End notes
Julie Manet, Renoir and the Dreyfus Affair
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[1] Rosalind de Boland Roberts and Jane Roberts, Growing up with the Impressionists: the Diary of Julie Manet, Sotheby’s Publications, London, 1987, at 29.
[2] Roberts, op cit at 9.
[3] Roberts, op cit.
[4] For excellent accounts of the Affair, see Piers Paul Read, The Dreyfus Affair, Bloomsbury, London, 2012; Ruth Harris, The Man on Devil’s Island: Alfred Dreyfus and the Affair that Divided France, Penguin Books. London, 2010. Reference may also be made to Louis Begley, Why the Dreyfus Affair Matters, Yale University Press, New Haven, 2009; and Frederick Brown, For the Soul of France: Culture Wars in the Age of Dreyfus, Alfred A Knopf, New York, 2011. For an historical thriller based on the Affair, see Robert Harris' An Officer and a Spy, Hutchinson, 2013.
[5] See generally Ruth Harris, op cit at 59ff.
[6] Ruth Harris, op cit at 34, 35.
[7] Ruth Harris, op cit, ch 7. Bizarrely, a violent difference of opinion over the Dreyfus Affair also led indirectly to the creation of the Tour de France bicycling race: see Hugh Dauncey and Geoff Hare, The Tour de France, 1903-2003, Routledge, 2013.
[8] Ruth Harris, op cit ch 5.
[9] Toulouse-Lautrec, with a rabidly anti-Dreyfus father, but many Jewish friends, appears to have adopted a studiously neutral position and accepted commissions to illustrate books representing opposing points of view -- Georges Clemenceau's pro-Jewish book Au Pied du Sinaï (1898) and the anti-Semitic Victor Joze's The Tribe of Isidore (1897): see Julia Frey, Toulouse-Lautrec: A Life, Weidenfeld and Nicholson, London, 1994, at 396-9.
[10] Linda Nochlin, The Politics of Vision: Essays on 19th Century Art and Society, Harper and Row, New York, 1989, ch 8; John Richardson, “Degas and the Dancers”, Vanity Fair, October 2002, accessed at http://www.vanityfair.com/culture/features/2002/10/degas200210 (July 2012)
[11] Jean Renoir, Renoir, My Father (transl Randolph and Dorothy Weaver) Collins Fontana Books, London, 1963.
[12] Renoir, op cit at 242.
[13] Renoir, op cit at 243.
[14] Roberts, op cit at 124.
[15] Roberts, op cit at 124.
[16] Roberts, op cit at 127, 129, 182. This comment is directed at Jewish collectors such as Charles Ephrussi, a patron of Renoir himself, who also bought Moreau's works: see also Edmund de Waal, The Hare with Amber Eyes, Windsor Paragon, 2010 ch 9
[17] Roberts, op cit at 24.25.
[18] Roberts, op cit at 152.
[19] Roberts, op cit at 121 (emphasis added).
[20] Roberts, op cit at 162 (emphasis added), 165.
[21] Roberts, op cit at 175, 183.
[22] Roberts, op cit at 129
.
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Mode of citation: Philip McCouat, "Julie Manet, Renoir and the Dreyfus Affair", Journal of Art in Society, www.artinsociety.com
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[1] Rosalind de Boland Roberts and Jane Roberts, Growing up with the Impressionists: the Diary of Julie Manet, Sotheby’s Publications, London, 1987, at 29.
[2] Roberts, op cit at 9.
[3] Roberts, op cit.
[4] For excellent accounts of the Affair, see Piers Paul Read, The Dreyfus Affair, Bloomsbury, London, 2012; Ruth Harris, The Man on Devil’s Island: Alfred Dreyfus and the Affair that Divided France, Penguin Books. London, 2010. Reference may also be made to Louis Begley, Why the Dreyfus Affair Matters, Yale University Press, New Haven, 2009; and Frederick Brown, For the Soul of France: Culture Wars in the Age of Dreyfus, Alfred A Knopf, New York, 2011. For an historical thriller based on the Affair, see Robert Harris' An Officer and a Spy, Hutchinson, 2013.
[5] See generally Ruth Harris, op cit at 59ff.
[6] Ruth Harris, op cit at 34, 35.
[7] Ruth Harris, op cit, ch 7. Bizarrely, a violent difference of opinion over the Dreyfus Affair also led indirectly to the creation of the Tour de France bicycling race: see Hugh Dauncey and Geoff Hare, The Tour de France, 1903-2003, Routledge, 2013.
[8] Ruth Harris, op cit ch 5.
[9] Toulouse-Lautrec, with a rabidly anti-Dreyfus father, but many Jewish friends, appears to have adopted a studiously neutral position and accepted commissions to illustrate books representing opposing points of view -- Georges Clemenceau's pro-Jewish book Au Pied du Sinaï (1898) and the anti-Semitic Victor Joze's The Tribe of Isidore (1897): see Julia Frey, Toulouse-Lautrec: A Life, Weidenfeld and Nicholson, London, 1994, at 396-9.
[10] Linda Nochlin, The Politics of Vision: Essays on 19th Century Art and Society, Harper and Row, New York, 1989, ch 8; John Richardson, “Degas and the Dancers”, Vanity Fair, October 2002, accessed at http://www.vanityfair.com/culture/features/2002/10/degas200210 (July 2012)
[11] Jean Renoir, Renoir, My Father (transl Randolph and Dorothy Weaver) Collins Fontana Books, London, 1963.
[12] Renoir, op cit at 242.
[13] Renoir, op cit at 243.
[14] Roberts, op cit at 124.
[15] Roberts, op cit at 124.
[16] Roberts, op cit at 127, 129, 182. This comment is directed at Jewish collectors such as Charles Ephrussi, a patron of Renoir himself, who also bought Moreau's works: see also Edmund de Waal, The Hare with Amber Eyes, Windsor Paragon, 2010 ch 9
[17] Roberts, op cit at 24.25.
[18] Roberts, op cit at 152.
[19] Roberts, op cit at 121 (emphasis added).
[20] Roberts, op cit at 162 (emphasis added), 165.
[21] Roberts, op cit at 175, 183.
[22] Roberts, op cit at 129
.
© Copyright Philip McCouat 2012, 2013, 2014
Mode of citation: Philip McCouat, "Julie Manet, Renoir and the Dreyfus Affair", Journal of Art in Society, www.artinsociety.com
We welcome your comments on this article
Back to Home