Moonrise on the Banks of the River Oise

Charles-François Daubigny

Salida de la luna en las riberas del río Oise

Daubigny, Charles-François

París, 1817 - 1878

Moonrise on the Banks of the River Oise, 1874

© Colección Carmen Thyssen-Bornemisza

Signed & dated lower left: ''Daubigny 1874''.
Carmen Thyssen-Bornemisza Collection on loan to the Thyssen-Bornemisza Museum, Madrid.

Oil on panel

38,5 x 67,2 cm


Artwork history

  • Paul [Sébastien] Gallimard  Collection (1850-1929), París, c. 1900-1929

  • Paul Gallimard descent, París, until 1931

  • Cassirer, Berlín

  • Baron Heinrich Thyssen-Bornemisza, c. 1937

  • Dr. Fritz Nathan, Suiza

  • Private Collection, Switzerland, c. 1976

  • Gallery Nathan, Zürich, 1995

  • Carmen Thyssen-Bornemisza Collection


Exposition Centennale de l'Art Français. De 1800 à 1889, París, Grand Palais, n. 167, p. 199. Como "Lever de lune" perteneciente "à M. Gallimard"


The Landscape in French Painting XIX - XX Centuries, Nueva York, Knoedler Gallery, n. 7, lám. (b/n), s.p. Como: "Lever de lune sur les bords de l'Oise"; "From the collection of Monsieur Paul Gallimard, Paris"


De Canaletto a Kandinsky. Obras maestras de la Colección Carmen Thyssen-Bornemisza, Madrid, Museo Thyssen-Bornemisza, n. 55, p. 154


Capolavori dalla Collezione di Carmen Thyssen-Bornemisza: 60º anniversario dell'apertura della Pinacotecca di Villa Favorita, Lugano, Villa Favorita, n. 68, p. 182


Del vedutismo a las primeras vanguardias. Obras maestras de la Colección Carmen Thyssen-Bornemisza, Bilbao, Museo de Bellas Artes de Bilbao, n. 12, p. 84

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. 46, p. 110


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. 4, p. 36

1999 - 2000

Naturalezas pintadas de Brueghel a Van Gogh. Pintura naturalista en la Colección Carmen Thyssen-Bornemisza, Madrid, Museo Thyssen-Bornemisza, n. 47, p. 142


De Corot a Monet. Los orígenes de la pintura moderna en la Colección Carmen Thyssen-Bornemisza, Valencia, Museo del Siglo XIX, p. 20


Del impresionismo a la vanguardia en la Colección Carmen Thyssen-Bornemisza, México, DF, Museo del Palacio de Bellas Artes, p. 44


Landschaften von Brueghel bis Kandinsky. Die Ausstellung zu Ehren des Sammlers Hans Heinrich Baron Thyssen-Bornemisza, Bonn, Kunst- und Ausstellungshalle der Bundesrepublik Deutschland, n. 46, p. 130


Il trionfo del colore. Collezione Carmen Thyssen-Bornemisza. Monet, Van Gogh, Gauguin, Toulouse-Lautrec, Matisse, Kandinsky, Roma, Palazzo Ruspoli, p. 84


Van Gogh. Los últimos paisajes. Auvers-sur-Oise, 20 de mayo-29 de julio 1890, Madrid, Museo Thyssen-Bornemisza, . (no figura en el catálogo)


L'ideal en el paisatge. De Meifrèn a Matisse i Gontxarova. Col·lecció Carmen Thyssen, Sant Feliu de Guíxols, fundació Privada Centre d'Art Col·lecció Catalana de Sant Feliu de Guíxols, p. 28, lám. p. 29

2019 - 2020

Influencers in art. From Van Goyen to Pop Art. Museu Carmen Thyssen Andorra. p. 26, 27, 108 y 109.

  • -Vauxcelles, Louis: “Collection de M. Paul Gallimard”. Les Arts. París, n. 81, septiembre de 1908, p. 12, lám. p. 19

  • -Heinemann, Rudolf J.: Stiftung Sammlung Schloss Rohoncz. Lugano-Castagnola, 1937, vol. 1, n. 474, p. 173, lám.; vol. 2, lám. 308.

