The Banks of the Marne in Winter

1866

Camille Pissarro
French, 1830-1903

Exhibited at the Salon of 1866, this landscape was made by Camille Pissarro in deliberate opposition to the pastoral scenes of his mentor and unofficial teacher Camille Corot. Instead of using various brushes to create a beautifully crafted and refined surface, Pissarro loaded his paint on heavily, often with a palette knife, in emulation of Gustave Courbet. The subject, an empty rural winter landscape, is resolutely unpicturesque and purposefully devoid of the great oaks and ancient ruins of traditional Salon landscapes.

Status: On View, Gallery 222
Department: Painting and Sculpture of Europe

Artist: Camille Pissarro
Title: The Banks of the Marne in Winter
Place: France (Artist's nationality:)
Date Dates are not always precisely known, but the Art Institute strives to present this information as consistently and legibly as possible. Dates may be represented as a range that spans decades, centuries, dynasties, or periods and may include qualifiers such as c. (circa) or BCE.: 1866
Medium: Oil on canvas
Inscriptions: Inscribed lower right: C. Pissarro 1866
Dimensions: 91.8 × 150.2 cm (36 1/8 × 59 1/8 in.)
Credit Line: Mr. and Mrs. Lewis Larned Coburn Memorial Collection
Reference Number: 1957.306
IIIF Manifest The International Image Interoperability Framework (IIIF) represents a set of open standards that enables rich access to digital media from libraries, archives, museums, and other cultural institutions around the world. Learn more.: https://api.artic.edu/api/v1/artworks/6005/manifest.json

