Peasants Resting

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Peasants Resting

Artist Camille Pissarro French, 1830-1903

Date1881

DimensionsPainting: 32 × 25 3/4 in. (81.3 × 65.4 cm)
Framed: 39 × 32 3/4 × 3 in. (99.1 × 83.2 × 7.6 cm)

MediumOil on canvas

ClassificationPaintings

Credit LinePurchased with funds from the Libbey Endowment, Gift of Edward Drummond Libbey

Object number

1935.6

On View

Toledo Museum of Art Glass Pavilion (2444 Monroe Street), Glass Study Room GP

Collections

Paintings

Published ReferencesPissarro, L. R., and L. Venturi, Camille Pissarro, son art - son oeuvre, Paris, 1939, I, no. 542, II, pl. 112.

Toledo Museum of Art, The Toledo Museum of Art, European Paintings, Toledo, 1976, pp. 127, 128, pl. 250.

Art News, XXXI, Jan. 7, 1933, repr. on cover and 1935.

Toledo Museum of Art Museum News, no. 72, Sept. 1935, repr.

Robiquet, J., La Femme dans la Peinture Francaise, Paris, 1938, repr.

Godwin, Blake-More, Catalogue of European Paintings, Toledo, 1939, p. 228, repr. p. 229.

Godwin, Molly, Master Works in the Toledo Museum of Art, Toledo, 1953, p. 30, repr.

Shoolman, Regina, and Slatkin, Charles E., The Enjoyment of Art in America, Philadelphia, 1942, p. 557, repr. pl. 535.

Cheney, Sheldon, The Story of Modern Art, New York, 1941, p. 177, repr.

Lee, Katherine C., "French Impressionism and Post Impressionism," Toledo Museum of Art Museum News, vol. 12, no. 3, Autumn 1969, repr. p. 69.

Ravin, James G., "Art and Medicine: Pissarro," Bulletin, Academy of Medicine of Toledo and Lucas County, vol. 72, no. 2, Mar. Apr. 1981, repr. cover.

Lloyd, Christopher, Camille Pissarro, New York, 1981, repr. (col.) p. 93.

Eitner, Lorenz, An Outline of 19th Century European Painting, New York, 1988, vol. 1, p. 409, vol. 2, repr. p. 219.

Smith, Paul, "Parbleau: Pissarro and the Political Color of an Original Vision," Art History, vol. 15, no. 2, June 1992, p. 229, fig. 48, p. 230.

Pissarro, Joachim, Camille Pissarro, New York, 1993, pp. 156, 157, fig. 162, p. 159.

Ravin, James G., "Pissarro, Dacryocystitis, and the Development of Modern lacrimal Surgery," Documenta Opthalmologia, vol. 86, 1994, fig. 4, p. 195.

House, John, Impressionism: Paint and Politics, New Haven, Yale, 2004, pp. 185, 187, 203-205, 214, pl. 177 (col.) p. 204.

Reich, Paula, Toledo Museum of Art: Map and Guide, London, Scala, 2005, p. 40, repr. (col.).

Pissarro, Joachim and Claire Durand-Ruel Snollaerts, Pissarro: Critical Catalogue of Paintings, Milan, Skira; Paris, Wildenstein Institute, 2005, no. 655, vol. 2, p. 437, repr. (col.).

Callen, Anthea, The Art of Impressionism: Painting Technique of the Making of Modernity, New Haven, 2000, pp. 212, 231, no. 138, fig. 278 (col. ) p. 213.

Reich, Paula, Toledo Museum of Art: Map and Guide, London, Scala, 2009, p. 40, repr. (col.)

Brettell, Richard R., Pissarro's People, San Francisco, Fine Arts Museum of San Francisco, 2011, pp. 173, 175, 303, repr. (col.) p. 173, fig. 129.

Young, Marnin, Realism in the Age of Impressionism: Painting and the Politics of Time, New Haven, Yale University Press, 2015, p. 16, repr. p. 17, fig. 6.

