Background

Ethnicity: Father was a French citizen of Portuguese Jewish descent, and his mother was Creole.

Camille Pissarro was born Jacob Abraham Camille Pissarro in Saint-Thomas, Virgin Islands, on July 10, 1830 to a Jewish French father, whose name was Frederick. He was of Portuguese origin and had settled in Danish colony of the West Indies a few years earlier. His mother named Rachel Manzano-Pomie was a native of Danish Antilles. The marriage caused a stir within St. Thomas' small Jewish community because she was previously married to Frederick's uncle and according to Jewish law a man is forbidden from marrying his aunt.

Education

When Camille was twelve his father sent him to boarding school in France. He studied at the Savary Academy in Passy near Paris. While a young student, he developed an early appreciation of the French art masters. Monsieur Savary himself gave him a strong grounding in drawing and painting and suggested he draw from nature when he returned to St. Thomas, which he did when he was seventeen. However, his father preferred he work in his business, giving him a job working as a cargo clerk. He took every opportunity during those next five years at the job to practise drawing during breaks and after work.

He also enrolled in various classes taught by masters, at schools such as École des Beaux-Arts and Académie Suisse.

Career

When Pissarro turned twenty-one, Danish artist Fritz Melbye, then living on St. Thomas, inspired him to take on painting as a full-time profession, becoming his teacher and friend. Pissarro then chose to leave his family and job and live in Venezuela, where he and Melbye spent the next two years working as artists in Caracas and La Guaira. He drew everything he could, including landscapes, village scenes, and numerous sketches, enough to fill up multiple sketchbooks. In 1855 he moved back to Paris where he began working as assistant to Anton Melbye, Fritz Melbye's brother.

In Salon exhibits of 1865 and 1866, Pissarro acknowledged his influences from Melbye and Corot, whom he listed as his masters in the catalogue. But in the exhibition of 1868 he no longer credited other artists as an influence, in effect declaring his independence as a painter.

In the late 1860s or early 1870s, Pissarro became fascinated with Japanese prints, which influenced his desire to experiment in new compositions.

The Franco-Prussian War of 1870-71 compelled Pissarro to flee his home in Louveciennes in September 1870; he returned in June 1871 to find that the house, and along with it many of his early oil paintings, had been destroyed by Prussian soldiers. Initially his family was taken in by a fellow artist in Montfoucault, but by December 1870 they had taken refuge in London and settled at Westow Hill in Upper Norwood (today better known as Crystal Palace). A Blue Plaque now marks the site of the house on the building at 77a Westow Hill.

Through the oil paintings Pissarro completed at this time, he records Sydenham and the Norwoods at a time when they were just recently connected by railways, but prior to the expansion of suburbia. One of the largest of these oil paintings is a view of St. Bartholomew's Church at Lawrie Park Avenue, commonly known as The Avenue, Sydenham, in the collection of the London National Gallery. Twelve oil paintings date from his stay in Upper Norwood and are listed and illustrated in the catalogue raisonne prepared jointly by his fifth child Ludovic-Rodolphe Pissarro and Lionello Venturi and published in 1939. These oil paintings include Norwood Under the Snow, and Lordship Lane Station, views of The Crystal Palace relocated from Hyde Park, Dulwich College, Sydenham Hill, All Saints Church, and a lost painting of St. Stephen's Church.

Whilst in Upper Norwood Pissarro was introduced to the art dealer Paul Durand-Ruel, who bought two of his 'London' oil paintings. Durand-Ruel subsequently became the most important art dealer of the new school of French Impressionism.

Returning to France, in 1890 Pissarro again visited England and painted some ten scenes of central London. He came back again in 1892, painting in Kew Gardens and Kew Green, and also in 1897, when he produced several oils of Bedford Park, Chiswick. For more details of his British visits, see Nicholas Reed, "Camille Pissarro at Crystal Palace" and "Pissarro in West London", published by Lilburne Press.

Pissarro painted rural and urban French life, particularly landscapes in and around Pontoise, as well as scenes from Montmartre. His mature work displays an empathy for peasants and laborers, and sometimes evidences his radical political leanings. He was a mentor to Paul Cezanne, Edouard Manet , Pierre-Auguste Renoir, and Paul Gauguin and his example inspired many younger artists, including Californian Impressionist Lucy Bacon.

By the 1880s, Pissarro moved into a Postimpressionist period, returning to some of his earlier themes and exploring new techniques such as pointillism. He forged new friendships with artists including Georges Seurat and Paul Signac, and was an early admirer of Vincent van Gogh.

In March 1893, in Paris, Gallery Durand-Ruel organized a major exhibition of 46 of Pissarro's works along with 55 others by Antonio de La Gandara. But while the critics acclaimed Gandara, their appraisal of Pissarro's art was less enthusiastic.

Pissarro died in Paris on 13 November 1903 and was buried in Pere Lachaise Cemetery.

