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About This Artwork
The Place du Havre, Paris, 1893
Oil on canvas
60.1 x 73.5 cm (23 5/8 x 28 13/16 in.)
Inscribed lower right: C. Pissarro / 93
Potter Palmer Collection, 1922.434
After a period of experimentation with the Neo-Impressionist style developed by Georges Seurat, Camille Pissarro returned to the loose, multidirectional brushstrokes that he had used in his earlier Impressionist works. He also revisited an Impressionist subject that his colleagues had all but abandoned by the 1890s—the modern city. This bustling scene, alive with the noise and movement of traffic and pedestrians, was the view from his window at the Hôtel Garnier in Paris, where he stayed for a few weeks early in 1893. The building at the left edge of the canvas is the Gare Saint-Lazare.
— Permanent collection label
Paris, Durand-Ruel Gallery, 4e Exposition particulière de Camille Pissarro, March 15-30, 1893, cat. 40. (Exposition also called: Exposition d’Oeuvres Récentes de Camille Pissarro)
Paris, Galerie Durand-Ruel, Camille Pissarro: Tableaux, acquarelles, pastels, gouaches, March 3-21, 1894, cat. 8, as Cour du Havre.
Chicago, The University of Chicago, The Renaissance Society, Catalogue of Paintings of Sea and Land and City Streets, June 8-August 30, 1933, cat. 3 as Place du Havre.
Chicago, Arts Club, Catalogue of an Exhibition of Paintings by Camille Pissarro, January 8-January 30, 1946, cat. 5. ILL, 8.23.07
Montreal, Museum of Fine Arts, So This is Paris: Exhibition of Paintings, October 4-29, 1950, cat. 35 as Place du Havre, Paris, 1893.
Chicago, College of Jewish Studies, Loan Exhibition, January 12-February 2, 1953.
Albi, Musée Toulouse-Lautrec, Trésors Impressionistes du Musée de Chicago, June 27-August 31, 1980, p. 16 cat. 25 (ill.) as La Place du Havre a Paris, 1893.
London, Hayword Gallery, Camille Pissarro, October 29, 1980-January 4, 1981, cat. 73; traveled to Paris, Galeries Nationales du Grand Palais, January 30-April 27, 1981; Boston, Museum of Fine Arts, May 19-August 9, 1981.
Los Angeles, County Museum of Art, A Day in the Country: Impressionism and the French Landscape, June 28-September 16, 1984, p. 128, 129 cat. 34 (ill.) as The Place du Havre, 1893; traveled to Chicago, The Art Institute, October 23, 1984-January 6, 1984; Paris, Galeries Nationales d’Exposition du Grand Palais, February 8-April 22, 1985.
Tokyo, The Seibu Museum of Art, The Impressionist Tradition: Masterpieces from the Art Institute of Chicago, October 18-December 17, 1985, p. 123, 160 cat. 62 (ill.) as The Place du Havre, 1983; traveled to Fukuoka, Art Museum, January 5-February 2, 1986; Kyoto, Municipal Museum of Art, March 4-April 13, 1986.
Chicago, The Art Institute, Tour de France, December 9, 1989-March 4, 1990, n.p. fig. 2 as The Place du Havre, Paris, 1893.
Milan, Istituto Geografico DeAgostini, Camille Pissarro, 1991.
Dallas, Museum of Art, The Impressionist and the City: Pissarro’s Series Paintings, November 31, 1992-January 31, 1993, cat. 38; traveled to Philadelphia, Museum of Art, March 7-June 6, 1993; London, Royal Academy of Arts, July 2-October 10, 1993.
Rosyln Harbor, New York, Nassau County Museum of Art, La Belle Epoque, June 1995.
Fort Worth, Tex., Kimbell Museum of Art, The Impressionists: Master Paintings from the Art Institute of Chicago, June 29–November 2, 2008, cat. 45 (ill.).
Firmin Javel, “Les Expostions. M. Camille Pissarro,” L’Art Français (March 25, 1893).
