{"title":"7.26 Camille Pissaro","description":"","products":[{"product_id":"shepherd-and-shepherdess-at-the-gate-bazincourt-by-camille-pissarro","title":"Shepherd and Shepherdess at the Gate, Bazincourt by Camille Pissarro","description":"Camille Pissarro\u003cbr\u003e 1830-1903 | French \u003cbr\u003e\u003cbr\u003e \u003cem\u003eBerger et bergère à la barrière, Bazincourt\u003c\/em\u003e\u003cbr\u003e (\u003cem\u003eShepherd and Shepherdess at the Gate, Bazincourt\u003c\/em\u003e) \u003cbr\u003e\u003cbr\u003e Stamped \"C.P.\" (lower left)\u003cbr\u003e Gouache and wash on paper \u003cbr\u003e\u003cbr\u003e Among Camille Pissarro’s most unique artworks, this fan painting transforms a decorative object into a luminous Impressionist landscape. Displaying one of his iconic rural scenes, this rare masterpiece offers one of the most singular and delightful ways of experiencing Pissarro’s celebrated vision. \u003cbr\u003e\u003cbr\u003e Inspired by Japanese art and encouraged by Edgar Degas, Pissarro began experimenting with fans in the late 1870s, exhibiting 12 examples at the 1879 Impressionist exhibition alongside his paintings. What was once a decorative object became, in Pissarro’s hands, a highly inventive work of art. Other artists such as Gauguin and later Bonnard also explored the fan format, but Pissarro perhaps embraced it most fully, helping transform the fan into one of the era’s most elegant experiments in modern composition. \u003cbr\u003e\u003cbr\u003e In this example, the sweeping crescent shape of the fan offered Pissarro a compositional challenge unlike the traditional canvas, allowing him to unfold the landscape in a panoramic arc. Figures gather along a rustic fence, drawing the viewer into the foreground while the countryside opens behind them. The result is intimate yet expansive, offering Pissarro a place to reimagine the countryside he loved.  \u003cbr\u003e\u003cbr\u003e Fewer than 100 fans by modern artists of this period are believed to exist, making each surviving example exceptionally rare. Comparable examples by Pissarro have gone for impressive sums at auction and now reside in leading museum collections worldwide, including the Musée d’Orsay, the Metropolitan Museum of Art, the Van Gogh Museum and the Brooklyn Museum. The importance of these works continues to receive institutional attention today, with the Musée d’Orsay showcasing an exhibition of 17 Impressionist fans this year.  \u003cbr\u003e\u003cbr\u003e Known as the \"Father of Impressionism,\" Camille Pissarro was the only painter to exhibit in all eight of the Impressionist exhibitions. His revolutionary approach to painting and thought-provoking compositions had a profound effect on his contemporaries and the future of modern art, and his works can be found in many of the most important museums and private collections throughout the world.  \u003cbr\u003e\u003cbr\u003e This work will be included in the forthcoming Camille Pissarro Digital Catalogue Raisonné, currently being prepared under the sponsorship of the Wildenstein Plattner Institute. \u003cbr\u003e\u003cbr\u003e Circa 1885 \u003cbr\u003e\u003cbr\u003e Paper: 15\" high x 25\" wide (38.10 x 63.50 cm)\u003cbr\u003e Frame: 17\" high x 27 1\/2\" wide x 1\" deep (43.18 x 69.85 x 2.54 cm) \u003cbr\u003e\u003cbr\u003e Provenance:\u003cbr\u003e Jeanne \u0026amp; Alexandre Bonin Collection, Paris (the artist's daughter and son-in-law) by descent from the artist circa 1903\u003cbr\u003e Sale of the above, Hôtel Drouot, Paris, June 26, 1931, lot 22\u003cbr\u003e Madame Zimmerman Collection, Paris (acquired at the above sale)\u003cbr\u003e Private collection, Paris (by descent from the above)\u003cbr\u003e Sale of the above, Sotheby's, London, April 4, 1990, lot 107\u003cbr\u003e Private collection, acquired at the above sale through Legatt Brothers, London\u003cbr\u003e M.S. Rau, New Orleans \u003cbr\u003e\u003cbr\u003e Literature:\u003cbr\u003e L.-R. Pissarro \u0026amp; L. Venturi, Camille Pissarro, son art–son oeuvre, Vol. I, Paris, 1939, no. 1632 (illustrated Vol. II, pl. 309)\u003cbr\u003e M-J. Pellé, Les Éventails de Camille Pissarro, Paris, 1990, no. 22 (illustrated p. 24)","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":44797831053447,"sku":"32-2735","price":298500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0083\/2471\/0466\/files\/32-2735_1_d2f114ac-edab-435f-b0ee-3dda785376f7.png?v=1781544091"},{"product_id":"the-harvesters-rest-by-camille-pissarro","title":"The Harvesters' Rest by Camille Pissarro","description":"Camille Pissarro\u003cbr\u003e 1830-1903 | French \u003cbr\u003e\u003cbr\u003e \u003cem\u003eLe Repos des moissonneurs\u003c\/em\u003e\u003cbr\u003e (\u003cem\u003eThe Harvesters' Rest\u003c\/em\u003e) \u003cbr\u003e\u003cbr\u003e Stamped \"C.P.