French, 1844-1925
Provenance:
Atelier de l’artiste ; Collection Charles & Sarah Lhermitte, 1925 ; Collection Sarah Lhermitte, 1945 ; Collection Suzanne Durand, 1969 ; Private collection, 1980; Private collection, 1982 ; Private collection, Paris
Exhibited:
Oshkosh, Léon Lhermitte, The Paine Art Center, Arboretum, 1974, no. 24.
Literature:
Hamel M.M., op. cit., 1974, C 146, cat. No. 143, illustration
Léon Augustin Lhermitte studied with Lecoq de Boisbaudran and made his Salon debut in 1864, where his painting Bords de la Marne pres d’Alfort was well received. He was awarded medals at the Paris Salons of 1874 and 1880, won the Grand Prix at the Exhibition Universelle in 1889 and was awarded the Diplome d’honneur at Dresden in 1890.
In 1884 he was decorated with the Légion d’honneur, promoted to officer in 1894 and elevated to commander in 1911. In 1890 he became one of the founding members of the Societé Nationale des Beaux-Arts, of which he was to become Vice-President. He was elected a member of l’Institut in 1905.
Lhermitte painted almost exclusively scenes from rural life and was quite strongly influenced by the works of Jean-Francois Millet. He also studied closely the works of Jules Bastien-Lepage, Alfred Philippe Roll, Jean Charles Cazin and Jean-Francois Raffaelli. Like all these artists, he was later to adopt the style of ‘La peinture clair’ made fashionable by the Impressionists. This was a time when artists were becoming increasingly aware of the works of authors such as Maupassant and Zola which eventually led to the development of the Realist movement. Lhermitte should perhaps be more properly grouped with the ‘New Realists’ who had Courbet as their direct progenitor and Jules Bastien-Lepage (1848-1884) as their lead exponent; at the same time, however, Lhermitte is the spiritual descendant of Millet. His numerous pure landscapes also class him as one of the last artists of individuality and talent to be directly influenced by the work and precepts put forward by the Barbizon School.
There are paintings by Lhermitte in the Boston Museum of Fine Arts, the Institute of Fine Art in Chicago, the Metropolitan Museum of Art in New York, and the Musee d’Orsay in Paris amongst many others.
Museums:
Detroit Institute of Arts: The Harvest
Fine Arts Museum of San Francisco: The Reaper (Le Faucheur)
Hermitage Museum, Saint Petersburg: Landscape with a Peasant Woman Milking a Cow
Musée d’Orsay, Paris: Paying the Harvesters
Museum of Fine Arts, Boston: Wheatfield
National Gallery of Art, Washington D.C.: An Elderly Peasant Woman
Art Gallery of the University of Rochester, New York: The Washerwomen
Arthur Ross Gallery at the University of Pennsylvania: The Gleaners
Bowes Musuem, County Durham, England: The Reaper’s Rest (Le Repos du Faucheur)
Carnegie Museum of Art, Pittsburgh, Pennsylvania: Wheatfield
Chi-Mei Museum, Taiwan: The Interior of a Farm House
Cleveland Museum of Art, Ohio: River Marne at Chartre
Dahesh Museum, New York City: Harvester Drinking from a Flask
Frye Art Museum, Seattle: The Harvesters (Dans La Vallée)
Hood Museum of Art, New Hampshire: Bathers at Mont-Saint-Pere
Manchester City Art Gallery, England: A Flood
Mildred Land Kemper Art Museum, St. Louis, Missouri: The Harvest (La Moisson)
Philadelphia Museum of Art: Apple Market, and The Gleaners
Reading Public Museum, Pennsylvania: The Baby’s Hour
Saint Louis Art Museum: Shepherd in a Landscape and Woman with Two Children
Thyssen-Bornemisza Museum, Madrid: Le marché de Château-Thierry
Van Gogh Museum, Amsterdam: The Haymakers
Victoria and Albert Museum Catalogue, London, UK
French, 1844-1925
Provenance:
Private collection, Paris
Private collection, NY
This work is accompanied by a letter of authenticity from Madame Monique Le Pelley Fonteny stating that this drawing is to be included in the forthcoming addendum to the Catalogue Raisonée.
