The Croquet Party
Framed: 27 1/2 x 38 x 2 7/8 inches (69.85 x 96.52 x 7.3 cm)
Exposition des Œuvres de Édouard Manet, École nationale des beaux-arts, Paris, January 1884, no. 73, as La partie de crocket [sic].
Works in Oil and Pastel by the Impressionists of Paris, American Art Association, New York, April 10-28, 1886; National Academy of Design, New York, May 25–June 30, 1886, no. 249, as A Game of Croquet.
Le Salon d’automne, 3ème Exposition: Peinture, dessin, sculpture, gravure, architecture et art décoratif exposés au Grand Palais des Champs-Elysées du 18 octobre 1905 au 25 novembre 1905, Société du Salon d’Automne, Galeries Nationales d’Exposition du Grand Palais, Paris, 1905, as Partie de Croquet.
Manet to Matisse: Impressionist Masters from the Marion and Henry Bloch Collection, The Nelson-Atkins Museum of Art, Kansas City, MO, June 9–September 9, 2007, no. 1, as The Croquet Party (La partie de croquet).
Manet: A Model Family, Isabella Stewart Gardner Museum, Boston, October 10, 2024–January 20, 2025, no. 12, as The Croquet Party (La partie de croquet).
Considered the most innovative French painter of the 1860s, Edouard Manet greatly influenced the artists who would become the Impressionists through his urban subjects and painterly style. Although Manet never exhibited with them, he adopted their bright and high-keyed palette from the 1870s onward.
Here, Manet depicted his friends and family playing a game of croquet at a fashionable resort on the Normandy coast. On the advice of his doctor, Manet traveled there in the summer of 1871, probably to recover from the devastating siege of Paris by the Prussian army in 1870–1871, during which time he served as an officer in the French army.
The
artist, Paris, 1871-1879;
Purchased
from the artist by Gustave Caillebotte (1848-1894), Paris, 1879-February 21,
1894 [1];
To his
brother, Martial Caillebotte (1853-1910), Paris, 1894-January 16, 1910 [2];
Inherited
by his wife, Marie Caillebotte (née Minoret, 1863-1931), Paris or Pornic,
France, 1910-October 5, 1931;
By
descent to her daughter, Geneviève Chardeau (née Caillebotte, 1890-1986),
Paris, 1931-1973 [3];
Deposited
with Galerie Lorenceau, Paris, by a member of the Chardeau family, January 23,
1973 [4];
Possibly
with Galerie Schmit, Paris, after January 23, 1973 [5];
Purchased
[from Galerie Schmit?] by Juan Guillermo de Beistegui (1930-2017), Paris, after
January 23, 1973-January 7, 1986 [6];
Purchased
from de Beistegui, through Margo Pollins Schab, New York, by Marion (née
Helzberg, 1931-2013) and Henry (1922-2019) Bloch, Shawnee Mission, KS,
1986-June 15, 2015 [7];
Given by Henry and Marion Bloch to The Nelson-Atkins
Museum of Art, Kansas City, MO, 2015.
NOTES:
[1] See Étienne Moreau-Nélaton,
“Copie faite pour E. Moreau-Nélaton de documents sur Manet appartenant à Léon
Leenhoff,” ca. 1910, Bibliothèque nationale de France,
Département des Estampes et photographie, RESERVE 8-YB3-2401, folio 79, as Croquet. On
November 20, 1883, Caillebotte added a codicil to his will stipulating that his
collection should be given to the musée du Luxembourg after his death. The
museum was notified of this bequest in early March 1894, but many of the
paintings, including The Croquet Party, were refused by the Comité
consultatif des musées nationaux after 18 months of deliberation and returned
to his brother, Martial Caillebotte. See [Adolphe] Tabarant, “Le peintre Caillebotte et sa
collection,” Bulletin de la Vie Artistique, no. 15 (August 1, 1921):
405-13; and A[dolphe] Tabarant, Manet: Histoire catalographique (Paris: Éditions
Montaigne, 1931), 244.
[2] Martial
Caillebotte, the artist’s younger brother, offered The Croquet Party to
the French government in 1904 and 1908, but it was refused both times. See
Bernard Denvir, The Chronicle of
Impressionism: an Intimate Diary of the Lives and World of the Great Artists
(London: Thames and Hudson, 1993), 198.
