Mad Enchantment: Claude Monet and the Painting of the Water Lilies (67 page)

41
   Marcel Berger and Paul Allard,
Les Secrets de la censure pendant la guerre
(Paris: Éditions des portiques, 1932), p. 63.

42
   Quoted in Zeldin,
Politics and Anger
, p. 233.

43
   Quoted in Keiger,
Raymond Poincaré
, p. 236.

44
   Quoted in Margaret MacMillan,
Paris 1919: Six Months that Changed the World
(New York: Random House, 2001), pp. 33–4.

45
   Quoted in Watson,
Clemenceau
, p. 269.

46
   Quoted in Keiger,
Raymond Poincaré
, p. 372.

47
   
La Croix
, November 17, 1917.

48
   
L’Opinion
, November 24, 1917.

49
   Clemenceau,
Discours de Guerre
, p. 133.

50
   Winston Churchill,
Great Contemporaries
(London: Thornton Butterworth, 1937), p. 312.

51
   WL 2259.

52
   
La Revue de l’art ancien et moderne
, June 1927.

53
   WL 2285.

54
   Delouche, “Cubisme et camouflage,” p. 127; and the
Illustrated London News
, November 6, 1920.

55
   Étienne Clémentel,
La France et la Politique économique interalliée
(Paris: Les Presses Universitaires de France, 1931), p. 217.

56
   
Archives Claude Monet
, p. 29.

57
   
Le Figaro
, January 29, 1918.

58
   Tyler Stovall,
Paris and the Spirit of 1919: Consumer Struggles, Transnationalism, and Revolution
(Cambridge, UK: Cambridge University Press, 2012), p. 219.

59
   
Milwaukee Journal
, November 25, 1929.

60
   WL 2260.

61
   Gibbons,
Paris Vistas
, p. 282.

62
   Clémentel,
La France et la Politique économique interalliée
, p. 233.

63
   
Le Gaulois
, November 25, 1917.

64
   WL 2255a.

CHAPTER ELEVEN: THE WEEPING WILLOW

1
    Quoted in Ronald Hayman,
Proust
(London: William Heinemann, 1990), p. 433.

2
    Quoted in Watson,
Clemenceau
, p. 294.

3
    Quoted in Paul Fussell,
The Great War and Modern Memory
(Oxford: Oxford University Press, 2013), p. 78.

4
    
Le Matin
, March 30, 1918.

5
    Ibid., March 23, 1918.

6
    Clemenceau,
Discours de Guerre
, p. 177.

7
    Quoted in Holt,
The Tiger
, pp. 189 and 206.

8
    Quoted in Martin Gilbert,
Winston S. Churchill, 1874–1965
, vol. 4:
1916–1922
(London: Heinemann, 1975), p. 99.

9
    Churchill,
Great Contemporaries
, p. 312.

10
   WL 2275.

11
   
Le Matin
, April 21, 1918, citing the
Cologne Gazette
, April 16, 1918.

12
   WL 2277.

13
   WL 2266 and 2274.

14
   
Le Carnet de la semaine
, January 27, 1918.

15
   WL 2275.

16
   WL 2261, 2271, and 2272.

17
   WL 2278.

18
   J. J. Grandville, “Élégie: Le Saule Pleureur,” in
Les Fleurs animées
(Paris: Garnier-Frères, 1847), pp. 211–12.

19
   Maurice Rollinat, “La Lune,” in
Choix de poésies
(Paris: Charpentier, 1926).

20
   
Revue des Deux Mondes
, April 1, 1835 (my translation). The text from
Otello
is from
Edizione critica delle opere di Gioachino Rossini
, vol. 19, ed. Michael Collins (Fondazione Rossini: Pesaro, 1994), p. 786 (my translation).

21
   Charles Virmaître and Henry Buguet,
Paris Croque-Mort
(Paris: Camille Dalou, 1889), p. 56.

22
   Wildenstein Letter 2275.

23
   Tucker, “Revolution in the Garden,” pp. 76–77.

24
   
Claude Monet: Life and Art
, p. 210. See also Tucker’s discussion of these paintings as “bearers of deep meaning” in “Revolution in the Garden,” p. 76–77.

25
   
American Art News
, February 23, 1907.

26
   For details of this encounter, see Gimpel,
Diary of an Art Dealer
, pp. 57–60.

27
   
Le Matin
, August 3, 1918.

