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Jeanne Baudot (born 11 May 1877 in Courbevoie, died 27 June 1957 in Louveciennes) was a French painter.
Jeanne Baudot's father, Emile, was doctor to French artist Auguste Renoir's relatives when they lived in Louveciennes. [1]
In 1893, she met Auguste Renoir through her cousin Paul Gallimard, an art collector.
"She was sixteen years old, was the daughter of the senior doctor of Compagnie des chemins de fer de l'Ouest, and, to the great astonishment of her parents who felt like hens having hatched a duck, she painted and admired Renoir." — Jean Renoir, Pierre-Auguste Renoir, mon père.
Form 1897 to 1914, she lived at 4, Rue du Général Leclerc in Louveciennes, where Renoir had his workshop.
She became the godmother of Auguste Renoir's second son, Jean Renoir, at the Saint-Pierre de Montmartre church, while Georges Durand-Ruel was the godfather. Throughout her life she stayed close to Jean Renoir, who became a film director. He wrote the preface of the exhibition catalogue of her retrospective in 1960 at Galerie Durand-Ruel. [2]
Auguste Renoir painted several portraits of Jeanne Baudot.
Maurice Denis painted Auguste Renoir and Miss Jeanne Baudot in 1906.
Jeanne Baudot was a childhood friend of painter Julie Manet, the daughter of Berthe Morisot and Eugène Manet, and appears in many instances of Manet's diary. [3]
Her name was given to a street in Louveciennes.
Jeanne Baudot painted portraits, landscapes and still-lifes.
The only true student of Auguste Renoir, she painted under his direct supervision. She notably painted the flowers and landscapes of Louveciennes and Marly.
She travelled to North Africa in the early twentieth century, which resulted in picturesque and lighter works.
In 1949, Jeanne Baudot wrote Renoir, ses amis, ses modèles, Paris: Éditions Littéraires de France, 137 p.(notice BnF no FRBNF31774635).
Pierre-Auguste Renoir was a French artist who was a leading painter in the development of the Impressionist style. As a celebrator of beauty and especially feminine sensuality, it has been said that "Renoir is the final representative of a tradition which runs directly from Rubens to Watteau."
Suzanne Valadon was a French painter who was born Marie-Clémentine Valadon at Bessines-sur-Gartempe, Haute-Vienne, France. In 1894, Valadon became the first woman painter admitted to the Société Nationale des Beaux-Arts. She was also the mother of painter Maurice Utrillo.
Eva Gonzalès was a French Impressionist painter.
Paul Durand-Ruel was a French art dealer associated with the Impressionists and the Barbizon School. Being the first to support artists such as Claude Monet, Camille Pissarro, and Pierre-Auguste Renoir, he is known for his innovations in modernizing art markets, and is generally considered to be the most important art dealer of the 19th century. An ambitious entrepreneur, Durand-Ruel cultivated international interest in French artists by establishing art galleries and exhibitions in London, New York, Berlin, Brussels, among other places. Additionally, he played a role in the decentralization of art markets in France, which prior to the mid-19th century was monopolized by the Salon system.
Georges Petit was a French art dealer, a key figure in the Paris art world and an important promoter and cultivator of Impressionist artists.
Blanche Hoschedé Monet was a French painter who was both the stepdaughter and the daughter-in-law of Claude Monet.
Albert André was a French Post-Impressionist figurative painter. He produced portraits of Pierre-Auguste Renoir, his closest friend, and Claude Monet.
Springtime or The Reader is an 1872 painting by the French Impressionist painter Claude Monet. It depicts his first wife, Camille Doncieux, seated reading beneath a canopy of lilacs. The painting is presently held by the Walters Art Museum.
