Appendix A: Catalogue of Key Works

Thomas, Greg M.

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Appendix A: Catalogue of Key Works

Greg M. Thomas

Description: Art and Ecology in Nineteenth-Century France: The Landscapes of Théodore...

Art and Ecology in Nineteenth-Century France: The Landscapes of Théodore Rousseau

Appendix A: Catalogue of Key Works

Author

Greg M. Thomas

PublisherPrinceton University Press

Stable URL: https://aaeportal.com/?id=-23410

Appendix A: Catalogue of Key Works

This Appendix provides detailed information for twelve of Rousseau’s most important paintings, followed by a list of works commissioned by his most active patron, Frédéric Hartmann. Applying a strictly chronological order to Rousseau’s work is impossible; the dates given for the pictures are compound ones, indicating years of commencement, commission, and completion, which in Rousseau’s case were often widely separated (for example, 1857/62–67). Media and dimensions (height by width) follow Toussaint and de Forges (Théodore Rousseau) unless otherwise indicated. Titles listed below each entry are those used in Salon and exhibition catalogues, if applicable; in Sensier, Souvenirs; Dorbec, Théodore Rousseau; Toussaint and de Forges, Théodore Rousseau; and in selected cases the 1868 Vente Théodore Rousseau. English titles are my translations of the French titles that I find most suitable.

[FIG. 48] The Descent of the Cows from the High Plateaus of the Jura (La descente des vaches des hauts plateaux du Jura), 1834–36. Oil on canvas, 102 × 65 1/4 in. (258.8 × 166 cm). Musée de Picardie, Amiens

This is a duplicate of the blackened version of similar dimensions (101 3/4 × 63 1/4 in. [258.5 × 160.5 cm]) in the Mesdag Museum, The Hague (fig. 49).1The history of the two pictures is straightened out by Marie-Thérèse de Forges, “La Descente des vaches de Théodore Rousseau au Musée d’Amiens,” La Revue du Louvre 12, no. 2 (1962): 85–90. She suggests that Rousseau painted the Amiens canvas first and the Mesdag one second, after heeding Scheffer’s advice to experiment with bitumen. She gives the dimensions of the Mesdag painting as 258.5 by 160.5 cm, whereas the Mesdag catalogue gives them as 259 by 162 cm. The Mesdag version, painted second, was rejected for the 1836 Salon, and the picture was not exhibited until the sketch (fig. 50) was shown in the 1867 Cercle des Arts exhibition. Sensier (87) quotes a review by Gustave Planche calling the painting a Scène pastorale du Jura. Thoré (Salons de T. Thoré 1844, 16) called it Descente de vaches. And in 1854, Armand Baschet called it Passage d’un troupeau des Alpes dans un ravin du Jura.2Armand Baschet, “Les Ateliers de Paris en 1854,” part 6, “M. Théodore Rousseau,” L’Artiste, 5th ser., 12, no. 7 (May 1, 1854), 97–98; 98.

The painting is based on a hand-sized sketch made in Gex in Oct. 1834 (Sensier, 70–72) — possibly Schulman (Théodore Rousseau) no. 163. On returning to Paris in late Dec. 1834 (Sensier, 73), Rousseau painted a sketch of the scene in a few days (76) — probably fig. 50. He then undertook a large picture, 102 1/4 × 64 1/4 in. (260 × 163 cm) (76) — roughly the size of the Amiens canvas. Ary Scheffer lent Rousseau a studio, who finished the painting in a few months (76).

Sensier asserts the painting was ruined by excessive bitumen and oil (77–78), but de Forges demonstrates the ruined version is the large Mesdag canvas. It was the Mesdag version that was rejected in 1836 and exhibited instead in Scheffer’s studio (84–88). The Amiens picture remained in Rousseau’s studio until his death.

