Journey to ImpressIonIsm - Galerie Michael

B arbizon B arbizon B arbizon 

Journey to ImpressIonIsm

Evariste Carpentier 

The Influence of Barbizon 

The influence of Barbizon painters had an international appeal. 

An admirer of the French Barbizon painter, Jean-François 

Millet, the Belgian artist Evariste Carpentier portrayed an idyll 

where the inhabitants of the countryside bask in a sun-kissed 

and always bountiful countryside. Trained at the Academy in 

Antwerp, Carpenter’s pictures were enormously popular with 

both Belgian and Dutch collectors, and he was widely admired 

in Spain and the United States. Like many Flemish painters, 

Carpentier brings a heightened realism to his work. His 

paintings are meticulously finished and demonstrate the artist’s 

command of his medium. As with all followers of Barbizon, 

the unchanging countryside provides an air of peace and calm. 

As one French critic put it, ‘his pictures are like an open 

window on a happy, healthy and sunlit existence’. In 1897, 

Carpentier became a professor of fine art in Liège. Carpentier's 

paintings are included in museums such as the Musées Royaux 

des Beaux-Arts de Belgique in Belgium. 

CARPENTIER, EvARIsTE 

Belgian, 1845-1922 

The Noon Hour - Shepherdess at Rest, 1885 

Oil on canvas. Signed lower right, “Ev te Carpentier”, also signed, dated and authenticated by 

the artist, verso. Provenance: Property of the Woodmere Art Museum, Philadephia, Pennsylvania, 

sold to benefit the Charles Knox Smith Acquisitions Fund. Certificate of authenticity signed by 

artist attached to the back of the painting. 23 ¼ x 28 ¼ inches

B arbizon 

Journey to ImpressIonIsm 

Introductory Essay 

By 

Dr. Steven Adams 

professor 

university of Hertfordshire 

Associate Head of school research 

school of the Creative Arts 

G A L E R I E M I C H A E L 

© 2010 Galerie Michael. All Rights Reserved.

Barbizon: the cradle of nineteenth century painting 

In 1889, the French nation celebrated its artistic 

achievement over the past 100 years. Staged around 

the Champ de Mars to the west of Paris, the Centennial 

Exhibition was a spectacular event and included monumental 

works by David, Delacroix, Ingres, Gericault 

and Courbet, the work of Barbizon painters and many 

more. That French art was the toast of Europe was in 

no doubt. Art critics, however, constantly singled out 

French landscape painting for particular attention. The 

pictures variously made for the church and government 

were impressive enough but they were said to be part of 

a bygone age. Only landscape painting, critics insisted, 

displayed a freshness of spirit and integrity, a sense of 

independence and daring innovation. Art critics agreed, 

landscape painting ‘captured the spirit of the age’. Writing 

on the works of the Barbizon painter Diaz de la Peña, 

the art critic and one of the organizers of the exhibition 

Paul Mantz, insisted that when future generation 

assess the importance of nineteenth century French art, 

they will agree that ‘it will be the landscapes that count’. 

Barbizon painters were 

much in evidence at the 

1889 Exhibition. Diaz 

showed eight works; 

Corot an astonishing 23 

landscapes; Georges Michel 

showed four, Millet 

six pictures, Jules Dupré 

ten, Paul Huet three, 

and Rousseau nine 

works. Rosa Bonheur’s 

work was represented, 

as were the paintings 

of Jacque, Decamps, 

Raffaelli, Cazin and 

Fantin Latour. Not least 

Impressionism’s debt to 

Barbizon painters was 

acknowledged. Monet 

showed 14 paintings, 

Renoir 11, Pissarro eight 

works, and Manet 12. It 

is interesting to reflect 

that the visitors to Paris’ 

1889 Exposition would 

have been entirely 

familiar with many of 

1 

the pictures on show in this year’s exhibition at 

Galerie Michael! 

The Barbizon School has been enormously important 

for the development of nineteenth and even twentieth 

century French art. For the first half of the nineteenth 

century, French art was made according to a set of traditional 

rules. The French Académie des beaux-arts insisted 

that artists should look to the past for inspiration, 

to ancient Greece and Rome, to the art of the Italian 

Renaissance and the works of the seventeenth century 

French painters Poussin and Claude. According to the 

Academy, artists were required to avoid innovation and 

follow tradition, to paint nature not as it appeared but 

idealized as if it were taken from the pages of classical 

poetry. When tested for their ability to paint trees, for 

example, students at the Academy were required to work 

inside, locked away in a booth or a ‘loge’ and work from 

memory. One of its teachers – Pierre-Henri Valenciennes 

- went as far as to suggest that students might even ‘close 

their eyes to see nature’. 

In 1830, however, art critics began to note a new trend 

in French landscape painting. Known as the ‘School of 

1830’, – Paul Huet, Georges Michel, Diaz de la Peña, 

Jules Dupré, Jean-François Millet, Aléxandre-François 

Decamps (all of whom are represented in this year’s exhibition 

at Galerie Michael), Théodore Rousseau and Jean- 

Baptiste-Camille Corot (both of whom have featured 

prominently in past exhibitions) – variously challenged 

the authority of the Academy and painted the world 

around them. Some worked in the open air and painted 

directly onto canvas; others prepared sketches to develop 

later in the studio. But all members of the School gave 

absolute priority to painting from experience, particular 

painting the natural world. Some painted the parks and 

estates around Paris and the views from the little towns 

on the banks of the Seine downstream from the capital, 

and in this sense they paved the way for Impressionist 

painters of the 1860s and 70s. The landscape painter 

Georges Michel was said to have made frequent trips to 

the hills of Montmartre to the north of Paris where, with 

a canvas under one arm and his lunch under the other, he 

would paint the countryside, lost in a dream-like world. 

The art critic Théophile Thoré observed that so intense 

were Michel’s feelings for his subject that he could sit 

before the capital’s garbage dumps and see a ‘golden 

landscape’ as if painted by the Dutch master Albert Cuyp. 

Virtually all of the French painters in this year’s exhibi-

tion visited Barbizon; others such as Troyon and Rosa 

Bonheur went further afield to ‘deepest France’ to the 

Auvergne, the Berry and the Nivernais. 

The members of the ‘School of 1830’ may not have 

been the first to paint pictures of their native France. 

There was a long tradition of topographical painting dating 

back to the mid-eighteenth century and aristocratic 

gentlemen often commissioned artists to paint views of 

their country estates. Works such as these were often 

admired but not looked upon very seriously. One eighteenth 

century artist, Charles-Henri Watelet, dismissively 

suggested that landscapes were made as ‘playthings to 

amuse friends’. The School of 1830 took a very different 

view. Landscape offered artists the chance to experiment, 

to forge new directions in painting. Barbizon’s painters 

worked from instinct rather than an academic rulebook. 

For the first time, landscape painting became a vehicle 

for serious ambitious artists to make their mark. Without 

the efforts of Barbizon painters, the Impressionists 

and the Post-Impressionists, Matisse and Derain, Picasso 

and the cubists, and many more would not have devoted 

themselves to landscape. It is hard to overemphasize the 

Barbizon School’s importance. 

It was some time before landscape painters received 

critical recognition. Conservative members of the Academy 

remained in positions of influence long after 1830, 

particularly on the selection committee for the Paris Salon 

and it was not unknown for landscape painters to be 

excluded from the exhibition. Théodore Rousseau was 

known as ‘le grand refusé’ (‘the great refused’) after an 

eleven-year absence from the Paris Salon. Corot, Diaz, 

Dupré, Huet and others continued to exhibit their works 

throughout the 1840s but they were often subject to vitriolic 

attacks form the press. It was during this period of 

uncertain critical recognition that many painters retreated 

to Barbizon, a small village on the edge of the Forest 

of Fontainebleau. The forest offered artists a wide range 

of scenery from the flat plains of Chailly-en-Bière to the 

dramatic gorges and dense pine and deciduous woods 

of the forest itself. Not least, Barbizon offered cheap 

accommodation and a convivial atmosphere in which 

to work. The Auberge Ganne at Barbizon, the Lion d’Or 

at Chailly, and Mother Anthony’s inn at Marlotte were 

the haunts 

of numerous 

painters. The 

young Renoir 

and Bazille were habitués of the Auberge of Mother 

Anthony, and Renoir recorded the convivial atmosphere 

in his eponymous picture of 1866, now in the Nationalmuseum 

in Stockholm, Sweden. The guestbook of the 

Auberge Ganne also counts numerous other luminaries 

among its entries, not only members of the Barbizon 

School – Rousseau, Diaz, Troyon, Millet, Jacque 

and Dupré - but also many foreign painters and writers 

including those from the United States. William Morris 

Hunt was a visitor as was Robert Louis Stevenson. 