“Beaux Arts: l’Exposition de Camille Pissarro,” L’Intransigeant (April 4, 1893), p. 3.
Paul Dupray, “Les Salons: Exposition de M. Camille Pissarro,” Le Journal des Artistes (March 18, 1894), p. 510.
Clément Janin, L’Estafette (March 21, 1894), p. 2.
Daniel Catton Rich, “Französische Impressionisten im Art Institute zu Chicago,” Pantheon 11 (January-June, 1933), p. 78, as Place du Hâvre, 1893.
George Slocombe, “Papa Pissarro,” Coronet 4, 1 (May, 1938), p. 23 (ill.), as Place du Hâvre, 1883.
Ludovic Rodo Pissarro and Lionello Venturi, Camille Pissarro, Son Art—Son Oeuvre vol. 2 (Paris, 1939), p. 198 pl. 171 cat. 838 (ill.) as Place du Havre, Paris, 1893.
Philip Paul Daniels, “Technique of Painting, Pt. II, A Study of Impressionism,” Coronet 6, 2 (June, 1939), p. 99 (ill.) as Place du Hâvre.
An Illustrated Guide to the Collections of the Art Institute of Chicago (Chicago 1948), p. 34, as Place du Hâvre, Paris.
The Art Institute of Chicago, Paintings in the Art Institute of Chicago: A Catalogue of the Picture Collection (Chicago, 1961), p. 359, as Place du Havre, Paris, 1893.
John Maxon, The Art Institute of Chicago (New York, 1970), pp. 98, 285 (ill.), as Place du Havre, Paris, 1893.
Christopher Lloyd, Camillle Pissarro (New York, 1981), p. 122 (ill.), as Place du Havre, Paris, 1893.
Richard R. Brettell, French Impressionists (Chicago, 1987), pp. 110-113, 118 (ill.) as The Place du Havre, Paris, 1881.
Kathleen Adler, Studies on C.P. (1987), note 1 p. 113.
Janine Bailly-Herzberg, Correspondance de Camille Pissarro vol. 3/1891-1894 (Paris, 1988), p. 312 cat. 872 p. 312 (no. 40).
Richard E. Lerner, Standish Meacham, Edward McNall Burns, Western Civilizations 11th ed. vol 2. (1989).
Janine Bailly-Herzberg, Pissarro et Paris (Paris, 1992), pp. 18, 48, 49 (ill.), as Place du Havre, Paris, 1893.
Martha Ward, Pissarro, Neo-Impressionism, and the Spaces of the Avant-Garde (Chicago, 1994), pp. 257-258 fig. 11.9, as La Place du Havre, 1893.
Paris (Paris, Citadelles & Mazenod, 1997).
James N. Wood, Impressionism and Post-Impressionism in the Art Institute of Chicago (Chicago, 2000), p. 142 (ill.) as The Place du Havre, Paris, 1893.
Joachim Pissarro et al., Pissarro: Catalogue critique des peintures, vol. 1, trans. Mark Hutchinson, Michael Taylor (Skira and Wildenstein Institute Publications, 2005), pp. 363-4, 378, 388, 405-6, 408-9, 415, cat. 986, as La Place du Havre et la rue d’Amsterdam, matin, soleil.
Joachim Pissarro et al., Pissarro: Catalogue critique des peintures, vol. 3, trans. Mark Hutchinson, Michael Taylor (Skira and Wildenstein Institute Publications, 2005), p. 642 (ill.), cat. 986, as La Place du Havre et la rue d’Amsterdam, matin, soleil.
The Age of Impressionism at the Art Institute of Chicago (New Haven and London, 2008), cat. 45, pp. 102-103 (ill.).
Bought by Durand-Ruel from the artist on March 17, 1893 [acc. to Pissarro and Durand-Ruel Snollaerts 2005]; sold for $1,200 to Potter Palmer (died 1902), Chicago, on June 28, 1894 as Place du Hâvre [Durand-Ruel, New York, stock no. 1168, according to information provided by Durand-Ruel Archives]; by descent in the Palmer family; bequeathed to the Art Institute, 1922.