COLLECTION NAME:
The AMICA Library
mediaCollectionId
AMICO~1~1
The AMICA Library
Collection
true
AMICA ID:
DMA_.1985.R.51
amicoid
DMA_.1985.R.51
AMICA ID
false
AMICA Library Year:
2003
aly
2003
AMICA Library Year
false
Object Type:
Drawings and Watercolors
oty
Drawings and Watercolors
Object Type
false
Creator Name:
Pissarro, Camille
crn
Pissarro, Camille
Creator Name
false
Creator Dates/Places:
French, 1830 - 1903
cdt
French, 1830 - 1903
Creator Dates/Places
false
Creator Name-CRT:
Camille Pissarro
crt
Camille Pissarro
Creator Name-CRT
false
Title:
The Marne River at Varenne-Saint-Hilaire
otn
The Marne River at Varenne-Saint-Hilaire
Title
false
View:
Full View
rid
Full View
View
false
Creation Date:
1863-1865
oct
1863-1865
Creation Date
false
Creation Start Date:
1863
ocs
1863
Creation Start Date
false
Creation End Date:
1865
oce
1865
Creation End Date
false
Materials and Techniques:
Charcoal on wove paper
omd
Charcoal on wove paper
Materials and Techniques
false
Dimensions:
Overall: 20 x 27 1/2 x 2 1/2 in. (50.8 x 69.85 x 6.35 cm.)
met
Overall: 20 x 27 1/2 x 2 1/2 in. (50.8 x 69.85 x 6.35 cm.)
Dimensions
false
AMICA Contributor:
Dallas Museum of Art
oon
Dallas Museum of Art
AMICA Contributor
false
Owner Location:
Dallas, Texas, USA
oop
Dallas, Texas, USA
Owner Location
false
ID Number:
1985.R.51
ooa
1985.R.51
ID Number
false
Credit Line:
Dallas Museum of Art, The Wendy and Emery Reves Collection
ooc
Dallas Museum of Art, The Wendy and Emery Reves Collection
Credit Line
false
Rights:
orl
<a href="http://www.DallasMuseumofArt.org"target="_new">http://www.DallasMuseumofArt.org</a>
Rights
false
Context:
Camille Pissarro painted fifteen cityscapes of Paris viewed from his suite at the Hôtel du Louvre in the winter of 1897-1898. Four, including "Place du Théâtre Français: Fog Effect," were done on "size 15" canvases, the smallest of the three sizes he used for the series (Pisarro 1989, no. 1019). Unlike Monet, whose series of grain stacks, poplars, and cathedrals were made in identical formats, Pissarro preferred to vary the scale and point of view in his series so that each work was unique. Then, in working with his friend the dealer Paul Durand-Ruel, Pissarro arranged the paintings in harmonious groupings on the walls, creating pairs, trios, and quartets of canvases. This painting must have been made as a pair with "Avenue de l'Opéra: Snow Effect" (1898, Musée Saint-Denis, Reims), which is of identical dimensions and is also devoted to an effect of weather. When Pissarro exhibited twelve paintings from the series in the gallery of Durand-Ruel in June 1898, the Reves painting was not included, although it was finished. It may have already been sold, since its first owner, Eugène Blot, was actively collecting in the late 1890s.The Reves painting is the only fog effect of the series, and was one of only two paintings finished in December 1897, during the first of Pissarro's two campaigns devoted to the avenue de l'Opéra and its environs. This canvas is also one of four that deal with the venerated Théâtre Français building, which looms ominously on the right, its mass contrasting with the fog-filled void of the avenue de l'Opéra. Pissarro did not frequently paint fog, an effect preferred by Monet, Sisley, and Renoir. Indeed, the tangibility of form was so much a part of Pissarro's aesthetic that he avoided dealing with intangible atmosphere. Yet, this subtle painting is masterly in its evocation of the lavender wetness of a dull winter day in Paris. Pissarro's earlier study of fog on the boulevard Montmartre was included in the 1898 exhibition."Impressionist Paintings Drawings and Sculpture from the Wendy and Emery Reves Collection," page 125
cxd
Camille Pissarro painted fifteen cityscapes of Paris viewed from his suite at the Hôtel du Louvre in the winter of 1897-1898. Four, including "Place du Théâtre Français: Fog Effect," were done on "size 15" canvases, the smallest of the three sizes he used for the series (Pisarro 1989, no. 1019). Unlike Monet, whose series of grain stacks, poplars, and cathedrals were made in identical formats, Pissarro preferred to vary the scale and point of view in his series so that each work was unique. Then, in working with his friend the dealer Paul Durand-Ruel, Pissarro arranged the paintings in harmonious groupings on the walls, creating pairs, trios, and quartets of canvases. This painting must have been made as a pair with "Avenue de l'Opéra: Snow Effect" (1898, Musée Saint-Denis, Reims), which is of identical dimensions and is also devoted to an effect of weather. When Pissarro exhibited twelve paintings from the series in the gallery of Durand-Ruel in June 1898, the Reves painting was not included, although it was finished. It may have already been sold, since its first owner, Eugène Blot, was actively collecting in the late 1890s.The Reves painting is the only fog effect of the series, and was one of only two paintings finished in December 1897, during the first of Pissarro's two campaigns devoted to the avenue de l'Opéra and its environs. This canvas is also one of four that deal with the venerated Théâtre Français building, which looms ominously on the right, its mass contrasting with the fog-filled void of the avenue de l'Opéra. Pissarro did not frequently paint fog, an effect preferred by Monet, Sisley, and Renoir. Indeed, the tangibility of form was so much a part of Pissarro's aesthetic that he avoided dealing with intangible atmosphere. Yet, this subtle painting is masterly in its evocation of the lavender wetness of a dull winter day in Paris. Pissarro's earlier study of fog on the boulevard Montmartre was included in the 1898 exhibition."Impressionist Paintings Drawings and Sculpture from the Wendy and Emery Reves Collection," page 125
Context
false
Related Image Identifier Link:
DMA_.1985_R_51.tif
ril
DMA_.1985_R_51.tif
Related Image Identifier Link
false