Towards the end of his life, Charles-François Daubigny spent much of his time working in Villerville in Normandy, where he painted several beach scenes. He was also interested in the surrounding landscape. In Pastures at Graves near Villerville we see his interest in the transitory elements of nature. The composition is built up schematically with quick brushstrokes and little attention to details. The colours are very dark and the atmosphere is ominous. This expressive method of work heralded a new approach to landscape painting, one which Vincent Van Gogh elaborated on decades later. In fact, Van Gogh greatly admired painters of the Barbizon School such as Millet and Daubigny, whom he regarded as a source of inspiration.
| Artist |
Charles-François Daubigny
RKD
|
|---|---|
| Title | Pastures at Graves near Villerville (Normandy) |
| Date | ca. 1875 |
| Period | 19th century |
| Location | Graves TGN |
| Signatures, inscriptions, and markings | auction stamp bottom left: VENTE / DAUBIGNY |
| Collection | paintings AAT |
| Object type | oil paintings (visual works) AAT |
| Inventory number | 1909-VVV |
| Acquisition credit |
gift
Scribe, Fernand Ghent 1909 |
| Current whereabouts | Work on display |
| Permalink | https://mskgent.be/collection/work/data/1909-VVV |
| IIIF Manifest | https://imagehub.mskgent.be/iiif/3/486/manifest.json |
| Art & Architecture Thesaurus |
300015636
landscapes
AAT
300263554 animal paintings AAT |
|---|---|
| Keywords Iconclass |
25F
animals
Iconclass
25F2 mammals Iconclass 25G4(GRASS) plants and herbs (GRASS) Iconclass 25H1 landscapes in the temperate zone Iconclass 25H114 low hill country Iconclass 25H17 meadow, pasture Iconclass 26A clouds Iconclass 300015636 landscapes AAT 46C13141 horse Iconclass 61D(FRANCE) geographical names of countries, regions, mountains, rivers, etc. (names of cities and villages excepted) (FRANCE) Iconclass 61D(NORMANDY) geographical names of countries, regions, mountains, rivers, etc. (names of cities and villages excepted) (NORMANDY) Iconclass 61E(GRAVES) names of cities and villages (GRAVES) Iconclass 61E(VILLERVILLE) names of cities and villages (VILLERVILLE) Iconclass |
| School / Style |
realism (artistic form of expression)
AAT
Barbizon School AAT |
| Catalogus van het Museum van Schoone Kunsten Gent : II: Moderne Meesters / Georges Chabot, Fritz Van Loo. - Gent : Ad. Hoste, 1932 (p. 52) |
| Charles-François Daubigny (Fonds Richard de Moor). - [s.l.] : [s.n.], [s.a.] |
| Charles-François Daubigny : 1817-1878 ; Avec supplément / Robert G. Hellebranth, Anne Hellebranth. - Morges : Editions Matute, 1976 |
| De school van Barbizon : Franse meesters van de 19de eeuw (tentoonstelling Gent, Museum voor Schone Kunsten, 14.09 - 28.11.1985 ; Den Haag, Gemeentemuseum 14.12.1985 - 23.02.1986 ; Parijs, Insitut Néerlandais, 1986) / John Sillevis, Hans Kraan, Robert Hoozee, Jacques Foucart. - Brussel : Gemeentekrediet, 1985 (p. 142-149) |
| De vrienden van Scribe : De Europese smaak van een Gents mecenas (tentoonstelling Gent, Museum voor Schone Kunsten, 12 december 1998 - 14 maart 1999) / Monique Tahon-Vanroose, Robert Hoozee. - Gent : Snoeck-Ducaju & Zoon, 1998 ; Antwerpen : Pandora, 1998 (p. 158 (ill.)) |
| L' école de Barbizon : Peindre en plein air avant l' impressionnisme (exposition Lyon, Musée des Beaux-Arts, 22 juin - 9 septembre 2002) / Vincent Pomarède, Gérard De Wallens, Olivier Meslay, Robert L. Herbert, François Fossier. - Paris : Éditions de la Réunion des musées nationaux, 2002 ; Lyon : Musée des Beaux-Arts (Lyon), 2002 (p. 284-285) |
| Monet : The Seine and the sea 1878-1883 (exhibition Edinburgh, Royal Scottish Academy, 06.08.2003 - 26.10.2003) / Richard Thomson, Michael Clarke, Anne L. Cowe. - Edinburgh : National Galleries of Scotland, 2003 (p. 158-160) |
| Les couleurs de la mer : Charles-François (1817-1878) et Karl (1846-1886) Daubigny en Normandie (exposition Honfleur, Musée Eugène Boudin, 05.09 - 23.11.2020) / Viktoria Von der Brüggen, Benjamin Findinier, Lynne D. Ambrosini, Madeleine Fidell-Beaufort. - Honfleur : Édition Société des amis du musée Eugène Boudin, 2020 (p. 79) |
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