fbpx
Wikipedia

Camille Pissarro

May 04, 2023

"Pissarro" redirects here. For the surname, see Pissarro (surname).

Jacob Abraham Camille Pissarro (/pɪˈsɑːroʊ/ piss-AR-oh, French: [kamij pisaʁo]; 10 July 1830 – 13 November 1903) was a Danish-French Impressionist and Neo-Impressionist painter born on the island of St Thomas (now in the US Virgin Islands, but then in the Danish West Indies). His importance resides in his contributions to both Impressionism and Post-Impressionism. Pissarro studied from great forerunners, including Gustave Courbet and Jean-Baptiste-Camille Corot. He later studied and worked alongside Georges Seurat and Paul Signac when he took on the Neo-Impressionist style at the age of 54.

Camille Pissarro
Camille Pissarro, c. 1900
Born
Jacob Abraham Camille Pissarro

(1830-07-10)10 July 1830
Charlotte Amalie, Saint Thomas, Danish West Indies
Died13 November 1903(1903-11-13) (aged 73)
Paris, France
NationalityDanish, French
Known forPainting
MovementImpressionism
Post-Impressionism

In 1873 he helped establish a collective society of fifteen aspiring artists, becoming the "pivotal" figure in holding the group together and encouraging the other members. Art historian John Rewald called Pissarro the "dean of the Impressionist painters", not only because he was the oldest of the group, but also "by virtue of his wisdom and his balanced, kind, and warmhearted personality".[1] Paul Cézanne said "he was a father for me. A man to consult and a little like the good Lord", and he was also one of Paul Gauguin's masters. Pierre-Auguste Renoir referred to his work as "revolutionary", through his artistic portrayals of the "common man", as Pissarro insisted on painting individuals in natural settings without "artifice or grandeur".

Pissarro is the only artist to have shown his work at all eight Paris Impressionist exhibitions, from 1874 to 1886. He "acted as a father figure not only to the Impressionists" but to all four of the major Post-Impressionists, Cézanne, Seurat, Gauguin, and van Gogh.[2]

Early years

 
Landscape with Farmhouses and Palm Trees, c. 1853. Galería de Arte Nacional, Caracas
 
Two Women Chatting by the Sea, St. Thomas, 1856

Jacob Abraham Camille Pissarro was born on 10 July 1830 on the island of St. Thomas to Frederick Abraham Gabriel Pissarro and Rachel Manzano-Pomié.[3][4] His father was of Portuguese Jewish descent and held French nationality. His mother was from a French-Jewish family from the island of St. Thomas.[5] His father was a merchant who came to the island from France to deal with the hardware store of a deceased uncle, Isaac Petit, and married his widow. The marriage caused a stir within St. Thomas's small Jewish community because she was previously married to Frederick's uncle and according to Jewish law a man is forbidden from marrying his aunt. In subsequent years his four children attended the all-black primary school.[6] Upon his death, his will specified that his estate be split equally between the synagogue and St. Thomas' Protestant church.[7]

When Pissarro was twelve his father sent him to boarding school in France. He studied at the Savary Academy in Passy near Paris. While a young student, he developed an early appreciation of the French art masters. Monsieur Savary himself gave him a strong grounding in drawing and painting and suggested he draw from nature when he returned to St. Thomas.

After his schooling, Pissarro returned to St. Thomas at the age of sixteen or seventeen, where his father advocated Pissarro to work in his business as a port clerk.[8] Nevertheless, Pissarro took every opportunity during those next five years at the job to practice drawing during breaks and after work.[9][8]

Visual theorist Nicholas Mirzoeff claims that the young Pissarro was inspired by the artworks of James Gay Sawkins, a British painter and geologist who lived in Charlotte Amalie, St. Thomas circa 1847. Pissarro may have attended art classes taught by Sawkins and seen Sawkins's paintings of Mitla, Mexico.[10] Mirzoeff states, "A formal analysis suggests that [Sawkins's] work influenced the young Pissarro, who had just returned to the island from his school in France. Soon afterward, Pissarro began his own drawings of the local African population in apparent imitation of Sawkins," creating "sketches for a postslavery imagination."[10]

When Pissarro turned twenty-one, Danish artist Fritz Melbye, then living on St. Thomas, inspired him to take on painting as a full-time profession, becoming his teacher and friend. Pissarro then chose to leave his family and job and live in Venezuela, where he and Melbye spent the next two years working as artists in Caracas and La Guaira. He drew everything he could, including landscapes, village scenes, and numerous sketches, enough to fill up multiple sketchbooks.

Life in France

 
Jalais Hill, Pontoise, 1867. Metropolitan Museum of Art

In 1855, Pissarro moved back to Paris where he began working as an assistant to Anton Melbye, Fritz Melbye's brother and also a painter.[11][12] He also studied paintings by other artists whose style impressed him: Courbet, Charles-François Daubigny, Jean-François Millet, and Corot. He also enrolled in various classes taught by masters, at schools such as École des Beaux-Arts and Académie Suisse. But Pissarro eventually found their teaching methods "stifling," states art historian John Rewald. This prompted him to search for alternative instruction, which he requested and received from Corot.[1]: 11 

Paris Salon and Corot's influence

His initial paintings were in accord with the standards at the time to be displayed at the Paris Salon, the official body whose academic traditions dictated the kind of art that was acceptable. The Salon's annual exhibition was essentially the only marketplace for young artists to gain exposure. As a result, Pissarro worked in the traditional and prescribed manner to satisfy the tastes of its official committee.[9]

In 1859 his first painting was accepted and exhibited. His other paintings during that period were influenced by Camille Corot, who tutored him.[13] He and Corot both shared a love of rural scenes painted from nature. It was by Corot that Pissarro was inspired to paint outdoors, also called "plein air" painting. Pissarro found Corot, along with the work of Gustave Courbet, to be "statements of pictorial truth," writes Rewald. He discussed their work often. Jean-François Millet was another whose work he admired, especially his "sentimental renditions of rural life".[1]: 12 

Use of natural outdoor settings

 
Entrée du village de Voisins, 1872. Musée d'Orsay, Paris.

During this period Pissarro began to understand and appreciate the importance of expressing on canvas the beauties of nature without adulteration.[1]: 12  After a year in Paris, he therefore began to leave the city and paint scenes in the countryside to capture the daily reality of village life. He found the French countryside to be "picturesque," and worthy of being painted. It was still mostly agricultural and sometimes called the "golden age of the peasantry".[11]: 17  Pissarro later explained the technique of painting outdoors to a student:

"Work at the same time upon sky, water, branches, ground, keeping everything going on an equal basis and unceasingly rework until you have got it. Paint generously and unhesitatingly, for it is best not to lose the first impression."[14]

Corot would complete his paintings back in his studio, often revising them according to his preconceptions. Pissarro, however, preferred to finish his paintings outdoors, often at one sitting, which gave his work a more realistic feel. As a result, his art was sometimes criticised as being "vulgar," because he painted what he saw: "rutted and edged hodgepodge of bushes, mounds of earth, and trees in various stages of development." According to one source, such details were equivalent to today's art showing garbage cans or beer bottles on the side of a street. This difference in style created disagreements between Pissarro and Corot.[9]

With Monet, Cézanne, and Guillaumin

 
In 1869 Pissarro settled in Louveciennes and would often paint the road to Versailles in various seasons.[15] Walters Art Museum.

In 1859, while attending the free school, the Académie Suisse, Pissarro became friends with a number of younger artists who likewise chose to paint in the more realistic style. Among them were Claude Monet, Armand Guillaumin and Paul Cézanne. What they shared in common was their dissatisfaction with the dictates of the Salon. Cézanne's work had been mocked at the time by the others in the school, and, writes Rewald, in his later years Cézanne "never forgot the sympathy and understanding with which Pissarro encouraged him."[1]: 16  As a part of the group, Pissarro was comforted from knowing he was not alone, and that others similarly struggled with their art.

Pissarro agreed with the group about the importance of portraying individuals in natural settings, and expressed his dislike of any artifice or grandeur in his works, despite what the Salon demanded for its exhibits. In 1863 almost all of the group's paintings were rejected by the Salon, and French Emperor Napoleon III instead decided to place their paintings in a separate exhibit hall, the Salon des Refusés. However, only works of Pissarro and Cézanne were included, and the separate exhibit brought a hostile response from both the officials of the Salon and the public.[9]

In subsequent Salon exhibits of 1865 and 1866, Pissarro acknowledged his influences from Melbye and Corot, whom he listed as his masters in the catalogue. But in the exhibition of 1868 he no longer credited other artists as an influence, in effect declaring his independence as a painter. This was noted at the time by art critic and author Émile Zola, who offered his opinion:

"Camille Pissarro is one of the three or four true painters of this day ... I have rarely encountered a technique that is so sure."[9]
 
Camille Pissarro and his wife, Julie Vellay, 1877, Pontoise

Another writer tries to describe elements of Pissarro's style:

"The brightness of his palette envelops objects in atmosphere ... He paints the smell of the earth."[11]: 35 

And though, on orders from the hanging Committee and the Marquis de Chennevières, Pissarro's paintings of Pontoise for example had been skyed, hung near the ceiling, this did not prevent Jules-Antoine Castagnary from noting that the qualities of his paintings had been observed by art lovers.[16] At the age of thirty-eight, Pissarro had begun to win himself a reputation as a landscapist to rival Corot and Daubigny.

In the late 1860s or early 1870s, Pissarro became fascinated with Japanese prints, which influenced his desire to experiment in new compositions. He described the art to his son Lucien:

"It is marvelous. This is what I see in the art of this astonishing people ... nothing that leaps to the eye, a calm, a grandeur, an extraordinary unity, a rather subdued radiance ..."[11]: 19 

Marriage and children

In 1871 in Croydon, England, he married his mother's maid, Julie Vellay, a vineyard grower's daughter, with whom he had seven children, six of which would become painters: Lucien Pissarro (1863–1944), Georges Henri Manzana Pissarro (1871–1961), Félix Pissarro (1874–1897), Ludovic-Rodo Pissarro [fr] (1878–1952), Jeanne Bonin-Pissarro [fr] (1881–1948), and Paul-Émile Pissarro (1884–1972). They lived outside Paris in Pontoise and later in Louveciennes, both of which places inspired many of his paintings including scenes of village life, along with rivers, woods, and people at work. He also kept in touch with the other artists of his earlier group, especially Monet, Renoir, Cézanne, and Frédéric Bazille.[9]

The London years

 
Bath Road, Chiswick, 1897. Ashmolean Museum, Oxford.

