Jean-Baptiste-Armand Guillaumin, Landscape, Ivry-sur-Seine, ca. 1874, oil on canvas, 19 3/8 x 25 3/4 in. (49.2 x 65.4 cm), Promised gift of Robert L. and Barbara Bloch in honor of his parents, Henry and Marion Bloch, and the 75th anniversary of The Nelson-Atkins Museum of Art, 27-1989
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A photograph of a light brown map where a town is lined up against a river to the right. The middle section of the town is highlighted in a yellow color. The roads are colored in a light blue.
Fig. 1. Petit Guide Ivryen, 7th ed. (Ivry-sur-Seine: R. Aubert, 20th century), 14–15; copy from Archives municipals d’Ivry-sur-Seine
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A painting depicting a view of a river at either sunset or sunrise. The orange and blue sky reflects off of the river below. In the background, is the skyline of a small city. The large chimneys also puff out large amounts of smog and smoke into the air.
Fig. 2. Jean-Baptiste-Armand Guillaumin, Sunset at Ivry, 1873, oil on canvas, 25 5/8 x 31 7/8 in. (65 x 81 cm), Musée d’Orsay, Paris, RF 1951 34
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A black and white photograph of a field of crops that overlooks the outskirts of a large town or small city. On top of the photograph is a red stamp with black circular markings over it. At the bottom of photograph the text says “6 IVRY (Seine) Panorama de la Ville.”
Fig. 3. View of Ivry-center, 1917, postcard, published by Rose, Municipal Archives of Ivry-sur-Seine, 2 Fi 1034
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A sketch of a small section of a town that focuses on a large field a couple of buildings, and the light emissions from the factory chimneys.
Fig. 4. Jean-Baptiste-Armand Guillaumin, Landscape at Ivry, 1869, black pencil on beige paper, 8 1/8 x 12 3/8 in. (20.5 x 31.5), private collection
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Fig. 5. Paul Cezanne, Panoramic View of Auvers, 1873–1875, oil on canvas, 25 5/8 x 32 in. (65.2 x 81.3 cm), Art Institute of Chicago. Mr. and Mrs. Lewis Larned Coburn Memorial Collection, 1933.422
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Fig. 6. Photomicrograph with raking light, showing the coarse ground layer texture found in the lower right quadrant in Landscape, Ivry-sur-Seine (ca. 1874)
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Fig. 7. Detail of the left side turnover edge and ground layer application in normal light (left) and raking light (right), with a white arrow pointing toward the ground layer edge bead, in Landscape, Ivry-sur-Seine (ca. 1874)
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Fig. 8. Infrared photograph of the left-side horizon with white arrows pointing toward parallel underdrawing lines in Landscape, Ivry-sur-Seine (ca. 1874)
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Fig. 9. Photomicrograph of exposed ground and charcoal underdrawing (see white arrows) beside the large smokestack in Landscape, Ivry-sur-Seine (ca. 1874)
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Fig. 10. Photomicrograph of gray-blue underpainting (see black arrow) near the horizon in Landscape, Ivry-sur-Seine (ca. 1874)
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Fig. 11. Detail of red-roofed building and background, illustrating glimpses of exposed ground in Landscape, Ivry-sur-Seine (ca. 1874)
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Fig. 12. Detail of the central figure and horses in Landscape, Ivry-sur-Seine (ca. 1874)
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Fig. 13. Detail of hatching on the stone wall in Landscape, Ivry-sur-Seine (ca. 1874)
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Fig. 14. Detail of clouds in Landscape, Ivry-sur-Seine (ca. 1874)
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Fig. 15. Detail of the right clothesline illustrating wet-over-dry paint application in Landscape, Ivry-sur-Seine (ca. 1874)
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Armand Guillaumin, Landscape, Ivry-sur-Seine, ca. 1874

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doi: 10.37764/78973.5.621

ArtistJean-Baptiste-Armand Guillaumin, French, 1841–1927
TitleLandscape, Ivry-sur-Seine
Object Dateca. 1874
Alternate and Variant TitlesPaysage d’Île de France
MediumOil on canvas
Dimensions (Unframed)19 3/8 x 25 3/4 in. (49.2 x 65.4 cm)
SignatureSigned lower left: Guillaumin
Credit LineThe Nelson-Atkins Museum of Art. Promised gift of Robert L. and Barbara Bloch in honor of his parents, Henry and Marion Bloch, and the 75th anniversary of The Nelson-Atkins Museum of Art, 27-1989
Catalogue Entry

curatorial

Citation

Chicago:

Danielle Hampton Cullen, “Armand Guillaumin, Landscape, Ivry-sur-Seine, ca. 1874,” catalogue entry in French Paintings and Pastels, 1600–1945: The Collections of The Nelson-Atkins Museum of Art, ed. Aimee Marcereau DeGalan (Kansas City: The Nelson-Atkins Museum of Art, 2022), https://doi.org/10.37764/78973.5.621.5407.

MLA:

Hampton Cullen, Danielle. “Armand Guillaumin, Landscape, Ivry-sur-Seine, ca. 1874,” catalogue entry. French Paintings and Pastels, 1600–1945: The Collections of The Nelson-Atkins Museum of Art, edited by Aimee Marcereau DeGalan, Nelson-Atkins Museum of Art, 2022. doi: 10.37764/78973.5.621.5407.

During his lifetime, Armand Guillaumin (1841–1927) was considered one of the premiere French Impressionist landscape artists. From relatively humble beginnings, over the course of an increasingly successful career, he rose to a position of prominence among his contemporaries and achieved considerable commercial success within Parisian art circles and abroad.1Guillaumin was featured in three solo exhibitions by gallerist Paul Durand-Ruel in the years 1894, 1896, and 1898. See Paul-Louis Durand-Ruel and Flavie Durand-Ruel, Paul Durand-Ruel: Memoirs of the First Impressionist Art Dealer, 1831–1922 (Paris: Flammarion, 2014), 213, 216–18. Together with Paul Cezanne (1839–1906) and others, Guillaumin helped redefine French landscape painting. In his approach to landscape and appreciation for industry, he ushered in a modern pictorial process for those subjects. Indeed, in 1886, the critic Félix Fénéon referred to Guillaumin as “the beautiful painter of landscapes.”2Félix Fénéon, “Les Impressionnistes en 1886,” La Vogue (1886): 395. “Et ce coloriste furieux, ce beau peintre de paysages gorgés de sèves et haletants, a restitué à toutes ses figures humaines une robuste et placide animalité” (“And this furious colorist, this beautiful painter of breathless and sap-drenched landscapes, has restored to all his human figures a robust and placid animality”). Translation by the author. Today many of his works are represented in the collections of major museums and have been included in exhibitions of recent decades dedicated to Impressionism.3See, for example, Denis Coutagne, Cézanne and Paris, exh. cat. (Paris: Éditions de la RMN-Grand Palais, 2011); Felix Kramer, Monet and the Birth of Impressionism, exh. cat. (Munich: Prestel, 2015); and Alexander Babin and Albert Grigorevich Kostenevich, Impressionism: Sensation and Inspiration: Highlights from the Hermitage, exh. cat. (Amsterdam: Museumshop Hermitage Amsterdam, 2012).

