A triumph of composition, structure and volume, La Mère Jolly raccommodant and Pissarro’s other work from his time in Montfoucault mark a turning point for the artist, who previously had not studied the human figure in such depth or with such grace. According to leading scholar Richard R. Brettell, “the paintings of 1874 show ample evidence of a change in both style and iconography. Pissarro’s facture became more dense and brushstrokes broader… His attention turned from distantly viewed landscapes to the concentrated space of the barnyard populated with figures and defined by complex arrangements of form… The sheer physicality of form—its weight, mass and proximity—became Pissarro’s overriding concern in the Montfoucault period and that reality was expressed in a manner matched in the period only by Cézanne” (Richard R. Brettell, Pissarro and Pontoise, London, 1990, pp. 162-64). Hailing from one of the most focused and grounded periods in Pissarro’s oeuvre, this distinguished genre scene offers rarely afforded insight not only into pre-industrialized French life, but also into that of the master painter himself.
Please call 1-800-555-5555 to order a print catalog for this sale.