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paper (fiber product)41 × 31 Cm
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About the artwork
Artist supplied description.
Degas is best known for his images of the ballet and other scenes from modern urban life. However, periodically he explored the landscape genre, with a trip in 1869 to the Normandy Coast, for example, that resulted in a number of pastel landscapes. During the peak years of Impressionism-the 1870s and 1880s, when landscape reigned supreme among France's avant-garde-Degas was notoriously averse to the practice of open-air landscape painting. Yet in the 1890s, he produced several groups of landscapes, combining observation and invention in various ways. The artist's renewed interest was prompted by a trip he took he took through Burgundy in 1890 that inspired him to treat its landscape using the technique of monotype. A monotype is made by painting or drawing an image in greasy printer 's ink on a metal plate and then printing the plate onto a sheet of paper. Only one strong impression can usually be pulled from the plate; on occasion, a second, paler impression known as a monotype cognate can be pulled as well. Degas sometimes completed pastels over monotypes or monotype, cognates, as in Landscape with Smokestacks. He pioneered this technique in the 1870s. He began some of his monotypes on the spot, while others-possibly Landscape with Smokestacks-were recollections. Certainly, Degas's aim in such compositions was quite different from his colleague Claude Monet's preoccupation with changing atmospheric effects. While rooted in experience, Degas's landscapes of memory are brooding and mysterious.
Artwork metadata
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| Medium | paper (fiber product) |
| Dimensions | 41 × 31 Cm |
| Certificate | Certificate not provided |
Timeline
Chain of custody, exhibitions, and verification milestones synced from the provenance service.
Thu
22
Jan
note
Jodi Hauptman, et. al, A Strange New Beauty,
Jodi Hauptman, et. al, A Strange New Beauty, (Museum of Modern Art, New York, 2016), p.102-103.
Thu
22
Jan
exhibition
The Art Institute of Chicago, "Degas: At the Track, On the Stage", July 1, 2015-February 26, 2016, first half of installation, no cat.
The Art Institute of Chicago, "Degas: At the Track, On the Stage", July 1, 2015-February 26, 2016, first half of installation, no cat.
Thu
22
Jan
note
Simon Goodman, The Orpheus Clock: The Search for My Family's Art Treasures Stolen by the Nazis
Simon Goodman, The Orpheus Clock: The Search for My Family's Art Treasures Stolen by the Nazis (Scribner, 2015).
Thu
22
Jan
exhibition
Vienna, Albertina, "Impressionism: Pastels, Watercolors, Drawings", February 9 - May 13, 2012, p. 113, 128, pl. 46, cat. by Christopher Lloyd.
Vienna, Albertina, "Impressionism: Pastels, Watercolors, Drawings", February 9 - May 13, 2012, p. 113, 128, pl. 46, cat. by Christopher Lloyd.
Thu
22
Jan
note
Nancy H. Yeide, Konstantin Akinsha, Amy L. Walsh, The AAM Guide to Provenance Research
Nancy H. Yeide, Konstantin Akinsha, Amy L. Walsh, The AAM Guide to Provenance Research (Washington, D.C.: American Association of Museums, 2001), pp. 105-107 (ill.).
Thu
22
Jan
note
Howard Trienens, Landscape With Smokestacks: The Case of the Allegedly Plundered Degas
Howard Trienens, Landscape With Smokestacks: The Case of the Allegedly Plundered Degas (Evanston, Ill., 2000).
Thu
22
Jan
note
sold by Hans Fritz Fankhauser to Emile Wolf, New York, 1951 [Janis 1968]
sold by Hans Fritz Fankhauser to Emile Wolf, New York, 1951 [Janis 1968]
Thu
22
Jan
note
P.A. Lemoisne, Degas et son oeuvre, vol. III
P.A. Lemoisne, Degas et son oeuvre, vol. III (Paris, 1946), p. 614, no. 1054 (ill.).
Thu
22
Jan
note
sent to the Wacker-Bondy storage facility on the Boulevard Raspail, by 1945 [letter from Arthur Goldschmidt of Paul Graupe to Friedrich Gutmann]....
sent to the Wacker-Bondy storage facility on the Boulevard Raspail, by 1945 [letter from Arthur Goldschmidt of Paul Graupe to Friedrich Gutmann]. Hans Wendland, Paris, to his brother-in-law, Hans Fritz Fankhauser, Basel [Janis 1968]
Thu
22
Jan
note
sent by Friedrich Gutmann to Paul Graupe, Paris, 1939
sent by Friedrich Gutmann to Paul Graupe, Paris, 1939
Thu
22
Jan
note
sold, Galerie Georges Petit, Paris, June 9, 1932, lot 5, to Dr....
