Théodore Rousseau (French, Paris 1812–1867 Barbizon)
Oil on paper, mounted on canvas
9 1/8 x 16 in. (23.2 x 40.6 cm)
The Friedsam Collection, Bequest of Michael Friedsam, 1931
Not on view
Rousseau was not yet twenty years old when he painted this study from nature during one of his many expeditions into the countryside around Paris in the late 1820s. It is probably the painting described as a view of the plain of Saint-Ouen from the hill of Batignolles, with the forest of Montmorency in the distance, that was included in the 1867 retrospective of his work.
Inscription: Signed (lower left): TH. Rousseau.
Dun; Gérard, Paris (until 1901; sold on January 31, for Fr 4,200, to Boussod-Valadon); [Boussod-Valadon, Paris, 1901–2; stock no. 27015, as "Paysage panoramique"; sold on July 3, 1902, for Fr 8,500, to Kraushaar]; [C. W. Kraushaar, New York, from 1902; sold to Flanagan]; Joseph F. Flanagan, Boston (until 1919; sale, American Art Association, New York, April 24–25, 1919, no. 118, as "Landscape with Town, by the Sea," for $1,150 to Kleinberger and Co., New York, for Friedsam); Michael Friedsam, New York (1919–d. 1931)
New York. The Metropolitan Museum of Art. "The Michael Friedsam Collection," November 15, 1932–April 9, 1933, no catalogue.
New York. Shepherd Gallery. "The Forest of Fontainbleau [sic], Refuge of Reality: French Landscape 1800 to 1870," April 22–June 10, 1972, no. 37.
New York. The Metropolitan Museum of Art. "Barbizon: French Landscapes of the Nineteenth Century," February 4–May 10, 1992, no catalogue.
New York. Salander-O'Reilly Galleries. "Théodore Rousseau: The Language of Nature," February 6–March 9, 2002, no. 14.
London. Tate Britain. "Crossing the Channel: British and French Painting in the Age of Romanticism," February 5–May 11, 2003, no. 113 (as "View Towards Saint-Ouen from Batignolles").
Minneapolis Institute of Arts. "Crossing the Channel: British and French Painting in the Age of Romanticism," June 8–September 7, 2003, no. 113.
New York. The Metropolitan Museum of Art. "Crossing the Channel: British and French Painting in the Age of Romanticism," October 7, 2003–January 4, 2004, no. 113.
New York. Morgan Library & Museum. "The Untamed Landscape: Théodore Rousseau and the Path to Barbizon," September 26, 2014–January 18, 2015, no. 2 (as "A Village in the Valley," ca. late 1820s).
Charles Sterling and Margaretta M. Salinger. French Paintings: A Catalogue of the Collection of The Metropolitan Museum of Art. Vol. 2, XIX Century. New York, 1966, p. 79, ill., tentatively date it about 1830; discern the influence of late eighteenth-century painting and Bonington's watercolors.
Jean Bouret. L'École de Barbizon et le paysage français au XIXe siècle. Neuchâtel, Switzerland, 1972, p. 270, ill. p. 93, dates it about 1830.
John Ittmann et al. inThe Forest of Fontainbleau [sic], Refuge of Reality: French Landscape 1800 to 1870. Exh. cat., Shepherd Gallery. New York, 1972, unpaginated, no. 37, ill., date it probably 1829 or 1830, before Rousseau's trip to the Auvergne.
Michel Schulman with Marie Bataillès. Théodore Rousseau, 1812–1867: Catalogue raisonné de l'œuvre peint. Paris, 1999, p. 87, no. 18, ill., dates it 1832–34.
Michel Schulman in Michel Schulman and Alexandra Murphy. Théodore Rousseau: The Language of Nature. Exh. cat., Salander-O'Reilly Galleries. New York, 2002, pp. 44–45, no. 14, ill. (color), dates it 1832–34, after Rousseau's trip to the Auvergne.
Patrick Noon in Patrick Noon. Crossing the Channel: British and French Painting in the Age of Romanticism. Exh. cat., Tate Britain. London, 2003, p. 203, no. 113, ill. (color), calls it "View Towards Saint-Ouen from Batignolles" and dates it about 1828; notes the influence of Salomon van Ruysdael and other Dutch paintings which Rousseau copied in the Louvre during the late 1820s.
Amy Kurlander. The Untamed Landscape: Théodore Rousseau and the Path to Barbizon. Exh. cat., Morgan Library & Museum. New York, 2014, pp. 46–47, 156, no. 2, ill. (color), dates it ca. late 1820s and notes that it was probably painted over more than one session with some of the picture painted indoors; associates the painting with "Edge of the Village of Verberie, on the Road to Compiègne," no. 3 in the 1867 Cercle des Arts gallery exhibition.