Posts Tagged 'Pont Neuf'

HAPPY BIRTHDAY, PISSARRO, born on JULY 10, 1830

1416 Le Pont-Neuf, Temps gris, 1902

The Pont-Neuf, Overcast Sky, 1902, Musée des Beaux-Arts, Lyon (France) PDRS 1416

Just five days before his birthday in 1898, Pissarro visited the Musée des Beaux-Arts in Lyon. Could he have imagined then that this museum would have one of his masterpieces 100 years later? This painting of Pont-Neuf was made four years after his visit to Lyon. It was given to the museum in 2000 as part of the Sara Lee Corporation Millennium Gift.[1] It is the only Pissarro painting in their collection, according to museum staff.

He captured this view of the bridge from the window of his apartment on the Ile de la Cité in middle of the Seine. Though the weather is grey, there is a warmness to the painting from the subtle touches of ivory and pale coral. Flashes of red and blue along the storefronts provide an anchor for the tall buildings and diagonal sweep of the bridge. The grayness of the painting is tempered by the dark green of the river with its splashes of white. While traffic creates a busy scene, it cannot compare with the lively brushstrokes on the canvas. Those marks that our eyes see as people and carriages are, in fact, blobs and splashes of color skillfully applied as this detail shows. Seen on its own, it looks like abstract art.

close up

The Pont-Neuf, detail.

Though this painting came to the Lyon museum more than 100 years after Pissarro’s visit in 1898, there was plenty of good art for him to enjoy. He wrote his son Lucien from Lyon on July 5, 1898, that there was “a fine museum” with some “superb primitives, works by Tintoretto, Veronese, there is a Greco, there are things by Claude Lorrain, etc. . .” He even had plans to go back the next day to see some other works. “. . . in fact, it is the museum which interests me most.”[2]

When I visited the museum just 22 days ago, I had no idea I was following in Pissarro’s footsteps. I saw and took the time to study some of the same paintings he saw.

tintoretto

Danaë, Tintoretto, c. 1570

bathsheba

Bathsheba Bathing, Veronese, 1575

el greco lyon

El Expolio, El Greco, 1581-85.

What did Pissarro notice in these paintings, all made around the same time 300 years earlier? He was probably unimpressed by the strong narrative element in each of them since he did not favor storylines in his own paintings. But he must have noticed the use of light by each of the artists, particularly the “spotlight” in the Veronese and the El Greco. The bold use of red in each of the paintings might have caught his eye as he looked for (and found in each case) complementary greens (dark green of the maid’s towel in the Tintoretto and bluish green in Bathsheba’s covering in the Veronese).

With his keen eye for composition, Pissarro must have appreciated the strong diagonal of the Tintoretto created by the nude’s twisted position and repeated in the bend of her maid toward her. He must have noticed the inverted triangle in the Veronese with Bathsheba at the bottom, the old man towering over her and a male nude statue on the left. In the El Greco, Jesus is the focal point because of his center position and the brilliant light on his face, but the arrangement of figures in the crowd behind him may have interested Pissarro because of the many scenes he painted of busy market places.

What Pissarro did not see (nor did I) were visible brushstrokes. All of the surfaces were smooth as if color had magically flowed onto canvas. How different that is from the surface of Pissarro’s painting that hangs just a few galleries away (see the detail above). Pissarro was one of the first to celebrate and accentuate the visible brushstroke and the texture of thick paint on canvas—the materiality of art.

Knowing that Pissarro studied these 16th century masterpieces, it is easier to understand how futuristic his innovations were at the time, pushing toward what we now call abstract art.  In just 12 years, it will be time to celebrate his 200th birthday. Now is the time to take a new look at his paintings, acknowledge the innovations he used so boldly, and find new appreciation for all of his paintings, especially the ones that do not fit in the convenient Impressionist template so often used to judge his paintings.

[1] Sara Lee Corporation, which had a large collection of Impressionist masterpieces, gave 40 paintings valued at about $100 million to museums, most of them to U.S. museums.

[2] John Rewald, Camille Pissarro: Letters to His Son Lucien, 1995.

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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.

 

 

 

Camille Pissarro’s Birthday – July 10, 1830

The world thinks of Camille Pissarro as an Impressionist.  And indeed, Cezanne called him “The First Impressionist.”  But long before that, Pissarro was a highly skilled artist. This painting, which is the first listed in the catalogue raisonne (Pissarro-Durand-Ruel Snollaerts, 2005), is dated 1852-54 and was painted in Venezuela. [Earlier works may have been destroyed when Pissarro’s house was occupied by enemy troops during the Franco-Prussian War, 1870]  It clearly demonstrates his knowledge of perspective, figure painting and the effect of brilliant sunlight.

1 plaza mayor

Market Scene on the Plaza Mayor, Caracas 1852-54 PDR 1 Presidential residence, La Casona, Caracas

Two decades later Pissarro was at the forefront of the Impressionist movement, creating innovative ways of painting. This painting from 1873 was shown at the first Impressionist exhibition. While it uses the effect of sunlight and the clear colors of Impressionism, it is so much more. We barely see the trees and bushes and man because our eyes are captured by the multitudes of lines and angles and the play of color dividing one section from the other. Specifically, we can’t help seeing the giant X created by lines from the treetop on the left through the bushes at center and continuing along the top of the dark orange section. It is crossed by a line from the tree on the right though the center bush and down the other side of the dark orange section. We do not see this as just a reproduction of early morning frost. We see how paint is used on canvass, the contrast of light blue and orange in a geometric grid. This painting may be called Impressionist, but it is no less than an abstract painting.

