Camille PissarroFemme a la Barriere (Woman at the Gate)1889
1889
About the Item
- Creator:Camille Pissarro (1831-1903, French)
- Creation Year:1889
- Dimensions:Height: 7 in (17.78 cm)Width: 4 in (10.16 cm)Depth: 1 in (2.54 cm)
- Medium:
- Movement & Style:
- Period:
- Condition:
- Gallery Location:New York, NY
- Reference Number:1stDibs: LU51531556653
Camille Pissarro
Camille Pissarro was one of the most influential members of the French Impressionist movement and the only artist to participate in all eight Impressionist exhibitions.
Born in July of 1830 on the island of Saint Thomas in the Danish West Indies, Camille was the son of Frédéric and Rachel Pissarro. At the age of 12, he went to school in Paris, where he displayed a penchant for drawing. He returned again to Paris in 1855, having convinced his parents to allow him to pursue a career as an artist rather than work in the family import/export business. Camille studied at the Académie Suisse alongside Claude Monet, and, during this time, he met Paul Cézanne, Édouard Manet and Pierre-Auguste Renoir.
In 1869, Camille settled in Louveciennes. The outbreak of the Franco-Prussian War in 1870 prompted him to move to England, and, with Monet, Camille painted a series of landscapes around Norwood and Crystal Palace, while studying English landscape painting in the museums. Upon returning a year later at the end of the War to Louveciennes, Camille discovered that only 40 of his 1,500 paintings — almost 20 years’ work — remained undamaged.
Camille settled in Pontoise in the summer of 1871, remaining there and gathering a close circle of friends around him for the next 10 years. He reestablished relationships with Cézanne, Manet, Monet, Renoir and Edgar Degas, expressing his desire to create an alternative to the Salon, so that their group could display their own unique styles. Camille married Julie Vellay, with whom he would have seven children. Cézanne repeatedly came to stay with them, and, under Camille’s influence, he learned to study nature more patiently, even copying one of Camille’s landscapes in order to learn his teacher’s technique.
The first Impressionist group exhibition, initiated by Monet in 1874, earned the Impressionists much criticism for their art. While mainly interested in landscape, Camille introduced people — generally, peasants going about their rural occupations — and animals into his works, and they often became the focal point of the composition. It was this unsentimental and realistic approach, with the complete absence of any pretense, which seemed to stop his work from finding appreciation in the general public.
One of the few collectors who did show interest in Camille’s work was a bank employee named Paul Gauguin, who, after acquiring a small collection of Impressionist works, turned to Camille for advice on becoming a painter himself. For several years, Gauguin closely followed his mentor, and, although their friendship was fraught with disagreement and misunderstandings, Gauguin still wrote shortly before Camille’s death in 1906: “He was one of my masters, and I do not deny him.”
In the 1880s, Camille moved from Pontoise to nearby Osny, before Eragny, a small village much further from Paris. At a time when he was dissatisfied with his work, in 1885, Camille met both Paul Signac and Georges Seurat. He was fascinated by their efforts to replace the intuitive perceptive approach of the Impressionists with a “Divisionist” method, or scientific study of nature’s phenomena based on optical laws. Despite having reached his mid-50s, Camille did not hesitate to follow the two young innovators. The following year, he passed on this new concept to Vincent Van Gogh, who had just arrived in Paris and was keen to learn of the most recent developments in art. However, after a few years, Camille felt restricted by Seurat’s theories and returned to his more spontaneous technique while retaining the lightness and purity of color acquired during his Divisionist phase.
In the last years of his life, Camille divided his time between Paris, Rouen, Le Havre and Eragny, painting several series of different aspects of these cities, with varying light and weather effects. Many of these paintings are considered among his best and make for an apt finale to his long and prodigious career.
When Camille Pissarro died in the autumn of 1903, he had finally started to gain public recognition. Today his work can be found in many of the most important museums and collections throughout the world.
Find original Camille Pissarro art on 1stDibs.
(Biography provided by Stern Pissarro Gallery)
- ShippingRetrieving quote...Ships From: New York, NY
- Return PolicyA return for this item may be initiated within 7 days of delivery.
