Garden in Full Sunlight (Le Jardin au grand soleil, Pontoise) print (1876) by Camille Pissarro (French, 1830 - 1903)

 

Highlights

 

• Professionally framed in gold gilded wood with gold colored metal mat by The Frame Station Gallery, Berwyn, PA
• Includes hanging hardware and is ready to hang

 

Details

 

• Image Size: 10 x 13 inches
• Paper Size: 
• Frame Size: 13 1/2 x 16 x 1 inches
• Medium: Canvas
• Edition: 
• Provenance: Paoli, PA Auction

 

Comments

 

• The Garden in Full Sunlight (Le Jardin au grand soleil, Pontoise) is a reproduction canvas print of an oil painting by Camille Pissarro in 1876
• With its picturesque vista and assemblage of light and textures, this composition demonstrates Pissarro's move toward impressionism. The intimate garden scene is set against a backdrop of small buildings. In the center, a figure strolls through the open, tree-lined space. Unlike many other impressionist canvases, however, this painting emphasizes the archetypally provincial qualities of Pontoise rather than its modernity.
• Pissarro omits, for instance, any references to labor or industry. He also avoids chromatic flamboyance in favor of more natural and muted tones.
  

 

Condition (Please see grading guide below)

 

• (I) Overall: Excellent
• (II) Content: Excellent
• (III) Frame: Very Good (some marks, scuffs and scratches; Dust cover intact; hanging hardware attached; gallery stamp affixed)

 

Artist Bio

 

• Camille Pissarro (10 July 1830 – 13 November 1903) was a Danish-French Impressionist and Neo-Impressionist painter born on the island of St Thomas (now in the US Virgin Islands, but then in the Danish West Indies).
  
• In 1849 he met Fritz Melbye a Danish painter who had recently arrived on the islands from Copenhagen where he had trained to become a marine artist under his brother Anton Melbye. Melbye inspired the young Pissarro to take on painting as a full-time profession, and also became his teacher and close friend. In 1852 the two painters travled to Venezuela where they stayed together until 1855 when Pissarro returned to St. Thomas and, the same year, continued to Paris.
  
• In Paris he studied at various academic institutions (including the Ecole des Beaux-Arts and Academie Suisse) and under a succession of masters such as Jean-Baptiste-Camille Corot, Gustave Courbet, and Charles-Francois Daubigny. Corot is sometimes considered Pissarro's most important early influence; Pissarro listed himself as Corot's pupil in the catalogues to the 1864 and 1865 Paris Salons.
  
• Pissarro painted rural and urban French life, particularly landscapes in and around Pontoise, as well as scenes from Montmartre. His mature work displays an empathy for peasants and laborers, and sometimes evidences his radical political leanings.
• In 1873 he helped establish a collective society of fifteen aspiring artists, becoming the "pivotal" figure in holding the group together and encouraging the other members. Art historian John Rewald called Pissarro the "dean of the Impressionist painters", not only because he was the oldest of the group, but also "by virtue of his wisdom and his balanced, kind, and warmhearted personality".  Paul Cézanne said "he was a father for me. A man to consult and a little like the good Lord", and he was also one of Paul Gauguin's masters. Pierre-Auguste Renoir referred to his work as "revolutionary", through his artistic portrayals of the "common man", as Pissarro insisted on painting individuals in natural settings without "artifice or grandeur".
• Pissarro is the only artist to have shown his work at all eight Paris Impressionist exhibitions, from 1874 to 1886. He "acted as a father figure not only to the Impressionists" but to all four of the major Post-Impressionists, Cézanne, Seurat, Gauguin, and van Gogh.
• He was a mentor to Paul Cezanne, Edouard Manet , Pierre-Auguste Renoir, and Paul Gauguin and his example inspired many younger artists, including Neo-Impressionist Georges Seurat.
  
• By the 1880s, Pissarro moved into a Postimpressionist period, returning to some of his earlier themes and exploring new techniques such as pointillism. He forged new friendships with artists including Georges Seurat and Paul Signac, and was an early admirer of Vincent van Gogh.
  

References

 

The Barnes Foundation

 

Grading Guide

 

Notes:

• The condition grade is a subjective rating based on the observed objective physical features of the item to the naked eye
• The condition grade does not factor in the perceived beauty or aesthetic impact of the content itself
• Please view all of the item pictures and video to make your own informed condition decision before purchasing

Scale:

• Excellent: No damage or issues barely perceptible from close viewing distance and bright lighting conditions
• Very Good: Issues visible from close viewing distance and normal lighting conditions
• Good: Issues visible from normal viewing distance and lighting conditions but do NOT significantly detract from the overall look of the work
• Fair: Issues that are immediately apparent from normal viewing distance and lighting conditions AND significantly detract from the overall look of the work
• Poor: Severe condition issues that require repair and some may be beyond repair

 

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