The Market at Pontoise
View Similar Items
Camille PissarroThe Market at Pontoise1895
1895
About the Item
- Creator:Camille Pissarro (1831-1903, French)
- Creation Year:1895
- Dimensions:Height: 12 in (30.48 cm)Width: 9 in (22.86 cm)
- Medium:
- Movement & Style:
- Period:
- Condition:
- Gallery Location:San Francisco, CA
- Reference Number:1stDibs: LU911413923
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.
Find original Camille Pissarro art on 1stDibs.
(Biography provided by Stern Pissarro Gallery)
- The ShoemakerBy James Abbott McNeill WhistlerLocated in San Francisco, CAOriginal lithograph printed in black ink on China paper. Signed on the stone with the artist’s butterfly monogram upper center. A superb, richly printed impression of Spink’s only state From the edition of unknown size printed by Lemercier, Paris (apart from the posthumous edition of 58 printed by Goulding in 1904). Catalog: Spink 169; Levy 129; Way 151 Collections in which impressions from this edition can be found: Art Institute of Chicago (4 impressions); Hunterian Art Gallery, University of Glasgow (1 impression); British Museum, London (1 impression); Freer Art Gallery, Smithsonian Institution, Washington, D.C. (1 impression); National Gallery of Art, Washington, D.C. (1 impression); University of Michigan Museum of Art, Ann Arbor (1 impression); Boston Public Library (1 impression); Museum of Fine Art, Boston (1 impression); Cleveland Museum of Art (1 impression); Metropolitan Museum of Art, New York (2 impressions); Achenbach Foundation for the Graphic Arts, San Francisco (1 impression) . “The Shoemaker” was one of the first lithographs that Whistler made after his acrimonious break with his London printers, the Ways. It was entitled “The Shoemaker, Dieppe” by Rosalind Birnie Philip in her 1903 inventory of the artist’s estate, and indeed it does seem to have been drawn during a period when Whistler was making frequent Channel crossings...Category
19th Century American Impressionist Figurative Prints
MaterialsLithograph
- The BonnetBy Mary CassattLocated in San Francisco, CAOriginal drypoint printed in dark umber ink on verdâtre (slightly bluish-green tinted laid paper) bearing a portion of an unidentified watermark A richly printed impression of Brees...Category
1890s Impressionist Figurative Prints
MaterialsDrypoint
$14,850 - LE CHAPEAU EPINGLE (La fille de Berthe Morisot et sa cousine), 2e plancheBy Pierre-Auguste RenoirLocated in San Francisco, CAOriginal drypoint printed in black ink on laid paper bearing the “AUVERGNE” watermark. Signed with the artist's stamped signature in the margin below the platemark lower right Re...Category
19th Century Impressionist Figurative Prints
MaterialsDrypoint
- TeaBy Mary CassattLocated in San Francisco, CAOriginal drypoint printed in dark umber ink on laid paper bearing the “VANDERLEY” watermark. Hand-signed in pencil in the margin below the image lower right Mary Cassatt. A super...Category
1890s Impressionist Figurative Prints
MaterialsDrypoint
Price Upon Request - Byzantine Head - BrunetteBy Alphonse MuchaLocated in San Francisco, CAOriginal lithograph printed in colors on wove paper Signed on the stone lower left Mucha. A superb impression of the first of five variants of the original version of this lithogra...Category
1890s Art Nouveau Figurative Prints
MaterialsLithograph
Price Upon Request - Compagnie Francaise des Chololats et des ThesBy Théophile Alexandre SteinlenLocated in San Francisco, CAOriginal lithograph printed in four colors (yellow, red, olive green, black) on wove poster paper Signed on the stone lower right Steinlen, also bearing the artist’s printed monogra...Category
1890s Art Nouveau Figurative Prints
MaterialsLithograph
- Jean Gabriel Domergue - Lying Woman - Original EtchingBy Jean-Gabriel DomergueLocated in Collonge Bellerive, Geneve, CHOriginal Etching by Jean-Gabriel Domergue Dimensions: 33 x 25 cm 1924 Edition of 100 This artwork is part of the famous portfolio The Afternoon of a Faun. Jean-Gabriel Domergue Jea...Category
1920s Impressionist Nude Prints
MaterialsLithograph
$856 Sale Price35% Off - Jean Gabriel Domergue - Happiness - Original EtchingBy Jean-Gabriel DomergueLocated in Collonge Bellerive, Geneve, CHOriginal Etching by Jean-Gabriel Domergue Dimensions: 33 x 25 cm 1924 Edition of 100 This artwork is part of the famous portfolio The Afternoon of a Faun. Jean-Gabriel Domergue Jea...Category
1920s Impressionist Nude Prints
MaterialsLithograph
$856 Sale Price35% Off - Domergue - Parisienne - Original Signed LithographBy Jean-Gabriel DomergueLocated in Collonge Bellerive, Geneve, CHOriginal Lithograph by Jean-Gabriel Domergue Title: Parisienne Signed in the plate Dimensions: 40 x 31 cm 1956 Edition of 197 This artwork is part of the famous portfolio "La Parisie...Category
1950s Impressionist Portrait Prints
MaterialsLithograph
$856 Sale Price35% Off - Jean Gabriel Domergue - Lying Naked - Original EtchingBy Jean-Gabriel DomergueLocated in Collonge Bellerive, Geneve, CHOriginal Etching by Jean-Gabriel Domergue Dimensions: 33 x 25 cm 1924 Edition of 100 This artwork is part of the famous portfolio The Afternoon of a Faun. Jean-Gabriel Domergue Jea...Category
1920s Impressionist Nude Prints
MaterialsLithograph
$856 Sale Price35% Off - Jean Gabriel Domergue - Women's Love - Original EtchingBy Jean-Gabriel DomergueLocated in Collonge Bellerive, Geneve, CHOriginal Etching by Jean-Gabriel Domergue Dimensions: 33 x 25 cm 1924 Edition of 100 This artwork is part of the famous portfolio The Afternoon of a Faun. Unsigned and unnumbered as ...Category
1920s Impressionist Nude Prints
MaterialsLithograph
$856 Sale Price35% Off - Jean Gabriel Domergue - Women's Love - Original EtchingBy Jean-Gabriel DomergueLocated in Collonge Bellerive, Geneve, CHOriginal Etching by Jean-Gabriel Domergue Dimensions: 33 x 25 cm 1924 Edition of 100 This artwork is part of the famous portfolio The Afternoon of a Faun. Unsigned and unnumbered as ...Category
1920s Impressionist Nude Prints
MaterialsLithograph
$856 Sale Price35% Off