About This Artwork

Camille Pissarro
French, 1830-1903

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

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 The entries feature interactive and layered high-resolution imaging, videos, and previously unpublished technical photographs in addition to archival materials and documentation relating to each artwork.

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

Exhibition, Publication and Ownership Histories

Exhibition History

Paris, Galerie Durand-Ruel, Exposition d’oeuvres récentes de Camille Pissarro, Mar. 15–30, 1893, cat. 40, as la Place du Havre, 1893.

Paris, Galerie Durand-Ruel, Exposition Camille Pissarro: Tableaux, Aquarelles, Pastels, Gouaches, Mar. 3–21, 1894, cat. 8, as Cour du Havre.

Renaissance Society of The University of Chicago, Paintings of Sea and Land and City Streets, June 8–Aug. 30, 1933, cat. 3.

Arts Club of Chicago, Paintings by Camille Pissarro, Jan. 8–30, 1946, cat. 5.

Montreal Museum of Fine Arts, So This Is Paris: Exhibition of Paintings (Voici Paris: Exposition de tableaux), Oct. 4–29, 1950, cat. 35.

Chicago, College of Jewish Studies, Loan Exhibition, Jan. 12–Feb. 2, 1953.

Park Forest (Ill.) Art Center, Mar. 25–Apr. 22, 1956, no cat.

University of Chicago, Lexington Hall, Mar. 4–15, 1957, no cat.

Albi, Musée Toulouse-Lautrec, Trésors impressionnistes du Musée de Chicago, June 27–Aug. 31, 1980, cat. 25 (ill.).

London, Hayward Gallery, Pissarro: Camille Pissarro 1830–1903, Oct. 30, 1980–Jan. 11, 1981, cat. 73 (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. 34 (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. 73 (ill.).

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. 62 (ill.); Fukuoka Art Museum, Jan. 5–Feb. 2, 1986; Kyoto Municipal Museum of Art, Mar. 4–Apr. 13, 1986.

Art Institute of Chicago, Tour de France: Paintings, Photographs, Prints, and Drawings from the Collection of the Art Institute of Chicago, Dec. 9, 1989–Mar. 4, 1990, no cat. no. (ill.).

Dallas Museum of Art, The Impressionists and the City: Pissarro’s Series Paintings, Nov. 15, 1992–Jan. 31, 1993, cat. 38 (ill.); Philadelphia Museum of Art, Mar. 7–June 6, 1993; Royal Academy of Arts, London, July 2–Oct. 10, 1993.

Fort Worth, Tex., Kimbell Art Museum, The Impressionists: Master Paintings from the Art Institute of Chicago, June 29–Nov. 2, 2008, cat. 45 (ill.).

Madrid, Museo Thyssen-Bornemisza, Pissarro, June 4–Sept. 15, 2013, cat. 62 (ill.); Barcelona, Obra Social ‘la Caixa,’ CaixaForum, Oct. 15, 2013–Jan. 26, 2014.

Publication History

Galeries Durand-Ruel, Exposition d’oeuvres récentes de Camille Pissarro, exh. cat. (Durand-Ruel, 1893), cat. 40.

Galerie Durand-Ruel, Exposition Camille Pissarro: Tableaux, Aquarelles, Pastels, Gouaches: Catalogue, exh. cat. (Durand-Ruel, 1894), p. 3, cat. 8.

“Les Exposions. M. Camille Pissarro,” L’art français, Mar. 25, 1893, p. 11.

“Beaux Arts. L’exposition de Camille Pissarro,” L’intransigeant, Apr. 4, 1893, p. 3.

Paul Dupray, “Les salons. Exposition de M. Camille Pissarro,” Le journal des artistes, Mar. 18, 1894, p. 510.

Flammèche, “Échos. Notes d’art,” L’estafette, Mar. 21, 1894, p. 2.

Art Institute of Chicago, Handbook of Sculpture, Architecture, and Paintings, pt. 2, Paintings (Art Institute of Chicago, 1922), p. 68, cat. 838.

Art Institute of Chicago, “Accessions and Loans,” Bulletin of the Art Institute of Chicago 16, 3 (May 1922), p. 47.

Art Institute of Chicago, A Guide to the Paintings in the Permanent Collection (Art Institute of Chicago, 1925), p. 148, cat. 838.

