Camille Pissarro (French, Charlotte Amalie, Saint Thomas 1830–1903 Paris)
Oil on canvas
23 5/8 x 28 3/4 in. (60 x 73 cm)
Gift of Mr. and Mrs. Arthur Murray, 1964
Not on view
Pissarro’s paintings of the mid-1870s are largely devoted to the fields and roads near his home in Pontoise. Here, he turned to a more urban subject, of the type favored by colleagues such as Monet and Renoir: the town’s public garden. The view across the Montmorency plain toward Paris may be glimpsed at left, beyond the spire of Pontoise's Notre-Dame church. But rather than emphasizing the vista, Pissarro focused on the park’s terraces, populated by well-dressed bourgeois and their children. He exhibited a similar scene, painted the year previously (State Hermitage Museum, St. Petersburg), at the first Impressionist exhibition in 1874.
Inscription: Signed and dated (lower left): C.Pissarro.1874
Paul Durand-Ruel (until 1891; held in escrow for the artist; sold August 25 for Fr 800 to the firm Durand-Ruel); [Durand-Ruel, Paris, 1891–1908; stock no. 1314; sold January 31 for Fr 7,000 (with "Falaises à Étretat" by Courbet) to Cassirer]; [Paul Cassirer, Berlin, 1908; sold in March to Mendelssohn]; Robert von Mendelssohn, Berlin (from 1908); [Paul Rosenberg, New York, until 1944; stock no. 5181 / 298; sold November 11 to Murray]; Mr. and Mrs. Arthur Murray, New York and Honolulu (1944–64)
Paris. Galeries Durand-Ruel. "Exposition de tableaux de Monet, Pissarro, Renoir & Sisley," April 1899, no. 41 (as "Pontoise").
Paris. Bernheim-Jeune et fils. "Exposition d'œuvres de l'école impressionniste," April 2–25, 1903, no. 46 (as "Le Jardin," possibly this picture) [see Snollaerts 2005].
London. Grafton Galleries. "Pictures by Boudin, Cézanne, Degas, Manet...," January–February 1905, no. 212 (as "The Public Garden at Pontoise").
Berlin. Paul Cassirer. April 1906, no catalogue [see Rosenhagen 1906 and Snollaerts 2005].
Zürich. Galerie Tanner. "Ausstellung Franz. Meister des 19. und 20. Jahrhunderts," April 9–30, 1929, no. 16 (possibly this picture) [see Snollaerts 2005].
New York. Carroll Carstairs. "The 1870s in France," closed December 17, 1938, unnumbered cat. (as "Jardin à Pontoise," lent anonymously).
New York. Paul Rosenberg & Co. "Masterpieces Recalled: A Loan Exhibition of 19th and 20th Century French Paintings," February 6–March 2, 1957, no. 8 (as "The Park at Pontoise," lent by Mr. and Mrs. Arthur Murray).
New York. The Metropolitan Museum of Art. "Paintings from Private Collections: Summer Loan Exhibition," July 1–August 20, 1961, no. 66 (lent by Mr. and Mrs. Arthur Murray).
New York. Wildenstein & Co., Inc. "C. Pissarro," March 25–May 1, 1965, no. 26 (lent by Mr. and Mrs. Arthur Murray).
Baltimore Museum of Art. "Pissarro: Creating the Impressionist Landscape," February 11–May 13, 2007, no. 49 (as "The Municipal Garden, Pontoise 'The Public Garden at Pontoise'").
Milwaukee Art Museum. "Pissarro: Creating the Impressionist Landscape," June 10–September 9, 2007, no. 49.
Edinburgh. National Gallery of Scotland. "Impressionist Gardens," July 31–October 17, 2010, no. 51.
Madrid. Museo Thyssen-Bornemisza. "Impressionist Gardens," November 16, 2010–February 13, 2011, no. 51.
Camille Pissarro. Letter to Bernheim-Jeune. March 15, 1903 [published in Ref. Bailly-Herzberg 1991, p. 326, no. 2009], states that he is sending three paintings to Bernheim-Jeune, including "Jardin à l'Hermitage, Pontoise," possibly this picture.
R. M. "Petites expositions: Exposition d'Impressionnistes." Chronique des arts et de la curiosité, supplément à la Gazette des beaux-arts no. 14 (April 4, 1903), p. 111 [possibly this picture; see Ref. Snollaerts 2005].
Hans Rosenhagen. "Von Ausstellungen und Sammlungen." Die Kunst für Alle 21 (April 19, 1906), p. 357.
Julius Meier-Graefe. Impressionisten. 2nd ed. Munich, 1907, ill. p. 159.
A. Tabarant. Pissarro. London, 1925, pl. 16.
Alfred M. Frankfurter. "Panorama of a Great Decade: 'The 1870s'." Art News 37 (December 3, 1938), pp. 12–13, ill.
