Camille Pissarro
1830 - 1903
Pont à Rouen
Graphite on paper
21 x 30 cm (8 ¹/₄ x 11 ³/₄ inches)
Stamped with initials lower left, C.P.
21 x 30 cm (8 ¹/₄ x 11 ³/₄ inches)
Stamped with initials lower left, C.P.
Lucien Pissarro, London
Orovida Pissarro, London
Private collection, France
Orovida Pissarro, London
Private collection, France
London, Leicester Galleries, Works of Camille Pissarro, February 1967, no. 53
This work is accompanied by a letter confirming the authenticity of the work by Dr. Joachim Pissarro and will be included in the forthcoming Catalogue Raisonné of Drawings by Camille Pissarro.
In the last two decades of his life, Pissarro was interested in exploring the pictorial resources of animated harbour cities. Delighted with the striking motifs he found in Rouen, Pissarro worked in Rouen on four separate occasions, once in 1883, twice in 1896 and one last time in 1898. A new pictorial concept emerged during Pissarro’s first sojourn in Rouen, one that characterised all the artist’s urban works: the practice of serial repetitions of a given subject.
It is interesting to observe the different techniques that he employed to convey the atmospheric effects. This drawing is most closely related to another drawing by Pissarro titled Near the Theater in Rouen in the collection of the Israel Museum. Both drawings share similar composition with a female figure in the middle foreground, two figures on the right foreground, and a pole and a male figure to the left at a quay. In the background is the bridge and boats, and in the far background some houses. The female figures in the centre foreground of both drawings share similar costume.
Another related drawing by Pissarro is a work of the title Port de Rouen, in the Ashmolean Museum. The three drawings likely depict the left bank of the Seine in Rouen. The drawings depict the lively and busy scene on the quay of the Seine with different groups of figures. The figures working on the quay in the drawing at the Ashmolean Museum wear similar costume as the figure on the lefthand side in the drawing in question.
Pissarro completed seventeen oil paintings from his first stay at Rouen. Pissarro rendered the same in an oil painting of 1883 with the same title Bateau à vapeur, Rouen, no. 734 in the Pissarro & Durand-Ruel Catalogue Raisonné.
This original artwork by Camille Pissarro is available for immediate purchase.
In the last two decades of his life, Pissarro was interested in exploring the pictorial resources of animated harbour cities. Delighted with the striking motifs he found in Rouen, Pissarro worked in Rouen on four separate occasions, once in 1883, twice in 1896 and one last time in 1898. A new pictorial concept emerged during Pissarro’s first sojourn in Rouen, one that characterised all the artist’s urban works: the practice of serial repetitions of a given subject.
It is interesting to observe the different techniques that he employed to convey the atmospheric effects. This drawing is most closely related to another drawing by Pissarro titled Near the Theater in Rouen in the collection of the Israel Museum. Both drawings share similar composition with a female figure in the middle foreground, two figures on the right foreground, and a pole and a male figure to the left at a quay. In the background is the bridge and boats, and in the far background some houses. The female figures in the centre foreground of both drawings share similar costume.
Another related drawing by Pissarro is a work of the title Port de Rouen, in the Ashmolean Museum. The three drawings likely depict the left bank of the Seine in Rouen. The drawings depict the lively and busy scene on the quay of the Seine with different groups of figures. The figures working on the quay in the drawing at the Ashmolean Museum wear similar costume as the figure on the lefthand side in the drawing in question.
Pissarro completed seventeen oil paintings from his first stay at Rouen. Pissarro rendered the same in an oil painting of 1883 with the same title Bateau à vapeur, Rouen, no. 734 in the Pissarro & Durand-Ruel Catalogue Raisonné.
This original artwork by Camille Pissarro is available for immediate purchase.
Camille Pissarro
biography
Camille Pissarro was one of the most influential members of the French Impressionist movement. Born on 10 July 1830 in the Danish colony of Saint Thomas, he was the son of Frédéric and Rachel Pissarro. At the age of twelve he was sent to school in Paris, where he displayed a penchant for drawing. His parents disapproved of his interest in art, and in 1852 he left the island with the Danish artist Fritz Melbye to spend eighteen months in Venezuela. After a brief return to Saint Thomas he moved to Paris in 1855 to study at the Académie Suisse, where he began to form relationships with many of the artists who would shape the Impressionist circle, including Claude Monet, Paul Cézanne, Édouard Manet and Pierre Auguste Renoir.
In 1869 Camille moved to Louveciennes. The outbreak of the Franco-Prussian War in 1870 prompted him to relocate to London, where he painted a series of landscapes around Norwood and Crystal Palace. Camille and his close friend Claude Monet, also in London, visited museums together and studied the tradition of British landscape painting. It was also in London that he married Julie Vellay, with whom he would have seven children. On returning to Louveciennes in June 1871, Camille found that many of the works he had left in his house had been lost or damaged during the war.