The village of Barbizon eventually gave its name to the 

School of 1830 and, since the end of the nineteenth century, 

the English-speaking world has known them as the 

‘Barbizon School’. 

Barbizon painters may have been out of favor with 

the art establishment, but a select group of Parisian art 

lovers, especially those of a politically liberal persuasion, 

admired their pictures and offered invaluable financial 

support. They included the Orléans branch of the royal 

family of whom king Louis-Phillppe was a member, and 

wealthy financiers and entrepreneurs. Their affinity for 

such forward-looking landscape painting is significant. 

Academic art was for intellectuals, members of the nobility 

that had spent long years learning how to appreciate 

a work of art. Barbizon painting is a more accessible, 

democratic art, an art of feeling rather than intellect. 

Many Barbizon collectors were also self-made men and 

made their way in the Parisian world of finance and industry 

through their own guile and natural ability rather 

than an inherited social position. 

It was perhaps natural for them to find common cause 

with painters who, in turn, forged their own path in the 

arts. Among 

Barbizon’s 

most prominent 

collec- 

2

tors we find the 

industrialist, 

Paul Périer, Paul 

Barroilhet, the 

world famous 

Parisian opera 

singer, and the 

textile magnate 

Frédéric Hartmann. 

It was 

also not uncommon 

for some of the more wealthy and established artists 

and writers to help their struggling colleagues by buying 

or exhibiting their works. Constant Troyon, for example, 

was a friend and admirer of Rousseau and showed his 

works in an independent exhibition in his studio in 1843. 

By the late 1860s, Barbizon painters began to receive 

the critical recognition they deserved. Diaz was wealthy 

by the 1860s, and was later the owner of a grand country 

house that still exists on the outskirts of the village of 

Barbizon. A highly-gifted and versatile painter, he regularly 

showed at the Paris and provincial Salons throughout 

the 1860s and 70s, and established lucrative working 

relationship with many influential art dealers. The paintings 

of Rosa Bonheur – many of which were conceived 

on a monumental scale - were enormously popular with 

the Parisian public and with collectors abroad, especially 

England and the United States. She often made smaller 

versions or variations of her pictures, which were instantly 

snapped up by appreciative collectors. (The painting in 

this year’s exhibition is one such example.) Other painters 

associated with the Barbizon School remained in obscurity 

until the end of the nineteenth century. Georges 

Michel, for example, only received recognition from the 

critics in the 1880s. But when recognition arrived, Michel 

was showered with accolades. The art critic Philippe 

Burty insisted that Michel had ‘planted a sign post in 

the terrain of French art for other artists to follow’. The 

‘others’, of course, were the ‘Impressionists’. And it is 

fitting that this year’s exhibition also includes works by 

Raffaelli and Stanislas Lepine, both of whom were represented 

in the first Impressionist exhibition of 1874. Some 

of the very first works by Monet, Sisley, Bazille and 

Renoir were done on summer excursions to the forest of 

Fontainebleau in the mid 1860s. Like Barbizon painters 

before them, the Impressionists were acutely attentive to 

the subtle play of light on the native scenery of France 

3 

and, like Barbizon 

painters, 

worked ‘en plein 

air’, painting 

the landscape 

as it appeared, 

no longer with 

closed but with 

open eyes! 

The French 

have a penchant 

for Revolutions, in the arts as well as in politics, 

and soon the Impressionists struck out in new directions. 

Monet and his contemporaries increasingly turned not 

to the charms of the countryside but to a more disinterested 

depiction of the suburbs and the city, to the impact 

industrialization and particularly to urban leisure. Some 

artists such as Degas and Manet looked at Paris’ seedier 

side, to its nightlife, its bars, dancehalls and brothels. 

Not surprisingly, their pictures scandalized the French 

public. Faced with such daring pictures, the Barbizon 

School with its concern for the tranquility of countryside 

remained popular throughout the late nineteenth 

and early twentieth centuries. Impressionism may have

stolen the Barbizon School’s thunder 

in the twentieth century but generations 

of painters continued to follow 

the School’s example. Millet and Jules 

Breton proved to be a powerful influence 

on the younger generation of Barbizon 

painters, and we see examples of their 

influence in the present exhibition in the 

works of Léon Richet and Jean Cazin. 

In the 1870s and after, Barbizon painters 

continued to celebrate a romantic vision 

of the countryside. Often using a lighter 

pallet pioneered by the Impressionists, 

and working on canvases primed 

with a light-colored ground (typically 

soft warm grays) artists such as Jean- 

Ferdinand Chaigneau, Georges-François 

Laugée and Georges-Réné Villain 

continued to depict a charming, untroubled view of the 

countryside in which peasants lived in a perfect harmony 

with their environment. In many cases, the rural subjects 

and pastoral traditions depicted in Barbizon painting of 

the 1870s and after had long-since disappeared and this 

largely explains their enduring appeal. 

This year’s exhibition at Galerie Michael provides an 

extraordinary insight not only into the first and second 

generation of Barbizon painters, but also to other 

trends in nineteenth century landscape art. The Barbizon 

School was heavily influenced by Dutch and English art. 

The English landscape painter John Constable, whose 

Haywain was shown alongside the luminous landscapes 

of Richard Parkes Bonington at the 1824 Paris Salon, 

were said to have influenced Paul Huet, Jules Dupré and 

Delacroix. Dutch and Flemish artists, in turn, had long 

shown an interest 

in the everyday 

world and they too 

influenced many 

Barbizon painters. 

Seventeenth 

century Dutch 

landscapes were 

popular in early 

nineteenth century 

Paris and many 

younger landscape 

painters of 

the period such as Georges Michel based 

their pictures on Dutch models. It is also 

fitting that Rousseau’s friend, Théophile 

Thoré, was one of the first critics to 

insist upon the quality of the paintings of 

Johannes Vermeer, a hitherto under-rated 

artist in France. Not least, the United 

States has had an enduring passion for 

Barbizon painting and, in the context 

of the present exhibition, it is perhaps 

fitting to leave the last word to Frank 

Boggs, an American artist who spent 

much of his life in Paris. He was not 

a member of one of the radical cliques 

that attracted the attention the press but 

his talent was in no doubt. Indeed, he 

exchanged works with one Vincent Van 

Gogh. According to his friend, he lived 

quietly in the Paris’ Place des Vosges without a studio 

‘for he works out of doors’. In some respects, Bogg’s 

pictures mark the end of a long tradition of well over 

a century in which artists celebrated the French countryside 

and the gentle effects of light by painting in the 

open. The twentieth century had other priorities; Europe 

and the United States were both traumatized by world 

war on an industrial scale and the gentle art of landscape 

now seemed somehow out of step with modern sensibilities. 

Also American artists increasing turned away from 

Europe to explore their own concerns. The Barbizon 

School nonetheless remains a vitally important chapter in 

the history of art, one that had an international influence 

and an enduring appeal. 

