Top 100 - Barbizon School: 100 essential landscapes
Barbizon School: 100 Essential Landscapes
From Corot to Daubigny, a hundred oils to explore Fontainebleau, the banks of the Oise, the seasons and the rural world of the 19th century
The Barbizon School is neither an academy nor a manifesto group. The works are ordered by historical importance, pictorial quality and ability to illuminate Barbizon's different paths, without transforming a network of friendships and influences into a uniform school.
Nature ceases to serve as a setting
One hundred landscapes to understand Barbizon
Before Barbizon, the French landscape often remained subject to an academic hierarchy which favored history, mythology and idealized sites. The group's painters do not abolish all scholarly composition, but they put it to the test of the places actually traveled: irregular terrain, broken branches, ponds, quarries, roads and unstable skies.
In Barbizon, a tree has age, light and resistance. The landscape gains its own history without ceasing to welcome the work, the herds and the seasons of the rural world.Switch to images
Classification in images
Corot, Rousseau, Daubigny, Millet, Dupré, Diaz and Troyon open the classification with the works that best define the spirit of Barbizon.
#1
Memory of Mortefontaine (Oise)
The water of "Souvenir de Mortefontaine (Oise)" connects the sky, the banks and the signs of human activity. Reflections, currents and darker layers give the landscape a noticeable duration rather than a still effect. Corot maintains the framework of the site while letting the air soften the contours; this alliance of construction and poetic memory explains its role as a link between classical tradition and modern landscape. Its place among the founding works is due to this ability to unite direct observation, pictorial construction and emotion without returning to the recipes of the academic landscape.
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#2
Oak group, Apremont
In "Group of oaks, Apremont", trunks, foliage and intervals organize a real architecture. The passages between shadow and opening lead the eye without transforming the forest into a theatrical setting. Rousseau gives the plant masses an almost monumental density: the tree is no longer a picturesque accessory, but an organism subject to time, climate and the slow transformation of the place. Its place among the founding works is due to this ability to unite direct observation, pictorial construction and emotion without returning to the recipes of the academic landscape.
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#3
Landscape with ducks
The animals in "Landscape with Ducks" give the scale of the terrain and impose their own rhythm on the composition. Their movement makes the slope, water, trees and the expanse of the sky read differently. Daubigny brings the gaze closer to the banks and reflections, often from a low point of view; the soft touch lets the humidity of the air circulate and prepares certain freedoms of impressionism. Its place among the founding works is due to this ability to unite direct observation, pictorial construction and emotion without returning to the recipes of the academic landscape.
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#4
The Forest in winter at sunset
The light indicated by the title regulates the entire depth of "The Forest in Winter at Sunset": the foregrounds gain weight while the distant ones blend into a slower atmosphere. Rousseau gives the plant masses an almost monumental density: the tree is no longer a picturesque accessory, but an organism subject to time, climate and the slow transformation of the place. Its place among the founding works is due to this ability to unite direct observation, pictorial construction and emotion without returning to the recipes of the academic landscape.
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#5
The Narni Bridge
"The Bridge of Narni" is based on the weight of the relief and the way in which the light cuts through the planes. Rocks, slopes and distant escapes give the eye a physical progression. Corot maintains the framework of the site while letting the air soften the contours; this alliance of construction and poetic memory explains its role as a link between classical tradition and modern landscape. Its place among the founding works is due to this ability to unite direct observation, pictorial construction and emotion without returning to the recipes of the academic landscape.
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#6
The Chailly plain with harrow and plow
The season and land use structure "The Chailly plain with harrow and plow". Colors, vegetation and traces of rural work transform the countryside into a living environment, observed at a specific moment in its cycle. Millet connects the relief, weather and rhythms of rural work without idealizing the countryside; even when the figures remain small, their presence gives the ground a concrete measure. Its place among the founding works lies in this ability to unite direct observation, pictorial construction and emotion without returning to the recipes of the academic landscape.
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#7
Herd crossing the ford
"Fog Passing Herd" water connects the sky, banks and signs of human activity. Reflections, currents and darker layers give the landscape a noticeable duration rather than an immobile effect. Troyon observes with the same attention the anatomy of the animals, the state of the terrain and the quality of the sky; the herd thus belongs to the landscape instead of simply being placed there. Its place among the founding works lies in this ability to unite direct observation, pictorial construction and emotion without returning to the recipes of the academic landscape.
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#8
The Mare
The water of "La Mare" connects the sky, the banks and signs of human activity. Reflections, currents and darker layers give the landscape a noticeable duration rather than an immobile effect. Dupré constructs the landscape with strong dark masses, moving skies and accents of light; this tension gives the most ordinary sites an almost dramatic gravity. His place among the founding works is due to this ability to unite direct observation, pictorial construction and emotion without returning to the recipes of the academic landscape.
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#9
Autumn: The wood pond
In "Autumn: The Pond of Wood", trunks, foliage and intervals organize a real architecture. The passages between shadow and opening lead the eye without transforming the forest into a theatrical setting. Diaz makes the gaps of light sparkle in the thickness of the foliage; its browns, greens and warm touches transform the undergrowth into a deep space rather than a closed screen. Its place among the founding works is due to this ability to unite direct observation, pictorial construction and emotion without returning to the recipes of the academic landscape.
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#10
The Fontainebleau Forest
In "La Forêt de Fontainebleau", trunks, foliage and intervals organize a real architecture. The passages between shadow and opening lead the eye without transforming the forest into a theatrical setting. Diaz makes the gaps of light sparkle in the thickness of the foliage; its browns, greens and warm touches transform the undergrowth into a deep space rather than a closed screen. Its place among the founding works is due to this ability to unite direct observation, pictorial construction and emotion without returning to the recipes of the academic landscape.
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#11
Sunset in Apremont
The light indicated by the title regulates the entire depth of "Sunset at Apremont": the foregrounds gain weight while the distant ones blend into a slower atmosphere. Rousseau gives plant masses an almost monumental density: the tree is no longer a picturesque accessory, but an organism subject to time, climate and the slow transformation of the place. Its place among the founding works is due to this ability to unite direct observation, pictorial construction and emotion without returning to the recipes of the academic landscape.
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#12
The Harvest
The season and land use structure "La Moisson". Colors, vegetation and traces of rural work transform the countryside into a living environment, observed at a specific moment in its cycle. Daubigny brings the gaze closer to the banks and reflections, often from a low point of view; the soft touch lets the humidity of the air circulate and prepares certain freedoms of impressionism. Its place among the founding works is due to this ability to unite direct observation, pictorial construction and emotion without returning to the recipes of the academic landscape.