Despite these contributions, Guillaumin is arguably the French Impressionist landscape innovator most neglected by today’s scholars. Many of his works remain largely unknown, among them the Nelson-Atkins landscape, which was previously dated 1876–1877 and titled Landscape, Île-de-France.4The Nelson-Atkins landscape entered the collection of Robert Bloch in June 1989, but it was not exhibited in public until 2007, when it was included in an exhibition at the Nelson Atkins Museum of Art. See Richard R. Brettell and Joachim Pissarro, Manet to Matisse: Impressionist Masters from the Marion and Henry Bloch Collection, exh. cat. (Kansas City, MO: Nelson-Atkins Museum of Art, 2007), 14, 74–78, 158. The Nelson-Atkins landscape is also not reproduced in the artist’s catalogue raisonné: G. Serret and D. Fabiani, Armand Guillaumin 1841–1927 (Paris: Mayer, 1971). New research reveals that Guillaumin probably completed the painting earlier and that it depicts Ivry-sur-Seine, an industrial town located along the Paris-Orléans railway, where the artist was employed.5Christopher Gray, “1841–1869: Beginnings,” in Armand Guillaumin (Chester, CT: Pequot Press, 1972), 2. See also Marco-Edo Tralbaut, Armand Guillaumin (1841–1927): En famille et sur le motif (Antwerp: Peré, 1971). Likely painted around 1874, it may well rank among Guillaumin’s earliest and most ambitious compositions produced in and around the southeastern suburb of Ivry-sur-Seine in the early 1870s.

Fig. 1. Petit Guide Ivryen, 7th ed. (Ivry-sur-Seine: R. Aubert, 20th century), 14–15; copy from Archives municipals d’Ivry-sur-Seine
Fig. 1. Petit Guide Ivryen, 7th ed. (Ivry-sur-Seine: R. Aubert, 20th century), 14–15; copy from Archives municipals d’Ivry-sur-Seine
Fig. 1. Petit Guide Ivryen, 7th ed. (Ivry-sur-Seine: R. Aubert, 20th century), 14–15; copy from Archives municipals d’Ivry-sur-Seine
Fig. 2. Jean-Baptiste-Armand Guillaumin, Sunset at Ivry, 1873, oil on canvas, 25 5/8 x 31 7/8 in. (65 x 81 cm), Musée d’Orsay, Paris, RF 1951 34
Fig. 2. Jean-Baptiste-Armand Guillaumin, Sunset at Ivry, 1873, oil on canvas, 25 5/8 x 31 7/8 in. (65 x 81 cm), Musée d’Orsay, Paris, RF 1951 34
Fig. 2. Jean-Baptiste-Armand Guillaumin, Sunset at Ivry, 1873, oil on canvas, 25 5/8 x 31 7/8 in. (65 x 81 cm), Musée d’Orsay, Paris, RF 1951 34
Guillaumin came from a working-class family, and as early as 1861 he held a position as a clerk for the Paris-Orléans Railway while studying painting at the Académie Suisse.6Charles Louis Borgmeyer, “Armand Guillaumin,” Fine Arts Journal 33, no. 5 (November 1915): 465–66. For more on Guillaumin’s years at the Académie Suisse, see Christophe Duvivier, Armand Guillaumin: Les années impressionnistes, exh. cat. (Aulnay-sous-Bois: Presses de Suisse, 1991). As an employee for the railway, he traveled extensively through the southeastern suburbs of Paris, in particular the suburb of Ivry-sur-Seine,7For the Paris Orléans railroad timetables, see Petit Guide Ivryen, 7th ed. (Ivry-Sur-Seine: R. Aubert, n.d.), http://cabinetdecuriosites.ivry94.fr/a/164/petit-guide-ivryen. located along the route of the Porte d’Orléans Railway. This map from the early 20th century illustrates the streets of Ivry-sur-Seine and the surrounding countryside (Fig. 1). Known for both its agriculture and industrial production, Ivry-sur-Seine offered Guillaumin a wide range of subjects, from local farmers working the fields to scenes of railroads and factories along the Seine.8For more on the history of Ivry-Sur-Seine, see Ivry-Centre, Transformation(s) d’un quartier XVIIe–XXe siècles, exh. cat. (Ivry-sur-Seine: Municipal archives of Ivry-sur-Seine, 2017), http://cabinetdecuriosites.ivry94.fr/r/59/ivry-centre-transformation-s-d-un-quartier-xviiie-xxe-siecle. Guillaumin made approximately six oil paintings of the Ivry-sur-Seine landscape, including, new research suggests, the Nelson-Atkins landscape.9James H. Rubin identified five of these works, excluding the Nelson-Atkins painting, as the first concentrated works by an Impressionist on a clearly industrial motif. See James Rubin, “Factories and Work Sites,” in Impressionism and Modern Landscape: Productivity, Technology, and Urbanization from Manet to Van Gogh (Berkeley: University of California, 2008), 132–34, 216n43. Unlike many of his other landscapes painted from this region, in which he often depicted factories along the Seine from the north, Guillaumin opted here to depict a panoramic view from the east. Consider, for example, Setting sun at Ivry at the Musée d’Orsay (Fig. 2), painted from around the same time. While the Musée d’Orsay landscape offers a view of Ivry-sur-Seine from the north, the similarities in the location and factory buildings along the left of the composition clearly relate to the Nelson-Atkins landscape. To capture the latter, Guillaumin appears to have positioned himself on a hilltop, probably along the eastern Ivry plateau (Fig. 3),10A postcard depicts the route that ran from Fort de Bicêtre to Fort d’Ivry. See Ivry-Centre, Transformation(s) d’un quartier. to paint a sweeping view of a walled garden and a rural town nestled between the fields and stretching toward the industrial horizon of Ivry-sur-Seine. In the foreground, a team of white horses are plowing a field, while another two horses and plowman at the far left further animate the scene. Guillaumin’s neutral, earthy palette—including light greens, reds, and blues not seen in earlier Ivry paintings—indicate an overcast autumn day. Categorized by scholars as a painter of industry, Guillaumin combined the active life of the rural countryside with human-made factories to create a balanced composition.

