Hôtel Drouot 6 artists
Jan 9‒Feb 1913 Die Neue Kunst Vienna Galerie Miethke 10 artists
Jul 16‒Oct 9, 1910 Ausstellung des Sonderbundes Westdeutscher Kunstfreunde und Künstler Dusseldorf Städtischer Kunstpalast 12 artists
Mar 8‒Apr 13, 1913 Interprétations du Midi Brussels Brussels (exact location unknown) 10 artists
Jun 7‒8, 1911 Collection Henry Bernstein Paris Hôtel Drouot 6 artists
Mar 12‒Apr 17, 1910 La Libre Esthétique. L'Évolution du Paysage Brussels Brussels (exact location unknown) 11 artists
Nov 14‒30, 1907 Fleurs et Natures Mortes Paris MM. Bernheim-Jeune & Cie 8 artists
Nov 17‒29, 1913 Exposition Annuelle, 1er Groupe Paris Galerie Druet 5 artists
Oct 12, 1913‒Jan 16, 1914 Post-Impressionist and Futurist Exhibition London Doré Gallery 12 artists
Oct‒Nov 1907 Třiadvacátá výstava Spolku výtvarných umělců Manes v Praze 1907. Francouzští impressionisté [Twenty-third Exhibition of the Union of Fine Artists Manes in Prague 1907. French Impressionists] Prague [Pavilion in Kinsky Garden] 9 artists
Dec 10‒31, 1907 Exposition de Cent Vingt Tableautins, Peintures, Aquarelles, Pastels et Dessins Paris Galerie Eug. Blot 10 artists
Oct 15‒Nov 8, 1908 XI. Jahrgang. Winter 1908/09. II. Ausstellung. [Kollektion Lovis Corinth. Ausstellung "Stilleben"] Berlin Paul Cassirer 7 artists
Sep 1913 A XIX. század nagy francia mesterei [The Great French Masters of the XIX. Century] Budapest Ernst Múzeum 9 artists
Oct‒Nov 1913 Erste Ausstellung Berlin Neue Galerie 6 artists
Apr 27‒Jun 19, 1910 Nemzetközi Impresszionista kiállítás [International Impressionist Exhibition] Budapest Művészház 11 artists
Apr 20‒May 15, 1910 Prima Mostra italiana dell'Impressionismo, opere di Paul Cézanne, Edgar Degas, Jean-Louis Forain, Paul Gauguin, Henri Matisse, Claude Monet, Camille Pissarro, Pierre-Auguste Renoir, Medardo Rosso, Henri Toulouse-Lautrec, Vincent Van Gogh Florence Lyceum Club 4 artists
May 14‒16, 1914 Collection de M. Herbert Kullmann (de Manchester) Paris Hôtel Drouot 4 artists
Aug‒Sep 1913 Neue Kunst. II.Gesamtausstellung Munich Hans Goltz 11 artists
Oct 1912 Neue Kunst. Erste Gesamt-Ausstellung Munich Hans Goltz 9 artists
Mar 24‒Apr 16, 1913 International Exhibition of Modern Art [Armory Show] Chicago The Art Institute of Chicago 21 artists
Apr 24‒May 6, 1911 Exposition Annuelle, IIIme Groupe Paris Galerie Druet 4 artists
Jan 21‒Feb 2, 1911 XIII. Jahrgang. Winter 1910/11. VI. Ausstellung. Neue Künstler-Vereinigung München Berlin Paul Cassirer 5 artists
Apr 29‒May 11, 1912 Exposition Annuelle, IIIe Groupe Paris Galerie Druet 4 artists
Dec 16, 1907‒Jan 4, 1908 Portraits d'Hommes Paris MM. Bernheim-Jeune & Cie 13 artists
Apr 20‒May 2, 1914 Exposition Annuelle, 3eme Groupe Paris Galerie Druet 4 artists
Mar 7‒Apr 12, 1909 La Libre Esthétique. Seizième Exposition Brussels Brussels (exact location unknown) 7 artists
Apr‒May 1913 XXXXIII. výstava. S. V. U. Manes. Členská [XXXXIII. Exhibition. Union of Fine Artists Manes. Member's] Prague [Pavilion in Kinsky Garden] 6 artists
Jan 6‒17, 1914 Exposition Cézanne Paris MM. Bernheim-Jeune & Cie 3 artists
Oct 24‒Nov 10, 1907 Exposition de sculptures nouvelles par Camille Claudel et de peintures par Manguin, Marquet, Puy Paris Galerie Eug. Blot 3 artists
Mar 12‒Apr 10, 1912 Der Sturm. Erste Ausstellung. Der Blaue Reiter. Franz Flaum. Oskar Kokoschka. Expressionisten Berlin Gilka-Villa 5 artists
