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Index
André Dombrowski
Description: Monet’s Minutes: Impressionism and the Industrialization of Time
Monet’s Minutes: Impressionism and the Industrialization of Time
Index
Author
André Dombrowski
PublisherYale University Press
Copyright© 2023 by André Dombrowski
Stable URL: https://aaeportal.com/?id=-32178
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Index
academic painting, 5, 7. See also finish
aerial photography, 211
Agence Rol, A Coal Delivery Woman, 110, 111
Albert, Joseph, photographic reproductions of an arm and hand’s nervous system, 41, 41
Allen, William F., 152
Alphant, Marianne, 18
Anderson, Benedict, 13
Anonymous, Esther Pissarro, Alice Isaacson, Lucien and Georges Pissarro Pretending to Be a Train, 120
Antoine, André, 207
Argenteuil, 74
Armstrong, Carol, 211
Arnoux, Charles Albert d’. See Bertall
Arrival of the Normandy Train: Gare Saint-Lazare, 112 (detail), 126, 127, 128, 129
Arrivée du train de Normandie, gare St-Lazare, 128
Arthur, Chester, 164
Asnières, 91
Assemblée nationale, 81, 94
Athanassoglou-Kallmyer, Nina, 202, 241n11
Aurier, Albert, 47
Bachelard, Gaston, 53, 149, 153
Bacot, Edmond, Haut de Portail, Côté de la Place, Cathédrale de Rouen, 159
Baignères, Arthur, 29
ballooning, 211
Ballu, Roger, 8, 64, 143
Barrows, Adam, 14, 19, 139
Barthe, Marcel, 107
Basset, Urbain, The Torrent, Project for a Fountain, 120, 121
Batignolles Railway Cutting, The, 131, 131
Baudelaire, Charles, 198, 200
Bazille, Frédéric, 32, 34, 37, 41, 70, 72
Bazille and Camille (Study for Le Déjeuner sur l’herbe), 37, 38
Bazire, Edmond (pseudonym: Jacques), 143
Beach at Trouville, The, 57, 58, 59, 60 (detail), 61
beaches, 57
Beaux, Cecilia, 179
Beaux-Arts tradition, 120
Behrens, Peter, 221
Belle-Île-en-Mer, 188–90, 194, 198–200
Belle-Île paintings, 70, 188–205
brushwork in, 204–5, 243n70
exhibitions of, 191
instantaneity and eternity in, 188–89, 200–202
repetition as motif of, 188–200
series paintings in relation to, 188, 191
sociopolitical context of, 188–90, 204–5, 241n11
Bellio, Georges de, 120
Benjamin, Walter, 187, 188, 189, 198, 205, 229n8
Bennecourt (drawings), 3, 4, 162, 163
Bennecourt (painting), 163, 164
Bérard, Paul, 170
Bergerat, Émile, 64
Bergson, Henri, 18, 77, 79
Bernard, Daniel, 86, 200
Bernhardt, Sarah, 207
Bernheim-Jeune, Gaston and Josse, 207
Bertall (pseudonym of Charles Albert d’Arnoux), 200
Bessel, Friedrich, 45
Biez, Jacques de, 150
Big Ben, London, 159, 161
Bijvanck, Willem, 150, 181
Bilfinger, Gustav, 13
Blanc, Louis, 98
Blanche, Jacques-Émile, 171
Blanqui, Louis Auguste, 13, 188, 189, 194, 196, 198–201, 204–5
Éternité par les astres, 188, 196, 198, 204
Blémont, Émile, 95
body: brushwork and, 46
capitalist uses of, 36
cultural concepts applied to, 36–37
Monet’s work and, 37
technology applied to, 29–31
time and, 11–12, 24, 36, 62. See also physiology; senses/sensation
Boehm, Gottfried, 150
Bois-Reymond, Emil du, 35, 36, 38, 46
table comparing various speeds, 37
Bomford, David, 9
Borell, Merriley, 31
Boudenoot, Louis, 177
Boudin, Eugène, 57, 59
Bouguereau, William, 95–96
Boulevard des Capucines, 40, 70, 74, 209, 210, 211
Bouquet de La Grye, Anatole, 177
Bourget, Paul, 55, 62, 66, 77
Bouyer, Raymond, 52
Bracquemond, Félix, L. A. Blanqui, 1805–1881, 199
Brain, Robert Michael, 19, 40, 47, 99
Branch of the Seine near Giverny (Mist), 167, 169, 181
Bras de Seine, près Giverny, 181
Braun, Marta, 31
Bréguet family, 119, 237n58
Brettell, Richard, 18
Bridge at Argenteuil, The, 74, 75
Brown-Séquard, Charles-Édouard, 41
brushwork: in The Beach at Trouville, 57
in Belle-Île paintings, 204–5, 243n70
and the body, 45, 46
critics’ commentary on, 29, 45, 70, 86, 143
double significance of, 7
in early vs. later paintings, 105, 174
in Gare Saint-Lazare paintings, 126, 128, 133, 137
impressions in relation to, 45
and instantaneity, 44
in Le Déjeuner sur l’herbe, 42–45
in series paintings, 174
temporal meanings associated with, 2, 5, 7, 24, 45, 46, 54, 57, 68, 69, 133
and time of a painting’s execution, 96
truth ascribed to, 29
variations in, 7. See also painting process
Burty, Philippe, 28, 73–74, 92, 174
Butor, Michel, 167
Caillebotte, Gustave, 60, 85, 96, 119, 122–23, 126, 209, 211, 215
Callen, Anthea, 18, 95
Camille (Woman in a Green Dress), 31
Canales, Jimena, 19, 35, 46
capitalism, 10, 13, 14, 19, 86, 139, 223
Cardon, Émile, 143
Carjat, Étienne, 9, 95
Cassatt, Alexander, 147
Cassatt, Mary, 15, 147
Castagnary, Jules-Antoine, 29, 31, 40, 46, 209
Celan, Paul, 150
centres horaires (time centers), 132, 132
Cézanne, Paul, 16, 45, 194
The Black Clock, 16
Rococo Clock, 16, 17
Cham (Amédée Charles Henri, comte de Noé): caricature in Cham au Salon de 1870, 133, 136
caricature of Édouard Manet’s Repose (Portrait of Berthe Morisot), 99, 99
caricature of Paris’s Chemin de fer de petite ceinture, 141, 142
caricature of Urbain Basset’s sculpture Le Torrent, projet de fontaine (Souvenir du Dauphiné), 120–21, 121
