2009 Artof Pissarro2 Text

THE ART OF PISSARRO-Part 2

0. THIS MATERIAL IS FOR EDUCATIONAL USE ONLY

1. THE ART OF PISSARROPart Two: PEOPLE

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 10th in St. Thomas1842-47: Studies in France1855: Returns to France permanently1859: Salon accepts one of his landscapes1860: Becomes friendly with Ludovic Piette and with Julie Vellay1862: Julie has a miscarriage1863: On February 20th, their son Lucien is born 1864: Visits Piette in Montfoucault1865: Daughter, Jeanne-Rachel is born1868: Salon accepts two of his Pontoise landscapes1870: 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 Salon1874: 1st 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 Montfoucault1876: Shows 12 works in the 2nd Impressionist exhibition1877: His works bring very low prices at auction

Ludovic Piette dies1878: In September, his son Ludovic-Rodolphe is born1879: Pissarro shows 38 works in 4th Impressionist Exhibition1880: Sends 11 paintings and etchings to the 5th Impressionist exhibition1881: Participates with 11 landscapes in 6th Impressionist Exhibition

In August, his daughter Jeanne is born1882: Sends 36 canvases and gouaches to the 7th Impressionist Exhibition1884: 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 8th Impressionist Exhibition1887: Durand-Ruel refuses to buy his recent, pointillist paintings

Pissarro is again in financial straits

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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 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. (Jewish phrase: MAY HIS MEMORY BE FOR A BLESSING!)

2. MAPRothkopf, K. (2007). Pissarro: Creating The Impressionist landscape. Baltimore: Philip Wilson Publishers, Ltd.

These are some of the sites around Paris where Pissarro painted1855-57: moves to France1858: Sets up studio in Paris1863: Moves to La Varenne-saint-Hillaire,near Marne river1866: Moves to L’Hermitage, a small hamlet in Pontoise1869: Moves to Louveciennes, about 20 miles from Paris1870: Franco-Prussian war begins 7/19. Dec.-moves to London 1871: Returns to Louveciennes; house wrecked by soldiers1872: Moves back to PontoiseThe homeopathic doctor Dr. Paul Gachet had a house nearbyHe had treated Pissarro’s mother, Rachel, in Paris in 1865 and after1874: Visits Piette at Montfoucault; earliest peasant paintings1882: Left Pontoise for Eragny and stayed until death

3. PISSARRO PAINTING OUTSIDE-Ludovic Piette, 1874-76Rothkopf, K. (2007). Pissarro: Creating The Impressionist landscape. Baltimore: Philip Wilson Publishers, Ltd. 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: 1st exhibition of “Impressionists” dubbed by ironic critic In April, daughter Jeanne-Rachel (Minette) dies at age 9

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In July, son Felix is born1875: spends fall at Piette’s in Montfoucault

Montfoucault offered Pissarro isolation from Paris and PontoiseIt offered an opportunity to study peasant life on its own, directlyMontfoucault is a tiny hamlet, with approximately 50 inhabitants,It consisted of 2 or 3 farms and some 5 or 6 housesIt is virtually on the border between Brittany and NormandyThe nearest town is 12 to 15 milesThis sense of distance and isolation pervades his works1876: Shows 12 works in the 2nd Impressionist exhibition Piette painted this while Pissarro visited him at MontfoucaultThere the artist made about 20 paintingThey include some of his earliest paintings of peasantsIn September, his son Ludovic-Rodolphe was born He was named in memory of his friend Ludovic PietteNaming an infant in honor and memory is a great Jewish tributeCamille had met Ludovic at the Academie Suisse around 1860Camille went to Montfoucault during the Franco-Prussian WarHe and his family took refuge with Ludovic Piette and his familyThere is no paintings of Montfoucault during his 4-month stay thereThey remained friends until Piette’s death on April 15, 1878

Before they came, Piette wrote to Pissarro: “….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 unionIn Montfoucault, She gave birth to Adele-Emma on October 21st The infant died three weeks later, on November 15 Pissarro’s mother feared the Prussian army and left for LondonShe sent a condolence note to her son Two weeks later their 7-month stay in London came to an end They returned to Louveciennes.

