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Georges Henri Manzana Pissarro
La Grue St Cloud by Georges Manzana Pissarro - River scene oil painting, 1902

1902

$57,500

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La Grue St Cloud by Georges Manzana Pissarro (1871-1961) Oil on canvas 50.5 x 65.4 cm (19 ⁷/₈ x 25 ³/₄ inches) Signed lower left, G. Manzana 1902 Executed in 1902 Provenance Private collection, London Private collection, Austria Exhibition Fort Lauderdale Museum of Art, Impressionism to the Present: Camille Pissarro and His Descendants, 29 January - 30 April 2000 This work is accompanied by a certificate of authenticity from Lélia Pissarro. Artist biography Like all second-generation Pissarro artists, Georges Henri ‘Manzana’ Pissarro initially worked under a pseudonym. Born in 1871, Manzana was the third of Camille Pissarro’s seven children, adopting the name ‘Manzana’ in 1894 after the maiden name of his maternal grandmother. It was not until around 1910, to honour his deceased father, that he employed his family name when signing his work. Manzana studied with his father from an early age and spent his formative years surrounded by the distinguished artists associated with the Impressionist movement – Claude Monet, Paul Cézanne, and Paul Gauguin – who frequented the Pissarro home in Éragny. At his father's side he learnt not only to handle brush and pencil but also to observe nature and its changing qualities. Subjected to rich and diverse influences, Manzana became a prolific and versatile artist, working with oil, pastel and watercolour as well as etchings, lithography and stencils. As a young man he adopted his father's purely Impressionist style and produced a series of landscapes around Éragny. He exhibited Impressionist works at the Salon d'Automne and the Salon des Indépendants, as well as Durand Ruel and Druet galleries in Paris in the early 1900s. In 1906 his work began to evolve. Inspired by Dr Mardus’ French translation of ‘A Thousand and One Nights’, Manzana embarked on a grand project to publish his own illustrated version of these magical tales. This pulled Manzana into the umbrella of the decorative arts movement where he flourished creating tapestries, glassware, furniture, ceramics and metal work, all inspired by Orientalism and often incorporating gold, silver and copper paint. In 1907 he had his first exhibition of decorative works at Vollard but it was the 1914 exhibition at the Musée des Arts Décoratifs in Paris which dramatically boosted his career. Here he exhibited 311 works including tapestries, carpets, furniture, glassware, decorative paintings, etchings and lithographs. The subsequent years were filled with bright ideas, gilded costumes and a glittering lifestyle as Manzana navigated the 20s and 30s between Les Andelys and Paris, spending many summers in Brittany. These culminated in a series of colourful yet delicate new works which Manzana exhibited prolifically. When war broke out in 1939 Manzana moved with his family to Casablanca, where he remained until 1947. Manzana was married and widowed three times. The last years of his life were spent in Menton with his son Félix who was also an accomplished artist. There Manzana returned to the Impressionist tradition of his early years, painting the serene landscapes that surrounded him.

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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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