Camille PissarroCOUPLE DE PAYSANS1923
1923
About the Item
- Creator:Camille Pissarro (1831-1903, French)
- Creation Year:1923
- Dimensions:Height: 16 in (40.64 cm)Width: 20 in (50.8 cm)
- Medium:
- Period:
- Condition:
- Gallery Location:Portland, ME
- Reference Number:
Camille Pissarro
Camille Pissarro was one of the most influential members of the French Impressionist movement and the only artist to participate in all eight Impressionist exhibitions.
Born in July of 1830 on the island of Saint Thomas in the Danish West Indies, Camille was the son of Frédéric and Rachel Pissarro. At the age of 12, he went to school in Paris, where he displayed a penchant for drawing. He returned again to Paris in 1855, having convinced his parents to allow him to pursue a career as an artist rather than work in the family import/export business. Camille studied at the Académie Suisse alongside Claude Monet, and, during this time, he met Paul Cézanne, Édouard Manet and Pierre-Auguste Renoir.
In 1869, Camille settled in Louveciennes. The outbreak of the Franco-Prussian War in 1870 prompted him to move to England, and, with Monet, Camille painted a series of landscapes around Norwood and Crystal Palace, while studying English landscape painting in the museums. Upon returning a year later at the end of the War to Louveciennes, Camille discovered that only 40 of his 1,500 paintings — almost 20 years’ work — remained undamaged.
Camille settled in Pontoise in the summer of 1871, remaining there and gathering a close circle of friends around him for the next 10 years. He reestablished relationships with Cézanne, Manet, Monet, Renoir and Edgar Degas, expressing his desire to create an alternative to the Salon, so that their group could display their own unique styles. Camille married Julie Vellay, with whom he would have seven children. Cézanne repeatedly came to stay with them, and, under Camille’s influence, he learned to study nature more patiently, even copying one of Camille’s landscapes in order to learn his teacher’s technique.
The first Impressionist group exhibition, initiated by Monet in 1874, earned the Impressionists much criticism for their art. While mainly interested in landscape, Camille introduced people — generally, peasants going about their rural occupations — and animals into his works, and they often became the focal point of the composition. It was this unsentimental and realistic approach, with the complete absence of any pretense, which seemed to stop his work from finding appreciation in the general public.
One of the few collectors who did show interest in Camille’s work was a bank employee named Paul Gauguin, who, after acquiring a small collection of Impressionist works, turned to Camille for advice on becoming a painter himself. For several years, Gauguin closely followed his mentor, and, although their friendship was fraught with disagreement and misunderstandings, Gauguin still wrote shortly before Camille’s death in 1906: “He was one of my masters, and I do not deny him.”
In the 1880s, Camille moved from Pontoise to nearby Osny, before Eragny, a small village much further from Paris. At a time when he was dissatisfied with his work, in 1885, Camille met both Paul Signac and Georges Seurat. He was fascinated by their efforts to replace the intuitive perceptive approach of the Impressionists with a “Divisionist” method, or scientific study of nature’s phenomena based on optical laws. Despite having reached his mid-50s, Camille did not hesitate to follow the two young innovators. The following year, he passed on this new concept to Vincent Van Gogh, who had just arrived in Paris and was keen to learn of the most recent developments in art. However, after a few years, Camille felt restricted by Seurat’s theories and returned to his more spontaneous technique while retaining the lightness and purity of color acquired during his Divisionist phase.
In the last years of his life, Camille divided his time between Paris, Rouen, Le Havre and Eragny, painting several series of different aspects of these cities, with varying light and weather effects. Many of these paintings are considered among his best and make for an apt finale to his long and prodigious career.
When Camille Pissarro died in the autumn of 1903, he had finally started to gain public recognition. Today his work can be found in many of the most important museums and collections throughout the world.
Find original Camille Pissarro art on 1stDibs.
(Biography provided by Stern Pissarro Gallery)
- ShippingRetrieving quote...Ships From: Portland, ME
- Return PolicyA return for this item may be initiated within 10 days of delivery.
