THE ART OF PISSARRO (Part 2) surveys the long and productive life and paintings of JACOB CAMILLE PISSARRO. He was called the “Father of Impressionism” for his knowledge and support of those artists. He explored many subjects and a variety of aesthetic approaches in his paintings. He always glorified the landscapes and the people in his works. He said he saw “Beauty in spots where others see nothing.” (1893)
The document discusses the author's love of art and painting. It shares a quote from an artist's letter to his son about putting one's soul into their work to find others who understand them. The document also mentions that the love of art cannot be taught, but rather caught or spread to others.
Rene Magritte was a Belgian surrealist artist born in 1898. He began taking art classes in 1910 and exhibited his first paintings in 1920. Some key events in his life included his mother killing herself in 1912, marrying Georgette Berger in 1922 who became his muse, and deciding to devote himself fully to painting in 1926. He is known as a pioneer of surrealism, creating hundreds of mysterious paintings until his death from pancreatic cancer in 1967 at age 68.
The document provides instructions for a one-point perspective drawing assignment. Students are asked to choose an inspirational word and draw it in block letters using one-point perspective with a horizon line and vanishing point. The document also provides background information on Vincent Van Gogh including his life and the Expressionist style he pioneered using color and brushstrokes to convey emotion. Students are then asked to complete a one-point perspective drawing copying Van Gogh's Bedroom in Arles and imitating his Expressionist technique and use of color.
This document discusses different forms of art including visual arts, film, performance art, poetry performance, architecture, dance, literary art, theater, and applied arts. It provides descriptions of each art form, noting that visual arts appeal to sight and include mediums like painting and sculpture. Film is described as using sequences of still images to create the illusion of movement. Performance art uses the human body as a medium. Architecture creates beautiful buildings through structure, lines, and forms. Dance follows rhythmic music through movement. Literary art uses words to express emotions. Theater presents imaginary events with live performers. Applied arts increase the aesthetic value of everyday items.
Moon Rahman is a freelance artist from Bangladesh who paints her thoughts and inner fears onto canvas. She was unaware of her artistic talents until 2004 when she began experimenting with leftover paints while her husband was away. Her works depict biomorphic forms and everyday objects composed in a way that evokes hidden violence and fear. Living in Dhaka exposed her to many unknown faces and facts that may have influenced her disturbing aesthetic. Though largely self-taught, her pieces possess a quality that engages contemporary viewers in a spiritual dialogue about humanity's unsettling fears within the universe.
Pantomine is an online magazine focused on color, graphic design, art, and fashion. The magazine divides its content by color and its mission is to showcase visual beauty through color. It believes in using color and art to appeal to the soul in both a rational and irrational way.
This document discusses modern art and culture. It defines art as the creative expression of images or objects through mediums like painting and sculpture. Culture is defined as the behaviors, beliefs, and products that make up a society. Modern art rejects traditional forms and emphasizes individual experimentation. The document explores various topics related to art, including its purpose to express beauty, its role in communication, and its ability to reform individuals and society. It encourages the reader to create their own artwork expressing feelings and explains how art illuminates learning across subjects.
This document discusses various types of art including painting styles like pop art, realism, cubism, and surrealism. It asks the reader to identify different types of paintings like abstract, landscape, sculpture, self-portrait, still-life, and portrait. It provides words to complete sentences about painting qualities like mood, style, relevance, and use of color. It encourages speculating about meanings and stories behind paintings. Finally, it prompts discussion around considering graffiti and other expressions as art forms.
The document discusses the author's love of art and painting. It shares a quote from an artist's letter to his son about putting one's soul into their work to find others who understand them. The document also mentions that the love of art cannot be taught, but rather caught or spread to others.
Rene Magritte was a Belgian surrealist artist born in 1898. He began taking art classes in 1910 and exhibited his first paintings in 1920. Some key events in his life included his mother killing herself in 1912, marrying Georgette Berger in 1922 who became his muse, and deciding to devote himself fully to painting in 1926. He is known as a pioneer of surrealism, creating hundreds of mysterious paintings until his death from pancreatic cancer in 1967 at age 68.
The document provides instructions for a one-point perspective drawing assignment. Students are asked to choose an inspirational word and draw it in block letters using one-point perspective with a horizon line and vanishing point. The document also provides background information on Vincent Van Gogh including his life and the Expressionist style he pioneered using color and brushstrokes to convey emotion. Students are then asked to complete a one-point perspective drawing copying Van Gogh's Bedroom in Arles and imitating his Expressionist technique and use of color.
This document discusses different forms of art including visual arts, film, performance art, poetry performance, architecture, dance, literary art, theater, and applied arts. It provides descriptions of each art form, noting that visual arts appeal to sight and include mediums like painting and sculpture. Film is described as using sequences of still images to create the illusion of movement. Performance art uses the human body as a medium. Architecture creates beautiful buildings through structure, lines, and forms. Dance follows rhythmic music through movement. Literary art uses words to express emotions. Theater presents imaginary events with live performers. Applied arts increase the aesthetic value of everyday items.
Moon Rahman is a freelance artist from Bangladesh who paints her thoughts and inner fears onto canvas. She was unaware of her artistic talents until 2004 when she began experimenting with leftover paints while her husband was away. Her works depict biomorphic forms and everyday objects composed in a way that evokes hidden violence and fear. Living in Dhaka exposed her to many unknown faces and facts that may have influenced her disturbing aesthetic. Though largely self-taught, her pieces possess a quality that engages contemporary viewers in a spiritual dialogue about humanity's unsettling fears within the universe.
Pantomine is an online magazine focused on color, graphic design, art, and fashion. The magazine divides its content by color and its mission is to showcase visual beauty through color. It believes in using color and art to appeal to the soul in both a rational and irrational way.
This document discusses modern art and culture. It defines art as the creative expression of images or objects through mediums like painting and sculpture. Culture is defined as the behaviors, beliefs, and products that make up a society. Modern art rejects traditional forms and emphasizes individual experimentation. The document explores various topics related to art, including its purpose to express beauty, its role in communication, and its ability to reform individuals and society. It encourages the reader to create their own artwork expressing feelings and explains how art illuminates learning across subjects.
This document discusses various types of art including painting styles like pop art, realism, cubism, and surrealism. It asks the reader to identify different types of paintings like abstract, landscape, sculpture, self-portrait, still-life, and portrait. It provides words to complete sentences about painting qualities like mood, style, relevance, and use of color. It encourages speculating about meanings and stories behind paintings. Finally, it prompts discussion around considering graffiti and other expressions as art forms.
Sarolta Ban was born in 1982 in Budapest, Hungary. She started as a jewelry designer but later discovered her passion for digital photo manipulation, which became her main artistic focus. In her photos, she combines ordinary elements to give them new stories and meanings. The interpretations of her pictures are open-ended, allowing each viewer to find their own personal aspects within them.
Sergei Isupov's artwork "The History of Lovers" depicts a strange folk narrative character through a unique ceramic sculpture that leaves the story and message ambiguous. Isupov draws inspiration from human diversity and sees his works as created by people rather than himself. The artwork aims to engage viewers in thinking about the story and meaning. Isupov's sculptures have robust, racially distinct facial features representing universal experiences and elaborate designs on the bottom speaking to identity, sexuality, and relationships.