Fig. 3. View of Ivry-center, 1917, postcard, published by Rose, Municipal Archives of Ivry-sur-Seine, 2 Fi 1034
Fig. 3. View of Ivry-center, 1917, postcard, published by Rose, Municipal Archives of Ivry-sur-Seine, 2 Fi 1034
Fig. 3. View of Ivry-center, 1917, postcard, published by Rose, Municipal Archives of Ivry-sur-Seine, 2 Fi 1034
Fig. 4. Jean-Baptiste-Armand Guillaumin, Landscape at Ivry, 1869, black pencil on beige paper, 8 1/8 x 12 3/8 in. (20.5 x 31.5), private collection
Fig. 4. Jean-Baptiste-Armand Guillaumin, Landscape at Ivry, 1869, black pencil on beige paper, 8 1/8 x 12 3/8 in. (20.5 x 31.5), private collection
Fig. 4. Jean-Baptiste-Armand Guillaumin, Landscape at Ivry, 1869, black pencil on beige paper, 8 1/8 x 12 3/8 in. (20.5 x 31.5), private collection
Guillaumin may have conceived of the motif as early as 1869 while working for the Paris-Orléans Railway; several sketches and pastels from Ivry-sur-Seine that predate the Nelson-Atkins landscape depict a similar composition. Dated 1869, Landscape at Ivry (Fig. 4) is perhaps the most strikingly similar to the painting and is considered by art historian Christopher Gray to be Guillaumin’s earliest known drawing.11Gray, “1841–1869: Beginnings,” 3. Rendered with soft black pencil, this sketch presents a scene along the Seine, probably showing the forges at Ivry from the east. Similar to the Nelson-Atkins landscape, the factories in the distance are largely grouped along the left side of the composition, with smoke curling up to the sweeping horizon. Additionally, the angled roof, plowman, and two horses in the left foreground are present in both this sketch and in the Nelson-Atkins landscape. Although similar in terms of site and subject matter, these two works differ markedly in their spatial composition. In 1869, the twenty-four-year-old Guillaumin had not yet reached his artistic maturity; he struggled to convey effectively the spatial relationship between the plowman and two horses in the foreground to the angled roof in the middle distance and the factories along the horizon. By 1874, Guillaumin dispensed with the conventional foreground, a strip of land seen in the sketch, and opted for a panoramic view, thereby placing the viewer immediately on the hilltop landscape by way of a retaining wall in the right foreground.

Fig. 5. Paul Cezanne, Panoramic View of Auvers, 1873–1875, oil on canvas, 25 5/8 x 32 in. (65.2 x 81.3 cm), Art Institute of Chicago. Mr. and Mrs. Lewis Larned Coburn Memorial Collection, 1933.422
Fig. 5. Paul Cezanne, Panoramic View of Auvers, 1873–1875, oil on canvas, 25 5/8 x 32 in. (65.2 x 81.3 cm), Art Institute of Chicago. Mr. and Mrs. Lewis Larned Coburn Memorial Collection, 1933.422
This compositional change was influenced by Guillaumin’s work alongside Cezanne in the early 1870s. The two artists became acquainted in 1861 when they both studied at the Académie Suisse in Paris. They quickly became friends and frequently traveled outside Paris, specifically to Auvers-sur-Oise and Pontoise. During the height of this working relationship in the early 1870s, they shared a studio and produced nearly identical views from the same vantage points.12In 1874, Guillaumin and Cezanne participated in the first Impressionist exhibition. In the catalogue, both artists listed their address as 120 Rue de Viaugirard. See Catalogue de la première Exposition de Peinture par MM. Caillebotte, Cals, Cézanne, Cordey, Degas, Guillaumin, Jacques-François, Lamy, Levert, Maureau, C. Monet, B. Morisot, Piette, Pissarro, Renoir, Rouart, Sisley, Tillot, exh. cat. (Paris: Imprimerie E. Capiomont et V. Renault, 1877), 9, 11 [repr., in Theodore Reff, ed., Modern Art in Paris: Two-Hundred Catalogues of the Major Exhibitions Reproduced in Facsimile in Forty-Seven Volumes, vol. 23, Impressionist Group Exhibitions (New York: Garland, 1981), unpaginated]. The two became neighbors a year later: in January 1875, Cezanne moved to 15 Quai d’Anjou, while Guillaumin lived at no. 13. For more on this, see John Rewald’s chapter, “Cézanne and Guillaumin,” in Études d’art Français offertes a Charles Sterling (Paris: Presses Universitaires de France, 1975), 344. A comparison of the present painting to works by Cezanne from around 1874 offers important insight into Guillaumin’s development as an artist and this period of mutual influence.13For more on Guillaumin’s friendship and close working relationship with Cezanne, see James H. Rubin’s chapter, “Armand Guillaumin and Paul Cézanne in Ile-de-France,” in Coutagne, Cézanne and Paris, 64–71. See also Rewald, “Cézanne and Guillaumin,” 346–47; and Armand Guillaumin: l’Impressioniste, ami de Cézanne et Van Gogh, exh. cat. (Geneva: Musée d’Art Moderne, 1995). Under Cezanne’s guidance, Guillaumin began reworking his earlier compositions, paying considerable attention to the underlying structure, including the surrounding fields and houses. Meanwhile, Cezanne, in response to Guillaumin, adopted the latter’s use of strong architectural diagonals to guide viewers into works such as his Panoramic View of Auvers (Fig. 5). Even the view beyond is animated by the diagonal slopes seen in Guillaumin’s countryside views. Guillaumin’s brushwork also influenced Cezanne; note how Guillaumin applied thick, parallel brushstrokes to the retaining wall, to the figures in the foreground, and even along the horizon to construct dimension. These hatched brushstrokes are a precursor to Cezanne’s “constructive stroke,” developed around 1877.14For more on Cezanne’s constructive stroke and Guillaumin’s possible influence, see Rewald, “Cézanne and Guillaumin,” 346–47. See also Rubin, “Armand Guillaumin and Paul Cezanne in Ile-de-France,” 67–68. Both landscapes are foundational examples of the artists’ collaboration and shared influence, which ultimately helped redefine French landscape painting.

A promised gift of Robert L. Bloch, Landscape, Ivry-sur-Seine is newly recognized as an important example of Guillaumin’s early development as a landscape artist. Indeed, the painting was featured in a 2021 exhibition organized by the Nelson-Atkins entitled Among Friends: Guillaumin, Cezanne, Pissarro, highlighting the artist’s creativity, exchange, and friendship with Cezanne and Pissarro.15Among Friends: Guillaumin, Cezanne, Pissarro was held at the Nelson Atkins Museum of Art from February 12 to January 23, 2022. No catalogue was produced.

Danielle Hampton Cullen
April 2021

Notes

  1. Guillaumin was featured in three solo exhibitions by gallerist Paul Durand-Ruel in the years 1894, 1896, and 1898. See Paul-Louis Durand-Ruel and Flavie Durand-Ruel, Paul Durand-Ruel: Memoirs of the First Impressionist Art Dealer, 1831–1922 (Paris: Flammarion, 2014), 213, 216–18.

