About This Artwork

Camille Pissarro
French, 1830-1903

The Banks of the Marne in Winter, 1866

Oil on canvas
36 1/8 x 59 1/8 in. (91.8 x 150.2 cm)
Inscribed lower right: C. Pissarro 1866
Mr. and Mrs. Lewis Larned Coburn Memorial Collection, 1957.306

Exhibition, Publication and Ownership Histories

Exhibition History

Paris, Salon, 1866, cat. 1564.

Paris, Musée de L’Orangerie, Centenaire de la Naissance de Camille Pissarro, February - March 1930, cat. 3, as Paysage à La Varenne-St-Hilaire.

London, Lefevre Gallery, French Masters, XIX and XX Century, June - July 1952, cat. 13.

New York, Wildenstein and Co., Inc., C. Pissarro (exhibition for the benefit of Recording for the Blind, Inc.), March 21–May 1, 1965, cat. 2.

Philadelphia Museum of Art, The Second Empire, 1852-1870: Art in France under Napoleon III, October 1–November 26, 1978, cat. VI-96; traveled to The Detroit Institute of Arts, January 15–March 18, 1979 and Paris, Grand Palais, April 24–July 2,1979.

London, Hayward Gallery, Camille Pissarro, October 29, 1980–January 4, 1981, cat. 6; traveled to Paris, Grand Palais, January 23–April 20, 1981 and Boston, Museum of Fine Arts, May 12–August 9, 1981.

Los Angeles County Museum of Art / The Art Institute of Chicago / Paris, Galeries Nationales d’Exposition du Grand Palais, A Day in the Country: Impressionism and the French Landscape, June 28–September 16, 1984 / October 23,1984–January 6, 1985 / February 8–April 22,1985, cat. 9.

New York, The Metropolitan Museum of Art / Paris, Galeries nationales du Grand Palais, The Origins of Impressionism, September 19, 1994–January 8, 1995 / April 19–August 8, 1994, cat. 156, fig. 117, pp. 64, 86, 89, 315, 443-445.

New York, Museum of Modern Art, Pioneering Modern Painting: Cézanne & Pissarro, 1865-1885, June 26-Sept. 12, 2005; traveled to Los Angeles, County Museum of Art, October 20, 2005–January 16, 2006 ; Paris, Musée d'Orsay, February 27–May 28, 2006, pp. 38, 75, 78 (ill.), pl. 1.

Baltimore Museum of Art, Camille Pissarro: Creating the Impression Landscape, 2007, no. 5 (ill.); traveled to the Memphis Brooks Museum of Art and the Milwaukee Art Museum.

Publication History

E. Zola, “Mon Salon: Adieux d’un critique d’art,” Le Figaro, 1866 [see also Zola 1991, p. 133].

J. Rousseau, “Le Salon,” L’Univers Illustré, July 1866.

Castagnary, “Salon de 1866,” in Salons (1857-1870), vol. 1 (Paris, 1892), p.235.

A. Tabarant (trans. by J. Lewis May), Pissarro (New York, 1925), pp. 18-19.

Charles Kunstler,”Camille Pissarro,” La Renaissance (December 1928), p.499 (ill.).

Lionello Venturi, Camille Pissarro: Son Art - Son Oeuvre (Paris, 1939), no. 47.

H. E. Bates, “French Painters, V - Pissarro and Sisley, H. H. E. Bates, "French Painters: Pissarro and Sisley," Apollo 56 (June 1952), p. 176 (ill.).

The Art Institute of Chicago, Paintings in The Art Institute of Chicago: A Catalogue of the Picture Collection (Chicago, 1961), p. 358.

Linda Nochlin, “Camille Pissarro: The Unassuming Eye,” Art News 64 (April 1965), pp. 25 (fig. 3), 60.

Jerrold Lanes, “New York,” Burlington Magazine 107 (1965), p. 275.

Kermit S. Champa, Studies in Early Impressionism (New Haven, 1973), pp. 72-73, pl. 27 (ill. mislabeled as Sisley).

Raymond Cogniat, Pissarro (Paris, 1974), p. 12 (ill.).

Ralph Shikes and Paula Harper, Pissarro: His Life and Work (New York, 1980), pp. 65, 70-71.

Christopher Lloyd, Camille Pissarro (New York, 1981), pp. 30-31.

Christopher Lloyd, Studies on Camille Pissarro (New York, 1986), p. 5 (ill. pl. 2).

Richard Brettell, French Salon Artists, 1800-1900 (Chicago, 1987), pp. 76-79, 119.

Charles Kunstler, Camille Pissarro (London, 1988), p. 79 (ill.).

Kermit S. Champa, The Rise of Landscape Painting in France: Corot to Monet, exhib. cat. (Manchester, N. H., The Currier Gallery of Art, 1991), p. 202.

David Bomford, Jo Kirby, John Leighton and Ashok Roy, Art in the Making: Impressionism, exhib. cat. (London, The National Gallery, 1990- 91), p. 208.

Joachim Pissarro, Camille Pissarro (New York, 1993), pp. 47 (ill. no. 41), 48, 50, 52, 65, original ed. by Rizzoli, 1992.

Paul de Roux, Pissarro Villes et Campagnes (Paris, 1995), pp. 14 –15 (ill.).

Richard Ziady DeLue, “Pissarro, Landscape, Vision, and Tradition,” Art Bulletin 80 (December 1998), pp. 720-721 (ill.).

Joachim Pissarro et al., Pissarro: Catalogue critique des peintures, vol. 1, trans. Mark Hutchinson, Michael Taylor (Skira and Wildenstein Institute Publications, 2005), pp. 74, 361, 375-7, 384, 396, 404, 406, 408, 417, 425, cat. 107, as Bords de la Marne en hiver.

Joachim Pissarro et al., Pissarro: Catalogue critique des peintures, vol. 2, trans. Mark Hutchinson, Michael Taylor (Skira and Wildenstein Institute Publications, 2005), p. 95 (ill.), cat. 107, as Bords de la Marne en hiver.

Ownership History

Collection of the artist; bequeathed to his wife, Julie Pissarro (died 1922); her sale, Galerie Georges Petit, Paris, December 3, 1928, lot 27 for 35.100 Francs, to Jacques Dubourg, Paris [according to annotated copy of the catalogue in the Getty Research Library, Los Angeles]. S.-G. Archibald, 1930 [lent to Paris 1930]. Possibly Dr. Tom John Honeyman [according to letter from S. Martin Summers of Alex Reid & Lefevre, Ltd., dated December 6, 2000; Honyman was a director of Reid & Lefevre before 1944]; Alex Reid & Lefevre Ltd., London, by 1951, stock no. 263/51[according to sticker on reverse and confirmed by S. Martin Summers' letter citied above]; bought by the Art Institute with Mr. and Mrs. Lewis L. Coburn Memorial funds, 1957.