This document provides biographical information about several artists:
1) Bahram Dabiri, an Iranian painter born in 1950 who studied at Tehran University and has exhibited widely. His early influences included Bosch and Bruegel.
2) Toby Brown, a British artist whose work is inspired by music and explores emotions. He works primarily in oils on a large scale.
3) Marc Chagall, a renowned 20th century Russian-French artist born in 1887 in what is now Belarus. Associated with modernist styles like Cubism and Fauvism, he synthesized these influences with his Jewish identity and folk culture.
The document also describes an upcoming art competition focused on drawings with a September 14
0873103 Art as a Form of Human Expressionmprimrose
My presentation is going to be about art as a form of human expression; The purpose of works of art may be to communicate ideas through the politically-, spiritually-, or philosophically-motivated art.
Dragana has been interested in photography, film, and visual storytelling from a young age through experiences with ballet, opera, and graphic design. She pursued early childhood education but continued developing her creative skills in photography, filmmaking, and visual arts. After taking many photos of musicians at concerts, a professor inspired her to study filmmaking formally. She now works as a cinematographer, using her skills with lighting, composition, and capturing the essence of a moment to tell visual stories that can inspire hope and love in others.
Niko Pirosmani was a Georgian primitivist painter born in 1862 who taught himself to paint. He specialized in painting directly onto black oilcloth and made signboards and portraits by commission in Tbilisi. Pirosmani painted many animal and historical scenes depicting everyday Georgian life until his death from malnutrition in 1918.
Lado Gudiashvili was a 20th century Georgian painter born in Tiflis (now Tbilisi) in 1890 who studied art there. His early works featured dramatic scenes with poetic mystery but his colors became warmer over time. He worked as a monumentalist and illustrator until his death in 1980 in Tbilisi.
Elene Akhvlediani was
Symbolism and various art movements have played an important role in Indian art traditions. The Samikshavad movement in the 1970s aimed to free art from personal obligations and socialize it. The Bengal School of Art reacted against academic styles by looking to medieval Indian traditions like paintings from Ajanta and Bagh caves. It sought to develop a genuine Indian style and identity for art. Major influencers included the Mughal, French, and British empires, while prominent artists involved Abanindranath Tagore, Amrita Sher-Gil, and Jamini Roy.
The document is an artist statement by Kazutaka Hirota describing his artistic approach and goals. Hirota was inspired to focus on painting after being asked why he didn't paint a propeller in art school in Japan. He strives through his paintings to achieve a balance or "homeostasis" in human existence by connecting viewers to nature in order to counteract excessive rationality. Hirota believes formative, non-verbal art can provide a sense of nature without relying on language. His goal is for his paintings to act as a cultural bridge between Western and Asian art by applying Japanese Buddhist ideas to Western painting methods. He also aims to work as an art educator to show how Eastern and Western approaches can be combined.
The document provides information about the Jewish holiday of Sukkot through descriptions, images, and explanations of various symbols and rituals associated with Sukkot, including: the four species; decorations for sukkah booths such as painted scenes, papercuts, and textiles; and decorative etrog containers and boxes for holding the citron fruit used during the holiday observances.
1. The document discusses a woman who saw men sculpted on walls in vermillion, referencing a biblical verse from Ezekiel.
2. It then quotes an artist saying that painting and art enchant him and are his life, as putting his soul into his work allows him to find others who understand him, which is all an artist should wish for.
3. The document concludes by saying it hopes to have made the art of being contagious.
This is a set of slides looking what constitutes a professional artist...there is much conjecture about artists and their identifies. This prsentation hopes to present some of the debate
This document is a continuation of an analysis of the art of Reuven Rubin. It discusses how the love of art cannot be taught, but rather can only be caught or spread from one person to another in a contagious manner. The author hopes to make the passion and techniques of Rubin's art contagious to the reader through their analysis.
The document discusses the art of the High Holidays including Rosh Hashanah and Yom Kippur. It lists important prayers and readings for those holidays such as Shema, Kaddish, Avinu Malkenu, Unetaneh Tokef, Kol Nidre, Akeda, and the Haftorah of Jonah. It notes that the love of art cannot be taught but rather caught, and hopes to make the art of the High Holidays contagious to the reader.
This document discusses the art of family and friends. It references a biblical verse about Chaldean figures sculpted on walls and quotes an artist saying that when you put your soul into your work, you will find others who understand you, which is all an artist could want. It concludes by saying the love of art cannot be taught but must be caught.
The document discusses the author's love of art and how it is their life. It shares a quote about how an artist puts their soul into their work and does not need many people to understand them, just a kindred soul. The document also contains a saying that the love of art cannot be taught but only caught, hoping to make the topic of art contagious to the reader.
The document provides information on finalists for the Cliftons Art Prize 2011 located in various cities. It includes details about 12 artworks by 9 artists from Brisbane, including the titles, media, sizes, descriptions and artist bios. The artworks encompass various mediums like graphite drawing, soft sculpture, ink drawing and mixed media painting. The artists' bios describe their artistic practices and backgrounds.
THE ART OF CHAGALL (Part 1)
THE ART OF CHAGALL is a survey of the early life and art of this quintessential Jewish artist. From his birth in Vitebsk, an East European village (shtetl), he goes to St. Petersburg to study art and then to Paris. There he encounters the avant-garde aesthetics of Modernism. It has a powerful impact upon him and his future development. The beginnings of an exciting life!
The document discusses the idea that love of art cannot be taught, but can only be awakened within individuals through exposure to great works of art and artists. While some are naturally more receptive to art than others, regularly viewing and experiencing beautiful creations can inspire an appreciation and passion for art within most people.
The passage describes the ritual observance of the Passover feast as commanded by God to the Israelites before their exodus from Egypt. It details how they were to select an unblemished lamb on the 10th day of the month and slaughter it at twilight on the 14th day. They were to smear its blood on their doorposts and eat the meat that night while dressed for travel. This was to serve as a memorial meal commemorating God delivering them from bondage in Egypt when he struck down the firstborn of Egypt but passed over Israelite houses with lamb's blood on their doors.
This document provides an overview of the Jewish holiday of Purim, as told through the story in the Book of Esther. It discusses the historical context of the story, summarizes the key events, and explores how Purim is celebrated through traditional customs like reading the Scroll of Esther, wearing costumes, giving gifts to the poor, and enacting parodies of the story. The document also includes images from historical manuscripts and artworks depicting scenes from the Book of Esther and Purim celebrations.
The document discusses the biblical origins and importance of the Sabbath. It cites Genesis 2:1-3 which describes God resting on the seventh day and blessing it. It also cites Exodus 31:16, in which the Israelites are commanded to observe the Sabbath as a perpetual covenant. The document hopes to make the art of the Sabbath contagious to the reader.
Sarolta Ban was born in 1982 in Budapest, Hungary. She started as a jewelry designer but later discovered her passion for digital photo manipulation, which became her main artistic focus. In her photos, she combines ordinary elements to give them new stories and meanings. The interpretations of her pictures are open-ended, allowing each viewer to find their own personal aspects within them.
Sergei Isupov's artwork "The History of Lovers" depicts a strange folk narrative character through a unique ceramic sculpture that leaves the story and message ambiguous. Isupov draws inspiration from human diversity and sees his works as created by people rather than himself. The artwork aims to engage viewers in thinking about the story and meaning. Isupov's sculptures have robust, racially distinct facial features representing universal experiences and elaborate designs on the bottom speaking to identity, sexuality, and relationships.
