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©
Carmen Thyssen Collection
Camille Pissarro

The Meadows at Éragny, Apple Tree

1894
Oil on canvas.
27.3 x 35.6 cm
Carmen Thyssen Collection
Inv. no. (
CTB.1998.63
)
ROOM F
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
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

19th Century19th Century - French paintingPaintingOilcanvas
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The Meadows at Éragny, Apple Tree

The Meadows at Éragny, Apple Tree

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Watch Swatch+Thyssen van der Ast Gracious Bouquet

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Poster Richard Estes: People's Flower

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The Meadows at Éragny, Apple Tree. Prados de Éragny, el manzano, 1894
The Meadows at Éragny, Apple Tree
Camille Pissarro

©

Carmen Thyssen Collection

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The exploitation rights of the images correspond to the Fundación Coleccion Thyssen-Bornemisza, F.S.P. The Fundación authorizes the downloading of high-resolution images from its website for private use, use for educational and research purposes, and non-commercial uses.

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Any request for educational and research use or for non-commercial use (including academic publications), should be directed by email to the Museum Photo Library through the email address archivo.fotografico@museothyssen.org. This department manages the worldwide distribution of the images of the works of the Thyssen-Bornemisza National Museum and the management of their reproduction rights for those uses.

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  • If the image is used for reproduction, the work must be reproduced in its entirety. The image may not be manipulated, deformed, modified or altered in any way. In particular, no superposition (of images or texts) on the reproduction is allowed.
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The Meadows at Éragny, Apple Tree. Prados de Éragny, el manzano, 1894
The Meadows at Éragny, Apple Tree
Camille Pissarro

©

Carmen Thyssen Collection

Terms of Use

The Photo Library of the Museo Nacional Thyssen-Bornemisza offers sale and rental service of photographic material of all the works of the Carmen Thyssen Collection.

To request images or permits for commercial use in academic or research publications, that is, catalogues of other institutions, monographs and other specialised publications, you should contact the Photo Library by email at the e-mail: @email.

To request images or permits for other commercial or advertising uses (general publications, merchandising, exhibitions, audio-visual works, web pages, etc.), you should contact the Museum's Commercial Archive by email at the e-mail: @email.

The Photo Library and the Museum's Commercial Archive manage the worldwide distribution of images of the Museo Thyssen-Bornemisza works, as well as their reproduction rights. The applicable rates are calculated based on the nature and proposed use of the images, as well as the availability of the requested image.

Requests for scans or new photographs will be reviewed on a case-by-case basis. Once approved, an additional fee will apply. Re-photographing a work will require a minimum of six weeks to complete.

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