The Orchard at Éragny, 1896

Camille Pissarro

El huerto en Éragny

Pissarro, Camille

Carlota Amalia, Santo Tomás, 1830 - París, 1903

The Orchard at Éragny, 1896

© Colección Carmen Thyssen-Bornemisza

Signed & dated lower left: ''C. Pissarro. 96''.
Carmen Thyssen-Bornemisza Collection on loan to the Thyssen-Bornemisza Museum, Madrid.

Oil on canvas

54,6 x 65,4 cm

CTB.1993.9

Artwork history

  • Paul Rosenberg

  • Paul Rosenberg & Co., New York, c. 1953. inv. n. 6306 (back label)

  • Wilhelmsen (adquired at Paul Rosenberg & Co.), Oslo, c. 1953-1967.

  • Gallery Castiglione, París.

  • Alex Reid & Lefevre, London, November 4, 1968, (adquired at Gallery Castiglione)

  • Jack Abrahams, London, November 25, 1968, (adquired at Alex Reid & Lefevre)

  • Sotheby’s Auctions, London, March 28, 1984, lot 210.

  • Sotheby´s Parke Bernet, London, June 26, 1984, lot 11.

  • Sir Rex Harrison

  • Private Collection

  • Sotebhy´s, New York, November 3, 1993, lot 14A.

  • Carmen Thyssen-Bornemisza Collection

1996

De Canaletto a Kandinsky. Obras maestras de la Colección Carmen Thyssen-Bornemisza, Madrid, Museo Thyssen-Bornemisza, n. 59, p. 164

1996 - 1997

From Zurbaran to Picasso. Masterpieces from the Collection of Carmen Thyssen-Bornemisza, Shanghai, Shanghai Museum; Pekín, China National Art Gallery, p. 124

1997

Capolavori dalla Collezione di Carmen Thyssen-Bornemisza: 60º anniversario dell'apertura della Pinacotecca di Villa Favorita, Lugano, Villa Favorita, n. 80, p. 214

1997

Del vedutismo a las primeras vanguardias. Obras maestras de la Colección Carmen Thyssen-Bornemisza, Bilbao, Museo de Bellas Artes de Bilbao, n. 37, p. 138

1998 - 1999

Masterworks from the Carmen Thyssen-Bornemisza Collection, Tokio, Tokyo Metropolitan Art Museum; Takaoka, Takaoka Art Museum; Nagoya, Matsuzaka Art Museum; Sendai, Miyagi Museum of Art, n. 64, p. 146

1999

Do impresionismo ó fauvismo: A pintura do cambio de século en París. Colección Carmen Thyssen-Bornemisza, Santiago de Compostela, Centro Galego de Arte Contemporánea, n. 16, p. 60

1999 - 2000

Del impresionismo a la vanguardia en la Colección Carmen Thyssen-Bornemisza, Barcelona, Centre Cultural Caixa Catalunya, p. 54

2000

Del impresionismo a la vanguardia en la Colección Carmen Thyssen-Bornemisza, México, DF, Museo del Palacio de Bellas Artes, p. 76

2000 - 2001

L'impressionisme i la selva empremta en la col·lecció Carmen Thyssen-Bornemisza, Andorra, Sala d'Exposicions del Govern d'Andorra, p. 26, lám. p. 27

2002

Il trionfo del colore. Collezione Carmen Thyssen-Bornemisza. Monet, Van Gogh, Gauguin, Toulouse-Lautrec, Matisse, Kandinsky, Roma, Palazzo Ruspoli, p. 120

2009

La Sombra, Madrid, Museo Thyssen-Bornemisza - Fundación Caja Madrid, . (no figura en el catálogo)

2010 - 2011

Jardines impresionistas, Madrid, Museo Thyssen-Bornemisza - Fundación Caja Madrid, n. 49, p. 167 (lám.), detalle p. 138

2011 - 2012

Berthe Morisot. La pintora impresionista, Madrid, Museo Thyssen-Bornemisza, n. 37, p. 95, lám.

2012 - 2013

Rusiñol, Monet, Gauguin, Sunyer. El paisaje en la Colección Carmen Thyssen, Gerona, CaixaForum; Tarragona, CaixaForum; Lérida, CaixaForum, n. 27, p. 104, lám. p. 105. (solo Gerona y Tarragona)

2013 - 2014

Pissarro, Madrid, Museo Thyssen-Bornemisza; Barcelona, CaixaForum, n. 52, p. 147, lám.

2014

Pissarro. L'anima dell'impressionismo, Pavia, Scuderie del Castello Visconteo, n. 20, p. 76, lám. p. 77

2017

Un món ideal: De Van Gogh a Gauguin i Vasarely. Col.lecció Carmen Thyssen. Espai Carmen Thyssen, Sant Feliu de Guíxols. p. 56, 57 147, 181 y 182.

