Robert Antoine Pinchon (Rouen, July 1, 1886 – Bois-Guillaume, January 9, 1943) was a French Post-Impressionist landscape painter of the Rouen School (l'École de Rouen) who was born and spent most of his life in France. He was consistent throughout his career in his dedication to painting landscapes en plein air (i.e., outdoors). From the age of nineteen (1905 to 1907) he worked in a Fauve style but never deviated into Cubism, and, unlike others of his entourage, never found that Post-Impressionism did not fulfill his artistic needs. Claude Monet referred to him as "a surprising touch in the service of a surprising eye."

Among his important works are a series of paintings of the River Seine, mostly around Rouen, and landscapes depicting places in or near Upper Normandy.

Robert Antoine Pinchon was born in an artistic and literary environment. His father, Robert Pinchon, a playwright, journalist, musicologist and drama critic^[1], was an intimate friend of Guy de Maupassant. Robert Antoine's father also became a close protege of Gustave Flaubert. Maupassant and Robert Pinchon (La Tôque, as they called him) co-wrote in 1875 a script for a play entitled A la Feuille de Rose, Maison Turque, on the subject of eroticism and prostitution. The performances was presented officially on 15 May 1877 at the studio of Maurice Leloir, in front of Gustave Flaubert, Émile Zola, Ivan Turgenev and eight elegantly dressed masked women.^[2][3]

Showing early signs of interest and aptitude in the arts, Robert Antoine's father purchased a box of oil paints and accompanied him sur le motif (in the open air) during long Sunday walks. Mindful of his son's progress and his potentially burgeoning métier, Robert Pinchon photographed Robert Antoine while realizing his first landscape painting. A photograph of Robert Antoine Pinchon taken in 1898 shows the boy at the age of twelve painting a landscape en plein air (Le Chemin, oil on canvas, signed and dated 98). An early talent, he exhibited some of his first paintings in 1900 at fourteen years of age.^[1][4]

Not yet fourteen in 1900 Robert Antoine exhibited a painting in the storefront of a camera supply store owned by Dejonghe and Dumont, 47 rue de la Republic; one of the principle arteries of central Rouen. Though not a typical showspace, it was nonetheless visible to the public and located only a few meters from l'Hôtel du Dauphin et d'Espagne, known for its exhibitions of artists such as Gauguin, Monet, Pissarro, Degas, Renoir, Cézanne, Guillaumin and Sisley.^[5] The art critic Georges Dubosc wrote an article about Pinchon's painting in Le Journal de Rouen (16 March 1900). Encouraged by the few lines dedicated to his painting, issue from a favorable artistic milieu, and guided by his talent, Robert Antoine Pinchon continued to perfect his drawing and painting skills.^[4]

Robert Antoine Pinchon studied at Lycée Pierre-Corneille (Rouen) at the turn of the century. Two other students in his class with which Pinchon would develop lasting friendships eventually became known to many: Marcel Duchamp and Pierre Dumont.^[6] Drawing classes at the Lycée of Rouen were assured by Philippe Zacharie (1849-1915), who became assistant-professor of the school in 1874, when he first met Albert Lebourg (both born the same year). Zacharie was named Professeur à l'Académie de Peinture et de Dessin in 1979 at the academy which would later become l'École Régionale des Beaux-Arts de Rouen. All of the painters, artists of l'École de Rouen, received the stern and particularly rigorous instruction of Zacharie.^[4]

Once liberated from the academic training of the Beaux-Arts, Pinchon frequented the Académie libre founded in 1895-96 by the sprightly artist Joseph Delattre (1858-1912) on rue des Charrettes; a rallying point for independent artists of the new generation of l'École de Rouen.^[7]

February 1903 Marcel Duchamps excecuted a portrait of his friend Robert Antoine Pinchon (reproduced in François Lespinasse, 2007, p. 18). 15 June through 31 July, at the Salon Municipal des Beaux-art de Rouen, Pinchon exhibited two paintings: La Lande à Petit-Couronne and La Seine à Croisset. The art critic Charles Hilbert Dufour wrote an article in which he mentions Pinchon's entries favorably. Pinchon, still seventeen years old, was already showing in the museum of his native city Rouen.^[4]

