Route enneigée avec maison, environs d'Eragny, 1885
Signed and dated 'C. Pissarro 1885' lower left
Oil on canvas
13 1/4 x 16 1/8 in, 33.5 x 41 cm
Provenance
Dr. Störe, Zurich
Kunstsalon Orell Fussli-Hof, Zurich,
November 26 1927, lot 201 (sold by the above)
Hans Wirth, Siebnen (acquired from the above)
Private Collection, Switzerland (acquired from the above in 1954)
Private Collection, Asia (acquired by 1998)
Exhibitions
London, Royal Academy of Art; Washington, D.C., Phillips Collection & San Francisco, Fine Arts Museum of San Francisco, Impressionists in Winter, Effets de neige, 1998-99, no.45, illus.Literature
Joachim Pissarro & Claire Durand-Ruel Snollaerts, Pissarro: Catalogue critique des peintures, vol. III, Paris, 2005, no. 784, p.517, illus.
Winter landscapes provided the Impressionists with a new means with which to experiment with bright light and freshness of the landscape. Like his Impressionist contemporaries Monet and Sisley, Pissarro painted a number of snow filled scenes, capturing the landscape of his travels to Pontoise, Osny, Paris, Montfoucault and Éragny.
In 1884, the year before painting 'Route enneigée avec maison', Pissarro and his family moved from Pontoise to Éragny, where he purchased a beautiful house with large gardens thanks to a loan from Claude Monet. On his arrival in the city Pissarro wrote with enthusiasm to his Parisian dealer Paul Durand-Ruel: “I haven’t been able to restrain myself from painting, so beautiful are the motifs that surround my garden”.
Pissarro was introduced to Paul Signac and Georges Seurat through his son Lucien in 1885, and from 1886 he enthusiastically adopted their philosophy. Their influence can be seen in 'Route enneigée avec maison' in Pissarro’s experimentation with the effects of complimentary colours and the japonaise influence. In comparison to his earlier 'Effet de neige' landscapes, the brushwork in 'Route enneigée avec maison' is more rapid, being made up of dabs of paint in a multitude of colours. Here, blue shadows are dashed across the snow contrasting against the yellow and orange reflections of the sun.
In 2017 Musée du Luxembourg held an exhibition of the works Pissarro produced in the last twenty years of his career in Éragny. Works from this period are held in prominent public collections such as Tate’s 'A Corner of the Meadow at Eragny' (1902), 'Poplars, Éragny' (1895) from The Metropolitan Museum of Art, New York, 'The Orchard at Éragny' (1896) in Museo Thyssen-Bornemisza, Madrid and 'Haymaking, Éragny' (1887) from the Van Gogh Museum, Amsterdam.
In 1884, the year before painting 'Route enneigée avec maison', Pissarro and his family moved from Pontoise to Éragny, where he purchased a beautiful house with large gardens thanks to a loan from Claude Monet. On his arrival in the city Pissarro wrote with enthusiasm to his Parisian dealer Paul Durand-Ruel: “I haven’t been able to restrain myself from painting, so beautiful are the motifs that surround my garden”.
Pissarro was introduced to Paul Signac and Georges Seurat through his son Lucien in 1885, and from 1886 he enthusiastically adopted their philosophy. Their influence can be seen in 'Route enneigée avec maison' in Pissarro’s experimentation with the effects of complimentary colours and the japonaise influence. In comparison to his earlier 'Effet de neige' landscapes, the brushwork in 'Route enneigée avec maison' is more rapid, being made up of dabs of paint in a multitude of colours. Here, blue shadows are dashed across the snow contrasting against the yellow and orange reflections of the sun.
In 2017 Musée du Luxembourg held an exhibition of the works Pissarro produced in the last twenty years of his career in Éragny. Works from this period are held in prominent public collections such as Tate’s 'A Corner of the Meadow at Eragny' (1902), 'Poplars, Éragny' (1895) from The Metropolitan Museum of Art, New York, 'The Orchard at Éragny' (1896) in Museo Thyssen-Bornemisza, Madrid and 'Haymaking, Éragny' (1887) from the Van Gogh Museum, Amsterdam.