Léon Augustin Lhermitte studied with Lecoq de Boisbaudran and made his Salon debut in 1864, where his painting Bords de la Marne pres d’Alfort was well received. He was awarded medals at the Paris Salons of 1874 and 1880, won the Grand Prix at the Exhibition Universelle in 1889 and was awarded the Diplome d’honneur at Dresden in 1890.
In 1884 he was decorated with the Légion d’honneur, promoted to officer in 1894 and elevated to commander in 1911. In 1890 he became one of the founding members of the Societé Nationale des Beaux-Arts, of which he was to become Vice-President. He was elected a member of l’Institut in 1905.
Lhermitte painted almost exclusively scenes from rural life and was quite strongly influenced by the works of Jean-Francois Millet. He also studied closely the works of Jules Bastien-Lepage, Alfred Philippe Roll, Jean Charles Cazin and Jean-Francois Raffaelli. Like all these artists, he was later to adopt the style of ‘La peinture clair’ made fashionable by the Impressionists. This was a time when artists were becoming increasingly aware of the works of authors such as Maupassant and Zola which eventually led to the development of the Realist movement. Lhermitte should perhaps be more properly grouped with the ‘New Realists’ who had Courbet as their direct progenitor and Jules Bastien-Lepage (1848-1884) as their lead exponent; at the same time, however, Lhermitte is the spiritual descendant of Millet. His numerous pure landscapes also class him as one of the last artists of individuality and talent to be directly influenced by the work and precepts put forward by the Barbizon School.
There are paintings by Lhermitte in the Boston Museum of Fine Arts, the Institute of Fine Art in Chicago, the Metropolitan Museum of Art in New York, and the Musee d’Orsay in Paris amongst many others.
French, 1844-1925
Provenance:
-Boussod, Valadon & Cie, 18254.
-Galerie Georges Petit, vente John Balli de Londres, le 22 mai 1913.
Commissaire-priseur: Lair Dubreuil 9,100 FF.
-Coll. George.
-Collection Sun, Pei-Tsang (1889-1942)
-inherited from above
Exhibited:
Exposition des Pastellistes, 1897 no. 89
Bibliography:
(s.n.), le Matin, Echos du matin, 2 April 1897
(s.n.), le Soir, 3 April 1897
(s.n.), le Petit National, 5 April 1897
J.C., la Nation, 6 April 1897
(s.n.), Journal des arts, 17 May 1913
(s.n.), City Herald, 23 May 1913
M. Le Pelley Fonteny, Leon Augustin Lhermitte (1844-1925): catalogue
Raisonné, Paris 1991, pp.227, no. 368, (illustrated).
There is an oil of the same subject that was painted by the artist in 1897 and exhibited in Exposition Universelles of 1900.
Léon Augustin Lhermitte studied with Lecoq de Boisbaudran and made his Salon debut in 1864, where his painting Bords de la Marne pres d’Alfort was well received. He was awarded medals at the Paris Salons of 1874 and 1880, won the Grand Prix at the Exhibition Universelle in 1889 and was awarded the Diplome d’honneur at Dresden in 1890.
In 1884 he was decorated with the Légion d’honneur, promoted to officer in 1894 and elevated to commander in 1911. In 1890 he became one of the founder members of the Societé Nationale des Beaux-Arts, of which he was to become Vice-President. He was elected a member of l’Institut in 1905.
Lhermitte painted almost exclusively scenes from rural life and was quite strongly influenced by the works of Jean-Francois Millet. He also studied closely the works of Jules Bastien-Lepage, Alfred Philippe Roll, Jean Charles Cazin and Jean-Francois Raffaelli. Like all these artists, he was later to adopt the style of ‘La peinture clair’ made fashionable by the Impressionists. This was a time when artists were becoming increasingly aware of the works of authors such as Maupassant and Zola which eventually led to the development of the Realist movement. Lhermitte should perhaps be more properly grouped with the ‘New Realists’ who had Courbet as their direct progenitor and Jules Bastien-Lepage (1848-1884) as their heading exponent; at the same time, however, Lhermitte is the spiritual descendant of Millet. His numerous pure landscapes also class him as one of the last artists of individuality and talent to be directly influenced by the work and precepts put forward by the Barbizon School.
There are paintings by Lhermitte in the Boston Museum of Fine Arts, the Institute of Fine Art in Chicago, the Metropolitan Museum of Art in New York, and the Musee d’Orsay in Paris amongst many others.
