{"title":"French Impressionist Landscape Paintings","description":"\u003ch2 data-section-id=\"h1hcee\" data-start=\"291\" data-end=\"334\"\u003eFrench Impressionist Landscape Paintings\u003c\/h2\u003e\n\u003cp data-start=\"336\" data-end=\"690\"\u003eFrench Impressionist landscape paintings transformed the course of art history by making light, atmosphere and direct observation the central subjects of modern painting. Rather than treating landscape as a fixed backdrop, Impressionist artists approached it as something alive: shifting with the movement of modern life.\u003c\/p\u003e\n\u003cp data-start=\"692\" data-end=\"1119\"\u003eFor collectors, these works offer more than scenic beauty. They represent a defining artistic break from academic convention and a profound rethinking of how nature could be seen. A riverbank, garden path, snow-covered field or sunlit harbor became an opportunity to capture perception itself. This is why French Impressionist landscapes remain among the most studied, admired and sought-after works in the history of fine art.\u003c\/p\u003e\n\u003cp data-start=\"1121\" data-end=\"1342\"\u003eCollectors exploring this field may also wish to view M.S. Rau’s \u003ca data-start=\"1186\" data-end=\"1256\" rel=\"noopener\" class=\"decorated-link\" href=\"https:\/\/rauantiques.com\/collections\/impressionist\"\u003eImpressionist Art\u003c\/a\u003e and broader \u003ca data-start=\"1269\" data-end=\"1341\" rel=\"noopener\" class=\"decorated-link\" href=\"https:\/\/rauantiques.com\/pages\/fine-art-collection\"\u003eFine Art Collection\u003c\/a\u003e.\u003c\/p\u003e\n\u003ch2 data-section-id=\"1ijy5k8\" data-start=\"1344\" data-end=\"1401\"\u003eWhat Defines a French Impressionist Landscape Painting\u003c\/h2\u003e\n\u003cp data-start=\"1403\" data-end=\"1824\"\u003eA French Impressionist landscape is typically recognized by its attention to natural light, visible brushwork, open composition and interest in fleeting visual effects. These paintings often depict outdoor subjects such as gardens, rivers, fields, coastlines and urban parks. Their power lies not in precise detail alone, but in the artist’s ability to suggest air, reflection, movement and changing conditions.\u003c\/p\u003e\n\u003cp data-start=\"1826\" data-end=\"2193\"\u003eThe Impressionists often painted \u003cem\u003een plein air\u003c\/em\u003e, or outdoors, aided by portable easels and commercially available paint in tubes. This allowed artists to work directly before their subjects and respond quickly to atmospheric change. The resulting surfaces can appear spontaneous, yet the finest examples reveal careful observation and sophisticated color relationships.\u003c\/p\u003e\n\u003cp data-start=\"2195\" data-end=\"2552\"\u003eUnlike traditional landscape painting, which often emphasized idealized nature or historical grandeur, Impressionist landscapes frequently focused on contemporary life. Bridges, railways, leisure boats, suburban gardens and promenades appear alongside fields and rivers. This balance between nature and modernity is one of the movement’s defining strengths.\u003c\/p\u003e\n\u003ch2 data-section-id=\"1clvijt\" data-start=\"2554\" data-end=\"2614\"\u003eThe History of Impressionist Landscape Painting in France\u003c\/h2\u003e\n\u003cp data-start=\"2616\" data-end=\"3036\"\u003eFrench Impressionism developed in the second half of the 19th century, shaped by changes in artistic practice, urban life and the expanding modern world. Artists such as Claude Monet, Camille Pissarro, Alfred Sisley, Pierre-Auguste Renoir and Berthe Morisot moved away from the highly finished surfaces favored by official Salon painting. They sought a more immediate visual language that could capture lived experience.\u003c\/p\u003e\n\u003cp data-start=\"3038\" data-end=\"3400\"\u003eLandscape was central to this shift. The forest of Fontainebleau, the Seine, Normandy coast, suburban Paris and rural villages offered artists a rich variety of subjects. Earlier painters associated with the Barbizon School had already elevated direct study from nature, but the Impressionists pushed further, dissolving form through color, light and atmosphere.\u003c\/p\u003e\n\u003cp data-start=\"3402\" data-end=\"3854\"\u003eThe group exhibitions held between 1874 and 1886 helped define the movement, though the artists themselves varied widely in method and temperament. Monet’s serial studies of haystacks, poplars and water lilies later extended the Impressionist landscape into a sustained meditation on time and perception. Pissarro brought structure and human labor into rural scenes, while Sisley remained deeply committed to the poetry of river views, roads and skies.\u003c\/p\u003e\n\u003ch2 data-section-id=\"14w1tem\" data-start=\"3856\" data-end=\"3899\"\u003eImportant Artists and Landscape Subjects\u003c\/h2\u003e\n\u003cp data-start=\"3901\" data-end=\"4196\"\u003eClaude Monet is closely associated with the development of Impressionist landscape painting, particularly through his studies of water, gardens, coastlines and changing light. His work demonstrates how a repeated motif could yield entirely different visual results depending on weather and time.\u003c\/p\u003e\n\u003cp data-start=\"4198\" data-end=\"4555\"\u003eCamille Pissarro often brought a quiet architectural order to rural and village scenes. His landscapes frequently include roads, fields, houses and figures at work, giving his paintings a grounded sense of place. Alfred Sisley, another central landscape painter of the movement, is admired for his lyrical depictions of rivers, bridges, snow and open skies.\u003c\/p\u003e\n\u003cp data-start=\"4557\" data-end=\"4857\"\u003eRenoir approached landscape with a warmer, more sensuous palette, often connecting outdoor settings with leisure and social life. Berthe Morisot and Mary Cassatt, while better known for figure subjects, also contributed to the Impressionist interest in outdoor light, gardens and domestic landscapes.