Oct 21‒Nov 20, 1905 Exposition de Peintures Paris Galerie B. Weill 5 artists
Dec 3‒17, 1911 I. Ausstellung des Modernen Bundes Luzern Grand Hotel du Lac 4 artists
Nov 22‒23, 1910 Collection de M. Albert Bernier Paris Hôtel Drouot 6 artists
Sep 1‒14, 1910 Neue Künstlervereinigung München E.V., Turnus 1910-1911. [II. Ausstellung] Munich Moderne Galerie (Heinrich Thannhauser) 5 artists
1913 XXVI. Ausstellung der Berliner Secession Berlin Ausstellungshaus am Kurfürstendamm 208/9 10 artists
May 1907 Tavaszi kiállitás. Gauguin, Cézanne stb. művei [Spring Exhibition. Works of Gauguin, Cézanne etc.] Budapest Nemzeti Szalon 10 artists
Apr 6‒29, 1905 Exposition de Peintures, Pastels & Sculptures Paris Galerie B. Weill 3 artists
May 3‒15, 1909 Aquarelles & Pastels de Cézanne, H.-E. Cross, Degas, Jongkind, Camille Pissarro, K.-X. Roussel, Paul Signac, Vuillard Paris MM. Bernheim-Jeune & Cie 3 artists
Jul 18‒Sep 30, 1912 Die klassische Malerei Frankreichs im 19. Jahrhundert Frankfurt am Main Gebäude des Frankfurter Kunstvereins 6 artists
1912 Выставка сто лет французской живописи (1812-1912) [Vy'stavka sto let franczuzskoj zhivopisi (1812-1912) : Exhibition 100 Years of French Painting (1812-1912)] Saint Petersburg Institut Francais de St. Pétersbourg 20 artists
Jun 3‒15, 1907 Exposition des Oeuvres (Peinture et Sculpture) de MM. Bonnard, Maurice Denis, Hermann-Paul, Lacombe, Aristide Maillol, Ranson, K-X. Roussel, Sérusier, Vallotton et Vuillard Paris MM. Bernheim-Jeune & Cie 3 artists
May 25‒Sep 30, 1912 Internationale Kunstausstellung des Sonderbundes Westdeutscher Kunstfreunde und Künstler zu Cöln Cologne Städtische Ausstellungshalle am Aachener Tor 16 artists
Mar 3‒Apr 3, 1907 La Libre Esthétique. Quatorzième Exposition Brussels Brussels (exact location unknown) 5 artists
Apr 14‒26, 1913 Exposition Annuelle. 3e Groupe Paris Galerie Druet 3 artists
Oct 6‒Nov 7, 1912 Moderne Kunst Kring (Cercle de l'art moderne). Ouvrages de Peinture, Sculpture, Dessin, Gravure Amsterdam Stedelijk Museum 5 artists
May‒Oct 1909 Internationale Kunstschau Wien Vienna Gebäude der Kunstschau Wien 10 artists
Apr 29‒Jun 1905 VII. Jahrgang. Frühjahr 1905. VII. Ausstellung. [Collectionen Vincent van Gogh, Félix Vallotton] Berlin Paul Cassirer 3 artists
Mar 19‒22, 1907 Collection de M. George Viau (Deuxième Vente) Paris Galeries Durand-Ruel 8 artists
Dec 1912 Ausstellung von Werken Moderner Franzosen Vienna Galerie Arnot 3 artists
May 1912 [Der Sturm]. Dritte Ausstellung. Graphik Berlin Der Sturm [venues] 3 artists
Dec 21, 1908‒Jan 15, 1909 Catalogue des Œuvres Exposées Paris Galerie Notre-Dame-des-Champs 3 artists
Mar 15‒16, 1911 Tableaux Modernes. Aquarelles - Pastels - Dessins Paris Hôtel Drouot 7 artists
Mar 18‒Apr 23, 1911 La Libre Esthétique, dix-huitième Exposition à Bruxelles Brussels Brussels (exact location unknown) 4 artists
Feb 22‒Mar 25, 1906 La Libre Esthétique. La treizième Exposition Brussels Brussels (exact location unknown) 4 artists
Mar 1, 1913 Französische Impressionisten Vienna Galerie Miethke 3 artists
Feb 17‒Mar 15, 1913 International Exhibition of Modern Art [Armory Show] New York Armory of the 69th Infantry 22 artists
Dec 17, 1909‒Feb 6, 1910 Салон. Интернациональная выставка картин, скульптуры, гравюры и рисунков [Salon. Internaczionalʹnaya vy'stavka kartin, skulʹptury', gravyury' i risunkov : Salon. International Exhibition of Paintings, Sculpture, Prints and Drawings] Odessa Vladimir Izdebsky 11 artists
