The Barbizon School and 19th-Century European Landscapes
In the 1820s artists began visiting the village of Barbizon near the forest of Fontainebleau, drawn by the magical concentration of picturesque trees and rock formations. By the late 1840s Rousseau, Millet, and Jacque had settled there to paint both the landscape and peasant life. Working out-of-doors to capture specific effects in nature, they developed a gestural handling of paint to record the immediacy of their observations.
The central appeal of Barbizon painting for me is found in the way in which paint is employed to capture form, color and texture, while retaining its essence as a physical substance. It is the awareness of this simultaneous interaction that allows me to participate in the artist's creative process.
Because the best works of the leading Barbizon painters are still available and relatively inexpensive when compared with other movements in French art, my primary focus is on the works of Corot, Millet, Rousseau, Daubigny, Dupré, Troyon, Diaz and Jacque.
Currently we have available:
Jean-Baptiste Camille Corot (French 1796-1875)
Barque a la Rive, au Pied d’un Groupe d’arbres, Circa 1865-70
Fontainebleau. Deux Bûcherons et un chêne abattu
Sous-Bois, dans le Parc de Merantais, circa 1855-1870
Charles-François Daubigny (French 1817-1878)
River Landscape, 1858
Maurice Denis (French 1870-1943)
Florence, Piazza San Gallo, 1898
Henri-Joseph Harpignies (French 1819-1916)
Le Levandiere, 1875
Stanislas Lepine (French 1835-1892)
Vue de la Seine au Pont Solferino, Circa 1875-79
Georges Michel (French 1763-1843)
Coastal Landscape, Normandy
Pierre Eugene Montezin (French 1874-1946)
The Seine at St. Mammes, circa 1925
Félix Ziem (French 1821-1911)
Le Palais des Doges, vu du canal della Grazia, circa 1870