End Notes

Renoir’s Le Pont Neuf: Everyday life in Paris in the wake of twin disasters

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[1] Theodore Reff, Manet and Modern Paris, NGA, Washington, 1982, at 42

[2] Reff, op cit at 42

[3] Colin B Bailey & Ors, ‘Renoir Landscapes 1865 – 1883’ (Exhibition Catalogue), National Gallery, London, 2007, at 112ff

[4] Strictly, the term “Impressionist” did not actually apply until 1874, when their first independent exhibition was held. For more details of that exhibition, see: Philip McCouat, “The Adventures of Nadar” Journal of Art in Society (2016) 

[5] Christopher Riopelle, “Renoir in the City”, in Bailey & Ors, op cit at 42

[6] As reported some years later at J Rewald, “Auguste Renoir and his brother”, Gazette des Beaux Artes, XXVI 1 3 (1945) 171 at 281

[7] Reff, op cit at 42

[8] Shelley Rice, Parisian Views, MIT Cambridge, 1977, at 70

[9] It’s possible that this dual character was posed by brother Edmond: see Bailey, op cit, footnote 8

[10] Riopelle, op cit at 33

[11] Philip McCouat, “Exploring Gustave Caillebotte’s Paris Street, Rainy Day”, Journal of Art in Society (2023) 

[12] For example, working in shops: Nancy Britten, “The Haussmann Reconstruction”, Retrospect Journal, 1/4/2024 

[13] Moicani, “Paris before the Works of Baron Haussmann”, Moicani - L’Odénie, 2/2/2015 

[14] Riopelle, op cit at 37

[15] Riopelle, op cit at 38

[16] Riopelle, op cit at 46

[17] Riopelle, op cit at 46

[18] Sebastian Smee, Paris in Ruins, Text Publishing, Melbourne, 2024, at 195ff. Karl Marx and Friedrich Engels would later describe the Paris Commune as the first example of “the dictatorship of the proletariat”

[19] Archibald Forbes, “The Suppression of the Paris Commune”, Daily News, 29 May 1871, reproduced in John Carey (ed), Eyewitness to History, Avon Books, New York 1987, at 386-87

[20] Jean Renoir, Renoir, My Father, Fontana, 1963, at 127

[21] Jean Renoir, op cit at 38

[22] Smee, op cit at 301.

© Philip McCouat, 2026

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