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Pierre Emmanuel Damoye is one of the principal artist associated with the ‘school of Pontoise’, the group of young landscapists who painted
primarily along the riverbanks of the Seine and Oise Rivers, north of Paris, often establishing homes in Pontoise. Damoye became particularly
noted for his vast skies and for his ability to give intriguing visual animation to broad, tree studded-plains and farmlands. Although Damoye
was well aware of the example of Corot and Daubigny, he built his repertoire of compositions and favored sites quite independently of the two
‘old masters’ of river landscape; and from the soft gray and ochre notes of the humid skies to which he was so attracted, Damoye developed a
very personalized color scheme.
Pierre-Emmanuel Damoye was born in Paris on February 20, 1847, and studied at the Ecole des Beaux-Arts in the studio of Bonnat, one of
the foremost figure painters and portraitists of the late nineteenth-century. Damoye, however, seems to have been committed to landscape
art from the beginning of his career, and his earliest dated works from the late 1860s clearly reveal the influence of both Daubigny and Corot,
from whom he acquired both a brighter range of colors and a looser, more ‘impressionist’ brush style that was sanctioned by the officials Ecole
Studios.
Damoye began to exhibit at the Salon of 1875 with a landscape title L’hiver, and by 1879 he had won his first medal, a bronze or third class
honor, beginning an unusually rapid rise for a landscape painter. In 1884 he received a second class medal, followed by a very prestigious
gold medal at the grand, centennial Exposition Universelle of 1889. Despite such official recognition, however, Damoye was instrumental in
forming the break-away Societe Nationale de Beaux-Arts, a rival exhibition association, and he continued to be associated with the ‘Salon du
Champ-de-Mars’ until his death in 1924.
In addition to painting the river banks and upland plateaus of the Oise and Seine basins, Damoye also frequently worked in Picardy and
throughout the great Loire valley, and made at least one trip to the Normandy coast. He was regularly recognized by liberal and conservative
art critics alike as one of the most original of the heirs to the Barbizon tradition, and frequently was cited for his ability to maintain a sense of
poetry and inspiration in his landscapes.
primarily along the riverbanks of the Seine and Oise Rivers, north of Paris, often establishing homes in Pontoise. Damoye became particularly
noted for his vast skies and for his ability to give intriguing visual animation to broad, tree studded-plains and farmlands. Although Damoye
was well aware of the example of Corot and Daubigny, he built his repertoire of compositions and favored sites quite independently of the two
‘old masters’ of river landscape; and from the soft gray and ochre notes of the humid skies to which he was so attracted, Damoye developed a
very personalized color scheme.
Pierre-Emmanuel Damoye was born in Paris on February 20, 1847, and studied at the Ecole des Beaux-Arts in the studio of Bonnat, one of
the foremost figure painters and portraitists of the late nineteenth-century. Damoye, however, seems to have been committed to landscape
art from the beginning of his career, and his earliest dated works from the late 1860s clearly reveal the influence of both Daubigny and Corot,
from whom he acquired both a brighter range of colors and a looser, more ‘impressionist’ brush style that was sanctioned by the officials Ecole
Studios.
Damoye began to exhibit at the Salon of 1875 with a landscape title L’hiver, and by 1879 he had won his first medal, a bronze or third class
honor, beginning an unusually rapid rise for a landscape painter. In 1884 he received a second class medal, followed by a very prestigious
gold medal at the grand, centennial Exposition Universelle of 1889. Despite such official recognition, however, Damoye was instrumental in
forming the break-away Societe Nationale de Beaux-Arts, a rival exhibition association, and he continued to be associated with the ‘Salon du
Champ-de-Mars’ until his death in 1924.
In addition to painting the river banks and upland plateaus of the Oise and Seine basins, Damoye also frequently worked in Picardy and
throughout the great Loire valley, and made at least one trip to the Normandy coast. He was regularly recognized by liberal and conservative
art critics alike as one of the most original of the heirs to the Barbizon tradition, and frequently was cited for his ability to maintain a sense of
poetry and inspiration in his landscapes.
Pierre Emmanuel Damoye (1847-1916)
“Pastoral Scene with Shepherd”
13 x 23.5 inches
oil on panel
signed lower left
“Pastoral Scene with Shepherd”
13 x 23.5 inches
oil on panel
signed lower left
