Introduction:
Landscapes are a dominant theme that the Impressionists depicted. It is interesting to compare the landscapes of Monet, Pissarro, Renoir, Sisley, Caillebotte and others with the landscapes that were made between 1855 and 1873. A period in which the Impressionists developed their painting style. What are the similarities? What are the differences?
We see that these landscapes often were made on a (specific) location and (partly) made en-plein-air. We also see that they often depict atmospherical influences like time of day, seasons and weather conditions. Both are also carateristic for the impressionist painting style. But, mostly the colours are more subdued, with brownish and greyish hues. And mostly there are more details rendered.
Here below you will find some examples, namely of Pre-Impressionists like Chintreuil, Corot, Courbet, Daubigny, Descamps, Diaz, Dupré, Huet, Jacque, Jongkind, J.F. Millet, Rousseau, Troyon and other painters like Bazille, Jules Breton, Calame and… I will render the picture alphabetical per artist and then (when possible) chronological. I will leave out paintings of which the dating is too obscure; in which figures are very dominant and of which the quality is too poor. Note: In the future I hope to add more pictures and maybe create seperate pages for marines, cityviews and figures in a landscape.
If you double click on the first picture and then click on full screen, you can create a slideshow. Enjoy!
1865, Bazille, Landscape at Chailly, 82×105, Chicago
Frédéric Bazille (1841-70): 1868, SDbr, Vue de village (View of the Village), 137×45, MF Montpellier (iR2;iR1;R231-1+2;M14) Expos: S1869-149 La vue du village; EU-1900-C-22, Femme assise au pied d’un arbre (Musée de Montpellier)
Jules Breton (1827-1906): 1860, SDbr, The evening, 90×112, Orsay (HW;iR6;iR10;iR1;R231-1+6;M1) =S1861-425 (bought by the State; appointed Chevalier LdH); =EU-1900-C-62, Le soir (Musée de Fontainebleau; S.1865)
Alexandre Calame (1810-64): 1855, Der Vierwaldstättersee (Lake of the four Cantons) (Symphonie en bleu), 179×244, private (iR6;iR10;R322,p366) =EU-1855-Swiss (-> 1st class medal)
Chintreuil (1814-73): 1856, L331, A summer (sic?) landscape with figures by the wayside, 33×65, A2016/03/18 (iR10;iR17;iR390;R231-1+2;aR2,V4,no331) Compare: EU-1900-C-106, La Rigole d’Igny (journée de printemps par un temps de giboulée (1856) (à Mme Esnault-Pelterie) =L338.
Antoine Chintreuil (1814-73): 18xx, L1102, Apple and broom trees in bloom, 101×226, Orsay (iR6;iR23;iR1;aR2,V8,no1102;M1) Expos: =S1872-330, Pommiers et genêts en fleurs; =EdBA-1874-211
Antoine Chintreuil (1814-73): 18xx, L910, Sbl, Evening fumes, 100×215, PBA Lille (iR6;iR10;iR1;aR2,V7,no910;M17) Expos: S1865-453, Les vapeurs du soir; EdBA-1874-157; HD1875/02-78
Antoine Chintreuil (1814-73): 1873, L1260, Rain and sun, 105×216, Orsay (M1;iR6;iR127;iR1;aR2,V9,no1260) Expos: =S1873-294, Pluie et soleil; =EdBA-1874-228
Corot (1796-1875): 1855ca, CR1101, La charette, souvenir de Marcoussis, 98×130, Orsay (M1;iR10;R231;R119,no1101) =EU/S1855-2792, Souvenir de Marcoussis, près Montlhéry (purchased by Napoleon III) (1st class medal) =EU-C-1889-164, La Charette (appartient à M. Tavernier)
Corot (1796-1875): 1858ca, CR1106, The four times of the day, Night, on panel, 142×65, NG London (iR6;iR2;M61;R119,no1106) Commission by A.G. Decamps.
Corot (1796-1875): 1858ca, CR1104, The four times of the day, Evening, on panel, 143×72, NG London (iR6;iR2;M61;R119,no1104) Commission by A.G. Decamps.