Burty, Notice, no. 45 (sketch):3The entry continues, “Carrying heavy bells around their necks, they return to the autumn pastures under the guidance of the shepherds. One sees gleaming on the horizon through the firs the snow of glaciers”: “Portant au cou de pesants grelots, elles regagnent, sous la conduite des bergers, les pâturages d’automne. On voit étinceler à l’horizon, à travers les sapins, la neige des glaciers. 1835. – H. 1m.14; L. 59 c.” Philippe Burty, Notice des études peintes, no. 11. La descente des vaches, dans les montagnes du Haut-Jura Vente Théodore Rousseau, no. 9: Descente des vaches dans le Jura4The entry continues, “(This painting has suffered from the effects of mixtures of bitumen)”: “(Ce tableau a souffert par suite des préparations au bitume.) 1835–36. H. 2 m. 60; L. 1 m. 63 c.” These dimensions are closer to the Mesdag canvas, but de Forges argues it refers to the Amiens version.

Sensier, 5 (sketch; Descente des vaches des hauts plateaux du Jura); 76–80, 105, 107 (Descente des Vaches); 84–88 (Descente des vaches); 70–72

Dorbec, 47–48, 51–52: sketch repr., 13: La descente des vaches des Hauts-Plateaux du Jura

Toussaint and de Forges, no. 15: La descente des vaches dans le Jura

[FIG. 51] View of the Range of the Alps, Seen from the Heights of La Faucille (Vue de la chaîne des Alpes, prise des hauteurs de la Faucille), 1834–67. Oil on canvas, 56 3/4 × 94 1/2 in. (143 × 240 cm). Ny Carlsberg Glyptotek, Copenhagen5Dimensions from Ny Carlsberg Glyptotek, Danske og franske malerier og tegninger (Copenhagen: Moderne Afdeling, 1958), 52. See also Flemming Fribourg, “Théodore Rousseau og det sublime,” Meddelelser fra Ny Carlsberg Glyptotek (Copenhagen) 48 (1992): 112–29.

This painting was begun in 1834, with stylistic elements showing reworking in the 1860s. Rousseau stayed at La Faucille from late July or early Aug. 1834 until Oct. (Sensier, 59–73). He brought back over 20 studies (“études”) (75) and in Paris worked up this memory of a Sept. storm (68). He intended to submit it to the Salon, then did not (90–91). It seems never to have left his studio.

Rousseau made another large version on panel for Alfred Hartmann (Frédéric’s brother). For this, he returned to La Faucille in Oct. 1863, accompanied by Jules Gros and Hartmann, and sketched another storm (274–75, 293–95).6Sensier calls Jules Gros a young friend of the family. It seems he was actually Elisa Gros’s nephew, and is listed in 1861 as the godfather of one of Millet’s children, with his occupation given as student, presumably of Rousseau (in Barbizon au temps de J.-F. Millet, 64). In a letter sent from La Faucille apparently to Elisa, Jules writes about another man accompanying Rousseau (C.D. L82). He also calls Rousseau a big child, saying he dresses his uncle and does everything for him except the drawings, and estimates they will stay three or four days. In a letter dated Paris, Sept. 3, 1863 (C.D., L67), Rousseau tells Elisa Gros he is delaying his departure for Besançon and La Faucille because Alfred Hartmann will leave with him. This work was shown at the 1867 Salon and sold by Hartmann to Brame. It was subsequently owned by de Knyff, Durand-Ruel, and Mme de Cassin (295–96). Sensier says Rousseau reworked it extensively (309) and claims this was the last painting on which he worked (296). Rousseau told Frédéric Hartmann that he had laid out the composition in Paris (likely based on 1834 drawings) before returning to La Faucille and that the composition matched his subsequent observations at the site.7C.D. L116, Oct. 17, reproduced in Sensier, Souvenirs, 293–94. Toussaint and de Forges (116) state that Alfred’s painting was finished in 1865 and is in an American collection. Apparently a third painting, dated 1855, represents a similar view.8A Guide to the Department of Modern Works of Art, 2d ed. (Copenhagen: Ny Carlsberg Glyptotek, 1936), 122.

