Posts Tagged 'color blocks'

Pissarro — a snowy day in Paris

1412 Pont-Neuf effect of snow 1902

The Pont-Neuf, Effect of Snow and Fog. 1902. Private collection. PDRS 1412.

In the winter of 1901-1902, Pissarro and his family returned to Paris and stayed for the second time on the Ile de la Cité, the small island in the middle of the Seine. His apartment faced the equestrian statue of Henri IV and on both sides, he could see the Pont-Neuf connecting the island to the riverbanks. To his right beyond the statue was the Louvre and to his left, the Hotel de la Monnaie. Pissarro made 26 oil paintings from his windows during that winter.

On one snowy day, Pissarro chose a familiar view of the Pont-Neuf, looking toward the Right Bank where normally he could see flags flying on the Samaritaine department store. On this day, the buildings at the end of the bridge are hardly visible at all. The falling snow throws a glistening white veil over the entire scene, broken only by the movement of the dark carriages on the bridge.

The bridge itself is simply a diagonal separating two color blocks—the large area of sky delicately pricked by the faint outlines of buildings contrasting with the dark blue-gray triangle of water in the lower right corner. The brilliant white sky is actually made up of faint brush strokes of pink and blue, each overlapping the other. The dark water is made of solid slabs of color ranging from dark blue to light gray. Pissarro’s use of color blocks in this and many other paintings foreshadows the work of Rothko in the 1950s.

This magnificent painting was part of the recent auction at Christie’s in New York City.

 

 

 

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Pissarro Afield- The Hills at Thierceville

1189 Thierceville Hills

The Hills at Thierceville, 1897, Private Collection PDRS 1189

When Pissarro returned home in mid-July 1897 after two months of caring for his ill son Lucien in London, he painted his garden and the meadow at his Èragny home. One day, he took his easel and walked a mile and a half northwest of Èragny to the hills surrounding the village of Thierceville.

In this place, unlike his enclosed garden and tree-lined meadow, he found complete openness—just the earth and the sky. The only trees were far away. The haystacks on the left suggest that some of the fields had been harvested. But it appears that Pissarro set his easel in the midst of an uncut field.

The long green and yellow brushstrokes fill the foreground beginning at the lower left corner and forming an ascending diagonal line to the right edge. The area with the haystacks is mostly green and horizontal brushstrokes give it an appearance of smoothness. To the right, a shepherd and a flock of sheep occupy a yellow patch of ground that echoes the diagonal beneath it. Surrounding them are other patches of land, dark green, light green, salmon and another patch with long green brushstrokes. In the distance behind the haystacks are rows of dark green trees and other hillsides. The sky reinforces the perspective with tiny clouds just above the distant hills turning into larger more colorful clouds up close.

Though this is a pleasant scene, it offers no dramatic focal point—an important object or person. It teaches no lesson nor does it promote any cause. This is one of those paintings about which Pissarro said, “. . . the eye of the passerby is too hasty and sees only the surface. Whoever is in a hurry will not stop for me.”

So if we are to understand why Pissarro painted this picture as he did, perhaps we should listen to his own words. “I see only spots of color. When I begin a painting, the first thing I try to put down is the accord.” When Pissarro looked at this field, he did not necessarily see fields of grain with haystacks and sheep. He saw blocks of color—robust green brushstrokes set against smoother linear areas in pale green, yellow and salmon. Above that a vivid contrast in texture and color—vigorous circular strokes in shades of white and lavender.

What happens in a painting when color and brushstroke are more important than haystacks and a flock of sheep? If we dare to compare this painting with many of those made half a century later, we might conclude that this painting is close to abstract. Considering it this way, even the most casual observer might be willing to stop and examine it more closely.



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