\u003c\/p\u003e\n\u003cp data-start=\"4859\" data-end=\"5154\"\u003eCollectors may also compare Impressionist works with related developments in \u003ca data-start=\"4936\" data-end=\"5020\" rel=\"noopener\" class=\"decorated-link\" href=\"https:\/\/rauantiques.com\/collections\/post-impressionist-art\"\u003ePost-Impressionist Art\u003c\/a\u003e, where artists such as Cézanne, Van Gogh and Gauguin moved beyond optical immediacy toward structure, symbolism and expressive color.\u003c\/p\u003e\n\u003ch2 data-section-id=\"ovjhme\" data-start=\"5156\" data-end=\"5187\"\u003eTechnique, Color and Surface\u003c\/h2\u003e\n\u003cp data-start=\"5189\" data-end=\"5529\"\u003eThe surface of a French Impressionist landscape often reveals the artist’s hand with unusual clarity. Broken brushwork, layered color and visible strokes help convey the vibration of light. Rather than blending pigments into smooth transitions, many Impressionists placed colors side by side so they could interact visually from a distance.\u003c\/p\u003e\n\u003cp data-start=\"5531\" data-end=\"5818\"\u003eColor became a structural force. Shadows were rarely treated as neutral black or gray; they might contain blues, violets, greens or reflected tones from surrounding forms. Skies, water and foliage were built through relationships of complementary color rather than strict tonal modeling.\u003c\/p\u003e\n\u003cp data-start=\"5820\" data-end=\"6139\"\u003eCondition is especially important in this category because surface and color are integral to meaning. Overcleaning, abrasion or altered varnish can affect the sense of atmosphere. A careful condition report, provenance history and expert examination are essential when evaluating any significant Impressionist painting.\u003c\/p\u003e\n\u003ch2 data-section-id=\"13d6gtm\" data-start=\"6141\" data-end=\"6175\"\u003eWhat Collectors Should Look For\u003c\/h2\u003e\n\u003cp data-start=\"6177\" data-end=\"6461\"\u003eA strong Impressionist landscape should offer more than a recognizable subject. Look for command of light, compositional balance, confident brushwork and a convincing relationship between color and atmosphere. The most compelling works often feel immediate without appearing careless.\u003c\/p\u003e\n\u003cp data-start=\"6463\" data-end=\"6861\"\u003eProvenance matters. A clear ownership history, inclusion in catalogues raisonnés, exhibition records or documentation from respected galleries and scholars can help establish confidence. Medium and support should also be considered. Oil on canvas remains the most familiar format, though pastels, works on panel and works on paper can hold considerable artistic importance when properly documented.\u003c\/p\u003e\n\u003cp data-start=\"6863\" data-end=\"7158\"\u003eSubject can influence collecting interest. Scenes connected to an artist’s known locations often carry particular resonance. Scale, date, condition and the artist’s career period should all be considered together rather than in isolation.\u003c\/p\u003e\n\u003ch2 data-section-id=\"1ho7o5m\" data-start=\"7160\" data-end=\"7213\"\u003eDisplaying and Caring for Impressionist Landscapes\u003c\/h2\u003e\n\u003cp data-start=\"7215\" data-end=\"7519\"\u003eFrench Impressionist landscape paintings should be displayed with attention to light, humidity and placement. Direct sunlight should be avoided, as prolonged exposure can affect pigments and surface stability. Stable temperature and humidity are also important, particularly for works on canvas or paper.\u003c\/p\u003e\n\u003cp data-start=\"7521\" data-end=\"7923\"\u003eLighting should reveal the texture of the paint without creating glare. Because many Impressionist surfaces depend on subtle variations in color and stroke, placement in a well-considered interior can greatly affect how the work is experienced. A landscape with a luminous sky or water reflection may change visually throughout the day, echoing the very concerns that interested the artists themselves.\u003c\/p\u003e\n\u003cp data-start=\"7925\" data-end=\"8128\"\u003eProfessional framing, conservation review and proper installation are advisable for important works. Collectors should avoid unnecessary cleaning or reframing without guidance from qualified specialists.\u003c\/p\u003e\n\u003ch2 data-section-id=\"1id52f4\" data-start=\"8130\" data-end=\"8194\"\u003eWhere French Impressionist Landscapes Fit Within a Collection\u003c\/h2\u003e\n\u003cp data-start=\"8196\" data-end=\"8465\"\u003eImpressionist landscapes can serve as a central work within a fine art collection or as a bridge between earlier European painting and modern art. They connect the naturalism of 19th-century landscape traditions with the formal innovations that shaped the 20th century.\u003c\/p\u003e\n\u003cp data-start=\"8467\" data-end=\"8777\"\u003eWithin a broader collection, these paintings pair meaningfully with Academic works, Barbizon landscapes, Post-Impressionist compositions and early modern paintings. Their visual accessibility makes them especially rewarding to live with, while their historical significance gives them lasting curatorial depth.\u003c\/p\u003e\n\u003cp data-start=\"8779\" data-end=\"9067\"\u003eCollectors interested in broader stylistic context may compare examples across M.S. Rau’s \u003ca data-start=\"8869\" data-end=\"8929\" class=\"decorated-link\" rel=\"noopener\" href=\"https:\/\/rauantiques.com\/collections\/academic\"\u003eAcademic Art\u003c\/a\u003e, \u003ca data-start=\"8931\" data-end=\"8987\" rel=\"noopener\" class=\"decorated-link\" href=\"https:\/\/rauantiques.com\/collections\/modern\"\u003eModern Art\u003c\/a\u003e and \u003ca data-start=\"8992\" data-end=\"9054\" class=\"decorated-link\" rel=\"noopener\" href=\"https:\/\/rauantiques.com\/collections\/old-masters\"\u003eOld Masters\u003c\/a\u003e collections.\u003c\/p\u003e\n\u003ch2 data-section-id=\"1aoieue\" data-start=\"9069\" data-end=\"9133\"\u003eBuying French Impressionist Landscape Paintings from M.S. Rau\u003c\/h2\u003e\n\u003cp data-start=\"9135\" data-end=\"9430\"\u003eM.S. Rau approaches French Impressionist landscape paintings with attention to authorship, condition, provenance and art historical context. Each work is considered not only for its beauty, but for the evidence that supports its attribution, period, subject and place within the artist’s career.