Chambre des députés, 106, 107
Champa, Kermit S., 45
Charpentier, Georges, 95
Chassagnol neveu and Maxime, caricature of Claude Monet’s Boats Leaving the Port of Le Havre, 86, 86
Chesneau, Ernest, 40, 46–47, 209
La Chimère (The Chimera), 61
Chevalier, Frédéric, 141
Chevreul, Michel-Eugène, 66
child labor, 81, 89–90, 93–94, 97, 106
Choumoff, Pierre, 213
Claude Monet showing the Déjeuner sur l’herbe fragment to the Duc de Trévise, 48
chronophotography, 30, 38, 211
Church at Bennecourt, The, 162, 163
cinematograph, 211
Claretie, Jules, 143
Clark, T. J., 5, 9, 19, 144, 232n7
Claverie, caricature of Parisian clockmakers checking the correct time at the Observatory’s time regulator, 12
Clayson, Hollis, 19, 233n27
Clemenceau, Georges, 5, 49, 153, 176–77, 181, 190, 201, 221–22
Clément-Janin, Noël, 77
Clémentel, Étienne, Claude Monet in front of his house in Giverny, 206 (detail), 213, 213
Clichy, 83, 91, 92
Cliffs series, 174, 181
clocks: cultural significance of, 11–12, 14, 139
in paintings and drawings, 14, 15–16, 15, 16, 17, 138, 139, 156, 157, 158, 159, 161, 161, 162, 163
series paintings in relation to, 153
synchronization of, 12, 118–19, 118, 132, 132, 138, 152. See also pneumatic time systems
coal industry, 91–92, 94, 110
Coalmen, The, or Men Unloading Coal, 80 (detail), 84, 87 (detail)
exhibitions and sales of, 83, 88, 91, 92, 93, 104
labor and time represented in, 83, 85, 87–94, 97–99, 101–2, 104, 107, 108, 111
series paintings compared to, 85
sociopolitical context of, 91–93, 101, 107, 108, 111
title of, 91
Cochin, Henry, 85
coherence: aesthetic, 52, 69–70, 72, 185
of series paintings, 156
temporal, 52, 54, 57, 61, 73–74, 79, 115, 131, 133, 138, 147, 152–53, 156, 173, 178
visual, 44, 45, 57. See also harmony; unity
Collin, Armand-François, 119
color: critics’ commentary on, 101
in Impressionist paintings, 68–69, 99, 101
scientific study of, 66, 68–69
Compagnie générale des horloges pneumatiques, 132
Congrès ouvrier de Paris, 106
consciousness: sensation and, 35, 36, 45–46, 69
time sense of, 12, 18, 53–55, 62, 64–67, 74, 77. See also self/subjectivity
Constable, John, 18
Corot, Jean-Baptiste-Camille, 51
Cosmos (journal), 35
Costé, Jules, Les Charbonniers, 91
Courbet, Gustave, 34, 43, 51, 72
Pierre-Joseph Proudhon and His Children in 1853, 9
Crary, Jonathan, 19
critics: on brushwork, 29, 45, 70, 86, 143
on color, 99, 101
on duration, 77
on Gare Saint-Lazare paintings, 123, 126, 128–29, 131, 141, 143
on Impressionist exhibitions, 9, 27
on impressions, 27–28, 29, 46, 142
on instantaneity, 8, 28, 40, 52, 56, 77, 86
on now time, 52–53
on painting process, 59, 61–62, 85, 86, 95, 97, 143
photographic terms and analogies used by, 209, 211
on Poplars series, 143
on sensation, 31
on series paintings, 5, 49, 123, 143, 149–50, 152, 153, 167, 173–74, 176–77, 181, 185, 201–2
on Seurat, 170
sociopolitical commentary of, 200, 202, 204–5
on subject matter, 92
and Symbolism, 170
technical or mechanical terms and analogies used by, 29, 86, 123, 126, 133, 142–43, 147, 170
on time, 5, 9, 15–16, 62, 64, 68, 73–74, 77, 86, 149, 152, 176–78, 201–2
time spent viewing paintings, 9
on unity, 70
on vision/perception, 40, 69
croquis, 59–60
Cross, Gary, 81, 82, 93, 99
Czermak, Johann, 65
Dagnan-Bouveret, Pascal, Nude Study of a Man, 16, 16
Dagron, René, 36
daguerreotypes, 207–8
Danto, Arthur, 205
Daston, Lorraine, 46, 49
Daubigny, Charles-François, 15–16
decimalization, 178–79
decoration, Impressionism associated with, 92, 111, 185
Degas, Edgar, 2, 16, 132, 207, 209, 215, 237n58
Madame Camus, 66
Déjeuner sur l’herbe, Le, 12, 21, 24
Bazille’s modeling for, 32, 37, 41, 70, 72
brushwork in, 42–45
drawing, 34
large version fragments, 20 (detail), 23, 42 (detail), 43 (detail), 44 (detail), 71 (details)
Manet’s Déjeuner compared to, 31–32, 34
Monet’s possession of, 49
and reaction time, 34–35, 37, 39
small version, 33, 71 (detail)
temporality of, 31–35, 70, 72
Delacroix, Eugène, 18
Delorme, René. See Saint-Jurs
Delville, Gabriel, 177
Denis, Maurice, 47
Descubes-Desgueraines, Amédée, 8, 131
Desfossés, Victor, 88
Diderot, Denis, 57
Diguet, M. L. (pseudonym: Argus), 143
Doane, Mary Ann, 19, 52
Doncieux, Camille, 21, 27, 37, 57, 70, 72, 73, 104
Donders, Franciscus Cornelis, 39–40
Draaisma, Douwe, 66
Draner (Jules Renard), caricature about avoiding railroad accidents, 141, 142
Duchenne de Boulogne, Guillaume, 38–39
Durand-Ruel, Paul, and Durand-Ruel Gallery, 60, 70, 77, 93, 108, 142, 143, 145, 147, 156, 170, 179–81, 191, 195, 201, 202, 211
Duranty, Louis-Edmond, 45, 66
duration: Bergson’s philosophy of, 18, 77
critics’ commentary on, 77
of impressions, 64
instantaneity vs., 77
of labor, 108
and the momentary/instant/now/present, 28, 52, 56–57, 85
Monet’s art and, 77, 79
of painting process, 2–3, 5, 8–9, 55–56, 219
psychological study of, 54, 65
of sensory experience, 24, 39–40, 47, 52. See also eternal return/eternity
Duret, Théodore, 51–52, 61–62, 68, 93, 213
