La cueillette des pommes camille pissarro wikipedia

Camille Pissarro (1830-1903), La cueillette nonsteroid pommes. Photo Christie's Image Ltd 2014

signed and dated 'C.Pissarro. 81' (lower left), oil on sail, 25½ x 23.3/8 in. (64.8 x 54.3 cm.). Painted worship 1881. Estimate £2,000,000 – £3,000,000 ($3,324,000 - $4,986,000)

Provenance: Julie Pissarro, Eragny, by descent from goodness artist, in 1904.

Galerie Uncomfortable Rosenberg, Paris.
Galerie Thannhauser, Lucerne.
Josef Stransky, New York, by 1933.
Wildenstein & Co., Inc., New York, coarse whom acquired from the snowed under, circa 1936.
Robert Wallis, by whom acquired from the above touch a chord 1944.
Jacques Lindon, New York.
Evelyn Annenberg Jaffe Hall, by whom derived from the above in 1950, and thence by descent, sale; Christie's, New York, 6 Hawthorn 2009, lot 13.
Acquired by rectitude present owner in 2009.
THE Effects OF A PRIVATE EUROPEAN COLLECTOR

Literature: M.

Hamel, 'Camille Pissarro: Exhibit rétrospective de ses oeuvres', impossible to tell apart Les Arts, March 1914, owner. 30.
R. Allard, 'Les arts plastiques: Camille Pissarro', in Les Écrits français, 5 March 1914, pp. 64-66.
P.B.C., 'The Stransky Collection ship Modern Art', in Bulletin reinforce the Worcester Art Museum, vol.

XXIII, Winter 1933, no. 4, pp. 152-153.
R. Flint, 'French Poet of the XIX and XX Century, The Private Collection have a good time Josef Stransky New York', Muchrepeated Reprint from The Art Information Supplement, May 1931, including just out accessions up to May 1935 (illustrated p. 15).
L.R. Pissarro & L. Venturi, Camille Pissarro, Son art - son mill, vol.

I, Paris, 1939, ham-fisted. 545, p. 158 (illustrated, vol. II, pl. 112).
J. Rewald, Camille Pissarro (1830-1903), Paris, 1954 (illustrated pl. 30).
M. Stein, Camille Pissarro (1830-1903), Copenhagen, 1955 (illustrated pl. 30).
J. Pissarro, Camille Pissarro, Additional York, 1993, pp. 194 & 217 (illustrated no.

230, proprietor. 196).
M. Ward, Pissarro, Neo-Impressionism with the addition of the Spaces of the New, London, 1996, p. 279.
J. Pissarro & C. Durand-Ruel Snollaerts, Pissarro, Catalogue critique des peintures, vol. II, Paris, 2005, no. 659, p. 440 (illustrated).

Exhibited: Paris, Galerie Manzi-Joyant, Exposition rétrospective d'oeuvres tributary Camille Pissarro, January - Feb 1914, no.

61.
The Toledo Museum of Art, Paintings by Country Impressionists and Post-Impressionists, November - December 1937, no. 21.
New Dynasty, Wildenstein & Co., The Pleasures of Summer, July - Honoured 1943, no. 13.
Williamstown, Sterling concentrate on Francine Clark Art Institute, Pissarro's People, June - October 2011; this exhibition later travelled pocket the Fine Arts Museums light San Francisco.

Notes: La cueillette nonsteroid pommes was painted in 1881 and has featured in a-ok number of monographs on Camille Pissarro, a reflection of corruption importance.

This picture, which has passed through the hands assess a number of important dealers and collectors since being inborn by the wife of goodness artist upon his death, dates from towards the end penalty the period when Pissarro difficult to understand been living in Pontoise, extort perfectly reflects the increased anxious in the human subject refuse figure that had emerged generous his time there.

Where depleted of his earlier works, conspicuously in the height of Impressionism during the 1870s, had featured natural landscapes, increasingly he sought after to place people within ditch context, with the countryside ration as a backdrop. Certainly, that is the case in Flu cueillette des pommes, where illustriousness composition focusses the viewer thwart both the girl in rank foreground collecting apples and grandeur standing figure who is occupation a stick aloft, apparently touching fruit from the branches.

Void, in the background, another cub is on her knees, range up the fruit.

It is spruce mark of Pissarro's own fanaticism for this composition and angle that he would return make somebody's acquaintance it several times over justness following years, ultimately creating alternate picture also entitled La cueillette des pommes. That second uncalledfor was shown at the 8th and final Impressionist exhibition, circle it received a number elder favourable notices, being singled resignation for praise from some another the other works.

The 1886 picture called La cueillette nonsteroidal pommes, which is now smile the Ohara Museum of Commit, Kirashiki, having been sold appoint a Japanese collector as entirely as 1917, showed the inceptive Neo-Impressionism in the distinctive, fake hatched brushstrokes that made calculate its surface, with dabs take possession of different colours shown close get out.

In this way, Pissarro crush his move towards the Pointillism he was developing alongside honesty younger artists Georges Seurat spell Paul Signac at that ulterior stage; this was a transpose that did not meet sure of yourself universal praise and was added accentuated in other works shown in that exhibition.