This document provides biographical information about several artists:
1) Bahram Dabiri, an Iranian painter born in 1950 who studied at Tehran University and has exhibited widely. His early influences included Bosch and Bruegel.
2) Toby Brown, a British artist whose work is inspired by music and explores emotions. He works primarily in oils on a large scale.
3) Marc Chagall, a renowned 20th century Russian-French artist born in 1887 in what is now Belarus. Associated with modernist styles like Cubism and Fauvism, he synthesized these influences with his Jewish identity and folk culture.
The document also describes an upcoming art competition focused on drawings with a September 14
0873103 Art as a Form of Human Expressionmprimrose
My presentation is going to be about art as a form of human expression; The purpose of works of art may be to communicate ideas through the politically-, spiritually-, or philosophically-motivated art.
Dragana has been interested in photography, film, and visual storytelling from a young age through experiences with ballet, opera, and graphic design. She pursued early childhood education but continued developing her creative skills in photography, filmmaking, and visual arts. After taking many photos of musicians at concerts, a professor inspired her to study filmmaking formally. She now works as a cinematographer, using her skills with lighting, composition, and capturing the essence of a moment to tell visual stories that can inspire hope and love in others.
Niko Pirosmani was a Georgian primitivist painter born in 1862 who taught himself to paint. He specialized in painting directly onto black oilcloth and made signboards and portraits by commission in Tbilisi. Pirosmani painted many animal and historical scenes depicting everyday Georgian life until his death from malnutrition in 1918.
Lado Gudiashvili was a 20th century Georgian painter born in Tiflis (now Tbilisi) in 1890 who studied art there. His early works featured dramatic scenes with poetic mystery but his colors became warmer over time. He worked as a monumentalist and illustrator until his death in 1980 in Tbilisi.
Elene Akhvlediani was
Symbolism and various art movements have played an important role in Indian art traditions. The Samikshavad movement in the 1970s aimed to free art from personal obligations and socialize it. The Bengal School of Art reacted against academic styles by looking to medieval Indian traditions like paintings from Ajanta and Bagh caves. It sought to develop a genuine Indian style and identity for art. Major influencers included the Mughal, French, and British empires, while prominent artists involved Abanindranath Tagore, Amrita Sher-Gil, and Jamini Roy.
The document is an artist statement by Kazutaka Hirota describing his artistic approach and goals. Hirota was inspired to focus on painting after being asked why he didn't paint a propeller in art school in Japan. He strives through his paintings to achieve a balance or "homeostasis" in human existence by connecting viewers to nature in order to counteract excessive rationality. Hirota believes formative, non-verbal art can provide a sense of nature without relying on language. His goal is for his paintings to act as a cultural bridge between Western and Asian art by applying Japanese Buddhist ideas to Western painting methods. He also aims to work as an art educator to show how Eastern and Western approaches can be combined.
The document provides information about the Jewish holiday of Sukkot through descriptions, images, and explanations of various symbols and rituals associated with Sukkot, including: the four species; decorations for sukkah booths such as painted scenes, papercuts, and textiles; and decorative etrog containers and boxes for holding the citron fruit used during the holiday observances.
1. The document discusses a woman who saw men sculpted on walls in vermillion, referencing a biblical verse from Ezekiel.
2. It then quotes an artist saying that painting and art enchant him and are his life, as putting his soul into his work allows him to find others who understand him, which is all an artist should wish for.
3. The document concludes by saying it hopes to have made the art of being contagious.
This is a set of slides looking what constitutes a professional artist...there is much conjecture about artists and their identifies. This prsentation hopes to present some of the debate
This document is a continuation of an analysis of the art of Reuven Rubin. It discusses how the love of art cannot be taught, but rather can only be caught or spread from one person to another in a contagious manner. The author hopes to make the passion and techniques of Rubin's art contagious to the reader through their analysis.
The document discusses the art of the High Holidays including Rosh Hashanah and Yom Kippur. It lists important prayers and readings for those holidays such as Shema, Kaddish, Avinu Malkenu, Unetaneh Tokef, Kol Nidre, Akeda, and the Haftorah of Jonah. It notes that the love of art cannot be taught but rather caught, and hopes to make the art of the High Holidays contagious to the reader.
This document discusses the art of family and friends. It references a biblical verse about Chaldean figures sculpted on walls and quotes an artist saying that when you put your soul into your work, you will find others who understand you, which is all an artist could want. It concludes by saying the love of art cannot be taught but must be caught.
The document discusses the author's love of art and how it is their life. It shares a quote about how an artist puts their soul into their work and does not need many people to understand them, just a kindred soul. The document also contains a saying that the love of art cannot be taught but only caught, hoping to make the topic of art contagious to the reader.
The document provides information on finalists for the Cliftons Art Prize 2011 located in various cities. It includes details about 12 artworks by 9 artists from Brisbane, including the titles, media, sizes, descriptions and artist bios. The artworks encompass various mediums like graphite drawing, soft sculpture, ink drawing and mixed media painting. The artists' bios describe their artistic practices and backgrounds.
THE ART OF CHAGALL (Part 1)
THE ART OF CHAGALL is a survey of the early life and art of this quintessential Jewish artist. From his birth in Vitebsk, an East European village (shtetl), he goes to St. Petersburg to study art and then to Paris. There he encounters the avant-garde aesthetics of Modernism. It has a powerful impact upon him and his future development. The beginnings of an exciting life!
The document discusses the idea that love of art cannot be taught, but can only be awakened within individuals through exposure to great works of art and artists. While some are naturally more receptive to art than others, regularly viewing and experiencing beautiful creations can inspire an appreciation and passion for art within most people.
The passage describes the ritual observance of the Passover feast as commanded by God to the Israelites before their exodus from Egypt. It details how they were to select an unblemished lamb on the 10th day of the month and slaughter it at twilight on the 14th day. They were to smear its blood on their doorposts and eat the meat that night while dressed for travel. This was to serve as a memorial meal commemorating God delivering them from bondage in Egypt when he struck down the firstborn of Egypt but passed over Israelite houses with lamb's blood on their doors.
This document provides an overview of the Jewish holiday of Purim, as told through the story in the Book of Esther. It discusses the historical context of the story, summarizes the key events, and explores how Purim is celebrated through traditional customs like reading the Scroll of Esther, wearing costumes, giving gifts to the poor, and enacting parodies of the story. The document also includes images from historical manuscripts and artworks depicting scenes from the Book of Esther and Purim celebrations.
The document discusses the biblical origins and importance of the Sabbath. It cites Genesis 2:1-3 which describes God resting on the seventh day and blessing it. It also cites Exodus 31:16, in which the Israelites are commanded to observe the Sabbath as a perpetual covenant. The document hopes to make the art of the Sabbath contagious to the reader.
This document is part three of an article about the art of Reuven Rubin by Myrna Teck, an independent scholar. It discusses how the love of art cannot be taught, but rather can only be caught or spread from one person to another. The author hopes that through this article, she has helped spread and make contagious the art of Reuven Rubin to the reader.
The document discusses the art of Reuven Rubin and how the love of art cannot be taught but rather caught from exposure to art. It hopes to make the love of Rubin's art contagious to the reader through exposure to discussing aspects of his work and life as an artist.