– Dr. steven Adams 

4

Rosa Bonheur 

Rosa Bonheur was one of the most popular painters in midnineteenth 

century France. A well-known eccentric, renowned 

for dressing in men’s clothing, Rosa specialized in pictures 

of the romantic French countryside and particularly in the 

depiction of animals. Informed by the studies she made in 

the slaughterhouses of Paris, her works are astonishingly 

accurate; and were admired by a wide spectrum of followers 

for the insights she brought to the depiction of livestock. They 

ranged from members of the French veterinary profession to 

Queen Victoria herself. Despite the breathtaking realism of 

her work, Rosa imparts a heroic character to her pictures; 

BONHEUR, ROsA 

French, 1822-1899 

Le Labourage, 1844 

Oil on canvas 

Signed and dated lower right 

29 x 43 ¾ inches 

5 

here, rural labor is seen as a timeless and dignified ritual, one 

that is at the heart of French national identity. Rosa received 

numerous commissions from the French government, was a 

favorite among collectors and had an international reputation. 

Her Horse Fair of 1855 was shown at the Paris Salon of 1855 

and now hangs in the Metropolitan Museum of Art in New 

York. Her works are also included in the Musée d’Orsay and 

the Louvre in Paris, the Art Institute of Chicago, the Detroit 

Institute of the Arts, the National Gallery in London and 

numerous other museums world-wide. 

Ploughing in nivernais, 1849 

by Rosa Bonheur (oil on canvas) 

Musee d’Orsay, Paris

Jean Charles Cazin 

Jean-Charles Cazin was one of the later 

generations of Barbizon painters, and a 

resident of Chailly-en Bière. He called 

upon the traditional repertoire of rural 

subjects but was influenced by the example 

of Impressionist painting’s lighter pallet. 

Cazin’s paintings were represented in 

the International Exposition in Paris in 

1900. His painting can be found in many 

major public collections in Europe and 

the United States including the Corcoran 

Gallery of Art, Washington, DC; the Frick 

Art Center, Pittsburgh; the Musée des 

Beaux-Arts, Arras; the Musée des Beaux- 

Arts de Tours; the Musée d’Orsay, Paris; 

the Musée J. Charles Cazin, Samer; the 

Musée National du Chateau de Versailles 

in France; the Cleveland Museum of Art; 

the Pennsylvania Academy of the Fine Arts, 

Philadelphia, and the Yale University Art 

Gallery. New Haven, CT. 

CAZIN, JEAN CHARlEs 

French, 1841-1901 

Lever de Lune sur Le Moulin à Vent 

(Moon Rising over the Windmill) 

Oil on canvas 

Signed lower left, “J C Cazin” 

26 x 32 ¼ inches 

L'arc-en-ciel 

by Jean Charles Cazin 

National Gallery of Victoria, Australia 


French, 1841-1901 

Moonlit Cottages 

oil on canvas 

signed lower left 

18 ¼ x 15 inches 

6

7 

Jean Ferdinand Chaigneau 

Chaigneau, a second generation 

Barbizon painter and a colleague 

of Millet, Rousseau and Jacque, 

painted ‘deepest France’, the far 

flung districts of the Bordelais, the 

Landes and Limousin, Normandy, 

and, of course, the Fontainebleau 

Forest. Jacque was a particular 

influence, as is evident in this gentle 

landscape. Chaigneau’s paintings 

are conspicuous for their detailed 

depiction and heightened range of 

colors. He was a great favorite at 

the Paris Salon and exhibited at the 

International Expositions of 1855, 

1889, and 1900. Chaigneau showed 

work at the International Exposition 

in Santiago of 1875, and the World’s 

Colombian Exposition in Chicago 

of 1893. Chaigneau, with Charles 

Jacque, was the founder member of 

the Société des Artistes Animaliers. 

Chaigneau's works are included in 

museums such as the Musées des 

Beaux-Arts of Bordeaux and in Lyon 

and the National Gallery of Art, 

Washington. D.C. 

CHAIGNEAU, JEAN FERdINANd 

French, 1830-1906 

Evening Landscape with Shepherd 

oil on panel 

signed lower left “J. Chaigneau” 

13 x 18 ½ inches


French, 1830-1906 

Berger et son Troupeau 

Oil on canvas 

Signed lower left 

11 x 18 1 /8 inches 


French, 1830-1906 

Berger et son Troupeau, Plaine de Chailly 

Oil on canvas 

Signed lower right 

20 x 24 inches 

8

Narcisse Virgile Diaz De La Peña 

After the death of his parents who were native Spaniards, 

Diaz was raised by a Protestant clergyman in the suburbs of 

Paris. At the age of 15, he trained as a porcelain painter in 

Paris. He was primarily self-taught on the works of the Old 

Masters in the Louvre and Correggio was a great influence 

at the time. He briefly took courses under Jacques-Louis 

David but always remained an independent spirit. From 

Eugene Delacroix, he took a taste for oriental nymphs 

and with his friend Theodore Rousseau, he founded the 

avant-garde Barbizon School. Diaz de la Pena's works are 

included in museums such as The Louvre, Musée d'Orsay, 

The National Gallery in London, and the Metropolitan 

Museum of Art among others. 

dIAZ dE lA PEÑA, NARCIssE vIRGIlE 

French, 1807-1876 

In the Woods at Fontainebleau, 1850 

Oil on panel. Signed and dated lower right, “N. Diaz 1850.” 

Provenance: Charles Knox Smith, Philadelphia 

16 x 12 ½ inches 

9 


French, 1807-1876 

Venus and Cupid, c. 1850 

oil on panel. signed “Diaz” lower right, with 

“Encadrements Artistiques - C. Liem” sticker verso 

17 ¼ x 10 ½ inches

Provenance: Salon of 1836; Schoeller Collection, 

Paris; Lair Dubreuil Collection, Paris; Pacitti 

Collection, Paris; Private Collection, Switzerland. 

Literature: Pierre and Roland Miquel, Diaz 

catalogue raisonne, Paris, 2006, Bd. II, S. 348, No. 

2115 (illustrated). The Flemish influence is clearly 

expressed here in the execution and the lighting of 

the painting by the artist. 


French, 1807-1876 

The Adoration of the Shepherds, 1836 

Oil on canvas. 

Signed and dated lower right. 

29 x 45 ½ inches 

Gypsy Encampment, 1848 

by Narcisse Virgile Diaz de la Pena 

(oil on canvas) 

the Hermitage 

10

Jules Dupre 

Jules Dupré, like Diaz and Decamps, 

was trained as a porcelain painter and 

evidence of the meticulous approach 

to detail is evident in the finish of this 

painting. A member of the School 

of 1830, Dupré made his début at the 

Paris Salon of 1831 where he showed 

several landscapes. In the Salon of 

1833 he received a second-class medal. 

The nineteenth century art critic 

Réné Ménard later described him as 

‘a member of the golden youth of the 

Romantic school’. A friend of Théodore 

Rousseau, the two painters traveled 

France together and later shared a studio 

in Paris. Dupré is a central influence to 

the development of landscape painting in 

France. His pictures are included in the 

Louvre, and the Musée d’Orsay in Paris; 

the Metropolitan Museum in New York; 

the Museum of Fine Arts in Boston, and 

the National Gallery 

in London. 

dUPRE, JUlEs 

French, 1811-1889 

Cattle Watering at Sunset, c. 1860 

Oil on panel. Signed lower right “J. Dupre.” Provenance: 

Muscarelle Museum of Art at the College of William and 

Mary; Frank Rysavey; George F. Baker, Sr., New York. 

9 ¾ x 15 ¾ inches 

11 

Landscape with Cows, 1870s 

by Jules Dupre 


Hermitage 

dUPRE, JUlEs 

French, 1811-1889 

Les enfants devant la chaumière 

oil on canvas 

signed lower right 

18 x 15 inches

Paul Huet 

Paul Huet was considered to be one of the most important 

landscape painters in France. Rivaled only by Théodore 

Rousseau, Huet was seen as a great revolutionary. His 

dramatic scenes and bravura brushwork challenged the stilted 

approach of the Paris Academy. Huet came to the attention 

of critics in the Salon of 1831 and 1833 where he was singled 

out as a member of the ‘new school of landscape’, an influence 

on many of the Barbizon painters in the present exhibition. 