After the outbreak of the Franco-Prussian War of 1870–71, having only Danish nationality and being unable to join the army, he moved his family to Norwood, then a village on the edge of London. However, his style of painting, which was a forerunner of what was later called "Impressionism", did not do well. He wrote to his friend, Théodore Duret, that "my painting doesn't catch on, not at all ..."[9]

Pissarro met the Paris art dealer Paul Durand-Ruel, in London, who became the dealer who helped sell his art for most of his life. Durand-Ruel put him in touch with Monet who was likewise in London during this period. They both viewed the work of British landscape artists John Constable and J. M. W. Turner, which confirmed their belief that their style of open air painting gave the truest depiction of light and atmosphere, an effect that they felt could not be achieved in the studio alone. Pissarro's paintings also began to take on a more spontaneous look, with loosely blended brushstrokes and areas of impasto, giving more depth to the work.[9]

Paintings

Through the paintings Pissarro completed at this time, he records Sydenham and the Norwoods at a time when they were just recently connected by railways, but prior to the expansion of suburbia. One of the largest of these paintings is a view of St. Bartholomew's Church at Lawrie Park Avenue, commonly known as The Avenue, Sydenham, in the collection of the National Gallery in London. Twelve oil paintings date from his stay in Upper Norwood and are listed and illustrated in the catalogue raisonné prepared jointly by his fifth child Ludovic-Rodolphe Pissarro and Lionello Venturi and published in 1939. These paintings include Norwood Under the Snow, and Lordship Lane Station,[17] views of The Crystal Palace relocated from Hyde Park, Dulwich College, Sydenham Hill, All Saints Church Upper Norwood, and a lost painting of St. Stephen's Church.

Returning to France, Pissarro lived in Pontoise from 1872 to 1884. In 1890 he again visited England and painted some ten scenes of central London. He came back again in 1892, painting in Kew Gardens and Kew Green, and also in 1897, when he produced several oils described as being of Bedford Park, Chiswick, but in fact all being of the nearby Stamford Brook area except for one of Bath Road, which runs from Stamford Brook along the south edge of Bedford Park.[18][19]

French Impressionism

 
Landscape at Pontoise, 1874

When Pissarro returned to his home in France after the war, he discovered that of the 1,500 paintings he had done over 20 years, which he was forced to leave behind when he moved to London, only 40 remained. The rest had been damaged or destroyed by the soldiers, who often used them as floor mats outside in the mud to keep their boots clean. It is assumed that many of those lost were done in the Impressionist style he was then developing, thereby "documenting the birth of Impressionism." Armand Silvestre, a critic, went so far as to call Pissarro "basically the inventor of this [Impressionist] painting"; however, Pissarro's role in the Impressionist movement was "less that of the great man of ideas than that of the good counselor and appeaser ..." "Monet ... could be seen as the guiding force."[9]: 280, 283 

He soon reestablished his friendships with the other Impressionist artists of his earlier group, including Cézanne, Monet, Manet, Renoir, and Degas. Pissarro now expressed his opinion to the group that he wanted an alternative to the Salon so their group could display their own unique styles.

To assist in that endeavour, in 1873 he helped establish a separate collective, called the "Société Anonyme des Artistes, Peintres, Sculpteurs et Graveurs," which included fifteen artists. Pissarro created the group's first charter and became the "pivotal" figure in establishing and holding the group together. One writer noted that with his prematurely grey beard, the forty-three-year-old Pissarro was regarded as a "wise elder and father figure" by the group.[9] Yet he was able to work alongside the other artists on equal terms due to his youthful temperament and creativity. Another writer said of him that "he has unchanging spiritual youth and the look of an ancestor who remained a young man".[11]: 36 

Impressionist exhibitions that shocked the critics

 
Le grand noyer à l'Hermitage, 1875. The new manner of painting was too sketchy and looked incomplete.

The following year, in 1874, the group held their first 'Impressionist' Exhibition, which shocked and "horrified" the critics, who primarily appreciated only scenes portraying religious, historical, or mythological settings. They found fault with the Impressionist paintings on many grounds:[9]

  • The subject matter was considered "vulgar" and "commonplace," with scenes of street people going about their everyday lives. Pissarro's paintings, for instance, showed scenes of muddy, dirty, and unkempt settings;
  • The manner of painting was too sketchy and looked incomplete, especially compared to the traditional styles of the period. The use of visible and expressive brushwork by all the artists was considered an insult to the craft of traditional artists, who often spent weeks on their work. Here, the paintings were often done in one sitting and the paints were applied wet-on-wet;
  • The use of color by the Impressionists relied on new theories they developed, such as having shadows painted with the reflected light of surrounding, and often unseen, objects.

A "revolutionary" style

 
Orchard in Bloom, Louveciennes, 1872
 
The Hay Cart, Montfoucault, 1879

Pissarro showed five of his paintings, all landscapes, at the exhibit, and again Émile Zola praised his art and that of the others. In the Impressionist exhibit of 1876, however, art critic Albert Wolff complained in his review, "Try to make M. Pissarro understand that trees are not violet, that sky is not the color of fresh butter ..." Journalist and art critic Octave Mirbeau on the other hand, writes, "Camille Pissarro has been a revolutionary through the revitalized working methods with which he has endowed painting".[11]: 36  According to Rewald, Pissarro had taken on an attitude more simple and natural than the other artists. He writes:

"Rather than glorifying—consciously or not—the rugged existence of the peasants, he placed them without any 'pose' in their habitual surroundings, thus becoming an objective chronicler of one of the many facets of contemporary life."[1]: 20 

In later years, Cézanne also recalled this period and referred to Pissarro as "the first Impressionist". In 1906, a few years after Pissarro's death, Cézanne, then 67 and a role model for the new generation of artists, paid Pissarro a debt of gratitude by having himself listed in an exhibition catalogue as "Paul Cézanne, pupil of Pissarro".[1]: 45 

Pissarro, Degas, and American impressionist Mary Cassatt planned a journal of their original prints in the late 1870s, a project that nevertheless came to nothing when Degas withdrew.[20][9] Art historian and the artist's great-grandson Joachim Pissarro notes that they "professed a passionate disdain for the Salons and refused to exhibit at them."[7] Together they shared an "almost militant resolution" against the Salon, and through their later correspondences it is clear that their mutual admiration "was based on a kinship of ethical as well as aesthetic concerns".[7]

Cassatt had befriended Degas and Pissarro years earlier when she joined Pissarro's newly formed French Impressionist group and gave up opportunities to exhibit in the United States. She and Pissarro were often treated as "two outsiders" by the Salon since neither were French or had become French citizens. However, she was "fired up with the cause" of promoting Impressionism and looked forward to exhibiting "out of solidarity with her new friends".[21] Towards the end of the 1890s she began to distance herself from the Impressionists, avoiding Degas at times as she did not have the strength to defend herself against his "wicked tongue". Instead, she came to prefer the company of "the gentle Camille Pissarro", with whom she could speak frankly about the changing attitudes toward art.[22] She once described him as a teacher "that could have taught the stones to draw correctly."[9]

Neo-Impressionist period

 
Enfant tétant sa mère, drypoint and aquatint, 1882, 123 mm x 112 mm. British Museum

By the 1880s, Pissarro began to explore new themes and methods of painting to break out of what he felt was an artistic "mire". As a result, Pissarro went back to his earlier themes by painting the life of country people, which he had done in Venezuela in his youth. Degas described Pissarro's subjects as "peasants working to make a living".[9]

However, this period also marked the end of the Impressionist period due to Pissarro's leaving the movement. As Joachim Pissarro points out:

"Once such a die-hard Impressionist as Pissarro had turned his back on Impressionism, it was apparent that Impressionism had no chance of surviving ..."[11]: 52 

It was Pissarro's intention during this period to help "educate the public" by painting people at work or at home in realistic settings, without idealising their lives. Pierre-Auguste Renoir, in 1882, referred to Pissarro's work during this period as "revolutionary," in his attempt to portray the "common man." Pissarro himself did not use his art to overtly preach any kind of political message, however, although his preference for painting humble subjects was intended to be seen and purchased by his upper class clientele. He also began painting with a more unified brushwork along with pure strokes of color.

Studying with Seurat and Signac

 
La Récolte des Foins, Eragny, 1887

In 1885 he met Georges Seurat and Paul Signac,[23] both of whom relied on a more "scientific" theory of painting by using very small patches of pure colours to create the illusion of blended colours and shading when viewed from a distance. Pissarro then spent the years from 1885 to 1888 practising this more time-consuming and laborious technique, referred to as pointillism. The paintings that resulted were distinctly different from his Impressionist works, and were on display in the 1886 Impressionist Exhibition, but under a separate section, along with works by Seurat, Signac, and his son Lucien.

All four works were considered an "exception" to the eighth exhibition. Joachim Pissarro notes that virtually every reviewer who commented on Pissarro's work noted "his extraordinary capacity to change his art, revise his position and take on new challenges."[11]: 52  One critic writes:

"It is difficult to speak of Camille Pissarro ... What we have here is a fighter from way back, a master who continually grows and courageously adapts to new theories."[11]: 51 

Pissarro explained the new art form as a "phase in the logical march of Impressionism",[11]: 49  but he was alone among the other Impressionists with this attitude, however. Joachim Pissarro states that Pissarro thereby became the "only artist who went from Impressionism to Neo-Impressionism".

In 1884, art dealer Theo van Gogh asked Pissarro if he would take in his older brother, Vincent, as a boarder in his home. Lucien Pissarro wrote that his father was impressed by Van Gogh's work and had "foreseen the power of this artist", who was 23 years younger. Although Van Gogh never boarded with him, Pissarro did explain to him the various ways of finding and expressing light and color, ideas which he later used in his paintings, notes Lucien.[1]: 43 

Abandoning Neo-Impressionism

Pissarro eventually turned away from Neo-Impressionism, claiming its system was too artificial. He explains in a letter to a friend:

"Having tried this theory for four years and having then abandoned it ... I can no longer consider myself one of the neo-impressionists ... It was impossible to be true to my sensations and consequently to render life and movement, impossible to be faithful to the effects, so random and so admirable, of nature, impossible to give an individual character to my drawing, [that] I had to give up."[1]: 41 

However, after reverting to his earlier style, his work became, according to Rewald, "more subtle, his color scheme more refined, his drawing firmer ... So it was that Pissarro approached old age with an increased mastery."[1]: 41 

But the change also added to Pissarro's continual financial hardship which he felt until his 60s. His "headstrong courage and a tenacity to undertake and sustain the career of an artist", writes Joachim Pissarro, was due to his "lack of fear of the immediate repercussions" of his stylistic decisions. In addition, his work was strong enough to "bolster his morale and keep him going", he writes.[7] His Impressionist contemporaries, however, continued to view his independence as a "mark of integrity", and they turned to him for advice, referring to him as "Père Pissarro" (father Pissarro).[7]

Later years

 
Two Young Peasant Women, 1891–92. Metropolitan Museum of Art

In his older age Pissarro suffered from a recurring eye infection that prevented him from working outdoors except in warm weather. As a result of this disability, he began painting outdoor scenes while sitting by the window of hotel rooms. He often chose hotel rooms on upper levels to get a broader view. He moved around northern France and painted from hotels in Rouen, Paris, Le Havre and Dieppe. On his visits to London, he would do the same.[9]

Pissarro died in Paris on 13 November 1903 and was buried in Père Lachaise Cemetery.[3]

Legacy and influence

 
Camille Pissarro, c. 1900

During the period Pissarro exhibited his works, art critic Armand Silvestre had called Pissarro the "most real and most naive member" of the Impressionist group.[24] His work has also been described by art historian Diane Kelder as expressing "the same quiet dignity, sincerity, and durability that distinguished his person." She adds that "no member of the group did more to mediate the internecine disputes that threatened at times to break it apart, and no one was a more diligent proselytizer of the new painting."[24]