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#13
Chartres Cathedral
The architecture of "Chartres Cathedral" does not interrupt nature: it measures distances and places the site in a human history. Roofs, walls or monumental silhouette respond to trees and relief. Corot maintains the framework of the site while letting the air soften the contours; this alliance of construction and poetic memory explains its role as a link between classical tradition and modern landscape. Its place among the founding works is due to this ability to unite direct observation, pictorial construction and emotion without returning to the recipes of the academic landscape.
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#14
A marsh in the moors
The water of "A Marsh in the Moors" connects the sky, the banks and signs of human activity. Reflections, currents and darker layers give the landscape a noticeable duration rather than an immobile effect. Rousseau gives plant masses an almost monumental density: the tree is no longer a picturesque accessory, but an organism subject to time, climate and the slow transformation of the place. Its place among the founding works is due to this ability to unite direct observation, pictorial construction and emotion without returning to the recipes of the academic landscape.
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#15
The banks of the Oise
The water of "Les Bords de l'Oise" connects the sky, the banks and signs of human activity. Reflections, currents and darker layers give the landscape a noticeable duration rather than a still effect. Daubigny brings the gaze closer to the banks and reflections, often from a low point of view; the soft touch lets the humidity of the air circulate and prepares certain freedoms of impressionism. Its place among the founding works is due to this ability to unite direct observation, pictorial construction and emotion without returning to the recipes of the academic landscape.
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#16
The water trough and the large oak
In "The Waterer and the Great Oak", trunks, foliage and intervals organize a real architecture. The passages between shadow and opening lead the eye without transforming the forest into a theatrical setting. Dupré constructs the landscape with strong dark masses, moving skies and accents of light; this tension gives the most ordinary sites an almost dramatic gravity. Its place among the founding works is due to this ability to unite direct observation, pictorial construction and emotion without returning to the recipes of the academic landscape.
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#17
Spring
The season and land use structure "Spring". Colors, vegetation and traces of rural work transform the countryside into a living environment, observed at a specific moment in its cycle. Millet connects the relief, weather and rhythms of rural work without idealizing the countryside; even when the figures remain small, their presence gives the ground a concrete measure. Its place among the founding works lies in this ability to unite direct observation, pictorial construction and emotion without returning to the recipes of the academic landscape.
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#18
Memory of Ville-d'Avray, setting sun
The light indicated by the title regulates the entire depth of "Souvenir de Ville-d'Avray, sun setting": the foregrounds gain weight while the distant ones blend into a slower atmosphere. Corot maintains the framework of the site while letting the air soften the contours; this alliance of construction and poetic memory explains its role as a link between classical tradition and modern landscape. Its place among the founding works is due to this ability to unite direct observation, pictorial construction and emotion without returning to the recipes of the academic landscape.
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#19
The Seine in the morning
The light indicated by the title regulates the entire depth of "The Seine, the morning": the foregrounds gain weight while the distances blend into a slower atmosphere. Daubigny brings the gaze closer to the banks and reflections, often from a low point of view; the soft touch lets the humidity of the air circulate and prepares certain freedoms of impressionism. Its place among the founding works is due to this ability to unite direct observation, pictorial construction and emotion without returning to the recipes of the academic landscape.
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#20
Deer in the Fontainebleau forest
In "Deer in the Forest of Fontainebleau", trunks, foliage and intervals organize a real architecture. The passages between shadow and opening lead the eye without transforming the forest into a theatrical setting. Rousseau gives plant masses an almost monumental density: the tree is no longer a picturesque accessory, but an organism subject to time, climate and the slow transformation of the place. Its place among the founding works is due to this ability to unite direct observation, pictorial construction and emotion without returning to the recipes of the academic landscape.
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#21
Watercourse under wood
In "Watercourses under wood", trunks, foliage and intervals organize a real architecture. The passages between shadow and opening lead the eye without transforming the forest into a theatrical setting. Troyon observes with the same attention the anatomy of the animals, the state of the terrain and the quality of the sky; the herd thus belongs to the landscape instead of simply being placed there. Its place among the founding works lies in this ability to unite direct observation, pictorial construction and emotion without returning to the recipes of the academic landscape.
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#22
Sunset near Arbonne
The light indicated by the title regulates the entire depth of "Sunset near Arbonne": the foregrounds gain weight while the distant ones blend into a slower atmosphere. Rousseau gives plant masses an almost monumental density: the tree is no longer a picturesque accessory, but an organism subject to time, climate and the slow transformation of the place. Its place among the founding works is due to this ability to unite direct observation, pictorial construction and emotion without returning to the recipes of the academic landscape.
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#23
Lake Albano and Castel Gandolfo
"Lake Albano and Castel Gandolfo" is based on the weight of the relief and the way in which the light cuts through the planes. Rocks, slopes and distant escapes give the eye a physical progression. Corot maintains the framework of the site while letting the air soften the contours; this alliance of construction and poetic memory explains its role as a link between classical tradition and modern landscape. Its place among the founding works is due to this ability to unite direct observation, pictorial construction and emotion without returning to the recipes of the academic landscape.
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#24
The barges
The water in "The Barges" connects the sky, the banks and signs of human activity. Reflections, currents and darker layers give the landscape a noticeable duration rather than a still effect. Daubigny brings the gaze closer to the banks and reflections, often from a low point of view; the soft touch lets the humidity of the air circulate and prepares certain freedoms of impressionism. Its place among the founding works is due to this ability to unite direct observation, pictorial construction and emotion without returning to the recipes of the academic landscape.
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#25
La Bergerie, Clair de Lune
The light indicated by the title regulates the entire depth of "La Bergerie, Clair de Lune": the foregrounds gain weight while the distant ones blend into a slower atmosphere. Millet connects the relief, weather and rhythms of rural work without idealizing the countryside; even when the figures remain small, their presence gives the ground a concrete measure. Its place among the founding works lies in this ability to unite direct observation, pictorial construction and emotion without returning to the recipes of the academic landscape.
View product →Apremont oaks, undergrowth, clearings and sandstone quarries show how the forest becomes a monumental subject.
#26
The Oak in the valley
In "The Oak in the Valley", trunks, foliage and intervals organize a real architecture. The passages between shadow and opening lead the eye without transforming the forest into a theatrical setting. Corot maintains the framework of the site while letting the air soften the contours; this alliance of construction and poetic memory explains its role as a link between classical tradition and modern landscape. This painting summarizes one of Fontainebleau's conquests: making each tree, each rock and each clearing unique enough to carry the entire painting.
