Camille Pissaro
Camille Pissarro was born in St. Thomas in Virgin Islands. A famous Fresh impressionist, Pissarro was taught and influenced by Barbizon and Corot School. ("Pissarro, Camille," 2012) It wasn't until later that Pissarro linked himself with the other impressionists and thus was portrayed in all the impressionist exhibitions. The era of the eight impressionists lasted from 1874 till 1886. From 1885 till 1890, Pissarro led a Neo-impressionist phase. Along with sharing and trying out different forms of art, Pissarro didn't back away from being an amazing teacher. He taught art to artists like Van Gogh, Cezanne and Gaugin.
The first school that Pissarro attended was at Passy near Paris during 1842 till 1847. It was his time during this school that Pissarro developed interest in drawing and going to museums. None of his parents had a link or interest in art as they were both merchants. It was in late 1840s that Pissarro came back to his home town to study with a Dutch marine artist, Fritz Melbye. A good teacher to him, Melbye traveled to Venezuela with Pissarro. It was there they both became very interested in painting nature and especially looking at the different angle of light. Even though not many paintings are available from the early works of the artists, but they are depictive of scenes from market, ports or nature. (Clement & Houze, 1999, p. 137)
The artist came back to Paris just at the same time as the l'Exposition Universele. Later, Pissarro took private classes where he was acquainted with artists like Armand Guillaumin, Cezanne and Monet. Until 1870, most of the Paintings made by Pissarro were approved at Salons every year most of the time. The Franco-Prussian War that took place from 1870-1871, Pissarro's house was damaged by the Prussian troops. This led to many of his work's being destroyed. It also led to him fleeing to London and later settling in Pontoise in 1872.
As mentioned earlier, he specifically took lessons from Corot. Nonetheless, his other teachers included Jean-Francois Millet, Courbet, Charles-Francois and Daubigny as well. Pissarro, however, found the teaching method by these teachers very organized and stifling. Corot told him to expand his reach and thus go beyond with what the salon wanted. (Rewald, 1989)
Since salon was an official institution, the tradition or culture at the time took control of what it would display. Back then in Paris, the Salon was the only place where amateur artists could spread the news about their work. People would come look at their work and appreciate it. Just to get his paintings into the exhibition, Pissarro went onto make them just like the committee wanted it to be. Even though during that time Pissarro made painting that made it to the exhibition, his other work was influenced by Corot. Both the artists were fond of nature and country side scenes from nature thus they both went on to work on that more closely. Thus it can be stated that Corot was one of the major inspirations for Pissarro to turn his attention to outdoor scenery painting. Along with Corot, his landscape love was also influenced by Chintreuil, Courbet, and Daubigny. (Clement & Houze, 1999, p. 138)
Even though Pissarro's own studio was in Paris, he chose to reside in areas way from the city. The rural areas that he lived in Pontoise, Louveciennes, La Roch-Guyon, Varrene-Saint-Maur, and Montmorency. Pissarro was introduced to Julie Vellay in 1860 and he got married to her in London in 1871. They both had eight children together. (Clement & Houze, 1999, p. 137) Pissarro was an artist who kept shifting. That is quite evident from the fact that after Pontoise, he went onto the village of Osny in 1882 and then in 1884, he went on to reside in Normandy. In Normandy, Pissarro purchased a huge house, which he transformed the barn into a studio where he worked. Subsequent to discovering Neo-impressionism, Pissarro went on to bring Seurat, Signac and his own son, Lucien into the finale exhibition in May, 1886. Pissarro wouldn't take any heed in presenting the new group as "Scientific Impressionists." (Clement & Houze, 1999, pg 138).
Even though he kept shifting styles, Pissarro's work has been appreciated throughout the decades. The Ashmolean Museum in Oxford has the most precious and noted pieces of his work. Along with painting, Pissarro was an acknowledged Draughtsman as well....
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