Posts Tagged 'Pontoise'

PISSARRO’S FANS — A RARE LOOK AT TWO

ÉVENTAIL: FOIRE DE LA SAINT-MARTIN, PONTOISE Gouache on silk

ÉVENTAIL: FOIRE DE LA SAINT-MARTIN, PONTOISE
Gouache on silk

 

LES VENDANGES Gouache on vellum

LES VENDANGES
Gouache on vellum

 

Paintings are most often rectangular or square, or even round. But how unusual is it to see a painting in the shape of a fan? These two, both in the Impressionist Auction at Sotheby’s in May, are superb examples of Pissarro’s fans.

Before the time of air conditioning, a folding fan was an important accessory for a lady. She could use it to generate a pleasant breeze or to flirt with a stranger. In the 17th and 18th century, fans were decorated with ornate patterns and designs, becoming works of art in their own right.  Instead of cutting and folding them to fit the frame of the fan, they were sometimes left flat and framed like paintings.  

Among the Impressionists, both Pissarro and Degas made paintings in the shape of fans. Unlike earlier fancy designs, their fans were complete paintings made to fit in the unusual circular shape missing a center. It is interesting to see how Pissarro placed each of the elements to fit within this odd shape. In the fourth Impressionist exhibition, Pissarro exhibited twelve fans, and he continued making fans throughout the 1880s.

The first fan shows a busy market scene, very typical of Pissarro’s work, except it fits perfectly into the odd shape. He uses the lamp-post on the left and the flag pole on the right to divide the space into thirds.  On the left, we see the vendors up close, going back and forth to the stalls.  In the center, a view of the village in the background and on the right, a woman beside a table filled with china or glass objects for sale. The composition is so perfect that the “hole in the center” is not even noticed.

The second fan, showing women in a field picking peas or beans, is a very special one indeed.  This one belonged to Mary Cassatt, who obtained it directly from Pissarro. He uses a different device in this fan, creating a very strong horizon line which causes us to assume that there is a line across the bottom too.  Again, the figures on each side are shown close up and those in the center are farther away.  He balances the distant village in the right background with the tall trees on the left.  

Since fans were most often painted on paper or silk, they are more sensitive to light and are not often put on view in museums.  Occasionally, fans will be shown in special exhibitions. So it was a rare opportunity to see these two, both of them superb examples of Pissarro’s artistry.

PISSARRO’S PLACES

was among the books exhibited at

Book Expo America in New York last week.

This photo shows it on the top shelf in the center.

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Visit the website at www.pissarrosplaces.com

The special discount on purchase of the book is still available to those who visit the website.

DO-IT-YOURSELF — PISSARRO EXHIBITION — THIS WEEKEND IN NEW YORK!!

Banks of the Loing at Moret, 1901, PDR 1369 Sothebys, Lot 39

Banks of the Loing at Moret, 1901, PDR 1369
Sothebys, Lot 39

When Christies, Sothebys and Bonhams have their semi-annual sales of Impressionist paintings, you never know what you’ll see!  This is your chance to see the paintings up for sale. Most of them are from private collections and may not have been seen in public for a long time.  Likewise, when the hammer falls on the auction block next week, most of these paintings will go back into private collections. We can only hope that the new owners will graciously share them for future exhibitions.

SEE THEM FOR YOURSELF!

Organize your own exhibition around the seven Pissarro oil paintings on view this weekend — all of them outstanding.  Save the most time for Sotheby’s—they have five paintings on view:  Lots 35, 39, 42, 44 and 58;  Christies is offering one painting, Lot 44, and Bonhams has one spectacular painting Lot 23.  All seven are shown in this blog.

AND THERE’S A SPECIAL BONUS ON SUNDAY AT BONHAMS!

Pissarro, An Artist for the 21st Century, A lecture by Patricia Mainardi, PhD

2:00 pm on Sunday, 3 Nov 2013 at Bonhams, 580 Madison Avenue between 56th and 57th Streets

They request an RSVP by Nov. 1 events.us@bonhams.com  +1 212 644 9143

Here are the other paintings. They may look nice on the screen, but nothing compares with seeing them in person!!