This document is part two of an article about the art of Reuven Rubin by Myrna Teck. It discusses how the love of art cannot be taught but rather caught by being exposed to inspiring works. The author hopes to make the passion and techniques of Rubin's art contagious to the reader through the analysis in part two of the article.
This document is part two of an article about the art of Reuven Rubin by Myrna Teck. It discusses how the love of art cannot be taught but rather caught or learned through exposure. The author hopes to make the passion and techniques of Rubin's art contagious to the reader through the discussion in part two of the article.
This document is a continuation of an analysis of the art of Reuven Rubin. It discusses how the love of art cannot be taught, but rather can only be caught or spread from one person to another in a contagious manner. The author hopes to make the passion and techniques of Rubin's art contagious to the reader through their analysis.
This document is part two of an article about the art of Reuven Rubin by Myrna Teck. It discusses how the love of art cannot be taught, but rather caught through exposure. The author hopes to make the passion and techniques of Rubin's art contagious to the reader in this second part of the article.
This document is part two of an article about the art of Reuven Rubin by Myrna Teck. It discusses how the love of art cannot be taught, but rather caught through exposure. The author hopes to make the passion and techniques of Rubin's art contagious to the reader in this second part of the article.
This document appears to be part two of a book or paper on the art of Reuven Rubin written by Myrna Teck, an independent scholar. It contains page numbers but no other text content. The final pages state that the love of art cannot be taught but only caught, and the author hopes to make the topic of Rubin's art contagious to the reader.
This document is part two of an article about the art of Reuven Rubin by Myrna Teck. It discusses how the love of art cannot be taught, but rather caught through exposure. The author hopes to make the passion and techniques of Rubin's art contagious to the reader in this second part of the article.
This document appears to be part two of a book or paper on the art of Reuven Rubin written by Myrna Teck, an independent scholar. It contains page numbers but no other text content. The final pages state that the love of art cannot be taught but only caught, and the author hopes to make the topic of Rubin's art contagious to the reader.
This document appears to be part two of a book or paper on the art of Reuven Rubin written by Myrna Teck, an independent scholar. It contains page numbers but no other text content. The final pages state that the love of art cannot be taught but only caught, and the author hopes to make the topic of Rubin's art contagious to the reader.
The High Holidays consist of Rosh Hashonah (Head of the Year: 9/08-9/10) and Yom Kippur (Day of Atonement: 9/17-9/10). The 10 Days between the two holidays are called “The Days of Awe.” Jewish people apologize to anyone whom they may have offended and look within inward to be accepted into the Book of Life, which closes at the end of Yom Kippur. The High Holidays are the most important Holy days in the Jewish calendar, after the Sabbath.
THE ART OF THE HIGH HOLIDAYS is a chronological and geographic overview of visual art objects, synagogues, and their symbolism related to these two observances.
The document discusses the art of the Jewish High Holidays including Rosh Hashanah and Yom Kippur. It lists important prayers and rituals associated with those holidays such as Shema, Kaddish, Avinu Malkenu, Unetaneh Tokef, Kol Nidre, Akeda, and the Haftorah reading from Jonah. The author hopes to make the art of the High Holidays contagious to the reader.
The document discusses Reuven Rubin, a 20th century artist, and is presented by an independent scholar, Myrna Teck. Teck hopes to make the art of Reuven Rubin contagious to the reader through her discussion, believing a love of art cannot be taught but can only be caught or inspired in others. She presents the first part of her discussion on Rubin's art.
This short document discusses the art of persuasion and suggests that while it cannot be taught directly, the art can be learned through exposure, similar to how ideas or behaviors can be "caught" from others. It acknowledges attempting to make the art of persuasion contagious or infectious to the reader through the document.
This presentation was provided by Rebecca Benner, Ph.D., of the American Society of Anesthesiologists, for the second session of NISO's 2024 Training Series "DEIA in the Scholarly Landscape." Session Two: 'Expanding Pathways to Publishing Careers,' was held June 13, 2024.
How Barcodes Can Be Leveraged Within Odoo 17Celine George
In this presentation, we will explore how barcodes can be leveraged within Odoo 17 to streamline our manufacturing processes. We will cover the configuration steps, how to utilize barcodes in different manufacturing scenarios, and the overall benefits of implementing this technology.
Level 3 NCEA - NZ: A Nation In the Making 1872 - 1900 SML.pptHenry Hollis
The History of NZ 1870-1900.
Making of a Nation.
From the NZ Wars to Liberals,
Richard Seddon, George Grey,
Social Laboratory, New Zealand,
Confiscations, Kotahitanga, Kingitanga, Parliament, Suffrage, Repudiation, Economic Change, Agriculture, Gold Mining, Timber, Flax, Sheep, Dairying,
THE SACRIFICE HOW PRO-PALESTINE PROTESTS STUDENTS ARE SACRIFICING TO CHANGE T...indexPub
The recent surge in pro-Palestine student activism has prompted significant responses from universities, ranging from negotiations and divestment commitments to increased transparency about investments in companies supporting the war on Gaza. This activism has led to the cessation of student encampments but also highlighted the substantial sacrifices made by students, including academic disruptions and personal risks. The primary drivers of these protests are poor university administration, lack of transparency, and inadequate communication between officials and students. This study examines the profound emotional, psychological, and professional impacts on students engaged in pro-Palestine protests, focusing on Generation Z's (Gen-Z) activism dynamics. This paper explores the significant sacrifices made by these students and even the professors supporting the pro-Palestine movement, with a focus on recent global movements. Through an in-depth analysis of printed and electronic media, the study examines the impacts of these sacrifices on the academic and personal lives of those involved. The paper highlights examples from various universities, demonstrating student activism's long-term and short-term effects, including disciplinary actions, social backlash, and career implications. The researchers also explore the broader implications of student sacrifices. The findings reveal that these sacrifices are driven by a profound commitment to justice and human rights, and are influenced by the increasing availability of information, peer interactions, and personal convictions. The study also discusses the broader implications of this activism, comparing it to historical precedents and assessing its potential to influence policy and public opinion. The emotional and psychological toll on student activists is significant, but their sense of purpose and community support mitigates some of these challenges. However, the researchers call for acknowledging the broader Impact of these sacrifices on the future global movement of FreePalestine.
Elevate Your Nonprofit's Online Presence_ A Guide to Effective SEO Strategies...TechSoup
Whether you're new to SEO or looking to refine your existing strategies, this webinar will provide you with actionable insights and practical tips to elevate your nonprofit's online presence.
2. The Art of Part Two: PEOPLE MYRNA TECK, PH.D. INDEPENDENT SCHOLAR
3.
4.
5.
6.
7.
8.
9.
10.
11.
12.
13.
14.
15.
16.
17.
18.
19.
20.
21.
22.
23.
24.
25.
26.
27.
28.
29.
30.
31.
32.
33.
34.
35.
36.
37.
38.
39.
40.
41.
42.
43.
44.
45.
46.
47.
48.
49.
