Camille Pissarro (1830 – 1903) was a Danish-French Impressionist and Neo-Impressionist painter born on the island of St Thomas (now in the US Virgin Islands). 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 took on the Neo-Impressionist style at the age of 54.
In 1873 he helped establish a collective society of fifteen aspiring artists, becoming the "pivotal" figure in holding the group together and encouraging the other members. Pissarro is the only artist to have shown his work at all eight Paris Impressionist exhibitions, from 1874 to 1886. He "acted as a father figure not only to the Impressionists" but to all four of the major Post-Impressionists, including Georges Seurat, Paul Cézanne, Vincent van Gogh and Paul Gauguin.
Pissarro covered his canvases with images of the day-to-day life of French peasants. His greatest work joins his fascination with rural subject matter with the empirical study of nature under different conditions of light and atmosphere, deriving from intense study of French Realism. Like those of his Impressionist cohorts, his paintings are delicate studies of the effect of light on color in nature. However, he continually sought out younger, progressive artists as colleagues, and his articulation of scientific color theory in his later work would prove indispensable for the following generation of avant-garde painters.
Pissarro's earliest artistic studies were carried out in Paris, France, and Caracas, Venezuela. In Paris, his artistic education stressed an empirical Realism that carried through his entire career; in Caracas, he studied nature and peasant life under tropical conditions, focusing on the effects of light on color, which he would help theorize as a key Impressionist theme.
Pissarro, working closely with the younger Neo-impressionists Georges Seurat and Paul Signac late in his life, was one of the earliest artists to experiment with color harmonies. In his canvases, complementary colors in broken, dashed brushstrokes weave together to heighten the vibrancy of his compositions. In doing so, they visually embed his peasant figures harmoniously into the landscapes to which they belong and which belong to them, communicating a symbolic link to their terrain largely absent from Impressionist painting.
Unlike the Impressionists who lived in Paris, Pissarro chose to live most of his life in the French countryside, where he received younger artists interested in studying his techniques. More than any other member of the movement, he is known for the gentle demeanor and passion for experimentation that made him an artistic mentor. His longtime collaboration with the young Cézanne, for example, made him an indispensible influence on twentieth-century modernism.
In 1873 he helped establish a collective society of fifteen aspiring artists, becoming the "pivotal" figure in holding the group together and encouraging the other members. Pissarro is the only artist to have shown his work at all eight Paris Impressionist exhibitions, from 1874 to 1886. He "acted as a father figure not only to the Impressionists" but to all four of the major Post-Impressionists, including Georges Seurat, Paul Cézanne, Vincent van Gogh and Paul Gauguin.
Pissarro covered his canvases with images of the day-to-day life of French peasants. His greatest work joins his fascination with rural subject matter with the empirical study of nature under different conditions of light and atmosphere, deriving from intense study of French Realism. Like those of his Impressionist cohorts, his paintings are delicate studies of the effect of light on color in nature. However, he continually sought out younger, progressive artists as colleagues, and his articulation of scientific color theory in his later work would prove indispensable for the following generation of avant-garde painters.
Pissarro's earliest artistic studies were carried out in Paris, France, and Caracas, Venezuela. In Paris, his artistic education stressed an empirical Realism that carried through his entire career; in Caracas, he studied nature and peasant life under tropical conditions, focusing on the effects of light on color, which he would help theorize as a key Impressionist theme.
Pissarro, working closely with the younger Neo-impressionists Georges Seurat and Paul Signac late in his life, was one of the earliest artists to experiment with color harmonies. In his canvases, complementary colors in broken, dashed brushstrokes weave together to heighten the vibrancy of his compositions. In doing so, they visually embed his peasant figures harmoniously into the landscapes to which they belong and which belong to them, communicating a symbolic link to their terrain largely absent from Impressionist painting.
Unlike the Impressionists who lived in Paris, Pissarro chose to live most of his life in the French countryside, where he received younger artists interested in studying his techniques. More than any other member of the movement, he is known for the gentle demeanor and passion for experimentation that made him an artistic mentor. His longtime collaboration with the young Cézanne, for example, made him an indispensible influence on twentieth-century modernism.
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| 1900, Camille Pissarro Self portrait. |
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| 1853-4. Landscape with figures by a river |
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| 1854-5, Landscape with House in the Woods in Saint Thomas, Antilles |
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| 1854-5, Woman carrying a pitcher on her head |
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| 1855, Laundress on the banks of the river |
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| 1856, Two women chatting by the sea at St Thomas |
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| 1857, The harvest |
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| 1859, In the woods |
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| 1862, The bohemian's wagon |
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| 1863, farmyard |
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| 1864, 5 donkey ride at la Roche Guyon |
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| 1865, Landscape |
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| 1866. Banks of the river Marne in winter |
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| 1867 View of l'Hermitage at Pontoise |
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| 1868. View of Pontoise quai au Pothuis |
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| 1869, Entering the forest of Marly snow-effect |
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| 1870, St Stephen's church, lower Norwood |
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| 1871, Landscape under snow upper Norwood |
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| 1872, Carriage on a country road winter outskirts of Louveciennes |
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| 1873, Jeanne holding a fan |
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| 1873, The haystack Pontoise |
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| 1874, Arm at Montfoucault |
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| 1875, The banks of the Seine in Paris Pont Marie Quai d'Anjou |
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| 1876, The harvest at Montfoucault |
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| 1877, The vegetable garden with trees in blossom Spring Pontoise |
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| 1878, The carrier at hermitage Pontoise |
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| 1879, A street in Pontoise |
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| 1880, Le Valhermeil near pontoise |
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| 1881, Landscape near Pontoise the Auvers road |
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| 1883-85. The Gardener - Old Peasant with Cabbage |
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| 1885, Peasant woman standing next to a tree |
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| 1886, Pear trees and flowers at Eragny morning |
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| 1887, Le récolte des foins a Eragny |
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| 1888, Ile Lacroix, Rouen, effect of fog |
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| 1889, Peasant girl with a straw hat |
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| 1890, Charing Cross Bridge, London |
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| 1891, Peasant women planting stakes |
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| 1892, The roundelay |
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| 1893, Femme au Fichu Vert |
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| 1894, Woman washing her feet In a brook |
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| 1895 Afternoon sun in Rouen |
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| 1896, Foggy morning in Rouen |
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| 1897, Boulevard Montmartre, spring rain |
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| 1898, Portrait of Jeanne |
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| 1899, Still life with peppers |
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| 1900, Place du Carrousel, Paris |
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| 1901, Vegetable garden in Eragny overcast sky morning |
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| 1902, The knocke windmill Belgium |
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| 1903, Anse des Pilotes, Le Harvre, Afternoon, Sunny Weather |
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