Paul-Désiré Trouillebert was born in 1829 in Paris. He is one of the main landscape painters of the French 19th century. Belonging to the Barbizon school, Trouillebert is the artist closest to Corot in terms of the themes of his paintings, the particular treatment of trees, and the friendly relationship that the two painters maintained throughout their lives. Trouillebert has a predilection for riverside landscapes. The trees are most often birches in the shade of which a character is walking, fishing or gathering wood.
He trained with the renowned portraitist Ernest Hébert (1817-1908) and in the studio of Charles-François Jalabert (1819-1901). Trouillebert was first noticed for his portraits and nudes: the portrait of Mademoiselle A. allowed him to be accepted at the Salon des Artistes Français in 1865, where he exhibited until 1884.
Trouillebert traveled extensively in France, notably in Brittany, the Loire and on the banks of the Seine. He was part of the movement of traditionalist plein air painters, as he stated in an interview with a journalist from L'Echo de Paris in 1890: "I only work from nature, I do not admit the study copied in the studio."
Our painting is a very luminous work, leaving a great place to the sky and the water. The composition is perfectly balanced, with a vanishing point in the center that suggests the continuation of the path in the shade of the trees and thus gives an effect of depth. In the representation of the river, we note the work on the reflections that Trouillebert mastered perfectly. The female character represented from behind contributes to the lively character of the scene. The sky is beautifully rendered with moving clouds in a luminous blue sky. The palette mobilized by the artist is infinitely rich. He takes particular care with the contrasting effects between the areas occupied by the sky, the water and the vegetation where blues, greens and grays predominate and the area showing the path and the sides for which the artist successfully mobilizes a beautiful palette of ochres and light browns. The effects of transparency give the trees a particular vibration thanks to the ochre preparation typical of Trouillebert. Still on its original canvas, this painting is in very good condition.