Jan 1913 Francia Impresszionisták (Manet) és Herman Lipót gyüjteményes kiállítása [Exhibition of the French Impressionists (Manet) and the Collected Works of Lipót Herman] Budapest Ernst Múzeum 3 artists
1912 Exposition d'Art Moderne Paris Galerie Manzi, Joyant & Cie. 3 artists
Jan 1914 The Grafton Group. Vanessa Bell, Roger Fry, Duncan Grant. Second Exhibition London Galleries of the Alpine Club 3 artists
Dec 1913‒Jan 18, 1914 Französische Meister Vienna Galerie Miethke 3 artists
beg/01/1913 - 20/01/1913 XV. Jahrgang. 1912-13. Dritte Ausstellung. [Sammlung Gottlieb Friedrich Reber, Barmen] Berlin Paul Cassirer 4 artists
Feb 1913 Privatsammlung Dr. Oskar Reichel. Wien Vienna Galerie Miethke 3 artists
Nov 23, 1911 Exhibition of Pictures by Paul Cézanne (1839-1906) and Paul Gauguin (1848-1903) London Stafford Gallery 2 artists
Jun 19‒Jul 3, 1911 Exposition de peintures & d'aquarelles de Henri Edmond Cross & Paul Signac Paris Galerie Druet 2 artists
Oct 1911 Kunst unserer Zeit in Cölner Privatbesitz Cologne Wallraf-Richartz-Museum 7 artists
May 2‒Jun 7, 1910 Салон. Интернациональная выставка картин, скульптуры, гравюры и графики [Salon. Internaczionalʹnaya vy'stavka kartin, skulʹptury', gravyury' i grafiki : Salon. International Exhibition of Paintings, Sculpture, Prints and Drawings] Saint Petersburg Vladimir Izdebsky 10 artists
Jun 25‒Jul 20, 1910 Салон. Интернациональная выставка картин, скульптуры, гравюры и графики [Salon. Internaczionalʹnaya vy'stavka kartin, skulʹptury', gravyury' i grafiki : Salon. International Exhibition of Paintings, Sculpture, Prints and Drawings] Riga Vladimir Izdebsky 10 artists
Feb 26‒Mar 27, 1910 Салон. Интернациональная выстака картин, скульптуры, гравюры и рисунков [Salon. Internaczionalʹnaya vy'staka kartin, skulʹptury', gravyury' i risunkov : Salon. International Exhibition of Paintings, Sculpture, Prints and Drawings] Kiev Vladimir Izdebsky 11 artists
1913 Бубновый валет [Bubnovy'j valet : Jack of Diamonds] Saint Petersburg [Dom Shvedskoj Czerkvi] 4 artists
Sep 30‒Oct 18, 1907 X. Jahrgang. 1907/1908. I. Ausstellung. [Kollektionen Paul Cézanne, Curt Herrmann, Henri Matisse, Edvard Munch] Berlin Paul Cassirer 2 artists
Jul‒Aug 1905 Tentoonstelling van Schilderijen en Teekeningen door Vincent Van Gogh [Exhibition of Paintings and Drawings by Vincent van Gogh] Amsterdam Stedelijk Museum 2 artists
Mar 2‒4, 1907 Collection de M. George Viau Paris Galeries Durand-Ruel 3 artists
May 9‒12, 1914 Collection Roger Marx. Tableaux, Pastels, Dessins, Aquarelles, Sculptures Paris Galerie Manzi, Joyant 6 artists
May‒Jun 1913 Skupina výtvarných umělců. III. výstava [Skupina výtvarných umělců. III. Exhibition] Prague Obecní dům 2 artists
Mar‒Apr 1913 Kollektion Moderner Franzosen Vienna Galerie Arnot 3 artists
07/1913 - end/09/1913 [XV. Jahrgang. 1912/13. Zehnte Ausstellung. Sommerausstellung] Berlin Paul Cassirer 3 artists
Jan 1914 Moderne Franzosen Vienna Galerie Arnot 3 artists
Feb 17‒Mar 1, 1913 Exposition Annuelle, 2me Groupe Paris Galerie Druet 2 artists
19/01/1912 - end/02/1912 Französische Meister Vienna Galerie Miethke 2 artists
Mar‒Apr 15, 1908 Van Gogh. Gauguin. Munich Kunstsalon W. Zimmermann 2 artists
Dec 4‒30, 1906 Exposition de Peintures Paris Galerie B. Weill 2 artists
