CAMILLE PISSARRO
(1830-1903)

Une Rue à l’Hermitage, Pontoise (Verso: La Route)

Pastel over charcoal on paper
26 x 40 cm (10 ¹/₄ x 15 ³/₄ inches)
Stamped with artists initials, C. P. (Lugt 613a)
Executed circa 1873-74

Provenance
Estate of the
Want more images?
Request additional images from the seller
1 of 6 images

Camille Pissarro
Une Rue à l’Hermitage, Pontoise by Camille Pissarro - Impressionist pastel

Executed circa 1873-74

About

CAMILLE PISSARRO (1830-1903) Une Rue à l’Hermitage, Pontoise (Verso: La Route) Pastel over charcoal on paper 26 x 40 cm (10 ¹/₄ x 15 ³/₄ inches) Stamped with artists initials, C. P. (Lugt 613a) Executed circa 1873-74 Provenance Estate of the Artist Collection of A Bonin Hôtel Drouot, Paris, 26th June 1931 Sotheby’s, New York, 21st October 1976 Literature Ludovic Rodo Pissarro and Lionello Venturi, Camille Pissarro - son Art, son Œuvre, Paris, 1939, vol. 1, no. 1518, p. 290 (illustrated vol. II, pl. 292) Exhibitions London, Stern Pissarro Gallery, Camille Pissarro - St.Thomas to Paris, November-December 2003, no. 12 * This price excludes 5% import duty applicable if the work remains in the EU. About this work: Camille Pissarro completed this idyllic pastel in around 1873-74 while he was living in the small town of Pontoise just northwest of Paris. During this time, he produced some of his most significant and revolutionary work, exhibiting in the first Impressionist exhibition in 1874. Having settled in the village, Pissarro explored and studied the sleepy local landscapes, near-deserted country paths, and the rolling slopes of the Hermitage hills. The present pastel was most likely conceived en plein air and perfectly captures the uneven topography and calmness of the rural landscape with its contrasting deep greens and russet tones. The composition shows his masterful approach and is a delightful example of his fascination with studying the local landscape. On the verso of the pastel work is an earlier study, possibly made around 1860. Pissarro’s residency in Pontoise has been recognised as crucial for the development of his style and artistic career. There, Pissarro was frequently visited by his close friend and protégé, Paul Cézanne. Over the following decade they painted and drew side by side, and Cézanne would later credit Pissarro as his mentor, claiming ‘we learned everything from Pissarro.’ Although Cézanne was nine years his junior, Pissarro was clearly as willing to learn as he was to teach. They frequently depicted the same motifs: village streets, houses, and the local landscape. Indeed, their works produced in this period reveal the reciprocal nature of their artistic relationship. We can start to see trappings of Cézanne’s influence on Pissarro in his hurried hatched lines and darker than usual colours. In 2005, Pissarro and Cézanne’s artistic relationship formed the subject of a major exhibition at the MoMA in New York and at the Musée d’Orsay in Paris. The exhibition drew heavily on the landscapes that the artists produced side by side and the way in which the artists learnt from one another and borrowed from each other’s techniques. Some of Pissarro’s most famous paintings depict his Pontoise period, many of the famous works can be found in important collections around the world including the Guggenheim and the Metropolitan Museum of Art in the USA, the Musée d’Orsay in France and the National Galleries of Scotland to name a few. Biography: 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 10th July 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 twelve, 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 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, whilst 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 1500 paintings – almost twenty 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 ten years. He reestablished relationships with Cézanne, Manet, Monet, Renoir and 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 pretence, 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 called 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-fifties, 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, whilst retaining the lightness and purity of colour 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 amongst his best and make 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.

Details

  • Condition
    Good
  • Dimensions
    H 10.24 in. x W 15.75 in.H 26 cm x W 40 cm
  • Gallery Location
    London, GB
  • Reference Number
    LU26124095652
Buyer Protection Guaranteed
Our Promise To You: If you're not happy with the way an item arrived, we'll work with you and the seller to reach an optimal resolution. Read more

Shipping, Returns & Payment

  • Shipping
    Rates vary by destination and complexity

    Some items may require special handling and packaging. Request a shipping quote to see what options are available to your destination.

  • Return Policy

    This item can be returned within 7 days of delivery.

    View details
  • Online Payment Methods
    1stdibs accepts the following payment methods
  • Item Invoice
    Generate an invoice that you can customize and print.