At the 1903 Exposition des Beaux Arts (Rouen, 14 May-15 July) Robert Antoine Pinchon exhibited with Charles Frechon, Blanche Hoschedé-Monet and Claude Monet, who presented La Cathédrale de Rouen. The work of Robert Antoine Pinchon was noticed by Impressionist art collector François Depeaux (1853-1920). At his home Robert Antoine had the opportunity to converse many times with Albert Lebourg, Camille Pissarro and Claude Monet: the latter of whom portrayed him as "a surprising touch in the service of a surprising eye" (étonnante patte au service d’un oeil surprenant)^[3][8][9]

In 1904 Pinchon designed the cover of a program for the Theatre Normand (reproduced p. 22 of François Lespinasse, 2007). The occasion was for a play (a comedy) by Guy de Maupassant. From 18 July to 18 September Pinchon exhibited once again; this time along side Lebourg and Camoin, at the Casino de Dieppe.

At the age of nineteen Robert Antoine Pinchon realized his first major exhibition, at the Galerie Legrip, Rouen, 27 April-13 May, 1905, with twenty-four paintings on display. Two article in the press followed (La Dépêche de Rouen, 16 April, and Journal de Rouen, 28 April). In 1905 three works by Pinchon (still 19 years old, and still a student at l'École des Beaux-Arts) were shown in Paris for the first time at the third edition of Salon d'Automne (18 October-25 November); an exhibition that witnessed the birth of "Fauvism."

31 September 1906 Pinchon joined the 39th Infantry Regiment. Marcel Duchamp had just finished his military service within the same regiment.^[4]

In 1907 Pinchon's works were shown in Paris at the Salon d'Automne. His paintings of this period are closely related to the Post-Impressionism and Fauvism styles, with golden yellows, incandescent blues and a thicker impasto.

By the impulse of Pierre Dumont—inspired by the idea of Othon Friesz's group called Le Cercle de l'Art Moderne, in Le Havre—the group XXX (thirty):^[10] a collective of independent writers, painters and sculptors from the vicinity of Rouen, with the likes of Matisse, Vlaminck, Derain and Dufy contributing to the endeavor. Pinchon joined XXX the same year.^[1] The group published a 'manifesto' called "Almanach pour 1908." Among the participants were figures such as Matisse, Dufy, Vlaminck, Friesz, along with artists typically associated with the new generation of l'École de Rouen.^[4][11]

Robert Antoine Pinchon's first solo exhibition in Paris took place at the Galerie des Artistes Modernes (15 through 25 March, 1909) run by Chaine and Simonson, with thirty works listed in the catalogue. The show resulted in both sales and press coverage. This exposition was followed by another at the Galeie Legrip in Rouen (30 June). A few months later, 13 November, Musée des Beaux-Arts de Rouen, opened a show with fifty-two pantings: three by Monet, nine by Sisley, three Guillaumin, one Renoir, thirteen Lebourg, five Delattre, two Freshon and four paintings by Robert Antoine Pinchon (now almost twenty-four years old).^[4]

In 1909 Pinchon, Dumont, Hodé and Tirvert, founded the "Société Normande de Peinture Moderne," which attracted the participation of Braque, Matisse, Dufy, Vlaminck, Derain, Marquet, Friesz, Picabia, and La Fresnaye. The same year, at the age of twenty-three, four paintings by Pinchon entered the collection of Musée des Beaux-Art de Rouen.^[3]

1910 was a prolific year for Pinchon. A succession of shows followed: Galerie Legrip in Rouen (May), Galerie de Mme Le Bas, in Le Havre (July), and the 3rd exposition of the Société Normande de la Peinture Moderne (15 June-15 July): Here Pinchon showed twelve works along side Dufy, Lhote, Léger, Gleizes, Gris, Picabia and Duchamp.

Pinchon's next show on record was at the 8th Salon des Artistes Rouennais, 1913, followed by the 4th exposition la Société Normande de la Peinture, the same year. Amongst the members of the Comité were Jacques Villon, Duchamp-Villon and Francis Picabia. The handing comity included Marcel Duchamp and Robert Antoine Pinchon.

