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CAMILLE PISSARRO (1830-1903) Saint-Martin, près de Gisors signed and dated “C. Pissarro 1885” (l...

Currency:USD Category:Everything Else / Other Start Price:NA Estimated At:600,000.00 - 800,000.00 USD
CAMILLE PISSARRO (1830-1903) Saint-Martin, près de Gisors signed and dated “C. Pissarro 1885” (l...

CAMILLE PISSARRO

(1830-1903)

Saint-Martin, près de Gisors

signed and dated “C. Pissarro 1885” (lower right)

oil on canvas

38.4 x 46.2 cm (15 1⁄8 x 18 1⁄4 in.)

painted in 1885

Estimate: £420,000–550,000

$600,000–800,000




Provenance

Dr. George Viau, Paris (sale: Galerie Durand-Ruel, Paris, March 4, 1907, lot 52)

Gabrielle Oppenheim-Errera, Princeton (by 1939; estate sale: Christie’s, New York, November 11, 1997, lot 106)

Acquired at the above sale by the present owner




Exhibited

Princeton, University Art Museum, April 1989-September 1997 (on loan)




Literature

Ludovic-Rodo Pissarro and Lionello Venturi, Camille Pissarro, son Art – son Oeuvre, Paris, 1939, vol. I, p. 176, no. 675; vol. II, pl. 139 (illustrated)


<p>After living and painting in the Pontoise region for well over a decade, Camille Pissarro moved to Eragny, near Gisors, in 1884. A small village on the banks of the River Epte, Eragny offered Pissarro an escape from the damp climate of Pontoise, as well as a larger home for his growing family. As the present work attests, this relocation also marked a significant turning point in Pissarro’s artistic development. Saint-Martin, près de Gisors certainly demonstrates the remarkable maturity of Pissarro’s Impressionism, a movement he helped define and consolidate throughout the 1870s. Yet the painting also betrays the artist’s restless exploration of new stylistic avenues in the mid-1880s, specifically that of Neo-Impressionism. Writing from Gisors in 1885, Pissarro mentioned the exciting changes in his work to his dealer, Paul Durand-Ruel. “I have worked a great deal in Gisors. Unfortunately the changeable weather is making me ill with impatience. I was not able to finish certain most interesting and above all very difficult motifs as I would have wanted to. I am all the more downcast that I can’t complete these studies because at present I am caught up in a transformation, and impatiently hoping for some kind of a result” (Cited in Christoph Becker, “Camille Pissarro, Impressionist Artist,” Camille Pissarro, exh. cat., Stuttgart, Staatsgalerie, 1999, p. 103).