EPSON MFP image

Hoar-Frost at Ennery 1873 Musée d’Orsay PDRS 285

At the age of 56, Pissarro was working in the Pointilist style and made this painting near his home in Éragny. The melange of dots placed closely together produce the different colors, but that is not what draws your attention.  The sharp geometric structure create color blocks of yellow and green and blue. It is almost irrelevant that a tiny steam engine is pulling a train into our vision. The shapes look like flat puzzle pieces that fit snugly together. To make sure our eyes stay on the color blocks, Pissarro paints in a neutral cloudy sky above with nothing to distract us from the totally abstract design beneath.

railroad-to-dieppe-1886.jpg!Large

The Dieppe Railway 1886 Philadelphia Museum of Art PDRS 828

In his later years, Pissarro often painted from windows in order to protect his eye which frequently became infected. He spent winters in Paris in various locations. In 1901, he was living at Place Dauphine on the Île de la Citė where he had a splendid view of the Pont -Neuf leading over to the Samaritaine, the large department store on the Right Bank.  The painting is warm and lush with golden sunlight bathing the buildings and reflections in the turquoise water.

Pont-Neuf-1351

The Pont-Neuf, Afternoon, Sunlight (First Series) 1901 Philadelphia Museum of Art PDRS 1351

The buildings, which should suggest substance and mass, look instead like flat theatrical sets. The road, a flowing mass teeming with carriages and pedestrians, is only contained by the side of the bridge with its familiar circular spaces glistening bright white creating a strong diagonal line from the bottom of the canvas to center right. While we can’t see the other side of the bridge, we do see another glistening white horizontal block which almost meets the diagonal of the bridge, drawing our eyes to the Samaritaine. When we get there, however, there is almost nothing to see, a rather shadowy building, less distinct than the others, and not even flying the flags that were customary over Samaritaine.  Just to balance the strong acute angle and give it stability, Pissarro uses the quai across the river to complete the horizontal. However, he diminishes its importance by making it the same color as the building above it and draws our attention to the reflections in the breathtakingly beautiful turquoise water, which cools down all of the buttery yellow blocks and white hot diagonals.

This painting is clearly a scene we recognize, and it still looks the same today (though some of the Samaritaine buildings were reconfigured under a single facade many years ago). Though this picture is clearly representational, something easily recognized, the power of the abstract geometric elements captures our attention. 

Perhaps as we acknowledge Pissarro as the First Impressionist, we should begin to acknowledge the importance of abstract elements in his paintings. Dana Gordon, a New York City artist, said it first and best:

Pissarro traditionally was known as a great landscapist, a translator of nature into art. Pissarro showed that painting’s basic qualities — colors, brushstrokes, materiality, lines, shapes, composition—were meaningful in their own right, and transformed paint into purely visual poetry. He was, in essence, the first abstract artist.

PISSARRO PAINTING LOOTED BY THE NAZIS TO BE RETURNED TO RIGHTFUL OWNERS

The Louvre, Morning, 1902, PDR 1418

The Louvre, Morning, 1902, PDR 1418

THIS STORY IS REPRINTED FROM A REPORT ON FRANCE 24, APRIL 1, 2015.

The painting shown above is taken from a news story at https://news.artnet.com/in-brief/nazi-looted-pissarro-discovered-in-gurlitt-trove-gifted-to-bern-188836, and matches information in the Pissarro Catalogue Raisonne (2005) for PDR 1418.

BERLIN (AFP) – Germany said Wednesday experts had established a Camille Pissarro painting from the Cornelius Gurlitt art trove was looted by the Nazis and should be returned to the heirs of its rightful owners.

The oil painting from 1902 entitled “La Seine vue du Pont-Neuf, au fond le Louvre” (The Seine seen from the Pont Neuf) is “absolutely certain” to have been looted by Hitler’s regime, the German culture ministry said.

“For the restitution, we are already in contact with the heiress of the former owner,” Culture Minister Monika Gruetters said in a statement, without identifying the family.

Gurlitt, who died in May aged 81, had hoarded more than 1,000 paintings, drawings and sketches, including masterpieces by the likes of Picasso and Chagall, in his Munich flat for decades.

The Pissarro piece was discovered among more works uncovered at his Salzburg, Austria home.

The artworks were acquired by his powerful father Hildebrand Gurlitt who was tasked by the Nazis with selling artwork stolen from Jewish families in the 1930s and 1940s.

Research by a German government-appointed task force has already established that the artworks “Seated Woman” by Henri Matisse and “Two Riders on the Beach”, painted by Max Liebermann, should be returned to the heirs of their rightful owners.

The Museum of Fine Arts in Bern, Switzerland, agreed in November to accept the controversial art trove left behind by Cornelius Gurlitt.



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