Camille Pissarro (1830-1903)
Camille Pissarro (1830-1903)

Vue de ma fenêtre, inondation, effet de soir, Éragny

Camille Pissarro (1830-1903)
Vue de ma fenêtre, inondation, effet de soir, Éragny
signed and dated 'C.Pissarro 1893' (lower right)
oil on canvas
25 5/8 x 21¼ in. (65 x 53.9 cm.)
Painted in 1893
Galeries Durand-Ruel, Paris, by whom acquired directly from the artist on 16 December 1893.
Paul Durand-Ruel, Paris.
Mme Joseph Durand-Ruel, by descent from the above.
Galeries Durand-Ruel, Paris, by whom acquired from the above on 13 November 1944.
M. Raoul, by whom acquired from the above on 14 November 1944.
Lock Galleries, New York.
Mrs Victoria Dreyfus, New York; estate sale, Sotheby's, New York, 26 May 1976, lot 9.
Private collection, America, by whom acquired at the above sale; sale, Christie's, New York, 6 May 2008, lot 13.
Acquired at the above sale by the present owner.
L.R. Pissarro & L. Venturi, Camille Pissarro: Son art - son oeuvre, vol. I, Paris, 1939, no. 834, p. 198 (illustrated vol. II, no. 834, pl. 170; titled, L'inondation, effet du soir, Eragny).
J. Bailly-Herzberg, Correspondance de Camille Pissarro, vol. III, Paris, 1988, no. 872, p. 311 (no. 11); no. 971, p. 410 (no. 9).
J. Pissarro, Camille Pissarro, New York, 1992, p. 234 (illustrated fig. 275).
M. Ward, Pissarro, Neo-Impressionism and the Spaces of the Avant-Garde, Chicago & London, 1996, p. 254 (illustrated fig. 11.6).
J. Pissarro & C. Durand-Ruel Snollaerts, Pissarro, Catalogue critique des peintures, vol. III, Milan, 2005, no. 977, p. 636 (illustrated).
Paris, Galeries Durand-Ruel, Oeuvres récentes de Camille Pissarro, March 1893, no. 24.
Memphis, Tennessee, The Dixon Gallery and Gardens, Homage to Camille Pissarro: The Last Years, 1890-1903, May - June 1980, no. 3.
Hanover, New Hampshire, Hood Museum of Art, Dartmouth College, From Titian to Sargent: Dartmouth Alumni and Friends Collect, September - November 1987, no. 47.
Jerusalem, The Israel Museum, Camille Pissarro: Impressionist Innovator, October 1994 - January 1995, no. 102, p. 193 (illustrated); this exhibition later travelled to New York, The Jewish Museum, February - July 1995.


Giovanna Bertazzoni
Giovanna Bertazzoni


Painted in 1893, Vue de ma fenêtre, inondation, effet de soir, Eragny is one of a group of pictures in which Pissarro recorded the flooding of the Epte from his room on the second floor of his home at Eragny. Many of the motifs contained within this landscape are those that feature in his most imspired works from the years he spent in Eragny. Indeed, in its inclusion of the walls of his garden, the apple tree and even the church in the distance, this picture serves as a form of key to his locality.

In this picture, the position of the artist is reflected in the fact that the landscape is viewed from above, raising the horizon and thereby filling most of the canvas with the details of the greenery, the trees and the garden, filled with water. The composition comprises a group of almost formal areas, with the bars of the walls forming strong horizontals and diagonals. Meanwhile, the brushwork, with flecks of different colours being used to depict the various effects, for instance the lilacs and light yellows that have been used to give such weight to the sky, or the flickers of green and blue within the roof to the lower left, reveal the importance of Divisionism and Neo-Impressionism during this time, the latter movement being one with which Pissarro became an adopted elder statesman. Yet there is a freshness to the application of the paint which speaks of his Impressionist origins, as does his fascination with this scene. Indeed, the freer brushwork is made all the more clear by comparison with an earlier view from his window, painted in 1886, which was created in a Pointillist manner.

Vue de ma fenêtre, inondation, effet de soir, Eragny featured in Pissarro's important second one-man exhibition at Durand-Ruel's gallery later in 1893. The exhibition was a success, with a good amount of supportive criticism; it was all the more impressive as most of the works were purchased by his dealer, resulting in a windfall. Pissarro's success during this period allowed him to purchase his home at Eragny, a move which comforted his wife greatly, as she was very fond of the peace, and she needed stability after the very peripatetic early years of their marriage. It also allowed the artist to create a new studio in the grounds, a process that resulted in the demolition of the wall shown to the lower left, later in the same year.