\" (lower left)\u003cbr\u003e Gouache, watercolor and charcoal on paper \u003cbr\u003e\u003cbr\u003e Among Camille Pissarro’s most unique artworks, this fan painting transforms a decorative object into a luminous Impressionist landscape. Displaying one of his iconic rural scenes, this rare masterpiece, entitled \u003cem\u003eThe Harvesters' Rest\u003c\/em\u003e, offers one of the most singular and delightful ways of experiencing Pissarro’s celebrated vision. \u003cbr\u003e\u003cbr\u003e Inspired by Japanese art and encouraged by Edgar Degas, Pissarro began experimenting with fans in the late 1870s, exhibiting 12 examples at the 1879 Impressionist exhibition alongside his paintings. What was once a decorative object became, in Pissarro’s hands, a highly inventive work of art. Other artists such as Gauguin and later Bonnard also explored the fan format, but Pissarro perhaps embraced it most fully, helping transform the fan into one of the era’s most elegant experiments in modern composition. \u003cbr\u003e\u003cbr\u003e In this example, the sweeping crescent shape of the fan offered Pissarro a compositional challenge unlike the traditional canvas, allowing him to unfold the landscape in a panoramic arc. The harvesters lounge under the shade of a tree, drawing the viewer into the foreground while the farm fades into the distance. The result is intimate yet expansive, offering Pissarro a place to reimagine the countryside he loved.  \u003cbr\u003e\u003cbr\u003e Fewer than 100 fans by modern artists of this period are believed to exist, making each surviving example exceptionally rare. Comparable examples by Pissarro have gone for impressive sums at auction and now reside in leading museum collections worldwide, including the Musée d’Orsay, the Metropolitan Museum of Art, the Van Gogh Museum and the Brooklyn Museum. The importance of these works continues to receive institutional attention today, with the Musée d’Orsay showcasing an exhibition of 17 Impressionist fans this year.  \u003cbr\u003e\u003cbr\u003e Known as the \"Father of Impressionism,\" Camille Pissarro was the only painter to exhibit in all eight of the Impressionist exhibitions. His revolutionary approach to painting and thought-provoking compositions had a profound effect on his contemporaries and the future of modern art, and his works can be found in many of the most important museums and private collections throughout the world.  \u003cbr\u003e\u003cbr\u003e This work will be included in the forthcoming Camille Pissarro Digital Catalogue Raisonné, currently being prepared under the sponsorship of the Wildenstein Plattner Institute. \u003cbr\u003e\u003cbr\u003e Circa 1891 \u003cbr\u003e\u003cbr\u003e Paper: 12 3\/4” high x 23 3\/4” wide (32.4 x 60.3 cm)\u003cbr\u003e Frame: 14 3\/4” high x 25 3\/4” wide x 1” deep (37.5 x 65.4 x 2.5 cm) \u003cbr\u003e\u003cbr\u003e Provenance:\u003cbr\u003e Julie Pissarro Collection, Étude-sur-Epte (the artist's wife; by descent from the artist circa 1903)\u003cbr\u003e Estate sale of the above, Hôtel Drouot, Paris, December 8, 1928, no. 262\u003cbr\u003e Dr. Georges Viau Collection, Paris (acquired at the above sale)\u003cbr\u003e Sale: Hôtel Drouot, Paris, May 8, 1936, lot 39\u003cbr\u003e Sale: Hôtel des ventes, Honfleur, July 15, 1989, lot 158\u003cbr\u003e Sale: Sotheby's, London, November 29, 1989, lot 404\u003cbr\u003e Private collection, acquired at the above sale through Leggatt Brothers, London\u003cbr\u003e M.S. Rau, New Orleans \u003cbr\u003e\u003cbr\u003e Literature:\u003cbr\u003e J. Pissarro, \u003cem\u003eCamille Pissarro\u003c\/em\u003e, New York, 1993, no. 218 (illustrated p. 189; titled 'The Picnic') \u003cbr\u003e\u003cbr\u003e Exhibited:\u003cbr\u003e Paris, Musée de l'Orangerie, \u003cem\u003eCentenaire de la Naissance de Camille Pissarro\u003c\/em\u003e, February - March 1930, no. 49 (titled 'Les Moissonneurs; éventail')","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":44819602538631,"sku":"32-2736","price":124500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0083\/2471\/0466\/files\/32-2736_1.png?v=1780953859"},{"product_id":"return-to-the-village-by-moonlight-by-camille-pissarro","title":"Return