Letters to His son Lucien. In Schirrmeister, A. (1982). Camille Pissarro . NY: Metropolitan Mus 1830: Jacob Camille Pissarro born on July 10 th in St. Thomas, Virgin Islands 1842-47: Studied in France 1855: Returned to France permanently 1859: Salon accepted one of his landscapes 1860: Became friendly with Ludovic Piette and with Julie Vellay 1863: On February 20 th , their son Lucien was born 1864: Visited Piette in Montfoucault 1865: Daughter, Jeanne-Rachel was born 1868: Salon accepted two of his Pontoise landscapes 1870: Salon accepted two landscapes and He and Julie married in London 1871: Sold two paintings to Paul Durand-Ruel; their son Georges was born 1872: Settled in Pontoise with Cezanne 1873: His paintings brought high prices at various auctions 1874: 1 st Impressionists exhibit; daughter Minette died; son Felix was born 1875: spent fall at Piette’s in Montfoucault 1876: Showed 12 works in the 2 nd Impressionist exhibition 1877: His works brought very low prices at auction; Ludovic Piette died 1878: Son Ludovic-Rodolphe was born 1879: Pissarro showed 38 works in 4 th Impressionist Exhibition 1880: Sent 11 paintings and etchings to the 5 th Impressionist exhibition 1881: Participated in 6 th Impressionist Exhibit; daughter Jeanne is born 1882: Sent 36 canvases to the 7 th Impressionist Exhibition 1884: Left Osny for Eragny; Paul Emile was born; financial problems 1886: Exhibited 20 ‘divisionist’ paintings in 8 th Impressionist Exhibition 1887: Durand-Ruel refused pointillist paintings; Financial straits 1889: Suffered from chronic eye infection 1890: Abandoned divisionism 1892: Durand-Ruel organized very successful retrospective 1897: In November, son Felix died in England at age 23 1901: Camille died of blood poisoning from an abcess of the prostate 1905: Lucien wrote to his mother: “ Don’t worry about father, HE WILL NEVER BE FORGOTTEN… .when he does come up, it will be for good . (Custom: MAY HIS MEMORY BE FOR A BLESSING!)
MAP Rothkopf, K. (2007). Pissarro: Creating The Impressionists Landscape. Baltimore: Philip Wilson Publishers, Ltd These are some of the sites around Paris where Pissarro painted 1855-57: moved to France 1858: Set up studio in Paris 1863: Moved to La Varenne-saint-Hillaire, near Marne river 1866: Moved to L’Hermitage, a small hamlet in Pontoise 1869: Moved to Louveciennes, a suburb of Paris 1870: Franco-Prussian war began 7/19. Dec.-moved to London 1871: Returned to Louveciennes; house wrecked by soldiers 1872: Moved back to Pontoise 1874: Visited Piette at Montfoucault; earliest peasant paintings 1882: Left Pontoise for Eragny and stayed until death
HAYMAKERS AT ERAGNY -Camille Pissarro, 1889 Pissarro, J. (1993). Camille Pissarro. New York: Harry Abrams Oil on canvas. 28 1/4 x 23 1/2” (73 x 60 cm). Private collection (PV729) This embodies the time-consuming limitations of Neo-Impressionism Pissarro and his family left Pontoise finally on December 1, 1882 They initially settled in a small village called Osny They then left for Eragny, where he lived until his death in 1903
THE HARVEST -Camille Pissarro, 1882 Pissarro, J. (1993). Camille Pissarro. New York: Harry Abrams. Tempera. 26 x 46 7/8” (67 x 120 cm). The National Museum of Western Art, Tokyo (PV1358) Pissarro’s first haymaking scenes were done in Montfoucault That was in 1876 Montfoucault offered Pissarro isolation from Paris and Pontoise There he studied peasant life on its own, in direct terms In the 1880s, there is a paradoxical striving for simplicity
THE HARVEST -Camille Pissarro, 1882 Pissarro, J. (1993). Camille Pissarro. New York: Harry Abrams. Tempera. 26 x 46 7/8” (67 x 120 cm). The National Museum of Western Art, Tokyo (PV1358) This is a detail of the last painting Notice the vibrant brushwork Pissarro wanted the image to look as if it was made from paint! He did not want it to appear polished or refined Rather, his technique was the modernist’s ‘truth to materials’ aesthetic
