The Artist_s Magazine 2016-03__

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both a traditionalist and an icono-

clast. It’s a large canvas that was

probably completed in the studio and

was highly i nished for exhibition at

the Salon, where it was shown that

same year. And yet, its i delity to

nature, without need for historical

narrative, makes it a harbinger of

the Impressionist movement, which

argued that an artist’s perception of

the landscape before him was su -

cient rationale for a painting.

Owing to public enthusiasm,

the Oise became a favorite subject

for Daubigny, and he returned to

the theme regularly through the

1860s and 70s. In Banks of the Oise

at Auvers there are presentiments

of Monet, Pissarro and Sisley, each

of whom would construct similar

compositions along French river-

sides, albeit with an accelerated

interest in sunlight and color beyond

Daubigny’s purview. With its gently

rolling hills, soft overcast sky and

people engaged in idle recreation

beside a placid river, Banks of the Oise

is more concerned with a mood of

subtle reverie than optical excitation.

h at was the work of the next

generation of painters, the greatest of

whom understood and paid homage

to Daubigny’s contributions. When I

google the artist’s last name, the i rst

result that comes up is Daubigny’s

Garden, a reference to three Vincent

van Gogh paintings of that title.

Upon hearing of Daubigny’s death

in 1878, Vincent wrote the follow-

ing to his brother: “It must be good

to die in the knowledge that one

has done some truthful work and to

know that, as a result, one will live

on in the memory of at least a few

and leave a good example for those

who come after. A work that is good

may not last forever, but the thought

expressed by it will, and the work

itself will surely survive for a very

long time, and those who come later

can do no more than follow in the

footsteps of such predecessors and

copy their example.” ■

JERRY N. WEISS is a contributing editor to

The Artist’s Magazine. He teaches at the Art

Students League of New York. To see more of

his work, visit jerrynweiss.com.

“Daubigny, Monet, Van Gogh:

Impressions of Landscape” is

on view at the Taft Museum in

Cincinnati from Feb. 20 to May 29.