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 before 1855. A period in which most impressionists had not yet started painting or just for a short while. 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 Aligny, (Rosa) Bonheur, Cabat, Corot, Daubigny, Dupré, Huet, Jongkind, Michel, Rousseau and Troyon and other painters like Constable, Dagnan, Géricault, Isabey, Kuytenbrouwer, Turner and Vernet. 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!
Rosa Bonheur (1822-99): 1849, Plowing in the Nivernais, 134×260, Orsay (iR6;iR8;iR3;M1) =S1849-204 (-> 1st class medal; commissioned and bought by the State); =London-EU-1862-129; =EU-C-1889-69.
Rosa Bonheur (1822-99): 1853-55, Haymaking in the Auvergne, 213×422, MNCH Fontainebleau (iR155;iR6;iR23;iR1;R231-1;M1;M284) 1854 purchased by the State for 20.000fr; Expos: =EU-1855-2587, La fenaison (Auvergne); Fontainebleau, musée national du Château (-> 1st class medal); =!? EU-C-1900-43, La Fenaison (en Auvergne).
Rosa Bonheur (1822-99): 1852-55, The horse fair, 245×507, Metropolitan (iR6;M23) =S1853-134, Marché aux cheveaux de Paris
Cabat (1812-93): 18xx, Le jardin Beaujon (iR10;iR94;iR11;iR1;R231) =? S1834-252, Vue du jardin Beaujon, à Paris = EU-C-1889-114, Le Jardin Beaujon (2nd class medal, paysage)
Cabat (1812-93): 1833ca, The lake of Ville d’Avray, 73×110, Louvre (iR357;iR10;iR1;R290,p133) =S1834-253, Vue de l’étang de Ville-d’Avray (2nd class medal, paysage)
Cabat (1812-93): 1834, Vue de Gorge-aux-Loups, Forêt de Fontainebleau, 114×153, Louvre (iR357;iR10;iR94;iR1;M5) =S1835-285, Vue de la Gorge-aux-Loups (Seine-et-Marne) (bought by the state)
John Constable (1776-1837): 1821ca, Study of the trunk of an elm tree, 31×25, VAM London (M65)
S1824, Constable, 1821, The Hay Wain, 130×185, NG London
Corot (1796-1875): 1825-29ca, The Fountain of the French Academy in Rome, 18×29, MBA Reims (iR155;iR10;iR6;R231-1;M190) =? EU-1900-C-127, Fontaine de la villa Médicia (à M. Henri Rouart)
Corot (1796-1875): 1826, CR67, The Forum seen from the Farnese gardens, 28×50, Louvre (iR155;iR10;iR6;R61,no3+p19;M5)
Corot (1796-1875): 1826, CR66, The Coliseum Seen from the Farnese Gardens, 30×49, Louvre (iR6;iR23;iR1;R60,89;R119,no66;M5) =S1849-442, Étude du Colysée à Rome
Corot (1796-1875): 1826, CR130, The bridge at Narni (study), 34×48, Louvre (iR10;iR326;iR6;iR23;R61,no5;R222,p28;R119,no130;M5)
Corot (1796-1875): 1826-27, CR199, The bridge at Narni, 67×93, NGC Ottawa (iR155;iR10;iR39;iR1;R222,p27;R61,no6;R119,no199;M113) =S1827-221, Vue prise à Narni
Jean-Baptiste Corot (1796-1875): 1830ca, La Plâtrière (Un village dans la montagne), 26×38, A2023/10/20 (iR11;iR10)
Corot (1796-1875): 1834, Venice, Dome of the Santa Maria della Salute and the Grand Canal seen from Campo della Carità, 27×40, private (iR2;R222,p57)
Corot (1796-1875): 1834, CR303, Volterra, le municipe (View of Volterra), 71×94, Louvre (M5;iR23;iR6;iR10;R119,no303;R231-1) Provenance: sale 1875/05/31-73; Dieterle; sale 1890/02/24-5; Bernheim-Jeune; Moreau-Nélaton; 1906 Louvre. Expos: =? S1838-342, Vue prise à Volterra, Toscane; =EU-1900-122, Vue prise à Volterra (à M. Moreau-Nélaton; S.1838)
Corot (1796-1875): 1834ca (1830ca), CR225, View of the Forest of Fontainebleau, 176×243, NGA Washington (M21;iR2;iR1;R231;R61,no13;R119,no225) =? S1831-400 , Vue prise dans la forêt de Fontainebleau =? S1833-468, Vue de la forêt de Fontainebleau (2nd class medal) =S1834-371, Un forêt =ESNBA-1875-138, Jeune femme lisant pres d’un cours d’eau entouré de rochers =EU-C-1889-173, La Fôret de Fontainebleau (app. à M. Birant; S.1833)
