Pissarro played a major role in the development of Impressionism. On several occasions in the 1870s he visited Montfoucault, a hamlet in Normandy, north of Mayenne, which he called ‘the true countryside’. There he stayed at the farm of his friend, the painter Ludovic Piette, whose pond is depicted here. The autumnal effect is achieved by strokes of both palette-knife and brush, while the subject recalls the work of Millet (compare his Milkmaid, Bay 3).
Inscriptions / Translations: Signed and dated l.l.: C. Pissarro 1875
Notes: Exhibited: 'Exposition de tableaux de Monet, Pissarro, Renoir et Sisley', Galeries Durand-Ruel, Paris, 1899, no. 42; 'Tableaux, pastels et gouaches par Camille Pissarro', Galeries Durand-Ruel, Paris, 1921, no. 31; 'Tableaux de Camille Pissarro', Galeries Durand-Ruel, Paris, 1928, no. 22; 'Pissarro Centenary Exhibition', Orangerie, Paris, 1930, no. 28; 'A Collection of Pictures Recently Purchased in France', Arthur Tooth & Sons Ltd., London, 1951, no. 13; 'Impressionism', Royal Academy, London, 1974, no. 88; 'Camille Pissarro: Impressionism, landscape and rural labour', Birmingham Museum and Art Gallery, Birmingham, 1990, no. 19; 'French Impressionism: Treasures from the Midlands', Birmingham Museum and Art Gallery, Birmingham, 1991, p. 18.