Springtime

c. 1860

Théodore Rousseau (French, 1812–1867)

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

Artist: Théodore Rousseau
Title: Springtime
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.: 1855–1865
Medium: Oil on panel
Dimensions: 42.2 × 54 cm (15 5/8 × 21 1/4 in.); Framed: 71.8 × 85.1 cm (28 1/4 × 33 1/2 in.)
Credit Line: Henry Field Memorial Collection
Reference Number: 1894.1066
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/894/manifest.json

Drift of the Dog Days,” The Collector 4, 16 (1893), p. 247.
Art Institute of Chicago, Catalogue of Paintings, Sculpture and Other Objects in the Museum (Chicago: Art Institute of Chicago, 1894), p. 57, no. 33.
“The Henry Field Memorial Collection,” Art Amateur 31, 6 (1894), p. 115.
“Art Institute of Chicago: II – Modern Paintings: The Henry Field Collection,” Art Amateur 32, 1 (1894), p. 19.
Art Institute of Chicago, Annual Report of The Trustees for the Year Ending June 4, 1895 (Chicago: Art Institute of Chicago, 1895), p. 37, no. 33.
Art Institute of Chicago, Catalogue of Objects in the Museum (Chicago: Art Institute of Chicago, 1895), p. 67, no. 33.
Art Institute of Chicago, Catalogue of Objects in the Museum (Chicago: Art Institute of Chicago, 1896), p. 74, no. 33.
Art Institute of Chicago, Catalogue of Objects in the Museum (Chicago: Art Institute of Chicago, 1898), p. 94, no. 33.
“Chicago, ILL.: The Art Institute of Chicago,” in American Art Annual 1898 (London: Macmillan & Co., 1899), p. 140, no. 33.
Art Institute of Chicago, General Catalogue of Objects in the Museum (Chicago: Art Institute of Chicago, 1901), p. 162, no. 133.
Frederick Clifton Pierce, Field Genealogy, vol. 2 (Chicago: Hammond Press, 1901), p. 713, no. 33.
Walther Gensel, Millet und Rousseau (Bielefeld and Leipzig: Velhagen & Klasing, 1902), pp. 97 (ill.), 102.
N. Hudson Moore, “The Barbizon School II,” The Chautauquan 36 (1903), p. 504.
Art Institute of Chicago, General Catalogue of Objects in the Museum (Chicago: Art Institute of Chicago, 1904), p. 168, no. 133.
Art Institute of Chicago, General Catalogue of Sculpture, Paintings and Other Objects (Chicago: Art Institute of Chicago, 1907), p. 179, no. 133.
Art Institute of Chicago, General Catalogue of Sculpture, Paintings and Other Objects (Chicago: Art Institute of Chicago, 1910), p. 171, no. 133.
Art Institute of Chicago, General Catalogue of Paintings, Sculpture and Other Objects in the Museum (Chicago: Art Institute of Chicago, 1913), p. 115, no. 133.
Art Institute of Chicago, General Catalogue of Paintings, Sculpture, and Other Objects in the Museum (Chicago: Art Institute of Chicago, 1914), p. 119, no. 133 (ill.).
Art Institute of Chicago, Catalogue of Paintings, Drawings, Sculpture and Architecture (Chicago: Art Institute of Chicago, 1917), p. 119, no. 133 (ill.).
Art Institute of Chicago, Handbook of Sculpture, Architecture, Paintings, and Drawings (Chicago: Art Institute of Chicago, 1920), p. 25, no. 133.
Art Institute of Chicago, Handbook of Sculpture, Architecture and Paintings (Chicago: Art Institute of Chicago, 1922), p. 25, no. 133.
Art Institute of Chicago, Handbook of Sculpture, Architecture, and Paintings (Chicago: Art Institute of Chicago, 1923), p. 25, no. 133.
Art Institute of Chicago, A Guide to the Paintings in the Permanent Collection (Chicago: Art Institute of Chicago, 1925), p. 151, no. 133.
Art Institute of Chicago, A Guide to the Paintings in the Permanent Collection (Chicago: Art Institute of Chicago, 1932), p. 169.
Art Institute of Chicago, Paintings in the Art Institute of Chicago: A Catalogue of the Picture Collection (Chicago: Art Institute of Chicago, 1961), p. 406.
Richard R. Brettell, French Salon Artists 1800–1900 (Chicago: Art Institute of Chicago, 1987), pp. 35, 36 (ill.), 119.
Art Institute of Chicago, Treasures of 19th- and 20th- Century Painting (New York and London: Abbeville Press, 1993), p. 32 (ill.).
Michel Schulman, Théodore Rousseau, 1812–1867: catalogue raisonné de l’oeuvre peint (Paris: Editions de l’Amateur, 1999), p. 321, no. 630 (ill.).
Greg M. Thomas, Art and Ecology in Nineteenth-Century France: The Landscapes of Théodore Rousseau (Princeton: Princeton University Press, 2000), pp. 25, 27, 182, fig. 11.

Carbondale, Illinois, Southern Illinois University, A Festival of Fine Arts, February 26–March 10, 1956, no. 2.

John Saulnier, Bordeaux, by 1886; his sale, Paris, Hôtel Drouot, June 5, 1886, lot 73 for 24,500 francs to Brogue et Cie, possibly as agent for Eugène Secrétan [price and buyer according to an annotated sale catalogue in the Rijksbureau voor Kunsthistorische Documentatie, The Hague]. Eugène Secrétan, Paris, by 1889; his sale Galerie Sedelmeyer, July 1, 1889, lot 71. Henry Field (died 1890), Chicago; his widow Mrs. Florence Lathrop Field; given to the Art Institute, 1894.

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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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