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        <h1 class="wow fadeInLeft" data-wow-delay=".4s">Camille Pissarro (1830-1903)</h1>
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      <p class="wow fadeInLeft" data-wow-delay=".4s" align="justify">Camille Pissarro art authentication. <a href="https://www.artexpertswebsite.com/appraisal/painting-appraisal.php">Camille Pissarro appraisal</a>. <a href="https://www.artexpertswebsite.com/authentication/certificate-of-authenticity.php">Camille Pissarro certificates of authenticity (COA)</a>.  Camille Pissarro analysis, <a href="https://www.artexpertswebsite.com/authentication/provenance-research.php">research</a>, <a href="https://www.artexpertswebsite.com/authentication/scientific-tests.php">scientific tests</a>, <a href="https://www.artexpertswebsite.com/authentication.php">full art authentications</a>. We will help you sell your Camille Pissarro or we will sell it for you.</p>
      <p  class="wow fadeInRight" data-wow-delay=".4s"><img src="uploads/artists/artists_l-z/pissaro/Pissarro_SelfPortrait.jpg" alt="Self-Portrait 1873" width="auto" height="auto"></p>
      <div class="boldcap wow fadeInRight" data-wow-delay=".4s">Self-Portrait 1873</div>
      <p  class="wow fadeInRight" data-wow-delay=".4s"><img src="uploads/artists/artists_l-z/pissaro/Pissarro_WomanAndChildAtAWell.jpg" alt="Woman and Child at Well" width="auto"></p>
      <div class="boldcap wow fadeInRight" data-wow-delay=".4s">Woman and Child at Well</div>
      <p class="wow fadeInLeft" data-wow-delay=".4s">People think of Camille Pissarro as the quintessential French rural landscapist, plodding about muddy fields in his smock. This is strange, as he was born and remained a Danish citizen. He was not even born in Europe. His father was a Portuguese Sephardic Jew, his mother a Creole, and he entered the world on the Danish Caribbean island of St. Thomas.</p>
      <p  class="wow fadeInRight" data-wow-delay=".4s"><img src="uploads/artists/artists_l-z/pissaro/Pissarro_TheOldMarketInRouenAndTheRueDeLeEpicerie.jpg" alt="The Old Market in Rouen and the Rue de le'Epicerie" width="auto"></p>
      <div class="boldcap wow fadeInRight" data-wow-delay=".4s">The Old Market in Rouen and the Rue de le’Epicerie</div>
      <p class="wow fadeInLeft" data-wow-delay=".4s">Pressed unwillingly into his father’s comprador business, Camille chafed at the bonds of colonial bourgeois life. In 1852 he left abruptly for Caracas with the Danish painter Fritz Melbye, from whom he received his first artistic tuition. Three years later he was in Paris. His father by this time had capitulated to his son’s desire for an artistic career, and Camille was assisted by the French branch of the family.</p>
      <p  class="wow fadeInRight" data-wow-delay=".4s"><img src="uploads/artists/artists_l-z/pissaro/Pissarro_SpringInLouveciennes.jpg" alt="Spring in Louveciennes" width="auto"></p>
      <div class="boldcap wow fadeInRight" data-wow-delay=".4s">Spring in Louveciennes</div>
      <p  class="wow fadeInRight" data-wow-delay=".4s"><img src="uploads/artists/artists_l-z/pissaro/Pissarro_TheForest.jpg" alt="The Forest" width="auto"></p>
      <div class="boldcap wow fadeInRight" data-wow-delay=".4s">The Forest</div>
      <p  class="wow fadeInRight" data-wow-delay=".4s"><img src="uploads/artists/artists_l-z/pissaro/Pissarro_ChestnutTreesAtLouveciennes.jpg" alt="Chestnut Trees At Louveciennes" width="auto"></p>
      <div class="boldcap wow fadeInRight" data-wow-delay=".4s">Chestnut Trees At Louveciennes</div>
      <p class="wow fadeInLeft" data-wow-delay=".4s">It was soon apparent that Pissarro was that rarity among artists, a tolerant, stable family man. He was also intellectual and gregarious, with an unusual gift for befriending fellow-artists. To this he added a unique gift: the capacity to remain friends with artists. Yet, by no means was Pissarro an appeaser or vacillator. On the contrary, he had strong opinions on art and at times castigated his fellows (for example Bonnard). But the artists he knew admired his steadfastness and integrity. And these were no ordinary artists; Corot, Courbet and Daubigny were his first major influences, then came Monet, Renoir, Degas, Sisley, Cezanne, Gaugin, Seurat and Signac. They comprised a truly formidable team, the younger members of which looked to the kindly Pissarro as their muse or guide.</p>