HAYMAKING IN ERAGNY -Camille Pissarro, 1901 Pissarro, J. (1993). Camille Pissarro. Oil on canvas. 21 1/4” x 23 1/2”. National Gallery of Canada, Ottawa He developed a pictorial account of people as he gazed on them There was no contortion, distortion, emphasis, or embellishment
THE THRESHING MACHINE --Camille Pissarro, 1876 Thomson, R. (1990). Camille Pissarro . NY: New Amsterdam Books. Oil on canvas. 54 x 65 cm. Private collection Notice the elongated brushstrokes in the paint application This is referred to as “painterliness” It is an approach that clearly depicts the image as a painting It is not trying to look like a photograph! The approach shows the artist’s spontaneity in capturing the image
HAYSTACK --Camille Pissarro, Pontoise, 1873 Rewald, J. (1963) Pissarro. NY: Abrams Pontoise is a crossroad of paths, roads, walks, bridges, and railways The next year, 1875, he worked in Pontoise He continued to work in Pontoise and in Montfoucault His spatial units open onto broad vistas in Pontoise This painting is of the haystack as the center of that crossroads
HARVEST --Camille Pissarro, Montfoucault, 1876 Rewald, J. (1963) Pissarro. NY: Abrams Painting done only two years after the 1st Impressionist exhibition The next year, 1875, he worked in Pontoise Participates in founding of a new association of artists, L’Union He spent the fall at Piette’s in Montfoucault He must’ve witnessed the harvest at that time In 1876, he showed 12 works in the 2 nd Impressionist exhibition He continued to work in Pontoise and in Montfoucault He worked in Montfoucault for 10 years:1872-82 His spatial units Pissarro there are smaller They less frequently open onto broad vistas than those of Pontoise Montfoucault was a tiny hamlet, with approximately 50 inhabitants It consisted of 2 or 3 farms and some 5 or 6 houses It is virtually on the border between Brittany and Normandy The nearest town is 12 to 15 miles Such a sense of distance and isolation pervades his works there His figures in Montfoucault paintings are static they stay where they are Montfoucault was a place from which there is nowhere else to go
TWILIGHT --Camille Pissarro, Eragny, 1889-90 Pissarro, J. (1993). Camille Pissarro. New York: Harry Abrams. Watercolor. 83/4 x 11” (22.4 x 28.2 cm). Private collection Pissarro established residence at Eragny-sur-epte in 1884 It was the gathering place for the his family until the end of his life Durand-Ruel was planning one man shows for each artist Pissarro’s took place in May 1883 His loose and fresh watercolor technique is vibrant and alive
SIESTA -Camille Pissarro, Eragny, 1899 Pissarro, J. (1993). Camille Pissarro. New York: Harry Abrams Oil on canvas. 25 14 x 31 1/2” (65 x 81 cm) Archives Durand Ruel (PV1078) Notice how his color is heightened in this work His brushstrokes are shorted as he explores Neo-Impressionism There is a pervading luminosity The reclining woman is enclosed and sheltered The foliage and haystack seem to encompass her figure The picnic basket balances the dark foliage It leads your eye in a circular exploration of the painting This kind of formal analysis accompanied the modernist aesthetic
HAYMAKERS RESTING -Camille Pissarro, 1891 Pissarro, J. (1993). Camille Pissarro. New York: Harry Abrams. Oil on canvas. 25 3/4 x 32” (66 x 82 cm) Marion Koogler McNay Art Museum, San Antonio, Texas Bequest åof Marion Koogler McNay Pissarro’s work may be reminiscent of Millet’s painting Yet, he opposed in vehement terms Millet’s Sentimentality moral embellishment nostalgia, and mythologies Degas captured the essential distinction: “ Millet? Yes, his sower sows for Humanity Pissarro’s peasants work for their bread.” Even Pissarro noticed this and wrote: they are all throwing Millet at my head, but Millet was biblical! For a Hebrew, there is not much of that in me. It’s curious!”
