Clark Art Institute 6 of 11


The Gooseherd. French: Constant Troyon (1810-1865) c. 1850-55. Oil on panel. The gooseherd in Troyon's painting drives his flock along a country road, the birds casting long shadows in the bright sunlight. In contrast to the artist's earlier, more controlled style, the quick, lively brushwork gives this scene a sense of movement. Fellow painter Camille Roqueplan probably inspired this more spontaneous approach, urging Troyon to interpret what he felt when painting nature. 2,626.77 KB
The Gooseherd. French: Constant Troyon (1810-1865) c. 1850-55. Oil on panel. The gooseherd in Troyon's painting drives his flock along a country road, the birds casting long shadows in the bright sunlight. In contrast to the artist's earlier, more controlled style, the quick, lively brushwork gives this scene a sense of movement. Fellow painter Camille Roqueplan probably inspired this more spontaneous approach, urging Troyon to "interpret what he felt" when painting nature.
 Riverbed at Rosenlaui sur Meyringen. Swiss: Alexandre Calame (1810 - 1864) c. 1862 Oil on canvas. 2,389.68 KB
Riverbed at Rosenlaui sur Meyringen. Swiss: Alexandre Calame (1810 - 1864) c. 1862 Oil on canvas.
 Interior at Arcachon. French: Edouard Manet (1832-1883) Oil on Canvas. Maet painted this domestic scene while staying in a seaside town in southwestern France. He never exhibited it, perhaps because its subject was deeply personal. The artist had recently reunited with his family afgter serving in the National Guard, defendingParis during the Franco-Prussian war. His wife looks up from her writing to enjoy the view, while her son holds what appears to be a cigarette, seemingly lost in thought. The loose, sketchy technique gives the painting an intimate, informal quality. 2,829.90 KB
Interior at Arcachon. French: Edouard Manet (1832-1883) Oil on Canvas. Maet painted this domestic scene while staying in a seaside town in southwestern France. He never exhibited it, perhaps because its subject was deeply personal. The artist had recently reunited with his family afgter serving in the National Guard, defendingParis during the Franco-Prussian war. His wife looks up from her writing to enjoy the view, while her son holds what appears to be a cigarette, seemingly lost in thought. The loose, sketchy technique gives the painting an intimate, informal quality.
Self-Portrait. French: Pierre-Auguste Renoir (1841–1919) c. 1875.When Renoir made this self-portrait in 1875, his paintings were bringing in little income. The artist presents himself with unkempt hair and beard, yet smartly dressed in a striped shirt and dark blue necktie. The textured paint-- almost transparent in some places, thickly applied in others-- suggests he was experimenting with technique. This work was shown at the second Impressionist exhibition in Paris in 1876 and eventually purchased by an important collector, Dr. Georges de Bellio, who Renoir claimed had gone crazy for it. 1,436.76 KB
Self-Portrait. French: Pierre-Auguste Renoir (1841–1919) c. 1875.When Renoir made this self-portrait in 1875, his paintings were bringing in little income. The artist presents himself with unkempt hair and beard, yet smartly dressed in a striped shirt and dark blue necktie. The textured paint-- almost transparent in some places, thickly applied in others-- suggests he was experimenting with technique. This work was shown at the second Impressionist exhibition in Paris in 1876 and eventually purchased by an important collector, Dr. Georges de Bellio, who Renoir claimed had "gone crazy" for it.
