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Jacob Abraham Camille Pissarro was a Danish-French Impressionist and Neo-Impressionist painter born on the island of Saint Thomas. His importance resides in his contributions to both Impressionism and Post-Impressionism. Pissarro studied from great forerunners, including Gustave Courbet and Jean-Baptiste-Camille Corot. He later studied and worked alongside Georges Seurat and Paul Signac when he to…
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culture · Danish-French painter (1830–1903) · pastellist · architectural drafter · lithographer · printmaker · painter · graphic artist · also Camille Pissarro, Camille Jacob Pissaro, Jacob-Abraham-Camille Pissarro, Camille-Abraham-Jacob Pissarro, C. Pissarro, Pissaro
Born 10 July 1830 · Died 13 November 1903 · Q134741
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Having tried this theory for four years and having then abandoned it ... I can no longer consider myself one of the neo-impressionists ... It was impossible to be true to my sensations and consequently to render life and movement, impossible to be faithful to the effects, so random and so admirable, of nature, impossible to give an individual character to my drawing, [that] I had to give up.
Work at the same time upon sky, water, branches, ground, keeping everything going on an equal basis and unceasingly rework until you have got it. Paint generously and unhesitatingly, for it is best not to lose the first impression.
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“Having tried this theory for four years and having then abandoned it ... I can no longer consider myself one of the neo-impressionists ... It was impossible to be true to my sensations and consequently to render life and movement, impossible to be faithful to the effects, so random and so admirable, of nature, impossible to give an individual character to my drawing, [that] I had to give up.”
“Work at the same time upon sky, water, branches, ground, keeping everything going on an equal basis and unceasingly rework until you have got it. Paint generously and unhesitatingly, for it is best not to lose the first impression.”
“Camille Pissarro is one of the three or four true painters of this day ... I have rarely encountered a technique that is so sure.”
“The brightness of his palette envelops objects in atmosphere ... He paints the smell of the earth.”
“It is difficult to speak of Camille Pissarro ... What we have here is a fighter from way back, a master who continually grows and courageously adapts to new theories.”
“Rather than glorifying—consciously or not—the rugged existence of the peasants, he placed them without any 'pose' in their habitual surroundings, thus becoming an objective chronicler of one of the many facets of contemporary life.”
“Once such a die-hard Impressionist as Pissarro had turned his back on Impressionism, it was apparent that Impressionism had no chance of surviving ...”
Observer: Camille Pissarro
Observer: One Fine Show: “Camille Pissarro’s Impressionism” at the Denver Art Museum
MutualArt.com: Orovida Camille Pissarro
Wall Street Journal: ‘Camille Pissarro’ Review: The Soul of Impressionism
Artnet: An International Feud Over a Looted Pissarro Painting Comes to a Head as a French Court Rejects a Holocaust Survivor’s Claim
Meyer filed suit in a French court to challenge the accord
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Meyer's daughter, Léonie-Noëlle Meyer filed a restitution claim which resulted in years of court battle
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The painting appeared in the Israel Museum in Jerusalem, its donor having been unaware of its pre-war provenance
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By the Vichy collaborationist regime in France
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And transited via Switzerland and New York before entering the Fred Jones Jr Museum at the University of Oklahoma
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In the western section of Paris, Neuilly-sur-Seine, and began to draw and paint as a young child under his father's tutelage
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And then, as the Nazis expanded their hold over all of Europe, Austria, France, Holland, Poland, Italy and other countries
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A few years after Pissarro's death, Cézanne, then 67 and a role model for the new generation of artists, paid Pissarro a debt of gratitude by having himself listed in an exhibition catalogue as "Paul Cézanne, pupil of Pi
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Died 1903-11-13.
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Shortly before Pissarro's death:
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“If we observe the totality of Pissarro's work, we find there, despite fluctuations, not only an extreme artistic will, never belied, but also an essentially intuitive, purebred art ... He was one of my masters and I do not deny him.”
Painting in Kew Gardens and Kew Green, and also in 1897, when he produced several oils described as being of Bedford Park, Chiswick, but in fact all being of the nearby Stamford Brook area except for one of Bath Road, wh
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Again visited England and painted some ten scenes of central London
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Pissarro created an album of 30 drawings titled Turpitudes sociales, using a style of caricature and allegory to critique modern societal issues
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Met Georges Seurat and Paul Signac, both of whom relied on a more "scientific" theory of painting by using very small patches of pure colours to create the illusion of blended colours and shading when viewed from a di
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Art dealer Theo van Gogh asked Pissarro if he would take in his older brother, Vincent, as a boarder in his home
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Referred to Pissarro's work during this period as "revolutionary," in his attempt to portray the "common man"
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The group held their First Impressionist Exhibition, which shocked and "horrified" the critics, who primarily appreciated only scenes portraying religious, historical, or mythological settings
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Helped establish a separate collective, called the "Société Anonyme des Artistes, Peintres, Sculpteurs et Graveurs," which included fifteen artists
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Helped establish a collective society of fifteen aspiring artists, becoming the "pivotal" figure in holding the group together and encouraging the other members
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“Lighten your palette [his remark to Cézanne circa 1873, to encourage Cézanne to use bright colors], paint only with the three primary colours and their derivatives.”
“It is marvelous. This is what I see in the art of this astonishing people ... nothing that leaps to the eye, a calm, a grandeur, an extraordinary unity, a rather subdued radiance ...”
In Croydon, England, he married his mother's maid, Julie Vellay (1838–1926), a vineyard grower's daughter, with whom he had seven children, six of whom would become painters: Lucien Pissarro (1863–1944), Georges Henri M
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Pissarro was accepted to the official Salon for the first time, and in subsequent Salon exhibits of 1865 and 1866, Pissarro acknowledged his influences from Melbye and Corot, whom he listed as his masters in the catalogu
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Almost all of the group's paintings were rejected by the Salon, and French Emperor Napoleon III instead decided to place their paintings in a separate exhibit hall, the Salon des Refusés
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While attending the free school, the Académie Suisse, Pissarro became friends with a number of younger artists who likewise chose to paint in the more realistic style
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Studied at Académie Suisse (1859).
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His first painting was accepted and exhibited
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At the age of 25, Pissarro opted to move back to Paris, where he began working as an assistant to Anton Melbye, Fritz Melbye's brother and also a painter
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Born 1830-07-10.
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