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#27
An early summer morning in the Fontainebleau forest
The light indicated by the title regulates the entire depth of "An early summer morning in the forest of Fontainebleau": the foregrounds gain weight while the distant ones blend into a slower atmosphere. Rousseau gives the plant masses an almost monumental density: the tree is no longer a picturesque accessory, but an organism subject to time, climate and the slow transformation of the place. This painting summarizes one of Fontainebleau's conquests: making each tree, each rock and each clearing unique enough to carry the entire picture.
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#28
Undergrowth in Fontainebleau
In "Sous-bois à Fontainebleau", trunks, foliage and intervals organize a real architecture. The passages between shadow and opening lead the eye without transforming the forest into a theatrical setting. Diaz makes the gaps of light sparkle in the thickness of the foliage; its browns, greens and warm touches transform the undergrowth into a deep space rather than a closed screen. This painting summarizes one of Fontainebleau's conquests: making each tree, each rock and each clearing unique enough to carry the entire picture.
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#29
Fontainebleau - At the Apremont gorges
"Fontainebleau - Aux gorges d'Apremont" is based on the weight of the relief and the way in which the light cuts out the planes. Rocks, slopes and distant escapes give the eye a physical progression. Corot maintains the framework of the site while letting the air soften the contours; this alliance of construction and poetic memory explains its role as a link between classical tradition and modern landscape. This painting summarizes one of Fontainebleau's conquests: making each tree, each rock and each clearing unique enough to carry the entire painting.
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#30
The Coal Hut
"La Hutte des charbonniers" distributes trees, terrain, sky and human presences in an attentive balance. The depth is born less from a spectacular effect than from the patient relationship between the planes. Rousseau gives the plant masses an almost monumental density: the tree is no longer a picturesque accessory, but an organism subject to time, climate and the slow transformation of the place. This painting summarizes one of Fontainebleau's conquests: making each tree, each rock and each clearing unique enough to carry the entire picture.
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#31
Fontainebleau - Black oaks of Bas-Préau
In "Fontainebleau - Black oaks of Bas-Préau", trunks, foliage and intervals organize a real architecture. The passages between shadow and opening lead the eye without transforming the forest into a theatrical setting. Corot maintains the framework of the site while letting the air soften the contours; this alliance of construction and poetic memory explains its role as a link between classical tradition and modern landscape. This painting summarizes one of Fontainebleau's conquests: making each tree, each rock and each clearing unique enough to carry the entire painting.
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#32
The Swimming Pool (Memory of the Chambord Forest)
In "La Piscine (Memory of the Forest of Chambord)", trunks, foliage and intervals organize a real architecture. The passages between shadow and opening lead the eye without transforming the forest into a theatrical setting. Rousseau gives the plant masses an almost monumental density: the tree is no longer a picturesque accessory, but an organism subject to time, climate and the slow transformation of the place. This painting summarizes one of Fontainebleau's conquests: making each tree, each rock and each clearing unique enough to carry the entire picture.
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#33
In the forest of Fontainebleau. Pines and birches in the rocks
In "In the forest of Fontainebleau. Pines and birches in the rocks", trunks, foliage and intervals organize a real architecture. The passages between shadow and opening lead the eye without transforming the forest into a theatrical setting. Corot maintains the framework of the site while letting the air soften the contours; this alliance of construction and poetic memory explains its role as a link between classical tradition and modern landscape. This painting summarizes one of Fontainebleau's conquests: making each tree, each rock and each clearing unique enough to carry the entire painting.
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#34
An escape through the trees: Fontainebleau
In "An Escape Through the Trees: Fontainebleau", trunks, foliage and intervals organize a real architecture. The passages between shadow and opening lead the eye without transforming the forest into a theatrical setting. Diaz makes the gaps of light sparkle in the thickness of the foliage; its browns, greens and warm touches transform the undergrowth into a deep space rather than a closed screen. This painting summarizes one of Fontainebleau's conquests: making each tree, each rock and each clearing unique enough to carry the entire picture.
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#35
Carrière de la Chaise-Marie, Fontainebleau
"Carrière de la Chaise-Marie, Fontainebleau" is based on the weight of the relief and the way in which the light cuts out the planes. Rocks, slopes and distant escapes give the eye a physical progression. Corot maintains the framework of the site while letting the air soften the contours; this alliance of construction and poetic memory explains its role as a link between classical tradition and modern landscape. This painting summarizes one of Fontainebleau's conquests: making each tree, each rock and each clearing unique enough to carry the entire painting.
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#36
A river in a meadow
The water of "A River in a Meadow" connects the sky, the banks and signs of human activity. Reflections, currents and darker layers give the landscape a noticeable duration rather than an immobile effect. Rousseau gives the plant masses an almost monumental density: the tree is no longer a picturesque accessory, but an organism subject to time, climate and the slow transformation of the place. This painting summarizes one of Fontainebleau's conquests: making each tree, each rock and each clearing unique enough to carry the entire picture.
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#37
Fontainebleau forest, abandoned sandstone quarry
In "Fontainebleau Forest, abandoned sandstone quarry", trunks, foliage and intervals organize a real architecture. The passages between shadow and opening lead the eye without transforming the forest into a theatrical setting. Corot maintains the framework of the site while letting the air soften the contours; this alliance of construction and poetic memory explains its role as a link between classical tradition and modern landscape. This painting summarizes one of Fontainebleau's conquests: making each tree, each rock and each clearing unique enough to carry the entire painting.
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#38
The edge of the woods
In "The Edge of the Wood", trunks, foliage and intervals organize a real architecture. The passages between shadow and opening lead the eye without transforming the forest into a theatrical setting. Diaz makes the gaps of light sparkle in the thickness of the foliage; its browns, greens and warm touches transform the undergrowth into a deep space rather than a closed screen. This painting summarizes one of Fontainebleau's conquests: making each tree, each rock and each clearing unique enough to carry the entire painting.
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#39
The Coubron forest
In "The Coubron Forest", trunks, foliage and intervals organize a real architecture. The passages between shadow and opening lead the eye without transforming the forest into a theatrical setting. Corot maintains the framework of the site while letting the air soften the contours; this alliance of construction and poetic memory explains its role as a link between classical tradition and modern landscape. This painting summarizes one of Fontainebleau's conquests: making each tree, each rock and each clearing unique enough to carry the entire painting.
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#40
The Village of Becquigny
The architecture of "Le Village de Becquigny" does not interrupt nature: it measures distances and places the site in a human history. Roofs, walls or monumental silhouette respond to trees and relief. Rousseau gives plant masses an almost monumental density: the tree is no longer a picturesque accessory, but an organism subject to time, climate and the slow transformation of the place. This painting summarizes one of Fontainebleau's conquests: making each tree, each rock and each clearing unique enough to carry the entire picture.