  2. Félix Fénéon, “Les Impressionnistes en 1886,” La Vogue (1886): 395. “Et ce coloriste furieux, ce beau peintre de paysages gorgés de sèves et haletants, a restitué à toutes ses figures humaines une robuste et placide animalité” (“And this furious colorist, this beautiful painter of breathless and sap-drenched landscapes, has restored to all his human figures a robust and placid animality”). Translation by the author.

  3. See, for example, Denis Coutagne, Cézanne and Paris, exh. cat. (Paris: Éditions de la RMN-Grand Palais, 2011); Felix Kramer, Monet and the Birth of Impressionism, exh. cat. (Munich: Prestel, 2015); and Alexander Babin and Albert Grigorevich Kostenevich, Impressionism: Sensation and Inspiration: Highlights from the Hermitage, exh. cat. (Amsterdam: Museumshop Hermitage Amsterdam, 2012).

  4. The Nelson-Atkins landscape entered the collection of Robert Bloch in June 1989, but it was not exhibited in public until 2007, when it was included in an exhibition at the Nelson Atkins Museum of Art. See Richard R. Brettell and Joachim Pissarro, Manet to Matisse: Impressionist Masters from the Marion and Henry Bloch Collection, exh. cat. (Kansas City, MO: Nelson-Atkins Museum of Art, 2007), 14, 74–78, 158. The Nelson-Atkins landscape is also not reproduced in the artist’s catalogue raisonné: G. Serret and D. Fabiani, Armand Guillaumin 1841–1927 (Paris: Mayer, 1971).

  5. Christopher Gray, “1841–1869: Beginnings,” in Armand Guillaumin (Chester, CT: Pequot Press, 1972), 2. See also Marco-Edo Tralbaut, Armand Guillaumin (1841–1927): En famille et sur le motif (Antwerp: Peré, 1971).

  6. Charles Louis Borgmeyer, “Armand Guillaumin,” Fine Arts Journal 33, no. 5 (November 1915): 465–66. For more on Guillaumin’s years at the Académie Suisse, see Christophe Duvivier, Armand Guillaumin: Les années impressionnistes, exh. cat. (Aulnay-sous-Bois: Presses de Suisse, 1991).

  7. For the Paris Orléans railroad timetables, see Petit Guide Ivryen, 7th ed. (Ivry-sur-Seine: R. Aubert, n.d.), http://cabinetdecuriosites.ivry94.fr/a/164/petit-guide-ivryen.

  8. For more on the history of Ivry-sur-Seine, see Ivry-Centre, Transformation(s) d’un quartier XVIIe–XXe siècles, exh. cat. (Ivry-sur-Seine: Municipal archives of Ivry-sur-Seine, 2017), http://cabinetdecuriosites.ivry94.fr/r/59/ivry-centre-transformation-s-d-un-quartier-xviiie-xxe-siecle.

  9. James H. Rubin identified five of these works, excluding the Nelson-Atkins painting, as the first concentrated works by an Impressionist on a clearly industrial motif. See James Rubin, “Factories and Work Sites,” in Impressionism and Modern Landscape: Productivity, Technology, and Urbanization from Manet to Van Gogh (Berkeley: University of California, 2008), 132–34, 216n43.

  10. A postcard depicts the route that ran from Fort de Bicêtre to Fort d’Ivry. See Ivry-Centre, Transformation(s) d’un quartier.

  11. Gray, “1841–1869: Beginnings,” 3.

  12. In 1874, Guillaumin and Cezanne participated in the first Impressionist exhibition. In the catalogue, both artists listed their address as 120 Rue de Viaugirard. See Catalogue de la première Exposition de Peinture par MM. Caillebotte, Cals, Cézanne, Cordey, Degas, Guillaumin, Jacques-François, Lamy, Levert, Maureau, C. Monet, B. Morisot, Piette, Pissarro, Renoir, Rouart, Sisley, Tillot, exh. cat. (Paris: Imprimerie E. Capiomont et V. Renault, 1877), 9, 11 [repr., in Theodore Reff, ed., Modern Art in Paris: Two-Hundred Catalogues of the Major Exhibitions Reproduced in Facsimile in Forty-Seven Volumes, vol. 23, Impressionist Group Exhibitions (New York: Garland, 1981), unpaginated]. The two became neighbors a year later: in January 1875, Cezanne moved to 15 Quai d’Anjou, while Guillaumin lived at no. 13. For more on this, see John Rewald’s chapter, “Cézanne and Guillaumin,” in Études d’art Français offertes a Charles Sterling (Paris: Presses Universitaires de France, 1975), 344.

  13. For more on Guillaumin’s friendship and close working relationship with Cezanne, see James H. Rubin’s chapter, “Armand Guillaumin and Paul Cézanne in Ile-de-France,” in Coutagne, Cézanne and Paris, 64–71. See also Rewald, “Cézanne and Guillaumin,” 346–47; and Armand Guillaumin: l’Impressioniste, ami de Cézanne et Van Gogh, exh. cat. (Geneva: Musée d’Art Moderne, 1995).

  14. For more on Cezanne’s constructive stroke and Guillaumin’s possible influence, see Rewald, “Cézanne and Guillaumin,” 346–47. See also Rubin, “Armand Guillaumin and Paul Cezanne in Ile-de-France,” 67–68.

  15. Among Friends: Guillaumin, Cezanne, Pissarro was held at the Nelson Atkins Museum of Art from February 12 to January 23, 2022. No catalogue was produced.

Technical Entry

conservation

Citation

Chicago:

Diana M. Jaskierny, “Armand Guillaumin, Landscape, Ivry-sur-Seine, ca. 1874,” technical entry in French Paintings and Pastels, 1600–1945: The Collections of The Nelson-Atkins Museum of Art, ed. Aimee Marcereau DeGalan (Kansas City: The Nelson-Atkins Museum of Art, 2022), https://doi.org/10.37764/78973.5.621.2088.

MLA:

Jaskierny, Diana M. “Armand Guillaumin, Landscape, Ivry-sur-Seine, ca. 1874,” technical entry. French Paintings and Pastels, 1600–1945: The Collections of The Nelson-Atkins Museum of Art, edited by Aimee Marcereau DeGalan, Nelson-Atkins Museum of Art, 2022. doi: 10.37764/78973.5.621.2088.