THE GLEANERS -Camille Pissarro, 1887-9 Thomson, R. (1990). Camille Pissarro . NY: New Amsterdam Books Oil on canvas. 65.5 x 81 cm. Kunstmuseum, Basel (Dr. H.C. Emile Dreyfus Foundation) Notice that the gleaners here are all women This style was at the height of Pissarro’s Neo-Impressionism From a Modernists’ perspective, note the repetition of curves in: Baskets, Sheaves of Wheat, Spine of leaning women, Headscarves Was Pissarro remembering a Biblical story? He recognized his need for key pictures He wanted to make a contribution on his own terms to painting He also wanted to respond to market pressures for significant work It had to be of a quality appropriate for exhibition status THE GLEANERS was his major painting to result from this plan It found a buyer quickly Of course, there were deductions for commission and framing Pissarro only made 650 francs As a practice, gleaning was dying out It was the traditional charity allowed to the rural poor They could collect any remaining corn after the harvest This is a harmonious, light-filled painting It celebrate woman’s ‘natural’ place in the landscape It offers an ideal of a classless community This accorded with his anarchist ideology
BIBLICAL CITATION- RUTH 2: 2 Baskin, L. (1984). The Five Scrolls . Central Conference of American Rabbis Now Naomi had a kinsman on her husband’s side a man of substance, of the family of Elimelech whose name was Boaz Ruth the Moabite said to Naomi, “ I would like to go to the fields and glean among the ears of grain…
FLOCK OF SHEEP IN A FIELD AFTER HARVEST -C. Pissarro, Eragny, 1889 Pissarro, J. (1993). Camille Pissarro. New York: Harry Abrams Oil on Canvas. 25 1/4 x 31 1/2” (65 x 81 cm). Private collection (PC736) In his review of the 7 th Impressionist exhibition(1882), a critic wrote: “ Pissarro exhibits an entire series of peasant men and women, and once again this painter shows himself to us in a new light. ..The human figure takes on a biblical air in his work. But not any more. Pissarro has entirely detached himself from Millet’s memory. He paints his country people without false grandeur, simply as he sees them.” The former stands for a sign, such as a gesture, mood, or expression It refers to an ethereal, religious, or mythical content Or it hints of some form of “beyond” be it an ideal a lost paradise a longing for happiness or a striving for something other than the present conditions None of this exists in Pissarro’s figures His paintings do not carry a message with a lofty content, any ideal Rather, the glorification is in the fact that they simply: ARE Their existence is appropriate and sufficient celebration Pissarro’s rejection of “biblical” quality is central to his work It is also a reflection of Pissarro’s aesthetics One must not attempt to impose a meaning on their reveries
SHEPERDESS BRINGING IN THE SHEEP -Camille Pissarro, 1886 Pissarro, J. (1993). Camille Pissarro. New York: Harry Abrams Oil on canvas. 18 X 15” )46 X 38 CM). PRIVATE COLLECTION (PV692) Pissarro was eminently aware of the price he paid That was for his stubbornly individualistic outlook He abhorred any art whose function was to deliver a message to render or express an idea to arouse a sentiment or to tell a story Was he displaying his Jewish stiff-necked” attitude? He equated Anarchy great art love of nature a new mode of living and a new understanding of the beautiful H is shrewd observation: too serious to appeal to the masses Not enough exotic tradition to be understood by the dilettante
THE FLOCK OF SHEEP --Camille Pissarro, Eragny, 1888 Pissarro, J. (1993). Camille Pissarro. New York: Harry Abrams Oil on canvas. 18 X 21 1/2” (82 X 65 CM). Private collection, France å This new understanding will be neither idealistic nor materialistic neither religious nor socialistic neither literary nor factual neither symbolist nor realist He accepted no representational or illustrative program at all that would hobble or circumscribe his SENSATION Pissarro’s figures are simple and sincere They are not on show No pretense animates their action or their pictorial representation They have nothing to say They are withdrawn or absorbed by their own reverie or chores Pissarro gave repeated voice to a dream: “ I believe that there will be another generation who will be more sincere, more studious, and less malign, who will achieve the dream.” Was he making a “PROPHECY?” Where did he learn the ability to be optimistic about the future? Pissarro noted the importance of the dream in anarchist thinking: “ It must be said that even though it is utopian, it is at any rate a beautiful dream and we often have examples of utopias that have turned real, nothing stops us from believing that one day this will be possible, unless man sinks and returns to total barbarity.”
BIBLICAL CITATION: Genesis 20:6 Lieber, D. (2001). (Ed.) Etz Hayim. NY: The Jewish Publication Society. Genesis 20: 6 And God said to him in the dream, “I knew…….
