Women Tying the Vines

Henri-Edmond Cross

Mujeres atando las cepas

Cross, Henri-Edmond

Douai, 1856 - Saint-Clair, 1910

Women Tying the Vines, 1890

© Colección Carmen Thyssen-Bornemisza

Signed lower left: ''Henri Edmond Cross''.
Carmen Thyssen-Bornemisza Collection on loan to the Thyssen-Bornemisza Museum, Madrid.

Oil on canvas

53,8 x 65 cm

CTB.1997.8

Artwork history

  • Artist´s Collection

  • Hôtel Drouot, lot 7, París, May 9,  1895

  • Durand-Ruel Gallery, París

  • Lorenceau Gallery, París

  • Bernheim-Jeune Gallery, París

  • Henri Canonne, París, c. 1930

  • Palais Galliéra, lote 56 bis, París, June 24, 1963

  • Private Collection, before 1966

  • John & Frances L. Loeb Collection , c. 1982

  • Christie’s Auctions,  New York, lot 112, May 12, 1997

  • Carmen Thyssen-Bornemisza Collection

1891

Société des Artistes Indépendants, París, n. 282

1966

Summer Loan Exhibition, Paintings, Drawings ans Sculpture from Private Collections, Nueva York, The Metropolitan Museum of Art, n. 39, p. 4

1999 - 2000

Del impresionismo a la vanguardia en la Colección Carmen Thyssen-Bornemisza, Barcelona, Centre Cultural Caixa Catalunya, p. 98

2000

Del impresionismo a la vanguardia en la Colección Carmen Thyssen-Bornemisza, México, DF, Museo del Palacio de Bellas Artes, p. 98

2000 - 2001

La Révolte de la couleur. De l'impressionnisme aux Avant-gardes. Chefs-d'oeuvre de la Collection Carmen Thyssen-Bornemisza, Bruselas, Musée d'Ixelles, n. 1, p. 24

2002

Il trionfo del colore. Collezione Carmen Thyssen-Bornemisza. Monet, Van Gogh, Gauguin, Toulouse-Lautrec, Matisse, Kandinsky, Roma, Palazzo Ruspoli, p. 106

2011 - 2012

Henri-Edmond Cross et le néo-impressionisme. De Seurat à Matisse, París, Musée Marmottan Monet; Le Cateau-Cambrésis, Musée départemental Matisse, n. 19, p. 33, lám.

2013

Sisley, Kandinsky, Hopper. Col·lecció Carmen Thyssen, Sant Feliu de Guíxols, Espai Carmen Thyssen, p. 82, lám. p. 83

2018 - 2019

Color and Light: The Neo-Impressionist Henri-Edmond Cross. Musée des impressionnismes Giverny & Museum Barberini, Potsdam. Cat. 10, p. 88-89.

  • -Alexandre, A.: La Collection Canonne. París, 1930, p. 75.

  • -Compin, I.: Henri-Edmond Cross. París, 1964, n. 24, p. 107, lám.

  • -Compin, I.: ”Henri Edmond Cross, 1856-1910”.  Sutter, J. … [et. al.]: Les Néo-impressionnistes. Neuchâtel, 1970, p. 71.

  • -The Frances and John L. Loeb Collection. London, 1982, n. 38, lám.

  • -Christie, Manson & Woods International Inc.: The John and Frances L. Loeb collection. [Auction Cat.]. New York, May 12, 1997, p. 54, lám.

  • -Colección Carmen Thyssen-Bornemisza. Arnaldo, Javier (ed.). 2 vols. Madrid, Fundación Colección Thyssen-Bornemisza, 2004, vol. 2, p. 136, lám. p. 137 [Sheet by Guillermo Solana]

  • -Willsdon, Clare: ”Jardines impresionistas”. Madrid 2010-2011, pp. 15-293, fig. n. 37, p. 147, cit. p. 146.

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

  • -Sisley, Kandinsky, Hopper. Col·lecció Carmen Thyssen, Sant Feliu de Guíxols, Espai Carmen Thyssen, 2013, p. 82, lám. p. 83. (Exhib. Cat.)

  • -Color and Light: The Neo-Impressionist Henri-Edmond Cross. Musée des impressionnismes Giverny & Museum Barberini, Potsdam. [Exhib. Cat. Giverny- Potsdam], 2018,  Ed. Prestel, Cat. 10. P. 88-89.

Expert report

In his early days Cross cultivated a sombre and realist type of painting with thick impasto, following the style of Gustave Courbet and François Bonvin, who looked to the pictorial traditions of Holland and Spain. But from 1883-1884, under the influence of the Impressionists, Cross turned to outdoor landscape, deploying a light palette and loose brushwork. During this period he came into contact with Signac, then Seurat, Angrand and Dubois-Pillet, who formed the neo-Impressionist group.

In 1890 the artist spent time in Chamouilly, a village in the Champagne-Ardenne area of the east of Paris, where he painted a series of landscapes and country scenes, including the present work. Here, the predominant influence is that of Pissarro, the only one of the Impressionists who continued the paysanneriestradition, although without the almost religious sentimentality of Millet or Jules Breton. Pissarro’s interest in rural workers was related to his anarchist beliefs which Cross, like Seurat and Signac, also came to hold.

In 1886 the critic Fénéon defined Cross’s style in the following words: “a light palette, objects, beings indicated with flat colours, light brushwork, a pretty fantasy.” These flat, toned-down colours (mixed with white) are here displayed above all in the traditional bonnets and in the bodies of the women bent over in the sun. In contrast, the pink stippling in the dark green mass of the tree is already a response to Divisionism, in an effort to render the glints of the complementary colour that appear on a coloured surface. The painting was shown at the Salon des Indépendants in March 1891 as was the first work (a portrait of his future wife) in which Cross used rigorous neo-Impressionist techniques.

Cross donated this painting to a charity auction held in Paris on 9 May 1885 in aid of the painter Lauzet, who was ill. Decades later it came to form part of the collection of Henri Canonne, one of the great collectors of the inter-war period.

Guillermo Solana