Posts Tagged 'Paris'

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

ON A DAY LIKE TODAY, FRENCH PAINTER CAMILLE PISSARRO WAS BORN

archive-191

THIS ARTICLE APPEARED TODAY IN THE ART DAILY NEWSLETTER.

July 10, 1830.- Camille Pissarro (10 July 1830 – 13 November 1903) was a 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. In this image: An unidentified visitor looks at an impressionist painting by Camille Pissarro called the Rue Saint-Honore apre-midi, Rue Saint-Honore Afternoon, Rain Effect, in the Thyssen-Bornemisza Museum in Madrid, Thursday May 12, 2005.

The book PISSARRO’S PLACES is available in the bookstore of the Thyssen-Bornemisza Museum.

 

 

PISSARRO–Madrid’s Exhibition–An Extraordinary Experience

Essen snowfall

Chemin des Creux, Louveciennes, Snow, 1872, PDR 219

Museum Folkwang, Essen, Germany

This incredibly beautiful Pissarro landscape from Louveciennes was one of the major highlights of PISSARRO, the exhibition at Museum Thyssen Bornemisza in Madrid. This reproduction, taken from the Museum Folkwang’s website does not do it justice. The weak winter sunlight provides little warmth on the gleaming white snow, with its shades of blue and pink. The deep shadows are delicate shadings of blues, grays, mauves. The old tree’s rotten center is filled with snow and your eye gets lost in the graceful tangle of small branches.

The entire exhibition, which began with Pissarro’s last self-portrait, was as carefully composed as one of his paintings–arranged chronologically, many times in pairs that enhanced the experience of each work. While the selection of 79 paintings included many well-known paintings, there were also some delightful surprises.

The museum’s own Route de Versailles was carefully paired with a similar painting from the High Museum in Atlanta. Two of Pissarro’s most beautiful paintings from London 1871 were together, the field near Sydenham Hill and Dulwich College. Two landscapes of l’Hermitage at Pontoise were similar locations but displayed strikingly different techniques. Another exceptionally wide painting of 1877 from Ottawa, Canada, displayed a composition that is sparse and modern-looking for its time.

A pair of very wide landscapes, two very different versions of the crooked apple tree in Pissarro’s orchard, similar views of the garden wall were among the paintings from Eragny.

Imagine my surprise when I saw the two paintings from Pitti Palace in Florence that I wrote about a few months ago. What a treat to see them again, this time close up and at eye level.

The city views featured two versions of Boulevard Montmartre paintings, the museum’s own Rue Saint-Honore paired with the same motif from Copenhagen. An exquisite selection of Rouen paintings featured the bridges, the Seine, the boats and the changeable weather.

Mind you, these galleries were not hushed and quiet, and people did not parade around the room in a slow shuffle like they usually do.  There was an excited buzz in the air as people looked first at one and then the other and then back again. Some visitors were going back into previous rooms to compare earlier and later works, or landscapes with cityscapes. Viewers were spending time in front of paintings, looking closely, walking up to see brushstrokes and back to embrace the unity.

Pissarro must be smiling.

PISSARRO’S PLACES is on sale in the bookstore of the PISSARRO exhibition in Madrid.  I had the honor of signing books for several people who bought them on the day I was there.  What a pleasure to meet each of them and share thoughts about Pissarro.

Readers of this blog can obtain a copy of PISSARRO’S PLACES at Amazon.com or the Barnes & Noble website.  A special price for friends of this blog is available at the book’s website:  http://www.pissarrosplaces.com.

PISSARRO IN NEW YORK AT THE FRICK

frick-2 Boulevard de Rochechouart, 1880

Sterling and Francine Clark Art Institute, Williamstown, Massachusetts

Pissarro seems to be everywhere this year–in Madrid at Museo Thyssen Bornemiszo, in Le Havre as part of the Normandie Impressionist Festival, and in this one work which is part of an exhibition at the Frick. PISSARRO’S PLACES are everywhere!
This work is not featured in the book, PISSARRO’S PLACES.  Take this marvelous opportunity to see it in person. Photos are never as good!
The Impressionist Line from Degas to Toulouse-Lautrec: Drawings and Prints from the Clark, March 12, 2013 to June 16, 2013
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A CLOSER LOOK
This beautiful pastel, Boulevard de Rochechouart, by Camille Pissarro deserves to be better known. This street is in the 9th arrondisement, an extension of the Boulevard de Clichy. He knew that area  well because his pied-a-terre in Paris was located in the 18th just a few blocks north. He was living there with Julie and his  family that winter.
What is interesting is that this work on paper was done relatively early in Pissarro’s career, in 1880. This is 13 years before Pissarro started his series of paintings in Paris.  Yet in this one, he seems to be looking down on the street as he did in 1893 at Place du Havre. It would seem to be a foreshadowing of his work to come.
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Here is an interesting perspective as noted in Art Daily of March 12 (See URL below for the whole story):

