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Hubert Givenchy

From 22 October to 18 January 2014

Limited entry numbers. Early booking is recommended



Autor:
Robert Doisneau
Título:
Hubert de Givenchy
Fecha:
1960
Ubicacion:
© Robert Doisneau

American Impressionism

From 04 November 2014 to 01 February 2015

Limited entry numbers. Early booking is recommended



Autor:
Mary Cassatt
Título:
Autumn, 1880 (detail)
Técnica:
Oil on canvas
Medidas:
92,5 x 65,5 cm

Ubicacion:
Musée des Beaux Arts de la Ville de Paris, Petit Palais, París, PPP00706 © Petit Palais/Roger Viollet
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Carmen Thyssen-Bornemisza Collection

Autor:
Camille Pissarro
Título:
The Meadows at Éragny, Apple Tree
Fecha:
1894
Técnica:
Oil on canvas
Medidas:
27.3 x 35.6 cm
Úbicacion:
Carmen Thyssen-Bornemisza Collection on deposit at Museo Thyssen-Bornemisza
Numero de inventario
INV. Nr. (CTB.1998.63)

More information about this work




In April 1884, Pissarro moved to the small village of Éragny-sur-Epte, close to Gisors and roughly one-third of the way from Paris to Dieppe. It was to be his last home for almost twenty years. The house was substantial; the grounds fairly extensive, essentially given over to orchard and vegetables rather than cultivated flowers with a few outbuildings, including a barn, and a distant view across the meadows of the winding river Epte to the small village of Bazincourt on the small hills opposite dominated by the church spire. It was an idyllic view of unspoilt countryside.

Already in his first year at Éragny, Pissarro began painting this particular view across the meadows to Bazincourt: three paintings are dated 1884. And the motif continued to appear in his work of the 1880s. But it really began to preoccupy him in the 1890s. Year by year, almost season by season, he painted this all-too-familiar view across the meadows to Bazincourt. Winter scenes-including scenes of inondation, especially in 1892-contrasted with evocations of spring and autumn, and less frequently of summer.

Pissarro's working methods varied too. Sometimes he viewed the motif high up from his studio window and painted it on medium-sized and large canvases. Sometimes he painted it outdoors at ground level, tending often to select small wooden panels rather than canvases. The Thyssen painting, however is executed on a small canvas, and it must have been painted out-of-doors, quickly and directly. The brushstrokes have an immediacy and an irregularity in their placement, not only in the dramatically presented sky but also in the marks that define the trees following the meanderings of the small river Epte through the meadows. And the composition is given a startling introduction: the foreground apple tree, placed asymmetrically, angular in its forms, acts rather like a Degas dancer performing, with the corps-de-ballet backstage represented by the curving banks of the river.

The first recorded owner of the painting was Émile Strauss, the lawyer-husband of Mme Geneviève Strauss, whose first husband was the composer Georges Bizet. She ran a cultured Salon in Paris; and among her visitors and admirers were Degas, Guy de Maupassant and Marcel Proust.

Ronald Pickvance

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