Posts Tagged 'Camille Pissarro'

PISSARRO’S HAYSTACKS

Haystacks, Morning, Éragny 1899 Metropolitan Museum of Art, New York   PDR 1282

Haystacks, Morning, Éragny
1899
Metropolitan Museum of Art, New York PDR 1282

Camille Pissarro is not known for his haystacks, but perhaps he should be. According to the catalogue raisonne, he painted haystacks when he was only 26 years old—the year after he returned to France to pursue a career as an artist.

In the winter of 1898-99, Pissarro was financially comfortable enough to move his family to Paris for the winter. They stayed in an apartment on Rue Rivoli, no doubt a lot warmer than the old farmhouse at Éragny, and he painted splendid views of the Tuileries gardens and the Louvre.

In June, he and his family returned to their home at Éragny and he painted the “little nooks” he found around him.  He wrote his son Ludovic-Rodolphe, “It’s very beautiful here—you can make a masterpiece out of next to nothing,” and he did.

The deep green trees of midsummer dominate the space, but our eyes go to the three haystacks in the left foreground. As he usually does, Pissarro tells us the place and time of day. It’s morning, fairly early since the shadows are still long. You almost feel the heat of the sun baking the left side of the haystack turning the gold into myriad yellows, pinks, corals. On the other side, the purple shadow mutes those same colors. 

This is one of six haystack paintings he made that summer. In no way did Pissarro intend them to compete with Monet’s haystacks. Each of them is different in composition; some include a peasant woman, who sometimes naps at the base of the haystack.  He did do another one similar to this one, in the late afternoon. It would be fantastic to see these two side by side.

This wonderful painting is currently on view at the Metropolitan Museum of Art.  If you can’t go see it in person, look at it on the Met’s website, which allows you to zoom in close and see every brushstroke.

http://www.metmuseum.org/Collections/search-the-collections/438738#fullscreen

The Camille Pissarro Catalogue Raisonne by Joachim Pissarro and Claire Durand-Ruel Snollaerts was published in 2005.

PISSARRO’S PLACES IN NEW YORK

Many thanks to the kind folks who came to the Dobbs Ferry and Harrison libraries a couple weeks ago

to hear my talk on PISSARRO’S PLACES.

It was delightful to talk with you afterward and sign your copies of PISSARRO’S PLACES.

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PISSARRO’S PLACES

is available on the website:

www.pissarrosplaces.com

or at Amazon.

There is a special discount for

friends who visit the website.

PISSARRO IN PARIS — ON THE COVER OF CHRISTIE’S IMPRESSIONIST CATALOGUE

Woman Pushing a Wheelbarrow, 1890 PDR875

Woman Pushing a Wheelbarrow, Éragny 1890
PDR875

Camille Pissarro is in the spotlight again — this time at Christie’s Impressionist and Modern Sale to be held 25 March. In fact, a detail of the painting is featured on their catalogue cover.  Early last month, Sotheby’s featured a glorious Pissarro painting of Boulevard Montmartre on the cover of their Impressionist sale catalogue.  The interest in Pissarro’s work is obviously increasing among collectors and auction houses.  His work is finally getting the attention it deserves.

This sun drenched painting of a scene in Éragny was made just after Pissarro turned away from pointilism, the dot technique that had consumed his energy for several years. The Christie’s catalogue describes the change in Pissarro’s technique this way:  “However, rather than using the ‘stifling’ dot, as in his neoimpressionist phase, he uses a much looser, crisscrossing technique, by which he interweaves his brushstrokes, having fractured and divided the marks of paint into a more complex, but also much freer, and livelier pictorial surface.”

On Christie’s website, you can look at this painting up close which allows you to see the tiny brushstrokes and multitude of colors he used to create the image. The subject could not be more “down to earth” than this—a woman pushing a wheelbarrow loaded with manure to the pile at the edge of the field in the bright sunlight. The hedge row draws a slight diagonal to the horizon line and the steep pitched roof and gigantic tree lift our eyes to the fluffy clouds.

Pissarro made another painting of the same place in Éragny, but the manure pile is replaced with clusters of wild flowers.  The same tree and roof appear, and a woman (looks like the same one) is walking with a goat in the opposite direction.  This wonderful painting “Woman and Goat at Eragny” (PDR 874) is at the Museum of Fine Arts, Boston.

Woman and Goat at Éragny, 1889 PDR 874

Woman and Goat at Éragny, 1889
PDR 874

PISSARRO’S PLACES IN NEW YORK

DOBBS FERRY AND HARRISON

YOU’RE INVITED

Please join me March 22 at 2 pm for a slide-lecture based on my book PISSARRO’S PLACES, Dobbs Ferry Public Library, 55 Main Street, 914-693-6614

 Or  March 23 at 2 pm for a slide-lecture based on my book PISSARRO’S PLACES, Harrison Public Library, 2 Bruce Avenue, 914-835-8324

PISSARRO’S PLACES is available on the book’s website: http://www.pissarrosplaces.com and on Amazon.

