'July' by Pol Limbourg (Summer Landscape #1)

I'm returning to the representation of the seasons and months of the year in paintings of landscapes.  In part, I do this because I very much enjoy records of the land at different times of the year but also as encouragement to landscape painters to create more paintings recording the land in specific seasons and months.

This is Juillet (July) in the body of work known as Les Très Riches Heures du Duc de Berry created by the flemish painters, the Limbourg Brothers working for John, Duc de Berry (1340-1416) the third son of King John II of France. It's been identified as the work of Paul (or Pol) Limbourg.

Très Riches Heures du duc de Berry Folio 7, verso: July
illumination on vellum
Height: 22.5 cm (8.9 in). Width: 13.6 cm (5.4 in)
Musée Condé, Chantilly, France

This particular painting is painted as a miniature illumination on vellum (note the size) and was created sometime between between 1412 and 1416.

 It shows sheep being sheered - using big sheep shears - and grain being harvested using a sickle.  The sky is of course blue and the clouds are high and sparse as one often gets in mid summer.  A translation of a description in French (now updated as per Alyson's comment) reads as follows

"The labours of the month of July show the harvest and shearing of sheep. Two characters mow the wheat, each using a volant and a stick. A volant is a long, open sickle with the handle at the corner of the flat of the blade. With the help of the stick, they separate a bunch of wheat stems which they then cut with a pass of the blade. The harvesters advance by going around the outside of the parcel of land, working towards the centre. One of the harvesters has a whetstone on his belt. Two other characters, one of whom is a woman, use shears to cut the wool of sheep. With the exception of the imaginary mountains, the landscape shows, in the foreground, the Boivre River where it flows into the Clain, near the palace of the Count of Poitiers."

In the background is the Palace of Poitiers - which was rebuilt by Jean I, duc de Berry between 1384-86.

Links:

• The Limbourg Brothers - and "September" 18 Sep 2012
• "October" - Limbourg Brothers (Autumn Landscape #11) 24 Oct 2012
• March: Peasants at Work on a Feudal Estate by Limbourg brothers 27 Mar 2012

"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)

The Limbourg Brothers - and "September"

Très Riches Heures du duc de Berry
Folio 8, verso: September
by the Limbourg Brothers

I always think it's a pity that we don't see more present day painters painting the months of the year.  Recording the changes in the landscape - particularly where farming is involved - generates a real understanding of the land and a much better sense of place.

You can find out more about the Limbourg Brothers in this fascinating video - which is some 53 minutes in length.  [NOW DISAPPEARED - SEE SUBSTITUTE AT END] So grab a hot drink and find a compfy chair.....

• It shows how the Très Riches Heures du duc de Berry came to public attention.
  
  In 1948 the American photo journal Life published the twelve calender miniatures from the manuscript, which roused an enormous public interest.

• It displays the actual book which contains these incredibly important miniature paintings of the medieval times
• Authoritative experts explain the importance of the paintings and the way in which the Limbourg Brothers worked and created innovation in painting

Watch and enjoy!

UPDATE: This is a video which features the months within the book

This video is about the exhibition at the Metropolitan Museum of Art in 2010 (which is 11 minutes long)

March: Peasants at Work on a Feudal Estate by Limbourg brothers

March: Peasants at Work on a Feudal Estate by the Limbourg Brothers
Très Riches Heures du Duc de Berry
? on vellum, 22 x 13.5 cm
Musee Conde, Chantilly, France

I've got just a few days left to find landscapes of the countryside in March.  This is the third Spring Landscape in the current series.

Spring is a time of new beginnings and the perennial occupation of ploughing fields and sowing seed. However I'm not sure current farm machinery has quite the appeal of the ox-drawn plough in this painting of peasants at work in March by the Dutch Limbourg Brothers.

It's part of the Très Riches Heures du Duc de Berry.  This book is widely regarded to be a sumpreme example of manuscript illumination. It's also said to be the archetype of the International Gothic style.

Its most original and beautiful feature is the series of twelve full-page illustrations of the months - the first time a calendar was so lavishly treated - full of exquisite ornamentation and beautifully observed naturalistic detail.Web Gallery of Art - Limbourg brothers

It's thought to be one of the most valuable books in the world. 

It is kept as Ms.65 in The Musée Condé - in English, the Condé Museum - which is located inside the Château de Chantilly in Chantilly, Oise, 40 km north of Paris.

The Limbourg brothers are said to play an important part on the development of the landscape painting in northern Europe.  It's thought at least one of the brothers visited Italy and brought back notions of how space is best rendered.

I'll say more about the book and the brothers as the year unfolds.

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?