ébauches, 59
École supérieure du commerce, 95
Eder, Josef Maria, History of Photography, 213
Einstein, Albert, 54, 77, 237n65
Elder, Marc. See Tendron, Marcel
Eon, Henry, 181
ephemerality, 21, 24, 31, 47, 51, 61, 107, 111, 137, 173, 176, 198, 200. See also fugitivity; transi-toriness
esquisses, 59, 126
eternal return/eternity, 187–205
instantaneity in relation to, 188–90, 198, 200–202, 205
series paintings in relation to, 13, 187, 188, 195–96, 199–201, 205
sociopolitical significance of, 202
theory of, 13, 187, 196, 198
universal time and, 188, 198. See also duration
études, 59
Exner, Sigmund, 45
Exterior of the Gare Saint-Lazare: The Signal, 140, 141
Exterior of the Gare Saint-Lazare: View of the Batignolles Tunnels in Sunshine, 144, 145
Falaises series. See Série de Falaises (Cliffs) series
fashion, 35, 37, 47, 57, 74
Faucher, Léon, 89
Faust, Séverin (pseudonym: Camille Mauclair), 150, 185
Fechner, Gustav, 54, 62, 64–67, 69, 77
Fénéon, Félix, 3, 47, 56, 147, 170, 230n34
Figaro, Le, 208, 221
Figuier, Louis, L’Année scientifique et industrielle, 35
Figure of a Woman (Camille), 37, 38
film. See photography and film
finish, works’ degree of, 2, 7, 8, 45, 57, 59, 96, 126
First International, 81
Flachat, Eugène, 122
Flaherty, Michael, 17
Flaubert, Gustave, 1, 200
Fleming, Sandford, 153, 171–73
pocket watch of, 174
Uniform Non-Local Time: Terrestrial Time, 173
Fontainas, André, 176
Foucault, Michel, 30, 88
Fourès, Auguste (pseudonym: Jean Prouvaire), 73
Fournel, Victor (pseudonym: Bernadille), 85, 143, 200
Fragonard, Jean-Honoré, 18
Fraipont, Gustave, dockers discharging black coal at the Forges of Ivry-sur-Seine, 100, 101
France, Anatole, 207
Franco-Prussian War, 74
Franklin, Benjamin, 86
French Impressionist Cinema, 209
French Revolution, 190
Freud, Sigmund, 156
Fried, Michael, 224n2, 226n3
Fry, Roger, 185
fugitivity, 40, 46, 51, 52, 62, 111, 176, 198. See also ephemerality; transi-toriness
Galison, Peter, 19, 46, 117, 133, 172
Gamboni, Dario, 167
Gare d’Argenteuil, The, 128, 129
Gare Saint-Lazare, 122
Gare Saint-Lazare, Seen from the Pont de l’Europe, 115, 116, 117
Gare Saint-Lazare, Suburban Lines, 137, 137
Gare Saint-Lazare, The (Musée d’Orsay, Paris), 124, 126, 129
Gare Saint-Lazare, The (National Gallery, London), 129, 130
Gare Saint-Lazare, The: Arrival of a Train, 125, 126, 129, 136 (detail)
Gare Saint-Lazare paintings, 9, 105
brushwork in, 126, 128, 133, 137
critical responses to, 123, 126, 128–29, 131, 141, 143
exhibitions and sales of, 114, 126, 128, 129
and instantaneity, 115, 131, 133, 141
painting process for, 114–15, 126, 128
pairings in, 129
preparatory drawings for, 126, 137, 137
series paintings in relation to, 129, 145, 156
signals in, 114, 115, 122, 123, 133, 137, 141, 144
steam, smoke, ephemerality, and solidity as motifs in, 114, 115, 117, 123, 126, 129, 131, 133, 137, 141, 143, 144
switchmen and switch houses in, 114, 122, 123, 141, 144
time as theme of, 113–17, 123–31, 133, 141–47
titles of works in, 128
Gare St-Lazare, arrivée d’un train, La, 128
Gaudibert, Louis-Joachim and Marguerite (Marcel), 209
Gauguin, Paul, 47
Gautier, Théophile, 73
Geffroy, Gustave, 1, 56, 70, 74, 152, 156, 174, 176, 187, 188, 195–96, 198–202, 204–5
L’Enfermé, 199, 204
Gervex, Henri: Bassin de la Villette, 99
The Coal Carrier (Quai de la Villette in Paris), 98, 99
Gignoux, Régis, 208, 217, 221
Gill, André, caricature of a Charles-François Daubigny landscape, 15, 15–16
Gille, Philippe, Les Charbonniers, 91
Gillet, Louis, 149, 174
Giverny, 11, 68, 149–51, 165–66, 206, 208, 213–15, 213, 215, 216, 221
Goncourt, Edmond and Jules de, 198
Gotlieb, Marc, 74
Goya, Francisco, Portrait of the Duchess of Alba, 61
Greenwich Mean Time, 2, 115, 151–52, 164–65, 177–78
Grenouillère, La, 74
Grenouillère, La, paintings, 50 (detail), 59, 60, 74, 75, 232n100
Grimm, Baron (pseudonym of Albert Millaud), 131
Groom, Gloria, 18
Guédès, Marie-Anne, 57
Guérard, Henri, Quai au charbon, Honfleur, 101–2, 101
Guillaume, François Hippolyte (Poly), 199
Guillemot, Jules, 143
Guillemot, Maurice, 167, 180
Guilmet, André Romain, Five-Piece Clock Garniture, 14, 14
Guitry, Lucien, 207
Guitry, Sacha, 213, 214
Ceux de chez nous, 207–9, 214–23, 214, 215, 216, 219, 220
Histoires de France, 222
Gunning, Tom, 219
Guyau, Jean-Marie, 77
Halévy, Louise Bréguet, 237n58
Halévy, Ludovic, 237n58
La Cigale (The Grasshopper), 3
Haller, Albrecht von, 37–38
Hals, Frans, 18
Hamilton, George Heard, 5, 226n3
Hardy, Henry (pseudonym: Henri Polday), 27–28, 47, 86
harmony, 45, 56, 70, 96, 167, 170, 174, 185, 202, 205. See also coherence; unity
Hayem, Charles, 88, 92, 93–94
Hayem, Julien Maxime, 93–94
Haystacks series, 150, 154–55, 156, 174, 179, 181, 188, 191, 201
Hecht, Henri, 93
Heinrich, Christoph, 156
Hélios Studio, The Bridge of the Place de l’Europe Seen from the Gare Saint-Lazare, 122, 122
Helmholtz, Hermann von, 29, 38, 64, 69
Henri-Robert, 207
Henry, Charles, 68