4. PORTRAIT OF MADAME PISSARRO- Camille Pissarro, 1883Pissarro, J. (1993). Camille Pissarro. New York: Harry Abrams.

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Pastel. 23 3/4 x 18 1/4” (61 x 47 cm). Private collection (PV1565) 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 born1879: Pissarro shows 38 works in 4th Impressionist Exhibition1880: Sends 11 paintings and etchings to the 5th Impressionist exhibition1881: Participates with 11 landscapes in 6th Impressionist Exhibition

In August, his daughter Jeanne is born1882: Sends 36 canvases and gouaches to the 7th Impressionist Exhibition

Dec. 1870-July 1871: Pissarro stayed in LondonPissarro left a painting at Durand-ruel’s gallery He soon received a friendly note from the dealerCamille had not yet met Durand-Ruel He wanted to know the price of the paintingDurand-Ruel requested that Pissarro send him other worksDurand-Ruel was the son of the dealer of the Barbizon painters Pissarro produced 15 paintings while he was in LondonHe also did a number of works on paper of considerable variety

London marked a total pictorial break for PissarroNew images, colors, techniques, and poetics were introducedThese momentarily interrupted his more rigid architectonic concernsHe was more inventive, pictorially daring, and more broadminded 1883: Durand-Ruel organized first one-man show of PissarroBegins correspondence with Lucien in LondonDurand-Ruel opens Impressionists in LondonPissarro was not successfulPissarro did this pastel drawing of Julie, his wifeShe is shown as soft, but resolute

Julie’s Pregnancies and children: 1862: Miscarriage1863: Lucien1865: Jeanne-Rachel born; dies at age 9 in 18741870? Montfoucault on October 21st Adele-Emma was born; died on Nov. 15 1871: In November, their son Georges is born; died in 1960 1874: In July, Felix born; dies at age 23 in 18971878: Ludovic-Rodolphe; died in Paris in 19521881: Jeanne; died in Paris in 19481884: Paul-emileAll five of Pissarro’s sons chose to become painters

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5. PORTRAIT OF JEANNE- Camille Pissarro, 1898Pissarro, 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 diedShe is shown here at 18 years old

6. JEANNE READING- Camille Pissarro, 1899Pissarro, 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 seen again the following yearHere she is one component of an avant-garde composition Notice the multiple repeated abstract patternsAsymmetrical composition reflects modernists aesthetics

7. PORTRAIT OF PERE PAPEILLE- Camille Pissarro, Pontoise, c. 1874Pissarro, 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 memberNotice the more traditional, academic paint handlingPissarro’s idea of ‘holidays’ or ‘entertainments’ was absurdHe probably never took a holiday in his entire lifeHe traveled from his home and studio only for house huntingOr, he was visiting his or his wife’s relatives He accumulated piles of visual data: memory and movementThe sitter seems to stare beyond the artist

8. PORTRAIT OF MADAME F. ESTRUC- Camille Pissarro, c. 1874Pissarro, J. (1993). Camille Pissarro. New York: Harry Abrams.

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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 careerThe 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, informal approachThat was an unusual stance for the timeIt is as if she’d been ‘caught’ for the moment-a slice of life

9. LA MERE LARCHEVEQUE- Camille Pissarro, 1880Rewald, J. (1963) Pissarro. NY: Abrams

Pissarro examined the role and condition of peasants for many hoursHe accorded great dignity to their lot in lifeHe did not dramatize or glorifyHe simply documented their individuality and uniqueness

10. PEASANT WOMAN- Camille Pissarro, 1880Rewald, J. (1963) Pissarro. NY: AbramsOil on canvas. 28 3/4 x 23 3/8” National Gallery of Art, Washington, DC. Chester Dale Collection

