Summary
Émile Bernard (1889) is recorded as the most famous painting of Émile Schuffenecker; it is held by the Museum of Fine Arts, Houston. Le retour des foins (1890) and A View Of The Cliffs Of Etretat occupy the second and third entries. Of the 26 works by Émile Schuffenecker recorded in the catalogue, the 26 best known are listed below, each entry with its date, the holding museum and a note on the work.
Entries 1 to 10: the most famous Émile Schuffenecker paintings
Émile Schuffenecker, further entries: 11 to 26
Principal subjects in the work of Émile Schuffenecker
The four subjects most frequently represented among these works, each with its best-known example.
French art 3 works
Beach 3 works
Landscape painting 2 works
Portrait 2 works
Émile Schuffenecker: holding museums
The 6 museums that hold the most of the paintings on this page.
| Museum | City | Works by Émile Schuffenecker | Paintings from this list |
|---|---|---|---|
| Cologne | 3 | Child Dreaming Before the Sea, at Sunset, Kelp Gatherers, Notre Dame in the Snow | |
| Hastenparck | 3 | Portrait of Jules Bois, Profile study of a young woman, Portrait of Madame Champsaur | |
| Houston | 1 | Émile Bernard | |
| Otterlo | 1 | Still Life with Bowl and Fruits | |
| Quimper | 1 | Rocky Coast in Brittany | |
| Cincinnati | 1 | The Road under the Trees |
Year index: the principal Émile Schuffenecker paintings
Dated entries for Émile Schuffenecker run from 1884 to 1895 (12 years); the index below lists each year with its principal works.
Works per year
Select a year to display its principal paintings.
Portrait of Jules Bois
Claude Emile Schuffenecker’s “Portrait of Jules Bois,” painted in 1895, is more than just a likeness; it's a meticulously crafted glimpse into the intellectual and spiritual currents swirling through late nineteenth-century Paris. This pastel portrait, measuring 44 x 56 cm, captures Jules Bois, a fascinating figure – a journalist, poet, Symbolist playwright, and member of the enigmatic Paris Rosicrucians. The work’s significance extends far beyond a simple representation; it serves…
Questions frequently consulted on Émile Schuffenecker's paintings
What is the best-known work of Émile Schuffenecker?Display the answer
Émile Bernard (1889), Museum of Fine Arts, Houston. The following entries are Le retour des foins (1890) and A View Of The Cliffs Of Etretat.
How old was Émile Schuffenecker in the year of Émile Bernard?Display the answer
38 years: Émile Schuffenecker was born in 1851 and Émile Bernard is dated 1889.
What are the ten best-known works by Émile Schuffenecker?Display the answer
Émile Bernard, Le retour des foins, A View Of The Cliffs Of Etretat, Evening walk, Child Dreaming Before the Sea, at Sunset, The First Murder (also known as The Death of Abel), Still Life with Bowl and Fruits, Kelp Gatherers, Rocky Coast in Brittany and Notre Dame in the Snow. The list above records the date and holding museum of each.
How many works by Émile Schuffenecker does the catalogue record?Display the answer
The catalogue records 26 works by Émile Schuffenecker, dated between 1884 and 1895.
Where are the principal works of Émile Schuffenecker held?Display the answer
Principally in Wallraf-Richartz-Museum (Cologne), Musée de Pont-Aven (Hastenparck) and Museum of Fine Arts (Houston). The museum table above gives the full distribution.
During which period did Émile Schuffenecker produce the best-known works?Display the answer
In 1884: 2 of the 26 works listed on this page are dated to that period, including Child Dreaming Before the Sea, at Sunset.
What are the earliest and latest best-known works by Émile Schuffenecker?Display the answer
The earliest dated work listed here is Child Dreaming Before the Sea, at Sunset (1884); the latest is Portrait of Jules Bois (1895).
What subjects did Émile Schuffenecker treat most often?Display the answer
French art (3), Beach (3) and Landscape painting (2), out of the 26 works listed on this page.
To which art movement is Émile Schuffenecker attributed?Display the answer
Post-impressionism and Impressionism, as documented by the works on this page.