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#41
La Clairière, souvenir of Ville-d'Avray
In "La Clairière, souvenir of Ville-d'Avray", trunks, foliage and intervals organize a real architecture. The passages between shadow and opening lead the eye without transforming the forest into a theatrical setting. Corot maintains the framework of the site while letting the air soften the contours; this alliance of construction and poetic memory explains its role as a link between classical tradition and modern landscape. This painting summarizes one of Fontainebleau's conquests: making each tree, each rock and each clearing unique enough to carry the entire painting.
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#42
Rock path in Morvan
"Chemin des roches dans le Morvan" distributes trees, terrain, sky and human presences in an attentive balance. The depth is born less from a spectacular effect than from the patient relationship between the planes. Harpignies simplifies the masses and clarifies the distances; its firm design extends Barbizon's demands while announcing a more decorative and synthetic landscape. This painting summarizes one of Fontainebleau's conquests: making each tree, each rock and each clearing unique enough to carry the entire picture.
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#43
Rocks of the Fontainebleau forest
In "Rocks of the Fontainebleau Forest", trunks, foliage and intervals organize a real architecture. The passages between shadow and opening lead the eye without transforming the forest into a theatrical setting. Corot maintains the framework of the site while letting the air soften the contours; this alliance of construction and poetic memory explains its role as a link between classical tradition and modern landscape. This painting summarizes one of Fontainebleau's conquests: making each tree, each rock and each clearing unique enough to carry the entire painting.
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#44
Spring
The season and land use structure "Spring". Colors, vegetation and traces of rural work transform the countryside into a living environment, observed at a specific moment in its cycle. Jacque grants animals and rural buildings a solid presence, without sacrificing the atmosphere; its countryside remains inhabited, productive and crossed by the seasons. This painting summarizes one of Fontainebleau's conquests: making each tree, each rock and each clearing unique enough to carry the entire picture.
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#45
Autumn evening in Saint-Cloud park
The light indicated by the title regulates the entire depth of "Autumn evening in the park of Saint-Cloud": the foregrounds gain weight while the distances blend into a slower atmosphere. Huet brings to the French landscape a romantic sensitivity made of winds, shadows and sudden clearings; nature remains observed, but it also has emotional power. This painting sums up one of Fontainebleau's conquests: making each tree, each rock and each clearing unique enough to carry the entire picture.
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#46
Walkway under the trees
In "Aisle under the trees", trunks, foliage and intervals organize a real architecture. The passages between shadow and opening lead the eye without transforming the forest into a theatrical setting. Corot maintains the framework of the site while letting the air soften the contours; this alliance of construction and poetic memory explains its role as a link between classical tradition and modern landscape. This painting summarizes one of Fontainebleau's conquests: making each tree, each rock and each clearing unique enough to carry the entire painting.
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#47
The plain in front of the Pyrenees
"The plain in front of the Pyrenees" is based on the weight of the relief and the way in which the light cuts out the planes. Rocks, slopes and distant escapes give the eye a physical progression. Rousseau gives the plant masses an almost monumental density: the tree is no longer a picturesque accessory, but an organism subject to time, climate and the slow transformation of the place. This painting summarizes one of Fontainebleau's conquests: making each tree, each rock and each clearing unique enough to carry the entire picture.
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#48
Forest path, Town of Avray
"Forest path, City of Avray" distributes trees, terrain, sky and human presences in an attentive balance. The depth is born less from a spectacular effect than from the patient relationship between the plans. Corot maintains the framework of the site while letting the air soften the contours; this alliance of construction and poetic memory explains its role as a link between classical tradition and modern landscape. This painting summarizes one of Fontainebleau's conquests: making each tree, each rock and each clearing unique enough to carry the entire painting.
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#49
Autumn
The season and land use structure "Autumn". Colors, vegetation and traces of rural work transform the countryside into a living environment, observed at a specific moment in its cycle. Dupré constructs the landscape with strong dark masses, moving skies and accents of light; this tension gives the most ordinary sites an almost dramatic gravity. This painting summarizes one of Fontainebleau's conquests: making each tree, each rock and each clearing unique enough to carry the entire picture.
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#50
The Marais d’Arleux
The water of "Le Marais d'Arleux" connects the sky, the banks and signs of human activity. Reflections, currents and darker layers give the landscape a noticeable duration rather than a still effect. Corot maintains the framework of the site while letting the air soften the contours; this alliance of construction and poetic memory explains its role as a link between classical tradition and modern landscape. This painting summarizes one of Fontainebleau's conquests: making each tree, each rock and each clearing unique enough to carry the entire picture.
View product →Oise, Seine, ponds and pastures give the landscape a duration made of reflections, rural work and changing weather.
#51
Boats on the Oise
The water of "Bateaux sur l'Oise" connects the sky, the banks and signs of human activity. Reflections, currents and darker layers give the landscape a noticeable duration rather than a still effect. Daubigny brings the gaze closer to the banks and reflections, often from a low point of view; the soft touch lets the humidity of the air circulate and prepares certain freedoms of impressionism. It shows how Barbizon painters made water, paths and cultivated land instruments for measuring the time, season and life of a place.
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#52
The Thames at Erith
The water of "The Thames at Erith" connects the sky, the banks and signs of human activity. Darker reflections, currents and layers give the landscape a noticeable duration rather than a still effect. Daubigny brings the gaze closer to the banks and reflections, often from a low point of view; the soft touch lets the humidity of the air circulate and prepares certain freedoms of impressionism. It shows how Barbizon painters made water, paths and cultivated land instruments for measuring the time, season and life of a place.
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#53
Portejoie on the Seine
The water of "Portejoie sur la Seine" connects the sky, the banks and signs of human activity. Reflections, currents and darker layers give the landscape a noticeable duration rather than a still effect. Daubigny brings the gaze closer to the banks and reflections, often from a low point of view; the soft touch lets the humidity of the air circulate and prepares certain freedoms of impressionism. It shows how Barbizon painters made water, paths and cultivated land instruments for measuring the time, season and life of a place.
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#54
Willows
In "Saules", trunks, foliage and intervals organize a real architecture. The passages between shadow and opening lead the gaze without transforming the forest into a theatrical setting. Daubigny brings the gaze closer to the banks and reflections, often from a low point of view; the soft touch lets the humidity of the air circulate and prepares certain freedoms of impressionism. It shows how Barbizon painters made water, paths and cultivated land instruments for measuring the time, the season and the life of a place.
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#55
Alders
In "Aulnes", trunks, foliage and intervals organize a real architecture. The passages between shadow and opening lead the eye without transforming the forest into a theatrical setting. Daubigny brings the gaze closer to the banks and reflections, often from a low point of view; the soft touch lets the humidity of the air circulate and prepares certain freedoms of impressionism. It shows how Barbizon painters made water, paths and cultivated land instruments for measuring the time, the season and the life of a place.
