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Carmen Thyssen Collection
Léon-Augustin Lhermitte

Le marché de Château-Thierry

1879
Oil on canvas.
53.3 x 67 cm
Carmen Thyssen Collection
Inv. no. (
CTB.1998.60
)
Not on display
  • Level 2 Permanent Collection
  • Level 1 Permanent Collection
  • Level 0 Carmen Thyssen Collection and Temporary exhibition rooms
  • Level -1 Temporary exhibition rooms, Conference room and EducaThyssen workshop
Level 2
Permanent Collection
1 2 3 4 5 6 7 8 9 10 11 12 14 13 15 16 17 18 22 19 20 21 23 24 25 26 27 28 29 Recommended start of the visitClassical rooms
1 14th Century. Early Italian Painting 2 15th Century. German and Spanish Painting 3 15th Century. Early Netherlandish Painting 4 15th Century. Italian Painting 5 15th and 16th Centuries. Renaissance Portraiture 6 16th Century. Villahermosa Gallery 7 16th Century. Italian Painting 8 15th and 16th Centuries. German Painting 9 15th and 16th Centuries. German Painting 10 16th Century. Netherlandish Painting 11 Tiziano, Tintoretto, Bassano and  El Greco 12 17th Century. Caravaggio and Baroque Painting 13 17th Century. Italian, French and Spanish Painting 14 17th Century. Italian, French and Spanish Painting 15 17th Century. Italian, French and Spanish Painting 16 18th Century. Italian Painting 17 18th Century. Italian Painting 18 18th Century. Italian Painting 19 Classical rooms 20 Classical rooms 21 Classical rooms 22 18th Century. Italian Painting 23 17th Century. Dutch Painting. Landscape 24 18th Century. French and English Painting 25 17th Century. Dutch Painting. Scenes of Daily Life and Interiors 26 17th Century. Dutch Painting. Landscape 27 17th Century. Dutch Painting. Portrait 28 17th Century. Dutch Painting. Landscape 29 19th Century. European Painting. Goya and Romanticism  
Level 1
Permanent Collection
30 31 32 33 34 35 36 37 38 39 40 41 42 43 44 45 46 47 48 49 50 51 52 53 54 55 56 Postpop rooms Rodin room
30 18th and 19th Centuries. Transatlantic Relations 31 19th Century. American Landscape and Environmental Awareness 32 19th Century. American Landscape and Urban Life 33 Recovering the ligth. Restoration of Waterloo Bridge, by André Derain 34 20th Century. Expressionist Landscapes 35 20th Century. Expressionist Portraits 36 20th Century. The Language of the Body 37 20th Century. Urban unrest 38 20th Century. Flowers 39 20th Century. Pioneers of abstraction 40 20th Century. Popular flavor 41 20th Century. The Cubist Tradition I 42 20th Century. The Cubist Tradition II 43 20th Century. Abstract Utopias 44 20th Century. Dada and Surrealism 45 20th Century. Interwar Realisms 46 20th Century. American Abstraction I 48 20th Century. Post-ward American Art 49 20th Century. Post-ward European Figurative Art 50 20th Century. Informalisms 51 20th Century. Homo Ludens 52 20th Century. Pop Art 53 Postpop rooms 54 Postpop rooms 55 Postpop rooms 56 Postpop rooms Rodin Exhibition room
Level 0
Carmen Thyssen Collection and Temporary exhibition rooms
A B C D E F G H I J Hall Temporary exhibition rooms Access to Permanent Collection Entrance Access to Carmen Thyssen Collection Paseo del Prado Garden
A 17th and 18th Centuries. Old Masters B 19th Century. North American Landscape C 19th Century. French Naturalist Landscape D 19th Century. Impressionism E 19th Century. Monet and North American Impressionism F 19th Century. Gauguin and Postimpressionism G 19th and 20th Centuries. Neo Impressionism and its Wake H 20th Century. Early Avant-gardes I 20th Century. Between the Wars Painting. Cubism, Abstraction and Surrealism J 20th Century. North American Painting and Others • HALL
Level -1
Temporary exhibition rooms, Conference room and EducaThyssen workshop
Temporary exhibition rooms Conference room EducaThyssen Workshop
In 1888 Lhermitte made a series of illustrations for a book called La Vie Rustique, written by André Theuriet. In the introduction the author wrote: "We propose to trace the grand acts of the rustic drama: the soaring, the labour, the hay-making, the harvest, and the vintage; we wanted to describe the solitude of the farm, the business of the village life, the pleasures of Sunday, and the preoccupations of the weekdays [...]." In a few words this text indicates exactly the position of Léon Lhermitte in French art of the late 19th century. He did not belong to the vulgarised post-romantic movement of artists who supplied cliché images of rural life in Europe in an endless repetition of all too familiar themes. On the other hand, he was also not a member of the artistic avant-garde. He refused to be considered a naturaliste, a realist painter whose work could be associated with noisy revolutionaries such as Gustave Courbet.