BIBLICAL CITATION: Numbers 11:25 Lieber, D. (2001). (Ed.) Etz Hayim. NY: The Jewish Publication Society. Numbers 11:25 Then the LORD came down in a cloud and spoke to him; He drew upon the spirit that was on him……..
SHEPARDESS AND COWGIRL -Camille Pissarro, 1887 Pissarro, J. (1993). Camille Pissarro. New York: Harry Abrams. Tempera and gouache, 14 1/4 x 18 1/4” (63 x 48 cm) Matsuoka Museum, Tokyo (PV 1418) The unfathomable aspect of his figures’ reveries interested him These dreamers resort to what he called ‘ABSOLUTE LIBERTY’ This is pertinent to the artistic individual factor—the SENSATION Pissarro defined his new method: “ I stand more than ever for the impression from memory: you get less the thing itself, but vulgarity goes also, to let the truth, half seen and felt, emerge.” Further: “ Really Impressionism was nothing but a pure theory of observation, without losing hold of fantasy, liberty, or grandeur—in a word, of all that makes an art great.”
STUDY FOR COWGIRL AT ERAGNY -Camille Pissarro, 1884 Pissarro, J. (1993). Camille Pissarro . New York: Harry Abrams Watercolor. 16 1/8 x 20 1/2” (41 x 52 cm). Private collection In 1885, Pissarro said: “ I am in a process of transformation.” He exhibited in the 1886 Impressionist show as a neo-Impressionist Self-transformation is at the very core of Pissarro’s Impressionism The method of creation was emphasized more than the content The work of art reflected a continual process of plastic exploration
COWGIRL AT ERAGNY -Camille Pissarro, 1885 Pissarro, J. (1993). Camille Pissarro. New York: Harry Abrams. Oil on canvas. 23 1/4 x 18 1/4” (59.7 x 73.4 cm) The Museum of Modern Art, Saitama (PV701) Notice the change in direction of the head of the cow on the right The neck leads to the bulging belly on the cow in the watercolor In the oil, it leads to the end of the stick that the girl holds There is a remarkable difference in paint application Can you describe the different impact? His Neo-Impressionist art is not meaningful to those in a hurry Pissarro took two concepts from Signac and Seurat: The division of the paint into tiny brushstrokes Contrasts based on pure hues and complementary colors Pissarro knew the difference between colors in light or in paint He took definite liberties with the ‘scientific’ rigor of the theories
WOMAN WITH A GOAT -Camille Pissarro, 1881 Pissarro, J. (1993). Camille Pissarro. New York: Harry Abrams. Oil on canvas. 32 X 25 1/4” (82 X 65 CM). Private collection, France (PV546) From the mid-1860s to the early 1880s, Pissarro painted in Pontoise He liked the visual tensions and polarities offered there From the 1880s onward his works followed three main directions: Figure paintings rural land urban districts
COWGIRL -Camille Pissarro, Pontoise, 1880 Pissarro, J. (1993). Camille Pissarro. New York: Harry Abrams Gouache. 13 1/4 x 18 1/4” (34 x 48 cm). Private collection. NY (PV1329) Pissarro had an instinctive drive for independence Is this his Jewish Stiff-neckedness? Exodus 32: 9 (Ex 33: 3) His non-conformism made him commit himself wholly to causes That was both in the realm of art and in the field of politics This position made him aid whatever appeared original He was an ardent and courageous advocate of innovators Pissarro supported them and advised a young painter: “ An artist must seek that aspect of nature which is compatible with his temperament and choose his subject matter more for its form and color than for its design possibilities. It is futile to outline and thereby restrict forms…..Paint what you see and what you feel. Paint freely and without hesitation, for it is important to set down the first impression….You should have but one master: nature; it is she you must always consult.”
BIBLICAL CITATION : Exodus 32: 9 The LORD further said to Moses, “I see that this is a stiff-necked people.
