DOI issue:
No. 300 (March 1918)
DOI article:Halton, Ernest G.: The oil paintings of Henri Harpignies
DOI Page / Citation link:https://doi.org/10.11588/diglit.21356#0049
The Oil Paintings of Henri Harpignies
THE OIL POINTINGS OF HENRI of modern landscape painting is beyond question.
HAPPTPwrac ^e secret °f this is not far to seek, for there is
in his work, whether it be executed in oils,
WITH the death of Henri Har- water-colours, lead pencil, or charcoal (a medium
pignies at Saint-Prive, in the he employed with remarkable success during
Yonne, in August 1916, there the later years of his life), a charm and beauty, a
passed away, at the great age tender dignity, and a breadth and simplicity
of ninety-seven, the last survivor of the little of treatment which appeal to the eye and mind
group of landscapists which we know as the and satisfy the artistic sense. His simple
Barbizon School. Considerably their junior pastoral scenes, such as belong to his middle
in years, Harpignies came early under the and later periods, bathed in" the golden light of
influence of these famous painters and ulti- sunset, with dark and massive groups of trees
mately proved himself a worthy successor to silhouetted against a luminous sky, are veritable
them. But in spite of this influence, in which poems in colour, which, in their restful serenity
can be traced something of the sensitiveness and and repose, arouse the emotions. With an eye
poetry of Corot and the strength and dignity attuned to the varied colour effects of a land-
of Rousseau, the work of his maturity bears the scape, and with a complete mastery over his
impress of a strong individuality and reveals a materials, he was able to express in his pic-
freshness of vision which has given him an un- tures, with appealing eloquence, the placid joy
rivalled position amongst the landscape painters that he found in Nature. ^
of his time. In one im-
portant respect he emu-
lated the example of Corot
and the other Barbizon
men—he invariably went
direct to Nature for his
inspiration, not to repre-
sent what he saw as a mere
topographical record, but
in order that he might
interpret the impressions
he received, visualizing the
scene with a happy sense
of rhythm and instinctive
charm and informing it
with a beauty which seldom
fails to compel admiration.
' It is only in recent years
that a true appreciation of
the art of Harpignies has
arisen in England, and this
is due to the fact that up
to a short time ago the op-
portunities of studying his
work in the public exhibi-
tions held in this country
had been somewhat rare.
Yet there is little doubt
that to-day there are but
few artists whose pictures
appeal more strongl}' to an
English public, while his
influence on certain phases "le pin meissonier " by henri harpignies]
^LXXIII. No. 300.—March 1918 43
THE OIL POINTINGS OF HENRI of modern landscape painting is beyond question.
HAPPTPwrac ^e secret °f this is not far to seek, for there is
in his work, whether it be executed in oils,
WITH the death of Henri Har- water-colours, lead pencil, or charcoal (a medium
pignies at Saint-Prive, in the he employed with remarkable success during
Yonne, in August 1916, there the later years of his life), a charm and beauty, a
passed away, at the great age tender dignity, and a breadth and simplicity
of ninety-seven, the last survivor of the little of treatment which appeal to the eye and mind
group of landscapists which we know as the and satisfy the artistic sense. His simple
Barbizon School. Considerably their junior pastoral scenes, such as belong to his middle
in years, Harpignies came early under the and later periods, bathed in" the golden light of
influence of these famous painters and ulti- sunset, with dark and massive groups of trees
mately proved himself a worthy successor to silhouetted against a luminous sky, are veritable
them. But in spite of this influence, in which poems in colour, which, in their restful serenity
can be traced something of the sensitiveness and and repose, arouse the emotions. With an eye
poetry of Corot and the strength and dignity attuned to the varied colour effects of a land-
of Rousseau, the work of his maturity bears the scape, and with a complete mastery over his
impress of a strong individuality and reveals a materials, he was able to express in his pic-
freshness of vision which has given him an un- tures, with appealing eloquence, the placid joy
rivalled position amongst the landscape painters that he found in Nature. ^
of his time. In one im-
portant respect he emu-
lated the example of Corot
and the other Barbizon
men—he invariably went
direct to Nature for his
inspiration, not to repre-
sent what he saw as a mere
topographical record, but
in order that he might
interpret the impressions
he received, visualizing the
scene with a happy sense
of rhythm and instinctive
charm and informing it
with a beauty which seldom
fails to compel admiration.
' It is only in recent years
that a true appreciation of
the art of Harpignies has
arisen in England, and this
is due to the fact that up
to a short time ago the op-
portunities of studying his
work in the public exhibi-
tions held in this country
had been somewhat rare.
Yet there is little doubt
that to-day there are but
few artists whose pictures
appeal more strongl}' to an
English public, while his
influence on certain phases "le pin meissonier " by henri harpignies]
^LXXIII. No. 300.—March 1918 43