A Hidden Art Gem Inside a Furniture Store! Discover Renoir and the Barbizon School at Murauchi Art Museum in Hachioji

One of the highlights of the Murauchi Art Museum is its collection of Barbizon School paintings.
Among them, a must-see is Camille Corot’s “Ville d’Avray, Cabassud House”.

The painting shows a quiet suburban town called Ville-d’Avray, located about 12 km west of Paris. Corot owned a villa there, and from the mid-1830s he often stayed in the area, producing many landscape paintings inspired by its scenery.

This work belongs to Corot’s early period. From a hillside road lined with trees, your eyes wander toward the cluster of houses beyond, and finally to the expansive sky stretching out above. It leaves a calm, lasting impression.

Unlike the dreamy, structured style that defined Corot’s later years, this canvas captures the landscape more directly and naturally. The way the scene flows—from the cool shadows in the foreground to the warm, lived-in houses in the distance—feels simple yet deeply comforting.

Though modest in size, it’s a work that radiates a peaceful atmosphere and gentle afterglow, making it one of Corot’s early masterpieces.

Here’s another work by Camille Corot.
Compared to the earlier “Ville d’Avray, Cabassud House”, this painting stands out for its much more subdued colors.

Corot is often called a precursor to Impressionism, mainly because he embraced painting outdoors. But looking at this canvas, you probably wouldn’t think of the bright, colorful style we associate with the Impressionists. Instead, the mood is quiet, almost the opposite of their vivid palettes.

Corot disliked flashy colors. What mattered most to him was harmony of tones. That’s why many of his works use muted grays rather than strong, saturated hues.

From this approach came Corot’s signature effect known as “silver-gray” (gris argenté)—a shimmering blend of gray touched with light. In this painting, that silver-gray tone softly wraps the rural scenery, creating an atmosphere that feels almost dreamlike.

It may look restrained at first glance, but the subtle glow lingers in your memory.
A perfect example of Corot’s quiet yet unforgettable style.

Charles-François Daubigny was another leading figure of the Barbizon School.

The Barbizon School refers to a group of painters who gathered in the village of Barbizon, outside Paris, in the mid-19th century. At a time when the art world favored large historical or mythological scenes, these artists chose instead to paint the real countryside—farms, forests, and simple rural life. Even more radical, they often worked outdoors, observing nature directly. What seems normal today was revolutionary back then.

Among the Barbizon painters, Daubigny was especially known as a “painter of water.” He loved rivers so much that he even built a studio boat called the Botin, which he floated on the Seine and the Oise to paint views directly from the water.

This work, “Isle in the Oise River“, perfectly shows his passion. The red glow of sunset reflects across the surface of the river, filling the canvas with a calm, peaceful light. The unusually wide format emphasizes the expanse of water, making the scene feel even more serene and refreshing—like a quiet pause in nature itself.

Eugène Carrière was a French painter associated with Symbolism at the turn of the 20th century.

His paintings are instantly recognizable for their misty, fog-like surfaces. Figures seem to emerge softly from the darkness, glowing faintly as if lit from within. The result is a mysterious, dreamlike atmosphere.

This Portrait of a Woman is a perfect example of Carrière’s style. From the blurred contours, a woman’s face gently comes into focus, gazing directly at the viewer. Her expression invites you to wonder: what is she thinking?

Carrière often painted group scenes, exploring universal human themes such as the tenderness of motherhood or the solitude of human existence. Yet even in single portraits like this one, his hazy outlines and almost monochrome palette give the figure a strong presence.

Simple, subdued, yet deeply moving—this work captures the very essence of Carrière’s art.

Auguste Renoir, the great master of Impressionism, is known worldwide for his warm, glowing paintings.

Renoir married later in life—at age 49—to Aline Charigot, who was 20 years younger. (By then, they already had their first child!) In 1894, their second son, Jean Renoir, was born. Jean would later become one of France’s most celebrated film directors.

Helping raise Jean was Aline’s cousin Gabrielle, who worked as his nanny. Gabrielle became a beloved member of the Renoir household and remained close to the family throughout her life—even after Jean found success in cinema.

This painting, Jean Renoir and Gabrielle, captures the warmth of those early years. The 16-year-old Gabrielle cradles young Jean in her arms, while Renoir’s soft brushwork and glowing colors wrap the scene in tenderness.

It is more than just a portrait—it feels like a timeless glimpse into the Renoir family’s story, filled with love and gentle intimacy.

Moïse Kisling (1891–1953) was one of the leading artists of the École de Paris. His portraits are so distinctive that many people instantly say, “That must be a Kisling!”

This painting, Bust of a Young Blonde Woman, is a perfect example of his style. The figure’s large eyes and subtly distorted proportions give the image a kind of raw power, while the smooth skin tones and bright colors bring warmth and vitality.

What makes Kisling remarkable is his ability to blend stylization with individuality. Even when he uses bold deformation, he still captures the unique personality and inner spirit of his models. That’s why no two Kisling portraits ever feel the same—each one carries a different emotional presence.

Here, the green background highlights the model’s healthy complexion, while her steady gaze forward suggests quiet strength and resilience.

It’s a portrait that balances both intensity and delicacy—a signature Kisling work that shows exactly why his art remains unforgettable.

In 1940, during World War II, Paris fell under German occupation. As a Jewish artist, Moïse Kisling was forced to flee to the United States to escape persecution. He remained there until the war ended, continuing to paint in exile.

This still life, Mimosa and Tulips, was created during those difficult years abroad. While Kisling is best known for his portraits, he also painted many flower pieces. Among them, mimosa was a favorite motif. In this work, the bright yellow mimosa blossoms surround a vase of tulips like a glowing halo, filling the canvas with light.

In flower symbolism, mimosa represents joy, kindness, and comfort. In southern France, it’s also a beloved sign of spring’s arrival.

For Kisling, living in uncertainty far from home, the vibrant yellow of mimosa may have carried a deeper meaning—perhaps a reminder of peace, warmth, or hope. Knowing this, the painting’s brilliance feels even more moving, as if it holds not only flowers but also a quiet message of resilience.