Herbart, Johann Friedrich, 62
Herbert, Robert, 8, 18, 51, 96, 152
Hirsch, Adolphe, 2, 39, 45
Höring, Adolf, 65–66
tabulation of mental time sensitivity experiments, 65
Hoschedé, Alice. See Monet, Alice Hoschedé
Hoschedé, Ernest, 104–5
hour: in local time-telling, 10, 13
paintings’ representation of a specific, 5, 49, 61, 70, 97, 162, 179, 181, 239n30
personal time organization by, 120
uniform measurement of, 13, 172–73, 176
as unit of artistic labor, 55–56, 85–86, 95, 150, 162, 176
as unit of labor, 81–82, 89–90, 94, 106–7
House, John, 7, 8, 18, 51, 59, 96, 126, 152, 174
Houses of Parliament, Sunset, 160, 161
Houses of Parliament series, 159, 239n30
Howse, Derek, 165
Hubert, Henri, 225n36
Hunt, The, 104–5, 105
Husserl, Edmund, 77
Huysman, Joris-Karl, 5, 28, 86–87, 143, 170, 191, 194
Ice Floes, The (Les Glaçons), 74, 76, 78–79
Illustration, L’ (newspaper), 132
immediacy: in Impressionist paintings, 3, 5, 28–29, 34, 40, 46, 51, 61
modernity and, 9, 34
sense experience and, 24, 27, 28, 35, 36, 38–40, 45–46
time of a painting’s execution and impressions of, 96
Impression, Sunrise, 28, 59, 60, 86, 95, 97
Impressionism: “crisis” of, 74
instantaneity as theme of, 1–3, 5, 7, 9, 11, 13–14, 19, 47–48, 52–53, 55, 56–57, 61–62, 69–70, 76–77, 79, 81–83, 85, 91, 105, 107–8, 115, 131, 133, 147, 150, 152–53, 156, 176, 188, 201–2, 205, 208, 211–13, 223, 230n34
interpretations of, 47–49
and modernity, 2, 19
Monet’s and other painters’ roles in, 15
origins of, 226n4
and photography, 13, 209–14
as response to anxieties about time and subjectivity, 13–14, 54, 69, 74, 108, 139, 141, 144–45, 150, 152, 153, 176, 185, 223
sociopolitical context of, 190, 200, 221–23
subject matter of, 86, 92–93, 101–4
technical or mechanical terms and analogies applied to, 29, 86, 123, 126, 133, 142–43, 147
Impressionist exhibitions: critical responses to, 9, 27
eighth (1886), 170, 190
first (1874), 27, 29, 60, 81, 89, 92, 209
fourth (1879), 81, 83, 92–93, 107, 200
second (1876), 68
sixth (1881), 2, 55
third (1877), 114, 126, 128, 142
impressions: brushstrokes in relation to, 45
critics’ commentary on, 27–28, 29, 46, 142
scientific study and representation of, 24, 27, 30–31, 35, 45, 52
temporality of, 52, 64
viewerpainting relationship as, 24
indifference point, 66
Industrial Revolution, 1, 10, 19
instantaneity: achieving the impression of, 5, 7, 44
concept of, 9, 11, 19, 35, 46, 52, 53, 56–57, 77, 152, 188–89
critics’ commentary on, 8, 28, 40, 52, 56, 77, 86
cultural/collective time as context for, 13–14
Le Déjeuner sur l’herbe and, 32–33, 43–44
duration vs., 77
eternity in relation to, 188–90, 198, 200–202, 205
Gare Saint-Lazare paintings and, 115, 131, 133, 141
Impressionism and, 1–3, 5, 7, 9, 11, 13–14, 19, 47–48, 52–53, 55, 56–57, 61–62, 69–70, 76–77, 79, 81–83, 85, 91, 105, 107–8, 115, 131, 133, 147, 150, 152–53, 156, 176, 188, 201–2, 205, 208, 211–13, 223, 230n34
labor time in relation to, 81–83, 85, 107
modernity and, 1–2, 8, 107–8
Nietzsche and, 187
photography and, 13, 208, 211–13
representations of, 7
series paintings and, 150, 152, 173, 174, 176, 205
sociopolitical context of, 205
spontaneity and, 14
standard time and, 118
temporality of, 56
universal time and, 152–53, 156
Valenciennes and, 18. See also moments and the momentary; now time and the now; present, the
Intérieur de la gare St-Lazare, à Paris, 128
International Meridian Conference (Washington, D.C., 1884), 151–52, 164–65, 188
Isaacson, Alice, 120, 120
Isaacson, Joel, 31, 34
Jaager, Johan Jacob de, 39
James, William, 12, 53, 54, 64, 77
Janssen, Jules, 165
JND. See just-noticeable difference
Johnson, John G., 147
Johnson, Steven, 152
Joubert, Ambroise, 89, 94
Journal amusant, Le, 2, 191
July Monarchy, 82, 89
just-noticeable difference (JND), 65, 69
Kalba, Laura, 19
Kant, Immanuel, 62
Kelly, E. Robert, 53
Kern, Stephen, 2, 54, 113
Kisiel, Marine, 211
Klinger, Max, 221
Knott, Robert, 159
Kodak, 208, 211
kymograph, 11, 28–31, 40, 47, 62, 66
labor time, 81–111
abstract nature of, 94, 99
artists’ labor compared to, 82, 85, 86, 95–97
cultural discourse about, 81, 97, 99, 106
duration of, 108
half-time vs. full-time, 94
instantaneity in relation to, 81–83, 85, 107
laws on, 81, 82, 89–90, 93–95, 97–99, 106–8
Marxist conceptions of, 82–83
payment determined by, 82
Taylorism and, 98
uniformity and routinization of, 82, 94–95, 97–99, 107
in various industries, 106. See also work
Lafenestre, Georges, 88–89, 123, 126
Laforgue, Jules, 47, 55, 69, 205, 213
Lafosse, Georges, caricature of plein air painters, 191, 194, 195
Lallemand, Charles, 177, 178
Lebourg, Albert, 15
Lecomte, Georges, 111, 202
Lefaivre, Albert, 165
Le Goff, Jacques, 13
Legros, Alphonse, 42
leisure: Impressionism associated with, 86, 93
work contrasted with, 82
Le Men, Ségolène, 18, 83, 139
Lemercier, Claire, 99
Le Roux, Hugues, 115
Leroy, Louis, 99, 101
Lessing, Gotthold Ephraim, 5
Le Verrier, Urbain, 118–19
Levine, Steven, 18, 48, 129, 156, 173, 180, 191, 242n20