      <p  class="wow fadeInRight" data-wow-delay=".4s"><img src="uploads/artists/artists_l-z/pissaro/Pissarro_PeasantGirlDrinkingHerCoffee.jpg" alt="Peasant Girl Drinking Her Coffee" width="auto"></p>
      <div class="boldcap wow fadeInRight" data-wow-delay=".4s">Peasant Girl Drinking Her Coffee</div>
      <p class="wow fadeInLeft" data-wow-delay=".4s">Famously, Pissarro was the only Impressionist to exhibit at all eight Impressionist shows, yet he struggled to keep his large family. In the 1860’s they were close to poverty. Only in the last decade of his life did a measure of popular success come to him.</p>
      <p  class="wow fadeInRight" data-wow-delay=".4s"><img src="uploads/artists/artists_l-z/pissaro/Pissarro_HaymakersResting.jpg" alt="Haymakers Resting" width="auto"></p>
      <div class="boldcap wow fadeInRight" data-wow-delay=".4s">Haymakers Resting</div>
      <p class="wow fadeInLeft" data-wow-delay=".4s">In the late 1850’s, Pissarro’s works were accepted by the Salon, but he was never quite able to join the Establishment. He could have easily done so. He had a command of academic realism, even though he had left formal schooling in favor of the Academie Suisse, a loose if prestigious body which allowed artists considerable freedom.</p>
      <p  class="wow fadeInRight" data-wow-delay=".4s"><img src="uploads/artists/artists_l-z/pissaro/Pissarro_TheBoieldieuBridgeAtRouen,Sunset,FoggyWeather.jpg" alt="art" width="auto"></p>
      <div class="boldcap wow fadeInRight" data-wow-delay=".4s">The Boieldiieu Bridge at Rouen, Setting Sun, Foggy Weather 1896</div>
      <p class="wow fadeInLeft" data-wow-delay=".4s">This pattern marks Pissarro’s whole life: he was psychologically an outsider. Always open to new ideas, in due course he became identified as anti-establishment. This no doubt affected his sales and kept him struggling long after lesser artists had succeeded commercially. Pissarro would not compromise his art for wordy gain, as much as he desired the latter.</p>
      <p  class="wow fadeInRight" data-wow-delay=".4s"><img src="uploads/artists/artists_l-z/pissaro/Pissarro_TheBoulevardMontmartreAtNight.jpg" alt="The Boulevard Montmartre at Night 1897" width="auto"></p>
      <div class="boldcap wow fadeInRight" data-wow-delay=".4s">The Boulevard Montmartre at Night 1897</div>
      <p class="wow fadeInLeft" data-wow-delay=".4s">In 1870 he fled to London to escape the Franco-Prussian war. He lived in the unfashionable south-eastern suburbs and was charmed by them. Very few artists then or since have painted the serried ranks of middle class terraces at all, let alone with the affection that Pissarro expressed. Returning to France after the war, Pissarro was appalled to find that hundreds of his paintings had been used by invading Prussian troops as duckboards. Recovering from this blow, he led the Impressionist movement, developing Pointillism in the late 1880’s before returning to his earlier style. By the time he died, blind, in 1903, he was the grand old man of French painting, but an artist’s artist rather than a celebrity.</p>
      <p  class="wow fadeInRight" data-wow-delay=".4s"><img src="uploads/artists/artists_l-z/pissaro/Pissarro_ApplePicking.jpg" alt="Apple Picking 1886" width="auto"></p>
      <div class="boldcap wow fadeInRight" data-wow-delay=".4s">Apple Picking 1886</div>
      <p class="wow fadeInLeft" data-wow-delay=".4s">Pissarro hated sentimentality in art. The most corrupt art of all was sentimental art, he declaimed. His rural landscapes in their somber hues, free from the artifice of genre (which would have made his paintings far more saleable), were true to this unsentimentality. There’s a timelessness, directness and honesty about his landscapes. They haven’t dated like the plethora of smirking, flirting peasants who infest so much 19th century European art, mere creatures of the Boulevard painter’s fiscal imagination. Pissarro’s rural figures are plain, neither crushed nor elated by their quotidian lives. Rather they just get on with it, with understated strength and dignity.</p>
      <p  class="wow fadeInRight" data-wow-delay=".4s"><img src="uploads/artists/artists_l-z/pissaro/Pissarro_TheWoodcutter.jpg" alt="The Woodcutter 1879" width="auto"></p>
      <div class="boldcap wow fadeInRight" data-wow-delay=".4s">The Woodcutter 1879</div>