GIRL TENDING A COW IN A PASTURE -Camille Pissarro, 1874 Pissarro, J. (1993). Camille Pissarro. New York: Harry Abrams Oil on canvas. 18 x 21 1/4” (46 x 54.5 cm) Private collection (PV263) This is one example of the cycle of rural work It is determined by the seasons
COWGIRL -Camille Pissarro, Eragny, 1887 Pissarro, J. (1993). Camille Pissarro. New York: Harry Abrams Tempera. 21 x 251/4” (54 x 65 cm) Collection Sara Lee Corporation. Chicago (PV146) The founders of Impressionism transformed revolutionary art It became a new form of classicism with roots in scientific principles Pissarro supported theories, which led to “Scientific Impressionism” At the age of 55, he committed himself to follow a new path On February 20, 1889, he wrote to Seurat: “ The execution of my work is not rapid enough, in my opinion, and there is not the instantaneous reaction of the senses which I deem essential.”
TURKEY GIRL -Camille Pissarro, 1884 Thomson, R. (1990). Camille Pissarro . NY: New Amsterdam Books. As an artist, he was enmeshed with his social and cultural formation He was immersed in the momentum and tensions of his French society His challenge was to images about this changing world These paintings must articulate his set of values “ SENSATION” was a key word for Pissarro He said that ‘the SENSATIONS revive in September and October’ “ SYNTHESIS” was another important part of his working vocabulary It meant a little ‘craziness’ (Yiddish: Mischegas!) His political ideology was determinedly individualistic It was partly formed in reaction to his family’s attitudes His ideology finally crystallized into a commitment to anarchism That is based on a belief in the innate goodness of human nature Humans were corrupted by overbearing social organization
POTATO HARVEST -Camille Pissarro, 1874 Pissarro, J. (1993). Camille Pissarro. New York: Harry Abrams Oil on canvas. 13 x 16” (33 x 41 cm). Private collection, London (PV295) Pissarro’s most fundamental belief was in the individual R ural subjects became major forces in modern French art after 1867 The middle-class public wanted images within their own experience The countryside provided a welcome relief from the modern world He constantly reassessed a changing France He resolved tensions between the modern and the traditional He balanced a progressive execution against market demands He remained sincere to his developing ideology
PEAR TREES IN BLOOM AT ERAGNY, MORNING -Camille Pissarro, 1886 Pissarro, J. (1993). Camille Pissarro. New York: Harry Abrams. Oil on canvas. 21 x 251/4” (54 x 65 cm) Isetan Museum. Tokyo (PV697) In 12 years, Pissarro’s painting style changed dramatically After 1880, Pissarro wanted to paint large-scale figure pictures They were already a feature of his Montfoucault works His dealer Durand-Ruel, suggested that he not paint figures He wanted Pissarro to paint ‘attractive landscapes’ Durand-Ruel thought they were easier to sell
THE PORK BUTCHER -Camille Pissarro,1883 Pissarro, J. (1993). Camille Pissarro. New York: Harry Abrams Oil on canvas. 25 1/4 x 21 1/4” (66x 54 cm) The Tate Gallery, London (PV615) From 1882--he essentially lived in the same village, Eragny It was here that he created the largest bulk of his work The market theme was archetypical of his later years Yet, it was first developed in Caracas Note how the viewer has to look ‘through’ the meat stand This approach is called a ‘slice of life’ In fact, the table on the right is ‘sliced’ by the artist’s view
POTATO MARKET, BOULDEVARD DES FOSSES -Camille Pissarro, Pontoise, 1882 Pissarro, J. (1993). Camille Pissarro. New York: Harry Abrams Gouache. 10 x 8” (26 x 20 cm). Private collection (PV 1365) His first major figure paintings were created in Paris That was shortly after his arrival from the West Indies. His work made use of a phenomenal imagination an unusually rich, innovative visual mind a vast curiosity about techniques of all sorts a profound poetic sensitivity an unquenchable passion for painting A strongly defined set of intellectual positions (WHERE DID ALL THAT COME FROM? THE ONLY ANSWER IS: NATURE AND NURTURE!)
