Archive for November, 2016

PISSARRO: Two Exhibitions in Paris and One in Copenhagen

What a wonderful opportunity to study the works of Camille Pissarro. Three outstanding exhibitions –two in Paris and another in Copenhagen.  I will be at all three exhibitions before the end of June and will post reviews on this blog.




From February 23 to July 2, 2017

The Marmottan Monet Museum presents, from February 23 to July 2, 2017, the first monographic exhibition Camille Pissarro in Paris for 36 years. Some seventy-five of his masterpieces, paintings and temperas, from major museums worldwide and prestigious private collections, tracing the work of Camille Pissarro, from his youth in the Danish West Indies to large series urban of Paris, Rouen and Le Havre at the end of his life. Considered by Cézanne as ” the first Impressionist ” Pissarro was one of the founders of this group. It is also the only one to participate in their eight exhibitions. Companion and faithful friend of Monet, master of Cézanne and Gauguin, Seurat inspirer, supporter of Signac, Pissarro is a major and essential artist. Polyglot intellectual, committed and militant, listening to the younger generation, his work, powerful and evolving, offers a unique view of the research that has animated the Impressionists and Post-circles of the second half of the nineteenth century.

Musée Marmottan, Paris, France



Pissarro in Éragny: Anarchy and nature

From March 16 to July 9, 2017

In 1884, Camille Pissarro (1830-1903) settled with his family in the village of Eragny, in the Oise. For twenty years, he is alive with his farm and fields of poetry, receiving his friends artists, Monet, Cézanne, Van Gogh and Gauguin. He continued his painting of French rural life and discovers anarchist ideals of the late nineteenth century. The exposure of the Luxembourg Museum traces the recent years, both bucolic and committed to one who is considered one of the fathers of Impressionism.

Exhibition organized by the Réunion des Musées Nationaux – Grand Palais.

Musée Luxembourg, Paris, France





Is there a connection between the Danish Golden Age painting and French Impressionism? It will come as a surprise to most that there should exist such a connection. There is, however, a link, as a meeting between the Danish painter Fritz Melbye and the later ‘father’ of French Impressionism Camille Pissarro had a crucial impact on the emergence of one of the most significant movements in art history.

The meeting took place in the middle of the 19th century on St. Thomas in the Danish West Indies. Camille Pissarro was born there as a Danish citizen in 1830 and Melbye, four years older, decided to go to the island around 1850. The two young artists were to spend a couple of years together, developing their artistic skills. This exhibition will display how, contrary to popular belief, Melbye actually took on the role of mentor and teacher to Pissarro thus influencing the latter profoundly.

The exhibition Pissarro. A Meeting on St. Thomas sheds new light on Impressionist history through the artistic heritage passed on from Melbye to Pissarro. The exhibition at Ordrupgaard, which presents a significant amount of paintings, oil sketches, water colours and drawings from around the world, will thus add a new dimension to the understanding of the emergence of French Impressionism.

Ordrupgaard Museum, Copenhagen, Denmark 

10 March – 2 July 2017

Young Pissarro in Venezuela


Mountain Landscape with a Hut c. 1854 Private Collection PDRS 5

Pissarro is known to most people as an Impressionist, but many of them do not realize that he was a professional artist in Venezuela, long before the advent of the Impressionist movement.

He was born in St. Thomas, Virgin Islands in 1830 and at the age of 12, his parents sent him to boarding school in Passy, then a suburb of Paris, where he learned to draw. When he returned from France to St. Thomas in 1847, Pissarro took his place in the family business but spent much of his time drawing whatever was in front of him—sailing ships in the harbor, tropical landscapes, and people at work and leisure. In May 1851, he met the painter Fritz Melbye, who was commissioned by the Danish government to record the flora and fauna of the Danish Antillas and Central America.

Melbye was impressed by the expertise and vitality of the younger man’s drawings and convinced Pissarro to accompany him to Caracas, Venezuela, where they established an art studio and sold paintings.

Pissarro’s landscape, Mountain Landscape with a Hut (c. 1854) shows just how sophisticated he was as an artist at the age of 24. It is a complex composition, employing a series of diagonal lines, a technique Pissarro used throughout his career. The indistinct foliage in the left corner provides a small diagonal from the foot of the tree to the rocks. The second diagonal may be drawn from the top of the tree on the left to the crest of the two palm trees on the right. All of that leads up to the most dramatic diagonal, the right slope of what is probably Mt. Avila, which Pissarro and Melbye climbed in July, 1854. To make sure the steepness of the mountain is noticed, Pissarro pierces the diagonal line with a white wispy cloud.  The small hut on level ground surrounded by figures provides safety and stability in these precipitous surroundings, and Pissarro focuses attention on it with warm sunlight.


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