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citizens. However, she was "fired up with the cause" of promoting
Impressionism and looked forward to exhibiting "out of solidarity with her new friends". Towards the end of the 1890s she began to distance herself from the Impressionists, avoiding Degas at times as she did not have the strength to defend herself against his "wicked tongue". Instead, she came to prefer the company of "the gentle Camille Pissarro", with whom she could speak frankly about the changing attitudes toward art. She once described him as a teacher "that could have taught the stones to draw correctly."
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543:. What they shared in common was their dissatisfaction with the dictates of the Salon. CĂ©zanne's work had been mocked at the time by the others in the school, and, writes Rewald, in his later years CĂ©zanne "never forgot the sympathy and understanding with which Pissarro encouraged him." As a part of the group, Pissarro was comforted from knowing he was not alone, and that others similarly struggled with their art.
1130:"Having tried this theory for four years and having then abandoned it ... I can no longer consider myself one of the neo-impressionists ... It was impossible to be true to my sensations and consequently to render life and movement, impossible to be faithful to the effects, so random and so admirable, of nature, impossible to give an individual character to my drawing, I had to give up."
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together. One writer noted that with his prematurely grey beard, the forty-three-year-old
Pissarro was regarded as a "wise elder and father figure" by the group. Yet he was able to work alongside the other artists on equal terms due to his youthful temperament and creativity. Another writer said of him that "he has unchanging spiritual youth and the look of an ancestor who remained a young man".
1216:, who also studied under him, referred to Pissarro "as a force with which future artists would have to reckon". Art historian Diane Kelder notes that it was Pissarro who introduced Gauguin, who was then a young stockbroker studying to become an artist, to Degas and CĂ©zanne. Gauguin, near the end of his career, wrote a letter to a friend in 1902, shortly before Pissarro's death:
1102:, as a boarder in his home. Lucien Pissarro wrote that his father was impressed by Van Gogh's work and had "foreseen the power of this artist", who was 23 years younger. Although Van Gogh never boarded with him, Pissarro did explain to him the various ways of finding and expressing light and color, ideas which he later used in his paintings, notes Lucien.
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Jewish community because she was previously married to
Frederick's uncle and according to Jewish law a man is forbidden from marrying his aunt. In subsequent years his four children attended the all-black primary school. Upon his death, his will specified that his estate be split equally between the synagogue and St. Thomas' Protestant church.
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because he painted what he saw: "rutted and edged hodgepodge of bushes, mounds of earth, and trees in various stages of development." According to one source, such details were equivalent to today's art showing garbage cans or beer bottles on the side of a street. This difference in style created disagreements between
Pissarro and Corot.
363:. Mirzoeff states, "A formal analysis suggests that work influenced the young Pissarro, who had just returned to the island from his school in France. Soon afterward, Pissarro began his own drawings of the local African population in apparent imitation of Sawkins," creating "sketches for a postslavery imagination."
1066:, both of whom relied on a more "scientific" theory of painting by using very small patches of pure colours to create the illusion of blended colours and shading when viewed from a distance. Pissarro then spent the years from 1885 to 1888 practising this more time-consuming and laborious technique, referred to as
448:, the official body whose academic traditions dictated the kind of art that was acceptable. The Salon's annual exhibition was essentially the only marketplace for young artists to gain exposure. As a result, Pissarro worked in the traditional and prescribed manner to satisfy the tastes of its official committee.
864:." Armand Silvestre, a critic, went so far as to call Pissarro "basically the inventor of this painting"; however, Pissarro's role in the Impressionist movement was "less that of the great man of ideas than that of the good counselor and appeaser ..." "Monet ... could be seen as the guiding force."
735:, which confirmed their belief that their style of open air painting gave the truest depiction of light and atmosphere, an effect that they felt could not be achieved in the studio alone. Pissarro's paintings also began to take on a more spontaneous look, with loosely blended brushstrokes and areas of
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beginning in 1872. He recalls that CĂ©zanne walked a few miles to join
Pissarro at various settings in Pontoise. While they shared ideas during their work, the younger CĂ©zanne wanted to study the countryside through Pissarro's eyes, as he admired Pissarro's landscapes from the 1860s. CĂ©zanne, although
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But the change also added to
Pissarro's continual financial hardship which he felt until his 60s. His "headstrong courage and a tenacity to undertake and sustain the career of an artist", writes Joachim Pissarro, was due to his "lack of fear of the immediate repercussions" of his stylistic decisions.
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To assist in that endeavour, in 1873 he helped establish a separate collective, called the "Société Anonyme des
Artistes, Peintres, Sculpteurs et Graveurs," which included fifteen artists. Pissarro created the group's first charter and became the "pivotal" figure in establishing and holding the group
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During this period
Pissarro began to understand and appreciate the importance of expressing on canvas the beauties of nature without adulteration. After a year in Paris, he therefore began to leave the city and paint scenes in the countryside to capture the daily reality of village life. He found the
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After his schooling, Pissarro returned to St. Thomas at the age of sixteen or seventeen, where his father advocated
Pissarro to work in his business as a port clerk. Nevertheless, Pissarro took every opportunity during those next five years at the job to practice drawing during breaks and after work.
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Corot would complete his paintings back in his studio, often revising them according to his preconceptions. Pissarro, however, preferred to finish his paintings outdoors, often at one sitting, which gave his work a more realistic feel. As a result, his art was sometimes criticised as being "vulgar,"
1658:. His work has been featured in exhibitions in Europe and the United States, and he was commissioned by the White House in 1959 to paint a portrait of U.S. President Dwight Eisenhower. He now lives and paints in Donegal, Ireland, with his wife Corinne also an accomplished artist and their children.
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In his older age
Pissarro suffered from a recurring eye infection that prevented him from working outdoors except in warm weather. As a result of this disability, he began painting outdoor scenes while sitting by the window of hotel rooms. He often chose hotel rooms on upper levels to get a broader
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planned a journal of their original prints in the late 1870s, a project that nevertheless came to nothing when Degas withdrew. Art historian and the artist's great-grandson Joachim Pissarro notes that they "professed a passionate disdain for the Salons and refused to exhibit at them." Together they
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Pissarro agreed with the group about the importance of portraying individuals in natural settings, and expressed his dislike of any artifice or grandeur in his works, despite what the Salon demanded for its exhibits. In 1863 almost all of the group's paintings were rejected by the Salon, and French
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descent and held French nationality. His mother was from a French-Jewish family from St. Thomas. His father was a merchant who came to the island from France to deal with the hardware store of a deceased uncle, Isaac Petit, and married his widow. The marriage caused a stir within St. Thomas's small
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During the early 1930s throughout Europe, Jewish owners of numerous fine art masterpieces found themselves forced to give up or sell off their collections for minimal prices due to anti-Jewish laws created by the new Nazi regime. Many Jews were forced to flee Germany starting in 1933, and then, as
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When Pissarro returned to his home in France after the war, he discovered that of the 1,500 paintings he had done over 20 years, which he was forced to leave behind when he moved to London, only 40 remained. The rest had been damaged or destroyed by the soldiers, who often used them as floor mats
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In subsequent 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. This was
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Cassatt had befriended Degas and Pissarro years earlier when she joined Pissarro's newly formed French Impressionist group and gave up opportunities to exhibit in the United States. She and Pissarro were often treated as "two outsiders" by the Salon since neither were French or had become French
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had called Pissarro the "most real and most naive member" of the Impressionist group. His work has also been described by art historian Diane Kelder as expressing "the same quiet dignity, sincerity, and durability that distinguished his person." She adds that "no member of the group did more to
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In later years, CĂ©zanne also recalled this period and referred to Pissarro as "the first Impressionist". In 1906, a few years after Pissarro's death, CĂ©zanne, then 67 and a role model for the new generation of artists, paid Pissarro a debt of gratitude by having himself listed in an exhibition
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The manner of painting was too sketchy and looked incomplete, especially compared to the traditional styles of the period. The use of visible and expressive brushwork by all the artists was considered an insult to the craft of traditional artists, who often spent weeks on their work. Here, the
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filed a restitution claim which resulted in years of court battle. The lawsuit resulted in the recognition of Meyer's ownership and its transfer to France for five years, coupled with an agreement to shuttle the painting back and forth between Paris and Oklahoma every three years after that.
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By the 1880s, Pissarro began to explore new themes and methods of painting to break out of what he felt was an artistic "mire". As a result, Pissarro went back to his earlier themes by painting the life of country people, which he had done in Venezuela in his youth. Degas described Pissarro's
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In addition, his work was strong enough to "bolster his morale and keep him going", he writes. His Impressionist contemporaries, however, continued to view his independence as a "mark of integrity", and they turned to him for advice, referring to him as "PĂšre Pissarro" (father Pissarro).
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Camille Pissarro is a pivotal character in the historical fiction novels, The Dream Collector, Books I & II by R.w. Meek, depicting his major role among the Impressionists and his open-mindedness toward the Post-Impressionist art of George Seurat, Paul Gauguin and Vincent van Gogh.
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owned valuables, including artwork, they were often sold to finance the Nazi war effort, sent to Hitler's personal museum, traded or seized by officials for personal gain. Several artworks by Pissarro were looted from their Jewish owners in Germany, France and elsewhere by the Nazis.
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All four works were considered an "exception" to the eighth exhibition. Joachim Pissarro notes that virtually every reviewer who commented on Pissarro's work noted "his extraordinary capacity to change his art, revise his position and take on new challenges." One critic writes:
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Pissarro explained the new art form as a "phase in the logical march of Impressionism", but he was alone among the other Impressionists with this attitude, however. Joachim Pissarro states that Pissarro thereby became the "only artist who went from Impressionism to
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on the other hand, writes, "Camille Pissarro has been a revolutionary through the revitalized working methods with which he has endowed painting". According to Rewald, Pissarro had taken on an attitude more simple and natural than the other artists. He writes:
1398:. In January 2011 the Spanish government denied a request by the US ambassador to return the painting. At the subsequent trial in Los Angeles, the court ruled that the Thyssen-Bornemisza Collection Foundation was the rightful owner. In 1999, Pissarro's 1897
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Pissarro is the only artist to have shown his work at all eight Paris Impressionist exhibitions, from 1874 to 1886. He "acted as a father figure not only to the Impressionists" but to all four of the major Post-Impressionists, CĂ©zanne, Seurat, Gauguin, and
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However, in 2020 Meyer filed suit in a French court to challenge the accord. After Fred Jones Jr Museum sued Meyer requesting heavy financial penalties, the Holocaust survivor abandoned her effort to recover the Pissarro, saying, "I have no other choice.