Jan 23‒Feb 26, 1912 Выставка Картин Общества Художников "Бубновый Валет" [Vy'stavka Kartin Obshhestva Khudozhnikov "Bubnovy'j Valet" : Exhibition of Paintings by "Jack of Diamonds Association of Artists"] Moscow Moscow (exact location unknown) 4 artists
Feb 9‒21, 1914 Exposition Annuelle, 2me Groupe Paris Galerie Druet 2 artists
Jan‒Feb 1914 Выставка Картин Общества Художников "Бубновый Валет" [Vy'stavka Kartin Obshhestva Khudozhnikov "Bubnovy'j Valet" : Exhibition of Paintings of the "Jack of Diamonds Association"] Moscow [Dom Levisson : Levisson House] 3 artists
Jan 12‒Feb 10, 1906 Peintures & Aquarelles Paris Galerie B. Weill 2 artists
Mar 1‒Apr 5, 1908 La Libre Esthétique, Salon Jubilaire Brussels Brussels (exact location unknown) 5 artists
Feb 5‒17, 1912 Exposition Annuelle, 2me Groupe Paris Galerie Druet 2 artists
Mar 4‒25, 1913 XV. Jahrgang. 1912-13. Sechste Ausstellung Berlin Paul Cassirer 2 artists
Feb 1‒Mar 31, 1914 Internationale Ausstellung in der Kunsthalle Bremen Bremen Kunsthalle Bremen 10 artists
Oct 24‒Dec 2, 1912 XV. Jahrgang. 1912-13. Erste Ausstellung. [Galerie-Ausstellung] Berlin Paul Cassirer 3 artists
Mar‒Jun 1913 Prima Esposizione Internazionale d'Arte della "Secessione" Rome Palazzo dell'Esposizone 9 artists
Oct‒Nov 1910 Ausstellung französischer Kunst des 18., 19. und 20. Jahrhunderts Leipzig Museum der bildenden Künste 6 artists
Sep‒Nov 1912 II. výstava Skupiny výtvarných umělců [II. Exhibition of the Skupina výtvarných umělců] Prague Obecní dům 2 artists
1911 XXII. Ausstellung der Berliner Secession Berlin Ausstellungshaus am Kurfürstendamm 208/9 7 artists
Oct‒Nov 1913 Eröffnungsausstellung. Kölnischer Kunstverein Cologne Gemäldegalerie des Kölnischen Kunstvereins 3 artists
Feb 10‒25, 1905 Première exposition d'Ensemble d'Intimistes (Peintres d'Intérieurs) Paris Galeries Henry Graves and Co Ltd. 2 artists
1912 XXIV. Ausstellung der Berliner Secession Berlin Ausstellungshaus am Kurfürstendamm 208/9 7 artists
Nov 1909 Eröffnungs-Ausstellung November 1909. Moderne Galerie München Munich Moderne Galerie (Heinrich Thannhauser) 3 artists
1906 Elfte Ausstellung der Berliner Secession Berlin Ausstellungshaus am Kurfürstendamm 208/9 6 artists
May 4‒Jun 25, 1913 A Művészház nemzetközi Postimpresszionista kiállitása [International Post-Impressionist Exhibition in the Művészház] Budapest Művészház 3 artists
Feb 1912 Die zweite Ausstellung der Redaktion. Der Blaue Reiter. Schwarz-Weiss Munich Hans Goltz 2 artists
Jan‒Feb 1914 Ausstellung Preis-Konkurrenz C.R. [Carl Reininghaus]. Werke der Malerei Vienna Kunstsalon Pisko 2 artists
Nov 7‒Dec 8, 1913 Moderne Kunst Kring (Cercle de l'Art Moderne) Amsterdam Stedelijk Museum 2 artists
May‒Jun 1914 46. výstava S.V.U. Manes v Praze (členská) [46. (Member's) Exhibition of the Union of Fine Artists Manes in Prague] Prague [Pavilion in Kinsky Garden] 2 artists
Oct 18‒Nov 25, 1905 Salon d'Automne. 3e Exposition Paris Grand Palais des Champs Elysées 17 artists
Oct 6‒Nov 15, 1906 Salon d'Automne. 4e Exposition Paris Grand Palais des Champs Elysées 16 artists
Apr 1909 Achtzehnte Ausstellung der Berliner Secession Berlin Ausstellungshaus am Kurfürstendamm 208/9 5 artists
1915 Sammlung Walden. Gemälde, Zeichnungen, Plastiken Berlin Der Sturm [venues] 2 artists