Lézy, Armand, 177
Liebermann, Max, 221
light, as theme in Impressionism, 1, 43–45, 55, 61, 82, 152, 162–63, 201, 208
Linguet, Simon-Nicholas Henri, 82
Littré, Émile, 56–57, 59–60, 86
Londe, Albert, 211, 213
Lostalot, Alfred de, 205
Löwith, Karl, 198
Ludwig, Carl, 29
Luncheon, The, 21, 24, 25, 70, 73–74, 73 (detail)
Lysès, Charlotte, 207, 215
Mach, Ernst, 64–65
MacMahon, Patrice de, 92
Madame Monet Embroidering, 104, 104
Maillard, Georges, 123
Maizeroy, René, 52
Malartre, Pierre, 94, 98
Mallarmé, Stéphane, 1, 61, 96
Manet, Édouard, 70, 120, 122–23, 227n29
Le Déjeuner sur l’herbe, 31, 32
Luncheon in the Studio, 73
The Railway, 52, 123, 123
Manifest der 93
(Manifesto of the Ninety-Three), 221
Manne-Porte, Étretat, 200, 201
Manuel, Henri, 213
Claude Monet in his third studio in Giverny, 151
Marey, Étienne-Jules, 30, 31, 38, 67, 211
Mars (Maurice Bonvoisin), caricature of two Impressionist painters, 2–3, 3
Marx, Karl, 82–83, 94, 99, 108
Marx, Roger, 47, 176
Marxism, 10, 82
materialism, 196, 198
Mauclair, Camille. See Faust, Séverin
Maupassant, Guy de, 149–50
Meilhac, Henri, La Cigale (The Grasshopper), 3
Men Unloading Coal (The Coalmen), 12–13, 80 (detail), 81–111, 84, 87 (detail)
Meurent, Victorine, 70
Midvale Steel Company, 98
Mignon et Rouart, 237n58
Millaud, Albert. See Grimm, Baron
Miller, Tyrus, 189, 198
mind. See self/subjectivity
Mirbeau, Octave, 52–53, 56, 97, 143, 202, 205, 207
modernism, in relation to modernity, 18–19
modernity: Baudelaire’s definition of, 198
Impressionism and, 2, 19
and instantaneity, 1–2, 8, 107–8
modernism in relation to, 18–19
Monet and, 34–35, 37
and speed, 2, 9, 28, 36, 42
subjectivity associated with, 17–18, 88
and time, 1–3, 5, 10–11, 14, 97, 107, 111, 113–15, 138, 143–47, 151, 225n36
moments and the momentary: concept of, 9, 56
duration vs., 85
Impressionism and, 1, 5, 8, 19, 21, 24, 27, 28, 32–34, 49, 52, 55–56, 150
sensation and, 24, 27–28, 53
significant moments, 57
temporality of, 56. See also instantaneity; now time and the now; present, the
Monet, Alice Hoschedé, 96, 161, 162, 191, 195
Monet, Claude: comments on art, 1, 47, 55, 56, 79, 150, 152, 191, 202, 208, 211
film footage of, 207–9, 213–23, 214, 215, 216, 219, 220
finances and sales of, 59, 83, 88, 91, 92, 93, 104, 126, 147, 174, 237n58
library of, 35, 55, 68, 188, 230n20
Manet and, 227n29
photographs taken of, viii, 11, 48, 151, 206, 213, 213, 215, 216
and photography, 211, 213
signature of, 57, 59
son of, 104
time in the life of, 11, 113, 119–20, 144, 165. See also brushwork; painting process
Monet, Jean, 104
Monet–Rodin exhibition (1889), 52, 191, 202
Moniteur scientifique, Le (journal), 35, 45
Moniteur universel, Le (journal), 123
Moore, George, 74
Moreau, Gustave, 61, 93, 170
Morehead, Allison, 47
Morisot, Berthe, 15
Morning on the Seine, 181, 182, 183
Morning on the Seine, near Giverny, 181, 184
Morning on the Seine near Giverny, 166, 168
Mornings on the Seine series, 13, 150, 165–70, 166–67, 174, 177, 178, 179, 180–81
Murer, Eugène, 120
Musée de l’Orangerie, 190, 217, 221
Musée des Beaux-Arts, Le Havre, 16
Museum at Le Havre, The, 161, 162
Muybridge, Eadweard, 211
myograph, 29, 30
Nadar (Gaspard-Félix Tournachon), 38, 209, 211, 213
Nadaud, Martin, 107
Napoléon III, 89, 106
nationalism, 164–65, 209, 221
Naturalism, 85, 99
nature: absent from The Coalmen, 97
culture in relation to, 37, 73, 74, 108, 111, 144–45, 149–50, 152, 173, 180, 185, 223
ephemerality of, 27, 56
Impressionist approaches to, 27, 47, 61, 82
and regularity, 111, 149
as significant subject matter, 74
temporality of, 61, 144–45, 150, 152
Nature, La (journal), 132
Nehamas, Alexander, 187
Neo-Impressionism, 68, 170, 190
Niaudet, Alfred, 132, 237n58
Nietzsche, Friedrich, 13, 187, 194, 198, 200, 201, 205
Also sprach Zarathustra, 187–88, 198
Die fröhliche Wissenschaft, 188
nihilism, 188, 200
nineteenth century. See modernity
Nord, Philip, 190
now time and the now: concept of, 54, 56–57, 77, 229n8
critics’ commentary on, 52–53
Le Déjeuner sur l’herbe and, 32
eternal return and, 205
Impressionism and, 12, 35, 51, 54–61, 73–74, 76
impressions and, 64
scientific study of, 66
signs of, in paintings, 35, 74
as the “specious present,” 12, 53, 77. See also instantaneity; moments and the momentary; present, the
Nymphéas (Water Lilies) series, 149, 174, 179, 185, 202, 213, 217, 221
objectivity: Impressionism and, 47, 49, 69
in science, 31, 46–47, 49. See also truth
Observatory, Paris, 118–19, 132–33, 137–38, 164–65
Office du travail, 106
Ogle, Vanessa, 14, 19, 165, 171
“on time,” 115, 117, 121, 138–39, 147. See also punctuality
Orangerie. See Musée de l’Orangerie
painting process: critics’ commentary on, 59, 61–62, 86, 95, 97, 143
daily routine of, 95–97
deliberate and purposeful character of, 7, 51–52, 180
film footage of, 208–9, 217, 219, 221
for Gare Saint-Lazare paintings, 114–15, 126, 128
instantaneity as goal of, 69–70
organization of, 150–51
precursors of, 18