Achievements

• Pissarro's influence on his fellow Impressionists is probably still underestimated; not only did he offer substantial contributions to Impressionist theory, but he also managed to remain on friendly, mutually respectful terms with such difficult personalities as Edgar Degas, Cezanne and Gauguin. Pissarro exhibited at all eight of the Impressionist exhibitions. Moreover, whereas Claude Monet was the most prolific and emblematic practitioner of the Impressionist style, Pissarro was nonetheless a primary developer of Impressionist technique.

Works

More photos

• painting

  • Landscape with House in the Woods in Saint Thomas, Antilles

  • Pink Peonies

  • The Effect of Snow at Hermitage

  • Landscape at Pontoise 2

  • Female Peasant Carding Wool

  • Still Life with Apples and Pitcher

  • The Potato Harvest

  • The Seine at Marly

  • Village Corner

  • The Cabbage Field, Pontoise

  • The Road

  • In the Woods

  • Apples Trees at Pontoise

  • Riverbanks in Pontoise

  • Village Church

  • Lower Norwood

  • L'Hermitage at Pontoise

  • Road in Port Maryl

  • The haystack, Pontoise

  • Ducks on the Pond at Montfoucault

  • Spring at Pontoise

  • View of l'Hermitage, Jallais Hills, Pontoise

  • The Banks of the Seine in Paris, Pont Marie, Quai d'Anjou

  • Landscape, Varenne Saint Hilaire

  • Snow at the Hermitage, Pontoise

  • A part of Groettes, Pontoise, Gray Weather

  • Two Woman Chatting by the Sea, St. Thomas

  • Landscape with Factory

  • Antilian Landscape, St. Thomas

  • Banks of a River with Barge

  • View of Pontoise

  • White Horse on a Farm

  • Study for 'All Saints' Church, Upper Norwood'

  • Barges at Le Roche Guyon

  • Landscape at l'Hermitage

  • Farm at Montfoucault 2

  • Louveciennes

  • March Sun, Pontoise

  • Pontoise, Les Mathurins

  • Dulwich College, London

  • Pontoise banks of the Oise

  • Portrait of Pere Papeille, Pontoise

  • St. Stephen's Church, Lower Norwood

  • Piette's Home on Montfoucault

  • The Pond at Montfoucault

  • Landscape at Le Varenne Saint Hilaire

  • Peasant Pushing a Wheelbarrow, Maison Rondest, Pontoise

  • Street Winter Sunlight and Snow

  • Lane of Apple Trees near Osny, Pontoise

  • The Louveciennes Road

  • Mother Presle, Montfoucault

  • Entering the Forest of Marly (Snow Effect)

  • The Banks of the Seine at Bougival

  • Road to Racquencourt

  • Landscape with Small Stream

  • Near Sydenham Hill, Looking towards Lower Norwood

  • Orchards at Louveciennes

  • Male and Female Peasants on a Path Crossing the Countryside

  • Boulevard des Fosses. Pontoise

  • Portrait of Madame Felicie Vellay Estruc

  • Upper Norwood, Crystal Palace, London

  • The Banks of the Oise at Pontoise

  • The House in the Fields, Rueil

  • The Effect of Snow at l'Hermitage, Pontoise

  • Village at the Foot of a Hill in Saint Thomas, Antilles

  • Pontoise, the Road to Gisors in Winter

  • Landscape with Flooded Fields

  • Portrait of Monsieur Louis Estruc

  • Landscape near Louveciennes 2

  • A part of Jallais, Pontoise

  • Autumn, Montfoucault Pond

  • Sunset

  • The Maidservant

  • The Road from Versalles to Saint Germain at Louveciennes

  • The Hermitage at Pontoise

  • Snow at Montfoucault

  • Rolling Landscape in Winter

  • The Avenue, Sydenham

  • Path of Hermitage at Pontoise

  • Landscape at Louveciennes

  • Portrait of Jeanne

  • Chestnut Trees at Osny

  • Stagecoach to Louveciennes

  • Mother Jolly

  • A Square in La Roche Guyon

  • Wash House at Bougival

  • The bohemian's wagon

  • The Harvest

  • The street of Hermitage, Pontoise

  • A Cowherd on the Route de Chou, Pontoise

  • Self Portrait

  • Mountain Landscape at Saint Thomas, Antilles (unfinished)

