Posts Tagged 'Museo Thyssen Bornemisza'

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.

SPAIN LOVES PISSARRO

A man looks at the painting "The old road to Ennery at Pontoise" (L) by Camille Pissaro (R) next to the painting "Still life with peonies and Mock orange" during the opening of the first monographic exhibition in Spain on Danish-French impressionist painter Camille Pissarro at the Thyssen-Bornemisza museum in Madrid, on June 3, 2013. AFP PHOTO / DOMINIQUE FAGET.

A man looks at the painting “The old road to Ennery at Pontoise” (L) by Camille Pissaro (R) next to the painting “Still life with peonies and Mock orange” during the opening of the first monographic exhibition in Spain on Danish-French impressionist painter Camille Pissarro at the Thyssen-Bornemisza museum in Madrid, on June 3, 2013. AFP PHOTO / DOMINIQUE FAGET. (From ART DAILY NEWS)

Spain must be loving Pissarro this week.  In the last seven days, the Pissarro blog counted 62 views from SPAIN!! Viewers from the US were a distant second at 14 views. www.artbookannex.com
No doubt, this is a result of PISSARRO, the extraordinary exhibition of his paintings currently at the Museo Thyssen Bornemisza in Madrid.  After it closes on September 15, the exhibition will travel to Barcelona, CaixaForum, from 15 October 2013 to 13 January 2014. If you’re in Spain this summer, don’t miss it.  This is a great opportunity to see paintings not often seen in exhibitions, including two from the Pitti Palace in Florence.
For more information, see: www.museothyssen.org/
PISSARRO’S PLACES, the book sold at the Madrid exhibition is available at:

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.



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