50. 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
51. It is said that the love of ART cannot be TAUGHT IT can only be CAUGHT!
52. So, I hope I’ve made The Art of Contagious to you today!
Editor's Notes
0. THIS MATERIAL IS FOR EDUCATIONAL USE ONLY
THE ART OF PISSARRO Pissarro, L.& Rewald, J. (Ed.) (1981). Letters to His son Lucien. Nov. 20, 1883, p. 38. In Schirrmeister, A. (1982). Camille Pissarro . NY: The Metropolitan Mus. Review: 1830: Jacob Camille Pissarro born on July 10 th in St. Thomas 1842-47: Studies in France 1855: Returns to France permanently 1859: Salon accepts one of his landscapes 1860: Becomes friendly with Ludovic Piette and with Julie Vellay 1862: Julie has a miscarriage 1863: O on February 20 th , their son Lucien is born 1864: Visits Piette in Montfoucault 1865: Daughter, Jeanne-Rachel is born 1868: Salon accepts two of his Pontoise landscapes 1870: Salon accepts two landscapes. He flees Louveciennes during Franco-Prussian War Marries Julie in London while staying at home of half-sister 1871: Sells two paintings to Paul Durand-Ruel In November, their son Georges is born 1872: Settles in Pontoise with Cezanne 1873: His paintings bring high prices at various auctions He and Monet organize independent exhibitions opposed to Salon 1874: 1 st exhibition of “Impressionists” dubbed by ironic critic In April, daughter Jeanne-Rachel (Minette) dies at age 9 In July, son Felix is born 1875: spends fall at Piette’s in Montfoucault 1876: Shows 12 works in the 2 nd Impressionist exhibition 1877: His works bring very low prices at auction Ludovic Piette dies 1878: In September, his son Ludovic-Rodolphe is born 1879: Pissarro shows 38 works in 4 th Impressionist Exhibition 1880: Sends 11 paintings and etchings to the 5 th Impressionist exhibition 1881: Participates with 11 landscapes in 6 th Impressionist Exhibition In August, his daughter Jeanne is born 1882: Sends 36 canvases and gouaches to the 7 th Impressionist Exhibition 1884: Leaves Osny for Eragny near Gisors (Eure) Their last child, Paul Emile is born Pissarro is faced with grave financial problems. 1886: Exhibits 20 ‘divisionist’ paintings in 8 th Impressionist Exhibition 1887: Durand-Ruel refuses to buy his recent, pointillist paintings Pissarro is again in financial straits Julie is so discouraged that she considers suicide 1889: Suffers from chronic eye infection 1890: Abandons divisionism Theo asks Camille to accept Vincent as a boarder Mme Pissarro objects to a SICK man among her small children Camille listens to his wife! (BIBLICAL CITATION!) 1892: Durand-Ruel organizes very successful retrospective Lucien marries Esther Bensusan, a Sephardic Jew (What are the chances of this happening? The implication is that some Jewish attitudes, beliefs, and behaviors were transmitted to his son. These are all cultural characteristics). 1897: In November, son Felix dies in England at age 23 Exhibits in Pittsburgh at the Second International Show 1901: Dies of blood poisoning from 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 . (MAY HIS MEMORY BE FOR A BLESSING!)
2. MAP Rothkopf, K. (2007). Pissarro: Creating The Impressionist landscape. Baltimore: Philip Wilson Publishers, Ltd. These are some of the sites around Paris where Pissarro painted 1855-57: moves to France 1858: Sets up studio in Paris 1863: Moves to La Varenne-saint-Hillaire,near Marne river 1866: Moves to L’Hermitage, a small hamlet in Pontoise 1869: Moves to Louveciennes, a suburb of Paris 1870: Franco-Prussian war begins 7/19. Dec.-moves to London 1871: Returns to Louveciennes; house wrecked by soldiers 1872: Moves back to Pontoise 1874: Visits Piette at Montfoucault; earliest peasant paintings 1882: Left Pontoise for Eragny and stayed until death
PISSARRO PAINTING OUTSIDE-Ludovic Piette, 1874-76 Rothkopf, K. (2007). Pissarro: Creating The Impressionist landscape. Baltimore: Philip Wilson Publishers, Ltd. P.23. Oil on canvas. Private collection, Paris. 1873: His paintings bring high prices at various auctions He and Monet organize independent exhibitions opposed to Salon 1874: 1 st exhibition of “Impressionists” dubbed by ironic critic In April, daughter Jeanne-Rachel (Minette) dies at age 9 In July, son Felix is born 1875: spends fall at Piette’s in Montfoucault 1876: Shows 12 works in the 2 nd Impressionist exhibition Piette painted this while Pissarro visited him at Montfoucault There the artist made about 20 painting They include some of his earliest paintings of peasants In September, his son Ludovic-Rodolphe was born He was named in memory of his friend Ludovic Piette Naming an infant in honor and memory is a great Jewish tribute Camille had met Ludovic at the Academie Suisse around 1860 Camille went to Montfoucault during the Franco-Prussian War He and his family took refuge with Ludovic Piette and his family There is no paintings of Montfoucault during his 4-month stay there They remained friends until Piette’s death on April 15, 1878 Before they came, Piette wrote to Pissarro: o “….we have to live with wolves: living in a land of prejudice. I am forced to accept it in order to avoid gossip. Consequently, as the rule goes, I must pretend that you are married, and you have to let them believe it: this will cut short all the ramblings….This is stupid but necessary.” Camille’s mother withdrew her denial of consent to a wedding She suggested that they: “ wait until all these events [probably a reference to the Franco-Prussian War] are over, then you could go to London and there marry without my consent and without anyone knowing about it. I will supply you with the money for this trip. God willing.” Julie pressured Camille to marry her and legalize their union In Montfoucault, She gave birth to Adele-Emma on October 21 st The infant died three weeks later, on November 15 Pissarro’s mother feared the Prussian army and left for London She sent a condolence note to her son Two weeks later their 7-month stay in London came to an end They returned to Louveciennes.