Pinchon would enter two more exhibitions during the first half of 1914. A catalogue would be printed, entitled L'École de Rouen, ses peintres et ses ferronniers^[12] for one of the shows. In parallel, was the 5th and last exhibition of the Société Normande de la Peinture Moderne, which included works by Utrillo, Friesz, Guillaumin, Luce and Vlaminck.^[4]

The declaration of war in 1914 indicated far more than the beginning of a World War—it signaled a major break in European cultural history, and a major break in the life and career of Robert Antoine Pinchon, mobilized 5 August 1914 (Bernay, France). Pinchon endured an injury to his right leg from a German mortar discharge during the Bataille de la Marne and was repatriated to a hospital in Saint-Céré. Once recovered, Pinchon was sent back to the front lines. During fierce fighting in the village Tahure on October 6, Pinchon was wounded once again; this time by shrapnel to the right arm.^[4]

At the outset of 1916, Pinchon, again with the 39th Infantry Regiment, was sent back to the front for the second time. After several unsuccessful offensive assaults, the Germans were able to gain control of the French coast near Damloup. Robert Antoine Pinchon became a prisoner of war and was evacuated to Gerichshain, Germany (east of Leipzig). By intermediary of his father, a painting by Pinchon was shown at the 9th Salon des artistes rouennais (April-May 1917). Pinchon remained prisoner from autumn of 1917 through autumn of 1918, and yet was able to realize several pastels while in captivity in Germany ^[13]. Meanwhile works by Pinchon were shown again at the Galerie Legrip in Rouen.

During this difficult period, one of Pinchon's paintings (Le coteau d'Amfreville, près Rouen) was exhibited at the Musée du Jeu de Paume, Paris, in a show dedicated to artists that had lost their lives in the war, prisoners of war, and to those still in combat: Exposition des peintres aux Armées, salle du Jeu de Paume, 1917.^[14]

On a date that remains unknown, Pinchon was able to escape captivity. After passing through Switzerland, Italy, and a large section of France, he was able to regain his hometown of Rouen (20 December 1918). At the same time, an exhibit was underway at the Musée des Beaux-Arts de Rouen. Pinchon was represented with four paintings, along with Bonnard, Boudin, Camoin, Cross, Guillaumin, Lebourg, Luce, Matisse, Monet, Signac and Vuillard. Pinchon was listed as a prisoner of war in the catalogue.

Like many of those who survived the Great War, Pinchon was shocked, disillusioned and embittered by the war experiences. This had, after all, been a war of ideals, a struggle between aggressive militarism and liberal democracy, and it had also been a cultural war, but he would never paint a negative view of the conflict. After the war Pinchon expressed the view that his four consecutive years of military service and captivity had "shattered" his career. He had been accepted at the Salon d'Automne for four years in a row and was unable to fulfill his entries. Pinchon faced difficult challenges, yet just as before 1914, he returned to painting what he loved most; the great outdoors.^[4]

After four and a half years of military service, the artist once again reunited with his family and friends at 49 rue des Armand Carrel in Rouen. On 8 May 1919 Pinchon presented several works, including three that were executed as a prisoner of war, at the 10th Salons des Artistes rouennais. These same works were shown in Paris during the month of October (40 rue Marbeuf). In November Pinchon was once again showing at the Salon d'Automne in Paris. Several shown in Rouen would follow.

24 January 1921 Robert Antoine Pinchon and Elise Louise Joséphine Bance were married. And in April Pinchon was showing both at the Galerie Legrip and at the Musée de Rouen (39th exposition of Beaux-Arts de Rouen) together with Bonnard, Martin, Lebourg, Marquet and Vuillard. And in May of the same year Pinchon showed at the 11th Salons des Artistes rouennais.

During the month of December (1922) Robert Antoine's first son, Claude Pinchon, was born.

From 1923 onwards, to avoid confusion with another artist by the name of Robert Henri Pinchon, the artist signs his paintings Robert A. Pinchon.^[4]

In 1925 Pinchon became vice president of 16th Salon de la Société des Artistes Rouennais et de Normandie.

In 1926 Pinchon would once again show in Paris; this time at the Galerie A.M. Reitlinger, 12 rue La Boétie, with forty five paintings on display for the parisian public (16 February-4 March). One of the paintings on display at this solo exhibition was purchased by l'État Français: Barque échouée, Saint-Valery-en-Caux.^[15][16] Meanwhile, back in Rouen, another exhibit at Galerie Legrip was about to showcase the works of R.A. Pinchon.

