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PROPERTY FROM THE BÜHLER-BROCKHAUS COLLECTION

LES SABLIERES PRES DE VALMONDOIS

55 by 96.6cm., 21 5/8 by 38in.

signed and dated Daubigny 1872 l.r.

oil on canvas

PROVENANCE

Art Association, New York
M. Knoedler & Co., New York, as On the Oise
Collection Hawley, U.S.A.
Denver Art Museum
Wildenstein, New York
Kleeman Galleries, New York
Wilhelm Grovermann, Augsburg
Hazlitt Gallery, London, 1960
Georg Schäfer, Schweinfurt
Acquired by the present owner from the above circa 1978

EXHIBITED

London, Hazlitt Gallery, Some Paintings of the Barbizon School VI, 1960, no. 10, as Pâturage au bord de rivière
Munich, Galerie Dr Bühler, Von Daubigny bis Delacroix, 1985, no. 6 (illustrated in the catalogue)
Aulnay-sous-Bois, Hôtel de Ville; Pontoise, Musée Pissarro, Charles-François Daubigny, 1990-91, no. 45 (illustrated in the catalogue)
Leipzig, Museum der bildenden Künste, Von Corot bis Monet, Sammlung Marion und Hans-Peter Bühler, 1995-96, no. 5 (illustrated in the catalogue)
Auvers-sur-Oise, Musée Daubigny, Daubigny, 2000, no. 23 (illustrated in the catalogue)

LITERATURE

'Paintings of the Barbizon School: an Exhibition in London', Illustrated London News, May 1960, illustrated
Robert Hellebranth, Charles-François Daubigny, Morges 1976, p. 66, no. 178, catalogued and illustrated

NOTE

Daubigny was particularly fond of this bend of the Oise, to which he returned to paint on numerous occasions. Robert Hellebranth records no fewer than seven views painted between 1863 and 1877, differently staffed but always showing the distinctive gravel pits (sablières) in the middle ground.

Daubigny's landscapes were called 'pieces of nature cut out and framed in gold' by the contemporary critic Théophile Gautier, while Charles Baudelaire praised Daubigny for his ability to 'transmit immediately to the viewer's soul the original feeling that pervaded his landscapes'.

To help him in his study of natural light, Daubigny had a small boat fitted out as a studio so that he could study and interpret his subjects at first hand. What he discovered and incorporated in small studies done from nature he increasingly carried over into his finished paintings, lending them a directness and luminosity not seen in French painting before.

Later, following Daubigny's example, Claude Monet adopted the idea of a studio boat. Indeed, in his wish to capture the essence of nature by taking painting completely out of doors, Daubigny became an important fore-runner of the Impressionists.