- Minne Playing with a Cat (Minne Jouant avec un Chat)By Jacques VillonLocated in New York, NYJacques Villon (1875-1963) etching, aquatint, and drypoint, Minne Playing with a Cat (Minne Jouant avec un Chat),1907, signed in pencil and numbered (12/30)(Ginestet and Pouillon 192...Category
Early 1900s Impressionist Figurative Prints
MaterialsDrypoint, Etching, Aquatint
- The Sleeping ModelBy Theodore Casimir RousselLocated in New York, NYTheodore Roussel (1847-1926), The Sleeping Model or The Sleeper, etching and drypoint with additional pencil coloring, signed on the tab and inscribed “...Category
1890s Impressionist Figurative Prints
MaterialsColor Pencil, Drypoint, Etching
- The BeggarsBy James Abbott McNeill WhistlerLocated in New York, NYJames Whistler (1834-1903), The Beggars, etching and drypoint, 1879-80, signed with the butterfly and inscribed “imp”. Reference: Glasgow 190, seventh sta...Category
1870s Impressionist Figurative Prints
MaterialsDrypoint, Etching
- Grand-mere (effet de lumiere)By Camille PissarroLocated in New York, NYCamille Pissarro (1830-1903), Grand-mere (effet de lumiere), etching and drypoint, 1889, signed in pencil lower right, titled lower left, inscribed “No 3 – ...Category
1880s Impressionist Figurative Prints
MaterialsDrypoint, Etching
- Resurrection (aka Flying Figures; Border of the Lake)By Arthur B. DaviesLocated in New York, NYArthur B. Davies (1862-1928), Resurrection (aka Flying Figures; Border of the Lake), drypoint and aquatint on zinc, 1916, signed with the estate stamp lower right. Reference: Price 2...Category
1910s American Impressionist Figurative Prints
MaterialsDrypoint, Aquatint
- Descending from the Cross, by TorchlightBy Rembrandt van RijnLocated in New York, NYRembrandt Harmensz. van Rijn 1606 Leiden – Amsterdam 1669 The Descent from the Cross by Torchlight 1654 etching and drypoint; sheet 213 x 163 mm (8 3/8 x 6 7/16 inches) Bart...Category
17th Century Old Masters Figurative Prints
MaterialsDrypoint, Etching
- The Venetian MastBy James Abbott McNeill WhistlerLocated in Storrs, CTThe Venetian Mast. 1879-80. Etching and drypoint. Kennedy catalog 195 state .vi; Glasgow catalog 219 state x/xii. 13 3/8 x 6 3/8. Glasgow records 53 impressions. A fine, atmospheric...Category
1870s American Impressionist Landscape Prints
MaterialsDrypoint, Etching
- Lady Hailing a Carriage Dame, eine Droschke rufend - German ImpressionismBy Lesser UryLocated in London, GBThis original etching and drypoint is hand signed in pencil by the artist "L. Ury" at the lower left margin. It is also hand numbered in pencil from the edition of 150, at the lower ...Category
1910s Impressionist Figurative Prints
MaterialsDrypoint, Etching
- Jean Francois Millet, "La Boullie (The Porridge)", Drypoint Etching, 1861By Jean François MilletLocated in Long Island City, NYEtching printed in brownish black on light tan Chine collé, 1861. Image measures 6 x 5 inches, displayed in a 15.5 x 12.5 inch frame. Etched signature and date lower left. A very goo...Category
1860s Impressionist Figurative Prints
MaterialsDrypoint, Etching, Intaglio
- VenusBy James Abbott McNeill WhistlerLocated in New York, NYA brilliant, richly-inked impression of this etching and drypoint printed in dark brownish black on antique cream laid paper with very strong contrasts....Category
1850s Impressionist Nude Prints
MaterialsDrypoint, Etching
- 'Grand Central Station' — 1920s New York CityBy Otto KuhlerLocated in Myrtle Beach, SCOtto Kuhler, 'Grand Central Station', etching and drypoint, 1927, edition c. 50, Kennedy 27. Signed and titled in pencil. A superb, richly-inked impression, in brown/black ink, with ...Category
1920s American Impressionist Figurative Prints
MaterialsDrypoint, Etching
- Barcarolle.By James McBeyLocated in Storrs, CTBarcarolle. 1926. Etching. Carter 233. 14 7/8 x 8 3/8 (sheet 17 1/4 x 10 1/4). Edition 80, #xxv. Print Collector's Quarterly 24 (1938): 428; Eric Denker, Reflections & Undercurrents: Ernest Roth...Category
1920s Impressionist Landscape Prints
MaterialsDrypoint, Etching