In memoriam Paul Durand-Ruel: was he the inventor of Impressionism?

Pierre-Auguste Renoir (1841–1919), Marie-Thérèse Durand-Ruel Sewing (1882), oil on canvas, 64.8 × 53.8 cm, Sterling and Francine Clark Art Institute, Williamstown, MA. Wikimedia Commons.

One hundred years ago today, on 5 February 1922, Paul Durand-Ruel (1831-1922) died in Paris at the age of 90. He was the art dealer who bought and sold more Impressionist paintings than all other dealers combined, for which he has been claimed to be the inventor of Impressionism.

The Impressionists sold paintings to and through a number of dealers, among them Durand-Ruel, Ambroise Vollard, Georges Petit, Goupil & Cie, and others. However, it has been estimated that during his lifetime Durand-Ruel bought a total of 1,500 paintings by Renoir, over 1,000 Monets, 800 Pissarros, over 400 by Degas, and almost 400 from each of Sisley and Mary Cassatt. Nearly a quarter of the Impressionist paintings in the Musée d’Orsay were bought, sold or exhibited by Durand-Ruel. For one dealer, that’s close to a monopoly.

Paul Durand-Ruel’s father Jean ran the family stationery shop in Paris, also selling artists’ materials. Customers were keen to pay for those supplied in kind, with their paintings, and as trade in pictures grew, so Jean’s interest in dealing in paintings developed. This blossomed into the Durand-Ruel Gallery, specialising in contemporary painting by Bonington, Daumier, and members of the Barbizon School. In 1845, the gallery published a collection of reproductions of works, including four by Eugène Delacroix. It also rented out paintings for social occasions, or by the month, which proved more lucrative than sales.

The young Paul entered the École Militaire de Saint-Cyr in 1851, but resigned to help his exhausted father in the gallery. When he was twenty-four, he visited the Universal Exhibition of 1855, where he was overwhelmed by the thirty-five major works by Delacroix on display there. He later went on to purchase more than sixty of that artist’s paintings during his career as a dealer. Durand-Ruel learned how to authenticate and value works, and in 1863 acted as expert advisor to an auctioneer for the first time.

Shortly after the outbreak of the Franco-Prussian War in 1870, Durand-Ruel fled to London, where he rented a gallery to exhibit French paintings. He met Charles-François Daubigny, the landscape painter, Claude Monet and Camille Pissarro, who had similarly escaped from Paris. He bought and exhibited paintings by Monet and Pissarro immediately, opening his dealings with Impressionists. On his return to Paris, Durand-Ruel additionally started buying paintings from Degas, Sisley, Renoir, Boudin, Berthe Morisot and Édouard Manet.

Berthe Morisot, The Cradle (1872), oil on canvas, 56 x 46 cm, Musée d'Orsay, Paris. WikiArt.
Berthe Morisot (1841-1895), The Cradle (1872), oil on canvas, 56 x 46 cm, Musée d’Orsay, Paris. WikiArt.

Impressionist paintings didn’t sell at first. Durand-Ruel got into financial trouble, and had to sell off his stock of paintings from Barbizon artists, and stopped buying from Impressionists, putting those artists into financial difficulties. His gallery hosted the Second Impressionist Exhibition in 1876, but sales remained meagre. Business improved between 1880-82, then came a financial crash and Durand-Ruel stopped purchasing again. His breakthrough occurred in 1886, when Americans flocked to his exhibition in New York, and he won over rich American collectors like the Havemeyers.

Pierre-Auguste Renoir (1841–1919), Marie-Thérèse Durand-Ruel Sewing (1882), oil on canvas, 64.8 × 53.8 cm, Sterling and Francine Clark Art Institute, Williamstown, MA. Wikimedia Commons.

In 1882, Durand-Ruel commissioned Renoir to paint each of his five children. Marie-Thérèse Durand-Ruel Sewing (1882) shows the eldest of them on a fine summer’s day in the garden of their family home in Normandy.

Durand-Ruel much preferred exclusive relationships with his artists, and fought hard to retain them against the threat posed by his main competitor, Georges Petit. His letters of ‘advice’ to Impressionists make fascinating reading: with the promise of sales, to pay the artist’s bills and put bread on their family’s table, he effectively directed their art.

For example, in 1884, Durand-Ruel told Pissarro: “do me handsome landscapes like the one you sold to Heymann so cheaply. It is very fine and I wish I had it. Seek out pretty subjects, which are a key element of success. Leave figures aside for the moment, or add them merely as props – I feel that landscapes are much more likely to sell.” (Hook, 2017.)

A month later, Durand-Ruel told Monet how to finish his paintings to make them more sellable. That upset the artist, and an exchange of letters followed.

