About This Artwork

Camille Pissarro
French, 1830-1903

Rabbit Warren at Pontoise, Snow, 1879

Oil on canvas
59.2 x 72.3 cm (23 5/16 x 28 7/16 in.)
Inscribed lower left: C. Pissarro '79

Gift of Marshall Field, 1964.200

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 The entries feature interactive and layered high-resolution imaging, videos, and previously unpublished technical photographs in addition to archival materials and documentation relating to each artwork.

Along with Impressionist painters Claude Monet and Alfred Sisley, Camille Pissarro pursued the theme of snow throughout his career, producing nearly 100 “snow” paintings. In 1879 France experienced an extraordinarily severe winter, which Pissarro explored in this and other works painted at his home in Pontoise, 30 miles west of Paris, along the Seine River. In Rabbit Warren, snow covers the ground, houses, and vegetation in a frothy coat that resulted from the artist’s vigorous brushwork. Throughout, small spots of color in the chimneys, greenish shrubs, and clothing of the man at right punctuate what is otherwise a predominately yellowish white and uninhabited fragment of nature.

— Permanent collection label

Exhibition, Publication and Ownership Histories

Exhibition History

Paris, Galeries Durand-Ruel, Camille Pissarro, Jan. 23–Feb. 20, 1892, cat. 11, as La Garenne, à Pontoise; effet de neige, Appartenant à Mme P.

Art Institute of Chicago, The Artist Looks at the Landscape, June 22–Aug. 25, 1974, no cat.

London, Hayward Gallery, Pissarro: Camille Pissarro 1830–1903, Oct. 30, 1980–Jan. 11, 1981, cat. 51 (ill.); Paris, Galeries Nationales du Grand Palais, Jan. 30–Apr. 27, 1981; Museum of Fine Arts, Boston, May 19–Aug. 9, 1981.

Los Angeles County Museum of Art, A Day in the Country: Impressionism and the French Landscape, June 28–Sept. 16, 1984, cat. 68 (ill.); Art Institute of Chicago, Oct. 23, 1984–Jan. 6, 1985; Paris, Galeries Nationales d’Exposition du Grand Palais, as L’impressionnisme et le paysage français, Feb. 4–Apr. 22, 1985, cat. 34.

Tokyo, Seibu Museum of Art, Shikago bijutsukan insho-ha ten [The impressionist tradition: Masterpieces from the Art Institute of Chicago], Oct. 18–Dec. 17, 1985, cat. 27 (ill.); Fukuoka Art Museum, Jan. 5–Feb. 2, 1986; Kyoto Municipal Museum of Art, Mar. 4–Apr. 13, 1986.

London, Hayward Gallery, Landscapes of France: Impressionism and its Rivals, May 18–Aug. 28, 1995, cat. 92 (ill.); Museum of Fine Arts, Boston, [as Impressions of France: Monet, Renoir, Pissarro, and their Rivals] Oct. 4, 1995–Jan. 14, 1996.

Washington, D.C., Phillips Collection, Impressionists in Winter: Effets de Neige, Sept. 19, 1998–Jan. 3, 1999, cat. 44 (ill.); San Francisco, Fine Arts Museums of San Francisco at the Center for the Arts at Yerba Buena Gardens, Jan. 30–May 2, 1999; Brooklyn Museum of Art, May 27–Aug. 29, 1999.

Publication History

Galeries Durand-Ruel, Exposition Camille Pissarro, exh. cat. (E. Ménard, 1892), p. 23, cat. 11.

Georges Wulff, “L’exposition de M. Camille Pissarro,” Le National, Feb. 7, 1892, p. 2.

Charles Saunier, “L’art nouveau. I, Camille Pissarro,” La revue indépendante 23, 66 (Apr. 1892), p. 34.

Ludovic Rodo Pissarro and Lionello Venturi, Camille Pissarro: Son art—son oeuvre, vol. 1, Texte (P. Rosenberg, 1939), p. 148, cat. 478.

Ludovic Rodo Pissarro and Lionello Venturi, Camille Pissarro: Son art—son oeuvre, vol. 2, Planche (P. Rosenberg, 1939), pl. 97, cat. 478.

Lionello Venturi, Les archives de l’impressionnisme: Lettres de Renoir, Monet, Pissarro, Sisley et autres; Mémoires de Paul Durand-Ruel; Documents, vol. 2 (Durand-Ruel, 1939), p. 34.

John Rewald, Camille Pissarro, Library of Great Painters (Abrams, 1963), p. 58 (ill.).

Art Institute of Chicago, Annual Report, 1963–64 (Art Institute of Chicago, [1964]), p. 19.

Anonymous untitled article in “La chronique des Arts,” supplement, Gazette des Beaux-Arts 6, 65 (Feb. 1965), p. 59. (ill.).

Charles C. Cunningham and Satoshi Takahashi, Shikago bijutsukan [Art Institute of Chicago], Museums of the World 32 (Kodansha, 1970), pp. 47 (ill.), 162.