PISSARRO CHALLENGES NOTIONS OF FINISH Like Millet, Camille Pissarro spent much of his career depicting peasants and unembellished scenes of rural life, although the urban cityscape seized his imagination as well. His large pastel Boulevard de Rochechouart depicts a slice of Paris in the years following Baron Haussman’s renewal of the city. For the writers and artists of the last quarter of the nineteenth century, the pulse and rhythm of the grands boulevards symbolized modernity, as eloquently expressed in Baudelaire’s famous essay of 1863 “Peintre de la Vie Moderne.” Through hatched, unblended strokes in a multitude of colors, Pissarro achieves a sense of transparency that captures the shifting sensations of a city in constant flux. His high viewpoint plunges the viewer into the melee of a tree-lined place, with carriages and omnibuses circulating and pedestrians dispersing into the streets. These anonymous urban dwellers dressed in dark clothing are mere blurs in the lively milieu, a world away from Millet’s monumental figure who commands the space of his environment. Although the pastel appears closer to a sketch than a completed work, Pissarro deliberately challenged accepted notions of finish. He signed and dated the sheet and exhibited it as an independent work alongside his paintings and smaller drawings in the Sixth Impressionist Exhibition of 1881.

More Information: http://www.artdaily.org/index.asp?int_sec=11&int_new=61243#.UT9-kVegv0c[/url]
Copyright © artdaily.org

PISSARRO IN SPAIN — THIS SUMMER–IT’S PISSARRO!

CTB.1993.9

The Orchard at Éragny, 1896, Carmen Thyssen-Bornemisza Collection on deposit at Museo Thyssen-Bornemisza, PDR 1134

AN EXTRAORDINARY EXHIBITION IS OPENING IN JUNE IN MADRID!!  Perhaps the gorgeous painting shown above will be among those in the exhibition at the Museo Thyssen-Bornemisza.

Here’s the full story from their superb English website (http://www.museothyssen.org/en/thyssen/home)

Pissarro

From 04 June to 15 September 2013

In the summer of 2013 the Museo Thyssen-Bornemisza will be presenting the first monographic exhibition in Spain on the Impressionist painter Camille Pissarro (1830-1903). A key figure within Impressionism (he wrote the movement’s foundational letter and was the only one of its artists to take part in all eight Impressionist exhibitions from 1874 to 1886), Pissarro was nonetheless eclipsed by the enormous popularity of his friends and colleagues, in particular Claude Monet. The exhibition includes more than 70 works with the aim of restoring Pissarro’s reputation and presenting him as one of the great pioneers of modern art. Landscape, the genre that prevailed in his output, will be the principal focus of this exhibition, which offers a chronologically structured tour of the places where the artist lived and painted: Louveciennes, Pontoise and Éragny, as well as cities such as Paris, London, Rouen, Dieppe and Le Havre. While Pissarro is traditionally associated with the rural world, to which he devoted more than three decades of his career, at the end of his life he shifted his attention to the city and his late output is dominated by urban views. Curated by Guillermo Solana, this exhibition will subsequently be shown at the CaixaForum, Barcelona.

THE TIMING IS EXCELLENT TO SEE PISSARRO AND THE PORTS IN LE HAVRE, FRANCE AND PISSARRO IN MADRID, SPAIN THIS SUMMER.

 

PISSARRO IN THE NEW BARNES MUSEUM IN PHILADELPHIA!

The Garden de Maubuisson, Pontoise, Sunshine  1876

Philadelphia (PA) The Barnes Foundation       PDR 440

Tucked in among the largest collection of Renoirs in the world andkeeping company with an enormous group of Cezannes is one painting by Camille Pissarro.   Dr. Alfred C. Barnes, a medical doctor who made his fortune in the pharmaceutical industry, became interested in collecting the art of his time. According to the film at the Barnes Foundation, he sent his good friend and prominent Philadelphia artist (member of “The Eight”), William Glackens to Paris with $20,000 to buy paintings to begin his collection. This Pissarro was one of the 20 paintings that Glackens broughtback.

Camille Pissarro painted this garden scene in the Hermitage neighborhood of Pontoise in 1876.  Even today, it seems every home in the Hermitage has its own kitchen garden or orchard stretching down the hill behind the house. It looks like Pissarro set up his easel at the bottom of the hill and allowed the roofs of the houses to describe the hill’s steep incline. The colors in the painting are a textbook example of Impressionism. The lush greens of the vegetable plots in the foreground transition to yellow green of the leaves and then to the rich turquoise of the sky. The peachy pathways reflect the red roofs on the hill.

At first glance, the composition seems to be perfectly symmetrical—something Pissarro rarely did.  (It’s a mistake to say never about anything involving Pissarro since he frequently surprises you.)

The vertical path leads us to the focal point, an upright stone with two large stones at its base.  A womanin a white hat stands to the side. Rows of small trees (probably apple or pear trees) on each side lead straight back to the upright object and they are flanked by two rectangular green patches. But wait! If this is truly symmetrical, wouldn’t the focal point be in the center of the canvas? In fact, it is just to the left of center, creating an interesting tension and lifting the composition out of the ordinary.

Now you can see this gorgeous Pissarro in the Barnes Foundation collection.  But if you go, be aware that the Barnes REQUIRES RESERVATIONS –available by phone or online.  Check their website for full information (click on the link above).



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