NOTES 1 The painting was lot 33 in the sale of of Fine Arts and Hartford, Wadsworth Gustave Goupy at the Hotel Drouot, Paris, Atheneum, 1984), especially pp. 99-101. 30 March 1898, and was purchased by 7 See Patricia Mainardi, Art and Politics of the Durand-Ruel for 1,050 francs. He sold it Second Empire: The Universal Exhibitions for 12,000 francs to the Berlin dealer Paul of 1855 and 1867 (New Haven and London, Cassirer in 1908. The work passed through the hands of the collector Bernhard Kohler, 1987), pp. 154-74, I87-93- the dealer Paul Rosenberg, the collectors 8 Olivier Merson, La Peinture en France: Nate B. and Frances Spingold, and the Exposition de 1861 (Paris, 1861), pp. Seito Collection before its acquisition by 229-30. For similar verdicts, see Maxime the British Rail Pension Fund in London in du Camp, Le Salon de 1857 (Paris, 1857), the late 19705. The picture was placed p. 51; Ernest de Toytot, "L'Art independant on loan at the National Gallery of Scotland, et le Salon de peinture en 1866," Le Edinburgh, for a number of years before Contemporain (May 1866), p. 917; Ernest being sold by the Pension Fund at Sotheby's, Chesneau, Les Nations rivales dans I'art London, on 4 April 1989, lot 6; the J. Paul (Paris, 1868), pp. 241-44; Raoul de Navery, Getty Museum was the purchaser. Le Salon de 1868 (Paris, 1868), p. 5. 2 Renoir Centennial Loan Exhibition, exh. cat. 9 Marius Chaumelin, "Salon de 1868: V," (New York, Duveen Galleries, 1941), p. 119. La Presse (29 June 1868). 3 Ambroise Vollard, La Vie et I'oeuvre de 10 This was first identified by Anne Distel Pierre-Auguste Renoir (Paris, 1918), in Renoir, exh. cat. (London, Hayward reprinted in Ambroise Vollard, En ecoutant Gallery, and Boston, Museum of Fine Arts, Cezanne, Degas, Renoir (Paris, 1938); Jean 1985), pp. 179-80. Renoir, Renoir (Paris, 1962). All translations 11 Barbara Ehrlich White, in Renoir: His Life, are by the author. Art and Letters (New York, 1984), pp. 4 The classic account is John Rewald, The 36-37, has suggested that this work should History of Impressionism, 4th ed. (New York be seen as a pair to Woman of Algiers, a can- and London, 1973); for a recent presenta- vas of virtually the same size. However, the tion of much the same selection of paint- tonality of the two is markedly different, ings, see Gary Tinterow and Henri and the technique of A Nymph by a Stream Loyrette, Origins of Impressionism, may suggest a date of circa 1871-72 (on this, exh. cat. (New York, Metropolitan Museum see John House, Renoir: Master of Art, 1994). Impressionist, exh. cat. [Queensland Art 5 For a strongly argued recent presentation of Gallery/Art Exhibitions Australia Limited, this view, see Michael Fried, Manet's 1994], p. 58). Modernism: or, The Face of Painting in the 12 On Lise, see Douglas Cooper, "Renoir, Lise i86os (Chicago, 1996). and the Le Coeur Family: A Study of 6 See Louise d'Argencourt, "Bouguereau and Renoir's Early Development," Burlington the Art Market in France," in William Magazine (May, September-October 1959). Bouguereau, exh. cat. (Montreal Museum Barbara Ehrlich White has recently sug- gested, in Impressionists Side by Side (New 80