According to Pissarro's son, Lucien, his father painted regularly with Cézanne beginning in 1872. He recalls that Cézanne walked a few miles to join Pissarro at various settings in Pontoise. While they shared ideas during their work, the younger Cézanne wanted to study the countryside through Pissarro's eyes, as he admired Pissarro's landscapes from the 1860s. Cézanne, although only nine years younger than Pissarro, said that "he was a father for me. A man to consult and a little like the good Lord."[9]

Lucien Pissarro was taught painting by his father, and described him as a "splendid teacher, never imposing his personality on his pupil." Gauguin, who also studied under him, referred to Pissarro "as a force with which future artists would have to reckon".[11] Art historian Diane Kelder notes that it was Pissarro who introduced Gauguin, who was then a young stockbroker studying to become an artist, to Degas and Cézanne.[24] Gauguin, near the end of his career, wrote a letter to a friend in 1902, shortly before Pissarro's death:

"If we observe the totality of Pissarro's work, we find there, despite fluctuations, not only an extreme artistic will, never belied, but also an essentially intuitive, purebred art ... He was one of my masters and I do not deny him."[1]: 45 

The American impressionist Mary Cassatt, who at one point lived in Paris to study art, and joined his Impressionist group, noted that he was "such a teacher that he could have taught the stones to draw correctly."[9]

Caribbean author and scholar Derek Walcott based his book-length poem, Tiepolo's Hound (2000), on Pissarro's life.[25]

The legacy of Nazi-looted Pissarros

 
Self-portrait, 1903. Tate Gallery, London

During the early 1930s throughout Europe, Jewish owners of numerous fine art masterpieces found themselves forced to give up or sell off their collections for minimal prices due to anti-Jewish laws created by the new Nazi regime. Many Jews were forced to flee Germany starting in 1933, and then, as the Nazis expanded their hold over all of Europe, Austria, France, Holland, Poland, Italy and other countries.[26] The Nazis created special looting organizations like the Reichsleiter Rosenberg Taskforce whose mission it was to seize Jewish property notably valuable artworks. When those forced into exile or deported to extermination camps owned valuables, including artwork, they were often sold to finance the Nazi war effort, sent to Hitler's personal museum, traded or seized by officials for personal gain. Several artworks by Pissarro were looted from their Jewish owners in Germany, France and elsewhere by the Nazis.

Pissarro's Shepherdess Bringing Home the Sheep (La Bergère Rentrant des Moutons") was looted from the Jewish art collectors Yvonne et Raoul Meyer in France in 1941 and transited via Switzerland and New York before entering the Fred Jones Jr Museum at the University of Oklahoma.[27][28][29][30] In 2014, Meyer's daughter, Léonie-Noëlle Meyer filed a restitution claim which resulted in years of court battle.[31] The lawsuit resulted in the recognition of Meyer's ownership and its transfer to France for five years, coupled with an agreement to shuttle the painting back and forth between Paris and Oklahoma every three years after that.[32][33] However, in 2020 Meyer filed suit in a French court to challenge the accord.[34][35] After Fred Jones Jr Museum sued Meyer requesting heavy financial penalties, the Holocaust survivor abandoned her effort to recover the Pissarro, saying, "I have no other choice.[36]

Pissarro's Picking Peas (La Cueillette) was looted from Jewish businessman Simon Bauer, in addition to 92 other artworks seized in 1943 by the Vichy collaborationist regime in France.[37][38]

Pissarro's Sower And Ploughman, was owned by Dr Henri Hinrichsen, a Jewish music publisher from Leipzig, until 11 January 1940, when he was forced to relinquish the painting to Hildebrand Gurlitt in Nazi-occupied Brussels, before being murdered in Auschwitz in September 1942.[39]

Pissarro's “Le Quai Malaquais, Printemps”, owned by German Jewish publisher Samuel Fischer, founder of the famous S. Fischer Verlag, passed through the hands of infamous Nazi art looter Bruno Lohse.[40][41][42]

Pissarro's Le Boulevard de Montmartre, Matinée de Printemps, owned by Max Silberberg, a German Jewish industrialist whose renowned art collection was considered "one of the best in pre-war Germany", was seized and sold in a forced auction before Silberberg and his wife Johanna were murdered in Auschwitz.[43]

In the decades after World War II, many art masterpieces were found on display in various galleries and museums in Europe and the United States, often with false provenances and labels missing.[44] Some, as a result of legal action, were later returned to the families of the original owners. Many of the recovered paintings were then donated to the same or other museums as a gift.[45]

One such lost piece, Pissarro's 1897 oil painting, Rue St. Honoré, Apres Midi, Effet de Pluie, was discovered hanging at Madrid's government-owned museum, the Museo Thyssen-Bornemisza. In January 2011 the Spanish government denied a request by the US ambassador to return the painting.[46] At the subsequent trial in Los Angeles,[47] the court ruled that the Thyssen-Bornemisza Collection Foundation was the rightful owner.[48] In 1999, Pissarro's 1897 Le Boulevard de Montmartre, Matinée de Printemps appeared in the Israel Museum in Jerusalem, its donor having been unaware of its pre-war provenance.[49] In January 2012, Le Marché aux Poissons (The Fish Market), a color monotype, was returned after 30 years.[50]

During his lifetime, Camille Pissarro sold few of his paintings. By the 21st century, however, his paintings were selling for millions. An auction record for the artist was set on 6 November 2007 at Christie's in New York, where a group of four paintings, Les Quatre Saisons (the Four Seasons), sold for $14,601,000 (estimate $12,000,000 – $18,000,000). In November 2009 Le Pont Boieldieu et la Gare d'Orléans, Rouen, Soleil sold for $7,026,500 at Sotheby's in New York.

In February 2014 the 1897 Le Boulevard de Montmartre, Matinée de Printemps, originally owned by the German industrialist and Holocaust victim Max Silberberg (de), sold at Sotheby's in London for £19.9M, nearly five times the previous record.[51]

In October 2021 Berlin's Alte Nationalgalerie restituted Pissarro's "A Square in La Roche-Guyon" (1867) to the heirs of Armand Dorville, a French Jewish art collector whose family was persecuted by the Nazis and whose paintings had been sold at a 1942 auction in Nice that was overseen by the Commissariat Général aux Questions Juives. The museum then purchased the Pissarro back.[52]

A family of painters

 
The Artist's Palette with a Landscape c. 1878. Clark Art Institute

Camille's son Lucien was an Impressionist and Neo-impressionist painter as were his second and third sons Georges Henri Manzana Pissarro and Félix Pissarro. Lucien's daughter Orovida Pissarro was also a painter. Camille's great-grandson, Joachim Pissarro, became Head Curator of Drawing and Painting at the Museum of Modern Art in New York City and a professor in Hunter College's Art Department.[53] Camille's great-granddaughter, Lélia Pissarro, has had her work exhibited alongside her great-grandfather.[54] Another great-granddaughter, Julia Pissarro, a Barnard College graduate, is also active in the art scene.[55][56][57] From the only daughter of Camille, Jeanne Pissarro, other painters include Henri Bonin-Pissarro (1918–2003) and Claude Bonin-Pissarro (born 1921), who is the father of the Abstract artist Frédéric Bonin-Pissarro (born 1964).

The grandson of Camille Pissarro, Hugues Claude Pissarro (dit Pomié), was born in 1935 in the western section of Paris, Neuilly-sur-Seine, and began to draw and paint as a young child under his father's tutelage. During his adolescence and early twenties he studied the works of the great masters at the Louvre. His work has been featured in exhibitions in Europe and the United States, and he was commissioned by the White House in 1959 to paint a portrait of U.S. President Dwight Eisenhower. He now lives and paints in Donegal, Ireland, with his wife Corinne also an accomplished artist and their children.[58]