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#56
River scene with ducks
The water in "River Scene with Ducks" connects the sky, banks and signs of human activity. Darker reflections, currents and layers give the landscape a noticeable duration rather than a still effect. Daubigny brings the gaze closer to the banks and reflections, often from a low point of view; the soft touch lets the humidity of the air circulate and prepares certain freedoms of impressionism. It shows how Barbizon painters made water, paths and cultivated land instruments for measuring the time, season and life of a place.
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#57
Landscape with a sunny stream
The light indicated by the title regulates the entire depth of "Landscape with a Sunny Stream": the foregrounds gain weight while the distant ones blend into a slower atmosphere. Daubigny brings the gaze closer to the banks and reflections, often from a low point of view; the soft touch lets the humidity of the air circulate and prepares certain freedoms of impressionism. It shows how Barbizon painters made water, paths and cultivated land instruments for measuring the time, season and life of a place.
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#58
Apple blossoms
The season and land use structure "Apple blossoms". Colors, vegetation and traces of rural work transform the countryside into a living environment, observed at a specific moment in its cycle. Daubigny brings the gaze closer to the banks and reflections, often from a low point of view; the soft touch lets the humidity of the air circulate and prepares certain freedoms of impressionism. It shows how Barbizon painters made water, paths and cultivated land instruments for measuring the time, season and life of a place.
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#59
The Hamlet of Optevoz
The architecture of "Le Hameau d'Optevoz" does not interrupt nature: it measures distances and places the site in a human history. Roofs, walls or monumental silhouette respond to trees and relief. Daubigny brings the gaze closer to the banks and reflections, often from a low point of view; the soft touch lets the humidity of the air circulate and prepares certain freedoms of impressionism. It shows how Barbizon painters made water, paths and cultivated land instruments for measuring the time, season and life of a place.
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#60
The Optevoz valve (Isère)
The water of "La vanne d'Optevoz (Isère)" connects the sky, the banks and signs of human activity. Reflections, currents and darker layers give the landscape a noticeable duration rather than an immobile effect. Daubigny brings the gaze closer to the banks and reflections, often from a low point of view; the soft touch lets the humidity of the air circulate and prepares certain freedoms of impressionism. It shows how Barbizon painters made water, paths and cultivated land instruments for measuring the time, season and life of a place.
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#61
The banks of the Cousin, near Avallon (Yonne)
The water of "The banks of the Cousin, near Avallon (Yonne)" connects the sky, the banks and the signs of human activity. Reflections, currents and darker layers give the landscape a noticeable duration rather than an immobile effect. Daubigny brings the gaze closer to the banks and reflections, often from a low point of view; the soft touch lets the humidity of the air circulate and prepares certain freedoms of impressionism. It shows how Barbizon painters made water, paths and cultivated land instruments for measuring the time, season and life of a place.
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#62
Landscape on a river
The water of "Landscape on a River" connects the sky, banks and signs of human activity. Darker reflections, currents and layers give the landscape a noticeable duration rather than a still effect. Daubigny brings the gaze closer to the banks and reflections, often from a low point of view; the soft touch lets the humidity of the air circulate and prepares certain freedoms of impressionism. It shows how Barbizon painters made water, paths and cultivated land instruments for measuring the time, season and life of a place.
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#63
Boats on the coast in Étaples
The water of "Bateaux sur le littoral à Étaples" connects the sky, the banks and signs of human activity. Reflections, currents and darker layers give the landscape a noticeable duration rather than a still effect. Daubigny brings the gaze closer to the banks and reflections, often from a low point of view; the soft touch lets the humidity of the air circulate and prepares certain freedoms of impressionism. It shows how Barbizon painters made water, paths and cultivated land instruments for measuring the time, season and life of a place.
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#64
River landscape with storks
The animals in "River Landscape with Storks" give the scale of the terrain and impose their own rhythm on the composition. Their movement makes the slope, water, trees and extent of the sky read differently. Daubigny brings the gaze closer to the banks and reflections, often from a low point of view; the soft touch lets the humidity of the air circulate and prepares certain freedoms of impressionism. It shows how Barbizon painters made water, paths and cultivated land instruments for measuring the time, season and life of a place.
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#65
Ville-d'Avray, on the edge of the pond
The water of "Ville-d'Avray, at the edge of the pond" connects the sky, the banks and the signs of human activity. Reflections, currents and darker layers give the landscape a noticeable duration rather than a still effect. Corot maintains the framework of the site while letting the air soften the contours; this alliance of construction and poetic memory explains its role as a link between classical tradition and modern landscape. It shows how Barbizon painters have made water, paths and cultivated land instruments for measuring the time, season and life of a place.
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#66
Boat fishing near willows
In "Boat fishing near willows", trunks, foliage and intervals organize a real architecture. The passages between shadow and opening lead the eye without transforming the forest into a theatrical setting. Corot maintains the framework of the site while letting the air soften the contours; this alliance of construction and poetic memory explains its role as a link between classical tradition and modern landscape. It shows how Barbizon painters have made water, paths and cultivated land instruments for measuring the time, season and life of a place.
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#67
The Ford Passage in the evening
The light indicated by the title regulates the entire depth of "Le Passage du ford le soir": the foregrounds gain weight while the distances blend into a slower atmosphere. Corot maintains the framework of the site while letting the air soften the contours; this alliance of construction and poetic memory explains its role as a link between classical tradition and modern landscape. It shows how Barbizon painters made water, paths and cultivated land instruments for measuring the time, season and life of a place.
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#68
The Seine near Rouen
The water of "The Seine near Rouen" connects the sky, the banks and signs of human activity. Reflections, currents and darker layers give the landscape a noticeable duration rather than a still effect. Corot maintains the framework of the site while letting the air soften the contours; this alliance of construction and poetic memory explains its role as a link between classical tradition and modern landscape. It shows how Barbizon painters have made water, paths and cultivated land instruments for measuring the time, season and life of a place.
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#69
The Three Cow Pond and the Crescent Moon
The light indicated by the title regulates the entire depth of "The Pond of Three Cows and the Crescent Moon": the foregrounds gain weight while the distant ones blend into a slower atmosphere. Corot maintains the framework of the site while letting the air soften the contours; this alliance of construction and poetic memory explains its role as a link between classical tradition and modern landscape. It shows how Barbizon painters made water, paths and cultivated land instruments for measuring the time, season and life of a place.