Explication des ouvrages de peinture, sculpture, architecture, gravure et lithographie, exh. cat. (Charles de Mourgues Frères, 1866), p. 199, cat. 1564.
Jules-Antoine Castagnary, “Le Salon, III,” La liberté, May 7, 1866, p. 1.
Jules-Antoine Castagnary, “Le Salon, IV,” La liberté, May 9, 1866, p. 1.
Émile Zola, “Adieux d’un critique d’art,” L’événement illustré, May 20, 1866.
Jean Rousseau, “Le Salon de 1866,” L’univers illustré, July 14, 1866, p. 447.
Émile Zola, Mon Salon (Librairie Centrale, 1866), pp. 67–68.
Salons de W. Bürger, 1861 à 1868, with a preface by Théophile Thoré, vol. 2 (Librairie de Ve Jules Renouard, 1870), p. 329.
Jules-Antoine Castagnary, “Salon de 1866,” in Salons (1857–1870), vol. 1 (Bibliothèque Charpentier, 1892), p. 235.
Adolphe Tabarant, Pissarro, trans. J. Lewis May, Masters of Modern Art (Dodd, Mead, 1925), pp. 18–19.
Charles Kunstler, “Camille Pissarro (1830–1903),” La renaissance 11 (Dec. 1928), pp. 499 (ill.); 503.
Galerie Georges Petit, Paris, Catalogue des oeuvres importantes de Camille Pissarro, sale cat. (Galerie Georges Petit, Dec. 3, 1928), pp. 9, lot 27; 29, no. 27 (ill.), as Paysage à La Varenne-Sainte-Hilaire.
François Thiébault-Sisson, “Art et curiosité: Le centenaire du peintre Pissarro (1830–1903),” Le Temps, Feb. 22, 1930, p. 5.
L’Imagier [Adolphe Tabarant], “Les arts: De Pissarro à Sisley,” L’oeuvre, Mar. 1, 1930, p. 4.
Musée de l’Orangerie, Centenaire de la naissance de Camille Pissarro, with a preface by Adolphe Tabarant, exh. cat. (Réunion des Musées Nationaux, 1930), cat. 3.
Renaissance Society of the University of Chicago, with a foreword by Inez Cunningham, The Fifth Annual Exhibition of Modern French Painting Arranged by the Chester H. Johnson Galleries, exh. cat. (Renaissance Society of the University of Chicago, [1932]), cat. 23.
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. 20.
Ludovic Rodo Pissarro and Lionello Venturi, Camille Pissarro: Son art—son oeuvre, vol. 1, Texte (P. Rosenberg, 1939), p. 84, no. 47.
Ludovic Rodo Pissarro and Lionello Venturi, Camille Pissarro: Son art—son oeuvre, vol. 2, Planche (P. Rosenberg, 1939), pl. 8, no. 47.
Possibly Glasgow Art Gallery, The Spirit of France: French Paintings of the Nineteenth and Twentieth Centuries, exh. cat. (Glasgow Art Gallery, 1943), cat. 38.
Lefevre Gallery, French Masters, XIX and XX Century, exh. cat. (Lefevre Gallery, 1952), pp. 3, no. 13 (ill.); 6, no. 13.
H. E. Bates, “French Painters, V–Pissarro and Sisley,” Apollo 55, 328 (June 1952), pp. 176, fig. 1; 180.
“Romance, Satire and Actuality in Art: French 19th- and 20th-Century Masters,” Illustrated London News 5904, 220 (June 14, 1952), p. 1019 (ill.).
Art Institute of Chicago, Paintings in the Art Institute of Chicago: A Catalogue of the Picture Collection (Art Institute of Chicago, 1961), pp. 280 (ill.), 358.
Linda Nochlin, “Camille Pissarro: The Unassuming Eye,” Art News 64, 2 (Apr. 1965), pp. 25, fig. 3; 60.
Jerrold Lanes, “New York,” Burlington Magazine 107, 746 (May 1965), p. 275.
Wildenstein, C. Pissarro: Loan Exhibition, exh. cat. (Wildenstein and Company, 1965), cat. 2 (ill.).
Charles Kunstler, Camille Pissarro, trans. Aurora Colloridi (Fratelli Fabbri, 1972), pp. 26, 74 (ill.).
Dénes Pataky, Pissarro (Corvina Kiadó, 1972), p. 8; pl. 3.
Kermit Swiler Champa, Studies in Early Impressionism (Yale University Press, 1973), pp. 72–73, pl. 27.
John Rewald, The History of Impressionism, 4th revised ed. (Museum of Modern Art, New York/New York Graphic Society, 1973), pp. 144; 193, n. 2.
Raymond Cogniat, Pissarro (Flammarion, 1974), p. 12 (ill.).
Kathleen Adler, Camille Pissarro, A Bibliography (B. T. Batsford, 1978), p. 36.
Philadelphia Museum of Art, Detroit Institute of Arts, and Galeries Nationales du Grand Palais, The Second Empire, 1852–1870: Art in France under Napoleon III, exh. cat. (Philadelphia Museum of Art/Wayne State University Press, 1978), pp. 344–45, cat. VI-96 (ill.).
Galeries Nationales du Grand Palais, L’art en France sous le Second Empire, exh. cat. (Réunion des Musées Nationaux, 1979), pp. 399–400, cat. 264 (ill.).
J. Patrice Marandel, The Art Institute of Chicago: Favorite Impressionist Paintings (Crown, 1979), pp. 14, 15 (ill.).