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1654:(dit Pomié), was born in 1935 in the western section of Paris, Neuilly-sur-Seine, and began to draw and paint as a young child under his father's tutelage. During his adolescence and early twenties he studied the works of the great masters at the
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677:, both of which places inspired many of his paintings including scenes of village life, along with rivers, woods, and people at work. He also kept in touch with the other artists of his earlier group, especially Monet, Renoir, CĂ©zanne, and
1220:"If we observe the totality of Pissarro's work, we find there, despite fluctuations, not only an extreme artistic will, never belied, but also an essentially intuitive, purebred art ... He was one of my masters and I do not deny him."
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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.
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He soon reestablished his friendships with the other Impressionist artists of his earlier group, including CĂ©zanne, Monet, Manet, Renoir, and Degas. Pissarro now expressed his opinion to the group that he wanted an alternative to the
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965:"Rather than glorifyingâconsciously or notâthe rugged existence of the peasants, he placed them without any 'pose' in their habitual surroundings, thus becoming an objective chronicler of one of the many facets of contemporary life."
498:"Work at the same time upon sky, water, branches, ground, keeping everything going on an equal basis and unceasingly rework until you have got it. Paint generously and unhesitatingly, for it is best not to lose the first impression."
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French countryside to be "picturesque," and worthy of being painted. It was still mostly agricultural and sometimes called the "golden age of the peasantry". Pissarro later explained the technique of painting outdoors to a student:
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However, after reverting to his earlier style, his work became, according to Rewald, "more subtle, his color scheme more refined, his drawing firmer ... So it was that Pissarro approached old age with an increased mastery."
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NewsOK reported on Aug. 18, 2015 that the university said "Shepherdess Bringing in Sheep" lacks the Nazi ERR stamp. Wesselhöft said the disappearance of the stamp means that somebody wanted to obscure the fact that Nazis stole
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1360:, a German Jewish industrialist whose renowned art collection was considered "one of the best in pre-war Germany", was seized and sold in a forced auction before Silberberg and his wife Johanna were murdered in Auschwitz.
1070:. The paintings that resulted were distinctly different from his Impressionist works, and were on display in the 1886 Impressionist Exhibition, but under a separate section, along with works by Seurat, Signac, and his son
2007:
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shared an "almost militant resolution" against the Salon, and through their later correspondences it is clear that their mutual admiration "was based on a kinship of ethical as well as aesthetic concerns".
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and labels missing. Some, as a result of legal action, were later returned to the families of the original owners. Many of the recovered paintings were then donated to the same or other museums as a gift.
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The subject matter was considered "vulgar" and "commonplace," with scenes of street people going about their everyday lives. Pissarro's paintings, for instance, showed scenes of muddy, dirty, and unkempt
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from noting that the qualities of his paintings had been observed by art lovers. At the age of thirty-eight, Pissarro had begun to win himself a reputation as a landscapist to rival Corot and Daubigny.
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During his lifetime, Camille Pissarro sold few of his paintings. By the 21st century, however, his paintings were selling for millions. An auction record for the artist was set on 6 November 2007 at
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called Pissarro the "dean of the Impressionist painters", not only because he was the oldest of the group, but also "by virtue of his wisdom and his balanced, kind, and warmhearted personality".
618:"It is marvelous. This is what I see in the art of this astonishing people ... nothing that leaps to the eye, a calm, a grandeur, an extraordinary unity, a rather subdued radiance ..."
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Neo-Impressionist Painters: A Sourcebook on Georges Seurat, Camille Pissarro, Paul Signac, Théo van Rysselberghe, Henri-Edmond Cross, Charles Angrand, Maximilien Luce, and Albert Dubois-Pillet
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referred to his work as "revolutionary", through his artistic portrayals of the "common man", as Pissarro insisted on painting individuals in natural settings without "artifice or grandeur".
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In 1873 he helped establish a collective society of fifteen aspiring artists, becoming the "pivotal" figure in holding the group together and encouraging the other members. Art historian
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370:, 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
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Albert Wolff complained in his review, "Try to make M. Pissarro understand that trees are not violet, that sky is not the color of fresh butter ..." Journalist and art critic
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outside in the mud to keep their boots clean. It is assumed that many of those lost were done in the Impressionist style he was then developing, thereby "documenting the birth of
712:, then a village on the edge of London. However, his style of painting, which was a forerunner of what was later called "Impressionism", did not do well. He wrote to his friend,
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3635:"Revealed: The oddball who hid ÂŁ1bn of art in his squalid flat... and the extraordinary story of how his father, who stole paintings for the Nazis, conned Allied investigators"
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The use of color by the Impressionists relied on new theories they developed, such as having shadows painted with the reflected light of surrounding, and often unseen, objects.
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1228:, who at one point lived in Paris to study art, and joined his Impressionist group, noted that he was "such a teacher that he could have taught the stones to draw correctly."
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1082:"It is difficult to speak of Camille Pissarro ... What we have here is a fighter from way back, a master who continually grows and courageously adapts to new theories."
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the Nazis expanded their hold over all of Europe, Austria, France, Holland, Poland, Italy and other countries. The Nazis created special looting organizations like the
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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 paintings is a view of
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It was Pissarro's intention during this period to help "educate the public" by painting people at work or at home in realistic settings, without idealising their lives.
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555:. However, only works of Pissarro and CĂ©zanne were included, and the separate exhibit brought a hostile response from both the officials of the Salon and the public.
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In the decades after World War II, many art masterpieces were found on display in various galleries and museums in Europe and the United States, often with false
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1032:"Once such a die-hard Impressionist as Pissarro had turned his back on Impressionism, it was apparent that Impressionism had no chance of surviving ..."
455:, who tutored him. He and Corot shared a love of rural scenes painted from nature. It was by Corot that Pissarro was inspired to paint outdoors, also called "
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graduate, is also active in the art scene. From the only daughter of Camille, Jeanne Pissarro, other painters include Henri Bonin-Pissarro (1918â2003) and
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631:, England, he married his mother's maid, Julie Vellay, a vineyard grower's daughter, with whom he had seven children, six of whom would become painters:
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view. He moved around northern France and painted from hotels in Rouen, Paris, Le Havre and Dieppe. On his visits to London, he would do the same.
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mediate the internecine disputes that threatened at times to break it apart, and no one was a more diligent proselytizer of the new painting."
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However, this period also marked the end of the Impressionist period due to Pissarro's leaving the movement. As Joachim Pissarro points out:
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from 1872 to 1884. In 1890 he again visited England and painted some ten scenes of central London. He came back again in 1892, painting in
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567:"Camille Pissarro is one of the three or four true painters of this day ... I have rarely encountered a technique that is so sure."
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Pissarro eventually turned away from Neo-Impressionism, claiming its system was too artificial. He explains in a letter to a friend:
531:, Pissarro became friends with a number of younger artists who likewise chose to paint in the more realistic style. Among them were
382:. He drew everything he could, including landscapes, village scenes, and numerous sketches, enough to fill up multiple sketchbooks.
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3516:"An International Feud Over a Looted Pissarro Painting Comes to a Head as a French Court Rejects a Holocaust Survivor's Claim"
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only nine years younger than Pissarro, said that "he was a father for me. A man to consult and a little like the good Lord."
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ULAN Full Record Display for Camille Pissarro. Getty Vocabulary Program, Getty Research Institute. Los Angeles, California.
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was taught painting by his father, and described him as a "splendid teacher, never imposing his personality on his pupil."
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408:, Fritz Melbye's brother and also a painter. He also studied paintings by other artists whose style impressed him:
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3455:"Looted Pissarro heiress LĂ©one Meyer, OU attorney Thaddeus Stauber speak on court clash over Nazi-looted painting"
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In 1859 his first painting was accepted and exhibited. His other paintings during that period were influenced by
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When Pissarro was twelve his father sent him to boarding school in France. He studied at the Savary Academy in
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3308:"A Dispute Over a Pissarro Painting Looted by Nazis Was Settled Four Years Ago. Now, It's Going Back to Court"
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4522:, exhibition held at the Sterling and Francine Clark Art Institute, Williamstown MA, 12 June â 2 October 2011
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3542:"'I Have No Other Choice': Holocaust Survivor Relinquishes Her Claim to a Looted Camille Pissarro Painting"
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4181:, 5 volumes, Presses Universitaires de France, Paris, 1980 & Editions du Valhermeil, Paris, 1986â1991
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in London. Twelve oil paintings date from his stay in Upper Norwood and are listed and illustrated in the
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whose mission it was to seize Jewish property notably valuable artworks. When those forced into exile or
586:"The brightness of his palette envelops objects in atmosphere ... He paints the smell of the earth."
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said "he was a father for me. A man to consult and a little like the good Lord", and he was also one of
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area except for one of Bath Road, which runs from Stamford Brook along the south edge of Bedford Park.
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who was likewise in London during this period. They both viewed the work of British landscape artists
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of 1870â71, having only Danish nationality and being unable to join the army, he moved his family to
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circa 1847. Pissarro may have attended art classes taught by Sawkins and seen Sawkins's paintings of
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3875:"U.S. District Court confirms Thyssen-Bornemisza Collection Foundation of Spain as owner of artwork"
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in New York City and a professor in Hunter College's Art Department. Camille's great-granddaughter,
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1427:(the Four Seasons), sold for $ 14,601,000 (estimate $ 12,000,000 â $ 18,000,000). In November 2009
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Morning, Winter Sunshine, Frost, the Pont-Neuf, the Seine, the Louvre, Soleil D'hiver Gella Blanc
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His initial paintings were in accord with the standards at the time to be displayed at the Paris
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Pissarro with his family at his mobile easel, Ăragny, 1901. Archives MusĂ©e Camille Pissarro
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was another whose work he admired, especially his "sentimental renditions of rural life".
8:
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4136:"Buy Original Art & Painting of H. Claude Pissarro (b. 1935 - ) - Online Art Gallery"
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in Jerusalem, its donor having been unaware of its pre-war provenance. In January 2012,
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432:. But Pissarro eventually found their teaching methods "stifling," states art historian
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1287:(La BergĂšre Rentrant des Moutons") was looted from the Jewish art collectors Yvonne et
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praised his art and that of the others. In the Impressionist exhibit of 1876, however,
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520:
463:, to be "statements of pictorial truth," writes Rewald. He discussed their work often.
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4163:, New York 1943 & London 1944; 3rd revised edition, Paul P Appel Publishers, 1972
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was an Impressionist and Neo-impressionist painter as were his second and third sons
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and whose paintings had been sold at a 1942 auction in Nice that was overseen by the
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Exhibition Pissarro dans les ports, 2013, Museum of modern art AndrĂ© Malraux â MuMa
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4159:, Editions Albin Michel, Paris 1950; previously published, translated to English:
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1867:
1454:), sold at Sotheby's in London for ÂŁ19.9M, nearly five times the previous record.