PISSARRO in London at Sotheby’s–“An Exceptional Masterwork”

Boulevard Montmaratre, Spring Morning, 1897 PDR 1171

Boulevard Montmartre, Spring Morning, 1897
PDR 1171

Pissarro’s elegant painting, Boulevard Montmartre, Spring Morning is “one of the most important Impressionist masterworks to come to auction in the last decade,” according to Sotheby’s in London where it will be auctioned in February. The picture’s breathtaking beauty is matched by its amazing history.

Carol Vogel told the story in her New York Times column Inside Art on December 19, 2013:  Max Silberberg, a Jewish industrialist and collector from Breslau, Germany, owned it until the Nazis forced the sale of his collection; he was killed in the Holocaust. It was sold at auction in Berlin in 1935, and had several owners until 1960, when the Manhattan gallery Knoedler & Company sold it to John and Frances L. Loeb, philanthropists from New York. They gave the painting to the Israel Museum after Mr. Loeb’s death in 1996.

But after Gerta Silberberg, the daughter-in-law of Max Silberberg, filed a claim, the museum returned the painting to her; she allowed the museum to display it on long-term loan. Earlier this year, Ms. Silberberg died and her estate is selling the painting.

Pissarro’s dealer Durand-Ruel encouraged him to paint the large boulevards of Paris.  From February to April 1897, he lived and painted in a room with a clear view of Boulevard Montmartre on the left and the Boulevard des Italiens on the right. He made fourteen paintings of Boulevard Montmartre, depicting almost every possible weather condition from pounding rain to bright sunshine. This painting depicts one of those rare spring days when the  sunlight falling on the street creates lacy shadows through the fringe of new leaves on the young trees.

Sotheby’s  http://files.shareholder.com/downloads/BID/2877520219x0x714973/6677a87c-a218-48ed-b435-e649f6d21233/714973.pdf

PISSARRO in Detroit……for now.

The Path, 1889 Camille Pissarro, PDR 871 Detroit Institute of Art

The Path, 1889
Camille Pissarro, PDR 871
Detroit Institute of Art

This beautiful pointillist painting by Pissarro at Detroit Institute of Art is one of those owned by the City of Detroit and may be caught in the middle of the city’s bankruptcy.

According to an article in the Washington Post (December 16, 2013) “Christie’s, which has been poring over the collection for months, said it will include recommendations for how Detroit might make money while maintaining ownership of some of its most valuable pieces — including Degas’ ”Dancers in the Green Room,” Pissarro’s “The Path” and Renoir’s “Graziella.” But the city may have to sell off works many consider integral to the cultural soul of the city in order to help repay creditors, including retired public workers whose pensions could take a huge hit.”  

It is ironic that Pissarro himself was in a terrible financial crunch during the time that he painted this picture. In May of 1889, he wrote, “Business (since it always comes down to that) is catastrophic.”  The following year, he became disenchanted with pointillism, and abandoned Neo-Impressionism.

This painting is not one of Pissarro’s more familiar paintings. It has been included in only four exhibitions, the most recent one in Japan in 1990. But it demonstrates his amazing technical ability which literally pours the rigidity of pointillism into sheer poetry.

Pissarro cleverly uses pointilism’s dot to convey the multicolored autumn trees. But it is the overall composition which grabs our attention. The entire right side of the canvas is virtually “in our face,” filling the foreground with the windowless side of a house and a massive tree whose branches fill the canvas top. While we cling to the green embankment, we see the path extending around a curve to more houses and hills in the distance. The variegated sky adds a sense of uncertainty.

Clearly, this is not a painting we absorb in one glance–there is much to examine and ponder. Let’s hope that the City of Detroit will have time to reconsider “The Path” and that it will be included in future exhibitions shown around the world.

Information on Pissarro’s life and this painting is from Pissarro:Critical Catalogue by Joachim Pissarro and Claire Durand-Ruel Snollaerts (2005).

The Camille Pissarro Rose

Camille Pissarro Rose

Camille Pissarro Rose

There is a rose named for Camille Pissarro.  It was bred by G. Delbard in France in 1996. It is a glorious flower with yellow, pink, and cream stripes.  The one in the picture was part of a small bouquet given to me a few years ago.

Info from: http://nixpixmix.blogspot.com/2012/04/camille-pissaro-rose.html

PISSARRO Exhibition Moves to Barcelona October 15!

The Hermitage Road at Pontoise, 1874 Musée d’Orsay, Paris   PDR349

The Hermitage Road at Pontoise, 1874
Musée d’Orsay, Paris PDR349

This charming landscape by Camille Pissarro was featured in the PISSARRO exhibition in Madrid.  Perhaps it will also be included at the CaixaForum in Barcelona when the PISSARRO exhibition opens there on October 15.

Some of Pissarro’s paintings look deceptively simple—and this is a perfect example! The top third of the canvas is filled with grayish clouds and the lower two-thirds are green fields. A horse and buggy provide a pleasant focal point just off center.

