The Rue de l'Hermitage, Pontoise

COLLECTION NAME:

The AMICA Library

mediaCollectionId

AMICO~1~1

The AMICA Library

Collection

true

AMICA ID:

DMA_.1985.R.45

amicoid

DMA_.1985.R.45

AMICA ID

false

AMICA Library Year:

2003

aly

2003

AMICA Library Year

false

Object Type:

Paintings

oty

Paintings

Object Type

false

Creator Name:

Pissarro, Camille

crn

Pissarro, Camille

Creator Name

false

Creator Dates/Places:

French, 1830 - 1903

cdt

French, 1830 - 1903

Creator Dates/Places

false

Creator Name-CRT:

Camille Pissarro

crt

Camille Pissarro

Creator Name-CRT

false

Title:

The Rue de l'Hermitage, Pontoise

otn

The Rue de l'Hermitage, Pontoise

Title

false

View:

Full View

rid

Full View

View

false

Creation Date:

1873-1875

oct

1873-1875

Creation Date

false

Creation Start Date:

1873

ocs

1873

Creation Start Date

false

Creation End Date:

1875

oce

1875

Creation End Date

false

Materials and Techniques:

Watercolor, pencil, gouache, wove paper

omd

Watercolor, pencil, gouache, wove paper

Materials and Techniques

false

Dimensions:

Unmeasured

met

Unmeasured

Dimensions

false

AMICA Contributor:

Dallas Museum of Art

oon

Dallas Museum of Art

AMICA Contributor

false

Owner Location:

Dallas, Texas, USA

oop

Dallas, Texas, USA

Owner Location

false

ID Number:

1985.R.45

ooa

1985.R.45

ID Number

false

Credit Line:

Dallas Museum of Art, The Wendy and Emery Reves Collection

ooc

Dallas Museum of Art, The Wendy and Emery Reves Collection

Credit Line

false

Rights:

http://www.DallasMuseumofArt.org

orl

<a href="http://www.DallasMuseumofArt.org"target="_new">http://www.DallasMuseumofArt.org</a>

Rights

false

Context:

This previously unpublished watercolor is unique in Pissarro's career, as it is the only watercolor depicting the rue de l'Hermitage, on which Pissarro lived with his family throughout much of the 1970s. Pissarro painted the street seven times, and one pencil drawing also survives. Neither the drawing nor the watercolor relates in any direct way to a painting, clearly indicating that for Pissarro in the early and mid-1870s each work of art was made independently, rather than in the traditional hierarchy of drawing, watercolor, oil sketch, and "finished" painting.Stylistic evidence suggests that this watercolor was made in the early or mid-1870s, when Pissarro concentrated on street scenes with balanced architectural masses. The interplay of red, green, and blue and the contrast of large areas of white and dark give the work a visual strength that belies its small size. It was made in a medium that Pissarro used throughout his life but that, curiously, was without a particularly distinguished history in French art. Watercolor is considered today, as it was in the 19th century, a quintessentially English medium, whose greatest single adherent was Turner. Pissarro had been able to study English watercolors on several occasions by 1873-1875, when he made this study of the rue de l'Hermitage. When we look at this masterful watercolor and think about the importance of the medium to Pissarro's great pupil and colleague, Paul Cézanne, with whom he was working when he completed this sheet, it is easier to give back to the medium its French history.The pencil initials at the lower right indicate that Pissarro himself considered this sheet to be "finished.""Impressionist Paintings, Drawings, and Sculpture from the Wendy and Emery Reves Collection," page 55

cxd

This previously unpublished watercolor is unique in Pissarro's career, as it is the only watercolor depicting the rue de l'Hermitage, on which Pissarro lived with his family throughout much of the 1970s. Pissarro painted the street seven times, and one pencil drawing also survives. Neither the drawing nor the watercolor relates in any direct way to a painting, clearly indicating that for Pissarro in the early and mid-1870s each work of art was made independently, rather than in the traditional hierarchy of drawing, watercolor, oil sketch, and "finished" painting.Stylistic evidence suggests that this watercolor was made in the early or mid-1870s, when Pissarro concentrated on street scenes with balanced architectural masses. The interplay of red, green, and blue and the contrast of large areas of white and dark give the work a visual strength that belies its small size. It was made in a medium that Pissarro used throughout his life but that, curiously, was without a particularly distinguished history in French art. Watercolor is considered today, as it was in the 19th century, a quintessentially English medium, whose greatest single adherent was Turner. Pissarro had been able to study English watercolors on several occasions by 1873-1875, when he made this study of the rue de l'Hermitage. When we look at this masterful watercolor and think about the importance of the medium to Pissarro's great pupil and colleague, Paul Cézanne, with whom he was working when he completed this sheet, it is easier to give back to the medium its French history.The pencil initials at the lower right indicate that Pissarro himself considered this sheet to be "finished.""Impressionist Paintings, Drawings, and Sculpture from the Wendy and Emery Reves Collection," page 55

Context

false

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The Rue de l'Hermitage, Pontoise