He was a friend of Richard Parkes Bonington and worked 

together in Normandy. Like many young French artists, Huet 

HUET, PAUl 

French, 1803-1869 

Bord de rivière animé 

oil on canvas 


19 x 27 7 /8 inches 

was struck by the work of John Constable at the Salon of 

1824. In 1841, he was made a knight of the Légion d’honneur, 

and showed at the Universal Exposition Paris of 1855. Huet’s 

paintings are included in the Louvre, Paris; the Metropolitan 

Museum of Art, New York; the Musée d’Orsay Paris; the 

Museum of Fine Arts, Boston; the National Gallery, London; 

the National Gallery of Art Washington DC; the Brooklyn 

Museum; the Cleveland Museum of Art and Harvard 

University Art Museum. 

View of rouen, 1831 

by Paul Huet, (oil on canvas) 

Musee des Beaux-Arts, France 

12

Charles Emile Jacque 

Charles Jacque began his career as an 

engraver. Like Millet, his close friend, 

Charles Jacque moved to Barbizon in 

1849 to escape the cholera epidemic in 

Paris. Influenced by his friend, he painted 

rustic and pastoral subjects in which 

shepherdesses and the flocks are given a 

timeless air. The writer and critic Charles 

Baudelaire admired his work and in 1867 

he was awarded the Légion d’honneur. 

Jacque’s paintings are included in the 

Art Institute of Chicago; the Cleveland 

Museum of Art, Ohio; the Dallas Museum 

of Art, Texas; the Detroit Institute of Arts, 

Michigan; the Hermitage Museum, Saint 

Petersburg, Russia; the Louvre and the 

Musée d’Orsay Paris. 

JACQUE, CHARlEs EmIlE 

French, 1813-1894 

Un Troupeau de Moutons dans un Grange 

Oil on canvas 

Signed lower left, “Ch. Jacque” 

28 1 /8 x 36 5 /8 inches 

13 

Moutons au pâturage 

by Charles emile Jacque (oil on canvas) 

the Louvre, paris 


French, 1813-1894 

Bergère et son troupeau à Barbizon 

oil on canvas 


32 x 25 5 /8 inches

Émile Jacque was born in the Saône-et-Loire region 

of France in 1848 to a family of artists that included 

his paternal uncle, Léon and his brother, Frédéric. 

The three followed Émile's and Frédéric's father, 

Barbizon printmaker and painter Charles-Émile 

Jacque. Émile and Frédéric received their academic 

training in the ateliers of Gérôme and Alexandre 

Cabanel, respectively. Continuing their father's 

interest in animals, Émile favored scenes of horses in 

the country, while his younger brother seems to have 

specialized in cows at pasture. 

Jacque began exhibiting at the Salon in 1885. Though 

his fame never matched that of his father, he did 

receive honorable mention at the 1889 Exposition 

Universelle and a third-class medal at the 1901 Salon. 

In 1908 his works were exhibited at the Galerie 

Georges Petit. Jacque died in Paris in 1912. Émile 

Jacque’s works are included in the collections of 

museums such as the Mâcon Musée des Ursulines in 

France and the Cleveland Museum of Art, Cleveland. 

JACQUE, EmIlE 

French, 1848-1912 

Le palefrenier 

oil on canvas 


Student of Gérome 


Louis Aime Japy enjoyed considerable success over 

a fifty-year career as a landscape artist by merging 

the thematic subjects introduced by the first generation 

of Barbizon Artists – sheep-herding scenes and 

woodland motifs – with the misty atmospheres and 

idyllic calm associated with Corot’s art. From his 

earliest submissions to the Salon during the mid- 

1860s, Japy sought a highly personalized balance 

between poetic ambiance and observant realism 

in his landscapes of Brittany, Picardy and the Jura 

Region. In 1893, he was one of the first landscape 

artists to be honored with a one-man exhibition 

at the prestigious Galerie George Petit in Paris. In 

1906 Japy was named a Chevalier in the Legion 

of Honor, and he continued to exhibit at the Salon 

until shortly before his death in 1916. Japy's works 

can be found in museum collections such as The 

Hague Museum, Holland. 

JAPY, lOUIs AImE 

Swiss, 1840-1916 

Sheep and Shepherd in a Misty Landscape 

Oil on canvas 

Signed lower right, “Japy” 

Provenance: M. Newman, London, England 

24 1 /8 x 20 inches 

14

Leon Richet 

Léon Richet was a student of Diaz de La Peña, Charles Lefébvre 

and Louis-Jean Boulanger. He first showed at the Paris Salon of 

1869 and 1870, and his best known for his landscapes set in the 

Fontainebleau Forest where the influence of the Barbizon School 

can be easily seen. Like Diaz, Richet was capable of a wide range 

of painting styles and techniques from delicate porcelain like 

finishes to the wilder more impulsive gestures of the romantic 

school. Richet and Diaz often collaborated on the same pictures. 

Richet received medals at the Salons of 1885, 1898 and in 1900, 

and was later awarded the cross of the Légion d’Honneur. Richet 

painted not only the areas around Barbizon but also the Picardy 

and Normandy regions in the north of France. 

RICHET, lEON 

French, 1847-1907 

Paysage 

oil on canvas 

signed lower right Leon Richet 

25 ¾ x 36 inches 

15 

One of the most conspicuous features of Richet’s 

painting is his versatility. An accomplished exponent of 

landscape painting - as we can see from another work 

by the painter in the present exhibition - and oriental 

scenes, we find Richet turning to the genre of peasant 

painting influenced by Millet and the academic painter 

Jules Lefebvre. Richet’s paintings are included in the 

collections of the Hermitage Museum, St Petersburg, 

Russia and the Museums of Nice and Reims in France. 

RICHET, lEON 

French, 1847-1907 

The Flower Pickers, 1880 

oil on canvas. signed and dated 

“Leon Richet 1880” lower left 

25 ¾ x 16 5 /8 inches

Constant Troyon 

Like a number of Barbizon painters, 

including Diaz de la Peña and Dupré, 

Constant Troyon worked as a young 

man at the Sèvres porcelain factory 

where his father was employed as a 

decorator. A close associate of many 

Barbizon painters, Troyon offered 

support to Théodore Rousseau when 

the latter’s works were systematically 

rejected by the Paris Salon in the 1840s. 

Troyon was influenced by Dutch artists 

of the 17 th century, particularly the 

animal and land-scape painter Albert 

Cuyp, and visited the Low Countries 

in the 1840s. The painting above 

shows a Dutch-inspired rustic scene 

with a characteristically refined finish. 

Troyon’s mother established the Prix 

Troyon, an annual competition for 

animal painters at the École des Beaux- 

Arts. Tryon’s works are included in 

the Wallace Collection in London; the 

Louvre and Musée d’Orsay, Paris; the 

Metropolitan Museum, New York and 

many other museums. 

TROYON, CONsTANT 

French, 1810-1865 

Children with Cattle and Sheep 

Oil on panel. 

With a certificate from Michel Schulman 

11 ¾ x 15 5 /8 inches 

Sheep watching a Storm 

by Constant-Emile Troyon, 

(oil on panel) 

Hamburger Kunsthalle, 

Hamburg, Germany 

Le sommeil de la nymphe is notable for its 

highly distinguished provenance. From the 

collection of John Wilson and later, James 

Staats Forbes two of the most important 

collectors of Barbizon art. Exhibited in Paris, 

London and the Tokyo. This work is included 

in the Troyon catalogue raisonne by L. Souillé. 


French, 1810-1865 

Le sommeil de la nymphe 

Oil on panel. 

Signed with initials lower left. 

9 5 /8 x 7 ¼ inches 

16

I. Henri-Jean-Theodore Fantin-Latour 

FANTIN-lATOUR, I. HENRI-JEAN-THEOdORE 

French, 1836-1904 

La Toilette 

Oil on canvas. Signed lower left, “Fantin.” 

