Young Peasant Having Her Coffee

Painting and Sculpture of Europe

1881

Camille Pissarro (French, 1830–1903)

In the 1880s, at a time when many of the original Impressionist painters had begun to pursue independent styles, Camille Pissarro actively worked to keep the group together. He persuaded Gustave Caillebotte and Claude Monet to take part in the seventh Impressionist exhibition, in 1882, and also displayed a number of his own paintings of peasant girls. Here the small brushstrokes, applied one next to the other and sometimes overlaid with dabs of thicker paint, result in an irregularly built-up surface, serving to integrate figure and setting and evoke the textures of the young woman’s wool clothing.

Status: Currently Off View
Department: Painting and Sculpture of Europe

Artist: Camille Pissarro
Title: Young Peasant Having Her Coffee
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.: 1881
Medium: Oil on canvas
Inscriptions: Inscribed upper right: C. Pissarro / 1881
Dimensions: 65.3 × 54.8 cm (25 11/16 × 21 9/16 in.)
Credit Line: Potter Palmer Collection
Reference Number: 1922.433
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/81548/manifest.json

Catalogue de la 7me exposition des artistes indépendants, exh. cat. (Morris Pére et Fils, 1882), cat. 111.
Arthur Hustin, “L’exposition des peintres indépendants,” L’estafette, Mar. 3, 1882, p. 3.
Armand Sallanches, “L’exposition des artistes indépendants,” Le journal des arts, Mar. 3, 1882, p. 1.
Draner [Jules Renard], “Une visite aux impressionnistes,” Le charivari, Mar. 9, 1882, p. 3.
Arthur Hustin, “L’exposition des impressionnistes,” Moniteur des arts, Mar. 10, 1882, p. 1.
Émile Hennequin, “Beaux-Arts: Les expositions des arts libéraux et des artistes indépendants,” La revue littéraire et artistique, Mar. 11, 1882, p. 155.
Armand Silvestre, “Le monde des arts: Expositions particulières: Septième exposition des artistes indépendants,” La vie moderne, Mar. 11, 1882, p. 151.
Paul de Charry, “Beaux-Arts,” Le pays, Mar. 14, 1882, p. 3.
“Nouvelles parisiennes,” L’art moderne, Mar. 19, 1882, p. 93.
Dowdeswell and Dowdeswell/Société des Impressionnistes, Catalogue of Paintings, Drawings, and Pastels by Members of “La société des impressionnistes,” exh. cat. (Dowdeswell and Dowdeswell, 1883), p. 7, cat. 5.
Possibly J.–K. Huysmans, “Appendice,” in L’art moderne (G. Charpentier, 1883), pp. 261–77.
Galeries Durand-Ruel, Exposition Camille Pissarro, exh. cat. (E. Ménard et Cie, 1892), p. 23, cat 16.
Anonymous untitled article in L’art francais, Mar. 5, 1892, (ill.).
Charles Saunier, “L’art nouveau, Camille Pissarro, les indépendants” Le revue indépendante 23, 66 (Apr. 1892), p. 35.
Art Institute of Chicago, “Accessions and Loans,” Bulletin of the Art Institute of Chicago 16, 3 (May 1922), p. 47.
Art Institute of Chicago, Handbook of Sculpture, Architecture, and Paintings, pt. 2, Paintings (Art Institute of Chicago, 1922), p. 68, cat. 837.
Art Institute of Chicago, A Guide to the Paintings in the Permanent Collection (Art Institute of Chicago, 1925), p. 148, cat. 837.
Léo Koenig [Leib Yaffee], Camille Pissarro (Le Triangle, 1927), pl. 9.
Art Institute of Chicago, Catalogue of “A Century of Progress”: Exhibition of Paintings and Sculpture; Lent from American Collections, ed. Daniel Catton Rich, 3rd ed., exh. cat. (Art Institute of Chicago, 1933), p. 44, cat. 301.
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.
Clarence Joseph Bulliet, Art Masterpieces in a Century of Progress Fine Arts Exhibition at the Art Institute of Chicago, vol. 2 (Chicago Daily News/North-Mariano, 1933), no. 98 (ill.).
