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Georges Henri Manzana Pissarro
River landscape with two Breton women, circa 1930 by Georges Manzana Pissarro

circa 1930

$6,750

About

A colourful pastel on paper titled 'River landscape with two Breton women', circa 1930 by post-Impressionist artist Georges Manzana Pissarro (1871 - 1961) who was also the son of celebrated Impressionist Camille Pissarro. In the picture, two distinctive Breton women chatter against the backdrop of a idyllic green landscape. Georges Manzana Pissarro most likely painted this work on paper during a trip to Brittany. The women are wearing the traditional Brittany clothing and their heads are covered in the recognisable Pont-Aven coiffes. The bright blues, greens, purples and pinks contrast against the black of the dresses. Georges Manzana Pissarro was most likely fascinated by the local culture and as such, this work on paper is reminiscent of Émile Bernard and Paul Gaugin's Brittany paintings inspired by their visit in 1888. This work is accompanied by a certificate of authenticity from Lélia Pissarro. It is in great condition and comes with a classic gold frame ready to hang. Item details: River landscape with two Breton women by Georges Manzana Pissarro (1871 - 1961) Pastel on paper 26 x 42.5 cm (10 ¼ x 16 ¾ inches) Signed with estate stamp lower right Executed circa 1930 Artist biography: Georges-Henri Pissarro, better known as Manzana, was born in Louveciennes, the third of Camille Pissarro's seven children. He studied with his father from a very early age and, like Lucien, he spent his formative years surrounded by distinguished artists of the Impressionist movement, such as Monet, Cézanne, Renoir and Gauguin, all of whom frequented the Pissarro home. At his father's side he learnt not only to handle brush and pencil but also to observe and to love nature. Thus steeped in tradition and subjected to these diverse influences, Manzana turned out to be a prolific and versatile artist, producing work in oil, pastel and watercolour. As a young man he adopted his father's purely Impressionist style and produced a series of landscapes around Pontoise and Eragny. However, around 1906 he progressed beyond that and went in search of other means of expression via the design of furniture and decorative objects. The influence of Gauguin's exotic native scenes from Tahiti and Martinique certainly contributed to the development of Manzana's Orientalism, which at this time began to manifest itself in some of his paintings by his experimenting with gold, silver and copper paint. Like all the second generation Pissarro artists, Georges initially worked under an assumed name. In 1894 he adopted "Manzana", the family name of his maternal grandmother, and it was not until 1910, out of respect to his then deceased father, that he employed his own family name when signing his work. During the early 1900s Manzana regularly exhibited Impressionist works the Salon d'Automne and the Salon des Indépendents, as well as Durand Ruel and Druet in Paris. In 1907 he had his first exhibition of decorative works at Vollard, but it was in 1914 that he had the most important exhibition of his career at the Musée des Arts Décoratifs where he exhibited 311 works including tapestries, carpets, furniture, glassware, decorative paintings, etchings and lithographs. Manzana continued to exhibit his work regularly until the late 1930s, splitting his time between Les Andelys and Paris, although spending several summers at Pont Aven in Brittany where the local costume and lifestyle inspired a series of paintings in the 1930s. At the declaration of war in 1939, he moved with his family to Casablanca where he stayed until 1947. Married and widowed three times, Manzana's the youngest brother, Félix, also became an accomplished artist, and Manzana spent the last years of his life with him in Menton, returning to his Impressionist roots and painting the local landscape.

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About the Artist

Georges Henri Manzana Pissarro

Georges-Henri Pissarro, better known as Manzana, was born in Louveciennes, the third of Camille Pissarro and Julie Vellay’s seven children. He studied with his father from a very early age and, like Lucien — Camille and Julie's eldest son — he spent his formative years surrounded by distinguished artists of the Impressionist movement, such as Monet, Cézanne, Renoir and Gauguin, all of whom frequented the Pissarro home. At his father's side he learned not only to handle brush and pencil but also to observe and to love nature. Thus steeped in tradition and subjected to these diverse influences, Manzana turned out to be a prolific and versatile artist, producing work in oil, pastel and watercolour. As a young man he adopted his father's purely Impressionist style and produced a series of landscapes around Pontoise and Eragny. However, around 1906 he progressed beyond that and went in search of other means of expression via the design of furniture and decorative objects. The influence of Gauguin's exotic native scenes from Tahiti and Martinique certainly contributed to the development of Manzana's Orientalism, which at this time began to manifest itself in some of his paintings by his experimenting with gold, silver and copper paint. Like all the second generation Pissarro artists, Georges initially worked under an assumed name. In 1894 he adopted "Manzana,” the family name of his maternal grandmother, and it was not until 1910, out of respect to his then-deceased father, that he employed his own family name when signing his work. During the early 1900s Manzana regularly exhibited Impressionist works at the Salon d'Automne and the Salon des Indépendants, as well as Durand Ruel and Druet in Paris. In 1907 he had his first exhibition of decorative works at Vollard, but it was in 1914 that he had the most important exhibition of his career at the Musée des Arts Décoratifs, where he exhibited 311 works including tapestries, carpets, furniture, glassware, decorative paintings, etchings and lithographs. Manzana continued to exhibit his work regularly until the late 1930s, splitting his time between Les Andelys and Paris, although spending several summers at Pont Aven in Brittany, where the local costume and lifestyle inspired a series of paintings in the 1930s. At the declaration of war in 1939, he moved with his family to Casablanca, where he stayed until 1947. Manzana was married and widowed three times. He spent the last years of his life with Félix, his youngest son who was also an accomplished artist, in Menton, returning to the Impressionist tradition and painting the local landscape. (Biography provided by Stern Pissarro Gallery)
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