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    Museum collections / Art Institute of Chicago
    Pasture in Normandy
    Constant Troyon. Pasture in Normandy, 1852. The Art Institute of Chicago. Public domain (CC0).
    AT-00000161

    Public data from the Art Institute of Chicago. Learn more

    Pasture in Normandy

    by Constant Troyon

    Provenance

    Laurent-Richard, by 1886; his sale Galerie Georges Petit, Paris, May 28–29, 1886, lot 67 for 20,000 francs, sold to Galerie Georges Petit [price and buyer according to an annotated sale catalogue in the Rijksbureau voor Kunsthistorische Documentatie, The Hague]. Eugène Secrétan, by 1889; his sale Boussod, Valadon & Co., Paris and Charles Sedelmeyer, Paris, July 1, 1889, lot 79 for 31,500 francs to Durand-Ruel [price and buyer according to an annotated sale catalogue in the Rijksbureau voor Kunsthistorische Documentatie, The Hague]; Durand-Ruel. Henry Field (died 1890), Chicago; his widow Mrs. Florence Lathrop Field; given to the Art Institute, 1894.

    Exhibition history

    San Francisco, California Palace of the Legion of Honor, Barbizon Revisited, September 27–November 4, 1962, cat. 105; travelled to Toledo Museum of Art, November 20–December 7, 1962; Cleveland Museum of Art, January 15–February 24, 1963; Museum of Fine Arts, Boston, March 14–April 28, 1963. Washington, D.C., National Collection of Fine Arts, American Art in the Barbizon Mood, January 23–April 20, 1975, cat. 14. Toyko, The Seibu Museum, Millet, Corot and the School of Barbizon, March 15–April 14, 1980, cat. T61; travelled to Hyogo, Japan, The Museum of Modern Art, April 19–May 18, 1980; Sapporo, Japan, The Hokkaido Museum of Modern Art, May 24–June 15, 1980; The Hiroshima Prefectural Museum, June 21–July 13, 1980; The Kitakyushu Municipal Museum, July 19–August 10, 1980.