“Complete List of the Paintings and Sculptures in World’s Fair Show,” in “Century of Progress,” special issue, Art Digest 8, 16 (May 15, 1933), p. 33.
George Slocombe, “Papa Pissarro,” Coronet 4, 1 (May 1, 1938), p. 25 (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. 54.
Ludovic Rodo Pissarro and Lionello Venturi, Camille Pissarro: Son art—son oeuvre, vol. 1, Texte (P. Rosenberg, 1939), pp. 158, cat. 549; 336.
Ludovic Rodo Pissarro and Lionello Venturi, Camille Pissarro: Son art—son oeuvre, vol. 2, Planche (P. Rosenberg, 1939), pl. 114, cat. 549 (ill.).
John Rewald, Pissarro (Braun & Cie, [1940]), no. 42 (ill.).
Los Angeles Museum, The Development of Impressionism, exh. cat. (Los Angeles Museum, 1940), cat. 56 (ill.).
“Six Art Works Shown at Gallery,” San Diego Union, Mar. 12, 1940, p. 8-A.
“Books and Art,” San Diego Union, Mar. 24, 1940, p. 7-C (ill.).
John Rewald, edited with the assistance of Lucien Pissarro, Camille Pissarro: Letters to His Son Lucien, trans. Lionel Abel (Pantheon, 1943), p. 46.
Art Institute of Chicago, An Illustrated Guide to the Collections of the Art Institute of Chicago (Art Institute of Chicago, 1945), p. 37.
John Rewald, The History of Impressionism (Museum of Modern Art, New York/Simon & Schuster, 1946), p. 379 (ill.).
Gotthard Jedlicka, Pissarro, Scherz Kunstbücher (Alfred Scherz, 1950), p. 30, pl. 21.
Thadée Natanson, Pissarro, Artistes de jadis et d’aujourd’hui’ (Jean Marguerat, 1950), pp. 30; 72–73, pl. 21.
Art Institute of Chicago, Masterpieces in the Art Institute of Chicago (Art Institute of Chicago, 1952), n.p. (ill.).
Art Institute of Chicago, Paintings in the Art Institute of Chicago: A Catalogue of the Picture Collection (Art Institute of Chicago, 1961), p. 358.
Milton S. Fox, Camille Pissarro (Abrams, 1966) front cover (ill.); p. 5 (ill.).
Francesco Abbate, L’ottocento in Europa, Simbolismo e Impressionismo (Fabbri, 1966), pp. 80; 88, pl. 46.
Velia Huda, Pissarro, The Masters 72 (Knowledge Publications, 1967), p. 8 (ill.), pl. 12.
Joslyn Art Museum, Mary Cassatt among the Impressionists, exh. cat. (Klopp Print. Co., 1969), pp. 41, cat. 39 (ill.); 73, cat. 39.
Mobile Art Gallery, The Impressionists: Painting in France in the Late Nineteenth Century, exh. cat (Mobile Art Gallery, 1969), pp. 1 (ill.), 5.
Mikhail Guerman, Camille Pissarro, Masters of World Painting (Aurora Art Publishers, 1973), p. 10.
Palazzo Reale, Boccioni e il suo tempo, exh. cat. (Arti Grafiche Fiorin, 1973), p. 6, cat. 1 (ill.).
Charles Kunstler, Camille Pissarro (Fabbri, 1972), pp. 44, fig. 2; 45.
Christopher Lloyd, Pissarro (Phaidon, 1979), pp. 8; 15, pl. 26.
Janine Bailly-Herzberg, ed., Correspondance de Camille Pissarro, vol. 1, 1865–1885 (Presses Universitaires de France, 1980), pp. 243 (letter 183), 252 (letter 190).
Joel Isaacson, The Crisis of Impressionism, 1878–1882, exh. cat. (University of Michigan Museum of Art, 1980), pp. 158–59, cat 41 (ill.).
Ralph E. Shikes and Paula Harper, Pissarro: His Life and Work (Horizon, 1980), p. 177 (ill.).
Christopher Lloyd, Camille Pissarro (Skira/Rizzoli, 1981), p. 92 (ill.).
Kate Flint, ed., Impressionists in England: The Critical Reception (Routledge & Kegan Paul, 1984), p. 361.
Joel Isaacson, “The Painters Called Impressionists,” in The New Painting: Impressionism, 1874–1886, ed. Charles S. Moffett, with the assistance of Ruth Berson, Barbara Lee Williams, and Fronia E. Wissman, exh. cat. (Fine Arts Museums of San Francisco, 1986), pp. 388; 394; 395; 409, cat. 127 (ill.).