sold, Galerie Georges Petit, Paris, June 9, 1932, lot 5, to Dr. Helmut Lutjens, the Director of the Amsterdam branch of Paul Cassirer, for Friedrich and Louise Gutmann, Heemstede, Holland [annotated sale catalogue obtained from Walter Feilchenfeldt]
Thu
22
Jan
note
sold, Galerie Georges Petit, Paris, July 2–4 1919, lot 45....
sold, Galerie Georges Petit, Paris, July 2–4 1919, lot 45. Nunes et Fiquet, Paris [Lemoisne 1946]. L. Wolff, Hamburg [Paris 1932 auc. cat.]. Unidentified private collector, to 1932 [Although the 1932 auction included the Simon and Silberberg collections, it remains unclear who owned this specific lot. It could have been Simon, Silberberg, or an unknown third party.]
Thu
22
Jan
note
Estate of the artist, from 1917 [stamp (Lugt 658), lower left in red]
Estate of the artist, from 1917 [stamp (Lugt 658), lower left in red]
Thu
22
Jan
note
given by Daniel Searle and sold by the Goodman (formerly Gutmann) family to the Art Institute, 1998.
given by Daniel Searle and sold by the Goodman (formerly Gutmann) family to the Art Institute, 1998.
Sat
22
Jan
exhibition
New York, Metropolitan Museum of Art, "Degas Landscapes, " January 21-April 3, 1994, cat. 40, fig. 130; traveled to the Museum of Fine Arts, Houston, April 24-July 3, 1994.
New York, Metropolitan Museum of Art, "Degas Landscapes," January 21-April 3, 1994, cat. 40, fig. 130; traveled to the Museum of Fine Arts, Houston, April 24-July 3, 1994.
Fri
22
Jan
note
Jacques Lassaigne and Fiorella Minervino, Tout l'oeuvre peint de Degas, trans. by Simone Darses
Jacques Lassaigne and Fiorella Minervino, Tout l'oeuvre peint de Degas, trans. by Simone Darses (Paris, 1988), p. 129, no. 966 (ill.).
Thu
22
Jan
note
sold by Emile Wolf, through Margo Pollins Schab, New York, to Daniel Searle, Winnetka, Ill....
sold by Emile Wolf, through Margo Pollins Schab, New York, to Daniel Searle, Winnetka, Ill., 1987
Sun
22
Jan
exhibition
Providence, R.I., Rhode Island School of Design, The Museum of Art, “From the Age of David to the Age of Picasso: French Drawings from a Private Collection, " 1984, pp. 34-36, cat. 11 (ill.).
Providence, R.I., Rhode Island School of Design, The Museum of Art, “From the Age of David to the Age of Picasso: French Drawings from a Private Collection," 1984, pp. 34-36, cat. 11 (ill.).
Sun
22
Jan
note
Deborah J. Johnson and Eric M. Zafran, From the Age of David to the Age of Picasso: French Drawings from a Private Collection
Deborah J. Johnson and Eric M. Zafran, From the Age of David to the Age of Picasso: French Drawings from a Private Collection (Providence, 1984), pp. 34-36, no. 11
Tue
22
Jan
note
Jean Adhémar and Françoise Cachin, Degas: The Complete Etchings, Lithographs and Monotypes
Jean Adhémar and Françoise Cachin, Degas: The Complete Etchings, Lithographs and Monotypes (New York, 1974), p. 283.
Tue
22
Jan
note
Fiorella Minervino, Tout l'œuvre peint de Degas
Fiorella Minervino, Tout l'œuvre peint de Degas (Paris 1974), pp.129, no. 966 (ill.).
Mon
22
Jan
note
Jean Adhémar and Françoise Cachin, Edgar Degas: gravures et monotypes
Jean Adhémar and Françoise Cachin, Edgar Degas: gravures et monotypes (Paris, 1973), p. LXVIII.
Mon
22
Jan
exhibition
Cambridge, Mass, Fogg Art Museum, “Degas Monotypes, ” April 25-June 14, 1968, n.p., cat. 68 (ill.), checklist no. 277 (ill.).
Cambridge, Mass, Fogg Art Museum, “Degas Monotypes,” April 25-June 14, 1968, n.p., cat. 68 (ill.), checklist no. 277 (ill.).
Sat
22
Jan
note
Finch College Museum of Art, French Landscape Painters from Four Centuries
Finch College Museum of Art, French Landscape Painters from Four Centuries (New York, 1966), no. 39
Fri
22
Jan
exhibition
New York, Finch College Museum, “French Landscape Paintings from Four Centuries, ” October 20, 1965-January 9, 1966, cat. 39.
New York, Finch College Museum, “French Landscape Paintings from Four Centuries,” October 20, 1965-January 9, 1966, cat. 39.
© Artist-Unknown. All rights reserved.