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to Frederick Abraham Gabriel Pissarro and Rachel Manzano-Pomié. His father was of
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2668:
Eiermann, Wold (1999). "Camille Pissarro 1830â1903". In Becker, Christoph (ed.).
2653:
Hamilton, George Heard (1976). "Pissarro, Camille". In Halsey, William D. (ed.).
2408:, 1879, softground etching, aquatint, and drypoint on china paper (sixth state).
1636:
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in France in 1941 and transited via Switzerland and New York before entering the
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Pissarro showed five of his paintings, all landscapes, at the exhibit, and again
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paintings were often done in one sitting and the paints were applied wet-on-wet;
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In 1855, Pissarro moved back to Paris where he began working as an assistant to
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3485:"Oklahoma to France and Back Again? A Case of Split-Custody of Nazi-Looted Art"
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1998:
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1447:
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1059:
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728:
248:
3825:"WikiLeaks Cables Make Appearance in a Tale of Sunken Treasure and Nazi Theft"
3283:"State rep calls for allowance of physical inspection of Nazi-stolen painting"
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Pissarro's "Le Quai Malaquais, Printemps", owned by German Jewish publisher
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424:. He also enrolled in various classes taught by masters, at schools such as
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5019:
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4584:
4464:
3956:"Berlin museum restitutesâand then buys backâNazi-looted Pissarro painting"
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1312:
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Pissarro's Picking Peas (La Cueillette) was looted from Jewish businessman
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restituted Pissarro's "A Square in La Roche-Guyon" (1867) to the heirs of
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3634:
3429:"Tulsa World Editorial: OU finally to return Nazi loot to rightful owner"
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1288:
1067:
1063:
891:, 1875. The new manner of painting was too sketchy and looked incomplete.
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instead decided to place their paintings in a separate exhibit hall, the
433:
319:
Jacob Abraham Camille Pissarro was born on 10 July 1830 on the island of
259:
252:
235:). His importance resides in his contributions to both Impressionism and
4339:
An Outline of 19th Century European Painting: From David through CĂ©zanne
3766:"UPDATE: OU, OU Foundation move to dismiss claims in Nazi-stolen paintâŠ"
3334:"University of Oklahoma fights claim to a Nazi-looted Pissarro painting"
2940:
2657:. Vol. 19. New York: Macmillan Educational Corporation. p. 83.
1719:
825:, and also in 1897, when he produced several oils described as being of
598:
for example had been skyed, hung near the ceiling, this did not prevent
5272:
4356:"Winter Sun: How Camille Pissarro Went from Mediocrity to Magnificence"
4263:, Cambridge University Press, Cambridge, New York & Oakleigh, 1993
4070:"Young Socialites Conjure the Ghost of Leonard Bernstein at the Dakota"
1364:
1201:
According to Pissarro's son, Lucien, his father painted regularly with
953:
845:
475:
3986:"Hunter College Performance Goals and Targets 2008â2009 Academic Year"
1202:
4601:
4566:
Pissarro Paintings and Works on Paper at the Art Institute of Chicago
4496:
Camille Pissarro Protests Alfred Dreyfus' Conviction: Original Letter
3398:"French Heiress Ratchets Up Battle With US Over Nazi-Looted Painting"
2726:
Notable Caribbeans and Caribbean Americans: a Biographical Dictionary
2462:(Faneuses d'Eragny), 1897, etching, aquatint and dry-point on paper.
1443:
879:
822:
456:
379:
374:, where he and Melbye spent the next two years working as artists in
371:
152:
4509:
Photograph of Pissarro's mausoleum at CimetiĂšre PĂšre Lachaise, Paris
4382:
The Politics of Vision: Essays on Nineteenth-Century Art and Society
46:
4611:
3594:"French Court Orders Return of Pissarro Looted by Vichy Government"
3172:
1886:
1862:
1723:(Le Labourage, BĂ©relles), c. 1860, oil on panel, Private Collection
1413:
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4485:(1925), John Lane the Bodley Head Ltd., translated by J. Lewis May
1394:, was discovered hanging at Madrid's government-owned museum, the
769:
prepared jointly by his fifth child Ludovic-Rodolphe Pissarro and
747:
Through the paintings Pissarro completed at this time, he records
606:
In the late 1860s or early 1870s, Pissarro became fascinated with
3722:"Nazi-Looted Pissarro in Zurich Bank Pits Heiress Against Dealer"
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1213:
736:
628:
519:
and would often paint the road to Versailles in various seasons.
409:
375:
27:
4927:
4303:"The Painter's Painter: Pissarro Joins Impressionism's Pantheon"
4543:
4252:
3173:"'Doubting Thomas' â review of Derek Walcott's Tiepolo's Hound"
1655:
582:
Another writer tries to describe elements of Pissarro's style:
347:
claims that the young Pissarro was inspired by the artworks of
255:
when he took on the Neo-Impressionist style at the age of 54.
5546:
4018:"Christina Gallery expands its post-Impressionist collection"
3114:
2220:
1173:
Pissarro died in Paris on 13 November 1903 and was buried in
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724:
360:
332:
4585:
The John G. Johnson Collection: A History and Selected Works
2062:
Shepherdess Bringing in Sheep (BergĂšre rentrant des moutons)
1705:(Road in a Forest), 1859, oil on canvas, Private Collection
215:; 10 July 1830 â 13 November 1903) was a Danish-French
186:
4155:
Rewald, John, ed., with the assistance of Lucien Pissarro:
3661:"Nazi Art Theft: Pissarro's "Le Quai Malaquais, Printemps""
3089:
3078:
For more details of his British visits, see Nicholas Reed,
2440:
1193:
During the period Pissarro exhibited his works, art critic
716:, that "my painting doesn't catch on, not at all ..."
189:
4429:
Pissarro, Joachim; Snollaerts, Claire Durand-Ruel (2006).
4512:
4469:
Depths of Glory: A Biographical Novel of Camille Pissarro
1311:, in addition to 92 other artworks seized in 1943 by the
590:
And though, on orders from the hanging Committee and the
459:" painting. Pissarro found Corot, along with the work of
177:
3930:"BBC News â Pissarro painting sells for a record ÂŁ19.9m"
3568:"France Confirms Restitution Of Pissarro Looted In WWII"
4588:, a Philadelphia Museum of Art free digital publication
3365:"Will a Looted Pissarro End Up in Oklahoma, or France?"
1345:, passed through the hands of infamous Nazi art looter
4595:
2699:"'The Marriage of Opposites': Who Was Rachel Pissarro"
1643:(born 1921), who is the father of the Abstract artist
1246:
1098:
asked Pissarro if he would take in his older brother,
872:
so their group could display their own unique styles.
506:
3960:
The Art Newspaper - International art news and events
3741:"Art looted by Nazis continues to surface at auction"
3058:"Camille Pissarro: Paintings of Stamford Brook, 1897"
1627:, became Head Curator of Drawing and Painting at the
1429:
Le Pont Boieldieu et la Gare d'Orléans, Rouen, Soleil
239:. Pissarro studied from great forerunners, including
198:
183:
4727:
The House of the Deaf Woman and the Belfry at Eragny
3845:"Family fights to recover masterpiece lost to Nazis"
1330:
in Nazi-occupied Brussels, before being murdered in
915:
439:
174:
4781:
Rue Saint-Honoré, dans l'aprÚs-midi. Effet de pluie
4261:
The letters of Lucien to Camille Pissarro 1883â1903
3913:"Stolen impressionist art returned after 3 decades"
2354:, c. 1870, pen and brown ink over pencil on paper.
1777:
The Road to Versailles, Louveciennes: Morning Frost
1442:, originally owned by the German industrialist and
1388:One such lost piece, Pissarro's 1897 oil painting,
1377:
Rue Saint-Honoré, dans l'aprÚs-midi. Effet de pluie
575:Camille Pissarro and his wife, Julie Vellay, 1877,
180:
4428:
2561:List of claims for restitution for Nazi-looted art
1042:
895:The following year, in 1874, the group held their
880:Impressionist exhibitions that shocked the critics
470:
4821:The Garden of the Tuileries on a Winter Afternoon
3247:
2201:The Garden of the Tuileries on a Winter Afternoon
1465:, a French Jewish art collector whose family was
1026:subjects as "peasants working to make a living".
5566:
4801:Le Boulevard de Montmartre, Matinée de Printemps
2879:The Right to Look: A Counterhistory of Visuality
2523:Le Boulevard de Montmartre, Matinée de Printemps
2464:Strasbourg Museum of Modern and Contemporary Art
1562:Le Boulevard de Montmartre, Matinée de Printemps
1440:Le Boulevard de Montmartre, Matinée de Printemps
1401:Le Boulevard de Montmartre, Matinée de Printemps
1354:Le Boulevard de Montmartre, Matinée de Printemps
1018:, drypoint and aquatint, 1882, 123 mm x 112 mm.
970:catalogue as "Paul CĂ©zanne, pupil of Pissarro".
19:"Pissarro" redirects here. For the surname, see
4534:Union List of Artist Names, Getty Vocabularies.
4399:Camille Pissarro: The Audacity of Impressionism
3055:
2254:The Garden of the Tuileries on a Spring Morning
1473:. The museum then purchased the Pissarro back.
1105:
810:, and a lost painting of St. Stephen's Church.
773:and published in 1939. These paintings include
366:When Pissarro turned twenty-one, Danish artist
351:, a British painter and geologist who lived in
3202:. New York: Historium Press (published 2024).
3062:Brentford & Chiswick Local History Journal
2667:
2309:The Fish Market, Dieppe: Grey Weather, Morning
1795:Still Life: Apples and Pears in a Round Basket
1623:was also a painter. Camille's great-grandson,
1423:in New York, where a group of four paintings,
527:In 1859, while attending the free school, the
5645:People from Saint Thomas, U.S. Virgin Islands
4943:
4811:The Large Walnut Tree, Autumn Morning, Ăragny
4627:
3798:
2723:
2047:Route EnneigĂ©e avec maison, environs d'Ăragny
1525:Boulevard Montmartre, morning, cloudy weather
4415:Camille Pissarro: Le Premier Impressionniste
4175:
2919:
2526:, view from window, 1897, private collection
2154:, 1896. Metropolitan Museum of Art, New York
1982:, 1881. Metropolitan Museum of Art, New York
1543:The Boulevard Montmartre on a Winter Morning
4161:Camille Pissarro, Letters to his son Lucien
4157:Camille Pissarro, Lettres Ă son fils Lucien
2963:"Pissarro Exhibition PowerPoint with sound"
2917:
2915:
2913:
2911:
2909:
2907:
2905:
2903:
2901:
2899:
989:
559:noted at the time by art critic and author
5710:Danish people of Portuguese-Jewish descent
5695:French people of Portuguese-Jewish descent
4950:
4936:
4634:
4620:
4067:
2844:
2842:
2840:
2838:
2836:
2834:
2832:
2728:. Greenwood Publishing. pp. 349â350.