The “Englishman’s House,” Eragny, c. 1902, PDR 1465 Sothebys, Lot 44

The “Englishman’s House,” Eragny, c. 1902, PDR 1465
Sothebys, Lot 44

The Hills at Thierceville, Haystacks, 1897, PDR 1189 Sothebys, Lot 42

The Hills at Thierceville, Haystacks, 1897, PDR 1189
Sothebys, Lot 42

 

A Meadow at Eragny, 1886, PDR 829 Sothebys, Lot 35

A Meadow at Eragny, 1886, PDR 829
Sothebys, Lot 35

 

The Seine in Flood, Pont Boieldieu, Rouen, 1896, PDR 1120 Sothebys, Lot 58

The Seine in Flood, Pont Boieldieu, Rouen, 1896, PDR 1120
Sothebys, Lot 58

 

Landscape with Houses and Wall, Eragny, 1892, PDR 968 Christies, Lot 44

Landscape with Houses and Wall, Eragny, 1892, PDR 968
Christies, Lot 44

 

The Garden at Maubuisson, Pontoise, 1882, PDR 696 Bonhams, Lot 23

The Garden at Maubuisson, Pontoise, 1882, PDR 696
Bonhams, Lot 23

 

 

 

 

 

 

 

 

 

 

 

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.

*   *   *   *   *

PISSARRO’S PLACES,

the book about all the locations Pissarro painted,

 will be available in Barcelona at the CaixaForum bookstore.

www.pissarrosplaces.com

Sense the Quiet Pulse of the Earth

The Old Road to Ennery at Pontoise, 1877 National Gallery of Canada, Ottawa

The Old Road to Ennery at Pontoise, 1877
National Gallery of Canada, Ottawa

This painting is one of those in the PISSARRO exhibition in Madrid (previous post)—a serene landscape painted near Pontoise. Just right of center, a woman rides sidesaddle on a horse, leading us into the picture. The road, just a dirt lane through the fields,  intersects with a large road bordered by trees. Between the smaller trees, other haystacks are visible in the distance. On the large road at the left, another woman walks out of the painting.

This simple landscape, divided almost equally between land and sky, is actually quite complicated. The horizon line is slightly curved like the edge of the earth. With nothing to stop our gaze, it stretches on both sides into infinity. The small curved lane where the woman is riding is roughly perpendicular to the large road. To the left of the horse is a small green triangle that makes a line with a row of green cabbages on the other side, creating a curvy X. Not to be outdone, the sky is filled with “buttermilk” clouds interspersed with big puffs that hurry from left to right.

At first glance, the colors seem simple too—red, yellow, green, blue and white. But the fields on the right reveal a myriad of greens—some more yellow, others more blue—side by side. The fields on the left are plain except for dashes of red—perhaps a newly plowed field.

Filled with movement and life, this painting requires a very large canvas. It is, in fact, approximately 59 inches wide and 36 inches high. Though the scene is placid, we sense the quiet pulse of the earth.

You can see it in Madrid at the Museo Thyssen-Bornemiszo for a few more weeks. In October, the PISSARRO exhibition will move to CaixaForum in Barcelona.

 * * * * * * * * * * * * * * *

 PISSARRO’S PLACES, the book that explores all the sites painted by Pissarro, is now on sale at the Museo Thyssen-Bornemiszo. It will also be on sale in Barcelona at the CaixaForum in October.

See PISSARRO’S PLACES, the presentation

Philadelphia – Osher Lifetime Learning Institute on October 18

Chicago – Newberry International Research Library on October 23

To schedule a PISSARRO’S PLACES presentation for your organization, contact: Ann Saul at annsaul33@pissarrosplaces.com

 

 

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’S PLACES — BOLD EXPERIMENT!!

pont factories

How will this painting* look in PISSARRO’S PLACES?

We’re not sure…..Here’s why….

Camille Pissarro constantly pushed the limits of painting and embraced most things modern (except the Eiffel Tower).  So I think he would approve of this.

PISSARRO’S PLACES will be the first book with fine art reproductions to be produced by the digital “PRINT ON DEMAND” production technique. (Based on checks with industry executives) It includes:

35 reproductions of Pissarro paintings

46 current photographs of the places he painted

29 historic postcards

Several family photographs and a few historic photos of Paris

Traditional publishers would not take on this 150-page book because it might not be profitable in today’s business environment. Self-publishing is the solution—for many authors in all categories.

My publisher is Art Book Annex—that’s right, my blog is publishing my book in print! Thankfully, my public relations background left me with decades of experience working with editors, designers and printers. PISSARRO’S PLACES has been professionally edited and professionally designed.

The printing will be done by Lightning Source, a company of Ingram Content Group, the world’s largest and most trusted distributor of physical and digital content.  They provide books, music and media content to over 38,000 retailers, libraries, schools and distribution partners in 195 countries and work with more than 25,000 publishers.