Corot (1796-1875): 1858ca, CR1107, The four times of the day, Noon, on panel, 142×62, NG London (iR6;iR2;M61;R119,no1107) Commission by A.G. Decamps.
Corot (1796-1875): 1858ca, CR1105, The four times of the day, Morning, on panel, 142×72, NG London (iR6;iR2;M61;R119,no1105) Commission by A.G. Decamps.
Corot (1796-1875): 1858ca, The Four Times of the Day: Evening, 143×72, NG London (iR2;M61)
Corot (1796-1875): 1855-64 ca, Evening, 35×46, Hermitage (iR2;R15,p65;M95)
Corot (1796-1875): 1855-65, CR1464, The road from Sèvres, looking towards Paris, 34×49, Louvre (iR2;R61,no37;R119,no1464;M5)
Corot (1796-1875): 1850-75 (1835-40), CR284, Ville-d’Avray, les maisons Cabassud et l’extrémité de la propriété Corot, 28×40, Louvre (iR357;iR10;R60,p113;R61,no21;R294,no4)
Corot (1796-1875): 1864, CR1625, Souvenir de Mortefontaine, 65×89, Louvre (iR10;iR6;iR2;R61,no43;R119,no1625;M5) =S1864- 442 (bought by the state)
Corot (1796-1875): 1868, CR1641, Un matin à ville d’Avray, 102×155, MBA Rouen (HW18;iR1;iR23;iR10;R14,p71;M12) =S1868-587
Corot (1796-1875): 1868-70, CR1516, The Bridge at Mantes, 38×55, Louvre (iR6;iR10;iR23;R222,p116;R60,p94;M5) =Fauré sale 1873,no.4
Gustave Courbet (1819-77): 1868, CR643, SDbr, Napping during the haying season, 249×310, PP Paris (iR6;iR10;iR1;R231-1;R110,no643;M4) Expos: S1869-572, La sieste, pendant la saison des foins; montagnes du Doubs; EU-1900-C-144, La Sieste (à la Ville de Paris)
Gustave Courbet (1819-77): 1860, CR264, Fox caught in a trap, 82×101, NMWA Tokyo (iR6;iR1;R231-1;R110,no264;M127) Expos: =?? S1861-720, Le renard dans la neige; =EU-1900-C-146, Le Renard pris au piège (à M. Klotz).
Gustave Courbet (1819-77): 1868, CR627, SDbr, Baigneuse à la source, 128×98, Orsay (M1;iR10;R231-1;R110,no627) Expos: EdBA-1882-19; EU-1900-C-148, La Source (1868) (à Mll. Courbet)
Gustave Courbet (1819-77): 1870, SDbl, CR747, La mer orageuse, 117×160, Orsay (M1;iR10;iR6;iR23;iR1;R110,no747;R231-1+2+5) Provenance: Carlin; sale HD1872/04/29-3 (17.000fr); Haro; 1878 bought by the State. Expos: S1870-671, La mer orageuse; EU-1878-214, La Vague (S.1870; M.du Luxembourg); Compare: EdBA-1882-106; EU-1889-C-205, La Vague (1870) (à M. Otlét); EU-1900-C-149, La vague, (à M. Albert Cahen).
Courbet (1819-77): 1869, cpCR747, The Wave, 72×117, MuMa Le Havre (iR10;iR8;iR2;iR1;R231;R63,p113;M15) Compare: S1870-671, La mer orageuse; EU-1878-214, La Vague (S.1870; M.du Luxembourg); EdBA-1882-106; EU-1889-C-205, La Vague (1870) (à M. Otlét); EU-1900-C-149, La vague, (à M. Albert Cahen).
