tion to a literary text, see John House, Richard R. Brettell, Pissarro and Pontoise "Degas' 'Tableaux de Genre,'" in Richard (New Haven and London, 1990). Kendall and Griselda Pollock, eds., Dealing 52 Astruc, "Salon de 1868 aux Ghamps- with Degas (London, 1992). For a persuasive Elysees." elaboration of a similar argument, see Susan Sidlauskas, "Resisting Narrative: The 53 In 1886 Renoir's friend Catulle Mendes Problem of Edgar Degas's Interior" Art published Les lies d'amour, a volume Bulletin 75, no. 4 (December 1993), of evocative essays that included one on pp. 671-96. La Grenouillere. Such amorous escapes to 44 See Nicholas Green, The Spectacle of the islands in the Seine were also a central Nature: Landscape and Bourgeois Culture in image in the stories of Guy de Maupassant, Nineteenth-Century France (Manchester, notably in "Une Partie de campagne" (later 1990), pp. 118-19, 167-81. the basis of a film by Jean Renoir) and "La Femme de Paul" (set at La Grenouillere), 45 See, for instance, Eugene Briffault, Paris both written around 1880. dans I'eau (Paris, 1844), pp. 26-27, and Oscar Commettant, En vacances (Paris, 54 Theophile Gaunerfi/s, "Le Salon de 1867 1868), pp. 179-87. Both of these writers use (5e)," Llllustration (25 May 1867), p. 326. the imagery of the "siren." 55 Adolphe Joanne, Les Environs de Paris 46 Emile de Labedolliere, Histoire des environs illustres (Paris, 1881 [preface dated 1877]), du nouveau Paris (Paris, 1861), pp. 136-37. pp. xxv-xxvi. 47 Zacharie Astruc, "Le Salon de 1870, 56 Duret, "Salon de 1870," in Critique d'avant- septieme journee," LEcho des beaux-arts garde, p. 19. (19 June 1870). 57 Castagnary, "Philosophic du Salon de 48 Letter from Madame Morisot to Berthe 1857," reprinted in Salons (1857-1879), Morisot, 19 August [1868?], in Denis vol. i, pp. 23,33-42. Rouart, ed., The Correspondence of Berthe 58 It has been suggested that the dog—a "grif- Morisot, new edition introduced by fon"—that accompanies the woman indi- Kathleen Adler and Tamar Garb (London, cates, by contemporary conventions, that 1986), p. 29. she is a prostitute. See Richard Thomson, 49 Victorien Sardou, "Louveciennes-Marly," in "Les Quat' Pattes: The Image of the Dog Paris-Guide, par les principaux ecrivains et in Late Nineteenth-Century French Art," artistes de la France (Paris, 1867), vol. 2, pp. Art History 5, no. 3 (September 1982), 1456-57, quoted in T. J. Clark, The Painting p. 328. of Modern Life: Paris in the Art of Manet 59 These paintings are reproduced in and His Followers (New York, 1984), p. 298, Christopher Wood, Tissot (London, 1986), note 7. "The Environs of Paris," chapter 3 pp. 47, 49. of this book, is the most searching and 60 Renoir, Renoir, p. 71; see also Albert Andre, thoughtful analysis of the imagery of this Renoir (Paris, 1928), p. 32. However, in 1883 region. Renoir did exhibit a painting with the title 50 Letter from Monet to Bazille, 25 September Jeunefemmepensive in his one-man show at 1869, in Daniel Wildenstein, Monet: Durand-Ruel's gallery in Paris. This work Biographie et catalogue raisonne (Lausanne can probably be identified with the 1879 and Paris, 1974), vol. i, p. 427, letter 53. painting now known as The Dreamer (Saint 51 For instance, see Herbert, Impressionism; Louis Art Museum). Paul Hayes Tucker, Monet at Argenteuil 61 Renoir Centennial Loan Exhibition, p. 119. (New Haven and London, 1982); and 83