Lélia Pissarro, Contemporary
b. 1963
Ontology of Love (To my Muse)
Acrylic and resin on canvas
65 x 81 cm (25 ⁵/₈ x 31 ⁷/₈ inches)
Signed lower left, Lélia Pissarro
Inscribed on the reverse
Executed in 2008
65 x 81 cm (25 ⁵/₈ x 31 ⁷/₈ inches)
Signed lower left, Lélia Pissarro
Inscribed on the reverse
Executed in 2008
This work is accompanied by a certificate from the artist.
This painting part of the "Cracks" series made in 2008. Lélia Pissarro explains about this series "In each painting, I wanted the cracks to have a liaison between each other, to be close but not necessarily always connected. The cracks on the canvas are also restrained by the limitations of the canvas, which for me suggests the same way that our thoughts have our own limitations."
The cracks therefore appear like a grid, which represents the privacy of the individual being over existence.
Lélia goes further and concludes "For me, the cracks represent a virtual prison door behind which the intimacy of the individual is at times fragile, depicting the constant struggle between keeping or revealing confidences, being open or closed. This, I feel, is the choice of engaging in harmless, superficial talk or revealing the full depth of one's emotions, opening one's heart and therefore becoming vulnerable."
This original painting by Lélia Pissarro is available for immediate purchase.
This painting part of the "Cracks" series made in 2008. Lélia Pissarro explains about this series "In each painting, I wanted the cracks to have a liaison between each other, to be close but not necessarily always connected. The cracks on the canvas are also restrained by the limitations of the canvas, which for me suggests the same way that our thoughts have our own limitations."
The cracks therefore appear like a grid, which represents the privacy of the individual being over existence.
Lélia goes further and concludes "For me, the cracks represent a virtual prison door behind which the intimacy of the individual is at times fragile, depicting the constant struggle between keeping or revealing confidences, being open or closed. This, I feel, is the choice of engaging in harmless, superficial talk or revealing the full depth of one's emotions, opening one's heart and therefore becoming vulnerable."
This original painting by Lélia Pissarro is available for immediate purchase.
Lélia Pissarro, Contemporary
biography
Lélia Pissarro is a contemporary French artist and the youngest daughter of H.Claude Pissarro. Though born in the city, she was raised in Clécy, Normandy, in the care of her grandparents Paulémile and Yvonne Pissarro, a childhood defined by colour, paint and studio life. Sitting beside her grandfather at the easel, she absorbed Impressionist and Post-Impressionist technique directly from the family line stretching back to Camille Pissarro. Her talent developed early and she famously sold her first painting to dealer Wally Findlay at the age of four.
After returning to Paris at eleven, she began to move beyond classical family tradition, encouraged by her father to experiment with new ideas, surfaces and subject matter. By fourteen she was already exhibiting, submitting early abstract works to the Salon de la Jeune Peinture under the pseudonym Rachel Manzana Pomié. Studies in fine art, psychology, and later oil-painting conservation broadened her technical depth, while teaching posts in Paris helped shape her distinctive studio approach.
In 1988 she moved to London, where her work began shifting further towards experimentation, a path that intensified after 2005 when, following recovery from cancer, she transitioned decisively into modern and abstract art. From this point her practice became increasingly innovative: series exploring circles, animal forms and minimal composition led her toward abstraction, reduction and material complexity. She introduced encaustic, wax, gold leaf and layered pigment to produce textured surfaces and luminous colour fields that mark a clear evolution to her family’s plein-air heritage.
Lélia has exhibited globally and most recently, her abstract oeuvre formed a key component of Traces of Giverny at Stern Pissarro Gallery, where the exhibition highlighted both her lineage and her evolution into a distinctly modern voice. Today she works from her London studio by Richmond Park, maintaining a practice that moves between plein-air roots and contemporary experimentation. Alongside painting she is a partner at Stern Pissarro Gallery and serves as the official expert for Paulémile, Manzana and Ludovic-Rodo Pissarro.
After returning to Paris at eleven, she began to move beyond classical family tradition, encouraged by her father to experiment with new ideas, surfaces and subject matter. By fourteen she was already exhibiting, submitting early abstract works to the Salon de la Jeune Peinture under the pseudonym Rachel Manzana Pomié. Studies in fine art, psychology, and later oil-painting conservation broadened her technical depth, while teaching posts in Paris helped shape her distinctive studio approach.
In 1988 she moved to London, where her work began shifting further towards experimentation, a path that intensified after 2005 when, following recovery from cancer, she transitioned decisively into modern and abstract art. From this point her practice became increasingly innovative: series exploring circles, animal forms and minimal composition led her toward abstraction, reduction and material complexity. She introduced encaustic, wax, gold leaf and layered pigment to produce textured surfaces and luminous colour fields that mark a clear evolution to her family’s plein-air heritage.
Lélia has exhibited globally and most recently, her abstract oeuvre formed a key component of Traces of Giverny at Stern Pissarro Gallery, where the exhibition highlighted both her lineage and her evolution into a distinctly modern voice. Today she works from her London studio by Richmond Park, maintaining a practice that moves between plein-air roots and contemporary experimentation. Alongside painting she is a partner at Stern Pissarro Gallery and serves as the official expert for Paulémile, Manzana and Ludovic-Rodo Pissarro.
Lélia Pissarro, Contemporary
biography
you may also like
Lélia Pissarro, Contemporary
b. 1963
Stiletto 1
Oil and diamond dust on canvas
22 x 16 cm (8.66 x 6.30 inches)
22 x 16 cm (8.66 x 6.30 inches)
Lélia Pissarro, Contemporary
b. 1963
Everything you Touch Turns to Gold
Acrylic and gold powder on canvas
146 x 114 cm (57.48 x 44.88 inches)
146 x 114 cm (57.48 x 44.88 inches)
Lélia Pissarro, Contemporary
b. 1963
Audace
Oil and glitter on canvas
56 x 40.5 cm (22.05 x 16 inches)
56 x 40.5 cm (22.05 x 16 inches)
Lélia Pissarro, Contemporary
b. 1963
Dreams come true
Acrylic, pigment and gold powder on canvas
100 x 75 cm (39 ³/₈ x 29 ¹/₂ inches)
100 x 75 cm (39 ³/₈ x 29 ¹/₂ inches)
Lélia Pissarro, Contemporary
b. 1963
All day and all night
Acrylic and silver paint on paper
23 x 30 cm (9 x 11 ³/₄ inches)
23 x 30 cm (9 x 11 ³/₄ inches)
Lélia Pissarro, Contemporary
b. 1963
Maureen and I
Acrylic and glitter on canvas
149 x 126 cm (58 ⁵/₈ x 49 ⁵/₈ inches)
149 x 126 cm (58 ⁵/₈ x 49 ⁵/₈ inches)
