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|Camille Pissarro 1830-1903||BACK
|A French Impressionist painter, born in St Thomas, Dutch East Indies, but educated in Paris. He worked under Corot and at the Academy Suisse where he met Manet, Monet
and probably Courbet and Cezanne. Corot advised him to paint small
sketches before nature and above all to 'study light and
tonal values: execution and colour simply add charm to the picture.
His early landscapes were highly praised by Zola, Castagnary, and other critics but received little public recognition; Pissarro earned his living painting decorative blinds and fans. From the late 1860s he was a major figure
of the Impressionist circle: he alone exhibited at all 8 exhibitions
(1874-86) which he largely organized. Despite great poverty he
refused to seek Salon recognition.
Influential as a teacher to Cezanne and Gauguin- he was himself open to changing influences. In the 1880s, dissatisfied with his own technique, he imitated Seurat's Divisionist manner and his series of paintings of the single motifs under changing conditions were directly inspired by Monet. Despite this, his work is remarkable for its consistency. His paintings differ from those of the other Impressionists in two major respects. Firstly the Pontoise paintings particularly, e.g. Cote du Jallais (1867) are more carefully composed with a high horizon, controlled recession and dense colour areas. These are the paintings that influenced Cezanne, who worked with Pissarro at Pontoise at intervals (1872-7). Secondly his landscape, as well as being a direct observation of certain conditions, was always inhabited. He admired Millet and Daumier and shared their respect for the working man. There are often strong socialist undertones in his letters.
But Pissarro quickly settled back into his former way of life, centred around his family, his work and his friends. Soon he was embroiled in discussions with his artist friends, including Monet, Manet, Renoir and Degas, on ways of providing an alternative to the Salon, which would enable them to exhibit and sell their work. In 1873 the Societe Anonyme des Artistes, Peintres, Sculpteurs et Graveurs was set up as a joint stock company with fifteen artists with equal rights: Pissarro based the charter on the contract of the Pontoise bakers' union. His involvement in this group of artists is regarded as pivotal. Although he did not have the personal magnetism or the high-flying ideas of Monet, who could be seen as the guiding force, his well-respected strength and honesty did much to get things organized and hold the group together. The sombre self-portrait painted at this time shows a man with a prematurely grey beard, looking somewhat older than his forty-three years: it is little wonder that the group regarded him as a wise elder and father figure.
Road, Winter, Sun and Snow, 1869
Fox Hill Upper Norwood, 1870
The Lock on the Seine at Bougival, 1871
The Seine at Port Marly, 1872
The Wash House, Bougival, 1872
Self Portrait 1873
Piette's House at Montfoucault, 1874
Snow at Montfoucault, 1874
Harvest at Montfoucault, 1876
Vegetable Garden and Trees in Flower; Spring, Pontoise, 1877
Rabbit Warren at Pontoise, 1879
Snow Effect at Eragny, 1885
La Ronde, 1892
Autumn Morning at Eragny, 1897
Portrait of Jeanne, 1898
Artist's Garden at Eragny, 1898
Still Life with Spanish Peppers, 1899
Self Portrait, 1900
This listing of artists is not official. It is merely intended to group the artists in an easy to navigate format.
artists by period...
artists in alphabetical order...
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