Paintings

Main article: List of paintings by Camille Pissarro

Drawings and prints

List of paintings

References

  1. ^ a b c d e f g h i j k Rewald, John (1989). Camille Pissarro. Harry N. Abrams. ISBN 9780810914995.
  2. ^ Bade, Patrick (2003). Monet and the Impressionists. Fog City Press. p. 81. ISBN 9781740895101.
  3. ^ a b Hamilton, George Heard (1976). "Pissarro, Camille". In Halsey, William D. (ed.). Collier's Encyclopedia. Vol. 19. New York: Macmillan Educational Corporation. p. 83.
  4. ^ Eiermann, Wold (1999). "Camille Pissarro 1830–1903". In Becker, Christoph (ed.). Camille Pissarro (exhibition in Stuttgart). Ostfildern-Ruit, New York: Hatje Cantz Verlag. p. 1. ISBN 9783775708616.
  5. ^ Murphy, Jessica (14 September 2015). . Archived from the original on 25 April 2017. Retrieved 8 January 2016.
  6. ^ Mendez-Mendez, Serafin (2003). Notable Caribbeans and Caribbean Americans: a Biographical Dictionary. Greenwood Publishing. pp. 349–350. ISBN 9780313314438.
  7. ^ a b c d e Pissarro, Joachim. . Artchive. Archived from the original on 19 March 2012.
  8. ^ a b John, Rewald (1986). Die Geschichte des Impressionismus (in German). Cologne: Du Mont. p. 11. ISBN 3770111664.
  9. ^ a b c d e f g h i j k l m n o p q The Great Masters. Quantum Books. 2004. pp. 279–319. ISBN 978-1861607577.
  10. ^ a b Mirzoeff, Nicholas (18 November 2011). The Right to Look: A Counterhistory of Visuality. Duke University Press. p. 158. ISBN 978-0-8223-4918-1.
  11. ^ a b c d e f g h i j k Camille Pissarro, Art Gallery of New South Wales, (2005)
  12. ^ . St. Thomas Synagogue. Archived from the original on 25 March 2010. Retrieved 5 October 2010.
  13. ^ . Archived from the original on 31 December 2009. Retrieved 29 October 2006.
  14. ^ Rewald, John (1990). The History of Impressionism. Harry Abrams. p. 458. ISBN 978-0810960367.
  15. ^ "Road to Versailles". Walters Art Museum.
  16. ^ King, Ross. The Judgement of Paris, Chatto & Windus (2006). p. 230.
  17. ^ artchive.com entry for Pissarro Lordship Lane
  18. ^ Seaton, Shirley (1997). "Camille Pissarro: Paintings of Stamford Brook, 1897". Brentford & Chiswick Local History Journal. 6.
  19. ^ For more details of his British visits, see Nicholas Reed, Camille Pissarro at Crystal Palace and Pissarro in West London, published by Lilburne Press.
  20. ^ Mathews 1994, pp. 139, 149.
  21. ^ Roe, Sue. The Private Lives of the Impressionists, HarperCollins (2006) p. 187
  22. ^ Mathews 1994, pp. 190, 238–9.
  23. ^ Cogniat, Raymond, Pissarro, Crown (1975), p. 92. ISBN 0-517-52477-5
  24. ^ a b c Kelder, Diane. The Great Book of French Impressionism, Abbeville Press (1980) pp. 127, 135
  25. ^ Thieme, John (September 2000). "'Doubting Thomas' – review of Derek Walcott's Tiepolo's Hound". The Literary Review: 55–56. Retrieved 27 April 2015.
  26. ^ Friedländer, Saul (2007). Nazi Germany and the Jews (1st ed.). New York: HarperCollins. ISBN 978-0-06-019042-2. OCLC 34742446.
  27. ^ Clark, Andrew. "State rep calls for allowance of physical inspection of Nazi-stolen painting". OU Daily. Retrieved 4 February 2021.
  28. ^ "A Dispute Over a Pissarro Painting Looted by Nazis Was Settled Four Years Ago. Now, It's Going Back to Court". artnet News. 2 November 2020. Retrieved 4 February 2021.
  29. ^ "University of Oklahoma fights claim to a Nazi-looted Pissarro painting". Los Angeles Times. 15 March 2015. from the original on 10 December 2019. Retrieved 4 February 2021.
  30. ^ Carvajal, Doreen (17 December 2020). "Will a Looted Pissarro End Up in Oklahoma, or France?". The New York Times. ISSN 0362-4331. Retrieved 4 February 2021.
  31. ^ "French Heiress Ratchets Up Battle With US Over Nazi-Looted Painting". Looted Art. from the original on 21 June 2021. Retrieved 13 March 2021.
  32. ^ Writers, World's Editorial. "Tulsa World Editorial: OU finally to return Nazi loot to rightful owner". Tulsa World. Retrieved 14 November 2021.
  33. ^ Blake Douglas. "Looted Pissarro heiress Léone Meyer, OU attorney Thaddeus Stauber speak on court clash over Nazi-looted painting". OU Daily. from the original on 14 November 2021. Retrieved 14 November 2021.
  34. ^ . Center for Art Law. 12 April 2021. Archived from the original on 14 November 2021. Retrieved 14 November 2021.
  35. ^ Cascone, Sarah (14 May 2021). "An International Feud Over a Looted Pissarro Painting Comes to a Head as a French Court Rejects a Holocaust Survivor's Claim". Artnet News. Retrieved 14 November 2021.
  36. ^ Cascone, Sarah (1 June 2021). "'I Have No Other Choice': Holocaust Survivor Relinquishes Her Claim to a Looted Camille Pissarro Painting". Artnet News. Retrieved 14 November 2021.
  37. ^ Presse, AFP-Agence France. "France Confirms Restitution Of Pissarro Looted In WWII". www.barrons.com. Retrieved 4 February 2021.
  38. ^ Quinn, Annalisa (8 November 2017). "French Court Orders Return of Pissarro Looted by Vichy Government". The New York Times. ISSN 0362-4331. Archived from the original on 1 January 2022. Retrieved 14 November 2021.
  39. ^ Walters, Guy (13 November 2013). "Revealed: The oddball who hid £1bn of art in his squalid flat... and the extraordinary story of how his father, who stole paintings for the Nazis, conned Allied investigators". Looted Art. Retrieved 5 February 2021.{{cite news}}: CS1 maint: url-status (link)
  40. ^ Koldehoff, Stephan (Summer 2007). "Nazi Art Theft: Pissarro's "Le Quai Malaquais, Printemps"". ART news. from the original on 24 November 2010. Retrieved 4 February 2021 – via Looted Art.
  41. ^ "Pissarro Lost and Found". Looted Art. Artnet News. from the original on 24 November 2010. Retrieved 4 February 2021.
  42. ^ Hickley, Catherine (6 June 2007). "Nazi-Looted Pissarro in Zurich Bank Pits Heiress Against Dealer". Commission for Looted Art in Europe.
  43. ^ Parsons, Michael. "Art looted by Nazis continues to surface at auction". The Irish Times. Retrieved 4 February 2021.
  44. ^ "UPDATE: OU, OU Foundation move to dismiss claims in Nazi-stolen paint…". OU Daily. 4 February 2021. Archived from the original on 4 February 2021. Retrieved 4 February 2021. NewsOK reported on Aug. 18, 2015 that the university said "Shepherdess Bringing in Sheep" lacks the Nazi ERR stamp. Wesselhöft said the disappearance of the stamp means that somebody wanted to obscure the fact that Nazis stole it.
  45. ^ Muller, Melissa; Tatzkow, Monika (2010). Lost Lives, Lost Art. Vendome Press. ISBN 978-0-86565-263-7.
  46. ^ "WikiLeaks Cables Make Appearance in a Tale of Sunken Treasure and Nazi Theft". The New York Times. 6 January 2011.
  47. ^ . Fox News. 23 September 2010. Archived from the original on 18 March 2012. Retrieved 3 September 2011.
  48. ^ "U.S. District Court confirms Thyssen-Bornemisza Collection Foundation of Spain as owner of artwork". Art Daily. July 2012. Retrieved 17 September 2021.
  49. ^ Mazyler, Michael J. Holocaust Justice, N.Y. University Press (2003) p. 205
  50. ^ "Stolen impressionist art returned after 3 decades", CNN, 25 January 2012
  51. ^ "BBC News – Pissarro painting sells for a record £19.9m". BBC News. 6 February 2014. Retrieved 6 February 2014.
  52. ^ "Berlin museum restitutes—and then buys back—Nazi-looted Pissarro painting". The Art Newspaper - International art news and events. 18 October 2021. from the original on 18 October 2021. Retrieved 6 November 2021.
  53. ^ "Hunter College Performance Goals and Targets 2008–2009 Academic Year" (PDF). Hunter College, CUNY. 18 June 2009. (PDF) from the original on 29 October 2013. Retrieved 15 June 2013.
  54. ^ "Christina Gallery expands its post-Impressionist collection". MV Times. 30 July 2014. Retrieved 5 September 2017.
  55. ^ "The New Normal Generation – L'Officiel". www.lofficielusa.com. Retrieved 22 July 2020.
  56. ^ Widdicombe, Ben (24 June 2017). "Young Socialites Conjure the Ghost of Leonard Bernstein at the Dakota". The New York Times. ISSN 0362-4331. Archived from the original on 1 January 2022. Retrieved 22 July 2020.
  57. ^ ELLE.com (16 November 2017). "ELLE Celebrates the 2017 Women in Art". ELLE. Retrieved 22 July 2020.
  58. ^ "Buy Original Art & Painting of H. Claude Pissarro (b. 1935 - ) - Online Art Gallery". www.pissarro.art.

Bibliography

  • Rewald, John, ed., with the assistance of Lucien Pissarro: Camille Pissarro, Lettres à son fils Lucien, Editions Albin Michel, Paris 1950; previously published, translated to English: Camille Pissarro, Letters to his son Lucien, New York 1943 & London 1944; 3rd revised edition, Paul P Appel Publishers, 1972 ISBN 0-911858-22-9
  • Bailly-Herzberg, Janine, ed.: Correspondance de Camille Pissarro, 5 volumes, Presses Universitaires de France, Paris, 1980 & Editions du Valhermeil, Paris, 1986–1991 ISBN 2-13-036694-5 – ISBN 2-905684-05-4 – ISBN 2-905684-09-7 – ISBN 2-905684-17-8 – ISBN 2-905684-35-6
  • Mathews, Nancy Mowll (1994). Mary Cassatt: A Life. New York: Villard Books. ISBN 978-0-394-58497-3. LCCN 98-8028.
  • Thorold, Anne, ed.: The letters of Lucien to Camille Pissarro 1883–1903, Cambridge University Press, Cambridge, New York & Oakleigh, 1993 ISBN 0-521-39034-6

Further reading

  • Clement, Russell T. and Houze, Annick, Neo-Impressionist Painters: A Sourcebook on Georges Seurat, Camille Pissarro, Paul Signac, Théo van Rysselberghe, Henri-Edmond Cross, Charles Angrand, Maximilien Luce, and Albert Dubois-Pillet (1999), Greenwood Press, ISBN 0-313-30382-7
  • Eitner, Lorenz, An Outline of 19th Century European Painting: From David through Cézanne (1992), HarperCollins Publishers, ISBN 0-06-430223-7
  • Nochlin, Linda, The Politics of Vision: Essays on Nineteenth-Century Art and Society (1991) Westview Press, ISBN 0-06-430187-7
  • Rewald, John, The History of Impressionism (1961), Museum of Modern Art, ISBN 0-8109-6035-4
  • Stone, Irving, Depths of Glory (1987), Signet, ISBN 0-451-14602-6
  • Tabarant, A., Pissarro (1925), John Lane the Bodley Head Ltd., translated by J. Lewis May

Critical Catalogue of Paintings

In June 2006, a three-volume work of 1,500 pages was published, titled Pissarro: Critical Catalogue of Paintings. It was compiled by Joachim Pissarro, descendant of the painter, and Claire Durand-Ruel Snollaerts, descendant of the French art dealer Paul Durand-Ruel. The work is the most comprehensive collection of Pissarro paintings to date. It contains accompanying images of drawings and studies, as well as photographs of Pissarro and his family that had not previously been published.[1]

External links

 
Wikimedia Commons has media related to Camille Pissarro.
 
Wikiquote has quotations related to Camille Pissarro.
 
Wikisource has the text of the 1911 Encyclopædia Britannica article "Pissarro, Camille".
  • Camille Pissarro Protests Alfred Dreyfus' Conviction: Original Letter 20 June 2014 at the Wayback Machine Shapell Manuscript Foundation
  • Photograph of Pissarro's mausoleum at Cimetière Père Lachaise, Paris (JPG)
  • Pissarro's People, exhibition held at the Sterling and Francine Clark Art Institute, Williamstown MA, 12 June – 2 October 2011 23 September 2015 at the Wayback Machine
  • Union List of Artist Names, Getty Vocabularies. ULAN Full Record Display for Camille Pissarro. Getty Vocabulary Program, Getty Research Institute. Los Angeles, California.
  • 54 artworks by or after Camille Pissarro at the Art UK site: works in public British collections
  • Exhibition Pissarro dans les ports, 2013, Museum of modern art André Malraux – MuMa
  • Camille Pissarro Personal Manuscripts
  • Camille Pissarro at The Jewish Museum
  • Pissarro Paintings and Works on Paper at the Art Institute of Chicago, one of the Art Institute of Chicago's digital scholarly catalogues
  • Jennifer A. Thompson, "L’île Lacroix, Rouen (The Effect of Fog) by Camille Pissarro (cat. 1060)[permanent dead link],” in The John G. Johnson Collection: A History and Selected Works[permanent dead link], a Philadelphia Museum of Art free digital publication
  • An artwork by Camille Pissarro at the Ben Uri site

  1. ^ Pissarro, Joachim; Snollaerts, Claire Durand-Ruel (2006). Pissarro: Critical Catalogue of Paintings. Skira/Wildenstein. ISBN 88-7624-525-1.