Corot (1796-1875): 1834-35, CR362, Hagar in the wilderness, 180×271, Metropolitan (M23;iR2;iR1;R231-1;R61,no17;R222,p63;R119,no362) =S1835-440, Agar dans le désert; paysage; =EdBA-1875-226; =EU-1900-C-129, Agar dans le désert, grand paysage (à M. Gallimard; S.1835)
Corot (1796-1875): 1837, CR366, Saint-Jérôme, 180×245, Église Saint-Marc-Saint-Nicolas Ville d’Avray (iR108;iR10;iR127;R294,no57) =S1837-388, Saint Jérôme; paysage
Corot (1796-1875): 1838, A View near Volterra, 70×96, NGA Washington (M21;iR10;R231-1;R222,p69;R61,pl20) Compare: S1838-342, Vue prise à Volterra, Toscane =EU-1900-122, Vue prise à Volterra (à M. Moreau-Nélaton; S.1838)
Corot (1796-1875): 1840-41ca, Le verger, xx, Musée de Semur en Auxois (iR10;iRx;iR6;iR1;R231-1+2) =S1841-398??; =EU-1900-C-117, Le Verger (Musée de Semur; S.1841)
Corot (1796-1875): 1840-45ca, CR474, Vue du château de Pierrefonds, 52×78, MBA Quimper (iR10;M208;iR6;iR94;R231-1;R119,no474) =!? EU-1900-C-115, Vue de Pierrefonds (Musée de Quimper)
Corot (1796-1875): 1843, CR457, The gardens of the Villa d’Este at Tivioli, 44×61, Louvre (M5;iR6;iR23;R119,no457;R222,p83;R231-1+2) Provenance: Henri Rouart; sale MJ1912/12/09-114; Ernest Rouart. Expos: EdBA +sale 1875/05/31-95; EU-1900-C-126, Tivoli vu de la villa d’Este (à M. Henri Rouart); Copenhagen-XIX-1914-31; Paris-100-1922-?.
Corot (1796-1875): 1846, CR502, Forest of Fontainebleau, 90×129, MFA Boston (iR2;iR1;R231;R61,no29;R119,no502;M22) =S1846-422, Vue prise dans la forêt de Fontainebleau (1846: Chevalier de Légion d’Honneur)
Isidore Dagnan (1794-1873; or born in 1790 or 1788): 1834ca, Le Boulevard Poissonnière en 1834, ?cm, Carnavalet -> Md Puy (iR4;iR10;iR6;M8;M178?;R231-1+2) Expos: S1834; EU-1900-C-157, Vue de Paris, prise sur le boulevard Poissonnière, effet du matin (Musée du Puy) (S.1834).
Jules Dupré (1811-89): 1833, The Outskirts of Plymouth, 53×80, Rehs Galleries New York (iR2;iR10)
Jules Dupré (1811-89): 1835, Environs de Southampton, 184×115, MLS L’Isle-Adam (iR10;M179;iR13;iR1;R231) =!? S1835-674, Vue prise à Southampton (Angleterre) = =EU-C-1889-323, Environs de Southampton
Jules Dupré (1811-89): 1835ca, Les moulins à vent, ow, 23×36, MBA Reims (M190;iR6;iR23) Provenance: Vasnier till 1907. Expo: =EU-1900-C-266, Les moulins à vent (à Vasnier).
Jules Dupré (1811-89): 1836, SDbl, Cows crossing a ford, 36×63, Metropolitan (iR10;M23;iR6;R231-1+2) =EU-1900-C-268, Le passage du Gué (à M. Moreau-Nélaton)
Jules Dupré (1811-89): 1837, SDbl, Landscape with Cattle at Limousin, 79×130, Metropolitan (iR6;M23;iR10;iR48;iR1;R231) Compare: S1835-671, Vue prise dans les pacages du Limousin =EU-C-1889-322
Jules Dupré (1811-89): 1840, Fontainebleau Oaks, 81×99, Minneapolis IA (iR2;M155)
Géricault (1791-1824): 1818, Evening (Landscape with an Aqueduct), 250×220, Metropolitan (iR10;M23;iR2)
Paul Huet (1803-69): 1835ca, The Harvest, 64×80, private (iR2)
Eugène Isabey (1803-86): 1842, Vue de la ville et du port de Dieppe, 164×251, MBA Nancy (iR6;iR10;iR23;M218) Expos: S1842; EU-1900-C-383, Le port de Dieppe (Musée de Nancy; S.1842)
Johan Barthold Jongkind (1819-91): 1848, SDbl, View Maassluis in Winter, 24×41, A2008/02/11 (iR6)
Johan Barthold Jongkind (1819-91): 1850, SDbr, View of the harbor of Harfleur, 106×161, MdP Amiens (iR10;iR155;iR23;iR1;R177,p23;M243) =Jean-Baptiste Jongkind: S1850/51-1662, Vue du port d’Harfleur; bought 1851 by the State for 600fr; =Amiens-1853-117.