Ralph E. Shikes and Paula Harper, Pissarro: His Life and Work (Horizon, 1980), pp. 65 (ill.), 70–71.
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. 72; 73–74, cat. 6 (ill.).
Richard Brettell, “Camille Pissarro: A Revision,” in 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. 15.
Richard Brettell, “Camille Pissarro: Une révision,” in 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. 15.
Christopher Lloyd, Camille Pissarro (Skira/Rizzoli, 1981), pp. 30 (ill.), 31, 145.
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. 72; 73–74, cat. 6 (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.
Isetan Museum of Art, Fukuoka Art Museum, Kyoto Municipal Museum of Art, Retrospective Camille Pissarro, international ed., exh. cat. (Art Life, 1984), p. 12.
Scott Schaefer, “The French Landscape Sensibility,” 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. 52 (detail); 70; 73, no. 9 (ill.).
Scott Schaefer, “Le paysage dans la peinture française au cours des années 1860,” in Réunion des Musées Nationaux, L’impressionnisme et le paysage français, exh. cat. (Réunion des Musées Nationaux, 1985), pp. 58–59, no. 9 (ill.).
John House, “Camille Pissarro’s Idea of Unity,” in Christopher Lloyd, ed., Studies on Camille Pissarro (Routledge & Kegan Paul, 1986), p. 33, n. 9.
Linda Nochlin, “Camille Pissarro: The Unassuming Eye,” in Christopher Lloyd, ed., Studies on Camille Pissarro (Routledge & Kegan Paul, 1986), pp. 3, pl. 2; 5.
Ralph E. Shikes, “Pissarro’s Political Philosophy and His Art,” in Christopher Lloyd, ed., Studies on Camille Pissarro (Routledge & Kegan Paul, 1986), p. 39.
Richard R. Brettell, French Salon Artists, 1800–1900 (Art Institute of Chicago/Abrams, 1987), pp. 76–77 (detail), 79 (ill.), 119.
David Bomford, Jo Kirby, John Leighton, and Ashok Roy, Art in the Making: Impressionism (National Gallery, London/Yale University Press, 1990), p. 208.
Katsumi Miyazaki, Insho-ha no miryoky/The Great History of Art (Dohosha Shuppan, 1990), p. 49 (ill.).
Bernard Denvir, Impressionism: The Painters and the Paintings (Studio, 1991), pp. 283, pl. 275; 419.
Kermit Swiler Champa, with contributions by Fronia E. Wissman and Deborah Johnson, and with an introduction by Richard R. Brettell, The Rise of Landscape Painting in France: Corot to Monet, exh. cat. (Currier Gallery of Art/Abrams, 1991), p. 202.
Christopher Campbell, “Pissarro and the Palette Knife: Two Pictures from 1867,” Apollo 136, 369 (Nov. 1992), pp. 313; 314, n. 20.
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), pp. 9, 46 (ill.).
Joachim Pissarro, Camille Pissarro (Abrams, 1993), pp. 47, fig. 41; 48; 50; 52; 65.
Stefano Roffo, Camille Pissarro (PML, 1994), p. 10.
Henri Loyrette and Gary Tinterow, Impressionnisme: Les origines, 1859–1869, exh. cat. (Réunion des Musées Nationaux, 1994), pp. 316; 441; 442–43, fig. 117 (cat. 156).
Gary Tinterow and Henri Loyrette, Origins of Impressionism, exh. cat. (Metropolitan Museum of Art, New York/Abrams, 1994), pp. 315; 443; 444-45, fig. 117 (cat. 156).
Garly Tinterow, “Le paysage réaliste,” in Henri Loyrette and Gary Tinterow, Impressionnisme: Les origines, 1859–1869, exh. cat. (Réunion des Musées Nationaux, 1994), pp. 88, fig. 117 (cat. 156); 89.
Gary Tinterow, “The Realist Landscape,” in Gary Tinterow and Henri Loyrette, Origins of Impressionism, exh. cat. (Metropolitan Museum of Art, New York/Abrams, 1994), pp. 86; 88, fig. 117 (cat. 156); 89.
Paul de Roux, Pissarro: Villes et campagnes (Herscher, 1995), pp. 14–15 (ill.).
Jane Mayo Roos, Early Impressionism and the French State (1866–1874) (Cambridge University Press, 1996), pp. 56; 57, fig. 45.
Dominique Fernandez, Le musée d’Emile Zola: Haines et passions, works and quotes selected by Ferrante Ferranti (Stock, 1997), pp. 82–83 (ill.), 239.
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. 40, fig. 1.
Rachael Ziady DeLue, “Pissarro, Landscape, Vision, and Tradition,” Art Bulletin 80, 4 (Dec. 1998), pp. 720; 721, fig. 2; 733, n. 24.
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. 26 (ill.).
Marie-José Pellé, “Vert Pissarro …”: Impressions de Normandie et d’ailleurs (Bertout, 2000), p. 35.
Richard R. Brettell, From Monet to Van Gogh: A History of Impressionism, vol. 1 (Teaching Co., 2002), pp. 63, 173.