May 04, 2023
camille, pissarro, pissarro, redirects, here, surname, pissarro, surname, jacob, abraham, ɑːr, piss, french, kamij, pisaʁo, july, 1830, november, 1903, danish, french, impressionist, impressionist, painter, born, island, thomas, virgin, islands, then, danish, . Pissarro redirects here For the surname see Pissarro surname Jacob Abraham Camille Pissarro p ɪ ˈ s ɑːr oʊ piss AR oh French kamij pisaʁo 10 July 1830 13 November 1903 was a Danish French Impressionist and Neo Impressionist painter born on the island of St Thomas now in the US Virgin Islands but then in the Danish West Indies His importance resides in his contributions to both Impressionism and Post Impressionism Pissarro studied from great forerunners including Gustave Courbet and Jean Baptiste Camille Corot He later studied and worked alongside Georges Seurat and Paul Signac when he took on the Neo Impressionist style at the age of 54 Camille PissarroCamille Pissarro c 1900BornJacob Abraham Camille Pissarro 1830 07 10 10 July 1830Charlotte Amalie Saint Thomas Danish West IndiesDied13 November 1903 1903 11 13 aged 73 Paris FranceNationalityDanish FrenchKnown forPaintingMovementImpressionismPost ImpressionismIn 1873 he helped establish a collective society of fifteen aspiring artists becoming the pivotal figure in holding the group together and encouraging the other members Art historian John Rewald called Pissarro the dean of the Impressionist painters not only because he was the oldest of the group but also by virtue of his wisdom and his balanced kind and warmhearted personality 1 Paul Cezanne said he was a father for me A man to consult and a little like the good Lord and he was also one of Paul Gauguin s masters Pierre Auguste Renoir referred to his work as revolutionary through his artistic portrayals of the common man as Pissarro insisted on painting individuals in natural settings without artifice or grandeur Pissarro is the only artist to have shown his work at all eight Paris Impressionist exhibitions from 1874 to 1886 He acted as a father figure not only to the Impressionists but to all four of the major Post Impressionists Cezanne Seurat Gauguin and van Gogh 2 Contents 1 Early years 2 Life in France 2 1 Paris Salon and Corot s influence 2 2 Use of natural outdoor settings 2 3 With Monet Cezanne and Guillaumin 2 4 Marriage and children 3 The London years 3 1 Paintings 4 French Impressionism 4 1 Impressionist exhibitions that shocked the critics 4 2 A revolutionary style 5 Neo Impressionist period 5 1 Studying with Seurat and Signac 5 2 Abandoning Neo Impressionism 6 Later years 7 Legacy and influence 7 1 The legacy of Nazi looted Pissarros 8 A family of painters 9 Paintings 10 Drawings and prints 11 List of paintings 12 References 13 Bibliography 14 Further reading 14 1 Critical Catalogue of Paintings 15 External linksEarly years Edit Landscape with Farmhouses and Palm Trees c 1853 Galeria de Arte Nacional Caracas Two Women Chatting by the Sea St Thomas 1856 Jacob Abraham Camille Pissarro was born on 10 July 1830 on the island of St Thomas to Frederick Abraham Gabriel Pissarro and Rachel Manzano Pomie 3 4 His father was of Portuguese Jewish descent and held French nationality His mother was from a French Jewish family from the island of St Thomas 5 His father was a merchant who came to the island from France to deal with the hardware store of a deceased uncle Isaac Petit and married his widow The marriage caused a stir within St Thomas s small Jewish community because she was previously married to Frederick s uncle and according to Jewish law a man is forbidden from marrying his aunt In subsequent years his four children attended the all black primary school 6 Upon his death his will specified that his estate be split equally between the synagogue and St Thomas Protestant church 7 When Pissarro was twelve his father sent him to boarding school in France He studied at the Savary Academy in Passy near Paris While a young student he developed an early appreciation of the French art masters Monsieur Savary himself gave him a strong grounding in drawing and painting and suggested he draw from nature when he returned to St Thomas After his schooling Pissarro returned to St Thomas at the age of sixteen or seventeen where his father advocated Pissarro to work in his business as a port clerk 8 Nevertheless Pissarro took every opportunity during those next five years at the job to practice drawing during breaks and after work 9 8 Visual theorist Nicholas Mirzoeff claims that the young Pissarro was inspired by the artworks of James Gay Sawkins a British painter and geologist who lived in Charlotte Amalie St Thomas circa 1847 Pissarro may have attended art classes taught by Sawkins and seen Sawkins s paintings of Mitla Mexico 10 Mirzoeff states A formal analysis suggests that Sawkins s work influenced the young Pissarro who had just returned to the island from his school in France Soon afterward Pissarro began his own drawings of the local African population in apparent imitation of Sawkins creating sketches for a postslavery imagination 10 When Pissarro turned twenty one Danish artist Fritz Melbye then living on St Thomas inspired him to take on painting as a full time profession becoming his teacher and friend Pissarro then chose to leave his family and job and live in Venezuela where he and Melbye spent the next two years working as artists in Caracas and La Guaira He drew everything he could including landscapes village scenes and numerous sketches enough to fill up multiple sketchbooks Life in France Edit Jalais Hill Pontoise 1867 Metropolitan Museum of Art In 1855 Pissarro moved back to Paris where he began working as an assistant to Anton Melbye Fritz Melbye s brother and also a painter 11 12 He also studied paintings by other artists whose style impressed him Courbet Charles Francois Daubigny Jean Francois Millet and Corot He also enrolled in various classes taught by masters at schools such as Ecole des Beaux Arts and Academie Suisse But Pissarro eventually found their teaching methods stifling states art historian John Rewald This prompted him to search for alternative instruction which he requested and received from Corot 1 11 Paris Salon and Corot s influence Edit His initial paintings were in accord with the standards at the time to be displayed at the Paris Salon the official body whose academic traditions dictated the kind of art that was acceptable The Salon s annual exhibition was essentially the only marketplace for young artists to gain exposure As a result Pissarro worked in the traditional and prescribed manner to satisfy the tastes of its official committee 9 In 1859 his first painting was accepted and exhibited His other paintings during that period were influenced by Camille Corot who tutored him 13 He and Corot both shared a love of rural scenes painted from nature It was by Corot that Pissarro was inspired to paint outdoors also called plein air painting Pissarro found Corot along with the work of Gustave Courbet to be statements of pictorial truth writes Rewald He discussed their work often Jean Francois Millet was another whose work he admired especially his sentimental renditions of rural life 1 12 Use of natural outdoor settings Edit Entree du village de Voisins 1872 Musee d Orsay Paris During this period Pissarro began to understand and appreciate the importance of expressing on canvas the beauties of nature without adulteration 1 12 After a year in Paris he therefore began to leave the city and paint scenes in the countryside to capture the daily reality of village life He found the French countryside to be picturesque and worthy of being painted It was still mostly agricultural and sometimes called the golden age of the peasantry 11 17 Pissarro later explained the technique of painting outdoors to a student Work at the same time upon sky water branches ground keeping everything going on an equal basis and unceasingly rework until you have got it Paint generously and unhesitatingly for it is best not to lose the first impression 14 Corot would complete his paintings back in his studio often revising them according to his preconceptions Pissarro however preferred to finish his paintings outdoors often at one sitting which gave his work a more realistic feel As a result his art was sometimes criticised as being vulgar because he painted what he saw rutted and edged hodgepodge of bushes mounds of earth and trees in various stages of development According to one source such details were equivalent to today s art showing garbage cans or beer bottles on the side of a street This difference in style created disagreements between Pissarro and Corot 9 With Monet Cezanne and Guillaumin Edit In 1869 Pissarro settled in Louveciennes and would often paint the road to Versailles in various seasons 15 Walters Art Museum In 1859 while attending the free school the Academie Suisse Pissarro became friends with a number of younger artists who likewise chose to paint in the more realistic style Among them were Claude Monet Armand Guillaumin and Paul Cezanne What they shared in common was their dissatisfaction with the dictates of the Salon Cezanne s work had been mocked at the time by the others in the school and writes Rewald in his later years Cezanne never forgot the sympathy and understanding with which Pissarro encouraged him 1 16 As a part of the group Pissarro was comforted from knowing he was not alone and that others similarly struggled with their art Pissarro agreed with the group about the importance of portraying individuals in natural settings and expressed his dislike of any artifice or grandeur in his works despite what the Salon demanded for its exhibits In 1863 almost all of the group s paintings were rejected by the Salon and French Emperor Napoleon III instead decided to place their paintings in a separate exhibit hall the Salon des Refuses However only works of Pissarro and Cezanne were included and the separate exhibit brought a hostile response from both the officials of the Salon and the public 9 In subsequent Salon exhibits of 1865 and 1866 Pissarro acknowledged his influences from Melbye and Corot whom he listed as his masters in the catalogue But in the exhibition of 1868 he no longer credited other artists as an influence in effect declaring his independence as a painter This was noted at the time by art critic and author Emile Zola who offered his opinion Camille Pissarro is one of the three or four true painters of this day I have rarely encountered a technique that is so sure 9 Camille Pissarro and his wife Julie Vellay 1877 Pontoise Another writer tries to describe elements of Pissarro s style The brightness of his palette envelops objects in atmosphere He paints the smell of the earth 11 35 And though on orders from the hanging Committee and the Marquis de Chennevieres Pissarro s paintings of Pontoise for example had been skyed hung near the ceiling this did not prevent Jules Antoine Castagnary from noting that the qualities of his paintings had been observed by art lovers 16 At the age of thirty eight Pissarro had begun to win himself a reputation as a landscapist to rival Corot and Daubigny In the late 1860s or early 1870s Pissarro became fascinated with Japanese prints which influenced his desire to experiment in new compositions He described the art to his son Lucien It is marvelous This is what I see in the art of this astonishing people nothing that leaps to the eye a calm a grandeur an extraordinary unity a rather subdued radiance 11 19 Marriage and children Edit In 1871 in Croydon England he married his mother s maid Julie Vellay a vineyard grower s daughter with whom he had seven children six of which would become painters Lucien Pissarro 1863 1944 Georges Henri Manzana Pissarro 1871 1961 Felix Pissarro 1874 1897 Ludovic Rodo Pissarro fr 1878 1952 Jeanne Bonin Pissarro fr 1881 1948 and Paul Emile Pissarro 1884 1972 They lived outside Paris in Pontoise and later in Louveciennes both of which places inspired many of his paintings including scenes of village life along with rivers woods and people at work He also kept in touch with the other artists of his earlier group especially Monet Renoir Cezanne and Frederic Bazille 9 The London years Edit Bath Road Chiswick 1897 Ashmolean Museum Oxford After the outbreak of the Franco Prussian War of 