1879: Pissarro worked in PontoiseThe principles that informed impressionism were

A rejection of traditional rules and A common search for new methods

He showed 38 works in 4th Impression Exhibition1880: Pissarro sent 11 paintings to the 5th Impressionist Exhibition 1881: He tried to avoid conflict between artists about 6th ExhibitionPissarro participated with 11 landscapesHe worked with Cezanne and Gauguin in PontoiseAugust 1881: 2nd Daughter Jeanne was born1882: Sent 36 canvases to the 7th Impressionist ExhibitionPissarro and his family left Pontoise finally on December 1, 1882They initially settled in a small village called Osny They then left for EragnyPissarro lived there until his death in 1903

11. SEATED PEASANT WOMAN- Camille Pissarro, 1885Pissarro, 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 womanHis organizational arrangement in this painting is powerful

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Her angled left elbow is repeated in the pattern of her scarfHer sense of concentration and stability is conveyedThis painting was created with a strong sense of composition

After expressing some satisfaction to Lucien at having completed, SEATED PEASANT, Pissarro defined his new method to Lucien:

“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.

12. THE YOUNG MAID- Camille Pissarro, 1896Rewald, J. (1963) Pissarro. NY: AbramsCogniat, R. (1975) Pissarro. New York: Crown publishers.

Pissarro had an instinctive drive for independenceIt was an intuitive non-conformism It made him commit himself wholly to the causes he thought goodThese were both in the realm of art and in the field of politicsThis position made him aid whatever appeared originalHe 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 ImpressionismPissarro was well aware of how the viewer reacted to his workImpressionism is a more ‘scientific’ approach to depicting color

13. WOMAN IN FRONT OF A MIRROR- Camille Pissarro, 1887Pissarro, 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 compositionPissarro sought a more dynamic organization for static objectsHis approach is a stimulating alternative to symmetrical placementCezanne called Pissarro “the first Impressionist” Pissarro created the legal structure of the Impressionist groupHe established the only legal document defining its purpose and aimHe was the only artist who exhibited in all 8 exhibitionsHe was an ‘outsider,’ or neo-Impressionist in the last exhibitionHis work was separate, along with Seurat, Signac, and his son LucienRegarding Neo-Impressionism, Pissarro said in 1883:

“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.”

14. YOUNG FLEMISH MAID-Camille Pissarro, 1896

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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 revealingHe could easily have easily omitted some objectsHe included the edge of the chair, open doorway and bedroom beyond He also broke up the space directly behind the seated subjectHis choices reflect a more ‘realistic’ or ‘’modernist’ approachHe documented what existed and what he sawPissarro was adamant about the word “SENSATION”He said that it was “the only thing that matters” This French concept of SENSATION is almost impossible to translate It corresponds to physical, sensorial experienceIt also carries none of the psychological connotations of EMOTIONIt may also overlap with FEELINGWhen asked to define what Impressionism was about, Pissarro replied by listing the artists the Impressionists liked:

“We like Delacroix, Courbet, Daumier and all those who have something in their guts.”

15. MAIDSERVANT- Camille Pissarro, 1867Pissarro, 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 beforePissarro shows respect for the maidservantHe also includes a bench, tree trunk, etc.Yet his paint handling is more traditionalLight comes from the right and highlights the maid’s backIt also creates a swath of light on the groundBut there is no scintillating fragmentation of brushstrokePissarro’s paint technique is very traditionalHis choice of focusing on the maid’s back is not! At this time, Pissarro’s sensitivity to the role of servants increased

16. STUDY FOR CAFÉ AU LAIT, 1881Pissarro, J. (1993). Camille Pissarro. New York: Harry Abrams.Black chalk. 23 x 17 14” (59.5 x 44 cm). Private Collection

CAFÉ AU LAIT, 1881Pissarro, 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

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He observed closely and with kindness on his subjectPissarro was known for his even temper He connected to servants as equals

17. THE LITTLE COUNTRY MAID- Camille Pissarro., 1882Pissarro, 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) andRewald, J. (1963) Pissarro. NY: Abrams

At this time, Pissarro’s sensitivity to the role of servants increasedPissarro was also fanatical about his own work His letters to his sons communicate his ardor for his professionHe had passion for its strenuous physical and mental demands

18. GIRL SEWING- Camille Pissarro., 1895Pissarro, 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 BATHERNotice how all the surface areas are fragmented with short strokesThis exists even though he had abandoned divisionism/ImpressionismHis sensitivity to the play of light on various textures is clear

19. GIRL WASHING PLATES- Camille Pissarro, 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:

“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!”