\u003c\/p\u003e\n\u003cp data-start=\"9432\" data-end=\"9767\"\u003eCollectors may explore works online or through M.S. Rau galleries, with guidance from specialists who understand both the scholarship and connoisseurship behind the category. Whether acquiring a major Impressionist canvas or studying related works across French art, the goal is to provide clarity, discretion and informed perspective.\u003c\/p\u003e\n\u003ch2 data-section-id=\"1hryhf7\" data-start=\"9769\" data-end=\"9775\"\u003eFAQ\u003c\/h2\u003e\n\u003ch2 data-section-id=\"14o6px7\" data-start=\"9777\" data-end=\"9830\"\u003eWhat is a French Impressionist landscape painting?\u003c\/h2\u003e\n\u003cp data-start=\"9832\" data-end=\"10238\"\u003eA French Impressionist landscape painting is a work, usually from the late 19th century, that depicts outdoor scenery through the effects of light, atmosphere and color. These works often show gardens, rivers, fields, coastlines, villages or modern leisure settings. Their defining feature is not simply the subject, but the artist’s attempt to capture the sensation of seeing a place at a specific moment.\u003c\/p\u003e\n\u003ch2 data-section-id=\"ko9nbm\" data-start=\"10240\" data-end=\"10310\"\u003eWho are the most important French Impressionist landscape painters?\u003c\/h2\u003e\n\u003cp data-start=\"10312\" data-end=\"10691\"\u003eClaude Monet, Camille Pissarro and Alfred Sisley are among the artists most closely associated with Impressionist landscape painting. Renoir, Morisot and Caillebotte also made important contributions to outdoor subjects. Each artist approached the landscape differently, from Monet’s studies of light and reflection to Pissarro’s structured rural views and Sisley’s river scenes.\u003c\/p\u003e\n\u003ch2 data-section-id=\"7wqbqg\" data-start=\"10693\" data-end=\"10744\"\u003eHow can you identify an Impressionist landscape?\u003c\/h2\u003e\n\u003cp data-start=\"10746\" data-end=\"11100\"\u003eCommon indicators include visible brushwork, natural light, broken color, outdoor subject matter and an interest in atmosphere rather than precise finish. However, style alone is not enough to establish authenticity. Attribution should be supported by provenance, expert scholarship, technical evidence and comparison with documented works by the artist.\u003c\/p\u003e\n\u003ch2 data-section-id=\"ihwb3w\" data-start=\"11102\" data-end=\"11150\"\u003eWhy did Impressionist painters work outdoors?\u003c\/h2\u003e\n\u003cp data-start=\"11152\" data-end=\"11423\"\u003ePainting outdoors allowed artists to observe changing light directly. Portable easels and prepared paint tubes made this easier in the 19th century. Many artists still finished or revised works in the studio, but outdoor painting gave Impressionism much of its immediacy.\u003c\/p\u003e\n\u003ch2 data-section-id=\"1wuq57m\" data-start=\"11425\" data-end=\"11488\"\u003eWhat subjects are common in French Impressionist landscapes?\u003c\/h2\u003e\n\u003cp data-start=\"11490\" data-end=\"11806\"\u003eCommon subjects include the Seine, Normandy coast, gardens, orchards, snow scenes, rural roads, harbors, bridges and suburban Paris. These subjects reflected both natural beauty and the changing modern world. Railways, leisure boating and public parks often appear because they were part of contemporary French life.\u003c\/p\u003e\n\u003ch2 data-section-id=\"bbxqws\" data-start=\"11808\" data-end=\"11860\"\u003eDoes condition matter in Impressionist paintings?\u003c\/h2\u003e\n\u003cp data-start=\"11862\" data-end=\"12152\"\u003eCondition is critical. Impressionist paintings often rely on delicate color relationships and textured surfaces. Abrasion, overcleaning or discolored varnish can alter the visual effect. A condition report from a qualified specialist is an important part of evaluating any significant work.\u003c\/p\u003e\n\u003ch2 data-section-id=\"1odwqab\" data-start=\"12154\" data-end=\"12207\"\u003eAre Impressionist landscapes always oil paintings?\u003c\/h2\u003e\n\u003cp data-start=\"12209\" data-end=\"12525\"\u003eMany are oil on canvas, but Impressionist artists also worked in pastel, watercolor, gouache and other media. Works on paper can be highly significant, especially when they relate to major themes or periods in an artist’s career. Medium should be evaluated alongside authorship, condition, subject and documentation.\u003c\/p\u003e\n\u003ch2 data-section-id=\"gzrf1y\" data-start=\"12527\" data-end=\"12581\"\u003eHow should an Impressionist landscape be displayed?\u003c\/h2\u003e\n\u003cp data-start=\"12583\" data-end=\"12870\"\u003eIt should be displayed away from direct sunlight in a stable environment. Proper lighting can reveal brushwork and color without glare. Professional installation and conservation guidance are recommended for important works, particularly those with sensitive surfaces or historic frames.\u003c\/p\u003e\n\u003ch2 data-section-id=\"3zhn40\" data-start=\"12872\" data-end=\"12954\"\u003eWhat is the difference between Impressionist and Post-Impressionist landscapes?\u003c\/h2\u003e\n\u003cp data-start=\"12956\" data-end=\"13270\" data-is-last-node=\"\" data-is-only-node=\"\"\u003eImpressionist landscapes emphasize light, atmosphere and immediate visual perception. Post-Impressionist landscapes often use color, structure or form more deliberately to convey emotion, symbolism or pictorial order. The distinction is not always rigid, but the shift marks an important development in modern art.