Haymaking at Éragny

CC0 Public Domain Designation

Painting and Sculpture of Europe

1892

Camille Pissarro (French, 1830–1903)

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

Artist: Camille Pissarro
Title: Haymaking at Éragny
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.: 1892
Medium: Oil on canvas
Inscriptions: Inscribed lower left: C. Pissarro 1892
Dimensions: 65.5 × 81.3 cm (25 3/4 × 32 in.); Framed: 85.1 × 101.6 × 8.9 cm (33 1/2 × 40 × 3 1/2 in.)
Credit Line: Gift of Bruce Borland
Reference Number: 1961.791
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/87000/manifest.json

Galeries Durand-Ruel, Exposition d’oeuvres récentes de Camille Pissarro, exh. cat. (Durand-Ruel, 1893), cat. 38.
Durand-Ruel Galleries, New York, Paintings by Camille Pissarro: Views of Rouen, exh. cat. (Durand-Ruel, 1897), cat. 33.
Ludovic Rodo Pissarro and Lionello Venturi, Camille Pissarro: Son art—son oeuvre, vol. 1, Texte (P. Rosenberg, 1939), p. 192, no. 789.
Ludovic Rodo Pissarro and Lionello Venturi, Camille Pissarro: Son art—son oeuvre, vol. 2, Planche (P. Rosenberg, 1939), pl. 162, no. 789 (ill.).
Art Institute of Chicago, Treasures of Chicago Collectors, exh. cat. (Art Institute of Chicago, 1961), n.p.
Ralph E. Shikes and Paula Harper, Pissarro: His Life and Work (Horizon, 1980), p. 299.
Isetan Museum of Art, Fukuoka Art Museum, Kyoto Municipal Museum of Art, Retrospective Camille Pissarro, international ed., exh. cat. (Art Life, 1984), pp. 67, cat. 43 (ill.); 135.
Ralph E. Shikes, “Pissarro’s Political Philosophy and His Art,” in Christopher Lloyd, ed., Studies on Camille Pissarro (Routledge & Kegan Paul, 1986), p. 50.
Richard R. Brettell, French Impressionists (Art Institute of Chicago/Abrams, 1987), pp. 111, 114 (ill.), 118.
Janine Bailly-Herzberg, Correspondance de Camille Pissarro, vol. 3, 1891–1894 (Valhermeil, 1988), p. 270, letter 828.
Charles Harrison, “Art & Language Paints a Landscape,” Critical Inquiry 21, 3 (Spring 1995), pp. 632, fig. 21; 634.
Alan G. Artner, “Provenance: The ‘Secret Life’ of Art,” Chicago Tribune, Apr. 23, 2000, p. 7.1 (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. 363, 364, 394, 408.
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), p. 623, cat. 951 (ill.).
Christian von Holst and Christofer Conrad, with contributions by Roman Zieglgänsberger and Katja Matauschek, Claude Monet: Effet de soleil–Felder im Frühling, exh. cat. (Staatsgalerie Stuttgart/Hatje Cantz), p. 158. Translated as Christian von Holst and Christofer Conrad with contributions by Roman Zieglgänsberger and Katja Matauschek, Claude Monet: Fields in Spring, trans. John S. Southard, exh. cat. (Staatsgalerie Stuttgart/Hatje Cantz, 2006), p. 158.
Christofer Conrad, “Von der Impression zur Ordnung des Bildes,” in Christian von Holst and Christofer Conrad, with contributions by Roman Zieglgänsberger and Katja Matauschek, Claude Monet: Effet de soleil–Felder im Frühling, exh. cat. (Staatsgalerie Stuttgart/Hatje Cantz), pp. 94–95, fig. 65 (cat. 44). Translated as Christofer Conrad, “From Impression to Organization of the Picture,” in Christian von Holst and Christofer Conrad, with contributions by Roman Zieglgänsberger and Katja Matauschek, Claude Monet: Fields in Spring, trans. John S. Southard, exh. cat. (Staatsgalerie Stuttgart/Hatje Cantz, 2006), pp. 94–95, fig. 65 (cat. 44).
“Cat. 12: Haymaking at Éragny, 1892,” 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, Galerie Durand-Ruel, Exposition d’oeuvres récentes de Camille Pissarro, Mar. 15–30, 1893, cat. 38, as Fenaison à Eragny, 1892.
New York, Durand-Ruel Galleries, Paintings by Camille Pissarro, Views of Rouen, Mar.–Apr., 1897, cat. 33, as Fenaison à Eragny, 1892.
Art Institute of Chicago, Treasures of Chicago Collectors, Apr. 15–May 7, 1961, no cat. no.
Tokyo, Isetan Museum of Art, Retrospective Camille Pissarro, Mar. 9¬–Apr. 9, 1984, cat. 43 (ill.); Fukuoka Art Museum, Apr. 25–May 20, 1984; Kyoto Municipal Museum of Art, May 26–July 1, 1984.
Art Institute of Chicago, Art Inside Out: Exploring Art and Culture through Time, Sept. 19, 1992–June 16, 1996, no cat.

The artist (d. 1903); sold to Durand-Ruel, Paris, December 3, 1892 [per Durand-Ruel Archives to the Art Institute of Chicago, Mar. 30, 2000, curatorial object file]; sold to Mrs. Harriet Borland (née Blair), Chicago, October 19, 1899 [per Durand-Ruel New York (stock 1119), Durand-Ruel Archives to the Art Institute of Chicago, Mar. 30, 2000, curatorial object file]; by descent to Bruce Borland (son), Chicago; given to the Art Institute of Chicago, beginning in 1961 [undivided fractional interests, receiving the final fractional interested for one hundred percent ownership in 1963].

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Department

Artist

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Place

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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Inscriptions

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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. Learn more.

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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.

Learn more.