So how do you explain the intrinsic sense of movement, steady as a pulse, that drives the action in the painting. It is only paint on canvas, but you really believe that the buggy is moving forward at a brisk clip. You know that the man on the left will meet the two women walking towards him, and that the tiny buggy on the hillside road will soon disappear from sight.

Underlying these believable elements is a dramatic geometric form—a large lazy Z figure that appears on the horizon just left of center (look for the tiny buggy), makes a sharp angle around the three tall poplar trees, and almost disappears at the left foreground before it forms the bottom of the letter leading to the two women.  In a landscape that appears soft and curvy, this large Z is decidedly sharp and angular, dividing the fields into separate sections.

As if to heighten the excitement, Pissarro works each section in a different manner. Look closely at the space beneath the main road in the foreground. It is divided into four sections of grass, each of them different shades of green, and a small yellowish bridge.  The section between the bottom of the Z and the strong diagonal from left to right  includes six or seven different sections with small dark green trees at the top right edge of the canvas.  The section between the top of the Z and the diagonal is mostly a rosy beige with patches of green but is bordered on the left by darker green. A mysterious pale green band leads our eyes to the three tall poplars at the angle. The distant space above the second road going up the hill appears to be rocky fields defined by a narrow line of tiny green trees on the horizon. Even the sky seems to be doing its part, with the dark clouds scudding away quickly leaving lighter, brighter skies near the horizon.

All the movement is grounded by the prominent arch of the small bridge in the right lower corner of the canvas. It is reflected in the rocks just to the left highlighted by the small white arrow formed by the road’s surface. The stability of the view is also anchored by the presence of a herd of sheep with their shepherd far in the distance just above the woman’s white cap.

Pissarro’s paintings are often subtle. They don’t scream at you with clashing colors and jagged edges, but a careful look reveals many intricate features and very often surprises.

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PISSARRO’S PLACES,

the book about all the locations Pissarro painted,

 will be available in Barcelona at the CaixaForum bookstore.

www.pissarrosplaces.com

And the days grow shorter…for PISSARRO in Madrid

The Woods at Marly, 1871 Museo Thyssen-Bornemisza, Madrid

The Woods at Marly, 1871
Museo Thyssen-Bornemisza, Madrid

ONLY A FEW DAYS LEFT…. to see the PISSARRO exhibition in Madrid before it closes on September 15.

With this gorgeous painting from Museo Thyssen-Bornemisza’s own collection, we express our gratitude to the museum and to Guillermo Solano, the museum’s artistic director, for creating this incredible exhibition of Pissarro’s paintings.  To be able to see these matchless paintings in this instructive context has enriched us and left us with a deeper understanding of the artist’s innovative genius.

The Good News is that on October 14, the PISSARRO exhibition will open in Barcelona at the CaixaForum, where it will remain until January 26, 2014.

The Woods at Marly gives us a hint of the autumn to come. The road through the trees is covered with golden leaves, yet some of the trees are still green.  Streaming through the branches, the sun makes a bright patch on the ground. The limbs of the trees meet overhead forming a succession of arches like the aisle of a Gothic cathedral. A lovely picture, indeed.

Our movement down the road is marked by people–at the left edge, a woman bends to her task. About midway to the clearing are two women, one of them carrying a bundle of wood. Beyond the green grassy area, there appears to be another woman standing near a pond. Our eyes are drawn to the shiny reflection of light on water, which is much too small to be a real focal point. If that image were in the center, this painting would be almost symmetrical.  But it’s not–it’s just to the left. And no matter how hard we try, we cannot look at the true center because our view is blocked by three dark tree trunks near the two women.

The tiny image itself is almost like a miniature painting on an old-fashioned brooch. It forces the rest of the canvas to serve as its frame. If we look closely at the little pond, we begin to see dark green brush strokes on each side that define a small diamond shape.  Beyond the pond are two trees with green branches reaching up to another diamond shape of dark green leaves, a bold contrast to the shiny diamond.

True, the diamond shapes are only approximate, but they are distinct. This shows how early Pissarro was concerned with geometric forms, again pushing ahead of his contemporaries by enclosing abstract shapes in figurative paintings. This breathtaking painting of the woods on a sunny autumn day is so much more than just a pretty picture. Perhaps Pissarro hides these tiny treasures in the dense woods, just wondering if we will find them.

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PISSARRO, the exhibition

CaixaForum, Barcelona

October 15, 2013 – January 26, 2014

PISSARRO’S PLACES, the book, is still available in the bookstore at Museo Thyssen-Bornemisza.  It will also be available in the bookstore of the CaixaForum in Barcelona when the PISSARRO exhibition opens.

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ARTBOOKANNEX.com….After a year and a half

PEOPLE WORLDWIDE love Pissarro and enjoy his paintings.

In these 549 days, there have been 4003 views from 78 countries on six continents–that’s an average of 7.3 views per day!  To all of you who love Pissarro, THANK YOU.



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