Salon of 1867 (Hartmann panel): not listed in the Salon catalogue9Sensier specifies that Rousseau did exhibit Alfred Hartmann’s commission and another work but sent them too late to be listed (Souvenirs, 296, 248–49).

Vente Théodore Rousseau, no. 10 (Copenhagen canvas): Le Mont-Blanc vu de la Faucille; effet d’orage10Dated 1835–36, with dimensions reversed: “H. 2 m. 42 c.; L. 1 m. 45 c.”

Sensier: 5 (a study; Tempête sur le mont Blanc); 66–68 (Copenhagen canvas; Vue de la chaîne du mont Blanc pendant une tempête, 2.42 × 1.45 m.); 90–91 (Copenhagen canvas; Orage vu de la Faucille); 293–94 (Hartmann panel; Tableau des Alpes);11Rousseau refers to the painting this way in a letter to Hartmann reproduced by Sensier. 295–96 (Hartmann panel; Vue de la chaîne des Alpes, prise des hauteurs de la Faucille); 298 (Hartmann panel; possible mention by Rousseau); 309 (Hartmann panel; Vue du Mont-Blanc); 348–49 (Hartmann panel; Vue de la chaîne des Alpes)

Dorbec, 104 (Copenhagen canvas): Vue de la chaîne des Alpes prise des hauteurs de la Faucille12Dorbec describes the Copenhagen canvas but mistakenly attributes it to the second trip. Early catalogues of the Ny Carlsberg Glyptotek repeat Dorbec.

Toussaint and de Forges, no. 81 (a study): Vue des Alpes depuis le col de la Faucille

[FIG. 1] The Avenue of Chestnuts (L’avenue de châtaigniers), 1837–42. Oil on canvas, 31 × 56 3/4 in. (79 × 144 cm). Musée du Louvre, Paris

Painted Aug.–Dec. 1837 at the château du Souliers near Bressuire in Vendée, the home of Rousseau’s friend Charles Le Roux. It was begun at the site, continued indoors, and retouched for years in Paris. George Sand and Eugène Delacroix arranged a state purchase in 1840 for 2,000 francs.13Georges Lubin says Delacroix introduced Rousseau to Sand (Sand, Correspondance, vol. 5, 893) and that Sand first knew Rousseau in 1838 (vol. 7, 737 n. 2). Sand’s first preserved letter to Rousseau is from Paris, dated May 18, 1840, saying his commission should be finalized the next day by Mme de Rémusat and inviting him to dine with her and Delacroix on Wednesday, May 20 (letter no. 2065, vol. 5, 56–57; see also no. 2067). She invited Delacroix the same day (letter no. 2066, 57). Charles-François-Marie de Rémusat was minister of the interior, and on May 22, the “directeur du Cabinet” wrote to François Cavé, director of the Beaux-Arts, announcing that the minister wanted to buy a painting by Rousseau and that Mme de Rémusat was interested in the commission (notes for letter no. 2065, 56–57). However, after its rejection for the Salon of 1841, Rousseau sold it instead to Paul Casimir-Périer, in 1842, promising but never producing a duplicate for the state.14See Sensier, Souvenirs, 107–8, 126–28; and Angrand, “Rousseau and Eugène Delacroix.” Original documents are in A.N., file F2111. Miquel gives the dimensions of the work submitted to the jury as 120 by 190 cm (Paysage français, vol. 3, 442). Thoré describes the painting at length in his 1845 Salon (Salons de T. Thoré: 1845, 104–5).