Daubigny (1817-78): 18??, Sbl, Paysage avec laveuses, ow, 21×39, MBA Reims (M190,887.3.85;iR10;R231-1) =!? EU-1900-C-161, Bord de rivière avec des laveuses (Musée de Reims)
Charles-François Daubigny (1817-78): 1855, The lock in the Valley of Optivoz (Isere), 92×162, MBA Rouen (iR2;iR1;R1,p16;R290,p142;M12) =EU=S1855-2844, Ecluse dans la vallée d’Optevoz (Isère) -> 3rd class medal + =EU-C-1889-217, Ecluse dans la vallée d’Optevoz
Charles-François Daubigny (1817-78): 1857, The Big Valley of the Optevoz (Isère; or the pond), 97×194, Louvre (iR2;iR1;R231;M5) =S1857-689, Vallée d’Optevoz (Isère) = EU-1867-185 -> 2x 1st class medal
Daubigny (1817-78): 1857, Sbr, Le marais d’Optevoz, 63×100, A?? (iR13;iR10;R231-1+2) =EU-C-1900-168, Le marais d’Optevoz (à M. Sarlin; S.1857)
Daubigny (1817-78): 1859, Riverbank on the Oise, 122×213, MBA Bordeaux (iR10;iR6;iR23;iR2;iR1;R231) =S1859-767 =EU1867-189, Les bords de l’Oise -> 2x 1st class medal
Daubigny (1817-78): 1864-1872, Cliffs at Villerville-sur-Mer, 100×200, Mesdag The Hague (iR2;iR1;R231;R290,p148;M76) =S1864-503 =EU-1867-191, Villerville-sur-Mer -> 1ste class medal
Daubigny (1817-78): 1865, Les péniches (The barges), 38×67, Louvre (iR6;iR23;M5). Compare Alphonse Maureau.
Daubigny (1817-78): 1873, The Beach at Villerville at Sunset, 77×141, CMA Norfolk (iR2;iR8;iR1;M169) =!? S1873-414, Plage de Villerville-sur-Mer (Calvados); soleil couchant
Alexandre Decamps (1803-60): 1850-60, Jésus sur le lac de Génésareth, 41×74, Louvre (iR6;iR23;M5) =!? EU-1900-C-206, Jésus sur le lac de Génézareth (à M. Moreau-Nélaton).
Diaz de la Peña (1807-76): 18??, Étude dans le Bas-Bréau, 46×28, A2024/03/02 (iR10;iR17)
Diaz (1807-76): 1865ca, Pool in the Forest, 24×33, NGS Edinburgh (iR2;M63;cpR290,p158)
Diaz (1807-76): 1870, The approaching storm, 84×106, NSM Pasadena (iR2;M43)
Diaz (1807-76): 1871, Forest of Fontainebleau, Autumn (detail), 78×65, Baltimore MA (iR2;M24)
Diaz (1807-76): 1871, Sunset of the turbulent sea, 79×107, private (iR2)
Diaz (1807-76): 1871, Forest of Fontainebleau, Autumn, 78×65, Baltimore MA (iR2;M24)
Diaz de la Peña (1807-76): 1874, SDbl, Forêt de Fontainebleau, 39×57, MBA Reims (M190;iR10;R231-1) Provenance: since 1899 MBA Reims; =? EU-1900-C-243, Environs de Fontainebleau (Musée de Reims).