Which paintings by Émile Schuffenecker does the Wallraf-Richartz-Museum hold?Display the answer
Child Dreaming Before the Sea, at Sunset, Kelp Gatherers and Notre Dame in the Snow are among the 3 works on this page in the collection of the Wallraf-Richartz-Museum, Cologne.
Can reproductions of Émile Schuffenecker's works be ordered?Display the answer
Yes. Each work listed on this page can be ordered from its own entry as a hand-painted oil reproduction or a fine art print, in a size of your choice.
Biography of Émile Schuffenecker
The Quiet Pioneer: The Life and Legacy of Claude Émile Schuffenecker
In the vibrant, often tumultuous tapestry of the late nineteenth-century Parisian art scene, certain names shine with an almost blinding brilliance, while others linger in the soft, atmospheric shadows. Claude Émile Schuffenecker (1851–1934) belongs to that evocative second group—a figure whose brushstrokes helped define the edges of Post-Impressionism even as he remained somewhat obscured by the monumental shadows of his contemporaries. Born in Haute-Saône, France, Schuffenecker’s journey was one of profound resilience and artistic devotion. Following the early loss of his father, a tailor from Alsace, his path was shaped by economic necessity and a disciplined upbringing. Before fully committing to the easel, he worked within the practical world of commerce, assisting in his uncle’s coffee and chocolate roasting business. This grounded, industrious spirit would later manifest in his meticulous approach to color and composition, providing a stable foundation for his experimental explorations in light and form.
Schuffenecker’s artistic soul was forged in the crucible of Parisian bohemianism, where he found kindred spirits in the likes of Paul Gauguin and Odilon Redon. His education at the Académie Colarossi allowed him to refine his technical prowess, but it was his deep, intellectual connection with Gauguin that truly catalyzed his creative evolution. The two men shared more than just a studio space; they shared a reverence for the Old Masters and a mutual desire to push beyond the fleeting impressions of Monet toward something more structural and symbolic. This period of intense camaraderie saw Schuffenecker participating in pivotal moments of art history, most notably the Volpini Exhibition, an event that served as a crucial platform for the avant-garde. Through these connections, he also became an early supporter of Vincent van Gogh, positioning himself at the very heart of a movement that would forever alter the course of modern art.
A Vision of Light and Atmosphere
The work of Schuffenecker is characterized by a delicate balance between the observational accuracy of Impressionism and the emotive, flattened planes of Post-Impressionism. His landscapes often serve as windows into a serene, almost dreamlike reality. In pieces such as In the Woods, one can observe his mastery of pastel and oil to create a sense of depth through soft, rhythmic brushwork. He possessed a unique ability to capture the way light filters through foliage or rests upon the surface of water, as seen in his evocative depictions of the Meudon region. His compositions often invite the viewer into a quiet, contemplative space, where the boundaries between the physical world and psychological mood begin to blur.
Beyond the landscape, Schuffenecker’s oeuvre includes portraits that delve into the interiority of his subjects, reflecting a profound interest in human emotion. His technique often utilized:
- Atmospheric Subtlety: A focus on the weight and texture of air and light to create mood.
- Color Harmony: An intentional use of palette to evoke specific emotional responses, influenced by his studies with Gauguin.
- Structural Composition: A move away from purely spontaneous strokes toward more deliberate, organized forms that suggest a lasting permanence.
Historical Significance and the Collector's Eye
While Schuffenecker may not have achieved the global celebrity of the masters he befriended, his historical significance is multifaceted. He was not merely a painter but an active participant in the ecosystem of art through his roles as an art teacher and a dedicated collector. His eye for talent and his commitment to fostering new movements helped sustain the momentum of the Post-Impressionist era. By documenting and supporting the works of his peers, he contributed to the very fabric of the Parisian avant-garde.
Today, Schuffenecker’s legacy is being rediscovered by scholars and enthusiasts alike who recognize the quiet strength in his vision. His ability to navigate the transition from the naturalism of the mid-century to the expressive freedom of the new century marks him as a vital link in the chain of modern art history. To study Schuffenecker is to witness the evolution of a movement, seeing through his eyes the shifting light of a world on the brink of profound change.