- MO ASLEEPBy David HockneyLocated in Portland, MEHockney, David. MO ASLEEP. S.A.C. 124. Etching and aquatint, 1971. Edition of 75 plus 16 proofs. Proofed by Maurice Payne and printed by Shirley Clement at The Print Shop, Amsterdam. Published by Petersburg Press. 27 x 21 inches, 680 x 535 mm. (plate), 35 1/2 x 27 3/4 inches (sheet).Mo McDermott...Category
1970s Figurative Prints
MaterialsAquatint, Etching
- RECLINING FIGURE (GREGORY EVANS)By David HockneyLocated in Portland, MEHockney, David. RECLINING FIGURE. Etching and sugarlift aquatint in black, 1974. Edition of 75 published by Petersburg Press, London and printed on Inveresk paper. Signed, dated and ...Category
1970s Figurative Prints
MaterialsAquatint, Etching
- WEDDING PREPARATIONSBy Doel ReedLocated in Portland, MEReed, Doel (American, 1894-1985) WEDDING PREPARATIONS.. Etching and Aquatint, 1973. Signed in pencil, lower right, and numbered 26/30. 12 x 17 1/2 inches (plate), 15 x 22 1/4 inches ...Category
1970s Figurative Prints
MaterialsAquatint, Etching
- UNTITLED (RESTING WOMEN; SLEEPING WOMEN)By Doel ReedLocated in Portland, MEReed, Doel (American, 1894-1985). UNTITLED (RESTING WOMEN; SLEEPING WOMEN). Etching and Aquatint, 1940. Signed in pencil, lower right. 10 1/2 x 15 inche...Category
1940s Figurative Prints
MaterialsAquatint, Etching
- BARBER SHOPBy John SloanLocated in Portland, MESloan, John. BARBER SHOP. Etching and aquatint, 1915, (Morse 173), 3rd (final) state, Only 35 were printed, by Sloan. Signed in pancil, lower right. 10 x 12 inches (256 x 308 mm (pl...Category
1910s Figurative Prints
MaterialsEtching, Aquatint
- NUDE ON STRIPED HAMMOCK.By Philip PearlsteinLocated in Portland, MEPearlstein, Philip. NUDE ON STRIPED HAMMOCK. Field 59. Etching with aquatint, 1974. Edition of 100, signed, titled and numbered 59/100 all in pencil. Printed on Copperplate Paper at...Category
1970s Figurative Prints
MaterialsAquatint, Etching
- "Harvest (Sugar Beets), " Aquatint Etching by Manuel Robbe, circa 1910By Manuel RobbeLocated in Long Island City, NYThis etching with aquatint was created by French printmaker Manuel Robbe. Robbe’s innovative techniques, along with his sense of color harmony and his choice of subjects: stylish wom...Category
1910s Impressionist Figurative Prints
MaterialsEtching, Aquatint
- The Scalby Suite - Jar and Arrangement. For WN.By William TillyerLocated in London, GBEtching, aquatint and embossing on paper Plate size: 39.5 x 39.5 cms (15 1/2 x 15 1/2 ins) Paper size: 58 x 58 cms (22 3/4 x 22 3/4 ins)Category
2010s Prints and Multiples
MaterialsEtching, Aquatint
- Le Matin - Etching by James Tissot - 1886By James TissotLocated in Roma, ITWonderful mezzotint and etching on China paper applied. The inscription reads: "Le matin/ J. J. Tissot Sc. et ex. 1886". Titled, signed and dated on plate on the lower margin, below ...Category
1880s Modern Figurative Prints
MaterialsEtching, Aquatint
- Si Son de Otro Linage - Etching by Francisco Goya - 1863By Francisco GoyaLocated in Roma, ITSi son de otro linage is an original artwork realized by the great Spanish artist Francisco Goya in 1810. Original Etching on paper. The artwork belongs to the famous series "Los...Category
1860s Old Masters Figurative Prints
MaterialsAquatint, Etching
- De que Sirvé una Taza? - Etching by Francisco Goya - 1863By Francisco GoyaLocated in Roma, ITDi que sirvé una taza? is an original artwork realized by the great Spanish artist Francisco Goya in 1810. Original Etching on paper. The artwork belongs to the famous series "Lo...Category
1860s Old Masters Figurative Prints
MaterialsEtching, Aquatint
- Esta no lo es Menos - Etching by Francisco Goya - 1863By Francisco GoyaLocated in Roma, ITEsta no lo es menos is an original artwork realized by the great Spanish artist Francisco Goya in 1810. Original Etching on paper. The artwork belongs to the famous series "Los D...Category
1860s Old Masters Figurative Prints
MaterialsEtching, Aquatint