Jules Dupré (1811-89): 1865-70, A Fisherman, 46×38, NGC Edinburgh (iRx;M63)
Jules Dupré (1811-89): 1870ca, The Old Oak, 32×42, NGA Washington (iRx;M21)
Paul Huet (1803-69): 1865ca, Landscape, Hunter in the Forest of Fontainebleau, 37×53, MF Montpellier (iR2;M14)
Jacque (1813-94): 1870-73ca, Herd of Sheep in the Forest of Fontainebleau, 68×99, private (iR2)
Johan Barthold Jongkind (1819-91): 1856, SDbl, A View of the Harbour, Rotterdam, 43×59, TBM Madrid (M100;iR6)
Johan Barthold Jongkind (1819-91): 1857, SDbl, Windmill near Delft, 56×42, TBM Madrid (M100;iR6)
Johan Barthold Jongkind (1819-91): 1857, SDbl, Windmill near Delft (detail), 56×42, TBM Madrid (M100;iR6)
Johan Barthold Jongkind (1819-91): 1858, SDbr, CR184 + CCP204, Lever de lune à Overschie, 42×56, A2023/03/25 (iR6;iR14;iR1;R113,no184;R177,p29+216) =? S1859-1634, Paysage hollandais; effet de soleil couchant
Johan Barthold Jongkind (1819-91): 1861, CR216, SDbl, Ruines du Château de Rosemont, 34×57, Orsay (iR6;iR23;iR1;M1) =!? SdR-1863-247, Ruines de Rozemond, Nivernais; appartient à M. Martin
Johan Barthold Jongkind (1819-91): 1864, SDbl, CR295 + CCP338, Sortie (L’entree) du port de Honfleur, 33×43, A2017/11/2015 (iR15;iR1R113,no295;R138I) =? S1866-1024, Sortie du port de Honfleur; marine
Johan Barthold Jongkind (1819-91): 1864, SDbl, La route de Saint-Claire, près de Honfleur, effet du matin, 50×80, Axx (iR13;iR10;iR1) =!? S1865-1128, La route de Saint-Claire, près de Honfleur; effet du matin
Johan Barthold Jongkind (1819-91): 1865, SDbr, Les Patineurs (skaters), 43×56, PBA Lille (iR6;iR23;M17)
Johan Barthold Jongkind (1819-91): 1866, SDbr, Rue Nôtre-Dame, Paris (Rue Censier), 39×47, RM Amsterdam (iR6;M77)
Johan Barthold Jongkind (1819-91): 1866, CR375 + CCP400, SDbr, The Church of Overschie, 31×51, AI Chicago (M20;iR6;iR1;R113,no375) =? S1868-1335, Vue de la rivière d’Overschie, près Rotterdam =GP1890/06/04-36 E. May sale.
Johan Barthold Jongkind (1819-91): 1867, SDbl, l’Escaut près d’Anvers, effet du matin, 52×81, A2007/02/05 (iR11;iR41;iR10;iR1) =? S1867-808, Vue de la rivière de l’Escaut, à Anvers; effet du matin
Johan Barthold Jongkind (1819-91): 1873, SDbr, Cityview of Rotterdam (with canal), 116×85, M Rotterdam (M272;iR6;R177,p38) =S1874-R =HD1878/04/29-31 Faure sale.
Johan Barthold Jongkind (1819-91): 1873, SDbr, Cityview of Rotterdam (with canal) (detail), 116×85, M Rotterdam (HW;M272;iR6) =S1874-R =HD1878/04/29-31 Faure sale.
Jean-François Millet (1814-75): 1861ca, Potato Planters, 83×101, MFA Boston (iRx;M22;R231) =EU1867-479, Planteurs de pommes de terre.
Jean-François Millet (1814-75): 1862-64, Bergère avec son troupeau, 81×101, Orsay (iRx;M1;iR1;R231) =S1864-1362 (-> medal) =EU1867-475
Jean-François Millet (1814-75): 1850-65ca, La nuit étoilée (Starry night), 65×81, Yale New Haven (iR6;iR10;M33;R231-1) =EU-1900-C-472, Les Étoiles filantes (à M. Henri Rouart)
Rousseau (1812-1867): 1860-62ca, A Clearing in the Forest of Fontainebleau, 77×145, Norfolk Museum (iR2)
Constant Troyon (1810-65): 1855, Cattle Ploughing in the Early Morning, 260×400, Orsay (iR2;M1;R231;iR1) =EU=S1855-4094, Les boeufs allant au labour; effet du matin; 1st class medal.
Constant Troyon (1810-65): 1859ca, Boeufs au labour, 104×151, MBA Bordeaux (M11;iR10;R231-1) Expos: =Bordaux-1860-576 (bought); =? EU-1900-C-634, Boeufs au labour (Musée de Bordeaux)
Constant Troyon (1810-65): 1859, On the Way to the Market, 261×211, Hermitage (iR2;iR1;M95;R290,p195) =!? S1859-2902, Le départ pour le marché
Constant Troyon (1810-65): 1825-65ca, A farmer in his wagon, 60×74, Md Tessé Mans (iR6;iR23;iR10;R231-1) Provenance: bought in 1865. Expo: =? EU-1900-C-635, Un fermier dans sa charette (Musée du Mans)