      <p class="wow fadeInLeft" data-wow-delay=".4s">From an early date, Pissarro drew ordinary people going about their daily lives. In his time in Venezuela with Fritz Melbye the two of them would sketch interminably, recording the activities of the peasantry and townspeople they encountered. Pissarro filled sketchbooks with pencil and charcoal drawings of guitar players, cattle herders, and goose girls and so on. His early drawings presage his mature work: direct, unsentimental and descriptive. His later work is stripped of the detail and fussiness often apparent in his early drawings. A strong architectural line becomes dominant. Strength and simplicity are the hallmarks.</p>
      <p  class="wow fadeInRight" data-wow-delay=".4s"><img src="uploads/artists/artists_l-z/pissaro/Pissarro_HarvestersFlailing.jpg" alt="Harvesters Flailing"></p>
      <div class="boldcap wow fadeInRight" data-wow-delay=".4s">Harvesters Flailing</div>
      <p  class="wow fadeInRight" data-wow-delay=".4s"><img src="uploads/artists/artists_l-z/pissaro/Pissarro_Washerwoman1880.jpg" alt="The Washerwoman 1880" width="auto"></p>
      <div class="boldcap wow fadeInRight" data-wow-delay=".4s">The Washerwoman 1880</div>
      <p  class="wow fadeInRight" data-wow-delay=".4s"><img src="uploads/artists/artists_l-z/pissaro/Pissarro_TheChat.jpg" alt="The Chat" width="auto"></p>
      <div class="boldcap wow fadeInRight" data-wow-delay=".4s">The Chat</div>
      <p class="wow fadeInLeft" data-wow-delay=".4s">“Vachere au Bord de L’Eau” fits this description precisely. Done in pencil, charcoal and wash, the two figures are monumental, simple and strong. The implication is of timeless productive work, an understated tribute to the dignity of labour. The line is firm and assured, the quality of the representation high. The rudimentary, generic face of the woman is typical of Pissarro.</p>
      <p  class="wow fadeInRight" data-wow-delay=".4s"><img src="uploads/artists/artists_l-z/pissaro/Pissarro_VachereAuBordDeLeau.jpg" alt="Vachere au Bord de L'Eau"></p>
      <div class="boldcap wow fadeInRight" data-wow-delay=".4s">Vachere au Bord de L’Eau</div>
      <p class="wow fadeInLeft" data-wow-delay=".4s">Note that in all but the most rudimentary drawings, Pissarro includes background -some sketchy trees, distant buildings, etc. – as are evident in the subject picture. Pissarro is invariably solving compositional questions in his drawing. These studies always point to more finished works, such as the gouache and watercolors shown below. Rarely does one find a figure study pure and simple. Further, the more finished, developed works follow exactly the same lines as the drawings: bold line, monumental figuring in the foreground, even when the foreground is crowded. He was said to have done watercolors and countless ink and pencil sketches, all signed Pizzarro (with a “Z” instead of an “S”, in the Spanish style). It is likely that some of these would be sketches of his memories of living in the Caribbean. He was probably the most prolific sketcher out of his contemporaries, creating four times as many as Manet and twice as many as Cezanne. Later sketches featured a look into the lives of the working class, some unsigned, so look for sketches that reflect the style of Pissarro, and depict the working class French.</p>
      <p  class="wow fadeInRight" data-wow-delay=".4s"><img src="uploads/artists/artists_l-z/pissaro/Pissarro_StillLife1867.jpg" alt="Still Life 1867 *Note that he signed " pizzaro=""></p>
      <div class="boldcap wow fadeInRight" data-wow-delay=".4s">Still Life 1867 *Note that he signed “Pizzaro”</div>
      <p class="wow fadeInLeft" data-wow-delay=".4s">The extreme change in Pissarro’s style from classical Impressionist to Divisionist and Pointilism is almost startling. His subjects remained the same, but his style drastically changed. One only has to look at “Woman Hanging Laundry” (1887) to see how Pissarro truly departed from his former style of painting. His earlier work was rigid and regimented, but through Impressionism he was able to paint with a looser feel.</p>
      <p  class="wow fadeInRight" data-wow-delay=".4s"><img src="uploads/artists/artists_l-z/pissaro/Pissarro_WomanHangingLaundry.jpg" alt="Woman Hanging Laundry" width="auto"></p>
      <div class="boldcap wow fadeInRight" data-wow-delay=".4s">Woman Hanging Laundry</div>
      <p class="wow fadeInLeft" data-wow-delay=".4s">Still wondering about an Impressionist landscape or composition hanging in your home? <a href="https://www.artexpertswebsite.com/contact/contact1.php">Contact us</a>…it could be by Camille Pissarro.</p>
      
      
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