to the Village by Moonlight by Camille Pissarro","description":"Camille Pissarro\u003cbr\u003e 1830-1903 | French \u003cbr\u003e\u003cbr\u003e \u003cem\u003eLe Retour au village au clair de lune (Éragny)\u003c\/em\u003e\u003cbr\u003e (\u003cem\u003eReturn to the Village by Moonlight (Éragny)\u003c\/em\u003e) \u003cbr\u003e\u003cbr\u003e Signed and dated \"Camille Pissarro 86\" (lower left)\u003cbr\u003e Gouache and watercolor on silk laid down on paper \u003cbr\u003e\u003cbr\u003e Among Camille Pissarro’s most unique artworks, this magnificent fan painting transforms a decorative object into a luminous Impressionist landscape. Displaying one of his iconic rural scenes under moonlight, this rare masterpiece offers one of the most singular and delightful ways of experiencing Pissarro’s celebrated vision. \u003cbr\u003e\u003cbr\u003e Inspired by Japanese art and encouraged by Edgar Degas, Pissarro began experimenting with fans in the late 1870s, exhibiting 12 examples at the 1879 Impressionist exhibition alongside his paintings. What was once a decorative object became, in Pissarro’s hands, a highly inventive work of art. Other artists such as Gauguin and later Bonnard explored the fan format, but Pissarro perhaps embraced it most fully, helping transform the fan into one of the era’s most elegant experiments in modern composition. \u003cbr\u003e\u003cbr\u003e In this example, the sweeping crescent shape of the fan offered Pissarro a compositional challenge unlike the traditional canvas, allowing him to unfold the scene in a panoramic arc. Under the luminous haze of a moonlit night, Pissarro’s figures move along a bucolic village path. The result is intimate yet expansive, offering Pissarro a place to reimagine the countryside he loved.  \u003cbr\u003e\u003cbr\u003e Fewer than 100 fans by modern artists of this period are believed to exist, making each surviving example exceptionally rare. Comparable examples by Pissarro have gone for impressive sums at auction and now reside in leading museum collections worldwide, including the Musée d’Orsay, the Metropolitan Museum of Art, the Van Gogh Museum and the Brooklyn Museum. The importance of these works continues to receive institutional attention today, with the Musée d’Orsay showcasing an exhibition of 17 Impressionist fans this year.  \u003cbr\u003e\u003cbr\u003e Known as the \"Father of Impressionism,\" Camille Pissarro was the only painter to exhibit in all eight of the Impressionist exhibitions. His revolutionary approach to painting and thought-provoking compositions had a profound effect on his contemporaries and the future of modern art, and his works can be found in many of the most important museums and private collections throughout the world.  \u003cbr\u003e\u003cbr\u003e This work will be included in the forthcoming Camille Pissarro Digital Catalogue Raisonné, currently being prepared under the sponsorship of the Wildenstein Plattner Institute. \u003cbr\u003e\u003cbr\u003e Dated 1886 \u003cbr\u003e\u003cbr\u003e Paper: 17\" high x 29\" wide (43.2 x 73.7 cm)\u003cbr\u003e Frame: 23\" high x 32 3\/4\" wide x 2\" deep (58.4 x 88.3 x 5.1 cm) \u003cbr\u003e\u003cbr\u003e Provenance:\u003cbr\u003e Madame de Kerrieu Collection, Paris\u003cbr\u003e Her sale, Hôtel Drouot, Paris, February 8-9, 1898, lot 88\u003cbr\u003e Galerie Durand-Ruel et Cie., Paris (acquired at the above sale)\u003cbr\u003e Jean \u0026amp; Marie-Louis d'Alayer (née Durand-Ruel) Collection, Paris (transferred from the above in 1940)\u003cbr\u003e Sale: Hôtel Drouot, Paris, December 19, 1955, lot 22\u003cbr\u003e Sale: Drouot Rive Gauche, Paris, June 18, 1976, lot 108\u003cbr\u003e Sale: Drouot-Richelieu, Paris, May 14, 1997, lot 32\u003cbr\u003e Galerie Charles \u0026amp; André Bailly, Paris (likely acquired at the above sale)\u003cbr\u003e Private collection, acquired from the above in August 1997\u003cbr\u003e M.S. Rau, New Orleans \u003cbr\u003e\u003cbr\u003e Literature:\u003cbr\u003e L.-R. Pissarro \u0026amp; L. Venturi, Camille Pissarro, son art – son oeuvre, Vol. I, Paris, 1939, no. 1635 (Vol. II, illustrated pl. 309)\u003cbr\u003e M-J. Pellé, Les Éventails de Camille Pissarro, Paris, 1990, no. 27 (illustrated p. 27; titled 'Le Départ du village, Eragny' and 'Le Chemin de l'atelier')\u003cbr\u003e M-J. Pellé, \"Vert Pissarro...