John Henry Twachtman Catalogue Raisonné
An online catalogue by Lisa N. Peters, Ph.D., in collaboration with the Greenwich Historical Society
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Catalogue Entry

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Additional Images
Autumn Landscape, ca. 1884 (OP.729). Fig. 1. Arques-la-Bataille, France.
Fig. 1. Arques-la-Bataille, France.
Image: Lisa N. Peters
Keywords
OP.729
Autumn Landscape
Alternate titles: A Country Road; Autumn in France; Landscape
ca. 1884
Oil on canvas
17 x 21 in. (43.2 x 53.3 cm)
Signed lower right: J. H. Twachtman
Private collection
Provenance
(Martha Parrish and James Reinish, Inc., New York);
to present collection, 1995.
Exhibitions
J. Eastman Chase's Gallery, Boston, Paintings by John H. Twachtman, February 10–20, 1885, no. 13, as A Country Road.
Macbeth Gallery, New York, Paintings by John H. Twachtman, January 1919, no. 1, as Autumn in France, 17 x 21 in.
Cincinnati Art Museum, John Henry Twachtman: A Retrospective Exhibition, October 7–November 20, 1966. (Exhibition catalogue: Baskett 1966); (Exhibition catalogue: Boyle 1966–I), no. 26, as Landscape, lent by Mr. Ira Spanierman, New York.
Literature
Britton, James. "Exhibition Now On: Twachtmans at Macbeth's." American Art News 17 (January 11, 1919), p. 2, as Autumn in France.
Hale, John Douglass. "Life and Creative Development of John H. Twachtman." 2 vols. Ph.D. dissertation, Ohio State University, 1957. Ann Arbor, Mich.: University Microfilms, 1958, vol. 2, p. 428 (catalogue G, no. 24), as Autumn in France. (Hale concordance).
Commentary

This painting was probably shown as A Country Road in the artist’s 1885 solo exhibition at Chase’s Gallery, Boston (no. 13). The scene depicts the environs of Arques-la-Bataille, France, where Twachtman spent the summer of 1884 with his family, but instead of a view looking toward the hills—as in the two paintings belonging to the Metropolitan Museum of Art, both titled Arques-la-Bataille (OP.730 and OP.731)—here Twachtman’s perspective was high in the hills themselves, looking along a winding road toward one of the groves of trees that can be seen on the hillcrest in his more distant views. Such groves were intended to shelter animals and to facilitate reseeding, and they stood out against land otherwise stripped of foliage by agriculture. Here the autumnal foliage on a few trees indicate that the artist's visit to the town stretched into the fall. 

No mention of the work specifically was made by the critics reviewing the exhibition at Chase’s Gallery, but a writer for the Boston Daily Advertiser could have had it in mind in the statement:

Mr. Twachtman, whose work has always been interesting, has taken of late a new departure and now paints in a very pale gray key, which at first gives an impression of monotonous tones without great depth, such as a superficial pastich [sic] of Corot might produce; but it is only just to hasten to add that this is not by any means the memory that one takes away from the gallery. For as one looks into the pictures, a beautiful harmony of colors, as subtle and moving as a strain of fine music, chorus and delights the sensitive observer. It is useless to attempt to analyze this delicate quality, for it is as indescribable as the perfume of a flower; and one must feel the pictures it conveys in order to understand it.[1]


[1] Boston Daily Advertiser 1885.

Selected Literature

From 1919 Macbeth Gallery 

Soft gray and green. Path wide at foreground, narrowing as winds inward toward group of trees, their few leaves turned autumnal brown. Field slopes upward to right. To left green meadow narrows as it extends backward between wooded knolls until merging with distant horizon. Sky light gray fleecy soft.