Landscape, Ivry-sur-Seine was completed on a somewhat coarse, open, plain-weaveplain weave: A basic textile weave in which one weft thread alternates over and under the warp threads. Often this structure consists of one thread in each direction, but threads can be doubled (basket weave) or tripled to create more complex plain weave. Plain weave is sometimes called tabby weave. canvas.1Openings are only visible in areas where there is no ground or priming material. The tacking margins are preserved and retain important details about how the support was prepared prior to painting, with pronounced cuspingcusping: A scalloped pattern along the canvas edges that relates to how the canvas was stretched. Primary cusping reveals where tacks secured the canvas to the support while the ground layer was applied. Secondary cusping can form when a pre-primed canvas is re-stretched by the artist prior to painting. on all tacking marginstacking margins: The outer edges of canvas that wrap around and are attached to the stretcher or strainer with tacks or staples. See also tacking edge. and the edges of the picture planepicture plane: The two-dimensional surface where the artist applies paint.. The canvas was then prepared with an opaque white or slightly off-white ground layerground layer: An opaque preparatory layer applied to the support, either commercially or by the artist, to prevent absorption of the paint into the canvas or panel. See also priming layer., and in areas where the paint layer was thinly applied, the coarse texture of the ground layer is visible (Fig. 6).

Fig. 6. Photomicrograph with raking light, showing the coarse ground layer texture found in the lower right quadrant in Landscape, Ivry-sur-Seine (ca. 1874)
Fig. 6. Photomicrograph with raking light, showing the coarse ground layer texture found in the lower right quadrant in Landscape, Ivry-sur-Seine (ca. 1874)
Fig. 6. Photomicrograph with raking light, showing the coarse ground layer texture found in the lower right quadrant in Landscape, Ivry-sur-Seine (ca. 1874)
Fig. 7. Detail of the left side turnover edge and ground layer application in normal light (left) and raking light (right), with a white arrow pointing toward the ground layer edge bead, in Landscape, Ivry-sur-Seine (ca. 1874)
Fig. 7. Detail of the left side turnover edge and ground layer application in normal light (left) and raking light (right), with a white arrow pointing toward the ground layer edge bead, in Landscape, Ivry-sur-Seine (ca. 1874)
Fig. 7. Detail of the left side turnover edge and ground layer application in normal light (left) and raking light (right), with a white arrow pointing toward the ground layer edge bead, in Landscape, Ivry-sur-Seine (ca. 1874)
The ground layer does not extend to the outermost edges of the picture plane (Fig. 7),2The distance between the turnover edge and edge of the ground layer varies between each of the four sides, ranging from two to five millimeters. which raises intriguing questions concerning the original size of the canvas and its relationship to both the existing stretcher and the dimensions of the ground layer application. The ground layer was applied after the canvas was attached to its stretcherstretcher: A wooden structure to which the painting’s canvas is attached. Unlike strainers, stretchers can be expanded slightly at the joints to improve canvas tension and avoid sagging due to humidity changes or aging., as it does not exhibit the same cusping pattern as the canvas. Instead, it seems that once the canvas was affixed to its stretcher, edging tape was placed along the tacking margins and perimeters of the picture plane. The ground layer was then applied, forming a thick bead of ground material along the priming edges (see arrow in Figure 7).3Since Guillaumin was known to use unprimed canvases at times, it is possible that the artist purchased this canvas unprimed and added the priming layer himself. Anthea Callen, The Art of Impressionism: Painting Technique and the Making of Modernity (New Haven: Yale University Press, 2000), 67. When considering standard-format supportsstandard-format supports: Commercially prepared supports available through art suppliers, which gained popularity in the nineteenth century during the industrialization of art materials. Available in three formats figure (portrait), paysage (landscape), and marine (marine), these were numbered 1 through 120 to indicate their size. For each numbered size, marine and paysage had two options available: a larger format (haute) and smaller (basse) format., the stretcher is close in size to a Lefranc et Cie no. 15 paysage,4Pascal Labreuche, “The Industrialisation of Artists’ Prepared Canvas in Nineteenth-Century Paris—Canvas and Stretchers: Technical Developments Up to the Period of Impressionism,” Zeitschrift für Kunsttechnologie und Konservierung 22, 2 (2008): 319. varying by only a few millimeters in the shorter direction, further indicating that the current dimensions are likely original.5While the existing stretcher appears older and could be contemporaneous to the painting, it is unknown if it is the original stretcher or an early replacement from when the painting was lined.

Fig. 8. Infrared photograph of the left-side horizon with white arrows pointing toward parallel underdrawing lines in Landscape, Ivry-sur-Seine (ca. 1874)
Fig. 8. Infrared photograph of the left-side horizon with white arrows pointing toward parallel underdrawing lines in Landscape, Ivry-sur-Seine (ca. 1874)
Fig. 8. Infrared photograph of the left-side horizon with white arrows pointing toward parallel underdrawing lines in Landscape, Ivry-sur-Seine (ca. 1874)
Fig. 9. Photomicrograph of exposed ground and charcoal underdrawing (see white arrows) beside the large smokestack in Landscape, Ivry-sur-Seine (ca. 1874)
Fig. 9. Photomicrograph of exposed ground and charcoal underdrawing (see white arrows) beside the large smokestack in Landscape, Ivry-sur-Seine (ca. 1874)
Fig. 9. Photomicrograph of exposed ground and charcoal underdrawing (see white arrows) beside the large smokestack in Landscape, Ivry-sur-Seine (ca. 1874)
Guillaumin began the composition by placing a few quick lines of an underdrawingunderdrawing: A drawn or painted sketch beneath the paint layer. The underdrawing can be made from dry materials, such as graphite or charcoal, or wet materials, such as ink or paint. on top of the white ground. These lines, identified through microscopy and infrared reflectographyinfrared reflectography (IRR): A form of infrared imaging that exploits the behavior of painting materials at wavelengths beyond those accessible to infrared photography. These advantages sometimes include a continuing increase in the transparency of pigments beyond wavelengths accessible to infrared photography (i.e, beyond 1,000 nanometers), rendering underdrawing more clearly. The resulting image is called an infrared reflectogram. Devices that came into common use in the 1980s such as the infrared vidicon effectively revealed these features but suffered from lack of sharpness and uneven response. Vidicons continue to be used out to 2,200 nanometers but several newer pixelated detectors including indium gallium arsenide and indium antimonide array detectors offer improvements. All of these devices are optimally used with filters constraining their response to those parts of the infrared spectrum that reveal the most within the constraints of the palette used for a given painting. They can be used for transmitted light imaging as well as in reflection., appear to be composed of charcoal, with coarse black particles easily distinguished from the finer paint particles. Although brief, the underdrawing established the horizon line with parallel marks (Fig. 8) and a vertical hatch to place the largest smokestack (Fig. 9).6Similar brief underdrawings were found in Guillaumin’s The Sea at Saint-Palais (1892; Wallraf-Richartz Museum, Cologne) and Rock at Baumette Point (1893; Wallraf-Richartz Museum, Cologne). While these underdrawings were also composed of few lines to place compositional elements, in these paintings the underdrawings are described as being composed of fine particles. Caroline von Saint-George and Annegret Volk, “Armand Guillaumin—The Sea at Saint-Palais, Brief Report on Technology and Condition,” in Research Project Painting Techniques of Impressionism and Postimpressionism, 2008, https://forschungsprojekt-impressionismus.de/bilder/pdf/7_e.pdf. See also Caroline von Saint-George and Annegret Volk, “Armand Guillaumin—Rock at Baumette Point, Brief Report on Technology and Condition,” in Research Project Painting Techniques of Impressionism and Postimpressionism, 2008, https://forschungsprojekt-impressionismus.de/bilder/pdf/8_e.pdf. A few black particles are also visible between skips in the paint around the red-roofed building, perhaps indicating that the artist similarly marked the placement of this structure.7No underdrawing was found to establish the structures in the foreground, any figures, or the larger structures in the far-right background.