Sylvie Patin, L’impressionisme (Bibliothèque des Arts, 2002), pp. 44, 280.
Michael Clarke, “Courbet e la neve,” in Gli impressionisti e la neve: La Francia e l’Europa, ed. Marco Goldin, exh. cat. (Linea d’ombra, 2004), p. 249 (ill.).
Stephen R. Eisenman, “Paesaggi di fatto e di sogno: Pissarro e la Senna,” in Monet la Senna le ninfee: Il grande fiume e il nuovo secolo, ed. Marco Goldin, exh. cat. (Linea d’ombra, 2004), p. 53 (ill.).
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. 121.
Terance Maloon, “Pissarro and the Picturesque,” in Terence Maloon, ed., Camille Pissarro, exh. cat. (Art Gallery of New South Wales, 2005), p. 20.
Terence Maloon and Claire Durand-Ruel Snollaerts, “Pissarro and his Critics,” in Terence Maloon, ed., Camille Pissarro, exh. cat. (Art Gallery of New South Wales, 2005), p. 228.
Terence Maloon, ed., Camille Pissarro, exh. cat. (Art Gallery of New South Wales, 2005), pp. 75; 81–83, cat. 7 (ill.); 248.
Alain Mothe, “Comparative Chronology,” in Joachim Pissarro, Pioneering Modern Painting: Cézanne and Pissarro, 1865–1885, exh. cat. (Museum of Modern Art, New York, 2005), p. 232.
Joachim Pissarro, Pioneering Modern Painting: Cézanne and Pissarro, 1865–1885, exh. cat. (Museum of Modern Art, New York, 2005), pp. 38; 75; 78, cat. 1 (ill.).
Joachim Pissarro, “Camille Pissarro’s Vision of History and Art,” 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. 74.
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. 95–96, cat. 107 (ill.).
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. 361, 375, 377, 384, 396, 404, 406, 408, 417, 425.
Karen Wilkin, “Cézanne and Pissarro: A Crucial Friendship,” The New Criterion 24, 1 (Sept. 2005), p. 64.
John House, “Pissarro: Sydney and Melbourne,” Burlington Magazine 148, 1236 (Mar. 2006), p. 225.
Jean-Jacques Lévêque, Camille Pissarro (1830–1903): Le bonheur de peindre (ACR/PocheCouleur, 2006), p. 17 (ill.).
Christopher Lloyd, “Camille Pissarro and the Essence of Place,” in 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), p. 26.
Museum of Modern Art, New York, Los Angeles County Museum of Art, and Musée d’Orsay, Paris, Cézanne et Pissarro, 1865–1885, exh. cat. (Musée d’Orsay/ Réunion des Musées Nationaux, 2006), pp. 38; 75; 78, cat. 1 (ill.).
Alain Mothe, “Chronologie croisée,” in Museum of Modern Art, New York, Los Angeles County Museum of Art, and Musée d’Orsay, Paris, Cézanne et Pissarro, 1865–1885, exh. cat. (Musée d’Orsay/Réunion des Musées Nationaux, 2006), p. 232.
Joachim Pissarro, Cézanne/Pissarro, Johns/Rauschenberg: Comparative Studies on Intersubjectivity in Modern Art (Cambridge University Press, 2006), pp. 205–06, fig. 38.
Katherine Rothkopf, “Camille Pissarro: From Barbizon Student to Impressionist Innovator,” in 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. 45, 48.
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. 76; 82–83, cat. 5 (ill.); 184.
Mary Sebera, “Technical Notes,” in 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. 194, fig. 4 (cat. 5); 195, fig. 5.
Lin Arison and Neil Folberg, Discovering the Connections: Travels with Van Gogh and the Impressionists (Abbeville, 2007), pp. 63, 65 (ill.), 260 (ill.), 279.
Nathalia Brodskaïa, Impressionism, trans. Rebecca Brimacombe and Richard Swanson (Parkstone, 2007), p. 186.
Jane E. Boyd, “The Mapping of Modernity: Impressionist Landscapes, Engineering, and Transportation Imagery in 19th-Century France” (Ph.D diss., University of Delaware, 2009), pp. ix; 23–24; 47; 290, fig. 2.3.
Claire Durand-Ruel Snollaerts, Pissarro: Patriarche des impressionnistes (Découvertes Gallimard/Réunion des Musées Nationaux Arts, 2012), pp. 20, 21 (ill.).
Christoph Heinrich, Nature as Muse: Inventing Impressionist Landscape: From the Collection of Frederic C. Hamilton and the Denver Art Museum (Denver Art Museum, 2013), pp. 64 (ill.); 79, n. 4; 166.
“Cat. 2: The Banks of the Marne in Winter, 1866,” in Pissarro Paintings and Works on Paper at the Art Institute of Chicago, eds. Gloria Groom and Genevieve Westerby (Art Institute of Chicago, 2015), https://publications.artic.edu/pissarro/reader/paintingsandpaper/section/8.
Fonsmark, Anne-Birgitte. Pissarro: et møde på Skt. Thomas, exh. cat. (Ordrupgaard Museum, 2017), 163, 193, fig. 156 (ill.).