  • -Hellebranth, R.: Charles-François Daubigny 1817-1878. Morges, 1976, n. 377, p. 124, lám.

  • 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. 55, p. 154. [Sheet by Ronald Pickvance]

  • Colección Carmen Thyssen-Bornemisza. Arnaldo, Javier (ed.). 2 vols. Madrid, Fundación Colección Thyssen-Bornemisza, 2004, vol. 1, p. 318, lám. p. 319 [Sheet by Anne Burdin-Hellebranth]

  • -Solana, Guillermo: Van Gogh. Los últimos paisajes. Auvers-sur-Oise, May 20-July 29,  1890. [Exhib. Cat.]. Madrid, Museo Thyssen-Bornemisza, 2007.

  • -“Influencers” en el arte. De Van Goyen al “Pop Art”. Museu Carmen Thyssen Andorra.[Exhib. Cat. Museu Carmen Thyssen Andorra], Andorra, 2019, p. 26, 27, 108 y 109 [Sheet by Anne Burdin-Hellebranth]

Expert report

The river Oise was one of Daubigny’s favourite subjects. He set up a studio in Auvers-sur-Oise, travelling up and down the river on his “Le botin” (see the following entry), with his son and pupil Karl, every spring from 1857 onwards. Corot joined him regularly from 1860.

Théophile Gautier wrote in his notebook relating to the 1861 Salon: “It is such a shame that this landscape painter, whose feelings are so true, so precise and so natural, should feel satisfied with an impression and ignore details to such a degree.” Daubigny depicted water in such a natural and subtle way, that no other artist equalled him during his time, or thereafter.

Auvers became the artistic melting-pot for some highly prestigious painters: after Daubigny, both Van Gogh and Cézanne, under the iron rule of Dr. Gachet, visited the place. The village was his home base; “Daubigny was probably the first artist to paint entirely from nature his large works. The one representing Villerville-sur-Mer, exhibited at the 1864 Salon was, among others, completely painted out of doors. He waited for the favourable moment and rushed to his work as soon as the weather seemed to correspond to the impression he wished to convey in the painting.”

In 1874 he was awarded the order of the Legion of Honour, which confirmed him as an official painter. Besides this high honour, he tirelessly defended Claude Monet before his official dealer, Durand-Ruel, to the extent that he imposed on him a policy whereby, for every two paintings Daubigny delivered to him, the dealer would buy one work from Monet. The year 1874 also marked the birth of Impressionism, with Monet’s painting Impression, Sunrise, shown at the first Impressionist exhibition, organised in Paris by the famous photographer Nadar in April and May.

Monet followed at a distance Daubigny’s artistic career. Impression, Sunrise, dated in 1874, was painted after Daubigny’s work Villerville, Sunset of 1873, exhibited in Vienna that same year. In addition, Daubigny presented at the 1874 Salon a painting entitled The Countryside in June, depicting some poppies, condemned by the critics and which even his friend Corot considered too bright.

Monet took up again this subject in Poppies, dated in 1882, one of the artist’s most famous works.

From 1830 onward, painting, apart from the The Hague School, with artists such as Mesdag, or English art, represented by Constable and Turner, was reduced to genre painting. The Barbizon school and its followers were a novelty: by working from nature, the studio stopped being the crucial place for work and became a practical accessory.

For Daubigny, the representation of animals -ducks, storks, cows, lambs and even turkeys- indicates a more natural presence than that of human beings.

Daubigny, like some 19th-century writers -among which Baudelaire- marked a transition between classicism and modernism. The architecture remained, but a new spirit infused suppleness in the technique, enabling it to convey emotions which could not have been revealed before 1830, the period dominated by neo-classicism. “It is impossible to mistake the time of the day when Mr. Daubigny paints. He is the painter of a moment, of an impression.” Painting entered a new era.

Anne Burdin-Hellebranth