Paul Smith, “Paul Adam, Soi et les ‘Peintres impressionnistes’: La genèse d’un discours moderniste,” Revue de l’art 82 (1988), pp. 44; 46, fig. 9.
Ministry of Culture; State Hermitage Museum; Pushkin State Museum of Fine Arts; Metropolitan Museum of Art, New York; and Art Institute of Chicago, Ot Delakrua do Matissa: Shedevry frantsuzskoi zhivopisi XIX–nachala XX veka, iz Muzeia Metropoliten v N’iu-Iorke i Khudozhestvennogo Instituta v Chikago [From Delacroix to Matisse: Masterpieces of French Painting of the Nineteenth to the Beginning of the Twentieth Century from the Metropolitan Museum of Art, New York, and the Art Institute of Chicago], trans. from English by Iu. A. Kleiner and A. A. Zhukov, exh. cat. (Avrora, 1988), cat. 25 (ill.).
Bernard Denvir, Impressionism: The Painters and the Paintings (Studio Editions, 1991), pp. 259, pl. 254; 419.
Martha Kapos, ed., The Impressionists: A Retrospective (Hugh Lauter Levin Associates, 1991), p. 259, pl. 81.
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. 10, 86 (ill.).
Joachim Pissarro, Camille Pissarro (Abrams, 1993), pp. 156; 158, fig. 160; 215.
Paul Smith, Impressionism: Beneath the Surface (Abrams, 1995), pp. 124, fig. 81; 125.
Ruth Berson, ed., The New Painting: Impressionism, 1874–1886, Documentation, vol. 1, Reviews (Fine Arts Museums of San Francisco/University of Washington Press, 1996), pp. 377, 380, 384, 393, 395, 396, 397, 412, 413, 417 (ill.).
Ruth Berson, ed., The New Painting: Impressionism, 1874–1886, Documentation, vol. 2, Exhibited Works (Fine Arts Museums of San Francisco/University of Washington Press, 1996), pp. 208–09, 226 (ill.).
Martha Ward, Pissarro, Neo-Impressionism, and the Spaces of the Avant-Garde (University of Chicago Press, 1996), pp. 39; 40, fig. 1.5.
Paul Smith, Seurat and the Avant–Garde (Yale University Press, 1997), pp. 93; 94, fig. 114.
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. 63 (ill.).
Marie–José Pellé, “Vert Pissarro …” Impressions de Normandie et d’ailleurs (Bertout, 2000), p. 86.
Richard Brettell, From Monet to Van Gogh: A History of Impressionism, pt. 2 (Teaching Company, 2002), pp. 91, 101, 179.
Christie’s, London, Impressionist and Modern Art: Evening Sale, sale cat. (Christie’s, June 21, 2005), p. 42 (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), pp. 175, 176.
Claire Durand-Ruel Snollaerts, “A Painter and His Dealer: Camille Pissarro (1830–1903),” 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. 29 (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. 362, 363, 378, 383, 399, 401, 405, 409, 411, 417.
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), p. 442, cat. 662 (ill.).
Jean-Jacques Lévêque, Camille Pissarro (1830–1903), Le bonheur de peindre (ACR, 2006), p. 135 (ill.).
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. 100–01, cat. 44 (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. 100–01, cat. 44 (ill.).
Richard Brettell, Pissarro’s People, exh. cat. (Fine Arts Museums of San Francisco/Sterling and Francine Clark Art Institute/Prestel, 2011), pp. 188–89, fig. 143; 303.
Claire Durand-Ruel Snollaerts, Pissarro: Patriarche des Impressionnistes (Découvertes Gallimard/Réunion des Musées Nationaux Arts, 2012), pp. 48 (ill.), 122.
Christie’s, New York, Impressionist and Modern Art: Works on Paper and Day Sale, sale cat. (Christie’s, Nov. 6, 2013), p. 60, fig. 1.
“Cat. 10: Young Peasant Having Her Coffee, 1881,” 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.

