- Camille Pissarro
- Paysannes causant dans la cour d'une ferme, Éragny
- Signed C. Pissarro and dated twice 95-1902 (lower right)
- Oil on canvas
- 31 1/2 by 25 3/4 in.
- 80 by 65.4 cm
Loeb Collection (acquired at the above sale)
Sale: Palais d'Orsay, Paris, December 8, 1978, lot 47
Private Collection, France
Private Collection, Japan
Acquired from the above
Christiania (Oslo), Kunstudstillingen, 1890, no. 125
Paris, Galerie Durand-Ruel, L'Oeuvre de Camille Pissarro, 1904, no. 121
Paris, Galerie Eugène Blot, Camille Pissarro, 1907, (possibly) no. 14
Ludovic-Rodo Pissarro & Lionello Venturi, Camille Pissarro, Son art - Son oeuvre, vol. 1, Paris, 1939, no. 1272, catalogued p. 257; vol 2., illustrated pl. 248 (as dating from 1895-1902)
Hugues Le Roux, "Au jour le jour, Exposition Pissarro," Le Temps, Paris, March 7, 1890, discussed p. 2
Albert G. Aurier, "Beaux-Arts. Exposition de février-mars," Mercure de France, Paris, April, 1890, p. 143
Lili Jampoller,"Theo van Gogh and Camille Pissarro, Correspondence and an Exhibition," Simiolus, vol. XVI, Netherlands, 1986, p. 56 (letter dated October 6, 1890)
Joachim Pissarro, Camille Pissarro, New York & London, 1993, no. 201, illustrated in color p. 179
Albert G. Aurier, Textes critiques 1889-1892, De l'impressionnisme au symbolisme, Paris, 1995, discussed p. 55
Martha Ward, Pissarro, Neo-Impressionism and the Spaces of the Avant-Garde, Chicago & London, 1996, no. 5, illustrated p. 326
Joachim Pissarro & Claire Durand-Ruel Snollaerts, Pissarro, Catalogue critique des peintures, vol. III, Geneva, 2005, no. 868, illustrated in color p. 569
In their revised catalogue raisonné of the artist's paintings, Joachim Pissarro and Claire Durand-Ruel Snollaerts explain that Pissarro painted this picture to a state of completion in 1889 and was ready to sell it at that time through the dealer Theo Van Gogh at Galerie Bousson & Valadon. In his correspondence with his son Lucien in September of that year, he describes going to Van Gogh's gallery, where 'The Women with Buckets' hung with a brand-new gilded frame and with "an intensity of hue, a heartening warmth, very strong and rich" (quoted in J. Pissarro & C. Durand-Ruel Snoellarts, op. cit. p. 569). The painting was then exhibited at the gallery in 1890 under the title 'Women chatting', and was then sent to Oslo for exhibition later that October. But in November 1891, Pissarro evidently reclaimed the picture from Van Gogh and decided to make some adjustments to his composition. "It's going to be stunning," he boasted to Lucien in anticipation of the composition that we now see here. Pissarro's reworking of the painting took place over the next decade, which accounts for the dating of 1895-1902 written in the lower-right corner.
In preparation for this final composition, Pissarro completed several preparatory drawings, one of which is now in the collection of the National Museum of Wales in Cardiff and another in the Ashmolean Museum at Oxford University in Cambridge.