\" Impressions de Normandie et d'ailleurs, Luneray, 2000, no. 8 (illustrated p. 72)\u003cbr\u003e J. Pissarro \u0026amp; C. Durand-Ruel Snollaerts, Pissarro, Critical Catalogue of Paintings, Vol. I, Paris, 2005, p. 281 (titled 'The Path to the Studio')","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":45024806895751,"sku":"32-2734","price":368500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0083\/2471\/0466\/files\/32-2734_1.png?v=1782516031"},{"product_id":"paysannes-assises-by-camille-pissarro","title":"Paysannes assises by Camille Pissarro","description":"Camille Pissarro\u003cbr\u003e 1830-1903 | French \u003cbr\u003e\u003cbr\u003e \u003cem\u003ePaysannes assises\u003c\/em\u003e\u003cbr\u003e \u003cem\u003e(Seated Peasant Women)\u003c\/em\u003e \u003cbr\u003e\u003cbr\u003e Signed \"C Pissarro\" (lower left)\u003cbr\u003e Crayon on paper \u003cbr\u003e\u003cbr\u003e This intimate work by Camille Pissarro represents a period of great significance for the Impressionist master. The early 1880s were years of remarkable innovation for the artist, after he spent much of the preceding decade devoted to landscape painting. Shifting focus, he embarked on a series of works in a range of media dedicated to the human figure—particularly the rural laborers and peasant women who became central to his art. This vibrant drawing of two seated peasants is an exceptional example of Pissarro’s remarkable works on paper. \u003cbr\u003e\u003cbr\u003e Depicting two peasant figures seated in quiet conversation, the work captures the dignity and intimacy of rural life with extraordinary immediacy. One figure, dressed in a blue skirt and red kerchief, sits with hands folded, while the other turns toward her in profile, her yellow headscarf and blue skirt enlivening the composition. Rendered with spontaneous strokes of pastel, the scene displays the harmony of color, movement and atmosphere that typifies Pissarro’s work of the 1880s. The soft green ground, warm paper tone and vivid touches of blue, yellow and red give the drawing the freshness of a moment observed directly from life. \u003cbr\u003e\u003cbr\u003e Born in St. Thomas in the Danish West Indies, Pissarro was sent to school in Paris at the age of 11, where he first displayed a talent for drawing. In 1855, having convinced his parents of his determination to pursue a career as an artist rather than work in the family shipping business, he returned to Paris, where he studied at the Académie Suisse alongside Claude Monet. At the outbreak of the Franco-Prussian War in 1870, Pissarro moved to England. Along with Monet, he painted a series of landscapes around South-East London and studied English landscape painters in the museums. When he returned home to Louveciennes a year later, Pissarro discovered that all but 40 of the 1,500 paintings he had left there—almost 20 years of work—had been vandalized. \u003cbr\u003e\u003cbr\u003e In 1872, Pissarro settled in Pontoise, where he remained for the next 10 years, gathering a close circle of friends around him. Gauguin was among the many artists to visit him there, and Cézanne, who lived nearby, came for long periods to work and learn. In 1874, Pissarro participated in the first Impressionist exhibition and became the only painter to exhibit in all eight of their shows, underscoring why he is known today as the “Father of Impressionism.” His revolutionary approach to painting and his deeply human compositions had a profound effect on his contemporaries and the future of modern art. His work can be found in many of the most important museums and private collections throughout the world. \u003cbr\u003e\u003cbr\u003e This work is accompanied by its certificate of authenticity from the Wildenstein Plattner Institute and will be included in their forthcoming digital catalogue raisonné. \u003cbr\u003e\u003cbr\u003e Circa 1880 \u003cbr\u003e\u003cbr\u003e Paper: 16 1\/8” high x 22” wide (41 x 55.9 cm)\u003cbr\u003e Frame: 26 1\/2” high x 31 3\/4” wide x 3\/4” deep (67.3 x 80.7 x 2 cm) \u003cbr\u003e\u003cbr\u003e Provenance:\u003cbr\u003e Erna Stiebel Collection Sale of the above; Christie’s New York, 11 May 1995, lot 231 Paolo Dal Bosco, Trento (acquired at the above sale) Private Collection, Europe","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":45133017841799,"sku":"32-2624","price":368500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0083\/2471\/0466\/files\/32-2624_1.png?v=1783113675"}],"url":"https:\/\/rauantiques.com\/collections\/7-26-camille-pissaro.oembed","provider":"M.S. Rau","version":"1.0","type":"link"}