1910 Katalog-Auszug eines Teiles der im Besitze der Modernen Galerie befindlichen Werke Munich Moderne Galerie (Heinrich Thannhauser) 3 artists
Nov 20‒Dec 16, 1911 Exposition d'Art Contemporain / Société Normande de Peinture Moderne 2me exposition Paris Galerie d'Art Ancien & d'Art Contemporain 2 artists
Apr 12‒Sep 30, 1914 Erste Ausstellung der Freien Secession Berlin Berlin Ausstellungshaus am Kurfürstendamm 208/9 5 artists
1908 Fünfzehnte Ausstellung der Berliner Secession Berlin Ausstellungshaus am Kurfürstendamm 208/9 4 artists
Apr 1910 Zwanzigste Ausstellung der Berliner Secession Berlin Ausstellungshaus am Kurfürstendamm 208/9 4 artists
Feb‒Jun 1915 Terza esposizione Internazionale d'Arte della "Secessione" Rome Palazzo dell'Esposizone 6 artists
Jul‒Sep 1907 Salon des Beaux-Arts d'Ostende Ostend Casino Kursaal Oostende 2 artists
Nov 27, 1909‒Jan 9, 1910 Neunzehnte Ausstellung der Berliner Secession. Zeichnende Künste Berlin Ausstellungshaus am Kurfürstendamm 208/9 3 artists
May 16‒Oct 31, 1911 Internationale Kunstausstellung der Münchener Secession Munich Königliches Kunstausstellungsgebäude am Königsplatz 4 artists
Nov‒Dec 1911 Exposition Internationale de l'Art Chrétien Moderne / Organisée par la Société de Saint-Jean Paris Palais du Louvre - Pavillon de Marsan 3 artists
Dec 6, 1907‒Jan 5, 1908 Vierzehnte Ausstellung der Berliner Secession, Zeichnende Künste Berlin Paul Cassirer 3 artists
Dec 1906 Zwölfte Kunstausstellung der Berliner Secession. Zeichnende Künste Berlin Paul Cassirer 2 artists
Dec 7‒30, 1906 [IX. Jahrgang. III. Ausstellung. Schwarz-Weiss Ausstellung der Berliner Secession] Berlin Paul Cassirer 2 artists
Nov‒Dec 1905 XXIV. Ausstellung der Vereinigung Bildender Künstler Österreichs Secession Vienna Gebäude der Secession 2 artists
May 1‒31, 1907 Ausstellung französischer Kunstwerke Stuttgart Museum der bildenden Künste 2 artists
Mar 2‒Apr 2, 1907 L'Exposition d'Art Français Contemporain au Chateau Des Rohan Strasbourg Chateau des Rohan 2 artists
1907 Dreizehnte Ausstellung der Berliner Secession Berlin Ausstellungshaus am Kurfürstendamm 208/9 2 artists
May 1‒Oct 20, 1907 Internationale Kunstausstellung Mannheim Mannheim Kunsthalle Mannheim 4 artists
Oct 1‒Nov 8, 1908 Salon d'Automne. 6e Exposition Paris Grand Palais des Champs Elysées 3 artists
1913 Exposition Universelle et Internationale de Gand en 1913: Groupe II. Beaux-Arts: Œuvres modernes. Ghent Exposition universelle de Gand 10 artists
Feb 17‒Apr 15, 1906 Internationale Kunstausstellung Bremen Bremen Kunsthalle Bremen 3 artists
1912 Sommaire des Peintures et Sculptures de l'École Contemporaine exposées dans les Galeries du Musée National du Luxembourg Paris Musée National du Luxembourg 5 artists
Feb‒Jun 1914 Seconda Esposizione Internazionale d'Arte "della Secessione". Rome Palazzo dell'Esposizone 2 artists
May 9‒Nov 2, 1914 Exposition Générale des Beaux-Arts / Salon Triennale Brussels Palais du Cinquantenaire 2 artists
Apr 22‒Oct 31, 1907 VII. Esposizione Internazionale d’Arte della Città di Venezia Venice Giardini Pubblici 2 artists
Organizing Committee
"HONORARY COMMITTEE
THE RT. HON. THE EARL OF PLYMOUTH, P.C., C.B.
THE RT. HON. LORD RIBBLESDALE, P.C., J.P.
THE RT. HON. LEWIS HARCOURT, M.P., P.C.
SIR CHARLES HOLROYD
(Director of the National Gallery.)
SIR EDGAR VINCENT, K.C.M.G.
CLAUDE PHILLIPS, ESQ.
(Keeper of the Wallace Collection.)
HERBERT COOK, ESQ., F.S.A.
