Le village à travers les arbres

细节

Camille Pissarro (1830-1903)
Le village à travers les arbres
signed 'C. Pissarro' (lower left)
oil on canvas
21¾ x 18 in. (55.2 x 45.4 cm.)
Painted circa 1869

来源

Anonymous sale, Hôtel Drouot, Paris, 4 May 1914, lot 72.
Galerie Bernheim-Jeune, Paris, by whom acquired at the above sale (a half-share sold to the Galerie Durand-Ruel, Paris on 8 May 1914 and reacquired on 24 April 1915).
Dikran Khan Kélékian, Paris and New York; his sale, American Art Association, New York, 30-31 January 1922, lot 129.
L. Orselli, by whom acquired at the above sale.
Gallery of Modern Art, New York.
Durand-Ruel Galleries, New York (no. 5508), by whom acquired from the above on 11 January 1944.
George J. Gould, New York, by whom acquired from the above on 3 March 1944; sale, Sotheby's, London, 6 May 1959, lot 139.
Paul Rosenberg Gallery, New York.
Lucy Smith Doheny Battson, Los Angeles, by whom acquired from the above in June 1960, and thence by descent.
Acquired from the estate of the above by the present owner.

出版

A. Alexandre, Collection Kélékian, Tableaux de l'école française moderne, Paris, 1920 (illustrated pl. 51).
L. Koenig & L. Yaffe, Camille Pissarro, Paris, 1927, pl. II.
L. Pissarro & L. Venturi, Camille Pissarro, Son art - son oeuvre, vol. I, Paris, 1939, no. 69, p. 88 (illustrated vol. II, pl. 13; dated 'circa 1868').
G. Jedlicka, Pissarro, Bern, 1950 (illustrated pl. 3).
T. Natanson, 'Pissarro', in Artistes d'aujourd'hui et jadis, Lausanne, 1950 (illustrated pl. 3; dated 'circa 1868').
J. Rewald, Pissarro, Paris, 1960 (illustrated fig. 15).
D. Pataky, Pissarro, Budapest, 1972, no. 10, p. 27 (illustrated pl. 10; dated '1868' and titled 'Falu a fák mögött').
J. Isaacson, 'Constable, Duranty, Mallarmé, Impressionism, Plein air, and Forgetting', in The Art Bulletin, September 1994, p. 438.
J. Pissarro & C. Durand-Ruel Snollaerts, Pissarro, Catalogue critique des peintures, vol. II, Pari s, 2005, no. 134, p. 126 (illustrated).

展览

Brooklyn, The Brooklyn Museum of Art, Paintings by Modern French Masters Representing the Post-Impressionists and Their Predecessors, March 1921, no. 175.
Paris, Musée des Arts Décoratifs, Cinquante ans de peinture française (1875-1925), May - July 1925, no. 58, p. 15.
Amsterdam, Stedelijk Museum, Vincent van Gogh en zijn tijdgenooten, September - November 1930, no. 244.

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荣誉呈献

Laetitia Pot

lpot@christies.com +44 (0)20 7389 2052

拍品专文

Bathed in crisp, clear light, under a powdery blue sky, a narrow path lined with soaring trees leads down to a rural village, its whitewashed houses nestled into the landscape of Camille Pissarro’s picturesque Le village à travers les arbres. Painted circa 1869, Le village à travers les arbres dates from a pivotal moment in the early development of Impressionism, as Pissarro, Sisley, Monet and Renoir all came together in and around the rural suburbs of Paris, and together forged a new conception of landscape painting. With bright, harmonious colour, varied, increasingly loose brushstrokes and subtle contrasts of light and shade, the present work demonstrates the new artistic vocabulary that Pissarro and his impressionist colleagues had begun to employ at this time, imbuing their painting with a new vitality and spontaneity, characteristics that became the central principles of the impressionist movement.

In the spring of 1869, around the time that Le village à travers les arbres was painted, Pissarro and his family moved from Pontoise to Louveciennes. Located to the northwest of Paris, between the river Seine and the forest of Marly, Louveciennes was a charming rural village composed of quiet tree-lined roads, small hamlets, gardens and fields. It was in and around this suburban village that the nascent impressionist group converged. Sisley, Monet and Renoir, as well as Degas and Morisot, were all spending time in this quiet corner of the Île-de-France, painting en plein air and often side-by-side, collaborating as they shared and developed their radical pictorial ideas. Remembering this stimulating period of burgeoning Impressionism in a letter to his son, Lucien, in April 1895, Pissarro wrote: ‘I remember that, although I was full of ardour, I didn’t conceive, even at forty, the deeper side of the movement we followed instinctively. It was in the air!’ (J. Rewald, ed., Letters to His Son Lucien, New York, 1943, p. 265).

Le village à travers les arbres

荣誉呈献

拍品专文

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