He opposed Millet’s sentimentality in vehement terms

20. PEASANT UNTANGLING WOOL- Camille Pissarro, 1875Pissarro, 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 1874This was a few months after the death of their 2nd daughter, Jeanne

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It was also a month after the birth of their third son, FelixThey were distressed and almost pennilessThey stayed at the Piettes all summer Their last stay was during the autumn of 1876Montfoucault offered Pissarro isolation from Paris and PontoiseIt offered an opportunity to study peasant life in direct termsMontfoucault was a tiny hamlet, with approximately 50 inhabitants It was virtually on the border between Brittany and NormandyThe nearest town is 12 to 15 milesHere a sense of distance and isolation pervades Pissarro’s worksHis figures in Montfoucault paintings are staticMontfoucault was a place from which there is nowhere else to go

21. PEASANT WOMAN WITH BASKET- Camille Pissarro, c. 1889Cogniat, R. (1973?) Pissarro. New York: Crown Publisher.Oil on canvas. 6 1/4” x 7” Faure Museum, Aix-les-Bains

His form of Impressionism had roots in scientific principlesAt 55, he did not fear to commit himself to follow a new pathOn 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.”

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.”

22. PEASANT WOMAN AT SPINNING WHEEL- Camille Pissarro, 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 stressLucien had returned to France to do illustrations for periodicalsThis was his effort to assist his parents financiallyPissarro was enamored of Seurat’s color theoriesHe painted his first “divisionist” canvasHe explained new ‘scientific impressionism” to Durand-Ruel, dealerThis shows Pissarro’s openness to new ideas, even at 55 years old

23. LA MERE PRESLY- Camille Pissarro, Montfoucault, 1874

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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 immobilityPissarro visited Montfoucault many times in the mid 1870sHe worked on integrating the figure into the landscapeHe created novel approachesHe delineated figures and objects with angular contours These are fragmented into many short straight linesThey form a polygonal, almost crystal-like outlineThis solved the tension between the figure and its background

24. THE GARDENER, AFTERNOON SUN- Camille Pissarro, ERAGNY, 1899Pissarro, J. (1993). Camille Pissarro. New York: Harry Abrams. Oil on canvas. 36 x 25 1/4” (92 x 65 cm). Staatsgalerie, Stuttgart (PV1079)

Notice the scintillating light in this paintingPissarro broke up all surfaces into fragmentary refletions 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?

25. OLD HOUSES AT ERAGNY- Camille Pissarro, c. 1885Pissarro, 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 paintingIt is not as scintillating as in the last imageThe difference is in the technique Pissarro usedColor is not divided and as fragmented as in his later worksIt is called Neo-ImpressionismHe did a variation of this in his

26. SHEPERDESS BRINGING IN THE SHEEP- Camille Pissarro, 1886Pissarro, 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 applicationHis eyes were opened to new ways of depicting light and shadow

27. SEATED PEASANT, SUNSET-Camille Pissarro, 1892Pissarro, 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)

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After expressing some satisfaction to his son Lucien at having completed, SEATED PEASANT, 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.”

28. THE BATHER- Camille Pissarro, 1893Cogniat, R. (1973?) Pissarro. New York: Crown PublisherOil. 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 hereThe woman (is she putting on or taking off her garment?)is idyllicShe is sheltered by a huge tree and a soft bankA body of water reflects light on her backShe is not far from a city of some sortIs this a reverie? Was she a ‘real’ person?Is this an older man’s wishful thinking?