  • De Canaletto a Kandinsky. Obras maestras de la colección Carmen Thyssen-Bornemisza. Museo Thyssen-Bornemisza. [Exhib. Cat. Museo Thyssen-Bornemisza]. Llorens Serra, Tomàs (ed.). Madrid, Fundación Colección Thyssen-Bornemisza, 1996 , n. 59, p. 164. [Sheet by Ronald Pickvance]

  • Colección Carmen Thyssen-Bornemisza. Arnaldo, Javier (ed.). 2 vols. Madrid, Fundación Colección Thyssen-Bornemisza, 2004, vol. 2, p. 34, lám. p. 35 [Sheet by Richard Brettell]

  • -Pissarro, Joachim y Durand-Ruel Snollaerts, Claire (ed.): Pissarro: catalogue critique des peintures. Milán, Skira – París, Wildenstein Institute Publications, 2005, vol. III, n. 1134, p. 715, ill.

  • -Willsdon, Clare: ”Jardines impresionistas”. Madrid 2010-2011, pp. 15-293, n. 49, cit. p. 149.

  • -Willdson, Clare: Jardines impresionistas. [Exhib. Cat. 2010-2011]. Madrid, Museo Thyssen-Bornemisza, 2010.

  • -Alarcó, P. y Borobia, M. (eds.): Guía de la colección. Museo Thyssen-Bornemisza. Madrid, Museo Thyssen-Bornemisza, 2012, p. 253, lám.

  • -Philippe Cros: Pissarro. L’anima dell’impressionismo. (Exhib. Cat. Scuderie del Cstello Visconteo, Pavia). Soveria Mannelli, Rubbettino editore, 2014, n. 20, p. 76, lám. p. 77 [Sheet by Philippe Cros]

  • -Un món ideal: De Van Gogh a Gauguin i Vasarely. Col.lecció Carmen Thyssen. Espai Carmen Thyssen, Sant Feliu de Guíxols, 2017. p. 56, 57, 147, 181 y 182. [Sheet by Richard R. Brettell]. [Exhib. Cat.]

Expert report

Pissarro wrote to his son Lucien on 7 August 1896, saying that he had completed four paintings of the pasture owned by the family near the village of Éragny. He had enjoyed the challenge of painting landscapes dominated by greens throughout his career. In fact, even his earliest paintings had been called “green” by not less a painter than Camille Corot, who claimed that, while he, the older artist, preferred to see nature in tones of grey and blond, Pissarro saw in green!.

This tendency received a renewed impetus in the late 1880s when Pissarro worked very much as a “Scientific” Impressionist with George Seurat and Paul Signac as well as his own son, Lucien, to represent the effect of brilliant sunlight on green grass. Pissarro made the space and character of the sun-struck green field in Éragny interesting by positioning himself so that the varyingly curved trunks of the fruit trees within it played rhythmic visual games with the shadows cast by the trees on the field. This “chess set” of positions is animated by Pissarro’s careful placement of two rural workers, a female carrying a basket in the middle-ground and another, further back who seems to have some laundry over her shoulder. We feel the heat of this Norman day as the individually painted leaves of near and distant trees seem to tremble in a gentle breeze.

Pissarro had tired of the meticulously rendered “dotted” surfaces of Scientific Impressionism at least years before, loosening his facture, while adhering to the chromatic lessons of simultaneous contrast and chromatic intensity he practised with more theoretical acumen in the latter 1880s. The Carmen Thyssen-Bornemisza painting seems almost to be a pair of another of the four canvases, Soleil Couchant a Éragny, 1896, PV 974, which is of identical dimensions and represent precisely the same field with the same haystack observed from a different vantage point at a different time. In fact, the group of four paintings were made throughout several similar summer days, one begun in the morning (La Grange, matin, Éragny, c. 1896, PV 975), two at mid-day (Le Clos a Éragny, 1896, and Sous le noyer a Éragny, 1896, PV 976) and the fourth at sunset (Soleil Couchant a Éragny, 1896, PV 974). Pissarro complained of the uncertain weather in the same letter, using it as an explanation for the fact that he ventured only slightly outside the compound of his house and studio into the adjacent field.

Interestingly, this small group of forthrightly rural paintings, made just after the hay harvest in late July and early August, was bracketed in Pissarro’s production of that year by two groups of forthrightly urban paintings made in the capital of Normandy, the nearby city of Rouen. This series, made in the spring-early-summer and the fall of 1896, included at least 28 paintings of effects of diurnal and seasonal light on the Seine river and its citified borders. Many of these paintings are dominated by variously coloured “greys, ” and it must have been a liberation for Pissarro to dive into the brilliant greens and yellows of his palette to create resolutely summery paintings that are both a chromatic and iconographical counterpoint to the urban series. In fact, Pissarro had painted more than thirty canvases of this same field in the previous decade in every season and format, using vertically and horizontally oriented canvases, to form an intimate series of what we might call personal landscapes.

Richard R. Brettell