Renaissance Society of The University of Chicago, Catalogue of Paintings of Sea and Land and City Streets, exh. cat. (Renaissance Society of The University of Chicago, 1933), cat. 3.

Daniel Catton Rich, “Französische Impressionisten im Art Institute zu Chicago,” Pantheon: Monatsschrift für freunde und sammler der kunst 11, 3 (Mar. 1933), p. 78. Translated by C. C. H. Drechsel as “French Impressionists in the Art Institute of Chicago,” Pantheon/Cicerone (Mar. 1933), p. 18.

George Slocombe, “Papa Pissarro,” Coronet 4, 1 (May 1, 1938), p. 23 (ill.).

Lionello Venturi, “L’art de Camille Pissarro (étude critique),” in Ludovic Rodo Pissarro and Lionello Venturi, Camille Pissarro: Son art—son oeuvre, vol. 1, Texte (P. Rosenberg, 1939), p. 62.

Ludovic Rodo Pissarro and Lionello Venturi, Camille Pissarro: Son art—son oeuvre, vol. 1, Texte (P. Rosenberg, 1939), pp. 198, cat.. 838; 336.

Ludovic Rodo Pissarro and Lionello Venturi, Camille Pissarro: Son art—son oeuvre, vol. 2, Planche (P. Rosenberg, 1939), pl. 171, cat. 838.

“Technique of Painting—II, A Study of Impressionism,” Coronet 6, 2 (June 1, 1939), p. 99 (ill.) and (detail).

Art Institute of Chicago, An Illustrated Guide to the Collections of the Art Institute of Chicago (Art Institute of Chicago, 1945), p. 37.

Arts Club of Chicago, Catalogue of an Exhibition of Paintings by Camille Pissarro, exh. cat. (Arts Club of Chicago, [1946]), cat. 5.

Montreal Museum of Fine Arts, So This Is Paris: Exhibition of Paintings (Voici Paris: Exposition de tableaux), exh. cat. (Montreal Museum of Fine Arts, 1950), cat. 35.

Ralph T. Coe, “Camille Pissarro in Paris: A Study of His Later Development,” Gazette des beaux-arts 6, 43 (Feb. 1954), pp. 95; 97, fig. 2; 101.

Art Institute of Chicago, Paintings in the Art Institute of Chicago: A Catalogue of the Picture Collection (Art Institute of Chicago, 1961), p. 359.

Charles C. Cunningham and Satoshi Takahashi, Shikago bijutsukan [Art Institute of Chicago], Museums of the World 32 (Kodansha, 1970), pp. 115 (ill.), 176–77.

John Maxon, The Art Institute of Chicago (Abrams, 1970), pp. 98 (ill.), 285.

Art Institute of Chicago, “Lecturer’s Choice,” Bulletin of the Art Institute of Chicago 67, 4 (July–Aug. 1973), p. 11.

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), pp. 136, cat. 73 (ill.); 226.

Musée Toulouse-Lautrec and Art Institute of Chicago, Trésors impressionnistes du Musée de Chicago, exh. cat. (Musée Toulouse-Lautrec, 1980), pp. 16, no. 25 (ill.); 68.

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), pp. 136, cat. 73 (ill.); 226.

Christopher Lloyd, Camille Pissarro (Skira/Rizzoli, 1981), p. 122 (ill.).

Christopher Lloyd, “Camille Pissarro: Towards a Reassessment,” Art International 25, 1–2 (Jan. 1982), p. 62 (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.

Sylvie Gache-Patin, “The Urban Landscape,” 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. 128; 129, no. 34 (ill.).

Sylvie Gache-Patin, “Le paysage urbain,” in Réunion des Musées Nationaux, L’impressionnisme et le paysage français, exh. cat. (Réunion des Musées Nationaux, 1985), pp. 202–03, no. 73 (ill.); 204.

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. 123, cat. 62 (ill.); 160, cat. 62 (ill.).

Kathleen Adler, “Camille Pissarro: City and Country in the 1890s,” in Christopher Lloyd, ed., Studies on Camille Pissarro (Routledge & Kegan Paul, 1986), p. 113, n. 1.