 The Seine at Argenteuil. French: Gustave Caillebotte (1848 - 1894) c. 1892. Well known as a painter of modern Paris, Caillebotte was also interested in rural scenes. This painting shows a view not far from his home, looking across the Seine toward Argenteuil. Factories appear in the distance, but their chimneys barely intrude upon the sky, their smoke blending with the clouds. Caillebotte's technique is richly varied-- the grassy riverbank that dominates the foreground is thickly painted, while the sky and water are described with thin, fluid strokes of the artist's brush. 8,924.82 KB
The Seine at Argenteuil. French: Gustave Caillebotte (1848 - 1894) c. 1892. Well known as a painter of modern Paris, Caillebotte was also interested in rural scenes. This painting shows a view not far from his home, looking across the Seine toward Argenteuil. Factories appear in the distance, but their chimneys barely intrude upon the sky, their smoke blending with the clouds. Caillebotte's technique is richly varied-- the grassy riverbank that dominates the foreground is thickly painted, while the sky and water are described with thin, fluid strokes of the artist's brush.
 Landscape at Saint-Charles, Near Gisors, Sunset. French: Camille Pissaro (1830-1903) 1891. For a brief period in the late 1880s, Pissarro experimented with the technique known as divisionism or pointillism, pioneered by younger artists like Georges Seurat. This involved applying small touches of two different colors side by side, which were intended to produce a third, more luminous color for the viewer. Here Pissarro modified the technique, using slightly broader brushstrokes to suggest the glowing late-day light in the countryside near his rural home. 2,581.37 KB
Landscape at Saint-Charles, Near Gisors, Sunset. French: Camille Pissaro (1830-1903) 1891. For a brief period in the late 1880s, Pissarro experimented with the technique known as divisionism or pointillism, pioneered by younger artists like Georges Seurat. This involved applying small touches of two different colors side by side, which were intended to produce a third, more luminous color for the viewer. Here Pissarro modified the technique, using slightly broader brushstrokes to suggest the glowing late-day light in the countryside near his rural home.
Low Tide, Yport. French: Pierre-Auguste Renoir (1841-1919) Yport, a town on the Normandy coast, was a well-known vacation destination in the 1880s. Renoir chose to ignore its most popular attraction, a casino, and instead painted a picturesque view of the town's sunlit bay, with its cliffs, fishing boats, and rocky beaches. These distinct elements are treated with uniform, parallel brushstrokes, creating an image that, when viewed from a distance, captures the expanse of muddy seashore dappled in sunlight at low tide. 8,466.43 KB
Low Tide, Yport. French: Pierre-Auguste Renoir (1841-1919) Yport, a town on the Normandy coast, was a well-known vacation destination in the 1880s. Renoir chose to ignore its most popular attraction, a casino, and instead painted a picturesque view of the town's sunlit bay, with its cliffs, fishing boats, and rocky beaches. These distinct elements are treated with uniform, parallel brushstrokes, creating an image that, when viewed from a distance, captures the expanse of muddy seashore dappled in sunlight at low tide.
 Bottom Painting: View at Guernsey, Top painting: Wash-House Boat at Bas-Meudon. French: Pierre-Auguste Renoir (1841-1919) 1874 (top) 1883 (bottom) 5,107.98 KB
Bottom Painting: View at Guernsey, Top painting: Wash-House Boat at Bas-Meudon. French: Pierre-Auguste Renoir (1841-1919) 1874 (top) 1883 (bottom)
 Self-Portrait. French: Pierre-Auguste Renoir (1841-1919) 1899. Renoir presents himself in this self-portrait as a mature and confident man. He was in his late fifties and well-established as an artist. The flowered wallpaper and his bourgeois clothes allude to a comfortable living. His health, on other hand, was poor, and the intensity of his gaze suggests an incisive investigation of the features of his face in a mirror. Renoir never exhibited this painting, and it remained in his studio until his death twenty years later. 1,564.17 KB
Self-Portrait. French: Pierre-Auguste Renoir (1841-1919) 1899. Renoir presents himself in this self-portrait as a mature and confident man. He was in his late fifties and well-established as an artist. The flowered wallpaper and his bourgeois clothes allude to a comfortable living. His health, on other hand, was poor, and the intensity of his gaze suggests an incisive investigation of the features of his face in a mirror. Renoir never exhibited this painting, and it remained in his studio until his death twenty years later.
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