11 ½ x 10 ½ inches 

17 

Provenance: W. Scott & Sons, Montreal; Private 

Colllection, New York. Exhibited: Montreal, Museum of 

Fine Arts, “Canada Collects: European Paintings 1860- 

1960”. This painting will be included in the forthcoming 

supplement to the Fantin-Latour catalogue raisonne of 

paintings and pastels by Galerie Brame & Lorenceau.

Provenance: F. & J. Templaere, Paris; Odilon Roche, Paris; Private 

Collection, Paris. Exhibited: Paris, Galerie Templaere, “Exposition 

de l’Atelier de Fantin-Latour”, January 1905, no. 16. Literature: 

Mme. Fantin-Latour, “L’oeuvre complet de Henri Fantin-Latour”, 

Paris, 1911, p. 54, no. 404. This painting will be included in the 

forthcoming supplement to the Fantin-Latour catalogue raisonne of 

paintings and pastels by Galerie Brame & Lorenceau 

Henri Fantin-Latour is a highly 

versatile painter. Best known for 

his luxurious flower studies, he 

also painted genre scenes such as 

La Toillete included in the present 

exhibition and portraits, not least, 

this self-portrait. Fantin-Latour was 

an associate of a number of leading 

French painters including members 

of the Romantic movement and 

the Impressionists. His Studio at 

Batignolles in the Musée d’Orsay, 

Paris shows several Impressionists 

including Monet and Renoir in 

Manet’s studio. A central figure 

in nineteenth century French art, 

Fantin’s painting are in the Art 

Institute of Chicago, the Cleveland 

Museum of Art; the Dallas Museum 

of Art; the Detroit Institute of Arts; 

the National Gallery in London; the 

Fitzwilliam Museum in Cambridge; 

UK, the Hermitage Museum in Saint 

Petersburg, Russia; the Metropolitan 

Museum in New York City; the 

Musée d’Orsay in Paris, and 

numerous other public collections. 

Tannhauser on the Venusberg, 1864 

by Theodore Fantin-Latour 


Los Angeles County Museum of Art 


French, 1836-1904 

La Tete du Portrait d’homme, apres Titian 

Oil on paper laid down on canvas. 

13 ½ x 9 ¾ inches 

18

English Kindred Spirits 

English artists had a marked impact on Barbizon painters. The English 

landscape painters John Constable and Richard Parkes Bonington 

both exhibited their work at the Paris Salon of 1824, where both 

were awarded medals. English landscape painters had long celebrated 

the pastoral charm of the English countryside. As England embraced 

the industrialization of farming techniques and rural communities 

migrated from the countryside to find work in the industrial cities, 

so the old rural tradition began to take on a greater appeal. Indeed, 

many of the rural traditions shown in Constable’ s painting were 

under threat from changes in farming techniques Furthermore, few 

English landscape painters received an academic training. It was 

not uncommon, for example, for provincial towns to support artist 

who enjoyed the patronage of the local gentry. English painters 

also developed an expertise in watercolor painting – a medium that 

only became popular in France after the 1830s - and a sensitivity to 

atmospheric effects. When French artist encountered the independent 

spirit of English landscape painters for the first time – those of a 

more independent-minded persuasion such as the School of 1830s 

were enormously impressed. The French Romantic painter Delacroix 

was said to have repainted his submissions to the Salon having seen 

Constable’ s Haywain; Paul Huet claimed the English painter as a 

revolutionary influence. Later in the nineteenth century English 

artists took a different turn and began to express their revolutionary 

spirit by looking back to the example of the middle ages. In painting, 

this is evident in the work of the Pre- Raphaelite Brotherhood, a 

group of young painters who were inspired by John Ruskin injunction 

to see nature as a manifestation of divinity. Artists of the Brotherhood 

- Dante Gabriel Rossetti, William Holman Hunt and John Everett 

Millais rendered nature in minute detail and looked to the simple 

piety of Italian art of the fourteenth century for inspiration. 

GIllARd GlINdONI, HENRI 

Engish, 1852-1913 

Love’s Messenger, 1904 

oil on canvas. signed and dated lower left. 

“H. Gillard Glinoni/ August 6th 1904” 

34 ¼ x 44 ½ inches 

19 

Born in London, the senior 

member and best known of a 

family of painters, Abraham 

Hulk studied in Holland at 

the Amsterdam Academy 

under portrait painter Jean 

Augustin Daiwaille. He is one 

of the very few foreign-born 

artists ever to be admitted 

to this prestigious academy. 

Early on he turned from 

portraits to marine painting. 

Hulk is often mistakenly 

referred to as a Dutch artist 

due to the strong Dutch 

influence and conception of 

his paintings. He is mainly 

noted for his estuary scenes 

featuring Dutch barges under 

full sail. In these paintings 

he was considered a master of 

atmosphere and composition. 

Hulk's works can be found in 

museums such as The Getty 

Museum in Los Angeles. 

HUlK, ABRAHAm 

British, 1813-1897 

View near Brading, Isle of Wight 

oil on canvas 


40 ¼ x 30 ¼ inches

Benjamin William Leader 

lEAdER, BENJAmIN WIllIAm 

British, 1831-1921 

A Wet Roadside, 1894 

Oil on canvas 

Signed and dated lower left 

16 ¼ x 24 ¼ inches 

Benjamin Leader was trained by his father, a friend 

of John Constable. In 1854, he entered the Royal 

Academy in London; that year he exhibited at the 

Royal Academy where after he continued to show 

every year until 1922. First influenced by the Pre- 

Raphaelites, his later paintings show a freer, less 

structured technique influenced by the Impressionists. 

Leader’s paintings are included in the Victoria and 

Albert Museum and Tate Gallery in London. 


British, 1831-1921 

Evening After the Rain, 1897 

oil on canvas. signed and dated 

lower left: B. W. Leader 1897 

32 x 52 1 /8 inches 

20

Thomas Sautelle Roberts 

A younger brother of the polished Irish landscape painter 

Thomas Roberts (1749-78), Thomas Sautelle Roberts - named 

Sautelle after the Huguenot side of his mother's family, while 

he himself took the name Thomas after the untimely death 

of his brother in 1778 - was one of a group of native Irish 

landscape artists to emerge in the late eighteenth century. Born 

in Waterford, he studied drawing and painting in the Dublin 

Society schools, where he won a medal for draughtsmanship in 

ROBERTs, THOmAs sAUTEllE 

(Attributed to), Irish, 1760-1826) 

The Storm 


Provenance: The Glazer Collection, Scottsdale, AZ. 

51 ¼ x 72 ¼ inches 

21 

1779. Apprenticed to Thomas Ivory, the renowned architect, 

he quit architecture at the end of his term to devote himself 

to painting. Patronized in the early 1800s by Lord Hardwicke, 

Lord Lieutenant of Ireland, Roberts exhibited a number of 

Irish landscape paintings at the Royal Academy in London 

between 1789 and 1811, and at the British Institution between 

1807 and 1818. Thomas Sautelle Robert's works can be found 

at institutions such as The British Museum and many others. 

(top Left, next page) 

OlIvER, WIllIAm 

French, 1804-1853 

Young Woman in the Field 



26 x 19 inches

WEEKEs, WIllIAm 

British, 1856-1909 

The Leader of the Commons 

Oil on panel. Signed lower left, 

“Weekes”. Provenance: 

Burlington, London, England. 

11 ½ x 8 inches 

WRIGHT, ROBERT W. 

British, d. 1906 

An Unexpected Encounter, 1882 

oil on canvas. signed and 

dated 1882 lower right 

14 x 12 1 /8 inches 

YEENd-KING, HENRY JOHN 

British, 1855-1924 

Waiting for the Ferry 

Oil on panel 


23 ½ x 19 ¾ inches 

22

23 

Julien Dupré 

Working during the last half of the 19th century, Julien 

Dupré was an artist, considered by most, to be one of 

the leading exponents of the second generation of Realist 

painters; a group that also includes Leon Lhermitte, Jules 

Bastien-Lepage and Pascal Dagnan-Bouveret. Like J.F. 

