Orovida Pissarro
Pig Sticking by Orovida Pissarro, 1931 - Etching Print
1931

Name: Pig Sticking by Orovida Pissarro, 1931 - Etching Print
Brand: Orovida Pissarro
Price: 1258.29 USD
Availability: InStock

About the Item

SOLD UNFRAMED Pig Sticking by Orovida Pissarro (1893 - 1968) Etching 17.3 x 27.4 cm (6 ¾ x 10 ¾ inches) Signed and dated lower right Orovida 1931 Numbered lower left 26/50 and titled lower middle Artist's Biography Orovida Camille Pissarro, Lucien and Esther Pissarro’s only child, was the first woman in the Pissarro family as well as the first of her generation to become an artist. Born in Epping, England in 1893, she lived and worked predominantly in London where she became a prominent member of several British arts clubs and societies. She first learned to paint in the Impressionist style of her father, but after a brief period of formal study with Walter Sickert in 1913 she renounced formal art schooling. Throughout her career, Orovida always remained outside of any mainstream British art movements. Much to Lucien's disappointment she soon turned away from naturalistic painting and developed her own unusual style combining elements of Japanese, Chinese, Persian and Indian art. Her rejection of Impressionism, which for the Pissarro family had become a way of life, together with the simultaneous decision to drop her famous last name and simply use Orovida as a ‘nom de peintre’, reflected a deep desire for independence and distance from the weight of the family legacy. Orovida's most distinctive and notable works were produced from the period of 1919 to 1939 using her own homemade egg tempera applied in thin, delicate washes to silk, linen or paper and sometimes embellished with brocade borders. These elegant and richly decorative works generally depict Eastern, Asian and African subjects, such as Mongolian horse-riders, tribal dancers and Persian princes, often engaged in dancing or hunting rituals. The second half of Orovida's painting career, however, is marked by a sudden and dramatic change in style and subject matter. Due to the outbreak of the Second World War, there was a shortage in eggs which led Orovida to take up oil painting. This change in medium led her to embrace contemporary subjects from everyday life, thus returning to a more naturalistic style. Orovida was a gifted printmaker and worked with etching, engraving and lithography. Also an accomplished draughtsman, Orovida would observe animals at the London Zoo which she then juxtaposed with images of the local people of the countries they originally inhabited. Throughout her career she created many etchings of which both the British and the Ashmolean Museum in Oxford have a large collection. The journey of Orovida’s career serves as a symbolic illustration of her relationship with her heritage. Her attempt to break away from tradition to find her own voice, only to return to her roots is apparent throughout her body of work which is emboldened by this journey. Towards the end of her life she was instrumental in developing the Pissarro family archive, established by her parents at the Ashmolean Museum in Oxford. Besides the Ashmolean museum her works can be found in many public collections throughout the UK. Orovida sadly never married or had children.

Creator:

Orovida Pissarro (1893 - 1968)

Creation Year:

1931

Dimensions:

Height: 6.82 in (17.3 cm)Width: 10.79 in (27.4 cm)

Medium:

Etching

Period:

1930-1939

Condition:

Gallery Location:

London, GB

Reference Number:

1stDibs: LU261212624492

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Orovida Pissarro

Orovida Pissarro, the only child of Lucien and Esther Pissarro, was the first woman in the Pissarro family to become a professional artist and the first Pissarro of her generation to take up painting. Born in Epping, England, in 1893, she lived and worked predominantly in London, where she was a prominent member of several British arts clubs and societies.

Orovida first learned to paint in the Impressionist style from her father and, after a brief period of formal study with Walter Sickert in 1913, she renounced formal art schooling.

Throughout her career, Orovida always remained outside mainstream British art movements. Much to Lucien's disappointment, she soon turned away from naturalistic painting and developed an unusual style that combined elements of Japanese, Chinese, Persian and Indian art. Her rejection of Impressionism, which, for the Pissarro family, was a way of life, and her simultaneous decision to drop her famous last name and use simply Orovida as a nom de peintre, reflected a desire for independence and distance from the family legacy, of which she nevertheless remained proud.

Orovida's most distinctive works are her paintings from the 1920s and 1930s in gouache (she called her mixture body color) and tempera, applied in thin, delicate washes to silk, linen, paper or gold leaf and embellished with brocade borders. These elegant and richly decorative works generally depict non-Western subjects, for example: Mongolian horseback riders, African dancers and Persian princes, often engaged in activities such as dancing or hunting rituals.

The second half of Orovida's painting career is marked by a dramatic change in both style and subject matter. In the mid-1940s, she began to embrace contemporary subjects from everyday life and returned to a more naturalistic style. Her new style was more suited to oils, and thus, she returned to that medium.

Over the course of her life, Orovida was aware of the mixed blessing of having famous artists in the family; not only a grandfather and father but also four uncles, and towards the end of her life, she was instrumental in developing the Pissarro family archive that her mother had established at the Ashmolean Museum in Oxford.

(Biography provided by Stern Pissarro Gallery)