Eugenie Lescouezec
The female figure in close proximity to the monogram is likely to be,
Marie-Louise Adelaide-Eugenie Lescouezec
Accepted opinion, the female figure in 'The Heights at Marly’ 1873 is the artist’s partner and happens to be carrying a similar brown bag on her left arm.
Approaching the footbridge in an energetic manner creates a welcoming sense of expectancy.
The vibrancy of the moment is captured by the quickly applied brushstrokes of the Impressionist Palette.
See pages:
’Lost Canvases of the 1860’s and The Impressionist Palette’
’Nuance of Brushstroke: Sous Bois’
’The Footbridge’ and 'The Lesson’ monograms are placed in close proximity to the artist’s close family (Eugenie, Pierre and Jeanne).
Monogram: Family Life and Batignolles Group
1867 is the start of Alfred and Eugenie’s family life, with Pierre born in June. Their friend Claude Monet (and Camille Doncieux) began family life with their son Jean, born in August.
Renoir captures something of the early comraderie on artistic excursions to the forest of Fontainebleau in 'The Inn of Mother Anthony’ 1866.
In the late 1860’s, Sisley collaborated and experimented in plein- air painting with Renoir, Frederic Bazille, Claude Monet and Camille Pissarro.
Returning to Paris, the independent artists met regularly at the Cafe Guerbois (11 Grande Rue des Batignolles) for art debates and became known as the 'Batignolles Group’.
Marie-Louise Adelaide-Eugenie Lescouezec (1834-1898)
Florist and artist model went by the name 'Marie’
In the 1860’s living together as a couple at her apartment in Cite de Fleurs near Montmarte and close-by to Cafe Guerbois.
Married in Wales at the Cardiff Registery Office on 5th August 1897.
Pierre born on 19th June 1867
Jeanne born 29th January 1869
Jacques born Nov. 1871 and died Feb.1872 (aged three months)