BBC4 Tales of Winter: The Art of Snow and Ice

Tonight, BBC4 is repeating an excellent programme Tales of Winter: The Art of Snow and Ice which explores how the onset of winter has been depicted by Western painters across the centuries. The programme will be available on BBC iPlayer shortly after it is broadcast at 7.30-9.00pm.

If  you don't live in the UK and would still like to see it, I suggest you take a peek at YouTube and view the same programme in six films of 10 minutes.

The programme comprises several commentators, many of whom are wrapped up warmly and clutching reproductions of the paintings as they revisit places the artist knew and review how similar the painting is to what's there today. I'm a complete sucker for programmes like this and I'll definitely be watching!

Tales of Winter - The Art of Snow and Ice

• Part 1 of 6 covering the very cold winters in the 16th century - including Brueghel's painting of Hunters in the Snow - the first ever painting of a landscape under snow - with comments by Grayson Perry and Jonathan Jones and a cartoon based on it by Peter Brookes

A Frost Fair on the Thames at Temple Stairs (c. 1684) by Abraham Danielsz Hondius (Abraham de Hondt)

• Part 2 of 6 - this features paintings of London and the Thames during the Little Ice Age
• Part 3 of 6 - covers Jacques-Louis David's paintings of Napoleon's campaign in the Alps and The Abbey in the Oakwood by Caspar David Friedrich and the impact of winter in the Alps on John Ruskin - and his paintings of the glaciers 

The Abbey in the Oakwood by Caspar David Friedrich

• Part 4 of 6 - continues with 
• Ruskin's painting of waterfalls including "Le Cascade de la Folie, Chamonix" 
• before moving on to the Impressionists' absorption with the colour of the snow effect "the illusive colour of the shadows in snow". The programme visits Vetheuil where Claude Monet lives when impoverished and where his wife became severely ill. It shows you the house he lived in when he had to choose between paint or medicine for his wife. 
• It also include paintings of winter by the American Impressionist  painter Childe Hassam.  
• Next it considers what is probably the first ever photograph of falling snow - "Winter, 5th Avenue" (1893) by Alfred Steiglitz and other photographs of "The Terminal", "The Flat Iron Building" and "The City of Ambitions"
• Part 5 of 6 - focuses the contrast between rural and urban winters. Giovanni Segantini painted the Swiss mountains in all seasons including winter.  George Bellows, one of the Ashcan painters, paints the raw, bitter, cruel New York winter in The Lone Tenement and John Nash, a  Royal Academician and serving solider fighting in the Artist Rifles Batallion, paints the bitter winters of the First World War

Death (1898-99) by Giovanni Segantini (1858 – 1899)

The Lone Tenement (1909) by George Bellows (1882 - 1925)

Over the Top - 1st Artists' Rifles at Marcoing, 30th December 1917 by John Nash

• Part 6 of 6 looks at the work of Nevinson and highlights the pla ing of a football game in winter and a wonderful photograph of Stonehenge under snow by Bill Brandt while Don McCullin comments on what's involved in photography in winter.

I guess my only criticism of it is it presents a curiously Western European/American view of landscape painting in winter - and misses out the very significant contributions made by the Scandinavians, Eastern Europeans, Russians and Canadians.

"October" - Limbourg Brothers (Autumn Landscape #11)

This is another in the series of illuminated paintings in a book of prayers produced by the Limbourg Brothers (1385-1416) for John, Duc de Berry (1340-1416) the third son of King John II of France.  This particular one has familial connections for the Duc.

The book is called the Très Riches Heures du duc de Berry and it's one of the finest examples of French Gothic manuscript illumination surviving to the present day.  It's belonged to various people over the years and is now housed at the Musée Condé in Chantilly, France.).

The very fine miniature paintings of landscapes that it contains represent the direction of landscape painting taken by early Netherlandish painters such as the Limbourg Brothers - who were the first to paint landscapes with accuracy.


Très Riches Heures du duc de Berry Folio 10, verso: October - Sowing the Winter Grain
by the Limbourg brothers [Public domain],via Wikimedia Commons
Date: between 1412 and 1416 and circa 1440
Medium: painting on vellum
Dimensions: Height: 22.5 cm (8.9 in). Width: 13.6 cm (5.4 in).

This is a translation from the French of a description of the scene.

The scene in the foreground represents peasant sowing. At right, a man sows on the fly. Magpies and crows pecking seeds which have been sown, near a white bag and a satchel. Behind a scarecrow-like archer and son stretched on which are hung feathers are intended to deter birds. On the left, a peasant on horseback crosses the harrow on which rests a stone that allows the teeth to penetrate deeper into the earth. It thus covers the grains which have been sown. In the background, the painter has represented the Palais du Louvre. Castle in the center, there are, besides the central tower which housed the royal treasury while the eastern side right, supervised by the Taillerie tower and the tower of the chapel, and left the southern facade with two towers twin center. The whole is surrounded by a wall punctuated by three towers and two bretèches visible here. On the shore, characters converse or walk

It's odd that the description neglects to mention the River Seine!

