Impressionism Timeline  
  Impressionism * Neo-Impressionism * Post-Impressionism  

  1870 1880 1890
  1871 1881 1891
  1872 1882 1892
1863 1873 1883 1893
1864 1874 1884 1894
1865 1875 1885 1895
1866 1876 1886 1896
1867 1877 1887 1897
1868 1878 1888 1898
1869 1879 1889 1899
Impressionism Timeline
Impressionism * Neo-Impressionism * Post-Impressionism
Camille Pissarro
Edouard Manet (1832-83) Edgar Degas (1834-1917) Alfred Sisley (1839-99)

Paul Cezanne (1839-1906)
Claude Monet (1840-1826) Pierre-Auguste Renoir (1841-1919)

Frederic Bazille (1841-70)

Armand Guillaumin

Berthe Morisot (1841-95)

Federico Zandomeneghi (1841-1917)

Mary Cassatt (1844-1926) Giuseppe de Nittis
Max Liebermann
Gustave Caillebotte (1848-94) Peder Severin Kroyer (1851-1909) Vincent van Gogh
Charles Angrand
Henri-Edmond Cross (1856-1910)

John Singer Sargent (1856-1925)
Childe Hassam 

Georges Seurat (1859-91)
Louis Anquetin
(1861- 1932)
Theo van Rysselberghe (1862-1926) Paul Signac (1863-1935) Henri de Toulouse-Lautrec (1864-1901) Emile Bernard (1868-1941)
Monet's Series Paintings

While the 'Poplars' paintings are being exhibited at Durand-Ruel's Paris gallery, Monet is hard at work on his 'Rouen Cathedral' series, which — canvas by canvas - shows the building's fag ade under different effects of light and atmosphere. Meanwhile, the dealer Ambroise Vollard rapidly develops his relationship with the Impressionist artists.


12th Boussod & Valadon purchase their first Renoir, for 600 francs.
They also buy three landscapes from Pissarro for 2400 francs, and four from Monet for 3750 francs each.

15th Monet starts work on his Rouen Cathedral series.


5th Pissarro has a one-man exhibition at Durand-Ruel's gallery. The catalogue has an introduction by Georges Lecomte. Seventy-five works are on show, of which Durand-Ruel buys ten.

8th An exhibition of Les Vingt opens in Brussels, with works by Cassatt, Pissarro, Signac and Toulouse-Lautrec.


3rd Monet exhibits fifteen out of the twenty-three paintings in his Poplars series at Durand-Ruel's gallery. They are very well received, by even the more reactionary critics, and he sells some of the paintings to other dealers.

The State buys Renoir's Young Girls at the Piano for the Musee du Luxembourg.

Young Girls at the Piano

Late in 1891 or early in 1892 Renoir was asked informally by the State to paint a work for the Musee du Luxembourg. He took great pains over the commission, producing six large versions - five oils and one pastel. The State chose this version and purchased it for 4000 francs.
The subject of the work was closely related to many of Renoir's recent paintings. He had already depicted two girls at the piano in The Piano Lesson (1889), and was generally preoccupied throughout the 1890s with the theme of the innocence and beauty of young people.

13th Eugene Manet, brother of the artist and husband of Berthe Morisot, dies.

16th Octave Mirbeau criticizes unfavourably the paintings by Sisley exhibited at the Salon of the Societe de Beaux-Arts.


2nd A Renoir retrospective opens at Durand-Ruel's gallery. The catalogue, which lists forty works, includes an introduction by Arsene Alexandre.

The title page of the catalogue for
the Renoir exhibition held at
Durand-Ruel's gallery in May 1892.

4th Berthe Morisot has an exhibition at Boussod & Valadon's gallery (probably arranged by Theo van Gogh before his death).
Monet buys one of her works, and the show is a success.

12th Monet marries Alice Hoschede.

23rd Pissarro visits London, where he stays first with his son Lucien, at 7 Colville Square, Bayswater, and then above a bakery in Gloucester Terrace, Kew. He paints several views of the Kew area.

26th Renoir makes a trip to Spain with his friend Paul Gallimard (owner of the Theatre des Varietes) and is especially impressed by the works of Velazquez in the Prado.

Renoir and his family visit Brittany, staying till October.


11th Pissarro's son Lucien, who has been living in London since 1890, marries Esther Bensusan in Richmond.

12th Durand-Ruel stages a small Impressionist exhibition in a rented gallery at 13 King Street, Stjames's, London.

14th Pissarro returns to Eragny and, with 15,000 francs lent to him by Monet, buys the house he had previously rented there.

The Billiard Room at Menil-Hubert

Throughout his life Degas visited his friends the Valpincons regularly at their home at Menil-Hubert. During his stay in August 1892 the artist was interested in different perspectives, and produced a number of interiors of the house, including this one of the billiard room.

27th Degas goes to stay with his friends the Valpincons at Menil-Hubert, where he paints a number of interiors including two canvases of the billiard room.

M. and Mme Fourchy (me Hortense Valpincon) and Degas playing charades in front of the Valpincons' house at Menil-Hubert.

The collection of the actor Coquelin, which includes Impressionist works by Monet and Pissarro, is exhibited at the Barbizon Galleries in Piccadilly, London.

Degas has an exhibition of landscapes at Durand-Ruel's gallery - the first of the only two exhibitions known to have been devoted to Degas' work during his lifetime.

Renoir paints a portrait of Mallarme.
In 1888 Ambroise Vollard arrived in Paris from the island of Reunion, in the Indian Ocean, and began laying the foundations of his career as one of the most astute art dealers of his generation. The following is an extract from his Recollections of a Picture Dealer (1934) -a greatly embellished account of his life.

Portrait of M. Ambroise Vollard

The dealer Ambroise Vollard began to buy work from Renoir soon after they met around 1894, and after
1900 he became one of the artist's three principal dealers (the other two being Durand-Ruel and Bemheim-Jeune). Vollard commissioned many portraits of himself from the artists with whom he dealt, and of these Renoir's version is among the most flattering. He is shown here holding the statuette Crouching Woman (1900) by Maillol, who was working on a bust of Renoir at the time.
I got into touch with Degas in this way. I had given the frame-maker Jacquet some planks of foreign wood
from the [Universal] Exhibition of 1889. I intended having frames made from them. One day Jacquet said
to me, 'You know M. Degas is always scheming out frames. He has seen your wood and told me to ask if
you would let him have it.' I replied that I would not take any money for it, but that I would be delighted to accept the smallest sketch. Degas agreed. That was how I made my way into his studio.

When he moved from the rue Ballu to settle into the rue Victor-Masse [in 1890], everything for which there was no room in the new apartment was taken up to the studio. Consequently, the most heterogeneous objects were to be seen there side by side. A bath, little wooden horses, used by the artist in composing his pictures of racecourses that have such marvellous colour and movement. Easels too, with half-finished canvases on them —for after he had started working on an oil painting, he would soon give way to discouragement, not being able to fall back, as he did with his drawings, on tracing after tracing by way of correction.

I remember too a tall desk at which he stood to write. Once an object had found its way into his studio, it never left it or changed its position, and gradually it would become covered with a layer of dust that no flick of a feather duster came to disturb. The painter would have been astonished if he had been told that his studio was not perfectly tidy. One day I brought him a picture that he had asked to see. As I undid the parcel, a scrap of paper, no bigger than a piece of confetti, flew out and landed on the floor. Degas pounced on it, exclaiming 'Do be careful, Vollard!
You will make my studio untidy.'