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#70
Mortefontaine. The duck pond
The water of "Mortefontaine. The duck pond" connects the sky, the banks and the signs of human activity. Reflections, currents and darker layers give the landscape a noticeable duration rather than a still effect. Corot maintains the framework of the site while letting the air soften the contours; this alliance of construction and poetic memory explains its role as a link between classical tradition and modern landscape. It shows how Barbizon painters have made water, paths and cultivated land instruments for measuring the time, season and life of a place.
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#71
The marsh
The water of "Le Marais" connects the sky, the banks and signs of human activity. Reflections, currents and darker layers give the landscape a noticeable duration rather than a still effect. Corot maintains the framework of the site while letting the air soften the contours; this alliance of construction and poetic memory explains its role as a link between classical tradition and modern landscape. It shows how Barbizon painters have made water, paths and cultivated land instruments for measuring the time, season and life of a place.
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#72
Loire Valley
"Loire Valley" distributes trees, terrain, sky and human presences in an attentive balance. The depth arises less from a spectacular effect than from the patient relationship between the shots. Dupré constructs the landscape with strong dark masses, moving skies and accents of light; this tension gives the most ordinary sites an almost dramatic gravity. It shows how Barbizon painters made water, paths and cultivated land instruments for measuring the time, season and life of a place.
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#73
Landscape with livestock in Limousin
"Landscape with cattle in Limousin" distributes trees, terrain, sky and human presences in an attentive balance. The depth arises less from a spectacular effect than from the patient relationship between the shots. Dupré constructs the landscape with strong dark masses, moving skies and accents of light; this tension gives the most ordinary sites an almost dramatic gravity. It shows how Barbizon painters made water, paths and cultivated land instruments for measuring the time, season and life of a place.
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#74
Autumn landscape
The season and land use structure "Autumn Landscape". Colors, vegetation and traces of rural work transform the countryside into a living environment, observed at a specific moment in its cycle. Dupré constructs the landscape with strong dark masses, moving skies and accents of light; this tension gives the most ordinary sites an almost dramatic gravity. It shows how Barbizon painters made water, paths and cultivated land instruments for measuring the time, season and life of a place.
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#75
Cows crossing a ford
The water of "Cows crossing a ford" connects the sky, banks and signs of human activity. Darker reflections, currents and layers give the landscape a noticeable duration rather than an immobile effect. Dupré constructs the landscape with strong dark masses, moving skies and accents of light; this tension gives the most ordinary sites an almost dramatic gravity. It shows how Barbizon painters made water, paths and cultivated land instruments for measuring the time, season and life of a place.
View product →Cliffs, herds, villages and paths extend Barbizon towards realism, naturalism and outdoor painting.
#76
Rocky coast in Gréville
"Rocky coast in Gréville" is based on the weight of the relief and the way in which the light cuts out the planes. Rocks, slopes and distant escapes give the eye a physical progression. Millet connects the relief, the weather and the rhythms of rural work without idealizing the countryside; even when the figures remain small, their presence gives the ground a concrete measure. It finally broadens Barbizon towards rural realism and subsequent generations, for whom the landscape will be at the same time an observed site, a work space and an experience of light.
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#77
Gruchy Cliffs
"Gruchy Cliffs" is based on the weight of the relief and the way in which the light cuts through the planes. Rocks, slopes and distant escapes give the eye a physical progression. Millet connects the relief, the weather and the rhythms of rural work without idealizing the countryside; even when the figures remain small, their presence gives the ground a concrete measure. It finally broadens Barbizon towards rural realism and subsequent generations, for whom the landscape will be at the same time an observed site, a work space and an experience of light.
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#78
The Chailly Tower near Barbizon
The architecture of "La Tour de Chailly near Barbizon" does not interrupt nature: it measures distances and places the site in a human history. Roofs, walls or monumental silhouette respond to trees and relief. Millet connects the relief, weather and rhythms of rural work without idealizing the countryside; even when the figures remain small, their presence gives the ground a concrete measure. It finally broadens Barbizon towards rural realism and subsequent generations, for whom the landscape will be at the same time an observed site, a work space and an experience of light.
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#79
Haystacks, autumn
The season and land use structure "Haystacks, autumn". Colors, vegetation and traces of rural work transform the countryside into a living environment, observed at a specific moment in its cycle. Millet connects the relief, weather and rhythms of rural work without idealizing the countryside; even when the figures remain small, their presence gives the ground a concrete measure. It finally broadens Barbizon towards rural realism and subsequent generations, for whom the landscape will be at the same time an observed site, a work space and an experience of light.
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#80
The Sheep Park, moonlight
The light indicated by the title regulates the entire depth of "The Sheep Park, Moonlight": the foregrounds gain weight while the distant ones blend into a slower atmosphere. Millet connects the relief, weather and rhythms of rural work without idealizing the countryside; even when the figures remain small, their presence gives the ground a concrete measure. It finally broadens Barbizon towards rural realism and subsequent generations, for whom the landscape will be at the same time an observed site, a work space and an experience of light.
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#81
Priory of Vauville, Normandy
"Prieuré de Vauville, Normandy" distributes trees, terrain, sky and human presences in an attentive balance. The depth arises less from a spectacular effect than from the patient relationship between the plans. Millet connects the relief, weather and rhythms of rural work without idealizing the countryside; even when the figures remain small, their presence gives the ground a concrete measure. It finally broadens Barbizon towards rural realism and subsequent generations, for whom the landscape will be at the same time an observed site, a work space and an experience of light.
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#82
Autumn landscape with a herd of turkeys
The animals in "Autumn Landscape with a Herd of Turkeys" give the scale of the terrain and impose their own rhythm on the composition. Their movement makes the slope, water, trees and extent of the sky read differently. Millet connects the relief, weather and rhythms of rural work without idealizing the countryside; even when the figures remain small, their presence gives the ground a concrete measure. It finally broadens Barbizon towards rural realism and subsequent generations, for whom the landscape will be at the same time an observed site, a work space and an experience of light.
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#83
The Church of Gréville
The architecture of "The Church of Gréville" does not interrupt nature: it measures distances and places the site in a human history. Roofs, walls or monumental silhouette respond to trees and relief. Millet connects the relief, weather and rhythms of rural work without idealizing the countryside; even when the figures remain small, their presence gives the ground a concrete measure. It finally broadens Barbizon towards rural realism and subsequent generations, for whom the landscape will be at the same time an observed site, a work space and an experience of light.
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#84
Beefs going to plow
The animals of "Beefs going to plow" give the scale of the land and impose their own rhythm on the composition. Their movement makes the slope, water, trees and extent of the sky read differently. Troyon observes with the same attention the anatomy of the animals, the state of the terrain and the quality of the sky; the herd thus belongs to the landscape instead of simply being placed there. It finally broadens Barbizon towards rural realism and subsequent generations, for whom the landscape will be at the same time an observed site, a work space and an experience of light.