revisions and painting in the studio, 51–52
for series paintings, 149, 150, 161–63, 165–66, 176, 180, 190, 195
simultaneity in, 51, 52
speed/duration of, 2–3, 5, 8–9, 55, 61, 68, 81–82, 85, 86, 95–96, 126, 143, 150, 152, 171, 174, 205, 212–13, 216, 219, 223
temporal factors in, 121
terminology applied to, 59–60
wet-on-wet, 7, 24, 46, 57, 59, 126, 137, 174. See also brushwork
Paris Mean Time, 133, 137, 176–78
Parville, Henri de. See Peudefer, François Henri
Paulet, Alfred, 170
Pennsylvania Railroad, 147
perception. See vision/perception
Périn, Jules, 94
Pernolet, Charles, 98
Perrot, Michelle, 233n29
Perry, Lilla Cabot, 55, 180
personal errors, 45–46
Petit, Georges, and Galerie Georges Petit, 52, 147, 165, 177, 179, 181, 185, 191, 199
Peudefer, François Henri (pseudonym: Henri de Parville), 19, 133
photography and film: critics’ use of terms and analogies from, 209, 211
early applications of, 36
Impressionism and, 13, 207–23
and instantaneity, 13, 208, 211–13
Monet as subject of film, 207–9, 213–23
painting process as subject of, 208–9
and technology for physiological study, 30
physiology, 24, 27–31, 35–36, 46–47
Pissarro, Camille, 2, 70, 85, 95, 120
Pissarro, Esther, 120, 120
Pissarro, Georges, 120, 120
Pissarro, Joachim, 18, 162, 181
Pissarro, Lucien, 70, 120, 120
Planck, Max, 221
Plancoët, François-H. de, 202
Plateau, Joseph, 67
plein air painting, 3, 18, 51, 149, 180, 191, 194
pneumatic time systems, 2, 114, 132–33, 134–35, 138, 138, 139
Pochade, Argenteuil, 60
pochades, 59–60
pocket watches, 11
Poincaré, Henri, 54, 178
pointillism, 99, 170, 190
Polday, Henri. See Hardy, Henry
Polonceau, Camille, 133
Pont de Rome (gare St-Lazare), Le, 128
Pontmartin, Armand de, 68
Pont Neuf, The, 88, 89
Poplars, End of Autumn, 108, 109
Poplars series, 77, 108, 111, 143, 147, 156, 174, 176, 180
Popp, Victor, 132, 139
Port-Domois, Belle-Isle, 189, 189
Portrait of Poly (François Guillaume), 199, 200
Post-Impressionism, 2, 47, 170
Postone, Moishe, 10, 14, 82
present, the: concept of, 77
Impressionism and, 57, 64
James circle’s concept of the specious, 12, 53, 77
meaning of, 5
as motif of a painting, 53
psychological experience of, 12, 53–54
representation of, 27
scientific study of, 53–54. See also instantaneity; moments and the momentary; now time and the now
Proust, Marcel, 49, 77
Prouvaire, Jean. See Fourès, Auguste
provisionality, 9
psychology, 53–55, 62, 63, 64–68, 77, 79. See also self/subjectivity
punctuality, 115, 120, 123, 137, 147, 150. See also “on time”
Puvis de Chavannes, Pierre, The Sacred Grove, 138
Pyramids at Port-Coton, Bell-Île-en-Mer, The, 186 (detail), 191, 192, 194
Quidam, Jean, caricature of pneumatic clocks, 138, 138
Q. V. (Jules Valecke), Paris instantané: La Place de la Concorde, 211, 212
Rabinbach, Anson, 19, 83
Radau, Rodolphe, 35–39, 45–46
Railroad Bridge, Argenteuil, 146, 147
Raimondi, Marcantonio, 32
Raphael, 32
reaction time: in astronomical observation, 45–46
diagram of, 40
Le Déjeuner sur l’herbe and, 12, 34–35, 37, 39
popularization of, 35–36
scientific study of, 11, 24, 28, 35–41, 45
use of term, 45
Realism, 47
Red Kerchief, The, 21, 22, 24, 27, 49
Redon, Odilon, The Globe or The Sphere, 173, 175
Regattas at Argenteuil, 6–7, 7
regularity: of body time, 12
in The Coalmen, 83, 85, 87, 90, 99, 102, 107
disorder contained by, 133
of labor time, 82, 89–90, 94–95
of Monet’s working habits, 95–97
nature and, 111, 149
pointillism and, 170
in premodern times, 13
Renoir’s criticism of, 170
in series and other later paintings, 105, 108, 111, 166. See also repetition; standard time
Renoir, Jean, 143, 209
Renoir, Pierre-Auguste, 15, 74, 143, 170–71, 207–9
Lise with a Parasol, 24, 27
repetition: Monet’s comments on, 191, 194
in series paintings, 85, 105, 153, 156, 167, 176, 179–80, 188–200, 205
theory of eternal return and, 187, 196. See also regularity
representation: of instantaneity, 7
of physiological and sensory processes by science, 27–31
of time by Impressionism, 3, 5, 18. See also represented time; time of representation
represented time: defined, 5
in Monet’s work, 18
time of representation in relation to, 5, 7–8, 28, 69–70, 74, 85, 115
Resch, Ernst, 132
Revue des deux mondes (journal), 35
Revue philosophique de la France et de l’étranger (journal), 67
Revue scientifique de la France et de l’étranger (journal), 67
Rewald, John, 18
Ribot, Théodule, 55, 64, 67
Rist, Charles, 106, 108
Rivière, Georges, 123, 128, 131, 143
Robinson, Theodore, 162
Rocks at Belle-Île, Port-Domois, 195, 197
Rocks at Belle-Île (Pyramids at Port-Coton, Stormy Sea), The, 191, 193
Rocks at Port-Coton, the Lion Rock, Belle-Île, 195, 196
Rocks at Port-Goulphar, Belle-Île, 202, 203, 204, 204–5, 204 (detail)
Rodin, Auguste, 207
Roger-Milès, Léon, 176, 201
Roll, Alfred-Philippe, The Strike of the Miners, 85
Romanticism, 44
Rood, Ogden, Modern Chromatics, 68–69
Rood, Roland, 68
Rose, V., illustrations of the Parisian unification of time and its domestic distribution through pneumatic clocks, 132, 134–35