In the year 1879 in which he painted The Market of Château-Thierry, Degas invited him to participate in the Impressionist show of that year, but Lhermitte refused. Vincent van Gogh wrote from The Hague to his brother Theo in Paris that he would love to see a Lhermitte. He said that Lhermitte's secret was nothing else but his profound knowledge of the human figure, but especially of the robust, severe workman type, and that he grasped his motives from the heart of the people. In another letter Van Gogh compared Lhermitte with Rembrandt because of his mastery and his excellent modelling. Lhermitte's works were exhibited at the Secession exhibitions in Munich with Liebermann and Von Uhde in Vienna; they were reproduced in outstanding magazines such as Ver Sacrum of which Joseph Hoffmann, Kolo Moser and Gustav Klimt were editors.

Lhermitte had a special predilection for market scenes; they occur frequently in his oeuvre. In 1876 he painted The Fish Market at Saint-Malo; in 1877 The Apple Market at Landerneau (now in the Philadelphia Museum of Art), and in the same year The Market at Ploudalmézeau (now in the Victoria and Albert Museum, London). In 1878 followed Fish Sellers at Saint-Malo (now in the Tweed Gallery, University of Minnesota, Duluth), and his most prestigious market scene was made for the new Hôtel de Ville in Paris, Les Halles (now in the dépôt d'Ivry of the Musée du Petit Palais). Around 1895, he also made drawings of the markets of Villeneauxe and Nuremberg. He repeated the theme of the market of Château-Thierry in some fusain drawings in which he showed the market square from different angles, sometimes even from a higher point of view. All these variations were made after the painting. His place was between Millet and The Hague School, between Jozef Israëls and Anton Mauve. In 1909 he participated in an exhibition in London, in the French Gallery together with Harpignies, Israëls and Jacob Maris. Edward Strange wrote on that occasion: "From the technical point of view, his great strength lies on his drawing-a matter of some importance in an age of paint."

Lhermitte gives a wonderful picture of every day life in the French countryside: a young lady supervises critically her purchase of vegetables in the company of her child, carried by a nurse and her cook, who carries a basket and a bucket for milk or cream. The cheese vendor on the right has some time to spare to chat with a woman selling cabbages; halfway through the square we discover another elegant lady with a parasol, and an old gentleman admiring a potted plant. He might well be the village notaire, or even the burgomaster. Lhermitte does not dazzle his audience with a bright virtuoso; he quietly observes his subject and he brings his keen observations together into a scene in which profound humanity prevails.

John Sillevis

19th CenturyPaintingOilcanvas
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Private and/or didactic use
Le marché de Château-Thierry. El mercado de Château-Thierry, 1879
Le marché de Château-Thierry
Léon-Augustin Lhermitte

©

Carmen Thyssen Collection

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Le marché de Château-Thierry. El mercado de Château-Thierry, 1879
Le marché de Château-Thierry
Léon-Augustin Lhermitte

©

Carmen Thyssen Collection

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