[3]
See emails from Gilles Chardeau, grandson of Geneviève Chardeau, to Brigid
Boyle, NAMA, July 30, 2015; Sylvie Brame, Galerie Brame et Lorenceau, to Mary
Frances Ivey, NAMA, November 30, 2018; and Sophie Pietri, Wildenstein-Plattner
Institute, to Mary Frances Ivey, NAMA, December 17, 2018, NAMA curatorial
files.
On
August 4, 1970, seventeen paintings in Chardeau’s collection, including “The Croquet Game,” were stolen. They
were returned anonymously to a Paris metro station in November 1970 and
restituted to Chardeau. See Janet Flanner,
“Letters from Paris,” New Yorker (August
22, 1970): 85, as The Croquet Game.
[4]
See emails from Sophie Pietri, Wildenstein-Plattner Institute, to Mary Frances
Ivey, NAMA, December 17, 2018, and Sylvie Brame, Galerie Brame et Lorenceau, to
Mary Frances Ivey, NAMA, November 30, 2018, NAMA curatorial files.
A
sales receipt from Margo Pollins Schab
indicates that the painting was owned by the Peugeot family, France, before its
purchase by de Beistegui. This was published in Richard R. Brettell and
Joachim Pissarro, Manet to Matisse:
Impressionist Masters from the Marion and Henry Bloch Collection, exh. cat.
(Kansas City, MO: Nelson-Atkins Museum of Art, 2007), 155. However, both
Pollins Schab and the Peugeot family cannot confirm this information.
Conversation with Margo Pollins Schab and Mary Frances Ivey, NAMA, January 11,
2019, and email from Dominix Kirchner, Peugeot family descendant, to Mary
Frances Ivey, NAMA, February 13, 2019, NAMA curatorial files.
[5] See email from Miguel de Beistegui, son of Juan
Guillermo de Beistegui, to Brigid Boyle, NAMA, May 15, 2015, NAMA curatorial
files. Galerie Schmit has not responded to emails.
[6] According to Denis Rouart and Daniel Wildenstein, Edouard
Manet: Catalogue raisonné, vol. 1, Peintures
(Lausanne: Bibliothèque des arts, 1975), no. 173, the painting was owned by P.
A., Suisse, or “propriété anonyme.” De Beistegui did not live in Switzerland
and was living in Paris at the time that he purchased the work; see email from
Miguel de Beistegui, son of Juan Guillermo de Beistegui, to Brigid Boyle, NAMA,
May 15, 2015, NAMA curatorial files.
[7] Conversation with Margo Pollins Schab to Brigid
Boyle, NAMA, May 18, 2015, notes in NAMA curatorial files. According to Ms.
Schab, her gallery had The Croquet Party on consignment from Juan de
Beistegui.
Anatole Godet, Reproductions de tableaux d’Edouard Manet: photographies (n.p.: 1872), unpaginated, (repro.).
Léon Leenhoff, "Registre manuscrit: Œuvres d’Edouard Manet (peintures, pastels, dessins, et estampes) recensées dans son atelier en 1883 ou chez leur propriétaire," 1883, Bibliothèque nationale de France, Paris, Département des Estampes, Yb3 4649 Res, folio 16, as Partie de crocket faites dans le jardin des Casino de Boulogne sur Mer.
Joséphin Péladan, "Le procédé de Manet: D’après l’exposition de l’École des beaux-arts," L’Artiste 1 (February 1884): 114, as Partie de Crocket [sic].
Exposition des œuvres de Édouard Manet, exh. cat. (Paris: Imprimerie de A. Quantin, 1884), 49, as La partie de crocket [sic].
Works in Oil and Pastel by the Impressionists of Paris, exh. cat. (New York: J.J. Little, 1886) 39, as A Game of Croquet.
H. N., "Enquète: À Propos de la Collection Caillebotte," Journal des Artistes (April 8, 1894). Journal des Artistes (April 8, 1894).
Théodore Duret, Histoire d’Édouard Manet et de son œuvre (Paris: H. Floury, 1902), no. 169, pp. 102, 243–44, as La Partie de crocket [sic].
Hugo von Tschudi, Édouard Manet (Berlin: Bruno Cassirer, 1902), 32–33.
"Manet et le Salon d’automne," L’ermitage: Revue de littérature et d’art 2, no. 8 (August 15, 1905): 128, as Partie de Croquet.
La Revue 7, no. 47 (September 1, 1905): 262, as Partie de Croquet.
François Benoit et al., Histoire du Paysage en France (Paris: Librairie Renouard et H. Laurens, 1908), 308.
