Forest paintings in The Metropolitan Museum: A history of our relationship with forests
Seurat spent two months in the late summer and early fall of 1881 in Pontaubert, a village southeast of Paris once frequented by Daubigny, Corot, and other Barbizon landscape painters.
His visit inspired this sous-bois or forest glade, which Seurat probably completed that winter in the studio he shared with his traveling companion and fellow artist Aman-Jean.
With its concert of greens, its subtle, shimmering light effects, and its vertical pattern of tree trunks, this work anticipates the verdant settings of Seurat's monumental Bathers at Asnières in London (1884) and A Sunday on La Grande Jatte in Chicago (1884 - 86).
Ville-d'Avray
Corot often painted views of the large pond on the property he had inherited from his parents at Ville-d'Avray.
In repeating the scene, he took certain liberties, especially with the tree just left of center.
The silhouette of branches and foliage against the pewter sky led Corot's biographer Alfred Robaut to liken this work to a spider's web.
Corot initially included a child with outstretched arms beside the crouching peasant woman, but he seems to have found this detail too anecdotal.
Critics admired the calm poetry of this composition when it was first exhibited at the 1870 Salon.
Rocks at Fontainebleau
Cézanne treated the rocks in this composition much as he did the fruits in his still lifes, rendering the shapes with passages of subtly varied color.
Green, blue, and purple tints, with an accent of golden sunlight at center, impart a shimmering vibrancy to the stones.