2670:Camille Pissarro (exhibition in Stuttgart)
1391:Rue St. Honoré, Apres Midi, Effet de Pluie
45:
4546:site: works in public British collections
4431:Pissarro: Critical Catalogue of Paintings
3799:Muller, Melissa; Tatzkow, Monika (2010).
3658:
3452:
3252:(1st ed.). New York: HarperCollins.
3153:
3151:
3149:
2852:. Quantum Books. 2004. pp. 279â319.
2830:
2828:
2826:
2824:
2822:
2820:
2818:
2816:
2814:
2812:
2760:"Camille Pissarro (1830 -1903) biography"
2753:
2751:
2749:
2747:
2745:
2648:
2646:
2595:
1471:Commissariat Général aux Questions Juives
755:at Lawrie Park Avenue, commonly known as
669:(1884â1972). They lived outside Paris in
4901:Frédéric Bonin-Pissarro (great-grandson)
4881:Orovida Camille Pissarro (granddaughter)
4753:Le Pont Boieldieu à Rouen, temps mouillé
4683:A Cowherd at Valhermeil, Auvers-sur-Oise
4578:LâĂźle Lacroix, Rouen (The Effect of Fog)
4569:, one of the Art Institute of Chicago's
4540:54 artworks by or after Camille Pissarro
4108:
4044:"The New Normal Generation â L'Officiel"
3362:
2926:, Art Gallery of New South Wales, (2005)
2896:
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1841:A Cowherd at Valhermeil, Auvers-sur-Oise
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474:
389:
303:
295:Landscape with Farmhouses and Palm Trees
289:
247:. He later studied and worked alongside
4320:Clement, Russell T. and Houze, Annick,
4300:
4223:
4111:"ELLE Celebrates the 2017 Women in Art"
3719:
3632:
3539:
3513:
3120:
3109:The Private Lives of the Impressionists
3095:
2876:Mirzoeff, Nicholas (18 November 2011).
1588:
1180:
840:
813:Returning to France, Pissarro lived in
5567:
4747:Pont Boieldieu in Rouen, Rainy Weather
4608:, Oxford, 18 February - 12 June, 2022.
3991:. Hunter College, CUNY. 18 June 2009.
3792:
3170:
3159:The Great Book of French Impressionism
3146:
2987:
2939:. St. Thomas Synagogue. Archived from
2882:. Duke University Press. p. 158.
2871:
2869:
2809:
2742:
2696:
2643:
2599:
2504:Pont Boieldieu in Rouen, Rainy Weather
2319:
1883:Toits rouges, coin d'un village, hiver
1799:The Henry and Rose Pearlman Collection
1565:, street view from hotel window, 1897
1116:Pont Boieldieu in Rouen, Rainy Weather
833:, but in fact all being of the nearby
4931:
4615:
4560:Camille Pissarro at The Jewish Museum
4555:Camille Pissarro Personal Manuscripts
4280:
3903:, N.Y. University Press (2003) p. 205
3701:from the original on 24 November 2010
3671:from the original on 24 November 2010
3591:
3465:from the original on 14 November 2021
3363:Carvajal, Doreen (17 December 2020).
3344:from the original on 10 December 2019
3161:, Abbeville Press (1980) pp. 127, 135
3034:, Chatto & Windus (2006). p. 230.
2717:
2697:Murphy, Jessica (14 September 2015).
2572:
2336:, 1852â54, graphite and ink on paper
2167:Place du Théùtre Français: Fog Effect
1689:ColecciĂłn Patricia Phelps de Cisneros
1668:List of paintings by Camille Pissarro
1598:The Artist's Palette with a Landscape
1477:Boulevard Montmartre cityscape series
210:
4896:LĂ©lia Pissarro (great-granddaughter)
4866:Georges Henri Manzana Pissarro (son)
4641:
4364:, 1 & 8 January 2024, pp. 53â57.
3998:from the original on 29 October 2013
3966:from the original on 18 October 2021
3776:from the original on 4 February 2021
3222:
3197:
2783:
2779:
2777:
2757:
2624:
2485:
2291:Ship entering the Harbor at Le Havre
2082:1887. Collection of G. Signac, Paris
4673:The Banks of the Oise near Pontoise
3851:. 23 September 2010. Archived from
3738:
3726:Commission for Looted Art in Europe
3592:Quinn, Annalisa (8 November 2017).
3426:
2866:
2618:
2493:The Banks of the Oise near Pontoise
1284:Shepherdess Bringing Home the Sheep
1247:The legacy of Nazi-looted Pissarros
684:
507:With Monet, CĂ©zanne, and Guillaumin
13:
5640:People from the Danish West Indies
4341:(1992), HarperCollins Publishers,
4274:
4177:Correspondance de Camille Pissarro
3720:Hickley, Catherine (6 June 2007).
3659:Koldehoff, Stephan (Summer 2007).
3565:
3080:Camille Pissarro at Crystal Palace
2789:Die Geschichte des Impressionismus
2518:, 1896, Metropolitan Museum of Art
2444:, 1887, etching on Holland paper.
2426:, 1880, pastel on beige wove paper
2406:The Woods at L'Hermitage, Pontoise
2204:, 1899, Metropolitan Museum of Art
1650:The grandson of Camille Pissarro,
719:Pissarro met the Paris art dealer
14:
5726:
5715:United States Virgin Islands Jews
5690:Burials at PĂšre Lachaise Cemetery
5665:19th-century French Sephardi Jews
4957:
4891:Hugues Claude Pissarro (grandson)
4602:Pissarro: Father of Impressionism
4489:
3633:Walters, Guy (13 November 2013).
3408:from the original on 21 June 2021
3280:
2774:
2014:Le jardin de Maubuisson, Pontoise
1906:The CĂŽte des BĆufs at L'Hermitage
1578:The Boulevard Montmartre at Night
739:, giving more depth to the work.
440:Paris Salon and Corot's influence
385:
299:GalerĂa de Arte Nacional, Caracas
5625:20th-century French male artists
5615:19th-century French male artists
5605:20th-century Danish male artists
5595:19th-century Danish male artists
5048:
4886:Claude Bonin-Pissarro (grandson)
4791:Boulevard Montmartre, Mardi Gras
4301:Carlson, Michael (12 May 1981).
4068:Widdicombe, Ben (24 June 2017).
3046:entry for Pissarro Lordship Lane
2470:
2452:
2431:
2416:
2398:
2377:
2362:
2341:
2326:
2301:
2283:
2265:
2246:
2228:
2209:
2192:
2177:
2159:
2142:
2124:
2105:
2087:
2072:
2054:
2039:
2021:
2006:
1987:
1970:
1951:
1932:
1917:
1898:
1875:
1853:
1832:
1809:
1787:
1769:
1750:
1728:
1710:
1695:
1674:
1570:
1553:
1535:
1517:
1507:Boulevard Montmartre: Mardi Gras
1499:
1481:
1271:Reichsleiter Rosenberg Taskforce
170:
151:
5705:Danish people of French descent
5700:French people of Creole descent
4771:Steamboats in the Port of Rouen
4761:Morning, An Overcast Day, Rouen
4580:by Camille Pissarro (cat. 1060)
4281:Baker, Kenneth (30 June 1981).
4149:
4128:
4102:
4061:
4036:
4010:
3978:
3948:
3922:
3906:
3893:
3867:
3837:
3817:
3758:
3732:
3713:
3683:
3652:
3626:
3585:
3559:
3533:
3507:
3491:. 12 April 2021. Archived from
3477:
3446:
3420:
3390:
3356:
3326:
3300:
3274:
3241:
3216:
3191:
3171:Thieme, John (September 2000).
3164:
3126:
3101:
3072:
3049:
3037:
3024:
3006:
2981:
2955:
2929:
2724:Mendez-Mendez, Serafin (2003).
2515:Steamboats in the Port of Rouen
2151:Morning, An Overcast Day, Rouen
1803:Princeton University Art Museum
1416:, was returned after 30 years.
1275:deported to extermination camps
1043:Studying with Seurat and Signac
471:Use of natural outdoor settings
5122:First Impressionist Exhibition
4592:An artwork by Camille Pissarro
4401:(2023). New York: Other Press
4173:Bailly-Herzberg, Janine, ed.:
3540:Cascone, Sarah (1 June 2021).
3514:Cascone, Sarah (14 May 2021).
3086:, published by Lilburne Press.
2690:
2661:
2629:. Fog City Press. p. 81.
1963:National Museum of Western Art
1661:
1613:Georges Henri Manzana Pissarro
1142:
897:First Impressionist Exhibition
637:Georges Henri Manzana Pissarro
285:
223:painter born on the island of
166:Jacob Abraham Camille Pissarro
67:Jacob Abraham Camille Pissarro
1:
5660:French Impressionist painters
5655:French expatriates in England
5288:Marc-AurÚle de Foy Suzor-Coté
4737:Shepherdess Bringing in Sheep
4703:CĂŽte des BĆufs at L'Hermitage
4505:Shapell Manuscript Foundation
4454:(1961), Museum of Modern Art
4109:ELLE.com (16 November 2017).
3227:. New York: Historium Press.
3111:, HarperCollins (2006) p. 187
2992:. Harry Abrams. p. 458.
2672:. Ostfildern-Ruit, New York:
2566:
1687:, c. 1850â52, oil on canvas.
1313:Vichy collaborationist regime
1299:. In 2014, Meyer's daughter,
1231:Caribbean author and scholar
977:, and American impressionist
309:Two Women Chatting by the Sea
52:
5620:20th-century French painters
5610:19th-century French painters
5600:20th-century Danish painters
5590:19th-century Danish painters
4571:digital scholarly catalogues
4452:The History of Impressionism
3427:Writers, World's Editorial.
3225:The Dream Collector, Book II
3200:The Dream Collector, Books I
2990:The History of Impressionism
2627:Monet and the Impressionists
2545:, 1903, Tate Gallery, London
2446:Museum of Fine Arts, Houston
2390:, c. 1875, pastel on paper.
2217:La Place du Théùtre Français
1861:Un Carrefour Ă l'Hermitage,
1529:National Gallery of Victoria
1489:Boulevard Montmartre Ă Paris
1239:(2000), on Pissarro's life.