1870 71 having only Danish nationality and being unable to join the army he moved his family to Norwood then a village on the edge of London However his style of painting which was a forerunner of what was later called Impressionism did not do well He wrote to his friend Theodore Duret that my painting doesn t catch on not at all 9 Pissarro met the Paris art dealer Paul Durand Ruel in London who became the dealer who helped sell his art for most of his life Durand Ruel put him in touch with Monet who was likewise in London during this period They both viewed the work of British landscape artists John Constable and J M W Turner which confirmed their belief that their style of open air painting gave the truest depiction of light and atmosphere an effect that they felt could not be achieved in the studio alone Pissarro s paintings also began to take on a more spontaneous look with loosely blended brushstrokes and areas of impasto giving more depth to the work 9 Paintings Edit Through the paintings Pissarro completed at this time he records Sydenham and the Norwoods at a time when they were just recently connected by railways but prior to the expansion of suburbia One of the largest of these paintings is a view of St Bartholomew s Church at Lawrie Park Avenue commonly known as The Avenue Sydenham in the collection of the National Gallery in London Twelve oil paintings date from his stay in Upper Norwood and are listed and illustrated in the catalogue raisonne prepared jointly by his fifth child Ludovic Rodolphe Pissarro and Lionello Venturi and published in 1939 These paintings include Norwood Under the Snow and Lordship Lane Station 17 views of The Crystal Palace relocated from Hyde Park Dulwich College Sydenham Hill All Saints Church Upper Norwood and a lost painting of St Stephen s Church Returning to France Pissarro lived in Pontoise from 1872 to 1884 In 1890 he again visited England and painted some ten scenes of central London He came back again in 1892 painting in Kew Gardens and Kew Green and also in 1897 when he produced several oils described as being of Bedford Park Chiswick but in fact all being of the nearby Stamford Brook area except for one of Bath Road which runs from Stamford Brook along the south edge of Bedford Park 18 19 French Impressionism Edit Landscape at Pontoise 1874 When Pissarro returned to his home in France after the war he discovered that of the 1 500 paintings he had done over 20 years which he was forced to leave behind when he moved to London only 40 remained The rest had been damaged or destroyed by the soldiers who often used them as floor mats outside in the mud to keep their boots clean It is assumed that many of those lost were done in the Impressionist style he was then developing thereby documenting the birth of Impressionism Armand Silvestre a critic went so far as to call Pissarro basically the inventor of this Impressionist painting however Pissarro s role in the Impressionist movement was less that of the great man of ideas than that of the good counselor and appeaser Monet could be seen as the guiding force 9 280 283 He soon reestablished his friendships with the other Impressionist artists of his earlier group including Cezanne Monet Manet Renoir and Degas Pissarro now expressed his opinion to the group that he wanted an alternative to the Salon so their group could display their own unique styles To assist in that endeavour in 1873 he helped establish a separate collective called the Societe Anonyme des Artistes Peintres Sculpteurs et Graveurs which included fifteen artists Pissarro created the group s first charter and became the pivotal figure in establishing and holding the group together One writer noted that with his prematurely grey beard the forty three year old Pissarro was regarded as a wise elder and father figure by the group 9 Yet he was able to work alongside the other artists on equal terms due to his youthful temperament and creativity Another writer said of him that he has unchanging spiritual youth and the look of an ancestor who remained a young man 11 36 Impressionist exhibitions that shocked the critics Edit Le grand noyer a l Hermitage 1875 The new manner of painting was too sketchy and looked incomplete The following year in 1874 the group held their first Impressionist Exhibition which shocked and horrified the critics who primarily appreciated only scenes portraying religious historical or mythological settings They found fault with the Impressionist paintings on many grounds 9 The subject matter was considered vulgar and commonplace with scenes of street people going about their everyday lives Pissarro s paintings for instance showed scenes of muddy dirty and unkempt settings The manner of painting was too sketchy and looked incomplete especially compared to the traditional styles of the period The use of visible and expressive brushwork by all the artists was considered an insult to the craft of traditional artists who often spent weeks on their work Here the paintings were often done in one sitting and the paints were applied wet on wet The use of color by the Impressionists relied on new theories they developed such as having shadows painted with the reflected light of surrounding and often unseen objects A revolutionary style Edit Orchard in Bloom Louveciennes 1872 The Hay Cart Montfoucault 1879 Pissarro showed five of his paintings all landscapes at the exhibit and again Emile Zola praised his art and that of the others In the Impressionist exhibit of 1876 however art critic Albert Wolff complained in his review Try to make M Pissarro understand that trees are not violet that sky is not the color of fresh butter Journalist and art critic Octave Mirbeau on the other hand writes Camille Pissarro has been a revolutionary through the revitalized working methods with which he has endowed painting 11 36 According to Rewald Pissarro had taken on an attitude more simple and natural than the other artists He writes Rather than glorifying consciously or not the rugged existence of the peasants he placed them without any pose in their habitual surroundings thus becoming an objective chronicler of one of the many facets of contemporary life 1 20 In later years Cezanne also recalled this period and referred to Pissarro as the first Impressionist In 1906 a few years after Pissarro s death Cezanne then 67 and a role model for the new generation of artists paid Pissarro a debt of gratitude by having himself listed in an exhibition catalogue as Paul Cezanne pupil of Pissarro 1 45 Pissarro Degas and American impressionist Mary Cassatt planned a journal of their original prints in the late 1870s a project that nevertheless came to nothing when Degas withdrew 20 9 Art historian and the artist s great grandson Joachim Pissarro notes that they professed a passionate disdain for the Salons and refused to exhibit at them 7 Together they shared an almost militant resolution against the Salon and through their later correspondences it is clear that their mutual admiration was based on a kinship of ethical as well as aesthetic concerns 7 Cassatt had befriended Degas and Pissarro years earlier when she joined Pissarro s newly formed French Impressionist group and gave up opportunities to exhibit in the United States She and Pissarro were often treated as two outsiders by the Salon since neither were French or had become French citizens However she was fired up with the cause of promoting Impressionism and looked forward to exhibiting out of solidarity with her new friends 21 Towards the end of the 1890s she began to distance herself from the Impressionists avoiding Degas at times as she did not have the strength to defend herself against his wicked tongue Instead she came to prefer the company of the gentle Camille Pissarro with whom she could speak frankly about the changing attitudes toward art 22 She once described him as a teacher that could have taught the stones to draw correctly 9 Neo Impressionist period Edit Hay Harvest at Eragny 1901 National Gallery of Canada Ottawa Enfant tetant sa mere drypoint and aquatint 1882 123 mm x 112 mm British Museum By the 1880s Pissarro began to explore new themes and methods of painting to break out of what he felt was an artistic mire As a result Pissarro went back to his earlier themes by painting the life of country people which he had done in Venezuela in his youth Degas described Pissarro s subjects as peasants working to make a living 9 However this period also marked the end of the Impressionist period due to Pissarro s leaving the movement As Joachim Pissarro points out Once such a die hard Impressionist as Pissarro had turned his back on Impressionism it was apparent that Impressionism had no chance of surviving 11 52 It was Pissarro s intention during this period to help educate the public by painting people at work or at home in realistic settings without idealising their lives Pierre Auguste Renoir in 1882 referred to Pissarro s work during this period as revolutionary in his attempt to portray the common man Pissarro himself did not use his art to overtly preach any kind of political message however although his preference for painting humble subjects was intended to be seen and purchased by his upper class clientele He also began painting with a more unified brushwork along with pure strokes of color Studying with Seurat and Signac Edit La Recolte des Foins Eragny 1887 In 1885 he met Georges Seurat and Paul Signac 23 both of whom relied on a more scientific theory of painting by using very small patches of pure colours to create the illusion of blended colours and shading when viewed from a distance Pissarro then spent the years from 1885 to 1888 practising this more time consuming and laborious technique referred to as pointillism The paintings that resulted were distinctly different from his Impressionist works and were on display in the 1886 Impressionist Exhibition but under a separate section along with works by Seurat Signac and his son Lucien All four works were considered an exception to the eighth exhibition Joachim Pissarro notes that virtually every reviewer who commented on Pissarro s work noted his extraordinary capacity to change his art revise his position and take on new challenges 11 52 One critic writes It is difficult to speak of Camille Pissarro What we have here is a fighter from way back a master who continually grows and courageously adapts to new theories 11 51 Pissarro explained the new art form as a phase in the logical march of Impressionism 11 49 but he was alone among the other Impressionists with this attitude however Joachim Pissarro states that Pissarro thereby became the only artist who went from Impressionism to Neo Impressionism In 1884 art dealer Theo van Gogh asked Pissarro if he would take in his older brother Vincent as a boarder in his home Lucien Pissarro wrote that his father was impressed by Van Gogh s work and had foreseen the power of this artist who was 23 years younger Although Van Gogh never boarded with him Pissarro did explain to him the various ways of finding and expressing light and color ideas which he later used in his paintings notes Lucien 1 43 Abandoning Neo Impressionism Edit Pont Boieldieu in Rouen Rainy Weather 1896 Art Gallery of Ontario Pissarro eventually turned away from Neo Impressionism claiming its system was too artificial He explains in a letter to a friend Having tried this theory for four years and having then abandoned it I can no longer consider myself one of the neo impressionists It was impossible to be true to my sensations and consequently to render life and movement impossible to be faithful to the effects so random and so admirable of nature impossible to give an individual character to my drawing that I had to give up 1 41 However after reverting to his earlier style his work became according to Rewald more subtle his color scheme more refined his drawing firmer So it was that Pissarro approached old age with an increased mastery 1 41 But the change also added to Pissarro s continual financial hardship which he felt until his 60s His headstrong courage and a tenacity to undertake and sustain the career of an artist writes Joachim Pissarro was due to his lack of fear of the immediate repercussions of his stylistic decisions In addition his work was strong enough to bolster his morale