Mad Enchantment: Claude Monet and the Painting of the Water Lilies (64 page)

59
   Quoted in Jean-Jacques Becker,
The Great War and the French People
, trans. Arnold Pomerans (Leamington Spa: Berg, 1985), p. 45.

60
   WL 2135.

61
   
The International Journal of Ethics
, November 1915.

62
   
Le Figaro
, February 20, 1915.

63
   Quoted in Danielle Delouche, “Cubisme et camouflage,” in
Guerres mondiales et conflits contemporains
, No. 171:
Représenter la Guerre de 1914–1918
(July 1993), p. 125.

64
   Quoted in Delouche, pp. 131–2. On Cubism as unpatriotic, see ibid., p. 129.

65
   
Le Figaro
, June 2, 1915.

66
   
L’Homme Libre
, August 9, 1914.

67
   
Le Matin
, August 30, 1914.

68
   
Revue de Paris
, December 15, 1914, translated in Joseph F. Byrnes, “Reconciliation of Cultures in the Third Republic: Émile Mâle (1862–1954),”
Catholic Historical Review
, vol. 83, no. 3 (July 1997), pp. 417–18. For Rodin on Reims, see Judith Cadel,
Rodin: Sa vie glorieuse, sa vie inconnue
(Paris: Grasset, 1937), p. 110.

69
   Quoted in Barbara L. Kelly, “Debussy and the Making of a
musicien français
:
Pelléas
, the Press, and World War I,” in Barbara L. Kelly, ed.,
French Music, Culture, and National Identity, 1870–1939
(Rochester NY: University of Rochester Press, 2008), p. 69.

70
   Becker,
The Great War and the French People
, p. 91.

71
   
L’Écho de Paris
, September 19, 1914.

72
   WL 2143.

73
   
Les Allemands: destructeurs des cathédrales et de trésors du passé
(Paris: Hachette, 1915), p. 76.

CHAPTER SIX: A GRANDE DÉCORATION

1
    Quoted in Gregor Dallas,
1918: War and Peace
(London: Pimlico, 2002), p. 170.

2
    
Le Matin
, December 5, 1914.

3
    
L’Écho de Paris
, January 2. 1915.

4
    
Georges Clemenceau à son ami Claude Monet
, p. 80.

5
    
Le Figaro
, December 10, 1914.

6
    
Le Matin
, February 25, 1915, and
Le Petit Parisien
, February 29, 1915.

7
    
L’Homme Libre
, December 15, 1914.

8
    
Le Petit Parisien
, February 12, 1922.

9
    Guitry,
If I Remember Right
, p. 23.

10
   Marthe de Fels,
La Vie de Claude Monet
(Paris: Gallimard, 1929), p. 173.

11
   
If I Remember Right
, p. 236.

12
   See Geffroy,
Claude Monet
, pp. 14–15.

13
   
Gil Blas
, December 9, 1909.

14
   Elder,
À Giverny, chez Claude Monet
, loc. 662.

15
   Quoted in Rosemary Lloyd,
Mallarmé: The Poet and His Circle
(Ithaca: Cornell University Press, 1999), p. 138. Monet provides the text of Mallarmé’s poem in a 1920 letter to Geffroy: WL 2390. The translation is mine. André Arneveldt reports that it was on display on a small stand on a glazed bureau in the second studio (
Je sais tout
, January 15, 1914).

16
   See
Le Figaro
, June 15, 1907. Proust’s book was to be called
Six Gardens of Paradise
—the gardens in question being that of the Countess of Noailles, that of Ruskin on Coniston Water, that of Maurice Maeterlinck (whom he calls the “Virgil of Flanders”), those of the poets Henri de Régnier and Francis Jammes, and Monet’s garden at Giverny.

17
   
Marcel Proust on Art and Literature, 1896–1919
, trans. Sylvia Townsend Warner (New York: Meridian Books, 1958), p. 357.

18
   
Nouvelle Revue Française
, July 1, 1909.

19
   WL 2640.

20
   
Le Figaro
, November 20, 1914.

21
   Ibid., December 23, 1914.

22
   Arthur Banks and Alan Palmer,
A Military Atlas of the First World War
(London: Leo Cooper, 1989), p. 13 (Kaiser Wilhelm); Matthew Stibbe,
Germany, 1914–1933: Politics, Society and Culture
(Abingdon: Routledge, 2013), p. 16 (Moltke); and Malcolm Chandler,
Home Front 1914–18
(Oxford: Heinemann, 2001), p. 7 (Asquith).

23
   
Le Temps
, December 27, 1914.

24
   WL 3103.

25
   Raymond Koechlin,
Souvenirs d’un vieil amateur d’art de l’Extrême-Orient
(Chalon-sur-Saone: Imprimerie Française et Orientale E. Bertrand), pp. 3 and 38. For his father, Alfred Koechlin, see
Tableaux Généalogiques de la Famille Koechlin, 1460–1914
(Mulhouse: Ernest Meinenger, 1914), p. 19.