PORTRAIT OF MADAME PISSARRO, 1883 Pissarro, J. (1993). Camille Pissarro. New York: Harry Abrams. Pastel. 23 3/4 x 18 1/4” (61 x 47 cm). Private collection (PV1565) And Rewald, J. (1963) Pissarro. NY: Abrams Pastel. Private collection, England. 1877: His works bring very low prices at auction Ludovic Piette dies 1878: In September, his son Ludovic-Rodolphe is born 1879: Pissarro shows 38 works in 4 th Impressionist Exhibition 1880: Sends 11 paintings and etchings to the 5 th Impressionist exhibition 1881: Participates with 11 landscapes in 6 th Impressionist Exhibition In August, his daughter Jeanne is born 1882: Sends 36 canvases and gouaches to the 7 th Impressionist Exhibition 1883: Durand-Ruel organized first one-man show of Pissarro Begins correspondence with Lucien in London Durand-Ruel opens Impressionists in London Pissarro was not successful Pissarro did this pastel drawing of Julie, his wife She is shown as soft, but resolute
JEANNE-1898 Pissarro, J. (1993). Camille Pissarro. New York: Harry Abrams. Oil on canvas. 25 1/4 x 21” (65 x 54 cm). Foundation Rau pour le tiers-Monde. Zurich. (PV1065) 1890: Abandons divisionism Theo asks Camille to accept Vincent as a boarder Mme Pissarro objects to a SICK man among her small children Camille listens to his wife! (BIBLICAL CITATION!) 1892: Durand-Ruel organizes very successful retrospective Lucien marries Esther Bensusan, a Sephardic Jew (What are the chances of this happening? The implication is that some Jewish attitudes, beliefs, and behaviors were transmitted to his son. These are all cultural characteristics). 1897: In November, son Felix dies in England at age 23 Exhibits in Pittsburgh at the Second International Show Pissarro continually portrayed himself and his close family He used all media Jeanne was born in 1870 only a few weeks before Adele-Emma died Here she is 18 years old
JEANNE READING, 1899 Pissarro, J. (1993). Camille Pissarro. New York: Harry Abrams. Oil on Canvas. 21 1/2 x 25 1/2” (551 x 654 cm). Private collection (PV 111) Jeanne is shown again the following year Here she is one component of an avant-garde composition Notice the multiple repeated abstract patterns Asymmetrical composition reflects modernists aesthetics
PORTRAIT OF PERE PAPEILLE, Pontoise, c. 1874 Pissarro, J. (1993). Camille Pissarro. New York: Harry Abrams. Pastel. 21 1/2 x 18” (55 x 46 cm). Private Collection. (PV 1523) Moving back in time to a non-family member Notice the more traditional, academic paint handling Pissarro’s idea of ‘holidays’ or ‘entertainments’ was absurd He probably never took a holiday in his entire life He traveled from his home and studio only for house hunting Or, he was visiting his or his wife’s relatives He accumulated piles of visual data: memory and movement The sitter seems to stare beyond the artist
PORTRAIT OF MADAME F. ESTRUC, c. 1874 Pissarro, J. (1993). Camille Pissarro. New York: Harry Abrams. Pastel. 18 x 11 1/8” (46 x 29 cm). Collection Achim Moeller Fine Art, New York (PV 1521) This pastel portrait was done fairly early in Pissarro’s long career The softness of the media conveys an ephemeral quality It also provides a glowing translucence to skin tones Mme Estruc’s gaze to the right is a casual, not formal, approach
LA MERE LARCHEVEQUE, 1880 Rewald, J. (1963) Pissarro. NY: Abrams Pissarro examined the role and condition of peasants for many hours He accorded great dignity to their lot in life He did not dramatize or glorify He simply documented their individuality
PEASANT WOMAN, 1880/81 Rewald, J. (1963) Pissarro. NY: Abrams Oil on canvas. 28 3/4” x 23 5/8” National Gallery of Art. Washington, D.C. Chester Dale Collection 1879: Pissarro worked in Pontoise He showed 38 works in 4 th Impression Exhibition 1880: Pissarro sent 11 paintings to the 5 th Impressionist Exhibition 1881: He tried to avoid conflict between artists about 6 th Exhibition Pissarro participated with 11 landscapes He worked with Cezanne and Gauguin in Pontoise August 1881: Daughter Jeanne was born 1882: Sent 36 canvases to the 7 th Impressionist Exhibition 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 Pissarro lived there until his death in 1903 1883: Durand-Ruel organized first one-man show of Pissarro Begins correspondence with Lucien in London Durand-Ruel opens Impressionists in London Pissarro was not successful
SEATED PEASANT WOMAN, 1885 Pissarro, J. (1993). Camille Pissarro. New York: Harry Abrams. Oil on canvas. 28 1/4 x 23” (724 x 59 cm). Yale University Art Gallery. Gift of Mr. And Mrs. Paul Mellon, B.A. 1929 (PV676) Pissarro emphasized the poise and nobility in this peasant woman His organizational arrangement in this painting is powerful Her angled left elbow is repeated in the pattern of her scarf Her sense of concentration and stability is conveyed This painting was created with a strong sense of composition
THE YOUNG MAID, 1896 Rewald, J. (1963) Pissarro. NY: Abrams And Cogniat, R. (1975) Pissarro. New York: Crown publishers. Pissarro had an instinctive drive for independence It was an intuitive non-conformism It made him commit himself wholly to the causes he thought good These were 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 He thought Impressionism could be fortified by a solid structure It had the power to transform revolutionary art into classicism Interaction plays an important role in Impressionism Pissarro was well aware of how the viewer reacted to his work Impressionism is a more ‘scientic’ approach to depicting color
WOMAN IN FRONT OF A MIRROR, 1887 Pissarro, J. (1993). Camille Pissarro. New York: Harry Abrams. Gouache. 12 1/2 x 9 1/2” (32 x 24 cm). Private collection. United States (PV1421) Notice the arrangement of this composition Pissarro sought a more dynamic organization for static objects His approach is a stimulating alternative to symmetrical placement Regarding Neo-Impressionism, Pissarro said: o “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.”
YOUNG FLEMISH MAID, 1896 Cogniat, R. (1975) Pissarro. New York: Crown publishers. Oil on canvas. 21 7/16 x 17 3/3” Stephen Hahn Gallery. New York Once again, Pissarro’s choice of imagery is very revealing He could easily have easily omitted some objects He included the edge of the chair, open doorway and bedroom beyond He also broke up the space directly behind the seated subject His choices reflect a more ‘realistic’ or ‘’modernist’ approach He documented what existed and what he saw
MAIDSERVANT-1867 Pissarro, J. (1993). Camille Pissarro. New York: Harry Abrams. Oil on canvas. 36 1/2 x 28 1/4” (93.6 x 73.7 cm) The Chrysler Museum, Norfolk, VA (PV53) By contrast, this painting was done nearly 30 years before Pissarro shows respect for the maidservant He also includes a bench, tree trunk, etc. Yet his paint handling is more traditional Light comes from the right and highlights the maid’s back It also creates a swath of light on the ground But there is no scintillating fragmentation of brushstroke Pissarro’s paint technique is very traditional His choice of focusing on the maid’s back is not! At this time, Pissarro’s sensitivity to the role of servants increased
STUDY FOR CAFÉ AU LAIT, 1881 Pissarro, J. (1993). Camille Pissarro. New York: Harry Abrams. Black chalk. 23 x 17 14” (59.5 x 44 cm). Private Collection CAFÉ AU LAIT, 1881 Pissarro, J. (1993). Camille Pissarro. New York: Harry Abrams. Oil on canvas. 25 1/2 x 21 3/8” (65.3 x 54.8 cm). The Art Institute of Chicago. Potter Palmer Collection. 1922.436 (PV549) Rewald, J. (1963) Pissarro. NY: Abrams He observed closely and with kindness Pissarro was known for his even temper He connected to servants as equals
THE LITTLE COUNTRY MAID, 1882 Pissarro, J. (1993). Camille Pissarro. New York: Harry Abrams. Oil on canvas. 25 1/4 x 21” (65 x 54 cm). The Tate Gallery. London. (PV575) and Rewald, J. (1963) Pissarro. NY: Abrams At this time, Pissarro’s sensitivity to the role of servants increased Pissarro was fanatical about his own work His letters to his sons communicate his ardor for his profession He had passion for its strenuous physical and mental demands