Fig. 10. Photomicrograph of gray-blue underpainting (see black arrow) near the horizon in Landscape, Ivry-sur-Seine (ca. 1874)
Fig. 10. Photomicrograph of gray-blue underpainting (see black arrow) near the horizon in Landscape, Ivry-sur-Seine (ca. 1874)
Fig. 10. Photomicrograph of gray-blue underpainting (see black arrow) near the horizon in Landscape, Ivry-sur-Seine (ca. 1874)
Fig. 11. Detail of red-roofed building and background, illustrating glimpses of exposed ground in Landscape, Ivry-sur-Seine (ca. 1874)
Fig. 11. Detail of red-roofed building and background, illustrating glimpses of exposed ground in Landscape, Ivry-sur-Seine (ca. 1874)
Fig. 11. Detail of red-roofed building and background, illustrating glimpses of exposed ground in Landscape, Ivry-sur-Seine (ca. 1874)
While there is no overall underpaintingunderpainting: The first applications of paint that begin to block in color and loosely define the compositional elements. Also called ébauche., Guillaumin appears to have laid in a bluish-gray washwash: An application of thin paint that has been diluted with solvent. in the sky near the horizon (Fig. 10). This, however, does not extend across the entire sky, as there are glimpses of exposed ground throughout the sky, especially approaching the canvas edges. In other parts of the landscape, no similar underlying wash is apparent, and exposed ground is visible within and around the distant buildings, farmland, and foreground structures. Guillaumin painted these elements directly on top of the ground layer before completing the surrounding landscape (Fig. 11).

Fig. 12. Detail of the central figure and horses in Landscape, Ivry-sur-Seine (ca. 1874)
Fig. 12. Detail of the central figure and horses in Landscape, Ivry-sur-Seine (ca. 1874)
Fig. 12. Detail of the central figure and horses in Landscape, Ivry-sur-Seine (ca. 1874)
Fig. 13. Detail of hatching on the stone wall in Landscape, Ivry-sur-Seine (ca. 1874)
Fig. 13. Detail of hatching on the stone wall in Landscape, Ivry-sur-Seine (ca. 1874)
Fig. 13. Detail of hatching on the stone wall in Landscape, Ivry-sur-Seine (ca. 1874)
Throughout the landscape, brushstrokes intermingle with adjacent strokes, illustrating wet-over-wetwet-over-wet: An oil painting technique which involves drawing a stroke of one color across the wet paint of another color. paint application. For example, the larger central figure and horses were completed with small, curved strokes blending slightly with the still-wet underlying paint (Fig. 12). Conversely, the presence of wet-over-drywet-over-dry: An oil painting technique that involves layering paint over an already dried layer, resulting in no intermixing of paint or disruption to the lower paint strokes. paint applications reveals that Landscape, Ivry-sur-Seine was completed over multiple sessions. While the tightly spaced buildings formed by short brushstrokes draw the eye to the horizon, the lighter stone structure in the left foreground, composed with soft hatches of simple admixtures of yellows, blues, and greens over a tan foundation, draws the eye down (Fig. 13). In comparison to these small strokes and hatched lines, the artist created the dynamic clouds with swirls of blues, greens, and violets (Fig. 14). After the composition had nearly dried, final touches were added, such as the clotheslines in the lower right (Fig. 15) and the figures in the distance.

Fig. 14. Detail of clouds in Landscape, Ivry-sur-Seine (ca. 1874)
Fig. 14. Detail of clouds in Landscape, Ivry-sur-Seine (ca. 1874)
Fig. 14. Detail of clouds in Landscape, Ivry-sur-Seine (ca. 1874)
Fig. 15. Detail of the right clothesline illustrating wet-over-dry paint application in Landscape, Ivry-sur-Seine (ca. 1874)
Fig. 15. Detail of the right clothesline illustrating wet-over-dry paint application in Landscape, Ivry-sur-Seine (ca. 1874)
Fig. 15. Detail of the right clothesline illustrating wet-over-dry paint application in Landscape, Ivry-sur-Seine (ca. 1874)
The painting is in good condition. At an unknown date, the painting received a glue-paste lininglining: A procedure used to reinforce a weakened canvas that involves adhering a second fabric support using adhesive, most often a glue-paste mixture, wax, or synthetic adhesive., which may have been prompted by the condition of the canvas. Tears at the tacking margin, now stabilized by the lining, suggest that the canvas had become weak and embrittled. In 1978, the painting was cleaned, and minimal retouchingretouching: Paint application by a conservator or restorer to cover losses and unify the original composition. Retouching is an aspect of conservation treatment that is aesthetic in nature and that differs from more limited procedures undertaken solely to stabilize original material. Sometimes referred to as inpainting or retouch. was applied.8Forrest R. Bailey, June 13, 1978, treatment report, Nelson-Atkins conservation file, 27-1989. The present varnish dates to this treatment and, although slightly discolored from age, does not interfere with the painting’s legibility.

Diana M. Jaskierny
May 2022

Notes

  1. Openings are only visible in areas where there is no ground or priming material.

  2. The distance between the turnover edgeturnover edge: The point at which the canvas begins to wrap around the stretcher, at the junction between the picture plane and tacking margin. See also foldover edge. and edge of the ground layer varies between each of the four sides, ranging from two to five millimeters.

  3. Since Guillaumin was known to use unprimed canvases at times, it is possible that the artist purchased this canvas unprimed and added the priming layer himself. Anthea Callen, The Art of Impressionism: Painting Technique and the Making of Modernity (New Haven: Yale University Press, 2000), 67.

  4. Pascal Labreuche, “The Industrialisation of Artists’ Prepared Canvas in Nineteenth-Century Paris—Canvas and Stretchers: Technical Developments Up to the Period of Impressionism,” Zeitschrift für Kunsttechnologie und Konservierung 22, no. 2 (2008): 319.

  5. While the existing stretcher appears older and could be contemporaneous to the painting, it is unknown if it is the original stretcher or an early replacement from when the painting was lined.