29. BATHER IN THE WOODS- Camille Pissarro, 1895Pissarro, 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)

Camille’s great-grandson, Joachim Pissarro wrote of his forbearThis, and the following painting, may have been done from lifeThere is a tangible sense of actual leaves, bank, and figureLight coming from the right illuminates her back, the water, treesShe seems unaware of a viewer

30. THE FOOT BATH- Camille Pissarro, 1895Pissarro, 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 paintingOnce again, the woman sits on the bank of a body of waterShe is clothed and washes her feetHer shoes are nearbyLush foliage shields her from any other people

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Is this a fantasy? A paradise

31. COUNTRY GIRL WITH A STICK/SEATED PEASANT-Camille Pissarro, 1881Pissarro, 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 simplicityPissarro wanted to depict people as his gaze lighted on themHe did not want contortion, distortion, emphasis, or embellishmentIn his review of the 7th 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.”

32. PEASANTS RESTING- Camille Pissarro, 1881Pissarro, 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)

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“too serious to appeal to the masses and not enough exotic tradition to be understood by the dilettante.”

33. WOMAN AND CHILD AT THE WELL- Camille Pissarro, 1882Pissarro, 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) AndRewald, J. (1963). Camille Pissarro.

Pissarro’s “biblical” quality was attributed to Millet’s influenceHis rejection of it is central to Pissarro’s figure paintings By extension, it is central to Pissarro’s aestheticsThe ”Biblical” quality stands for a sign It was a gesture, mood, or expressionIt referred to an ethereal, religious, or mythical content Or, it hinted at some form of “beyond”It may have suggestedAn ideal

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A lost paradiseA longing for happiness, or A striving for something other than the present conditionsNone of this exists in Pissarro’s figuresThey do not carry a message with a lofty content or any idealRather, the glorification is in the fact that they simply: ARETheir existence is appropriate and sufficient celebrationPissarro advised one not to impose a meaning on their reveries

34. PEASANTS CHATTING IN THE FARMYARD- Camille Pissarro, Eragny, 1895-1902Pissarro, 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)

1883: Durand-Ruel organized first one-man show of PissarroBegins correspondence with Lucien in LondonDurand-Ruel opens Impressionists in LondonPissarro was not successful

35. TWO YOUNG PEASANTS CHATTING UNDER THE TREES- Camille Pissarro, Pontoise, 1881Pissarro, 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)

Pissarro’s choice of subject matter may remind one of Millet’s work 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!”

He opposed Millet’s sentimentality in vehement terms

36. PEASANT GATHERING GRASS- Camille Pissarro, 1881Pissarro, J. (1993). Camille Pissarro. New York: Harry Abrams. Oil on canvas. 45 1/4 x 35” (116 x 90 cm). Private collection. France (PV543)

Formal analysis of the composition is a modernist’s approachThe diagonal of the peasant is ‘stopped’ by the tree trunksHer white scarf and collar contrast with the dark earthHeavily textured grasses contrast with broad areas of blueHorizontal background sky balances foreground darkness

37. WOMEN GATHERING GRASS- Camille Pissarro, 1883

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Pissarro, J. (1993). Camille Pissarro. New York: Harry Abrams. Oil on canvas. 25 1/4 x 21” (65 x 54 cm). Private collection. (PV616)

Notice aspects of the composition that lead to formal analysisThat is the aesthetic approach of modernismThe angles of the grass edges lead the viewers eye to the figuresThe horizontal landscape stops the eye from going off the canvasThe soft trees contrast with the sharp angles

38. APPLE PICKERS- Camille Pissarro, 1881Pissarro, J. (1993). Camille Pissarro. New York: Harry Abrams. Oil on canvas. 25 1/4 x 21” (65 x 54 cm). Private collection. (PV616)

Compositional Analysis: Verticals of left figure repeated in stick, tree trunk and far figureRepetition creates emphasis and is a design element in modernismDiagonal shade area is repeated in row of bushes in back Figure in lower right is a ‘slice of life’ for highlight reality!