Sensier, 103–9, 126–28, 153, 185, 375: l’Avenue de châtaigniers

Dorbec, 67, 76: Allée de châtaigniers; 75: l’Avenue de châtaigniers

Toussaint and de Forges, no. 19: L’allée des châtaigniers

[FIG. 28] The Priest (Le curé), 1842–43. Oil on panel, 16 5/8 × 25 3/8 in. (42.3 × 64.4 cm) (16 3/4 × 25 1/4 in. [42.3 × 64.4 cm] in museum files). Toledo Museum of Art

This work was begun at Le Fay in Berry, autumn 1842; finished in 1843 (according to Toussaint); and sold to Baroilhet. Toussaint (33, 35) claims it shows a motif near that of The Pond (fig. 58) but was painted a few months later.

Petit gallery exhibition, 1860: le Curé15In Miquel, Paysage français, vol. 3, 468.

Sensier, 132–33: le Curé

Dorbec, 79: Curé

Toussaint and de Forges, no. 22: Sous les hêtres le soir, or Le curé

[FIG. 3] An Avenue, l’Isle-Adam Forest (Une Avenue, forêt de l’Isle-Adam), 1846–49. Oil on canvas, 39 3/4 × 32 1/4 in. (101 × 82 cm). Musée d’Orsay, Paris

Sensier says (153) it was painted from life in spring, 1846, while Rousseau was living near Dupré in the town of l’Isle-Adam. Rousseau went to the site every day at sunset and kept his supplies in a cabin in the forest (154). However, Sensier quotes Rousseau (186) as saying he worked two years on the painting.

Salon of 1849: Une Avenue (150 × 130 cm)

Exposition Universelle of 1855: Une avenue, forêt de l’Isle-Adam

Rousseau, letter of July 10, 1861 (Sensier, 259): Avenue de l’Isle-Adam

Sensier, 153–54, 224 (Avenue de la forêt de l’Isle-Adam); 186, 202, 264 (Avenue de l’Isle-Adam); 259 (Avenue des Bonshommes, à l’Isle-Adam)

Dorbec, 84: Allée des Bonshommes à l’Isle-Adam

Toussaint and de Forges, no. 49: Une avenue, forêt de l’Isle-Adam

[FIG. 88] Winter Forest (Forêt d’hiver), 1846–67. Oil on canvas, 64 × 102 1/4 in. (162.6 × 260 cm) (same in museum files). The Metropolitan Museum of Art, New York

According to Sensier, the painting was begun probably in the spring of 1846, while Rousseau was living in l’Isle-Adam with Dupré. It depicts the oak wood of Bas-Bréau in the forest of Fontainebleau and is based closely on a large charcoal drawing (fig. 89; Toussaint and de Forges, no. 74; Schulman, Théodore Rousseau, no. 393). Green (Théodore Rousseau) reproduces “one of several oil sketches” for the picture (no. 38, fig. 90). Rousseau intended to sell the painting to the state (see chapter 4), but he never exhibited it and never completed it.

Vente Théodore Rousseau, no. 52: Forêt d’hiver. (Effet de soleil couchant. Très-beau tableau commencé vers 1845.)

Sensier, 154–55: Une Forêt au soleil couchant en hiver, or Forêt d’hiver

Dorbec, 84: Forêt en hiver

Toussaint and de Forges, no. 58: La forêt en hiver au coucher de soleil

[FIG. 7] Edge of the Forest of Fontainebleau, Sunset (Sortie de la forêt de Fontainebleau, coucher de soleil), 1848–49. Oil on canvas, 56 × 77 3/4 in. (142 × 197.5 cm). Musée du Louvre, Paris

A state commission for the Musée du Luxembourg was hand delivered in May 1848 by Ledru-Rollin (the new minister of the interior) and Jeanron (the new director of the Louvre).16Sensier says (Souvenirs, 193) they brought Rousseau and Dupré commissions shortly before Paul Chenavard received his Panthéon commission, which was in April 1848. Miquel notes that the actual commission document is dated May 15 (Paysage français, vol. 3, 451). Rousseau recounts the commission in a letter (C.D., L167) reprinted in Sensier, 207–8. See also Angrand, “Rousseau and Eugène Delacroix,” 223–24. The commission was for a painting measuring “1 m × 95 cm”; the painting in the Louvre is much larger. Sensier says (193–94) the commissioned work is the “Lisière de forêt, soleil couchant” exhibited at the Salon of 1850–51 (206); the Salon catalogue gives the dimensions of that picture as 180 × 115 cm, significantly smaller than the present work. He also says (193) the picture represents a setting sun with old trees near Brôle (now Brolles), a village abutting the northeastern edge of the forest of Fontainebleau.