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#85
Grazing cows
The animals of "Grazing Cows" give the scale of the terrain and impose their own rhythm on the composition. Their movement makes the slope, water, trees and extent of the sky read differently. Troyon observes with the same attention the anatomy of the animals, the state of the terrain and the quality of the sky; the herd thus belongs to the landscape instead of simply being placed there. It finally broadens Barbizon towards rural realism and subsequent generations, for whom the landscape will be at the same time an observed site, a work space and an experience of light.
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#86
Road in the woods
In "Road in the Woods", trunks, foliage and intervals organize a real architecture. The passages between shadow and opening lead the eye without transforming the forest into a theatrical setting. Troyon observes with the same attention the anatomy of the animals, the state of the terrain and the quality of the sky; the herd thus belongs to the landscape instead of simply being placed there. It finally broadens Barbizon towards rural realism and subsequent generations, for whom the landscape will be at the same time an observed site, a work space and an experience of light.
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#87
Cows and veal in the pond
The water of "Cows and calves in the pond" connects the sky, the banks and the signs of human activity. Reflections, currents and darker layers give the landscape a noticeable duration rather than an immobile effect. Troyon observes with the same attention the anatomy of the animals, the state of the terrain and the quality of the sky; the herd thus belongs to the landscape instead of simply being placed there. It finally broadens Barbizon towards rural realism and subsequent generations, for whom the landscape will be at the same time an observed site, a work space and an experience of light.
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#88
View taken from the heights of Suresnes
The architecture of "View taken from the heights of Suresnes" does not interrupt nature: it measures distances and places the site in a human history. Roofs, walls or monumental silhouette respond to trees and relief. Troyon observes with the same attention the anatomy of the animals, the state of the terrain and the quality of the sky; the herd thus belongs to the landscape instead of simply being placed there. It finally broadens Barbizon towards rural realism and subsequent generations, for whom the landscape will be at the same time an observed site, a work space and an experience of light.
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#89
Grazing sheep
The animals of "Sheep on the Pasture" give the scale of the terrain and impose their own rhythm on the composition. Their movement makes the slope, water, trees and extent of the sky read differently. Jacque gives animals and rural buildings a solid presence, without sacrificing the atmosphere; its countryside remains inhabited, productive and crossed by the seasons. It finally broadens Barbizon towards rural realism and subsequent generations, for whom the landscape will be at the same time an observed site, a work space and an experience of light.
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#90
Landscape with sheep and cows
The animals in "Landscape with Sheep and Cows" give the scale of the terrain and impose their own rhythm on the composition. Their movement makes the slope, water, trees and extent of the sky read differently. Jacque gives animals and rural buildings a solid presence, without sacrificing the atmosphere; its countryside remains inhabited, productive and crossed by the seasons. It finally broadens Barbizon towards rural realism and subsequent generations, for whom the landscape will be at the same time an observed site, a work space and an experience of light.
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#91
Norman cottage
The architecture of "Chaumière normande" does not interrupt nature: it measures distances and places the site in a human history. Roofs, walls or monumental silhouette respond to trees and relief. Huet brings to the French landscape a romantic sensitivity made of winds, shadows and sudden clearings; nature remains observed, but it also has emotional power. It finally broadens Barbizon towards rural realism and subsequent generations, for whom the landscape will be at the same time an observed site, a work space and an experience of light.
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#92
Olive picking in Tivoli
The architecture of "Olive Picking in Tivoli" does not interrupt nature: it measures distances and places the site in a human history. Roofs, walls or monumental silhouette respond to trees and relief. French combines botanical precision, Italian light and skillfully balanced composition; his work shows how Barbizon's legacy can travel without losing the sense of the terrain. She finally broadens Barbizon towards rural realism and subsequent generations, for whom the landscape will be at the same time an observed site, a work space and an experience of light.
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#93
The Forum seen from the Farnese gardens
"The Forum seen from the Farnese gardens" distributes trees, terrain, sky and human presences in an attentive balance. The depth is born less from a spectacular effect than from the patient relationship between the plans. Corot maintains the framework of the site while letting the air soften the contours; this alliance of construction and poetic memory explains its role as a link between classical tradition and modern landscape. Finally, it broadens Barbizon towards rural realism and subsequent generations, for whom the landscape will be at the same time an observed site, a work space and an experience of light.
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#94
Landscape with cows
The animals in "Landscape with Cows" give the scale of the terrain and impose their own rhythm on the composition. Their movement makes the slope, water, trees and extent of the sky read differently. Dupré constructs the landscape with strong dark masses, moving skies and accents of light; this tension gives the most ordinary sites an almost dramatic gravity. It finally broadens Barbizon towards rural realism and subsequent generations, for whom the landscape will be at the same time an observed site, a work space and an experience of light.
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#95
The Colosseum seen from the Farnese Gardens
The architecture of "The Colosseum seen from the Farnese gardens" does not interrupt nature: it measures the distances and places the site in a human history. Roofs, walls or monumental silhouette respond to trees and relief. Corot maintains the framework of the site while letting the air soften the contours; this alliance of construction and poetic memory explains its role as a link between classical tradition and modern landscape. Finally, it broadens Barbizon towards rural realism and subsequent generations, for whom the landscape will be at the same time an observed site, a work space and an experience of light.
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#96
The Garden Wall, Auvers-sur-Oise
The water of "Le Mur du Jardin, Auvers-sur-Oise" connects the sky, the banks and signs of human activity. Reflections, currents and darker layers give the landscape a noticeable duration rather than a still effect. Daubigny brings the gaze closer to the banks and reflections, often from a low point of view; the soft touch lets the humidity of the air circulate and prepares certain freedoms of impressionism. Finally, it broadens Barbizon towards rural realism and subsequent generations, for whom the landscape will be at the same time an observed site, a work space and an experience of light.
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#97
View of the Oise
The water of "Vue sur l'Oise" connects the sky, the banks and signs of human activity. Reflections, currents and darker layers give the landscape a noticeable duration rather than a still effect. Daubigny brings the gaze closer to the banks and reflections, often from a low point of view; the soft touch lets the humidity of the air circulate and prepares certain freedoms of impressionism. Finally, it broadens Barbizon towards rural realism and subsequent generations, for whom the landscape will be at the same time an observed site, a work space and an experience of light.
