62 An example of such a pornographic image is A. Renoir, A. Sis ley, sale catalogue (Paris, a small oil painting, attributed to Achille Hotel Drouot, 24 March 1875), reprinted in Deveria, entitled The Interrupted Walk in Denys Riout, ed., Les Rcrivains devant the Woods (Hamburg, Museum des ero- rimpressionnisme (Paris, 1989), pp. 47-49. tischen Kunst). See Museum der erotischen 72 The caricature by Bertall [Charles-Albert Kunst, Five Hundred Years of Erotic Art d'Arnoux], first published in Le Journal (Hamburg, 1992), pp. 76-77. amusant(2\ May 1870), is reproduced in 63 Zacharie Astruc interpreted the picture in Rewald, The History of Impressionism, terms of expectation; see Astruc, "Salon de p. 196. 1868 aux Champs-Elysees." 73 See Marcel Crouzet, Un Meconnu du 64 Alphonse de Calonne, "Beaux-Arts: Salon Realisme: Duranty (Paris, 1964), pp. 234-58, de 1853," Revue contemporalne 8 (i June 287-97. 1853), P- 153- 74 Renoir, Renoir, p. 64. 65 See, for example, Alfred Delvau, Les 75 Renoir's father was a tailor, whose trade was Plalslrs de Paris: Guide pratique et illustre threatened by mechanization, and Renoir's (Paris, 1867), pp. 193-94, 263-67. own first trade, as a porcelain painter, was 66 Letter from Monet to Bazille, 25 September undermined by the development of 1869, in Wildenstein, Monet, vol. I, p. 427, machine-made products. For further discus- letter 53. sion of his social background, see John 67 Philippe Burty, "Le Salon: X," Le Rappel House, "Renoir's Worlds," in Renoir (19%$), (15 June 1870). pp. 11-18. 68 Astruc, "Salon de 1868 aux Champs- 76 Ibid., pp. 11-13. Elysees"; Castagnary, Salons (1857-1879), 77 See Jerrold Seigel, Bohemian Paris: Culture, vol. i, p. 313. Politics and the Boundaries of Bourgeois 69 Zacharie Astruc, "Le Salon de 1870—4e Life, 1830-1930 (New York, 1986). For a journee," L'Echo des beaux-arts (29 May contemporary anatomy of the "bohemian" 1870); Philippe Burty, "Le Salon, III: Les position, see Paris-Boheme, par les auteurs Portraitistes," Le Rappel (11 May 1870); des Memoires de Bilboquet [i.e., Taxile Duranty, "Le Salon de 1870: III." Delord, Arnould Fremy, and Edmond Texier] (Paris, 1854). 70 For the seminal discussion of the subjectiv- 78 Renoir, Renoir, pp. 68, 179. ity of the sensation and the impression, see Richard Shiff, Cezanne and the End of 79 Georges Riviere, "Les Enfants dans 1'oeuvre Impressionism (Chicago, 1984), especially et la vie de Cezanne et de Renoir," LArt pp. 14-26, 187-94. vivant(\ September 1928), p. 673. 71 Philippe Burty's preface to the catalogue 80 Philippe Burty, "Les Peintures de M. P. of the auction sale organized by Renoir Renoir," La Republique fran^aise (15 April and some of his colleagues in March 1875 1883). (the nearest thing to a manifesto for the 81 For details of these titles, see Renoir (1985), Impressionist group) emphasizes the rela- pp. 235-38. tionship between their "rapid and subtly colored" handling and their view of the 82 Georges Besson, Renoir (Paris, 1929), p. 4. world, "like small fragments of the mirror of 83 See John House, "Renoir and the Earthly universal life [la vie universelle\'; see Paradise," Oxford Art Journal'8, no. 2 Philippe Burty, preface to Tableaux et (1985), pp. 21-27. aquarelles par Claude Monet, Eerthe Morisot, 8 4