About This Artwork

Camille Pissarro
French, 1830-1903

Woman Bathing Her Feet in a Brook, 1894/95

Oil on canvas
73 x 92 cm (28 1/2 x 36 in.)
Inscribed lower left: C.Pissarro 95

A Millennium Gift of Sara Lee Corporation, 1999.364

This work is featured in the online catalogue Pissarro Paintings and Works on Paper at the Art Institute of Chicago. This is the museum’s fourth volume in its scholarly digital series on the Impressionist circle. The catalogue offers in-depth curatorial and technical entries on 17 paintings and drawings by Camille Pissarro as well as a checklist of the artist’s prints in the museum’s collection. The entries feature interactive and layered high-resolution imaging, videos, and previously unpublished technical photographs in addition to archival materials and documentation relating to each artwork.

Camille Pissarro referred to this painting in a letter of November 1894, when he wrote to his son Lucien that he wanted to send him a picture of “a little peasant girl dipping her feet in the water.” At the time, he considered the work almost finished but still lacking “that little something,” exclaiming optimistically, “I think I will get it, I feel it!” His continued ruminations on the composition may explain its heavily encrusted surface. After finishing it, he painted a variation featuring a nude (a rarity for the artist) in the same pose and setting (1895; Metropolitan Museum of Art, New York).

— Permanent collection label

Exhibition, Publication and Ownership Histories

Exhibition History

Dresden, Galerie Ernst Arnold, Feb.–Mar. 2, 1895.

Berlin, Fritz Gurlitt, Mar. 21–Apr. 15, 1895.

Paris, Galeries Durand-Ruel, Camille Pissarro, Apr. 7–30, 1904, cat. 93.

Art Institute of Chicago, Great French Paintings: An Exhibition in Memory of Chauncey McCormick, Jan. 20–Feb. 20, 1955, cat. 32 (ill.).


New York, E. and A. Silberman Galleries, An Exhibition of Paintings: For the Benefit of the Research Fund of Art and Archaeology, The Spanish Institute, Inc., Oct. 12–Nov. 1, 1955, cat. 23 (ill.).

Palm Beach, Fla., The Society of the Four Arts, Loan Exhibition of Paintings and Drawings by Camille Pissarro, 1830–1903, Jan. 9–31, 1960, cat. 19 (ill.).

Art Institute of Chicago, Treasures of Chicago Collectors, Apr. 15–May 7, 1961, no cat. no.

New York, Wildenstein, Modern French Painting, Apr. 11–25, 1962, cat. 48; Waltham, Mass., Rose Art Museum, May 10–June 13, 1962.

Paris, Institute of Fine Arts, 1962.

Chicago, Union of American Hebrew Congregations, Nov. 16–21, 1963.

Minneapolis Institute of Arts, Paintings from the Cummings Collection, Jan. 14–Mar. 7, 1965, no cat. no.

New London, Conn., Lyman Allyn Museum, Paintings and Sculpture from the Collection of Mr. and Mrs. Nathan Cummings, Jan. 19–Feb. 18, 1968, no cat. no. (ill.).

New York, Christie’s, Van Gogh, Gauguin and Their Circle, Nov. 14–30, 1968, cat. 17 (ill.).

New York, Metropolitan Museum of Art, Paintings from New York Collections: Nathan Cummings Collection, July 1–Sept. 7, 1971, cat. 55.

Winston-Salem, N.C., Reynolda House Museum of American Art, An Impressionist Legacy: The Collection of Sara Lee Corporation, Sept. 9–Dec. 28, 1990, no cat.; Memphis, Dixon Gallery and Gardens, Jan. 20–Mar. 17, 1991.

Jerusalem, Israel Museum, Weisbord Exhibition Pavilion, Camille Pissarro: Impressionist Innovator, Oct. 11, 1994–Feb. 9, 1995, cat. 92 (ill.); New York, Jewish Museum, Feb. 26–July 16, 1995.

Laren, Netherlands, Singer Laren, An Impressionist Legacy, Meesters van de Moderne Kunst: Collectie Sara Lee Corporation: Meesters van de moderne kunst, Oct. 18, 1997–Feb. 15, 1998, no cat.