Paris, Palais des Champs-Élysées, Salon de 1866, May 1–June 20, 1866, cat. 1564, as Bords de la Marne en hiver.
Paris, Musée de l’Orangerie, Centenaire de la naissance de Camille Pissarro, Feb.–Mar. 1930, cat. 3.
Chicago, Renaissance Society of the University of Chicago, Fifth Annual Exhibition of Modern French Painting, Feb. 7–21, 1932, cat. 23.
Possibly Glasgow Art Gallery, The Spirit of France: French Paintings of the Nineteenth and Twentieth Centuries, June 1943, cat. 38.
London, Lefevre Gallery, French Masters, XIX and XX Century, June–July 1952, cat. 13 (ill.).
New York, Wildenstein, C. Pissarro, Mar. 25–May 1, 1965, cat. 2 (ill.).
Columbus, Ohio, Dr. Howard Sirak, Feb. 18–Feb. 25, 1975, no cat.
Highland Park, Ill., Neison Harris, Mar. 7–May 21, 1975, no cat.
Philadelphia Museum of Art, The Second Empire, 1852–1870: Art in France under Napoleon III, Oct. 1–Nov. 26, 1978, cat. VI-96 (ill.); Detroit Institute of Arts, Jan. 18–Mar. 18, 1979; Paris, Galeries Nationales d’Exposition du Grand Palais, as L’art en France sous le Second Empire, May 11–Aug. 13, 1979, cat. 264 (ill.).
London, Hayward Gallery, Pissarro: Camille Pissarro 1830–1903, Oct. 30, 1980–Jan. 11, 1981, cat. 6 (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. 9 (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.
Paris, Galeries Nationales du Grand Palais, Impressionnisme: Les origines, 1859–1869, April 19–August 8, 1994, cat. 156; New York, Metropolitan Museum of Art, Origins of Impressionism, September 27, 1994–January 8, 1995.
Art Gallery of New South Wales, Camille Pissarro, Nov 19, 2005–Feb. 19, 2006, cat. 7 (ill.); Melbourne, National Gallery of Victoria, Mar. 4–May 28, 2006.
New York, Museum of Modern Art, Pioneering Modern Painting: Cézanne and Pissarro, 1865–1885, June 26–Sept. 12, 2005, cat. 1 (ill.); Los Angeles County Museum of Art, Oct. 20, 2005–Jan. 16, 2006; Paris, Musée d’Orsay, as Cézanne et Pissarro, 1865–1885, Feb. 27–May 28, 2006 (New York only).
Baltimore Museum of Art, Pissarro: Creating the Impressionist Landscape, Feb. 11–May 13, 2007, cat. 5 (ill.); Milwaukee Art Museum, June 10–Sept. 9, 2007; Memphis Brooks Museum of Art, Oct. 7, 2007–Jan. 6, 2008.
Copenhagen, Ordrupgaard Museum, Pissarro: et møde på Skt. Thomas [Pissarro: A Meeting on St. Thomas], March 9-July 2, 2017.

The artist (d. 1903); by descent to his son, Paul-Émile Pissarro, Paris, 1904 [per Pissarro and Snollaerts 2005]; sold Pissarro sale, Galerie Georges Petit, Paris, December 3, 1928, lot 27 to Jacques Dubourg, Paris, for 35,000 francs [per annotated copy of sale cat. Galerie Georges Petit 1928, copy in curatorial object file]. S.G. Archibald, Paris, by February 1930 [per Musée de l’Orangerie 1930]. Possibly Dr. Tom John Honeyman, Glasgow, after February 1930 [this and the following per S. Martin Summers, Alex Reid & Lefevre, Ltd., London, to the Art Institute of Chicago, Dec. 6, 2000, curatorial object file]; Alex Reid & Lefevre, London, 1951; sold to the Art Institute of Chicago, November 7, 1957.

Cat. 2 The Banks of the Marne in Winter, 1866

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IIIF Manifest The International Image Interoperability Framework (IIIF) represents a set of open standards that enables rich access to digital media from libraries, archives, museums, and other cultural institutions around the world.

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