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  • Design Credit: Samantha Todhunter Design Ltd., Photo Credit: Oliver Clarke. Dimensions: H 26 in. x W 36.5 in.
  • Design Credit: Lucy Harris Studio, Photo Credit: Francesco Bertocci. Dimensions: H 26 in. x W 36.5 in.
  • Design Credit: Timothy Godbold, Photo Credit: Karl Simone. Dimensions: H 26 in. x W 36.5 in.
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Camille Pissarro
Le Jardin des Tuileries, apres-midi, soleil (The Tuileries Garden, Afternoon, Su

1900

Price Upon Request

About

A painting by Camille Pissarro. "Le Jardin des Tuileries, Apres-Midi, Soleil" is a painting, oil on canvas in a soft palette of blues and earth tones by French Impressionist artist Camille Pissarro. It is signed in the lower left, "C. Pissarro 1900". Le Jardin des Tuileries, après-midi, soleil belongs to a series of canvases Camille Pissarro painted from the apartment he rented at 204 rue de Rivoli during his second stay there in 1899 and 1900. Unlike Monet, Pissarro’s approach to serial painting did not involve methodically working several canvases simultaneously to capture a single motif in varying light and atmospheric conditions. Instead, he varied his point of view — sometimes ever so slightly turning his gaze to the right or left working within a wide range of atmospheric conditions, the motifs completely autonomous and self-sufficient. This particular apartment afforded the opportunity to move from one window to another and three distinct views that included this frontal view of Grand Bassin des Tuilere, another of the Pavillon de Flore and the southern wing Denon wing of the Louvre, and lastly to east the Pavillon de Marsan on the left, the Jardin du Carrousel in the center and the Denon wing in the distance. The possibilities clearly excited the septuagenarian. In December 1898 he wrote his son Lucien that, “we got an apartment opposite the Tuileries with a magnificent view on the garden, the Louvre on the left ,the dome of Invalides on the right, the arrow of Sainte-Clotilde behind the bouquet of chestnut trees — it’s absolutely charming.” (Pissarro, Hayward Gallery, London, 1980, page 146). The view faces the network of circular and rectilinear features surrounding Grand Bassin des Tuilere located in the eastern section of the gardens. Pissarro cropped and otherwise manipulated this perspective on fifteen of the twenty-eight canvases he produced of Tuileries. Designed by seventeenth-century landscape architect Andre Le Norte, the formality of these interlocking elements do not betray Pissarro’s well-regarded knack for avoiding cleverly arranged compositions in part because he fragmented the austere, symmetrical layout. He also achieved a natural elegance by accentuating the horizon and lending a stronger sense of a panoramic expanse and because he utilized a rather sly compositional device by ‘squaring up’ the view to the distanced twin spires of the neo-gothic basilica Sainte-Clotilde, a centered point of interest that rises above that deep expanse reinforced by strong diagonals. Lastly, he forgoes any touristy affectations by limiting figural references to the actual garden sculptures intact at Tuileries though admittedly, it is difficult to discern whether or not the painter coyly added a warm body or two amidst mythological deities of stone or bronze. The view is southwesterly, the shadows suggesting Pissarro worked this canvas during the waning hours of a late spring afternoon. He deepens our appreciation of that time of season and day by creating an intoxicating optical mix of predominately analogous cool-toned hues plied together — soft greens and yellows, as well as tamped-down blues and mauves that coalesce into an atmospheric halo-like effect. It comes as close to one of nature’s most glorious lighting phenomenon; a harmonic sensation brought to full effect here by the airy arboreal effect of the tree branches that rake the sky and provide veils of an ameliorating guise. After 1889 when Camille Pissarro began to suffer from a chronic eye infection and found himself increasingly unable to work out of doors, he painted separated from the world by windows frequently traveling and living a life tethered to hotels in order to vary his subjects. Le Jardin des Tuileries, après-midi, soleil was executed with that profound physical deficit. Yet it retains all the vitality and dexterity of the best Impressionism of the period. That is no surprise. In a career that spanned the second half of the nineteenth century, Camille Pissarro is as celebrated for his ever-present freshness of eye and spirit as his well-known openness to new ideas. We tend to think of Pissarro as the most rural of the Impressionist painters, yet he produced eleven urban series encompassing more than 300 cityscapes during the last decade of his life. Le Jardin des Tuileries, après-midi, soleil may come as a revelation to some, but it is among those paintings that establish his place as a painter of his own epoch that found the sublime everywhere. Provenance: Ernst Poensgen, Dusseldorf, acquired in Paris, before 1914 Adolf Wuster, Munich, by 1954 Private Collection, Switzerland M. Knoedler & Co., New York, jointly purchased with Galerie Nathan, Zurich, July 17, 1956 Private Collection, New Jersey, acquired August 31, 1959 Exhibition: Essen, Villa Hugel, Werk der Franzosischen Malerei und Graphik des 19. Jahrhunderts, 1954, no. 76 New Orleans, Isaac Delgado Museum of Art, Odyssey of an Art Collector: Unity in Diversity, Five Thousand Years of Art, 1966-76, no. 186, illus. Orleans, Musee des Beaux-Arts, Peintures francaises du Museum of Art de La Nouvelle-Orleans, 1984, no. 25 Memphis, Tennessee, Dixon Gallery and Gardens, French Paintings of Three Centuries from the New Orleans Museum of Art, 1992-93, no. 30, illus. In color; also traveled to Miami, Center for the Fine Arts; Wilmington, Delaware Art Museum; Grosse Point Shores, Michigan, Edsel and Eleanor Ford House; Oklahoma City, Oklahoma City Art Museum; Seattle, Seattle Art Museum Koriyama, Japan, Koriyama City Museum of Art, French Paintings of Four Centuries from the New Orleans Museum of Art, 1993, no. 29; also traveled to Yokohama, Sogo Museum of Art; Nara, Nara Sogo Museum of Art; Kitakyushu, Kitakyushu Municipal Museum of Art Fort Lauderdale, Fort Lauderdale Museum of Art, Camille Pissarro and His Descendants, 2000-01, no. 65, illus. In color (titled Garden of the Tuileries in Winter) Stanford, California Iris and B. Gerald Canton Center of Visual Arts at Standford University, The Changing Garden: Four Centuries of European and American Art, 2003, no. 6; also traveled to Memphis, The Dixon Gallery and Gardens; Ann Arbor, The University of Michigan Museum of Art Madrid, Museo Thyssen-Bornemisza & Barcelona, Caixa Forum, Pissarro, 2013-14 Literature: Joachim Pissarro and Claire Durand-Ruel Snollaerts, Pissarro, Catalogue critique des peintures, vol. III, Paris, 2005, no. 1314, illus. in color p. 812

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About the Artist

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.

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(Biography provided by Stern Pissarro Gallery)

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