Singapore Museum of Art, Monet to Moore: The Millennium Gift of Sara Lee Corporation, Apr. 1–May 30, 1999, cat. 39 (ill.); National Gallery of Australia, Canberra, June 11–Aug. 22, 1999; North Carolina Museum of Art, Raleigh, Sept. 10–Nov. 7, 1999; Portland (Ore.) Art Museum, Nov. 19, 1999–Jan. 23, 2000; Art Institute of Chicago, Mar. 13–May 28, 2000.

Fort Worth, Tex., Kimbell Art Museum, The Impressionists: Master Paintings from the Art Institute of Chicago, June 29–Nov. 2, 2008, cat. 46 (ill.).

Tokyo Fuji Art Museum, Impressionists at the Waterside—Depicting Urban Resorts: Paris, the Seine, and Normandy, Oct. 22, 2013–Jan. 5, 2014, cat. 39 (ill.); Fukuoka City Museum, Jan. 15–Mar. 2, 2014; Museum of Kyoto, Mar. 11–May 11, 2014.

Paris, France, Réunion des musées nationaux-Grand Palais, Pissarro in Eragny. Nature regained (Pissarro à Éragny, l'anarchie et la nature), March 16-July 9, 2017.

Publication History

Preface by Octave Mirbeau, Catalogue de l’exposition de l’oeuvre de Camille Pissarro, exh. cat. (Galeries Durand-Ruel, 1904), p. 18, cat. 93.

Valensol, “Le vie artistique: L’exposition Pissarro,” Le petit parisien, Apr. 13, 1904, p. 2.

Henri Pellier, “Petits salons: Camille Pissarro,” La petite république, Apr. 14, 1904, p. 3.


Julius Meier-Graefe, “Camille Pissarro,” Kunst und Künstler 2, 12 (Sept. 1904), p. 486.

Léon Riotor, Les arts et les lettres, 3 ser. (Alphonse Lemerre, 1908), pp. 480–81.

Ludovic Rodo Pissarro and Lionello Venturi, Camille Pissarro: Son art—son oeuvre, vol. 1, Texte (P. Rosenberg, 1939), p. 206, cat. 903.

Ludovic Rodo Pissarro and Lionello Venturi, Camille Pissarro: Son art—son oeuvre, vol. 2, Planche (P. Rosenberg, 1939), pl. 183, cat. 903.

Art Institute of Chicago, Great French Paintings: An Exhibition in Memory of Chauncey McCormick, exh. cat. (Art Institute of Chicago, 1955), cat. 32 (ill.).

Edna Perkel, with the assistance of Anne Dahlgren Hecht, An Exhibition of Paintings: For the Benefit of the Research Fund of Art and Archaeology, The Spanish Institute, Inc., exh. cat. (E. and A. Silberman Gallery, 1955), p. 35, cat. 23 (ill.).

Society of the Four Arts, Loan Exhibition of Paintings and Drawings by Camille Pissarro, 1830–1903, exh. cat. (Society of the Four Arts, 1960), pp. 8; 22, cat. 19 (ill.).

Art Institute of Chicago, Treasures of Chicago Collectors, exh. cat. (Art Institute of Chicago, 1961), n.p.

Poses Institute of Fine Arts, Modern French Painting: A Loan Exhibition Sponsored by the Poses Institute of Fine Arts for the Benefit of the Art Scholarship and Grans Fund, Brandeis University, exh. cat. (Brandeis University/Clarke & Way, 1962), cat. 48.

John Rewald, Camille Pissarro, The Library of Great Painters (Abrams, 1963), p. 42 (ill.).

Minneapolis Institute of Arts, Paintings from the Cummings Collection, exh. cat. (Minneapolis Institute of Arts, [1965]), n.p.

Christie’s, New York, Van Gogh, Gauguin, and Their Circle, with a preface by John Richardson, exh. cat. (Christie, Manson & Woods, 1968), cat. 17 (ill.).

Lyman Allyn Museum, Paintings and Sculpture from the Collection of Mr. and Mrs. Nathan Cummings, exh. cat. (Lyman Allyn Museum, 1968), n.p. (ill.).

Marie–Claude Wrenn, “Mr. Sara Lee, Art Collector,” Life Magazine (Oct. 23, 1970), p. 77 (ill).

Metropolitan Museum of Art, Paintings from New York Collections: Nathan Cummings Collection, exh. cat. (Metropolitan Museum of Art, 1971), p. 9, cat. 55.

