卡米耶·畢沙羅

Paul-Émile Pissarro (by descent from the artist in 1904)

Stephen Hahn, New York (acquired circa 1974)

Acquired from the above

Paris, Galerie Durand-Ruel, Oeuvres récentes de Camille Pissarro, 1896, no. 16

London, Stafford Gallery, Pictures by Camille Pissarro, 1911, no. 32

Paris, Galerie Manzi-Joyant, Exposition rétrospective d'oeuvres de Camille Pissarro, 1914, no. 72

Paris, Musée de l'Orangerie, Centenaire de la naissance de Camille Pissarro, 1930, no. 90

Paris, Galerie Marcel Bernheim, Pissarro et ses fils, 1934, no. 6

Paris, Galerie de l'Élysée, C. Pissarro: des peintures et des pastels de 1880 à 1900 environ, 1948

Paris, Galerie André Weil, Pissarro, 1950, no. 17

François Thiébault-Sisson, "L'exposition Pissarro", Le Temps, Paris, 1896, p. 3

Maurice Méry, "Les salonnets", Le Moniteur des arts, Paris, 1896, p. 198

Ludovic-Rodo Pissarro & Lionello Venturi, Camille Pissarro, son art - son oeuvre, vol. I, Paris, 1939, no. 944, catalogued p. 212; vol. II, illustrated pl. 190

Raymond Cogniat, Pissarro, Paris, 1974, illustrated in color p. 56

Janine Bailly-Herzberg, Correspondance de Camille Pissarro, 1891-1894, vol. IV, Paris, 1988, no. 1229, p. 186 (no. 16); no. 1199, p. 149

Joachim Pissarro & Claire Durand-Ruel Snollaerts, Pissarro, Catalogue critique des peintures, vol. III, Paris, 2005, no. 1112, illustrated p. 701

Excellent condition. Original canvas. The pigment layer is stable. Under UV, no evidence of retouching.
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Petite bonne Flamande dite “La Rosa,” 1896,  is a fine example of the Neo-Impressionist techniques Pissarro incorporated in his paintings toward end of the 1890s.  By the mid 1880s Pissarro began to embrace the Neo-Impressionist style under the influence of Seurat and Signac.  Although he adopted the Pointillist technique with an assured manner, he did not apply it with the dogmatic vigor of Seurat. As in the present work, he used the Pointillist style to create vibrant color contrasts and to explore the effect of light in portraiture and on the surrounding domestic scene, rather than subjecting the scene to a more formulaic approach. Despite taking on this new technique, Pissarro’s interest in nuances of light and atmospheric changes remained an important legacy of his earlier Impressionist style:  "At this time he was particularly fascinated by the transitions between the seasons and the times of day, and his palette included endless pastel shades reminiscent of the iridescent hues of a piece of mother-of-pearl" (Christoph Becker, "Camille Pissarro, Impressionist Artist," Camille Pissarro, Stuttgart, 1999, p. 110).

 

The present composition was well received when exhibited at the Durand-Ruel gallery in 1896 where the critic Thiébault-Sisson affirmed its desirability, “The Little Flemish Housemaid seated in an interior, in front of a door, is a superbly honest piece.  The freshness of its feeling combines with the masculine accuracy of its lines, the appeal of the colours, to produce a delightful fragrance of rustic gracefulness” (Thiébault-Sisson quoted in Joachim Pissarro & Clarie Durand-Ruel Snollaerts, Pissarro Critical Catalogue of Paintings, Vol. III, Paris, 2005, p. 701).