Eglise et ferme d'Éragny (A Church and Farm at Éragny)

Eglise et ferme d'Éragny (A Church and Farm at Éragny) is a significant print created by Camille Pissarro in 1890. This complex work, classified as a print, utilizes the demanding combination of color etching, drypoint, and aquatint to achieve its detailed and atmospheric effect. The piece falls within the productive artistic period of 1876 to 1900, a time when French artists, particularly those associated with Impressionism, rigorously explored new avenues for depicting light and rural life outside the academic system.

Pissarro’s residence in the village of Éragny-sur-Epte inspired many of his mature works, and this print captures the tranquil architectural solidity of the local church and surrounding farm structures. Rather than focusing on the dynamic urban scenes of his earlier career, Pissarro turned his attention here to the enduring simplicity of the countryside. The technical execution is paramount; the use of drypoint adds rich, burr-enhanced lines to define the foreground elements, while the etching provides structural clarity for the buildings. Crucially, the aquatint technique allows for subtle, granulated tonal areas, essential for modeling the sky and achieving the Impressionistic sense of diffused light.

The inclusion of color printing elevates this work beyond standard graphic art studies. Executing a color print in 1890 was an ambitious technical feat, requiring the precise registration of multiple plates to layer the hues correctly. Pissarro’s deliberate use of a restricted palette reinforces the quietude of the scene. This print demonstrates Pissarro’s continued dedication to graphic arts throughout his career, consistently applying his Impressionist principles to the inherently linear nature of the printing process.

As a foundational example of 19th-century French printmaking, the work resides in the prestigious collection of the National Gallery of Art, Washington D.C. It offers viewers crucial insight into Pissarro’s evolving stylistic interests during the close of the 19th century, marking his return to more traditional Impressionist subject matter following his brief yet rigorous experimentation with Neo-Impressionism.