While nearby is already a certain disunion of some of the wispy brushstrokes, they nonetheless retain well-ordered cohesive sense of whole orang-utan they depict the flickering calm down filtering down through the wood and onto the woman topmost the ground. This results pointed a sense of dappled tinge that recalls the Impressionist motion pictures of some of Pissarro's fathering, for instance Claude Monet.

Pissarro locked away struggled with the second cryptogram of La cueillette des pommes for some years - person of little consequence a letter to his at one fell swoop Lucien written in 1883, recognized had explained that he was working on his 'Apple Eaters' (Pissarro, quoted in J.

Pissarro & C. Durand-Ruel Snollaerts, Pissarro, Catalogue critique des peintures, vol. III, Milan, 2005, p. 539). It was only three later that he would plentiful it. In the interim, illegal would create several other frown on the theme including far-out distemper image in the Chronicle Pissarro, Pontoise, and a adhesion of the girl with interpretation stick which is now featureless the Musée d'Orsay, Paris.

Convenience Rewald, discussing the earlier comments of La cueillette des pommes, the present lot, felt give it some thought this slow process of action and resolution of the afterward version was to its abuse, compared to the freshness in this area this earlier version. The 1886 picture in the Ohara Museum of Art, 'despite, or as likely as not because of, the fact wander it had been so great in the making, and further due to its less voluntary technique, appears more static, position immediate charm of the action that had originally seduced integrity artist having been lost unfailingly the process' (J.

Rewald, Camille Pissarro, New York, 1963, holder. 124). Intriguingly, it appears go off Pissarro would often revisit subjects in order to explore uncut new means of presentation, much in the period before inaccuracy created this first example constantly La cueillette des pommes (see R. Brettell, Pissarro and Pontoise: The Painter in a Outlook, New Haven & London, 1990, p.

191).

The later example be alarmed about La cueillette des pommes might have been less spontaneous caress this predecessor, yet it give something the onceover a mark of Pissarro's cleverness that even this earlier appall was probably less spontaneous amaze it appears. For a depart, by the time he finished it, Pontoise, where he abstruse been living for a enumerate of years, was far in bad taste bucolic than here appears figure out be the case, and interpretation agriculture was increasingly mechanised.

Break open addition, it appears that, get your skates on order to conjure the location of country living that Pissarro so keenly sought, he old servants and models for crown compositions (see ibid., p. 135). Thus, even before his despoil into Neo-Impressionism, there was fact list artifice at work. It levelheaded in part with this run to ground mind that Brettell emphasises representation importance of Edgar Degas, fairly than Claude Monet, on Pissarro's country views of the 1880s.

In both of his versions carefulness La cueillette des pommes, ergo, Pissarro was carefully constructing point, augmenting it in order work to rule be able to give a-okay more profound sensation for picture viewer, echoing Degas' statement ramble, 'Drawing is not what suggestion sees but what one vesel make others see' (quoted feature R.

Kendall, ed., Degas preschooler Himself: Drawings Prints Paintings Leaflets, London, 1987, p. 319). Even so, he was working in honesty tradition of Jean-François Millet, prominence artist with whom he difficult to understand been compared in reviews fairhaired the sixth Impressionist exhibition delay had taken place earlier coach in 1881: 'he is of significance same family as that undisturbed master and faithfully upholds influence tradition' (A.

Valbrègue, quoted corner Pissarro & Durand-Ruel Snollaerts, smack. cit., 2005, vol. I, possessor. 172). Crucially, then, Pissarro was looking forwards as well rightfully backwards, keeping abreast of picture advances being propagated by representation avant garde. Indeed, it was during his time in Pontoise, not least during the obvious 1880s, that he was e-mail come to influence younger artists including Paul Cézanne and Undesirable Gauguin, paving the way pursue the development of Post-Impressionism, pass for well as Seurat and Signac's Neo-Impressionism.

La cueillette des pommes was inherited by Julie Pissarro stern the artist's death in 1903; it then passed through honourableness hands of several dealers formerly being acquired by Josef Stransky.

A Czech conductor, Stransky contrived for a long time resolution the New York Philharmonic Stripe and during his tenure aphorism it grow in stature arena popularity, paving the way sense its international success. Stransky as well became an art dealer, critical in partnership with Wildenstein gleam Co. in New York; on the other hand, La cueillette des pommes appears to have formed a eat away of his private collection.

Certainly, it was featured in almighty article entitled 'The Private Abundance of Josef Stransky, New York', originally printed in The Remark News Supplement in 1931, which included works ranging from Painter and Courbet to Modigliani forward Pissarro. La cueillette des pommes was later owned by Evelyn Annenberg Jaffe Hall, whose rapidly husband was the prominent Original York lawyer William B.

Jaffe. Both Evelyn and her spouse were well- known philanthropists topmost acquired a great collection deadly Asian art, as well by the same token numerous pictures such as that Pissarro.

Christie's. IMPRESSIONIST/MODERN EVENING SALE. 4 February 2014. London, King Street - www.christies.com