\u003c\/p\u003e","products":[{"product_id":"les-aloes-cimiez-by-berthe-morisot","title":"Les Aloès, Cimiez by Berthe Morisot","description":"Berthe Morisot\u003cbr\u003e 1841-1895 | French \u003cbr\u003e\u003cbr\u003e \u003cem\u003eLes Aloès, Cimiez\u003c\/em\u003e \u003cbr\u003e\u003cbr\u003e Oil on canvas \u003cbr\u003e\u003cbr\u003e This masterpiece was painted by the renowned Impressionist artist Berthe Morisot. Entitled \u003cem\u003eLes Aloès, Cimiez\u003c\/em\u003e, the captivating painting serves as an ode to the enchanting landscapes of the Mediterranean and tells a timeless tale of familial warmth. Celebrated for her ability to capture the essence of a moment, Morisot takes the viewer to the sun-kissed hills of Cimiez, the upscale hilltop neighborhood overlooking the azure beauty of Nice. In the aftermath of the disbanding of the Impressionists following their last exhibition in 1886, Morisot, accompanied by her husband Eugène Manet and their daughter Julie, sought refuge in the picturesque villa Ratti. The sojourn to the South of France offered the artist a bounty of beauty and countryside quietude to continue her painting. \u003cbr\u003e\u003cbr\u003e Under Morisot's delicate brush, the aloes of the garden come alive, seemingly dancing in a gentle breeze. Her palette of pastel blues, yellows and greens belies the tranquility of the setting. Beyond the swirling leaves in the foreground, a slender, feminine figure graces the threshold of the villa—perhaps the artist's daughter, Julie Manet. Morisot's affection for the balmy Mediterranean climate is clear, further illustrated by an 1889 letter to her sister, Edma: “The country is delicious; I work, I make aloes, orange trees, olive trees; finally, a whole exotic vegetation very difficult to draw.” \u003cbr\u003e\u003cbr\u003e Born in Bourges, France, in 1841, Berthe Morisot came from a wealthy family. Like many young girls of her social class, she received private art lessons beginning at the age of 11. Her teacher, the painter Joseph Guichard, helped to introduce her to the Parisian art scene. Through him, Morisot made the acquaintance of Jean-Baptiste-Camille Corot and Édouard Manet, both of whom would have a profound impact on her career and artistic style. \u003cbr\u003e\u003cbr\u003e Morisot exhibited regularly at the Paris Salon from 1864 to 1873 until, in 1874, she joined the Société Anonyme Coopérative des Artistes Peintres, Sculpteurs, Graveurs—the group that would become known as the Impressionists. They held their first exhibition that same year, and Morisot would go on to exhibit in all but one of the Impressionist shows. Today, Morisot’s drawings, watercolors and oils are in major museums worldwide, including the Metropolitan Museum of Art (New York), the National Gallery of Art (Washington D.C.), the Tate Modern (London), the Louvre (Paris) and the Musée d’Orsay (Paris). Because Morisot was wealthy, painting was a passion and not a necessity; thus, her oeuvre is selective and her works extremely difficult to acquire. \u003cbr\u003e\u003cbr\u003e Further distinguished by its prestigious provenance, \u003cem\u003eLes Aloès, Cimiez\u003c\/em\u003e was held in the private collection of the artist’s daughter, Julie Manet, before passing to Ernest Rouart and Julien Rouart. Exhibited widely, it was shown at the famed Galerie Durand-Ruel twice and the important 1907 Salon d’Automne. The painting is reproduced in Marie-Louise Bataille and Georges Wildestein’s catalogue raisonné of the artist’s works, as well as that of Alain Clairet. The study for \u003cem\u003eLes Aloès, Cimiez\u003c\/em\u003e is held in the permanent collection of the Musée Marmottan in Paris. \u003cbr\u003e\u003cbr\u003e Painted in 1889 \u003cbr\u003e\u003cbr\u003e Canvas: 26 1\/5\" high x 19 1\/4\" wide (66.68 x 48.90 cm)\u003cbr\u003e Frame: 34 3\/4\" high x 27 3\/4\" wide x 2 1\/2\" deep (88.27 x 70.49 x 6.35 cm)  \u003cbr\u003e\u003cbr\u003e \u003ca href=\"https:\/\/rau-sfimages.s3.amazonaws.com\/dossier\/Dossier_32-2859.pdf\" target=\"new\"\u003e\u003cb\u003eView the Dossier\u003c\/b\u003e\u003c\/a\u003e \u003cbr\u003e\u003cbr\u003e Provenance:\u003cbr\u003e Private collection of Julie Manet \u0026amp; Ernest Rouart\u003cbr\u003e Private collection of Julien Rouart\u003cbr\u003e Private collection, Paris\u003cbr\u003e M.S. Rau, New Orleans\u003cbr\u003e Private collection, United States \u003cbr\u003e\u003cbr\u003e Exhibitions:\u003cbr\u003e Galerie Boussod et Valadon, 1892, Tableaux, pastels et dessins par Berthe Morisot, n° 15\u003cbr\u003e Galerie Durand-Ruel, 1896, Berthe Morisot, n° 118\u003cbr\u003e Galerie Durand-Ruel, 1902, Berthe Morisot, n° 18\u003cbr\u003e Salon d’Automne, Paris, 1907, n° 44\u003cbr\u003e Galerie Bernheim-Jeune, 1919, Cent oeuvres de Berthe Morisot, n° 31\u003cbr\u003e Galleria Civica d'Arte Moderna e Contemporanea di Torino, \u003cem\u003eBerthe Morisot: Pittrice Impressionista\u003c\/em\u003e, October 2024-March 2025, no. 28 \u003cbr\u003e\u003cbr\u003e Literature:\u003cbr\u003e Marie-Louis Bataille et Georges Wildenstein, \u003cem\u003eBerthe Morisot – Catalogue des peintures, pastels et aquarelles\u003c\/em\u003e, Paris, éd. Les Beaux-Arts, 1961, n° 233, p. 38 ; ill. fig. 252 (cf. Annexe 1)\u003cbr\u003e \u003cem\u003eImportants dessins et tableaux impressionnistes, provenant de la Succession de Madame Julien Rouart\u003c\/em\u003e, catalogue de la vente Ferri et Beaussant-Lefèvre, Paris, Drouot-Montaigne, 27 November 1997, lot 11, ill. (cf. Annexe 2)\u003cbr\u003e Alain Clairet et al., \u003cem\u003eBerthe Morisot, 1841-1895 : catalogue raisonné de l’oeuvre peint\u003c\/em\u003e, Montolivet, CERA-nrs éd., 1997, n° 237, ill. p. 230\u003cbr\u003e \u003cem\u003eBerthe Morisot et l’art du XVIII siècle\u003c\/em\u003e, Musée Marmottan Monet, Paris, 2023, fig. 11, p. 144","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":41790357864583,"sku":"32-2859","price":1750000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0083\/2471\/0466\/files\/32-2859_1_f8960642-3e34-4a0d-994b-b574d9ab33e9.png?v=1781292257"},{"product_id":"grainstacks-in-the-plains-of-ajoux-giverny-by-theodore-earl-butler","title":"Grainstacks in the Plains of Ajoux, Giverny by Theodore Earl Butler","description":"Theodore Earl Butler\u003cbr\u003e 1861-1936 | American \u003cbr\u003e\u003cbr\u003e \u003cem\u003eGrainstacks in the Plains of Ajoux, Giverny\u003c\/em\u003e \u003cbr\u003e\u003cbr\u003e Oil on canvas \u003cbr\u003e\u003cbr\u003e Theodore Earl Butler was one of the leading American Impressionists, known for his vibrant landscapes that displayed his virtuosity with color, light and texture. This stunning canvas, entitled \u003cem\u003eGrainstacks in the Plains of Ajoux, Giverny\u003c\/em\u003e, is