Camille Pissarro, Le verger (The Orchard), 1872



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Deutsch: Der Obstgarten.
English: Orchard in Bloom, Louveciennes.
Français : Le Verger.



oil on canvas


45.1 × 54.9 cm (17.8 × 21.6 in)

Washington DC

Object history

From National Gallery of Art:
Acquired from the artist in 1872 by (Durand-Ruel, Paris); sold between 1882 and 1888.[1] Alfred Bernheim, Paris, by 1936.[2] Purchased 1946 by (Alex Reid & Lef 138vre, London); sold 14 March 1950 to Lady Baillie. (Arthur Tooth and Sons, London); sold June 1959 to (Sam Salz Inc., New York); [3]sold 26 April 1960 to Ailsa Mellon Bruce [1901-1969], New York;[4] bequest 1970 to NGA.

[1]See letter dated 20 December 1977 from Charles Durand-Ruel, in NGA curatorial files.

[2]Lent by Alfred Bernheim to the 1936 Paris exhibition.

[3] Provenance between Alex Reid & Lefèvre and Arthur Tooth and Sons per Joachim Pissarro and Claire Durand-Ruel Snollaerts, Pissarro: Critical Catalogue of Paintings, vol. II, no. 248. Dated receipt from Salz to Mrs. Bruce in NGA curatorial files.


From National Gallery of Art:
Camille Pissarro, one of the creators of the impressionist style, was the only impressionist to participate in each of the eight group exhibitions. He sent five paintings to the first show in 1874. Its modest scale and simple subject notwithstanding, Orchard in Bloom, Louveciennes headed the list of Pissarro's works in the catalogue, perhaps for personal associations. Fleeing with his family to London during the Franco-Prussian War, the artist waited until late 1871, after the suppression of the Commune, to return to his home in Louveciennes. His house had been occupied and many of the paintings he had left behind had been destroyed. As France began to rebuild, the artist also gradually recovered from the disaster. In Orchard in Bloom, Louveciennes, painted the next spring, abundant white blossoms and freshly plowed soil are tokens of hope and renewal.

Early in his career Pissarro designated himself a pupil of Corot, and in this 1872 painting Pissarro's broad method of composing and choice of a tranquil rural setting inhabited by a few small peasant figures still recall the older artist. Pissarro was able to sell the painting in July 1872, soon after its completion. It was bought by a new and important patron, Paul Durand-Ruel, one of the earliest impressionist purchases by the dealer remembered for his courageous and sustained support of the avant-garde artists.


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