Richard R. Brettell, French Impressionists (Art Institute of Chicago/Abrams, 1987), pp. 110–111 (detail), 112, 113 (ill.), 118.

Janine Bailly-Herzberg, Correspondance de Camille Pissarro, vol. 3, 1891–1894 (Valhermeil, 1988), pp. 312 (letter 872); 317 (letter 879); 315, n. 2.

Gloria Groom and J. Russell Harris, Tour de France: Paintings, Photographs, Prints, and Drawings from the Collection of the Art Institute of Chicago, exh. cat. (Art Institute of Chicago, 1989), fig. 2.

Janine Bailly-Herzberg, Pissarro et Paris (Flammarion, 1992), pp. 18, 48–49 (ill.).

Richard R. Brettell, “Camille Pissarro and Urban View Painting: An Introduction,” in Richard R. Brettell and Joachim Pissarro, The Impressionists and the City: Pissarro’s Series Paintings, ed. MaryAnne Stevens, exh. cat. (Royal Academy of Arts, 1992), pp. xxii–xxiii (detail).

Richard R. Brettell and Joachim Pissarro, The Impressionists and the City: Pissarro’s Series Paintings, ed. MaryAnne Stevens, exh. cat. (Royal Academy of Arts, 1992), p. 55, cat. 38 (ill.).

Martha Ward, Pissarro, Neo-Impressionism, and the Spaces of the Avant-Garde (University of Chicago Press, 1996), pp. 257, fig. 11.9; 258.

Charlotte Gere and Marina Vaizey, Great Woman Collectors (Philip Wilson/Abrams, 1999), p. 133.

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. 142 (ill.).

Satoshi Hagishima, Toshi fukeiga o yomu: 19–seiki Yoroppa inshoha no toshi keikan (Kyushu Daigaku Shuppankai, 2002), pp. 108; 109, fig. 3.17.

Alexia de Buffévent, “A Painter and His Age: Biography and Critical Reception,” in 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), p. 240.

Eleanor Dwight, ed., The Letters of Pauline Palmer: A Great Lady of Chicago’s First Family (M. T. Train/Scala, 2005), pp. 294 (ill.), 302.

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. 363, 364, 378, 388, 405, 406, 408, 409, 415.

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), pp. 640; 642, cat. 986 (ill.); 727.

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. 102–103, cat. 45 (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. 102–03, cat. 45 (ill.); and pp. 112–13, cat. 54 (ill.).

Claire Durand-Ruel Snollaerts, Pissarro: Patriarche des impressionnistes (Découvertes Gallimard/Réunion des Musées Nationaux Arts, 2012), pp. 84 (ill.), 124.

Richard R. Brettell, Joachim Pissarro, and Guillermo Solana, Pissarro, trans. Michael Agnew, exh. cat. (Museo Thyssen-Bornemisza, 2013), pp. 162–63, cat 62 (ill.).

Joachim Pissarro, “Monet/Pissarro in the 1890s: Serial Racing,” in Richard R. Brettell, Joachim Pissarro, and Guillermo Solana, Pissarro, trans. Michael Agnew, exh. cat. (Museo Thyssen-Bornemisza, 2013), pp. 44, cat 62 (ill.); 45.

“Cat. 13: The Place du Havre, Paris, 1893,” 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

Sold by the artist to Durand-Ruel, Paris, Mar. 17, 1893. [1]

Sold by Durand-Ruel, New York, to Potter Palmer, Chicago, June 28, 1894, for $1,200. [2]

By descent from Potter Palmer (died 1902), Chicago, to the Palmer family. [3]

Given by the Palmer family to the Art Institute of Chicago, 1922.

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. 642, cat. 986.

[2] According to the Durand-Ruel Archives, the painting (New York Stock no. 1168 and Paris Stock no. 2709, as Place du Hâvre) was sold by Durand-Ruel, New York, to Potter Palmer, on June 28, 1894, for “1.200,00$.” See Caroline Durand-Ruel Godfroy, Durand-Ruel Archives, to the Art Institute of Chicago, Dec. 13, 1994, curatorial object file, Art Institute of Chicago.

[3] This painting was on loan from the Palmer family to the Art Institute of Chicago, intermittently, by 1921, according to Museum Registration Department Artists Sheets, on file in Museum Registration, Art Institute of Chicago.




View mobile website