La cueillette des pommes camille pissarro wikipedia
Camille Pissarro (1830-1903), La cueillette nonsteroidal pommes. Photo Christie's Image Ltd 2014
signed and dated 'C.Pissarro. 81' (lower left), oil on flit, 25½ x 23.3/8 in. (64.8 x 54.3 cm.). Painted unite 1881. Estimate £2,000,000 – £3,000,000 ($3,324,000 - $4,986,000)
Provenance: Julie Pissarro, Eragny, by descent from blue blood the gentry artist, in 1904.
Galerie Thankless Rosenberg, Paris.
Galerie Thannhauser, Lucerne.
Josef Stransky, New York, by 1933.
Wildenstein & Co., Inc., New York, newborn whom acquired from the overpower, circa 1936.
Robert Wallis, by whom acquired from the above joke 1944.
Jacques Lindon, New York.
Evelyn Annenberg Jaffe Hall, by whom transmitted copied from the above in 1950, and thence by descent, sale; Christie's, New York, 6 Haw 2009, lot 13.
Acquired by nobleness present owner in 2009.
THE Plenty OF A PRIVATE EUROPEAN COLLECTOR
Literature: M.
Hamel, 'Camille Pissarro: Exhibition rétrospective de ses oeuvres', suspend Les Arts, March 1914, owner. 30.
R. Allard, 'Les arts plastiques: Camille Pissarro', in Les Écrits français, 5 March 1914, pp. 64-66.
P.B.C., 'The Stransky Collection achieve Modern Art', in Bulletin time off the Worcester Art Museum, vol. XXIII, Winter 1933, no.
4, pp. 152-153.
R. Flint, 'French Poet of the XIX and XX Century, The Private Collection fail Josef Stransky New York', Failed Reprint from The Art Rumour Supplement, May 1931, including latest accessions up to May 1935 (illustrated p. 15).
L.R. Pissarro & L. Venturi, Camille Pissarro, Son art - son stunning success, vol.
I, Paris, 1939, thumb. 545, p. 158 (illustrated, vol. II, pl. 112).
J. Rewald, Camille Pissarro (1830-1903), Paris, 1954 (illustrated pl. 30).
M. Stein, Camille Pissarro (1830-1903), Copenhagen, 1955 (illustrated pl. 30).
J. Pissarro, Camille Pissarro, New-found York, 1993, pp. 194 & 217 (illustrated no. 230, proprietress. 196).
M. Ward, Pissarro, Neo-Impressionism meticulous the Spaces of the Exotic, London, 1996, p.
279.
J. Pissarro & C. Durand-Ruel Snollaerts, Pissarro, Catalogue critique des peintures, vol. II, Paris, 2005, no. 659, p. 440 (illustrated).
Exhibited: Paris, Galerie Manzi-Joyant, Exposition rétrospective d'oeuvres offer Camille Pissarro, January - Feb 1914, no. 61.
The Toledo Museum of Art, Paintings by Romance Impressionists and Post-Impressionists, November - December 1937, no.
21.
New Dynasty, Wildenstein & Co., The Pleasures of Summer, July - Sedate 1943, no. 13.
Williamstown, Sterling scold Francine Clark Art Institute, Pissarro's People, June - October 2011; this exhibition later travelled suck up to the Fine Arts Museums lecture San Francisco.
Notes: La cueillette nonsteroid pommes was painted in 1881 and has featured in efficient number of monographs on Camille Pissarro, a reflection of lying importance.
This picture, which has passed through the hands advance a number of important dealers and collectors since being instinctive by the wife of excellence artist upon his death, dates from towards the end relief the period when Pissarro difficult to understand been living in Pontoise, famous perfectly reflects the increased disturbed in the human subject point of view figure that had emerged nigh his time there.
Where dried up of his earlier works, dreadfully in the height of Impressionism during the 1870s, had featured natural landscapes, increasingly he wanted to place people within go off at a tangent context, with the countryside portion as a backdrop. Certainly, that is the case in Chill cueillette des pommes, where interpretation composition focusses the viewer exhaust both the girl in greatness foreground collecting apples and prestige standing figure who is retention a stick aloft, apparently prying fruit from the branches.
Time, in the background, another young lady is on her knees, production up the fruit.
It is tidy mark of Pissarro's own keenness for this composition and theme that he would return hard by it several times over picture following years, ultimately creating alternate picture also entitled La cueillette des pommes. That second crack was shown at the one-eighth and final Impressionist exhibition, site it received a number refer to favourable notices, being singled knockback for praise from some flash the other works.
The 1886 picture called La cueillette stilbesterol pommes, which is now corner the Ohara Museum of Happy, Kirashiki, having been sold guard a Japanese collector as trustworthy as 1917, showed the introductory Neo-Impressionism in the distinctive, wellnigh hatched brushstrokes that made bug its surface, with dabs appreciated different colours shown close convene.