His negotiations over exclusivity were even more manipulative. In 1892, Pissarro rejected an exclusive contract, to which Durand-Ruel explained: “What I am asking is very straightforward and fair. I am entirely disposed to take all your paintings, which will not be awkward for either you or myself, as you fear. It is the only way to avoid competition, the competition which has prevented me from boosting your prices for so long. Only with the monopoly that I am requesting from you can I successfully campaign”. (Hook, 2017.) Within a month, Pissarro surrendered.

Durand-Ruel’s greatest contribution to Impressionism was the dealer’s dream: series paintings made by Monet, Pissarro and Sisley.

By about 1882, Monet started, perhaps unintentionally, producing series paintings, and in 1889 painted his first series based on near-identical views of a relatively simple motif and composition. He then set out to build series during the winter of 1890-91, in the main Grainstacks series, which were the first to be shown together as a series. These were arranged for a solo exhibition at the Durand-Ruel Gallery, an event which was carefully co-ordinated by the dealer.

Claude Monet (1840–1926), Grainstacks, End of Summer (W1266) (1891), oil on canvas, 60 x 100 cm, Musée d’Orsay, Paris. Wikimedia Commons.

After various delays during which Monet apparently made further adjustments to the paintings in the series, the first fifteen canvases were shown at the exhibition which opened on 4 May 1891. They all sold, for sums of up to 1,000 francs, and provided Monet with an excellent return for the winter’s work, and Durand-Ruel with a newly-opened gold mine.

Claude Monet, the complete "Grainstacks" series of 1890-1, referenced by their Wildenstein numbers.
Claude Monet (1840-1926), the complete “Grainstacks” series of 1890-1, referenced by their Wildenstein numbers.

The remaining ten paintings in the series were sold to Durand-Ruel and other dealers by the end of 1891, and all have now been dispersed into art galleries and private collections around the world. The following year Monet started his still more famous series of Rouen Cathedral, which he completed in 1894.

Claude Monet, La Cathédrale de Rouen (1894) W1326, oil on canvas, 100 x 65 cm, Pushkin Museum, Moscow. WikiArt.
Claude Monet (1840-1926), La Cathédrale de Rouen (1894) W1326, oil on canvas, 100 x 65 cm, Pushkin Museum, Moscow. WikiArt.

From 1890 to 1897 most of Monet’s paintings consisted of series; after that period he painted very few canvases which were not part of a series. Although there were exceptions, most of his series paintings were of simple compositions and motifs, without people, and were explorations of the effects of light and other immediate influences. They were very successful commercially, and both Pissarro and Sisley followed suit.

Durand-Ruel knew what he could sell, and repeatedly nudged his Impressionists to conform to what he considered sellable. On occasion, this prevented Impressionists from developing their art in the direction which they had intended. He also avoided dealing any more than occasionally in the works of three major artists: Paul Cézanne, Paul Gauguin, and Vincent van Gogh, each of whom only attained true recognition after 1900. In a letter to Renoir in 1908, the dealer wrote that Cézanne’s reputation had been overstated, and that the promotion of the three “is a shame and is most detrimental to our dealings.”

Another example of Durand-Ruel’s influence is the new style of figurative painting which Renoir introduced in his Large Bathers in 1887.

Pierre-Auguste Renoir (1841–1919), The Large Bathers (1884-87), oil on canvas, 117.9 x 170.9 cm, Philadelphia Museum of Art, Philadelphia, PA. Wikimedia Commons.

Renoir intended this to be the first of his new style, which he derived from his studies of Old Masters, including Raphael, Rubens and Titian, and Ingres. Despite three years of work on this canvas, this painting was savaged by the critics and Renoir was put under pressure from Durand-Ruel to abandon this change. He did, and flourished as a result.

Pierre-Auguste Renoir (1841–1919), Young Girls Playing Badminton (c 1887), oil on canvas, 54.6 x 65.2 cm, location not known. Wikimedia Commons.

Young Girls Playing Badminton from about 1887 is another figurative painting in Renoir’s new classically-inspired style, in which the figures are so sharp against its landscape that they appear cut-out. This didn’t go down well with Durand-Ruel.

The late John House summarised Durand-Ruel’s effect on art most succinctly, writing that he sought “to convert the former elite, minority taste into a real commercial merchandise – to commodify the artistic.” More worryingly, though, the effect may have subtly changed artistic preferences, as House continues that in the 1870s and early 1880s Durand-Ruel “does not seem to have bought their most informal and experimental paintings”, instead preferring those which were most ‘finished’.

Perhaps it would be fairest to describe Paul Durand-Ruel as neither a saint nor a sinner, just an innovative and visionary art dealer who played a significant and important role in the success of Impressionism, as one of its architects.


Sylvie Patrie (ed) (2015) Inventing Impressionism: Paul Durand-Ruel and the Modern Art Market, National Gallery / Yale UP. ISBN 978 1 85709 5845.
Philip Hook (2017) Rogues’ Gallery, A History of Art and its Dealers, Profile Books. ISBN 978 1 17812 5570 4.