28
   Quoted in Michael Carver, ed.,
The War Lords
(London: Weidenfeld & Nicolson, 1976), p. 41.

29
   Quoted in Holt,
The Tiger
, p. 212, n. 1.

30
   Watson,
Clemenceau
, p. 314.

31
   Quoted in Holt,
The Tiger
, p. 219.

32
   
Paris 1918: The War Diary of the 17th Earl of Derby
, ed. David Dutton (Liverpool: Liverpool University Press, 2001), p. 217.

33
   Quoted in Holt,
The Tiger
, p. 218.

34
   Holt,
The Tiger
, p. 241.

35
   Quoted in Holt,
The Tiger
, p. 251.

36
   
Art & Life
, November 1919. On Clemenceau’s Japanese collection, see Matthieu Séguéla, “Le Japonisme de Georges Clemenceau,”
Ebisu
27 (Autumn–Winter 2001), pp. 7–44.

37
   Clemenceau,
Discours de Guerre
, p. 43.

38
   
Discours de Guerre
, p. 211.

CHAPTER TWELVE: THIS TERRIBLE, GRAND, AND BEAUTIFUL HOUR

1
    
Le Temps
, October 20, 1918.

2
    Dallas,
1918
, p. 172. Dallas reports the poignant story that Apollinaire’s last minutes coincided with news in Paris of the abdication of Kaiser Wilhelm, with the result that the poet, hearing crowds outside his window chanting “
À bas Guillaume!
,” thought they were calling for his death.

3
    Quoted in Pierre Darmon, “La grippe espagnole submerge la France,”
L’Histoire
, no. 281 (Novembre 2003), p. 84. For information on the epidemic in Paris, I am indebted to this work and also to Olivier Lahaie, “L’épidémie de grippe dite ‘espagnole’ et sa perception par l’armée française (1918–1919),”
Revue historique des armées
, vol. 262 (2011), pp. 102–9.

4
    Becker,
The Great War and the French People
, p. 318.

5
    Quoted in Michael S. Neiberg,
Foch: Supreme Allied Commander in the Great War
(Dulles, VA: Potomac Books, 2003), p. 86.

6
    Quoted in Neiberg,
Foch
, p. 86.

7
    Quoted in Dallas,
1918
, p. 173.

8
    These descriptions (and those in the following paragraphs) are taken from reports published on November 12 in
Le Figaro
,
L’Homme Libre
,
L’Humanité
,
Le Matin
,
Le Petit Parisien
, and
Le Temps
.

9
    
L’Homme Libre
, November 12, 1918.

10
   Quoted in Holt,
The Tiger
, p. 218.

11
   
Great Contemporaries
, p. 302.

12
   
Discours de Guerre
, p. 203.

13
   Quoted in Watson,
Clemenceau
, p. 327.

14
   WL 2290.

15
   WL 2287.

16
   
Le Matin
, November 14 and 18, 1918.

17
   
La Renaissance: Politique, Economique, Littéraire et Artistique
, December 7, 1918. This report, “Le Tigre dans la Jungle,” incorrectly places this visit on the day of the armistice.

18
   Gimpel,
Diary of an Art Dealer
, p. 75.

19
   Ibid., pp. 75–6.

20
   Guitry,
If I Remember Right
, p. 238.

21
   Marc Elder in
Le Bulletin de la Vie Artistique
, May 1, 1920.

22
   Guitry,
If I Remember Right
, p. 238.

23
   
La Renaissance: Politique, Economique, Littéraire et Artistique
, December 7, 1918.

24
   Geffroy,
Claude Monet
, p. 333.

25
   
L’Homme Libre
, December 1, 1918.

26
   Geffroy,
Claude Monet
, p. 333. Wildenstein writes that Geffroy’s account makes it “tempting to conclude that the idea of a more substantial donation had been adopted by 18 November” (Wildenstein,
Monet, or the Triumph of Impressionism
, p. 410).

27
   
L’Art et les artistes
, November 1920.

28
   
Excelsior
, January 26, 1921.

29
   Mark Levitch, personal e-mail communication, February 26, 2015.

30
   
Le Gaulois
, December 29, 1918. For a description of the immersive experience, see Levitch, “The Great War Re-remembered: The Fragmentation of the World’s Largest Painting,” pp. 94–5.