1235:based his book-length poem,
1106:Abandoning Neo-Impressionism
1052:La RĂ©colte des Foins, Eragny
889:Le grand noyer Ă l'Hermitage
742:
515:In 1869 Pissarro settled in
7:
5675:Ăcole des Beaux-Arts alumni
5457:French impressionist cinema
3566:Presse, AFP-Agence France.
2549:
2478:Paysanne Nouant son Foulard
1801:, on long-term loan to the
1412:(The Fish Market), a color
1224:The American impressionist
761:, in the collection of the
563:, who offered his opinion:
245:Jean-Baptiste-Camille Corot
10:
5731:
5498:Pennsylvania Impressionism
5046:
3248:FriedlÀnder, Saul (2007).
2536:National Gallery of Canada
2498:Indianapolis Museum of Art
2410:Metropolitan Museum of Art
2372:, c. 1872, pastel on paper
2258:Metropolitan Museum of Art
2113:Old Chelsea Bridge, London
1944:Metropolitan Museum of Art
1846:Metropolitan Museum of Art
1665:
1547:Metropolitan Museum of Art
1438:In February 2014 the 1897
1156:Metropolitan Museum of Art
1005:National Gallery of Canada
704:After the outbreak of the
594:, Pissarro's paintings of
399:Metropolitan Museum of Art
25:
18:
16:French painter (1830â1903)
5552:Pays des Impressionnistes
5521:
5465:
5439:
5346:Giovanni Battista Ciolina
5321:
5259:
5202:
5130:
5114:
5088:
5057:
4967:
4917:Pays des Impressionnistes
4909:
4876:Paul-Ămile Pissarro (son)
4853:
4841:The Louvre, Foggy Morning
4649:
4527:23 September 2015 at the
4283:"Pissarro in Perspective"
3691:"Pissarro Lost and Found"
3250:Nazi Germany and the Jews
2424:Boulevard de Rochechouart
1762:Thyssen-Bornemisza Museum
1457:In October 2021 Berlin's
1189:Camille Pissarro, c. 1900
414:Charles-François Daubigny
159:
150:
145:
141:
127:
119:
111:
95:
62:
44:
37:
5488:Decorative Impressionism
5483:California Impressionism
4384:(1991). Westview Press,
4324:(1999), Greenwood Press
3056:Seaton, Shirley (1997).
2185:Rouen, Rue de l'Ăpicerie
2136:Art Institute of Chicago
1431:sold for $ 7,026,500 at
1396:Museo Thyssen-Bornemisza
1382:Museo Thyssen-Bornemisza
1341:, founder of the famous
990:Neo-Impressionist period
775:Lower Norwood Under Snow
753:St. Bartholomew's Church
600:Jules-Antoine Castagnary
26:Not to be confused with
5508:Synthetic impressionism
5473:Amsterdam Impressionism
5298:Helen Galloway McNicoll
5149:Frederick Carl Frieseke
4575:Jennifer A. Thompson, "
3679:– via Looted Art.
3136:, Crown (1975), p. 92.
3084:Pissarro in West London
2795:: Du Mont. p. 11.
2480:, 1882, pastel on paper
2370:Apple Trees at Pontoise
1885:, CĂŽte de Saint-Denis,
1645:Frédéric Bonin-Pissarro
1467:persecuted by the Nazis
1152:Two Young Peasant Women
916:A "revolutionary" style
592:Marquis de ChenneviĂšres
5685:Jewish School of Paris
5179:Walter Elmer Schofield
4176:
3123:, pp. 190, 238â9.
3032:The Judgement of Paris
2655:Collier's Encyclopedia
2625:Bade, Patrick (2003).
2509:Art Gallery of Ontario
2277:Honolulu Museum of Art
2240:Honolulu Museum of Art
2066:University of Oklahoma
1925:The Garden of Pontoise
1652:Hugues Claude Pissarro
1604:
1410:Le Marché aux Poissons
1385:
1297:University of Oklahoma
1265:
1190:
1175:PĂšre Lachaise Cemetery
1166:
1158:
1123:
1121:Art Gallery of Ontario
1055:
1022:
1008:
945:
931:
892:
856:
701:
579:
524:
490:
401:
316:
301:
5406:WĆadysĆaw PodkowiĆski
5144:William Merritt Chase
5035:Pierre-Auguste Renoir
4861:Lucien Pissarro (son)
4831:Hay Harvest at Ăragny
4713:The Harvest, Pontoise
4433:. Skira/Wildenstein.
2988:Rewald, John (1990).
2600:Rewald, John (1989).
2531:Hay Harvest at Ăragny
2392:Wildenstein Institute
1979:The Harvest, Pontoise
1641:Claude Bonin-Pissarro
1596:
1374:
1254:
1188:
1164:
1150:
1113:
1050:
1037:Pierre-Auguste Renoir
1016:Enfant tétant sa mÚre
1014:
1000:Hay Harvest at Ăragny
997:
937:
923:
887:
848:
780:Lordship Lane Station
692:
656:Jeanne Bonin-Pissarro
645:Ludovic-Rodo Pissarro
623:Marriage and children
574:
514:
480:Entrée du village de
478:
395:Jalais Hill, Pontoise
393:
307:
293:
272:Pierre-Auguste Renoir
212:[kamijpisaÊo]
5650:Danish Sephardi Jews
5635:French male painters
5630:Danish male painters
5313:Robert Wakeham Pilot
5303:James Wilson Morrice
5184:John Henry Twachtman
4871:FĂ©lix Pissarro (son)
4719:La RĂ©colte, Pontoise
4501:20 June 2014 at the
4417:(2024). Paris: Plon
4259:Thorold, Anne, ed.:
4230:Mary Cassatt: A Life
4225:Mathews, Nancy Mowll
4048:www.lofficielusa.com
3899:Mazyler, Michael J.
3801:Lost Lives, Lost Art
3098:, pp. 139, 149.
3014:"Road to Versailles"
2313:Dallas Museum of Art
2295:Dallas Museum of Art
2171:Dallas Museum of Art
2029:The Church at Eragny
1781:Dallas Museum of Art
1703:AllĂ©e dans une forĂȘt
1629:Museum of Modern Art
1619:. Lucien's daughter
1589:A family of painters
1459:Alte Nationalgalerie
1293:Fred Jones Jr Museum
1181:Legacy and influence
1094:In 1884, art dealer
841:French Impressionism
758:The Avenue, Sydenham
465:Jean-François Millet
426:Ăcole des Beaux-Arts
418:Jean-François Millet
5426:Philip Wilson Steer
5278:William Blair Bruce
5065:Gustave Caillebotte
4985:Gustave Caillebotte
4481:Tabarant, Adolphe,
3962:. 18 October 2021.
3772:. 4 February 2021.
3495:on 14 November 2021
3223:Meek, R.w. (2024).
3198:Meek, R.w. (2023).
3177:The Literary Review
2969:on 31 December 2009
2758:Pissarro, Joachim.
2604:. Harry N. Abrams.
2320:Drawings and prints
2080:Children on a Farm,
1602:Clark Art Institute
1334:in September 1942.
1324:Dr Henri Hinrichsen
1320:Sower And Ploughman
1301:Léonie-Noëlle Meyer
706:Franco-Prussian War
694:Bath Road, Chiswick
667:Paul-Ămile Pissarro
5535:The Impressionists
5503:Post-Impressionism
5381:Konstantin Korovin
5231:Frederick McCubbin
5075:Henry O. Havemeyer
4663:La Petite Fabrique
4471:(1985). Doubleday
4368:Lloyd, Christopher
4307:The Boston Phoenix
4287:The Boston Phoenix
4074:The New York Times
3830:The New York Times
3739:Parsons, Michael.
3598:The New York Times
3489:Center for Art Law
3369:The New York Times
3132:Cogniat, Raymond,
3018:Walters Art Museum
2674:Hatje Cantz Verlag
2033:Walters Art Museum
1940:Washerwoman, Study
1816:Camille Pissarro,
1758:The Woods at Marly
1605:
1425:Les Quatre Saisons
1386:
1328:Hildebrand Gurlitt
1266:
1191:
1167:
1159:
1124:
1056:
1023:
1009:
946:
932:
925:Orchard in Bloom,
893:
857:
805:All Saints Church
785:The Crystal Palace
767:catalogue raisonné
702:
580:
525:
521:Walters Art Museum
491:
402:
317:
302:
237:Post-Impressionism
233:Danish West Indies
231:, but then in the
136:Post-Impressionism
89:Danish West Indies
51:Camille Pissarro,
21:Pissarro (surname)
5560:
5559:
5493:Neo-Impressionism
5361:Antoine Guillemet
5341:Marie Bracquemond
5308:Laura Muntz Lyall
5174:Theodore Robinson
5169:Lilla Cabot Perry
5005:Armand Guillaumin
4925:
4924:
4846:
4836:
4826:
4816:
4806:
4796:
4786:
4776:
4766:
4756:
4742:
4732:
4722:
4708:
4698:
4688:
4678:
4668:
4657:List of paintings
4520:Pissarro's People
4244:978-0-394-58497-3
4090:on 1 January 2022
3936:. 6 February 2014
3919:, 25 January 2012
3901:Holocaust Justice
3833:. 6 January 2011.
3810:978-0-86565-263-7
3803:. Vendome Press.
3614:on 1 January 2022
3340:. 15 March 2015.
3338:Los Angeles Times
3314:. 2 November 2020
3259:978-0-06-019042-2
3234:978-1-962465-34-2
3209:978-1-962465-13-7
2889:978-0-8223-4918-1
2850:The Great Masters
2770:on 19 March 2012.
2486:List of paintings
2460:Tedders of Eragny
1343:S. Fischer Verlag
1089:Neo-Impressionism
665:(1881â1948), and
553:Salon des Refusés
537:Armand Guillaumin
349:James Gay Sawkins
345:Nicholas Mirzoeff
325:Portuguese Jewish
229:US Virgin Islands
221:Neo-Impressionist
163:
162:
5722:
5575:Camille Pissarro
5537:(2006 TV series)
5529:Wilfrid de Glehn
5401:NadeĆŸda PetroviÄ
5366:Nazmi Ziya GĂŒran
5265:
5208:
5159:Alphonse Maureau
5136:
5106:Ambroise Vollard
5096:Paul Durand-Ruel
5052:
5030:Camille Pissarro
4975:Frédéric Bazille
4961:
4952:
4945:
4938:
4929:
4928:
4844:
4834:
4824:
4814:
4804:
4794:
4784:
4774:
4764:
4750:
4740:
4730:
4716:
4706:
4696:
4686:
4676:
4666:
4643:Camille Pissarro
4636:
4629:
4622:
4613:
4612:
4606:Ashmolean Museum
4444:
4409:(Translation by
4374:. Skira Rizzoli.