Interestingly the building in the background is the Louvre Palace.  There are three reasons for the  significance of this miniature painting of the Louvre in an illuminated book of this sort:

• First the idea behind the paintings of different places in the series of different miniature paintings of landscape scenes for the different months was they represented places known to the Duc de Berry.  They were castles he owned or places - like the Louvre Palace - that he had visited.  In this way the book became personal to the man himself.
• Second, the Louvre is the palace built by King Charles V and where he housed his enormous library of 1,200 volumes where books of significance - translated into French - were kept as a symbol in part of this status as King.  
• Third, King Charles V is the Duc de Berry's elder brother and it would therefore appear that the two brothers had a shared love of books.

Thus this painting may represent a visit by the Duc to his brother one October to see that Library.  At the very least, the painting is a compliment to his brother the King in his endeavours to build a library of great books in the Louvre.  (Note: I've just worked all this out reading around the net - I've no idea whether it's true but it makes sense to me!)

That said, this painting still purports to be a painting of the landscape in the middle of Paris in the fifteenth century - with the foreground being the scene on the West Bank.  However. it's unclear whether the Limbourg Brothers ever saw the Louvre Palace

Links:

• The Limbourg Brothers - and "September"
• March: Peasants at Work on a Feudal Estate by Limbourg brothers
• The Louvre, March Mist - Pissaro (Spring Landscape #1)

Spring Landscape #2 - by Berthe Morisot

I had no idea that French impressionist painter Berthe Morisot drew landscapes in coloured pencils - I think of her as somebody painted people.

However a search for spring landscapes turned up this coloured pencil drawing by Berthe Morisot of a Spring Landscape.  Not only that but it turns out that, like me, she also preferred to hatch with her coloured pencils!

Drawing of a Spring Landscape (c. 1890/1891) by Berthe Morisot
colored pencils and graphite, 23.7 x 18.4 cm (9 5/16 x 7 1/4 in.)
Ailsa Mellon Bruce Collection,
Courtesy of the National Gallery of Art, Washington

The Musee Marmottan has the first and major retrospective exhibition of works by Berthe Morisot between 8 March to 1 July 2012 - Marmottan Monet – Berthe Morisot

I discovered a little bit about Morisot and her landscape drawings and paintings.

She was born on January 14, 1841, in Bourges, France and was the granddaughter of the influential Rococo painter Jean-Honoré Fragonard.  She studied painting with her sister Edma.  Edma was Berthe’s painting companion until 1869, and her favourite model from 1869 to 1873.

At the time women were not allowed to study at official art schools and this did not change until the latter years of the nineteenth century.  Instead the sisters copied masterpieces from the Louvre Museum in the late 1850s under Joseph Guichard.

They then studied with the well-known landscape painter Jean-Baptiste Camille Corot, who was associated with the Barbizon school of painters, and began painting outdoor scenes and working plein air.  Corot subsequently became a friend of Morisot's and she worked with him between 1862 to 1868.  Through she was Corot introduced her to other artists.

In terms of exhibiting her art, Morisot was able to exhibit at the Salon de Paris for a decade with her first work being exhibited in Salon in 1864.  She was just 23 years old when two landscape paintings were accepted for the exhibition

In 1874, she subsequently joined the "rejected" Impressionists in the first of their own exhibitions held at the studio of the photographer Nadar. Fellow exhibitors included Paul Cézanne, Edgar Degas, Claude Monet, Camille Pissarro, Pierre-Auguste Renoir, and Alfred Sisley.

Morisot was also a close friend of Manet and in 1874 she married Eugene Manet, Edouard's younger brother.  Morisot was the link which led to Manet joining the painters who formed the group known as the Impressionists.

Below is a landscape that demonstrates that Morisot also brought a touch of the domestic and woman's world to her landscape paintings. Here's a painting from her years of married life.

Percher de Blanchisseuses (English: Hanging the Laundry out to Dry) (1875) by Berthe Morisot
33 × 40.6 cm (13 × 16 in)
National Gallery of Art, Washington

The Louvre, March Mist - Pissaro (Spring Landscape #1)

The Louvre, March Mist by Camille Pissarro
oil painting on canvas, 54 x 65cm
Location: Ny Carlsberg Glyptotek, Copenhagen, Denmark

I'm starting a series of posts about Spring landscapes.  I wanted first of all to start with landscapes in March.

Having spent last week sketching in the sunshine and haze down by the Thames at Kew (see The Thames at Kew - in March sunshine), I was very taken with this misty painting of the Louvre Palace and the River Seine in Paris by Camille Pissarro.  It captures that effect you get in the sky when it's sunny but the ground is basically still cold.  The haze has both an absence of colour and yet tints at the same time.  It's very difficult to capture - and I think Pissarro has done it remarkably well.

Places to paint:  It looks to me as if he located himself

• either near the end of the Ile de la Cite, the island in the Seine which has a great view of the Louvre.  
• or maybe he was stood on the Pont Neuf (the 'New Bridge' which is now the oldest bridge in Paris)?

I've always been interested in Camille Pissarro's work - but never known a lot about him.  Maybe I should take some time out to learn about him?

