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1830-1903 • French • Painter • Realist/Impressionist / Neo-Impressionist
"Decided we no longer understand each other." - Pissarro
The senior member of the Impressionist group, Pissarro venerated the tradition of NATURALISM and the solidity of MILLET's art. But he did not support the retrospective values held by William MORRIS and others whom his own son, Lucien, admired and followed. It was to Lucien that, when he was 70, Pissarro wrote the words quoted above. Born in the Virgin Islands, the son of a French Jewish merchant, for a time Camille Pissarro took up the family business. After deciding to become an artist, he returned to France, where he had at tended boarding school, and lived at the edge of poverty until he was well over. Because of Pissarro's sympathy for socialist causes, RENOIR refused to exhibit with him. He was close to SEURAT and SIGNAC. CEZANNE admired Pissarro more than any other of his contemporaries, and GAUGUIN was indebted to him. In the 1870s Pissarro's brushwork became more broken in the Impressionist mode, and in the mid-1870s he turned, for a few years, toward POINTILLISM. His greatest differences with the Impressionist conventions had to do with subject and intention rather than with style: Socialism and anarchism underlie his choice of painting views of rural and urban landscapes rather than the racetracks, the restaurants, and other leisure activities of the SECOND EMPIRE painted by DEGAS and Renoir, for example. Not only were Pissarro's landscapes more sober, but from 1897 to 1903 he also painted a series of city scenes looking down from the vantage points of various buildings. In these pictures people are reduced to antlike blots, as much a social commentary as an artistic observation of city life. One of Pissarro's fans was Emile Zola, who wrote about The Banks of the Marne in Winter (1866), a work Pissarro managed to exhibit at the SALON, "M. Pissarro is an unknown artist, whom no one will likely mention . . . . This [picture] is no feast for the eyes. It is an austere and serious painting, showing an extreme concern for the truth and correctness, a bleak and strong will. What a clumsy fellow you are, sir-you are the one artist I like."