Raymond Cogniat, Pissarro (Flammarion, 1974), back cover (ill.).

Christopher Lloyd, “Camille Pissarro and Hans Holbein the Younger,” Burlington Magazine 117, 872 (Nov. 1975), p. 725, n. 4.

Christopher Lloyd, Pissarro (Phaidon, 1979), pp. 10; 15; pl. 33.

Richard Brettell and Christopher Lloyd, A Catalogue of the Drawings by Camille Pissarro in the Ashmolean Museum, Oxford (Clarendon/Oxford University Press, 1980), p. 186.

Hayward Gallery, Galeries Nationales du Grand Palais, and Museum of Fine Arts, Boston, Pissarro: Camille Pissarro, 1830–1903, exh. cat. (Arts Council of Great Britain/Museum of Fine Arts, Boston, 1980), p. 187.

Hayward Gallery, Galeries Nationales du Grand Palais, and Museum of Fine Arts, Boston, Pissarro: Camille Pissarro, 1830–1903, trans. Claude Lauriol, exh. cat. (Arts Council of Great Britain/Réunion des Musées Nationaux, 1981), p. 187.

Christopher Lloyd, Camille Pissarro (Skira/Rizzoli, 1981), p. 119 (ill.).

Consolidated Foods Corporation, Nathan Cummings Collection (Consolidated Foods Corporation, [1983]), pp. 6; 7, fig. 1.

Richard R. Brettell, An Impressionist Legacy: The Collection of Sara Lee Corporation (Abbeville, 1986), pp. 48–50 (ill. and detail), 123–24.


John House, “Camille Pissarro’s Idea of Unity,” in Christopher Lloyd, ed., Studies on Camille Pissarro (Routledge & Kegan Paul, 1986), p. 33, n. 16.

Janine Bailly-Herzberg, ed., Correspondance de Camille Pissarro, vol. 3, 1891–1894 (Valhermeil, 1988), pp. 513 (letter 1073), 521 (letter 1080).

Janine Bailly-Herzberg, ed., Correspondance de Camille Pissarro, vol. 4, 1895–1898 (Valhermeil, 1988), p. 33, n. 1.

Richard Thomson, Camille Pissarro: Impressionism, Landscape, and Rural Labour, exh. cat. (South Bank Centre/Herbert Press, 1990), p. 89, fig. 108.

Joachim Pissarro, Camille Pissarro, Rizzoli Art Series, ed. Norma Broude (Rizzoli, 1992), pl. 13.

Joachim Pissarro, Camille Pissarro (Abrams, 1993), p. 170, cat. 181 (ill.).

Joachim Pissarro and Stephanie Rachum, Camille Pissarro: Impressionist Innovator, exh. cat. (Israel Museum, Jerusalem, 1994), p. 183, cat. 92 (ill.).

Hillel Schenker, “Camille Pissarro: The Jewish Impressionist,” Wizo Review 272 (Fall–Winter 1994), pp. 2 (detail), 21 (ill.).

Meir Ronnen, “Pissarro: Eye, Hand and Mind,” Jerusalem Post Magazine, Oct. 21, 1994, p. 19.

Felice Maranz, “The Innovator,” Jerusalem Report, Nov. 3, 1994, p. 40.

Jolande Prudon, Emke Raassen-Kruimel, and Karin Verboeket, “Voorwoord,” in “Collectie Sara Lee Corporation: Meesters van de moderne kunst,” special issue, Singer Bulletin 7 (Oct. 1997), front cover (detail), p. 2.

Jolande Prudon, “Van Pissarro tot Manzú: Een rondleiding lands de Sara Lee Collectie,” in “Collectie Sara Lee Corporation: Meesters van de moderne kunst,” ed. Jolande Prudon, Emke Raassen-Kruimel, and Karin Verboeket, special issue, Singer Bulletin 7 (Oct. 1997), p. 10, fig. 2.

“Un dessert Sara Lee pour Chicago,” Le journal des arts 63 (June 19, 1998), p. 1.

“A Selection of 1998 Museum Acquisitions,” Apollo 148, 442 (Dec. 1998), p. 46 (ill.).