Sensier says Rousseau made a second version depicting a sunrise, and Toussaint asserts that two replicas with sunrises were made, one lost and the other in the Wallace Collection. She also says the Wallace and Louvre versions are those shown at the Exposition Universelle of 1855, whose catalogue lists the title given below and a “Sortie de forêt, Fontainebleau, crépuscule.” Schulman, Théodore Rousseau, no. 416 is a preparatory drawing.

Salon of 1850–51: Lisière de forêt; soleil couchant (180 × 115 cm)

Exposition Universelle of 1855: Sortie de forêt, Fontainebleau; coucher de soleil

Sensier, 193–94, 206: Lisière de forêt, soleil couchant

Dorbec, 43 (Sortie de la forêt du côté de Brôle); 88 (Sortie de la forêt de Fontainebleau); repr. 53 (Sortie de la forêt de Fontainebleau du côté de Brôle)

Toussaint and de Forges, no. 39: Sortie de forêt à Fontainebleau, soleil couchant

[FIG. 18] Group of Oaks in the Apremont Gorges (Groupe de chênes dans les gorges d’Apremont), 1852. Oil on canvas, 25 × 39 1/4 in. (63.5 × 99.9 cm). Musée du Louvre, Paris

Sensier indicates (213) it was begun c. 1852, made to preserve the old appearance of the site, and sold to the duc de Morny, who presented Rousseau’s petition to the emperor in 1852; Toussaint claims it was begun c. 1850, completed in 1852, and sold to de Morny c. 1853. The site (Sensier, 213) is the Dormoir of the Apremont gorges, a district of the forest of Fontainebleau near Barbizon that Rousseau tried to have preserved.

Exposition Universelle of 1855: Groupe de chênes dans les gorges d’Apremont

Sensier, 213, 224: Groupe de chênes dans les gorges d’Apremont

Dorbec, 119, repr. 77: Les Chênes d’Apremont

Toussaint and de Forges, no. 46: Groupe de chênes, Apremont

[FIG. 61] A Marsh in Les Landes (Un Marais dans les Landes), 1844/53–56. Oil on panel, 24 3/4 × 38 1/4 in. (63 × 97 cm). Musée du Louvre, Paris

The painting was begun in 1853 when commissioned by Frédéric Hartmann, based on a grisaille sketch from the trip to Les Landes with Dupré in the summer of 1844; although exhibited with great success in 1853 and 1855, it was completed and delivered only in 1856.17In a letter dated Paris, Apr. 15, 1859 (C.D., L91), Hartmann indicates that he has the “vue des Landes” at home, and in another dated Paris, Apr. 18, 1859 (C.D. L90), Hartmann asks Rousseau to make the two paintings on which he is working as good as “vos vaches dans les Landes que je regarde chaque jour. . . .” The original commission, says Hartmann, included the Ferme dans les Landes and the Vue des Landes; he waited three years for the Vue des Landes and has been waiting nearly six years for the other (L91). Hence, the original commission dated from mid- to late 1853.

Salon of 1853: Un marais dans les Landes; au fond les Basses-Pyrénées

Exposition Universelle of 1855: Un marais dans les Landes

Sensier, 146, 213, 219–21, 224: Marais dans les Landes

Dorbec, 80 (Marais des Landes); repr. 21 (Les Marais dans les Landes)

Toussaint and de Forges, no. 47: Le marais dans les Landes

[FIG. 62] Farm in Les Landes (Ferme dans les Landes), 1844/53–67. Medium, dimensions, and location unknown.