Rostand, Edmond, 207
Rouart, Henri, 237n58
Rouen Cathedral, 16, 156, 159, 159, 165
Rouen Cathedral, West Façade, 158
Rouen Cathedral series, 5, 49, 123, 153, 156, 157, 158, 159, 161–62, 174, 176, 179, 181, 201, 211, 212, 221
Rouget, Charles, 41
Royal Observatory Greenwich, 177
Rubin, James, 8, 18, 79, 102, 144
Rüdinger, Nikolaus, 41
Rue Saint-Denis: Celebration of June 30, 1878, 74, 76
Ruskin, John, 95
Russell, John, 199
Saint-Jurs (René Delorme), La Seine à travers Paris, 101
Saint-Saëns, Camille, 207
Salon, 31, 66, 73, 99, 120, 200, 211
Salon des réfusés, 31, 141
Santorius, Nerina, 141
Sauget, Stéphanie, 235n3
Scharf, Aaron, 209
Scheurer-Kestner, Auguste, 106
Schivelbusch, Wolfgang, 120
Schmidgen, Henning, 19, 31, 225n36
Schmidt, Anna Seaton, 56, 79
Schop, Baron, 68
Schram, Robert, 172
science: accuracy/objectivity/truth in, 31, 46–47, 49
Impressionism in relation to current, 2, 18, 19, 24, 27–29, 35–36, 40, 44, 46–49, 52–55, 68–69, 77, 79, 227n32
and reaction time, 11, 24, 35–41. See also physiology; technology
Second Empire, 82, 89, 106, 117, 188
Second Industrial Revolution, 10
Second Republic, 106
Seine at Asnières, The, 90, 91
Seine at Giverny, Morning Mists, The, 148 (detail), 181, 182
Seitz, William, 179
self/subjectivity: brushwork and, 7
erasure of, by focus on labor time, 94
Impressionism and, 14–15, 49, 69
time in relation to the modern, 17–18, 88
time sense of, 85. See also consciousness; Impressionism: as response to anxieties about time and subjectivity
Sénat, 106
senses/sensation: Impressionism and, 28, 30–31
psychophysiological study of, 11, 24, 28–31, 35–36, 52
technology compared to, 39
temporality of, 11, 31, 35–36, 45–46, 49, 52, 53
Série des Falaises (Cliffs) series, 174, 181
series paintings: Belle-Île paintings in relation to, 188, 191
brushwork in, 174
critics’ commentary on, 5, 49, 123, 143, 149–50, 152, 153, 167, 173–74, 176–77, 181, 185, 201–2
eternal return and, 13, 187, 188, 195–96, 199–201, 205
exhibitions and sales of, 147, 156, 165, 177, 178–79, 181
Gare Saint-Lazare paintings in relation to, 129, 145, 156
and instantaneity, 150, 152, 173, 174, 176, 205
likened to film and photography, 211
Monet’s contribution to concept of, 153, 156
nature and culture in, 149–53, 156, 159, 162, 173, 180, 185
organization of, 180
painting process for, 149, 150, 161–63, 165–66, 176, 180, 190, 195
regularity in, 108, 111, 166
repetition as motif of, 85, 105, 153, 156, 167, 176, 179–80, 188–200, 205
Sisley and, 145, 147, 180
sociopolitical context of, 165, 188–90, 205
systematic character of, 150, 153, 156, 180–81
time zones associated with, 2, 13, 153, 176, 181
titles of works in, 179–81
universal/modern temporalities underlying, 145, 149–85. See also individual series
Seurat, Georges, 2, 45, 68, 190
Models (Poseuses), 95
A Sunday on La Grande Jatte—1884, 3, 170, 171
Seventh International Geodesic Conference (Rome, 1883), 188
Shackelford, George, 18
Shaw, Jill, 167
Shiff, Richard, 45, 49
Siegert, Bernhard, 139
Signac, Paul, 47
significant moment, 57
Silvestre, Armand, 52
Simmel, Georg, 121
simultaneity, 32, 51, 53, 62, 69
Sisley, Alfred, 24, 62, 102, 145, 147, 180
Barges at Billancourt, 102, 103, 104
The Forge at Marly-le-Roi, 92, 93
The Moret Railway Station in Winter, 145, 146, 147
The Seine at Grenelle, 102, 102
Unloading Barges at Billancourt, 102, 103
sketches. See ébauches; esquisses; études; pochades
snapshot, 211, 213
Société des Irrégularistes, 170
Sparrow, Walter Shaw, 42
Spate, Virginia, 18, 32, 57, 114
specious present, 12, 53, 77
speed: modernity and, 2, 9, 28, 36, 42
of painting, 18, 42, 61–62, 68, 81–82, 85, 86, 95–96, 126, 143, 150, 152, 171, 174, 205, 212–13, 216, 219, 223
photography and, 212–13
of viewing paintings, 10, 143, 147. See also instantaneity; reaction time
speed of the will, 24, 35, 39, 45, 53
sphygmograph, 29, 29
spontaneity, 3, 9, 31, 33–34, 62, 85, 96
Sportsman, Le (journal), 9
Stack of Wheat, 155
Stacks of Wheat (End of Day, Autumn), 155
Stacks of Wheat (End of Summer), 154
Stacks of Wheat (Sunset, Snow Effect), 154
standard time: collective nature of, 114, 138–39
controversies over, 99, 119, 133, 163–65, 177
in France, 115, 117–19, 131–33, 137–39, 153, 163
Gare Saint-Lazare paintings and, 113–17
and instantaneity, 118
origins of, 2, 10, 114, 115, 153
precursors of, 10, 13
spread of, 113, 138–39
train schedules and, 13, 113
universal time and, 2, 10, 115, 151, 153. See also regularity; universal time
strikes, labor, 92, 106
Strindberg, August, 62
Stuckey, Charles, 167
studios, Giverny, 11, 150–51, 151
Study of Rocks: Creuse, or Le Bloc, 190
subjectivity. See self/subjectivity
Symbolism, 7, 47, 111, 170, 205
synchronization of time systems, 118–19, 118, 132, 152
systematization: series paintings and, 150, 153, 156, 180–81
of time, 149, 152, 153, 156, 172–73, 178
Taboureux, Émile, 51
Taktir Apparatus, 66
Taylor, Frederick, 98