Richard Brettell, with Natalie H. Lee, Monet to Moore: The Millennium Gift of Sara Lee Corporation, exh. cat. (Yale University Press, 1999), pp. xi, fig. 7; 152–55, cat. 39 (ill. and detail).

Art Institute of Chicago, Impressionism and Post-Impressionism in the Art Institute of Chicago, selected by James N. Wood (Art Institute of Chicago/Hudson Hills, 2000), p. 143 (ill.).

Joachim Pissarro and Claire Durand-Ruel Snollaerts, with the collaboration of Alexia de Buffévent and Annie Champié, Pissarro: Critical Catalogue of Paintings, vol. 1, trans. Mark Hutchinson and Michael Taylor (Skira/Wildenstein Institute, 2005), pp. 364, 366, 389, 390, 393, 394, 395, 396, 398, 400, 414, 417, 420, 421.

Joachim Pissarro and Claire Durand-Ruel Snollaerts, with the collaboration of Alexia de Buffévent and Annie Champié,Pissarro: Catalogue critique des peintures/Critical Catalogue of Paintings, vol. 3, trans. Mark Hutchinson and Michael Taylor (Skira/Wildenstein Institute, 2005), p. 678, cat. 1061 (ill.).

Nathalia Brodskaïa, Impressionism, trans. Rebecca Brimacombe and Richard Swanson (Parkstone, 2007), p. 205 (ill.).

Gloria Groom and Douglas Druick, with the assistance of Dorota Chudzicka and Jill Shaw, The Impressionists: Master Paintings from the Art Institute of Chicago, exh. cat. (Art Institute of Chicago/Kimbell Art Museum, 2008), pp. 23; 104–05, cat. 46 (ill.). Simultaneously published as Gloria Groom and Douglas Druick, with the assistance of Dorota Chudzicka and Jill Shaw, The Age of Impressionism at the Art Institute of Chicago (Art Institute of Chicago/Yale University Press, 2008), pp. 23; 104-105, cat. 46 (ill.).

Richard Brettell, Pissarro’s People, exh. cat. (Fine Arts Museums of San Francisco/Sterling and Francine Clark Art Institute/Prestel, 2011), pp. 280–81, fig. 237.

Claire Durand-Ruel Snollaerts, Pissarro: Patriarche des impressionnistes (Découvertes Gallimard/Réunion des Musées Nationaux Arts, 2012), pp. 74–75 (ill.), 123.

Atsushi Miura, Sylvain Amic, Emily A Beeny, Hikari no sanka inshōhaten: Pari sēnu norumandi no mizube o tadoru tabi/Impressionists at the Waterside—Depicting Urban Resorts: Paris, the Seine, and Normany, trans. Walter Hamilton, So Ota, Tatsuya Saito, et. al., exh. cat. (Tokyo Fuji Art Museum/Sankei Shimbun, 2014), pp. 84, cat. 39 (ill.); 159.


“Cat. 14: Woman Bathing Her Feet in a Brook, 1894/95,” in Pissarro Paintings and Works on Paper at the Art Institute of Chicago, eds. Gloria Groom and Genevieve Westerby (Art Institute of Chicago, 2015).

Ownership History

Acquired from [unknown] by Albert Pontremoli, Paris, by Apr. 1904. [1]

Sold at the Albert Pontremoli Sale, Hôtel Drouot, Paris, June 11, 1924, lot 136 (ill.) to Dr. Janos Plesch, Berlin, for 37,700 francs. [2]

Acquired by Paul Rosenberg and Co., New York, by 1939. [3]

Sold by Paul Rosenberg and Co., New York, to Mrs. John Astor, New York. [4]

Acquired by E. and A. Silberman Gallery, New York, by 1951. [5]

Sold by E. and A. Silberman Gallery, New York, to Nathan Cummings, Chicago, Jan. 25, 1952. [6]

Transferred from Nathan Cummings, Chicago, to the Consolidated Foods Nathan Cummings Collection (Sara Lee Corporation), 1980. [7]

Given by the Sara Lee Corporation to the Art Institute, 1999.