This was part of the original Hartmann commission of 1853, but Hartmann later agreed to pay for it separately and have Rousseau substitute another picture to fulfill the original agreement. Hartmann took the painting from Rousseau’s Paris studio the day Rousseau died (Sensier, 368).

Sensier, 368: la Ferme dans les Landes; 145, 219, 221, 241–42, 281, 285–86, 289, 292–93, 306

Dorbec, 83, repr. 85: Ferme dans les Landes

[FIG. 27] The Communal Oven (Le Four communal), 1844/62–67. Oil on canvas, 24 1/2 × 38 1/2 in. (62 × 98 cm).18Dimensions from Hans-Peter Bühler, Die Schule von Barbizon (Munich: Bruckmann, 1979), no. 24. Collection Marion and Hans-Peter Bühler, Munich

Commissioned in early 1862 by Frédéric Hartmann on behalf of his brother Alfred, who paid 24,000 francs for this and The Village of Becquigny. It is based on a grisaille sketch from the trip to Les Landes in the summer of 1844, related also to Schulman, Théodore Rousseau, no. 356.19Toussaint gives the date of the commission as c. 1852, and Sensier (Souvenirs, 219) says The Communal Oven was part of Hartmann’s original commission (1853). But Rousseau’s correspondence (C.D., L96, L97, L99, L106) indicates that The Communal Oven, which Hartmann called the Buisson, or Bush, was commissioned only in Feb. or Mar. 1862, along with The Village of Becquigny, and that Alfred was actually the buyer, paying 24,000 francs for the pair. Hartmann took the painting from Rousseau’s Paris studio the day Rousseau died (Sensier, 368) and apparently had Millet finish it.20Bühler, Schule von Barbizon.

Sensier, 145–46, 368 (le Four communal); 179, 219, 221, 285, 292–93 (Four communal); 306; also known as le Buisson, as Hartmann often referred to it

Dorbec, 83, 102, 119 (Four communal); 99–100 (Le four communal dans les Landes); repr. 89 (Le Four communal, dans les Landes)

[FIG. 23] The Village of Becquigny (Le Village de Becquigny), 1857/62–67. Oil on mahogany panel, 25 × 39 1/2 in. (63.5 × 100 cm). The Frick Collection, New York.21Medium and dimensions from The Frick Collection: An Illustrated Catalogue. . . ., introduction by Sir Osbert Sitwell (Pittsburgh: Pittsburgh University Press, 1949), vol. 1; repeated in Bernice Davidson et al., Paintings from the Frick Collection (New York: Abrams in association with the Frick Collection, 1990).

Rousseau made a sketch at Becquigny, in Picardie, in the spring or summer of 1857; the painting was begun at Barbizon, purchased by Frédéric Hartmann in early 1862 for his brother Alfred, and never completed (see previous entry).22Hartmann asked to purchase the painting on Feb. 3, 1862 (C.D., L97). Although the composition of the picture seems to derive from Hobbema’s Avenue at Middelharnis, Rousseau could not have seen the painting or a print after it.23Wisdom discusses this problem in “Dutch Art,” 17. He explains that Hobbema’s picture, now in the National Gallery, London, was in the collection of Sir Robert Peel in England, and that no print after the painting existed. He suggests that Rousseau must have seen a copy of some sort and mentions that a copy is known to have been made in 1822 for the Amsterdam town hall.