The Pays des Impressionnistes is a certification mark created by the Syndicat intercommunal à vocations multiples des Coteaux de Seine in 2001 to promote the cultural heritage of this touristic area. Nine municipalities in the Yvelines department of France bordering the loop of the Seine River, where, during the nineteenth century, impressionist painters exercised their art, are associated with this creation: Bougival, Carrières-sur-Seine, Chatou, Croissy-sur-Seine, Le Pecq, Le Port-Marly, Louveciennes, Marly-le-Roi and Noisy-le-Roi. There is the Path of the Impressionists, four hiking trails dotted with reproductions of paintings, reflecting the still remarkable character of this landscape of Impressionist sites which has been proposed for inclusion in the World Heritage Site since 2009. Rueil-Malmaison, in the Hauts-de-Seine department, joined them in 2010, when eight of these municipalities have entrusted development task of the Pays des Impressionnistes to the visitor center of Marly-le-Roi, which organises Impressionist cruises along the banks of the Seine, as well as visits of ateliers of contemporary painters.
Paule Gobillard was a French artist and Post-Impressionist painter who was heavily influenced by the Impressionists. She is the niece of Berthe Morisot and Eugène Manet, the brother of Édouard Manet, who taught her lessons in painting as part of her education upon being orphaned at an early age. She was unknown in the art scene compared to her relatives. She exhibited with the Société des Indépendants in 1904 and in 1926.
Parisian Women in Algerian Costume , sometimes known as Interior of a Harem in Montmartre , is a painting by Pierre-Auguste Renoir, completed 1872, which Renoir created in homage to Eugène Delacroix's Women of Algiers in their Apartment. It was rejected for entry to the 1872 Paris Salon, disliked by the artist and eventually sold for a small sum as part of a larger lot. It is now in the National Museum of Western Art, Tokyo.
Victor Alfred Paul Vignon was a French Impressionist landscape painter and graphic artist.
Marguerite Charpentier was a French salonist and art collector who was one of the earliest champions of the Impressionists, especially Pierre-Auguste Renoir.
Argenteuil is an 1874 oil on canvas painting by Édouard Manet (1832-1883), first exhibited at the Paris Salon of 1875. It is one of Manet's first works to qualify fully as an Impressionist work, due to its naturalistic subject and its bold palette, such as the blue of the river, mocked by the Figaro journalist Jean Rousseau as "in the foreground, Argenteuil jam on an indigo river" It is now in the Musée des beaux-arts in Tournai, Belgium.
A Young Lady in 1866 or Lady with a Parakeet is an 1866 painting by Édouard Manet, showing his favourite model Victorine Meurent, wearing a pink gown, holding a small bouquet of violettes and accompanied by a parakeet. It is an oil painting on canvas measuring 185.1 x 128.6 cm, and is now in the Metropolitan Museum of Art in New York. It and Boy Carrying a Sword were the first of Manet's works to enter a gallery collection.
The Watering Trough at Marly with Hoarfrost is an 1876 painting by Alfred Sisley. It was owned by François Depeaux, a Sisley collector, and passed through other collections before ending up in that of Paul Mellon. It is now in the Virginia Museum of Fine Arts in Richmond, United States.
The Aqueduct at Marly is an 1874 painting by Alfred Sisley. It was bought from the artist by Paul Durand-Ruel in 1876 before being acquired by Edward Libbey, who in turn donated it to the Toledo Museum of Art, where it now hangs. It shows the Aqueduc de Louveciennes. A lifesize reproduction of it is sited at the site of its creation as part of the Pays des Impressionnistes scheme.
The Church at Noisy-le-Roi, Autumn Effect or The Bell-Tower at Noisy-le-Roi, Autumn Effect is an Impressionist painting by Alfred Sisley.
The Meadow is an 1875 painting by Alfred Sisley, now in section 88 in the National Gallery of Art in Washington DC. It shows a scene near Louveciennes - Pierre-Auguste Renoir painted the same view of Louveciennes that year as Path Through Tall Herbs.
The Batignolles group was a group of young avant-garde painters from the end of the 19th century who gathered around Édouard Manet. The group bears its name in reference to the Batignolles district, where the artists used to meet between 1869 and 1875. Many of the artists in the group later became known for the Impressionism movement.
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