quintessential Butler, and it also pays homage to his most important mentor, Claude Monet. \u003cbr\u003e\u003cbr\u003e Butler was one of the only Americans that Monet allowed into his inner circle in Giverny, and the two artists frequently painted alongside each other. This work embodies Butler's profound admiration for Monet, both in its extraordinary atmospheric effects and in its subject of the haystack—one of Monet's most iconic motifs. An explosion of electric color and light, the painting perfectly blends Butler's Impressionist roots with a brilliant palette that is distinctly his own. \u003cbr\u003e\u003cbr\u003e Born in Columbus, Ohio, in 1861, Butler moved to New York in 1882 to study at the Art Students League under several major American artists, including William Merritt Chase. Within three years, the young artist had moved to Paris, receiving an honorable mention at the Salon of 1888. This would prove to be a fateful year for Butler, when he also met and befriended Claude Monet and moved to Giverny to join the thriving artist community there. He eventually became Monet's son-in-law, marrying his stepdaughter, Suzanne Hoschedé in 1892. Butler would briefly return to the United States between 1913 and 1921, creating important murals and participating in major exhibitions such as the Armory Show, and then return to Giverny until his death in 1936. \u003cbr\u003e\u003cbr\u003e This work will be included in Patrick Bertrand's forthcoming catalogue raisonné on the artist. \u003cbr\u003e\u003cbr\u003e Circa 1897 \u003cbr\u003e\u003cbr\u003e Canvas: 20 5\/8\" high x 28 1\/8\" wide (52.39 x 71.44 cm)\u003cbr\u003e Frame: 29\" high x 36 1\/2\" wide x 2 3\/4\" deep (73.66 x 92.71 x 6.99 cm) \u003cbr\u003e\u003cbr\u003e Provenance:\u003cbr\u003e The artist\u003cbr\u003e Estate of the above\u003cbr\u003e By descent through the artist's family\u003cbr\u003e Patrick Bertrand, Oakland, California, acquired from the above, 1997\u003cbr\u003e Private Collection, 1999\u003cbr\u003e M.S. Rau, New Orleans","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":44024810537095,"sku":"32-1959","price":78500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0083\/2471\/0466\/files\/32-1959_1.png?v=1774964600"},{"product_id":"falaise-en-normandie-by-gustave-caillebotte","title":"Falaise en Normandie by Gustave Caillebotte","description":"Gustave Caillebotte\u003cbr\u003e 1848-1894 | French \u003cbr\u003e\u003cbr\u003e \u003cem\u003eFalaise en Normandie\u003c\/em\u003e \u003cbr\u003e\u003cbr\u003e Stamped “G. Caillebotte” (lower left)\u003cbr\u003e Oil on canvas \u003cbr\u003e\u003cbr\u003e Gustave Caillebotte was among the most visionary and influential artists of the 19th century. This extraordinary Normandy landscape embodies the artist at his most adventurous and expressive, brimming with rich color and energetic brushwork. Painted circa 1880 during the height of his career, \u003cem\u003eFalaise en Normandie\u003c\/em\u003e beautifully captures the iconic towering cliffs with the artist's signature brilliance. \u003cbr\u003e\u003cbr\u003e Even among his trailblazing Impressionist contemporaries, Caillebotte stood out for his distinctive vision marked by dynamic perspectives and precise details. Here, he perfectly composes the scene to emphasize the pure drama of the Normandy cliffs, with the swirl of rocks in the foreground making the colorful cascade of the cliffs even more towering in the background. Caillebotte also pushes his brushwork to new heights, beautifully layering the thickness of his paint to create the illusion of depth and movement. \u003cbr\u003e\u003cbr\u003e By 1880, when \u003cem\u003eFalaise en Normandie\u003c\/em\u003e was painted, Caillebotte was looking for inspiration beyond the streets of Paris. This masterwork belongs to an important series of works painted during Caillebotte’s transformative summers along the windswept cliffs of Normandy, where he explored landscape painting with exceptional vigor. \u003cbr\u003e\u003cbr\u003e More than an artist, Caillebotte was also among the earliest and most important collectors of his fellow Impressionists, acquiring nearly 70 masterpieces by Monet, Renoir, Degas and many others. Upon his death, he bequeathed these works to the French state, and they would later serve as the cornerstone of the great Musée d’Orsay’s founding, securing Impressionism’s lasting fame. \u003cbr\u003e\u003cbr\u003e Caillebotte's life was tragically short, and the artist created only around 450 paintings in total, with the majority of these in renowned museums and important private collections worldwide, including the Musée d'Orsay, the National Gallery of Art, the Metropolitan Museum of Art and many others. There has also been renewed scholarly and collecting interest in his works in recent years, with several critically acclaimed exhibitions such as the Musée d'Orsay's \u003cem\u003eCaillebotte: Painting Men\u003c\/em\u003e (2024-25), which traveled to the J. Paul Getty Museum and the Art Institute of Chicago. \u003cbr\u003e\u003cbr\u003e Circa 1880 \u003cbr\u003e\u003cbr\u003e Canvas: 32\" high x 25 5\/8\" wide (81.2 x 65.2 cm)\u003cbr\u003e Frame: 34\" high x 28\" wide x 2\" deep (86.4 x 71.1 x 5.1 cm) \u003cbr\u003e\u003cbr\u003e \u003ca href=\"https:\/\/rau-sfimages.s3.amazonaws.com\/dossier\/Dossier_32-2326.pdf\" target=\"new\"\u003e\u003cb\u003eView the Dossier\u003c\/b\u003e\u003c\/a\u003e \u003cbr\u003e\u003cbr\u003e Provenance:\u003cbr\u003e Estate of the artist\u003cbr\u003e Private collection, France, by descent from the above\u003cbr\u003e Private collection, acquired from the above \u003cbr\u003e\u003cbr\u003e Literature:\u003cbr\u003e Marie Berhaut, \u003cem\u003eLa Vie et l’oeuvre de Gustave Caillebotte\u003c\/em\u003e, Paris, 1951, no. 115, illustrated n.p.