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Three museums for three artists

Until February 5, 2023, the Louis-Senlecq Art and History Museum, the Daubigny Museum and the Camille Pissarro Museum are offering a joint exhibition around three major artists from their collections and their students: Jules Dupré (1811- 1889), Charles François Daubigny (1817-1878) and Camille Pissarro (1830 -1903).

Édouard Béliard (1832-1912)  Pontoise vue depuis l’écluse  Vers 1873 Huile sur toile 38× 65 cm                                     Pontoise musée Camille-Pissarro Crédit photo : musées de Pontoise
Édouard Béliard (1832-1912) Pontoise vue depuis l’écluse Vers 1873 Huile sur toile 38× 65 cm Pontoise musée Camille-Pissarro Crédit photo : musées de Pontoise

During the second half of the 19th century, the Oise valley attracted many artists. The diversity of his landscapes nourished in them the desire to paint in the open air the fields of wheat, the wooded hillsides and the tributary of the Seine spangled with reflections.

Jules Dupré (1811-1889) Le Pêcheur Entre 1860 et 1870 Pastel sur papier marouflé sur toile 101× 70 cmCrédit photo : L’Isle-Adam, musée d’Art et d’Histoire Louis-Senlecq, JM Rousvoal
Jules Dupré (1811-1889) Le Pêcheur Entre 1860 et 1870 Pastel sur papier marouflé sur toile 101× 70 cmCrédit photo : L’Isle-Adam, musée d’Art et d’Histoire Louis-Senlecq, JM Rousvoal

In L'Isle-Adam where he settled in 1850, Jules Dupré (1811-1889) would find in the surrounding countryside the grounds for a romantic expression that would tend towards realism. Over time, the application of daring impastos on which he will apply luminous touches, the representation of tormented skies will clearly classify him among the pre-Impressionists.

Charles Edouard Elmerich (1813-1889) Daubigny peignant dans sa barque Vers 1857-1860 Huile sur toile Voiron, musée Mainssieux
Charles Edouard Elmerich (1813-1889) Daubigny peignant dans sa barque Vers 1857-1860 Huile sur toile Voiron, musée Mainssieux

Charles François Daubigny (1817-1878) – friend of Jules Dupré – settled not far from Lisle-Adam, in Auvers-sur-Oise in a house built in 1860 by Oudinot. From 1870, he opened his house to young artists. Camille Pissarro pays him frequent visits.

Daubigny draws his inspiration from the diversity of landscapes which he treats with increasing audacity and a freedom which brings him closer to the finds of the younger generation (he had the greatest esteem for Monet). His painting "Snow in the countryside of Auvers" will arouse the admiration of Van Gogh who will speak about it in his letters to his brother Theo.

The architecture of the city (the alleys, the church, etc.), the perspectives on the river and the surrounding countryside are a source of inspiration for the artist who will also contribute to renewing landscape painting.

Camille Pissarro (1830-1903) La Brouette dans un verger, Le Valhermeil, Auvers-sur-Oise Vers 1879 Huile sur toile Paris, Musée d’Orsay En dépôt au musée Camille-Pissarro
Camille Pissarro (1830-1903) La Brouette dans un verger, Le Valhermeil, Auvers-sur-Oise Vers 1879 Huile sur toile Paris, Musée d’Orsay En dépôt au musée Camille-Pissarro

Installed in Pontoise since April 1872, Camille Pissarro lived first in the Ermitage district, then, from 1882, Quai du Pothuis. It was during this period that he painted most of the paintings that were exhibited at the first 7 Impressionist exhibitions. He will work there on the motif with a certain Paul Cézanne who joins him with his partner and his son the year of his installation. A peasant who watched them paint side by side would have said: "Monsieur Pissarro stung, Monsieur Cézanne tackled".


The museums of these three cities – all three Museums of France – honor these leading artists from their collections as well as their students, through the exhibition "Impressions along the Oise - Dupré, Daubigny, Pissarro ", organized simultaneously in the three institutions.


31, Grande Rue

95290 L’Isle-Adam


Manoir des Colombières, Rue de la Sansonne

95430 Auvers-sur-Oise


17, rue du Château

95300 Pontoise


In his art history lectures, Fabrice Roy combines the past with the present, in a poetic and playful evocation of the French 19th century...



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