Figures work in a wheat field that covers the entire horizontal canvas. The horizon line in the distance is placed one quarter of the way down from the top of the painting. The painting presents a scene of wheat harvesting in Pontoise, a quiet village on the outskirts of Paris. By the 1840s this area was connected to Paris by train and it became the home for many young painters. The Impressionist painter Pissarro was one of these resident painters, setting up his studio in the area twice, in 1866-68 and then again in 1872-82. This work was created near the end of Pissarro's second residence in Pontoise, and it was exhibited in the 7th Impressionist exhibition. Several of Pissarro's characteristic features of this period are apparent in this work. One is the handling of the figures. Up until that time figures were simply small, added elements to a composition, but in the 1880s they came to play a major role in his works. At time he created close-up images of either a single figure or a few of them, carefully depicting them with a psychological understanding.In this canvas, two figures, a farm woman holding a sheaf of harvested wheat in the left foreground and a woman bent over next to her, are elements that had never before been seen in Pissarro's works. In this regard Pissarro distanced himself from the Impressionist world that was essentially naturalist and objective even in nature, and brought a new form of dynamism to his compositions.Numerous watercolor and chalk preparatory works for this painting remain and we can imagine how Pissarro spent many hours in his studio carefully creating this work. This method also distances itself from the "Impressionistic" production method that is frequently a case of works painted in a relatively short period of time. (Source: Masterpieces of the National Museum of Western Art, Tokyo, 2009, cat. no.81)


  • Title: The Harvest
  • Date Created: 1882
  • Location Created: France
  • Signatures, Inscriptions, and Markings: Signed and dated lower right: C. Pissarro. 1882
  • Provenance: Boussod-Valadon; Sanmarcelli; Kojiro Matsukata (on deposit with Bridgestone Museum of Art, since 1953).
  • Physical Dimensions: w1260 x h703 mm
  • Painter: Camille Pissarro
  • Object title (Japanese): 収穫
  • Object notes (Japanese): 横長の画面一杯に描かれた麦畑と働く人々。遠くに見える地平線は画面の上方から四分の一程のところに置かれている。画面に見えるのはパリ郊外の静かな村ポントワーズにおける麦の刈り入れ風景である。すでに1840年代から、パリと鉄道で結ばれていたこの付近には若い画家たちが住みはじめていた。1866-68年、1872-82年の二度に渡ってアトリエを構えた印象派の画家ピサロも、そのひとりであった。ピサロの第二回ポントワーズ滞在の最後を飾る本作品は、第七回「印象派展」に出品されたもので、この時期のピサロの特徴を幾つか認めることができる。その一つは人物の扱いである。それまで風景の中の小さな添景でしかなかった人物の姿は80年代になると画面で大きな役割を果たすようになった。そして時には、単独または複数の人物がクロース・アップされ、心理描写も導入されるようになるのである。この画面で言えば、手前左手の刈り取った麦の束を抱え持つ農婦やそのすぐ傍らの屈み込む農婦の姿は、以前のピサロの作品には見られなかった要素である。それはつまり、画家が印象派本来の自然主義的で客観的な均衡のとれた世界から一歩踏み出し、画面に新たなダイナミズムを持ち込もうとしたことを意味している。この作品には、多くの水彩やチョークによる習作が残されており、長時間をかけて入念にアトリエで制作されたことが想像される。これもまた、通常比較的短時間のうちに描かれることの多い「印象派的」な制作法とは一線を画するものと言えよう。(出典: 国立西洋美術館名作選. 東京, 国立西洋美術館, 2006. cat. no. 81)
  • Artist Name (Japanese): ピサロ、カミーユ
  • Type: Paintings
  • Rights: Donated by the heirs of Mr. Kojiro Matsukata (ex-Matsukata Collection), http://www.nmwa.go.jp/en/information/privacy.html
  • External Link: The National Museum of Western Art, Tokyo
  • Medium: Oil on canvas

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