THE POULTRY MARKET --Camille Pissarro, Pontoise, 1882 Cogniat, R. (1973) Pissarro. New York: Crown Publisher Oil on canvas. 31 7/8 x 25 5/8” (81.7 x 65.7 cm). Norton Simon Art Foundation (PV576) In this painting, the viewer is almost punched in the eye The left elbow of the main figure projects toward the viewer The right elbow of the figure on the left almost intersects this point The arrangement makes for a series of dynamic diagonals These angles contrast with the round red head/hat scarf And with the eggs in the basket on the lower right
TWO YOUNG PEASANT WOMEN --Camille Pissarro, 1892 Pissarro, J. (1993). Camille Pissarro . New York: Harry Abrams Oil on canvas. 35 1/4 x 47 7/8” (89 x 165 cm) The Metropolitan Museum of Art, New York Gift of Mr. And Mrs. Charles Wrightsman, 1973. (PV 792) Formal analysis of this work provides some intriguing choices Both figures are vertical and face each other This keeps the eye of the viewer in the space between the two The right figure’s verticality is repeated and emphasized The long handled tool she holds draws attention to her posture The open space between the two is divided horizontally by the patch of grass It is divided again on a diagonal by the cast Shadow Rows of plants are also shown on a diagonal to draw the viewer’s eye in Note other instances of repetition, variation, and contrast
POULTRY MARKET -Camille Pissarro, Pontoise, 1882 Pissarro, J. (1993). Camille Pissarro. New York: Harry Abrams Tempera and pastel. 31 1/2 X 25 1/4” (81 X 65 CM) Private collection, United States. (PV1361) Once again, Pissarro uses his ‘slice of life’ approach This gives the viewer the sense of actually being in the poultry market If you were there, you might have seen these people and their surroundings Notice the vertical stripes on the largest figure They are repeated in her head scarf This verticality is also repeated in the rectangular buildings in the back
THE POULTRY MARKET -Camille Pissarro, Gisors, 1885 Pissarro, J. (1993). Camille Pissarro. New York: Harry Abrams Gouache and black chalk on paper mounted on canvas 32 1/8 x 32 1/8” (82.2 x 82.x cm). Courtesy, Museum of Fine Arts, Boston Bequest of John T. Spaulding (PV1400) Although this is a documentary painting, Pissarro’s hand/eye is evident Note the repetition of ‘pairs’ of various elements Initially, there are the two bending women in the foreground on the left The middle ground has two vertical figures on the right Towards the center of the background are two ‘pair’ of figures All these are enclosed and protected by and within two trees There are even two chickens on the right Did Pissarro make these choices consciously? Or Intuitively? Does it matter?b
THE GISORS MARKET -Camille Pissarro, 1887 Pissarro, J. (1993). Camille Pissarro. New York: Harry Abrams Gouache. 12 x 9 1/2” (31 x 24 cm). Columbus Museum of Art Gift of Howard D. and Babette L. Sirak, the Donors to the Campaign for Enduring Excellence, and Derby Fund (PV1413) This is a small painting in gouache, an opaque water based paint It focuses on a detail of a larger work done two years earlier The two figures on the right are essentially the same The two bending figures in the foreground were removed Three baskets of eggs fill that otherwise empty space The other painting was a square, while this is a small rectangle Leaves on the tree obscure some of the background architecture Here the visual action is quieter and less intense
POULTRY MARKET -Camille Pissarro, Gisors, 1889 Pissarro, J. (1993). Camille Pissarro. New York: Harry Abrams Gouache and tempera. 18 x 15: (46 x 38 cm). Private collection, New York (PV 1453) This is an interesting painting to analyze First, notice the two figures in the foreground Their bodies are almost an identical repeat—for emphasis! However, their clothing and angle of head are slightly different This is for another design element: Variation! In between these two main figures is the contrast of a 3rd and 4th figure They face one another, though on different planes This makes for dynamic eye movement for the viewer The middle ground consists of many small figures Their extension is visually stopped by the horizontal buildings Fascinating analysis, eh?