About the Seller

5 / 5
Vetted
Recognized
1stdibs seller since 2015
Located in London, GB
Associations:
Society Of London Art Dealers
More From This Seller
Le Ru de Montbuisson, Louveciennes
Le Ru de Montbuisson, Louveciennes
Camille Pissarro
Late 19th Century Impressionist Landscape Paintings
Oil
Oil on canvas 46 x 55.5 cm (18 ⅛ x 21 ⅞ inches) Signed lower right, C. Pissarro Executed circa 1869 Provenance Alfred Daber, Paris The Lefevre Gallery (Alex Reid & Lefevre), Lon...
Lisière du Bois
Lisière du Bois
Camille Pissarro
Late 19th Century Barbizon School Landscape Paintings
Oil
Oil on canvas 25.5 x 37 cm (10 x 14 ⅝ inches) Signed and dated lower left, C. Pissarro 67 Provenance Galerie Romanet, Paris, before 1969 Simon Barbey, Geneva, acquired before 1960 ...
Landscape
Landscape
Lesser Ury
Early 20th Century Impressionist Landscape Drawings and Watercolours
Pastel
Pastel on paper 47 x 69 cm (18 ½ x 27 ½ inches) Signed lower left German-Jewish artist and printmaker Lesser Ury grew up in Berlin and as a young man had his admission to the Berlin...
A Man In Profile Leaning
A Man In Profile Leaning
Camille Pissarro
19th Century Impressionist Figurative Drawings and Watercolours
Carbon Pencil
A man in profile leaning to the left, studies of a woman with a vase on her head holding a baby and a child and a woman in profile Black lead, pen and brown ink on paper 20.3 x 26.8...
You May Also Like
"Baraques" ( near Deal, England)  Pastel   cm. 24 x 32   1910
"Baraques" ( near Deal, England) Pastel cm. ...
Edouard Chappel
1910s Impressionist Landscape Drawings and Watercolours
Pastel
landscape, fishing, England, 1910,pastel,green,blue Edouard CHAPPEL (Anversa, 1859 – Cagnes-sur-Mer, 1946) MUSEI BELGIO Anversa Musée Royal des Beaux-Arts FRANCIA Paris Musée d...
Wave Action
Wave Action
Jacquelyn Blue
2010s Impressionist Landscape Paintings
Pastel
Pastel on Paper, Mounted and Framed with Museum Glass. Jacqueline Blue is a modern master of pastel; her exquisite attention to the medium is testimony to her inspiration, artistic v...
Coast of France, 1872, Landscape by Theodore Earl Butler (1860-1936, American)
Coast of France, 1872, Landscape by Theodore Ea...
Theodore Earl Butler
1870s Impressionist Landscape Paintings
Pastel
French seascape by American Impressionist, Theodore Earl Butler Theodore Earl Butler (1860-1936) Coast of France, 1872 Pastel on paper 11 3/4 x 18 1/2 inches (sight)
Boat off the Coast - 19th Century Marine Pastel, Boat at Sea by Eugene Boudin
Boat off the Coast - 19th Century Marine Pastel...
Eugène Louis Boudin
Mid-19th Century Impressionist Landscape Drawings and Watercolours
Paper, Pastel
Pastel on Paper by Eugene Boudin circa 1860. Stamped with the cachet of the estate lower right. Framed dimensions are 11.5 inches high by 14 inches wide. Provenance: With thanks t...
Cottage in Crozant - 20th Century Pastel, River in Landscape by Wynford Dewhurst
Cottage in Crozant - 20th Century Pastel, River...
Wynford Dewhurst
1920s Impressionist Landscape Drawings and Watercolours
Paper, Pastel
Pastel on paper. Framed dimensions are 13 inches high by 15 inches wide. Wynford Dewhurst was born Thomas Edward Smith to an affluent family in Manchester in 1864. He was educated a...
Cherry Blossoms Landscape
Cherry Blossoms Landscape
Therese Nolan Krassowski
1970s American Impressionist Landscape Drawings and Watercolours
Pastel, Illustration Board
Serene and colorful pastel drawing of cherry trees in blossom by Therese Nolan Krassowski (20th Century). Signed by the artist in the lower left corner. Presented in a wood frame wit...
Evening Breeze
Evening Breeze
Wolf Kahn
1990s Abstract Landscape Drawings and Watercolours
Paper, Pastel
Landscape by Wolf Kahn
pool of light
pool of light
Melora Griffis
2010s Contemporary Landscape Paintings
Paper, Charcoal, Pastel, Acrylic, Gouache, Graphite
Melora Griffis’ “pool of light” is a framed 16 x 20 inch acrylic, gouache, charcoal, graphite and pastel painting on paper (framed size 19 x 22.75 x 1.25 inches). Part of her dreaml...

More Ways to Browse

Why Shop on 1stdibs?

Learn More

Only Vetted, Professional Sellers

Buyer Protection Guaranteed

Fully Insured Global Deliveries