Camille PISSARRO (1830–1903) - Lot 24

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Lot n° 24
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8000 - 10000 EUR
Camille PISSARRO (1830–1903) - Lot 24
Camille PISSARRO (1830–1903) Landscape of Eragny (front), sketch of a peasant woman (back) Black pencil and colored pencil Stamp with the monogram "C.P." in the lower left corner 24 x 30 cm PROVENANCE Private collection, Paris "Modern Art" auction on June 29, 2022, lot 8, MILLON Paris DESCRIPTION Nicknamed the “Father of Impressionism,” Camille Pissarro arrived in Paris in 1855 to study at the Académie Suisse, where he met Gustave Courbet and Camille Corot, and befriended Claude Monet, Paul Cézanne, and Edgar Degas. His early paintings show a realist and naturalist influence, particularly that of Jean-François Millet, who focused on peasant life, rural landscapes, and natural light. From 1866 onward, his move to Pontoise marked the beginning of a formative period: he painted the surrounding villages, fields, and rivers, seeking to capture the shifting light and the atmosphere of everyday life. In 1870–1871, during the Franco-Prussian War and the Paris Commune, Camille Pissarro went into exile with his family in London. This stay marked a major turning point in his career, both artistically and financially. In the English capital, he reunited with Claude Monet and Alfred Sisley, who introduced him to the art dealer Paul Durand-Ruel, who had just opened his gallery on New Bond Street. Durand-Ruel would become his primary patron and promoter for the rest of his career. It was also in London that Pissarro discovered the landscapes of Turner and Constable, whose depictions of skies, light, and atmosphere would profoundly influence his approach to painting nature and his treatment of light in his Impressionist landscapes. Among the works created during this stay is *The Avenue, Sydenham* (1871), a testament to an artist confronting a new urban landscape and new techniques, while laying the groundwork for his future recognition thanks to Durand-Ruel’s support. Upon returning to France, Pissarro went back to Louveciennes but found his house ransacked, an event that left a lasting impact on him. He decided to settle in Pontoise in 1872. Between 1874 and 1886, Pissarro participated in all eight Impressionist exhibitions, becoming the only member of the group to attend them all. He refined his plein air technique, explored the seasons and the effects of light, while depicting rural life and suburban landscapes. Among his iconic works from this period, *A Cowherd at Valhermeil, Auvers-sur-Oise* (1874) illustrates his attention to detail, his sensitivity to atmospheric nuances, and his ability to capture everyday life with authenticity. In the 1880s, he briefly experimented with Pointillism under the influence of Georges Seurat and Paul Signac, adopting a juxtaposition of colored brushstrokes intended to produce an optical blending effect, before returning to a freer and more personal style, faithful to his vision of reality. Beginning in 1884, Camille Pissarro settled in Éragny-sur-Epte, in the Oise region, where he remained until his death in 1903. This period undoubtedly constitutes one of the most accomplished and consistent of his career, marked by a meticulous study of the surrounding countryside. In Éragny, Pissarro painted mainly the countryside, orchards, fields, villages, and hamlets, capturing the effects of light and atmosphere according to the seasons, the weather, and the time of day. Life in Éragny also allowed him to produce thematic series, such as orchards in spring, summer, or autumn, offering subtle variations in light and color, as well as views of hamlets under snow or rain, always rendered with meticulous observation and a concern for balance. Among the iconic works of this period are The Orchard at Éragny (1898), The Harvest at Éragny (1901), and The Path to the Mill at Éragny (1890). Pissarro began exploring new subjects, particularly urban scenes. From the windows of hotels or apartments, he painted Paris and its boulevards, capturing the movement of the streets and the bustle of city life while maintaining his interest in light and shifting atmospheres. Works such as Boulevard Montmartre, Winter Morning (1897) and The Tuileries Garden, a Winter Afternoon (1899) demonstrate his ability to simultaneously convey urban dynamism and the subtlety of light effects. His work influenced numerous artists and contributed to the dissemination of the pictorial innovations of his time. He leaves behind a rich and varied body of work, at the crossroads of classical traditions and pictorial modernity, which has profoundly marked the history of French art. THIS LOT WILL BE SENT TO THE DROUOT STORAGE FACILITY AFTER THE SALE; IT IS NOT RETURNABLE.
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