Julius Meier-Graefe, Édouard Manet (Munich: Piper, 1912), 219–20, (repro.), as La Partie de Crocket [sic].
Théodore Duret, Histoire d’Édouard Manet et de Son Œuvre, Avec un Catalogue des Peintures et des Pastels, new ed. (Paris: Bernheim-Jeune, 1919), no. 169, pp. 137, 259, as La Partie de Croquet.
Adolphe Tabarant, "Le peintre Caillebotte et sa collection," Le Bulletin de la Vie Artistique, no. 15 (August 1, 1921): 406, 410–13, (repro.), as La partie de crocket [sic].
Étienne Moreau-Neìlaton, Manet Raconté par Lui-Même (Paris: Henri Laurens, 1926), 1:134–35, 153; 2:3-4, 111, as La partie de crocket [sic].
Waldemar George, "Art in France," Burlington Magazine 51 no. 292 (July 1927): 49–50.
Adolphe Tabarant, Manet: Histoire catalographique (Paris: Éditions Montaigne, 1931), no. 194, pp. 243–44, as Partie de Crocket à Boulogne [sic].
Paul Jamot and Georges Wildenstein, Manet (Paris: Beaux-Arts, 1932), no. 197, 1: 89, 142; 2: 175, (repro.), as La Partie de Croquet.
Gotthard Jedlicka, Edouard Manet (Erlenbach, Switzerland: Eugen Rentsch, 1941), 172, as Krocketpartie.
Hans Huth, "Impressionism Comes to America," Gazette des Beaux-Arts 29 (April 1946): 239–40 as Croquet Party.
Michel Florisoone, Manet (Monaco: Documents d’art, 1947), XX, as Partie de croquet.
Adolphe Tabarant, Manet et ses Œuvres, 5th ed. (Paris: Gallimard, 1947), 114, 191, 491, 512, 538, 608, (repro.), as Partie de crocket à Boulogne [sic].
Jacques Lethève, Impressionnistes et Symbolistes devant la presse (Paris: Armand Colin, 1959), 147.
Germain Bazin, Trésors de l’Impressionnisme au Louvre, 3rd ed. (1958; Paris: Éditions Aimery Somogy, 1965), 45, 45n1, as Joueurs de croquet.
Sandra Orienti, The Complete Paintings of Manet, 1st ed. (London: Weidenfeld and Nicolson, 1967), no. 151, p. 100, (repro.), as Partie de Croquet à Boulogne-Sur-Mer (The Game of Croquet at Boulogne-sur-Mer).
Sandra Orienti, The Complete Paintings of Manet, 2nd ed. (London: Weidenfeld and Nicolson, 1970), no. 151, p. 100, (repro.), as Partie de Croquet à Boulogne-Sur-Mer (The Game of Croquet at Boulogne-sur-Mer).
Alain de Leiris, The Drawings of Edouard Manet (Berkeley, CA: University of California Press, 1969), 35n48, 71n20, 119–20, as La Partie de croquet à Boulogne.
Janet Flanner, "Letters from Paris," New Yorker (August 22, 1970): 85, as The Croquet Game.
"Paris Police Fine Art Haul in Metro," Times (London), no. 58026 (November 18, 1970): 5.
Pierre Courthion, Impressionism, trans. John Shepley (New York: Harry N. Abrams, 1972), 110, as Partie de croquet.
Denis Rouart and Daniel Wildenstein, Edouard Manet: Catalogue raisonné, vol. 1, Peintures (Lausanne: Bibliothèque des arts, 1975), no. 173, pp. 5–6, 27, 154–55, (repro.), as La Partie de croquet.
Alice Bellony-Rewald, The Lost World of the Impressionists (London: Weidenfeld and Nicholson, 1976), 79, 282, (repro.), as The Croquet Party.
Jeanne Laurent, Pierre Vaisse, and Jacques Chardeau, "The New Caillebotte Affair," October 31 (Winter 1984): 69–90.
Kirk Varnedoe, Gustave Caillebotte (1987; repr. New Haven, CT: Yale University Press, 2000), 203, as La partie de croquet.
Nicolai Cikovsky, ed., Winslow Homer: A Symposium [proceedings of the Symposium "Winslow Homer" sponsored by the Center for Advanced Study in the Visual Arts, National Gallery of Art, 18 April 1986] (Washington, D.C.: National Gallery of Art, 1990), 87n42.
Juliet Wilson-Bareau, Manet by Himself: Correspondence and Conversation; Paintings, Pastels, Prints and Drawings (London: Macdonald, 1991), 197, 311, (repro.), as Croquet at Boulogne.
