Rabbit Warren at Pontoise, Snow

Paris, Galeries Durand-Ruel, Camille Pissarro, Jan. 23–Feb. 20, 1892, cat. 11, as La Garenne, à Pontoise; effet de neige, Appartenant à Mme P. Art Institute of Chicago, The Artist Looks at the Landscape, June 22–Aug. 25, 1974, no cat. London, Hayward Gallery, Pissarro: Camille Pissarro 1830–1903, Oct. 30, 1980–Jan. 11, 1981, cat. 51 (ill.); Paris, Galeries Nationales du Grand Palais, Jan. 30–Apr. 27, 1981; Museum of Fine Arts, Boston, May 19–Aug. 9, 1981. Los Angeles County Museum of Art, A Day in the Country: Impressionism and the French Landscape, June 28–Sept. 16, 1984, cat. 68 (ill.); Art Institute of Chicago, Oct. 23, 1984–Jan. 6, 1985; Paris, Galeries Nationales d’Exposition du Grand Palais, as L’impressionnisme et le paysage français, Feb. 4–Apr. 22, 1985, cat. 34. Tokyo, Seibu Museum of Art, Shikago bijutsukan insho-ha ten [The impressionist tradition: Masterpieces from the Art Institute of Chicago], Oct. 18–Dec. 17, 1985, cat. 27 (ill.); Fukuoka Art Museum, Jan. 5–Feb. 2, 1986; Kyoto Municipal Museum of Art, Mar. 4–Apr. 13, 1986. London, Hayward Gallery, Landscapes of France: Impressionism and its Rivals, May 18–August 28, 1995, cat. 92 (ill.); Museum of Fine Arts, Boston, [as Impressions of France: Monet, Renoir, Pissarro, and their Rivals] October 4, 1995–January 14, 1996. Washington, D.C., Phillips Collection, Impressionists in Winter: Effets de Neige, Sept. 19, 1998–Jan. 3, 1999, cat. 44 (ill.); San Francisco, Fine Arts Museums of San Francisco at the Center for the Arts at Yerba Buena Gardens, Jan. 30–May 2, 1999; Brooklyn Museum of Art, May 27–Aug. 29, 1999. Ottawa, National Gallery of Canada, Winter Count: Embracing the Cold, Nov. 21, 2025–Mar. 22, 2026, cat. 35.

Galeries Durand-Ruel, Exposition Camille Pissarro, exh. cat. (E. Ménard, 1892), p. 23, cat. 11. Georges Wulff, “L’exposition de M. Camille Pissarro,” Le National, Feb. 7, 1892, p. 2. Charles Saunier, “L’art nouveau. I, Camille Pissarro,” La revue indépendante 23, 66 (Apr. 1892), p. 34. Ludovic Rodo Pissarro and Lionello Venturi, Camille Pissarro: Son art—son oeuvre, vol. 1, Texte (P. Rosenberg, 1939), p. 148, cat. 478. Ludovic Rodo Pissarro and Lionello Venturi, Camille Pissarro: Son art—son oeuvre, vol. 2, Planche (P. Rosenberg, 1939), pl. 97, cat. 478. Lionello Venturi, Les archives de l’impressionnisme: Lettres de Renoir, Monet, Pissarro, Sisley et autres; Mémoires de Paul Durand-Ruel; Documents, vol. 2 (Durand-Ruel, 1939), p. 34. John Rewald, Camille Pissarro, Library of Great Painters (Abrams, 1963), p. 58 (ill.). Art Institute of Chicago, Annual Report, 1963–64 (Art Institute of Chicago, [1964]), p. 19. Anonymous untitled article in “La chronique des Arts,” supplement, Gazette des Beaux-Arts 6, 65 (Feb. 1965), p. 59. (ill.). Charles C. Cunningham and Satoshi Takahashi, Shikago bijutsukan [Art Institute of Chicago], Museums of the World 32 (Kodansha, 1970), pp. 47 (ill.), 162. Richard Shiff, “Seeing Cézanne,” Critical Inquiry 4, 4 (Summer 1978), p. 803, no. 85. Hayward Gallery, Galeries Nationales du Grand Palais, and Museum of Fine Arts, Boston, Pissarro: Camille Pissarro 1830–1903, exh. cat. (Arts Council of Great Britain/Museum of Fine Arts, Boston, 1980), p. 114, cat. 51 (ill.). Christopher Lloyd, Camille Pissarro (Skira/Rizzoli, 1981), p. 42 (ill.). Hayward Gallery, Galeries Nationales du Grand Palais, and Museum of Fine Arts, Boston, Pissarro: Camille Pissarro 1830–1903, trans. Claude Lauriol, exh. cat. (Arts Council of Great Britain/Réunion des Musées Nationaux, 1981), p. 114, cat. 51 (ill.). Andrea P. A. Belloli, ed., A Day in the Country: Impressionism and the French Landscape, exh. cat. (Los Angeles County Museum of Art, 1984), p. 366. Richard Brettell, “Pissarro, Cézanne, and the School of Pontoise,” in A Day in the Country: Impressionism and the French Landscape, ed. Andrea P. A. Belloli, exh. cat. (Los Angeles County Museum of Art, 1984), pp. 190; 193, cat. 68 (ill.). Richard Brettell, “Camille Pissarro: Problems of Interpretation,” in Isetan Museum of Art, Fukuoka Art Museum, and Kyoto Municipal Museum of Art, Retrospective Camille Pissarro, international ed., exh. cat. (Art Life, 1984), p. 13. Art Institute of Chicago, Seibu Museum of Art, Kyoto Municipal Museum of Art, and Fukuoka Art Museum, eds., Shikago bijutsukan insho-ha ten [The impressionist tradition: Masterpieces from the Art Institute of Chicago], trans. Akihiko Inoue, Hideo Namba, Heisaku Harada, and Yoko Maeda, exh. cat. (Nihon Nippon Television Network, 1985), pp. 66, cat. 27 (ill.); 67 (detail); 143, cat. 27 (ill.). Richard Brettell, “Pissarro, Cézanne et le groupe de Pontoise,” in Réunion des Musées Nationaux, L’impressionnisme et le paysage français, exh. cat. (Réunion des Musées Nationaux, 1985), pp. 120–21, cat. 34 (ill.). Martin Reid, “The Pissarro Family in the Norwood Area of London, 1870–71: Where Did They Live?” in Christopher Lloyd, ed., Studies on Camille Pissarro (Routledge & Kegan Paul, 1986), p. 63, n. 4. Janine Bailly-Herzberg, Correspondance de Camille Pissarro, vol. 3, 1891–1894 (Valhermeil, 1988), p. 193, letter 750. Belinda Thompson and Michael Howard, Impressionism (Bison Books, 1988), pp. 136 (ill.), 192. Art Institute of Chicago, Treasures of 19th- and 20th-Century Painting: The Art Institute of Chicago, with an introduction by James N. Wood (Art Institute of Chicago/Abbeville, 1993), p. 73 (ill.). Joachim Pissarro, Camille Pissarro (Abrams, 1993), pp. 115; 125, fig. 122. John House, with contributions from Ann Dumas, Jane Mayo Roos, and James F. McMillan, Landscapes of France: Impressionism and Its Rivals, exh. cat. (Hayward Gallery, 1995), pp. 248–49, cat. 92 (ill.). John House, with contributions from Ann Dumas, Jane Mayo Roos, and James F. McMillan, Impressions of France: Monet, Renoir, Pissarro, and their Rivals, exh. cat. (Museum of Fine Arts, Boston, 1995), pp. 248–49, cat. 92 (ill.). Michael Fried, Manet’s Modernism, or, The Face of Painting in the 1860s (University of Chicago Press, 1996), p. 395, fig. 184. Charles S. Moffett, Eliza E. Rathbone, Katherine Rothkopf, and Joel Isaacson, Impressionists in Winter: Effets de Neige, exh. cat. (Phillips Collection/Philip Wilson, 1998), pp. 156; 160–61, cat. 44 (ill.); 215. Katherine Rothkopf, “Camille Pissarro: A Dedicated Painter of Winter,” in Charles S. Moffett, Eliza E. Rathbone, Katherine Rothkopf, and Joel Isaacson, Impressionists in Winter: Effets de Neige, exh. cat. (Phillips Collection/Philip Wilson, 1998), p. 48. Joachim Pissarro and Claire Durand-Ruel Snollaerts, with the collaboration of Alexia de Buffévent and Annie Champié, Pissarro: Critical Catalogue of Paintings, vol. 1, trans. Mark Hutchinson and Michael Taylor (Skira/Wildenstein Institute, 2005), pp. 363, 402, 406, 408, 409, 418, 421. Joachim Pissarro and Claire Durand-Ruel Snollaerts, with the collaboration of Alexia de Buffévent and Annie Champié, Pissarro: Catalogue critique des peintures/Critical Catalogue of Paintings, vol. 2, trans. Mark Hutchinson and Michael Taylor (Skira/Wildenstein Institute, 2005), p. 399, cat. 587 (ill.). Richard R. Brettell and Anne-Brigitte Fonsmark, Gauguin and Impressionism, exh. cat. (Kimbell Art Museum, Fort Worth/Ordrupgaard, Copenhagen/Yale University Press, 2005), p. 92, fig. 68. Nathalia Brodskaïa, Impressionism, trans. Rebecca Brimacombe and Richard Swanson (Parkstone, 2007), p. 192. “Cat. 8: Rabbit Warren at Pontoise, Snow, 1879,” in Pissarro Paintings and Works on Paper at the Art Institute of Chicago, eds. Gloria Groom and Genevieve Westerby (Art Institute of Chicago, 2015), https://publications.artic.edu/pissarro/reader/paintingsandpaper/section/8. Harmon Siegel, Painting with Monet (Princeton and Oxford: Princeton University Press, 2024), 191 fig. 6.17. Winter Count: Embracing the Cold / Compte d'Hiver: Au Coeur du Froid, exh. cat. (Ottawa: National Gallery of Canada, 2025), 62, 112, 288–89, pl. 35.