Camille Pissarro (1830-1903) - Paysage à la Varenne-Saint-Hil

Charlotte Amalie 1830 - 1903 Paris

"Paysage à la Varenne-Saint-Hilaire"
Oil on canvas, relined, 27 x 38 cm
Signed & dated 1864 lower right

Provenance:
Dr. Gachet; Paul Gachet, Auvers

Literature:
Ludovico Rodo Pissarro & Lionello Venturi,
Pissarro, Son Art - Son Oeuvre.
Catalogue Raisonné,
text no. 40, ill. pl. 7.

This stunning landscape, Paysage à la Varenne-Saint-Hilaire, is a key example of Camille Pissarro’s early work, capturing the dramatic beauty of the French countryside. Pissarro was born on the island of St. Thomas in the Danish West Indies in 1830 and moved to Paris, where he developed his basic painting techniques. There he studied with the important landscape painter and main representative of the Barbizon School, Camille Corot, from whom he soon began to break away in order to pursue his own style. He was also known for his collaboration with Paul Cézanne, who also inspired him in his artistic work. Pissarro, who is considered one of the most important representatives of Impressionism, developed pioneering approaches to open-air painting during his decades-long career, focusing on rural themes and everyday life in the countryside.

Painted in 1864, it represents the key phase in Pissarro’s work, when he was still exploring traditional landscape composition before turning fully to Impressionism. The painting is set in the village of Varenne-Saint-Hilaire, a commune on the outskirts of Paris, and reflects the artist’s growing fascination with rural France, which would later define much of his work. The setting – fields and village houses framed by a dramatic sky – was a typical motif for Pissarro at this time, where he captured the tranquil yet powerful atmosphere of the natural world.

In this work, the artist uses a darker, more tonal color palette than in his later works. The green tones of the field in the foreground and the road that leads the viewer’s eye into the middle ground convey a sense of depth. The contrasting hues of the village, set against the imposing presence of the distant mountains and the vibrant, cloud-filled sky, create a harmonious yet dynamic composition. The vivid brushstrokes breathe life into the scene and already hint at the techniques he would later refine at the height of the Impressionist movement.

Dr. Paul Gachet: The collector

The provenance of the painting lends great significance to its history. It once belonged to the prestigious collection of Dr. Paul Gachet, an important patron of the Impressionist movement and close friend of many key figures, including Pissarro, Monet and Renoir. Gachet, a doctor and art lover, is probably best known for his close relationship with Vincent van Gogh, who painted two portraits of him during his time in Auvers-sur-Oise. Gachet’s support for avant-garde artists, in particular his efforts to provide them with both medical and financial support, earned him a prominent place in art history. His collection included numerous works by Pissarro, Cézanne and van Gogh, which underpinned his role as a decisive figure in the development of late 19th century art.

Gachet’s influence extended beyond his medical practice; he was also an accomplished amateur artist and engraver and amassed an extensive collection of Impressionist and Post-Impressionist works. His patronage was an important source of support for artists like Pissarro in times of financial difficulty. The ownership of this work, “Paysage à la Varenne-Saint-Hilaire”, by such an important collector thus underlines the cultural and historical significance of the painting.

The legacy of the painting

This landscape, with its dramatic scenery and masterful use of light and shadow, represents an important chapter in Pissarro’s development as a landscape painter. It reflects the growing influence of open-air painting, while at the same time harking back to earlier traditions of landscape composition. Pissarro’s works from this period lay the foundation for his later masterpieces, in which the lively interplay of light and color was to take center stage.

The presence of Paysage à la Varenne-Saint-Hilaire in the collection of Dr. Paul Gachet further enhances its importance and links it to one of the most influential art patrons of the 19th century. As a work of art and historical testimony, this painting offers invaluable insight into Pissarro’s early work and the crucial role Gachet played in shaping the Impressionist artists’ career.

Bibliography

Patrick Bade, Monet and the Impressionists, 2003.
George Heard Hamilton, “Pissarro, Camille”, in: Halsey, William D. Halsey (ed.). Collier’s Encyclopedia Vol. 19, New York 1976, p. 83.
Joachim Pissarro (ed.), Pissarro: Catalogue Critique des Peintures, Vol.I-III, Paris 2005.
John Rewald, Masters of Art: Pissarro, 1989.
Ralph E. Shikes-Paula Harper, Pissarro: The Father of Impressionism, Königstein 1981.