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#98
Landscape with cattle by a stream
The water of "Landscape with Cattle by a Stream" connects the sky, banks and signs of human activity. Darker reflections, currents and layers give the landscape a noticeable duration rather than a still effect. Daubigny brings the gaze closer to the banks and reflections, often from a low point of view; the soft touch lets the humidity of the air circulate and prepares certain freedoms of impressionism. Finally, it broadens Barbizon towards rural realism and subsequent generations, for whom the landscape will be at the same time an observed site, a work space and an experience of light.
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#99
Tivoli. The Cascatelles
The architecture of "Tivoli. The Cascatelles" does not interrupt nature: it measures distances and places the site in a human history. Roofs, walls or monumental silhouette respond to trees and relief. Corot maintains the framework of the site while letting the air soften the contours; this alliance of construction and poetic memory explains its role as a link between classical tradition and modern landscape. Finally, it broadens Barbizon towards rural realism and subsequent generations, for whom the landscape will be at the same time an observed site, a work space and an experience of light.
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#100
Avignon, view of Villeneuve-lès-Avignon
The architecture of "Avignon, view of Villeneuve-lès-Avignon" does not interrupt nature: it measures distances and places the site in a human history. Roofs, walls or monumental silhouette respond to trees and relief. Corot maintains the framework of the site while letting the air soften the contours; this alliance of construction and poetic memory explains its role as a link between classical tradition and modern landscape. Finally, it broadens Barbizon towards rural realism and subsequent generations, for whom the landscape will be at the same time an observed site, a work space and an experience of light.
View product →What the ranking reveals
Barbizon is a network of looks, not an academy
The painters united under this name obey neither a single manifesto nor a single way. Above all, they share the refusal of the landscape made in the workshop and a lasting attention to the places, the seasons and the forms of rural work.
The tree becomes a portrait
In Rousseau, Dupré or Diaz, trunk, antler and edge have an individuality comparable to that of a figure.
Water measures time
Corot and Daubigny use pond, river and marsh to record the sky, time and mobility of the atmosphere.
Rural is not pastoral
Millet, Troyon and Jacque integrate gestures, beasts and tools without erasing the concrete weight of the work and the seasons.
Historical landmarks
Five dates to locate the Barbizon School
Constable triumphs at the Paris Salon and confirms that a familiar site can carry the ambition of a great painting.
Rousseau, Corot, Diaz and their contemporaries increased their stays in the forest and around the village of Barbizon.
Jean-François Millet settled in Barbizon and lastingly linked the landscape to the gestures of peasant life.
His workshop boat allows him to follow the banks and reflections as closely as possible, from the Oise to the Seine.
The death of the man his friends called the master of the landscape marks a generation already decisive for modernity.
Barbizon in depth
How did Barbizon change landscape history?
Before Barbizon, the French landscape often remained subject to an academic hierarchy which favored history, mythology and idealized sites. The group's painters do not abolish all scholarly composition, but they put it to the test of the places actually traveled: irregular terrain, broken branches, ponds, quarries, roads and unstable skies.
The Fontainebleau forest becomes a huge workshop. Rousseau studies trees as individuals marked by age; Diaz prefers bright gaps and the thickness of the undergrowth; Corot confronts rocks, paths and foliage before developing his silverier souvenir landscapes.
Water opens up a second geography. Daubigny works on the Oise and the Seine from his workshop boat, lowers the horizon and brings the painted surface closer to reflections. Corot transforms ponds and marshes into places of memory where a few silhouettes give the measure of calm.
The countryside is never completely empty. Chez Millet, Troyon, Dupré and Jacque, shepherds, herds, tools, fords and buildings remind us that the landscape is also an exploited and inhabited environment. This presence distinguishes Barbizon from a simple picturesque retreat away from the city.
The Impressionists inherited this freedom without copying the previous generation. Monet, Renoir and Sisley will return to outdoor work, riversides and changing weather, but will accelerate the touch and give the color a new autonomy.
Four reading keys
Look at the landscape as a living environment
Tree, horizon, water and human presence make it possible to distinguish individual temperaments behind collective etiquette.
Observe the structure
Trunk, branches, foliage and space between the masses often organize the entire architecture of the painting.
Measure breathing
A low horizon opens the sky; a nearby edge, on the contrary, narrows the view into the thickness of the undergrowth.
Follow the light
Reflections, banks and dark layers record the time without reducing the picture to a simple atmospheric effect.
Spot the human scale
A boat, a shepherdess, a herd or a roof gives the measure of the place and reminds us that it is inhabited.
Continue exploring
Continue after the hundredth landscape
The collections of Corot, Millet and famous landscapes extend the subject with distinct paintings directly linked to their reproduction.
In Alpha Reproduction
01The 100 most famous landscapes in paintingExtend landscape history02The 100 known paintings that tell the story of Jean-Baptiste Camille CorotExtend landscape history03The 100 most famous paintings from the Musée d'OrsayExtend landscape history04French painting: 100 famous paintingsExtend landscape history05Jean-Baptiste Camille Corot CollectionExplore reproductions06Jean-François Millet CollectionExplore reproductions07Famous Landscapes CollectionExplore reproductionsMuseums and references
01Museum & referenceFrequently asked questions
The Barbizon School without a foggy legend
The essential answers about the group, the Fontainebleau forest, outdoor painting and the works selected.
What's Barbizon School?
This is a historical name given to several landscape painters active around Barbizon and the Fontainebleau forest in the 19th century. They did not follow a single program, but shared a taste for working on the motif and a directly observed nature.
Who are the main painters of Barbizon?
Théodore Rousseau, Jean-Baptiste Camille Corot, Charles-François Daubigny, Jean-François Millet, Jules Dupré, Narcisse-Virgile Diaz de la Pena, Constant Troyon and Charles Jacque form the core most often associated with the movement.
Why is Corot so important?
Corot links the precise study of the site, acquired notably in Italy and Fontainebleau, to a more atmospheric painting based on memory. His influence affected both the Barbizon painters and the Impressionists.
Is Millet a landscape painter?
Millet is especially famous for his peasant figures, but several of his works give the ground, the sky and the seasons remarkable autonomy. The classification only retains those where the landscape really dominates the composition.
Does Barbizon herald Impressionism?
Yes, through outdoor work, attention to the weather and the choice of ordinary sites. The Impressionists, however, changed the touch, color and speed of execution; they extend Barbizon without being a simple continuation.
Does the classification contain only oil paints?
Yes. The hundred entries are oil landscape paintings. Pastels, watercolors, drawings, lithographs, photographs and paper studies were excluded.
Are the hundred images and product sheets separate?
Yes. Each card uses a different image, product and link. Close titles, variations and duplicate images were checked before publication.
Why do some works show animals or figures?
In Barbizon, the landscape is often inhabited. A shepherdess, a herd or a boat can give scale and reveal the use of the place, as long as nature remains the structuring subject of the painting.
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