Richard Shiff, “Seeing Cézanne,” Critical Inquiry 4, 4 (Summer 1978), p. 803, no. 85.

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. 114, cat. 51 (ill.).

Christopher Lloyd, Camille Pissarro (Skira/Rizzoli, 1981), p. 42 (ill.).

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. 114, cat. 51 (ill.).

Andrea P. A. Belloli, ed., A Day in the Country: Impressionism and the French Landscape, exh. cat. (Los Angeles County Museum of Art, 1984), p. 366.

Richard Brettell, “Pissarro, Cézanne, and the School of Pontoise,” in A Day in the Country: Impressionism and the French Landscape, ed. Andrea P. A. Belloli, exh. cat. (Los Angeles County Museum of Art, 1984), pp. 190; 193, cat. 68 (ill.).

Richard Brettell, “Camille Pissarro: Problems of Interpretation,” in Isetan Museum of Art, Fukuoka Art Museum, and Kyoto Municipal Museum of Art, Retrospective Camille Pissarro, international ed., exh. cat. (Art Life, 1984), p. 13.

Art Institute of Chicago, Seibu Museum of Art, Kyoto Municipal Museum of Art, and Fukuoka Art Museum, eds., Shikago bijutsukan insho-ha ten [The impressionist tradition: Masterpieces from the Art Institute of Chicago], trans. Akihiko Inoue, Hideo Namba, Heisaku Harada, and Yoko Maeda, exh. cat. (Nihon Nippon Television Network, 1985), pp. 66, cat. 27 (ill.); 67 (detail); 143, cat. 27 (ill.).

Richard Brettell, “Pissarro, Cézanne et le groupe de Pontoise,” in Réunion des Musées Nationaux, L’impressionnisme et le paysage français, exh. cat. (Réunion des Musées Nationaux, 1985), pp. 120–21, cat. 34 (ill.).

Martin Reid, “The Pissarro Family in the Norwood Area of London, 1870–71: Where Did They Live?” in Christopher Lloyd, ed., Studies on Camille Pissarro (Routledge & Kegan Paul, 1986), p. 63, n. 4.

Janine Bailly-Herzberg, Correspondance de Camille Pissarro, vol. 3, 1891–1894 (Valhermeil, 1988), p. 193, letter 750.

Belinda Thompson and Michael Howard, Impressionism (Bison Books, 1988), pp. 136 (ill.), 192.

Art Institute of Chicago, Treasures of 19th- and 20th-Century Painting: The Art Institute of Chicago, with an introduction by James N. Wood (Art Institute of Chicago/Abbeville, 1993), p. 73 (ill.).

Joachim Pissarro, Camille Pissarro (Abrams, 1993), pp. 115; 125, fig. 122.

John House, with contributions from Ann Dumas, Jane Mayo Roos, and James F. McMillan, Landscapes of France: Impressionism and Its Rivals, exh. cat. (Hayward Gallery, 1995), pp. 248–49, cat. 92 (ill.).

John House, with contributions from Ann Dumas, Jane Mayo Roos, and James F. McMillan, Impressions of France: Monet, Renoir, Pissarro, and their Rivals, exh. cat. (Museum of Fine Arts, Boston, 1995), pp. 248–49, cat. 92 (ill.).

Michael Fried, Manet’s Modernism, or, The Face of Painting in the 1860s (University of Chicago Press, 1996), p. 395, fig. 184.

Charles S. Moffett, Eliza E. Rathbone, Katherine Rothkopf, and Joel Isaacson, Impressionists in Winter: Effets de Neige, exh. cat. (Phillips Collection/Philip Wilson, 1998), pp. 156; 160–61, cat. 44 (ill.); 215.

Katherine Rothkopf, “Camille Pissarro: A Dedicated Painter of Winter,” in Charles S. Moffett, Eliza E. Rathbone, Katherine Rothkopf, and Joel Isaacson, Impressionists in Winter: Effets de Neige, exh. cat. (Phillips Collection/Philip Wilson, 1998), p. 48.

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. 363, 402, 406, 408, 409, 418, 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. 2, trans. Mark Hutchinson and Michael Taylor (Skira/Wildenstein Institute, 2005), p. 399, cat. 587 (ill.).

Richard R. Brettell and Anne-Brigitte Fonsmark, Gauguin and Impressionism, exh. cat. (Kimbell Art Museum, Fort Worth/Ordrupgaard, Copenhagen/Yale University Press, 2005), p. 92, fig. 68.

Nathalia Brodskaïa, Impressionism, trans. Rebecca Brimacombe and Richard Swanson (Parkstone, 2007), p. 192.