A short time after the Galerie Reitlinger show, a book was published by Julia Pillore, alias Léon de Saint-Valéry, an art critic, Marcel Duchamp's godmother, Lucie Duchamp's stepsister, and wife of the painter Paulin Bertrand. Julia Pillore was an educated woman, one of the first in France to gain access to higher education and a degree in philosophy.^[17] The 1926 book is entitled Tendances d'art; les formes peintes, les impressionnistes, les classiques, les tourmentés et les aberrés volontaires^[18] Just before examining the technique of Paul Signac, Léon de Saint-Valéry elucidates some interesting aspects of Pinchon's oeuvre:

"M. Pinchon, who by certain aspects of his method seems to proceed from Monet and Guillaumin, has nonetheless a very personal conception of formal pictorial design that his approach rigorously defines. Imaginative and sensitive, he admits only the visual realities that stimulate sensation. He does not attach significant importance to forms determined by contour lines; these are, in his eyes, the motif upon which the harmonies of color and light are arranged."

"M. Pinchon is foremost a painter impassioned by light. It is the intervention of light that modifies the architecture of the countryside and determines the colors. None of the colors 'theoretically' observed in nature are present in his paintings; rather, all of the tonalities result from the influence of reflected light. The predominance of this intangible element in his scenes communicates an intense impression of life. In his landscapes of Rouen and its environs, streets, squares, rivers, fields, riverbanks, or cliffs, nothing is immobile or absolute. Movement is everywhere present, expressed or suggested: the multitude of changing reflected tones diversify the water, clouds populate the sky unpredictably; the fugitive temporal coloration, together, observed from a unique vantage-point give the impression of ten entirely different landscapes that animate the vibrant roseate of dusk, the delicate violates of twilight, the emerald green of the passing breeze, the soft grays of morning, the nacre iridescence of winter." (Léon de Saint-Valéry, 1926)^[18]

In Paris, 1929 (26 January-16 February), Galerie Reitlinger displayed thirty-one paintings and four drawings by R. A. Pinchon to the Parisian populace. And in May, Pinchon participated in the Salon des Artistes Français (the 142nd Exposition Officielle Des Beaux-Arts at the Grand Palais Des Champs-Elysees). Simultaneously, Pinchon's works were present for the 20th Salon des Artists Rouennais.

Four months later the Great Depression would hit virtually every country, with devastating effects climaxing in Paris around 1931. Yet despite the bleak economic landscape, Pinchon became a member of the Société des Artistes Français (S.A.F.). Paul Chabas was president at the time and M. Reitlinger was in charge of distributing the awards for the works shown at the Salon, which opened on 18 February. Pinchon exhibited thirty paintings for the show at the Grand Palais.

In 1931 l'Union des chambres de commerce maritimes et des ports français commissioned Pinchon to create a painting representing the Port de Rouen. This work, a triptych, was exhibited at the Exposition Coloniale Internationale de Paris which opened on 6 May 1931 and lasted six months (Porte Dorée, Porte de Vincennes and Bois de Vincennes). Over 33 million visitors from around the world attended this show. In addition to the commissioned work, Pinchon took the opportunity to collaborate with the Poet Francis Yard in a publication dedicated to "La rivière, qui fait de ce quartier de Rouen comme une ignoble petite Venise" by Gustave Flaubert in Madame Bovary.^[19]

July 1, 1932, Pinchon was admitted to Académie des sciences, belles-lettres et arts de Rouen, which played a key role in the development of the movement of ideas in Rouen. Pinchon donated a painting entitled "Quai à Croisset" to the academy for the occasion.

In May of 1935 a book by Lucie Delarue-Mardrus was published with twenty-five illustrations by R. A. Pinchon.^[20] Concurrently, at the Salon des Artistes Rouennais, Pinchon exhibited the triptych he had realized for the Chambre de Commerce. Other artists represented at this show included Hubert Robert, Vernet, Cochin, Huet,Lepère, Monet, Lebourg and Martin des Batailles (Jean-Baptiste Martin). Pinchon was now President of the Salon des Artistes rouennais.