  6. Similar brief underdrawings were found in Guillaumin’s The Sea at Saint-Palais (1892; Wallraf-Richartz Museum, Cologne) and Rock at Baumette Point (1893; Wallraf-Richartz Museum, Cologne). While these underdrawings were also composed of few lines to place compositional elements, in these paintings the underdrawings are described as being composed of fine particles. Caroline von Saint-George and Annegret Volk, “Armand Guillaumin—The Sea at Saint-Palais, Brief Report on Technology and Condition,” in Research Project Painting Techniques of Impressionism and Postimpressionism, 2008, https://forschungsprojekt-impressionismus.de/bilder/pdf/7_e.pdf. See also Caroline von Saint-George and Annegret Volk, “Armand Guillaumin–Rock at Baumette Point, Brief Report on Technology and Condition,” in Research Project Painting Techniques of Impressionism and Postimpressionism, 2008, https://forschungsprojekt-impressionismus.de/bilder/pdf/8_e.pdf.

  7. No underdrawing was found to establish the structures in the foreground, any figures, or the larger structures in the far-right background.

  8. Forrest R. Bailey, June 13, 1978, treatment report, Nelson-Atkins conservation file, 27-1989.

Documentation
Citation

Chicago:

Danielle Hampton Cullen, “Armand Guillaumin, Landscape, Ivry-sur-Seine, ca. 1874,” documentation in French Paintings and Pastels, 1600–1945: The Collections of The Nelson-Atkins Museum of Art, ed. Aimee Marcereau DeGalan (Kansas City: The Nelson-Atkins Museum of Art, 2022), https://doi.org/10.37764/78973.5.621.4033.

MLA:

Hampton Cullen, Danielle. “Armand Guillaumin, Landscape, Ivry-sur-Seine, ca. 1874,” documentation. French Paintings and Pastels, 1600–1945: The Collections of The Nelson-Atkins Museum of Art, edited by Aimee Marcereau DeGalan, Nelson-Atkins Museum of Art, 2022. doi: 10.37764/78973.5.621.4033.

Provenance

provenance

Citation

Chicago:

Danielle Hampton Cullen, “Armand Guillaumin, Landscape, Ivry-sur-Seine, ca. 1874,” documentation in French Paintings and Pastels, 1600–1945: The Collections of The Nelson-Atkins Museum of Art, ed. Aimee Marcereau DeGalan (Kansas City: The Nelson-Atkins Museum of Art, 2022), https://doi.org/10.37764/78973.5.621.4033.

MLA:

Hampton Cullen, Danielle. “Armand Guillaumin, Landscape, Ivry-sur-Seine, ca. 1874,” documentation. French Paintings and Pastels, 1600–1945: The Collections of The Nelson-Atkins Museum of Art, edited by Aimee Marcereau DeGalan, Nelson-Atkins Museum of Art, 2022. doi: 10.37764/78973.5.621.4033.

With Adolfo Bullrich y Cía. Ltda. S.A., Buenos Aires, by September 20–23, 1971;

Purchased from Bullrich, Arte y Antigüedades, September 20–23, 1971, lot 27, as Paisaje de los alrededores de Paris [1];

Saussure Collection, Paris;

Galerie Schmit, Paris, by 1974–June 8, 1978 [2];

Purchased from Galerie Schmit, Paris, by Mr. and Mrs. Robert L. Bloch, June 8, 1978 [3];

Notes

[1] Seller and buyer is currently unknown, but see annotated sales catalogue in the Collection of Frick Art Reference Library, New York, which says “3800” in the left margin.

[2] For purchase date, see correspondence from Robert Schmit to Robert Bloch, June 8, 1978, NAMA curatorial files.

[3] The painting was purchased from Galerie Schmidt by Robert Bloch in 1978 with his first wife Lisa. Robert Bloch and his second wife, Barbara, have promised the painting in honor of his parents, Henry and Marion Bloch, and the 75th anniversary of The Nelson-Atkins Museum of Art. See correspondence from Robert Bloch to Aimee Marcereau DeGalan, Louis L. and Adelaide C. Ward Senior Curator, European Arts, NAMA, August 25, 2020, NAMA curatorial object files.

Related Works
Citation

Chicago:

Danielle Hampton Cullen, “Armand Guillaumin, Landscape, Ivry-sur-Seine, ca. 1874,” documentation in French Paintings and Pastels, 1600–1945: The Collections of The Nelson-Atkins Museum of Art, ed. Aimee Marcereau DeGalan (Kansas City: The Nelson-Atkins Museum of Art, 2022), https://doi.org/10.37764/78973.5.621.4033.

MLA:

Hampton Cullen, Danielle. “Armand Guillaumin, Landscape, Ivry-sur-Seine, ca. 1874,” documentation. French Paintings and Pastels, 1600–1945: The Collections of The Nelson-Atkins Museum of Art, edited by Aimee Marcereau DeGalan, Nelson-Atkins Museum of Art, 2022. doi: 10.37764/78973.5.621.4033.

Armand Guillaumin, The Seine at Ivry, ca. 1869, oil on wood, 12 x 15 1/2 in. (30.5 x 39.5 cm), Musée du Petit Palais, Geneva.

Armand Guillaumin, Forges at Ivry, ca. 1873, oil on canvas, 23 5/8 x 39 3/8 in. (60 x 100 cm), private collection, Lausanne; illustrated in G. Serret and D. Fabiani, Armand Guillaumin 1841–1927 (Paris: Mayer, 1971), no. 17.

Armand Guillaumin, Forges at Ivry in the Snow, ca. 1873, oil on canvas, 13 x 18 1/8 in. (33 x 46 cm), private collection; illustrated in G. Serret and D. Fabiani, Armand Guillaumin 1841–1927 (Paris: Mayer, 1971), no. 18.

Armand Guillaumin, Sunset at Ivry, 1873, oil on canvas, 25 5/8 x 31 7/8 in. (65 x 81 cm), Musée d’Orsay, Paris.

Armand Guillaumin, Snow at Ivry, 1873, oil on canvas, 20 1/2 x 28 3/4 in. (52 x 73 cm), Musée du Petit Palais, Geneva.

Preparatory Works
Citation

Chicago:

Danielle Hampton Cullen, “Armand Guillaumin, Landscape, Ivry-sur-Seine, ca. 1874,” documentation in French Paintings and Pastels, 1600–1945: The Collections of The Nelson-Atkins Museum of Art, ed. Aimee Marcereau DeGalan (Kansas City: The Nelson-Atkins Museum of Art, 2022), https://doi.org/10.37764/78973.5.621.4033.

MLA:

Hampton Cullen, Danielle. “Armand Guillaumin, Landscape, Ivry-sur-Seine, ca. 1874,” documentation. French Paintings and Pastels, 1600–1945: The Collections of The Nelson-Atkins Museum of Art, edited by Aimee Marcereau DeGalan, Nelson-Atkins Museum of Art, 2022. doi: 10.37764/78973.5.621.4033.