“Cat. 8: Rabbit Warren at Pontoise, Snow, 1879,” 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

Given by the artist to his wife, Julie Pissarro, Paris, by 1892. [1]

By descent from the artist (died 1903) to his son, Ludovic-Rodolphe (Rodo) Pissarro, Paris, 1904. [2]

Sold by Ludovic-Rodolphe (Rodo) Pissarro, Paris, jointly to Durand-Ruel, Paris, and Bernheim-Jeune, Paris, Aug. 7, 1918. [3]

Share sold by Durand-Ruel, Paris, to Bernheim-Jeune, Paris, Mar. 12, 1920. [4]

Acquired by Georges Petit, Paris, by Mar. 31, 1924. [5]

Sold by Georges Petit, Paris, to Prat, Mar. 31, 1924. [6]

Acquired by Sam Salz, New York, around 1958. [7]

Acquired by Martin and Sidney Zimet, New York, by Jan. 11, 1963. [8]

A half-share sold by Martin and Sidney Zimet, New York, to M. Knoedler & Co., New York, Jan. 11, 1963. [9]

Sold by M. Knoedler & Co., New York, to Marshall Field, Chicago, by June 1964. [10]

Given by Marshall Field, Chicago, to the Art Institute of Chicago, beginning in June 1964. [11]

NOTES

[1] According to Galeries Durand-Ruel, Exposition Camille Pissarro, exh. cat. (E. Ménard et Cie, 1892), p. 23, cat. 11, La Garenne, à Pontoise; effet de neige (cat. 11) was lent by “Mme P” (Julie Pissarro). 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. 2, p. 399, cat. 587 (ill.).

[2] 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. 2, p. 399, cat. 587 (ill.).

[3] 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. 2, p. 399, cat. 587 (ill.).

[4] 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. 2, p. 399, cat. 587 (ill.).

[5] 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. 2, p. 399, cat. 587 (ill.).

[6] 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. 2, p. 399, cat. 587 (ill.).

[7] 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. 2, p. 399, cat. 587 (ill.).

[8] 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. 2, p. 399, cat. 587 (ill.). See also M. Knoedler & Co., New York, stock book for Feb. 1959–Dec. 1970 (no. 8436, as La Gareane [sic] a Pontoise, Effet de Neige). The M. Knoedler & Co. stock books are located at the Getty Research Institute’s Research Library, Special Collections, Los Angeles; the stock books have been digitized and are available on the Getty Research Institute’s website. A photocopy of the relevant stock book page is located in the curatorial object file, Art Institute of Chicago. The stock book page records the stock number as 8436; however, according to a Knoedler memo, beginning in 1928 a new stock book numbering system was adopted with stock numbers preceded by the letter A. See M. Knoedler & Co., dated Jan. 1973, photocopy in curatorial object file, Art Institute of Chicago. The number A 8436 is inscribed on the stretcher.

[9] The transaction is recorded in the M. Knoedler & Co., New York, stock book for Feb. 1959–Dec. 1970 (no. 8436, as La Gareane [sic] a Pontoise, Effet de Neige). The M. Knoedler & Co. stock books are located at the Getty Research Institute’s Research Library, Special Collections, Los Angeles; the stock books have been digitized and are available on the Getty Research Institute’s website. A photocopy of the relevant stock book page is located in the curatorial object file, Art Institute of Chicago. The stock book page records the stock number as 8436; however, according to a Knoedler memo, beginning in 1928 a new stock book numbering system was adopted with stock numbers preceded by the letter A. See M. Knoedler & Co., dated Jan. 1973, photocopy in curatorial object file, Art Institute of Chicago. The number A 8436 is inscribed on the stretcher.

[10] According to the Committee on Earlier Painting and Sculpture minutes, June 10, 1964, on file in Museum Registration, Art Institute of Chicago. See also John Maxon to Louise Lutz, June 10, 1964, interdepartmental correspondence, Institutional Archives, Art Institute of Chicago. 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. 2, p. 399, cat. 587 (ill.), the painting was sold by Knoedler to Marshall Field in August 1964. The transaction is recorded in the M. Knoedler & Co., New York, stock book for Feb. 1959–Dec. 1970 (no. 8436, as La Gareane [sic] a Pontoise, Effet de Neige), which records the sale date to Marshall Field as Aug. 18, 1964. The M. Knoedler & Co. stock books are located at the Getty Research Institute’s Research Library, Special Collections, Los Angeles; the stock books have been digitized and are available on the Getty Research Institute’s website. A photocopy of the relevant stock book page is located in the curatorial object file, Art Institute of Chicago. The stock book page records the stock number as 8436; however, according to a Knoedler memo, beginning in 1928 a new stock book numbering system was adopted with stock numbers preceded by the letter A. See M. Knoedler & Co., dated Jan. 1973, photocopy in curatorial object file, Art Institute of Chicago. The number A 8436 is inscribed on the stretcher.

[11] The painting was given to the Art Institute of Chicago in undivided fractional interests beginning in 1964. The Art Institute received the final fractional interest for one hundred percent ownership in 1965.




View mobile website