and keep him going he writes 7 His Impressionist contemporaries however continued to view his independence as a mark of integrity and they turned to him for advice referring to him as Pere Pissarro father Pissarro 7 Later years Edit Two Young Peasant Women 1891 92 Metropolitan Museum of Art In his older age Pissarro suffered from a recurring eye infection that prevented him from working outdoors except in warm weather As a result of this disability he began painting outdoor scenes while sitting by the window of hotel rooms He often chose hotel rooms on upper levels to get a broader view He moved around northern France and painted from hotels in Rouen Paris Le Havre and Dieppe On his visits to London he would do the same 9 Pissarro died in Paris on 13 November 1903 and was buried in Pere Lachaise Cemetery 3 Legacy and influence Edit Camille Pissarro c 1900 During the period Pissarro exhibited his works art critic Armand Silvestre had called Pissarro the most real and most naive member of the Impressionist group 24 His work has also been described by art historian Diane Kelder as expressing the same quiet dignity sincerity and durability that distinguished his person She adds that no member of the group did more to mediate the internecine disputes that threatened at times to break it apart and no one was a more diligent proselytizer of the new painting 24 According to Pissarro s son Lucien his father painted regularly with Cezanne beginning in 1872 He recalls that Cezanne walked a few miles to join Pissarro at various settings in Pontoise While they shared ideas during their work the younger Cezanne wanted to study the countryside through Pissarro s eyes as he admired Pissarro s landscapes from the 1860s Cezanne although only nine years younger than Pissarro said that he was a father for me A man to consult and a little like the good Lord 9 Lucien Pissarro was taught painting by his father and described him as a splendid teacher never imposing his personality on his pupil Gauguin who also studied under him referred to Pissarro as a force with which future artists would have to reckon 11 Art historian Diane Kelder notes that it was Pissarro who introduced Gauguin who was then a young stockbroker studying to become an artist to Degas and Cezanne 24 Gauguin near the end of his career wrote a letter to a friend in 1902 shortly before Pissarro s death If we observe the totality of Pissarro s work we find there despite fluctuations not only an extreme artistic will never belied but also an essentially intuitive purebred art He was one of my masters and I do not deny him 1 45 The American impressionist Mary Cassatt who at one point lived in Paris to study art and joined his Impressionist group noted that he was such a teacher that he could have taught the stones to draw correctly 9 Caribbean author and scholar Derek Walcott based his book length poem Tiepolo s Hound 2000 on Pissarro s life 25 The legacy of Nazi looted Pissarros Edit Self portrait 1903 Tate Gallery London During the early 1930s throughout Europe Jewish owners of numerous fine art masterpieces found themselves forced to give up or sell off their collections for minimal prices due to anti Jewish laws created by the new Nazi regime Many Jews were forced to flee Germany starting in 1933 and then as the Nazis expanded their hold over all of Europe Austria France Holland Poland Italy and other countries 26 The Nazis created special looting organizations like the Reichsleiter Rosenberg Taskforce whose mission it was to seize Jewish property notably valuable artworks When those forced into exile or deported to extermination camps owned valuables including artwork they were often sold to finance the Nazi war effort sent to Hitler s personal museum traded or seized by officials for personal gain Several artworks by Pissarro were looted from their Jewish owners in Germany France and elsewhere by the Nazis Pissarro s Shepherdess Bringing Home the Sheep La Bergere Rentrant des Moutons was looted from the Jewish art collectors Yvonne et Raoul Meyer in France in 1941 and transited via Switzerland and New York before entering the Fred Jones Jr Museum at the University of Oklahoma 27 28 29 30 In 2014 Meyer s daughter Leonie Noelle Meyer filed a restitution claim which resulted in years of court battle 31 The lawsuit resulted in the recognition of Meyer s ownership and its transfer to France for five years coupled with an agreement to shuttle the painting back and forth between Paris and Oklahoma every three years after that 32 33 However in 2020 Meyer filed suit in a French court to challenge the accord 34 35 After Fred Jones Jr Museum sued Meyer requesting heavy financial penalties the Holocaust survivor abandoned her effort to recover the Pissarro saying I have no other choice 36 Pissarro s Picking Peas La Cueillette was looted from Jewish businessman Simon Bauer in addition to 92 other artworks seized in 1943 by the Vichy collaborationist regime in France 37 38 Pissarro s Sower And Ploughman was owned by Dr Henri Hinrichsen a Jewish music publisher from Leipzig until 11 January 1940 when he was forced to relinquish the painting to Hildebrand Gurlitt in Nazi occupied Brussels before being murdered in Auschwitz in September 1942 39 Pissarro s Le Quai Malaquais Printemps owned by German Jewish publisher Samuel Fischer founder of the famous S Fischer Verlag passed through the hands of infamous Nazi art looter Bruno Lohse 40 41 42 Pissarro s Le Boulevard de Montmartre Matinee de Printemps owned by Max Silberberg a German Jewish industrialist whose renowned art collection was considered one of the best in pre war Germany was seized and sold in a forced auction before Silberberg and his wife Johanna were murdered in Auschwitz 43 In the decades after World War II many art masterpieces were found on display in various galleries and museums in Europe and the United States often with false provenances and labels missing 44 Some as a result of legal action were later returned to the families of the original owners Many of the recovered paintings were then donated to the same or other museums as a gift 45 Rue Saint Honore dans l apres midi Effet de pluie 1897 Museo Thyssen Bornemisza One such lost piece Pissarro s 1897 oil painting Rue St Honore Apres Midi Effet de Pluie was discovered hanging at Madrid s government owned museum the Museo Thyssen Bornemisza In January 2011 the Spanish government denied a request by the US ambassador to return the painting 46 At the subsequent trial in Los Angeles 47 the court ruled that the Thyssen Bornemisza Collection Foundation was the rightful owner 48 In 1999 Pissarro s 1897 Le Boulevard de Montmartre Matinee de Printemps appeared in the Israel Museum in Jerusalem its donor having been unaware of its pre war provenance 49 In January 2012 Le Marche aux Poissons The Fish Market a color monotype was returned after 30 years 50 During his lifetime Camille Pissarro sold few of his paintings By the 21st century however his paintings were selling for millions An auction record for the artist was set on 6 November 2007 at Christie s in New York where a group of four paintings Les Quatre Saisons the Four Seasons sold for 14 601 000 estimate 12 000 000 18 000 000 In November 2009 Le Pont Boieldieu et la Gare d Orleans Rouen Soleil sold for 7 026 500 at Sotheby s in New York In February 2014 the 1897 Le Boulevard de Montmartre Matinee de Printemps originally owned by the German industrialist and Holocaust victim Max Silberberg de sold at Sotheby s in London for 19 9M nearly five times the previous record 51 In October 2021 Berlin s Alte Nationalgalerie restituted Pissarro s A Square in La Roche Guyon 1867 to the heirs of Armand Dorville a French Jewish art collector whose family was persecuted by the Nazis and whose paintings had been sold at a 1942 auction in Nice that was overseen by the Commissariat General aux Questions Juives The museum then purchased the Pissarro back 52 Boulevard Montmartre cityscape series Boulevard Montmartre a Paris 1897 Hermitage Museum Boulevard Montmartre Mardi Gras 1897 Hammer Museum Boulevard Montmartre morning cloudy weather 1897 National Gallery of Victoria The Boulevard Montmartre on a Winter Morning 1897 Metropolitan Museum of Art Le Boulevard de Montmartre Matinee de Printemps street view from hotel window 1897 The Boulevard Montmartre at Night 1897 National GalleryA family of painters Edit The Artist s Palette with a Landscape c 1878 Clark Art Institute Camille s son Lucien was an Impressionist and Neo impressionist painter as were his second and third sons Georges Henri Manzana Pissarro and Felix Pissarro Lucien s daughter Orovida Pissarro was also a painter Camille s great grandson Joachim Pissarro became Head Curator of Drawing and Painting at the Museum of Modern Art in New York City and a professor in Hunter College s Art Department 53 Camille s great granddaughter Lelia Pissarro has had her work exhibited alongside her great grandfather 54 Another great granddaughter Julia Pissarro a Barnard College graduate is also active in the art scene 55 56 57 From the only daughter of Camille Jeanne Pissarro other painters include Henri Bonin Pissarro 1918 2003 and Claude Bonin Pissarro born 1921 who is the father of the Abstract artist Frederic Bonin Pissarro born 1964 The grandson of Camille Pissarro Hugues Claude Pissarro dit Pomie was born in 1935 in the western section of Paris Neuilly sur Seine and began to draw and paint as a young child under his father s tutelage During his adolescence and early twenties he studied the works of the great masters at the Louvre His work has been featured in exhibitions in Europe and the United States and he was commissioned by the White House in 1959 to paint a portrait of U S President Dwight Eisenhower He now lives and paints in Donegal Ireland with his wife Corinne also an accomplished artist and their children 58 Paintings EditMain article List of paintings by Camille Pissarro A Plaza in Caracas c 1850 52 oil on canvas Coleccion Patricia Phelps de Cisneros Allee dans une foret Road in a Forest 1859 oil on canvas Working at Berelles Le Labourage Berelles c 1860 oil on panel Chataignier a Louveciennes 1870 Musee d Orsay Paris The Woods at Marly 1871 Thyssen Bornemisza Museum The Road to Versailles Louveciennes Morning Frost 1871 Dallas Museum of Art Still Life Apples and Pears in a Round Basket 1872 The Henry and Rose Pearlman Collection on long term loan to the Princeton University Art Museum Camille Pissarro Portrait of Paul Cezanne 1874 National Gallery A Cowherd at Valhermeil Auvers sur Oise 1874 Metropolitan Museum of Art Un Carrefour a l Hermitage Pontoise 1876 Musee Malraux Toits rouges coin d un village hiver Cote de Saint Denis Pontoise 1877 Musee d Orsay Paris The Cote des Bœufs at L Hermitage 1877 National Gallery The Garden of Pontoise 1877 Washerwoman Study 1880 Metropolitan Museum of Art Conversation c 1881 National Museum of Western Art The Harvest Pontoise 1881 Metropolitan Museum of Art The Harvest 1882 Bridgestone Museum of Art Tokyo Le jardin de Maubuisson Pontoise 1882 The Church at Eragny 1884 Walters Art Museum Route Enneigee avec maison environs d Eragny 1885 Shepherdess Bringing in Sheep Bergere rentrant des moutons 1886 University of Oklahoma Children on a Farm 1887 Collection of G Signac Paris Haying at Eragny 1889 Old Chelsea Bridge London 1890 Smith College Museum of Arts Place du Havre Paris 1893 Art Institute of Chicago Morning An Overcast Day Rouen 1896 Metropolitan Museum of Art Place du Theatre Francais Fog Effect 1897 Dallas Museum of Art Rouen Rue de l Epicerie 1898 The Garden of the Tuileries on a Winter Afternoon 1899 Metropolitan Museum of Art La Place du Theatre Francais 1898 Los Angeles County Museum of Art View of Rouen 1898 Honolulu Museum of Art The Garden of the Tuileries on a Spring Morning 1899 Metropolitan Museum of Art Morning Winter Sunshine Frost the Pont Neuf the Seine the Louvre Soleil D hiver Gella Blanc c 1901 Honolulu Museum of Art Ship entering the Harbor at Le Havre 1903 Dallas Museum of Art The Fish Market Dieppe Grey Weather Morning c 1902 Dallas Museum of ArtDrawings and prints Edit La Guaira 1852 54 graphite and ink on paper View from Upper Norwood c 1870 pen and brown ink over pencil on paper Ashmolean Museum Apple Trees at Pontoise c 1872 pastel on paper Portrait of