Durand-Ruel, Claire, and Christophe Duvivier, Pissarro: The First Among the Impressionists, Vanves, France, Editions Hazan, 2017, repr. (col.) fig. 12, p. 75.

Kelly, Simon and Maite van Dijk, eds., Jean Francois Millet: Sowing the Seeds of Modern Art, Bussum, Netherlands, THOTH Publishers, 2019, p. 69-70, repr. (col.) no. 55, p. 70. Simon, Kelly, et al., Millet and Modern Art: Van Gogh to Dali, Van Gogh Museum, Saint Louis Art Museum, in association with Yale University Press, 2019, no.55 (col.) p. 70, p.69-70.

Exhibition HistoryParis, Durand-Ruel, 7e Exposition des artistes independants, 1882, no. 104.

Paris, Durand-Ruel, Tableaux et gouaches par Pissarro, 1910, no. 17.

Toledo Museum of Art, French Impressionists & Post-Impressionists, 1934, no. 14, Chicago, Arts Club, 1945.

New York, Wildenstein, Camille Pissarro: His Place in Art, 1945, no. 19, repr. p. 29.

Chicago, Arts Club, 1945.

The Toledo Museum of Art and the Art Gallery of Toronto, The Spirit of Modern France, An Essay on Painting in Society, 1745-1946, 1947, no. 48.

Boston, Museum of Fine Arts, Barbizon Revisited, 1962, no. 110, repr. p. 204.

California Palace or the Legion of the Honor, San Francisco, CA. 1962.

Cleveland Museum of Art, Cleveland, Ohio. 1963.

Akron Art Institute, The Toledo Museum of Art, Nov. 3-Nov. 29, 1964.

Bordeaux, Musee des Beaux-Arts, La peinture francaise collections americaines, 1966, no. 172, pl 50.

Ann Arbor, University of Michigan Museum of Art, The Crisis of Impressionism 1878-1882, 1979, no. 40, p. 157, repr.

Saint-Germain-en-Laye, Musée Départemental du Prieuré, Le Chemin de Gauguin, 1985, no. 43, repr. (col.) p. 34.

Washington, D. C., National Gallery of Art; Fine Arts Museum of San Francisco, The New Painting: Impressionism 1874-1886, 1986, no. 125, p. 407, repr.

Pittsburgh, Carnegie Museum of Art; Minneapolis Institute of Arts; Kansas City, Nelson-Atkins Museum of Art; Saint Louis Art Museum; Toledo Museum of Art, Impressionism: Selections from Five American Museums, 1989-1990, no. 64, p. 150, repr. (col.).

Stuttgart, Staatsgalerie, Camille Pissarro, 1999-2000, no. 36, pp. 88, 191, repr. p. 90 (col.).

Sydney, Art Gallery of New South Wales, Australia; Melbourne, National Gallery of Victoria, Australia, Camille Pissarro Retrospective, 2005 - 2006, no. 50, p. 135, repr. p. 55 (det. col.) and p. 145 (col.).

Williamstown, Sterling and Francine Clark Art Institute; San Francisco, Fine Arts Museums of San Francisco, Pissarro's People, 2011-2012.

Van Gogh Museum, Amsterdam; Saint Louis Art Museum, Saint Louis, Missouri, Millet and Modern Art: Van Gogh to Dali, October 4, 2019-May 17, 2020.

Label TextTwo women and a child take a moment to rest, perhaps on their way home after a day of labor. Their slumping poses communicate fatigue, but a restful mood is conveyed by Camille Pissarro’s short dabs of paint in complementary colors (orange and blue, ochre and violet). View this painting from a distance and the brushstrokes coalesce into dappled light shining through the trees above. Pissarro stressed the importance of this aspect of the painting when he exhibited it under the title Figure Study in the Open Air, Sunlight Effect at the 1882 group exhibition of the Impressionists. An innovator in his techniques, Pissarro, along with his friend Monet, became a central figure in the group of Impressionist artists. He was influential to many post-Impressionist artists, particularly Cézanne and Gauguin (look for their paintings in these galleries), to whom he was a mentor.