  • The Seine at Port Marly

  • Landscape, Bright Sunlight, Pontoise

  • Chestnut Trees at Louveciennes

  • Haymaking

  • Landscape under Snow, Upper Norwood

  • Louviciennes

  • Outskirts of Louveciennes

  • Landscape with a Cowherd

  • The House in the Forest

  • Portrait of Paul Cezanne

  • Bourgeois House in l'Hermitage, Pontoise

  • Landscape with Figures by a River

  • The Versailles Road at Louveciennes

  • View of Pontoise: Quai au Pothuis

  • Landscape near Louveciennes

  • Chestnut Orchard in Winter

  • Kitchen Gardens at l'Hermitage, Pontoise

  • Chestnut Trees, Louveciennes, Winter

  • The Road to Louveciennes at the Outskirts of the Forest

  • Landscape at Louveciennes

  • A Road in Louveciennes

  • The Court House, Pontoise

  • In the Woods

  • Entrance to the Village of Voisins, Yvelines

  • Resting Harvesters, Montfoucault

  • The Road to L'Hermitage in Snow

  • The Pine Trees of Louveciennes

  • June Morning, View over the Hills over Pontoise

  • The street of the Citadelle, Pontoise

  • Village Street, Auvers-sur-Oise

  • The Telegraph Tower at Montmartre

  • Thaw, Pontoise

  • Jeanne Holding a fan

  • The Red House

  • Study for The Banks of Marne in Winter

  • The Countryside in the Vicinity of Conflans Saint Honorine

  • Town Garden in Pontoise

  • Louveciennes Road Snow Effect

  • Laundress on the Banks of the River

  • Barges on Pontoise

  • Spring Morning, Pontoise

  • The Forest

  • Hoarfrost

  • The Road to Versailles at Louveciennes

  • Louveciennes

  • Woman Carrying a Pitcher on Her Head

  • Banks of the river Marne in winter

  • Road to Saint Germain, Louveciennes

  • September Fete, Pontoise

  • Still Life

  • The Marne at Chennevieres

  • The Factory

  • The Crystal Palace, London

  • Apples and Pears in a Round Basket

  • The road

  • A Street in l'Hermitage, Pontoise

  • Chrysanthemums In a Chinese Vase

  • La Varenne de St. Hilaire

  • Chestnut Trees, Louveciennes, Spring

  • Poor footpath, Pontoise, snow effect

  • A Creek in Saint Thomas, Antilles

  • Donkey Ride at La Roche-Guyon

  • Landscape with Rocks, Montfoucault

  • The Goose Girl at Montfoucault, White Frost

  • Ploughland

  • Pontoise Dam

  • Sunlight on the Road Pontoise

  • Street in the Snow, Louveciennes

  • View of Marly le Roi

  • Girl Tending a Cow in Pasture

  • Lucien Pissarro in an Interior

  • Lordship Lane Station, Dulwich

  • Farmyard

  • View of l'Hermitage at Pontoise

  • Apple Trees at Pontoise

  • A Village through the Trees

  • Half Length Portrait of Lucien Pissarro

  • Landscape at Pontoise

  • Orchard in Blossom, Louveciennes

  • Misty Morning at Creil

  • Street Snow Effect

  • L'Hermitage, Pontoise Snow Effect

  • Trees on a Hill, Autumn, Landscape in Louveciennes

  • The Gardens of l'Hermitage, Pontoise

  • The House of Monsieur Musy, Louveciennes

  • Study for 'La Batterie a Montfoucault'

  • Kitchen Garden at the Hermitage, Pontoise

  • Farmyard in Pontoise

  • Peasants Carrying Straw, Montfoucault

  • Portrait of Jeanne Rachel (Minette)

  • The Road from Versailles to Saint Germain, Louveciennes. Snow Effect

  • Carriage on a Country Road, Winter, Outskirts of Louveciennes

  • The Lock at Pontoise

  • Farm at Montfoucault

  • Landscape with Strollers Relaxing under the Trees

  • Bridge at Montfoucault

  • Landscape With A White Horse In A Field, L'Ermitage

  • Pere Gallien's House at Pontoise

  • The Wood Cart

  • All Saints' Church, Upper Norwood

  • The Banks of the Marne at Cennevieres

  • Bouquet of Flowers

  • Entering a Village

  • Autumn Landscape, near Pontoise

  • The Railroad Crossing at Les Patis

  • The froggybog at Bougival

  • Road from Osny to Pontoise, Hoar Frost

Politics

By his political views Pissarro was a convinced anarchist. Regularly gave money on anarchist publications and to the anarchists in France and Belgium.

Views

Quotations: "Blessed are they who see beautiful things in humble places where other people see nothing."

"Everything is beautiful, all that matters is to be able to interpret."

Personality

He was known for his balanced, kind, and warmhearted personality.

Quotes from others about the person

• Paul Cezanne said: "He was a father for me. A man to consult and a little like the good Lord".

Connections

In 1871 he married his mother's maid, Julie Vellay, a vineyard grower's daughter, with whom he would later have seven children. They lived outside Paris in Pontoise and later in Louveciennes, both of which places inspired many of his paintings including scenes of village life, along with rivers, woods, and people at work.

Father:

Frédéric Abraham Gabriel Pissarro

Mother:

Rachel Manzano-Pomié Petit

Spouse:

Julie Vellay

Son:

Lucien Pissarro

Friend:

Paul Cézanne

References

• Camille Pissarro : Le premier des impressionnistes
• CAMILLE PISSARRO