technology: human sensation compared to, 39
Impressionism associated with, 29, 86, 123, 126, 133, 142–43, 147, 209
physiological uses of, 29–31. See also science
Tendron, Marcel (pseudonym: Marc Elder), 149, 199, 202
te Peerdt, Ernst, Das Problem der Darstellung des Momentes der Zeit in den Werken der malenden und zeich-nenden Kunst, 231n82
Testelin, Achille, 98
Thames below Westminster, The, 161, 161
Thiébault-Sisson, François, 162, 176–77
Third Republic, 89, 92, 106, 190
Thompson, E. P., 85
Thomson, Frank, 147
Thomson, Richard, 18
Thoré, Théophile, 31
time: and the body, 11–12, 24, 36, 62
collective sense and use of, 13, 54, 114, 137–39
critics’ commentary on, 5, 9, 15–16, 62, 64, 68, 73–74, 77, 86, 149, 152, 176–78, 201–2
defined by its representation, 8
Impressionism and, 1–3, 5, 7, 10, 14–18
industrialization, commercialization, and commodification of, 2, 10–15, 19, 86, 99, 104, 132–33, 138–39, 144, 150, 164
local/ natural time in conflict with universal/ mechanical, 117–18, 133, 137–39, 152, 153, 163–65, 171–73, 178
modernity and, 1–3, 5, 10–11, 14, 97, 107, 111, 113–15, 138, 143–47, 151, 225n36
Monet’s sense and use of, 11, 113, 119–20, 144, 165
relativity of, 54
the self in relation to, 17–18, 62
and sensation, 11, 31, 35–36
synchronization systems for, 118–19, 118, 132, 152
systematic character of, 178
varied and paradoxical aspects and experiences of, 14, 18, 19, 28, 49, 53–54, 61–62, 73–74, 77, 79, 83, 107–8, 113, 138–39, 144. See also duration; Impressionism: as response to anxieties about time and subjectivity; instantaneity; now time and the now; present, the; reaction time; standard time
time centers. See centres horaires
time of representation: defined, 5
represented time in relation to, 5, 7–8, 28, 69–70, 74, 85, 115
time zones: in Europe, 178
international, 172, 173
series paintings associated with, 2, 13, 153, 176, 181
in United States, 165
Tinayre, Louis, coal carriers at the Quai de la Loire in La Villette, 100, 101
Titian, 85
Tondini de Quarenghi, Cesare, 156
Toulouse-Lautrec, Henri de, The Sacred Grove, 138, 139
trains: Monet’s use of, 83, 91, 120
as subject of nineteenth-century painting, 122–23
time schedules of, 2, 13, 113, 115, 117, 133, 137–39. See also Gare Saint-Lazare paintings
transi-toriness, 1, 21, 24, 34. See also ephemerality; fugitivity truth: Impressionism and, 28–31
in science, 46
of sensory experience, 28, 46. See also objectivity
Tucker, Paul Hayes, 18, 165, 180, 181, 191
Tufte, Edward, 30
Ule, Otto, 36
unity, 57, 70, 72–74, 82, 170, 185, 202. See also coherence; harmony
universal time: colonial/imperial implications of, 10, 119, 164–65
eternal return and, 188, 198
instantaneity and, 152–53, 156
international establishment of, 151–52, 153, 164–65, 171–73, 177–78
local time in conflict with, 117–18, 133, 137–39, 152, 153, 163–65, 171–73, 178
modernity and, 149, 151
series paintings and, 145, 149–85
standard time and, 2, 10, 115, 151, 153
systematic character of, 149, 152, 153, 156, 172–73. See also standard time
Valenciennes, Pierre-Henri de, 18
Varnedoe, Kirk, 211
Vassart, Henri, “Les Horloges et l’unification de l’heure par l’électricité,” 119
Velázquez, Diego, 18
Velpeau, Alfred, 41
Verhaeren, Émile, 202
Vétheuil, 74, 76
Vibert, Jehan Georges, 85
Victoria Tower, London, 161
Vie moderne (journal), 51
Vierordt, Karl von, 29, 54, 55, 62, 64, 66–67, 77
tabulation of mental time measurement results, 66
Vierordt’s law, 54, 66
viewers: of film footage of Monet, 214–15, 217, 219, 221
in relation to paintings, 24, 141
role of, in forming a work’s image, 10, 57, 68–69
temporal experience of viewing paintings, 9–10, 68–69, 143, 147, 185
Vignes, Édouard, 114
Viollet-le-Duc, Eugène, 131
vision/perception: critics’ commentary on, 69
in painting process, 219
Volkmann, Alfred, 31
Vuillemot, Kirk, 126, 128
Wagner, Anne, 32
Wagner, Richard, 171
watches, 11
Water Lilies, 218
Water Lilies series. See Nymphéas
Weber, Ernst Heinrich, 65, 66
Weber-Fechner law, 65, 69
Whistler, James McNeill, 95
Wildenstein, Daniel, 18
Wilson-Bareau, Juliet, 126
Wolf, Charles, 119
Wolff, Albert, 55, 59
Women in the Garden, 24, 26, 70, 72–73, 72 (detail), 209
work: artists’ process compared to, 86
leisure contrasted with, 82
Monet’s painting of, 80 (detail), 83, 84, 85, 87–94, 87 (detail),97–99, 101–2, 104, 107, 108, 111
strikes related to, 92, 106
as subject of nineteenth-century painting, 86–87. See also labor time
workday: in July Monarchy, 89
regulation of, 81, 82, 89–90, 93–95, 97–99, 106–8
in Second Empire, 82, 89
in the Third Republic, 89
World’s Fair (Paris, 1867), 36
World’s Fair (Paris, 1878), 94, 131, 132
World’s Fair (Paris, 1889), 156
World War I, 11, 111, 114, 190, 209, 221–23
Worms, Jules, 85
Wundt, Wilhelm, 64, 66, 77, 221
chronograph for measurement of very small time intervals, 67
Wurtz, Adolphe, 67
Young, Marnin, 19, 85, 211, 235n1
Zerubavel, Eviatar, 114, 173
Zola, Émile, 97, 114, 117, 144
La Bête humaine, 117, 139
Germinal, 92