4372:Camille Pissarro
4317:
4315:
4313:
4297:
4295:
4293:
4256:
4179:
4144:
4143:
4140:www.pissarro.art
4132:
4126:
4125:
4123:
4121:
4106:
4100:
4099:
4097:
4095:
4089:
4084:. Archived from
4065:
4059:
4058:
4056:
4054:
4040:
4034:
4033:
4031:
4029:
4014:
4008:
4007:
4005:
4003:
3997:
3990:
3982:
3976:
3975:
3973:
3971:
3952:
3946:
3945:
3943:
3941:
3926:
3920:
3910:
3904:
3897:
3891:
3890:
3888:
3886:
3871:
3865:
3864:
3862:
3860:
3855:on 18 March 2012
3841:
3835:
3834:
3821:
3815:
3814:
3796:
3790:
3789:
3783:
3781:
3762:
3756:
3755:
3753:
3751:
3736:
3730:
3729:
3717:
3711:
3710:
3708:
3706:
3687:
3681:
3680:
3678:
3676:
3656:
3650:
3649:
3647:
3645:
3630:
3624:
3623:
3621:
3619:
3613:
3608:. Archived from
3589:
3583:
3582:
3580:
3578:
3563:
3557:
3556:
3554:
3552:
3537:
3531:
3530:
3528:
3526:
3511:
3505:
3504:
3502:
3500:
3481:
3475:
3474:
3472:
3470:
3450:
3444:
3443:
3441:
3439:
3424:
3418:
3417:
3415:
3413:
3394:
3388:
3387:
3385:
3383:
3360:
3354:
3353:
3351:
3349:
3330:
3324:
3323:
3321:
3319:
3304:
3298:
3297:
3295:
3293:
3278:
3272:
3271:
3245:
3239:
3238:
3220:
3214:
3213:
3195:
3189:
3188:
3186:
3184:
3168:
3162:
3155:
3144:
3130:
3124:
3118:
3112:
3105:
3099:
3093:
3087:
3076:
3070:
3069:
3053:
3047:
3041:
3035:
3028:
3022:
3021:
3010:
3004:
3003:
2985:
2979:
2978:
2976:
2974:
2965:. Archived from
2959:
2953:
2952:
2950:
2948:
2943:on 25 March 2010
2933:
2927:
2924:Camille Pissarro
2921:
2894:
2893:
2873:
2864:
2863:
2846:
2807:
2806:
2781:
2772:
2771:
2766:. Archived from
2755:
2740:
2739:
2721:
2715:
2714:
2712:
2710:
2705:on 25 April 2017
2701:. Archived from
2694:
2688:
2687:
2665:
2659:
2658:
2650:
2641:
2640:
2622:
2616:
2615:
2602:Camille Pissarro
2597:
2474:
2456:
2435:
2420:
2402:
2381:
2366:
2356:Ashmolean Museum
2345:
2330:
2305:
2287:
2269:
2250:
2232:
2213:
2196:
2181:
2163:
2146:
2128:
2109:
2091:
2076:
2058:
2043:
2025:
2010:
1991:
1974:
1955:
1936:
1921:
1910:National Gallery
1902:
1879:
1857:
1836:
1825:National Gallery
1813:
1791:
1773:
1754:
1732:
1714:
1699:
1678:
1625:Joachim Pissarro
1621:Orovida Pissarro
1582:National Gallery
1574:
1557:
1539:
1521:
1503:
1493:Hermitage Museum
1485:
1404:appeared in the
1195:Armand Silvestre
771:Lionello Venturi
763:National Gallery
721:Paul Durand-Ruel
698:Ashmolean Museum
685:The London years
679:Frédéric Bazille
664:
653:
353:Charlotte Amalie
343:Visual theorist
214:
209:
202:
196:
195:
192:
191:
188:
185:
182:
179:
176:
155:
102:
99:13 November 1903
81:Charlotte Amalie
76:
74:
57:
54:
49:
39:Camille Pissarro
35:
34:
5730:
5729:
5725:
5724:
5723:
5721:
5720:
5719:
5680:School of Paris
5670:Jewish painters
5565:
5564:
5561:
5556:
5517:
5461:
5435:
5431:Eliseu Visconti
5421:JoaquĂn Sorolla
5396:Francisco Oller
5386:MartĂn Malharro
5331:EugĂšne Baudouin
5323:
5317:
5283:William Brymner
5263:
5261:
5255:
5246:Arthur Streeton
5221:E. Phillips Fox
5206:
5204:
5198:
5164:Willard Metcalf
5134:
5132:
5126:
5110:
5084:
5080:Ernest Hoschedé
5070:Victor Chocquet
5053:
5044:
4963:
4959:
4956:
4926:
4921:
4905:
4849:
4693:Ploughed Fields
4645:
4640:
4529:Wayback Machine
4503:Wayback Machine
4492:
4441:
4395:Muhlstein, Anka
4311:
4309:
4291:
4289:
4277:
4275:Further reading
4245:
4152:
4147:
4134:
4133:
4129:
4119:
4117:
4107:
4103:
4093:
4091:
4066:
4062:
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4016:
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4001:
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3995:
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3949:
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3937:
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3911:
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3872:
3868:
3858:
3856:
3843:
3842:
3838:
3823:
3822:
3818:
3811:
3797:
3793:
3779:
3777:
3764:
3763:
3759:
3749:
3747:
3745:The Irish Times
3737:
3733:
3718:
3714:
3704:
3702:
3697:. Artnet News.
3689:
3688:
3684:
3674:
3672:
3657:
3653:
3643:
3641:
3631:
3627:
3617:
3615:
3590:
3586:
3576:
3574:
3572:www.barrons.com
3564:
3560:
3550:
3548:
3538:
3534:
3524:
3522:
3512:
3508:
3498:
3496:
3483:
3482:
3478:
3468:
3466:
3453:Blake Douglas.
3451:
3447:
3437:
3435:
3425:
3421:
3411:
3409:
3396:
3395:
3391:
3381:
3379:
3361:
3357:
3347:
3345:
3332:
3331:
3327:
3317:
3315:
3306:
3305:
3301:
3291:
3289:
3281:Clark, Andrew.
3279:
3275:
3260:
3246:
3242:
3235:
3221:
3217:
3210:
3196:
3192:
3182:
3180:
3169:
3165:
3157:Kelder, Diane.
3156:
3147:
3131:
3127:
3119:
3115:
3106:
3102:
3094:
3090:
3077:
3073:
3054:
3050:
3042:
3038:
3029:
3025:
3012:
3011:
3007:
3000:
2986:
2982:
2972:
2970:
2961:
2960:
2956:
2946:
2944:
2935:
2934:
2930:
2922:
2897:
2890:
2874:
2867:
2860:
2848:
2847:
2810:
2803:
2782:
2775:
2756:
2743:
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2722:
2718:
2708:
2706:
2695:
2691:
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2623:
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2612:
2598:
2573:
2569:
2552:
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2475:
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2427:
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2315:
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2233:
2224:
2214:
2205:
2197:
2188:
2182:
2173:
2164:
2155:
2147:
2138:
2134:, Paris, 1893.
2129:
2120:
2110:
2101:
2092:
2083:
2077:
2068:
2059:
2050:
2044:
2035:
2026:
2017:
2011:
2002:
1992:
1983:
1975:
1966:
1956:
1947:
1937:
1928:
1922:
1913:
1903:
1894:
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1805:
1792:
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1755:
1746:
1733:
1724:
1715:
1706:
1700:
1691:
1679:
1670:
1664:
1637:Barnard College
1591:
1584:
1575:
1566:
1558:
1549:
1540:
1531:
1522:
1513:
1504:
1495:
1486:
1463:Armand Dorville
1322:, was owned by
1249:
1237:Tiepolo's Hound
1210:Lucien Pissarro
1183:
1145:
1108:
1058:In 1885 he met
1045:
992:
918:
882:
843:
794:Dulwich College
787:relocated from
745:
733:J. M. W. Turner
687:
658:
647:
633:Lucien Pissarro
625:
608:Japanese prints
529:Académie Suisse
509:
473:
461:Gustave Courbet
442:
430:Académie Suisse
388:
288:
241:Gustave Courbet
207:
200:
173:
169:
134:
107:
104:
100:
91:
78:
72:
70:
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68:
58:
55:
40:
31:
24:
17:
12:
11:
5:
5728:
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5707:
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5449:
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5437:
5436:
5434:
5433:
5428:
5423:
5418:
5413:
5411:Valentin Serov
5408:
5403:
5398:
5393:
5388:
5383:
5378:
5376:Max Liebermann
5373:
5371:Dominique Lang
5368:
5363:
5358:
5353:
5348:
5343:
5338:
5336:Olga BoznaĆska
5333:
5327:
5325:
5319:
5318:
5316:
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5310:
5305:
5300:
5295:
5293:Maurice Cullen
5290:
5285:
5280:
5275:
5269:
5267:
5257:
5256:
5254:
5253:
5251:Walter Withers
5248:
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5218:
5216:Charles Conder
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5045:
5043:
5042:
5037:
5032:
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5025:Berthe Morisot
5022:
5017:
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5010:Johan Jongkind
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4777:
4767:
4757:
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4723:
4709:
4699:
4689:
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4669:
4667:(c. 1862â1865)
4659:
4653:
4651:
4647:
4646:
4639:
4638:
4631:
4624:
4616:
4610:
4609:
4604:Exhibition at
4599:
4589:
4573:
4562:
4557:
4552:
4547:
4537:
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4506:
4491:
4490:External links
4488:
4487:
4486:
4479:
4462:
4445:
4439:
4426:
4411:Adriana Hunter
4407:978-1635421705
4392:
4378:Nochlin, Linda
4375:
4365:
4361:The New Yorker
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4335:Eitner, Lorenz
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4024:. 30 July 2014
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2999:978-0810960367
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2387:Ludovic Piette
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2132:Place du Havre
2130:
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2119:Museum of Arts
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2020:
2018:
2012:
2005:
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1999:Artizon Museum
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1736:ChĂątaignier Ă
1734:
1727:
1725:
1716:
1709:
1707:
1701:
1694:
1692:
1680:
1673:
1666:Main article:
1663:
1660:
1633:LĂ©lia Pissarro
1617:FĂ©lix Pissarro
1607:Camille's son
1590:
1587:
1586:
1585:
1576:
1569:
1567:
1559:
1552:
1550:
1541:
1534:
1532:
1523:
1516:
1514:
1505:
1498:
1496:
1487:
1480:
1478:
1448:Max Silberberg
1358:Max Silberberg
1339:Samuel Fischer
1248:
1245:
1222:
1221:
1182:
1179:
1144:
1141:
1132:
1131:
1107:
1104:
1084:
1083:
1060:Georges Seurat
1044:
1041:
1020:British Museum
991:
988:
967:
966:
958:Octave Mirbeau
939:The Hay Cart,
917:
914:
913:
912:
909:
905:
881:
878:
842:
839:
835:Stamford Brook
744:
741:
729:John Constable
714:Théodore Duret
686:
683:
641:FĂ©lix Pissarro
624:
621:
620:
619:
588:
587:
569:
568:
508:
505:
500:
499:
472:
469:
441:
438:
387:
386:Life in France
384:
287:
284:
249:Georges Seurat
161:
160:
157:
156:
148:
147:
143:
142:
139:
138:
129:
125:
124:
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120:Known for
117:
116:
115:Danish, French
113:
109:
108:
105:
103:(aged 73)
97:
93:
92:
79:
66:
64:
60:
59:
50:
42:
41:
38:
15:
9:
6:
4:
3:
2:
5727:
5716:
5713:
5711:
5708:
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5701:
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5688:
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5501:
5499:
5496:
5494:
5491:
5489:
5486:
5484:
5481:
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5478:Boston School
5476:
5474:
5471:
5470:
5468:
5464:
5458:
5455:
5453:
5450:
5448:
5445:
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5399:
5397:
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5392:
5389:
5387:
5384:
5382:
5379:
5377:
5374:
5372:
5369:
5367:
5364:
5362:
5359:
5357:
5354:
5352:
5351:Lovis Corinth
5349:
5347:
5344:
5342:
5339:
5337:
5334:
5332:
5329:
5328:
5326:
5320:
5314:
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5299:
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5266:
5258:
5252:
5249:
5247:
5244:
5242:
5239:
5237:
5234:
5232:
5229:
5227:
5226:Elioth Gruner
5224:
5222:
5219:
5217:
5214:
5213:
5211:
5209:
5201:
5195:
5194:J. Alden Weir
5192:
5190:
5189:Robert Vonnoh
5187:
5185:
5182:
5180:
5177:
5175:
5172:
5170:
5167:
5165:
5162:
5160:
5157:
5155:
5154:Childe Hassam
5152:
5150:
5147:
5145:
5142:
5141:
5139:
5137:
5129:
5123:
5120:
5119:
5117:
5113:
5107:
5104:
5102:
5101:Georges Petit
5099:
5097:
5094:
5093:
5091:
5087:
5081:
5078:
5076:
5073:
5071:
5068:
5066:
5063:
5062:
5060:
5056:
5051:
5041:
5040:Alfred Sisley
5038:
5036:
5033:
5031:
5028:
5026:
5023:
5021:
5018:
5016:
5015:Ădouard Manet
5013:
5011:
5008:
5006:
5003:
5001:
4998:
4996:
4993:
4991:
4988:
4986:
4983:
4981:
4980:EugĂšne Boudin
4978:
4976:
4973:
4972:
4970:
4966:
4962:
4960:Impressionism
4953:
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4504:
4500:
4497:
4494:
4493:
4484:
4480:
4478:
4474:
4470:
4466:
4465:Stone, Irving
4463:
4461:
4460:0-8109-6035-4
4457:
4453:
4449:
4446:
4442:
4440:88-7624-525-1
4436:
4432:
4427:
4424:
4423:9782259319607
4420:
4416:
4412:
4408:
4404:
4400:
4396:
4393:
4391:
4390:0-06-430187-7
4387:
4383:
4379:
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4353:
4350:
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4347:0-06-430223-7
4344:
4340:
4336:
4333:
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4330:0-313-30382-7
4327:
4323:
4319:
4308:
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4299:
4288:
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4279:
4278:
4270:
4269:0-521-39034-6
4266:
4262:
4258:
4254:
4250:
4246:
4240:
4236:
4235:Villard Books
4232:
4231:
4226:
4222:
4220:
4219:2-905684-35-6
4216:
4212:
4211:2-905684-17-8
4208:
4204:
4203:2-905684-09-7
4200:
4196:
4195:2-905684-05-4
4192:
4188:
4187:2-13-036694-5
4184:
4180:
4178:
4172:
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4169:0-911858-22-9
4166:
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3194:
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3167:
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3150:
3143:
3142:0-517-52477-5
3139:
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3110:
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2817:
2815:
2813:
2804:
2798:
2794:
2791:(in German).
2790:
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2778:
2769:
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2735:9780313314438
2731:
2727:
2720:
2704:
2700:
2693:
2685:
2683:9783775708616
2679:
2676:. p. 1.
2675:
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2649:
2647:
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2636:9781740895101
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2611:9780810914995
2607:
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2580:
2578:
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2544:
2543:
2542:Self-portrait
2539:
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2533:
2532:
2528:
2525:
2524:
2520:
2517:
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2512:
2510:
2506:
2505:
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2490:
2489:
2479:
2473:
2468:
2465:
2461:
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2450:
2447:
2443:
2442:
2439:Landscape in
2434:
2429:
2425:
2419:
2414:
2411:
2407:
2401:
2396:
2393:
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2353:
2352:
2351:Upper Norwood
2344:
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2329:
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2323:
2314:
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2259:
2255:
2249:
2244:
2241:
2237:
2236:View of Rouen
2231:
2226:
2223:, Los Angeles
2222:
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2212:
2207:
2203:
2202:
2195:
2190:
2186:
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2153:
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2137:
2133:
2127:
2122:
2118:
2117:Smith College
2114:
2108:
2103:
2099:
2098:
2090:
2085:
2081:
2075:
2070:
2067:
2063:
2057:
2052:
2048:
2042:
2037:
2034:
2030:
2024:
2019:
2015:
2009:
2004:
2000:
1996:
1990:
1985:
1981:
1980:
1973:
1968:
1964:
1960:
1954:
1949:
1945:
1941:
1935:
1930:
1926:
1920:
1915:
1911:
1907:
1901:
1896:
1892:
1891:Musée d'Orsay
1888:
1884:
1878:
1873:
1869:
1868:Musée Malraux
1865:
1864:
1856:
1851:
1847:
1843:
1842:
1835:
1830:
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1800:
1796:
1790:
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1763:
1759:
1753:
1748:
1744:
1743:Musée d'Orsay
1740:
1739:
1731:
1726:
1722:
1721:
1713:
1708:
1704:
1698:
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1690:
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1677:
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1671:
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1659:
1657:
1653:
1648:
1647:(born 1964).
1646:
1642:
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1599:
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1556:
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1530:
1526:
1520:
1515:
1512:
1511:Hammer Museum
1508:
1502:
1497:
1494:
1490:
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1476:
1475:
1474:
1472:
1468:
1464:
1460:
1455:
1453:
1449:
1445:
1441:
1436:
1435:in New York.
1434:
1430:
1426:
1422:
1417:
1415:
1411:
1407:
1406:Israel Museum
1403:
1402:
1397:
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1276:
1272:
1263:
1259:
1258:
1257:Self-portrait
1253:
1244:
1240:
1238:
1234:
1233:Derek Walcott
1229:
1227:
1219:
1218:
1217:
1215:
1211:
1207:
1204:
1199:
1196:
1187:
1178:
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1171:
1163:
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1149:
1140:
1136:
1129:
1128:
1127:
1122:
1118:
1117:
1112:
1103:
1101:
1097:
1096:Theo van Gogh
1092:
1090:
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1080:
1079:
1075:
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906:
902:
901:
900:
898:
890:
886:
877:
873:
871:
865:
863:
862:Impressionism
854:
853:
850:Landscape at
847:
838:
836:
832:
828:
824:
820:
816:
811:
809:
808:
807:Upper Norwood
802:
801:
800:Sydenham Hill
796:
795:
790:
786:
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781:
776:
772:
768:
764:
760:
759:
754:
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740:
738:
734:
730:
726:
722:
717:
715:
711:
707:
699:
695:
691:
682:
680:
676:
673:and later in
672:
668:
662:
657:
654:(1878â1952),
651:
646:
643:(1874â1897),
642:
639:(1871â1961),
638:
635:(1863â1944),
634:
630:
617:
616:
615:
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609:
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497:
496:
495:
488:
487:Musée d'Orsay
484:
483:
477:
468:
466:
462:
458:
454:
453:Camille Corot
449:
447:
437:
435:
431:
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217:Impressionist
213:
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132:Impressionism
130:
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110:
106:Paris, France
98:
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90:
86:
82:
65:
61:
48:
43:
36:
33:
29:
22:
5562:
5534:
5356:Eva GonzalĂšs
5241:John Russell
5029:
5020:Claude Monet
4995:Paul CĂ©zanne
4990:Mary Cassatt
4839:
4829:
4819:
4809:
4799:
4789:
4779:
4769:
4759:
4752:
4745:
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4691:
4681:
4671:
4661:
4642:
4583:
4577:
4565:
4542: at the
4519:
4482:
4468:
4451:
4448:Rewald, John
4430:
4414:
4398:
4381:
4371:
4359:
4352:Gopnik, Adam
4338:
4321:
4310:. Retrieved
4306:
4290:. Retrieved
4286:
4260:
4233:. New York:
4229:
4174:
4160:
4156:
4150:Bibliography
4139:
4130:
4118:. Retrieved
4114:
4104:
4092:. Retrieved
4087:the original
4073:
4063:
4051:. Retrieved
4047:
4038:
4026:. Retrieved
4021:
4012:
4000:. Retrieved
3980:
3968:. Retrieved
3959:
3950:
3938:. Retrieved
3933:
3924:
3916:
3908:
3900:
3895:
3885:17 September
3883:. Retrieved
3878:
3869:
3857:. Retrieved
3853:the original
3848:
3839:
3828:
3819:
3800:
3794:
3785:
3778:. Retrieved
3769:
3760:
3748:. Retrieved
3744:
3734:
3725:
3715:
3703:. Retrieved
3694:
3685:
3673:. Retrieved
3664:
3654:
3642:. Retrieved
3638:
3628:
3616:. Retrieved
3611:the original
3597:
3587:
3575:. Retrieved
3571:
3561:
3549:. Retrieved
3545:
3535:
3523:. Retrieved
3519:
3509:
3497:. Retrieved
3493:the original
3488:
3479:
3467:. Retrieved
3458:
3448:
3436:. Retrieved
3432:
3422:
3410:. Retrieved
3401:
3392:
3380:. Retrieved
3368:
3358:
3346:. Retrieved
3337:
3328:
3316:. Retrieved
3311:
3302:
3290:. Retrieved
3286:
3276:
3249:
3243:
3224:
3218:
3199:
3193:
3181:. Retrieved
3176:
3166:
3158:
3133:
3128:
3121:Mathews 1994
3116:
3108:
3103:
3096:Mathews 1994
3091:
3083:
3079:
3074:
3065:
3061:
3051:
3044:artchive.com
3039:
3031:
3030:King, Ross.