Salon of 1864: Un village

Sensier, 221 (Village de Becquigny); 236–37 (Le Village); 368 (Village de Picardie); 220, 246?, 272, 276–79, 281, 285, 292–93, 294, 303–6 (Village)

Dorbec, 100 (Le village de Becquigny or Le village primitif); 102, 103 (Village de Becquigny)

Toussaint and de Forges: referred to as Le village de Becquigny, 81

Based primarily on Rousseau’s correspondence, I have reconstructed Hartmann’s purchases as follows:

1. A Plain in the Pyrenees (Une Plaine aux Pyrénées), begun 1844, purchased at an unknown date (Sensier, 147)

2. Landscape (Coucher de soleil), painted and purchased at unknown times

3. A Marsh in Les Landes, begun 1844, purchased 1853, delivered 1856

4. Farm in Les Landes, begun 1844, purchased 1853, never finished

5. Apremont Gorges, commissioned between 1853 and 1856, either delivered or dropped from the commission by 1862

6. The Village of Becquigny, begun 1857, commissioned by or for Alfred in 1862, never finished

7. The Communal Oven, begun 1844, commissioned by or for Alfred in 1862, never finished

8. View of the Range of the Alps, based on a composition of 1834, commissioned by Alfred in 1863, apparently delivered 1865

1 The history of the two pictures is straightened out by Marie-Thérèse de Forges, “La Descente des vaches de Théodore Rousseau au Musée d’Amiens,” La Revue du Louvre 12, no. 2 (1962): 85–90. She suggests that Rousseau painted the Amiens canvas first and the Mesdag one second, after heeding Scheffer’s advice to experiment with bitumen. She gives the dimensions of the Mesdag painting as 258.5 by 160.5 cm, whereas the Mesdag catalogue gives them as 259 by 162 cm. »

2 Armand Baschet, “Les Ateliers de Paris en 1854,” part 6, “M. Théodore Rousseau,” L’Artiste, 5th ser., 12, no. 7 (May 1, 1854), 97–98; 98. »

3 The entry continues, “Carrying heavy bells around their necks, they return to the autumn pastures under the guidance of the shepherds. One sees gleaming on the horizon through the firs the snow of glaciers”: “Portant au cou de pesants grelots, elles regagnent, sous la conduite des bergers, les pâturages d’automne. On voit étinceler à l’horizon, à travers les sapins, la neige des glaciers. 1835. – H. 1m.14; L. 59 c.” Philippe Burty, Notice des études peintes, no. 11. »

4 The entry continues, “(This painting has suffered from the effects of mixtures of bitumen)”: “(Ce tableau a souffert par suite des préparations au bitume.) 1835–36. H. 2 m. 60; L. 1 m. 63 c.” These dimensions are closer to the Mesdag canvas, but de Forges argues it refers to the Amiens version. »

5 Dimensions from Ny Carlsberg Glyptotek, Danske og franske malerier og tegninger (Copenhagen: Moderne Afdeling, 1958), 52. See also Flemming Fribourg, “Théodore Rousseau og det sublime,” Meddelelser fra Ny Carlsberg Glyptotek (Copenhagen) 48 (1992): 112–29. »

6 Sensier calls Jules Gros a young friend of the family. It seems he was actually Elisa Gros’s nephew, and is listed in 1861 as the godfather of one of Millet’s children, with his occupation given as student, presumably of Rousseau (in Barbizon au temps de J.-F. Millet, 64). In a letter sent from La Faucille apparently to Elisa, Jules writes about another man accompanying Rousseau (C.D. L82). He also calls Rousseau a big child, saying he dresses his uncle and does everything for him except the drawings, and estimates they will stay three or four days. In a letter dated Paris, Sept. 3, 1863 (C.D., L67), Rousseau tells Elisa Gros he is delaying his departure for Besançon and La Faucille because Alfred Hartmann will leave with him. »

7 C.D. L116, Oct. 17, reproduced in Sensier, Souvenirs, 293–94. »

8 A Guide to the Department of Modern Works of Art, 2d ed. (Copenhagen: Ny Carlsberg Glyptotek, 1936), 122. »

9 Sensier specifies that Rousseau did exhibit Alfred Hartmann’s commission and another work but sent them too late to be listed (Souvenirs, 296, 248–49). »