JAMES PATON, ESQ.
(Director of the Glasgow Art Gallery.)
JAMES CAW, ESQ.
(Director of the Scottish National Gallery.)
WHITWORTH WALLIS, ESQ., F.S.A.
(Birmingham Art Gallery.)
COUNT KESSLER
PRINCESS VON WREDE
MADAME COHEN GOSSCHALK BONGER
WALTER BUTTERWORTH, ESQ.
CLIVE BELL, ESQ.
M. PAUL LEPRIEUR
(Keeper of the Louvre Pictures.)
LE COMTE ROBERT DE MOTESQUIOU-FEZENSAC
M. ALPHONSE KANN
M. THÉODORE DURET
M. BERNHEIM JEUNE
M. AUGUSTE PELLERIN
M. OCTAVE MIRBEAU

*The ladies and gentlemen on the Honorary Committee, though they are
not responsible for the choice of the pictures, by lending their names have
been kind enough to give this project their general support.


EXECUTIVE COMMITTEE

ROGER FRY, ESQ.
LIONEL CUST, ESQ., M. V. O.
(Keeper of the King's Pictures.)
PROFESSOR HOLMES
(Director of the National Portrait Gallery.)
LADY OTTOLINE MORRELL
LORD HENRY BENTINCK
DR. MEYER RIEFSTAHL (MUNICH)
ROBERT DELL, ESQ. (PARIS)

Secretary.
DESMOND MACCARTHY, ESQ."
Opening Hours
10am - 6pm
Catalogue
Manet and the Post-Impressionists. Ballantyne & Company Ltd. 1910.
Nr. of pages: 38 [PDF page number 48].
Holding Institution: online: archive.org
Catalogue Price
1
Preface
[no author]: The Post-Impressionists, p. 7-13

"THE POST-IMPRESSIONISTS

THE pictures collected together in the present Exhibi-
tion are the work of a group of artists who cannot be
defined by any single term. The term "Synthesists,"
which has been applied to them by learned criti-
cism, does indeed express a quality underlying their
diversity; and it is the principal business of this
introduction to expand the meaning of that word,
which sounds too like the hiss of an angry gander
to be a happy appellation. As a definition it has
the drawback that this quality, common to all, is not
always the one most impressive in each artist. In
no school does individual temperament count for more.
In fact, it is the boast of those who believe in this
school, that its methods enable the individuality of the
artist to find completer self-expression in his work than
is possible to those who have committed themselves to
representing objects more literally. This, indeed, is
the first source of their quarrel with the Impressionists:
the Post-Impressionists consider the Impressionists
too naturalistic.
Yet their own connection with Impressionism is
extremely close; Cézanne, Gauguin and Van Gogh all
learnt in the Impressionist school. There are pictures
on the walls by these three artists, painted in their
earlier years, which at first strike the eye as being more
impressionist than anything else; but, nevertheless,
the connection of these artists with the Impressionists
is accidental rather than intrinsic.
By the year 1880 the Impressionists had practically
won their battle; nor is it likely any group of artists
will ever have to fight so hard a one again. They have
conquered for future originality, if not the right of a
respectful hearing, at least of a dubious attention. By
1880 they had convinced practically everybody whose
opinion counted, that their methods and ideas were at
any rate those of artists, not those of cranks and charlatans.
About this date the reaction against Impressionism,
which this Exhibition represents, began to be distinctly
felt. The two groups had one characteristic in
common: the resolve of each artist to express his own
temperament, and never to permit contemporary ideals
to dictate to him what was beautiful, significant, and
worthy' to be painted. But the main current of Im-
pressionism lay along the line of recording hitherto
unrecognised aspects of objects; they were interested
in analysing the play of light and shadow into a multi-
plicity of distinct colours; they refined upon what was
already illusive in nature. In the pictures of Seurat,
Cross, and Signac here exhibited, this scientific interest
in the representation of colour is still uppermost; what
is new in these pictures is simply the method of
representing the vibration of light by painting
objects in dots and squares. The Post-Impressionists
on the other hand were not concerned with re-
cording impressions of colour or light. They were
interested in the discoveries of the Impressionists only
so far as these discoveries helped them to express
emotions which the objects themselves evoked;
their attitude towards nature was far more independent,
not to say rebellious. It is true that from the earliest
times artists have regarded nature as "the mistress of
the masters"; but it is only in the nineteenth century
that the close imitation of nature, without any conscious
modification by the artist, has been proclaimed as a
dogma. The Impressionists were artists, and their
imitations of appearances were modified, consciously and
unconsciously, in the direction of unity and harmony;
being artists they were forced to select and arrange. But
the receptive, passive attitude towards the appearances
of things often hindered them from rendering their real
significance. Impressionism encouraged an artist to
paint a tree as it appeared to him at the moment
under particular circumstances. It insisted so much
upon the importance of his rendering this exact
impression that his work often completely failed to
express a tree at all; as transferred to canvas it was
just so much shimmer and colour. The "treeness" of
the tree was not rendered at all; all the emotion and
associations such as trees may be made to convey in
poetry were omitted.
