216
216

HUMAN REFLECTIONS - PROPERTY FROM A DISTINGUISHED PRIVATE COLLECTION

Camille Pissarro
PAYSANNES ASSISES GARDANT DES VACHES
Estimate
80,000120,000
LOT SOLD. 162,500 EUR
JUMP TO LOT
216

HUMAN REFLECTIONS - PROPERTY FROM A DISTINGUISHED PRIVATE COLLECTION

Camille Pissarro
PAYSANNES ASSISES GARDANT DES VACHES
Estimate
80,000120,000
LOT SOLD. 162,500 EUR
JUMP TO LOT

Details & Cataloguing

Œuvres sur Papier

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Paris

Camille Pissarro
1830 - 1903
PAYSANNES ASSISES GARDANT DES VACHES
signed C. Pissarro. and dated 1886 (lower left)
gouache and pencil on linen
drawing: 27,6 x 39 cm; 10 7/8 x 15 3/8 in.; sheet: 30,5 x 41,1 cm; 12 x 16 1/8 in.
Executed in 1886.
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This work is accompanied by an Attestation of Inclusion from the Wildenstein Institute, and it will be included in the forthcoming Pissarro Digital Catalogue Raisonné, currently being prepared under the sponsorship of the Wildenstein Plattner Institute, Inc.

Provenance

Sale: Sotheby's, New York, May 12, 1999, lot 235
Acquired at the above sale by the present owner

Catalogue Note

In his critique of the seventh Impressionist exhibition, the novelist and art critic, J. K. Huysmans, commented on the work of Pissarro, noting that "Pissarro exhibits a whole series of rural men and women, and once again reveals himself in a new light... The human figure often takes on a biblical air in his work. But not anymore. Pissarro has completely detached himself from the memory of Millet.  He paints his country people without false grandeur, simply as he sees them. His delightful young girls in red stockings, his old woman in a headscarf, his shepherdesses and washerwomen, his peasant women, cutting the hay or eating; all are true, little masterpieces" (quoted in Joachim Pissarro, Camille Pissarro, New York, 1993, p. 157).

Painted in 1886, Paysannes assises gardant des vaches, is an example of the Divisionist style, which Pissarro explored for the first time for the eighth and final Impressionist exhibition of 1886, and which he went onto develop over the years that followed. According to Pissarro, Impressionism was already in decline in 1883. While painting peasants at work, a subject inspired by Millet, he adopted the Divisionist technique under the influence of Suerat, who declared Pissarro the first Impressionist painter to convert to the Neo-Impressionist style. This artwork is a striking example of Pissarro's Pointillist style. His use of short, fragmented brushstrokes captures the dazzling effect of the sun on a prairie and creates contrasts of vivid colours, without ever straying from the Impressionist ideals in terms of light and atmosphere.

Œuvres sur Papier

|
Paris