39. APPLE PICKING AT ERAGNY- Camille Pissarro, 1888Pissarro, J. (1993). Camille Pissarro. New York: Harry Abrams.Gouache. 18 x 23” (46 x 59 cm). Collection William Kelly Simpson, New York (PV 1423)

Pissarro put a grid over this paintingHe did that in order to convert it to a larger oil paintingHe did keep the basic mathematical relationships in convertingThis painting is done in GouacheIt is an opaque water-based paint, like poster paint

40. PICKING APPLES- Camille Pissarro, ERAGNY, c. 1888Pissarro, 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)

This is the painting based on the earlier gouacheNotice how the surface comes ‘alive’ with colorThis is the result of many small dots of color placed side by sideThe colors ‘mix’ in the eye of the viewer, created a dynamic vibrancyNote the introduction of curving rows or gullies in the fieldThe figures are moved further away This is to introduce the dramatic and scintillating shadowAll of this was consciously thought out by Pissarro as he worked

41. APPLE PICKING AT ERAGNY- Camille Pissarro, 1888 PICKING APPLES- Camille Pissarro, ERAGNY, c. 1888

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Pissarro, J. (1993). Camille Pissarro. New York: Harry Abrams.

Now look at them side by side and compare Fascinating, eh?

42. LA PERE MELON SAWING WOOD- Camille Pissarro, 1879Pissarro, 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 touchesThis is one of the first signs of Pissarro’s interest in divisionism

43. LA PERE MELON RESTING- Camille Pissarro, 1879Pissarro, 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)

Pissarro placed Pere Melon in the center of his canvasHe is ‘enclosed’ by the gully at the lower leftAs well as the foliage and the basket and hoe on the right The paint handling of the grasses is dynamic It contrasts with his blue/white shirt

44. PEASANT DIGGING- Camille Pissarro,, 1882Pissarro, 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 figures are simple and sincereThey are not on show and no pretense animates their action They have nothing to say: They are absorbed by their own reverie or their choresPissarro 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.” (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

45. FROST, YOUNG PEASANT MAKING A FIRE-Camille Pissarro, 1888Pissarro, J. (1993). Camille Pissarro. New York: Harry Abrams.Oil on canvas. 36 1/4 x 16 1/4” (93 x 93 cm)

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Sotheby’s New York (PV722)

Was Pissarro’s dream influenced by his Jewish heritage? “I believe that there will be another generation who will be more sincere,more studious, and less malign, who will achieve the dream.” Specifically, “L’Dor v’Dor” (from one generation to the next)…..Perhaps?

46. MAKING PEA TRELLISES- Camille Pissarro, 1887Cogniat, R. (1973?) Pissarro. New York: Crown Publisher.Oil. Faue Museum, Ais les-Bains

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

“too serious to appeal to the masses and not enough exotic tradition to be understood by the dilettante.”

47. WOMEN PLANTING PEASTICKS- Camille Pissarro, date?Thomson, R. (1990). Camille Pissarro. NY: New Amsterdam Books.

Pissarro abhorred any art whose function was to deliver a messageHe equated anarchy, art, nature, living, and the beautifulHis new understanding was not

Idealistic nor materialisticreligious nor socialistliterary nor factualsymbolist nor realistrepresentational nor illustrative

Each of these would hobble or circumscribe his SENSATIONPissarro’s figures are simple and sincereThey 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

48. PICKING PEAS- Camille Pissarro,, 1881Pissarro, 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)

What can we, who do not pick peas, learn from this painting?

49. PICKING PEAS- Camille Pissarro, 1887Pissarro, J. (1993). Camille Pissarro. New York: Harry Abrams. Gouache. 20 1/4 x 24 1/4” (52 x 63 cm). Private collection (PV1408)

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What does this work tell us about their lives? And about our lives?

50. PICKING PEAS- Camille Pissarro,, ERAGNY, c. 1893Pissarro, 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)

Why would Pissarro focus on the same subject many times? These last three paintings cover a period of 12 years

51. 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

52. IT IS SAID THAT: THE LOVE OF ART CANNOT BE TAUGHT

53. SO I HOPE I’VE MADE THE ART OF PISSARRO…..

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Education

2009 Artof Pissarro2 Text