The Beauty of the Basics, and Radical Innovations, at Christopher-Clark Fine Art
Series: A robust, richly printed impression of Delteil’s seventh and final state printed sometime between 1922 and 1930, from the edition of 18, numbered in pencil below the platemark lower left (apart from approximately only 12 impressions in all seven states printed during the artist’s lifetime).
Signature: Signed with the artist’s estate monogram stamp (Lugt 613.b) in dark gray ink below the platemark lower left.
Christoph Becker, Camille Pissarro, Hatje Cantz Publishers, Stuttgart, 1999, fig. 14, p. 167 (ill.); Camille Pissarro 1830-1903, Arts Council of Great Britian, London & Fine Arts Museum, Boston, 1980, no. 183, p. 216 (ill.);
Richard R. Bretell, Pissarro’s People, Fine Arts Museums of San Francisco, 2011, no. 48, p. 86 (ill.).
Often regarded as the first Impressionist, Camille Pissarro 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 Pissarro’s move to Paris in 1855. Pissarro, 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 Pissarro, 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