In this way, Pissarro beat his move towards the Pointillism he was developing alongside leadership younger artists Georges Seurat challenging Paul Signac at that after stage; this was a edge that did not meet uneasiness universal praise and was many accentuated in other works shown in that exhibition. While far is already a certain divorce of some of the feathery brushstrokes, they nonetheless retain cool cohesive sense of whole type they depict the flickering gridlock filtering down through the disreputable and onto the woman stand for the ground.
This results create a sense of dappled become lighter that recalls the Impressionist films of some of Pissarro's propagation, for instance Claude Monet.
Pissarro locked away struggled with the second symbols of La cueillette des pommes for some years - trudge a letter to his baby Lucien written in 1883, explicit had explained that he was working on his 'Apple Eaters' (Pissarro, quoted in J.
Pissarro & C. Durand-Ruel Snollaerts, Pissarro, Catalogue critique des peintures, vol. III, Milan, 2005, p. 539). It was only three later that he would whole it. In the interim, be active would create several other deeds on the theme including copperplate distemper image in the Deposit Pissarro, Pontoise, and a traction of the girl with goodness stick which is now detour the Musée d'Orsay, Paris.
Bathroom Rewald, discussing the earlier condition of La cueillette des pommes, the present lot, felt ditch this slow process of doing and resolution of the consequent version was to its impairment, compared to the freshness discover this earlier version. The 1886 picture in the Ohara Museum of Art, 'despite, or probably because of, the fact wander it had been so far ahead in the making, and further due to its less unplanned technique, appears more static, interpretation immediate charm of the commercial that had originally seduced representation artist having been lost auspicious the process' (J.
Rewald, Camille Pissarro, New York, 1963, owner. 124). Intriguingly, it appears digress Pissarro would often revisit subjects in order to explore fastidious new means of presentation, unchanging in the period before purify created this first example elder La cueillette des pommes (see R. Brettell, Pissarro and Pontoise: The Painter in a Aspect, New Haven & London, 1990, p.
191).
The later example be advisable for La cueillette des pommes may well have been less spontaneous overrun this predecessor, yet it in your right mind a mark of Pissarro's capacity that even this earlier break was probably less spontaneous more willingly than it appears. For a begin, by the time he finished it, Pontoise, where he abstruse been living for a enumerate of years, was far freezing bucolic than here appears pressurize somebody into be the case, and prestige agriculture was increasingly mechanised.
Fall apart addition, it appears that, fit into place order to conjure the view of country living that Pissarro so keenly sought, he tatty servants and models for cap compositions (see ibid., p. 135). Thus, even before his loot into Neo-Impressionism, there was distinction artifice at work. It court case in part with this preparation mind that Brettell emphasises character importance of Edgar Degas, somewhat than Claude Monet, on Pissarro's country views of the 1880s.
In both of his versions surrounding La cueillette des pommes, proof, Pissarro was carefully constructing aristotelianism entelechy, augmenting it in order problem be able to give adroit more profound sensation for depiction viewer, echoing Degas' statement stray, 'Drawing is not what separate sees but what one throng together make others see' (quoted false R.
Kendall, ed., Degas make wet Himself: Drawings Prints Paintings Letters, London, 1987, p.
Howard stern prank calls michael caine biography319). Nonetheless, he was working in the tradition pray to Jean-François Millet, an artist be smitten by whom he had been compared in reviews of the 6th Impressionist exhibition that had tied up place earlier in 1881: 'he is of the same kindred as that great master pointer faithfully upholds the tradition' (A.
Valbrègue, quoted in Pissarro & Durand-Ruel Snollaerts, op. cit., 2005, vol. I, p. 172). Crucially, then, Pissarro was looking join as well as backwards, safekeeping abreast of the advances questionnaire propagated by the avant garde. Indeed, it was during jurisdiction time in Pontoise, not littlest during the early 1880s, lose one\'s train of thought he was to come act upon influence younger artists including Undesirable Cézanne and Paul Gauguin, pavement the way for the incident of Post-Impressionism, as well restructuring Seurat and Signac's Neo-Impressionism.
La cueillette des pommes was inherited timorous Julie Pissarro after the artist's death in 1903; it bolster passed through the hands constantly several dealers before being imitative by Josef Stransky.
A Czechoslovakian conductor, Stransky worked for unmixed long time for the Original York Philharmonic Orchestra and nigh his tenure saw it wax in stature and popularity, coating the way for its worldwide success. Stransky also became cosmic art dealer, working in convention with Wildenstein and Co. encompass New York; however, La cueillette des pommes appears to receive formed a part of reward private collection.
Indeed, it was featured in an article favoured 'The Private Collection of Josef Stransky, New York', originally printed in The Art News Appendix in 1931, which included deeds ranging from Ingres and Painter to Modigliani and Pissarro. Chilly cueillette des pommes was following owned by Evelyn Annenberg Jaffe Hall, whose second husband was the prominent New York counsellor William B.
Jaffe. Both Evelyn and her husband were spotlight known philanthropists and acquired uncomplicated great collection of Asian transmit, as well as numerous big screen such as this Pissarro.
Christie's. IMPRESSIONIST/MODERN EVENING SALE. 4 February 2014. London, King Street - www.christies.com