Millet and J. Breton, before them, these artists devoted 

their artistic careers to the depiction of the toils of the 

French peasant - often seen hard at work in the fields. 

Dupré received his artistic training in the academic 

studios of Isidore Pils, Desire-Francois Laugée and Henri 

Lehmann. He exhibited his first painting at the Paris Salon 

in 1876 and thereafter, became a regular exhibitor until 

his death in 1910. In 1880 he was awarded a third-class 

medal for Faucheurs de Luzerne and in 1881 he received 

a second-class medal for his La Recolte des Foins. He was 

honored with a gold medal at the Paris Fair of 1889 and 

in 1892 was awarded the Legion of Honor. His work was 

sought after internationally and he found a good market in 

the United States. 

Julien Dupré's works can be seen in many museums 

including the Musée d'Orsay, The Museum of Fine Arts, 

Boston, and The Fine Arts Museums of San Francisco, CA. 

dUPRé, JUlIEN 

French, 1851-1910 

Minding the Flock 

Oil on canvas 

Signed 'Julien Dupré' 

25 ¾ x 21 ¼ inches 


French, 1851-1910 

Young Farmgirl with Cattle 

Oil on canvas 

Signed and inscribed 'à Edouard bien 

cordialement/ Julien Dupré' lower right 

15 x 21 ¾ inches

Contemporaries & Fellow Travelers 

BAIl, JOsEPH 

French, 1862-1921 

Maid with Lemonade 

Oil on canvas 



HEFFNER, KARl 

German, 1849-1925 

British Landscape in Evening Light, c. 1900 

oil on canvas. signed and inscribed “Munchen” 

lower left. 28 x 39 ¼ inches 

BAIl, JOsEPH 

French, 1862-1921 

La Bonne (une servante) 

Oil on canvas 



24

Frank Boggs 

Frank Boggs studied at the École des Beaux-Arts with the 

academic painter Jean-Léon Gerôme. He assimilated the techniques 

and subject matter of French landscape painting perfectly, 

worked in the open before his subjects and adopted the style 

of the Impressionists. By the end of the nineteenth century, 

Paris was a favorite haunt on many American citizens; they 

came to capture the spirit of the city, one they learned from 

the books they read, the Vaudeville acts they flocked to in Chicago 

and San Francisco, and, not least, the pictures they saw. 

Faced with Bogg’s keenly felt romanticism, it is indeed possible 

to sympathize with the spirit of Nora Bayes’ contemporary 

late nineteenth century lyric “how you gonna keep ‘em down 

BOGGs, FRANK 

American, 1855-1926 

Notre Dame 

oil on canvas. signed lower left. 


25 

on the farm, now that they’ve seen Paree’. The site shown by 

Bogg’s in this picture – the left bank of the Seine facing the 

cathedral of Notre Dame de Paris - was listed in several guides 

to the city as a perfect spot for romantic trysts. In the early 

1920s Boggs became a French citizen and was later awarded 

the Légion d’Honneur. Boggs traveled widely during his career 

and painted landscapes in Venice and the Low Countries. He 

showed at the Paris Universal Exposition of 1889, and the Chicago 

World’s Columbian Exposition of 1893. The Louvre, The 

Metropolitan Museum of Art, the Brooklyn Museum, the Museum 

of Fine Arts, Boston and the Museum of Nantes contain 

examples of his work.

Emily Crawford 

CRAWFORd, EmIlY, (NéE AldRIdGE) 

British, (active 1869-1891) 

Four paintings comprising the “Four Seasons” suite; 

each framed as an oval. 

As one of only a few female artists of the 19th Century, 

Emily Crawford made a name for herself as a genre and 

portrait painter. She exhibited at Salons in London from 

1869 to 1891 and in Berlin in 1891. 

Four Seasons: Autumn 

oil on canvas 

8 x 7 inches 

Four Seasons: Spring 

oil on canvas 

8 x 7 inches 

Four Seasons: Summer 

oil on canvas 

8 x 7 inches 

Four Seasons: Winter 

oil on canvas 

8 x 7 inches 

26

27 

dEvEdEUX, lOUIs 

French, 1820-1874 

Sérénade 

oil on canvas. signed lower left 

student of Paul Delaroche and of Decamps 

23 ½ x 19 ¼ inches 

BOGGs, FRANK-WIll 

French. 1900-1951 

La Pont Neuf à Paris 

oil on canvas. 


23 ¾ x 28 ¾ inches 

FRéRE, PIERRE-EdOUARd 

French, 1819-1886 

The Ploughman’s Lunch, 1867 

oil on canvas. 

signed and dated lower left 

“Ch. Frère ‘67.” 20 x 24 ½ inches

Leon Gaud 

Léon Gaud was born in Geneva, 

Switzerland where he studied with 

Barthelémy Menn at the École de 

Beaux-Arts. Awarded a medal in the 

1900 Paris World Fair, Gaud spent 

much of his career as a teacher at 

the École. He is best known for his 

landscapes and genre scenes of the 

countryside around Switzerland’s 

Lake Geneva; in later years he 

specialized more in portraiture and 

figures. In 1879, he executed as 

series of larger works for the Grand 

Théâtre de Genève which were 

later destroyed by fire. His work is 

in the permanent collection of the 

Museums of Fine Arts in Geneva 

and Neuchatel. 

GAUd, lEON 

Swiss, 1844-1908 

La collation 

oil on canvas. signed lower left 

Student of the Swiss School; student of Barthélemy Menn 


GAUd, lEON 

Swiss, 1844-1908 

Chasseur 

oil on canvas 

signed Leon Gaud lower right 


28

Georges Francois Paul Laugee 

Georges Laugée, the brother 

in law of Jules Dupré, was 

trained first by his father and 

later at l’École des Beaux- 

Arts where his studied with 

the academic painters Isidore 

Pils and Henri Lehmann. 

Laugée first showed at the 

Paris Salon in 1877 and 

continued to exhibit in the 

capital until 1927. He showed 

at the Universal Exhibitions in 

1889 where he was awarded 

a bronze medal and the 

Exposition of 1900. Delicately 

painted, romanticized images 

of rural life reminiscent of 

Jules Breton such as the one 

exhibited here are typical 

of the artist’s work and 

contributed to his international 

success in the 1920s. Laugee's 

works are included in the 

collections of many museums 

including Amiens Museum, 

Boulogne Museum, Museum 

of Nance, Museum of Rouen, 

and Saintes Museum, France 

and the Carcossone Museum, 

Italy, 

lAUGEE, GEORGEs FRANCOIs PAUl 

French, 1853 - 1908 

A Woman of the Field (The Gleaner) 

oil on canvas. signed “Georges Laugée” lower right 

Provenance: Sotheby Parke-Bernet, 1975 

21 ¾ x 15 1 /8 inches 

29

mANGIN, mARCEl 

French, 1852-1915 

Jeune fille aux roses trémières 

oil on canvas. signed lower right 

Some restoration as is typical with a work of this caliber 


mEsdAG, HENdRIK-WIllEm 

(Attributed to) 

Dutch, 1831-1915 

Full Moon Over Windmill 

oil on canvas 

13 5 /8 x 16 7 /8 inches 

30

Georges Michel 

Michel’s paintings had a profound influence on the development on nineteenth 

century French art and were said to have initiated a movement that saw the 

‘triumph’ of naturalistic French landscape painting at the Universal Exhibitions 

of 1889 and 1900. Largely unknown during his lifetime, Michel abandoned a 

delicate style of painting in favor of a ferocious contrasts of light and shade 

and gestures of paint. That style was thought to be free and instinctive, and 

for much of the nineteenth and twentieth centuries – from the paintings of 

Monet to Jackson Pollock – we have continue to value such passion. Michel 

is thus a seminal figure! Dutch art of the seventeenth century was popular 

in France in the early nineteenth century and we can also see evidence of its 

influence in the work in the present exhibition. Michel’s works are included 

in the Art Institute of Chicago; the Hermitage Museum; the Louvre; the 

National Gallery London and many more. 

mICHEl, GEORGEs 

French, 1763-1843 

Paysage avec Paysans 

Oil on canvas 

Exhibition: Neuchatel, Musee des Beaux-Arts, “Exposition 

de collections neuchatelois”, Spring of 1956, no. 3 

18 x 21 3/4 inches 

31 

approaching Storm, c.1820-25 

by Georges michel (oil on canvas) 

Indianapolis museum of Art, usA

Francois Millet 

Like his father, the better-known 

Jean-Francois Millet, one of the 

founder members of the artist’s 

colony at Barbizon, the work of 

Millet fils owes much to his father’s 

example. The younger Millet was an 

habitué of Barbizon and shared his 

father’s appreciation of the spiritual 

significance of the French countryside. 