NOTES

[1] According to Joachim Pissarro and Claire Durand-Ruel Snollaerts, with the collaboration of Alexia de Buffévent and Annie Champié, Pissarro: Catalogue critique des peintures/Critical Catalogue of Paintings, 3 vols., trans. Mark Hutchinson and Michael Taylor (Skira/Wildenstein Institute, 2005), vol. 3, p. 678, cat. 1061 (ill.). The painting was exhibited at Durand-Ruel’s Paris gallery in Camille Pissarro, April 7–30, 1904, as Femme au bord de l’eau: à M. Pontremoli; see Octave Mirbeau, preface to Catalogue de l’exposition de l’oeuvre de Camille Pissarro, exh. cat. (Galeries Durand-Ruel, 1904), p. 18, cat. 93.

[2] See Hôtel Drouot, Catalogue des tableaux modernes, aquarelles, dessins, pastels, sculpture: Collection de M. Albert Pontremoli, sale cat. (Hôtel Drouot, June 10, 1924), pp. 44; lot 136 (ill.). See also Joachim Pissarro and Claire Durand-Ruel Snollaerts, with the collaboration of Alexia de Buffévent and Annie Champié, Pissarro: Catalogue critique des peintures/Critical Catalogue of Paintings, 3 vols., trans. Mark Hutchinson and Michael Taylor (Skira/Wildenstein Institute, 2005), vol. 3, p. 678, cat. 1061 (ill.). For the sale price, see “Chronique des ventes,” Gazette de l’hôtel Drouot, June 12, 1924, p. 1.

[3] According to material prepared by Richard-Raymond Alasko, May 1985, curatorial object file, Art Institute of Chicago. See also Joachim Pissarro and Claire Durand-Ruel Snollaerts, with the collaboration of Alexia de Buffévent and Annie Champié, Pissarro: Catalogue critique des peintures/Critical Catalogue of Paintings, 3 vols., trans. Mark Hutchinson and Michael Taylor (Skira/Wildenstein Institute, 2005), vol. 3, p. 678, cat. 1061 (ill.). According to Ilda François, Paul Rosenberg Archives, Rosenberg inventory number 956 corresponds to this painting, and “we assume it was bought [by Rosenberg] between 1917 and 1925.” See Ilda François, Paul Rosenberg Archives, e-mail correspondence to Genevieve Westerby, Nov. 24, 2014, curatorial object file, Art Institute of Chicago.

[4] According to material prepared by Richard-Raymond Alasko, May 1985, curatorial object file, Art Institute of Chicago. See also Joachim Pissarro and Claire Durand-Ruel Snollaerts, with the collaboration of Alexia de Buffévent and Annie Champié, Pissarro: Catalogue critique des peintures/Critical Catalogue of Paintings, 3 vols., trans. Mark Hutchinson and Michael Taylor (Skira/Wildenstein Institute, 2005), vol. 3, p. 678, cat. 1061 (ill.).

[5] According to material prepared by Richard-Raymond Alasko, May 1985, curatorial object file, Art Institute of Chicago. See also Joachim Pissarro and Claire Durand-Ruel Snollaerts, with the collaboration of Alexia de Buffévent and Annie Champié, Pissarro: Catalogue critique des peintures/Critical Catalogue of Paintings, 3 vols., trans. Mark Hutchinson and Michael Taylor (Skira/Wildenstein Institute, 2005), vol. 3, p. 678, cat. 1061 (ill.).

[6] According to material prepared by Richard-Raymond Alasko, May 1985, curatorial object file, Art Institute of Chicago. See also Joachim Pissarro and Claire Durand-Ruel Snollaerts, with the collaboration of Alexia de Buffévent and Annie Champié, Pissarro: Catalogue critique des peintures/Critical Catalogue of Paintings, 3 vols., trans. Mark Hutchinson and Michael Taylor (Skira/Wildenstein Institute, 2005), vol. 3, p. 678, cat. 1061 (ill.).

[7] According to material prepared by Richard-Raymond Alasko, May 1985, curatorial object file, Art Institute of Chicago, which further indicates that the painting was given the accession number 1980.3 when it entered the Consolidated Foods Nathan Cummings Collection. See also Joachim Pissarro and Claire Durand-Ruel Snollaerts, with the collaboration of Alexia de Buffévent and Annie Champié, Pissarro: Catalogue critique des peintures/Critical Catalogue of Paintings, 3 vols., trans. Mark Hutchinson and Michael Taylor (Skira/Wildenstein Institute, 2005), vol. 3, p. 678, cat. 1061 (ill.).




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