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Camille PissarroUne Rue à l’Hermitage, Pontoise by Camille Pissarro - Impressionist pastel
Executed circa 1873-74
Executed circa 1873-74
CAMILLE PISSARRO (1830-1903) Une Rue à l’Hermitage, Pontoise (Verso: La Route) Pastel over charcoal on paper 26 x 40 cm (10 ¹/₄ x 15 ³/₄ inches) Stamped with artists initials, C. P. (Lugt 613a) Executed circa 1873-74 Provenance Estate of the Artist Collection of A Bonin Hôtel Drouot, Paris, 26th June 1931 Sotheby’s, New York, 21st October 1976 Literature Ludovic Rodo Pissarro and Lionello Venturi, Camille Pissarro - son Art, son Œuvre, Paris, 1939, vol. 1, no. 1518, p. 290 (illustrated vol. II, pl. 292) Exhibitions London, Stern Pissarro Gallery, Camille Pissarro - St.Thomas to Paris, November-December 2003, no. 12 * This price excludes 5% import duty applicable if the work remains in the EU. About this work: Camille Pissarro completed this idyllic pastel in around 1873-74 while he was living in the small town of Pontoise just northwest of Paris. During this time, he produced some of his most significant and revolutionary work, exhibiting in the first Impressionist exhibition in 1874. Having settled in the village, Pissarro explored and studied the sleepy local landscapes, near-deserted country paths, and the rolling slopes of the Hermitage hills. The present pastel was most likely conceived en plein air and perfectly captures the uneven topography and calmness of the rural landscape with its contrasting deep greens and russet tones. The composition shows his masterful approach and is a delightful example of his fascination with studying the local landscape. On the verso of the pastel work is an earlier study, possibly made around 1860. Pissarro’s residency in Pontoise has been recognised as crucial for the development of his style and artistic career. There, Pissarro was frequently visited by his close friend and protégé, Paul Cézanne. Over the following decade they painted and drew side by side, and Cézanne would later credit Pissarro as his mentor, claiming ‘we learned everything from Pissarro.’ Although Cézanne was nine years his junior, Pissarro was clearly as willing to learn as he was to teach. They frequently depicted the same motifs: village streets, houses, and the local landscape. Indeed, their works produced in this period reveal the reciprocal nature of their artistic relationship. We can start to see trappings of Cézanne’s influence on Pissarro in his hurried hatched lines and darker than usual colours. In 2005, Pissarro and Cézanne’s artistic relationship formed the subject of a major exhibition at the MoMA in New York and at the Musée d’Orsay in Paris. The exhibition drew heavily on the landscapes that the artists produced side by side and the way in which the artists learnt from one another and borrowed from each other’s techniques. Some of Pissarro’s most famous paintings depict his Pontoise period, many of the famous works can be found in important collections around the world including the Guggenheim and the Metropolitan Museum of Art in the USA, the Musée d’Orsay in France and the National Galleries of Scotland to name a few. Biography: 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 10th July 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 twelve, 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 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, whilst 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 1500 paintings – almost twenty 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 ten years. He reestablished relationships with Cézanne, Manet, Monet, Renoir and 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 pretence, 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 called 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-fifties, 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, whilst retaining the lightness and purity of colour 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 amongst his best and make 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.
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