26
   
Archives Claude Monet
, p. 82.

27
   WL 2142.

28
   
Les Musées de France: Bulletin publié sous le patronage de la Direction des Musées Nationaux avec le concours de la Société des Amis du Louvre et de l’Union Centrale des Arts Décoratifs
, ed. Paul Vitry (Paris: D.-A. Longuet, 1913), pp. 55–6.

29
   On the latter occasion, in 1892, the commissioners for the decoration of the Hôtel de Ville voted for Pierre Lagarde (10 votes) over Monet (4 votes). See Sylvie Patry, “Monet and Decoration,” in
Claude Monet, 1840–1926
(Paris: Réunion des musées nationaux, 2010), p. 323. Wildenstein points out the absence of references to the campaign in Monet’s letters, suggesting that “it seems not to have concerned him greatly. Indeed, it is by no means certain that he ever requested the commission” (
Monet, or the Triumph of Impressionism
, p. 288).

30
   Quoted in Marc J. Gotlieb,
The Plight of Emulation: Ernest Meissonier and French Salon Painting
(Princeton, NJ: Princeton University Press, 1996) p. 24.

31
   Quoted in Gotlieb,
The Plight of Emulation
, p. 21.

32
   
Lettres de Eugène Delacroix
, ed. Philippe Burty (Paris: A. Quantin, 1878), p. 147.

33
   
Revue des Deux Mondes
, June 1906.

34
   
Mercure de France
, September 16, 1912.

35
   Quoted in Patry, “Monet and Decorations,” p. 318.

36
   WL 2145.

37
   WL 2145.

38
   
Discours de Guerre
, p. 46.

39
   WL 2145.

40
   
Le Figaro
, May 31, 1912.

41
   Ibid., February 18, 1913.

42
   Ibid., February 20, 1913.

43
   
Gil Blas
, April 3, 1913.

44
   WL 2148.

45
   
Georges Clemenceau à son ami Claude Monet
, p. 155.

46
   Clemenceau,
Claude Monet: Les Nymphéas
(Paris: Plon, 1928), p. 16.

47
   
Je sais tout
, January 15, 1914.

48
   
L’Art et les Artistes
, December 1905, trans. Terence Maloon in Shackleford et al.,
Monet and the Impressionists
, p. 197.

49
   WL 2127, 2134, 2136 and 2149.

CHAPTER SEVEN: A GRAND ATELIER

1
    WL 2153.

2
    Quoted in “The Prix Goncourt”,
Encyclopedia of Library and Information Science
, ed. Allen Kent, Harold Lancourt and Jay E. Daley (New York: Marcel Dekker, 1978), vol. 24, p. 206.

3
    Edmond and Jules de Goncourt,
Journal: Mémoires de la vie littéraire
, vol. 3, ed. Robert Ricatte (Paris: Robert Laffont, 1989), p. 348.

4
    Elder,
À Giverny, chez Claude Monet
, loc. 674.
La Guerre du Feu
was filmed by Jean-Jacques Annaud in 1981 as
Quest for Fire
.

5
    Geffroy,
Claude Monet
, p. 329.

6
    
Paris-Magazine
, August 25, 1920, quoted in Wildenstein,
Monet, or the Triumph of Impressionism
, p. 406.

7
    Lucien Descaves, in
L’Oeuvre
, December 11, 1926.

8
    Quoted in Georges Ravon,
L’Académie Goncourt en dix couverts
(Avignon: E. Aubanel, 1943), p. 59.

9
    Quoted in Wildenstein,
Monet, or the Triumph of Impressionism
, p. 46.

10
   Stuckey,
Claude Monet, 1840–1926
, p. 247.

11
   
La Guerre Mondiale
, July 22, 1915.

12
   WL 2155.

13
   Hoschedé, vol. 1, p. 83. Monet’s campaign against the starch factory is amply reported in the newspapers of the day: See, for example,
La Chronique des arts et de la curiosité
, September 21, 1895.

14
   Geffroy,
Claude Monet
, p. 324.

15
   
La Vie Moderne
, July 12, 1880.

16
   
Revue illustrée
, March 15, 1898, quoted in Wildenstein,
Monet, or the Triumph of Impressionism
, p. 321.

17
   Hoschedé, vol. 1, p. 130.

18
   Jean Martet,
M. Clemenceau peint par lui-même
(Paris: Albin Michel, 1929), pp. 52–53. For a good discussion of this passage, as well as its variation from both the 1930 English translation (Martet,
Clemenceau
, p. 217) and the claims of Blanche Hoschedé-Monet (Hoschedé, vol. 1, p. 163), see Burke, “Monet’s ‘Angel,’” pp. 75–6. Burke speculates that Blanche may have performed an even more active role in the painting of the Grande Décoration because of her ability “to beautifully interpret and emulate the master’s style.” She argues that Blanche may have added some of the layers of color, leaving Monet to add the gestural brushwork and other more sophisticated touches (p. 76). Blanche’s denials and a lack of evidence leave this intriguing thesis unproven.