Paris, 251, rue Saint-Honoré, Salons du Panorama de Reischoffen, 7me exposition des artistes indépendants [Seventh impressionist exhibition], Mar. 1–31, 1882, cat. 111, as Jeune paysanne prenant son café.
London, Dowdeswell and Dowdeswell, Paintings, Drawings and Pastels by Members of “La Société des impressionnistes,” Apr. 20–July 1883, cat. 5, as Paysanne prenant son Café.
Paris, Galeries Durand-Ruel, Camille Pissarro, Jan. 23–Feb. 20, 1892, cat 16, as La Café au lait.
Art Institute of Chicago, “A Century of Progress”: Loan Exhibition of Paintings and Sculpture, May 23–Nov. 1, 1933, cat. 301.
Los Angeles Museum, The Development of Impressionism, Jan. 12–Feb. 28, 1940, cat. 56 (ill.).
Fine Arts Gallery of San Diego, Mar. 1940, no cat.
Omaha, Nebr., Joslyn Art Museum, Mary Cassatt among the Impressionists, Apr. 10–June 1, 1969, cat. 39 (ill.).
Mobile (Ala.) Art Gallery, The Impressionists: Painting in France in the Late Nineteenth Century, Nov. 5–30, 1969, no cat. no. (ill.).
Milan, Palazzo Reale, Boccioni e il suo tempo, Dec. 10, 1973¬–Feb. 24, 1974, cat. 1 (ill.).
Ann Arbor, University of Michigan Museum of Art, The Crisis of Impressionism, 1878–1882, Nov. 2, 1979–Jan. 6, 1980, cat. 41 (ill.).
Washington, D.C., National Gallery of Art, The New Painting: Impressionism, 1874–1886, Jan. 17–Apr. 6, 1986, cat. 127 (ill.); Fine Arts Museums of San Francisco, M. H. de Young Memorial Museum, Apr. 19–July 6, 1986.
Leningrad [St. Petersburg], Hermitage Museum, Ot Delakrua do Matissa: shedevry frantsuzskoĭ zhivopici XIX-nachala XX veka, iz Muieia Metropoliten v Niu-Ĭorke i Khudozhestvennogo Instituta v Chikago [From Delacroix to Matisse: Great Paintings From the XIX century to the Beginning of the XXth century From Metropolitan Museum of Art in New York and the Art Institute of Chicago], March 15-May 19, 1988, cat. 25; Moscow, Pushkin Museum, June 10-July 30, 1988.
Art Institute of Chicago, Chicago’s Dream, a World’s Treasure: The Art Institute of Chicago, 1893–1993, Nov. 1, 1993–Jan. 9, 1994, not in cat.
Fort Worth, Tex., Kimbell Art Museum, The Impressionists: Master Paintings from the Art Institute of Chicago, June 29–Nov. 2, 2008, cat. 44 (ill.).
Williamstown, Mass., Sterling and Francine Clark Art Institute, Pissarro’s People, June 12–Oct. 2, 2011, no cat. no. (ill.); San Francisco, Legion of Honor, Oct. 22, 2011–Jan. 22, 2012.

The artist (d. 1903); sold to Durand-Ruel, Paris, December 19, 1881 [this and the two following per Pissarro and Snollaerts 2005]; sold to Georges Petit, Paris, August 9, 1883; sold back to Durand-Ruel, Paris, April 17, 1891, for 1,000 francs; sold to Potter Palmer (d. 1902), Chicago, April 29, 1892, for 3,000 francs [per Durand-Ruel Archives, Paris stock no. 912, as Le Café au lait, as confirmed by Caroline Durand-Ruel Godfroy, Durand-Ruel Archives, to the Art Institute of Chicago, Dec. 13, 1994, curatorial object file]; by descent to the Palmer family; given to the Art Institute of Chicago, 1922.

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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.

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