Les Hérons

1859

The Salon of 1859 wins Monet's admiration

Daubigny's paintings at the Paris Salon of 1859 delighted Claude Monet, who praised him as a fine fellow who works well and understands nature.

1860s

His technique influences the future Impressionists

Daubigny's impasto in the lights, translucent glazes in the shadows and small separate strokes, which earned him both praise and harsh criticism, influenced the future Impressionists in the 1860s. Like them, he cared little for crisp contours and favoured a broad manner.

1861

Gautier faults him for sketchiness

Reviewing the Paris Salon in 1861, Théophile Gautier ironically lamented that Daubigny was content with a first impression and neglected detail, so that his pictures were no more than sketches. The critic urged him to abandon this manner as soon as possible.

1862

Experiments with cliché-verre alongside Corot

Together with Camille Corot, Daubigny experimented with the cliché-verre technique, a process halfway between photography and printmaking; he became one of its main practitioners.

1862

The etching album “Voyage en Bateau”

Daubigny published Voyage en Bateau, a series of 19 etchings (including the title page) depicting his life on and along the water in his floating studio, with his son Karl as “cabin boy”.