Camille settled in Pontoise with Julie in 1871, remaining for the next ten years and gathering a close circle of friends around him. There he continued to build his relationships with Cézanne, Monet, Renoir and Degas, and expressed a desire to create an alternative to the Salon. This reflected a wish to break from the rigid tradition of French academic painting, as Camille believed that he and his peers deserved recognition for the new tradition they were shaping. Cézanne repeatedly stayed with Camille and indebted to his example, learned to study nature more patietly, even copying one of Camille's landscapes in order to understand his technique.
The first Impressionist group exhibition in 1874 drew considerable criticism. Camille was the only artist to exhibit in all eight Impressionist exhibitions, the last of which took place in 1886. His principal subject during these years was the rural landscape, in which he often emphasised the idealism of life in the countryside. He regarded peasants and their land as largely untouched by the corruption of industrialisation and admired the figures in these scenes as a symbol of innocence and purity in an age of violent change.
Paul Gauguin was one of the few collectors to show interest in Camille's work. Having acquired a small collection of Impressionist works, he turned to Camille for advice on becoming a painter himself and, for several years, closely followed his mentor. Although their friendship was fraught with disagreement and misunderstanding, Gauguin wrote shortl before Camille's death in 1903: “He was one of my masters, and I do not deny him.”
In the early 1880s Camille moved from Pontoise to nearby Osny, before settling in 1884 in Éragny-sur-Epte, a small village northwest of Paris. In 1885 he met Paul Signac and Georges Seurat, having been introduced by his eldest son Lucien. Camille was fascinated by their efforts to replace the intuitive approach of the Impressionists with the “Divisionist” method, a scientific study of nature's phenomena based on optical laws, and, despite having reached his mid-fifties, he did not hesitate to follow the two younger artists. After a few years, however, he felt restricted by Seurat's theories and returned to a more spontaneous technique, while retaining the lightness and purity of colour acquired during his Divisionist phase.
In his final years Camille divided his time between Paris, Rouen, Le Havre and Éragny, continuing to explore the varying effects of light and weather in a number of series. Many of these paintings are regarded among his finest, and his Paris street scenes have become one of the most sought-after themes in his oeuvre. By the time of his death in 1903, Camille's career was flourishing and he had gained wide recognition. Today his work is held in majo museums around the world.
In 1869 Camille moved to Louveciennes. The outbreak of the Franco-Prussian War in 1870 prompted him to relocate to London, where he painted a series of landscapes around Norwood and Crystal Palace. Camille and his close friend Claude Monet, also in London, visited museums together and studied the tradition of British landscape painting. It was also in London that he married Julie Vellay, with whom he would have seven children. On returning to Louveciennes in June 1871, Camille found that many of the works he had left in his house had been lost or damaged during the war.
Camille settled in Pontoise with Julie in 1871, remaining for the next ten years and gathering a close circle of friends around him. There he continued to build his relationships with Cézanne, Monet, Renoir and Degas, and expressed a desire to create an alternative to the Salon. This reflected a wish to break from the rigid tradition of French academic painting, as Camille believed that he and his peers deserved recognition for the new tradition they were shaping. Cézanne repeatedly stayed with Camille and indebted to his example, learned to study nature more patietly, even copying one of Camille's landscapes in order to understand his technique.
The first Impressionist group exhibition in 1874 drew considerable criticism. Camille was the only artist to exhibit in all eight Impressionist exhibitions, the last of which took place in 1886. His principal subject during these years was the rural landscape, in which he often emphasised the idealism of life in the countryside. He regarded peasants and their land as largely untouched by the corruption of industrialisation and admired the figures in these scenes as a symbol of innocence and purity in an age of violent change.
Paul Gauguin was one of the few collectors to show interest in Camille's work. Having acquired a small collection of Impressionist works, he turned to Camille for advice on becoming a painter himself and, for several years, closely followed his mentor. Although their friendship was fraught with disagreement and misunderstanding, Gauguin wrote shortl before Camille's death in 1903: “He was one of my masters, and I do not deny him.”
In the early 1880s Camille moved from Pontoise to nearby Osny, before settling in 1884 in Éragny-sur-Epte, a small village northwest of Paris. In 1885 he met Paul Signac and Georges Seurat, having been introduced by his eldest son Lucien. Camille was fascinated by their efforts to replace the intuitive approach of the Impressionists with the “Divisionist” method, a scientific study of nature's phenomena based on optical laws, and, despite having reached his mid-fifties, he did not hesitate to follow the two younger artists. After a few years, however, he felt restricted by Seurat's theories and returned to a more spontaneous technique, while retaining the lightness and purity of colour acquired during his Divisionist phase.
In his final years Camille divided his time between Paris, Rouen, Le Havre and Éragny, continuing to explore the varying effects of light and weather in a number of series. Many of these paintings are regarded among his finest, and his Paris street scenes have become one of the most sought-after themes in his oeuvre. By the time of his death in 1903, Camille's career was flourishing and he had gained wide recognition. Today his work is held in majo museums around the world.
Camille Pissarro
biography
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