Johan Barthold Jongkind (1819-91): 1851, The harbour at Le Tréport (morning), 106×170, private (HW;iR1;R177,p23+24) =S1852-707, Le Tréport, le matin; 3rd class medal (Marine)
Johan Barthold Jongkind (1819-91): 1852, Saint-Valéry-en-Caux, sunset, 107×169, KMM Otterlo (iR5;iR1;R177,p23+24;M72) =S1852-706, Saint-Valery-en-Caux; soleil couchant; 3rd class medal (Marine)
Johan Barthold Jongkind (1819-91): 1852, Saint-Valéry-en-Caux, sunset (detail), 107×169, KMM Otterlo (HW;iR5;iR1;R177,p23+24;M72) =S1852-706, Saint-Valery-en-Caux; soleil couchant -> 3rd class medal (Marine)
Johan Barthold Jongkind (1819-91): 1853, SDbl, CR2, Le pont de l’Estacade à Paris, 105×170, MBA Angers (iR4;iR1;iR32;R177,p25;R113,no2;M18) =S1853-655, Vue de Paris: la Seine; bought by the State in 1853.
Johan Barthold Jongkind (1819-91): 1853, SDbl, Vue de Paris, la Seine l’Estacade (detail), 105×170, MBA Angers (HW;iR4;iR1;iR32;R177,p25;R113,no2;M18) =S1853-655, Vue de Paris: la Seine; bought by the State in 1853.
Johan Barthold Jongkind (1819-91): 1854, SDbr, CCP126, Notre-Dame au clair de lune, 47×74, MBA Reims (iR23;iR6;M190)
Johan Barthold Jongkind (1819-91): 1854, SDbl, Le chevet de Notre Dame vu du Pont de la Tournelle, 44×65, Km The Hague (M71;iR2;iR10;iR1;R177,p27) =EU/S-1855-3424, Vue de Notre-Dame de Paris, prise du pont de la Tournelle
Johan Barthold Jongkind (1819-91): 1854, CCP130, SDbr, View from the Quai d’Orsay, 44×66, Metropolitan (M23;iR6;iR1;R177,p26) =Brussels-1854-529 =EU/S-1855-3425, Vue prise du quai d’Orsay
Martinus Kuytenbrouwer: 1848, Rocks near the Gorges d’Apremont, 94×128, BBM Rotterdam (iR10;M70;R2)
George Michel (1763-1843): 1820-30ca, L’Orage, 48×63, MBA Strasbourg (iR6;iR24;iR10;M212;R231-1) Provenance: till 1921 Ernest May. Expo: =?? EU-1900-C-469, L’Orage (à Mme Bureau)
Theodore Rousseau (1812-1867): 1840ca, A tree in Fontainebleau Forest (Solitairy oaktree; Etude du Dormoir), 40×54, VAM London (iR6;M65)
Théodore Rousseau (1812-1867): 1851ca, CR585, Prairies traversées par une rivière, ow, 31×55, MBA Nantes (iR10;iR7;iR489;M16;R231-1) =EU-1900-C-590, Prairies traversées par une rivière (Musée de Nantes)
Théodore Rousseau (1812-1867): 1851, The Forest of Fontainbleau, morning, 98×134, Wallace London (iR2) Compare EU-1855-3931
Théodore Rousseau (1812-1867): 1852-54, The Edge of the Woods at Mont Gerard, Fontainebleau, 80×122, Metropolitan (iR2;iR1;M23) =EU-1855-3934, Lisière des Monts-Gérard, forêt de Fontainebleau (1st class medal).
Constant Troyon (1810-65): 1825-47, Cours d’eau sous bois, 33×47, Louvre (iR357;iR23;iR6;M5;R231-1) =EU-1900-C-636, Sous bois (à M. Moreau-Nélaton)
Constant Troyon (1810-65): 1849, The Approaching Storm, 116×158, NGA Washington (iRx;M21)
Constant Troyon (1810-65): 1851, Going to Market on a Misty Morning, 65×52, CAI Williamstown (iR2;M26;R290,p195) cpS1859-2902, Le départ pour le marché = EU-C-1889-629, Le matin, départ pour la marché
Constant Troyon (1810-65): 1852, Troupeau passant le gué, 73×107, Louvre (iR357;iR10;M5) =EU-1900-C-637, Le Passage du gué (à M. Moreau-Nélaton)
Constant Troyon (1810-65): 1852ca, Cows in the Field, 93×75, Hermitage (iR2;M95;R231) =? EU1867-603 = EU-C-1889-632, Vache blanche au pré
Constant Troyon (1810-65): 1854, Gamekeeper and His Dogs, 117×90, Orsay (iR2;M1)
William Turner (1875-1851): 1844ca, Rail, Steam and Speed (the Great Western Railway), 91×122, National Gallery London (iRx;M61)
E.-J.-Horace Vernet (1789-1863): 1822ca, The Vesuvius erupting, 93×74, MFA Houston (iR6;iR10;M163) Depicting Vernet and his father Carle.