Gloria Groom, Edouard Vuillard, Painter-Decorator: Painters and Projects, 1892–1912 (New Haven: Yale University Press, 1993), 215n52, as La Partie de Croquet.
Vivien Perutz, Edouard Manet (Lewisburg: Bucknell University Press, 1993), 154, as Croquet Party.
Marie Berhaut, Gustave Caillebotte: Catalogue Raisonné des Peintures et Pastels, rev. ed. (Paris: Wildenstein Institute, 1994), 281, as La Partie de croquet.
Anne Distel et al., Gustave Caillebotte: 1848–1894, exh. cat. (Paris: Éditions de la Réunion des musées nationaux, 1994), 31, 42–43, 360, 374, (repro.), as La Partie de croquet.
Klaus Herding et al., eds., Impressionisten/Städel, exh. cat. (Frankfurt: Städel, 1999), 66–83.
Nancy Locke, Manet and the Family Romance (Princeton: Princeton University Press, 2001), 126, 128, 222, (repro.), as The Croquet Party at Boulogne-sur-Mer.
Ina Conzen, Edouard Manet: und die Impressionisten (Stuttgart: Staatsgalerie Stuttgart, 2002), 70, (repro.), as Die Krocketpartie.
James E. Cutting, "Gustave Caillebotte, French Impressionism, and Mere Exposure," Psychonomic Bulletin and Review 10, no. 2 (2003): 339.
Pierre Cabanne, Les grands collectionneurs (Paris: Les Éditions de l’Amateur, 2003), 236, as La Partie de croquet.
David Degener and Juliet Wilson-Bareau, Manet and the Sea, exh. cat. (Philadelphia: Philadelphia Museum of Art, 2003), 72–73, 96n78, 96n79, 96n80, 97n82, 135, (repro.), as Croquet at Boulogne.
Caillebotte: Au cœur de l'impressionnisme, exh. cat. (Lausanne: Bibliothèque des Arts, 2005), 178, as La partie de crocket [sic].
Rebecca Dimling Cochran and Bobbie Leigh, "100 Top Collectors Who Have Made a Difference," Arts and Antiques 29, no. 3 (March 2006): 90, as The Croquet Party.
Bobbie Leigh, "Magnificent Obsession," Art and Antiques 29, no. 6 (June 2006): 65, as The Croquet Party.
"Inaugural Exhibitions Celebrate Kansas City," Member Magazine (The Nelson-Atkins Museum of Art) (Fall 2006): 3.
Sidsel Maria Søndergaard, ed., Women in Impressionism: From Mythical Feminine to Modern Woman, exh. cat. (Milan: Skira, 2006), 204, 209, 223n60, (repro.), as The Croquet Party.
Richard R. Brettell and Joachim Pissarro, Manet to Matisse: Impressionist Masters from the Marion and Henry Bloch Collection, exh. cat. (Kansas City, MO: Nelson-Atkins Museum of Art, 2007), 2, 11, 15, 30–33, 153, 155, (repro.), as The Croquet Party (La partie de croquet).
Alice Thorson, "First Public Exhibition: Marion and Henry Bloch’s Art Collection," The Kansas City Star (June 3, 2007): E4.
"Lasting Impressions: A Tribute to Marion and Henry Bloch," Member Magazine (The Nelson-Atkins Museum of Art) (Fall 2007): 12.
Steve Paul, "Pretty Pictures: Marion and Henry Bloch’s collection of superb Impressionist masters," Panache 4, no. 3 (Fall 2007): 24, (repro.), as The Croquet Party.
"Kansas City Riches," New York Times 159, no. 54,942 (February 5, 2010): C26.
Alice Thorson, "Museum to Get 29 Impressionist Works from the Bloch Collection," Kansas City Star (February 5, 2010): A1.
James H. Rubin, Manet: Initial M, Hand and Eye (Paris: Flammarion, 2010), 290–92, 294, (repro.), as Croquet at Boulogne.
Thomas M. Bloch, Many Happy Returns: The Story of Henry Bloch, America’s Tax Man (Hoboken, NJ: John Wiley and Sons, 2011), 174, as The Croquet Party.
Manet: Portraying Life, exh. cat. (London: Royal Academy of Arts, 2012), 199.
Patrick Ramade, Un été au bord de l’eau: Loisirs et impressionnisme, exh. cat. (Paris: Éditions de la Réunion des musées nationaux-Grand Palais, 2013), 30, 53, 137n29, as La Partie de croquet.