THE MARKET AT GISORS -Camille Pissarro , 1899 Pissarro, J. (1993). Camille Pissarro. New York: Harry Abrams Tempera. 20 1/4 x 24 1/8” (52 x 63 cm0. Private Collection (PV1433) Once again, we see a similar compositional arrangement The two largest figures are in the foreground In between them are two standing (contrast) figures Middle ground is populated by a mass of humanity Background and angular awning stop the viewer’s visual movement Patterned clothing (stripes, checks) provide visual interest Although this painting documents a time and place It also stands as an entity unto itself
MARKET AT PONTOISE -Camille Pissarro, 1895 Pissarro, J. (1993). Camille Pissarro. New York: Harry Abrams. Oil on canvas. 18 1/4 x 15 1/8” (46.3 x 38.3 cm) The Nelson-Atkins Museum of Art, Kansas City, MO. Nelson Fund. 33-150 (PV932) Pissarro continues to use his preferred compositional arrangement The foreground figures are supported by the central crowd Both are enclosed by the architectural background An analysis of the color choices is also revealing Pin/fuschia is dominant on the left standing figure It is repeated the headscarf of the right seated figure on the right Large expanses of white (with many colorful shadows) contrasts
MARKETPLACE -Camille Pissarro, Gisors, 1891 Pissarro, J. (1993). Camille Pissarro. New York: Harry Abrams Gouache. 13 5/8 x 10 1/4” (35 x 26.3 cm). Philadelphia Museum of Art. Louise E. Stern Collection (PV1465) Compositional or formal analysis is a strong aspect of Modernism It is built on the concept that a painting is NOT a ‘window to the world’ Rather, it is an entity that stands on its own It is complete unto itself The philosophical basis is the result of many changes in the world The simple act of painting outside (in plain air/en plain aire) is an example It came about, in part, as the result of the availability of paint in tubes It is also an objective and rational approach to designing a painting Pissarro was a master of compositional arrangement! The longer you (the viewer) looks, the more there is to see!
LA RONDE -Camille Pissarro, 1892 Pissarro, J. (1993). Camille Pissarro . New York: Harry Abrams Tempera. 25 1/4 x 31 1/2” (65 x 81 cm) Collection Adele and Herbert Klapper (PV1393) Pissarro’s style cannot be classified into neat chronological categories Even within the same Painting, his style often varies He shared his most passionate technical audacity with degas He distinguished between “ literary painting” & “a painter’s painting” The former tells a story Literary or historical Sentimental or social Mythological or political Pissarro placed the Impressionists among the other category They were the true painters He said that a true painter is very seldom found He is one who can put two tones of color in harmony Pissarro defined true painting in specifically visual terms
LA RONDE -Camille Pissarro, 1892 Pissarro, J. (1993). Camille Pissarro . New York: Harry Abrams. Watercolor over black chalk on pink paper. 18 x 23 1/2” (46 x 60 cm) Courtesy of Christie’s, London (PV1392) From the 1870s, Pissarro had passionate disdain for the Salons He refused to exhibit at them He was crucial to the formation/preservation of the Impressionists He was the only artist who showed at all 8 Impressionist exhibitions These were from 1874 to 1886—only 12 years! He had an insatiable curiosity about his younger colleagues’ work Pissarro strove for freedom necessary in his own work he also kept an open mind about the works of others He wanted to be both a recipient and a beneficiary of tolerance Was he familiar with Psalm 51, verse 12? We may never know, but it is a possibility….
BIBLICAL CITATION:Psalm 51: 12 Danziger, R.H. (2002). The ArtScroll Tehillim . New York: Mesorah Publications A pure heart create for me, O God, and a steadfast spirit renew within me.
GISORS MARKET -Camille Pissarro, 1894 Pissarro, J. (1993). Camille Pissarro. NY: Harry Abrams Pissarro wrote in 1893: “ Happy are those who see beauty in the modest spots where others see nothing. Everything is beautiful, the whole secret lies in knowing how to interpret”….Camille Pissarro, 1893
Camille Pissarro wrote: “ Painting, art in general, enchants me. It is my life. What else matters? When you put all your soul into a work, all that is noble in you, you cannot fail to find a kindred soul who understands you, and you do not need a host of such spirits. Is that not all an artist should wish for?” Was Pissarro committed to ‘REPAIRING THE WORLD?” This Jewish tradition (Pirke Avot-Ethics of the Fathers) requires you to be the best that YOU can be!
Artof Pissarro3 012010
Part three: Harvests and Markets MYRNA TECK, PH.D. INDEPENDENT SCHOLAR The Art of
The Art of PART Three: Harvests and Markets MYRNA TECK, PH.D. INDEPENDENT SCHOLAR
Painting, art in general, enchants me. It is my life. What else matters? When you put all your soul into a work, all that is noble in you, you cannot fail to find a kindred soul who understands you, and you do not need a host of such spirits. Is that not all an artist should wish for? (Letters to his son, Lucien) November 20, 1883
it is said that the love of Art cannot be TAUGHT , IT can only be CAUGHT!
So I hope I’ve made The Art of Contagious to you today!
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