Autumn Landscape: Paul Gauguin - By the Stream

By the Stream, Autumn (1885) - Paul Gauguin (1848 - 1903)

This is one of those paintings of which there are innumerable images on the Internet - but nothing which tells you much about it as a painting.  It's as if the hand-painted reproductions have taken over - and there's nothing left of the artist.

If the date of the painting is correct then it seems likely that this painting was painted by Paul Gauguin:

• three years after the stock market crash, in January 1882, which led to Gauguin deciding to take "the bull by the horns" and become a full-time artist
• three years after he participated in the seventh Impressionist Exhibition in March 1882
• after he left his Danish wife and family in Copenhagen (she had returned to her home) following the difficulties the marriage experienced after he decided to become an artist despite having a growing family.
• during a period (1883-1886) when he is struggling for financial survival and painted very little despite becoming an artist.  In fact, he probably painted as much when he was a stockbroker and Sunday painter.

It seems likely it was painted in France - possibly somewhere close to Dieppe where he spent the summer of 1885

Flooding #3 - Monet's 'Vétheuil, L'Inondation'

Vétheuil, L'Inondation (1881) by Claude Monet

Following on from yesterday's post, Claude Monet also produced quite a few paintings of the Seine in flood near where lived. This particular painting - in English "Vetheuil, The Flood" - seems to have been painted in 1881 just before Monet left his house at Vétheuil.

The willow and poplar trees frequently seen on the banks of the river are clearly portrayed as being in the flood water.  The colour of the sky also seems to indicate that there has been a lot of rain.  I assume that this painting may have been done from a studio boat at the time of the flooding given the absence of any river banks in the painting.

Artists wishing to paint flooding first need to work out where these are most likely to occur.

The map of the area also indicates that the areas either side of the huge bend in the River Seine were particularly prone to flooding given that the oxbow lakes produced as the river changes its shape are still live to this day.

Reference:  

• Making A Mark - Gardens in Art - Monet and Vétheuil
• Claude Monet - Resources for Art Lovers

Flooding #2: Detecting Pissarro and Eragny-sur-Epte

Flood, Twilight Effect, Eragny (1893) by Camille Pissarro

Camille Pissarro (1830-1903) painted two versions of the floods of the River near Eragny, northwest of Paris.

This one is known as Flood, Twilight Effect, Eragny and was painted in 1893.  This is Flood, White Effect, Eragny.  That dates this to after his neo-Impressionist period of the 1880s.

Pissarro apparently used to prefer to finish his paintings in one sitting and worked plein air and painted what he saw.  Pissarro explained his technique of painting outdoors as follows

"Work at the same time upon sky, water, branches, ground, keeping everything going on and equal basis and unceasingly rework until you have got it. Paint generously and unhesitatingly, for it is best not to lose the first impression."

It's interesting to try and work out where his paintings were painted from.

This painting is confusing because it isn't possible to tell which area is flooded and whether the river is in the foreground or the background.

Using the satellite view of the current landscape around Eragny as a guide, I began to develop my landscape detective skills

• The painting suggests Pissarro was in a position of some height - maybe the upper storeys of a house - or the side of a hill?  It was certainly his practice in later life to paint scenes while sat by an open hotel window due to a medical condition which meant he could not work outdoors except in warm weather.
• Given the swathe of trees in the middle of the floods it seems possible that the painting was of a perspective very near to where the A15 now crosses the river.  
• Alternatively perhaps the painting was made on the west bank looking across the fields on the western flood plain of the Seine towards Eragny - and the trees are those  normally seen on the eastern bank
• Normally, locating the church is a good guide as the spire acts as a location marker.  In this instance it's more difficult - until you realise that the church has been completely rebuilt and no longer has a conventional spire!

So my initial conclusion was that Picasso was located somewhere near the Chemin de Chasse Maree on the west bank and was looking across the river towards Eragny.  I was still puzzled as to how he'd got the height above the fields.

That was until I found out that he died at Eragny-sur-Epte, a small village northwest of Paris!

Pissarro died in Eragny-sur-Epte on either November 12 or November 13, 1903 and was buried in Pere Lachaise Cemetery in Paris
Camille Pissarro - biography

Having located this second Eragny - Eragny-sur-Epte - on Google Maps, it then becomes very apparent that this is the "Eragny" of the paintings. The reason for this conclusion is that a very similar painting a year earlier is titled View of Bazincourt, Flood, Morning Effect - and Bazincourt, according to the map is due west of Eragny-sur-Epte.  The fact that the main street going through Eragny-sur-Epte is also called Rue Camille Pissarro rather tends to confirm this as the location where these paintings were painted.

View of Bazincourt, Flood, Morning Effect (1892)

It then becomes clear when you look at the map with a geographer's eye (did I ever tell you what my degree is in?) that the flood plain of the River Epte lies in between Eragny and Bazincourt and is marked on today's map by a line of trees.

It therefore seems very likely that these paintings were all painted from a window in Pissarro's house in Eragny-Sur-Epte and are a view of the flood plain between his house and Bazincourt on the other side of the River Epte.

Have you ever tried to work out where paintings were painted?