Camille Pissarro
Paysage sous bois, a l’Hermitage (Pontoise), 1879
Edition of 50, intended but never issued in Le Jour et la Nuit.
This rare print is arguably the most …
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.
Edition of 50, intended but never issued in Le Jour et la Nuit.
This rare print is arguably the most renowned etching by the artist and his most impressionist. The plein-air landscape with a rich textural and painterly surface was executed in L’Hermitage, where Pissarro lived on and off from 1866-1883. It was …
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.
