About This Artwork

Camille Pissarro
French, 1830-1903

Snow at Louveciennes, c. 1870

Oil on panel
32.3 x 47.5 cm (12 3/4 x 18 11/16 in.)
Signed lower right: C. Pissarro

Mr. and Mrs. Lewis Larned Coburn Memorial Endowment, 1973.673

Camille Pissarro made this small oil on panel painting showing trees and houses blanketed by a heavy snow at Louveciennes, the village west of Paris where he lived. Using a limited palette of shades of white, brown, blue, tan, gray, and green to evoke the gray skies and freshly fallen snow of a cold winter day, Pissarro created a scene that has the freshness and spontaneity of a work painted outdoors. Only the footsteps of a solitary figure, walking below the screen of trees, break the silence of this intimate and poetic winter scene.

Exhibition, Publication and Ownership Histories

Exhibition History

Washington, D. C., Phillips Collection, Impressionists in Winter: Effets de Neige, Sept. 19, 1998–Jan. 3, 1999, cat. 35 (ill.); Fine Arts Museums of San Francisco at the Center for the Arts at Yerba Buena Gardens, Jan. 30–May 2, 1999; New York, Brooklyn Museum of Art, May 28–Aug. 29, 1999.

Baltimore Museum of Art, Pissarro: Creating the Impressionist Landscape, Feb. 11–May 13, 2007, cat. 17 (ill.); Milwaukee Art Museum, June 10–Sept. 9, 2007; Memphis Brooks Museum of Art, Oct. 7, 2007–Jan. 6, 2008.

Publication History

Christopher Lloyd, Camille Pissarro (Skira/Rizzoli, 1981), pp. 42 (ill.), 145.

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. 142–43, cat. 35 (ill.); 213.

Marie-José Pellé, “Vert Pissarro . . .”: Impressions de Normandie et d’ailleurs (Bertout, 2000), p. 49.

Belinda Thomson, “Gli impressioniste e la neve,” in Gli impressionisti e la neve: La Francia e l’Europa, ed. Marco Goldin, exh. cat. (Linea d’ombra, 2004), p. 268 (ill.).

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. 1, trans. Mark Hutchinson and Michael Taylor (Skira/Wildenstein Institute, 2005), pp. 76, 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), pp. 130–31, cat. 143 (ill.).

Katherine Rothkopf, with an essay by Christopher Lloyd and contributions by Gülru Çakmak and Mary Sebera, Pissarro: Creating the Impressionist Landscape, exh. cat. (Baltimore Museum of Art/Philip Wilson, 2006), pp. 108–09, cat. 17 (ill.).

“Cat. 3: Snow at Louveciennes, c. 1870,” 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 a private collector, Paris. [According to Paul Rosenberg & Company, to the Art Institute of Chicago, Nov. 21, 1973, curatorial object file, Art Institute of Chicago.]

Acquired by Sarec, S.A., Switzerland, by Dec. 1972. [According to Elaine Rosenberg. See meeting notes dated May 2002, curatorial object file, Art Institute of Chicago. See also Sylvie Brame, Brame & Lorenceau, to the Art Institute of Chicago, June 19, 2002, curatorial object file, Art Institute of Chicago: “I have asked my father about SAREC S.A. He remembers that it was a fund management company which sometimes dealt with works of art. However, it had nothing to do with Hector Brame.”]

Sold by Sarec, S.A., Switzerland, to Paul Rosenberg & Company, New York, Dec. 1972. [According to Elaine Rosenberg, see meeting notes dated May 2002, curatorial object file, Art Institute of Chicago. According to Paul Rosenberg & Company, to the Art Institute of Chicago, Nov. 21, 1973, curatorial object file, Art Institute of Chicago, the painting was assigned the stock number 6431–2719. See also Sylvie Brame, Brame & Lorenceau, to the Art Institute of Chicago, June 19, 2002, curatorial object file, Art Institute of Chicago: “I have asked my father about SAREC S.A. He remembers that it was a fund management company which sometimes dealt with works of art. However, it had nothing to do with Hector Brame.”]

Sold by Paul Rosenberg & Company, New York, to the Art Institute of Chicago, 1973. [See minutes of the Board of Trustees, Dec. 17, 1973, on file in Institutional Archives, Art Institute of Chicago.]




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