Collecting Impressionism: Here or There?
Ségolène Le Men and Félicie Faizand de Maupeou
Impressionism at Home: “The Best Exhibition Is the One that Takes Place in the Amateur’s Apartment”
Ségolène Le Men
Impressionism Defined by Collections: From the Painter to the Art World
Building Impressionist Collections: Between Fraternity and Sales Strategies
The De Nittis, Collectors and “Collected”
Gustave Fayet’s Impressionist Collection
An Impressionist Document: The First Version of the Exhibition Catalogue of the Société Anonyme des Artistes Peintres, Sculpteurs, Graveurs Etc… Paris, 1874
Relative Independence: The Determining Role of Collectors at the Fourth “Impressionist” Exhibition in 1879
Impressionism in Collector Directories, in France and Abroad (1878–1937)
The Spread of Impressionism through Collections: From One Continent to Another
French Impressionism in Switzerland: A Look Back
Championing Impressionism in the American Midwest: Sara Tyson Hallowell and the Formation of the Bertha and Potter Palmer Collection
Carolyn Kinder Carr
How Did Hollywood View Impressionism?
The Spread of Impressionism and Collectors in China from Sun Peicang to Modern Day
Impressionism and the Construction of Identities: From Collections to Museums
The École de Rouen Created by Its Collectors
Provincialising Impressionism: The Davies Sisters, French Impressionism and Welsh Identity in 1913
The Ohara-Kojima Collection: Western Art for Early-Twentieth-Century Japan
Impressionist Collection – Where Now?