Camille Pissarro (French, Charlotte Amalie, Saint Thomas 1830–1903 Paris)
Softground etching, aquatint, and drypoint on china paper; sixth state (per Shapiro)
sheet: 10 5/8 x 14 in. (27 x 35.6 cm)
plate: 8 11/16 x 10 9/16 in. (22 x 26.9 cm)
Rogers Fund, 1921
Not on view
Of all the Impressionist painters, Camille Pissarro was the most consistently devoted to printmaking, thanks in no small part to the encouragement of Degas. It was Degas' project to found a journal (Le Jour et la Nuit) illustrated with artists' prints that prompted Pissarro to realize this technically complex work, which reproduces in a surprisingly effective manner both the tremulous surface and densely packed composition of a then-recent painting. Its vigorous texture of monochromatic tones and accents compensates for the absence of color.
Paysage sous Bois, a L'Hermitage
Signature: graphite at lower right: C. Pissarro
Vendor: Frederick Keppel & Co.
The Metropolitan Museum of Art. "Drawings and Prints: Selections from the Permanent Collection," December 4, 1992–April 5, 2013.
Jewish Museum, New York. "Pissarro: Impressions of City and Country," September 15, 2007–February 3, 2008.
The Metropolitan Museum of Art. "Drawings and Prints: Selections from the Permanent Collection," January 12, 2009–April 12, 2009.
Delteil 16; Shapiro state vi
John Rewald, Richard Brettell, Françoise Cachin, Janine Bailly-Herzberg, Christopher Lloyd, Anne Distel, Barbara Stern Shapiro Pissarro 1830-1903. Exh. cat. English. 1980 - 1981, p. 201.
Colta Ives "French Prints in the Era of Impressionism and Symbolism." in The Metropolitan Museum of Art Bulletin. The Metropolitan Museum of Art, New York, 1988 (Summer), p. 23, ill.
Richard Shiff, Karen Levitov Camille Pissarro: Impressions of City and Country. Exh. cat., Jewish Museum, New York, September 16, 2007-February 3, 2008. New Haven, CT, 2007, cat. no. 18, ill.