J
This is the fundamental cause of difference between
the Impressionists and the group of painters whose
pictures hang on these walls. They said in effect to
the Impressionists: "You have explored nature in
every direction, and all honour to you; but your
methods and principles have hindered artists from
exploring and expressing that emotional significance
which lies in things, and is the most important subject
matter of art. There is much more of that significance
in the work of earlier artists who had not a tenth part
of your skill in representing appearance. We will
aim at that; though by our simplification or nature
we shock and disconcert our contemporaries, whose
eyes are now accustomed to your revelations, as much
as you originally disconcerted your contemporaries by
your subtleties and complications." And there is no
denying that the work of the Post-Impressionists is
sufficiently disconcerting. It may even appear ridicu-
lous to those who do not recall the fact that a good
rocking-horse often has more of the true horse about it
than an instantaneous photograph of a Derby winner.
The artists who felt most the restraints which the
Impressionist attitude towards nature imposed upon
them, naturally looked to the mysterious and isolated
figure of Cézanne as their deliverer. Cézanne him-
self had come in contact with Manet and his art is
derived directly from him. Manet, it is true, is also
regarded as the father of Impressionism. To him Im-
pressionism owes much of its power, interest and
importance. He was a revolutionary in the sense that
he refused to accept the pictorial convention of his
time. He went back to seventeenth-century Spain
for his inspiration. Instead of accepting the convention
of light and shade falling upon objects from the side
he chose what seemed an impossibly difficult method
of painting, that of representing them with light falling
full upon them. This led to a very great change in the
method of modelling, and to a simplification of planes in
his pictures which resulted in something closely akin to
simple linear designs. He adopted, too, hitherto un-
known oppositions of colour. In fact he endeavoured
to get rid of chiaroscuro.
Regarded as a hopeless revolutionary, he was natura[ll]y
drawn to other young artists, who found themselves in
the same predicament; and through his connection with
them and with Monet he gradually changed his severe,
closely constructed style for one in which the shifting,
elusive aspects of nature were accentuated. In this
way he became one of the Impressionists and in hi^
turn influenced them. Cézanne, however, seized upon
precisely that side of Manet which Monet and
the other Impressionists ignored. Cézanne, when
rendering the novel aspects of nature to which
Impressionism was drawing attention, aimed first at a
design which should produce the coherent, architectural
effect of the masterpieces of primitive art. Because
Cézanne thus showed how it was possible Lo pass from the
complexity of the appearance of things to the geo
metrical simplicity which design demands, his art has
appealed enormously to later designers. They recognise
in him a guide capable of leading them out of the cul de
sac into which naturalism had led them. Cézanne himself
did not use consciously his new-found method of expres-
sion to convey ideas and emotions. He appealed first and
foremost to the eye, and to the eye alone. But the
path he indicated was followed by two younger artists,
Van Gogh and Gauguin with surprising results. Van
Gogh's morbid temperament 'forced him to express
,in paint his strongest emotions, and in the methods of
Cézanne he found a means of conveying the wildest
and strangest visions conceived by any artist of our
time. Yet he, too, accepts in the main the general
appearance of nature; only before every scene and
every object he searches first for the quality which
originally made it appeal so strangely to him: that he
is determined to record at any sacrifice.
Gauguin is more of a theorist. He felt that while
modern art had opened up undiscovered aspects of
nature, it had to a great extent neglected the funda-
mental laws of abstract form, and above all had failed
to realise the power which abstract form and colour can
exercise over the imagination of the spectator. He
deliberately chose, therefore, to become a decorative
painter, believing that this was the most direct way of
impressing upon the imagination the emotion he wished
to perpetuate. In his Tahitian pictures by extreme
simplification he endeavoured to bring back into modern
painting the significance of gesture and movement
characteristic of primitive art.