1936, 1937 and 1938 were the stage for many exhibits by Pinchon: the 27th Salon des Artistes rouennais (Rouen), Galerie Reitlinger (Paris), Galerie des Artistes Modernes (Paris), Maison the la Culture (Rouen), and three shows at Galerie Legrip (Rouen). The first tome of a book was published in 1936 by Henri Delafontaine, text by the architect Pierre Chirol and illustrations by Robert A. Pinchon, entitled Cathédrales et Eglises Normandes.^[21] The second tome was published in 1937 with twenty-five illustrations by R. A. Pinchon.^[4]

With another World War looming, 1939 was the beginning of difficult period, not just for Pinchon and other artists, but for the vast majority of the worlds nations. By early August preventive measures had already be taken in Rouen: gas masks, the dimming of lights, and bomb shelter preparations. On 27 August, 1939, the 39th Infantry Regiment (of which both Pinchon and Duchamp had been a part during World War I) left Rouen for the French border. The general mobilization had begun. On 3 September France and Britain, followed by the countries of the Commonwealth, declared war on Germany and began a naval blockade, aimed at damaging Germany's economy and war effort: already substantially underway. Robert A. Pinchon was deeply saddened by the human folly that would lead to such a turn of events. Nor he or anyone else could have imagined the human loss and destruction that would be unleashed on Rouen. 2,400 Rouennais civil and military personnel would lose their lives, of which two-third from indiscriminate carpet bombing. 8,000 homes and apartments would be destroyed. 25,650 Rouennais were directly stricken by the disaster, of which 13,540 only partially.

Despite the carnage, hope and optimism had not entirely vanished. The 30th Salon des Artistes Rouennais went ahead as scheduled, with its opening on 19 May 1940. Notwithstanding, due to the gravity of the situation, the Salon was closed two days later. The first bombardment began on June 5, followed by a mass exodus. On June 8 at 10:00 p.m. the first German tanks rolled in through la route de Neufchatel, very close to the Pinchon residence. On the morning of 9 June the fuel reserves on the left bank were set ablaze and the bridges of Rouen destroyed.

The art market wouldn't begin to see the light until 1941. Robert Antoine Pinchon would exhibit for the last time between 16 May and 15 June, at l'Hôtel de la Couronne, place du Vieux-Marché, Rouen. After this show, which despite difficult times was considerably successful, both in term of press coverage and sales, Pinchon participated in another publication: Rouen et l'Exode. This publication was a collaboration upon which twenty artists were involved and 500 copies were printed (the first 200 were signed by the artists involved).^[22][4]

Robert-Antoine Pinchon passed away on 3 January 1943 in Bois-Guillaume, France.

Four streets in the Seine-Maritime, Normandy, are named after Robert Antoine Pinchon in commemoration of the artist: in Barentin, Bois-Guillaume, Le Mesnil-Esnard and Pavilly. A square in Rouen (district of Saint-Clément - Jardin-des-Plantes) also bares his name.

Selected Museums:

• Le coteau d'Amfreville, près Rouen (La carrière à mi-voie) (1908) Musée de Draguignan
• Effet de neige, (1909) Musée des Beaux-Arts de Rouen
• Le Pont aux anglais, soleil couchant, (1909) Musée des Beaux-Arts de Rouen
• Péniches dans la brume, (1909) Musée des Beaux-Arts de Rouen
• Vue prise du mont Gargan, soleil couchant, (before 1909) Musée des Beaux-Arts de Rouen
• Le Jardin maraicher, (ca 1921) Musée des Beaux-Arts de Rouen
• Barque échouée, Saint Valéry en Caux (before 1927) Office national des Combustibles liquides, Paris
• Bord de Seine à Caumont (ca 1928-30) Musée Alfred Cane
• Le Port et le Pont transbordeur de Rouen, (1943) Musée des Beaux-Arts de Rouen
• Le Pourquoi-Pas du commandant Charcot dans le port de Rouen (1935) Musée des Beaux-Arts de Rouen

Selected Private collections:

• La Lande à Petit-Couronne (1903)
• La Seine à Croisset (1903)
• Triel-sur-Seine, en aval de Paris, le pont ferroviaire sur la Seine Vers (1904)
• La Seine à Rouen au crépuscule (1905)
• Le Chemin, neige (1905)
• Coin de Seine à La Bouille or Restaurant champêtre de la Bouille (1906)
• La Seine vue de Belbeuf (1907) Tajan, Paris, 2007
• Le 14 Juillet, Place de la Basse Vieille Tour à Rouen (1908)
• Le Petit Train, côte Sainte-Catherine (1908-1909)
• Le Pont de chemin de fer près de Rouen (1910-1915) Christie's New York, 2008
• Le vallon du temps perdu (1910)
• Le Bassin aux nymphéas (ca 1910)
• Le Toquesac Aout (1912)
• Le talus de chemin de fer (1912)
• Fleurs des champs (ca 1915) Christie's New York, 2008
• Pots de géraniums (ca 1915-1920)
• Le jardin aux iris (ca 1920) Christie's New York, 2008
• Les chardons en fleurs (1920-25)
• A l'île aux cerises, Christie's New York, 2008
• Rouen, vue de la Seine, Christie's New York, 2007
• Dieppe et son port
• Chalands à Dieppedalle