Ludovic Piette c 1875 pastel on paper Wildenstein Institute The Woods at L Hermitage Pontoise 1879 softground etching aquatint and drypoint on china paper sixth state Metropolitan Museum of Art Boulevard de Rochechouart 1880 pastel on beige wove paper Landscape in Osny 1887 etching on Holland paper Museum of Fine Arts Houston Tedders of Eragny Faneuses d Eragny 1897 etching aquatint and dry point on paper Strasbourg Museum of Modern and Contemporary Art Paysanne Nouant son Foulard 1882 pastel on paperList of paintings EditThe Banks of the Oise near Pontoise 1873 Indianapolis Museum of Art Pont Boieldieu in Rouen Rainy Weather 1896 Art Gallery of Ontario Steamboats in the Port of Rouen 1896 Metropolitan Museum of Art Le Boulevard de Montmartre Matinee de Printemps view from window 1897 private collection Hay Harvest at Eragny 1901 National Gallery of Canada Self portrait 1903 Tate Gallery LondonReferences Edit a b c d e f g h i j k Rewald John 1989 Camille Pissarro Harry N Abrams ISBN 9780810914995 Bade Patrick 2003 Monet and the Impressionists Fog City Press p 81 ISBN 9781740895101 a b Hamilton George Heard 1976 Pissarro Camille In Halsey William D ed Collier s Encyclopedia Vol 19 New York Macmillan Educational Corporation p 83 Eiermann Wold 1999 Camille Pissarro 1830 1903 In Becker Christoph ed Camille Pissarro exhibition in Stuttgart Ostfildern Ruit New York Hatje Cantz Verlag p 1 ISBN 9783775708616 Murphy Jessica 14 September 2015 The Marriage of Opposites Who Was Rachel Pissarro Archived from the original on 25 April 2017 Retrieved 8 January 2016 Mendez Mendez Serafin 2003 Notable Caribbeans and Caribbean Americans a Biographical Dictionary Greenwood Publishing pp 349 350 ISBN 9780313314438 a b c d e Pissarro Joachim Camille Pissarro 1830 1903 biography Artchive Archived from the original on 19 March 2012 a b John Rewald 1986 Die Geschichte des Impressionismus in German Cologne Du Mont p 11 ISBN 3770111664 a b c d e f g h i j k l m n o p q The Great Masters Quantum Books 2004 pp 279 319 ISBN 978 1861607577 a b Mirzoeff Nicholas 18 November 2011 The Right to Look A Counterhistory of Visuality Duke University Press p 158 ISBN 978 0 8223 4918 1 a b c d e f g h i j k Camille Pissarro Art Gallery of New South Wales 2005 Exhibition St Thomas Synagogue Archived from the original on 25 March 2010 Retrieved 5 October 2010 Pissarro Exhibition PowerPoint with sound Archived from the original on 31 December 2009 Retrieved 29 October 2006 Rewald John 1990 The History of Impressionism Harry Abrams p 458 ISBN 978 0810960367 Road to Versailles Walters Art Museum King Ross The Judgement of Paris Chatto amp Windus 2006 p 230 artchive com entry for Pissarro Lordship Lane Seaton Shirley 1997 Camille Pissarro Paintings of Stamford Brook 1897 Brentford amp Chiswick Local History Journal 6 For more details of his British visits see Nicholas Reed Camille Pissarro at Crystal Palace and Pissarro in West London published by Lilburne Press Mathews 1994 pp 139 149 Roe Sue The Private Lives of the Impressionists HarperCollins 2006 p 187 Mathews 1994 pp 190 238 9 Cogniat Raymond Pissarro Crown 1975 p 92 ISBN 0 517 52477 5 a b c Kelder Diane The Great Book of French Impressionism Abbeville Press 1980 pp 127 135 Thieme John September 2000 Doubting Thomas review of Derek Walcott s Tiepolo s Hound The Literary Review 55 56 Retrieved 27 April 2015 Friedlander Saul 2007 Nazi Germany and the Jews 1st ed New York HarperCollins ISBN 978 0 06 019042 2 OCLC 34742446 Clark Andrew State rep calls for allowance of physical inspection of Nazi stolen painting OU Daily Retrieved 4 February 2021 A Dispute Over a Pissarro Painting Looted by Nazis Was Settled Four Years Ago Now It s Going Back to Court artnet News 2 November 2020 Retrieved 4 February 2021 University of Oklahoma fights claim to a Nazi looted Pissarro painting Los Angeles Times 15 March 2015 Archived from the original on 10 December 2019 Retrieved 4 February 2021 Carvajal Doreen 17 December 2020 Will a Looted Pissarro End Up in Oklahoma or France The New York Times ISSN 0362 4331 Retrieved 4 February 2021 French Heiress Ratchets Up Battle With US Over Nazi Looted Painting Looted Art Archived from the original on 21 June 2021 Retrieved 13 March 2021 Writers World s Editorial Tulsa World Editorial OU finally to return Nazi loot to rightful owner Tulsa World Retrieved 14 November 2021 Blake Douglas Looted Pissarro heiress Leone Meyer OU attorney Thaddeus Stauber speak on court clash over Nazi looted painting OU Daily Archived from the original on 14 November 2021 Retrieved 14 November 2021 Oklahoma to France and Back Again A Case of Split Custody of Nazi Looted Art Center for Art Law 12 April 2021 Archived from the original on 14 November 2021 Retrieved 14 November 2021 Cascone Sarah 14 May 2021 An International Feud Over a Looted Pissarro Painting Comes to a Head as a French Court Rejects a Holocaust Survivor s Claim Artnet News Retrieved 14 November 2021 Cascone Sarah 1 June 2021 I Have No Other Choice Holocaust Survivor Relinquishes Her Claim to a Looted Camille Pissarro Painting Artnet News Retrieved 14 November 2021 Presse AFP Agence France France Confirms Restitution Of Pissarro Looted In WWII www barrons com Retrieved 4 February 2021 Quinn Annalisa 8 November 2017 French Court Orders Return of Pissarro Looted by Vichy Government The New York Times ISSN 0362 4331 Archived from the original on 1 January 2022 Retrieved 14 November 2021 Walters Guy 13 November 2013 Revealed The oddball who hid 1bn of art in his squalid flat and the extraordinary story of how his father who stole paintings for the Nazis conned Allied investigators Looted Art Retrieved 5 February 2021 a href Template Cite news html title Template Cite news cite news a CS1 maint url status link Koldehoff Stephan Summer 2007 Nazi Art Theft Pissarro s Le Quai Malaquais Printemps ART news Archived from the original on 24 November 2010 Retrieved 4 February 2021 via Looted Art Pissarro Lost and Found Looted Art Artnet News Archived from the original on 24 November 2010 Retrieved 4 February 2021 Hickley Catherine 6 June 2007 Nazi Looted Pissarro in Zurich Bank Pits Heiress Against Dealer Commission for Looted Art in Europe Parsons Michael Art looted by Nazis continues to surface at auction The Irish Times Retrieved 4 February 2021 UPDATE OU OU Foundation move to dismiss claims in Nazi stolen paint OU Daily 4 February 2021 Archived from the original on 4 February 2021 Retrieved 4 February 2021 NewsOK reported on Aug 18 2015 that the university said Shepherdess Bringing in Sheep lacks the Nazi ERR stamp Wesselhoft said the disappearance of the stamp means that somebody wanted to obscure the fact that Nazis stole it Muller Melissa Tatzkow Monika 2010 Lost Lives Lost Art Vendome Press ISBN 978 0 86565 263 7 WikiLeaks Cables Make Appearance in a Tale of Sunken Treasure and Nazi Theft The New York Times 6 January 2011 Family fights to recover masterpiece lost to Nazis Fox News 23 September 2010 Archived from the original on 18 March 2012 Retrieved 3 September 2011 U S District Court confirms Thyssen Bornemisza Collection Foundation of Spain as owner of artwork Art Daily July 2012 Retrieved 17 September 2021 Mazyler Michael J Holocaust Justice N Y University Press 2003 p 205 Stolen impressionist art returned after 3 decades CNN 25 January 2012 BBC News Pissarro painting sells for a record 19 9m BBC News 6 February 2014 Retrieved 6 February 2014 Berlin museum restitutes and then buys back Nazi looted Pissarro painting The Art Newspaper International art news and events 18 October 2021 Archived from the original on 18 October 2021 Retrieved 6 November 2021 Hunter College Performance Goals and Targets 2008 2009 Academic Year PDF Hunter College CUNY 18 June 2009 Archived PDF from the original on 29 October 2013 Retrieved 15 June 2013 Christina Gallery expands its post Impressionist collection MV Times 30 July 2014 Retrieved 5 September 2017 The New Normal Generation L Officiel www lofficielusa com Retrieved 22 July 2020 Widdicombe Ben 24 June 2017 Young Socialites Conjure the Ghost of Leonard Bernstein at the Dakota The New York Times ISSN 0362 4331 Archived from the original on 1 January 2022 Retrieved 22 July 2020 ELLE com 16 November 2017 ELLE Celebrates the 2017 Women in Art ELLE Retrieved 22 July 2020 Buy Original Art amp Painting of H Claude Pissarro b 1935 Online Art Gallery www pissarro art Bibliography EditRewald John ed with the assistance of Lucien Pissarro Camille Pissarro Lettres a son fils Lucien Editions Albin Michel Paris 1950 previously published translated to English Camille Pissarro Letters to his son Lucien New York 1943 amp London 1944 3rd revised edition Paul P Appel Publishers 1972 ISBN 0 911858 22 9 Bailly Herzberg Janine ed Correspondance de Camille Pissarro 5 volumes Presses Universitaires de France Paris 1980 amp Editions du Valhermeil Paris 1986 1991 ISBN 2 13 036694 5 ISBN 2 905684 05 4 ISBN 2 905684 09 7 ISBN 2 905684 17 8 ISBN 2 905684 35 6 Mathews Nancy Mowll 1994 Mary Cassatt A Life New York Villard Books ISBN 978 0 394 58497 3 LCCN 98 8028 Thorold Anne ed The letters of Lucien to Camille Pissarro 1883 1903 Cambridge University Press Cambridge New York amp Oakleigh 1993 ISBN 0 521 39034 6Further reading EditClement Russell T and Houze Annick Neo Impressionist Painters A Sourcebook on Georges Seurat Camille Pissarro Paul Signac Theo van Rysselberghe Henri Edmond Cross Charles Angrand Maximilien Luce and Albert Dubois Pillet 1999 Greenwood Press ISBN 0 313 30382 7 Eitner Lorenz An Outline of 19th Century European Painting From David through Cezanne 1992 HarperCollins Publishers ISBN 0 06 430223 7 Nochlin Linda The Politics of Vision Essays on Nineteenth Century Art and Society 1991 Westview Press ISBN 0 06 430187 7 Rewald John The History of Impressionism 1961 Museum of Modern Art ISBN 0 8109 6035 4 Stone Irving Depths of Glory 1987 Signet ISBN 0 451 14602 6 Tabarant A Pissarro 1925 John Lane the Bodley Head Ltd translated by J Lewis MayCritical Catalogue of Paintings Edit In June 2006 a three volume work of 1 500 pages was published titled Pissarro Critical Catalogue of Paintings It was compiled by Joachim Pissarro descendant of the painter and Claire Durand Ruel Snollaerts descendant of the French art dealer Paul Durand Ruel The work is the most comprehensive collection of Pissarro paintings to date It contains accompanying images of drawings and studies as well as photographs of Pissarro and his family that had not previously been published 1 External links Edit Wikimedia Commons has media related to Camille Pissarro Wikiquote has quotations related to Camille Pissarro Wikisource has the text of the 1911 Encyclopaedia Britannica article Pissarro Camille Camille Pissarro Protests Alfred Dreyfus Conviction Original Letter Archived 20 June 2014 at the Wayback Machine Shapell Manuscript Foundation Photograph of Pissarro s mausoleum at Cimetiere Pere Lachaise Paris JPG Pissarro s People exhibition held at the Sterling and Francine Clark Art Institute Williamstown MA 12 June 2 October 2011 Archived 23 September 2015 at the Wayback Machine Union List of Artist Names Getty Vocabularies ULAN Full Record Display for Camille Pissarro Getty Vocabulary Program Getty Research Institute Los Angeles California 54 artworks by or after Camille Pissarro at the Art UK site works in public British collections Exhibition Pissarro dans les ports 2013 Museum of modern art Andre Malraux MuMa Camille Pissarro Personal Manuscripts Camille Pissarro at The Jewish Museum Pissarro Paintings and Works on Paper at the Art Institute of Chicago one of the Art Institute of Chicago s digital scholarly catalogues Jennifer A Thompson L ile Lacroix Rouen The Effect of Fog by Camille Pissarro cat 1060 permanent dead link in The John G Johnson Collection A History and Selected Works permanent dead link a Philadelphia Museum of Art free digital publication An artwork by Camille Pissarro at the Ben Uri site Pissarro Joachim Snollaerts Claire Durand Ruel 2006 Pissarro Critical Catalogue of Paintings Skira Wildenstein ISBN 88 7624 525 1 Retrieved from https en wikipedia org w index php title Camille Pissarro amp oldid 1145256378, wikipedia, wiki, book, books, library,

article

, read, download, free, free download, mp3, video, mp4, 3gp, jpg, jpeg, gif, png, picture, music, song, movie, book, game, games.