York, 1996), p. 85, that the models for La tionally been identified as the painter Promenade were Claude Monet and his Alfred Sisley and his fiancee, but it has companion, Camille Doncieux. However, recently been suggested that this was the the man, clearly beardless, bears little painting put on show at Carpentier's and resemblance to Monet, who was already that the female model was Lise Trehot (see fully bearded by 1870, and the features of Renoir [1985], pp. 188-89). However, since the woman are not indicated with enough the scene is presented as a genre painting, precision for her to be securely identified not a portrait, the identity of the models is as Camille. Lise was the model for virtually less significant than the roles they play. all of Renoir's female figures at this time. 19 On auctions, see John House, "Framing the 13 Marius Chaumelin, "Salon de 1870: VII," Landscape," ^Landscapes of France/ La Presse (17 June 1870). He also compared Impressions of France, exh. cat. (London, the picture with Courbet's "celebrated Hayward Gallery, and Boston, Museum of Bathing Woman'' presumably referring to Fine Arts, 1995), p. 26. the Montpellier Bathing Women. 20 On Deforge, see Nancy Davenport, 14 On the parodic aspects of Courbet's Salon "Armand-Auguste Deforge, an Art Dealer paintings, see John House, "Courbet and in Nineteenth-Century Paris and 'La Salon Politics," Art in America (May 1989), Peinture de Fantaisie,'" Gazette des beaux- pp. 160-72, 215. arts 101 (February 1983), pp. 81-88 (on 15 Zacharie Astruc, "Salon de 1868 aux Carpentier, see pp. 84, 88, note 8). Champs-Elysees: Le grand style—II," 21 Robert L. Herbert, in Impressionism: Art, LEtendard (27 June 1868). Leisure, and Parisian Society (New Haven 16 Paul Mantz, "Salon de 1868: I," and London, 1988), pp. 190-92, has noted L Illustration (9 May 1868), p. 299. the eighteenth-century echoes in paintings such as La Promenade. 17 Pictures subtitled "study" (etude] were 22 Theophile Gautier, "La Rue Laffitte," unusual but not unknown at the Salon in L Artiste (3 January 1858), p. 10. these years. Two examples will show how differently the term might be used. In 1863 23 Letter from Bonvin to Martinet, 22 April Jean-Baptiste-Camille Corot exhibited two 1861, in Etienne Moreau-Nelaton, Bonvin small, informal landscapes, Etude a Ville- raconte par lui-meme (Paris, 1927), d'Avray and Etude a Mery, together with a pp. 58-59. picture titled Soleil couchant; in 1868 Jules 24 See letters from Boudin to his brother, Lefebvre showed an elaborately finished 8 December 1866, and to M. Martin, canvas of a reclining nude as Femme couchee; 18 January 1869, in G. Jean-Aubry, Eugene etude, presumably because the picture was a Boudin d'apres des documents inedits (Paris, modern life subject without any mythologi- 1922), pp. 63, 72. cal references (reproduced, although without reference to its appearance at the 25 For the Monet, see Tinterow and Loyrette, 1868 Salon, in Hollis Clayson, Painted Origins of Impressionism, p. 440; for Love: Prostitution in French Art of the Pissarro's The Versailles Road at Impressionist Era [New Haven and London, Louveciennes, purchased by the American I99i], P- 36). agent George Lucas from Martin in January 18 Letter from Renoir to Bazille, autumn 1869, 1870, see Pissarro, exh. cat. (London, in Gaston Poulain, Bazille et ses amis (Paris, Hayward Gallery, and Boston, Museum of 1932), pp. 156-57. The Engaged Couplewas Fine Arts, 1980), p. 80. so titled on its first exhibition early in the 26 See John House, Monet: Nature into Art twentieth century. The models have tradi- (New Haven and London, 1986), pp. 40-43. 81