The followers of these men are pushing their ideas
further and further. In the work of Matisse, especially,
this search for an abstract harmony of line, for rhythm,
has been carried to lengths which often deprive the
figure of all appearance of nature. The general effect
of his pictures is that of a return to primitive, even
perhaps of a return to barbaric, art. This is inevitably
disconcerting; but before dismissing such pictures as
violently absurd, it is fair to consider the nature of the
problem which the artist who would use abstract design
as his principle of expression, has to face. His relation
to a modern public is peculiar. In the earliest ages of
art the artist's public were able to share in each successive
triumph of his skill, for every advance he made was
also an advance towards a more obvious representation
of things as they appeared to everybody. Primitive
art, like the art of children, consists not so much in an
attempt to represent what the eye perceives, as to put
a line round a mental conception of the object. Like
the work of the primitive artist, the pictures children
draw are often extraordinarily expressive. But what
delights them is to find they are acquiring more and
more skill in producing a deceptive likeness of the
object itself. Give them a year of drawing lessons and
they will probably produce results which will give
the greatest satisfaction to them and their relations;
but to the critical eye the original expressiveness will
have vanished completely from their work.
The development of primitive art (for here we are
dealing with men and not children) is the gradual ab-
sorption of each newly observed detail into an already
established system of design. Each new detail is
hailed with delight by their public. But there comes a
point when the accumulations of an increasing skill in
mere representation begin to destroy the expressive-
ness of the design, and then, though a large section of
the public continue to applaud, the artist grows uneasy.
He begins to try to unload, to simplify the drawing and
painting, by which natural objects are evoked, in order
to recover the lost expressiveness and life. He aims at
synthesis in design; that is to say, he is prepared to
subordinate consciously his power of representing the
parts of his picture as plausibly as possible, to the
expressiveness of his whole design. But in this retro-
gressive movement he has the public, who have become
accustomed to extremely plausible imitations of nature,
against him at every step; and what is more, his own
self-consciousness hampers him as well.
The movement in art represented in this exhibition
is widely spread. Although, with the exception of the
Dutchman, Van Gogh, all the artists exhibited are
Frenchmen, the school has ceased to be specifically a
French one. It has found disciples in Germany,
Belgium, Russia, Holland, Sweden. There are
Americans, Englishmen and Scotchmen in Paris who
are working and experimenting along the same lines.
But the works of the Post- Impressionists are hardly
known in England, although so much discussed upon the
Continent. The exhibition organised by Mr. Robert
Dell at Brighton last year has been our only chance
of seeing them. The promoters of this exhibition
have therefore thought it would be interesting to
provide an opportunity for a greater number to judge
these artists. The ladies and gentlemen on the
Honorary Committee, though they are not responsible
for the choice of the pictures, by lending their names
have been kind enough to give this project their
general support."
Catalogue Structure
"The Post Impressionists, p. 7-13
"Bronze and Pottery" (End Gallery), cat. no. 1-22, p. 36-38
Additional Information
Catalogue Structure altered
Other Mediums listed

+Gender Distribution (Pie Chart)

+Artists’ Age at Exhibition Start(Bar Chart)

+Artists’ Nationality(Pie Chart)

+Exhibiting Cities of Artists(Pie Chart)

+Types of Work(Pie Chart)

+Catalogue Entries by Nationality(Pie Chart)

Name Date of Birth Date of Death Nationality # of Cat. Entries
Edouard Manet 1832 1883 FR 7
Paul Cézanne 1839 1906 FR 22
Paul Gauguin 1848 1903 FR 32
Jules Leon Flandrin 1871 1947 FR 6
Pablo Picasso 1881 1973 ES 9
Maurice Denis 1870 1943 FR 19
Vincent van Gogh 1853 1890 NL 21
Paul Signac 1863 1935 FR 6
Georges Seurat 1859 1891 FR 2
Henri Edmond Cross 1856 1910 FR 2
Henri Matisse 1869 1954 FR 15
Othon Friesz 1879 1949 FR 7
Henri Charles Manguin 1874 1949 FR 4
Odilon Redon 1840 1916 FR 3
Paul Sérusier 1864 1927 FR 5
Auguste Herbin 1882 1960 FR 4
Louis Valtat 1869 1952 FR 1
Pierre Laprade 1875 1931 FR 8
Félix Vallotton 1865 1925 CH 4
Maurice de Vlaminck 1876 1958 FR 8
Albert Marquet 1875 1947 FR 5
André Derain 1880 1954 FR 3
Jean Puy 1876 1960 FR 1
Georges Rouault 1871 1958 FR 6
Pierre Paul Girieud 1876 1948 FR 8
Aristide Maillol 1861 1944 FR 3
Recommended Citation: "Manet and the Post-Impressionists." In Database of Modern Exhibitions (DoME). European Paintings and Drawings 1905-1915. Last modified Oct 29, 2019. https://exhibitions.univie.ac.at/exhibition/324