Ludovic Rodo Pissarro and Lionello Venturi. Camille Pissarro, son art—son œuvre. reprint ed. 1989. Paris, 1939, vol. 1, p. 116, no. 257; vol. 2, pl. 51, no. 257.
John Rewald. The History of Impressionism. New York, 1946, p. 260, ill., erroneously states that it was shown at the first Impressionist exhibition.
Charles Sterling and Margaretta M. Salinger. French Paintings: A Catalogue of the Collection of The Metropolitan Museum of Art. Vol. 3, XIX–XX Centuries. New York, 1967, pp. 16–18, ill., remark that its loose and free brushstroke suggests foliage and that the strolling figures are in the style of the early Impressionists, and related especially to Monet.
Anne Distel Dayez. Centenaire de l'impressionnisme. Exh. cat., Galeries Nationales du Grand Palais. Paris, 1974, p. 250, suggests that this painting was included in the 1st Impressionist exhibition in 1874 as no. 139 [see Refs. Pissarro and Venturi 1939 and Snollaerts 2005].
Paul Tucker inThe New Painting: Impressionism 1874–1886. Ed. Charles S. Moffett. Exh. cat., National Gallery of Art, Washington. San Francisco, 1986, p. 122, tentatively identifies it as no. 139 in the first Impressionist exhibition of 1874.
Richard R. Brettell with Joachim Pissarro. Pissarro and Pontoise: The Painter in a Landscape. New Haven, 1990, pp. 49, 130, 209 n. 21, fig. 41 (color) and colorpl. 122 (detail), erroneously as in a private collection.
Janine Bailly-Herzberg. Correspondance de Camille Pissarro, 1899–1903. Vol. 5, Saint-Ouen-l'Aumône, 1991, p. 327 n. 2, identifies it as possibly one of the works Pissarro lists in a letter to Bernheim-Jeune as being sent for their exhibition of Impressionist paintings [see Ref. Pissarro 1903 and Exh. Paris 1903].
Albert Kostenevich. Hidden Treasures Revealed: Impressionist Masterpieces and Other Important French Paintings Preserved by the State Hermitage Museum, St. Petersburg. Exh. cat.New York, 1995, pp. 156–58, ill., erroneously as still in a private collection, Honolulu.
Ruth Berson, ed. "Documentation: Volume I, Reviews and Volume II, Exhibited Works." The New Painting: Impressionism 1874–1886. San Francisco, 1996, vol. 2, p. 12, no. I-139, ill. p. 27, identifies it as no. 139 in the first Impressionist exhibition, noting, however, that Ref. Pissarro and Venturi 1939 identify the same painting as "The Municipal Garden, Pontoise" (State Hermitage Museum, St. Petersburg) [see Ref. Snollaerts 2005].
Claire Durand-Ruel Snollaerts in Joachim Pissarro and Claire Durand-Ruel Snollaerts. Pissarro: Critical Catalogue of Paintings. Milan, 2005, vol. 1, pp. 365–67, 375, 382, 391, 394, 396; vol. 2, pp. 213, 244, 267, no. 347, ill. (color); vol. 3, pp. 953, 956, calls it "The Municipal Garden, Pontoise"; notes that Pissarro painted the same park one year earlier in a painting of the same name (State Hermitage Museum, St. Petersburg).
Alexia de Buffévent in Joachim Pissarro and Claire Durand-Ruel Snollaerts. Pissarro: Critical Catalogue of Paintings. Milan, 2005, vol. 1, p. 313, states that it may have been exhibited by Bernheim-Jeune in 1903.
Katherine Rothkopf. Pissarro: Creating the Impressionist Landscape. Exh. cat., Baltimore Museum of Art. London, 2006, pp. 59, 63.
Gülru Çakmak in Katherine Rothkopf. Pissarro: Creating the Impressionist Landscape. Exh. cat., Baltimore Museum of Art. London, 2006, pp. 88, 186–89, no. 49, ill. (color, overall and detail), notes that it introduced a new theme of urban leisure in Pissarro's work; discusses its innovative approach to pictorial space, reflecting the influence of Japanese woodblock prints; suggests that it was meant to be a pendant to the work in the Hermitage.
Clare A. P. Willsdon. Impressionist Gardens. Exh. cat., National Gallery of Scotland, Edinburgh. London, 2010, pp. 80, 157–58, no. 51, ill. (color).
Artist: Camille Pissarro (French, Charlotte Amalie, Saint Thomas 1830–1903 Paris)Date: 1886Medium: Graphite, pen and black-gummed ink on buff wove paper (glossy on verso); right margin torn from notebookAccession: 1975.1.679On view in:Not on view