10 Dated 1835–36, with dimensions reversed: “H. 2 m. 42 c.; L. 1 m. 45 c.” »

11 Rousseau refers to the painting this way in a letter to Hartmann reproduced by Sensier. »

12 Dorbec describes the Copenhagen canvas but mistakenly attributes it to the second trip. Early catalogues of the Ny Carlsberg Glyptotek repeat Dorbec. »

13 Georges Lubin says Delacroix introduced Rousseau to Sand (Sand, Correspondance, vol. 5, 893) and that Sand first knew Rousseau in 1838 (vol. 7, 737 n. 2). Sand’s first preserved letter to Rousseau is from Paris, dated May 18, 1840, saying his commission should be finalized the next day by Mme de Rémusat and inviting him to dine with her and Delacroix on Wednesday, May 20 (letter no. 2065, vol. 5, 56–57; see also no. 2067). She invited Delacroix the same day (letter no. 2066, 57). Charles-François-Marie de Rémusat was minister of the interior, and on May 22, the “directeur du Cabinet” wrote to François Cavé, director of the Beaux-Arts, announcing that the minister wanted to buy a painting by Rousseau and that Mme de Rémusat was interested in the commission (notes for letter no. 2065, 56–57). »

14 See Sensier, Souvenirs, 107–8, 126–28; and Angrand, “Rousseau and Eugène Delacroix.” Original documents are in A.N., file F2111. Miquel gives the dimensions of the work submitted to the jury as 120 by 190 cm (Paysage français, vol. 3, 442). »

15 In Miquel, Paysage français, vol. 3, 468. »

16 Sensier says (Souvenirs, 193) they brought Rousseau and Dupré commissions shortly before Paul Chenavard received his Panthéon commission, which was in April 1848. Miquel notes that the actual commission document is dated May 15 (Paysage français, vol. 3, 451). Rousseau recounts the commission in a letter (C.D., L167) reprinted in Sensier, 207–8. See also Angrand, “Rousseau and Eugène Delacroix,” 223–24. »

17 In a letter dated Paris, Apr. 15, 1859 (C.D., L91), Hartmann indicates that he has the “vue des Landes” at home, and in another dated Paris, Apr. 18, 1859 (C.D. L90), Hartmann asks Rousseau to make the two paintings on which he is working as good as “vos vaches dans les Landes que je regarde chaque jour. . . .” The original commission, says Hartmann, included the Ferme dans les Landes and the Vue des Landes; he waited three years for the Vue des Landes and has been waiting nearly six years for the other (L91). Hence, the original commission dated from mid- to late 1853. »

18 Dimensions from Hans-Peter Bühler, Die Schule von Barbizon (Munich: Bruckmann, 1979), no. 24. »

19 Toussaint gives the date of the commission as c. 1852, and Sensier (Souvenirs, 219) says The Communal Oven was part of Hartmann’s original commission (1853). But Rousseau’s correspondence (C.D., L96, L97, L99, L106) indicates that The Communal Oven, which Hartmann called the Buisson, or Bush, was commissioned only in Feb. or Mar. 1862, along with The Village of Becquigny, and that Alfred was actually the buyer, paying 24,000 francs for the pair. »

20 Bühler, Schule von Barbizon. »

21 Medium and dimensions from The Frick Collection: An Illustrated Catalogue. . . ., introduction by Sir Osbert Sitwell (Pittsburgh: Pittsburgh University Press, 1949), vol. 1; repeated in Bernice Davidson et al., Paintings from the Frick Collection (New York: Abrams in association with the Frick Collection, 1990). »

22 Hartmann asked to purchase the painting on Feb. 3, 1862 (C.D., L97). »

23 Wisdom discusses this problem in “Dutch Art,” 17. He explains that Hobbema’s picture, now in the National Gallery, London, was in the collection of Sir Robert Peel in England, and that no print after the painting existed. He suggests that Rousseau must have seen a copy of some sort and mentions that a copy is known to have been made in 1822 for the Amsterdam town hall. »

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