Nancy Locke, "Visible Specters, Images from the Atmosphere," Nonsite no. 14 (December 15, 2014): https://nonsite.org/article/visible-specters, (repro.), as Croquet Party at Boulogne.
Diane Stafford, "Bloch Gift to Go for Nelson Upgrade," Kansas City Star 135, no. 203 (April 8, 2015): A1, A8, (repro.), as The Croquet Party.
"World-Class Bloch Art Collection Will Be on Permanent View in Renovated Galleries at the Nelson-Atkins," Artdaily.org (April 9, 2015): http://artdaily.com/news/77729/World-class-Bloch-Art-Collection-will-be-on-permanent-view-in-renovated-galleries-at-the-Nelson-Atkins#.VsayTF15C91, as The Croquet Party.
"Nelson-Atkins Museum of Art officially accessions Bloch Impressionist masterpieces," Artdaily.org (July 25, 2015): http://artdaily.com/news/80246/Nelson-Atkins-Museum-of-Art-officially-accessions-Bloch-Impressionist-masterpieces#.V6oGwlKFO9I, as The Croquet Party.
Julie Paulais, "Le Nelson-Atkins Museum of Art reçoit des tableaux impressionnistes en échange de leurs répliques," Le Journal des arts (July 30, 2015): http://www.lejournaldesarts.fr/site/archives/docs_article/129801/le-nelson-atkins-museum-of-art-recoit-des-tableaux-impressionnistes-en-echange-de-leurs-repliques.php, (repro.), as Partie de croquet à Boulogne-sur-Mer.
Josh Niland, "The Nelson-Atkins Museum of Art Acquires a Renowned Collection of Impressionist and Postimpressionist Art," architecturaldigest.com (August 6, 2015): https://www.architecturaldigest.com/story/nelson-atkins-museum-accessions-bloch-art-collection, (repro.), as The Croquet Party.
Nancy Staab, "Van Gogh is a Go!" 435: Kansas City’s Magazine (September 2015): 76, (repro.), as The Croquet Party.
Felix Krämer, ed., Monet and the Birth of Impressionism, exh. cat. (Munich: Prestel, 2015), 137-38, (repro.), as The Game of Croquet / La Partie de croquet.
Nina Siegal, "Upon Closer Review, Credit Goes to Bosch," New York Times 165, no. 57130 (February 2, 2016): C5.
"Nelson-Atkins to unveil renovated Bloch Galleries of European Art in winter 2017," Artdaily.org (July 20, 2016): (repro.), as The Croquet Party, http://artdaily.com/news/88852/Nelson-Atkins-to-unveil-renovated-Bloch-Galleries-of-European-Art-in-winter-2017-#.W-NDepNKhaQ.
Catherine Futter et al., Bloch Galleries: Highlights from the Collection of the Nelson-Atkins Museum of Art (Kansas City, MO: Nelson-Atkins Museum of Art, 2016): 70, (repro.), as The Croquet Party.
Albert Hect, "Henry Bloch’s Masterpieces Collection to Go on Display at Nelson-Atkins Museum," Jewish Business News (February 26, 2017): http://jewishbusinessnews.com/2017/02/26/henry-bloch-masterpieces-collection/.
David Frese, "Inside the Bloch Galleries: An interactive experience," Kansas City Star 137, no. 169 (March 5, 2017): 1D, 5D, (repro.), as The Croquet Party.
"Editorial: Thank you, Henry and Marion Bloch", Kansas City Star (March 7, 2017): http://www.kansascity.com/opinion/editorials/article137040948.html.
Hampton Stevens, "(Not Actually) 12 Things To Do During The Big 12 Tournament," Flatland: KCPT’s Digital Magazine (March 9, 2017): http://www.flatlandkc.org/arts-culture/sports/not-actually-12-big-12-tournament/.
Laura Spencer, "The Nelson-Atkins’ Bloch Galleries feature Old Masterworks and New Technology," KCUR (March 10, 2017): http://kcur.org/post/nelson-atkins-bloch-galleries-feature-old-masterworks-and-new-technology#stream/0.
Victoria Stapley-Brown, "Nelson-Atkins Museum’s new European art galleries come with a "love story"," Art Newspaper (March 10, 2017): http://theartnewspaper.com/news/museums/nelson-atkins-museum-s-new-european-art-galleries-come-with-a-love-story/.