• Almanach pour 1908, Edition du Groupe des XXX (trente), PARIS, ROUEN, décembre 1907
• Georges Dubosc, 1914, L'École de Rouen: ses peintres et ses ferronniers
• Exposition Robert A. Pinchon, éditeur Galerie A. M. Reitlinger, 1926, Paris
• Paulme, Henri, 1933, La Brillante carrière d'un peintre de l'Ecole moderne de Rouen : Réponse au discours de réception de Robert-A. Pinchon, Rouen, Impr. A. Lainé
• Maupassant, 1933, Les Contes normands, Illustrations de Robert-A. Pinchon; Introduction de Henri Defontaine
• Lucie Delarue-Mardrus, 1935, Rouen, éd. Henri Defontaine, Rouen, Illustrations de Robert Antoine Pinchon
• Chirol, Pierre, 1936, Cathédrales et Eglises Normandes: H. Defontaine, Illustrations de Robert Pinchon, Éditions et Impressions Paul Duval, Elbeuf-Paris
• Jean de la Varende, 1937, Les Châteaux de Normandie (Basse-Normandie) illustrated by Robert-A. Pinchon
• Rouen et l'Exode, 1941, R. A. Pinchon et al, Preface by Fernand Guey
• Defontaine, H., 1941, Rouen à travers les âges, 1941; Pierre Chirol et René Herval; illustrations de Robert A. Pinchon, Pierre Le Trividic et Michel Fréchon; Impr. Commerciale du Journal de Rouen, 20 mars 1941
• Robert A. Pinchon, Retrospective, 1886-1943, Galerie Hervé, Paris, Du 23 mars au 30 avril 1971, Paris
• François Lespinasse, L'École de Rouen, Fernandez, Sotteville-lès-Rouen, 1980
• Caroline Laroche, 7 peintres de l'école de Rouen : Marcel Couchaux, Alfred Dunet, Charles Fréchon, Narcisse Guilbert, Pierre Le Trividic, Maurice Louvrier, Robert Pinchon, Alain Letailleur, Paris, 1990
• François Lespinasse, Robert Antoine Pinchon, 1886-1943, Rouen, 1990
• Alain Letailleur, Robert Antoine Pinchon, Connivences, Paris, 1990
• Robert Antoine Pinchon: 1886-1943, Bogomila Welsh-Ovcharov, 1990
• Les Contes, de Guy de Maupassant; ill. de Robert-A. Pinchon; introd. de Henri Defontaine, Luneray , Bertout, 1993, 76-Luneray, impr. Bertout
• François Lespinasse, L'École de Rouen, Lecerf, Rouen, 1995
• L'École de Rouen de l'impressionnisme à Marcel Duchamp, 1878-1914, Musée des Beaux-Arts de Rouen, 1996
• Robert Antoine Pinchon, Texte imprimé: 1886-1943: exposition, Musée municipal de Louviers, 14 mars-11 mai 1998; texte de François Lespinasse, Musée de Louviers, 1997, Impr. Fromentin
• Guy Pessiot, 2004, Histoire de Rouen: 1900-1939 en 800 photographie
• François Lespinasse, Journal de l'École de Rouen 1877-1945, 2006
• François Lespinasse, Robert Antoine Pinchon, Ass. Les amis de l'École de Rouen, 2007

• Pinchon Robert Antoine, Joconde, Musées de France
• Une ville pour l’impressionnisme, Monet, Pissarro et Gauguin à Rouen, Musée des Beaux-Arts, Rouen, 4 juin – 26 septembre 2010
• Robert Antoine Pinchon, paintings
• Maupassant letters addressed to Robert Pinchon
• Complete list of Maupassant correspondence in chronological order, 1862-1891, with 14 addressed to Robert Pinchon
• Maupassant letters addressed to La Toque (Robert Pinchon)
• Robert Antoine Pinchon, Base Arcade, Culture.gouv.fr

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