Départ des laveuses, le soir, 1892 by Léon Augustin Lhermitte (French, 1844 - 1925)
Léon Augustin Lhermitte
French, 1844 - 1925

Départ des laveuses, le soir

1892
oil on canvas
39 x 30 7/8 inches (99.06 x 78.42 centimeters)
Framed: 47 1/4 x 39 3/4 inches (120.02 x 100.97 centimeters)

signed and dated lower left: L. Lhermitte 1892

Provenance:
Boussod, Valadon et Cie., Paris, no. 22249, 1892
Collection of John Parkinson, Boston 1892-1946 (acquired from the above)
Vose Galleries, Boston
Collection of Jacob L. Rosenthal, NY
Private Collection, NY

Exhibited:
Salon de la Société Nationale des beaux-arts, 1892, no. 683
Museum of Fine Arts, Boston, 1920-1946 (on loan from the Collection of John Parkinson, Boston)

Literature:
New York Herald, March 29, 1892
Doumic, R., le Moniteur universel, May 5, 1892
Fourtel, Eugène, le Petit Marseillais, May 5, 1892
Les Petites Nouvelles, May 5, 1892
André, A. la France nouvelle, May 6, 1892
Cardon, E., le Monituer des arts, May 6, 1892
Correspondence Haras, May 6, 1892
Fremine, Ch., le Rappel, May 7, 1892
L’Electeur, May 7, 1892
Neusy, P., le Radical, May 7, 1892
Silvestre, A., l’Echo de Paris, May 7, 1892
De Fontissant, M., le Télégraphe, May 9, 1892
Dac, H., le Monde, May 16, 1892
Godin, H., la Revue des Beaux-Arts, May 21, 1892
L’Echo républicain, May 27, 1892
De Gourcoff, O., l’Avenir national, May 28, 1892
Dalligny, A., le Journal des Arts, May 31, 1892
Le Phare de Dunkerque, June 10, 1892
Talansire, Ch., le Génie civil, July 2, 1892
Furnel, Ch., Revue moderne, September 10, 1892
M.M. Hamel, A French Artist: Léon Lhermitte (1844-1925) (St. Louis: Washington University, 1974): C184, cat. no. 181
Monique Le Pelley Fonteny, Léon Augustin Lhermitte (1844-1925) catalogue raisonné, (Editions Cercle d’Art, Paris, 1991): p. 136, no. 160. (as location unknown)

Léon Augustin Lhermitte (French, 1844 - 1925)

Leon Lhermitte was born in 1844 and was still executing works in the French rural tradition at his death in 1925, making him the last in an illustrious group of artists. He showed artistic talent at a young age and in 1863 left his home at Mont-Saint-Pêre, Aisne for the Petite Ecole in Paris where he studied with Horace Lecoq de Boisbaudran. Lecoq was known for his program of training the visual memory of his students, and his theories had a profound effect on Lhermitte. It was in his studio that Lhermitte formed a life-long friendship with Cazin and also became acquainted with Legros, Fantin-Latour and Rodin. Lhermitte sent his initial entry to the Salon in 1864 when he was nineteen, and continued to exhibit charcoal drawings and paintings regularly, and pastels after 1885, winning his first medal in 1874 with La Moisson (Musée de Carcassone). Other prizes and honors came to Lhermitte throughout his long career, including the Grand Prix at the Exposition Universelle, 1889, the Diplome d’honneur, Dresden, 1890, and the Legion of Honor. He was a founding member of the Société Nationale des Beaux-Arts.

Lhermitte’s subject matter rarely deviated from the peasants and rural life of his youth. The most profound influence upon his work was certainly Jean François Millet who, like Lhermitte, was equally adept with pastel as with oil. While one could not characterize Lhermitte as an innovator, it is fair to say that he remained true to his own artistic conscience, creating beautiful, light-filled works in the Barbizon tradition while reinforcing the dignity of peasant life and the glory of the French rural landscape in the face of encroaching technology. He has been accused of simply marrying traditional academic practices to the brighter colors of the Impressionists for the sake of his considerable commercial success, but this criticism is probably unjust. He was a talented artist, much admired by his peers. Van Gogh wrote “He (Lhermitte) is the absolute master of the figure, he does what he likes with it -- proceeding neither from the color nor the local tone but rather from the light - as Rembrandt did--there is an astonishing mastery in everything he does, above all excelling in modeling, he perfectly satisfies all that honesty demands.”

Selected Museum Collections:
Musée des Beaux-Arts de Amiens; Van Gogh Museum, Amsterdam; Museum of Fine Arts, Boston; The Brooklyn Museum; Musée des Beaux-Arts de Carcassonne; Musée Jean de La Fontaine, Château-Thierry; Art Institute of Chicago; Cincinnati Art Museum; Cleveland Museum of Art; Detroit Institute of Arts; The Bowes Museum, County Durham, UK; Hood Museum of Art, Hanover, NH; Victoria and Albert Museum, London; Thyssen-Bornemisza Museum, Madrid; Manchester City Art Gallery; Metropolitan Museum of Art, New York; Musée d’Orsay and Musée du Petit-Palais, Paris; Philadelphia Museum of Art; Carnegie Museum of Art, Pittsburgh; Saint Louis Art Museum; Hermitage Museum, Saint-Petersburg; Musée Antoine Lécuyer, Saint-Quentin; Musée des Beaux-Arts de Saintes; Fine Arts Museums of San Francisco; Frye Art Museum, Seattle; Chi-Mei Museum, Taiwan; National Museum of Western Art, Tokyo; National Gallery of Art, Washington D.C.;

Additional views

  • Départ des laveuses, le soir, 1892 by Léon Augustin Lhermitte (French, 1844 - 1925)

Request more information

  • *
  • *

News on the artist

Join Mailing List

  • *
  • *