    Publications

    "Drift of the Dog Days,” The Collector 4, 16 (1893), p. 247. Art Institute of Chicago, Catalogue of Paintings, Sculpture, and Other Objects in the Museum (Chicago: Art Institute of Chicago, 1894), p. 57, no. 37. “The Henry Field Memorial Collection,” Art Amateur 31, 6 (1894), p. 115. “Art Institute of Chicago: II – Modern Paintings: The Henry Field Collection,” Art Amateur 32, 1 (1894), p. 19. Art Institute of Chicago, Annual Report of The Trustees for the Year Ending June 4, 1895 (Chicago: Art Institute of Chicago, 1895), p. 37, no. 37. Art Institute of Chicago, Catalogue of Objects in the Museum (Chicago: Art Institute of Chicago, 1895), p. 68, no. 37. Art Institute of Chicago, Catalogue of Objects in the Museum (Chicago: Art Institute of Chicago, 1896), p. 74, no. 37. Art Institute of Chicago, Catalogue of Objects in the Museum (Chicago: Art Institute of Chicago, 1898), p. 95, no. 37. “Chicago, ILL.: The Art Institute of Chicago,” in American Art Annual 1898 (London: Macmillan & Co., 1899), p. 140, no. 37. Louis Souillé, Peintures, pastels, aquarelles, dessins de Constant Troyon (Paris: Louis Souillé, 1900), p. 58. Art Institute of Chicago, General Catalogue of Objects in the Museum (Chicago: Art Institute of Chicago, 1901), p. 163, no. 137. Frederick Clifton Pierce, Field Genealogy, vol. 2 (Chicago: Hammond Press, 1901), p. 713, no. 37. N. Hudson Moore, “The Barbizon School II,” The Chautauquan 36 (1903), p. 505. Art Institute of Chicago, General Catalogue of Objects in the Museum (Chicago: Art Institute of Chicago, 1904), pp. 168–9, no. 137. Walther Gensel, Corot und Troyon (Bielefeld and Leipzig: Velhagen & Klasing, 1906), pp. 83 (ill), 97, no. 15. Art Institute of Chicago, General Catalogue of Sculpture, Paintings and Other Objects (Chicago: Art Institute of Chicago, 1907), p. 180, no. 137. Richard Muther, The History of Modern Painting, vol. 2, revised ed. (London: J. M. Dent & Co., 1907), p. 346 (ill.). Art Institute of Chicago, General Catalogue of Sculpture, Paintings and Other Objects (Chicago: Art Institute of Chicago, 1910), p. 171, no. 137. Art Institute of Chicago, General Catalogue of Paintings, Sculpture and Other Objects in the Museum (Chicago: Art Institute of Chicago, 1913), p. 115, no. 137. Art Institute of Chicago, General Catalogue of Paintings, Sculpture, and Other Objects in the Museum (Chicago: Art Institute of Chicago, 1914), p. 119, no. 137. Art Institute of Chicago, Catalogue of Paintings, Drawings, Sculpture and Architecture (Chicago: Art Institute of Chicago, 1917), p. 119, no. 137. The New International Encyclopædia, vol. 22 (New York: Dodd, Mead and Company, 1918), p. 503. Art Institute of Chicago, Handbook of Sculpture, Architecture, Paintings, and Drawings (Chicago: Art Institute of Chicago, 1920), p. 25, no. 137. Art Institute of Chicago, Handbook of Sculpture, Architecture and Paintings (Chicago: Art Institute of Chicago, 1922), p. 25, no. 137. Art Institute of Chicago, Handbook of Sculpture, Architecture, and Paintings (Chicago: Art Institute of Chicago, 1923), p. 25, no. 137. Art Institute of Chicago, A Guide to the Paintings in the Permanent Collection (Chicago: Art Institute of Chicago, 1925), p. 155, no. 137. Art Institute of Chicago, A Guide to the Paintings in the Permanent Collection (Chicago: Art Institute of Chicago, 1932), p. 174. Art Institute of Chicago, Paintings in the Art Institute of Chicago: A Catalogue of the Picture Collection (Chicago: Art Institute of Chicago, 1961), p. 455. Robert L. Herbert, “French Landscape before 1830,” in Robert L. Herbert, Barbizon Revisited, exh. cat. (Boston: Museum of Fine Arts, Boston, 1962), p. 53. Peter Bermingham, “Hunt, Inness, and a Few Friends: The Early Years,” in Peter Bermingham, American Art in the Barbizon Mood, exh. cat. (Washington, D.C.: National Collection of Fine Arts, 1975), pp. 40, 41 (ill), fig. 28. Lois Marie Fink, “French Art in the United States, 1850–1870: Three Dealers and Collectors,” Extrait de la Gazette des Beaux-Arts (September 1978), p. 98. Stefan Germer, “Pictures at an Exhibition,” Chicago History: Magazine of the Chicago Historical Society 16, 1 (1987), pp. 20 (ill.), 21. Doreen Bolger Burke and Catherine Hoover Voorsanger, “The Hudson River School in Eclipse,” in John K. Howat, American Paradise: The World of the Hudson River School, exh. cat. (New York: The Metropolitan Museum of Art, 1987), p. 78 (ill.), fig. 40. William Innes Homer and Lloyd Goodrich, Albert Pinkham Ryder: Painter of Dreams (New York: Harry N. Abrams, 1989), pp. 59, 60 (ill.), fig. 5-14.

    Quick Overview

    Artist
    Constant Troyon (French, 1810–1865)
    Date
    1852
    Medium
    Oil on panel
    Dimensions
    38.5 × 55 cm (15 1/8 × 25 5/8 in.); Framed: 68.6 × 85.1 × 12.7 cm (27 × 33 1/2 × 5 in.)
    Type
    Painting
    Classification
    painting
    Style
    Realism
    Place
    France
    Department
    Painting and Sculpture of Europe
    Credit line
    Henry Field Memorial Collection
    Accession no.
    1894.1069

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    Open-access museum data

    This record comes from the open-access collection data that the Art Institute of Chicago publishes for unrestricted use (Creative Commons Zero). Art Trackers shows a selection of the museum's published fields. The Art Institute of Chicago is not an Art Trackers client and has not reviewed or endorsed this page; the museum's own website is the authoritative record.

    • View this work at the Art Institute of Chicago
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    Data retrieved from the Art Institute of Chicago on October 7, 2026. The museum may have updated its record since.

    Open-access museum record · AT-00000161

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