YOUNG WOMAN MENDING, 1895 Cogniat, R. (1973) Pissarro. New York: Crown Publisher. Oil on canvas. 25 5/8 x 21 3/8” Art Institute of Chicago. Gift of Mrs. Leigh B. Block. and GIRL SEWING, 1895 Pissarro, J. (1993). Camille Pissarro. New York: Harry Abrams. Oil on canvas. 25 5/8 x 21 3/8” Art Institute of Chicago. Gift of Mrs. Leigh B. Block. 1959,36 (PV934) This painting was done the same year as his FOOT BATH and BATHER Notice how all the surface areas are fragmented with short strokes This exists even though he had abandoned divisionism/Impressionism His sensitivity to the play of light on various textures is clear
GIRL WASHING PLATES, c. 1882 Pissarro, J. (1993). Camille Pissarro. New York: Harry Abrams. Oil on canvas. 33 1/4 x 25 5/8” (85 x 65.7 cm) Fitzwilliam Museum, Cambridge, England (PV579) Pissarro’s choice of subject matter may remind one of Millet’s work Degas captured the essential distinction: o “Millet? Yes, his sower sows for Humanity. Pissarro’s peasants work for their bread.” Even Pissarro noticed this and wrote: o “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!” He opposed Millet’s sentimentality in vehement terms
PEASANT UNTANGLING WOOL, 1875 Pissarro, J. (1993). Camille Pissarro. New York: Harry Abrams. Oil on canvas. 21 1/4 x 18” (55 x 46 cm). Foundation e.G. Buhrle Collection. Zurich. (PV270) The family went to Montfoucault around mid-August 1874 This was a few months after the death of their 2nd daughter, Jeanne It was also a month after the birth of their third son, Felix They were distressed and almost penniless They stayed at the Piettes all summer Their last stay was during the autumn of 1876 Montfoucault offered Pissarro isolation from Paris and Pontoise It offered an opportunity to study peasant life in direct terms Montfoucault was a tiny hamlet, with approximately 50 inhabitants It was virtually on the border between Brittany and Normandy The nearest town is 12 to 15 miles Here a sense of distance and isolation pervades Pissarro’s works His figures in Montfoucault paintings are static Montfoucault was a place from which there is nowhere else to go Pissarro’s choice of subject matter may remind one of Millet’s work Degas captured the essential distinction: o “Millet? Yes, his sower sows for Humanity. Pissarro’s peasants work for their bread.” Even Pissarro noticed this and wrote: o “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!” He opposed Millet’s sentimentality in vehement terms
PEASANT WOMAN WITH BASKET, c. 1889 Cogniat, R. (1975) Pissarro. New York: Crown publishers. Oil on canvas. 6 1/4 x 7” Faure Museum. Aix-les-Bains. Pissarro had an instinctive drive for independence It was an intuitive non-conformism It made him commit himself wholly to the causes he thought good These were 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 He thought Impressionism could be fortified by a solid structure It had the power to transform revolutionary art into classicism His form of Impressionism had roots in scientific principles At 55, he did not fear to commit himself to follow a new path On February 20, 1889, he wrote to Seurat: o “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.” Pissarro 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.”
PEASANT WOMAN AT SPINNING WHEEL, 1885-90??? Rewald, J. (1963). Camille Pissarro. NY: Abrams. Charcoal. Collection of Mr. And Mrs. Lazaro Phillips, Montreal. This drawing was done during a time of grave financial stress Lucien had returned to France to do illustrations for periodicals This was his effort to assist his parents financially Pissarro was enamored of Seurat’s color theories He painted his first “divisionist” canvas He explained new ‘scientific impressionism” to Durand-Ruel, dealer This shows Pissarro’s openness to new ideas, even at 55 years old
LA MERE PRESLY-Montfoucalt, 1874 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 (PV288) Some of Pissarro’s women peasants stuck in their immobility Pissarro visited Montfoucault many times in the mid 1870s He worked on integrating the figure into the landscape He created novel approaches He delineated figures and objects with angular contours These are fragmented into many short straight lines They form a polygonal, almost crystal-like outline This solved the tension between the figure and its background
THE GARDENER, AFTERNOON SUN, ERAGNY, 1899 Pissarro, J. (1993). Camille Pissarro. New York: Harry Abrams. Oil on canvas. 36 x 25 1/4” (92 x 65 cm). Staatsgalerie, Stuttgart (PV1079) Some say that Impressionism was about painting light or atmosphere But, they painted light only as it produced shadow! Light was made visible only through its absence—shadow! Were they attempting to paint “god,” the creator of light?
OLD HOUSES AT ERAGNY, c. 1885 Pissarro, J. (1993). Camille Pissarro. New York: Harry Abrams. Oil on canvas. 18 x 21” (46 x 54 cm).Zen International Fine Art, Tokyo. (PV682) Observe the difference in the way light is handled in this painting It is not as scintillating as in the last image The difference is in the technique Pissarro used
SHEPERDESS BRINGING IN THE SHEEP, 1886 Pissarro, J. (1993). Camille Pissarro. New York: Harry Abrams. Oil on canvas. 18 x 15” (46 x 38 cm) Private collection (PV692) It’s almost as if Pissarro put a close-up lens on his eyes! Yet just in one year, there’s a difference in his paint application His eyes were opened to new ways of depicting light and shadow
SEATED PEASANT, SUNSET, 1892 Pissarro, J. (1993). Camille Pissarro. New York: Harry Abrams. Oil on canvas. 31 1/2 x 25 1/4” (81 x 65 cm). Private collection (PV 824) After expressing some satisfaction to Lucien at having completed, SEATED PEASANT , Pissarro defined his new method: o “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: o “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.”
THE BATHER, 1893 Cogniat, R. (1973?) Pissarro. New York: Crown Publisher Oil. 13 3/4 x 10 5/8” National Gallery of Art, Washington, DC. Chester Dale Collection. Pissarro was in his 60s when he painted this and the following two An instantaneous reaction of the senses occurs here The woman (is she putting on or taking off her garment?)is idyllic She is sheltered by a huge tree and a soft bank A body of water reflects light on her back She is not far from a city of some sort Is this a reverie? Was she a ‘real’ person? Is this an older man’s wishful thinking?
BATHER IN THE WOODS, 1895 Pissarro, J. (1993). Camille Pissarro. New York: Harry Abrams. Oil on canvas. 23 3/4 x 28 1/4” (61 x 73 cm). The Metropolitan Museum of Art. New York. Bequest of Mrs. H.O. Havemeyer, 1929 (PV904) . New York. Bequest of Mrs. H.O. Havemeyer, 1929 (PV904) Camille’s great-grandson, Joachim Pissarro wrote of his forbear This, and the following painting, may have been done from life There is a tangible sense of actual leaves, bank, and figure Light coming from the right illuminates her back, the water, trees She seems unaware of a viewer
THE FOOT BATH, 1895 Pissarro, J. (1993). Camille Pissarro. New York: Harry Abrams. Oil on canvas. 28 1/4 x 36” (73 x 92 cm). Collection Sara Lee Corporation, Chicago. (PV903) A similar approach was taken in this painting Once again, the woman sits on the bank of a body of water She is clothed and washes her feet Her shoes are nearby Lush foliage shields her from any other people Is this a fantasy? A paradise
COUNTRY GIRL WITH A STICK, SEATED PEASANT, 1881 Pissarro, J. (1993). Camille Pissarro. New York: Harry Abrams. Oil on canvas. 31 x 25 1/4” (81 x 65 cm). MUSEE D’ORSAY, PARIS (PV540) In the 1880s, there was a paradoxical striving for simplicity Pissarro wanted to depict people as his gaze lighted on them He did not want contortion, distortion, emphasis, or embellishment In his review of the 7 th Impressionist exhibition, 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 (Millet’s) 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
PEASANTS RESTING, 1881 Pissarro, J. (1993). Camille Pissarro. New York: Harry Abrams. Oil on canvas. 32 x 25 1/2” (82 x 66 cm). The Toledo Museum of art, Toledo, Ohio. Gift of Edward Drummond Libbey (PV542) Communal participation plays an important role in rural work Interaction does throughout Impressionism This was particularly true for Pissarro He devoted much attention and care to his role of art tutor This was for his five sons
WOMAN AND CHILD AT THE WELL-1882 Pissarro, J. (1993). Camille Pissarro. New York: Harry Abrams. Oil on canvas. 31 3/4 x 25 1/8” (81.5 x 66.4 cm) The Art Institute of Chicago. Potter Palmer Collection. 1922.436 (PV574) And Rewald, J. (1963). Camille Pissarro.