Lightning Source provides digital print production, also called “Print on Demand,” which means that using the computer files I supply to them, they can print any number of copies as they are needed—even just one copy.

The risk lies in the quality of the reproductions. This new technique is nothing like the complicated printing used for exhibition catalogues, and the paper will not be heavy and shiny. But I’ve examined their sample books with photography and illustrations, and I’ve consulted with design and printing experts.  We believe it will work.

Stay tuned, and hear the results when I get the first proof!!

*This beautiful painting is Factory on the Banks of the Oise, Saint-Ouen-l’Aumône, painted by Pissarro in 1873. It can be seen at the Sterling and Francine Clark Art Institute, Williamstown, PA.  The catalogue raisonne number is PDR 300. It will be in the chapter on Pontoise in PISSARRO’S PLACES.

 

Why Did Pissarro Do This?

aa121

The Hills at l’Hermitage, Pointoise, c. 1867, Solomon R. Guggenheim Museum, New York, NY

PDR 121

 Always pushing the edge of creativity and inventiveness, Pissarro painted The Hills at L’Hermitage, Pontoise in 1867, seven years before the first Impressionist Exhibition. But it demonstrates all the elements of Impressionism—the light palette, a scene of everyday life, and depiction of the weather.

It is the largest painting ever made by Pissarro. Paul Durand-Ruel, his agent, bought the painting in March 1873 and sold it the same day to Jean-Baptiste Faure, a famous operatic baritone who sang in Paris and London.

The people in Pissarro’s paintings are integral to its composition, but they are not there to tell a story.  In fact, they often raise questions that have no answers. In this painting, a woman and little girl are talking to another woman. Most scholars agree that they are in fact Julie, the painter’s wife, and his daughter Minette. They are talking to a woman whose back is towards us, but we can see from her arms clasped behind her back that she has dark skin. This is especially noticeable because the skin of Julie and Minette are very light, almost pink.

Who is this dark-skinned woman?  Is she an African or a gypsy woman?  What is the conversation between these two women from obviously different backgrounds?  As provocative as this question may be, the women are just two small elements in the painting. The difference in skin-color is so subtle that it goes unnoticed by many viewers. When you remember that everything in a painting is due to the artist’s choice, you wonder why Pissarro raised this unanswerable question.

Pontoise in the Snow as Pissarro Saw It

Rue de Gisors

Rue de Gisors, Effect of Snow, Pontoise, 1873

Museum of Fine Arts, Boston, MA  PDR* 284

The overnight snowfall was still evident as Pissarro set up his easel on the side of the road. Just to the right of the two-wheeled cart, we can easily see the corner of the street where Pissarro lived.

The people of the village are busy with their daily errands as a woman sweeps snow off the sidewalk. Pissarro gives us an accurate sense of the gentle downward slope of the road with the decreasing levels of the rooftops. Even though the dominant colors of the painting are warm pinks and mauves, the cold crispness of the air suggested by the white snow on the roofs is intense.

This scene has hardly changed at all since Pissarro painted it. The pink building now has three stories, but the smaller buildings on that side are still the same and the tall angled roof is still there although it does not seem nearly as high as he portrayed it.

Rue de Gisors today

 This painting is one of 30 featured in the upcoming book,

 PISSARRO’S PLACES.

*PDR refers to the number assigned to this painting in Pissarro:Critical Catalogue by Joachim Pissarro and Claire Durand-Ruel Shollaerts (2005).

 

 

 

 

 

 

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).

The Definition of Impressionism

Factory on the Banks of the Oise, Saint-Ouen-l’Aumône

1873 Williamstown (Mass) Clark Art Institute

 PDR 300

 One warm spring day, Pissarro took his easel to the banks of the Oise River and made a painting that is archetypical of the Impressionist movement. It contains nearly all of the characteristics commonly associated with the Impressionist style: the lavish portrayal of sunlight; the consciousness of the changing weather as grey clouds crowd the intense blue sky; the presence of modernity in the new factories lining the bank of the Oise River; and the immediacy of the scene which bespeaks en plein air painting.

The painting itself has a classic composition divided almost equally between the sky and the earth with the river dwindling away on the right side. The water, still as a mirror, reflects the smokestacks and buildings on the other side and connects them with the freshness of the spring flowers in the right foreground. The factory, a distillery, had just been completed in 1872. The white building with the small smokestack is still there along with a few of the small buildings.

 

 



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