\u003cbr\u003e Marie Berhaut, \u003cem\u003eCaillebotte, Sa vie et son oeuvre: Catalogue raisonné des peintures et pastels\u003c\/em\u003e, Paris, 1978, no. 163, illustrated p. 137 (titled Falaise à Villiers-sur-mer and with incorrect dimensions)\u003cbr\u003e Marie Berhaut, \u003cem\u003eGustave Caillebotte: Catalogue raisonné des peintures et pastels\u003c\/em\u003e, Paris, 1994, no. 177, illustrated p. 142 (with incorrect dimensions) \u003cbr\u003e\u003cbr\u003e Exhibited:\u003cbr\u003e Lausanne, Fondation de l'Hermitage, \u003cem\u003eCaillebotte au cœur de l'impressionnisme\u003c\/em\u003e, 2005, no. 51, illustrated in color in the catalogue\u003cbr\u003e Bremen, Kunsthalle Bremen; Copenhagen, Ordrupgaard \u0026amp; Madrid, Museo Nacional Thyssen-Bornemisza, \u003cem\u003eGustave Caillebotte\u003c\/em\u003e, 2008-09, no. 31, illustrated in color in the catalogue (with incorrect dimensions)","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":44256932233351,"sku":"32-2326","price":1950000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0083\/2471\/0466\/files\/32-2326_1_4c68bf74-3b62-4136-8113-37403b9054da.png?v=1781205956"},{"product_id":"little-ranch-colorado-by-ernest-lawson","title":"Little Ranch, Colorado by Ernest Lawson","description":"Ernest Lawson\u003cbr\u003e 1873-1939 | Canadian-American \u003cbr\u003e\u003cbr\u003e \u003cem\u003eLittle Ranch, Colorado\u003c\/em\u003e \u003cbr\u003e\u003cbr\u003e Signed \"E. Lawson\" (lower right)\u003cbr\u003e Signed, titled and inscribed \"119 East 19th St \/ N.Y. City\" (en verso)\u003cbr\u003e Oil on canvas board \u003cbr\u003e\u003cbr\u003e This richly atmospheric landscape by Ernest Lawson captures a quiet ranching scene at the base of a Colorado mountain. Painted circa 1925–1930, the composition reflects Lawson’s mature Impressionist vision, where the scene dissolves into layered color and texture. Rustic buildings and grazing livestock anchor the foreground, while the sweeping hillside rises behind them in a tapestry of deep greens, blues and violets beneath a softly clouded sky. \u003cbr\u003e\u003cbr\u003e Lawson builds the surface with his characteristic impasto, applying paint in thick, expressive strokes that emphasize the physicality of the landscape. The work most likely depicts a ranch in the Colorado Springs foothills, probably in the Broadmoor or Cheyenne Mountain area, where Lawson painted while teaching at the Broadmoor Art Academy in the late 1920s. Here, light and color become the true subjects, as the rolling terrain and clustered ranch structures emerge from a dense, vibrating surface. The result balances natural description with a heightened sense of mood and rhythm. \u003cbr\u003e\u003cbr\u003e A key figure in early 20th-century American painting, Lawson was associated with The Eight and exhibited widely as part of the broader shift toward modern realism and Impressionism in the United States. Born in Nova Scotia in 1873, he later trained at the Art Students League in New York and in Paris at the Académie Julian, where exposure to Impressionist methods shaped his lifelong commitment to plein air landscape painting. His work occupies a distinctive position between Impressionism and realism, defined by its emphasis on structure, atmosphere and painterly surface rather than strict representation. \u003cbr\u003e\u003cbr\u003e In the late 1920s, Lawson taught at the Broadmoor Art Academy in Colorado Springs, where this work was almost certainly painted. The painting's setting matches the foothills of this region, perhaps depicting a small ranch near Cheyenne Mountain. Today Lawson is recognized as one of the leading American landscape painters of the early 20th century, and his works belong to major institutions, including the Metropolitan Museum of Art, the Smithsonian American Art Museum, the Whitney Museum of American Art and more. \u003cbr\u003e\u003cbr\u003e Circa 1925–1930 \u003cbr\u003e\u003cbr\u003e Canvas: 11 3\/4\" high x 15\" wide (29.9 x 38.1 cm)\u003cbr\u003e Frame: 20\" high x 24\" wide x 2\" deep (50.8 x 61 x 5.1 cm) \u003cbr\u003e\u003cbr\u003e Provenance:\u003cbr\u003e Private collection, Colorado\u003cbr\u003e Private collection, Minnesota\u003cbr\u003e M.S. Rau, New Orleans","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":44719426863239,"sku":"32-2639","price":29850.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0083\/2471\/0466\/files\/32-2639_1_c8e76565-e307-43a7-9f9b-9125e2bc693d.png?v=1781205986"},{"product_id":"shepherd-and-shepherdess-at-the-gate-bazincourt-by-camille-pissarro","title":"Shepherd and Shepherdess at the Gate, Bazincourt by Camille Pissarro","description":"Camille Pissarro\u003cbr\u003e 1830-1903 | French \u003cbr\u003e\u003cbr\u003e \u003cem\u003eBerger et bergère à la barrière, Bazincourt\u003c\/em\u003e\u003cbr\u003e (\u003cem\u003eShepherd and Shepherdess at the Gate, Bazincourt\u003c\/em\u003e) \u003cbr\u003e\u003cbr\u003e Stamped \"C.P.\" (lower left)\u003cbr\u003e Gouache and wash on paper \u003cbr\u003e\u003cbr\u003e Among Camille Pissarro’s most unique artworks, this fan painting transforms a decorative object into a luminous Impressionist landscape. Displaying one of his iconic rural scenes, this rare masterpiece offers one of the most singular and delightful ways of experiencing Pissarro’s celebrated vision. \u003cbr\u003e\u003cbr\u003e Inspired by Japanese art and encouraged by Edgar Degas, Pissarro began experimenting with fans in the late 1870s, exhibiting 12 examples at the 1879 Impressionist exhibition alongside his paintings. What was once a decorative object became, in Pissarro’s hands, a highly inventive work of art. Other artists such as Gauguin and later Bonnard also explored the fan format, but Pissarro perhaps embraced it most fully, helping transform the fan into one of the era’s most elegant experiments in modern composition. \u003cbr\u003e\u003cbr\u003e In this example, the sweeping crescent shape of the fan offered Pissarro a compositional challenge unlike the traditional canvas, allowing him to unfold the landscape in a panoramic arc. Figures gather along a rustic fence, drawing the viewer into the foreground while the countryside opens behind them. The result is intimate yet expansive, offering Pissarro a place to reimagine the countryside he loved.  \u003cbr\u003e\u003cbr\u003e Fewer than 100 fans by modern artists of this period are believed to exist, making each surviving example exceptionally rare. Comparable examples by Pissarro have gone for impressive sums at auction and now reside in leading museum collections worldwide, including the Musée d’Orsay, the Metropolitan Museum of Art, the Van Gogh Museum and the Brooklyn Museum. The importance of these works continues to receive institutional attention today, with the Musée d’Orsay showcasing an exhibition of 17 Impressionist fans this year.  \u003cbr\u003e\u003cbr\u003e Known as the \"Father of Impressionism,\" Camille Pissarro was the only painter to exhibit in all eight of the Impressionist exhibitions. His revolutionary approach to painting and thought-provoking compositions had a profound effect on his contemporaries and the future of modern art, and his works can be found in many of the most important museums and private collections throughout the world.  \u003cbr\u003e\u003cbr\u003e This work will be included in the forthcoming Camille Pissarro Digital Catalogue Raisonné, currently being prepared under the sponsorship of the Wildenstein Plattner Institute. \u003cbr\u003e\u003cbr\u003e Circa 1885 \u003cbr\u003e\u003cbr\u003e Paper: 15\" high x 25\" wide (38.10 x 63.50 cm)\u003cbr\u003e Frame: 17\" high x 27 1\/2\" wide x 1\" deep (43.18 x 69.85 x 2.54 cm) \u003cbr\u003e\u003cbr\u003e Provenance:\u003cbr\u003e Jeanne \u0026amp; Alexandre Bonin Collection, Paris (the artist's daughter and son-in-law) by descent from the artist circa 1903\u003cbr\u003e Sale of the above, Hôtel Drouot, Paris, June 26, 1931, lot 22\u003cbr\u003e Madame Zimmerman Collection, Paris (acquired at the above sale)\u003cbr\u003e Private collection, Paris (by descent from the above)\u003cbr\u003e Sale of the above, Sotheby's, London, April 4, 1990, lot 107\u003cbr\u003e Private collection, acquired at the above sale through Legatt Brothers, London\u003cbr\u003e M.S. Rau, New Orleans \u003cbr\u003e\u003cbr\u003e Literature:\u003cbr\u003e L.-R. Pissarro \u0026amp; L. Venturi, Camille Pissarro, son art–son oeuvre, Vol. I, Paris, 1939, no. 1632 (illustrated Vol. II, pl. 309)\u003cbr\u003e M-J. Pellé, Les Éventails de Camille Pissarro, Paris, 1990, no. 22 (illustrated p. 24)","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":44797831053447,"sku":"32-2735","price":298500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0083\/2471\/0466\/files\/32-2735_1_042fb690-5a7e-477e-9520-0dd3502be0bd.png?v=1780780874"},{"product_id":"the-harvesters-rest-by-camille-pissarro","title":"The Harvesters' Rest by Camille Pissarro","description":"Camille Pissarro\u003cbr\u003e 1830-1903 | French \u003cbr\u003e\u003cbr\u003e \u003cem\u003eLe Repos des moissonneurs\u003c\/em\u003e\u003cbr\u003e (\u003cem\u003eThe Harvesters' Rest\u003c\/em\u003e) \u003cbr\u003e\u003cbr\u003e Stamped \"C.P.\" (lower left)\u003cbr\u003e Gouache, watercolor and charcoal on paper \u003cbr\u003e\u003cbr\u003e Among Camille Pissarro’s most unique artworks, this fan painting transforms a decorative object into a luminous Impressionist landscape. Displaying one of his iconic rural scenes, this rare masterpiece, entitled \u003cem\u003eThe Harvesters' Rest\u003c\/em\u003e, offers one of the most singular and delightful ways of experiencing Pissarro’s celebrated vision. \u003cbr\u003e\u003cbr\u003e Inspired by Japanese art and encouraged by Edgar Degas, Pissarro began experimenting with fans in the late 1870s, exhibiting 12 examples at the 1879 Impressionist exhibition alongside his paintings. What was once a decorative object became, in Pissarro’s hands, a highly inventive work of art. Other artists such as Gauguin and later Bonnard also explored the fan format, but Pissarro perhaps embraced it most fully, helping transform the fan into one of the era’s most elegant experiments in modern composition. \u003cbr\u003e\u003cbr\u003e In this example, the sweeping crescent shape of the fan offered Pissarro a compositional challenge unlike the traditional canvas, allowing him to unfold the landscape in a panoramic arc. The harvesters lounge under the shade of a tree, drawing the viewer into the foreground while the farm fades into the distance. The result is intimate yet expansive, offering Pissarro a place to reimagine the countryside he loved.  \u003cbr\u003e\u003cbr\u003e Fewer than 100 fans by modern artists of this period are believed to exist, making each surviving example exceptionally rare. Comparable examples by Pissarro have gone for impressive sums at auction and now reside in leading museum collections worldwide, including the Musée d’Orsay, the Metropolitan Museum of Art, the Van Gogh Museum and the Brooklyn Museum. The importance of these works continues to receive institutional attention today, with the Musée d’Orsay showcasing an exhibition of 17 Impressionist fans this year.  \u003cbr\u003e\u003cbr\u003e Known as the \"Father of Impressionism,\" Camille Pissarro was the only painter to exhibit in all eight of the Impressionist exhibitions. His revolutionary approach to painting and thought-provoking compositions had a profound effect on his contemporaries and the future of modern art, and his works can be found in many of the most important museums and private collections throughout the world.  \u003cbr\u003e\u003cbr\u003e This work will be included in the forthcoming Camille Pissarro Digital Catalogue Raisonné, currently being prepared under the sponsorship of the Wildenstein Plattner Institute. \u003cbr\u003e\u003cbr\u003e Circa 1891 \u003cbr\u003e\u003cbr\u003e Paper: 12 3\/4” high x 23 3\/4” wide (32.4 x 60.3 cm)\u003cbr\u003e Frame: 14 3\/4” high x 25 3\/4” wide x 1” deep (37.5 x 65.4 x 2.5 cm) \u003cbr\u003e\u003cbr\u003e Provenance:\u003cbr\u003e Julie Pissarro Collection, Étude-sur-Epte (the artist's wife; by descent from the artist circa 1903)\u003cbr\u003e Estate sale of the above, Hôtel Drouot, Paris, December 8, 1928, no. 262\u003cbr\u003e Dr. Georges Viau Collection, Paris (acquired at the above sale)\u003cbr\u003e Sale: Hôtel Drouot, Paris, May 8, 1936, lot 39\u003cbr\u003e Sale: Hôtel des ventes, Honfleur, July 15, 1989, lot 158\u003cbr\u003e Sale: Sotheby's, London, November 29, 1989, lot 404\u003cbr\u003e Private collection, acquired