PEASANTS CHATTING IN THE FARMYARD, ERAGNY, 1895-1902 Pissarro, J. (1993). Camille Pissarro. New York: Harry Abrams. Oil on canvas. 31 1/2 X 25 1/4” (81 X 65 CM). PRIVATE COLLECTION, FRANCE (PV1272)
TWO YOUNG PEASANTS CHATTING UNDER THE TREES, PONTOISE, 1881 Pissarro, J. (1993). Camille Pissarro. New York: Harry Abrams. Oil on canvas. 311/2 x 25 1/4” (81 x 65 cm). Galerie Abels, Cologne (PV541)
PEASANT GATHERING GRASS, 1881 Pissarro, J. (1993). Camille Pissarro. New York: Harry Abrams. Oil on canvas. 45 1/4 x 35” (116 x 90 cm). Private collection. France (PV543)
WOMEN GATHERING GRASS, 1883 Pissarro, J. (1993). Camille Pissarro. New York: Harry Abrams. Oil on canvas. 25 1/4 x 21” (65 x 54 cm). Private collection. (PV616)
APPLE PICKERS-1881 Pissarro, J. (1993). Camille Pissarro. New York: Harry Abrams. Oil on canvas. 25 1/4 x 21” (65 x 54 cm). Collection Evelyn A. J. Hall (PV545)
APPLE PICKING AT ERAGNY, 1888 Pissarro, J. (1993). Camille Pissarro. New York: Harry Abrams. Oil on canvas. 23 X 28 1/2” (59 x 72.4 cm). Dallas Museum of Art, Munger fund (PV726) And PICKING APPLES, ERAGNY, c. 1888 Pissarro, J. (1993). Camille Pissarro. New York: Harry Abrams. Gouache. 18 x 23” (46 x 59 cm). Collection William Kelly Simpson, New York (PV 1423)
LA PERE MELON SAWING WOOD, 1879 Pissarro, J. (1993). Camille Pissarro. New York: Harry Abrams. Oil on canvas. 35 1/4 X 45 5/8” (89 X 117 CM). The Robert Holmes a Court Collection. Perth, Western Australia (PV499) Private Collection (PV824) Different angles and forces form an ensemble of orthogonal lines They infuse the work with an inner dynamism. A backdrop of greens acts as a tapestry of myriad comma-like touches this is one of the first signs of Pissarro’s interest in divisionism
LA PERE MELON RESTING, 1879 Pissarro, J. (1993). Camille Pissarro. New York: Harry Abrams. Oil on canvas. 21 x 25 1/4” (54 x 65 cm). Private collection, New York (PV498)
PEASANT DIGGING, 1882 Pissarro, J. (1993). Camille Pissarro. New York: Harry Abrams. Oil on canvas. 25 1/4 x 21” (65 x 54 cm) Private collection. Switzerland (PV577) Pissarro’s “biblical” quality was attributed to Millet’s influence His rejection of it is central to Pissarro’s figure paintings By extension, it is central to Pissarro’s aesthetics The ”Biblical” quality stands for a sign It was a gesture, mood, or expression It referred to an ethereal, religious, or mythical content Or, it hinted at some form of “beyond” It may have suggested o An ideal o A lost paradise o A longing for happiness, or o A striving for something other than the present conditions None of this exists in Pissarro’s figures They do not carry a message with a lofty content or any ideal Rather, the glorification is in the fact that they simply: ARE Their existence is appropriate and sufficient celebration Pissarro advised one not to impose a meaning on their reveries He was very aware of the price of his individualistic outlook Was he stubborn? Stiff-necked? This is an adjective frequently—and biblically—given to Jews! He shrewdly observed o “too serious to appeal to the masses and not enough exotic tradition to be understood by the dilettante.” Pissarro abhorred any art whose function was to deliver a message He equated anarchy, art, nature, living, and the beautiful His new understanding was not o Idealistic nor materialistic o religious nor socialist o literary nor factual o symbolist nor realist o representational nor illustrative Each of these would hobble or circumscribe his SENSATION Pissarro’s figures are simple and sincere They are not on show and no pretense animates their action They have nothing to say: They are absorbed by their own reverie or their chores Pissarro gave repeated voice to a dream: o “I believe that there will be another generation who will be more sincere, more studious, and less malign, who will achieve the dream.” ( PROPHECY?) Pissarro was interested in the unfathomable aspect of his figures’ He called their dreams ‘ABSOLUTE LIBERTY” This was pertinent to the artistic individual factor—the SENSATION
FROST, YOUNG PEASANT MAKING A FIRE, 1888 Pissarro, J. (1993). Camille Pissarro. New York: Harry Abrams. Oil on canvas. 36 1/4 x 16 1/4” (93 x 93 cm) Sotheby’s New York (PV722)
MAKING PEA TRELLISES, 1887 Cogniat, R. (1973?) Pissarro. New York: Crown Publisher. Oil. Faue Museum, Ais les-Bains.
WOMEN PLANTING PEASTICKS, date? Thomson, R. (1990). Camille Pissarro . NY: New Amsterdam Books. He was very aware of the price of his individualistic outlook Was he stubborn? Stiff-necked? This is an adjective frequently—and biblically—given to Jews! He shrewdly observed o “too serious to appeal to the masses and not enough exotic tradition to be understood by the dilettante.” Pissarro abhorred any art whose function was to deliver a message He equated anarchy, art, nature, living, and the beautiful His new understanding was not o Idealistic nor materialistic o religious nor socialist o literary nor factual o symbolist nor realist o representational nor illustrative Each of these would hobble or circumscribe his SENSATION Pissarro’s figures are simple and sincere They are not on show and no pretense animates their action They have nothing to say: They are absorbed by their own reverie or their chores Pissarro gave repeated voice to a dream: o “I believe that there will be another generation who will be more sincere, more studious, and less malign, who will achieve the dream.” ( PROPHECY?) Pissarro was interested in the unfathomable aspect of his figures’ He called their dreams ‘ABSOLUTE LIBERTY” This was pertinent to the artistic individual factor—the SENSATION
PICKING PEAS, ERAGNY, c. 1893 Pissarro, J. (1993). Camille Pissarro. New York: Harry Abrams. Oil on canvas. 18 x 21 1/2” (45 x 55 cm). The Langmatt Foundation, Sidney and Jenny Brown, Baden, Switzerland (PV857)
PICKING PEAS, 1887 Pissarro, J. (1993). Camille Pissarro. New York: Harry Abrams. Gouache. 20 1/4 x 24 1/4” (52 x 63 cm). Private collection (PV1408)
PICKING PEAS, 1881 Pissarro, J. (1993). Camille Pissarro. New York: Harry Abrams. Oil on canvas. 23 1/4 x 28 1/4” (60 x 73 cm). Private collection (PV 519)
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!