Armand Guillaumin, Landscape, undated, pastel, 13 3/4 x 19 3/4 in. (35 x 50 cm), location unknown; illustrated in Tableaux modernes et du XIXe siècle (Versailles: Palais des Congrès, November 26, 1978), unpaginated.

Armand Guillaumin, Landscape with Factory Chimneys, undated, pastel, 8 5/16 x 14 13/16 in. (21 x 37.5 cm), location unknown; illustrated in Tableaux Modernes (Paris: Sotheby’s, December 16, 2012), unpaginated.

Armand Guillaumin, Landscape at Ivry, 1869, charcoal and black chalk, location unknown; illustrated in Christopher Gray, Armand Guillaumin (Chester, CT: Pequot Press, 1972), 3.

Exhibitions
Citation

Chicago:

Danielle Hampton Cullen, “Armand Guillaumin, Landscape, Ivry-sur-Seine, ca. 1874,” documentation in French Paintings and Pastels, 1600–1945: The Collections of The Nelson-Atkins Museum of Art, ed. Aimee Marcereau DeGalan (Kansas City: The Nelson-Atkins Museum of Art, 2022), https://doi.org/10.37764/78973.5.621.4033.

MLA:

Hampton Cullen, Danielle. “Armand Guillaumin, Landscape, Ivry-sur-Seine, ca. 1874,” documentation. French Paintings and Pastels, 1600–1945: The Collections of The Nelson-Atkins Museum of Art, edited by Aimee Marcereau DeGalan, Nelson-Atkins Museum of Art, 2022. doi: 10.37764/78973.5.621.4033.

Naissance de l’impressionnisme, Musée des Beaux-Arts, Bordeaux, May 3–September 1, 1974, no. 92, as Paysage d’Ile-de-France.

VIIIe Biennale des Antiquaires, Galerie Schmit, Paris, September 23–October 10, 1976, no. 20, as Paysage d’Ile-de-France.

Aspects de la Peinture Française: XIXe et XXe Siècles, Galerie Schmit, Paris, May 10–June 30, 1978, no. 31, as Paysage d’Ile-de-France.

Manet to Matisse: Impressionist Masters from the Marion and Henry Bloch Collection, The Nelson-Atkins Museum of Art, Kansas City, MO, June 9–September 9, 2007, no. 12, as Landscape, Île de France (Paysage d’Île de France).

Magnificent Gifts for the 75th, The Nelson-Atkins Museum of Art, Kansas City, MO, February 13–April 4, 2010, no cat.

Impressionist France: Visions of Nation from Le Gray to Monet, The Nelson-Atkins Museum of Art, Kansas City, MO, October 19 2013–February 9, 2014; The Saint Louis Art Museum, March 18–July 14, 2014, no. 139, as Landscape, Île de France.

Among Friends: Guillaumin, Cezanne, and Pissarro, The Nelson-Atkins Museum of Art, Kansas City, MO, January 28, 2021–January 23, 2022, no cat.

References

references

Citation

Chicago:

Danielle Hampton Cullen, “Armand Guillaumin, Landscape, Ivry-sur-Seine, ca. 1874,” documentation in French Paintings and Pastels, 1600–1945: The Collections of The Nelson-Atkins Museum of Art, ed. Aimee Marcereau DeGalan (Kansas City: The Nelson-Atkins Museum of Art, 2022), https://doi.org/10.37764/78973.5.621.4033.

MLA:

Hampton Cullen, Danielle. “Armand Guillaumin, Landscape, Ivry-sur-Seine, ca. 1874,” documentation. French Paintings and Pastels, 1600–1945: The Collections of The Nelson-Atkins Museum of Art, edited by Aimee Marcereau DeGalan, Nelson-Atkins Museum of Art, 2022. doi: 10.37764/78973.5.621.4033.

Arte y Antigüedades (Buenos Aires: Adolfo Bullrich y Cía. Ltda. S.A., 1971), unpaginated, (repro.), as Paisaje de los alrededores de Paris.

Advertisement, Connoisseur 177, no. 714 (August 1971): 19, (repro.), as Paysage aux environs de Paris.

Naissance de l’impressionnisme, exh. cat. (Bordeaux, France: Musée des Beaux-Arts, 1974), 130–31, (repro.), as Paysage d’Ile [sic] -de-France.

VIIIe Biennale des Antiquaires, exh. cat. (Paris: Galerie Schmit, 1976), unpaginated, (repro.), as Paysage d’Ile [sic] -de-France.

Aspects de la Peinture Française: XIXe et XXe Siècles, exh. cat. (Paris: Galerie Schmit, 1978), 33, (repro.), as Paysage d’Ile [sic] -de-France.

Richard R. Brettell and Joachim Pissarro, Manet to Matisse: Impressionist Masters from the Marion and Henry Bloch Collection, exh. cat. (Kansas City, MO: Nelson-Atkins Museum of Art, 2007), 14, 74–78, 158, (repro.), as Landscape, Île de France (Paysage d’Île de France).

“75 Nelson-Atkins Patrons Give 400 Extraordinary Works of Art to Commemorate Museum’s 75th Anniversary,” Art and Artworks (February 2008): unpaginated, as Landscape, Ile [sic] de France (Paysage d’Ile [sic] de France).

“A 75th Anniversary Celebrated with Gifts of 400 Works of Art,” Art Tattler International (February 2008): unpaginated, (repro.), as Landscape, Île de France (Paysage d’Île de France).

Alice Thorson, “Gift will leave lasting impression,” Kansas City Star 130, no. 143 (February 7, 2010): G2.

Simon Kelly and April M. Watson, Impressionist France: Visions of Nation from Le Gray to Monet, exh. cat. (St. Louis, MO: St. Louis Art Museum, 2013), 25, 236–37 (repro.), as Landscape, Île de France.

Alice Thorson, “Nelson’s ‘Impressionist France’ offers an insider’s guide to a country in transition,” Kansas City Star (November 8, 2013): https://www.kansascity.com/news/local/article331233/Nelsons-Impressionist-France-offers-an-insiders-guide-to-a-country-in-transition.html, as Landscape, Ile [sic] de France.

Catherine Futter et al., Bloch Galleries: Highlights from the Collection of the Nelson-Atkins Museum of Art (Kansas City, MO: Nelson-Atkins Museum of Art, 2016), 79, (repro.), as Landscape, Île de France.

Menachem Wecker, “Jewish Philanthropist Establishes Kansas City as Cultural Mecca,” Forward (March 14, 2017), http://forward.com/culture/365264/jewish-philanthropist-establishes-kansas-city-as-cultural-mecca/ [repr., in Menachem Wecker, “Kansas City Collection Is A Chip Off the Old Bloch,” Forward (March 17, 2017): 20–22], as Landscape.

Aimee Marcereau DeGalan, “A Refuge of Peaceful Meditation,” KC Studio 12, no. 5 (September/October 2020): 74–75, (repro.), as Landscape, Île de France.