Here Millet bathes the landscape 

with an almost mystical light. Like 

many artists working at the end of the 

century, Millet’s pallet lightens, the 

colors become more intense and the 

paint surface becomes fragmented in 

the style of the Impressionists. Also 

like his father, Millet’s repertoire of 

subject was broad and he is known 

for both landscapes and also peasant 

scenes. Millet fils was a close associate 

of two American painters who were 

also habitués of Barbizon, William 

Babcock and William Morris Hunt. 

The angelus, 1857-59 

by Jean-Francois Millet) 


Musee d’Orsay, Paris, France 

Felix Schlesinger, born in Hamburg, 

Germany, studied at the Dusseldorf 

Academy. Like many European 

painters, he spent some time in Paris 

and later settled in Munich. It was 

here that he began to specialize in 

narrative genre scenes, often with 

a clear moral lesson for the viewer. 

Like many German painters of the 

nineteenth century, Schlesinger’s 

work is highly detailed and has a 

meticulous porcelain-like finish, a 

tradition that dates by the German art 

of the early renaissance. 

mIllET, FRANCOIs 

French, 1851-1917 

Sunset over the Fields 

Oil on canvas. Signed lower right, “F. Millet.” Provenance: Property of the 

Woodmere Art Museum, Philadephia, Pennsylvania, sold to benefit the Charles Knox 

Smith Acquisitions Fund. This museum housed the collection of Charles Knox Smith 

who was closely associated with the patronage of Barbizon painting in the 

sCHlEsINGER, FElIX 

German, 1833-1910 

Entertaining the Convalescent 

Oil on panel 

Signed lower left, “F. Schlesinger” 

16 x 20 3 /8 inches 

United States. 18 x 26 inches 32

Veron was one of the many second-generation 

Barbizon painters to visit the eponymous 

village. A highly-talented landscape painter, 

he specialized in delicately painted landscapes 

of the regions to the south of Paris. Here, 

Veron has depicted an intimate view of 

the yard beside Madame Ganne’s house at 

Barbizon. Madame Ganne was the wife of 

Père Ganne, the owner of the famous Auberge 

at Barbizon. The Auberge Ganne provided 

a wholesome dinner and a glass of cheap 

‘vin bleu’ for a few francs, and, above all, 

convivial company for Barbizon painters. 

By the time Veron painted this intimate 

little study, Barbizon was well known to the 

Parisian public and the antics of Barbizon’s 

painters were well-documented. The painter 

and author Georges Gassies records in his 

book Le Vieux Barbizon (Barbizon of Old) 

the drunken and animated exchanges that 

took place between artists. Pretty waitresses, 

Gassies records, were subject to the unwanted 

attention of Barbizon’s artists but ‘no fear, 

they had Mère Ganne’s strong fists to protect 

them.’ Veron’s picture attempts to capture 

something of the warm memories artists 

enjoyed at their time at the inn. 

vERON, AlEXANdRE RENE 

French, 1826-1897 

Cour de ferme à Barbizon 

oil on canvas. signed “A. Veron” lower left, written on back 

“Maison de Madame Ganne - Barbizon.” 

10 ½ x 13 ¾ inches 

33 

vIllAIN, GEORGEs-RENé 

French, 1854-1930 

Le repose du berger 

oil on canvas 


37 x 47 ¼ inches

Felix Francois Georges Philibert Ziem 

Ziem first trained as an architect and won first prize for 

the architecture composition at the École des Beaux- 

Arts in Dijon. In the mid-1840s he traveled widely in 

Italy where he painted scenes in Venice while living of a 

floating studio. He later traveled widely and made many 

visits to Barbizon. It was here he met Millet, Rousseau, 

Diaz and Daumier. In 1870, he became a member of 

the Salon jury and later was made a knight of the 

Légion d’honneur. Ziem is well known for his highly 

experimental approach to painting, often adding marble 

ZIEm, FElIX FRANCOIs GEORGEs PHIlIBERT 

French, 1821-1911 

Farm in Holland 

Oil on canvas. Signed lower left, “Ziem.” The Association Felix Ziem, 

represented by Mathias Ary Jan and Davis Pluskwa, has confirmed the 

authenticity of this work and it will be reproduced in the forthcoming 

Catalogue Raisonne. 28 x 43 ½ inches 

powder, and lapis-lazuli to pigments to create spectacular 

textures, or using the thick medium of oil paint like 

delicate watercolor. Vincent Van Gogh admired his 

technique. Ziem’s works are included in the Art Institute 

Chicago; the Hermitage Museum, Saint Petersburg; the 

Louvre and Musée d’Orsay, Paris; the Rijksmusuem, 

Amsterdam; the Frye Art Museum, Seattle; the Musée 

des Augustins, Toulouse, France; the National Gallery of 

Armenia; the Saint Louis Art Museum, Missouri and the 

Wallace Art Collection, London, UK. 

Sunset, Camargue 

by Felix Ziem 

(w/c on paper) 

musee de la Ville de paris, 

musee du petit-palais, France 

34

Alexandre-Gabriel Decamps 

dECAmPs, AlEXANdRE-GABRIEl 

French, 1803-1860 

Voyageur vu de dos 

Oil on brown paper laid down on canvas 

signed with monogram lower right “DC” 

15 ¾ x 8 ¾ inches 

35 

During his career Decamps painted landscape and genres scenes, and was 

soon recognized as a powerful influence in French painting. A central 

figure of the romantic movement, he was awarded the prestigious Grande 

medaille at the Paris Exhibition of 1855. An habitué of the Forest of 

Fontainebleau, he died in 1860 in consequence of being thrown from a 

horse while hunting. Decamps works are included in the Musée d’Orsay 

and the Louvre in Paris, the Museum of Fine Arts in Boston, the Brooklyn 

Museum in New York, the Courtauld Institute in London, the Harvard 

University Museum Massachusetts, and the Minneapolis Institute of Arts.

Albert Lebourg 

Albert Lebourg studied first as an architect in Rouen. He 

later turned to painting and taught in the French colony 

of Algiers, North Africa. Like the Impressionists, Lebourg 

experimented with the idea of painting the same scene 

from different times of the day, a process Monet made 

famous in the famous Grainstacks and Rouen Catherdral 

series. Lebourg returned to Paris in the late 1870s where 

he met Edgar Degas, Monet and Alfred Sisley. After 

painting a number of Impressionist inspired works – of 

which the picture in the present exhibition is a fine 

example - Lebourg traveled in the Netherlands and the 

UK. Lebourg’s works are included in the Louvre, The Art 

Institute of Chicago, The Hermitage, Saint Petersburg, 

Russia, The Fine Arts Museum San Francisco, and the 

Musée Marmottan Paris. Lebourg was made a Chevalier 

of the Légion d’Honneur in 1903. 

lEBOURG, AlBERT 

French, 1849-1928 

Au bord de l’eau 

oil on canvas 


12 3 /8 x 18 ½ inches 

36

The Canal Saint-Denis 


by Stanislas Victor Lepine 

Hamburger Kunsthalle, 

Hamburg, Germany 

lAvIEIllE, EUGèNE 

French, 1820-1889 

La liseuse sous bois 

oil on panel. signed lower left, signed 

again and titled verso 

23 x 13 ¼ inches 

37 

Stanislas Lepine 

Stanislas Lépine is well-known for his studies of Paris 

and the surrounding countryside. During his lifetime, 

Lépine received little attention from the critics. 