at the above sale through Leggatt Brothers, London\u003cbr\u003e M.S. Rau, New Orleans \u003cbr\u003e\u003cbr\u003e Literature:\u003cbr\u003e J. Pissarro, \u003cem\u003eCamille Pissarro\u003c\/em\u003e, New York, 1993, no. 218 (illustrated p. 189; titled 'The Picnic') \u003cbr\u003e\u003cbr\u003e Exhibited:\u003cbr\u003e Paris, Musée de l'Orangerie, \u003cem\u003eCentenaire de la Naissance de Camille Pissarro\u003c\/em\u003e, February - March 1930, no. 49 (titled 'Les Moissonneurs; éventail')","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":44819602538631,"sku":"32-2736","price":124500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0083\/2471\/0466\/files\/32-2736_1.png?v=1780953859"},{"product_id":"le-bassin-dargenteuil-by-claude-monet","title":"Le bassin d'Argenteuil by Claude Monet","description":"Claude Monet\u003cbr\u003e 1840–1926 | French \u003cbr\u003e\u003cbr\u003e \u003cem\u003eLe bassin d'Argenteuil\u003c\/em\u003e \u003cbr\u003e\u003cbr\u003e Signed “Claude Monet 75” (lower right)\u003cbr\u003e Oil on canvas \u003cbr\u003e\u003cbr\u003e Perhaps more than any other painter in history, Claude Monet perfectly captured light as living, fleeting and ever-changing—the foundation of the Impressionist movement that would change art history forever. In \u003cem\u003eLe bassin d’Argenteuil\u003c\/em\u003e, painted in 1875, Monet depicts the legendary riverside town where Impressionism was born. \u003cbr\u003e\u003cbr\u003e Created just one year after the first Impressionist exhibition stunned the Parisian art world, this painting belongs to one of the most important chapters of Monet’s career. In late 1871, the artist settled with his family in Argenteuil, a small town on the Seine just outside Paris. What began as a quiet retreat soon became the cradle of Impressionism itself, attracting Manet, Renoir, Sisley and Caillebotte to its riverbanks. With its sailboats, bridges, reflections and changing skies, Argenteuil offered Monet the perfect theater for modern painting. \u003cbr\u003e\u003cbr\u003e In \u003cem\u003eLe bassin d’Argenteuil\u003c\/em\u003e, Monet makes light itself his subject, transforming a quiet harbor into something extraordinary. Sunlight filters through the clouds and glimmers brilliantly across the water, and swirls of vibrant hues bring the surrounding buildings and landscape to life. The scene is serene, yet every brushstroke feels alive, as if Monet has captured a single, fleeting moment in time. It is the quintessential Impressionist masterwork. \u003cbr\u003e\u003cbr\u003e Between 1872 and 1875, Monet painted more than 50 views of the river around Argenteuil, returning to the subject again and again as one of his favorites. During these years, he also adopted his floating studio boat, allowing him to paint directly from the water and pursue the reflections, movement and optical effects that became central to his art. Without Argenteuil, the world may never have seen the rest of Monet's celebrated oeuvre. \u003cbr\u003e\u003cbr\u003e Widely recognized as icons of Impressionism, most of Monet's Argenteuil scenes already reside in the world’s most prestigious museums, including the Metropolitan Museum of Art, the Musée d’Orsay, the National Gallery and the Art Institute of Chicago—making this an exceptionally rare treasure by one of history's greatest artists. \u003cbr\u003e\u003cbr\u003e Dated 1875 \u003cbr\u003e\u003cbr\u003e Canvas: 20” high x 27 1\/2” wide (50.8 x 69.9 cm)\u003cbr\u003e Framed: 29 1\/4” high x 37” wide x 2 3\/4” deep (74.3 x 94 x 7 cm) \u003cbr\u003e\u003cbr\u003e Provenance:\u003cbr\u003e With Galerie Bernheim-Jeune, Paris, no. 12161 (label verso)\u003cbr\u003e Collection of Oscar Schmitz, Dresden, 1904\u003cbr\u003e Kunsthaus Zürich, on loan from 1931 from the collection of Oscar Schmitz\u003cbr\u003e Kunstmuseum Basel, on loan from 1934 from the collection of Oscar Schmitz\u003cbr\u003e Wildenstein \u0026amp; Co., London, from 1936\u003cbr\u003e Mr. E.W. Fattorini, Great Britain, 1940\u003cbr\u003e Sotheby's, London, April 16, 1975, lot 25\u003cbr\u003e Private Collection, England\u003cbr\u003e Sotheby's, London, December 3, 1991, lot 22\u003cbr\u003e Private Collection, London, acquired at the above auction\u003cbr\u003e Private Collection, Europe\u003cbr\u003e Private Collection, London \u003cbr\u003e\u003cbr\u003e Literature:\u003cbr\u003e Daniel Wildenstein, Monet. Catalogue raisonné. Werkverzeichnis, Bonn, 1996, vol. II, p. 153, no. 371 (illustrated)\u003cbr\u003e Paul Fechter, “Die Sammlung Schmitz,” Kunst und Künstler: Illustrierte Monatsschrift für bildende Kunst und Kunstgewerbe, Berlin, October 1909, p. 21\u003cbr\u003e Karl Scheffler, “Die Sammlung Oskar Schmitz in Dresden,” Kunst und Künstler: Illustrierte Monatsschrift für bildende Kunst und Kunstgewerbe, Berlin, 1920\/21, p. 186\u003cbr\u003e Marie Dormoy, “La collection Schmitz à Dresde,” L’Amour de l’art, Paris, October 1926, p. 342\u003cbr\u003e Daniel Wildenstein, Monet, vie et œuvre, Lausanne\/Paris, 1974, vol. I, p. 273, 272 (illustrated)\u003cbr\u003e Joel Isaacson, Observation and Reflection. Claude Monet, Oxford, 1978, p. 95, 207 (illustrated)\u003cbr\u003e Paul Hayes Tucker, Monet at Argenteuil, New Haven\/London, 1982, p. 120 (illustrated no. XXI)\u003cbr\u003e Daniel Wildenstein, Monet, vie et œuvre, Lausanne\/Paris, 1991, vol. V, p. 30 (illustrated) \u003cbr\u003e\u003cbr\u003e Exhibited:\u003cbr\u003e Zürich, Kunsthaus Zürich, Sammlung Oscar Schmitz, January 14-February 14, 1932, no. 35\/47\u003cbr\u003e Balingen, Stadthalle, Claude Monet, June 18-August 31, 1992, no. 6\u003cbr\u003e Washington, D.C., Phillips Collection, Impressionists on the Seine: A Celebration of Renoir's “Luncheon of the Boating Party,\" September 21, 1996-February 2, 1997, pl. 39","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":44851270975623,"sku":"32-2623","price":6985000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0083\/2471\/0466\/files\/32-2623_1.png?v=1781306549"}],"url":"https:\/\/rauantiques.com\/collections\/french-impressionist-landscape-paintings.oembed","provider":"M.S. Rau","version":"1.0","type":"link"}