The Beauty of the Basics, and Radical Innovations, at Christopher-Clark Fine Art
Original etching printed in four colors from four plates (blue, yellow, red, black) on laid paper bearing a portion of an unidentified watermark
Signed with the artist’s estate monogram stamp [Lugt 613e] in the margin below the left corner of the plate.
A richly printed impression of Delteil’s ninth and final state of this extremely rare etching,- from the edition of eleven printed by Alfred Porcabœuf in 1930 under the supervision of Jean Cailic, numbered in pencil in the margin lower right (Porcabœuf also printed one épreuve d’essai and one bon à tirer for a total of thirteen impressions, the plates were then canceled and presented to the Bibliothèque Nationale along with one of the numbered impressions), apart from the edition of only ten impressions of this state printed by Pissarro prior to 1903.
Catalog: Delteil 119 ix/ix; Cailac 119.
Jean Leymarie & Michel Melot, The Graphic Work of the Impressionists: Manet, Pissarro, Renoir, Cézanne, Sisley, Thames and Hudson, London, 1971, no. P. 114 (ill.);
Michel Melot, L’Estampe Impressioniste, Paris, 1974, 257 & 258 (ill.);
Phillip Dennis Cate & Marianne Grivel, From Pissarro to Picasso: Color Etching in France, Zimmerli Art Museum, Rutgers University, New Jersey, 1992, no. 142, p. 112 (ill.).
Often regarded as the first Impressionist, Camille Pisarro is known both for his revelatory plein air landscape pictures, such as in The Path to Les Puilleaux, Pontoise (1881), and for mentoring artists including Paul Cézanne and Paul Gauguin. Pisarro himself was inspired by the rural scenes of Realists Jean Francois Millet and Gustave Courbet. He also received artistic guidance from Jean-Baptiste Camille Corot, who instructed him in outdoor painting after Pisarro’s move to Paris in 1855. Pisarro, however, placed greater emphasis than Corot on spontaneity, saying “paint generously and unhesitatingly, for it is best not to lose the first impression.” From 1885-1889 Pisarro worked with Divisionist artists Paul Signac and Georges Seurat, but their meticulous method proved too rigid for Pisarro, who felt that it could not capture the movement and randomness of nature.
Danish-French, 1830-1903, Charlotte Amalie, St. Thomas, U.S. Virgin Islands, based in Paris, France