Recognition came posthumously; one Parisian critic 

observed that ‘no other artist has better evoked the 

atmosphere and light of our city.’ Lépine first showed 

at the Paris Salon in 1859. In the 1860s, he studied with 

Jean-Baptiste Camille Corot and was later supported 

by the Impressionists’ art dealer Paul Durand-Rule. In 

1874, he took part in the first Impressionist Exhibition 

with Cézanne, Camille Pissarro, Degas, Monet and 

Renoir. Lépine’s works were included in the 1889 

Universal Exhibition. Today his paintings are included 

in the National Gallery of Art, Washington; the Norton 

Simon Museum, Pasadena; the Clark Art Institute, 

Williamstown; the National Gallery, London, the 

Ashmolean Museum, Oxford, the Musée d’Orsay, Paris 

and the Thyssen-Bornemisza Museum, Madrid. 

lEPINE, sTANIslAs 

French, 1835-1892 

La plaine, circa 1874-1878 

oil on canvas. Signed lower left. To be included in the Supplement to the 

Lépine Catalogue Raisonne by Manuel Schmit and is numbered C1.1108 

in the Lépine archives. An avid of inclusion dated 8/18/09 from the First 

Supplement of the Catalogue Raisonné de peintures de S. Lépine by Mr. 

Manuel Schmit will be given to the aquirer. 13 x 16 ¼ inches

,Jean-Francois Raffaelli 

Raffaelli is best known as one of the artists that 

exhibited with the Impressionists in the exhibitions 

of 1880 and 1881 where he showed over 37 paintings. 

Raffaelli first showed at the Salon of 1870, a year before 

he entered the studio of the academic painter Jean-Léon 

Gérôme. Before adopting the Impressionist pallet we see 

here, Raffaelli painted images of the working classes 

of Paris. In the early 1890s, he began to adopt a lighter 

color scheme and painted images of the countryside 

around Paris. Degas, in particular, admired his work 

and invited him to participate with the Impressionists. 

Rafaelli’s paintings are included in the Art Institute of 

Chicago; the Metropolitan Museum, New York City; 

the Musée d’Orsay, Paris; the Museum of Fine Arts 

Boston; the National Gallery of Art in Washington; the 

Brooklyn Museum, New York; the Cleveland Museum; 

the Fine Arts Museums of San Francisco; the Los Angeles 

Country Museum, and many other museums worldwide. 

RAFFAEllI, JEAN-FRANCOIs 

French, 1850-1924 

Deux enfants devant une maison 

(Two Children Before a House) 

oil on canvas. signed lower right. 

15 x 18 1 /8 inches. 


French, 1850-1924 

La patron pêcheur 

oil on canvas. signed lower right. 

47 1 /5 x 41 1 /3 inches 

38

39 

Index to the Artists and their Works 

BAIl, JOsEPH 

La Bonne (une servante) 24 

Maid with Lemonade 24 

BOGGs, FRANK 

Notre Dame 25 

BOGGs, FRANK-WIll 

La Pont Neuf à Paris 27 

BONHEUR, ROsA 

Le Labourage 5 

CARPENTIER, EvARIsTE 

The Noon Hour - Shepherdess at Rest 24 


Lever de Lune sur Le Moulin à Vent 6 

(Moon Rising over the Windmill) 

Moonlit Cottages 6 


Evening Landscape with Shepherd 7 

Berger et son Troupeau 8 

Berger et son Troupeau, Plaine de Chailly 8 

CRAWFORd, EmIlY (NéE AldRIdGE) 

Four Seasons: Autumn 26 

Four Seasons: Spring 26 

Four Seasons: Summer 26 

Four Seasons: Winter 26 

dECAmPs, AlEXANdRE-GABRIEl 

Voyageur vu de dos 35 

dEvEdEUX, lOUIs 

Sérénade 27 


In the Woods at Fontainebleau 9 

The Adoration of the Shepherds 10 

Venus and Cupid 9 

dUPRE, JUlEs 

Cattle Watering at Sunset 11 

Les enfants devant la chaumière 11 


Minding the Flock 23 

Young Farmgirl with Cattle 23 


La Tete du Portrait d’homme, apres Titian 18 

La Toilette 17 

FRERE, EdOUARd-PIERRE 

The Ploughman’s Lunch 27 

GAUd, lEON 

Chasseur 28 

La collation 28 

GIllARd GlINdONI, HENRI 

Love’s Messenger 19 

HEFFNER, KARl 

British Landscape in Evening Light 24 

HUET, PAUl 

Bord de rivière animé 12 

HUlK, ABRAHAm 

View near Brading, Isle of Wight 19 


Bergère et son troupeau à Barbizon 13 

Un Troupeau de Moutons dans un Grange 13 

JACQUE, EmIlE 

Le palefrenier 14 

JAPY, lOUIs AImE 

Sheep and Shepherd in a Misty Landscape 14 

lAUGEE, GEORGEs FRANCOIs PAUl 

A Woman of the Field (The Gleaner) 29 

lAvIEIllE, EUGèNE 

La liseuse sous bois 37 


A Wet Roadside 20 

Evening After the Rain 20 

lEBOURG, AlBERT 

Au bord de l’eau 36 

lEPINE, sTANIslAs 

La plaine 37 

mANGIN, mARCEl 

Jeune fille aux roses trémières 30 

mEsdAG, HENdRIK-WIllEm 

Attributed to 

Full Moon Over Windmill 30 

mICHEl, GEORGEs 

Paysage avec Paysans 31 

mIllET, FRANCOIs 

Sunset over the Fields 32 

MønstEd, PEdER mORK 

Sunset over a forest lake 40 

OlIvER, WIllIAm 

Young Woman in the Field 22 


Deux enfants devant une maison 38 

La patron pêcheur 38 

RICHET, lEON 

Paysage 15 

The Flower Pickers 15 

ROBERTs, THOmAs sAUTEllE 

Attributed to 

The Storm 21 

sCHlEsINGER, FElIX 

Entertaining the Convalescent 32 


Children with Cattle and Sheep 16 

Le sommeil de la nymphe 16 

vERON, AlEXANdRE RENE 

Cour de ferme à Barbizon 33 

vIllAIN, GEORGEs-RENé 

Le repose du berger 33 

WEEKEs, WIllIAm 

The Leader of the Commons 22 

WRIGHT, ROBERT W. 

An Unexpected Encounter 22 

YEENd-KING, HENRY JOHN 

Waiting for the Ferry 22 

ZIEm, FElIX FRANCOIs GEORGEs PHIlIBERT 

Farm in Holland 34

Peder Mork Mønsted 

Peder Mørk Mønsted (Peter Mark Monsted) 

(1859-12-10 - 1941-06-20) was a Danish realist 

painter. Mønsted was known for his landscape 

paintings. Monsted was born in Balle near 

Grenå in eastern Denmark. He later moved to 

Copenhagen where he studied from 1875 to 1879 

at the Academy of Copenhagen. His teachers there 

included Andries Fritz and Julius Exner. Mønsted 

had a long career and traveled throughout Europe, 

North Africa, and the Middle East. Mønsted's 

works can be found in museums such as the 

Dehesh Museum in New York. 

MønstEd, PEdER mORK 

Danish, 1859-1941 

Sunset over a forest lake 

Signed and dated 'P Monsted. 1895.' lower right 

Oil on canvas 


40

G A L E R I E M I C H A E L 

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224 North Rodeo Drive, Via Rodeo, Beverly Hills, CA, 90210 

Tel: 310-273-3377 Fax: 310-273-0879 

Complete Collection Online 

www.galeriemichael.com 

© 2010 Galerie Michael. All Rights Reserved. 

Additional Images Courtesy of the Bridgeman Art Library

Journey to ImpressIonIsm - Galerie Michael

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