Harry Bellet, "Don du ciel pour le Musée Nelson-Atkins," Le Monde (March 13, 2017): http://www.lemonde.fr/arts/article/2017/03/13/don-du-ciel-pour-le-musee-nelson-atkins_5093543_1655012.html, (repro.).
Menachem Wecker, "Jewish Philanthropist Establishes Kansas City as Cultural Mecca," Forward (March 14, 2017): http://forward.com/culture/365264/jewish-philanthropist-establishes-kansas-city-as-cultural-mecca/ [repr. in Menachem Wecker, "Kansas City Collection Is A Chip Off the Old Bloch," Forward (March 17, 2017): 20-22].
Juliet Helmke, "The Bloch Collection Takes up Residence in Kansas City’s Nelson Atkins Museum," BlouinArtInfo International (March 15, 2017): http://www.blouinartinfo.com/news/story/2005267/the-bloch-collection-takes-up-residence-in-kansas-citys.
Erich Hatala Matthes, "Digital replicas are not soulless – they help us engage with art," Apollo: The International Art Magazine (March 23, 2017): https://www.apollo-magazine.com/digital-replicas-3d-printing-original-artworks/.
Louise Nicholson, "How Kansas City got its magnificent museum," Apollo: The International Art Magazine (April 7, 2017): https://www.apollo-magazine.com/how-kansas-city-got-its-magnificent-museum/.
Lilly Wei, "Julián Zugazagoitia: ‘Museums should generate interest and open a door that leads to further learning,’" Studio International (August 21, 2017): http://studiointernational.com/index.php/julian-zugazagoitia-director-nelson-atkins-museum-of-art-kansas-city-interview.
Robert D. Hershey Jr., "Henry Bloch, H&R Block’s cofounder, dies at 96," Boston Globe (April 23, 2019): https://www3.bostonglobe.com/metro/obituaries/2019/04/23/henry-bloch-block-cofounder/?arc404=true.
Robert D. Hershey Jr., "Henry W. Bloch, Tax-Preparation Pioneer (and Pitchman), Is Dead at 96," New York Times (April 23, 2019): https://www.nytimes.com/2019/04/23/obituaries/henry-w-bloch-dead.html.
Ignacio Villarreal, "Nelson-Atkins mourns loss of Henry Bloch," ArtDaily.org (April 24, 2019): http://artdaily.com/news/113035/Nelson-Atkins-mourns-loss-of-Henry-Bloch#.XMB76qR7laQ, as The Croquet Party.
Eric Adler and Joyce Smith, "H&R Block co-founder, philanthropist Bloch dies," Cass County Democrat Missourian 140, no. 29 (April 26, 2019): 1A.
Eric Adler and Joyce Smith, "KC businessman and philanthropist Henry Bloch dies," Lee’s Summit Journal 132, no. 79 (April 26, 2019): 1A.
Luke Nozicka, "Family and friends remember Henry Bloch of H&R Block," Kansas City Star 139, no. 225 (April 30 2019): 4A [repr. Luke Nozicka, "Family and friends remember Henry Bloch of H&R Block," Kansas City Star 139, no. 228 (May 3, 2019): 3A].
Theodore Reff, ed., The Letters of Edgar Degas (New York: Wildenstein Plattner Institute, 2020), 1:152, 153n8, 3:21, as La Partie de Croquet.
Simon Kelly, "Edouart Manet, The Croquet Party, 1871," catalogue entry, and Diana M. Jaskierny, "Edouard Manet, The Croquet Party, 1871," technical entry in French Paintings, 1600–1945: The Collections of the Nelson-Atkins Museum of Art, ed. Aimee Marcereau DeGalan (Kansas City: The Nelson-Atkins Museum of Art, 2021), https://doi.org/10.37764/78973.5.522.
“Nelson-Atkins begins
serial release of French paintings catalogue,” ArtDaily (February 27, 2021): https://artdaily.cc/news/133409/Nelson-Atkins-begins-serial-release-of-French-paintings-catalogue#.YD0gmXlMGUk,
as Croquet Party.
Dana Self, “Arts News:
Nelson-Atkins Digital French Paintings Catalogue,” KC Studio (June 1,
2021): http://kcstudio.org/nelson-atkins-digital-french-paintings-catalogue/
.
Aimee
Marcereau DeGalan, in Diana Seave Greenwald, ed., Manet: A Model Family, exh. cat.
(Princeton University Press, 2024), 130–31, 178–81, 206n96, (repro.), as The
Croquet Party (La partie de croquet).
