Camille Pissarro (1830-1903)

Paul-Emile Pissarro

細節

Camille Pissarro (1830-1903)
Paul-Emile Pissarro
stamped with signature 'C.P.' (Lugt 613a; lower right)
oil on canvas
16 1/8 x 13¼ in. (41 x 33.6 cm.)
Painted circa 1890

來源

Paul-Emile Pissarro (circa 1930).
Wildenstein & Co., Ltd., Paris (circa 1951).
Ralph Henderson, London (acquired from the above, 1952).
Marlborough Fine Art Ltd., London (acquired from the above, October 1961).
Private collection, New York (acquired from the above, 1964).
Sam Salz Inc., New York.
Acquavella Galleries, New York (acquired from the above).
Paul Raymond and Mary Haas, Corpus Christi, Texas (acquired from the above, June 1968); sale, Sotheby's, London, 6 February 2007, lot 315.
Acquired at the above sale by the present owner.

出版

C. Kunstler, Paul-Emile Pissarro, Paris, 1928.
C. Kunstler, Camille Pissarro, Paris, 1930 (illustrated pl. 17).
G. Lecomte, "Un centenaire. Un fondateur de l'impressionnisme, Camille Pissarro", Revue de l'art ancient et modern, March 1930, p. 165 (illustrated).
G. Kahn, "Art. La rétrospective de Pissarro", Mercure de France, 15 March 1930, p. 699.
L.-R. Pissarro and L. Venturi, Camille Pissarro, Son art, son oeuvre, Paris, 1939, vol. I, p. 197, no. 826 (illustrated vol. II, pl. 169).
D. Bjelajac, Private Visions, The Paul and Mary Haas Collection of Art, New York, 1987 (illustrated in color).
J. Pissarro and C. Durand-Ruel Snollaerts, Pissarro, Catalogue critique des peintures, Milan, 2005, vol. III, p. 577, no. 878 (illustrated).

展覽

Paris, Galerie Durand-Ruel et Cie., Oeuvres recentes de Camille Pissarro, 1893, no. 45.
Paris, Galerie Marcel Bernheim, Le peintre et sa famille, 1926.
Paris, Musée de l'Orangerie, Centenaire de la naissance de Camille Pissarro, 1930, no. 79.
Paris, Galerie Bernheim-Jeune, Cents ans de portraits français (1800-1900), 1934, no. 55.
Paris, Galerie Bernheim-Jeune, Portraits de femmes et enfants, 1936, no. 24.
Houston, Castillian Room, Shamrock Hotel, Masterpieces of Painting through Six Centuries, 1952, no. 56.
West Palm Beach, The Norton Gallery, French Painting, David to Cézanne, 1953, no. 16.
London, Marlborough Fine Art Ltd., French Masters, 1962, no. 15.
Wellesley, Massachusetts, Wellesley College Museum, One Century, Wellesley Families Collect, 1978, no. 8.

拍品專文

Pissarro had five sons--Lucien, Georges, Félix, Ludovic-Rodo and Paul-Emile, all of whom became artists under the tutelage of their father. Richard Bretell observes of Pissarro as teacher and father: "he urged them to open themselves up to the world of art and art criticism. He organized their visits to museums and galleries. He involved himself in their moral and intellectual education. He introduced them to more artists of their generation than they could possibly have met on their own...Making art must have been as natural an activity in the Pissarro household as reading, eating or talking, and each of his sons took it up without the struggles for self-definition and without the professional traumas their father had experienced in his youth. Perhaps for that reason they each developed as the 'followers' of Pissarro in ways that their father never allowed Cézanne, Cassatt, Gauguin or Seurat to follow" (Camille Pissarro and His Descendants, exh. cat., Fort Lauderdale Museum of Art, 2000, p. 25).

In the present work, Pissarro depicts his youngest son Paul-Emile who had been born roughly six years earlier in Eragny and began drawing at an early age. Camille encouraged and supported his son's desire to become an artist, and allowed him to accompany him on several painting trips to Le Havre, Dieppe and Rouen. Following Camille's death in 1903, Mme Pissarro urged Paulémile to abandon his artistic pursuits in order to learn more practical trades, but the young man returned to his painting just before the First World War. He went on to become an established Post-Impressionist artist, enjoying lasting rapport with his contemporaries Kees van Dongen, Maurice de Vlaminck, André Dunoyer de Segonzac and Raoul Dufy, with whom he toured the French countryside and painted outdoors, relying on techniques that he had first learned from his father many years before.