3026:
3008:
2989:
2983:
2971:. Retrieved
2967:the original
2957:
2945:. Retrieved
2941:the original
2937:"Exhibition"
2931:
2923:
2878:
2849:
2788:
2785:John, Rewald
2768:the original
2763:
2725:
2719:
2707:. Retrieved
2703:the original
2692:
2669:
2663:
2654:
2626:
2620:
2601:
2540:
2529:
2521:
2513:
2502:
2491:
2477:
2459:
2438:
2423:
2405:
2385:Portrait of
2384:
2369:
2348:
2333:
2308:
2290:
2272:
2253:
2235:
2216:
2199:
2184:
2166:
2149:
2131:
2112:
2094:
2079:
2061:
2046:
2028:
2013:
1994:
1977:
1959:Conversation
1958:
1939:
1924:
1905:
1882:
1860:
1839:
1820:Paul CĂ©zanne
1818:Portrait of
1817:
1794:
1776:
1757:
1738:Louveciennes
1735:
1717:
1702:
1681:
1649:
1606:
1597:
1577:
1560:
1542:
1524:
1506:
1488:
1456:
1439:
1437:
1428:
1424:
1418:
1409:
1399:
1389:
1387:
1375:
1362:
1353:
1351:
1336:
1319:
1317:
1306:
1282:
1280:
1267:
1262:Tate Gallery
1255:
1241:
1236:
1230:
1226:Mary Cassatt
1223:
1208:
1200:
1192:
1172:
1168:
1151:
1137:
1133:
1125:
1114:
1093:
1085:
1076:
1057:
1051:
1034:
1031:
1028:
1024:
1015:
998:
984:
979:Mary Cassatt
972:
968:
947:
941:Montfoucault
938:
927:Louveciennes
924:
894:
888:
874:
866:
858:
849:
827:Bedford Park
812:
804:
798:
792:
778:
774:
756:
752:
746:
718:
703:
693:
675:Louveciennes
626:
605:
589:
581:
557:
549:Napoleon III
545:
541:Paul CĂ©zanne
533:Claude Monet
526:
517:Louveciennes
501:
492:
479:
450:
443:
406:Anton Melbye
403:
394:
368:Fritz Melbye
365:
342:
338:
330:
318:
308:
294:
276:
270:'s masters.
268:Paul Gauguin
264:Paul CĂ©zanne
257:
227:(now in the
165:
164:
101:(1903-11-13)
85:Saint Thomas
77:10 July 1830
32:
5585:1903 deaths
5580:1830 births
5542:Louis Leroy
5440:Other media
5416:Max Slevogt
5391:Henry Moret
5236:Tom Roberts
5115:Exhibitions
5000:Edgar Degas
4968:Originators
4028:5 September
3881:. July 2012
3859:3 September
3618:14 November
3551:14 November
3546:Artnet News
3525:14 November
3520:Artnet News
3499:14 November
3469:14 November
3438:14 November
3433:Tulsa World
3312:artnet News
2275:, c. 1901.
1995:The Harvest
1961:, c. 1881.
1848:, New York
1718:Working at
1682:A Plaza in
1365:provenances
1356:, owned by
1352:Pissarro's
1347:Bruno Lohse
1318:Pissarro's
1315:in France.
1309:Simon Bauer
1289:Raoul Meyer
1281:Pissarro's
1154:, 1891â92.
1143:Later years
1068:pointillism
1064:Paul Signac
819:Kew Gardens
783:, views of
659: [
648: [
627:In 1871 in
434:John Rewald
297:, c. 1853.
286:Early years
260:John Rewald
253:Paul Signac
112:Nationality
56: 1900
5569:Categories
5452:Literature
5273:Henri Beau
5205:Australian
4477:0385120656
3970:6 November
3940:6 February
3780:4 February
3750:4 February
3705:4 February
3695:Looted Art
3675:4 February
3644:5 February
3639:Looted Art
3577:4 February
3402:Looted Art
3382:4 February
3348:4 February
3318:4 February
3292:4 February
3107:Roe, Sue.
2973:29 October
2802:3770111664
2567:References
2349:View from
2311:, c 1902.
2260:, New York
2095:Haying at
1946:, New York
1870:, Le Havre
1421:Christie's
973:Pissarro,
954:art critic
950:Ămile Zola
561:Ămile Zola
357:St. Thomas
321:St. Thomas
313:St. Thomas
73:1830-07-10
4650:Paintings
4082:0362-4331
3879:Art Daily
3606:0362-4331
3377:0362-4331
2947:5 October
2709:8 January
2334:La Guaira
1662:Paintings
1600:c. 1878.
1444:Holocaust
1433:Sotheby's
1332:Auschwitz
904:settings;
823:Kew Green
789:Hyde Park
743:Paintings
700:, Oxford.
457:plein air
380:La Guaira
372:Venezuela
225:St Thomas
146:Signature
5466:See also
5262:Canadian
5133:American
4525:Archived
4499:Archived
4483:Pissarro
4370:(1981).
4312:16 March
4227:(1994).
4022:MV Times
3993:Archived
3964:Archived
3934:BBC News
3849:Fox News
3774:Archived
3770:OU Daily
3699:Archived
3669:Archived
3665:ART news
3463:Archived
3459:OU Daily
3412:13 March
3406:Archived
3342:Archived
3287:OU Daily
3268:34742446
3183:27 April
3134:Pissarro
2787:(1986).
2764:Artchive
2550:See also
2534:, 1901,
2507:, 1896,
2293:, 1903.
2256:, 1899.
2238:, 1898.
2219:, 1898.
2169:, 1897.
2031:, 1884.
1997:, 1882.
1942:, 1880.
1912:, London
1908:, 1877.
1889:, 1877.
1887:Pontoise
1866:, 1876.
1863:Pontoise
1844:, 1874.
1827:, London
1823:, 1874.
1797:, 1872.
1779:, 1871.
1764:, Madrid
1760:, 1871.
1741:, 1870.
1720:BĂ©relles
1580:, 1897.
1545:, 1897.
1527:, 1897.
1509:, 1897.
1491:, 1897.
1414:monotype
1380:, 1897,
1264:, London
1260:, 1903.
1119:, 1896.
1007:, Ottawa
1003:, 1901.
852:Pontoise
831:Chiswick
815:Pontoise
749:Sydenham
696:, 1897.
671:Pontoise
596:Pontoise
577:Pontoise
547:Emperor
489:, Paris.
485:, 1872.
397:, 1867.
280:van Gogh
128:Movement
123:Painting
5522:Related
5513:The Ten
5324:artists
5264:artists
5207:artists
5135:artists
5089:Dealers
5058:Patrons
4910:Related
4755:, 1896)
4721:, 1881)
4596:Ben Uri
4594:at the
4292:6 April
4253:98-8028
4120:22 July
4094:22 July
4053:22 July
4002:15 June
3179:: 55â56
2793:Cologne
2001:, Tokyo
1965:, Tokyo
1893:, Paris
1745:, Paris
1684:Caracas
1446:victim
1295:at the
1214:Gauguin
1203:CĂ©zanne
1100:Vincent
737:impasto
710:Norwood
629:Croydon
482:Voisins
410:Courbet
376:Caracas
208:French:
28:Picasso
4854:Family
4845:(1901)
4835:(1901)
4825:(1899)
4815:(1897)
4805:(1897)
4795:(1897)
4785:(1897)
4775:(1896)
4765:(1896)
4741:(1886)
4731:(1886)
4707:(1877)
4697:(1874)
4687:(1874)
4677:(1873)
4582:," in
4544:Art UK
4475:
4458:
4437:
4421:
4405:
4388:
4345:
4328:
4267:
4251:
4241:
4217:
4209:
4201:
4193:
4185:
4167:
4080:
3807:
3604:
3375:
3266:
3256:
3231:
3206:
3140:
2996:
2886:
2856:
2799:
2732:
2680:
2633:
2608:
2496:1873,
2187:, 1898
2115:1890.
2100:, 1889
2097:Eragny
2064:1886.
2049:, 1885
2016:, 1882
1927:, 1877
1656:Louvre
1609:Lucien
1072:Lucien
1054:, 1887
944:, 1879
930:, 1872
855:, 1874
777:, and
612:Lucien
420:, and
315:, 1856
5547:Nadar
5447:Music
5322:Other
3996:(PDF)
3989:(PDF)
2221:LACMA
975:Degas
870:Salon
725:Monet
663:]
652:]
446:Salon
422:Corot
333:Passy
199:piss-
4598:site
4473:ISBN
4456:ISBN
4435:ISBN
4419:ISBN
4403:ISBN
4386:ISBN
4343:ISBN
4326:ISBN
4314:2024
4294:2024
4265:ISBN
4249:LCCN
4239:ISBN
4215:ISBN
4207:ISBN
4199:ISBN
4191:ISBN
4183:ISBN
4165:ISBN
4122:2020
4115:ELLE
4096:2020
4078:ISSN
4055:2020
4030:2017
4004:2013
3972:2021
3942:2014
3887:2021
3861:2011
3805:ISBN
3782:2021
3752:2021
3707:2021
3677:2021
3646:2021
3620:2021
3602:ISSN
3579:2021
3553:2021
3527:2021
3501:2021
3471:2021
3440:2021
3414:2021
3384:2021
3373:ISSN
3350:2021
3320:2021
3294:2021
3264:OCLC
3254:ISBN
3229:ISBN
3204:ISBN
3185:2015
3138:ISBN
3082:and
2994:ISBN
2975:2006
2949:2010
2884:ISBN
2854:ISBN
2797:ISBN
2730:ISBN
2711:2016
2678:ISBN
2631:ISBN
2606:ISBN
2441:Osny
1615:and
1062:and
821:and
731:and
539:and
428:and
378:and
251:and
243:and
219:and
96:Died
63:Born
4513:JPG
4413:of
3917:CNN
3787:it.
1091:".
203:-oh
187:ÉËr
5571::
4467:,
4450:,
4397:,
4380:,
4358:,
4354:,
4337:,
4305:.
4285:.
4247:.
4237:.
4213:â
4205:â
4197:â
4189:â
4138:.
4113:.
4076:.
4072:.
4046:.
4020:.
3958:.
3932:.
3915:,
3877:.
3847:.
3827:.
3784:.
3768:.
3743:.
3724:.
3693:.
3667:.
3663:.
3637:.
3600:.
3596:.
3570:.
3544:.
3518:.
3487:.
3461:.
3457:.
3431:.
3404:.
3400:.
3371:.
3367:.
3336:.
3310:.
3285:.
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